text: Manual for AEGEE locals and working groups Financial Report 2008 prepared by Audit Commission – Nico Huurman, the president, Miroslaw Krzanik and Enrico Borella. A small comment from the current Audit Commission for the beginning. Dear Reader, This manual was prepared to help you filling in your Financial Report 2008. We hope it will be useful for you. The deadline for submitting the Financial Report is the 1st of February 2009. Please send your file to firstname.lastname@example.com. First of all you probably have noticed that the Financial Report form is very similar to the previous one. The same is true about this manual. It is also very similar and it was upgraded only by adding some new information about fundraising. There are only small changes so if you succeeded last year with filling it in there won't be any problem this year either! Now let's move to the content of our work. As you might know the financial report consists of two different things which are very closely linked to each other. The results and the balance sheet. Firstly the reporting period. Most organisations have a bookkeeping period from the first of January until the 31st of December. AEGEE-Europe also has these dates as beginning and end. Some bodies within AEGEE however start their financial year at another point. This is not wrong. Therefore we do not ask you to "translate" your numbers, if this is the case, but you can hand them in for instance for a period from the 1st of September until the 31st of August. It is important to remember that the financial year should be consistent every year. So if you started this year at the first of September, the following year you should start at the same date. Otherwise the results and the balance will not be consistent. More about that later. Enjoy your work! The Audit Commission: Nico Huurman (President) Enrico Borella (Member) Miroslaw Krzanik (Member) Results Here you fill in the expenditures and incomes of your body. Expenditures are amounts you spend on different things. Income speaks for itself. Expenditures side: Overhead costs Overhead costs are the most basic expenditures, which every association has. The different types mentioned are most likely not all of them made by your body . If they are not, there is of course no need to fill in an amount. Fees This is the money paid to AEGEE-Europe. It should consist with the amounts paid at the AGORA(e) and the amount you still have to pay for this financial year. Only the money for your financial year should be included. Money paid for previous years, should have been in one of the earlier financial report. All other expenses speak for themselves. A tiny remark on the Chamber of commerce. Most student associations are a member of the national Chamber of commerce. There you handed in your Statutes. For this membership you pay an amount of money. Also if you extract information about previous years, for instance the board members of the last couple of years, you also pay a certain amount. This is an example of "other overhead costs". Income side: Subventions and sponsors Subventions are funds you get from certain institutions when you apply for them. For instance if you have asked a foundation for money you need to put the amount you got at subventions. If the amount granted is for a special project please add a remark so we can compare the incomes and expenditures of this project. The new point in here is "Subvention European Union". It was added because grants from mostly Youth in Action are becoming more and more popular among AEGEE locals. If your application for a YiA grant was accepted do not forget about a short description of this project in the bottom of Financial Report 2008 form. As there were many doubts about sponsoring in-kind we wish to make it clear that you always have to estimate a real value of things you received. It could be done by checking prices of similar products or services. In this case these items appear as "inventory" on the balance sheet, unless you use them before the end of the financial year. Then the value of the sponsoring in-kind should be both under incomes and under expenditures. Fees The amount put here should NOT be your membership fees multiplied by the number of members you have. It should be the amount you received from your members and still should receive for this financial year (of course that should be your fee times your members, but only if you really expect that all your members will pay). For the SU applications goes the same. If you do not ask the people going on SU for the 2.50 euro fee it should not be there. Of course you still have to pay the amount you owe to AEGEE-Europe for the number of people applying for a SU. As AEGEE is a non-profit organization the total amount of expenditures and income should be equal. If your subtotals are exactly the same you are a either a very good planner or you did something wrong, because usually they are not the same. The difference between them is your profit or loss. Balance The opening balance is the same as the closing balance of last period. With the exception that you added your profit or loss to your owner's equity. As we have received the closing balance of the previous financial year from your predecessor, this will be one of the things we check. Assets are things you own, your possessions. Like the money in your cashbox or on your bank account. Liabilities are debts you have towards other people. For instance if you get a loan from a bank it should be on the right side of