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text:
Ellasdad necesitaba un nuevo diseño de logotipo y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 78 diseños de 30 diseñadores freelance.
The Ware Rooms
We are primarily a young person's hostel and are aim is to create a young and sophisticated bar within the ground floor of each premises. Are aim is to rebrand Hostels as young and vibrant places to visit and the bar will be an important extension of this
21 - 35, cool, sophisticated and slightly bohemian. There is currently a buoyant bar market in Newcastle upon Tyne and this will be the newest addition to the town.
The full name will be The Ware Rooms and the strap line will be
Lounge - Kitchen - Bedrooms
The bar is to be created within an existing warehouse style building that used to be the site of a historic prison and the theme and interior will compliment this. The graphic logo will need to reflect the warehouse feel with a hint of glamour and sophistication. The logo will need to read well on a hanging sign outside the bar as well as be printed onto staff tee-shirts and menus.
I don't have any colours in mind but the logo just needs to be one or two colours and very strong and recognisable, this is to be a sophisticated night time venue. I would love to have an icon that is strong
You can see the development being worked on now at http://www.euro-hostels.co.uk/newca…ment-works and I have attached an unfinished artist impression for you to see the style.
I have also attached a page of logo styles I love, the best being the top left and working down the page with the least favourite at the bottom. Can you please take a look at the new attachments on the brief? I have attached a logo for Oliver the musical (don't need as this logo but love the stylised head that is a little sinister) and a text document discussing the reasoning behind the name The Ware Rooms, as you can see from the description it is based on a sinister character that was jailed at the site of the new bar and the Ware Rooms was where they were hiding their loot, really need an icon that sums up this character, maybe a silhouette of this persons head or whole but very stylised. Last day of the competition and really looking for a bold logo with clear text and the strap line. Can you please take another look at the attached logos I love for boldness. Thank you and good luck.
Descubre cómo funciona un concurso de diseño u obtén más información sobre nuestros servicios de diseño de logo.

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text:
A New Way Of Thinking
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Available at these fine Bookstores: About the Book "This Book Is A Rewarding experience!" K.B. Do you want to be happy? Of course! … [Read More...]
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Top 20 Best People We Know Show!
Check out who made the Top 20 for 2015! Thank you for making 2015 another record banner year for The Best People We Know Show! We are well over 1 Million Global Listeners, nearly 500 Shows, and top rated in 24 Categories. Brought to you by YOU, these are our most popular picks for 2015. Just click the link to listen! Not on our mailing list … [Read More...]
7 Sensational Gifts to Growing Ageless
I saw a great quote the other day, it read; "we don't say trees are getting older, we say trees are growing." I think it's a good time for people to adopt the same mantra about themselves! What is age, anyway? Truth be told, I have never met anyone who really looked their age. People are either much older or younger than what I view them to … [Read More...]
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Guest Blog Post by Angela Lenhardt I've always been fascinated with the classical fairy tale of Cinderella. Maybe it's because as a 6th grader, I was chosen to play the lead role of being Cinderella in the school play; or perhaps it's because I love the idea of enchanted castles and being swept away by prince charming. Regardless of whether or … [Read More...]
15 Top Marketing Tips for: Authors, Entrepreneurs & Business Owners
I get a lot of pitches from people around the globe to be a guest on The Best People We Know Radio Show. While I am always humbled and grateful for the interest by each and every person who takes the time to contact me, not everyone who submits a request can become a featured guest. With nearly 500 shows over the past few years, over 1 million … [Read More...]
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Don't buy the lie! The counterfeit happiness promised by frauds only leads to despair and distress! I want to shout it from the roof tops! Don't buy the lie! In my business and the business of living I am becoming more acutely aware of a new disease starving our society like a spiritual leprosy. People are starving for authentic individuals they … [Read More...]
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When you shine from the Inside You don't need the Spotlight. I am grateful for this opportunity to share, reflect and hopefully impact your life in a meaning way by sharing the qualities necessary I have discovered to live a truly meaningful life. We must live life forward, independent of being able to only understand the events and results of the … [Read More...]
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text:
Thomas DeWolf was 47 before he made a horrifying discovery: An ancestor of his, James DeWolf, was the head of the most successful slave-trading family in American history. The DeWolfs financed 88 voyages which carried about 10,000 enslaved Africans to the New World – and in the process became one of New England's most wealthy and powerful families.
Talk about having a skeleton in the closet. The only slightly mitigating factor was the fact that Thomas did not descend directly from James; James was instead the nephew of Thomas's direct ancestor, who was a carpenter from Connecticut.
But that bit of distance wasn't enough to cancel out the shame now associated with the name DeWolf. So when Thomas discovered a way to confront his family history head on, he jumped at the opportunity.
He learned that a distant cousin, Katrina Browne, one of the direct descendents of James DeWolf, was a filmmaker. She was hoping to gather as many DeWolf cousins as she could and to travel with them to Bristol, R.I. (where the DeWolfs had lived and traded), to Ghana (where their merchant ships used to pick up their human cargo), and to Cuba (where the DeWolfs had owned several plantations, all manned by slave labor).
Katrina planned to make a documentary of the 2001 journey, which she hoped would be a voyage of discovery for all involved.
The resulting film, "Tracing the Trade," has since been released and received a good bit of press (see "Family confronts the North's slave-trading past," Jan. 31, 2008). Thomas's book, Inheriting the Trade, shares his perspective on the journey; the making of the film; and the larger questions of guilt, shame, and recompense with which the family have struggled.
"How can the damage caused by slavery be repaired? How do we all heal? What are we, as white people, willing to give up? Can giving up something like money make a difference in the world? Are we responsible for everything our ancestors did and everything that will happen in the future? Who are we in respect to all this? Why should anyone care?"
There is much of this kind of musing laced throughout "Inheriting the Trade" – too much, in fact. It's hard at times for a reader not to get impatient and wonder if all this agonizing discussion this will ever add up to anything.
But if the discussion is abstract, the journey is not. The group of 10 family members stand in the places where their ancestors once trod and learn much in the process.
In Rhode Island, they have their eyes opened to the degree to which New Englanders were involved in the slave trade. (And it wasn't just a handful of wealthy merchants – money for the voyages were raised by selling stock to any number of ordinary citizens.)
In Ghana they stand in the prison cells that once held the terrified captives. Thomas in particular is sickened by the discovery that a slave prison coexisted in the same building as a church. The European clergy, apparently, found a way to make peace with the activity going on below them.
In Cuba there is less to see. The plantations the DeWolfs once owned there have disappeared almost without a trace. But even the sight of some crumbling ruins is enough to make an impression.
Then, finally, the journey is done. The cousins return to the US, share some final thoughts and reflections, and then – sadder but presumably wiser – return to their separate lives. For Thomas, "the summer of 2001 faded into a dot on my life's road map."
And if it had, this book would have had lost much punch.
But the summer did not disappear. Instead, it was overlaid with a whole new level of meaning when, in 2005, past indiscretions of Thomas's surfaced and threatened to lay waste to his life.
I won't give it all away here. Suffice it to say, Thomas was forced to take a good look at himself and he did not like what he saw. And as he thought back over his righteous indignation over the acts of his ancestors, he recognized that, "when I pondered the fundamental issues of power, privilege, and selfishness, I realized I wasn't quite as different from them as I imagined."
Thomas's actions do not equate with those of his ancestors, but nonetheless it takes an honest man to write such words and think such thoughts.
And it is that spirit of honesty and the willingness to confront the ugly parts of human experience that give "Inheriting the Trade" its value. Nowhere in the book does any DeWolf find any real answers to their questions about redressing the wrongs of their ancestors. But honest self-examination remains an excellent place to start.
• Marjorie Kehe is the Monitor's book editor.


