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For someone who started designing under his own name when few in the business envisioned that fashion could come from Antwerp, let alone pronounce Belgian brands, the success and rave reviews that Dries Van Noten is currently enjoying have been a long time coming. Today he is one of the Europe's few remaining independent designers, an accomplishment that makes his label somewhat of an anomaly. Nevertheless, Van Noten, as the designer himself coyly intimates, has started thinking about his future. Could it be that another of the enduring bastions of fashion sovereignty is about to end up in the hands of a conglomerate?
You once said, "The good thing about fashion is that you always go ahead, the next, the next, the next — you don't have time to look back." Why is it good not to look back?
It is good to look back, but I don't want to be nostalgic. I don't see the point of dressing up in clothes from the past; there's a reason why fashion changes with the times.
But nostalgia seems to have become a very important element in contemporary fashion. Why is that do you think?
People think that things were easier or more pleasant in the past, but that's not the case. My team and I often have discussions about this. It's interesting because I'm an older guy now and they are all very young. When we talk about the 1970s, for instance, they think about ABBA as one of the icons of the decade. They don't know that ABBA at the time was considered to be extremely bad taste — vulgar and completely unfashionable. ABBA was still wearing platform shoes when everyone else had already moved on. What I mean to say is that it's not always the best versions of the past that live on.
How do you negotiate the conflict between, as you've been known to say, there being too much fashion in the world and, at the same time, having always to produce more to stay in business?
I wouldn't say that I'm completely at peace with this, but I don't think of my clothes as just more products in the world. I try to do an honest job and make things that have a reason for existing other than just making money. I want to make clothes that allow wearers to communicate something about their personality. Of course I also have to compromise and make basic T-shirts to survive sometimes. But overall, I put my heart in everything I do. I can only hope that this makes my work worthwhile.
Do you ever have doubts?
Everyday. I never stop questioning what I do. Before a fashion show I might get nervous and start thinking, Maybe we should have chosen different music, or maybe those shoes aren't quite right. But at the same time, if you're perfectly sure of everything you do, then what's the point?
What is success to you?
Success and happiness are intertwined. To me success is not about scoring, as it is to a lot of people. It's about feeling good about things, it's about living a good life.
How do you apply that principle to how you do business?
I try to do business in the same way. Had we wanted to, we could have had a store in every major city in the world, but that sort of success was never for me. When we open a store I want it to be in a nice location, I want the staff to be people I like. The most important thing to me is that my work is creative. I want to put all my energy and enthusiasm into colors, fabrics — things like that. I don't automatically think about whether it will sell well or if I'll earn a lot of money.
Is this a strategy that you've deliberately followed throughout your career?
I wouldn't say it's ever been deliberate. When I started in the mid-eighties it became clear pretty quickly that to be a Belgian fashion designer was seen as an anomaly. The other designers from Antwerp that I started out with, well, we realized that we wouldn't fit easily into the system. We had to find our own way. We had no money, so working together made us stronger but forming a group was never a marketing idea. It was just that people couldn't pronounce our names so we became the Antwerp Six. I didn't set out to be different though, it all happened very organically.
How do you feel you have changed as a designer over the years?
I hope that getting older and more experienced has made me wiser. I don't want to ever fall back on formulas — that's the worst trap for a fashion designer who's been in the business a long time. You know, when you follow a tried and tested recipe that dictates adding a little bit of this, a pinch of that, shaking it and presto, there's the new collection. I want to surprise and I want to stimulate creativity in my team. That to me is very important.
How do you ensure that you don't fall into the trap?
The research process is incredibly important. Every season I start afresh — I want us to begin with a blank page, even if where we end up is not far from the last collection. To feel creatively stimulated I need to go through the whole research process — I couldn't just pick up from where we left off last season. That's why we aren't yet part of a big conglomerate. I want to be able to make my own choices.
Not yet, you say?
Well, you never know what's going to happen in the future. I'm 56 now, I don't know what the situation will be like when I'm 65. Maybe I'll want to stop. But the fact is that I'm responsible for my team and all the people who have invested in us; all the people that work in production are dependent on me. Maybe when that time comes, the best thing to do is to take a partner or to sell the company. I don't know. But I do know that I'm not going to do this forever — I'm not Armani.
Why is it important to you that the company remain, even if you're no longer involved?
It's not that it's important for its own sake, but of course it's nice to know that what I have built will live on. It's not that I'm looking to leave anytime soon, I love what I do. But I have to start thinking of the future, because I don't have eternal life. We have to consider our options. In Antwerp we have over a hundred people working for us and in India there's a few thousand people just working on our embroidery. It would be a pity to just suddenly say, "Okay, that was it – bye!"
Do you worry that your legacy might be misinterpreted, were you to leave it in the hands of somebody else?
I can pass on my message to the people who continue when I'm no longer here, but I can't control what happens of course. If I step out, I step out and I have to assume responsibility for my choice. And I still have enough things to do in life that, once that day comes, I won't always be looking over my shoulder to see what's happening with the company.
You often seem to be represented as an outsider to the fashion system: no advertising, no pre-collections, based in Antwerp, independently owned – do you see yourself as an outsider?
No, because it was never something I set out to become. Every decision we made was based on our circumstances at the time, and my position in the industry is a result of that. It's all happened very organically. I lived in Antwerp when I started, rent is cheap here. We found an incredible building so why move to Paris? The same logic applied when we found our shop in Paris. My intention wasn't to set myself apart from the well-established shopping districts, it's just that we found a shop that I really loved with an amazing view over the Seine.
How do you see your own role in the behemoth that the fashion industry today has become?
I don't know. We're not the only ones who work in a different way. There are others. But my decision not to make pre-collections like all the major brands do, for example, is based on the fact that we wouldn't have the time to make it as well as our main collection. My team is not big enough. Also, I want to see every yarn, every palette, every button — every element of every collection. That, to me, is the fun part. I don't like meetings; I like to be hands-on in the creation. But really, we just do the best we can with what we have.
Are there parts of the fashion industry that you find hard to identify with?
Actually, I think that the good thing about the fashion industry today is that it allows for a lot of different alternatives. In the eighties and nineties, there was just one way. In the late 1990s, when the big groups started buying up independent designers, it looked for a while as if that was the future — we all had to become part of a big conglomerate. We also considered it seriously for a while. But we didn't make that leap, it wasn't for — or not yet anyway. Instead we just kept working and with time people have come to respect that. Today, difference is celebrated. It's the same with fashion itself. You can be dressed in Versace or in Yohji Yamamoto and be equally fashionable. There's a lot more space for individuality today.
How do you feel about the pace of the fashion system? Is there any way to circumvent it?
I'm lucky in that it doesn't affect me too much. I get by without the pre-collections that are so essential for many other brands. When pre-collections started to become important, we felt the pressure to make them too, of course. But we stuck it out, and today buyers seem grateful that we don't make any. They spend so much time running around the world buying new collections that they complain about not knowing which season is which anymore. I think they appreciate a little time off.
I'm surprised to hear you say that. I've spoken to so many designers who seem to feel that making pre-collections is an absolute requirement these days. How can you survive without it when so many others seem to think they can't?
Well, for most designers the pre-collection is their commercial collection — it's what they sell. Then they make a fashion show collection that is useful in terms of image and gets them attention in the press. The equation, in terms of sales, is usually 75% pre-collection and 25% fashion show collection. The fashion show collection for most designers arrives late in the sales season, but we do it differently. We invite buyers to see us in Antwerp one month before we show it to press in Paris. This means that we can get early orders, which in turn helps us when we place fabric orders with our suppliers. If a fabric won't arrive on time, we can let our buyers know and they can choose something else instead. All in all, this means that we can deliver a big part of our collection nearly at the same time when others deliver their pre-collections.
Have you found any disadvantages at all with working in this way?
The only thing that's difficult for us is that having only two major collections a year means that we can only deliver one image per season. The shop-in-shops at department stores will only get one direction to work with from us, whereas a lot of the major brands now do as many as nine or ten collections a year, which allows them to deliver new products along with a new image every month. We instead have to rely on good merchandising so that our clients will notice new things whenever they come into the stores.
This pace that you're describing owes a lot to fast fashion, doesn't it? It's as if the fast turnaround that customers have come to expect from the stores on the high street has also ended up completely altering the way high fashion brands work.
That's true. You have to remember that in the past sell-through at department stores was assessed every six months; now it's done every month. Department stores look at a designer's monthly turnover per square foot now, so of course if you always deliver new products you'll have a much more even sell-through. A brand like ours by contrast has a very high turnover for the first three months after a new collection arrives in stores, but that will be followed by two months of slow sales.
But seeing as you've been in business for over three decades, by now you've also had a chance to build long-lasting relationships with buyers. Would it be fair to say that, as a designer who is very well established and well respected by now, certain allowances are made for you?
You have a point, but the fact is that my collections sell well. I don't want to come across as a commercial designer, but I am a designer concerned with creating garments for men and women that sell. Other designers are concerned with creating an image so that they can sell accessories or perfume. In most companies, accessories, shoes and bags make up 60–70% of sales. For us it's only 7%, the other 93% is clothing.
You have been stressing the importance of designing garments to wear, rather than garments for show, but how do you keep this balance in an environment that now puts so much emphasis on the photogenic nature of clothes?
I have had to start thinking about what garments look good viewed on an iPod or smartphone. The first three looks have to be intriguing enough to make people want to see the rest. You can't tell the whole story at once.
On a slightly different note, what's important to you in terms of ideology and design ethics?
The fashion industry is full of tricks about how to create desirability and make things more commercial. You can find it in how you merchandise a collection, how you link garments or how you connect an element that sold well one season to items the following season. I try to avoid all that. I want my work to be honest and straightforward. I don't like tricks.
Thanks to Vestoj
A tour of the new Sonia Delaunay exhibition at the Tate Modern in London not only proves how important an artist she was at the beginning of modernism in Paris, painting alongside the likes of Picasso and Matisse a little over a century ago. It also demonstrates how all-encompassing her work was, including clothes and interior design, fabric prints, needlework and collage, as well as a kind of self-promotion that, today, seems remarkably prescient. Juliet Bingham, curator of international art at the Tate, explains how Delaunay not only helped found modern art, but also transcended it.Read More
Einstein once remarked that there's no inspiration in an empty room, which is probably why the fifth floor of Antwerp's Royal Academy smells of burnt leather. A student is adding loafer details to his Adidas Superstar sneakers, while in the back of the museum-like white cube chamber, students are gazing at a Stockman tailor dummy.
You could say that there's a certain creative flow going on here, but to really understand the underlying structure of this elite school for aspiring fashion designers there's one man you need to speak to: the head of the fashion course, Walter van Beirendonck. In the heart of the Belgian fashion capital, we covered a range of topics, from The Antwerp Six to finding his students' voice.Read More
It's mere days before his fall 2015 collection — with a companion exhibition — at MOCA's PDC gallery and Bernhard Willhelm is busy...cooking. Which isn't to suggest the Lycra-loving gym bunny, neo-New Age health nut, bottle-blond and recent Los Angeles transplant has turned into a ditz, real housewife-style. Quite the contrary, the (mostly) men's designer is very street-wise and world-savvy, having been born and raised in Germany, schooled in Antwerp, based in Paris — and now communing with Hollywood's nature.
