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Steven Tyler Gets Bleeped on 'American Idol'
Wednesday night's 'American Idol' saw the three remaining finalists doing a trio of songs as they all vied to make it into next week's finale. Let's check in on our favorite judge, Steven Tyler.
Jessica, Joshua and Phillip did three performances — one song chosen by the judges, one chosen by the contestants themselves, and one chosen for each singer by producer Jimmy Iovine.
Joshua was up first, and inert substance Randy Jackson chose the Etta James classic 'I'd Rather Go Blind' for him. (He said the title was 'I'd Rather Be Blind' which is of course wrong, but it's sad that a white girl like me knows Etta better than Randy does, yo.) Steven said it was "another Joshua moment" and that he sang like the 'American Idol' that he is. Whether or not that's a compliment is for you to decide.
Jennifer Lopez chose Mariah Carey's 'My All' for Jessica, and afterward, Steven predicted she'd "be the last one standing" on the show. So if she wins, you heard it from him first.
Steven picked Madcon's 'Beggin' for Phillip, which was kinda risky since it's not a song many people know and that's always a dicey move in the final rounds of this show. But the performance was good — so good, in fact, that Steven said once Phillip starts writing his own songs, he could be the new Bruce Springsteen.
Normally we wouldn't bother telling you what tunes the contestants chose for themselves, but since Joshua chose your exhausted recapper's all-time favorite song, John Lennon's 'Imagine,' we have to give it a passing mention — and say that he utterly ruined it. Someone needs to tell that kid that not every song is a gospel joint.
And since Jessica chose Aerosmith's 'I Don't Want to Miss a Thing,' we have to touch on that too. "You just took a great song and made it greater," Steven told her. We know lots of rock fans hate that song with the heat of a thousand suns, so take that however you like.
Jimmy is one of the most successful producers on the planet for a reason — he knows when songs are a good fit for performers, so his picks for the contestants were spot-on. As an example, the very thing that made Joshua's performance of 'Imagine' so awful is what made his rendition of Mary J. Blige's 'No More Drama' pretty kickass.
And Bob Seger's 'We've Got Tonight' was a great fit for Phillip. His voice isn't perfect, but neither is Bob's — and sometimes it's the feeling that sells a song, not a pitch-perfect performance. And Phillip sold the hell outta that.
Steven called it "beautiful" and got so excited that he said something Fox had to bleep — but we have mad lip-reading skillz, especially for expletives. Talking about earlier in the season, he said Phillip sang like he "didn't give a sh-t" back then, but that he'd now proven he had the "passion" of a real performer.
Thursday night another contestant falls away to reveal the final two. See you then.
Watch Steven Tyler Get Bleeped on 'American Idol'


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Robert Plant of Led Zeppelin confirmed the news while making his way to meet bandmates Jimmy Page and John Paul Jones in London.
No more rumors are needed for Led Zeppelin's reunion. The frontman Robert Plant has confirmed himself that it's indeed happening.
NME.com was contacted by a fan who happened to meet Plant on the singer's way to a 'meeting'. When asked about the reunion, Plant said, "How did you find out about this? Well we've got a band meeting about it this afternoon about it. There's not a lot to work out as it's only going to be one-off gig."
Although there's no statements regarding when or where the gig will take place, media speculation points out to London's O2 in November. The reunion is proposed as a charity concert that is organized by Harvey Goldsmith. The promoter recently warned fans not to rush into conclusion when tickets for 'exclusive' gig were sold for 369 pounds last weekend.
He said, "We are concerned that the public will be fleeced. The bottom line is that unless official adverts have appeared for concerts, tickets are not on sale. Do not buy from unauthorized sources."

subset: commoncrawl


text: 4 Reasons to Finish Your Degree Online Posted July 22, 2015 by Elizabeth Alton in Online Learning Tags: Online Learning Thousands of students each year start college degree programs that they don't finish for a variety of personal or professional reasons: a great job offer, an unexpected addition to the family, a cross-country move, an illness. Such big life events can derail even the most dedicated student. Yet students are often drawn back to school to finish what they started, whether it's based on a desire for career advancement or to achieve personal educational goals. Given that these students who return to college often have demanding schedules of job, family and other responsibilities, an increasingly appealing option is to finish their degree online. Here's a closer look at why online degree completion may be the right choice for students.1. More FlexibilityOlder students who are returning to finish their degrees have obligations that younger students often don't, including jobs, partners, children and other demands on their time. Fitting in time for their education often requires creative scheduling. Online classes allow you to study anywhere you have a computer and Internet connection. Whether you're an early riser or need to fit in your work on the weekends, online classes allow you the flexibility to read, study, and complete work when it's most convenient for you – without taking your focus away from other commitments.2. Transfer FriendlyYou've already invested time, money and effort into taking classes. Even if you're going back to school in a different program, you want to get as much credit as you can for the work you've already done. Online universities with transfer-friendly policies can help students save both time and money on finishing their degrees. At American InterContinental University (AIU), for example, you can transfer in up to 75% of your qualifying credits, allowing you to save up to 75% on tuition and earn your bachelor's degree in as little as 9 months. Students also can earn transfer credit for previous work and military experience. Policies like this can make all the difference when you're concerned about budgets and timing.3. Efficient ProgramsOnline universities understand that returning students are focused on results; many are seeking different careers or advancement opportunities. According to the U.S. Bureau of Labor Statistics, individuals with a bachelor's degree earn 65% more per week than those with a high school diploma alone.1 Getting to graduation is the first step in a successful job search. Accelerated online programs can streamline the school experience while making sure to still focus on key material students need to know to succeed in their field. Some online programs, such as AIU's, integrate adaptive learning technology that lets students skip over what they already know so they can focus their time on what they need to learn, making the learning process even more efficient and personalized.4. Savings OpportunitiesBesides the ability to save time and money with transfer credits and other prior learning credit, students in online programs can find other opportunities to reduce the financial impact of going back to school. Students taking classes on campus often spend hours commuting when they could be doing other things, such as studying or working. In addition, in-person classes often require that students pay for gas, tolls, parking, and meals while they're on campus, all of which is unnecessary for online students.Online learning is an appealing option for students for all manner of reasons, and the numbers bear that out: 5.3 million students were enrolled in at least one online course in 2013, and 71% of all currently active, degree-granting institutions that are open to the public have some online education offerings.2 Ready to learn more? Explore online degree programs at AIU.Thinking about returning to school but don't want to start from scratch? Download our Transfer Credit guide to find out how you may be able to get credit with previous college, military, or work experience.1 Bureau of Labor Statistics, U.S. Department of Labor. (2014). Earnings and unemployment rates by educational attainment. Retrieved from http://www.bls.gov/emp/ep_chart_001.htm. Based on median weekly earnings. These are national projections covering all levels of experience; conditions in your area may be different.2 Babson Survey Research Group, "Grade Level: Tracking Online Education in the United States" (February 2015) Share Classes Start Request Info LIVE CHAT Apply Now


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In the past few weeks those media sources that haven't been too busy covering the Boston Celtics' pursuit of Courtney Lee have reported Boston's apparent interest in Minnesota Timberwolves free agent center Darko Milicic. The former second overall pick in 2003 out of Serbia, Milicic has been perceived as one of the worst busts in NBA history during his largely fruitless eleven year career due to being selected before players like Carmelo Anthony, Dwyane Wade, Amare Stoudemire and Chris Bosh. However the Celtics are still short on front court depth, a problem that has plagued them in recent seasons, so an argument could easily be made for Boston acquiring the wayward big man.
Why the Celtics Should Want Him
Sure Milicic has plenty of flaws, but if there is one thing that Celtic fans have learned the last few seasons is that you can't have too many big bodies. Last year Chris Wilcox and Jermaine O'Neal got hurt and the team fell apart every time Kevin Garnett went to the bench. In 2011 they traded Kendrick Perkins, then Jermaine and Shaquille O'Neal couldn't get healthy. In 2010 they almost made it through the whole year with their front court intact only to have Kendrick Perkins blow out his knee in Game Six of the NBA Finals. In 2009 Kevin Garnett and Leon Powe went down and that was it. Milicic will never live up to his billing as a number two overall pick. But as a backup center the Celtics could probably do worse, especially with the Timberwolves poised to prise Greg Stiemsma out of Boston. He can't really score, but he's a decent shot blocker and rebounder which is basically all the Celtics want out of a backup center. You can never have too many bigs and Milicic is an asset they could use.
Why They Shouldn't Want Him
Because it's Darko Milicic. Darko Milicic! Come on! This guy might be the worst bust in NBA history. At least Sam Bowie and Greg Oden can blame injuries for their crummy careers. Milicic's only excuse is that he's not a very good player. It's easy to argue that his been given a very raw deal, never really getting a chance to play in Detroit and Orlando and playing on terrible teams in Golden State, New York, and Minnesota. He's never averaged more than 25 minutes per game so he's hasn't really had a chance to do much at the NBA level. The bust label has followed him basically since the day he was drafted and he's never been able to shake it off. Many assume that there must be talent there because, if there wasn't, than why would the Piston's draft him? However, from this writers point of view, it was actually just a stupid pick by Joe Dumars, and the Celtics picking him up wouldn't be much smarter. The guy simply doesn't do anything well. He is awful in post up situations, gets pushed around down low, and his only value is as a shot blocker in help defense. The Celtics already have a veteran big on their bench in Chris Wilcox and have a few young bodies that are ready for big roles, namely Jared Sullinger and JaJuan Johnson. It's hard to believe that these three wont give them more than Milicic would. He would probably just get in the way, much like he has in his other eleven seasons in the league. The Celtics could still use another bench big. They need another shot blocker and rebounded with Stiemsma likely taking his talents to Minnesota. However is Darko Milicic really their best option? This writer doesn't think so.
As a backup center on a minimum deal this at least makes a little bit of sense. Again, you can never have too many big bodies, and Milicic is capable of at least blocking a few shots and grabbing a few rebounds. The whole "you can't teach size" school of thought is likely the only reason he is still in the league, and Boston can always use more size. However the Celtics have already taken their fair share of flyers on the players labeled "busts," and all it has really gotten them is a good idea as to why they earned that label. They took a shot at Michael Olowakandi, they tried to get something out of Shelden Williams, they are currently trying to find a way to wake up Sean Williams. None of these experiments have worked out. Plenty of other teams have tried their luck with Milicic, figuring that there must be a reason he was drafted so high, and have then sold him down the river as soon as they possibly could. Sure he's gotten a bit of a raw deal, and maybe "bust" is a harsh word, but you reap what you sew. He has been called a bust because that's what he is. Sure the Celtics could use another big body, but Milicic is not the one they want.Tags: Basketball, Boston, Boston Celtics, Chris Wilcox, Darko Milicic, Kendrick Perkins, Kevin Garnett, Minnesota Timberwolves, NBA, Shaquille O'Neal