your balance. Owner's equity is nothing more then your assets minus your liabilities. This makes that the total of your assets must be the same as the total of your liabilities and owner's equity. Differences between money flow and income/expenditure Not every euro you pay is a cost, neither is every euro you receive an income. To account for the difference between these two things there is a balance sheet. If you pay an invoice now for an event that is going to happen next financial year, this transaction should not be in your results. Instead the company you paid to is a debtor. They owe you a service for the amount you paid. They will be delivering that service next year. The same goes for an invoice paid this year about an event that took place in the previous financial year. If the previous treasurer was right he/she should have put that company as a creditor. You can just pay the invoice and remove the creditor, without any change in the results. If your predecessor forgot to put a company as creditor, the payment you make unfortunately is an expenditure in your year. You have to put this amount in the budget line suited for it. Debtors People within or outside of your body who owe you money, they for example still haven't paid their membership fee, are called debtors. In the example that one of your members at the end of your financial year still didn't pay their fee, the amount will be in your results, but as it has not been added to your cash box or account you need to add this number to the balance at the debtors post. When they pay in the next year it will not be in the results, but you will see the amount in your bank account or in your cash box increasing with the same amount that your debtors will decrease. If you pay by cheque you have to wait deleting the amount of the invoice under debtors until it is cashed and your bank account will decrease. Another form of debtors are prepaid expenses. You already paid an invoice for a company, but still have to receive the service in the next year. Inventory Inventory is only relevant for body's who sell clothes, towels or other items. Usually when the items were purchased they would be at expenditures in the results and if people buy them the money you receive from buyers will be on the income side. However, when items stay longer within your body then just this financial year, they are put on the balance. The best way to approach this is to put the total amount of the items on the asset side of the balance at inventory. If you sell one item you will add the amount by which you sold it on the income side of the results. The amount which it cost to buy the one item you will need to add on the expenditure side (you can calculate this by dividing the total amount your body paid to the supplier by the number of items). You then deduct the costs for one item from your inventory and automatically the amount on your account or in your cashbox will be increased by the amount the buyer paid for the item. Not a very easy thing to do if you don't have a bookkeeping program, so try to sell everything within the year or ask us (the Audit Commission) for our bookkeeping macro we made in excel. Liabilities and Owner's equity Owner's equity is calculated as mentioned before by deducting your liabilities (debts) from your assets. Organisations like ours usually don't have debts in the usual way. The only liability mentioned in the balance are creditors. The opposite of debtors. For instance, being the very bad body you are, you still didn't pay your fees of this year. DO IT NOW! Well, then at your expenditures you won't have an amount by fees, or a lesser amount if you paid only a portion. The amount you still owe AEGEE-Europe will be (one of) the amount(s) mentioned at creditors. If you pay the amount the next financial year it still will not be in the results as expenditures, but you will deduct it from the amount stated at creditors. Another form of creditors are prepaid incomes. If some members already paid a fee for an event, next year you still owe them the service attached to this money and having the same value. Opening balance The opening balance is everything your predecessors left you with. It can not be changed as it is the same as his closing balance. During the year you will hopefully have paid al your creditors and, as the very functional treasurer you are, persuaded all your debtors to have paid the money the owe your body. Most likely you will still have some (hopefully new) amounts at both debtors and creditors, which will tell your successor what he still needs to pay. It is handy to keep record of who owes your body and to who your body owes money. Connection Now comes the big connection between the results and your balance. The result of your financial year, the profit or loss, needs to be the same amount as the one in your closing balance. So if you made a profit of 200 Euros, then in the closing balance under result should be the same amount. Of course if you made a loss, the result is negative. If it is not the same, you made a mistake. Doube-check all your figures, it's the only way to find the mistake. Life as a treasurer sucks!


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- August 23, 2013
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knotknessisary writes:
Now you're comparing Central Park to our Bayfront? Have you noticed that there are more people there? It's a bunch bigger too. It also wasn't built with the idea that it would make the surrounding land owners rich.
