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Campaign targets super-strong alcohol sales in Lowestoft
06:30 03 March 2014
A clampdown on street drinking and anti-social behaviour in Lowestoft is to be launched today with a pledge from off-licences to stop selling super-strength alcohol.
The Reducing the Strength campaign is a partnership between Suffolk police and Waveney District Council to tackle the problems of people drinking in streets and yobbish behaviour which are linked to the sale of lager, beer and cider with an alcohol volume of 6.5% and over that is sold very cheaply.
Many off-licences in the town have already signed up to the scheme, which has already been launched in Ipswich, Bury St Edmunds and Haverhill.
The problem of street drinking in Lowestoft town centre is said to have increased over the last year.
It is also hoped that by removing super-strength alcohol from shelves it will also improve drinkers' health.
Mary Rudd, the district council's cabinet member for community health, said: "By educating retailers about the importance of taking cheap super-strength alcohol off the shelves we can tackle this head on and help create a safer town centre."
Sgt Steve Wright, of Lowestoft police, said: "The negative impacts associated with super-strength alcohol are significant for the wider community and also for the public services who deal with the consequences."


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Fridays from 12:00pm to 01:00pm in MB114
For more information, please visit the MaBPs web page .
Organizers: Andrew Belmonte, John Fricks, Chun Liu, Tim Reluga, and Ying Yang.
Organizers: Andrew Belmonte, John Fricks, Chun Liu, Tim Reluga, and Ying Yang.
|24 Jan 2014
|Tim Reluga, Math and Bio, Penn State
|Exact model reductions for asynchronous boolean networks
|14 Feb 2014
|Elsa Hansen, CIDD, at Penn State
|Optimal Within-Host Treatment and the Role of Resource Mediated Competitive Release
|21 Feb 2014
|Ching-Shan Chou, Department of Mathematics, Ohio State University
|Cell Polarization in Budding Yeast
|28 Feb 2014
|Fred Adler, Department of Mathematics, University of Utah
|Street fighters - Territorial scaling in ant battles
|28 Mar 2014
|Megan Greischar, Entomology and CIDD graduate student
|Games parasites play: optimal transmission investment within the host
|4 Apr 2014
|Hye-Won Kang, Department of Mathematics and Statistics, University of Maryland Baltimore County
|Stochastic modeling of biochemical networks
|11 Apr 2014
|Bradford E. Peercy, Department of Mathematics and Statistics, University of Maryland Baltimore County
|Divots in Extracellular Geometry Direct Intracellular Signaling
|18 Apr 2014
|Hongyu Miao, Department of Biostatistics and Computational Biology, University of Rochester
|Semi-mechanistic Modeling and its Application in Understanding Immune Cell Migration
|25 Apr 2014
|Alexander Petroff, Center for Studies in Physics and Biology, Rockefeller University
|Hydrodynamics and collective behavior of the tethered bacterium Thiovulum majus
|2 May 2014
|Joy Zhou, Mathematical Biosciences Institute at Ohio State
|Range shifts under climate change: what will accelerated warming do?
|24 Jul 2014
2:00pm - 5:00pm
|To Be Announced

subset: commoncrawl


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I disagree with Aristotle....the soul can also think with music!
As for the left placement, I'm also right handed and read from left to right.....and most of my subjects are on the right of the picture. Go figure!
Carley · 2007-08-23: 01:30
I think it's not a coincidence nor because you are right-handed, but probablly a natural selection between your photos makes you keep the ones with the subject on the left or you instinctively put the subject there, that's simply because those look better! : ) Fact is that most of the world read left to right (I'm saying most, not all!), that makes people to give unconsciously more importance to what's on the left of a photo. You can notice that in my photos the same formula is often used: the subject or the best illuminated part is at the left (many are the exceptions!!! That's just cold theory...).
Paraphrasing Walt Whitman "Whichever satisfies the beholder is a good photo." ; )
iagho · 2007-08-23: 02:22
some people like the space to lead into the object. Others just want to grab your attention immediately. Pronlem now i will always wonder why I choose a composition.
Great post
slowpete · 2007-08-23: 06:05
That's very interesting point.
One thing about me is when i put my name in the bottom of my picture, I always chnaging the side. Sometime on bottom right, sometime on bottom left, it is depend on that picture compostion, somtime I feel like one sigh is heavier than another side, or it is too much in one side, so in your case of this picture I will put my name on right hand, which you did the same. I don't know if other people thought same to me. Anyway I'm right-handed, but I go for both side.
I like your pictures and like the way you think, really interesting.
????? · 2007-08-23: 10:01
I can't comment as much as everyone else has. I am a woman of few words. I feel which ever is your dominate eye. I am right handed and look thru the camera lens with my left eye.(dominate left eye) It is a brain thing I think. I track from left to right most of my snaps have space on the left and fill right. Nice post today good questions to ask and get answers..
SheriJ · 2007-08-23: 10:33
interesting tones.. Cool.
vmathewk · 2007-08-23: 12:45
interesting observation......great shots too :D
????? · 2007-08-23: 12:48
Cool comments! Thanks.
Pav - No, I didn't try cropping it like that. I will try it tonight and add to the post. :) Thanks for the feedback.
vollenda · 2007-08-23: 15:14
I know a lot of "Michaels" in the city and they are like a magnet for me and my wallet !!! :-))
You tell about an interesting phenomenon!
I´m right handed but I shuffle the cards with my left hand.
Thanks again for the wonderful picture of this urn on the left side !!!
She is so beautiful !
elkegrocholl · 2007-08-23: 15:24
I usually prefer not to put the subject in the middle, so it's either left or right. I don't think I have a preference - probably depends on the composition. I don't mind the bottom left of #1 - it gives you a sense of what you are not seeing. It is a beautiful urn.
????? · 2007-08-23: 21:36
I think it has to do with artsy-ness coming from the right side of the brain which of course flips things to the left when it becomes a visual. That's my story & I'm sticking to it!
Jannie · 2007-08-24: 01:12
beautiful in their simplicity
bolder · 2007-08-24: 11:51
I agree with iagho. Beautiful post and deep thoughts. Thanks for sharing!
davidcardona · 2007-08-26: 11:42
i tend to frame from the left, too. the lower left. i read somewhere--i can't find it now--that most people view objects on the left side as going into the frame and objects on the right side as coming out of the frame, and that placing objects to the left is more soothing and to the right is more agitating.
you spend your time and money well.
chipotle · 2007-08-28: 09:02


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ST LOUIS (LALATE) – Bayern Munich vs. Nurnberg 2013 (live score results below) battles in a Bundesliga soccer game today August 24, 2013. Current score is still 0-0 at twenty minutes in the first half.
Bayern Munich vs. Nurnberg 2013 features two teams with dramatically different records. Bayern is undefeated in its last five matches. But Nurnberg has only one win, two losses and two draws. Just days ago, Bayern Munich won its league opener this month against Borussia in a 3-1 final score. Bayern followed that up with another win just days again against Eintracht.
Nurnberg, in turn, drawed its opened against Hoffenheim, with two goals. Since then, Nurnberg has had the same results against Hertha BSC, officials tell news.
After today's game, Nurnberg's Bundesliga schedule 2013 of games will feature them battling Augsburg, Eintracht, Borussia Dortmund and Werder Bremen through September, officials remind news.
Bayern Munich's Bundesliga 2013 schedule of games will in turn feature battles this month against Freiburg followed by Hannover 96 and Schalke 04 next month. Numberg, however has yet to score a win this month. Their last victory was against Leeds in July, reps tell news. For live score results today click HERE.


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University of Wyoming Football Announces Three Mid-Year Signees
Two student-athletes have international background
2013: Hawkins did not play in 2013.
2012: Hawkins sat out 2012.
2011: Hawkins provided depth at the cornerback position for the Cowboys.
2010: Redshirted.
High School: Hawkins was a two-year starter at running back and defensive back during his junior and senior seasons under coach Justin Hoffman at Gateway High School. Hawkins earned All-Conference honors in his final two years while guiding his team to two playoff appearances and a city championship. In the classroom, he was on the honor roll for two years and also participated in the Colorado Beautillion.
Personal: The son of Marti and Alphonso Hawkins, he has one younger brother, Alexander. He is pursuing a degree in kinesiology and health promotion at UW.


