text:
The Getty Museum
THE NEW YORKER MAGAZINE – September 29, 1997
A City on a Hill
The new Getty Center is a triumph of nineteenth-century ambition.
One bright weekend afternoon earlier this year, on a mountaintop in Brentwood, the architect Richard Meier—tall, commanding, magnificently white-haired—was giving a pre-opening tour of his new Getty Center to a few billionaires he knows. (During the past six months, the private pre-opening Getty tour has become an in-the-know V.I.P. perk, the backstage pass of the beau monde.) Aside from Meier, who has spent a week or two every month for the last ten years in a funky, rat-infested house on the construction site, only one member of the group was a local—David Geffen, the entertainment mogul. The group had wandered over acres of gorgeous Italian stone, through impeccable thirty-five-foot-high galleries, and past dozens of glass-walled scholars' offices with dumbfounding Pacific Ocean views, when, as Meier tells it, Geffen suddenly blurted, "This is too good for Los Angeles." He went on to explain, "I love it, but people here won't appreciate it. There's nothing else here that can stand up to this. Look around—everything's transitory. And this is solid. This is permanent."
John Walsh, the vigorous, Waspy director of the Getty Museum, tries to be indulgent of reactions like that. "There are people around here who are nostalgic about the feckless, charming, hedonist Los Angeles of the twenties and thirties," he says. "But Los Angeles is putting a kind of support underneath the cultural structure that was built hastily out of recycled and sometimes cheap parts over its first hundred or so years. We're part of that. This is a process of growing up."
New York passed through its own boomtown phase more than a century ago. The Metropolitan Museum opened at its current site in 1880, surrounded protectively by Central Park, across Fifth Avenue from what was shaping up to be the city's gentry neighborhood. The Met's expansion was underwritten by the Gettys of that era. Los Angeles has just come through half a century of fantastic growth, and now the Getty Center is opening across the San Diego Freeway from that city's gentry neighborhood, atop a hill near the intersection of two of L.A.'s busiest highways, the 10 and the 405, surrounded protectively by its own square mile of nature.
The last construction project in Los Angeles to get so much attention was Aaron Spelling's fifty-six-thousand-five-hundred-square-foot château, which he built for almost fifty million dollars in Holmby Hills, back in 1991. The vast pseudo-Norman home of the man who produced "Fantasy Island," "The Love Boat," and Tori Spelling is, of course,
an irresistible symbol of Geffen's default L.A.: profligate, kitschy, stage-set swank in the land without taste. The Getty, which will have cost around a billion dollars (or twenty Spelling Units) by the time it opens officially, in December, is both extreme and very pretty, like so much in Southern California. But, curiously, the Getty's extremism is of a very old-fashioned kind: it's the well-meaning arrogance of liberal-minded patricians and missionaries. Unlike the Spelling house, the Getty actually intends to be a symbol: it means to represent a new and improved L.A.—tasteful, civilizing, and irreproachable, a post-Venturian, post-perverse L.A. The pristine headquarters that I. M. Pei designed for the Creative Artists Agency in Beverly Hills a few years ago derived from a similar hunger for respect, for class. But it would be a mistake to dismiss the new Getty as nothing more than a monumental affectation; it's simply too anomalous, too fine, too astonishing.
Among people in the museum and the fine-arts world, the name Getty had for years been considered ludicrous and distasteful. J. Paul Getty was a capitalist caricature, reclusive and mean. When, in the early seventies, he built a replica of the Villa dei Papiri in Malibu to house his art collection, the high-culture establishment concluded that he was also a vulgarian crackpot. Back then, before architectural postmodernism had made columns and pediments chic, he was the Aaron Spelling of his day, Fortune 500 division.
Getty died in 1976, and in his will left four million shares of Getty Oil stock to the museum, which was run by the J. Paul Getty Trust. When the estate was settled six years later, the trust inherited $1.2 billion, and the art world's bemused disrespect hardened into envy, resentment, fear, and loathing. "When I came here, we had no credibility," says Harold Williams, who had been chairman of the Securities Exchange Commission before becoming the first president of the Getty Trust, in 1981. "We were upstarts with a hell of a lot of money. There was a concern we were really going to mess things up." The chief concern was that the Getty Trust, with its monstrously deep pockets and a determination to build a world-class museum collection, would overpay for art. As it happened, 1982 was an excellent moment to inherit $1.2 billion; thanks to the bull market that began that year and hasn't ended yet, the trust now has its brand-new billion-dollar campus, more than a billion dollars' worth of art, and a $4.3-billion endowment—a sum almost six times as big as the Metropolitan Museum's.
Getty was both terse and vague about the purposes of the trust he established before his death. So Williams and his colleagues not only were put in charge of an enormous sum of money at a time of general civic retrenchment but were also given the opportunity to dream up acceptable ways of spending the money—to invent a huge new institution as they were constructing it. Meier compares the enterprise with Thomas Jefferson's building of the University of Virginia two centuries ago. In 1983 and 1984, all the important Getty dice were cast: Walsh was recruited from Boston's Museum of Fine Arts; five independent Getty institutes (devoted to research, conservation, education, information, and museum management) and a grant program were established; a seven-hundred-and-forty-two-acre site was assembled (for only twenty million dollars); and Richard Meier, one of the most illustrious architects of his generation, was hired to design the whole thing.
Since the nineteen-sixties, undertakings of such scale, let alone grandeur, have been unfashionable and unaffordable in this country. It has been left to parvenus in the Middle East and in Southeast Asia—oligarchs enriched by companies like Getty Oil—to create giant cultural institutions out of nothing. Indeed, with dead-rich-white-male values besieged in America, the particular philanthropic hubris of the Getty seems impossibly, thrillingly nineteenth century: a new first-rate museum of old European art and antiquities, plus an expansive scholarly facility, both of them built in fifteen years by a major architect living among a thousand construction workers, and both lavishly underwritten without a single fund-raising gala.
Onward and upward, never breaking a sweat: such was the ideal course of Western civilization, before the populist, pluralist late twentieth century interrupted. Walsh, after Williams the most influential person at the Getty, is cast to type: tall, handsome, smart, ironic, smooth. (Williams, the older of the two, is more like Yoda: rumpled and courtly, but surprisingly tough-minded.) Last spring, when parts of the complex were still construction sites, Walsh would wear his own special hard hat, a pith helmet covered with brown rattan, as he roamed the hilltop. One day, striding into a new Renaissance-sculpture gallery, and brushing past a fifteenth-century bust of a saint submerged in Styrofoam pellets in a plastic shipping crate, he spotted a statue of Neptune freshly installed. "Oh!" he said. "The first guy is down!"
Walsh explains, "Because of the accident"—the accident of Getty's having endowed an arts trust with a fortune—"we've been able to do something very big, very fast." The Getty had a hundred and ten million dollars to spend on art and archival material in 1996 alone, which is many times what other large museums spend. The collections of antiquities, decorative arts, manuscripts, and photography are suddenly among the finest anywhere. The paintings and sculptures are more than respectable. "We have been buying many of the best Renaissance and Baroque sculptures on the market for the last twelve years," Walsh says, and many of them haven't yet been exhibited. "When it opens, it's going to be a jolt." Among the museum's pictures are Michelangelo's "The Holy Family with Infant St. John the Baptist," a couple of Rembrandts, a Monet haystack, Cézanne's "Still-Life with Apples," and "Christ's Entrance Into Brussels in 1889," by James Ensor.
But, unlike most museum directors, who are obliged to be promiscuous marketers, Walsh can afford to remain above it all—an old-fashioned aesthetic purist. At a press luncheon in New York earlier this summer, he neglected to mention one of his most costly acquisitions, van Gogh's "Irises." (He bought it in 1991, reportedly for close to fifty-four million dollars.) Nor did he mention it during the tour of the new museum I made with him, and when I asked about it he said, a little grudgingly, "Oh, it's going to be in that big room—with the Ensor." Williams says, "We'll leave the blockbusters to the other museums."
But if the Getty's billions bring with them some holier-than-thou smugness, so what? In an era when PBS is hawking "Lord of the Dance" videos to recruit new members and the Guggenheim attaches sponsors like Hugo Boss to its shows, the Getty is holier than they are. The Getty's Conservation Institute is preserving Buddhist grottoes in China, footprints of prehistoric people in Tanzania, and a Brancusi sculpture in Romania. Its Research Institute, having amassed more than seven hundred thousand books, is on its way to becoming the world's largest fine-arts library. "I thought I'd died and gone to Heaven," says Lynn O'Leary-Archer, the associate director of the Research Institute, when she saw a new refrigerated storage room she'd been given just to hold photographic negatives. The Conservation Institute also has a climate-controlled room, designed especially for antique clocks. "We have a lot of clocks," Walsh says with a happy shrug. At the no-frills end of a philistine century, Walsh and the directors of all the institutes made up wish lists, and most of those wishes were granted.
This is just how the future was supposed to be. From the parking garage at the bottom of the hill, it's a winding five-minute ascent on robot tram cars, past groves of California live oak and rusticated stone ramparts, to the Getty Center itself. The combination of microprocessed Epcot efficiency, permanently sunny panoramas, and Meier's highly classicized modernism is like a dream, or a "Star Trek" episode about Periclean Athens in a parallel universe.
The serenity is intense. A grand utopian peacefulness was the intent, and the process of the designing and the building was accordingly slow and steady. When Williams phoned Meier, in 1984, to tell him he had the job, Williams asked, according to the architect, "Can you finish it in three years?" In fact, it was seven years before the final design was unveiled. During his first year on the project, he, Walsh, Williams, and others from the Getty went on several world tours in which they visited libraries and research centers and, in southern Europe, wandered together through gardens and citadels, village squares and hill towns, seeking inspiration.
And so the dense, complicated cluster of Getty structures—there are eleven, occupying a hundred and twenty-four acres—is reminiscent, in its spick-and-span abstract way, of some Old World settlement. Given the traditionalism of the Getty's collection, the hilltop site, and the Southern California climate, the Mediterranean model was irresistible. There are six non-museum buildings, which are clad mainly in Meier's familiar white enamel-covered aluminum panels (off-white was his concession to the client and the neighbors), but the five-building museum complex is covered mainly in travertine from a quarry near Tivoli, north of Rome. Over the past two decades, it has become standard to paste thin stone veneers on high-rise office towers, as a kind of attenuated allusion to prewar architecture—class on the cheap. At the Getty there are three hundred thousand substantial chunks of travertine, most of them two-and-a-half-feet square and almost three inches thick. No wonder the original three-hundred-million-dollar construction budget doubled, and finally tripled.