Willhelm says the collection and the site-specific work are a meditation on the future of commerce, his response to the uniformity of fashion as we know it. That he's juggling vegetables as we speak by phone simply means everything is under control — the mannequins, the videos, the ephemera, and of course the clothing, leaving us ample time to discuss dolls, cruising, and a certain male-only accessory.
Renzo Rosso
President, Only the Brave Group (parent company of Maison Martin Margiela, Marni, Viktor & Rolf, Diesel)
Founder, Only the Brave Foundation
What did you do immediately before this questionnaire?
I went to Maison Margiela's Christmas party.
What will you do immediately after this questionnaire?
I will have a photo session.
What is your idea of bliss?
Being peaceful.
What is your idea of misery?
The arrogance of ignorant people.
What is the strangest article of clothing in your closet?
One-off prototypes of never commercialized jackets of the brands in our group.
What is your proudest moment?
When I feel the energy of the people i work with.
What is your greatest regret?
I can't think of one.
What would be the first sentence of your biography?
I lived a very intense life in every aspect.
What catchphrase do you use the most?
Mamma mia.
What three items could you not live without?
Mobile phone, iPad, nail-cutters.
One hour was the allotted time I had to interview Oscar de la Renta some years ago for V magazine. The house was expanding and he hoped to reach a younger audience. Although I entered his bustling Seventh Avenue studio without preconceptions, I did assume he'd be the very essence of charm. Who didn't know of this gift of his? And indeed he was, to the point where I stopped asking questions because asking them would mean interrupting him. In this way I was lulled out of deliberative journalist mode and into gurgling fan mode. When we reached the one-hour mark, he didn't want to stop and neither did I. So we didn't.
Upon hearing of the couturier's death yesterday, losing his battle with cancer, it occurred to me he might have learned of his diagnosis around the time we met. Yet even in the face of this terrible news, if in fact he knew, he conveyed the easy warmth, the natural grace, the casual geniality that made him one the most popular public figures in his adopted home of New York City and a true gentleman's gentleman. "There is, perhaps, no one more adored in American fashion than Oscar de la Renta," I so began the story. "Not only are his confectionary creations coveted by everyone from gamines to grannies, drag queens to First Ladies, socialites to Hollywood heavies, but a single disparaging word about the Latin legend won't be found."
Here are other salient bits from the interview, plus additional quotes from the transcript that bear new relevance...
Wearing a light suit and a disarming smile, he waxes nostalgic about his early days in the mid-60s apprenticing for the Spanish couturier Cristóbal Balenciaga, delights in extolling high-profile clients ranging from beauty heiress Aerin Lauder to Sarah Jessica Parker (who became a fan after she played one on TV), and is perfectly comfortable detailing a business strategy to roll out new freestanding stores.
Oscar de la Renta is not one to waste time chasing some elusive hip factor or pushing a cult of personality. That would be vain. Instead, the quintessential traditionalist maintains, as he always has, that he's interested in only one thing: "designing for women."
"I travel quite a lot around the country. A journalist might know it's my first time in Cincinnati. I've been there 15 minutes and the first question they'll ask is what do I think of the woman of Cincinnati? I say that nowadays thinking of a woman by region is putting a woman down. Never has there been a woman as much in control of her destiny as a woman of today. What's important to her is a projection of her own sense of individuality. I used to design day clothes, afternoon clothes, cocktail clothes, evening clothes. That's how I was trained, but I've had to 'detrain' — can you use that word? — my mind. I am not old-fashioned at all."
"The customer I started dressing back in 1965 is very different from women of today. Today's woman has very different needs. Her first preoccupation of the day is not to get dressed in a pretty suit and have lunch with friends. My job is to understand who she is, and then try to keep that clientele, which I think is what made our business successful. Every day there is a new client."
At Balmain in Paris, de la Renta delivered a string of well-received collections until 2002, when he became disheartened by that highest of fashion disciplines and opted instead to concentrate on his own line back in the States, which, while not languishing, had become estranged. In a rare critical moment, he says, "I hated [designing for Balmain]. I personally think that a lot of houses today only use couture as a vehicle for selling handbags and all the other stuff, but I think ultimately it undermines what couture means."
"When I was working in Paris and doing the collections for Pierre Balmain, at the end I quit because of practical reasons. I felt it was really important to my business. I was in Paris for Balmain just two and a half months a year, but I thought it was two and a half months I should have dedicated to my own business."Read More
Shortly before the runway show at ITS fashion festival in Trieste, Italy, we sat down with Carla Sozzani, the force behind the celebrated 10 Corso Como concept store in Milan. She told us about young Italian talents (they do exist), her brief stint at Elle in the 1980s, and one harrowing day in Africa some 40 years ago...
What's your involvement in ITS?
This is the second time I've been a jury member. My daughter, Sarah, who's been an editor at Italian Vogue for seven years, encouraged me to do it. I also have a lot of respect for Barbara Franchin, the event's founder. There is no other contest in the world that encapsulates not only fashion, but also photography, accessories, and jewelry. Besides, it's very international, and the jury is first-rate.
What do you think about the current state of Italian fashion, which some people find lacking in fresh talent?
There actually are fresh designers, but they prefer working for other brands around the world, instead of launching their own houses. It's about job security. That's a very Italian thing. In the UK, people want to have their own brands. Maybe the schools here don't motivate the students enough. But that doesn't mean there are not interesting people right now, like Andrea Incontri, Stella Jean, Fausto Puglisi, and Marco de Vicenzo. And our fashion council now offers assistance to young designers, because having money is not enough. You need to know how to use it. They help them with management and distribution, for instance. Don't forget that a few decades ago, we didn't have the Asian or Russian markets. Now fashion is a bigger industry.
What about your legendary store, 10 Corso Como? Concept stores have now mushroomed around the world. How do you stay organized?
I am not organized (laughs). I'm not obsessed with the ins-and-outs. I am passionate about the things I show. My store is about sharing those things with visitors. That's a way for me to communicate. It's like a living magazine.
Speaking of magazines, your past includes a stint at Elle, where you edited three issues in 1987.
Yes, I heard that people are collecting them. Elle actually fired me, then they told me to say I resigned. But I refused to do so. I said you're firing me for a very clear reason, which was that I wasn't commercial enough. I mentioned the fact that Diana Vreeland was also fired and they asked me, "Who is she?"
You worked with many groundbreaking photographers then. Are you still in touch with them?
Yes, I'm very close with Bruce Weber, Paolo Roversi, Peter Lindbergh, Sarah Moon.
What are your next projects?
My new Corso Como store in Shanghai. I go there every six weeks.
You're a big traveler. Have you ever been to Africa?
Yes, I've been to several countries in Africa: Sierra Leone, Ivory Coast, Benin. I went to Benin in the seventies. It was called Dahomey then. I went with Anna Piaggi's husband to take pictures. We flew on the now-defunct Air Afrique company and stayed at a hotel where a lot of Russians also sojourned. I met the director of the hotel, who was from Switzerland. The following day, there was a revolution. The country name was changed to Benin and suddenly there was a new director at the hotel. But that day I also caught malaria. I went to the hospital, but people were fleeing. A young French doctor quickly injected me with medicine and fled. He saved my life.
You're also often in Paris with your friend Azzedine Alaia...
Yes, I'm in Paris almost every week. I met Azzedine in 1979, when I was an editor at Italian Vogue. I had to do an article about a stylist, and I had heard about this designer who made leather dresses with eyelets from the French Elle journalist Nicole Crassat. Azzedine and I have been friends ever since.
As co-curator of a new exhibit at The Andy Warhol Museum — Halston and Warhol: Silver and Suede — Lesley Frowick has impeccable insight; she's the designer's niece. "This exhibit sort of fell into my lap on a research meeting at The Warhol," she tells Hint. "I was looking for photographs to include in my book [on Halston], as Warhol's camera was ubiquitous at events and Halston's home."
Before long she found herself in a curatorial role, reassessing the professional relationship and the personal camaraderie between the designer and the pop artist, who, in his 1979 book, described Halston as the "first All-American fashion designer." For all intents and purposes, they were thick as thieves and their seductive spheres of influence overlapped considerably. To begin with, Halston collected Warhol, which he showcased in his Manhattan townhouse and his vacation home on Montauk, Long Island, which he also rented from the artist. Halston, meanwhile, was portrayed in several of Warhol's pieces. And of course they were both leading lights of New York's heady nightlife. "They were both very driven and both visionaries," recalls Frowick. "They both came from solid, somewhat humble family beginnings, but were propelled by an inner drive to search for the stars."
When it opens on May 18, the exhibit will include 40 or so of Halston's signature dresses and accessories, including his signature Ultrasuede shirtdress and, from his early days as a milliner, the instantly iconic pale-pink pillbox hat he designed for Jackie Kennedy that she wore to her husband's inauguration in 1961 and that features in a Warhol silkscreen. These are juxtaposed with paintings, photographs, and videos from the Warhol archives. Other highlights of the show are a 1972 floral dress by Halston based on Warhol's 1964 Flower paintings and, as Frowick cites, Warhol's Martha Graham serigraphs, in addition to items from the Coty Award "happening," a performance in 1972 that brought Halstonettes and Superstars together for the first time.
Perhaps no designer is as synonymous with the jetset disco-glam of the 1970s than Halston (born Roy Halston Frowick). But while the gifted social butterfly palled around with the likes of Liza Minnelli, Bianca Jagger, and Lauren Hutton, among other fresh-faced Halstonettes, Frowick remembers a calmer, avuncular spirit underneath the "external bravado." "He was actually shy. We spent many weekends in Montauk together, exploring the property, fixing meals together, and dreaming by the seaside. He was so funny, the best uncle one could ask for. We also shared the same birthday, so we bonded over our stubborn Taurean nature."
The two friends and comrades died within three years of each other, Warhol in 1987 and Halston in 1990, from AIDS-related Kaposi's sarcoma. And while the Weinstein Company attempted to revive the label several years ago (Frowick, tellingly, has no comment on that), the lasting image of Halston remains, for many people, on Studio 54's glittering dance floor. Given that the two artists have been exhaustively studied and scrutinized since their passing, it's hard to imagine there being anything particularly eye-opening left to discover. Still, Frowick said she was surprised to find "Andy's extensive Halston shoe collection."
Wrapping up, she recounts, "I love my uncle so very much and have worked tirelessly out of my love for him on this show and my book [October 2014, Rizzoli]. He was such a loving, generous force in my life — this is the least I can do to honor his memory. When it came down to it he was really just a shy kid from the Midwest who had a vision for his time and who happened to have the key elements — good looks, charisma and impeccable taste — to make it all work."
Halston and Warhol: Silver and Suede, May 18 - August 24, 2014, The Andy Warhol Museum, Pittsburgh, Pennsylvania
Would you like to know how Tim Blanks — fashion critic extraordinaire, editor-at-large at Style.com, pro of pros (and prose) — gets through Fashion Month? Of course you would! Read on...
They say Fashion Month is more civilized now, sans the hordes of wild peacocks and hyenas and whatever else. What say you, Tim?
The original Narcissus was infatuated with himself because he was so beautiful. I say, what happened to narcissism?
So narcissistic, but I think I'll miss the funny critters.
I'm reminded of Kiki surprised by a choir — Wainwright, Ringwald, Mizrahi et al — while she was in the studio recording Those Were the Days. To my dying day, I'll be haunted by her plaintive wail: "Who are all these people?"
You've told me you routinely stay up all night to get the job done over at Style.com. How do you do that? Don't say meth.
Meth? You mean methylated spirits? It's green tea for me. And the promise of a new day. That's all I need to write through the dark night of the soul.
Has anything changed for you since winning the CFDA Media Award last June?
Not a smidgeon. Unfortunately, an impressively sculpted piece of metal can't do my work for me.
If you were to put together a Fashion Week survival kit, what things would you put in it?
Berocca, a half-bottle of Chablis, a small jar of shucked oysters, a bar of 90 percent chocolate, some nuclear mints.
All very sensible. Thinking back, what's one mishap you wish you could banish from your memory?
One morning I was sailing merrily towards Bryant Park for the Kors show when my legs went in opposite directions. I broke the fall with my face, and conducted the subsequent backstage interviews with seeping wounds all over my dial. Lauren Greenfield thought I was a special effect. Michael Douglas's face was a picture when I stopped him.
The lengths you'll go! Finally, because everyone always wants to know, what's the most sensational diva meltdown you've witnessed?
My favorite diva meltdown was designer-induced model madness. When one high-strung supe spotted another in the dress she thought had been marked for her, she tore off the outfit she was wearing and stalked stark-naked out of the backstage wearing only heels. I could swear she rode away on her agency's scooter, but that might just be wishful thinking.