text:
SAG Worst: Eva Longoria
What is the point of Eva Longoria? What is the reason for Eva Longoria? Is there a reason for Eva Longoria?
I don't understand.
Like, this dress. This dress, the colour, this colour is for food. Some food colours don't belong on a dress. This food colour doesn't belong on this dress. I would eat it. I wouldn't wear it.
Pageant fashion needs to die.
And the hair. Her hair makes Angelina Jolie's hair youthful. The hair…
Does Ken Paves work in a small town salon? Is this where he services his clients? Because on which carpet, aside from the daytime soap opera awards, is that updo acceptable? Not even for a bride, you know?
Not even for a bride!!!
Put an end to the misery. Please. No more Eva Longoria. Make it go away. Make it stay on tv where it belongs. Make it learn from Marg Helgenberger.
The end.
Photos from Wenn.com


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Several people have asked me how I lost weight over the last year. In an attempt to pass what worked for me on here are the details.
It all started with a goal, I wanted to get to 200 lbs by vacation. That meant that I had to loose 38 lbs in approximately 12 weeks. I don't believe there are any shortcuts in this writeup so if that is what you need you might as well stop here.
The two most important things necessary to complete this for me were to have a solid goal, to be able to measure progress toward that goal and to have the discipline to stick to my program. I used to think that I didn't have to weight myself, I knew whether or not I was in shape, what did I need a scale for? After gaining weight for the past several years I came to realize that this was just a rationalization for me and that the measurement really was important (As in anything else that you want to make progress towards).
So here is what I did:
- 3 Workouts a week, one hour each, half weight lifting, half cardio (bike)
- Ate grilled chicken ceasar salads for lunch (light on the dressing)
- Ate grilled chicken garden salads for dinner
- Stopped driking all soda and juice (except for a morning orange juice, 4-6 ounces)
- Ate a banana for breakfast
With this routine I was able to lose ruffly 4 lbs a week. I was very strict with myself and had no snacking between meals. Over the course of 12 weeks I lost the weight and was around 201-202 lbs for vacation.