Big modernist buildings, even great ones, are monomaniacal: their modernism consists in a machined-looking repetitiveness, and the effect can be oppressive. Any compound designed and built all at once—visit the Microsoft campuses in Redmond sometime—tends to be dreary. At the Getty Center, Meier has impressively avoided the problem. The buildings all have a strong family resemblance in scale and form and materials, but they are not clones. The center also proves, by counter-example, that the terrible thing about most postwar modernism was not the style but the budgets (too small) and the scale (too big).
Maybe because Meier designed the Getty just as the influence of postmodernism was waning, he was more open to its salutary influences. Postmodernism's most useful contributions have been to urban planning rather than to architecture: more than fetishizing antique styles, "new urbanism" regards the scale and the density of old towns as fundamental. And so the Getty Center, with its several piazzas and steps and odd angles, is an apt microcosmic simulacrum of Western civilization as well as its repository. There are quirks built in—moments of serendipity and pleasure. Connecting the separate museum pavilions are outdoor bridges and balconies that provide for sunny, breezy respites; this alone will make the Getty the pleasantest art museum on the planet. A brook runs a hundred yards downhill through the three-acre central garden to a reflecting pool. A smooth travertine wall is interrupted by a single cleft-cut block; conversely, a rough cleft-cut wall is punctuated by a couple of perfectly smooth pieces. Boulders are plopped in the fountain in the museum's central piazza. "It surprised me," John Walsh says of Meier's flecks of irrationalism, of fun. "You do not think of this artist as playful." In the center of the strictly off-white Getty Center, right between a tram station and a restaurant, sobersided Richard Meier has put a lavender steel trellis, color-coded for wisteria. "A whimsy," he says, smiling.
Entering the Getty galleries is a bit disorienting, like walking into eighteenth-century rooms in the eighteenth century—they're obviously brand-new but feel deeply old-fashioned. The walls are covered in oak panelling, elaborately tinted plaster, damask. The gallery spaces are traditional: high, windowless cubes, with upper walls canting inward and skylights equipped with computer-controlled louvres. After decades of SoHo loft renovations and Musées d'Orsay, we're used to inhabiting blond modernist interiors implanted within grand nineteenth-century shells. In the Getty galleries, that pattern is reversed: from within the Getty's old and faux-old rooms, one can glimpse in the distance bits of the grand new blond modernist shell that contains them. This experience of discontinuity is a fresh one—maybe a twenty-first-century one.
The weave of new and old turns out to be pleasantly strange, but it is the result of a decade of struggle, as well as collaboration, among the people creating the Getty. According to acquaintances of both men, Harold Williams and John Walsh have never been especially close. Walsh is thrilled with his new museum, but when I asked him in June if he was excited by the prospect of living Williams's grand Getty dream—curators and historians and conservators and pedagogues brilliantly commingling—he smiled thinly, looked away, and said, "In theory."
The occasional conflicts between Walsh and Richard Meier were more explicit and ideological. Both are ruddy, bespectacled Ivy Leaguers of strong convictions. Both are aesthetic conservatives, but while Meier's golden age is the nineteen-twenties and thirties, Walsh is very much a pre-twentieth-century man. As Michael Palladino, Meier's younger partner, who has worked on the Getty project since the beginning, puts it, "We like terraces, curves, and openness. But for this director and for this collection that wouldn't work." Williams and the trust hired Meier, as he had hired Walsh, but when disagreements arose he tended to side with Walsh. The architect says that his relationship with Walsh "is like a marriage, with its ups and downs," and he laughs. Walsh buys the marital analogy: "It's true. It's true. We gingerly approached some of the potentially divisive subjects."
Meier accommodated Walsh's insistence, for example, on picture galleries lit only from the top. But Meier says he finally couldn't accommodate Walsh's desire for "period rooms that looked like period rooms—I was not the person to do it, and I would not do it." As a result, in the late eighties Walsh hired the architect Thierry Despont, an eclectic classicist, to design the interiors of the fourteen decorative-arts galleries, four of which have panelling from actual eighteenth-century rooms. And three years ago, with Walsh and Meier continuing to clash over the interiors, Despont was given the job of choosing the finishes and decorative details for all the gallery interiors.
"I mean, it wasn't going to be love at first sight," Despont told me over coffee in his Tribeca office. "Did he welcome me with open arms? No. Obviously, Richard's idea was to keep it as white as he could. Neither the museum nor I personally thought that was the best way." Despont, who has just finished Bill Gates's extravagant new house in Seattle, said he became a kind of middleman negotiating between the museum director's traditionalism and the building architect's modernism. "Frankly, when I came in, I think John and Richard were quite far apart," he told me. "I pulled both sides together." He said he persuaded Walsh, for instance, that chair rails and cornices would be gratuitously literal. "I enjoyed arguing with Richard," Despont went on. "I have my idiosyncrasies, and he has his. In the end, it is Richard's opus. He has the last word."
Not really. Meier's contract stipulates that his designs must meet Walsh's requirements as a curator. As Meier explained to me one day over lunch at his extremely white loft offices on Tenth Avenue, "I thought I could convince John about my view of the world. But I guess that was somewhat naïve, because John has maintained his view. Some of the painting galleries have fabric on the walls." Meier sounds appalled. "I don't like fabric—I've never liked fabric on the wall. John wants fabric on the wall, he got fabric on the wall."
Meier's other main antagonist has been Robert Irwin, the San Diego artist whom Williams hired in 1992 to design the elaborate central garden, which will lie on a slope between the museum and the Research Institute. Meier regarded the garden as his prerogative. The client, however, wanted something more Southern Californian than Meier seemed likely to provide. Williams explains that he "wanted it to be an artistic event unto itself," and that Irwin represents "a significantly different attitude toward art from Richard. It's not as disciplined. It's more alive." Irwin's garden will include a waterfall, a floating maze of azaleas, a canopy of London plane trees and crape myrtle, and five hundred flowering plants. "Richard must have given you an earful on Irwin," Michael Palladino said to me. "If you put two artists together and ask them to paint on the same canvas, there are going to be problems."
When it comes to defending the Getty Center against outside criticism, however, Williams, Walsh, and Meier maintain a united front. In emphatically multicultural Los Angeles, where the freeways have signs directing motorists to a Museum of Tolerance, the Getty Center is routinely derided as élitist. By élitist, the critics seem to mean that it is physically very grand, that you can't park right at the front door, and that the collection consists overwhelmingly of works from the European premodern canon. The fact that Meier is a New Yorker and Despont is French probably adds to the sense of élitism. Although a city bus stops at the museum, there is parking space for only twelve hundred automobiles, and each parking space requires a reservation. About this crime against the car-loving people of Los Angeles, Walsh says, "We want to make a place that has a kind of unforgettable intimacy that's peaceful. And it can't be peaceful if it's overcrowded." The élitism charge, Meier says, "is a straw man, a false polemic."
Frank Gehry, the quintessentially L.A. architectural genius, celebrated for radical shapes and materials, has been among the most hyperbolic polemicists. "Williams spent one billion dollars on that hill, and he ignored Los Angeles," he told a reporter. "It would take him six lifetimes to undo the damage that that one gesture will do to the fabric of Los Angeles." Gehry had failed even to get short-listed for the Getty Center, and I asked Harold Williams if he thought his critique was sour grapes. "Sure," he said, smiling. He added, "Frank sent me a very apologetic letter."
Given the attacks, it's ironic that the place is so reflexively P.C. in so many ways. Of the five program directors whom the Getty Center flew to New York this summer for a press lunch, Walsh was the only American-born male. At the lunch, the director of the Education Institute declared that a major mission was to convince businesspeople of "the value of arts education to workforce readiness." She and the Information Institute director loaded their speeches with phrases such as "community-networking initiative" and "consensus building." The Research Institute has sponsored a seminar on the legacy of the Black Panthers and its P.R. material refers to the South Central riots as "the Los Angeles rebellion" and "the April 1992 uprising." Even the museum is irredeemably Californian. When some members of the curatorial staff felt traumatized by the move from Malibu to Brentwood, Walsh says, special "listeners" were recruited and workshops organized to help the staff members feel better.
The Getty Center should make Angelenos in general feel a little better, in part by making Los Angeles seem more like a real city. To begin with, there's the view: from the old downtown to Century City and over to the Hollywood Hills and on to the ocean, this is one of the rare local spots from which a person can survey the whole megalopolis. More obviously, the Getty Center will enable culturally ambitious citizens to weather the Woody Allen jokes. "I grew up in Los Angeles at a time when the only art that was around was Gainsborough's 'Blue Boy,' at the Huntington," Harold Williams said when I asked about his arts background. "It's time we began to think of Los Angeles as something different from earthquakes and fires and Tinseltown." (Tinseltown has been quite pointedly kept out of the Getty Center, which doesn't need its money and doesn't want its glamour: the only Hollywood trustee is a little-known Disney public-relations executive.)
"I think the Getty Center is going to change what actually happens and what appears to happen in Los Angeles," John Walsh says. "I think it will make it easier for serious people to persuade themselves they might come and live in Los Angeles. It will bring tourists here, and that will change the caricatured view of Los Angeles."
Of course, Disneyland and Sunset Boulevard and Rodeo Drive still dominate the brand image. It will take decades for the Getty Center to give L.A. the full measure of upper-middle-brow respect that Williams and Walsh and Meier want. But, having spent the last fifteen years getting this far, all of them are focussed on the long view, although their moods seem bittersweet. Three weeks after the center opens, Harold Williams will retire. Meier is down to the very last tweaks and fixes. "I'm happy and I'm sad," he says. "I don't know anymore what I expected. Once in a while, something gets planted while I'm in New York, and it's 'God, that's wrong—I don't know how that got by me.' Even if it's just this patch of ground cover. That's there forever." As for the interior décor, such as the hated damask walls, he says, "Those are things that can change. In ten years, someone could come in and say no." That might happen, since it doesn't sound as if Walsh is permanently ensconced. Because of rumors that he has considered leaving for a big job at an East Coast museum, I asked him how long he planned to stay at the Getty. He laughed, then said, "I'd love to be here for . . . a time—to operate this amazing machine that we've built. This is only a dozen years out. We have centuries ahead of us. Centuries." ©