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For discerning architectural photographers, there is no lens that is too wide. Tilt and shift movements, features normally found on large format cameras, can be bestowed upon a smaller format of camera with a lens such as this Canon 17mm f/4L TS-E Lens.
Being a Canon "L" lens, by definition it is a premium Canon optic. The 17mm TS-E has several distinct elements that make it stand apart from more common glass. Firstly, designers integrated a set of physical controls that allows users to rotate the direction of the tilt and shift independently of one another. Secondly, there is ±6.5° of tilt and ±12mm of shift that gives photographers ample ability to correct for perspective when taking images of interior or exterior spaces, and landscapes.
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Under Wayne, there seemed to be a transaction every month, but overall the team slid backwards. Occasionally there would be a big step forward, but then it was followed by 4 small steps backwards.
Ironically, Wayne K was very popular, and is still thought of well of on this board.


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Sausage And Tomato Casserole
|Beef chipolata
|8 Ounce
|1⁄2 Ounce
|1 , sliced
|Tinned tomatoes
|8 Ounce (1 Tin)
|Stock/Water plus stock cube
|1⁄4 Pint
|1 Teaspoon
|To Taste
|To Taste
1) Preheat oven to temperature of 355 degrees.
2) Separate the sausages.
3) In hot dripping, fry them quickly till they turn brown. Remove from the pan and put the sausages in the bottom of a casserole dish.
4) To the hot fat, add the onion and gently cook for about 5 minutes, till the onions turn brown.
5) Add the onions to the sausages along with the tomatoes and the liquid from the tin. Season with salt and pepper and add the stock.
6) Cover the casserole with a lid and put it in the center of the preheated oven to cook for 1 hour.
7) Place the cooked sausages on a hot serving dish.
8) Into a saucepan, sieve he sauce and stir in the cornflour. Smoothen the paste with some water and reheat, stirring constantly, and bring to a boil. Taste to check the seasoning and pour the sauce all over the sausages.
9) Serve hot.


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Texas Cooperative Fish & Wildlife Research Unit receives science award
The Texas Cooperative Fish and Wildlife Research Unit at Texas Tech has been honored with a 2015 'Excellence in Science' Award from the U.S. Geological Survey, officials announced on Monday (Mar. 2). The unit is a partnership between Texas Tech, Texas Parks and Wildlife Department, U.S. Geological Survey, The Wildlife Management Institute and the U.S. Fish and Wildlife Service. more »


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Dean AmbroseJonathan Good
- Birthdate: 12/07/1985 (age 29)
- Height: 6'4
- Weight: 225 Ib
He is signed to WWE, where his reign as WWE Uni...
WWE is currently planning to turn Roman Reigns into a babyface and have him leave The Shield. WWE teased the idea on RAW this past Monday night during their backstage promo. Dean Ambrose pointed out that he was the only one with a title and Roman Reigns gave him an angry look.
The face turn isn't expected to happen for the next several months. WWE still sees value in The Shield as a group, even though The Wyatt Family has moved into the main event picture against CM Punk and Daniel Bryan.