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Bronze casting
Bronze is an alloy of copper and tin, and often also contains lead or zinc. It is strong and durable but can also capture the fine, complex detail within a casting mould. The term 'bronze' is often used for other metals, including brass, which is an alloy of copper and zinc.
Bronze has been used in Europe since antiquity to produce tools, weapons, sculpture and decorative works. This continued throughout the medieval period. In the 15th century there was then a deliberate revival of the forms and techniques of ancient Greece and Rome.
There are two basic methods of casting a bronze. Sand casting is a simple technique that uses moulds made of compact, fine sand. Lost-wax casting is a complex process using wax models.
In the 'direct' method, the original wax model is used and therefore destroyed. In the 'indirect' method, plaster moulds are taken from the original wax. These can then be reused many times.
Explore bronze objects in Search the Collections
Video: How was it made? Lost wax casting
Stone carving
For centuries sculptors have used stone for figurative carvings and ornamental architectural work. Different types of stone were used in different regions, with sculptors generally using geologically local materials available nearby. Marble was used in Italy and exported to northern Europe from about 1550 onwards. It is a particularly brittle stone, which is why supports are often used to connect extremities to the main part of the sculpture. It was usually the intention to remove these once the statue was installed, although this was not always done. Different types of limestone were employed all over Europe, and alabaster was popular in England, northern France, the Netherlands, Germany and Spain.
The heaviness of stone makes stability an important consideration. Many free-standing marble figures in dynamic poses are portrayed with tree trunks or columns attached to the legs in order to provide a stable base. Figures to be displayed in niches were often hollowed out to reduce their weight.
The tools used for stone-carving have remained more or less unchanged since antiquity. A mason's axe is used to cut out the basic shape of the sculpture, which is then roughed out using picks, points and punches struck by a hammer or mallet. Different sizes of tool are used throughout the carving process, each leaving their mark. Roughing out tools leave deep, uneven grooves whereas flat chisels achieve finer results and are used as a surface finishing tool for sandstone, limestone and marble. A flat chisel struck at an angle of 45 degrees (the 'mason's stroke') leaves a ridged channel, and its edge can be used to define lines. Claw chisels have serrated edges that mean they arc capable of rapid but controlled removal of material. Drills are used to excavate the stone, and can also be used to create decorative effects.
Further smoothing is achieved using rasps or rifflers (metal tools with rough surfaces) or minerals such as sand or emery (stone grit). Polishes can then be applied to sculpture of fine-grained stone after it has been abraded. Marble and alabaster were polished with pumice, producing a smooth, translucent and reflective surface, though the surface could also be left partially unpolished in order to create a variety of textures.
Wood carving
Regional availability played a large part in determining which wood was chosen for a sculpture, though the properties of individual trees was also a factor. The hardness of a wood depends on the density of its grain. Softwoods from evergreens such as cedar and pine are coarser, less dense and easier to carve, whereas hardwoods from deciduous trees such as oak, boxwood, walnut and limewood, are harder but more durable and allow more elaborate carving and finer details.
In southern Germany, sculptors favoured limewood, but oak was more widely used in northern Germany, the Netherlands, northern France and England. Walnut was used in Burgundy and France, but in Italy, Spain and the Alpine regions pine or poplar were more popular.
Wood is carved in a similar way to stone. The design is drawn on a split tree-trunk, the size of which usually determines the dimensions of the finished sculpture, though extra sections can be pieced in. The form of the sculpture is roughly carved with a broad axe and then shaped with tools such as the narrow axe, flat-headed chisels, gouges and skew-bladed firmers (a kind of chisel with a hooked end used for cutting folds in drapery). After carving, the surface is normally smoothed with sandpaper or other abrasives.
Wood naturally contains moisture when first felled and can re-absorb it later in damp conditions. Cracks usually follow the grain of the wood and are caused when parts dry at different rates. Sculptors therefore try to minimize cracking by removing all superfluous wood, especially the heartwood at the centre of a log. Another cause of damage to wooden sculpture is woodworm. The holes and burrows that woodworm causes are often visible on the surface of older pieces.
Wood sculptors often cooperated with painters as wood sculpture was sometimes painted or decorated with gilding, or embellished with glass or semi-precious stones. At the end of the fifteenth century limewood sculptors in southern Germany produced unpainted wood sculpture. Although these sculptures were not painted, they were coated with transparent glazes, sometimes tinted brown.
Ivory carving
Ivory is the dense, hard, creamy white substance that forms the tusks of mammals, though the term is also used for other similar materials. For centuries it has been highly valued by craftsmen and patrons alike for use in religious and secular objects.
The main source of ivory is elephant tusks from North Africa and India. The tusks of the Atlantic walrus and whalebone from the Finner whale have been popular in western and northern Europe since the 10th century. Animal bones were used by the Embriachi workshop in northern Italy during the 15th century.
The structure of ivory varies from one species of animal to another. Elephant tusks grow outward in successive layers and have a conical interior cavity (the 'pulp cavity'). This extends into a very small nerve running the length of the tusk. African ivory tusks can grow as long as two metres.
Explore ivory objects in Search the Collections
Carving in semi-precious stone & shell
Specialist craftsmen used a wide variety of materials for carvings. These ranged from gemstones and hardstones like rock crystal to softer organic materials such as shell, coral and mother-of-pearl.
Hardstones were worked with metal tools, diamond drills and abrasive powders. Organic materials, and the softer mineral substances like jet and amber, were carved with a variety of knives and chisels. Some of these materials, among them jet and coral, were believed to have magical or medicinal powers, whereas rock crystal symbolised light and purity in medieval times. These carvings had many functions. They included cameo portraits, gems with mythological subjects, religious artefacts such as devotional pendants, containers carved in precious rock crystal and inexpensive pilgrimage badges made of jet.
Also, from about 1540-60 rulers and wealthy burghers assembled collections of gems, cameos and other virtuoso carvings. They often displayed them in special cabinets, or rooms, alongside curiosities from the natural world and foreign parts.
Shell cameos
Shell cameos are much easier to cut than those made from gemstones. Also, the raw material is cheaper and easier to acquire. They were popular in the 16th century and then again in the 18th and 19th centuries, when the passion for carved gemstones led to a parallel explosion in the market for cheaper shell cameos. They are still popular today.
Modelling in clay
Clay is a very versatile raw material. It is relatively cheap and widely available. It can be modelled by the sculptor to form a unique object, or moulded by workshops for mass production. Sculptors often made rapid sketches in clay to capture initial ideas and then developed more finished models to show to patrons. They also used clay models when transferring compositions into more permanent materials such as marble. Clay can also be pressed into moulds, enabling multiple copies to be made.
Modelling marks are not usually visible in finished pieces of ceramic sculpture but can often be seen in ceramic models made for sculpture in other media. Typical are rough, uneven grooves and ridges caused when clay is pushed to one side as marks are made.
Fired clay is known as 'terracotta' (cooked earth). The firing irreversibly changes the clay, making it stronger and capable of receiving a variety of surface finishes. Clay models were sometimes fired to preserve them. Large European works, such as the 'stemma' or coat of arms, made by Luca della Robbia for King Rene of Anjou, were cut into pieces with cheesewire in order to fit into the kiln, and joined together after firing.Explore clay objects in Search the Collections
Wax modelling
Wax models are original and unique creations that were sometimes works of art in their own right and sometimes an intermediary stage in the sculptural process. Many bronze sculptures, for example, are cast from models that were first made in wax, involving a highly skilled process known as lost-wax casting.
Audio: How did sculptors make wax models?
Explore wax objects in Search the Collections
Surface decoration
The rough surface of European limestone and sandstone sculptures was usually concealed by paint, gilding, or inlaid glass or semi-precious stones. Marble sculpture was rarely decorated because a plain white surface like those of classical Greek and Roman marble sculptures was considered the most desirable finish. In fact these classical sculptures would probably have originally been painted, but by the time they were rediscovered in post-classical times, the paint had worn away.
Wood sculpture was also painted, gilded, or decorated with incised and punched patterns and occasionally inset glass, though at the end of the 15th century, sculptors in southern Germany produced unpainted limewood sculptures.
The appearance of bronze sculptures could also vary, according to the particular alloy used and the surface treatment. Chemical and organic lacquers can produce a variety of colours including black, green and reddish-brown. Bronzes could also be gilded, sometimes using the fire-gilding method. In this process a paste of milled gold and mercury is spread over the sculpture which is then heated, fusing the gold to the surface and driving off the mercury. Fire-gilding is now outlawed in most countries due to the toxicity of mercury vapour. Gold lacquer can also be used to give a gilded appearance, though it is less permanent than fire-gilding.
In Renaissance Italy, terracotta (fired clay) sculptures were usually coloured. In the 15th century, Luca della Robbia, a sculptor from Florence (1399/1400-1482), developed a method of tin-glazing terracotta sculpture that had previously only been used on pottery. Della Robbia's method used pigment suspended in a tin-oxide glaze rather than painted onto slip. The resulting enamelled terracottas were particularly durable and had an attractive, bright and reflective, surface. By the late 18th century however, unglazed terracotta had become popular with many European artists such as the French sculptor Clodion (1738-1814).