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James Hull was Curator and director of Exhibitions from October 2007 - January 2013
Highlighted exhibitions are featured below:
System Presence: New Sculpture by Jonathan Hils
September 15 - November 5, 2012
Reception: Friday, September 21, 6-8 PM
"Through" (2012) welded and powder coated steel 46x38x26
Suffolk University Art Gallery is pleased to present the first solo exhibition by Jonathan Hils in Boston. Hils has exhibited his sculpture widely and has won many public and private commissions. He is currently an Associate Professor of Sculpture at the University of Oklahoma School of Art & Art History where he oversees the Sculpture Department. Hils was born in New Hampshire and received a BFA in Studio Art at Georgia State University and an MFA in Sculpture at Tulane University.
Working primarily with welded steel assemblages that investigate the impact of scale on systemization and chaos, Jonathan Hils constructs modular patterns that seamlessly combine to create a larger whole. The systematic approach to fabricating hundreds of small elements, bent and welded one by one to each other, to create a larger object is an inherently obsessive one. This requires a consideration of negative space, density and the systems used to create the pattern. To describe a shape, Jonathan expands a surface arrangement from a fine netting to a bigger, more open pattern by elongating the "module" of curved steel rod. Hils taps into the relationships that actually create organization and composition– especially relationships of presence and absence– using them to define both the interior and exterior simultaneously.
Hils refers to the regulated patterns that Frank Stella used to make "The Black Paintings" saying, "everything I do is closely associated with systemics, and bio-computational generating forms. Stella's systemic painting principles were a great influence on me. The way he approached "making" something just made perfect sense to me." Hils explains, "I've always been interested in the synthesis of industrial and organic structural aesthetics. Sculpturally, this combination of computational organizations is evident in CAD 3D modeling and generally relies on formulated or logical numerical constructs. My objects and drawings rely on an analog process which delineates space and form exclusively through line– specifically focusing on intersections and densities as methods for organizing space. The sculptural forms also aim to open form and volume."
Like the veins on a leaf, each hypnotic sculpture consists of a web of lines and the negative spaces between them resulting in a seeming paradox for a 3-D work of art. These expansive drawings in space direct our attention to their recurring internal symmetries rather than referencing an external or illusionistic space. A poetic elaboration on fractal and organic geometries, these steel sculptures and laser etched drawings are the harmonious intersection of science, art and nature.
– James Hull, Curator
Past Exhibits 2012:
Biennial Faculty Exhibition 2012
May 25 - July 29, 2012
Closing Reception: Saturday, July 28 3:00 - 4:00 PM
Featuring Fine Arts and Foundation Faculty artists from NESAD/SU:
Sophia Ainslie
Ilona Anderson
Paul Andrade
Harry Bartnick
Bebe Beard
Linda Leslie Brown
Niels Burger
James Hull
Jeffrey Hull
Audrey Goldstein
Steven Novick
Matt Aaron Templeton
Peter Thibeault
Randal Thurston
Debra Weisburg
Arthur Henderson: WORDLY
January 14 - February 17, 2012
Public Reception: Saturday, January 21, 5 - 7 PM
Arthur Henderson, Ginsberg (L) (2011) detail with added text - Napoleon (R) (2010)
Arthur Henderson: WORDLY
January 14 - February 17, 2012
Suffolk University Art Gallery at NESAD proudly presents a solo exhibition of Arthur Henderson's sculptures, drawings and installations. Showcasing an impressive range of media, craftsmanship and subject matter, these works combine the intellect and irreverence typical of Henderson's work.
Conceptually dense and materially loose, the energetic assemblages and scrawled narratives read like protest banners. Smart and complicated, the constructions rely on control of imaginative materials and carefully articulated surfaces to actively cross-pollinate painting and sculpture.
The works boast a heady range of sources from J. L. David's portrait of Napoleon to the legacy of Allen Ginsberg, to Zeno's paradoxes to a silly putty print of a Bruce Nauman text piece. Intuitive expression adds sophistication to narratives effectively restrained by everyday materials and revved up by a great color sense to create profound, cartoony and slightly ominous creations.
Part realism and part expressionism, Henderson illustrates his cultural references with painted details on objects made of plaster, carved and molded plastics and even cement. These stand-ins for consumer mascots are integrated into animated conglomerations that allow figurative work to leverage humor and still resonate with cynicism.
– James Hull
Arthur Henderson, These Stories Are Real (2010)
Past Exhibits 2011:
Tara Sellios: Lessons of Impermanence
November 10, 2011- January 11, 2012
Link To Cate McQuaid's review in The Boston Globe: Here
November 10 - January 11, 2
Opening reception, Thursday, November 10, 5 - 7 PM
In her first solo exhibition, Tara Sellios balances some of our most deeply felt emotions with our darkest fears. Sickness, repulsion, and death vie with gluttony, luxury and beauty within a surprisingly traditional format. Utilizing her drawing and painting training to sketch out these formal compositions, this gifted young artist continues the history of using still life painting as a metaphor for our mortality. Sellios cleverly offsets the overt, dripping juice of raw meats, slimy guts and slaughtered creatures with the subtle beauty, irresistible color and clarity captured in these gorgeous large format photographic compositions. The luxurious surfaces, shiny with carnality and luminously lit by window light, sit unwrapped and vulnerable, leaking into the soft textures of the tablecloths.
In these visceral tableaux the artist focuses our attention on the uncomfortable connection between our living bodies and the dead flesh, organs and animals we call food. The cover photograph uses the messy aftermath of a lobster dinner to silently attest to the violent force used to break open the shells and devour the succulent meat inside. Pictured like this the scene feels like a table top battlefield full of hollow carcasses. Other works from the "Lessons of Impermanence" series are more intense–requiring more color to balance out the range of emotions generated. Glass bowls filled with blood spilling on a tablecloth wield the chromatic power of red, glowing color without diluting references to pain and mortality.
The Intriguingly detailed and emotionally charged compositions draw a viewer closer to the surfaces while the butcher shop intensity of the skinned animals we see remains repulsive. But like children probing a dead bird with a stick, our curiosity makes us peer into the compositions to discover what everything is and examine the corporeal. In a recent interview, Tara told George Slade, "My photographs, especially at full scale, force the viewer to see the explicit detail prevalent in the image, no matter how generally grotesque the subject matter may be. However, by using the aesthetic sensibility of painting, the viewer is often seduced by the image's beauty and can not help but want to look at these fearful, vile arrangements. It is my way of pursuing the age-old sensibility of the vanitas still life, using beautiful, seductive images to successfully introduce unappealing, frightening
– James Hull
Line Bruntse: Organs, Orphaned
a site specific installation
September 16 - November 5, 2011
Reception: Friday September 16, 5 - 7 PM
Artist Talk: Thursday, November 3, 1 PM
Paris Visone: Culture of Looking
July 15 - September 4, 2011
PDF of Press Release HERE
Paris Visone combines portraiture and documentary work to create a compelling investigation of american popular culture through the example of her own life. She has committed her time and energy to a long term view of people and places she knows as well as anything in her life: the homes and members of her own family. But the editorial choices and almost decade long investigation of them is revelatory. The dedication to photographing almost every aspect and activity of her extended family has forced them to quit posing for her pictures and just do whatever they were doing. What is revealed in the the shifts between public and private and between those with subjects aware of the camera to many completely unaware give her work both unquestionable authenticity and a resonance with our country as a whole.
The seemingly contradictory identifiers of income, taste or class are underscored by the locations that frame them: Boca Raton, Florida, Peabody, Massachusetts and Nantucket, Massachusetts. The trendy look of Florida's glittering, tan and sexy styles abruptly transition to the mix of styes layered into a savvy, city, street look in New England. The images that represent these locations are as much caricatures as they are documentary truths. Using familiar repeated characters which effortlessly slip from one lifestyle to the other Visone's photographs force us to realize the assumptions we are making about "types" of people are as shallow as the postcards stacked in the storefronts.
A cultural overview, a fashion conscious snapshot of America, an insider's portrait of two different sides of a typical family, or an edgy take on environmental self portraiture, these images are rooted in documentary. And that may be the most interesting thing about them. How do you recognize while you are inside a family that it is emblematic of something larger? Can you really be objective? Do you even need to be objective about such subjective topics to record them for others?
Like people watching, there is something irresistible about looking at photos of regular people. We see ourselves, we see fashions we laugh at, wish we could still wear or would never touch. We see natural beauty and we see garish artificiality. Paris uses her family and friends to record cute looks and tacky ones in the same light– and we catch ourselves making all the judgments and playful jabs that as kids we would make at the mall or as adults in traffic or on the subway. She takes us along as she gathers evidence of how "hard wired" we are to visually compete with one another for attention. By using such empathetic subjects Paris Visone reveals how looking at these photographs perpetuates the cycle of this "culture of looking", indicting and rewarding us in equal parts for our participation.
Also on view: A series of photographs taken for Debbie Harry during the "Blondie Endangered Species Tour". Using her unobtrusive style of camera work Visone captures backstage shots which describe the duality of aging punk rockers, groupies and the realities of life on tour.
- James Hull, Curator
Paris Visone, "keet" (2011) digital c- print 20 x 30 inches
Paris Visone, Swap Shop, Boca Raton, (2009) digital c - print
More Paris Visone images from the exhibit
Artist's Web Site
Past Student Exhibits & Artist Talks 2011:
Spring 2011 NESAD Student Exhibitions at SUAG
Foundation Student Exhibition
March 27 - April 7, 2011
Opening Reception: Thursday, March 31, 5 - 7 PM
Graphic Design Student Exhibition
April 9 - April 22, 2011
Opening Reception: Friday, April 15, 5 - 7 PM
Fine Arts Student Exhibition
April 24 - May 6, 2011
Opening Reception: Friday, April 29, 5-7
Interior Design Student Exhibition
May 8 - May 23
Opening Reception: Friday, May 13, 5-7
Past Curated Exhibitions:
Chido Johnson >> Artist Talk: Friday, November 19, 4 :30PM
Location: Gallery
Chido Johnson, I swallowed two seeds (2008)
plastic flowers (flame lily and yellow rose)
carved wooden oval mirror frame
Lecture series continues >> Artist Talk: Kanishka Raja: Tuesday, November 16, 1 - 2:30PM
Location: Gallery
Past Exhibits 2010:
Danielle Krcmar: Forbidden Understanding
September 8 - October 31, 2010
Reception: Friday, September 17, 5 - 7 PM
Artist Talk: Tuesday, October 19, 1 - 2:30 PM (in the gallery)
75 Arlington Street (2nd Floor) , Boston, MA 02116
Gallery is free and open to the public:
M-Th 9am-9pm, F-Sat 10am-5pm
Danielle Krcmar exhibits two related groups of figurative sculptures in her first solo exhibition at Suffolk University Art Gallery. In each, Krcmar investigates the depiction of romantic desire by reconstructing and altering single viewpoint images (paintings, photographs) as multifaceted sculptures. In doing so the artist uncovers how they illustrate the changes in cultural ideals of beauty and temptation over the centuries.
Krcmar bases an isolated standing figure on the John Singer Sargent portrait of Madame X (Madame Pierre Gautreau). Krcmar edits the referenced historical painting to exaggerate the symbolism it contains. The artist has removed the controversial clothing from Sargent's Madame X completely (her loose shoulder strap caused a scandal at the Paris Salon in 1884) and exposes a sexy fictional "X" tattoo on her back. The pictorial space of the image is expanded into three dimensions and the resulting depth allows us to "enter the composition" from a variety of perspectives including a view from the rear of the subject revealing the tatoo. The other standing figure references Dürer's painted version of the quintessential romantic temptation: Adam and Eve. Here Krcmar recontextualizes Eve and the serpent by omitting Adam. A quantity of additional apples surrounding Eve's feet contradicts the original symbolism of the single apple so we reexamine exactly what is happening in the scene. Temptation, knowledge, original sin, what do those apples represent?
Krcmar also adroitly sets up the differences between the symbolic body shapes of Eve and Madame X as the contrast between two archetypal female roles: object of desire and fertility goddess. For the artist, how the female figure is pictured and where becomes "a lens to see how opinions concerning the depiction of desire, pleasure and beauty change over time." A woman posing proudly with chin raised, hair up and whitened skin (except for the ears) speaks both to social pressures of her class and the luxury of entitlement. Eve plays another familiar role for the female body in art as the "Fertile Madonna" of the renaissance with a rounded tummy, ample breasts and long flowing hair.
Updating her survey of desire, Krcmar created a large series of shoulder-length busts from the text and photos of personal ads found on craigslist.com. Based on postings by both men and women these portraits describe the continuing quest for human companionship as it functions today. Funny, pathetic or egotistical, these quotes sample intimate personal desires shared online with a vast audience. Whether we look at these figures as ourselves or as represetations of our culture or our history, the emotional insight and symbolic strength that Danielle Krcmar creates with gesture, expression and context is as insightful as it is irresistible.
- James Hull, Curator
Danielle Krcmar, Xs for Sargent (2009) pigmented concrete, glass eyes and artificial hair
Past Exhibits
On the Road
an exhibit of artwork inspired by the road.
PDF of Press Release
Hannah Cole
Chris Faust
Gretjen Helene
Doug Weathersby
Curated by James Hull
June 24 - August 27, 2010
Suffolk University Art Gallery at NESAD
Opening reception: Thursday, June 24th from 5 - 7 PM
75 Arlington Street, second floor
On The Road
This exhibits provides evidence that even with Wi Fi, tweets and GPS, time spent "On the Road" can still provide a welcome, artistically inspiring escape. Humbly borrowing the title of the Jack Keruoac novel that made hitchhiking into a right of passage for a generation and indelibly etched the highway into the mythology of the American West, the adventures of each artist connect with our collective wanderlust and take us along for the ride.
Combining notes, to do lists and narratives with images taken on the road, most of these artists achieve what is often an elusive balance between words and images. The humble observations and diaristic notes focus on the thoughts and experiences in the artists minds - pushing the specific imagery displayed in the photos into a supporting role. Rather than captions simply explaining the imagery the carefully phrased text or voice recordings give us a glimpse of the artists' stream of consciousness, in effect slowing us down to share personal observations grounded in the experiences that take place in conjunction with these environments. Photographs become the backdrop and describe the context for a textual narrative to fill in what it felt like to be there. Descriptions of smells, extremes in temperature, distance and physical exhaustion connect with the audience through a combination of empathy and memory.
Hannah Cole
In addition to the paintings that are often based on photographs, Hannah Cole also works directly on photographs - using pinpricks to transfer enlarged handwritten text onto the surface of photographs taken in transit. Cole describes the "daydream quality of the photos, and the often distracted feeling of driving..." which inspired her to pair these images with notes from her "to-do" lists to "reflect the way that one's thoughts can interrupt and distort the experience of a place." A few works feature passages from poems and the photos locations range from Boston to a recent residency in Wyoming to Italy and even Southeast Asia. Artist's web site: http://hannahcole.net/instant-sublime
Christopher Faust
Christopher Faust is the one artist in the exhibit that forgoes text and uses sheer scale to recreate an experience of the open road. Faust turns a 10 by 18 foot wall of the gallery into a painted stretch of disappearing blacktop running away toward a distant row of mountains. He immerses us in an enormous panorama based on a photograph he took riding a bike across the country with his brother. Like the highly personal works by all the artists in this exhibition, the space Faust describes manages to create a surprisingly evocative range of emotions: the unease of vulnerability, the sheer humbling beauty, even the humor or delight of the experience.Artist's web site: http://www.christopherfaust.net/paintings.html
>> listen to a sample of Gretjen's audio from the helmets of her "Epic Journey" - Here
Gretjen Helene
10,000 miles, two motorcycles and only $2,000 is how Gretjen summarizes the facts of her cross continent Epic Journey with a friend from Boston to Alaska and on to California. The poetic prose that she narrates in the single channel sound tracks animate the interior of two motorcycle helmets surrounded by Polaroids from the trip. In her massive "Epic Journey" installation, carefully printed narrative paragraphs are exhibited along side the richly colored Holga snapshots taken from her motorcycle. Sounds, smells and experiences with strangers fill in the memories of the road trip with details that quickly tap into our collective memories. Unapologetically romantic and honest, the words create pictures that compete with the images on the wall to tell an amazing story of adventure.Artist's web site: http://www.gretjenhelene.net/
Douglas Weathersby
Doug's Environmental Services company encapsulates all of his artistic endeavors. He creates photographs, temporary sculptures, log entries, and videos in which he is sole performer of artistic activities that comprise his (anywhere but the) "studio" practice. The "Log" entries exhibited here from repairing a museum in Louisiana and producing a collaborative installation in Medellin, Columbia are a series of color photographic prints employing a combination of lists and personal
narratives superimposed as text on a contemporaneous photographic image. The text ranges from diary notes to self deprecating confessions and enviously entertaining anecdotes within each work. The specific dates on all of these photographs reveal the documentary lineage of Weathersby's work. Weathersby is represented by Dodge Contemporary, NYC. Artist's web site: http://www.drwservice.com/
– James Hull, Curator
Resa Blatman
Curated by James Hull
Boston Globe review by Cate McQuaid HERE
December 4 - January 17, 2010
Opening Reception: Saturday, December 12, 4 - 6 pm
Artist Talk: Tuesday, December 8, 2:30 pm
Artist's Web Site HERE
Resa Blatman, Flux (2009) oil acrylic and glitter on cut edge panel
88 x 130 inches
Suffolk University Art Gallery presents a solo exhibition of Resa Blatman's recent paintings. Blatman navigates the territory between representation and experience by superimposing realism and dynamic, graphic fantasy. The exuberance of the overall pattern is given a surreal believability through the detailed rendering of the fur, feathers, and skin of a host of creatures. The splashy explosions and clinging droplets animate the orgy of corporeally suggestive forms tucked into a stylized habitat spilling across the wall.
Resa has built upon the intricate cutout framework of her heroically scaled "Beauty and the Beasties" and incorporated it throughout the composition in works like "Flux" or "Lemon Spray". Using the wall as a background and the cut areas as monochrome silhouettes of intricate scrolls, branches and wildlife activates the compositions - even from across the gallery. Tendrils from separate panels reach across negative spaces and flirt with touching an adjacent edge.
Avoiding a specific narrative, Blatman creates an overall feeling and then reinforces it at every opportunity by her selection of decorative shapes, animals, insects, fungi and fruits that exude a disneyesque sexualized beauty. Blatman uses flat graphic design strategies to tease us screening but not hiding the graphic content. The overt references to pendulous anatomy are disguised by an equally valid reading as a luscious, dimensional fruit, avoiding any pornographic directness. Resa Blatman's technical skill coupled with her decisions on how to depict the juicy, physicality of desire, the dramatic gestures of romance and the thriving abundance of life is the unexpected power of these works. The result is an over-the-top cornucopia combining the emotive dynamism of Baroque decoration, contemporary patterning like that of Philip Taaffe and the curvaceous sexuality of Georgia O'Keefe in a single painting.
- James Hull
Opening reception for Construction exhibition
Now showing: Construction
a group exhibition of new sculpture made in Boston
Curated by James Hull
Review in Boston Globe 11/11/2009 by Cate McQuaid > Here
October 15 - November 21, 2009
Opening Reception: Friday, October 16, 6-8:30 PM
Artist Talk: (NOTE CHANGE!)>>Tuesday, November 10, 2:30 PM
Exhibiting Artists:
Laura Evans
Peter Evonuk
Arthur Henderson
Ellen Rich
Isabel Riley
Jeff Smith
In this exhibition of six Boston area artists the studio process is on display. Because of the
way these sculptures are created we can witness the key choices made by each artist in the
final product. Not all art works this way. The transparency of the construction techniques
underpins the connection between an otherwise visually divergent group. In the same way
that the ad-hoc repairs and homemade contraptions reflect the personality and
inventiveness of a previous resident of a home, the artworks on view reflect the creative
ingenuity of the artists. Choices of how to put things together, what media to use or where
to get materials reveal much about the artistic strategies at play. The raw materials chosen
might just as easily come from a hardware store as an art supply store. What does that tell
us about the artistic intentions? Using materials to test and explore the boundary between
art and craft or the overlap between painting and sculpture closes the gap between
everyday experience and contemporary art. The confident generosity of all these artists
allows us to see more of the creative process in the exhibited artwork enriching our
experience as viewers.
Laura Evans short-circuits any expected outcomes by cutting, gluing and redirecting tubular
material literally turning them into drawings. More like the lines in Brice Marden's looping
paintings than a Joel Shapiro sculpture these segmented, articulating cylinders are like
improvisational vectors that don't seem to get anywhere or describe anything specifibcu t
through thoughtful choreography express the elegant successes and fitful frustrations of
making art.
Peter Evonuk uses his sense of humor and technical training to try to locate the dividing
line between art and craft (if there truly is one). He uses stone carving and cutting, one of the
oldest, most revered processes, to raise a basic construction object to the status of high art.
He carves white marble into a perfect cinder block, which he playfully positions
contrapposto to make the classical sculptural references clear. Evonuk labors using
traditional methods in direct contradiction to Marcel Duchamp's "found object". The
irreverence of the subject matter paradoxically underscores the time-consuming processes.
Arthur Henderson uses traditional and nontraditional materials to create anything but
classical sculptures. His cast and fabricated objects are often painted to look exactly like a
cigarette butt or a truncated cartoon character in his own updated version of Pop Art.
Henderson carves text and uses humor to poke fun at the artworld's seriousness. The use
of contemporary materials like pink insulation foam and contact paper in addition to acrylic
paint or plaster gives his work a broad zone of reference to both mimic and critique trends in
contemporary art.
Ellen Rich combines found materials with painted finishes but her compositions are more
minimal and less culturally specific than Henderson's. This is surprising considering that she
collects most of the parts for her wall sculptures from a dump. The collage process and
formal restraint of these low relief works is modulated by Rich's use of found and applied
color. The humble aged surfaces relate them more to Modernist artworks or to Alexander
Calder or Louise Nevelson than to artists known for using cast-off materials like Thorton Dial
or Howard Finster.
Isabel Riley selects hardware store materials with a painter's eye for color and texture. Her
materials are new and her colors vary from out of the can to exacting faux finishes. This
variety is both coherent and playful as it engages the viewer all the way around these
objects. Connections between one form and another reveal the logic and cagey solutions
Riley uses to move us between elements of each sculpture. Riley has a keen sense of
materials using anything from faux fur to plywood to vinyl flooring to create surprisingly
elegant structures. Balance, tension and color work interdependently to create complex
visual relationships.
Jeff Smith takes the term "playful" literally. He often makes sculptures that function as adult
sized ride'em toys or building blocks. Almost everything is on wheels. He may paint
something or sand or round off the edges but he tries to keep the history of the surfaces
intact. The sturdy construction of these works make them feel attractively interactive (in the
analog sense of the term). They movement sets the stage for a "happening" or a
"performance" in the art world terms but Smith reminds us that when we were kids we just
called it play.
Last Week! Up Until Saturday, October 10 - 5PM
Cara Phillips: Singular Beauty
On view: August 17 - October 10, 2009
Cara Phillips, White Consultation Chair, Upper East Side (2006)Boston Globe review by Cate McQuaid ( 9/2/2009)
Reception: Thursday, September 17, 6 - 8:30 PM
Exhibition Dates: August 17 - October 10, 2009
Artist Talk: Wednesday, September 16 @ 1:30 PM
Cara Phillips: Singular Beauty
a Solo exhibition of Photographs by Cara Phillips
In her first solo exhibition, Singular Beauty, Cara Phillips confronts us with an unblinking view of what she calls "the ultimate destination for beauty." The Brooklyn based artist photographs consultation rooms, "before and after" backdrops and the machines used for cosmetic surgery. Phillips uses color, a central composition and spot lighting to deliver a dramatic cross section of cosmetic surgeon's offices from some of the nation's wealthiest neighborhoods without showing the doctors, staff or clients. By listing the location of each office, as in White consultation chair, Upper East Side (2006), or Before and after room, Beverly Hills (2007), Phillips tempts us to imagine who will be in the chair for the next appointment, revealing our judgments that are literally as superficial and as complex as the operations planned. The dramatic isolation of the objects pictured in carefully decorated environments gives us the space to contemplate, empathize with or condemn the tremendously popular surgical procedures they represent.
How does a nice green chair and super-slick interior transform the experience of a doctor's office? By turning these environments into galleries projecting aesthetic good taste and classy professionalism in order to sell elective surgery. As a society, why do we accept placing implants in our bodies or removing parts of us surgically that we deem unattractive as normal? Every image asks those questions.
Cara's background as a child model for the Ford Agency and later as a make-up counter sales-person allows her to reveal the business end of controversial medical procedures from a unique perspective. Phillips has taken her own "body issues" and redirected them into a well researched, poingnantly indirect look at "body sculpting" surgeries. Self-image issues reveal cultural and societal pressures on our appearance, the current state of Feminism and the implications of re-defined gender roles in the 21st century. The very personal, emotional balancing acts that revolve around how we identify and how we feel about ourselves make this a rich territory for an artist - richer perhaps because she never shifts the focus to a singular beauty.
James Hull, Curator
Press Images (large files for print)
link to artist's web site
Cara Phillips, Before and After Room, Beverly Hills (2007)
Chromogenic print 40 x 30 inches
Cara Phillips, Blue Laser Consultation Chair, New York City (2006)
Chromogenic print 38 x 46 inches
Cara Phillips, Orange Laser Machine, Washington, DC. (2008)
Chromogenic print 30 x 24 inches
Past Exhibits 2009:
Faculty Drawing Exhibition
June 15 - August 1, 2009
a group exhibition featuring outstanding faculty work in a wide range of media
Opening Reception: Thursday, June 18, 6 - 9 PM
Exhibiting Faculty Artists:
Sophia Ainslie
Ilona Anderson
Paul Andrade
Gabrielle Barzaghi
Mark Brus
Neils Burger
Audrey Goldstein
Nancy Hackett
James Hull
Jeff Hull
Lydia Martin
Susan Nichter
Steve Novick
Matt Templeton
Peter Thibeault
Rex Wynn
Tamotsu Yamamoto
Foundation Student Exhibition
March 23 - April 3, 2009
Opening reception: Thursday, March 26, 5:30-6:30 PM
Graphic Design Undergraduate Exhibition
April 6 - 17, 2009
Opening reception: Thursday, April 16, 5:30-7:30 PM
Fine Arts Senior Thesis Exhibition
April 20 - May 1, 2009
Opening Reception: Friday, April 24, 7-8:30 PM
Interior Design Undergraduate & Master's Exhibtion
May 7 - 22, 2009
Opening Reception: Thursday, May 7, 5:30-8 PM
(following formal gallery talks by senior students at 6:00pm)
Christopher Dombeck from the "Artworks I have Touched" installation
Teresa Pierce "Seven People #1,
Difference is to Identity as Individualism is to Status"
New! Installation Views >>
Installation view (Dana Clancy and Cristi Rinklin)
Behind the Image November 6, 2008 - January 3, 2009
Behind the Image November 6, 2008 - January 3, 2009
75 Arlington Street, Boston, MA 02116
Gallery is free and open to the public:
M-F 9am-10pm, Saturday 9am-5pm, Sunday 12pm-6pm
Telephone: 617.573.8785
Gallery Email: email@example.com
Behind the Image Curated by James Hull
Exhibition Dates: November 6, 2008 - January 3, 2009
Opening Reception: Thursday, November 6th: 5:30 - 8 PM
(after 7 PM enter at Main Lobby @ 10 St. James Street)
Exhibiting Artists:
Hannah Barrett
Dana Clancy
Lisa Costanzo
Heather Hobler
John Guthrie
Cristi Rinklin
Joe Wardwell
Behind the Image is an exhibit of seven well-established artists who live
and work in the Boston area. The exhibition reveals some of the
investigations, processes and inspirations these artists used to produce
specific artworks. The highly crafted paintings and drawings created by these
artists are shown side-by-side with the sketchbooks, digital mock-ups,
photographic studies, art history books, and color studies that informed their
decisions during production. In addition to preparatory sketches, the curator
attempts to re-create the "studio wall" of each artist - surfaces covered with
inspirational objects, unexpected images, postcards, photographs, magazine
pages, album covers and news clippings. The creative act itself is on view in
many ways. The finished work is given a history through this
"contextualizing" of the artwork with early stages of thought and jumping o
points in evidence. Students, other artists and the public get an opportunity
to see what is "Behind the Image" in each of these diverse artistic practices.
Contact: James Hull, Curator / Gallery Director: 857.222.0333
Email: firstname.lastname@example.com