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- Rules that carriers must retain data called incompatible with EU law
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Rockwell Automation wins $10M verdict in patent infringement case
- Jeff Engel
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Rockwell Automation Inc. has won a $10.1 million patent infringement case against a German company and its U.S. subsidiary, Germantown-based Wago Corp.
A jury ruled in favor of the Milwaukee-based manufacturer of industrial automation systems, controls and software, agreeing that Wago Kontakttechnik of Germany and Wago Corp. infringed on a Rockwell patent related to programmable logic controller technology, according to a press release from law firm Chadbourne & Parke.
The case, filed in November 2010, went to jury Oct. 9 and the verdict was delivered Oct. 15 in the U.S. District Court for the Western District of Wisconsin.
A Rockwell spokesperson declined to comment.
Jeff Engel is The Business Journal's reporter covering the manufacturing industry and technology.
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Kukla's Korner Hockey
Line Of The Day
by Paul on 09/29/07 at 08:35 AM ET
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from the Calgary Sun,
"Dean is a friend of mine, but if it was Dean or somebody I don't know, there's no need for that.
"There's nobody that can say, 'I never hit anybody kinda cheap' because you can get your elbows up or stick up, but you can't hit somebody like that."
Although the league has taken heat for being lenient on violent incidents, players were applauding Colin Campbell—the NHL's disciplinarian—for taking a stand.
"It's good the league did something," Conroy said.
more on the suspension of Downie from Craig Conroy and other Flames too…
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A work study in progress . Started with a new 1377. Added the Crosman steel 22 cal breech,Mike ChavkaĀfront barrel band with set screws and hardened front pin,all steel adjustable piston which uses the factory stock cup seal (no flat top needed and lasts longer than O-rings!),valve which is modded,Mellon 12" Ā22cal barrel ,Mellon Flo thru bolt (better than ext probe)Ā,trigger spring guide and Rick AndresĀwalnut burl grips.Top all this off with Millett steel rings and Nikon 2x Monarch pistol scope and you have a 30 yard killing machine.It kept my freezer stocked for years! This is the next best thing to a PCP pistol or the LD. 12 pumps delivers a RWS Superdome 14.5grĀat 550fps which is all I use for hunting . It will go higher passing 600fpsĀbecauseĀit will dump all the air I never tried past 14 or 15!) Ā.Its accuracy gave Ā1/4" 5 shot groups at 13 yds .Includes the pistol case. $325 Shipped
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- August 31, 2010
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arsenal writes:
Spring training sites are financial losers everywhere. It boggles the mind how communities continue to rip off their citizens to subsidize millionaires. Just keep the Cubs out of Collier.
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Create GrabUp-style functionality with Dropbox and Jing
Before Snow Leopard was released, we were enjoying GrabUp for super-simple sharing of screenshots. It was a great little utility: After a brief setup, it automatically sent any screenshot to its servers (or your own) and added the resulting URL to the Clipboard. It was fast and very useful. Snow ...
Dear Aunt TUAW: Snow Leopard killed GrabUp, Auntie fixes it
Dear Auntie TUAW, I love GrabUp. GrabUp is my BFF. It automatically uploads my screen shots to the GrabUp web site and copies the URL to my clipboard. If GrabUp were a girl, I'd marry her like *snap* that. But Snow Leopard has killed GrabUp. It doesn't work. My darling is dead. I tried TinyGrab as ...
GrabUp is an interesting little app that adds a new wrinkle to OS X's built in screen capturing functionality. When you install the prefpane, it allows you to add the GrabUp menu item to your menu bar. GrabUp just sits waiting for you to invoke it (by hitting Shift - Command - 4). Once you hit the ...