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Pulling into the parking lot at LACMA one morning I noticed the museum's director, Michael Govan, placing a brand-new California license plate onto a tan-colored, 1989 BMW 325is. After the initial shock of watching him use hand tools in his impeccable suit wore off, I asked him about the car. He explained that he had recently had it shipped to Los Angeles from New York City and was considering having it custom painted. He noted that it was very similar to my own 1991 BMW 325i. "You drive that little black one, right?" As it turns out, Michael appreciates cars, and now that we had ours in common, he would, from time to time, update me on the progress of his. Turns out the custom paint was being created with art fabricator and artist Jack Brogan in an unassuming warehouse in Inglewood where, along with tricking out Michael's car, Brogan has been collaborating with Robert Irwin on a series of highly polished and gorgeously colored large-scale paintings on honeycomb aluminum. Intrigued, I recently sat down with Michael to find out more…
MT: Let's talk about your fabulous car.
MG: So hilarious that you're here to talk to me about that.
MT: Who painted it?
MG: Jack Brogan—he's a legend in Los Angeles. He was one of the key collaborators of the Southern California artists, who some people called finish-fetish artists, or conceptualist artists. In particular, he worked since the early 1960s with artists like Robert Irwin and Larry Bell. He often restores artworks; in his studio now is a Calder from San Diego, and a Larry Bell, and a Craig Kauffman. Whenever anything has to be done that is super precise, or requires unusually refined surfaces, you call Jack; he's a genius at that. He is currently working with Robert Irwin on a series of new paintings that were just shown at Pace Gallery. The surfaces of the black painting I saw recently is so perfect that to see it is to look into another world. While it's incredibly reflective, it's very different from looking into a mirror.
MT: And how did you find him?
MG: The simple story is that I was sick of making car payments on new cars that I mostly didn't love anyway, and since I only drive two miles to work every day, and occasional meetings, it seemed a waste to have a new car. I was toying with the idea of bringing my old car that was stuck in a garage in New York. I had to move it anyway, so I thought maybe I'd bring it out here.
John Bowsher, LACMA's director of special art installations, who was with me in New York and had ridden in that car up to Dia:Beacon many times, said, "You can't bring that color to L.A. It's not an L.A color." It was BMW's '80s "Bronzit" beige color. I had never liked the color anyway. A few days later John said, "You've got to change it, and I got it all set up. I talked to Jack Brogan." I had known Jack through his friendship and association with Irwin.
Anyway, I went over to Jack's and he showed me all the work he was doing with Bob Irwin—we spent probably an hour and a half just talking about color, and paint color, and he showed me what he was doing with metal paint. Long story short, he said he'd be happy to work on the car for me, and work on the color.
MT: Had he done cars before?
MG: Yes. Even his Chevy Suburban, you'll notice, has been subtly lowered, and all the trim has been removed. So it's not screaming "custom" at you. The first thing he asked me, jokingly, was whether I wanted flames painted on it.
MT: You didn't get the flames?
MG: I didn't get the flames. He's restored many, many cars. Have you ever read Seeing is Forgetting the Name of the Thing One Sees, which is Lawrence Weschler's biography on Robert Irwin? In it is a wonderful section that talks about the artist and car culture. Bob argues with an art critic about aesthetic practice by showing him the many aesthetic decisions that go into a car restoration. Bob, like several of his contemporaries in L.A., restored cars himself. It was all part of the artists' scene that he and Jack inhabited in Los Angeles in the 1950s and '60s.
MT: You told me once before that Jack said he didn't do foreign cars.
MG: He doesn't in general work with foreign cars, so at first he looked a little askance at my BMW. By the time we were done, he was driving it himself every day, and quite liked it. We picked the color, which is actually a deep blue, so when it's in the California blue sky, you really see the blue. Most people would say that it's black. But at night, blue-black is even darker than black. It's a really, really beautiful color.
MT: Why did you choose this car in the first place?
MG: I bought the car in 1994, when it was already five years old, in Long Island. I had actually just seen it on the street in East Hampton, and took down the number; I loved the square shape of that BMW. It turned out it was owned by the girlfriend of a guy who is the "car doctor" of eastern Long Island, Ryan Pilla. He is the "car doctor" to auto enthusiasts, car collectors, and celebrities. He offers car racing vacations, he races motorcycles, cars, and he takes care of Jerry Seinfeld's car collection, among others.
MT: Did you really install woofers and a sound system?
MG: Well the problem was that the wires had rotted out. So we needed new speakers, and I didn't want to change the look of the stock speakers, so in order to get any quality sound we had to put in the amp and the sub-woofer.
MT: That's so L.A.
MG: It doesn't sound as good as a new car, but it sounds really good for a little car like that. And I put in the performance chip.
MT: What's that?
MG: These are some of the first cars that have computer-controlled electronic ignition, so you get fifteen more horsepower if you reprogram the ignition; I did it myself for fun.
MT: You did it yourself?
MG: Yeah. It was kind of cool: you had to replace the chip from underneath the glove box; I read all of the instructions. It was my little Saturday morning project. I was half-sure it was going to blow up when I turned the ignition, but it worked. Jack hasn't driven it since the performance chip, and he's got a little touch-up to do.
MT: Are you just ecstatic now for having brought it out, because you can drive it more now that you're in Los Angeles?
MG: Right, now it's exciting. And I bought a bicycle too so that I can ride that to work when the car is in the shop, as old cars can be. Actually Bob Irwin said that I had finally moved to Los Angeles. I had gone through my rite of passage: I had customized my car. I customized it in just that way where most people don't quite know that it's not stock. It's more fun. It's an '89, so it's a super boxy car. Today almost every single car on the road is curved or chiseled, so it stands out.
MT: I want to go back to your discussion about the color. What was that like?
MG: Jack was working on his and Bob's dark paintings, so we were talking about the nature of dark colors; I definitely wanted it dark. I thought that the body shape looked better when it was dark; everything pulled together with the tires and the trim. It had a light tan interior that I thought was ok, so we just cleaned it up a little bit.
The greens, reds, and blues of the paintings were really deep and dark. I loved the blue because it held the sky somehow, the L.A. sky. We started looking in that family of colors. Jack came up with something new and special for the car. Bob Irwin said that he liked the color so much he might use it for a painting. We'll see.
MT: Was Bob satisfied with the end result?
MG: I think he was, yes. He was skeptical at first since he has such high standards in these matters. But I think he was quite surprised and impressed.
MT: Did you go to see Jack specifically with the intention of asking him for the car color?
MG: Jack already knew that I was coming because of John, and I knew him through Bob. He didn't paint it himself; he mixed the color, and ended up having someone else paint it. And they did a great job. It's almost "cherry," as Bob Irwin would say. Perfect.
Marietta Torriente de León, Major Donor Event Planner


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Endress+Hauser Flowtec (India) Pvt. Ltd.
Customized manufacturing, calibration and logistics services of flow measurement instruments
Founded in 1999, Endress+Hauser Flowtec (India) Pvt. Ltd. in Aurangabad is manufacturing and supplying electromagnetic flowmeters, Coriolis mass flowmeter, vortex and ultrasonic flowmeters to India, Australia, South Africa, Singapore, Malaysia, Thailand and Indonesia. Additionally, Division Aurangabad is supplying vortex flowmeters to TLV Japan. The plant employs about 115 people.
Giám Đốc Điều Hành
Kulathu Kumar
Năm thành lập
Số lượng nhân viên
Your competence center for flow measurement in India
Endress+Hauser Flowtec (India) Pvt. Ltd. is a wholly owned subsidiary of Endress+Hauser Flowtec AG Switzerland
Part of the global sourcing activities of Endress+Hauser Flowtec
Quality systems: ISO 9001:2008, ISO/IEC 17025 accredited (calibration laboratory),
ISO 3834-2 (welding)
Environmental system: ISO 14001:2004
Safety system: OSHAS 18001:2007
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text:
this is a pretty pointless movella with alot of reads.Thanks...
My Anime collection55672474
- by Beautifully Saiyan Panda
- Rating:
- Published: 30 Oct 2014
- Updated: 4 Oct 2015
- Status: In Progress
I kinda jumped on the band wagon ... yep, I'm creating anime people!
Join MovellasFind out what all the buzz is about. Join now to start sharing your creativity and passion
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text: You are sitting in the parking lot at work with a dead battery. You obviously need a jump, but you don't have jumper cables and your co-workers are dicks that don't want to help. Screw them—you have the Porta Jump. There is no need for jumper cables or helpful friends, all you need to do is plug it into your cigarette lighter and wait for the green light to turn on. Just like that, you are back in business. Plus, it will recharge while you are driving. Seems like a no-brainer for only $20. [JC Whitney via Book of Joe via Coolest Gadgets via DVICE]


text:
2013 Announcement and registration is open!
Registration is open and more details will be coming soon! Sign up now before it fills us. Register early and get $10 off! Use discount code is "early".
This year's date is SUNDAY, MARCH 10th.
Everything below this post is from last year!!!
The winner of the Kuat NV rack is:
Firing up the raffle random name generator in a few minutes!
We'll have all the raffle items sorted out soon! Stay tuned.
Women: Carrie Edwards
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Men: Roger Bartels
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Michael Jordan
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Jason Benford


text:
It's no fun when the rabbit has the gun
That has got to be one of thee greatest last meals of all time. Damn that looks sooooo goooood.
this is funnystuff the cheese looks like latex
WOW what a waste of perfectly good JACK D!!! and the end....
love to try that BBQ sauce
bacon makes anything taste better...
Oakland, Where Careers Go To Die!!!!!
LOL I love this one!! Gives me a heart attack just looking at it!
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Soumak Kilim - 3.77m x 2.5m
(Includes taxes)
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People in Santa Teresa, N.M., were told to stay inside and seal windows and vents. Turns out, 200 people got sick, and an unknown hazardous material caused it. The industrial park reopened yesterday.
Gary Johnson's campaign splices him into the presidential debates.
Guy rode his bike through Hurricane Sandy.
Back East, people are lined up for miles to get gas.
Former Penn State president charged with perjury in Sandusky scandal.
Gene Hackman knew the dude he slapped in Santa Fe.
Dr. Kevorkian's paintings.
City councilors lodge an ethics complaint against a pro-minimum wage hike group.
Campaign finance reports filed today. So, how much did those legislative campaigns blow?
Noam Chomsky Gangnam Style
10 election oddities explained. By the British.
Is America ready for a female president?