text:
Did You Know?
by: Neil Marion dela Cruz • 42
All Android applications categories
by: Neil Marion dela Cruz • 42
Are you a follower of the DidYouKnow? (https://www.facebook.com/didyouknowblog) facebook page? Or perhaps an avid reader of "Did You Know?" blog? Now, there's an easier and fun way of reading the trivia!
You can now feed your mind with all of the trivia and information without the hassle of browsing through Facebook or the web. You can even remember (bookmark) a trivia into your mobile devices. Not just that! If you find something fun you can share it sociall through Facebook, Twitter, Instagram and many more!
Download the app and enjoy.
Note: I'm not affiliated to the creators of the Facebook (didyouknowblog) page and the blog. I just felt the need for the app.
Disclaimer: I do not own and author the trivia. All the credits are given to the Facebook page and blog authors.
tags: did you know didyouknow blog neilmarion fun facts education trivia learning photos
from 42 reviews
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text:
A MULTI-MILLION pound scheme to transform a busy Basingstoke roundabout has moved a step closer after the borough council agreed to release £500,000 towards the project.
Construction work on the Government-backed £10million estimated project to improve the Black Dam Roundabout, connecting the M3 junction 6 slip road to the A339 is expected to start in July.
The project will see four lanes of northbound traffic routed into the centre of the roundabout as well as an additional two-lane arm added to the roundabout to allow motorists travelling on the A30 to join the centre of the new roundabout, easing congestion for people going into the town centre and on the A339.
The redevelopment scheme, which is part of the Government's Pinch Point Programme, is also set to see the realignments and widening of all approaches, the installation of safety barriers, new traffic sign, signals and street lights.
Councillors on Basingstoke and Deane Borough Council's Cabinet approved the release of £500,000 in support of the project and agreed to transfer council-owned land to Hampshire County Council to enable the work to begin. The land which will be transferred includes grassed areas near the Black Dam pond, London Road and an area of land off the A339.
As previously reported in The Gazette, the Highways Agency amended the original plans after staff carried out investigations into the scheme, and decided the new layout will offer more benefits for motorists.
The scheme is seen as a key part of plans by the borough council for the town to be seen as a leading business centre in the South East, and would complement its regeneration project at Basing View, which includes a new John Lewis at home and Waitrose store.