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Pretty cool keyboardPros: I'm a programmer and I was looking for a better keyboard. I type very fast and I work often in the dark with a bad viewing angle to the keys. I was attracted by the back-lit keys and the idea that this keyboard is more precise while typing. So far so good. The product has a very nice, quality feel and it's heavy. It doesn't slide around on my desk like the cheap $15 keyboards. The keys are a bit smaller and closer together than a standard MS keyboard. This makes it easier to press ctrl-C and ctrl-V which I do a few thousand time per day. Typing is faster too. Cons: The key layout is a little bit different than a standard "full size" keyboard so it takes a few hours to get used to it. (not a big deal). Function keys are a bit narrow. You would think that they would make those big so they are easier to hit when you are lifting your hands away from the normal Index finger on F and J position. Other Thoughts: Not sure if I'm going to use the macro keys. It's not a major issue for me. I just wanted to have a solid feeling keyboard that doesn't vibrate and slide around when I'm typing fast. For $40 its a pretty good deal. Did you find this review helpful? |
fantasticPros: full side standard keyboard with macros and wrist rest. Cons: wrist rest is not removable Other Thoughts: its a black, lit keyboard, with macros for 30$ idk why anyone would complain what did you expect to fly to the Bahamas for free because you bought this wonderful cheap keyboard. Did you find this review helpful? |
Great Keyboard for EverythingPros: Good feedback, multiple brightness levels, comfortable, easy to set macros, useful multimedia keys, easy to change key assignments. Cons: None Other Thoughts: It took a few days of getting used to the keyboard, but I think its a great buy. It is very customization and easy to get used to. The multimedia keys are all re-assignable and Microsoft's macro software is actually pretty good. I got it on sale for $30, and I don't think its worth more than $40 to be honest. Still a great keyboard for playing video games or anything else. Did you find this review helpful? |
Great keyboardPros: Back-lit keys, quiet touch, color scheme. Great functionality, I bought it on sale for 40$. Cons: The wrist pad could have been rubber coated instead of plastic. Did you find this review helpful? |
First impressions... good, but a few sticky and too sensitive keysPros: All of the features listed. I got it for a great price, too Cons: My major beef with this key board is that I had a sticky key (right out of the box). This was a real pain when typing and place games. It made the keyboard almost not worth using. I upgraded from a $7 Onn keyboard, and that one gave me no troubles. It is kind of sad that this $60 keyboard had sticky keys when my $7 one didn't. But I fixing the problem. I popped off the sticky keys and filled down the area that actually did the pressing by about 2-3mm. Not I don't have the problem anymore. Other Thoughts: I'll bring more updates as I explore this keyboard Did you find this review helpful? |
Fantastic keyboardPros: This keyboard has an awesome feel. I've owned many cheaper keyboards and bought this on a whim but already I would have paid way more for it than I did just due to the fact that it feels great to type and play games. Cons: Limited ability to program some of the keys. Other Thoughts: Great feel, okay reprogrammability of the keys, and good backlighting. Overall awesome purchase. Did you find this review helpful? |
Pros: Sleek design, flat buttons, no clicking noise, sturdy keyboard Cons: Keyboard keys are all painted black on clear plastic, the paint will rub off, so buy some protective clear tape or something to cover each individual button if you want to keep the paint from rubbing off. Horrible and cheap decision from the masterminds at MS. Other Thoughts: The painted keyboard keys is cheap. I'm willing to pay for something better. I have a phone that uses clear buttons with painted numbers underneath, that keeps the buttons from rubbing out, and this idea has yet to be used for a device like this. Painted buttons is old. Did you find this review helpful? |
good stuffPros: The touch. the keys have a longer spring loaded action which more accurately mimics both typewriters and heavy duty keyboards. Love it. the lighting is muted which makes it easy to use as well. Cons: need cons? I don't have any. Did you find this review helpful? |
One of the best keyboards for the Price!Pros: This keyboard has very high quality feel. The backlighting isnt overwhelming and can be adjusted to three different levels. The keys have a nice curve to them to hold your fingers into place. Cons: The keyboard has a gloss black to it, allowing dust to easily be seen. While this makes the keyboard look sleek it also makes it look dirty. Other Thoughts: None! Great price! Did you find this review helpful? |
Works great!Pros: Love the backlighting, keys have a great feel, the macros are great. This is a really nice keyboard. Cons: None so far Did you find this review helpful? |


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- How to Set Your Brand Up For Success Entrepreneur
- Tax Tips: 5 Rules for Deducting Business Meals Entrepreneur
G-Adsense "Form of Payment" Help!?