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28S-FAR-107 - Mordanburg Backstreet Building 3
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Return to: Fabled Realm - Mordanburg

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text:
missing translation for 'onlineSavingsMsg'
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text: Caroline - Unregistered October 15, 2011 3:20 PM All the top 4 teams break the RRA, Ferrari for example claim nearly 100 engineers actually work on their historic F1 cars ... Sure. Mercedes don't count the people that work on the engines, and all the top teams use 'bogus' external companies to do work, because the RRA allows for more money to be spent on external services rather than internal ones. And FOTA have diluted the RRA anyway ... The external services cap was set at Euro 20 million, but FOTA increased it to Euro 30 million, staff numbers were capped at 280, but FOTA increased this to 315, but all these caps are still broken by the top 4 teams. FOTA should have excepted the Cost Cap idea (which under the name Budget Cap, was first proposed by Ross Brawn himself, and then taken up by Max Mosley) and that excluded the pay to drivers and a top designer, and gave more design and engineering freedoms, but FOTA in their amazing wisdom rejected it, and went for an unaccountable mishmash of regulations that none of the top 4 teams 5 agree 1 disagree


text:
Svetlana (ID: 83672)
Date of birth:January 18, 1995
Height:5' 3" (162 cm)
Weight:112 lb (51 kg)
Hair color:chestnut
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Total photos:26
Bikini photos:4
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text: The European Union and its Member States hold a strong and principled position against the death penalty, in all circumstances and for all cases. This position stems from the universal and fundamental right to life. It is also embedded in "human dignity" of every human being, even of someone who has committed the most atrocious crime.


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RSS (Real Simple Syndication) allows web sites and blogs to be "broadcast" across the Internet using XML, a descendant of HTML. These "broadcast signals" are picked up by programs called aggregators where you can read a collection of RSS Feeds to which you have subscribed. RSS Feeds are set up to transmit new postings or information on a specified cycle, typically at least once per day, providing the feed subscribers with an up-to-date news/information source.
Step 1: In Blackboard, turn off the WYSIWYG Text Box Editor:
1. Log in to Blackboard.
2. On the Welcome screen, click on Personal Information, in the upper left side of the screen.
3. Click Set Text Box Editor Options.
4. Click Unavailable and then click Submit.
5. Click OK twice to return to the Welcome screen.
Step 2: Find the RSS Feed Information
1. Open a second Internet browser window, and go to the URL of the RSS feed you want to include in your Blackboard site. On most web sites and blogs, you can follow a link from the main page that says "XML" or "RSS". In this example, Slashdot is used.
2. Click on the link. Select and copy the URL for the page that you are taken to (in this case, http://slashdot.org/index.rss), or write it down.
Step 3:Convert the RSS Feed:
1. Open a third Internet browser window (you should now have three windows open: one with Blackboard, one with the RSS URL, and one new one for the RSS Feed Converter).
2. We will use Feed2JS to convert the RSS Feed, but you can use FeedBurner, if you prefer.
3. go to Feed2JS at http://jade.mcli.dist.maricopa.edu/feed.
4. Select Build from the menu at the top of the page.
5. Enter the RSS Feed URL (in this case, http://slashdot.org/index.rss).
6. The remainder of this web page allows you to set various options for your RSS Feed display:
7. Under Show Channel, click Yes if you want to display title and author information for the feed; click No if you do not want to.
8. In the Number of Items box, enter 0 (zero) to show all items (stories), or another number to display that number of items.
9. In the Show/Hide Item Descriptions box, enter 0 for no descriptions, 1 for full descriptions, or a number of characters to display (such as 100).
10. Under Use HTML in Item Display, select whether you want to use all of the HTML given in the feed, none of it, or only paragraph breaks.
11. Under Item Posting Date, click Yes if you want to display the date the item was posted; click No if you do not.
12. In the Target Links in the New Window box, enter "y" to have links open in a new window (recommended).
13. Click Preview the Feed to see what it will look like.
If you do not like the way your feed looks, change your options accordingly.
14. When you are satisfied with your RSS Feed, click Generate JavaScript.
Step 4: Add the RSS Feed to your Blackboard Site:
1. In Blackboard, from the Welcome screen, click on the Blackboard course to which you will be adding the RSS Feed.
2. Click on Control Panel, in the lower left corner of the screen.
3. Click on a Content Area or on Announcements (depending on where you want to add the feed).
4. Click the Add a New Item button.
5. In the RSS feed window, copy the displayed code.
6. Paste the code into the Text Box of your Blackboard page. Select the HTML option below the Text Box.
7. If you want, before or after the pasted text, you can add some text describing what the RSS Feed is and how to use it.
8. Click Submit to post your RSS Feed.
9. When you return to section of your course where you posted the RSS Feed, it should display like this:
Now that you have created one RSS Feed and inserted it into Blackboard, you can repeat this process for as many RSS Feeds as you may need. Feeds can be added to any Content Area or to the Announcements screen.
Step 5:Format Multiple RSS Feeds in Blackboard:
If you wish to have two RSS Feeds in your Blackboard course that are displayed side by side in columns, you can do this using an HTML table:
1. In Blackboard, from the Welcome screen, click on the Blackboard course to which you will be adding the RSS Feed.
2. Click on Control Panel, in the lower left corner of the screen.
3. Click on the Content Area (or Announcements) where your Feed is located.
4. Click the Modify button to the right of the Feed .
5. In the Text Box of your Blackboard page, enter the following, replacing the bold information as appropriate:

[name of your first feed]
[name of your second feed]

[paste the code for your first feed here]
[paste the code for your second feed here]
6. Select the HTML option below the Text Box.
7. If you want, before or after the table code, you can add some text describing what the RSS Feeds are and how to use it.
8. Click Submit to post your RSS Feeds.
9. When you return to section of your course where you posted the RSS Feeds, they should display like this:


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One of my favorite songs is, The Waiting, by Tom Petty and the Heartbreakers. Not just because I saw them give an incredible concert performance of the song way back when, but more because it so aptly describes one of the prominent difficulties of the human condition: "The waiting is the hardest part."
I think we all understand the significance of learning patience but how long is too long to wait for something as important as a decision on the annulment process? This is a question on the minds of everyone that files for an annulment and often a source of frustration because there doesn't seem to be a definitive timeline.
I was recently asked this important question in an email: "Why aren't annulments given priority so that they are completed within a reasonable amount of time?"
The annulment process is critical to the future of many, many Catholics and so it's only natural to want to hear an answer sooner, rather than later. But it never really happens that way. Let's look at some of the reasons why this is the case.
- First, almost every tribunal has more cases than they can handle in a timely manner. Approximately 300 declarations of nullity came from the United States each year back in the 1960's; today, more than 60,000 a year are handled 1. That's quite a dramatic increase and requires a lot of time and dedicated personnel to address. I believe that for at least the first part of the process (paperwork) all cases are treated on a first-come, first-served basis.
- Next, administrative employees at tribunals do more than process cases. A researcher I work with says her discussions with tribunal employees reveal they spend a large portion of their day fielding phone calls from people calling to ask questions about filing for an annulment or about their existing cases which depletes their time to work through files.
You Are Part Of The Team, Too!
There are some other significant reasons that don't rest squarely in the hands of a tribunal, but involve the petitioner.
- Annulments often take a long time if the petitioner does not return the paperwork in a timely manner or does not get the paperwork from their witnesses back in a timely manner. I, myself, was culprit in this case. When I received my annulment questionnaire and read through it, I promptly tossed it into a desk drawer and didn't take it out for several weeks. It was just too painful to think about. Hey – it's natural and nothing to be ashamed of but it's still part of the reason why some annulments take too long. In the end, my annulment process was about 2 years long and I had a lot to do with that.
- There are also many cases where the petitioner returns their questionnaire with minimum information… one or two sentence answers which provide insufficient information. When this is the case, the tribunal will suspend the case due to lack of information. They then must go back to the priest or parish representative assisting with the case and ask them to speak to the petitioner to see if they can provide more information. If they can't or won't, the case will be dropped. This process can take months and certainly backs up the flow of follow-through on other cases.
- Oftentimes the petitioner will lose interest in the case during the process and will stop communicating with the Tribunal and/or their priest or advocate. This causes a lot of time spent trying to contact the petitioner and a lot of time waiting for a response, keeping the case alive and in the mix which clogs the system. Dr. Edward N. Peters, well-known Canon Lawyer, author and speaker states in his article, Annulments in America: Keeping Bad News In Context:
- Even after official acceptance of a petition, however, it can happen that a petitioner loses interest in the case, or witnesses fail to come forward in a useful manner, or other factors emerge which prevent the case from moving forward. Almost invariably, a petition which "stalls" does so for the same types of reasons which would have resulted, had the case gone to sentence, in its being denied.
- There are also difficult cases often times that take a long time to track down and gather pertinent information to fortify the deliberation process.
In all, there are many reasons why the annulment process takes time and rest assured, it's not to cause you frustration. Next, we'll take a look at the rise of annulments in America, another burning issue to contend with.


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Does your school communicate with parents primarily through email, electronic newsletters or other digital media? Do most of your school's parents speak English or Spanish? If you answered "YES" to BOTH of these questions, the online Parent Survey may be for you!
A free evaluation tool offered by the National Center for Safe Routes to School, the online Parent Survey is identical to the paper-based Parent Survey, but is different in that survey results are available immediately after parents complete the survey.
Visit saferoutesdata.org and select the Navigating the Data System document for more information.


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Rubber Band Bracelets (Free)
Lancaster Public Library-Children & Teens
Tuesday, July 29, 2014 from 6:00 PM to 7:00 PM (EDT)
Who's Going
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Sara Haughty
San Francisco, California
San Francisco, California
Luke Picard
London, United Kingdom
London, United Kingdom
Rick Vespucio
Florence, Italy
Florence, Italy
Event Details
Are you crazy for making rubber band bracelets? Meet Colleen Dorsey, best-selling author of "Totally Awesome Rubber Band Jewelry". Check out some new ideas and make a bracelet!
Ages 9-20
(Bates Auditorium)
Please pay all outstanding library fines before attending event.
Have questions about Rubber Band Bracelets (Free)? Contact Lancaster Public Library-Children & Teens
When & Where
Lancaster Public Library
125 N Duke St
Tuesday, July 29, 2014 from 6:00 PM to 7:00 PM (EDT)
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Lancaster Public Library-Children & Teens
Rubber Band Bracelets (Free)
Things to do in Lancaster, PA