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|Biographical information
|Physical description
|Hair color
|Eye color
|Skin color
Employee at American Museum of Natural History
|Character information
|Only appearance
|Portrayed By
Roger was an employee at the American Museum of Natural History with a very pig-headed and self-centered personality.
He was the boss and ex-fiance of Prue Halliwell. The couple broke up in early-1998 after Prue discovered that Roger made a move on her younger sister, Phoebe.
In early October of 1998, Roger had taken over an exhibit from Prue. Angered, Prue quit her job and almost strangled Roger by, unknowingly, using her telekinetic power.
Something Wicca This Way ComesEdit
When Phoebe originally arrives back at the manor, Prue is pretty upset. Phoebe tries to defend herself by saying that she never touched Roger, even though he probably said she did. At the museum, with the extra money Prue raised from the Bealls exhibition through private donations, it sparked significant corporate interest. The Bealls artifacts soon became part of the Museum's permanent collection.
However, according to Roger the board wanted someone a little more qualified than Prue to handle the collection, thus they looked to Roger (even though he was not the curator who secured the entire exhibition). After Roger makes a joke regarding Prue and him sleeping together not being mutually exclusive to Prue calling off their engagement, Prue gets so angry it causes Roger's pen to explode in his shirt pocket and then into his face.
Afterwards while Roger is changing his tie, Prue walks in on Roger talking to someone on the phone claiming that he in fact secured the Bealls exhibition. When Prue hears this she quits. This does not make Roger happy. He starts to threaten Prue by saying he will not give her any good references but she quickly shoots him into his place with him smiling and retorting, "You know me, I had to try."
Roger tries hard to keep Prue from quitting, claiming that she should be thanking him for had he not taken the exhibit away from her the board would have sent in a total stranger. Prue walks out and afterward Roger barks, "I hope there are no office supplies in your purse." Prue lifted her hands and squeezes them in a choking manner and suddenly Roger's tie begins to choke him. Frantic, he runs to his desk, grabs a pair of scissors, and cuts off his tie. The last Prue hears from Roger is a message on her answering machine allowing her to come back to work.
In 1997, Prue was talking on the phone explaining how apparently Roger forgot an "entire forest of his family tree" for the wedding ceremony. Prue was also very suspicious with Phoebe calling him, although Phoebe says she was looking for Prue.
Notes and TriviaEdit
- Rex's assistant said that Roger trash-talked Prue before she went on her interview at Buckland Auction House.[1]
- According to Phoebe, Roger had mother issues.[2]
- In script, during the first scene at the museum, Roger was referred to as "Boss" until Prue calls him by his name ("...or when I returned your engagement ring, Roger?"). The script then notes something along the lines of "That's right. Prue's boss, is also her ex-fiancé."
- Roger appeared in the novel, The Power of Three.
Roger appeared in a total of 1 episodes throughout the course of the series.
- Season 1
- Something Wicca This Way Comes