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When it comes to measuring an an institution's financial strength, capital is valuable. It works as a buffer against losses and provides protection for accountholders when a bank is struggling financially. From a safety and soundness perspective, the more capital, the better.
Security State Bank achieved a score of 22 out of a possible 30 points on our test to measure capital adequacy, exceeding the national average of 13.13.
A bank's Tier 1 capital ratio is a commonly used measure of this buffer. Security State Bank's Tier 1 capital ratio was 16.89 percent, higher than the 6 percent level regulators consider adequate, but under the national average of 25.65 percent. The higher the capital ratio, the better the bank will be able to stand up to economic difficulties.
Overall, Security State Bank held equity amounting to 15.35 percent of its assets, which exceeded the national average of 12.03 percent.
In this test, Bankrate tries to estimate the effect of problem assets, such as unpaid loans, on the bank's capitalization and allocated loan loss reserves.
A bank with large numbers of these types of assets may eventually be required to use capital to cover losses, diminishing its buffer of equity. It also means that there are likely to be many assets that are in non-accrual status and thus aren't earning interest for the bank, pushing down earnings and increasing the chances of a failure in the future.
On Bankrate's asset quality test, Security State Bank scored 40 out of a possible 40 points, beating out the national average of 37.49 points.
A widely used indicator of asset quality is the percentage of problem assets a bank holds compared to its total assets. As of December 31, 2017, 1.19 percent of Security State Bank's loans were noncurrent, meaning they were more than 90 days past due or were in non-accrual status. That's above the national average of 1.01 percent.
Banks keep a reserve known as an "allowance for loan and lease losses" to deal with troubled assets . The size of that reserve can be a widely used indicator when evaluating a bank's ability to manage troubled assets, especially when compared to the total amount of problem loans. Unfortunately, the FDIC did not provide information on Security State Bank's loan loss allowance in its most recent filings.
How profitable a bank is has an effect on its safety and soundness. Earnings may be retained by the bank, giving a boost to its capital cushion, or be used to deal with problematic loans, potentially making the bank better able to withstand financial trouble. Obviously, banks that are losing money are less able to do those things.
On Bankrate's test of earnings, Security State Bank scored 18 out of a possible 30, above the national average of 15.12.
Return on equity, calculated by dividing net income (essentially, profit) by the total amount of equity, is one important way to measure a bank's earnings. The most recent annualized quarterly return on equity for Security State Bank was 8.80 percent, above the national average of 8.10 percent.
For the twelve months ended December 31, 2017, the bank reported net income of $3.2 million on total equity of $37.3 million. The bank experienced an annualized return on average assets, or ROA, of 1.30 percent, above the 1 percent deemed satisfactory in accordance with industry standards, and above the average for U.S. banks of 1.00 percent.
Bankrate.com's Safe & Sound Ratings provide a star rating system to evaluate the current financial status of financial institutions. The information gathered about banks, credit unions and thrifts is updated as set forth in the Terms of Use of Safe & Sound Ratings and Reports. The Safe & Sound Ratings information is grouped by categories of banks, thrifts and credit unions.
Bankrate.com evaluates the financial condition of institutions and assigns a one- to five-star rating for each with five stars representing the highest rating. Institutions with satisfactory performance will generally receive a rating of three or more stars. The majority of institutions fall into the three- to four-star range. An institution with an "NR" rating may be too new to rate or may have limited the publicly available information in their regulatory filings. The "NR" is not an indication of financial strength or weakness. The Safe & Sound rating is believed to be reliable, but the information is not guaranteed. In addition, events since the information was collected may have altered the institution's financial condition.


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Mylar® A is used as intermediate- and cover insulation in transformers, chokes and relay coils.
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Mylar® A is storable unlimited under normal conditions (20°C, 50% relevant humidity).
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Protecting films
Data sheets of Mylar A
The data sheets for Mylar A and other polyester films can be found under this link.


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Add some twinkling charm to each evening of your stay during a delightful nighttime water parade!
Glimmering along the shoreline of this Resort hotel destination, the Electrical Water Pageant gives Guests of all ages the chance to marvel at spectacular sights and sounds as sparkling sea creatures—both grand in size and epic in scope—cruise the lagoon to electronic Disney tunes you know and love.
Best of all, as the show reaches its patriotic conclusion, you can marvel cozily from the comfort of this Resort hotel's own magical viewing place!
Imagine your loved one's delight when they return to their Resort hotel room to find it magically transformed!
Surprise that special person in your life with a personalized in-room celebration! Whether celebrating a birthday, holiday, first visit or romantic occasion, In-Room Celebrations make your loved one feel like their favorite Disney characters have stopped by to create a personalized celebration—just for them!
You can enhance their experience even more by choosing from a wide variety of popular Disney surprises and keepsakes—or by creating your own personalized gifts with our Custom Gift Builder feature!
Explore the many possibilities at Disney Floral & Gifts, or call a Disney Floral & Gifts "Dream Maker" at (407) WDW-GIFT or (407) 939-4438 today!
Discover a whimsical way to dash about! Getting to select locations around Walt Disney World Resort—or traveling to and from Orlando International Airport—is easy when our private vehicles whisk you off in delightful Disney style. (Additional charges apply.)
Cruise across Bay Lake and Seven Seas Lagoon via complimentary water taxi.
One water launch provides direct transportation to Magic Kingdom park, while another stops at Disney's Fort Wilderness Resort & Campground and Disney's Contemporary Resort.
Most areas throughout Walt Disney World Resort are accessible by complimentary bus transportation. The bus stop at Disney's Wilderness Lodge is located a short walk from the lobby.
Enjoy complimentary transportation and luggage delivery to and from Orlando International Airport.
Standard overnight self-parking is available to registered Guests for a fee that will be applied to their hotel folio upon check-out. All parking fees include applicable tax.
Complimentary standard self-parking is available while you enjoy select dining, shopping, entertainment, and recreation experiences at this Resort.
Collect your boarding pass and check your luggage from the comfort of your Disney Resort hotel.
A 24-hour ATM is located near the Front Desk.
Guests interested in exchanging foreign currencies may inquire at the Front Desk or Lobby Concierge.
A 24-hour self-service laundry room is available just beyond Roaring Fork. For dry cleaning and valet laundry service, please select "Housekeeping" on your Guest Room phone.
Learn more about laundry and dry cleaning services at Walt Disney World Resort hotels.
Send pre-stamped postcards and letters from the Front Desk, as well as pre-packed, pre-labeled packages. Postage stamps are available for purchase at Wilderness Lodge Mercantile.
Shopping is a breeze at Walt Disney World Resort, thanks to complimentary merchandise delivery to your Disney Resort hotel.
Take advantage of this convenient service—and enjoy the parks without extra baggage! Merchandise delivery is available during your stay at any Disney Resort hotel for purchases made:
Pickup Location
When staying at Disney's Wilderness Lodge, you can arrange to have your merchandise delivered to Wilderness Lodge Mercantile, where it will be available for pickup later.
About the Shop Disney Parks Mobile App
You can shop for authentic Disney theme park merchandise right from your mobile device. Download the Shop Disney Parks mobile app and start browsing from thousands of Walt Disney World products!
Looking for a special way to surprise your loved ones—or treat yourself—during your stay at Walt Disney World Resort? You can place an order through the app up to 2 days in advance of your visit. When you arrive at your Disney Resort hotel, your merchandise will be waiting for you at the pickup location.
Learn more about merchandise delivery and pickup at Walt Disney World Resort.
Visit the Lobby Concierge to purchase tickets, make dining reservations and more.
Learn more about Resort Concierge services at Walt Disney World Resort.
Guests staying in Club-level rooms and suites are eligible for personalized vacation-planning support.
Pamper yourself by the pool at this one-stop spot for manicures, pedicures, hair services and more.
Nestled in the tranquil wilderness of the Pacific Northwest, Salon by the Springs provides the ultimate relaxation experience. Indulge in a manicure or pedicure customized to your specific needs—or receive the perfect hairstyle to tackle your next adventure in the great outdoors.
Services are available for Guests of all ages.
Soothe mind and body at this full-service fitness center and sauna.
Guests staying in Club-level rooms and suites are eligible for personalized vacation-planning support.
Per Night Excl Tax
(407) 824-3200
Even as the Disney Cast Member guides you around our site, they will be unable to access or view any files or information on your device or anything you type.
To stop the session, click the X in the screen-sharing window at any time. You can remain on the phone with the Cast Member.
Enter the code provided by the Cast Member and Accept to get started.