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What would be a very broad estimate of daily travel, accomodation, food etc. budget for two people on a road trip?
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Daily $ Cost of Road Trip Through US
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What city?
Including gas;
In New York or San Francisco, $200 per person.
In podunk USA $100.
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The way I do it, or the way most people on Fodors do it? There are probably about 3 or 4 levels in lodging and in dining that make all the difference in $$$. And how many "entrance" fees are you including?
And also what vehicle you drive? We do a GMC van that is totally different $$ and convenience in comparison to a sedan we might also use for shorter trips.
Those variables make the estimate so broad that it might not fit YOU at all.
I do Priceline for end destinations, and 1 out of every 3 stops/lodgings on a road trip. That's a huge cut.
I did not spend 1/2 as much in NYC or in SF as some others do routinely.
And I am SHOCKED at how podunk now "is" in reality. Especially if it anywhere near a marketed tourist trap, for instance- Branson, Niagara Falls, Wisc. Dells, Mt. Rushmore etc.
We use the lodging coupons that you find in the books at the USA interstate rest stops and have gotten resorts/motels for 1/2 of the rack rates as well. One time in AZ I used a coupon near Montezuma's Well that got us a stay that included meals/lodging at a new, beautiful resort with those ads. It depends how you travel. There are lots of levels.
If you want guaranteed, concisely mapped reservations set in stone you will pay for them. And clearly with added taxes and parking fees some of the biggest cities are going to be far beyond $200 a day right now, I would think.
Keep a record of your car's mileage and at so much a gallon that's easy to estimate.
We find that the Southern continental USA is cheaper than the Northern continental USA in our experience.
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$30-50 for gas, $50-95 for lodging, $40-100 for food, $20-75 for souvenirs & admissions will take you through 95% of the country.
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For a rental car, add $40-60/day, depending on what model you rent, the kind of deal you get, and any added insurance you buy.
Another way to think of travel cost is $/mile. Vehicles range from 15miles/gallon for an SUV to ~30 for a small car. Most are in between. At $3.00 gallon (rounded down here for ease of calculation, that means 10c to 20c/mile for gas. Many places gas is now above $3.20, but you get the point.
How far are you driving? NY to SF is about 3000miles, so it'll cost you anywhere from $300-$600 for gas to drive straight across the country.
If you are on a tight budget, the big variables you use to reduce cost are:
1. meals - buy food at supermarkets & bring along a cooler
2. lodging - you can camp for <$20/night all across the nation (except in cities), or you can spend $200+/night or more at 3* or 4* hotels in cities.
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We drive a Prius, so we'd be on the low end of the gas. If you have a igloo type cooler, and buy breakfast and lunch fixings, that helps with food costs. And also the time of year can come into play for costs. If it's peak season, lodging would be higher. I've seen the same AAA diamond motel room on the CA central coast variy from $50.- to $135.- depending on the time of year, and weekday vs. weekend.
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AAA estimates that it costs something like 40c a mile to use a mid sized car. This takes into consideration gas, oil, price of car, how often you need new tires, the whole shebang.
A lot more expensive to drive than most people imagine.
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My estimation was per person per day BTW.
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To save money, one can get the smallest car with the lowest rental rate and highest fuel economy.
Don't sleep in hotels. Drive straight or sleep in the car at a truckstop. [They have paid showers too, if you need them.] Namebrand motels are getting expensive these days, often costing $70-80 or more; stay at the no-name places in small towns.
If you have to stay at chain motels, limit your choices to Motel 6, Super 8 and Econolodge.
Limit your dining choice to items on Wendy's dollar menu.
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Unfortunately, a lot more than it would have been a couple of years ago! In 2002 (I know, that's more than a couple of years ago) we drove from Chicago to Frisco, CO for four days and then to a Rockies game and up into Wyoming to Devils's Tower, over to Custer State Park for three days and back across SD, Nebraska and Iowa to Illinois in our Toyota Camry for a grand total of $188 for gas. Tomorrow we're driving to southern Illinois to visit my mother-in-law. It'll probably cost us about $100 for gas, round-trip. I fully understand that, in comparison to the rest of the world, we still have it good in terms of gas prices. But what a change in a relatively short period of time!
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Thanks guys. Gives me a pretty good idea of how much it might be. It will be close to $200 per person.
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If you go by the actual employee driving reimbursement per mile this year (national) it has changed more than any other year that I have handled travel accounts. I cut these checks for faculty reimbursement when necessary. It was 41.5 cents per mile
most of this year.
After a 44.5 cents per gallon period it went went down just a little, and now is probably at the 44.5 to 47.5 cents per gallon. If you used 48 cents per mile for an average larger sedan, I think you would be very close, on the gas portion anyway, of the trip.
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Sikki, your other thread says you'll be traveling alone. How many trips are you taking? You are all over the Europe forum, too.
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We travel several weeks a year staying in comfortable and conveniently located hotels in the ***/**** range.
In 2003-2004 rooms averaged $120 a night, and in 2005-2006 they are averaging $142.
I note we have compensated by fewer dining splurges. In 2003-2004 we spent an average of $85 a day in restarants; in 2005-2006 we are spending an average of $68 a day.
If you live in Europe, we find traveling in the USA costs about the same as traveling in Spain.
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rkkwan -
That doesn't sound like a vacation - it sounds like the Bataan death march.
I would either do a shorter trip to be able to afford at least the basics - somehwere to sleep and dinner in a decent restaurant - or - to keep the same length vacation find a way to save more money (cut back other places? get a temp second job?).
Really - I would een do day trips from home rather than sleep in my car (isn;t that called being homeless?).
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Thanks for the great ideas about how to save money while traveling.'
I was thinking that, perhaps, by begging I could make enough money to pay for gas and meals at Wendy's. Do you have any suggestions for effective panhandling locations and techniques?
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Yikes, these strategies are making my RV investment look good in spite of gas prices. I just completed a 3-week trip that cost under $100 per day for gas, food, and places to stay.
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Hahaha... That was how the other Fodorite yk and I used to do road trips in the old days. Come to think of it, that might be before Wendy's dollar menu. Instead, we go for their Superbar to get all you can eat for a few bucks.
These days, we don't travel together, we want to stay at nicer hotels for cheap. So, the current method is same-day Priceline. Figure out what major city one will be, then call the other to bid on Priceline. It's pretty easy to get Hyatt or equivalent for ~$50 + fees. Cheaper than many motels charge these days, but there may be parking cost and no breakfast.
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If you figured the cost of your RV into the cost of your travel, didn't you spend more than $100 a day?
I have relatives who don't maintain records of how much they spend on the upkeep of their beloved VW Camper because, if they did, they would have to sell it.
But maybe you have more sense than my brother-in-law.
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I bought the RV after my car was totaled in an accident, it only cost $16,000. So I'll factor that in, if you'll factor-in the cost of your family car on your car trips.
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Discounting air travel from Belgium to the US,after touring about 23000 miles we arrive at a person cost of 232 $. Greetings from Belgium.paul
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Sorry to learn you totaled the family car. Isn't it costly driving around town in an RV and trying to find a garage downtown?
When I take road trips in my car, I include auto expenses in travel expenses (and I should probably include depreciation).
I don't sleep in my car, though.
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If you sell your house and just live in your RV, then you save even more money. The cost per road trip can be a huge negative figure.
Say you sell the house for $300K and buy a nice RV for $100K, you save $200K. Do only one roadtrip in your life, and the cost will be -$200K! Even after you subtract RV park fees and fuel, it's still $190+K in the pocket.
Amazing, isn't it?
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Paris! Tahiti! Rio de Janeiro! These are some of the exciting destinations Americans aren't visiting anymore, because we're all broke. Forget jet-setting to exotic locales around the globe – nowadays, we're lucky if we can keep the tank full all the way to the nearest Six Flags. With a sigh of resignation, Americans across America are throwing up their hands and seeking out the delights to be found closer to home, from Pascagoula to Parsippany. And then we're mostly staying in our motel rooms. At least they have cable.
What better accessories for a mediocre vacation than this 6-piece set of mediocre luggage? Not only will this tote, garment bag, toiletry kit, and three upright suitcases provide perfectly adequate storage 'n' portage, you also won't really have to worry that one of your fellow Greyhound passengers will steal them.
When you're trudging to some nondescript state park, or some quaint little town with a bunch of antique shops and nothing else, top-grade luggage would only remind you of the sights you could be seeing if the economy wasn't comatose. You'll have a lot more fun if you just let go and accept your severely downgraded travel plans. Well, maybe "fun" is too strong a word. But you get our point. Don't just act out a dismal parody of a vacation – live it for real with this Beverly Hills Polo Club luggage set.
Whoa, look! That Applebee's has a totally different color scheme than the Applebee's back home!
Warranty: 90 Day Woot Limited Warranty
- 6 piece luggage set comes with 21", 24", and 27" upright suit case with tote, garment bag, and toiletry kit
- Lightweight aerospace technology
- High denier polyester fabric
- Recessed inline skate wheels
- Quick access zipper pockets
- Push-button locking handle system
- Industrial grade branded
- Beverly Hills Polo Club hardware
In the box:
- 21" Upright
- 24" Upright
- 27" Expandable Upright
- 15" Tote
- Garment Bag
- Toiletry Kit


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I love how Kneepads is perfectly willing to take Tom Cruise's side about things and chooses to ignore anything to do with Scientology. It is like there is nothing bad that can come into the little cocoon that People has created for itself and it is all unicorns and naked David Beckham photos in their offices. Katie Holmes went to Ohio last week. Raise your hands if you ever saw Katie Holmes go to Ohio the entire time she was married to Tom. Yeah, except for the Scientologist in the corner I don't see any hands. I'm pretty sure you could go back and document almost everyday of the couple's marriage with photos and I know no one was photographed in Ohio or mentioned Ohio or even said the word Ohio. It sure wasn't Katie saying it because all she ever said in any interview was the word amazing.
"Katie visited Ohio with Suri many times. To say Tom prevented anything is a gross lie. He not only didn't prevent [Suri having a relationship with Holmes' family] but encouraged it and paid for it!" I really like the exclamation point, and thanks for paying for your kid to see her grandparents. That is really generous of you. How about also paying for some reimbursements for all those people Scientology screwed over. "The first several birthday parties Katie and Tom threw for Suri had the family and cousins come to town – all expenses were paid for by Tom." So, still no actual going to Ohio. Oh, and notice this was the first several parties. What about the last three?
"Holidays were always a family affair for the couple, the source says, no matter where their filming schedules took them. Holmes and Suri spent one Thanksgiving in Toledo with Cruise's teenage children, Bella, 19, and Connor, 17, while the actor was in Austria shooting Knight & Day and couldn't make it home in time to join the family." So, if he could have made it in time there would have been no Ohio. Wow, the guy protests a lot. I can see him shouting at people and spit flying from his mouth as he jumped up and down in his lifts while screaming, "I paid for those people from Ohio to come here. You tell them I did."