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Posted on: 10/24/2011 6:30:06 AM Posted By: mwash Membership Level: Silver Total Points: 109
KASNEBEXEMPTION POLICY FOR GRADUATES OF RECOGNISED UNIVERSITIES (UPDATED AS AT 1 JULY 2011)INTRODUCTIONThe revised examination syllabuses of KASNEB were implemented with effect from 1 July 2009 and examined from the December 2009 examination sitting. The revision of the syllabus necessitated a review of the exemption policy.The exemption policy under the previous examination syllabuses provided for exemptions on the basis of levels, sections and parts. The revised exemption policy provides that exemptions will be granted on a paper by paper basis. This means that students will be granted exemptions in those papers in which they demonstrate sufficient coverage of course content in their respective undergraduate degree programmes. For this purpose, students may be required to submit detailed course curricular for the course units upon which they base their applications for exemption. This general rule is however subject to certain conditions specified in this policy document.The revised exemption policy also gives additional emphasis to the specialisation areas under the various degree programmes (referred to as majors, options or concentrations).Students are reminded that an exemption granted in a particular paper will be forfeited if one subsequently enters to sit the paper. Similarly, a student should not apply for exemption in a particular paper if he has already entered to sit or has already sat the paper.Students are further required to note that:1. Exemptions will only be granted on the basis of undergraduate degree qualifications. 2. Applicants for exemptions should complete the official Application for Exemption Form (also available for download on the KASNEB website: www.kasneb.or.ke) and attach certified copies of degree certificates and transcripts. Students awaiting graduation should attach certified copies of transcripts and a letter from the university confirming that the student has completed the undergraduate studies and is awaiting graduation.3. Applications for exemptions should ideally be submitted at the time of registration or before payment for the first examination. Where, subsequent to registering with KASNEB, a student obtains a qualification for which he is eligible to seek exemption(s), the student may still apply for exemptions provided that such exemptions relate to subsequent section(s) for which the student has not attempted any of the papers.4. No exemptions shall be granted in Part III of the professional examinations of KASNEB except for holders of a professional qualification of KASNEB who wish to pursue another KASNEB professional qualification and who have sat for papers designated as "common papers". 5. Students whose degree certificates and transcripts are in a language other than English will be required to include copies of the original degree certificates and transcripts together with a set of these documents translated into English by a qualified translator. The translated documents should bear the official rubber stamp of the translator indicating the name, telephone number and physical address.6. Students who have only attempted introductory papers in their undergraduate degree programmes, such as Introduction to Financial Accounting or Introduction to Economics will not qualify for exemptions in the respective papers in the professional examinations of KASNEB. To qualify for an exemption in the Economics paper, for instance, a candidate must demonstrate that he has sufficiently covered micro and macro-economics, ideally as two distinct papers. 7. Holders of degrees from some universities may be required to obtain written confirmation on recognition of their universities from the Commission for Higher Education (CHE) in Kenya or its equivalent in the particular university's country of residence before exemptions can be granted by KASNEB.8. This exemption policy shall be subject to review as and when appropriate. The various categories of degrees for which exemptions will be considered are listed below:I. CATEGORIES OF DEGREE QUALIFICATIONS For purposes of assisting holders of various undergraduate degree qualifications to ascertain the papers in which they could be exempted in, the qualifications have been grouped into seven categories as listed below:CATEGORY DEGREE CERTIFICATESI Business degrees with specialisations in either accounting, finance (including co-operative and micro-finance) or banking from recognised universities based within the East African Community.II Business degrees with specialisations in either accounting, finance (including co-operative and micro-finance) or banking from recognised universities based outside the East African Community or branches of recognised foreign universities operating within the East African Community.III Business degrees with other specialisations including marketing, human resources management, entrepreneurship, management science, purchasing/supplies management and management information systems.Non-business degrees with specialisations in business studies/ economics/agri-business management.IV Science based degrees with specialisations in either actuarial science, mathematics, statistics, management science/operations research or related areas.V Science based degrees with specialisations in either computer science, information technology (IT), management information systems (MIS) or related areas.VI Degrees in law.VII Other degrees (including education/arts degrees with specialisations in non-business areas).The specific exemptions under each category of degree qualifications are explained below:II. SPECIFIC EXEMPTIONS UNDER EACH CATEGORY OF DEGREE QUALIFICATIONSNote: Students are hereby advised that the underlisted exemptions are purely a guide. For an exemption to be granted in any one paper the applicant must prove that he attempted and passed an equivalent paper at the undergraduate degree level whose course content at least match that of the paper for which an exemption is sought. For this purpose, the applicant may be required to submit the university catalogue detailing the course content for the various papers in which exemptions are sought.(a) Exemptions for Category I Degree HoldersEXAMINATION CPA CPS CICT CSIA CCPPAPERS EXEMPTED Section 1Financial AccountingIntroduction to LawEntrepreneurship and Communication Section 1Organisational BehaviourIntroduction to LawCommunication and Report Writing Section 1Introduction to ComputingEntrepreneurship and Communication Section 1Financial MathematicsFinancial Institutions and MarketsEntrepreneurship and Communication Section 1Credit ManagementIntroduction to LawEntrepreneurship and Communication Section 2EconomicsCost AccountingAuditing and Assurance Section 2EconomicsFinancial AccountingTaxation Theory and Practice Section 2Financial Accounting Section 2EconomicsFinancial AccountingTaxation Theory and Practice Section 2EconomicsFinancial AccountingTaxation Theory and Practice Section 3Financial Management Section 3Financial Management Section 3Financial Management Section 3Financial Management Section 4Company Law Section 4Company Law Section 4Company LawNote: 1. Where a degree offers an additional qualification (minor) in information technology or related area, the holder would also qualify for exemption in the Management Information Systems paper in Section 3 of the respective professional examinatio
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March 23, 2007
FIFA Dispatch. 1.City planners, collectors, writers, a photographer. David D'Arcy views a selection of docs. The International Festival of Films on Art in Montreal (FIFA) which ended on Sunday is a rare event, a place where you'll see films about art, architecture, performing arts and literature that you won't see anywhere else. In the festival's 25th year, showing work made mostly for television, and most of it coming from Europe, it seemed that much of what I saw was French. One of my favorites was Le Destin Des Halles (The Destiny of Les Halles), a documentary by Frédéric Biamonti about the destruction of the vast picturesque food market in the center of Paris and the failure of the buildings that replaced it to achieve much of anything, either commercially or aesthetically. The film, which tells its story with archival footage from the 1960s to the present, is a tale of error after error, with misjudgments that resulted in permanent losses to the built environment. Back in the 1960s, Charles De Gaulle and his successor Georges Pompidou thought that demolishing the old market would make Paris more modern. It wasn't his only bad idea, but it was one of the last ones and, so far, one of the most enduring. We witness mute footage of bulldozers and steam shovels razing the place, and we see the kitschy design that replaced it, built with cheap materials that now need to be replaced. At one point there was an enormous hole where the market once stood with its steel frame and peaked rooves. The excavation was necessary because it was planned that Les Halles would be the new juncture for all the subways in town. The hole was so huge that it dared anyone to do something even more brazen. That's just what the director Marco Ferreri did - he made a film there, a western based on Custer's Last Stand called Touche pas à la femme blanche (Don't Touch the White Woman!), with Catherine Deneuve and Marcello Mastroianni, which was intended to be a satire on the arrogant folly of the US war in Vietnam. There are wildly improbable horse stampedes and cavalry battles. See it if you can find it. Remember, Ferreri was the man who made La Grande Bouffe, a film in which characters eat themselves to death. Here they're acting out a western in a space that was shoveled out of Paris. Then Jacques Chirac, the newly-elected mayor of Paris, entered the scene and took control of the design process, as government officials love to do, and rarely do well. What filled the hole was even more discouraging - a vast mall hemmed in by subways underground and umbrella-shaped motifs constructed of cheap materials that began deteriorating as soon as the place reopened. Now the blunder that used to be Les Halles needs immediate renovation, and four top architects were auditioned for the job, including the French star Jean Nouvel and Rem Koolhaas of the Netherlands. David Mangin's plan, calling for a promenade between Les Halles and La Bourse (the Paris stock exchange), is the one that was chosen. We see their plans, and we see official France still stalling. It's an odd mix of rashness and inertia. Not the way to build or rebuild a great city. One woman in the documentary puts it bluntly - in the 1970s and 1980s, the French government was far more effective destroying Paris than the Germans were in World War II. Another French documentary at FIFA, Palazzo Grassi, Le Palais du collectionneur looks at the art collecting of François Pinault, the French self-made wood billionaire whose contemporary art holdings are now on view at the Palazzo Grassi in Venice. Not much more than an infomercial produced for the French television channel TV5, it is still an illuminating look at how the rich are treated. We watch as breathless interviewees describe Pinault as a discerning art collector. In what has become part of the formula in documentaries about architecture and museums, the camera and insistent music create a Santa's workshop atmosphere of urgency and gentle perfectionsim, as yet another observer provides a flattering depiction of the boss, who is worth more than $7 billion. A visit to the studio of Jeff Koons is appropriately nauseating, but not more nauseating than the sight of Koons's gleaming Poodle in front of the palazzo on the canal. Pinault, now 70, explains eloquently that one reason for collecting art is to postpone the anonymity that even he is likely to face after his death. People will talk about the artists he collected and the decisions he made, he reckons with surprising openness and vulnerability for a businessman. Yet you have to wonder whether anyone will have anything to say about Koons and Maurizio Cattelan by then.
Posted by dwhudson at March 23, 2007 2:12 AM
Rats - at first blush I thought this was a soccer festival. (Ahem, FIFA... {cough})
But I ended up enjoying reading about what sounds like such a marvelous and rare event, indeed.
CPPosted by: Craig P at March 23, 2007 11:21 AM


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TV Info
Episode PremiereDecember 03, 1992
GenreAnimation, Comedy
Show Period1989 - now
Production CompanyFOX, Gracie Films, Film Roman Productions
Cast and Crew
DirectorMark Kirkland
ScreenwriterMatt Groening, James L. Brooks
Main Cast
- Dan Castellaneta as Homer Simpson (voice)
- Julie Kavner
- Nancy Cartwright as Bart Simpson (voice)
- Yeardley Smith
- Harry Shearer
- Hank Azaria as Chief Wiggum / Moe Szyslak (voice)
- Pamela Hayden
- Tress MacNeille
- Karl Wiedergott
Additional Cast
- Pamela Hayden
- Elizabeth Taylor
While trying to get Maggie to say her first words, Marge tells Bart and Lisa about what they were like as babies. In flashback, we see that Bart's first words were "aye carumba." When Lisa was born, Homer hoped that her first word would be "daddy," but instead she said "Bart," which always secretly broke Homer's heart. Back in the present, as Homer puts Maggie to bed, he tells her that it's okay that she doesn't speak yet. Just then, she looks up at him and says the word he's been waiting to hear, "Daddy."