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Since 1952, the Population Council has worked to confront critical health and development issues.
Together with NGO and government partners, our international staff identifies challenges, develops and tests innovative solutions, and scales up successful strategies.
The Council's capabilities include:
- IMPLEMENTATION SCIENCE to identify service-delivery challenges and test solutions that improve family planning, reproductive health, HIV and AIDS services, and programs for adolescent girls;
- POLICY RESEARCH AND ANALYSIS that provide data needed by national governments and international bodies to develop evidence-based health and development policies;
- DEMOGRAPHIC ANALYSIS to document the significance of the link between population and development;
- IMPACT EVALUATION to rigorously assess the effect of a given intervention, policy, or program;
- BASIC BIOMEDICAL RESEARCH on new contraceptive and HIV-prevention compounds and delivery systems, as well as research to understand how HIV is transmitted sexually;
- DEVELOPMENT OF PRODUCTS that enable men and women to prevent pregnancy and protect themselves from HIV and other sexually transmitted infections and disorders of the reproductive system;
- CLINICAL TRIALS of promising products to determine their efficacy and safety; and
- PRODUCT INTRODUCTION to ensure that technologies developed by the Council are available to the poorest and most vulnerable people worldwide.


text:
Login Required
You need to have a Pokémon Trainer Club account to save your Favorite Pokémon!Log In Sign Up No Thanks
Children of the southern tropics eat as snacks the fruit that grows in bunches around the neck of Tropius. This Pokémon flies by flapping the leaves on its back as if they were wings.
The bunches of fruit around Tropius's neck are very popular with children. This Pokémon loves fruit, and eats it continuously. Apparently, its love for fruit resulted in its own outgrowth of fruit.
Boosts the Pokémon's Speed stat in sunshine.
Boosts the Sp. Atk stat in sunny weather, but HP decreases.
This Pokémon does not evolve.
The Pokémon Company International is not responsible for the content of any linked website that is not operated by The Pokémon Company International. Please note that these websites' privacy policies and security practices may differ from The Pokémon Company International's standards.
Pokemon.com administrators have been notified and will review the screen name for compliance with the Terms of Use.
Your request could not be completed. Please try again. If the problem persists, please contact Customer Support.


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English Classes in Mumbai
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we conduct all types of language classes.
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Successful GuluWalk 2006
"It has been a success compared to last year's,� said Juliet Kilpin the organizer of London Gulu Walk. "People were positive and many have been stopping to accept the flyers.�
(London Children who turned up for this year's GuluWalk 2006).
Tens of thousands of people globally participated in this year's Gulu Walk, from New York City to London, and others cities around the world.
Gulu Walk is a worldwide march held each year to highlight the suffering of children caught in Uganda's 20-year civil war.
"It has been a success compared to last year's," said Juliet Kilpin the organizer of London Gulu Walk. "People were positive and many have been stopping to accept the flyers."
A Ben Television journalist, Ayoub Mzee could not resist the tears—children here in London who saw footage of film captured from Uganda also wept. "All along I had been thinking that those were just stories but I have now understood," said Ayoub Mzee, Ben Television crewmember.
In New York City, a huge crowd assembled for a march at Washington Square part, with Police escort and headed to the United Nations headquarters in Mid-town to deliver the message that "enough is enough" reports Milton Allimadi, publisher of The Black Star News, who joined the March.
New York speakers included Grace Akallo, a former child soldier who now attends college in the U.S., China Keitetsi, author and former child soldier now living in Denmark, and Judith Abe, activist.
Akallo, who has spoken before the U.S. Congress urged parents who attended the march to imagine how they would feel if their own young ones had been abducted as child soldiers or if they had to sleep in the bush. Keitetsi said she was stunned to discover that pets in Denmark are buried in marked graves, yet countless child soldiers had perished in the bush in Uganda. Abe said that as a parent, she could not believe the painful scene of suffering and devastation of Uganda's children she witnessed on one of her trips back.
New York-based lawyer Ochoro Otunnu urged the marchers not to allow such suffering to continue "during our watch." He noted that those who came for the New York march shared the great tradition of opposing injustice dating back to segregation in the U.S. and apartheid in South Africa. "Not in our watch," he declared.
"The key thing is that the conspiracy of silence has now been broken," notes Allimadi. "The suffering of Uganda's children has been exposed---children allover the world are helping to end genocide in Uganda." He urged marchers to contact editors of major newspapers and ask them why they have not given similar coverage to Uganda's suffering as has been devoted to Darfur.
New York's march was coordinated by uNight, led by Daniella Boston, who urged marchers to talk to their neighbors and contact their elected representatives.
Miwambo reports for The Black Star News from London.
For more information, please see www.guluwalk.com and www.uNight.org
To subscribe to or advertise in New York's leading Pan African weekly investigative newspaper, please call (212) 481-7745 or send a note to firstname.lastname@example.com Our motto is: "Speaking Truth To Empower."
Latest comments
- Ann GarrisonFebruary 22,2018 @ 08:03 PM
I think you have "Filtered HTML" turned on here. If you switch to "Full HTML," it will probably...
googletag.pubads().definePassback('6785150/BENN/BlackStarNews', [[300,250]]).setTargeting('fold',['BTF']).display();