I have made over $10 on google adsense. I have verified my address. I want to use a form of payment which sends a check in the mail. My only form of payment requires me to use my banking account which I don't wish to use. But I guess it's logical to be forced to use that info. Is there a form of payment which doesn't require me to use my bank account info? If so, How do I access it? As of now I have 1 alert which brings me to bank acoount info. I have tax information. BTW I'm young. So I don't want the "GET A REAL JOB" BullSHIT. Thnx...
10 months ago - 1 answersBest Answer
Yea if your under 18 you might have needed to get a parent to sign up on your behalf...
There's a serious problem with fraud on Adsense, they want to be able to confirm your identify to prevent banned publishers from sneaking back into the program, In the US you pretty well need to have the bank account. You know the actual payout is after hitting $100, though they may confirm payment methods after a certain minimal earning level is reached.


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Piasa Illinois Real Estate Agents and Home Values
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Interlude: A tale of turtle travail
posted in Uncategorized |OmegaDad has arrived in Small Town, Alaska, and he and dawg are ensconced in the temporary little apartment that the relocation bennies cover.
So, since he's there, it was now time to pack up turtles and ship them to him. Carefully following instructions garnered from TurtleHomes, I had three little boxes for the turtles, and proceeded to pack them…
First, we have Frankie, our smallest, freshly cleaned…Frankie, somewhat timid, retreated to his shell and cowered…
We have Frankie placed upon a bed of moistened paper towels…
We then cover him with crumpled newspaper, so he won't get excited and tip himself over (a tipped-over turtle will smother if he stays in that position too long).
Then we carefully taped the box, with one of the hinge flaps tucked inside, so that there was a ventilation opening.
We did all three like this, resulting in a Tower O' Turtles:
At this point, I stopped and did what all turtle-handlers should do: scrubbed my hands and then used a wee tad of bleach with water. Turtles carry salmonella, even nice, long-lived friends of the family like Yurtle, Halley, and Frankie.
Then we put crumpled newspaper into a cardboard box (complete with air/ventilation holes) and laid the taped plastic boxes in their nest.
All nice and snug. Then we labeled the hell out of the outside of the box, lots of "THIS END UP" messages, and "LIVE ANIMALS", and a carefully drawn and cut-out turtle from the dotter.
At which point, it was time to run errands. The bank…deposit a check from Great-Grandma. Oops, there will be a hold put on it until Friday. Hmmm. Oh, yeah, and we won't take the dotter's piggy bank; you will have to sort and wrap the coins before we will accept them.
Harrumph. Back out to the car to our next stop, the UPS store.
Oops. The UPSStore won't take the turtles. But they suggest going to the UPS depot in the next town over; perhaps they'll take the turtles.
Onto the UPS depot. At the depot, the lady at the counter informed us that they wouldn't take the package. There are, it seems, schools with courses on "how to properly package live turtles for shipment". No privately packed and privately shipped turtles allowed. What you see next is OmegaMom making a moue of frustration:
We next went to Pet Smart to see if they had turtle shipping available, or any great ideas. The nice girl at Pet Smart said, alas, that they didn't do private shipping. Maybe Fedex? Or the local pet store, a more "mom-and-pop" type of operation?
We returned to OmegaGranny's house, defeated. A phone call to Fedex resulted in no go, as well. The local pet store owners (friends of OmegaGranny's next-door neighbors) weren't in. We were stymied.
But, as luck would have it, Alaska Airlines will let you ship turtles in the baggage compartment. Woohoo! A nice young lass from AA helped me make the confirmation that we would be taking turtles with us, and it was on to the next errand.
In a call to the Former State Capital Cheap Rent-a-Car franchise, I asked, "How late are you open for car returns?" They said 5:30. We eyeballed the clock, and I headed out. (First, we tried to contact Cuz E., who in the midst of all the phone calls had kidnapped my laundry bag of dirty clothes and taken them hostage to the local laundromat. See, I would need a ride home from the Cheap Rent-A-Car franchise…But we couldn't contact Cuz E. So I headed out anyway, planning to hang out, read my book, and wait for rescue/a ride.