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Le Blanc, M.N.; (1998) Youth, Islam and changing identities in Bouaké, Côte d'Ivoire. Doctoral thesis, University of London.
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This Ph.D. thesis is based on ethnographic fieldwork carried out amongst Muslims of Malian origin in Bouaké, Côte d'lvoire, between February 1993 and June 1995. The dissertation is concerned with the description of processes of identification in the context of urban life and international migration within West Africa. The investigation focused on these processes as they unfold in Islamic youth associations, female place-of-origin associations, madrasas (Islamic schools), and compound life. Marriage practices, the sociohistorical construction of age groups and gender, and the negotiation of differing worldviews are central to the analysis. In the thesis I argue that in the contemporary sociopolitical scene in Côte d'lvoire, Muslims of Malian origin identify with two ensembles of ethnic labels: the Dioula label and several identity labels tied to places of origin in Mali. However, for a number of young men and women, Islam, rather than ethnicity, plays a central role in their self-identity and their sense of belonging. This argument requires an examination of the respective influences of the life course and of patterns of social change in these processes of identification. In order to support this argument, I describe the politics of identity in Côte d'lvoire in the post-Houphouët-Boigny period, elements of social change over the past thirty years affecting Islamic institutions and the educational trajectories of young men and women, and the logic of marriage practices in an urban setting marked by ethnic heterogeneity. The empirical chapters of the thesis analyse versions of Islam produced within Islamic youth associations and the negotiation of conflicting worldviews in the life trajectories of Muslim women.
|Thesis (Doctoral)
|Youth, Islam and changing identities in Bouaké, Côte d'Ivoire
|Open access status:
|An open access version is available from UCL Discovery
|Additional information:
|Thesis digitised by British Library EThOS
|UCL classification:
|UCL > School of Arts and Social Sciences > Faculty of Social and Historical Sciences > Anthropology
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The Seriousness of Sin
By our obedience to God's commands we can by no means earn our place in His kingdom. Nevertheless, that does not mean that our faithfulness to His law is unimportant. As those converted by His Spirit through the preaching of ...Read More
The Fall of Jericho
Joshua and the Israelites were commanded to destroy the inhabitants of Canaan because of the spiritual threat they presented to God's people (Ex. 34:11–16). Since this holy war was limited in scope and duration, the church is not allowed to ...Read More
Be Strong and Courageous
Our feelings are often unreliable and in any case they cannot determine the truthfulness of God's promised presence. Whether we sense that He is present or not, the Lord is with us to accomplish His will, and we must trust ...Read More
Power for the Impossible
Matthew Henry comments on today's passage: "Think how Abraham was called when he was but one, and yet was blessed and made many; and let that encourage you to depend on the promise of God." When we are discouraged and ...Read More
The Call of Abram
Jesus says to us: "Any one of you who does not renounce all that he has cannot be my disciple" (Luke 14:33). The kind of faith that God blesses is the faith that is willing to leave everything behind for ...Read More
Solomon's Wise Request
Solomon's life illustrates the need to persevere in the wisdom of God. Of course, all those who have truly put their faith in His promises through Christ will not die bereft of this wisdom and thus, salvation; but the way ...Read More
The Son Versus the Servant
Like Moses, we too are servants of God, and we want the Lord to pronounce us as good and faithful servants on the last day. While our service can by no means earn us a place in the kingdom and ...Read More
None Like Moses
The grace of God is large enough to cover all of our failures and sins. This great truth ought not be abused by us (growing callous toward sin); rather, it is to comfort us when we have sinned, for it ...Read More
Apostolic Fellowship
The truth of the gospel binds believers together, and by the Holy Spirit we are empowered and enabled to love those who are in Christ even if they are different than we are. It is the love of one another ...Read More
Paul's View of the Apostles
Critical to today's passage is the understanding that the Jerusalem apostles added nothing to Paul's gospel. Paul was called later, but that did not make his preaching deficient. At any rate, in the final analysis there are no contradictions between ...Read More
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Lenmar Nikon EN-EL NoMeM Li-Ion 7.2V 650mAh BatteryItem#: YYD1-DLNEL1 | Model#: DLNEL1
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- Lenmar logos are registered trademarks of Lenmar. All others trademarks and copyrights mentioned herein are the property of their respective owners.


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J Dilla
Yancey Media Group, LLC
Featuring: Boldy James | Chuck Inglish
Song: Detroit Game
With another posthumous release ready to drop tomorrow, the J Dilla legacy continues to grow. Michigan natives Chuck Inglish of The Cool Kids and Boldy James present the latest single from Dilla's... More
Posted 3 years ago
Featuring: Bun B | Termanology
Song: Make It Fast
If you're a hardcore hip-hop fan, you've already made up your mind to pick up a copy of Jay Stay Paid (out today), late production icon J Dilla's new, Booth-acclaimed LP. If... More
Posted 6 years ago
When you're dealing with the legacy of a late musical legend, there's always the lingering, often unanswerable question of, "Is this what he (or she) would have wanted?" Though... More
Posted 6 years ago
Sample Text - Sample Link


text: COLUMBIA, Mo. -- Missouri men's basketball coach Frank Haith is joining the Miami-driven effort to throw out a pending infractions case that largely relies on testimony by a convicted felon and has been ridiculed for the mistakes of NCAA investigators. Attorney Wally Bley said Monday that Haith filed his own legal motion asking the NCAA to dismiss its case against the Tigers coach, joining the University of Miami and three former assistant coaches who have made similar requests.


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Just wondering if anyone has the video of the new little projection show they do at Small World Holiday after the clock chimes. I was lucky to be there when it opened and I want to show it to a friend of mine, but I can't seem to find it anywhere.
Just wondering if anyone has the video of the new little projection show they do at Small World Holiday after the clock chimes. I was lucky to be there when it opened and I want to show it to a friend of mine, but I can't seem to find it anywhere.
"Disney Crystal Power! Make-Up!"
It's on CastTV, but I don't know how to get my hands on a copy of those.
If I did, I would get copies every week, just for the heritage and history segments!
Member of the Disney Class of 2005
Disneyland CM for 4 years.
May 6, 2005 - present.
I only have stills of it..
Dont be frightend, I'm just a friendly Monster....
I got stills from Thanksgiving evening, but one of the three projectors (left side) was not working.
They still have not fixed that projector! Damm, that was like three weeks ago that thing went out.
I am sure the bulb in the projector is thousands of dollars and that is probably why they didn't replace it. An ordinary projector bulb costs about 500 dollars but I am sure with their very powerful projectors it is a little more.Originally Posted by TheDude
I viewed the fireworks and the every-15-minutes projection on the day before thanksgiving, and I did notice that left-most projector having trouble. It went on and off intermittently. Annoying. But, still, I can't get over how great of an idea it is, when it works. If anyone can provide a video of it, I would be a very happy chap.
Here is a good example of the entire facade with the projector that needs TLC...
And here is a close up of the left panel...
I too would like to get ahold of some video of it. We were there a week before Thanksgiving and thought it was pretty cool. I would have hated to been the poor slob who had to line up the drawings in just the right place. It's pretty hard to describe to folks who haven't been to the park in awhile. Video would definitely do the trick.
SoCal Native
DL APer
Oh my. I knew the projector wasn't working, but I didn't know it was doing that.Originally Posted by Darkbeer
Someone needs to sprinkle a little TLC here, no? We can't get a real good video until it's fixed, Matt.
Okay, here are some video bits
Last edited by Morrigoon; 11-27-2005 at 10:52 PM.
Unusually and exceedingly peculiar and altogether quite impossible to describe...
Woot! Thanks Morrigoon. ^_^ I hope they continue this every holiday season and improve upon it...maybe change up the music or change the images. Definetely fix any bugs with the projectors.
"Disney Crystal Power! Make-Up!"
Vic and I were there the Thursday before Thanksgiving and everything was working perfectly. WOW! What a show! It's disturbing to hear about the projector on the blink. There was a time when that would have been remedied within 24 hours no matter what the cost. Walt didn't run a park with broken or burnt out stuff.
"Yesterday, a man walked up to me and said, 'Isn't it a shame that Walt Disney couldn't be here to see this?' and I said, "He did see this, that's why it's here."
-Art Linkletter July 17, 2005-
When you wish upon a star your dreams come true.
Do they do a special show for the lighting of the holiday lights when the sun goes down? If so does anyone have a video of that?
"Disney Crystal Power! Make-Up!"
More of the facade lighting thing:
Geesh, as if it didn't scare me enough already.