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Tina Fey and Amy Poehler have signed up to host NBC's coverage of the Golden Globes for two more years.
The Hollywood Foreign Press Association announced Tuesday that the former "Saturday Night Live" alums will be back to emcee the event which is scheduled to held in Beverly Hills, Calif., on Jan. 12.
The "30 Rock" and "Parks and Recreation" stars garnered good reviews for their hosting skills at the 2013 show, enough for Globe organizers to also sign them for the 2015 ceremony.
U.S. & World
Stories that affect your life across the U.S. and around the world.
"Tina and Amy are two of the most talented comedic writer/performers in our business and they were a major reason the Golden Globes was the most entertaining awards show of last season," Paul Telegdy, president of alternative and late night programming for NBC, said in a statement. "We're elated they wanted to host together again and that they committed for the next two years."
Allen Shapiro, the CEO of Dick Clark Productions, said Fey and Poehler have a "truly unique chemistry, making them one of the most talented and captivating pairings of all-time."
When Poehler, 42, and Fey, 43, took the reins for the first time in 2013 the telecast drew 19.7 million viewers, up 17% from the previous year. It was the highest-rated Globes ceremony in six years.
Theo Kingma, president of the Hollywood Foreign Press Association — the organization behind the Globes — said that the return of Fey and Poehler "ensures that the Golden Globes will once again be the biggest, best and most entertaining awards celebration of the year."


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Today is International Women's Day. We celebrate the accomplishments of all women and look with hope toward a future of equality and empowerment. On this occasion, it is fitting to share the story of Maria Cristina, a former sponsored child who graduated as a doctor and surgeon in 2010.
Such a profession seemed impossible for a girl from a poor household in Guatemala, but Maria Cristina persevered with the support of her family and her sponsors of 17 years, Mary Anne and Marshall.
Her faith in her abilities and in the constancy of God's help was unwavering. This faith continued even when she failed the first two years of classes and had to repeat them.
"What is important is to have faith and to take advantage of all opportunities that may come your way," she said. "Fill yourself with good intentions, have courage and be decisive, listen to good advice and rub shoulders with people who are optimists. Faith is something in which, without seeing, we believe. And if we believe in achieving something, we will."
Please pray:
Lord, bless women everywhere. We pray especially for all those mothers, grandmothers and sisters who work to care for family members in need while forging their own paths in life. May their loving hearts and nurturing spirits be blessed with strength and joy. We ask this in your holy name. Amen.
CFCA Prayer Team
This is from our weekly ePrayer. Sign up to receive Prayer Partners in your inbox.


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Lian Li LanCool First Knight K63 (PC-K63-B) Mid Tower Computer PC
Case with USB 3.0 - BLACK
High Thermal Performance:Two 140mm LED fans (front)
and two 140mm LED fans (top) keep hot air from damaging your hardware.
Supports up to six 3.5-inch
HDDs and four 2.5-inch HDDs: HDD cage, using thumb
screws with rubber suspension, supports six 3.5-inch HDDs and four
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Adjustable HDD Rrak: Users can choose for their HDDs
to face forward or backward.
SB 3.0 Multi-media I/O ports: Users can easily access
USB 3.0, e-SATA and HD Audio ports.
Tool-less PCI card holder Holds up to seven PCI add-on
cards. To install simply lock the arm into position.
Tool-less PSU holder nsert the PSU into position, then
close the aluminum PSU holder.
Tool-less Optical Drive Mounting Supports standard
5.25 optical drives.
Maximum Video Card Size 415mm
Cable clamp Cable-Management Kit for cables to pass
through, allow uesr convenient manage the cables.
Back to the top


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Beautiful Todi in Umbria
During your journey through the beautiful region of Umbria, also known as the "green heart of Italy", enjoy your stop in the hilltop town of Todi, an interesting holiday destination alongside the better known destinations Perugia, Assisi, Orvieto and Lake Trasimeno. The hillside location of this medieval city offers a wide, relaxing view of the valley landscape extending below. Directly adjacent the first panoramic point outside the city walls is the church of Santa Maria della Consolazione, a beautiful masterpiece of the Renaissance art. A road leads up to the old town, on the way there, it is simply impossible not to admire the hilly and forested landscape. You will surely not forget the spectacular views! The old town is characterized by narrow streets and ancient buildings. A holiday home in Todi offers you the opportunity to discover the City of Jacopone da Todi, one of the most important religious poets of the Italian Middle Age. Close to the beautiful Gothic church of San Fortunato is a statue of the patron saint, who used not only Latin, but also the vernacular for his poetry. The most important part in the city is undoubtedly the central historical Piazza del Popolo, where also the main attractions of Todi are: The Cathedral of Santa Maria Assunta, a masterpiece of Gothic art; The opposite lying Palazzo dei Priori, also in Gothic style and with a wonderful tower dominating the Piazza; The interconnected Palazzo del Popolo and Palazzo del Capitano, which house the interesting city museum of Todi. In addition, around the square there are restaurants with typical local dishes: a true delight for gourmets! Not to forget the Umbrian wines, which alongside the excellent olive oil, are now known beyond the Italian borders. Enjoy a glass of wine in your holiday home in Todi or at the Piazza del Popolo !! Immerse yourself in the Umbrian life atmosphere! Feel at home in your holiday accommodation, the ideal solution for your holidays in the beautiful region Umbria!


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German Bundesliga Podcast: Matchday 34 Review + Season Recap
Talking Fussball – The Bundesliga Show is back to mourn the end of the 2013/14 Bundesliga campaign as James is joined by Alex and Jon to wrap up both Matchday 34′s results as well as provide an assessment of each of the 18 club's seasons.
What on earth has gone on at 1. FSV Mainz 05 concerning head coach Thomas Tuchel? How immanent is the threat of extinction for Bundesliga dinosaurs Hamburger SV going into the relegation play-off? Could either 1. FC Nürnberg or Eintracht Braunschweig make an immediate return to the top-flight? How well represented will Germany be in the European competitions next season? How do FC Bayern München resemble Pep Guardiola's tiki-taka system and did Borussia Dortmund take a step forward in 2013/14?
Elsewhere Sal catches up with FC Augsburg captain Paul Verhaegh and Eintracht Frankfurt's Alexander Meier while the pundits delve into their bottomless pit of end-of-season awards. It's the season's final Episode of Talking Fussball and it's not to be missed!
Thanks to talkingfussball.com


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For easy access to live sound products, visit the HARMAN Professional Global Alliance Program to find where to buy or rent HARMAN Pro gear.Learn More
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It's been the longest time since I've actually compiled a blog post so apologies if I am slightly rusty hehe. Not much has changed except from the fact I am now 21 and older than ever before. The last time I posted I was ready to go on my year abroad to teach in Germany. Lol well I had to go home for health reasons but on the plus side I'm now on a year out and have lots of time to document my monotonous lifestyle and outfit choices <3 Since it's been so long I've made some collages of the last 3/4 months. The main pics are of me in Durham in my bunny backpack/ pink coat, both of which my boyfriend bought me from ebay for my birthday. V 'kawaii' as one would say, much love xxxxxxxx
(Also I mainly update on instagram now http://www.instagram.com/immids but will also be using my blog/ maybs lookbook this year)