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Bersa DAY!! Plus Sig P220
woke up with big plans to spend a day at the out door range only to have it smashed to bits by a healthy little snow storm. so plans changed and instead went to the indoor range and took a friend of the wife and mine to start the process of her learning to fire handguns. a few months ago in december an acquantance atteempted to rape her in her own home. she fought him off and decided she wanted to learn to shoot.
started her out on the bersa thunder 22 which after a few hundred shots she finally got over her nervousness and i let her try out the sig220 bersa 380 colt series 70 and new agent. she decided she liked the colt series 70 the best and fired about 65 rounds through it. by the end of the shoot she was able to easily land all 8 rounds into a pie plate at 10yds.
anyway on to the report!!
first up the Sig P220. my 220 has been in my collection since 1986. its had nearly 100k rounds thru it and been rebuilt 3 times in the course of its life. now however its purely a range gun. i find it hard to get good groups due to the mushy DA trigger. its got a bit of creep and isnt very crisp. but it can still shoot when i put some effort into it. its pretty unchanged and still like it was when i got it except for the hogue rubber grip panels.
its about a dependable gun as any out there would definately rate it as my goto after the 1911 for a fulsize firearm.
a while back i made a post about some faulty corbon ammo i had purchsed. i finally remembered to bring it to the range and ran it thru my new pink bersa thunder 380. power levels varied shot to shot i could feel a distinct drop in power from some round due to the bullets being loose in the case but all fired and functioned landing neatly into a nice 20 shot grouping.
bersa thunders are in my opinion the best little pocket guns on the market.
Finally the gun i had big hopes for performing well the bersa thunder 22. i ordered this gun back in january and it showed up thursday this week. for a range test i took the worst bulk ammo i had left in the back of the gun safe. this stuff was sitting waiting to be run thru the ccmg AR15 conversion. well i now have a gun other than the cmmg that will run anything.
the shoot wasnt without a few teething issues.
i started with some good ammo first however. it really liked the cci blazer which is the cheaper version of the minimag.
i started the grouping tests after about running 500 rounds of crappy ely target ammo it ate all the ely just fine but i forgot to take any grouping shots with it.
next the trusty cci minimag. now is about when the mag plate started malfunctioning i couldnt figure out why it wasnt loading the full ten in the mag and of course i forget to bring a toolkit.
winchester bulk red box 36 grn. my ruger mk2 sig mosquito and walther ppk refuse to cycle with this ammo. the bersa thunder... not a even a hiccup
finally the wood box bulk winchester ammo from cabelas. cool little wooden box. incredibly shtty ammunition. as you can see in the pic there are 3 flyers. those are not due to bad shooting those are actually several underpowered rounds that barely came out of the barrel and didnt cycle the gun at all. there was no recoil from those shots and barely a pop.
two of the bullets actually went in sideways keyholing.
Bersa Thunder 22 i would say is a fantastic little gun. just as reliable as its bigger brothers. want a gun that isnt picky about ammo GET ONE!!!
now the only issue i had as mentioned above was around 500 rounds in the magspring escaped. turns out i reassembled the mag incorrectly when i did the initial cleaning and it popped loose inside the mag body preventing it from loading a full ten.
i used mobil 1 5w30 synthetic to oil it liberally and it finally stopped functioning around 800 rounds down range with the crappy cabela bulk winchester sticking empties in the chamber. i would still prolly be shooting if i had remembered to bring a cleaning kit *sigh*
i am extremely happy with the thunder 22 it exceeded my expectations.
Nice shooting!! I dig the sig, and the bersa. Thanks for sharing.
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Copyright ©2000 - 2017, Jelsoft Enterprises Ltd.