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Play Slideshow >>
Talking Trenchless
This Phoenix, Ariz., sewer project is one of the largest-diameter VCP static bursting projects to date. It involved bursting and replacing 3,938 feet of existing 12-inch VCP with 18-inch VCP. Photos: TT Technologies
During the static bursting process, bladed rollers attached to bursting rods are pulled through an existing line by a hydraulically powered bursting unit (inset). As the bladed rollers are pulled through, they split the host pipe. An expander attached to the rollers forces the fragmented pipe into the surrounding soil while simultaneously pulling in the new pipe. The trench shown is shallow enough to require no shoring.
Segmented pipe is assembled one joint at a time in the launch pit. This works well where space available for pipe lay-down is limited. Static bursting procedures for segmented pipe vary depending on whether it has restrained or nonrestrained joints. Segmented pipes with restrained joints require the bursting head to connect to the replacement pipe and then to the bursting tooling. Nothing additional is required. Subsequent sections of the restrained-joint pipe are assembled during the bursting process as the pipe string progresses.
In pipelines where the joints are not restrained, something needs to push the assembled pipe sections together and then hold them in compression while they are installed. Quick-lock bursting rods and a special cylinder pack provide the solution. The bursting rods are connected from the back end of the bursting head and extend through each section of the pipe. As a new section of pipe is added to the string, the cylinder pack and pressure plate, connected to the column of bursting rods, push the pipe joints together. The pressure plate and cylinder pack hold the pipe sections together in compression, while the bursting head is pulled forward through the old pipe. Once that section of pipe is installed, the bursting process stops, the cylinder pack and pressure plate are withdrawn, and the process is repeated.
Restrained-joint ductile iron pipe's (DIP) bell-and-spigot joint configuration requires that the pipe be pulled spigot end first, so that each consecutive bell joint acts as an additional pipe-bursting expander. Only a static pipe-bursting system should be used for restrained-joint ductile iron pipe. The pipe is assembled in the launching pit and pulled through one joint at a time. The joints are connected quickly, usually in just a couple of minutes. This technique requires no pipe staging area, so it is ideal for urban street conditions. The new replacement pipe can be unloaded from a truck as needed, and at the end of the day no pipe is left onsite.
Restrained-joint C-900 PVC pipe, which uses a very strong spline and groove assembly, is assembled and pulled in much the same way as restrained joint DIP. Due to the pipe's stiffness, only static pipe-bursting systems should be used. The PVC pipe is connected to the bursting head by an adapter with the same configuration as the pipe joint. C-900 PVC pipe segments can be loaded one at a time, but this type often is flexible enough to be joined together before a pipe burst and inserted through the launch pit with minimal bending.
Nonrestrained-joint DIP has a very low profile joint and was developed primarily for pipe-jacking installations. When pipe bursting with nonrestrained-joint pipe, the pulling rods are placed through the length of each new pipe section and connected to a backup clamp that helps push the column of pipe from the backside. This ensures that the nonrestrained pipe joints stay in compression, and thus stay together. The internal lining of the new pipe must be protected from the rods or cable used to pull the pipe. In many situations, the rods are sheathed inside small-diameter plastic pipe to help prevent rubbing damage to the lining.
Vitrified clay pipe (VCP) with jacking-type joints is similar to other nonrestrained pipe types. As a clay pipe, it requires special care to keep the column in good alignment. Pipe sections come with a layer of compressive material at the joints to help equalize the jacking pressures against the end of each section. Clay pipe is quite heavy, so a cylinder pack is used along with the static pipe-bursting system. VCP is installed one segment at a time.
Options need to be evaluated for appropriateness on any given project, but the ability to choose from different products has expanded the practical uses of static pipe bursting. Always specify pipe and pipe-bursting equipment that has a proven history with the intended application and environment.
— Collins Orton is a product specialist with TT Technologies in Aurora, Ill.
For a video of a static pipe-bursting project, click here.
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Encyclopedia of Jazz Musicians
Flanagan, Tommy (Thomas Lee)
Pianist Tommy Flanagan's sophisticated use of melody, sincere lyricism and bright articulations made him a superb accompanist, which can be heard in his work with guitarist Kenny Burrell, saxophonists Sonny Rollins and John Coltrane, singer Ella Fitzgerald and many others. As a leader, he pushed and pulled the rhythmic and harmonic functions of the piano in a contemporary jazz ensemble.
Thomas Lee Flanagan was born on March 16, 1930 in Detroit, Michigan. Growing up in the Conant Gardens neighborhood of Detroit, Tommy was the youngest of six children. Tommy's father Johnson was an employee of the United States Postal Service and his mother Ida Mae was a housewife. Tommy came from a musical household; his father sang in a quartet and his mother taught herself to read music.
At the age of six, Flanagan received his first instrument, a clarinet, which he received as a Christmas present. After showing moderate proficiency, Tommy began to perform with a band comprised of several family members. After realizing that he did not have a natural gift for the clarinet, he began to play on his family's piano. By the age of ten, he was able to imitate his older brother Johnson Jr., himself a professional pianist.
During this time, Flanagan began to take piano lessons from a teacher named Gladys Dillard. Dillard instilled in the young student proper articulation, form and technique. She also taught him the music of composers Johann Sebastian Bach and Frederic Chopin, though his tastes lied in the sounds of jazz.
Through the records that his brothers brought home, Flanagan began to listen to the preeminent pianists of jazz including Bud Powell, Art Tatum, Fats Waller and Teddy Wilson. Tommy would often accompany his brother to nightclub engagements where he would perform on the clarinet and saxophone. Through these engagements, he was able to listen to the stars of Detroit's vibrant jazz scene.
At the age of sixteen, Flanagan was invited to perform at the Blue Bird Inn club by pianist Phil Hill. Tommy sat in with the Hill group, until the owner, Robert Du Bois chased him out of the club for an unspecified reason. As a teenager, Tommy was a student at Northern High School, which he attended with alto saxophonist Sonny Red and pianist Roland Hanna.
Upon graduating from high school, Flanagan began to perform throughout the Detroit area. Tommy performed with bandleader Rudy Rutherford at the Parrot Lounge and accompanied singer Bobby Caston on numerous occasions. A highlight of his time with Caston was getting to meet one of his idols, Art Tatum.
About 1947, Tommy formed a trio with Kenny Burrell and bassist Alvin Jackson. The trio performed at local dances and parties and gained significant performing experience. The same year, he performed with Burrell and vibraphonist Milt Jackson in saxophonist Lucky Thompson's septet.
Though he enjoyed listening to other contemporary pianists, Flanagan found a great deal of inspiration from alto saxophonist Charlie Parker and trumpeter Dizzy Gillespie. Tommy found their modern sounds deeply influential to his playing, often employing their innovative melodic devices in his performances. One could attribute Tommy's use of legato phrasing to Parker and Gillespie.
Showing his absolute devotion to the bebop, Flanagan refused to play commercial music in order to keep his focus on the movement. Tommy's enthusiasm for bebop was perhaps best stated by Detroit tenor saxophonist George Benson, who said that Flanagan is a "brilliant musician, an extremist, who opposed any form of entertainment which demeaned his modernist artistry."
By the early 1950s, Flanagan was performing with several luminaries of the Detroit jazz scene including trumpeter Thad Jones and saxophonist Billy Mitchell. In 1951, Tommy was inducted into the United States Army and trained at Fort Leonard, Missouri. During his time in the army, he was stationed in the Korean city of Kunsan, where he worked as an operator for motion pictures.
Upon his discharge from the Army, Flanagan returned to Detroit where he performed at local clubs such as Klein's Showbar, the Crystal Show Bar and the Rouge Lounge. In addition to this, Tommy began to attend private Tuesday night concerts held by the New World Music Society, a collective that featured Burrell, who was also the collective's president, saxophonist Yusef Lateef, trumpeter Donald Byrd and pianist Barry Harris.
By the mid 1950s, Flanagan was looking to expand his career outside of the Detroit area. In 1956, Flanagan and Burrell moved to New York City in order to develop their careers. After arriving in New York, he began to attend jam sessions at several clubs including Club 125 and Small's. His first professional job in New York was as a sub for pianist Bud Powell at the Birdland club.
Despite only being in New York but a few weeks, Flanagan booked his first recording session where he recorded with Burrell, bassist Oscar Pettiford and Shadow Wilson on the Blue Note release Detroit-New York Junction.
A mere two months later, Flanagan recorded with tenor saxophonist Sonny Rollins on his groundbreaking album Saxophone Colossus. At the end of July 1956, Tommy first performed with singer Ella Fitzgerald, replacing pianist Don Abney at the Newport Jazz Festival in Rhode Island. Though his period with Fitzgerald lasted for only a month, his work with her got him noticed in the jazz community.
Throughout the late 1950s, Flanagan began to perform with trombonist J.J. Johnson alongside fellow Detroit native drummer Elvin Jones and trumpeter Nat Adderley. During a European tour in 1957, Tommy recorded The Tommy Flanagan Trio Overseas, his first album as a leader with Elvin Jones and bassist Wilbur Little. In May of 1959, Tommy performed on tenor saxophonist John Coltrane's first Atlantic recording Giant Steps.
Giant Steps proved to be a major accomplishment for Coltrane and a new benchmark in jazz composition and improvisation. The album's title track set a new standard by which instrumentalists' improvisational skills are measured. Joined by bassist Paul Chambers and drummer Art Taylor, Flanagan firmly establishes the etude-like frequency of the harmony by voicing the chords close to the melody. Throughout Coltrane's solo, Tommy starts by playing short phrases to counteract the lightning fast melodic devices that Coltrane utilizes. During his solo Flanaganuses parts of the melody as well as his own ideas to shape an idea that mirrors that of Coltrane's.
In January 1960, Flanagan recorded with guitarist Wes Montgomery on his album Wes Montgomery: The Incredible Jazz Guitar. A highlight of the album is the song "Four On Six," an original song that is also an interpretation of composer George Gershwin's "Summertime." With Montgomery, bassist Percy Heathand drummer Albert "Tootie" Heath,the ensemble crafts a relaxed, yet forceful composition that displays the talent of these seasoned artists.
After the introduction from Montgomery and the rhythm section, Flanagan plays short phrases on the "and" of the beats to break the rhythmic pattern created by the bass and drums. During his solo, Flanagan employs several melodic expressions from short, power bursts to smooth, legato lines. What's most noticeable is how effortlessly Tommy and Wes blend their timbres, with the two men playing intensely yet never getting in each other's way.
Around this time, Tommy recorded with tenor saxophonist Coleman Hawkins on his album At Ease With Coleman Hawkins, an album of ballads. Around this time, Tommy performed in a trio with Percy Heath and guitarist Jim Hall at the Five Spot club in New York.
Following a stint with Hawkins's band, Flanagan was hired by producer Norman Granz in the February of 1963 to perform with Ella Fitzgerald. Included in her group at this time was guitarist Les Spann, bassist Jimmy Hughart and drummer Gus Johnson. After the departure of Spann, Granz often featured the trio with trumpeter Roy Eldridge. In November 1965, he left the Fitzgerald group and moved to California.
Upon moving to California, Flanagan performed with singer Tony Bennett where he served as his musical director. When Fitzgerald returned from a tour of Europe in 1968, she re-hired Flanagan, not only as her pianist but also as her musical director. Over the next decade, Tommy accompanied Fitzgerald at jazz festivals and international appearances.
After well over a decade since his last solo effort, Flanagan released the album The Tokyo Recital in 1975. The album features bassist Keter Betts and drummer Bobby Durham on renditions of songs written by composers Duke Ellington and Billy Strayhorn including "Take the 'A' Train" and "Something to Live For."
In the fall on 1978, Flanagan decided to leave the Fitzgerald group due to the difficult schedule, her failing health and a heart attack that he had during this time. In the early 1980s, Tommy began to record and perform after taking some time off. In 1982, he released the album Thelonica, a tribute to pianist Thelonious Monk.
In 1990, Flanagan's album Jazz Poet was selected by Billboard magazine as one of the ten best records of the year. The same year, Tommy recorded with Kenny Burrell, resulting in the album Beyond the Blue Bird. In 1993, Tommy received the Danish Jazzpar Prize, a prize given to recognize jazz performers. For the years 1992, 1994, and 1995, Down Beat Magazine's Critic's Poll named Tommy their "Best Pianist."
On March 16, 1997, Flanagan capped off his sixty-seventh birthday by recording the album Sunset and the Mockingbird: The Birthday Concert, a live album recorded at the Village Vanguard. On the album, Tommy is joined by bassist Peter Washington and drummer Lewis Nash on several standards including "Bird Song" by Thad Jones and 'With Malice Towards None" by composer Tom McIntosh.
The group is in fine form on the Duke Ellington composed song "Sunset and the Mockingbird." Flanagan begins the song by playing light ornamentations that include soft trills and lush voicings. Upon the band entering at 1:36, Tommy continues to utilize a refined approach before augmenting his performance with quick melodic bursts and brief harmonic lines. Tommy ends the song just the way he started, blissfully concluding the sentimental feeling of the composition.
During his late career, Flanagan continued to record and perform, often performing two-week engagements at the Village Vanguard twice a year. On November 16, 2001, Tommy passed away from complications stemming from an arterial aneurism in New York, he was seventy-one years old. Tommy in survived by his wife Diane, two daughters, a son, and six grandchildren.
Select Discography As a leader
As a leader
Tommy Flanagan Trio Overseas (1957)
Jazz…It's Magic (1957)
Lonely Town (1959)
The Tokyo Recital (1975)
Eclypso (1977)
Something Borrowed, Something Blue (1978)
Super-Session (1980)
Thelonica (1982)
Jazz Poet (1989)
Master Trio (1994)
Sunset and the Mockingbird: The Birthday Concert (1998)
with Kenny Burrell
Introducing Kenny Burrell (1956)
Beyond the Blue Bird (1990)
with John Coltrane
Giant Steps (1960)
with Coleman Hawkins
At Ease With Coleman Hawkins (1960)
Night Hawk (1960)
Desafinado (1962)
with Hank Jones
Our Delights (1978)
with Thad Jones
Detroit-New York Junction (1956)
The Magnificent Thad Jones (1956)
Motor City Scene (1959)
with Wes Montgomery
The Incredible Jazz Guitar of Wes Montgomery (1960)
with Art Pepper
Straight Life (1979)
with Sonny Rollins
Saxophone Colossus (1956)
Contributor: Eric Wendell