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I so LOVE Bath and Body Work's candles. They smell simply divine. However, when I look at the ingredient list on their lotions, along with many other commercial lotions, and I don't like what I see. A lot of ingredients that seem to come from a laboratory.
So, I went to Amazon and I decided to order some beeswax, shea butter, cocoa butter, and almond oil. Why? I thought it would be great to experiment with making some of my own health and beauty products. This way, I know exactly what is in each one.
I found a recipe for Homemade Lotion that only had 3 ingredients. In the video, the lotion is made using olive oil. Well, I have extra virgin olive oil in my pantry but I didn't want to smell like an olive. There was some extra virgin coconut oil in the pantry. I thought I'd give it a go. Here's how it turned out.
3 Ingredient Body Butter
Update 2/1/2013
I have received many e-mails asking where you can obtain the beeswax and coconut oil. These ingredients are available at most health food stores and online. Below are links to amazon for your convenience. There are 3 different links to beeswax that are all cosmetic grade…it's just personal preference regarding white or yellow or you grate your own or pellets.
4 You


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Samuel A. Azzinaro (D) has served the residents of District 37 in Westerly since his election in November 2008.
Rep. Azzinaro is a Deputy Majority Leader as well as the chairman of the House Rules Committee. He is also the vice chairman of both the House Health, Education and Welfare Committee and the House Veterans' Affairs Committee.
During the 2013-14 session, he sponsored legislation which has been enacted into law that makes stealing farm products and livestock a crime and, depending on the value of the stolen items, a felony punishable by up to five years in prison. The House also passed his resolution calling on the Office of Energy Resources to issue a report describing the state's energy security and improvement opportunities. He was also the author of legislation, now law, that allows liquor stores to open at 10 a.m. on Sundays, enabling businesses in Westerly to compete with Connecticut stores. He also sponsored a law which prohibits price gouging of essential commodities during an emergency. Representative Azzinaro, who previously won a fight to keep the Division of Motor Vehicles' branch open in Westerly, convinced DMV officials in 2014 to offer drivers' tests in South County as well.
Rep. Azzinaro previously served for 12 years on the Westerly Town Council, including four years as its President.
He served in the National Guard for four years, and was active in the Army Reserve for two years and inactive in the Army Reserve for two years as well. He was a Staff Sergeant E6.
Rep. Azzinaro was born on January 29, 1943. The father of five is a retired textile worker, business owner and carpenter, and resides in Westerly with his wife, Carol. They are the parents of five children: Tami Algiere, Amy Azzinaro, Lori Gulluscio, Samuel J. Azzinaro and Mary Azzinaro-Banks.
CONTACT INFORMATION: 20 Piezzo DriveWesterly, RI 02891 (401) 596-1434


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your right! why should we worry. i didn't expect anything anyway. same old vikes. same old excuses.
Originally written on isportsweb.com | Last updated 9/18/13
Chicago Bears tight end Martellus Bennett comes down with the game winning touchdown reception in week two. (Photo: Jerry Lai, USA TODAY Sports) The Minnesota Vikings have begun the 2013 season at a startling 0-2 on the hands of the Detroit Lions and Chicago Bears. The team lost in week two to the Bears 31-30 on a late touchdown pass from Jay Cutler to Martellus Bennett. It was a performance that may have been less embarrassing than the loss to Detroit. The offense looked a little more in sync. Greg Jennings caught some passes, while Adrian Peterson had a solid performance on the ground. Rookie Cordarrelle Patterson returned a kickoff 105 yards for a touchdown. Patterson has proved to be an asset for the special teams so far. He has returned 5 kicks and averages 101.5 yards a game in kickoff returns. As a receiver he has only tallied 3 catches for 24 yards in the first two games of his young career. Tackling has become the achillies heal of the defense and looks to be the main reason for giving up 31 and 28 points through two games. The big plays made against Minnesota have all been attributed to missed tackles by all members of the team. The issue of coverage which arose in the first game against Detroit seems to be a bit better. The team came away with a fumble recovery for a touchdown and passes intercepted by Kevin Williams and Harrison Smith. Williams' interception was touchdown saving. He grabbed the ball on a pass that was tipped multiple times before settling in his hands. Williams had just returned from injury in time for the game. The defense also came away with a fumble recovery for a touchdown on the legs of Brian Robison. The defense was a fantasy football miracle with the interceptions and touchdowns. Unfortunately, fantasy points don't win championships. 31 points allowed is just unacceptable. Christian Ponder finished the game, 16-30, 227 yards with a TD and INT. He is starting to make Vikings fans nervous with four interceptions and a lost fumble in the first two games. However, Ponder proved his ability to get it together during a hot streak last season. I think it's important for Vikings fans to realize that Ponder is working with a completely restocked receiving core. It takes some time for the chemistry to be there between each receiver. Jennings seems to be the focal point of the offense in week two. He grabbed 5 passes for 84 yards. I think as the season progresses the relationship between Ponder and Jennings will only grow. If Ponder, Rudolph, Patterson, and Jennings can get in sync at the same time the offense can be scary lethal with the focus on running the ball with the best running back ever and beating defenses in the play action game. Fans may be quick to judge the first two performances as negative, but there has to be a notion that things can only get better. A stretch of two games on the road against divisional opponents is literally the worst thing for a team to start a season as far as scheduling is concerned. Even the best of teams would struggle. It is unfortunate that the team couldn't at least get one win to keep themselves from digging a hole for themselves in the cellar of the NFC North this early in the season. We must remember the team was one point away from going 1-1 to start the season. If the team drops to 0-3 against the Cleveland Browns then it's time to hit the panic button for all to hear. Let's all hope I won't be writing an article on Matt Cassel taking over the offense in the future. I honestly have faith in Ponder and the offense, they will get it together. On defense, the fundamentals should never be the thing holding them back as a unit. They are professional football players for heaven's sake, get it together. Take Our Poll
2 Comments:
I have to admit it, the first comment was right. We should have no worries, We don't have a HC, OC, QB, and CB's that can really play football, why worry? If we keep this up we should get a good draft pick next year.
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Pronunciation: Coltrane
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Select Local Merchants
Spicer Brothers ProduceRead MoreLike most of their produce, Spicer Brothers Produce has roots in the Portland area. Over the course of more than two decades in business, the natural produce store has built relationships with local farmers and companies such as Bob?s Red Mill, Spring Valley Dairy, Sisters Coffee, and Portland French Bakery. These connections allow them to keep track of where that food comes from and how it is produced. Each morning, delivery drivers arrive with fresh supplies of fruit, veggies, and baked goods, and a selection of samples are generally available to showcase the shop?s fresh produce. Alongside apples in an autumnal palette of greens and reds, oranges, tangelos, and tangerines beg to be included in juices and fights about what the difference between a fruit and a vegetable is.508 14th StreetOregon City, OR US
Yogurt Shack Frozen YogurtRead MoreIndecision is all part of the fun when it comes to visiting Yogurt Shack. Each shop features self-serve stations that patrons use to fill their cups with calcium-rich YoCream frozen yogurt—a frosty, certified Kosher treat made with a high count of live natural cultures and no high-fructose corn syrup. But choosing a yogurt may prove deliciously daunting, as the staff rotates the selection of flavors at every store and adds seasonal favorites throughout the year. The lineup can include everything from classic chocolate and vanilla to cake batter and fruity sorbets. Once their decisions have been made, customers can finish their personalized creation by topping the yogurt with fruits, candies, and edible name tags before paying by the ounce at the register.19550 Molalla AvenueOregon City, OR US
Morrow Brothers ProduceRead MoreAt their new location on 82nd Avenue, the family that owns and operates Morrow Brothers Produce carries on a tradition that's been going strong since 1999. They select the finest fresh, local produce, showcasing it by the flat or by the case. The crew stocks displays with pyramids of organic Idaho potatoes and pomegranates, Troutdale cabbage, and juicy Hermiston watermelons that are ideal for whittling sculptures of Gallagher. The market's friendly staff can also recommend the best selections for canning or juicing, or point gardeners in the direction of vegetable starts or bedding plants. The shelves boast a wide variety of ethnic foods and seasonal items, including pumpkins and holiday greenery.9907 SE 82nd AveHappy Valley, OR US
Lee FarmsRead MoreIt was 1869 when the Lee family planted its first seed in the soil of Tualatin, Oregon. Today, three generations of the family still keep Lee Farms' lights on and its scarecrows vaccinated. They stock the country store with local produce, 18 flavors of honey sticks, and 17 varieties of jam. In the bakery, the staff hand makes pies each day, baking perennial favorites such as apple and seasonal flavors such as pumpkin. To keep things fresh, Lee Farms rotates the selection of food and activities each season. In May a greenhouse surrounds visitors in flowers, and in October the farm transforms into a celebration of the harvest season, when guests can pick from 12 varieties of pumpkins. Lee's staff cuts down stalks to make a corn maze and drives visitors on scenic hayrides across the farm while they sample kettle corn and homemade cider.21975 SW 65th Ave.Tualatin, OR US
Oregon Medical Weight Loss & WellnessRead MoreDr. Cynthia Gulick received her board certification for family practice medicine in 1990. But since then, her focus has grown from primary care to also include medical bariatrics, which was one of the inspirations behind opening of Oregon Medical Weight Loss and Wellness. There, she and her staff give each patient an alternative to weight-loss surgery or turning their home into a multi-room sauna. That program includes body-composition analyses, gym access, nutritional counseling, vitamin B12 injections, and weigh-ins with the center's support team. Equally important as those services is the mentality that Dr. Gulick and her team bring to the table. Instead of obsessing over inch loss, they focus on finding the reasons their patients are gaining and retaining weight to help them keep it off in the long run.11900 SW Greenburg RdTigard, OR US
Pharmaca Integrative PharmacyRead MoreWhen people are ill, they usually either make a doctor's appointment or lie in bed and wait it out. Pharmaca Integrative Pharmacy has created a third option. Visits to its stores, which are scattered across the western US, are more casual than a doctor's visit but less passive than bed rest. Each location's team of health experts, including credentialed pharmacists, naturopathic doctors, herbalists, nutritionists, and more, consult with customers?no appointment needed. But Pharmaca aims to serve its customers every day, not just on sick days. Its stores have been drawing droves of clients since 2000, partly because they meet so many needs in just one spot. In addition to a full-service pharmacy, Pharmaca offers organic and food-based vitamins from MegaFood and New Chapter; professional-grade skin care and cosmetics from Jane Iredale, Sanitas, and Dr. Hauschka; and therapeutic-grade supplements from Metagenics and Thorne Research. Customers can also choose from an assortment of homeopathic remedies, herbal formulations, medical supplies, toiletries, gifts, and fair-trade chocolates.13 NW 23rd Pl.Portland, OR US