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Cherry Halter Dress Hollywood Style - Stop Staring Dress
Need a really cute swing dress? Check out our A-Line Cherry Halter Dress. I actually bought this dress for someone who was going to prom.... and it was a Hit! This dress is a classic princess line cut with a soft heart-shape in the breast area. The fabric is a stretch Lycra blend, and the dress is fitted in the breast area and drapes beautifully in the skirt. The center breast has a cherry clip that can be worn on or off, and there are three pleats to enhance any breast size. Also features halter straps that are easily adjusted, and an invisible zipper in the back. This dress looks fabulous on any shape. Perfect for a night of dancing!
Slinky 40's inspired pullover dress with tie back, 4.5" ruffle with white satin trim slit front and ruffle button.
Rock Star Bikini. Exactly what makes a rock star bikini.? This does. A 2 PC. Printed stars triangle top with star charms and tie sides bikini bottom in Black/Hot Pink.
Stunning ribbon and lace detail, fabulous empire bodice and feminine puffed sleeves.
Where can I get it? I beg you to tell me where, oh where!
Red plaid skull & bones boy beater wear it with jeans or a skirt and you will be in style. Great for the gal who wants a little edge in her fashion.


text:
JIM LEHRER: And finally tonight, Margaret Warner wraps up nearly a month of reporting in Afghanistan with this story on the fate and future of Afghan women.
MARGARET WARNER: On a misty morning in southwest Kabul, girls are playing catch-up. At this "Afghans4Tomorrow" foundation school, 15-year-olds are in first grade with 6-year-olds. It's a legacy of the Taliban era, when girls' education was forbidden through virtually all of Afghanistan.
LAILA SAIEDI, Director, "Afghans4Tomorrow" School (through translator): These girls are now learning, and that should help all Afghanistan, since most of the problems here the reason is uneducation.
MARGARET WARNER: In a country where the literacy rate for girls is just 11 percent, this marks an improvement, says Sima Samar of the Afghanistan Independent Human Rights Commission.
SIMA SAMAR, Chair, Afghan Independent Human Rights Commission: Of course not everywhere in every corner, but 35 percent of the students — of the children who goes to school is girls, although we are not happy with the number still. It's lower number. But it is something, a positive change.
MARGARET WARNER: But there's still resistance to that change from the Taliban and the culture. The deteriorating security kept more than 600 public schools from reopening this year. And more than half of all Afghan girls get married before age 16.
Afghanistan remains a male-dominated society. On a recent religious holiday, men at a local mosque spent the day preparing and serving meals to the poor. There wasn't a woman in sight.
Some women do walk on Kabul's teeming streets. But in the rural areas, where three-quarters of Afghans live, women rarely venture out in public. And those that do are swathed in pale-blue head-to-toe burkas that seem to float down the streets. Behind these scenes, women say, many of them lead lives that are crushingly repressive and painful.
Hidden away down a rabbit warren of twisting dirt paths in Kabul, in a small mud-brick building, these women have come together for support. Many have been mistreated by their husbands or in-laws. But at this program, run by a private group, Women for Women International, they're learning crafts and skills to give them some economic independence and control.
Homa Najibi, 27, is the mother of six. Her mother-in-law abused her, once pouring boiling water on her hands while Homa's husband stood by. Now, after six months of training, she's earning money and respect at home.
HOMA NAJIBI (through translator): I see my future better, because they have trained me to be a more professional tailor and I can make money out of it. I can also train some of my daughters, and we can start a small business.
MARGARET WARNER: But others who have fled forced marriages are still in distress. When 27-year-old Zora Alokazay was 16, her father sold her into marriage to a man from rural Ghazni province. The price: $140.
It was a life of forced farm labor. And after multiple children, she fled back to Kabul. Her husband followed her and made her pregnant again, then left.
ZORA ALOKAZAY (through translator): When I had my baby at two days old, they took that baby to my husband by force.
MARGARET WARNER: She feels powerless to act. Her husband is in his Taliban-controlled village, beyond the reach of the governments or its courts. Losing this latest child is all the more painful because of what happened before.
ZORA ALOKAZAY (through translator): I had to give birth inside the house, and I lost three of my children because they would not take me to the hospital.
MARGARET WARNER: These provincial women, after delivering premature babies at home, were fortunate to be brought to this special hospital for sick children in Kabul to try to save them. But the odds for women are getting worse in the countryside, as the Taliban extends its reach, says Roshanak Wardak, an obstetrician and member of parliament.
ROSHANAK WARDAK, Member of Parliament, Afghanistan: Those parts which are under control of Taliban, women are very much miserable. Their situation is very much miserable. I would like to say this. Our government never pay attention to those ladies.
MARGARET WARNER: And it's not just Taliban influence that confines Afghan women.
ROSHANAK WARDAK: We have our own special culture, and also culture has a limited activity of the woman. For example, a woman cannot — she is not safe when she is alone. She needs a man. And, also, she doesn't have enough income. She is dependent to the man.
MARGARET WARNER: Women are beginning to reach out to one another for help. On a call-in show called "Banu" on Tolo TV, Farzana Samimi fields calls from anonymous women seeking advice on everything from their husbands' infidelity to their in-laws.
FARZANA SAMIMI, Host, "Banu," Tolo TV (through translator): In Afghanistan, a lot of social problems women cannot share with their very close friends, because from the beginning the woman, especially in Afghanistan, they have been told not to talk about their problems with others. They don't feel confident when they talk with someone, so they hide it.
MARGARET WARNER: At first, reaction to the program was negative. Some women lambasted her for bringing these taboo subjects to light. Samimi says working women like herself are fearful of attack.
FARZANA SAMIMI (through translator): Especially women working for the media, when we are coming to our jobs, there is a little bit of fear, but we still have to just act as brave women.
ROSHANAK WARDAK: The best way is education of both sexes.
MARGARET WARNER: Roshanak Wardak believes change will come for Afghan women only when more Afghan men become enlightened.
ROSHANAK WARDAK: If a woman is very much highly educated, but a man is not educated, it's impossible to recognize her rights, what rights she has. But if a man is educated, man will give her rights by himself.
MARGARET WARNER: These three young students at the American University of Afghanistan aren't waiting around: 18-year-old Angela wants to be a businesswoman; 19-year-old Shekiba wants to be a judge; and 17-year-old Shogofa plans to go into politics big time.
SHOGOFA: I am going to be the president of Afghanistan in future.
MARGARET WARNER: They dress like hip teenaged girls throughout the Muslim world, covered hair atop trendy clothes, but those are the Kabul rules.
ANGELA: When I go back, I cannot dress like this. I have to wear a long skirt, a long — like a big scarf.
MARGARET WARNER: So when you go home and you want to go out, you wear a burka?
ANGELA: I have to do that. When I am in a society that they all wear burka, I have to do that.
MARGARET WARNER: Shogofa is more daring. She dresses identically at home.
SHOGOFA: I want to change the idea of people. I want to get uplift for woman that they also can be like me.
MARGARET WARNER: Do you want to get married?
ANGELA: I'm really afraid of this, because I'm thinking that, if I get married to someone, then my life will be changed.
SHOGOFA: At first, I don't want to get married for a long time. And before I get married, I want to choose the educated person.
MARGARET WARNER: Brave words from a rooftop in a land of conservative cultural mores, where even in some quarters of the sprawling city of Kabul the Taliban's more extreme vision still persists.