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Zac Efron Lands in New York City
Posted Monday April 6, 2009 2:26 PM GMT
Making his way to the Big Apple once again, Zac Efron was spotted arriving at JFK International Airport this morning (April 6).
The "High School Musical" stud looked focused as he made his way out of the terminal, sporting a brown leather jacket along with a white t-shirt, dark jeans, and black sneakers.
Zac is in town to rehearse for his big Saturday Night Live hosting gig this weekend, where the Yeah Yeah Yeahs will be the musical guest.
Not-so-coincidentally, Efron has a new movie coming out on April 17th called "17 Again," in which he plays a man who has been given a second chance at being a teenager.
Enjoy the pictures of Zac Efron arriving in NYC (April 6).
Photo Credit: SplashNewsOnline.com


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One the happiest parts of my life at present is the view out my office window. My second-story window in Sutherland Hall at Biola University looks down on a little sunlit courtyard with a fountain. The branches of a tree touch the window, and through-out the day, the sunlight filters through the leaves illuming and [Read More…]
Sitting Just Quietly in God's Light
Ashes and Life
This summer a neighbor of mine died. I had gotten to know Jim and his wife, Teresa, during the last ten years I've lived on their street. I had the privilege of offering a tribute at his memorial service. The service was unlike any I'd ever been part of because instead of burying his body, [Read More…]
Schleiermacher was Wrong
As I celebrated the graduation of the Torrey Honors Institute class of 2013, I took some time to think back on significant times I had shared with them. I thought of the Christmas party at my house their freshman year and the camping trip their sophomore year, when we read the entire Divine Comedy around [Read More…]
Reminding God of the Brevity of Human Life
I'd like to suggest an alternative to the common understanding of a well-known verse. Verse 12 of Psalm 90 is translated: "So teach us to number our days that we may get a heart of wisdom" (ESV). The verse is usually taken as a prayer for God to give us the wisdom that comes from [Read More…]
Hebrews: The Mind-blowing Finale
The book of Hebrews is the grand finale of the first semester in the Torrey Honors Institute. After the freshman fall, the curriculums for Torrey's two houses take their separate ways: the Morgan House following a roughly chronological path to bring them up to the twentieth century in senior spring and the Johnson House dwelling [Read More…]
The Wily Work of the Gibeonites
Several years ago I preached a sermon on Joshua 9, a chapter my Bible titles, "The Gibeonite Deception." The story tells how the Israelites, fresh from their initial victories over the Canaanites at Jericho and Ai, were tricked into making covenant with the people from the city of Gibeon. The Gibeonites were Hivites (Josh 9:7), [Read More…]
General Honors 1920 and Torrey Honors 2012
In the Torrey Honors Institute we read Western classics; then we sit in a circle and talk about them. This peculiar form of education (and the list of classic books) can be traced back to the General Honors course offered at Colombia University beginning in the fall semester of 1920. It's remarkable how many of [Read More…]


text:
Gate Bluesky Hotel Balikpapan
Business Deluxe Bluesky Hotel Balikpapan
Business Deluxe
Business Deluxe with Balcony
Executive Room
Royal Suites
Studio Room
The BLUE SKY HOTEL is located in the west side of the Oil City of Balikpapan, five minutes drive from Major Oil Company offices and twenty five minutes drive from Sepinggan International Airport, which makes it the perfect location for our business or pleasure trip to Balikpapan.
Blue Sky Hotel offers a choice of 122 rooms, apartment and suites. These rang from Business rooms through to the ultimate including separate shower and bath and your choice of one king, two double or two king single beds.
The Sunset Executive Lounge located on the top floor of Blue Sky Hotel with the "Sunset Club Lounge" it is on the 8th floors. The sunset club has been developed to recognize the demands of customers by providing "Personalize Services". Providing rooms with sea view and garden view, also facilitate the check-in and check-out procedures, breakfast, afternoon tea, cocktails and beverage services. The Sunset Club Logi is use brand recognition for a higly personalized service of Blue Sky Hotel
A wonderful experience begins at Bodyfresh Halth Club & Spa, a journey into physical and mental wellness. Equipped with outdoor Swimming Pool, Fitness Center & Aerobic, Tennis and Squash Court, Spa Package, Treatment & Beauty Salon.
|• 122 Rooms & Suites
• 14 Meeting Rooms
• Ballroom
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• Garden Restaurant
• Kaizeki Japanese Restaurant
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• My Bread Cake Shop
• Lounge
• Swimming Pool
Jalan Letjen Suprapto No. 1, Balikpapan Barat, Kalimantan Timur 76131
E-maiL: firstname.lastname@example.com
Telp: +62 542 735 845


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Media / Talk of the trade: Star diplomat
Click to follow
The Independent Online
The Independent Online
THE EMOLLIENT Australian Gary Davey, deputy managing director of BSkyB, has been dispatched to Hong Kong by Rupert Murdoch to sort out Star TV, the pan-Asian broadcaster he bought last year. Hong Kong experts say the Star service is potentially as important as satellite television proved to be in Eastern Europe: information-starved families and villages are saving to buy pooled satellite dishes. Star needs a diplomat at its helm: it is in a legal dispute with the BBC over its contract to broadcast World Service Television throughout Asia, while Murdoch is apparently viewed with deep suspicion by the Chinese government. Davey helped to bed BSkyB down after the merger with British Satellite Broadcasting and then to switch to a multi- channel subscription service. Murdoch's aim is to expand Sky News from a UK channel into an international service: John O'Loan, who set up Sky News, is working on the project. Reuse content