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300 High St
Lowell MI 49331
Parking Is Free!!!!
Academic Offerings
GRCC offers General Education courses in the late afternoon/early evening time frame each fall and winter semester.
Summer 2015 Semester Start Date - Monday, May 11th
GRCC only holds summer semester courses at its GR Campus and Lakeshore Campus locations.
Fall 2015 Semester Registration Dates
|March 17
|30 Credits/Higher Earned
|March 19
|12 Credits/Higher Earned
|March 24
|0-11 Credits/Higher Earned**
|April 7
Open Enrollment (New Students and Early College
Fall Semester Tuition Due Date
July 29th
Fall 2015 Semester Start Date - Monday, August 31st
Facilities and Parking
Parking Is Free!!!!
Parking is available in the parking lot that is on the south side of the building and along High St.
Inclement Weather Policy
Grand Rapids Community College rarely closes because of winter weather conditions. If and when the College does close, the College will do its best to notify students, faculty, and staff of such closings.
Kent County - All
The message "GRCC Kent County – Closed – DAY & EVENING Classes" means cancellation of all GRCC day and evening classes and activities at its downtown campus, Tassell M-TEC, and Kent County regional sites (i.e. Lowell).
Kent County – Regional Sites
The message "GRCC at Lowell – Evening Classes Cancelled" means Lowell Area Schools has decided to cancel all of their evening activities and GRCC will not hold its classes. This determination is normally made about 3:00 p.m.
On the other hand, if Lowell Area Schools has cancelled daytime operations, but intend on holding their evening activities, then GRCC will hold its courses at the administration building.
Dan Clark
Dean of Academic Outreach
(616) 234-4354 office
(616) 633-2893 cell
Karen TenBroeke
Educational Support Professional
(616) 234-3007


text:
Saturday, July 30, 2005
© Copyright 2015 Clayton News Daily
By Justin BoronGeorgia health officials aren't quite ready to bring down the hammer on establishments violating the recently imposed statewide smoking ban. Almost a month after one of broadest prohibitions for tobacco-producing states took effect, a fine has yet to be handed down by the Department of Human Resources Public Health Division, said Mike Mullett, a spokesman for the division. Charged with enforcing the law heavily lobbied for by health care interests, government health officials have decided that an educational period should precede any strict application, said Tod Rose, another state health spokesman. "We didn't think it was really necessary to lay down the law so to speak," he said. Rose said the division wanted to create awareness of the law among smokers, interpret it accurately to the public, and convey its holistic, public health approach before enforcement began. The policy resembles closely what Gov. Sonny Perdue told a Daily Herald reporter in mid-June after he reluctantly signed the legislation. "This is not something we're going to be coming in and putting handcuffs on people for," he said at the time. "We expect to inform people of the law, educate people, and I believe most smokers are going to be respectful enough that once they know about the law, that they are going to be complying with it and to some degree, that will be up to the restaurant owner to ensure that happens." Fines for the ban would range from $100 to $500. Rose said for the time being the public health division is logging smoke ban calls and complaints to develop some kind of assessment over how well it is taking. Several local governments already had bans in place that are mostly more stringent than the state's. Some metro Atlanta jurisdictions with bans prior to July 1 are incorporated DeKalb County, Conyers, Douglasville, Athens, and unincorporated Fulton, Douglas, and Gwinnett counties, Mullett said. Establishments not in those areas are left to self-enforcement until at least October, he said. Spot checks of several cafes in Henry and Clayton counties showed that even establishments that used to be mainstays for smokers, like Waffle House, seem to have accepted that cleaner air is in. Gail Glancy, 56, owner of Butch's Family Restaurant in Jonesboro, said aside from a few stragglers who haven't made it back since the ban took effect, her patronage hasn't changed much. She said her smoking customers have been cooperative. "I've not had anyone buck it," Glancy said. Sharon Merritt, 42, the owner of Gritz Family Restaurant in McDonough, said her restaurant had catered to many smokers but might be better off now. "There's a lot of rude smokers out there that probably upset people that didn't smoke," she said. When active enforcement does begin, Rose said some of the burden will likely fall on local law enforcement. Clayton County Assistant Police Chief Jeff Turner said he hadn't heard any instructions like that and to his knowledge the department hadn't cited anybody for violating the law yet. But he said they would enforce it if they received a call or complaint because it's a state law. "That's what we get paid for," Turner said. "To enforce state law." The law passed during the General Assembly this year bans smoke in most places but has several exemptions including bars and restaurants that do not admit patrons younger than 18. The following are some other places exempt from the ban: Private homes. Hotel and motel rooms designated for smokers, up to a maximum of 20 percent of the rooms in any hotel or motel. Retail tobacco stores. Long-term care facilities. Smoking areas in international airports. Meeting rooms at convention facilities which are not owned or operated by the state or by any of its political subdivisions. Smoking areas designed by an employer which have an independent air handling system. Daily Herald staff writer Michael Davis contributed to this article.
More like this story
- Up in smoke: New ban begins Friday ( June 25, 2005 )
- Perdue signs smoking ban with reservations ( May 10, 2005 )
- Smoking ban to go back to Senate ( March 24, 2005 )
- Smoking ban clears committee ( March 19, 2005 )
- Smoking ban gains ground ( March 6, 2004 )


text:
Analysis of Parallel Algorithms for Energy Conservation in Scalable Multicore Architectures
Date Added: Sep 2009
Format: PDF
This paper analyzes energy characteristics of parallel algorithms executed on scalable multi-core processors. Specifically, the authors provide a methodology for evaluating energy scalability of parallel algorithms while satisfying performance requirements. Four parallel algorithms are analyzed to illustrate their method. They study the sensitivity of their analysis to changes in parameters such as the ratio of power required for computation versus power required for communication. The results suggest that power and performance scalability of a parallel algorithm can be quite different. Their method can be used to determine how many cores to use in order to minimize energy consumption.