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Monet's Poppy Field European Cushion Cover
|Woven In:
|Woven in Belgium
|Monet's Poppy Field woven European tapestry cushion cover features the work of famous artist Claude Monet. This panel shows the red poppy fields from Monet's painting from 1873. With a love of natural environments, we see one of Monet's many representations of poppy fields. Here we see a lady with a parasol, and a child, enjoying the sunny day in the countryside filled with blooming poppies. This is a scene celebrating both summer and the abundance of poppies which provide much beauty in the wild countryside. The manor is seen in the distance.
|80% Cotton, 20% Viscose and Polyester blend.
|Cushion cover backed with lining and zipper. Infill not included.
|Primary Color:
|Secondary Color:


text:
RIO Tinto will spend a further $US3.4 billion ($A3.15 billion) cementing its position as Australia's biggest producer of iron ore.
Expansion funding for its most lucrative division came as Rio's locally listed shares rose strongly in the run-up to the release tonight of its full-year results.
A sharp afternoon rally came amid speculation that Rio might do better than analysts' predictions of a $US15.3 billion profit for the year to December 31.
The 75¢ rise to $71.76 was also aided by speculation that the company might seek to differentiate itself from BHP Billiton tonight by offering another round of share buybacks. The results announcement will again be dominated by Rio's iron ore business, which in recent times has contributed close to three-quarters of the company's profits.
That exposure will only increase under the $US3.4 billion plan, which will raise Rio's iron ore exports to 283 million tonnes a year and help with preparations for a jump to 353 million tonnes a year.
A portion of the money was announced in October 2010, but the bulk of it - particularly a $US2.2 billion spend on extending the life of the Nammuldi mine - was new. The money will also cover preparations for expansion at Rio's Cape Lambert port and rail complex. The port is owned by a Rio Tinto-controlled joint venture with Japanese firms Mitsui Iron, Nippon Steel and Sumimoto Metal, and the spending plan is subject to further approvals.
with AAP


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Home > Wellness > Health Library > Polyarticular Juvenile Idiopathic Arthritis (Polyarthritis)
Browse and register for related classes.
Polyarticular juvenile idiopathic arthritis (JIA), also known as
polyarthritis, affects 5 or more joints during the first 6 months of
symptoms. This type of JIA is more severe than oligoarticular JIA,
because it affects more joints and tends to get worse over
Polyarticular JIA often begins in large joints, such as the knee or
hip, but may start in the small joints of the hands and fingers. It also may
affect the knees, ankles, feet, neck, and jaw.
Polyarticular JIA is divided into two groups.
Symptoms of polyarticular JIA usually affect the same joints on
both sides of the body, such as the joints of both hands. A child with
polyarthritis may also develop:
Current as of:
February 24, 2016
Healthwise Staff
Medical Review:
Susan C. Kim, MD - Pediatrics & John Pope, MD - Pediatrics
This information does not replace the advice of a doctor. Healthwise, Incorporated, disclaims any warranty or liability for your use of this information. Your use of this information means that you agree to the Terms of Use. Learn how we develop our content.
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Roll's GCi404 is an audio interface that mixes a balanced XLR microphone input with a 1/4" TS phone instrument signal and a group of stereo line input signals. The unit is sized to fit inside a drive bay of a computer-tower enclosure. Uses for the interface include commercial audio production, home audio voiceovers, phonograph record to CD recording, etc.
The microphone input provides +12 volt phantom power, a variable level control ranging from no signal to +55dB of gain and a balance control. The instrument input has a level control variable from no signal to +30dB. The line input group of the GCi404 features three types of inputs that include stereo RCA phono, 1/8" TRS phone and a stereo phono preamp with grounding post and built-in RIAA equalization. These signals are mixed at the line level control.
A ducking feature has been included in the GCi404 which, when engaged and a signal is present at the microphone, will duck the remaining input signals under the microphone signal. The ducking controls are located on the rear panel and include depth and release time controls. The depth control adjusts the level of signal reduction while the release control varies the amount of time taken for the program material to return to its previous level. Access to the inside of the computer is required if adjustment to the ducking process is needed.
The GCi404 requires 12VDC and a power supply is included, or the unit may be powered by the computer's internal drive power cable. A CD input has been included on the rear panel for connection to the computer's CD drive and the outputs on the unit are stereo RCA phono and 1/8" TRS phone as well as a 4-pin header to connect to a sound card if installed.


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Steelers film session: Brown, Allen struggle to keep up
Filling Ike Taylor's role in the Steelers' secondary proved to be a painful exercise Sunday against San Diego.
Taylor missed his first game since 2004, and Philip Rivers and Co. took advantage, especially on third downs, by targeting second-year man Curtis Brown, who entered the game in the Steelers' sub-package defenses.
Brown allowed four first-down catches — two to Michael Spurlock and two to Danario Alexander — in his 26 snaps. Overall, Brown was targeted six times and allowed six catches for 84 yards, including a 39-yard touchdown pass to Alexander late in the first half before getting benched in the fourth quarter for Josh Victorian, who later gave up a touchdown.
But Brown wasn't the only one who struggled replacing Taylor.
Cortez Allen, who got the start at right cornerback but moved to the slot in the nickel, was targeted seven times, giving up six catches for 46 yards, including three third-down conversions.
Most of Rivers' success on third downs came on the same route: the out pattern. Of Rivers' 41 attempts, 14 were out patterns, seven of which resulted in first downs. Rivers finished 9 of 14 for 67 yards when he targeted an out-cutting receiver.
• The Steelers' offensive line has done a good job of protecting quarterback Ben Roethlisberger this year, but not against the Chargers. Roethlisberger was sacked twice, hit four other times and was forced out of the pocket on scrambles five other times. The Chargers blitzed Roethlisberger only 11 times.
• Despite a sore shoulder than kept him out of three games, Roethlisberger didn't hesitate to throw the ball deep. He threw passes 46, 41, 40 and 40 yards down the field, completing only one: a 40-yard touchdown pass to Mike Wallace. Coming into the game, Roethlisberger attempted only four passes of at least 40 yards in 358 attempts.
• The Steelers dressed five receivers for the first time this season but used a four-receiver set only once — the first play of the game. Still, the offense was able to work all five receivers into the game for multiple snaps.
• Coach Mike Tomlin used the term "double vice" a couple of weeks ago to describe the way Baltimore blocked on a punt return for a touchdown by Jacoby Jones. That "double vice" came back and squeezed the Steelers once again, but this time while they were trying it themselves. On San Diego's third-quarter fake punt, the Steelers used two men on each one of the Chargers' outside gunners in hopes of giving Antonio Brown more time to return the kick. However, the "double vices" create a mismatch of eight punt team players blocking five punt return players on the line of scrimmage, and the Chargers took advantage. Needing only three yards, the Chargers snapped the ball to up-back Eric Weddle, who only had to outrun Robert Golden to the sideline to gain the necessary yardage to move the chains.
• Much-maligned defensive end Ziggy Hood put together one of his best games. Hood still had trouble getting off double teams, but he was able to make plays, especially with the Chargers' screen game. Hood recognized screen passes on three occasions — to Antonio Gates, Ronnie Brown and Le'Ron McClain — to force incompletions. Hood also stayed at home during a trick play in which Alexander was going to throw the ball, and he made a handful of tackles in the run game, including a couple of nice plays on Ryan Mathews.
• The Steelers were successful when pressuring Rivers. He completed only 3 of 11 passes for 24 yards when pressured. When he wasn't, he threw for 176 yards and two touchdowns. The Steelers blitzed him 22 times. Dick LeBeau sent inside linebacker Larry Foote (16) the most since a Week 6 game against Tennessee, while fellow inside backer Lawrence Timmons blitzed just nine times. James Harrison (28) and Jason Worilds (25) combined to blitz 53 times but did not sack Rivers.
Percent of snaps Mike Wallace played a week after playing only 61 percent.
Other receivers' snap percentage
93.9: Antonio Brown
63.6: Emmanuel Sanders
18.2: Jerricho Cotchery
10.6: Plaxico Burress
Yards the Steelers had in the final 10 minutes of the game
Yards the Steelers had in the first 50 minutes
Times the Steelers started a drive inside their 10
Consecutive field goals Shaun Suisham has made
Yards after contact Jonathan Dwyer gained. He finished with 32 rushing yards.
Mark Kaboly is a staff writer for Trib Total Media. He can be reached at firstname.lastname@example.com.


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: Silliness
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A man and his girlfriend are out window-shopping one day. At a jewellers, the girl sees a beautiful gold necklace and points it out to her boyfriend. He immediately throws a brick through the jewellers window and presents her with the necklace as they run away.
After their escape, they happen to walk past a high class clothes emporium. The girl points out a rather beautiful and expensive mink coat in the window display. Again, the boy throws a brick through the window and grabs the coat. The girl dons it as they run from the scene.
Later that same day, still unapprehended, they walk past an electronics shop and the girl points out an expensive tablet computer in the window. The boy turns to her and says;
"Be sensible darling, do you think I'm made of bricks?!"
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If you are looking for prints of any of these great photos, feel free to contact me at 231-740-4934 or by email at email@example.com
© Richh Photography All Rights Reserved Copying, Cropping or Screen Printing are Prohibited by U.S. and International Copyright Laws!
Specializing in High School Seniors and Model Portfolios. Serving Muskegon, Grand Haven and Whitehall. Call me at 231-740-4934 to schedule your session today.