I drove out. I got there. Immediately I was suspicious: It said "Cheap Rentals–Truck Rentals". Hmm. Lo & behold, it turns out that, while they used to do the car rentals, they no longer did so. (Why didn't they say something when I called earlier?) And the nearest Cheap Rent-A-Car where I could return the car? Well, it was either…
Small Mountain University Town (!!!) or Valley of Death (!!!). Since the whole plan had been for me to ditch the rental here and us all to be ferried down to the airport in Cuz E's car, this seemed to put the kibosh on OmegaMom and dotter having a cushy ride to the airport.
But all is well. We are caravanning to the airport, me in the rental car to the car rental return, and OmegaDotter, OmegaGranny, Cuz E, E's daughter C, the cats, the turtles, and the luggage in Cuz E's car. Meet up at the ticket counter, make sure all is well with cats and turtles (with a back-up of taking them back up the hill with E, OmegaGranny, and C if the airline changes its mind), and then…
…on to Alaska.
We arrive in Alaska around 7 p.m. Pacific Time.


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Disobedience is the true foundation of liberty. The obedient must be slaves.
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How do you get to the middle b - New Super Mario Bros Questions for Nintendo DS
How do you get to the middle big gold coin in world 7 level a I've looked everywhere and haven't found the red tunnel either please help me
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- StarCraft II
- 14 Monthly Downloads
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- 1,771 Total Downloads
- Updated 03/03/2011
- Created 03/03/2011
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- Release Type: Release
- License: All Rights Reserved
- Newest File: Wintermaul The Remake
A StarCraft II remake of the classic Wintermaul series from WarCraft III. I owe a big thanks to quite a few people who helped me along the way, including those who helped me retrieve the map after I suffered an unfortunate incident with my external hard drive.
The game basically goes like this: Everyone has their own spawn and lane, where waves of units move in set patterns towards a star ship. Every time a unit reaches the starship, your entire team loses a life. When your lives hit zero, everyone loses. It's a largely cooperative game, requiring everyone to carry their weight. You select a race, train your builder and form mazes out of towers in order to combat the units as they attempt to pass your defences. Certain towers are good at killing certain types of units, so make sure you balance out your defence to handle anything that will come at you.
Further information, such as in-game commands, can be found with the in-game help menu.
A note to all those who are interested in using this as a template for their mauls: You're free to use this map as a template, so long as you give me credit for my work.
Official release on sc2mapster, 1.0 for the time being.
File Name | Release Type | Game Version | Downloads | Date |
Wintermaul The Remake | Release | 1,771 | 03/03/2011 |
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Archive for April, 2007
Hometown Chuffedness
April 13th, 2007
Earlier this week, when I crowed about Toronto's prominence in this and last week's New Yorker, I hadn't read Alex Ross's piece about new-music groups in New York, in which the vision of a "total synthesis of pop and classical traditions" includes an account of Polmo Polpo, Toca Loca and the Social Music Work Group's NYC visit, "three groups from Canada" (in fact, all Torontonian) numbered among cases where "it's thrilling when a programmer decides to follow a common thread from one genre to another." But even before he got to that, when he mentioned "a new kind of insterstitial music - one that makes a virtue of falling between the cracks," I was thinking that Toronto in the last five years or more has been making a specialty of that. I regretted that I hadn't had time to do anything to publicize the Sandro Perri/"In C" excursion to New York, so I'm glad to see I didn't need to: Alex's account of new-music activity in NYC is exciting overall, but his attention to the T-dot contingent reinforces my sense that in its boundary-jumping, Toronto takes a backseat to no comers.
Hey Hey, We're the Glee Club
April 11th, 2007
On what seems to be my blog-of-the week, Faking It, Yuval Taylor posted quite awhile back on the question of "band theme songs," which in the Faking It book is a subtopic in their discussion of autobiographical song. Yuval dates the emergence of the genre in rock to 1967, with theme songs from Paul Revere & the Raiders, Them, the Mamas & the Papas and the Monkees. If the latter were first, it might just have been a genre spawned by the fact that if you're both a band and a TV show, you need a theme. But I bet it also had to do with the counterculture imperative of letting-it-all-hang-out (a much more middle-class-youth version of "authenticity" not far removed from the confessional-song impulse). The Wikipedia account of what happened next is pretty astounding. In the comments, Yuval acknowledges that band theme songs "far predate rock'n'roll," giving a jazz band tune from 1928 as an example.