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Eating Disorders Treatment Centers in Dayton, OH
Area auto widened to Montgomery County - no Eating Disorders Treatment Centers were found in the city of Dayton, OH.
"For a lot of people, they are not aware that detox from an addictive substance has many potentially life-threatening effects. We offer a safe and highly monitored detox environment that is designed for the most comfortable physical detoxification process possible. A drug detox center can offer you monitored detoxing in a comfortable, safe environment with the latest in detox medications and care. In addition to detox services, you will also get support and encouragement to help you get through this time."
Eating Disorders
We serve:Kettering, Ohio 45429
No more Eating Disorders Treatment Centers in Montgomery County - Try other Treatment Centers below
"Changing a situation cannot be done in the same frame of mind that produced the unhealthy situation to begin with. You cannot judge judgement and thereby rein it in. You cannot solve the problem of excess problem solving with more mental analysis and verbal problem solving. When you do not know which way to turn we will help to shine a light forward."
"Our mission at Palm Beach Recovery and Wellness is to see every client through their own personal recovery process and into a healthy sober lifestyle. Everyone that walks through our doors is given a unique level of care dependent on their specific needs. Our hand-picked certified therapists and counselors have a passion for helping those struggling with addiction and are adept at handling all forms of substance abuse. We truly believe that no case is hopeless and that anyone, no matter the circumstances, deserves healing and a fair shot at sobriety! It is known that substance abuse affects the user on all fronts and that long-term recovery is typically found when the mind, spirit and body are addressed simultaneously. We have found that focusing strictly on any of these categories is but a temporary solution. At Palm Beach Recovery and Wellness, we treat more than just the symptoms of the disease. Get the results you need through cutting edge therapeutic techniques designed to get to the root of the problem and start the healing immediately."
"Foundations Wellness Center is a substance abuse and mental health treatment facility. We offer our services to individuals across the country suffering with the disease of addiction and co-occurring mental health disorders. We strive to provide the highest level care to all of our clients. We believe by providing individualized care and specific treatment plans that we can help any individual build a foundation to a sober and healthy life! If you are struggling with addiction please don't hesitate to call we will do our best to help anyone!"
We serve:Centerville, Ohio 45459
"DAY/NIGHT TREATMENT, INTENSIVE OUT PATIENT, OUT-PATIENT, At Foundations Wellness substance abuse and mental health treatment facility. We offer our services to individuals across the country suffering with the disease of addiction and co-occurring mental health disorders. We strive to provide the highest level care to all of our clients. We believe by providing individualized care and specific treatment plans that we can help any individual build a foundation to a sober and healthy life! If you are struggling with addiction please don't hesitate to call we will do our best to help anyone!"
"The Core Centers are the most individualized treatment facilities in the country. Our residences and facilities are designed with you in mind, in order to make your recovery as confortable as possible. We are offering a wide range of spiritual and holistic activities, that have been develope by our clinical team. Our success ratio is among the highest. Call us today for a free assessment."
"At JC's Recovery Center, our patients develop new perspectives and learn life skills that help them break free from patterns of addiction-including mental illness, depression, anxiety, trauma and more. Individual addiction therapies help our clients reclaim a sense of identity after years of substance abuse and self-negation. Through individual therapy many will learn to take responsibility for their lives and learn from their mistakes. Life struggles will be an opportunity to relate to others with wisdom and compassion not depression and anger. Overall, one-on-one counseling will be the catapult to meaningful relationships and purpose-all presented in light of the hope that faith offers."
"If you are an adult with commercial insurance, asking for help with your Drug and/or Alcohol addiction and possibly other Co-Occurring issues (such as depression, anxiety, bipolar disorder, PTSD and trauma) and believe it is time for longer term Residential Treatment (including Medical Detox) then I am here for you. We can offer you "Believable Hope". Every day offers a new opportunity. CONTACTING ME DIRECTLY is the first step to make that opportunity a reality. You can be addiction-free and truly enjoy a healthy and happy life! I can assist you so you can make the best informed decision for your own individualized treatment needs. We have a complete treatment team that can help you navigate this process. You are not alone while on your recovery path. We believe that Addiction is a TREATABLE disease as are its associated medical, psychological and social issues. If you have Insurance coverage through an employer, please give me a call directly so we can begin your "new reality" together today."
We serve:Centerville, Ohio 45458
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"Welcome and thank you for considering Options Behavioral Health, and allowing us to be a part of your journey to a new and richer life. We realize that the decision to seek treatment can be one of the most intimidating and stressful choices you will ever need to make. Our compassionate staff strive to create a safe, supportive and caring environment, which we feel is the most crucial component we can offer our patients and their families as they begin their process of healing."
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Salt Factory Nuchi Masu
Tired of turkey leftovers, my friends and I had the opportunity to do some sightseeing on our little lovely island. We ventured out to the neighboring islands of Ikei, Henza & Miyagi, all accessible by bridge (no ferry required) in search of the famous Okinawian sea salt factory.
After a few wrong turns, we finally made it to the Okinawain Sea Salt Factory called Nuchi-una (also known as Nuchi Masu – "masu" being the Hogan/Okinawian dialect for the word "salt"). Way back in the day, my Granny used to say there are 3 white poisons – salt, sugar, and flour. My Granny didn't know about the Nuchi-una type of salt. It's special. If you are interested in health and the benefits of minerals, this would be a great place to learn about a "healthy" salt to add to your diet, backed by extensive scientific research. And how great to use salt made 100% from Okinawan sea water!
A small gift shop (located on the second floor with the café) boasts salt gift sets, and several different types as well as different sizes of cooking salt. The kind little Okinawian gift shop lady will give your tired dry hands a free demonstration using the body salt products. My friends and I had noticeably softer skin after she massaged the products into our skin. Here are a few of the highlights:
There is breathtaking scenery on the premises, with beautiful beaches nearby. If you cross the bridge to Ikei island on a windy day, you might be lucky enough to see tons of kite surfers flying across turquoise water.
The Nuchi-Masu Café "Ta Ka Ha Na Ri" lunch sets are about 1,500Yen and include several tiny side dishes, rice, homemade pickled vegetables, a miso soup, with tea/coffee and salt ice cream dessert. The lunch set portion sizes were average. My friends and I loved the lunches in the restaurant. The pork set is richly marbled with fat, the fresh fish set was very tasty, and the curry set was delish!
There is an informative presentation, but you'll need a friend fluent in Japanese & English to translate for you since it's only in Japanese.
For hygienic purposes, visitors can't actually go into the factory rooms, but the viewing windows are large. You can take as much or as little time as you like, as it is a self-guided tour. There is no entry fee!
I spoke to the owner's older sister (who volunteers a few days a week at the factory) and she speaks wonderful English. If you send an email ([email protected]) she will probably be the one who replies to you. Many other staff members spoke no English at all.
The driving directions in Okinawa Living Magazine (November 2012 issue) were NOT the best. We had better luck plugging the address (2768 Yonashiro Miyagi, Uruma City, Okinawa 904-2423) into our iPhones and using the Google maps feature or just check out the pin on the map below.
Watch for pictures of the sign, and you'll find it much faster than we did! The website includes the menu, hours of operation, and map.
Address: 2768 Yonashiro Miyagi, Uruma City, Okinawa 904-2423
Phone: 098-983-1111
Website: www.nutima-su.jp/eu/index.html
Email: [email protected]
Hours: 9am – 5:30pm daily
Send Us A Message Here
May 1, 2015
This is one of those places that is just fantastic & that everyone should go to. The self-guided "tour" is very nice…it is written in English under the Japanese (they will give you a paper with info in English as you enter). The salt is so beautiful to see and it is interesting to see it processed. We also like the gift shop upstairs- in fact we go there for some things fairly regularly.
Great place…and best of all it is free for the walk and the tour.Catherine
June 22, 2014
We stumbled on this place today & what a nice surprise!! Gorgeous lookout, English translation on the television & tour. Katsuren Castle & this place in one day is a great outing. We didn't have time for the cafe, but it looked delightful especially if table is available out on veranda overlooking the amazing oceanE
May 24, 2014
We took our 5, 4, and 2 year old. They loved the walk along the heavy forested path onto the beautiful lookout. We got the salt ice cream and they only could eat a few bites so I had to finish it, I was happy about it. What a great find and beautiful drive as well.Shana
November 19, 2013
Directions: From Kadena Gate 3 at the traffic light turn right toward 75. At the 3rd traffic light (traffic light at the Family Mart being 1st) Turn left toward 85. When you see Aeon on your right, turn left toward 33. Drive awhile. The road will end with the T intersection. Turn right at the traffic light. Drive wounding road (seawall is on your left) and turn left at the next traffic light. You will see the sign for Ikie, Miyagi island. Drive over the long bridge. Drive for awhile and you will see the Sea Wall with paintings on your right and will be able to see the Factory sign on your left. (like the picture above.) After the Sea wall, the road turns right and you will go over a very short bridge. Now you are in Miyagi island. You will see another factory sign on your left (smaller size). Drive the cliff road and you will see the factory sign on your right (above picture) and that is the drive way to the factory. You will park on left.
It takes about 50 minutes from the Kadena to the factory. You will be disappointed if you expect grandioso. But the scenic driving makes worth the trouble.Seung
December 30, 2012
This place sounds very interesting! Would it be appropriate to take a 3 and a 6 year old?Shannon
January 18, 2013
Hi Shannon, I think it would be fun for your kiddos to walk around the grounds, and take a quick spin through the factory part. If you go on a clear day, you'll be able to view breathtaking scenery. The service in the cafe was pretty quick, but if your kiddos are picky eaters, you might want to bring food for them to eat, as the menu is a tad limited.FormerGaGal