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Hard reset your T-Mobile MyTouch 4G smartphone if you want to wipe all data and return the configuration to factory default settings. You may use a hard reset as a last resort for when you experience problems with the MyTouch 4G that you can't solve by other means.
Be sure to backup any data you wish to save from the phone before performing these steps. Also be sure to disconnect the phone from any power sources.
1. Turn the MyTouch 4G off. If it's frozen and not responding to commands, you may want to pull the battery from the device to force it off.
2. Press and hold the Volume Down button.
3. Press and hold the Power button for 5 seconds then release. Continue to hold Volume Down.
4. When you see the Android logo appear, you may then release Volume Down.
5. Now use the Volume Up/Down buttons to highlight Factory reset.
6. Press the Power button to select.
The hard reset process will begin. It may take a few minutes to complete, then the MyTouch 4G will restart as normal.


text:
PBS Distribution allows us to return to Russia of yesteryear and today with Russia's Open Book: Writing in the Age of Putin on DVD. Some of the greatest literary achievements of the 19th and 20th centuries are Russian: Alexander Pushkin's Eugene Onegin, Dostoevsky's Crime and Punishment, Tolstoy's War and Peace and Solzhenitsyn's One Day in the Life of Ivan Denisovich. Readers in the West may have stopped hearing about Russian literature after the USSR collapse, but that doesn't mean the Russians stopped writing. This documentary, directed by Paul Mitchell and Sarah Wallis, asks the question: Who is the new Tolstoy, Dostoevsky or Gogol, waiting to be discovered by the English-speaking world?"
Hosted by actor, author and activist Stephen Fry, Russia's Open Book celebrates contemporary Russian authors who are carrying on one of the world's great literary traditions–yet doing so on their own terms. Each author is interviewed extensively in the film, with contributions from their literary critics, publishers and peers. Excerpts from the authors' recent works are brought to life by vivid animated sequences created exclusively for the film and voiced over with dramatic readings in English by Fry.
The sheer size of Russia, its brutal climate, the violence of its history and the heroism and genius of its people all have contributed to a world of literature like no other. The film focuses on six writers, creating in Putin's Russia, whose vibrant, idiosyncratic work continues to gain traction with a global audience:
Dmitry Bykov (b. 1967) Bykov is one of Russia's most colorful, versatile and recognizable public intellectuals. He writes poetry, fiction, biographies and criticism, and is a co-founder of the Citizen Poet project. His biography of Boris Pasternak won the 2006 National Bestseller and Big Book awards; he won the National Bestseller again in 2011 for Ostromov, or the Sorcerer's Apprentice.
Mariam Petrosyan (b. 1969) Born in Armenia when it was part of the Soviet Union, Mariam Petrosyan started writing her only novel, The House, In Which…, as a teenager. Once published, it became an instant best-seller and received several awards and nominations, including the 2010 Russian Booker Prize.
Zakhar Prilepin (b. 1975) Referred to by Newsweek as "Russia's Young Hemingway," Prilepin is a veteran of the war in Chechenya, on which his 2005 novel, Pathologies, is based. His novel, Sankya, was a finalist for the 2008 Russian Booker Prize, and Sin won the Super National Bestseller Prize in 2011. Prilepin writes for the opposition paper New Newspaper and is an activist in the National Bolshevik movement.
Vladimir Sorokin (b. 1955) Sorokin's books were banned during the Soviet era. One of Russia's best-known contemporary writers, Sorokin, described as "the Tarantino of Russian literature," received the People's Booker Prize in 2001 for Sbornik Rasskazov (Collected Stories). He has written 11 novels, including Day of the Oprichnik and The Blizzard, as well as numerous plays and short stories. His work has been translated throughout the world.
Anna Starobinets (b. 1978) Compared to Stephen King, Edgar Allen Poe and George Orwell, Starobinets writes short stories and novels that defy the traditional horror genre by crossing over into fantasy, mysticism and futuristic dystopia. Her short story collection, An Awkward Age, was a finalist for the Russian National Bestseller Prize in 2006 and has been translated into seven languages. She is the author of seven published books, including two novels for children.
Ludmila Ulitskaya (b. 1943) Ulitskaya is one of Russia's most popular and celebrated writers. Her first novella, Sonechka, was published in the literary journal Novyi mir in 1992 and nominated for the 1993 Russian Booker Prize. Medea and Her Children (Novyi mir) was shortlisted for the Russian Booker in 1997 and The Kukotsky Case (Novyi mir) won the 2001 Russian Booker. Daniel Stein, Interpreter won the 2007 Big Book Award and was shortlisted for the 2007 Russian Booker as well as the Russian Booker of the Decade.


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Gly-miracle Skin Humectant 4 Oz. Tube
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text:
More 'Secret Science' at EPA
The U.S. Environmental Protection Agency (EPA) is once again using "secret science" to push for more regulation.
On May 1, EPA proposed that sports utility vehicles (SUVs) be required to meet more stringent tailpipe emissions standards, and that gasoline contain less sulfur. The agency claims the rules will prevent as many as 2,400 premature deaths and 8,000 cases of bronchitis per year, and reduce the number of hospital visits, lost work days, and "an assortment of respiratory ailments."
EPA claims the rules would produce between $200 million and $16 billion in net annual benefits. But up to $14.3 billion of those projected benefits are based on the agency's assertion that the rules will save 2,400 lives per year: Each life is valued at $5.9 million. No one's been able to verify the statistical analysis underlying EPA's claims.
The agency's estimate of lives saved is based on a single, controversial statistical analysis. Many suspect the analysis (known as the "Pope study") is junk science. The study's data may be of such poor quality that the statistical analysis is akin to "garbage in, garbage out." No one knows for sure . . . because EPA has so far blocked all attempts--even by Congress--to have the study independently examined.
This is not the first time EPA has tried to shield the Pope study from scrutiny. In 1996, the agency claimed that tiny particles released into the air from industrial processes, driving, and even fireplaces, caused 15,000 premature deaths. The number of deaths was calculated based on the Pope study.
Faced with regulatory costs potentially exceeding $100 billion a year, industry, local governments, and Congress asked to see the data underlying the Pope study and EPA's projections for particulate matter. The agency balked, saying there was no use in releasing the data since the study was published in peer-reviewed journals--akin to assuming something is true because it's in writing.
Independent verification of results--including after publication-- is essential if scientific studies are to form the foundation of sound law and policy. In June 1996, Tulane University researchers claimed combinations of PCBs and pesticides were potent disrupters of hormonal systems. Their study drove a panicky Congress to require EPA to develop a multi-billion dollar program for testing chemicals. It later turned out the study could not be replicated by independent laboratories; after a year, the authors retracted the study. But the law remained, and a monster regulatory program lives on.
When EPA finally requested the air pollution data, it was the Harvard University-based researchers' turn to stonewall--even though they had been paid with taxpayer money. They claimed releasing the data would infringe on the privacy of study subjects. This is a red herring argument, however; other researchers have released their data without compromising anyone's privacy. The U.S. Air Force's study of exposures to Agent Orange during the Vietnam War, for example, won't be complete until 2002. But the data--minus information that would allow individual subjects to be identified--are already available to the public. To its credit, the Air Force released its data before anyone asked for it. Imagine the uproar from veterans groups and Congress had the Air Force or its contractors refused to release the data.
The second reason offered by the Harvard researchers amounted to little more than character assassination. One of the investigators dismissed the requesters--who included, among others, industry scientists--as "industry thugs." Did that make House Commerce Committee Chairman Thomas Bliley (R-Virginia), who also requested the data, a "congressional thug?"
The Harvard researchers ultimately agreed to turn over their data to the Health Effects Institute, a private organization jointly funded by EPA and the auto industry. The institute isn't permitted to release the data to outside parties. Not only does this hardly constitute release to the public, which paid for the studies, but the results of the HEI review won't be available for years--well after the proverbial horse has left the barn.
"Withholding scientific data paid for by taxpayers--especially in the context of public policy--is outrageous," noted Michael Gough, a former government scientist and now an adjunct scholar with the Cato Institute. "The scientific method requires data be available for review to see if the conclusions are valid. Without validation, the results cannot be considered scientific."
Fortunately, a law signed by President Clinton in 1998 requires that federally funded data used to support federal policy be made available to the public through the Freedom of Information Act.
EPA's SUV proposal looks to be a good test case for the new data access law.