Well, tonight, I happened across an even earlier case, specifically from 1844: The Hutchinson Family Band, a glee-club style group who were huge stars in mid-19th-century America, made up of three brothers and a sister, had a theme song that told the audience who they were, where they came from and what they stood for: It was called The Old Granite State. It was their biggest hit and they opened every concert with it. I wonder if it was the first case of a band accounting for its existence in song, or if even this drew on an existing tradition?
The easier-to-read version I just linked is a bit less biographical, but in the sheet music they get into serious family detail, much to their descendents' pleasure. The song also doubled, and tripled, and quadrupled, as: (a) a state song (obviously); (b) a pro-temperance song ("We are all teetotalers/ We are all teetotalers/ We are all teetotalers/ And have signed the Temp'rance Pledge"); and even (c) an anti-slavery song (with the later addition, "Yes we're friends of Emancipation/ And we'll sing the Proclamation/ Till it echoes through our nation.") Which is kind of a nice precursor to "we're too busy singin'/ to put anybody down," though the Hutchinsons ain't exactly letting their hair down.
Also, it seems bandleader Jesse Hutchinson was happy to play encores - even in the most trying circumstances.
The Bad, the Crap, the Trash and the Frame
April 10th, 2007
Another take from another angle on the bad-band/crap-music approaches raised earlier this week: Trash Aesthetic, a record label that puts out anything submitted to it, but only in editions of three copies.
From the site: "Of these copies, 1 will be given to the artist, and the other 1 or 2 will be sold through the label. The idea of Trash Aesthetic, in part, is to totally short-circuit the collector impulse in experimental music, and to encourage true experimentation on the part of the listener. Many artists featured on Trash Aesthetic will be unknown and possibly unreleased elsewhere, and the idea of this label is to provide a forum for these musicians to make a one-on-one connection with a listener."
I stumbled on it searching for something else (specifically this book; and neither of them should be confused with this 'legit' label) but did find a brief thread about it from 2005 on Bagatellen. Anyone ever heard any of the releases? I wouldn't be surprised if some were quite good. The situation of the project within explicitly "experimental" music builds a comparatively safe container, of course: The savaging that "bad bands" have received in Toronto is, I think, very much related to their framing within the "band" (read-as-rock) world, with its specific tolerances; the "experimental music" and art worlds have their own boundaries, but Bad Bands would've been close enough to fitting inside them that it would have been relatively boring to frame it that way. (Although it'd be fun to see, oh, 123Ten or Pyramid Culture try to play in an avant-garde festival, like Victoriaville, where they'd be roundly attacked for quite another set of reasons.)
Speaking of framing and its almost totalitarian power over artistic reception, there's been a lot of talk about this Washington Post article from Sunday, in which the paper got one of the world's greatest violinists, Joshua Bell, to dress down and busk in a subway station during the morning rush hour, while reporters observed the crowd reactions. It's long but worth reading, though I have a thousand gripes, including the writer's shit-eating grin as he slaps itself on the back for his delightful cleverness, the article's condescending tone that's accompanied by a series of qualifications that show it not even to have the courage of its own condescension, and some really obvious flaws in the design of the experiment. But the results say a great deal, I think: Very little about the taste and discernment of the public, and no more than a smidgen about the state of classical music (though it would've been cool to put a great rock guitarist and a great rapper in the same position and compare), but quite a bit about the dependence of art, no matter how powerful the art, on a comprehensible frame and contextual knowledge. (Not to mention what Washington Post editors think would be funny/profound.) Look particularly for the comments from Mark Leithauser from the National Gallery, who says even an expert might not recognize a modernist masterpiece if he came across it tacked up on a cafeteria wall during breakfast. Bell comes off as a neat cat and a good sport, although part of what the story doesn't tell you (though a Q&A the paper posted later did) is that the experiment happened at morning rush hour on a Friday in January (a completely self-defeating choice) because that's the only time Bell agreed to do it, and that it was not even in the subway but outside the entrance because that's the only thing the transit people would allow, and that the paper held the story for months so that it would coincide with his receipt of the Avery Fisher Prize, which happened tonight.