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Diet and Exercise
Diet and exercise is a program for students interested in earning concurrent bachelor's and master's degrees focused on diet and exercise. Students are admitted to the university as pre-diet and exercise students and must apply for graduate admission at the beginning of the junior year and be accepted into the program. The program is designed so you can earn both a bachelor's and master's degree in five to six years.
Strengths of the Program
As public interest in health and disease prevention grows, students in diet and exercise major find themselves with a wide variety of job opportunities in cardiac rehabilitation, school nutrition, corporate health, public health, clinics, preventative medicine, sport enhancement, and sport nutrition. This fast-track program allows students to graduate with both a bachelor's and master's degree in just five years:
Read more about the Food Science and Human Nutrition undergraduate majors from the FSHN department chair and about the Kinesiology department from the Kinesiology department chair.
This accelerated academic program is accredited by the Accreditation Council for Education in Nutrition and Dietetics, the accrediting agency for the Academy of Nutrition and Dietetics, and prepares students for admission to accredited dietetics internships/supervised practice programs. Upon successful completion of the experience program, graduates are eligible to take the national exam to become a registered dietitian (RD) / registered dietitian nutritionist (RDN) and work in a wide range of dietitian positions. Additionally, the program meets American College of Sports Medicine (ACSM) requirements for students to pursue certification at the level of exercise physiologist. Graduates have expertise in exercise physiology and can apply for wellness positions as nutrition and physical fitness experts.
Scholarships and Financial Aid
Food Science and Human Nutrition and Kinesiology students now need only complete one College of Human Sciences application online to automatically apply for all department-level and college-level scholarships. The application is available from November through February. The deadline is February 14. Students in the College of Agriculture and Life Sciences (AGLS) can also apply for AGLS scholarships; see the Food Science and Human Nutrition scholarship website for more information.
Food Science and Human Nutrition scholarship information
Kinesiology scholarships information scholarship information
Get Involved
Learning Communities
Learning communities connect students with social and learning activities that extend well beyond the classroom. Students in many communities take a few courses together, get to know upperclassmen peer mentors, study together as a group, do service projects, and gather just for fun. Visit FSHN's learning community page Students are encouraged to develop leadership and professional skills and abilities through involvement in student organizations and other extra-curricular experiences. Work and volunteer hours are valuable for enhancing professional potential as well as study abroad experiences and Honors Program membership.
Student organizations/clubs
Student Dietetic Association Nutrition Club Kinesiology and Health Club
Professional associations/organizations
Students are also encouraged to become student members of professional associations/organizations and network with professionals within the career field. Students may choose to become members of the following:
Careers and Internships
Possible careers with a degree in Diet and Exercise include:
Read about additional extensive career opportunities and salary information for Registered Dietitians. Graduates of the program are eligible to apply for admission to accredited dietetics internships/supervised practice programs. Upon successful completion of the experience program, graduates are eligible to take the national examination administered by the Commission on Dietetic Registration to become a registered dietitian (RD) / registered dietitian nutritionist (RDN) and to practice in the field of dietetics. Read more about becoming a dietitian.
Home | Prospective Students | Current Undergraduates | Graduate Programs | Research | Extension and Outreach
Department of Food Science and Human Nutrition | 2312 Food Sciences Building | 536 Farm House Lane | Ames, IA 50011-1054
Copyright © 2005-2017, Iowa State University of Science and Technology. All rights reserved.


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I'm trying to re-establish this running guide to free online training for the following week. If you're a training provider and I've missed you, please drop me a line at brian {dot} kelley {at} sqlpass {dot} org. All times are Eastern (New York). To convert to your local time, use the converter at timeanddate.com. Tuesday, Nov 5:
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Training Providers I Regularly Review:


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preselecting is a valid word in this word list. For a definition, see the external dictionary links below.
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Hey there, time traveller!
This article was published 19/12/2013 (1336 days ago), so information in it may no longer be current.
Thanks to Tammy-Lyn, Sean and Nick who called 911 and came to help me when my car was involved in an accident in front of the Tim Horton's on Stapon Road and Regent Avenue in October.
I was trapped in my car covered in glass and I was hurt. Tammy held my hand and kept me calm until the firefighters were able to remove me through the back window.
It could have been so much worse, but it was pretty terrifying.
I can't say enough about how great these concerned strangers were and about our wonderful firefighters.
I am forever grateful to all of you.
— Bev Jones


text: Located beside No. 1 Bridge, Home Inn Chengdu Hongxing Road Branch boasts good location. The hotel is 13.4 km from Chengdu East Railway Station, 3.5 km from Xinnanamen Bus Station and 2.3 km from Liangjiaxiang Bus Station. Shuangliu International Airport is 21 km away. Free wi-fi and free parking are both available here. The hotel offers wake-up calls, baggage storage service, elevators and 24 hours hot water. All rooms come with free toiletries, electric kettle, slippers, TV, 220V socket, indoor washroom, indoor bathroom, domestic direct-dial telephone and independent writing desk.


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Have a Tax Question? Ask a Tax Expert
Hi! Welcome to Just Answer! This question was open, as the expert you asked for seems to be unavailable. I see you are online, and this question has high urgency, so with your permission I will assist you.
You followed the proper procedure in contacting the IRS as soon as you found out what was happening. However, your letters may not have been enough to convince them to abate the penalty.
You need to write a letter asking them to abate the penalty under the reasonable cause exception. Internal Revenue Code (IRC) §6051 allows for the penalty to be abated based on "reasonable cause". Reasonable cause is based on all the facts and circumstances in each situation and allows the IRS to provide relief from a penalty that would otherwise be assessed. Reasonable cause relief is generally granted when the taxpayer exercised "ordinary business care and prudence" in determining their tax obligations but nevertheless failed to comply with those obligations. In this case, your obligation was to file a timely tax return.
Since you hired an outside tax preparer and are asking questions on this site, I am assuming that you are not tax experts. You should point that out in your letter. As such, the facts that you hired outside preparers, and attempted to file, even noting that the one shareholder's SSN was not available, indicates that you exercised ordinary business care and prudence. You performed all the acts that a reasonable taxpayer would do. You should also point out in your letter that had you known that they would not accept the return, you could have filed for an automatic 6 month extension of time to file the tax return, which would have given you until September 15 to file the return.
Put a letter together for using the above information, and send it to the address on the original notice. Include copies of the original note included with the return which stated that the SSN was not available but would be obtained, as well as copies of the other two letters that were sent.
Make a copy or two before you send it. Then, call the phone number on the IRS Notice of Intent to Levy, and ask them for a 60 day hold (if not more). Explain the situation, and offer to fax your letter to them. They may or may not want to see it. However, they do have the ability to put a hold on the levy.
Between these to actions, you should be successful in getting the levy stopped and getting the penalty abated. I have written dozens of these letters, and have been successful with most of them. If you would like, I can upload a sample letter in the morning when I get back to the office, just let me know.
I hope this helps with your situation! If you have any more questions, please feel free to ask! If you have found my answer helpful, please rate me highly! I would appreciate it!
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I saw your request had high urgency. I have not heard back from you as to whether you wanted a sample letter or not.
If my answer helped you, please don't forget to rate me highly! I would appreciate it!
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Care Plans Home Health AideApril 17th, 2011
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Care Plans Home Health Aide
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- Provide personal care, meal preparation, light housekeeping and/or shopping and errands to patients in their homes as outlined by the patient's individual Plan of Care.
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- Nursing care plans also are available to many hospital, and some nursing care facility, employees.
More information about Care Plans Home Health Aide on the site: http://www.homeandhealthcare.org


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Smead 2/5 Cut Right of Center Position Classification Folders with Divider, Four Sections Legal, Manila, 10ct.
by Smead | Item #: 288592 | Model #: SMD13700 |
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Fasteners keep information organized and at your fingertips. 18 pt. Manila covers feature 2" capacity prong fasteners inside front and back. 1" capacity fasteners on both sides of dividers. Dividers are fully taped to gussets for extra strength. Matching Tyvek® gussets. 2/5 cut tabs, right of center are reinforced for extra durability.
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The Importance of Hydration
Not only is water is essential for good health, but our bodies depend on water to function correctly and for survival. Proper hydration does more than just keep us from getting thirsty; water inside our bodies also has a number of benefits.
Water helps transport nutrients and oxygen to cells in the body, helps convert food into energy, helps maintain body temperature, removes waste, protects and cushions vital organs and also lubricates joints.
Water makes up more than half of our body weight. The entire human body is about 66 percent water. Our brains are 95 percent water, lungs are 90 percent, blood is 83 percent, muscles are 76 percent, and bones are composed of 22 percent water.
We lose water each day when we use the restroom, sweat, and even when we breathe. We lose water even faster when we perform hard labor, exercise, or when we have a fever. When we are asleep, we lose as much water as when we are awake, and we need as much water in cold weather as in warm weather.
For most of us, consuming between 48 to 64 ounces of water each day is necessary to stay properly hydrated. However, different people need different amounts of water. A good way to check for proper hydration is by evaluating the color of our urine. If it is light yellow, we are most likely properly hydrated. After every trip to the restroom, consider drinking a glass of water to replenish fluids.
If we don't replace the water we lose, our bodies can become dehydrated. Symptoms of dehydration include the following:
- Dry mouth
- Extreme thirst
- Fatigue
- Dark urine or little to no urine
- Headache
- Confusion
- Dizziness or lightheadedness
Our bodies can last up to six weeks without food, but only five to seven days without water. Good ways to prevent dehydration would be to drink plenty of water throughout the day and consume a glass of water with every meal.
There are times when you may want to increase the amount of water you're consuming. These instances include the following:
- Those pregnant or breastfeeding
- If you'll be outside during hot weather
- If you'll be exercising
- If you have a fever
- If you have been vomiting or have diarrhea
Staying hydrated helps with alertness, controlling appetite, and improving sport performance. It is important to drink before, during, and after exercise or when heavy sweating is likely. Adding a slice of lime or lemon to water is a good way to give it flavor without adding extra calories.
In addition to drinking water, you can consume drinks like fruit and vegetable juices, milk and teas. Water can also be found in fruits and vegetables such as watermelon, tomatoes and lettuce.
Make water part of your daily routine for good health, and drink before you get thirsty. Thirst is actually a sign that your body is already dehydrated. If you are thirsty, drink as soon as possible and continue to drink throughout the day even after your thirst has been quenched.
Roxanne Phillips is a Registered Nurse employed by Jersey Shore Hospital in the Emergency Department.