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You have submitted your application and paid your application fee. What now? Here are your next steps:
myUFV is UFV's student portal that connects you to the UFV online network: on myUFV, you can register for classes, check your classes and grades, receive and send emails, and more. Learn how to log in for the first time.
If you're not planning to live at home, you'll need a place to stay. Residence can be your home away from home. Learn more about Baker House, UFV's residence on the Abbotsford campus.
Your registration appointments will be available through myUFV. Find out how to register for UFV classes.
New student orientation is a great opportunity to get to know the campus, meet fellow students and talk to staff and faculty about what is happening at UFV. Get the scoop on orientation.
Your fees are not due in full until the end of the second week of classes. But on that day, the line at the registrar's office is so long that wait time can easily run up to two hours. Do yourself a favor and plan to pay well in advance to avoid a painful wait.
See Important Registration Dates for current fee payment deadline.
As soon as you have completed 30 credits at UFV, you are eligible to study abroad.
But remember: studying abroad require more preparation than the usual overseas trip. In addition to visas and shots, you need to secure admission to a foreign university, plan your course work, arrange for accommodations, and fill out paperwork to have your credits transferred.
For best results, start your Study Abroad research and planning at least ten months before you wish to study abroad.


text: PHILO, Charles Henry, beloved husband, father and grandfather, died Thursday, August 24, 2006 after a courageous battle with lung cancer. Charles was born in Indian Lake, NY on February 20, 1930 to Frank Philo and Julia Noble Philo. In 1948 he left his parents and older sisters, Dorothy Philo and Betty Philo Arsenault and joined the Air Force, in which he served with great distinction. He was awarded many commendations in his 21 year career in the service, including the Bronze Star during the Korean War. After being stationed in Japan, France and the States he retired with the rank of Senior Master Sergeant in 1969 and moved from Altus AFB, Oklahoma with his wife and two daughters to Tulsa. It is here he began a successful second career with Honeywell, Inc. as a Senior Service Representative, retiring in l992 with much honor. Upon retirement, Charles continued his tireless volunteer work in the community at Meals on Wheels and Memorial Drive United Methodist Church, where he and his wife Millie have been members for 37 years. His service and dedication will be greatly missed, as well as his roles as board member, mentor and friend to so many. His life and work drew deeply upon his Christian ideals and devotion to duty and honor. In all his roles as a man, as soldier, husband, father, grandfather, and Christian, Charles left an example of grace, excellence, duty and love which will continue to light the way to those he left behind, for our lives and generations to come. To say he will be loved and missed is to barely express the measure of loss we all feel. Preceded in death by his parents, sisters and nephew David Arsenault. Charles is survived by his beloved wife of 53 years, Millie B. Philo, his daughter Catherine Philo Lackey and son-in law Anthony Lackey (Tulsa), and daughter Sandra Philo Elbon and son-in law Brett Elbon (Tulsa), and nephews Michael Arsenault (Memphis, TN), Joseph Arsenault (Albany, NY) and Gregory Arsenault (Indian Lake, NY). He also leaves two adoring granddaughters, Grace Addison Elbon and Greer Elizabeth Elbon, to whom he was very devoted. A Memorial service will be held 2:00pm, Wednesday, August 30 at Memorial Drive United Methodist Church and an interment with full military honors will be held 1:00pm, Friday, September 1 at Fort Gibson National Cemetery. In lieu of flowers, the family requests donations be made to Meals on Wheels, 12620 E. 31st St., Tulsa, OK 74146 or to Memorial Drive United Methodist Church, 7903 E. 15th St., Tulsa, OK 74112.


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Last Updated on Wednesday, 02 September 2015 16:10
The members of the International Working Group that have developed GOTS and the related quality assurance system are:
|International Association Natural Textile Industry (IVN), Germany
|Soil Association (SA), England
|Organic Trade Association (OTA), USA
|Japan Organic Cotton Association (JOCA), Japan
In 2008 a new legal entity under German law was set up by the IWG. The Global Standard gemeinnützige GmbH now is a non-profit company. Charged with executing the Global Organic Textile Standard programme, Global Standard gemeinnützige GmbH conducts all activities in connection with the implementation of GOTS and its related quality assurance as well as the related licensing system. It is also the proprietor of the GOTS label, which is already trademarked in almost all relevant sales markets for organic textile goods.
The International Working Group itself is the decisive committee for all relevant structural and political issues related to the Global Organic Textile Standard programme.
The International Working Group has appointed several Representatives that operate in a global network to promote GOTS in their regions and around the world. To date Regional Representatives are appointed in the major sales markets USA/Canada, Germany/Austria/Switzerland, Japan, United Kingdom and in the important processing countries China, India and Bangladesh.
The IWG has installed a Technical Committee which consists of one textile expert appointed by each member organisation of the IWG. This expert is backed up by the respective standard committee of the appointing organization thus ensuring a broad basis for the Technical Committee's decisions. In addition, the Technical Committee may co-opt up to three further expert members. The Committee is coordinated by the Technical Director, Marcus Bruegel.
The Technical Committee has the following main functions / authorities:
The GOTS approved certifiers are assigned with the implementation of the GOTS quality assurance system. In this function they work with the operations applying for GOTS certifications and use the standard, procedures and tools of the GOTS Program on a daily basis. Drawing back on the broad expertise gathered during this work is vital for the IWG in order to establish and further develop a functioning and practical system in the market. Based on these considerations the IWG has formed a Certifiers Council in which each certifier participates with a responsible expert. The Certifiers Council has an advisory function with regard to all issues related to the GOTS quality assurance system. The collaboration of all approved GOTS certifiers in this unique forum is an important prerequisite for a consistent interpretation on the criteria and requirements of the GOTS. Coordinated by the GOTS Technical Director the Certifiers Council reports its proposals to the Technical Committee.


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In SQL 2008 and higher there is a new feature that can help audit triggers. By running the script below you can get some important information about triggers that are running or possibly just as important, analyzing triggers that have not ran. It can also help in understanding how long it takes a trigger to run (execution time) and how many times the trigger has executed.
SELECT tr.object_id, tr.database_id, DB_NAME(database_id) AS 'Name_of_Database', OBJECT_NAME(object_id, database_id) AS 'trigger_name', tr.last_execution_time, tr.total_elapsed_time/tr.execution_count AS [avg_time], tr.execution_count FROM sys.dm_exec_trigger_stats AS tr --If you want all of the triggers then comment out this next line WHERE OBJECT_NAME(object_id, database_id)='Name_Of_Trigger'
Looking for quality web hosting? Look no further than Arvixe Web Hosting!


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Two Wyoming Football Games to Appear on ESPN Networks
May 9, 2013
LARAMIE, Wyo. - On Thursday, the Mountain West Conference announced 15 additional games that have been selected by ESPN to be televised during the 2013 college football season. Two of the selected games will feature the Wyoming Cowboys. The Cowboys' road games at Air Force on Sept. 21 and at Boise State on Nov. 16 were both selected for television coverage on ESPN Networks.
While additional details on some early-season games may be announced in the coming weeks, kick times and specific networks for most of the remaining contests will be determined during the course of the season (generally a 12-day window).
Today's announcement is another under a new agreement with ESPN as the second Mountain West national television rights holder for Conference-controlled football games. In total, 22 MW football games will air on ABC, ESPN, ESPN2, ESPNU or ESPN3 this coming season.
Early this week, the University of Nebraska announced that the season opener between Wyoming and Nebraska on Aug. 31 in Lincoln, Neb., will be televised by the Big Ten Network. That game will kick off at 6 p.m., Mountain Time (7 p.m., Central Time).
Additional televised games may be released at a later date.
Beginning in the fall of 2013, MW football membership will include Air Force, Boise State, Colorado State, New Mexico, Utah State and Wyoming in the Mountain Division and Fresno State, Hawai`i, Nevada, San Diego State, San Jose State and UNLV in the West Division.
Wyoming's schedule, including televised games, as its stands at the current time is as follows.
2013 Wyoming Football Schedule
Game times listed are Mountain Time
*Indicates Mountain West Conference games
+The inaugural Mountain West Football Championship Game will be played at the home stadium of the divisional champion with the highest BCS ranking.
Additional game times and television coverage may be announced at future dates