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Julian and his 1962 Strat with drummer Florent Barbier and bassist Sharron Sulami at a
May 2010 gig at the Trash Bar in New York City. Photo by Ann 'Arbor
How about amplification and effects?
One of the key ingredients to my sound is the speakers I use—Electro-Voice SROs, which I put in everything, even that Peavey Bandit I've got. Generally, I use a silverface Fender Twin live, but in the studio I use only small amps, which are best for recording since they push less air and get more tone than larger amps. I've got everything from old Danelectros to Magnatones to a nice blackface Fender Princeton.
I don't use much in the way of effects, just a Rat distortion and Boss compression and digital delay pedals. I've also got an old Maestro Mini-Phase, which I used as an envelope filter on "The Funky Beat in Siamese" from the new record. I should mention that I played a Danelectro baritone guitar on that song, which was fun but tricky—you have to use a whole different approach than if you were just playing guitar or bass.
Julian and Bob Quine recording "Walking on the Water," from the Voidoids 1977 album,
Blank Generation. Photo by Kate Simon
How would you describe that approach?
On the baritone, it's best to come up with lines and patterns that fall in the middle of the instrument's range. If you play in the bottom of the range, you'll get in the way of the bass guitar, and if you play high on the neck, you might as well be playing a guitar. It's as if you're in an orchestra playing a cello, whose range overlaps with the standup bass and the violin.
Speaking of how things blend together on tracks, how did you get into recording and engineering—and do you have a benchmark for that work?
What's an example of an odd request that another producer might reject but that you'd accept?
When I work with Jon Spencer, he might ask for something so compressed that it's all static-y and fucked-up sounding— sounds that most people try to avoid. Or he might want an odd percussive sound and I'll help him find it, for example, by banging on the edge of a Wurlitzer with a drumstick.
How would you sum up your overall philosophy when it comes to writing, playing, and producing?
I say no matter what you do, let your spleen show—give it your all.
Ivan Julian's Gearbox
1962 Fender Stratocaster with 1973 neck, assorted vintage Teiscos, Danelectro electric baritone, Hanson Cigno, Gibson Hummingbird
1970s Fender Twin Reverb, 1960s Fender Princeton, Peavey Bandit, assorted Danelectros and Magnatones
Pro Co Rat, Boss CS-3 Compression Sustainer, Boss DD-3 Digital Delay
Strings, Picks, and Accessories
D'Addario XLs (.010, .011, and .012 sets), D'Addario Phosphor Bronze (.012s for 6- and 12-string guitars), Fender medium picks, Kyser capos


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Wow. It's been a long time. I have been locked in a jam space in East Oakland with Howlin' Rain for many moons. My beard is grown long, my hair getting shaggy. The jam space smells irreversibly more like sweat and beer everyday. Well, if we are to believe that time is an elliptical thing in form than no real harm done in wandering your days away in the woods. I have plenty of live shows and comps to post from deep in the archives I just was having a little trouble finding the right thing to really inspire me for the next post. Then two days ago I went over to Noel's house to listen to the new Sic Alps double album (which is an AMAZING album and also refueled my inspiration!!! Due out on Drag City in the Fall) and while I was there I picked up some files of a session of jam space recordings that Comets on Fire and Growing had made together on a day off in San Francisco in 2005. Like a lot of these old forgotten things that just seemed like beer, friends, loud amps and a dark room with high ceilings during their creation, time has transformed this recording event into an experience full of ghosts and glory upon my listening now. It is altogether more dark, haunted, bombastic and heavy than I remembered it being at the time. It's strange that only with the passage of time and having forgotten the exact "when" and "why" you did some piece of artistic work can you finally hear it as an outsider with more objective ears. You find the pleasure and admiration of an objective viewpoint, the inspiration of an observer rather than the concerns of an owner. Sometimes these jam sessions with other groups could too easily come off as one of the bands adding to the sound of the other rather than a meeting of minds but on the best days two entities meet in the middle to form a new thing that shines out with the character of both groups in a unique way. Listening now I feel like that has happened quite beautifully here. Another thing that struck me while listening to this session is that the tools and the "sound" of Growing at this time are no longer the tools and the "sound" of Growing today. They are no longer droning guitar and bass through big distorted amps but something very evolved and different and a long way down the road from those roots. To me hearing these recordings feels a little bit like turning the velvet cover back on a birdcage full of memories that have no clear story of your past, just a collection of strange feelings and unexplainable resonance that was no clearer in their original evocation all those years ago. That is not to say that this session was a complicated feeling or that my memories of hanging with Joe and Kevin on tour or recording were complex; quite the opposite. It was a lot of fun, they are great dudes and we drank a lot of beer. All life and relationships should be so simple. What I'm saying is that at the time the music itself felt like good bros, good times and beers and not a greatly resonant piece of music to my ears. Now it holds a more powerful resonance to me since it's resonance for me has become disassociated from simple "good times". I hear melancholy, howling, roaring, dancing delicate notes that form complex patterns and tattoo water reflected images across darkly shifting tectonic plates! Great sorrows and pleasures in those drones and hammering marches down old wide streets! Anguished reverb screaming for revenge! Buzzing nonsensical harmonies rolling through subterranean caves! Bats, snakes, dolphins, ocean stones, pillars reduced to broken marble, a field of a million onions under the moonlight! The bubbling of mineral water up from the stones in the last undiscovered foothills on earth! Brilliant child Gods in black satin capes drunk on Sangria and throwing peach pits into the gears of the wheels of time! Etc Etc.
What I can remember about this session is that it was recorded during the daytime at our practice space on 3rd st. in San Francisco most likely between September 1st and the 3rd of 2005. Comets and Growing had toured the Midwest and Eastern U.S. together in June and July of that same year. This is just a few months later and Growing was out on the West Coast to play the first Arthurfest in Los Angeles which Comets also played. I believe this recording session was the night after a Growing gig but I don't remember if Comets played the gig with them the night before. It was recorded with two PZM mics most likely laid out on the floor at either side of the room between the amp line and the drums, recording to either ¼ inch reel to reel 4-track or an 80's Tascam cassette 4-track (the latter seems more likely as that was our main machine to use for jam space recordings). We ended up with 6 jams on tape ranging from 7 minutes to over 30 minutes in length. I have taken what I felt was the summary and best of those tracks to present here in the form of what would have been released had we ever decided to. These three tracks are completely unedited and in their original form as I got them from Noel except for a little EQ. It's possible that he may have edited them when taking them off the original 4 track tape but I doubt it due to their length and rough edges. "Untitled 2" cuts off at 20:45 most likely due to tape running out. The other two seem to run completely through the jams from beginning to end.
All the best to you and enjoy!
Get "Comets & Growing" here: http://www.mediafire.com/?k7olke1i7m696ae


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News & Blogs
Tornado Safety
The dos and don'ts of Tornado Safety by Weather Underground. Remember to Get Away, Get Shelter, Get Low. Find a sturdy house or building and go to the lowest level. If outside, go to a low ditch and do not seek shelter under an overpass.