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- Choice in how the product is deployed, as well as how people access and use it. Customers can access Microsoft Dynamics GP through a rich client and an innovative new Web client so they can get to the information they need when they need it and on the device of their choice. Improved "hostability" features include a new hosting management console for cloud deployments to streamline deploying and managing Microsoft Dynamics GP in the cloud.
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2014 Jeep Grand Cherokee Appleton, WI
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Anthony M. "Tony" Fairbanks
Inducted into the U. S. Ballooning Hall of Fame
August 1, 2010
By the Balloon Federation of America
at the National Balloon Museum, Indianola, Iowa
Anthony (Tony) Fairbanks was born April 19, 1906 Newark, New Jersey. Tony grew up in Swarthmore, Pennsylvania where he graduated from Swarthmore College in 1928 with a degree in engineering. He and his wife Mary Louise had four children: Joan, Antonica (Nica), Michael, and Jean. He enjoyed balloon flights at every opportunity, Magic Club, HAM Radio Club, the American Radio Relay League, and was a past president and a very active member of the Swarthmore Lions Club. He also spent many summers with his family at his house in Ocean City, NJ., where the family enjoyed being by the beach and sailing.
During his career Tony worked as a weights engineer for Vertol Helicopters, a Consulting Engineer for Piasecki Aircraft and as an aeronautical engineer for Boeing Aircraft Corporation where he worked when he retired.
The remembrance of a man's life is often measured by a single achievement; a record held, an award, a mountain climbed. Tony's life must be measured by his total contributions. How else could you explain a 60 year love affair with flight, and more specifically, ballooning.
Only 20 years after the Wright Brothers flew the first plane, Tony found employment in Cleveland, Ohio, and quickly became a licensed glider and fixed wing pilot, with his own airplane, a "Buhl Pup". During World War l, the U.S. government trained blimp pilots, by flying free balloons, manufactured by the Goodyear Tire and Rubber Company. In Cleveland Tony met Milford Vanik and George Hineman. Both men had purchased WW 1 surplus balloons and Tony quickly joined them for flights.
Tony's log book documents his first balloon flight on September 13, 1931. After work, on a Friday evening, the young engineers would inflate the "35" (35,000 cubic foot balloon) with coke oven gas, and fly all night. They would land the next day, only when their ballast was exhausted and most of the gas had leaked out of the surplus balloon. In 1932, with the purchase of a 1920 Navy surplus, 80 000 cubic foot balloon, the Cleveland Balloon Club was created, with Tony as a charter member. This was the only civilian Balloon Club in the United States. Tony had his first solo 35,000 cubic foot gas balloon flight in 1935.
Vanik and Fairbanks won second place in the U.S. National Balloon Championship in 1936, where Amelia Earhart was the honorary referee, making them eligible to represent the U.S. in the Gorden Bennett Race, in Lvov, Poland in 1939. Tony's family still has in the archives the telegram from the National Aeronautic Association, dated August of 1939, telling him that War Department stated "that their balloon team should not venture to Poland". Indeed this was the time and place of the beginning of WW ll, as the Nazi Airforce bombed the city of Lvov. It would also be the end of the Cleveland Balloon Club. There would be no more ballooning in the United States until 1951.
During WW ll, Tony worked for Curtiss-Wright Aircraft, in Buffalo, New York producing P-40 fighters, C-46 transports and SB2C Helldivers. As the War ended, Tony was drawn to the early vertical flight pioneers and worked with Igor Sikorsky and Frank Piasecki , both legendary helicopter manufacturers. Frank Piasecki was a balloon enthusiast and flew in balloons with Tony. Tony's professional career as an aeronatical engineer included Vertol , the helicopter division of Boeing.
A small group of balloon enthusiasts met in 1952 and created the Balloon Club of America, signing the articles of Incorporation in July of 1952 in Swarthmore, Pennsylvania . This group represented the entire ballooning community in the United States. The first flight of the newly organized Club was in November, with Don Piccard, Tony, John Dura and Jerry Burns. Balloons, pieces of balloons and equipment were donated surplus material from the end of WW ll. It had been more than 22 years, without a single balloon flight in the United States.
The Balloon Club of America remained a small group of dedicated "balloonatics". During the decade of the 50's and 60's, gas ballooning was expensive, work intensive, and without any sponsorship. The available gas was "cooking gas", which was highly flammable and dangerous.
In 1953, Mike Todd contacted the Club, to borrow a balloon for his filming of "Around the World in 80 Days". The balloon, N9074H, was shipped to Hollywood, painted and named "La Coquette". In 1955 Tony piloted La Coquette over Disneyland, London and Paris to promote the movie. La Coquette became the symbol of the movie and started it's own unique history, to become the icon of American balloons. In 1956 Tony became the first Balloon Pilot Examiner in the United States. This was the beginning of licensing examinations for pilots. (The F.A.A. had not yet been created).
In 1956 the National Lighter Then Air Society of Akron, Ohio (NLTA) was formed. This was the only other balloon club in America. It's distinguished member was Augie O'Neil who held an airship's pilot license authenticated by the signature of Orville Wright. These two clubs joined for the first and last time, creating the 1960 National Balloon Race, which consisted of 3 balloons. Tony was the Race Judge and Command Pilot and decreed that all of the pilots came in First Place. In 1960, there were less than 15 licensed balloon pilots in the U.S. In 1961 the Balloon Club of America and the N.L.T.A. formed the Balloon Federation of America ( B.F.A.). When the B.F.A. published it's first journal, "Ballooning", volume 1, number 1, in 1968, La Coquette was on the cover.
During the decade of the 60's and 70's, gas ballooning was more organized and popular in Europe. Beginning in 1957, Tony would often return to Europe and flew in over 20 balloon events. He was a pilot in the 1960 International Balloon Race, in Holland. In 1968 Tony was invited to fly across the Swiss Alps, in the High Alpine Dolder Balloon Week. Beginning in 1968, Tony would return to fly in this event seven times, the most of any American pilot. In 1976 Tony and his son Michael represented the U.S. in the First World Gas Ballooning Championship, in Germany. Shown at right is Tony flying over the Alps in June of 1969.
By the beginning of 1970 in the U.S., cooking gas was no longer available and hydrogen was very expensive. The Club's surplus balloons were beginning to show their age and few new pilots were interested in this labor intensive sport. The Club continued to fly their gas balloons until 1977, but in 1973 Tony returned from England with a Western Hot Air Balloon System. Tony liked hot air and flew in the 1973 First World Hot Air Balloon Championship, in Albuquerque. He was a pilot in the 1974 Nationals in Indianola, Iowa. In 1979, Tony was the subject of the book "Down One Diamond", written by his son Michael.
In 2010 Tony was inducted into the U. S. Ballooning Hall of Fame, in the National Balloon Museum in Indianola, Iowa. The same year, his beloved La Coquette was given to the International Balloon Museum in Albuquerque, along with his scrapbooks and original photos. His contribution will be his life-long love of flight, and the silent impact he has had on ballooning. Tony was also a photographer and he recorded gas ballooning from 1931-1977. No other historic archives exist. His legacy has been preserved by his loving family, in the Fairbanks Family Archives of Ballooning.
Tony's son Michael Fairbanks became a distinguished gas and hot air balloon pilot. Michael was an F.A.A. Balloon Pilot Examiner, and flew in the First World Gas Ballooning Championship of 1976. Although Tony's ambition to fly in the Gordon Bennett was averted because of World War ll, Michael completed his father's dream by flying in the Gordon Bennett Balloon Race in 1990.
This biography was submitted by Tony's daughters, Antonica and Lillian Jean. Photos courtesy of the Fairbanks family and GasBallooning.net.
For more complete information and photos click here for complete printable PDF document.
National Balloon Museum and Ballooning Hall of Fame | 1601 N. Jefferson Way (Highway 65/69 North) | P.O. Box 149, Indianola, IA 50125-0149
Phone: (515) 961-3714 | Email: firstname.lastname@example.com


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Holiday Inn Hotel & Suites Scottsdale North - Airpark
Holiday Inn Hotel & Suites Scottsdale North - Airpark
14255 North 87th Street
14255 North 87th Street
Scottsdale, Arizona
United States
Check In: 3PM
Check Out: 11AM
Check-in Age: 21
Distance from Airport
Phoenix Sky Harbor International Airport 20 MI/ 32.19 KM
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Welcome to Holiday Inn Hotel & Suites Scottsdale North - Airpark
2015 IHG Renovation Award Winner
Experience an urban atmosphere surrounded by inspiring Sonoran Desert landscape in beautiful Scottsdale, Arizona.
Built with a contemporary design and conveniently located off the Loop 101 at the Raintree exit, our newly updated Holiday Inn & Suites Scottsdale North-Airpark offers close proximity to exciting indoor/outdoor activities, unique seasonal events, shopping, dining, and night life with exceptional customer service.
Waste Management Phoenix Open, Barrett Jackson, Westworld of Scottsdale, and Venue 8600 are just a few of the spectacular experiences held within 5 miles of the hotel. Cactus League Spring Training baseball games allow visitors to see many of their favorite teams while building memories with friends and loved ones as do all our major sporting events in the area.For teams playing at Reach 11 Sports Complex or Scottsdale Sports Complex, we are nearby for quick trips to the fields.
Take time to relax by our 2-storey freefall water feature at the outdoor heated pool and hot tub or practice your game on the putting green. Come see the new equipment in the fitness center and business center. Enjoy property-wide Wi-Fi and high-speed Internet access with a complimentary hotel shuttle transportation within a 5 mile radius.
Our friendly and knowledgeable staff has all the information needed to plan your trip.
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Kids ages 12 and under stay for free when sharing their parents' room.*
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- Car Parking Available
- We have complimentary parking for registered guests at the hotel.Outdoor parking only, with accessible parking available. Hotel is not liable for any loss or damage caused to a guest's vehicle. Tesla Car Charging Stations Available to guests.
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- No pets allowed
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- Pet Fee per Night: 250 USD
- No pets are allowed in the rooms, common areas, or hotel grounds. No pets policy is adhered through personal inspection at check out. A deep clean fee of 250.00 will be assessed to cover the expense to sanitize, recondition, and deodorize the room.
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- Number of Floors: 4
- Total Number of Rooms: 117
- Number of Suites: 35
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- Number of Accessible Rooms: 8
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