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Lil Wayne had one idea in mind when it came to the video for "6 Foot 7 Foot" : He wanted the clip to riff on "Inception," a movie he was "super interested" in because of its complexity.
But director Hype Williams had another idea: to focus on Weezy's clever lyrics.
"When I got with him he was like, 'It's time for you to shoot a video,' " Wayne recalled Hype telling him when MTV News visited the video set in Miami. " 'I like the little "Inception" thing, but if I'm going to shoot a video with you, I really want to capitalize on your bars to make people get the stuff you're saying. You shoot great videos, don't get me wrong. But sometimes people may think you shoot a video that makes it seem like you go for looks, instead of actually getting these people to understand what you're talking about. You are considered one of the best, and you have to show them why,' " Hype told Wayne.
The result is a marriage of the two concepts, with Lil Wayne's witty rhymes imparting themselves into the listener's consciousness à la Christopher Nolan's "Inception" with their punch lines.
"Life is a bitch and death is her sister/ Sleep is the cousin, what a f—ing family picture," Wayne raps on the song as a pair of beauties with contrasting makeup (one represents life, the other death) flash on the screen. "You know father time and we all know mother nature/ It's all in the family but I am of no relation."
Throughout the production, Wayne shot more than 40 scenes and changed outfits upwards of 20 times. Wayne and Williams also, of course, included a scene in which the rapper falls into a tub of cold water to wake him up from a dream, a direct nod to "Inception."
Although Wayne had fun with the visuals, he didn't stray from his duties as a businessman with the track or the video, making sure to include new Young Money signee Cory Gunz .
"You know, I put Nicki on the right songs, I put Drake on the right songs; I picked the right song," Wayne told MTV News last month about the decision. "It makes people pay attention … because I know that people were waiting to see what I'll say on my first record, my first Lil Wayne record [since getting out of prison]. 'Cause, of course, I've done a bunch of features, and I'm quite sure whoever I did a feature for [before], as soon as I came home they put it out 'cause it got Wayne on here. 'He just came home, let's put it out.'
"So, I knew people were going to look at my first record like, 'I want to know what he's talking about on his first record.' And, I gave you the jewel at the end. It's like I'm forcing it on you, you got to hear this. It made everybody who didn't know Cory Gunz [say], 'Who is that?' "
Don't miss the premiere of Lil Wayne's "6 Foot 7 Foot" video at 7:54 p.m. ET on MTV!


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On December 2, Fort Worth joined other cities considered to be leaders in the food truck culture by opening a dedicated Food Truck Park. Based on the crowd to get in and the amount of food sold, Opening Night was a success with hundreds of people in attendance.
When I first heard the location of the Park, I admit that I questioned the how and why of putting a Food Truck Park in the middle of an industrial area, three to four blocks off a main thoroughfare. Earlier in the week I spoke to owner Chris Kruger, he explained that the location was an important part of the park atmosphere as it allowed guests to escape the hustle and bustle of the center city and take time to relax over a nice lunch or dinner while only being minutes from home. Now that I have seen the Park operating I understand that vision and agree with it. It is also appealing that some trucks, like Good Karma Kitchen will call the Food Truck Park home while other trucks will rotate through from time to time, so on any given night, your menu options will always be new and fresh.
The Park opened at 6:00, I arrived about 7:00 to find a line of about 40 people waiting to get in the Park. I admit that this was a concern, especially with the possibility of rain; but, this wasn't the first line I had stood in for food trucks and I doubt it will be the last, so off I went to take my place. The line moved relatively quickly, as people would leave the Park the line attendant let an equal number in, so within 25 minutes I was in and ready to eat. Looking back now, controlling the entrance to the Park was the right way to handle the crowd and make sure the truck lines were not too long and people had room to move across the Park.
The Park is situated on a standard size lot, between two industrial warehouse type buildings. Because the trucks are parked along the side perimeter of the park, once you are inside, you forget the buildings are there and it actually becomes very cozy and comfortable. With of the possibility of rain this weekend, the Park had tents set up to keep everyone dry but when the tents are down, the surrounding trees will make a nice canopy to shelter the Park but still offer an open air feel. During the winter, patio heaters will be placed through the park to keep everyone warm.
The Park has been given permission for eight trucks to set up but on Opening Night, as will be the case most days, six were in attendance. Red Jett Sweets, Nammi, Good Karma Kitchen, Yes! Taco, Jake's Hamburgers and Lee's Grilled Cheese. All of the trucks had continuous, manageable lines, except for Lee's Grilled Cheese, where I heard people saying they were waiting in line for 20 – 25 minutes and then waiting for their sandwich that same amount of time. As with other big events, this is an issue that all grilled cheese trucks face, most of their food cannot be prepped ahead of time and once the order is placed, the grill can only accommodate a finite number of sandwiches at any one time. It seemed that most people understood that and having that truck next to the free Rahr beer line seemed to help make the wait more tolerable.
The Park has quite a few picnic tables, which makes food truck eating more manageable. Spread throughout the table area were both trash cans. and recycling bins. At the back of the Park are restroom facilities and a deck where live bands can set up. On Opening Night, the Gary Kyle Band performed which added nicely to the atmosphere.
It seems that every detail has been considered when it comes to this Park and it has promise of being very successful. The truck owners were happy with the first night and the guests were happy with their food, the convenience of parking, and all of the details that create the atmosphere of the Park.
You can get the Park's schedule on their website and follow on Facebook. They plan to offer special event nights from time to time and you won't want to miss those or notification of which trucks are rolling through the Park.
As an additional note, the Park is BYOB and dogs are welcome.