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This is the textbook for the MIT courses 18.085 and 18.086 on Applied and Engineering Mathematics.
1. Symmetric Linear Systems
1.1 Introduction 1.2 Gaussian Elimination 1.3 Positive Definite Matrices 1.4 Minimum Principles 1.5 Eigenvalues and Dynamical Systems 1.6 A Review of Matrix Theory
2. Equilibrium Equations
2.1 A Framework for the Applications 2.2 Constraints and Lagrange Multipliers 2.3 Electrical Networks 2.4 Structures in Equilibrium 2.5 Least Squares Estimation and the Kalman Filter
3. Equilibrium in the Continuous Case
3.1 One-dimensional Problems 3.2 Differential Equations of Equilibrium 3.3 Laplace's Equation and Potential Flow 3.4 Vector Calculus in Three Dimensions 3.5 Equilibrium of Fluids and Solids 3.6 Calculus of Variations
4. Analytical Methods
4.1 Fourier Series and Orthogonal Expansions 4.2 Discrete Fourier Series and Convolution 4.3 Fourier Integrals 4.4 Complex Variables and Conformal Mapping 4.5 Complex Integration
5. Numerical Methods
5.1 Linear and Nonlinear Equations 5.2 Orthogonalization and Eigenvalue Problems 5.3 Semi-direct and Iterative Methods 5.4 The Finite Element Method 5.5 The Fast Fourier Transform
6. Initial-Value Problems
6.1 Ordinary Differential Equations 6.2 Stability and the Phase Plane and Chaos 6.3 The Laplace Transform and the z-Transform 6.4 The Heat Equation vs. the Wave Equation 6.5 Difference Methods for Initial-Value Problems 6.6 Nonlinear Conservation Laws
7. Network Flows and Combinatorics
7.1 Spanning Trees and Shortest Paths 7.2 The Marriage Problem 7.3 Matching Algorithms 7.4 Maximal Flow in a Network
8. Optimization
8.1 Introduction to Linear Programming 8.2 The Simplex Method and Karmarkar's Method 8.3 Duality in Linear Programming 8.4 Saddle Points (Minimax) and Game Theory 8.5 Nonlinear Optimization
Software for Scientific Computing References and Acknowledgements Solutions to Selected Exercises Index
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Headrest Printer Mounts - LEM Solutions
LEM Solutions has solved the "where do you put it" question with its patented...
Bell Helicopter, through its Aeronautical Accessories brand, has introduced an HF antenna for the Bell 407, after receiving approval from the Federal Aviation Administration.
Bell received a supplemental type certificate (STC), allowing a modification to the Bell 407.
The HF antenna is designed to interface with many types of HF radios to increase reception in remote areas. Built in a "towel bar" style, the HF antenna runs the full length of the underside of the tailboom.
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Private 4x4 Safari - The Mountain of the Sun
Your next stop will be in the picturesque Al Hamra, one of the last loam villages in Oman. From Al Hamra the path leads to Jebel Shams, the "Mountain of the Sun", from a height of nearly 9,843 feet (3,000 meters) you will have an outstanding view deep into the "Grand Canyon of Oman".
A stop for a picnic lunch will be made en-route.
Recent Photos of this Tour
Schedule details
Select a month to view a calendar of availability and departure details.
Hotel pickups commence prior to this time, you must contact the local service provider to verify your exact pickup time.
Pricing information
Click the link below to check pricing & availability on your preferred travel date. Our pricing is constantly updated to ensure you always receive the lowest price possible.
Pricing information
Jebel Shams - Mountain of the Sun
- Lunch
- English speaking guide
- Hotel pick up and drop off
- Private 4x4 vehicle transport
- Gratuities (optional)
- Food and drink, unless specified
- Confirmation will be received at time of booking
- Adult pricing applies to all travelers
Important Information:
Buses used for excursions are of the highest standard available. All buses are air-conditioned and equipped with a microphone.
4x4 vehicles used for the off-road safaris are air-conditioned with a maximum capacity of 6 passengers plus driver. All drivers are qualified off-road professionals, first-aid trained and carry cell phones. All vehicles are equipped with seat-belts and passengers are required to wear them at all times.
Dress Code:
Lightweight summer clothing is suitable for most of the year, but sweaters or jackets may be needed for the winter months, especially in the evenings. Good quality sunglasses are advised, and photo-chromatic lenses for those who wear spectacles. Hats or some protection for the head are advisable when in direct sunlight. Oman has conservative dress traditions. Swimwear should be confined to the beach and hotel pools. Men and women should ensure shoulders and knees are covered when in public, especially in souks, shops and villages.
Normal tourist photography is acceptable, but it is considered offensive to photograph Arab women. It is also courteous to ask permission before photographing men. Photographs of government buildings or military installations are not allowed.
Conditions:The tour operator reserves the right to cancel any part of this tour for reasons of government decisions, public holidays, weather conditions, or similar.
Traveler Reviews
Reviewed by: Anonymous, October 2008
Reviewed by: Anonymous, October 2008


text: Publications Search Results Users may wish to consult What's Included in the Bibliography. Results 1 - 1 Results per page: 25 50 100 Sort by: Pub Date (newest) Title Recent Additions Author Clear All Pub. Year Citation 2002 Curtis, Kristen Taylor, Ellison, Christopher G. Religious heterogamy and marital conflict: Findings from the National Survey of Families and Households. Journal of Family Issues. 23, (4), 551-576. Full Text Options: DOI Worldcat Google Scholar Export Options: RIS EndNote XML [1]


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Breast Augmentation in Washington, DC with Dr. Marwan Khalifeh
Breast Augmentation Surgery in Washington, DC – Breast Surgeries performed by Dr. Marwan Khalifeh
For breast augmentation in Washington, DC contact Dr. Marwan Khalifeh; a Dual Board Certified Plastic Surgeon sought after for his expertise in breast augmentation surgery and breast implants. He has long been considered a leading plastic surgeon serving Washington DC with a client base that ranges from professionals to athletes and politicians. If you have any pressing questions regarding breast augmentation just call our plastic surgery practice at (301) 244-0148 today!
View more Breast Augmentation Before & After Photos
What is Breast Augmentation?
Breast augmentation, also known as "augmentation mammoplasty", is a surgical enhancement procedure to accentuate the size and shape of a woman's breasts. Thru a small and inconspicuous breast augmentation incision, Dr. Khalifeh will insert a breast implant and shape the breasts. The breast implants can be made out of saline or silicone implants (Saline Or silicone?)
Where are the Breast Augmentation incisions/scars located?
Most procedures, both in our office and in other leading centers, are performed thru the inframmary fold approach. For women going with a small implant, a periareolar approach is also an option. Finally, a transaxillary approach can be used in cases where modification of the fold for best optimal results is not required. Click here for page about incision options during augmentation mastopexy.
What are the risks of Breast Augmentation Surgery?
Breast augmentation is a commonly performed and safe procedure. However, as with any surgery, there are risks involved including infection, bleeding, and risks associated with anesthesia. In addition, more long term risks involve implant rupture or deflation, and capsular contracture. Dr. M.R. Khalifeh's patients are always well educated and informed at the time of the consultation so that they may decide if surgery is right for them. By seeking a board certified plastic surgeon and board certified anesthetist, these risks and minimized. We want our patients to be fully informed, to the right is a consent form that goes over the risks and benefits in details. Consent form: Breast Augmentation – Silicone Gel.doc
How do I choose my Breast Implant size?
The size of the implant will be determined by matching your desires and skin envelope. It is good to have a starting idea of what size you want to become. Dr. Khalifeh will suggest a few sizes for you, and you can try the implants on over the bra (bring an unpadded bra!), then you can call us to let us know which felt most natural. Go to the photo gallery and also see what sizes the patient's chose, but remember that the appearance of the photos will also depend on other factors such as patient's height, weight, preexisting breast tissue, menstrual cycle, etc. : click here to see how implants of the same size look completely different on two patients. Your final size should be chosen on your personal preference by trying on the sizers, not on pictures from the internet. Once the sizers are used, it becomes obvious to the patient which one is "too small", and which one is "too large", finding the perfect size in the middle.
What technique is used for Breast Augmentation?
Dr. M.R. Khalifeh typically uses either a breast fold or around the nipple incision, depending on patient preference. If the patient does not have any droopiness of the nipples, than the implant is usually placed below the muscle, also known as the "submuscular" position. If the patient has some droopiness of the breasts, then Dr. Khalifeh will either perform a dual plane surgery or a subglandular augmentation. All of these options will be fully discussed with you at the time of consultation. There is no single"best way" to put in the implants, rather the best thing you can do to assure yourself outstanding results is to meet with an experienced and board certified plastic surgeon who will discuss your options with you. This way, the surgery can be tailored to suit your breast shape, breast size, and cosmetic goals.
The surgery is performed under general anesthesia at either in our accredited office based surgery center or at Sibley Memorial Hospital.
Examples Scars of Breast Augmentation:
Periareolar Scar: scar around the nipple
Inframmamary or breast fold scar: scar underneath the breast
What happens next?
The first consultation is complementary, and you will meet with Dr. Khalifeh to discuss your goals and make sure you are a good candidate for this. If there are any medical issues, you may require medical clearance from your primary physician. If you are over forty, it is a good idea to have had your yearly mammogram. After that, you will be scheduled for surgery in our AAAASF certified office or at a local hospital.
Cost of Breast Augmentation surgery in Washington, DC:
The cost of the surgery is listed by clicking here
What can I expect the day of my Breast Augmentation surgery?
Surgery will take approximately two hours. You will arrive at the surgery center or hospital one hour before the procedure, and you will recover for approximately one hour after the procedure. You will require transportation by a family member, friend, or other responsible adult as you will receive general anesthesia.
When can I return to work after my Breast Augmentation?
Our patients return to work typically 48 to 72 hours after the surgery. Surgery is often scheduled on a thursday or friday to accommodate work schedules. This obviously depends on how active your job requires you to be.
Contact Our Washington DC office to learn more about Breast Augmentation Surgery
For breast augmentation in Washington DC or Bethesda MD contact board certified plastic surgeon Dr. Marwan Khalifeh. Dr. Khalifeh is sought after for his expertise in breast augmentation surgery and breast implants. He is considered a leading plastic surgeon serving Washington DC. Call our Washington DC plastic surgery practice at (301) 244-0148 today!