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Dream Gig: Travis Harrison Records Guided By Voices Heroes at Serious Business
SoHo, Manhattan: Travis Harrison — record producer, engineer, founder of Serious Business Records & Studio and Guided By Voices super-fan — met late era GBV guitarist Doug Gillard when his band, The Unsacred Hearts, shared a bill with Gillard at Piano's.
Harrison gushed about GBV, Gillard dug The Unsacred Hearts, and they stayed in touch. Later on, Harrison inquired about future prospects for Lifeguards, the Gillard and Robert Pollard GBV side-project whose one and only release, Mist King Urth, came out in '02.
"I was a huge fan of the first Lifeguards album," says Harrison, "I buy everything that Bob [Pollard] puts out. After I met Doug, Bob had been in touch to tell him if he wanted to produce the music and find a label, he'd be into doing another Lifeguards record. That's when I swooped in and pitched Doug: I have a studio, a label, the [recording] skill-set and I'm a huge fan. Let's do this! I expected to get no response."
Of course, Gillard did respond and the new Lifeguards record, due out February 15 on Serious Business / Ernest Jenning Record Co., was engineered by none other than Harrison. Scroll down to stream "Product Head," the album's single released on 7″ in advance of the record. And read on for an interview about the recording and production of Lifeguard's Waving At The Astronauts by this Guided By Voices super-fan…
Awesome that you got to engineer this record at Serious Business! So tell me about how it all came together.
The way they worked on this project is that Doug wrote the instrumentals and recorded them at home in Garage Band and then sent them to Bob who then created the melodies and lyrics on top of these instrumentals. It's just one of the many ways that Bob works.
Doug's GarageBand demos were pretty fully fleshed out — he recorded most of the guitars, and bass and other little sonic treatments. Then he brought it to me and at my studio, I salvaged any less than ideally recorded stuff, but we also tracked drums, bass, re-tracked any guitar that I could get him to re-track and then we recorded Bob's vocals.
What were your first impressions of the material? Were you so psyched?!
First of all, I was just in awe. As far as Doug's instrumentals go, the shit's amazing. He's a great guitar player, and has an amazing musical mind that always goes somewhere you don't expect. He's awesome. But I didn't actually hear these tracks as songs beyond instrumentals until Bob was actually in the studio, at the microphone. He drove in from Dayton in May to do his vocals. And that was just amazing. The guy is a genius! Obviously I'm a huge fan, but just to see him work and see how completely natural and instinctual it is, I was blown away.
Wow, very cool! And I know you're a drummer — did you by any chance get to play on the record?
Yes, I played on five songs and Doug played on the rest. He's a great drummer, he basically plays everything, but it was obviously a crazy honor for me to play drums on this record. There were some parts that were really fast, that either exceeded his technical ability or that he thought I'd have a good groove for – that's the stuff I got a shot at.
And what was your goal in the studio – what aspects were you re-recording or adding, and how did you approach the recording?
It was very important to me to make it sound as un-GarageBand-y as possible. We didn't want it to sound homemade at all. And Bob's vision for the record was like "ARENA ROCK." He's known for lo-fi, but we were consciously not going for that. Doug was the producer, so he really called all the shots. He called for a lot of really heavy compression on drums.
On one song in particular, "Nobody's Milk," Doug had done the original drum track on a drum machine and it was incredible but it wasn't totally in time and he'd used the GarageBand compressor at 10 to really squash it. It was really clean but insanely compressed and I begged to redo them.
It took a ton of work to match his exact part because it was very intricate, but to achieve the compression, I used the API 2500 bus compressor as the first stage and then after that, the Fatso pretty much demolishing it in parallel. And I really favored the compressed side and went for this ultra squashed sound to simulate his Garage Band demo. That was my goal throughout the whole project, to please Doug and Bob as much as I could. I willingly and gladly checked my ego at the door!
In that process, do you feel like you learned from them? From following their instincts?
Of course, although this way of working — taking a fully fleshed out Garage Band demo and turning that into the record — is incredibly tedious. So it was a matter of enjoying the tedium of that. I spent an insane amount of time on my own editing, beat-by-beat, that ultra compressed drum track because I didn't want Doug to hear really anything different from his version. I just wanted it to be real drums instead of these samples.
But do you feel you came up with something new and different in the process — something cool you wouldn't have come up with otherwise?
Yes, but you know Doug was the producer and this is what he wanted to hear. And when he heard it, he (and Bob) loved it. But the way these guys work…and I should separate them, because Doug is more of a meticulous craftsman. But at the same time, he does kind of bang it out. He's not going to do 30 takes of something. Where Bob does ONE take.
Tell me about that! What was it like recording Bob's vocals on this?
I had a [Shure] SM7 set up in the studio. The SM7 is my favorite mic, especially for a singer like Bob. I was really excited. My thinking was to record Bob onto two tracks simultaneously. One track was just about capturing him with very little compression — an SM7 to a Great River mic pre to a distressor at 2:1 (but barely touching it) — and then on the other track, I hit him with an 1176 at 4:1 with the super-spitty setting (the fastest release and the slowest attack). And that's the track I ended up using for most of the final mixes.
Also, for every track, I printed either Space Echo or Echoplex live. Bob would step up to the mic and say "Alright man, this one is arena rock!" or "This one's Elvis!" or "psychedelic" and between the Echoplex and the Space Echo, I was able to get what I wanted. I would print that live so there were certain freak-outs in sections — wild, completely tasteless effects stuff.
Bob basically sang the record in sequence. He stepped up and sang the first song all the way through, he listened to it played back over headphones and then moved on. Couple tunes, he'd punch in a word here and there. He did Side A, then we took a break, had a couple tall, cold ones, and then move onto Side B. It was incredible. I'd always heard he was first-take-jake, and he really was. And he was in wonderful voice too. As good as I've ever heard him sound.
Stream "Product Head" off Lifeguards' upcoming album Waving At The Astronauts, also now available as a single on 7″ vinyl:
LIFEGUARDS – Product Head by seriousbusiness
Awesome. And he was digging what he was hearing?
Yeah, I was giving him Space Echo on his headphones. Monitoring off my Soundcraft Ghost, I was recording the output of the Space Echo back into Pro Tools, and I knew he wanted to hear a lot of it, so I gave it to him and made it long, made it do stuff! I tried to provide him with something he was really feeling.
And that was the vocal chain throughout?
Yeah, this was a bang-it-out situation. He did the whole 10-song record in four hours, and two of the hours we were just screwing around. The thing about Bob is he doesn't like to spend a lot of time in the studio, but he works really hard. He wakes up every morning and writes. He'd worked hard on these tunes and had practiced them a lot at home. He was on point.
And you mixed the record as well? What was the focus there?
Yes, Doug and I mixed the record together. And he's into hearing stuff pretty bright. He doesn't want to hear a ton of kick drum. He has a specific way that he hears records, coming from this late 70s, post-punk place, and the end result is awesome.
We worked very quickly. I mix in Pro Tools, but not in the box. I spread it out on the Ghost as much as I can and try to use as much outboard as I can, but I also keep it as recallable as possible. So I would sit at the desk and get the mix up for a few hours and then when it came time to mixdown, Doug sat at the desk and I would hit record, and he would do all kinds of cool shit!
He ended up using the console in very obviously un-Pro Tools-like ways. Like, panning sweeps on Bob's lead vocal and on the guitar solos. Expressive moves that you wouldn't do in Pro Tools.
And I really encouraged Doug to do this because there's a character to all that GBV music that's the exact opposite of Pro Tools. In the back of my mind through the whole project, I kept in mind the essential character of the GBV recordings that people love so much, and they're on 4 track or on ADAT made in a garage somewhere.
How would you describe that "un-Pro Tools" quality? Just totally unpolished and lo-fi, or what?
Well the entire GBV and Robert Pollard's solo oeuvre is about as varied as you can imagine. He's obviously famous for being the king of lo-fi. You have certain records, like Vampire On Titus, which just sounds like the shittiest possible thing you can imagine. 4-track and whoa…you can barely hear the vocals! It takes like 8 listens to realize how amazing the songs are.
On the other hand, they made records with Ric Ocasek and Rob Schnapf for TVT, and those are glossy and way more hi-fi. The Rob Schnapf record sounds incredible. It's a huge guitar record, lots of compression but modern sounding. So they run the gamut.
But the quality I'm talking about is… this thing we all get into when we make records with Pro Tools — even when you're not trying to make polished sounding music, you polish your mixes because you can do anything you want. You have all these shades of subtlety…all these things you can do in Pro Tools, where when you're working with this big beast of a board and you're just trying to get something done, you make mistakes and the mistakes becomes the essential character of the music.
Do you feel you had to hold yourself back from the way you usually engineer records at all to capture that?
Yes, somewhat. But in this case, a lot of times there just wasn't any time to do things that I should have done. Like getting the drum mics perfectly in phase, or creating musically perfect EQ relationships between all the overdubs — all the things we do as mix engineers. We just did it fast. And that speed is an essential part of the GBV aesthetic. Bob does not ponder the music.
Awesome, well congrats! Now, fill us in on Serious Business — it's a studio and a record label — how long have you been around?
I started the Serious Business studio in Long Island City with my good buddy, Andy Ross, who's now the guitar player in OK Go. We had a G4 with Pro Tools and the audacity to put an ad on Craigslist advertising as a studio, and that's what I've been doing ever since.
We moved from there to a big loft in Williamsburg and then partnered up in a collective-type fashion — an engineer friend of mine, Halsey Quemere, brought a tape machine (a Sony MCI, acquired from Jimmy Douglass) into the fold, and then I felt we needed a more proper studio space, so we found the SoHo location. Last year, I hooked up with [producer/engineer] Shannon Ferguson (of Longwave, etc.) and with him came this great influx of cool gear.
And the label? You guys are actually putting out the Lifeguards release, yes?
Yes, I started the label awhile back as an outlet for my own bands, and my friends' bands, and though it tends to take a back seat to other (paying) gigs, it's continued as a total labor of love. Artists like Benji Cossa, Higgins, Rocketship Park, etc. it is all music I love. The binding theme of the label is Class A songwriting.
For Lifeguards' Waving At The Astronauts, Serious Business is partnering with Ernest Jenning to put it out. I did the A&R and recording and production and layout of the artwork, and Ernest Jenning is doing the promotion and distribution, etc.
And you're also doing a podcast for BreakThru Radio — it's cool! Tell us about that!
BreakThru Radio produces a ton of original content — including a few in-studio sessions with bands. The main property is a show called "Live Studio," where the band comes in, plays a set, and talks to the host Maya MacDonald, a college radio-style interview. I started recording the lion's share of those last year at Serious Business, and after awhile, I convinced them to give me my own show!
My show is the same kind of format, but way less formal — there's drinking, silly craziness and lots of potty-mouth. My vision for that show is to create an atmosphere of what it's really like when bands come into the studio to record with me. So far I haven't gotten fired, which is a miracle!
Tune in every Monday morning for a new installment of Serious Business Music Live on BreakThru Radio Check out Serious Business, the studio, at http://www.seriousbusinessmusic.com and the label, at http://www.seriousbusinessrecords.com. And pick up the Lifeguards single "Product Head on iTunes.


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Add a little icon next to the titles in the library to easily recognize notes from bookmarks
When you are on the Library page, it's often hard to distinguish which titles are notes and which are bookmarks. Something to better recognize them wold be nice. An icon, different colors, a little mention...
2 votes
Mathieu Amyot shared this idea


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Florida A&M football coach Taylor steps down immediately
Published: Wednesday, November 7, 2012 at 9:27 p.m.
Last Modified: Wednesday, November 7, 2012 at 9:27 p.m.
This year's Florida Classic already was going to be without the Florida A&M band, which had been suspended for the year. Now FAMU coach Joe Taylor will also be missing when the Rattlers meet Bethune-Cookman in the annual rivalry game Nov. 17 in Orlando.
Taylor announced Saturday that he planned to retire at the end of the season. But FAMU athletic director Derek Horne said Wednesday that Taylor has stepped down immediately and defensive coordinator Earl Holmes will take over the team for its final two games.
"Coach Taylor and I both decided it was best for him to step aside so that the team can focus on the last two games of the season,'' Horne said in a statement. "We want to thank Coach Taylor for his years of service here at FAMU and wish the best in his future endeavors.''
Taylor, 62, ends his 40-year coaching career -- 30 as a head coach -- tied for third on the all-time wins list of historically black colleges and universities with Southern's Arnett "Ace'' Mumford. Taylor finishes his career with a record of 233-96-4, two wins behind former Tennessee State coach John Merritt.
"With the enormous amount of coverage that my retirement has been receiving, I felt it best to step aside and let the team focus on the last two games,'' Taylor said. "With me it has always been about the student-athletes, not me.''
Taylor coached at Howard (1983), Virginia Union ('84-91), Hampton ('92-07) and FAMU ('08-12). He won eight MEAC titles at Hampton and compiled a 35-19 record in his five years at Florida A&M. This season was his first season in Tallahassee that his Rattlers (3-6) did not have a winning record.
B-CU coach Brian Jenkins said he was "kind of jolted'' when he heard the news Saturday of Taylor's retirement.
"I think a lot of Coach Taylor,'' Jenkins said. "For a while there, he was the main guy (among black college football coaches). He was the guy that was winning. He was the guy that was producing young men in the NFL as well as in society on a productive end. He was the guy that everybody was talking about. And everywhere he has been he has made an impact.''
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One backer will be allowed to repossess and sell the more than 60 vehicles that remained when an Amarillo car dealer shut down and filed for Chapter 7 bankruptcy in October.
U.S. Bankruptcy Judge Robert Jones on Thursday approved an agreed order that gives Irving-based Auction Credit Enterprises permission to sell the cars gathered from Autopro Remarketing.
Autopro Remarketing - an umbrella company for Autopro Warehouse, Autopro Suzuki, Autopro Mitsubishi and other dealerships - filed bankruptcy on Oct. 5, claiming $5.1 million in total debts and $1.9 million in total assets, including just $200 petty cash.
Among the company's liabilities are unpaid federal, state and local taxes.
The bankruptcy has left many car transactions in limbo, with Autopro failing to pay for the sales taxes, title and license transfers and/or provide titles to buyers and failing to pay off original loans on trade-in cars.
Assistant Randall County Criminal District Attorney Richard Gore is investigating whether the bankrupt dealership may have defrauded or stolen from its customers.
Bankruptcy trustee Kent Ries has said he expects there to be little for creditors to recover from Autopro.
"I don't know if this case will have any assets that will go to any creditors," Ries said Wednesday.
ACE claims it advanced almost $1.26 million to Autopro so the company could purchase inventory.
The finance company claims Autopro defaulted on the repayment and interest plan for the loan and owed ACE more than $776,000 at the time it filed bankruptcy, according to court documents.
In a response, Ries disputed the amount ACE says it is owed, stating that Autopro "appears to have some equity in the vehicles at issue and in other assets in which ACE claims a lien."
The agreement reached between ACE and Ries calls for ACE to provide some funds to the estate so that Ries can attempt to obtain at least some of the titles and transfer documents for "the multitude of consumers" affected by the bankruptcy, if possible.
Autopro president is Robert Stiner, who told creditors last week he does not expect to also file for personal bankruptcy.


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Neil King, Jr.
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Neil King Jr. is the global economics editor and deputy Washington bureau chief for The Wall Street Journal. He has traveled widely around the United States for the past several years, tracking candidates and talking to voters in the build-up to the 2012 presidential election. Previously, King worked in the Journal's Washington bureau covering foreign policy, intelligence, terrorism, international trade, and the oil industry.
In the 1990s, he spent nearly seven years as a Journal correspondent in Europe, first in Prague and later in Brussels. During those years, he covered a wide swath of subjects ranging from the post-Communist transition in Eastern Europe, the birth of the European single currency, and the war in Kosovo. He traveled and wrote extensively throughout the continent, reporting from Ukraine, Russia, Romania, Poland, Hungary, and frequently from the Balkans. King earned a master's degree in journalism from the Medill School of Journalism at Northwestern University in Chicago, and a bachelor's degree in philosophy from Columbia University in New York. He was part of the Journal team that won a Pulitzer Prize for its coverage of Sept. 11.
A Boulder native and graduate of Boulder High, King is married to Shailagh Murray, a former Washington Post political reporter, who now works in the White House as deputy chief of staff to Vice President Joe Biden.


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While solar energy collection has been around for a long time, the technology is constantly improving. Chris Merklein is with Arch Electric; the company started out as a traditional electrical contractor but moved into the renewable energy side. He notes every site and location is different and that is why the will do a full analysis of that site to determine if solar, wind or other energy sources are viable. "We're a very low-pressure operation; we just lay out the facts and let the customer decide."
One note to take into consideration is that the federal government is very "friendly" towards renewable energies with various incentives and tax credits available which makes these projects even more attractive.
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On May 1, 2014, Manalapan health Examiner Stacey Chillemi reviewed the Super Shred Diet: The Big Results Diet by # New York Times bestselling author Dr. Ian Smith. This is a four-week supercharged weight loss plan based on a combination of new science and the dieter-tested concepts behind Dr. Ian's #1 mega-bestseller of 2013, Shred: The Revolutionary Diet. Dr. Ian K. Smith was also recently announced as co-host of the Emmy-winning daytime talk show The Doctors.
I found this book to be very informative and motivational. Packed with well-researched information based on proven scientific studies on how to lose up to 20 pounds in 4 weeks, maintain the weight and maintain optimum health. This book includes 50 delicious recipes, which not only taste good, but they are healthy and they will help you lose weight too.
Dr. Ian K. Smith's book, "Super Shred: The Big Results Diet," is clear cut and concise along with easy to follow directions on how to lose 20 pounds in four weeks. Dr. Smith's diet is a crash diet but unlike other crash diets' this is one that is completely healthy, flexible and effective and it doesn't involve any crazy, unhealthy measures that can cause damage to the body. This is completely healthy.
In the beginning of the book, Dr. Smith teaches the reader about the Shred Diet. Dr. Smith discusses what it is, what to expect and how to prepare for it.
The information in this book concerning rapid weight loss is an excellent diet for someone who is interested in losing a large amount of weight in a short period of time. This is a great diet for someone who is planning to go somewhere and wants to shed those extra pounds that will not come off. It is a very simple diet, Dr. Smith makes it easy by providing you with easy to follow instructions, recipes, grocery lists, and he gives you flexibility by providing you with different options to choose from for your breakfasts, lunches, dinners and snacks. Dr. Smith even provides you with easy exercises to do to lose the weight and gain the muscle mass you need so your body doesn't get a saggy look to it that many experience when they lose a lot of weight fast.
What is great about this book is that it is easy to follow and you do not have to kill yourself trying to lose weight. Dr. Smith guides you through this program on a day-to-day basis. Dr. Smith not only teaches you how to quickly lose weight uses his powerful tips, techniques and scientifically proven strategies but he takes it a step further by showing you how by providing you with endless recipes that are not only beneficial to the body, but they are delicious as I have tried several myself.
I enjoyed how the book provides you with powerful tools and techniques to lose weight and how Bailor expels all the calorie myths helping others understand what really works. Dr. Smith the author provides the reader with extraordinary tools and techniques that help you achieve all your goals both long and short-term goals for losing weight and staying healthy.
Dr. Smith has other books and information on his website too to help you keep the weight off for good. The one thing I liked is that if you go one his website you will be provided with content and other books to teach you how to keep the weight off. The website also provides you with content and books on how to detox and cleanse your body so your body functions the way it's supposed too and programs you can participate in along with tons of success stories from others who have completed the diet and lost a bunch of weight from it.
I am currently following the diet and I have completed the first week. I lost 5 pounds! Dr. Smith's book is an excellent book. It is packed with phenomenal advice, facts, scientific evidence, and recipes and easy-to -follow guide. I found this book to be informative, motivating and was enjoyable to read. This book may be just what the doctor ordered for anyone who has a quest to lose weight quickly, stay healthy and maintain optimum health.
As an author of the book, "The Complete Herbal Guide: A Natural Approach to Healing the Body - Heal Your Body Naturally and Maintain Optimal Health Using Alternative Medicine, Herbals, Vitamins, Fruits and Vegetables I found The Super Shred: The Big Results Diet to be very beneficial." I recommend this book to others.
Website: http://www.doctoriansmith.com/books/shred-the-revolutionary-diet/
Also available as an kindle, paperback and hardcover; ISBN: 978-1250044532, $24.99 236 pages


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NIGHT LIGHTS Launch Party – Tuesday, January 28th from 6 to 9 p.m. at the Buffalo and Erie County Botanical Gardens, 2655 South Park Ave. in Buffalo. The event is presented by Buffalo Spree magazine and sponsored by Lucarelli's Banquet Center, and gives the public a sneak preview of the popular NIGHT LIGHTS at the Gardens exhibit. Tickets are $15 for Garden members and Spree subscribers, $20 for the general public.
NIGHT LIGHTS at the Gardens – Wednesdays through Saturdays, January 29th through February 1st, February 5th through 8th and February 12th through 15th; hours are Wednesdays and Thursdays 6 to 9 p.m., Fridays and Saturdays 6 to 10 p.m. for adults, $8 for Garden members, seniors and students, $5 for kids3 to 12, free for kids under 3 – get more information and tickets to both events at www.buffalogardens.com.
A Chocolate Affair –Thursday, January 30th from 6:30 to 9 p.m. at the Hyatt Regency Buffalo in downtown Buffalo. Enjoy chocolate and desserts from vendors including Babycakes Cupcakery, Buffalo Cookie Company, Sassi Cakes and Sweet Melody's. Tickets are on sale through the 961joyfm.com website and the other station sites listed above. Tickets are $25, or upgrade to a VIP ticket – for $35, you'll get into the event one hour earlier (5:30 p.m.), and a $25 gift certificate to E.B. Green's. For more information on the event, visit the above link.
Flurrious! – Saturday, February 1st at Delaware Park, from 9 a.m. to 6 p.m. The free family festival will feature kickball, tennis and Snowman Building Challenge, snow golf and Harry Potter's favorite sport, Quidditch. Get more information on the event at the Buffalo Parks website.
Trains Are Running! – Saturday and Sunday, February 1st and 2nd at the Buffalo History Museum, One Museum Ct. in Buffalo from 1 to 4 p.m.; program runs on weekends (and selected other days) through February 23rd. Train display features 1900s replica model trains on more than 200 feet of track, plus a scale-model Erie Canal lock and 100 buildings representing 19th century Buffalo and Western New York. Find more information at buffalohistory.org.
Sundays in the Cemetery – each Sunday in January, through April, at 2 p.m. at Forest Lawn Cemetery, 1411 Delaware Ave. in Buffalo. This weekend's lecture is "Print Resources for Genealogy Research" on February 2nd. Cost is $15 per person per event – seating is limited, and reservations are required; visit www.forest-lawn.com or call 716-885-1600 for reservations.
Check out all of Paula's Buffalo Examiner columns:
Follow Paula on:
· Facebook – Paula Thompson Freelance
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· Website – paulathompsonfreelance.com
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Contact Paula at email@example.com


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County Derry / County Londonderry - Paranormal Database Records
Thick Eel
Location: Ballyronan - Lough Neagh
Type: Cryptozoology
Date / Time: 1986
Further Comments: Two people in a two man kayak quickly headed towards the shore after spotting a long black creature under the water with a body the thickness of two human legs.
Location: Coleraine - Whispering Pines - house built on site of Mountsandel
Type: Haunting Manifestation
Date / Time: Unknown
Further Comments: Loud whispers and low moaning have been reported downstairs at night, while light fittings inexplicably swing side to side.
War Staff
Location: Derry - City of Derry Airport (formally Eglinton air base)
Type: Haunting Manifestation
Date / Time: 2000s
Further Comments: Staff have reported seeing figures dressed in World War Two clothing around the airport.
Lady with the Lamp
Location: Derry - Foyle Arts Centre
Type: Haunting Manifestation
Date / Time: Unknown
Further Comments: The upper part of the building is haunted by a woman who walks around carrying a lantern.
Location: Glenullen - General area, Abhartach's final resting place marked by a large stone with a thorn tree growing up from the side
Type: Vampire
Date / Time: Fifth century
Further Comments: In a battle for the throne, the warrior Cathrain killed his rival Abhartach. Abhartach, however, returned from the grave two days later and preyed on the locals. Cathrain once again killed the undead fiend, but two days later, Abhartach came back and continued his attacks. Cathrain discussed the problem with druids, who told him to stab his adversary through the heart with a weapon made of yew. This he did, and Abhartach never returned.
Nurse with Baby?
Location: Limavady - Former Roe Valley Hospital
Type: Unknown Ghost Type
Date / Time: Mid 2009
Further Comments: While photographing the building at night, a security guard caught a strange 'figure' on camera. Paranormal Society Ireland called the picture authentic. The former hospital is said to be haunted by the sounds of crying babies and uniformed men and women.
Location: Limavady Mountain - Ram's Horn (no longer standing)
Type: Haunting Manifestation
Date / Time: Unknown
Further Comments: When a coach house, the Ram's Horn had a reputation for being a meeting place for robbers and other unsavoury characters. When the building fell into ruin, many believed that the criminals' ghosts still lurked in the area.
Grey Lady
Location: Magherafelt - Farm on Olivands Hill (no longer standing)
Type: Haunting Manifestation
Date / Time: Unknown
Further Comments: Though the building has long gone, the area is still said to be the haunt of a pregnant woman who committed suicide by hanging herself on an oak.
Henrietta Hamilton
Location: Magherafelt - Springhill House, Moneymore
Type: Haunting Manifestation
Date / Time: Twentieth century
Further Comments: Henrietta drifts around the building, weeping for her dead children. She has also been heard (but not seen) walking around on the landing. Another investigation into the haunting concluded that the spectre was the widow of Colonel Conyngham, an officer during the Crimean War.
Not for Sale
Location: Moneymore - 55 Rockview Park
Type: Haunting Manifestation
Date / Time: Twenty-first century
Further Comments: This empty house was under threat of demolition after the local council removed it from the housing market. The last tenant was said to have fled terrified in the mid 1990s, and no one has dared to move in since.
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Galena Park TX Real Estate & Homes for Sale
6 Properties Found
The median home value in Galena Park, TX is $72,700.
This is
lower than
the county median home value of $131,000.
The national median home value is $177,414.
The average price of homes sold in Galena Park, TX is $72,700.
Approximately 67.27% of Galena Park homes are owned,
compared to 30.77% rented, while
1.96% are vacant.
Galena Park real estate listings include condos, townhomes, and single family homes for sale.
Commercial properties are also available.
If you see a property you're interested in, contact a Galena Park real estate agent to arrange a tour today!
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1 - 6 of 6 Properties Displayed
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1303 9th St Galena Park, TX 77547
Courtesy: Bridgecrest Properties
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Three houses on 2 lots. Great for rental or mother in law home. Nice main home with 3 bedrooms, 1 1/2 bath with 3 car garage and large carport for extra parking. One of the other homes is a one bedroom, 1 bath with living area. The other is above the carport with a living area with two bedrooms and one bath. Buyer to verify all information such as room sizes for accuracy. Will be sold AS IS, no repairs will be made.
Courtesy: BHGRE Gary Greene
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All brick, one story, on an over sized, 9000-plus sq ft beautiful manicured lot! Formal dining, formal living, large den, 2 car garage drive in rear entrance, updated baths, open kitchen with lots of space. This home needs TLC, an excellent purchase for an investor or for a new homeowner! No sign in yard.Tenant occupied.
Courtesy: Richard Franco
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4 bed, 2 bath in Galena Park! Home is a great investment property or handyman special! All room sizes are estimates!
Courtesy: Dream Home Realty
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NICE ALL BRICK EXTERIOR HOME. 3 BEDROOMS, 2 BATHS, ORIGINAL HARDWOOD FLOORS AND TITLE THROUGHOUT, CEILING FANS IN ALL BEDROOMS.GREAT YARD SPACE. Needs a little TLC but has lots of potential.
Courtesy: My Castle Realty
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Beautifully renovated corner lot home situated in walking distance from Galena Park Elementary School! Home includes an Apartment with a full kitchen, which would help cut your mortgage payment in half or a great guest house! Easy access to I-610 and 225.
Courtesy: SWE Homes SWE Homes
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2/1 handyman special. As Is
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1 - 6 of 6 Properties Displayed
Galena Park TX Real Estate Listings Provided By:
Beth Wolff REALTORS® Real Living
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Have a question or need assistance? Please fill out the information below and we'll be glad to assist you.
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Galena Park ZIPs77547 Homes for Sale


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Rose Post Creative Nonfiction Competition Winners Announced
- Details
- Written by Administrator
- Category: Network News
NORTH CAROLINA—"Beach Baby," an essay by Wilmington writer Jillian Weiss, has won First Prize in the 2015 Rose Post Creative Nonfiction Competition.
Author Jason Frye, the judge of this year's contest, said, "The structure of 'Beach Baby' drives the essay—each section pulls you one to the other, and even when it seems to divert, it circles back on itself quite artfully.
"As the essay progresses, it grows in its complexity: a misheard message, the death of a sister, the hole in the heart, jealousy (very complex, but gracefully handled), Down Syndrome, the meaning of the name 'Jennifer,' and the ruination of—or perhaps miracle of—Christmas. Simply put, it's a beautiful piece that gets to the complex heart of trying to make known the unknowable."
A Winston-Salem native who spent most of her adolescence in London, Weiss returned to North Carolina in 2008 to study at Elon University. A former creative writing instructor for Duke University's Talent Identification Program, she is currently an MFA candidate at the University of North Carolina at Wilmington, where she is writing a collection of essays about her life as a missionary kid in West London.
Sponsored by the North Carolina Writers' Network and administered by the creative writing department at UNC Wilmington, the Rose Post Creative Nonfiction Competition encourages the creation of lasting nonfiction work that is outside the realm of conventional journalism. The contest is open to any legal resident of North Carolina or member of the NC Writers' Network. First-, second-, and third-place winners receive $1,000, $300, and $200, respectively, and the winning entry is considered for publication in the magazine Southern Cultures.
Beth Browne of Garner won Second Place for her essay "What My Father Kept." In addition to working as associate editor for The Main Street Rag Publishing Company, Browne manages a large farm, homeschools her two teens, and sails the NC coast with "her sweetie, Eric." She has served on the boards of the North Carolina Poetry Society and the South Carolina Writers' Workshop.
"'What My Father Kept' takes a tight look at the individual and gets into depths the short story cannot. As such, the essayist is able to create a picture of her father and give readers insight into him, all while building mystery into it," Frye said. "It's that mystery that intrigues me. A very strong piece, it made me want to catalogue my grandfather's garden shed and see what I might learn there."
Durham's Robert Wallace won Third Place for his essay "Where's Jack Kevorkian?"
"'Where's Jack Kevorkian?' grabs me from the opening line," Frye said. "This essay is close to perfect."
Robert Wallace has received an Emerging Artist grant from the Durham Arts Council, and a Writer's Fellowship from the NC Arts Council. He has had fiction and nonfiction published in various journals and newspapers, and writes a monthly column for the News & Observer. His story "As Breaks the Wave upon the Sea" was the 2010 winner of the Doris Betts Fiction Prize.
Frye also named "Common Prayer" by Jane Andrews and "Moonshine Manhattan" by Agnes Stevens as Honorable Mentions.
Jason Frye is a travel, culinary, and culture writer from Wilmington. After his first experience with North Carolina—a family vacation to the Outer Banks—he felt drawn to the state. He moved here in 2002 to attend UNC-Wilmington and pursue his Masters of Fine Arts in Creative Writing; after graduating in 2005, he stayed and began to explore the state through the lens of a poet, essayist, journalist, culinary critic, and travel writer.
The nonprofit North Carolina Writers' Network is the state's oldest and largest literary arts services organization devoted to writers at all stages of development. For additional information, visit www.ncwriters.org.
NCWN 2015 Spring Conference Sponsors
- Details
- Written by Administrator
- Category: Network News
GREENSBORO―Registration for the North Carolina Writers' Network 2015 Spring Conference is in full swing. On Saturday, April 18, in the MHRA Building at the University of North Carolina at Greensboro, conferencegoers will attend workshops in fiction, poetry, and creative nonfiction, as well as writing for children, the art of branding, and how to build a literary career.
Programming for the NCWN 2015 Spring Conference is made possible in part by our sponsors.
The Creative Writing Department at the University of North Carolina at Greensboro is a two-year residency program with an emphasis on providing students with studio time in which to study the writing of fiction or poetry. The program's flexibility permits students to develop their particular talents through small classes in writing, literature, and the arts. As a community of writers, students read and comment on each other's work under the guidance of resident and visiting faculty, who also meet with students in one-on-one tutorials. The MFA Writing Program at the University of North Carolina at Greensboro is one of the oldest such programs in the country. They are the proud publishers of the Greensboro Review. Follow them on Twitter, and visit their Facebook page.
Greensboro's News & Record is a leading multimedia news, information, advertising, and entertainment source for the cities of Greensboro and High Point, Guilford County, and Rockingham and Randolph counties in North-Central North Carolina. The News & Record launched its first online edition in the winter of 1994-95. Its digital channels now include News-Record.com, an e-Edition for desktop computers and tablets, and mobile editions for smartphones and tablets. You can find the News & Record on Facebook and follow them on Twitter.
88.5 WFDD, Public Radio for the Piedmont, is the only public radio station of its kind located in the Piedmont Triad. They broadcast news, information, and public affairs programming covering the arts, people, and institutions in the area. They are the state's charter NPR® member and the longest continuously broadcasting public radio station in North Carolina. WFDD is a member of the North Carolina Public Radio Association. It is a broadcast service of Wake Forest University. In downtown Greensboro, you can hear WFDD at 104.7 FM.
The North Carolina Arts Council was created in 1964 by executive order of governor Terry Sanford to strengthen North Carolina's creativity, invention, and prosperity. Their mission? To utilize the arts for the benefit of North Carolina citizens and communities. The NC Arts Council seeks to create a strong and efficient arts infrastructure across North Carolina; plan and implement economic development initiatives using the arts; utilize the arts as an effective way to teach the public school curriculum, preserve our state's heritage, and provide arts experiences to youth; and provide data models and conduct research that documents the impact of the state's arts industry on North Carolina's economy.
Pre-registration for the NCWN 2015 Spring Conference closes Sunday, April 12. Attendees save nearly 30 percent by registering early, so don't delay!


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Skydiving.com now has a network skydiving location serving Columbiaville and Columbia County in New York. Call Skydiving.com at 1-800-617-7948 for details, free information and specials on skydiving in Columbiaville, NY today!
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