Still, holy shit, it's a 7,000-word article more-or-less explicitly about aesthetic theory, with a catchy premise, in a mainstream paper. I don't mean to be a total Grouch snarking from my bad/crap/trash can - they deserve two cheers.
It's Official: Boss-a-Nova Mania
April 10th, 2007
When pseudo-seriously-pseudonymed Brooklyn artists are doing it, you know it's happened: Like eight-bit and heavy metal before him, Bruce Springsteen has crossed over from the resurgent-among-arty-musicians zone to the referenced-in-art-galleries plateau of trendiness. Collections of academic papers are sure to follow. I don't have spare theorizing time (or mental space) but feel free to submit yours: Suggested themes include masculinity, sincerity, assertions-of-suburban/exurban-identity, post-industrial melancholy, guitar-as-Other, New Class exoticization of past class locations, etc. If you employ the term "new Boss" please do not include the phrase "same as the old Boss" in your response. I refuse to call it something like "hipster Bruce" as in "hipster metal," because I don't think the word hipster has any substantial meaning, though it's sure tempting. But I'm going with "Boss-a-nova" for the moment. Among all the novas, though, the only one I think is super (though I like the Bossisms on the Arcade Fire disc) is The Blankket, from whom, by the way, there are rumours of an upcoming tour.
The Torontoner?
April 10th, 2007
The New Yorker has gone a little Toronto-happy for April: Last week, a big article devoted to Darren Werschler-Henry's excellent history/meditation on the typewriter, The Iron Whim (felicitations, Darren), and this week, SFJ on Feist.
'Bad,' Meet 'Crap':
Can 'Crime-Against-Humanity Art' Be Far Behind?
April 7th, 2007
Through a link on the aforementioned Faking It blog, I've discovered Crap Art, the manifesto of a movement invented by a Pittsburgh-based computer-science PhD and musician named Tom 7. Its outline reminds me right away of Toronto's own controversial Bad Bands, though there's certainly a contrast in tone. (I don't think the computer folks are quite as familiar with the history of avant manifestos.) I think the most intriguing point in the Crapifesto is this one: "3. The creation of art is more important than its consumption. Therefore, aesthetics (except in the biased eye/ear of the creator) are overrated as a judgment of the worth of art." It sounds ridiculous on its face - what does "important" mean there? - but a lot of the more intriguing emerging art now (and for a while) has played around with that question: If making art is more rewarding than hearing/looking-at/reading/etc.'ing it (a debatable point but certainly a tenable stance), what forms would minimize the consumption side and distribute the production process? You can name your own instances. Although I'm not convinced that putting a shitty album on the web every day is a good example.
Genuine Fakes
April 7th, 2007
Yuval Taylor and Hugh Barker are the authors of a new book called Faking It: The Quest for Authenticity in Popular Music, one of those books that, as a writer, make you smack your head and say, "Why didn't I think of that?" In a sense, I did think of it - my Celine Dion book is in part very much about the relationship between credibility and perceptions of authenticity, but I was surprised a big publisher (Norton) would do a book on such a seemingly abstruse topic head-on. Barker & Taylor make it accessible with reams of anecdotal and musical examples, from Leadbelly and the Lomaxes to Donna Summer to J-Lo, with cases just familiar enough to be engaging and just obscure enough to be instructive. I don't agree with everything they say but it's a very good read. (Interestingly, it shares its main title with another recent book on the question of authenticity, but from a philosophical point of view on ethics, sincerity and conventional behaviour. It's a fraught issue of the era, not just in music or even the arts, for some reasons I hope to speculate about in my book.)
Barker and Taylor are also blogging on related matters, and the quality of their entries there so far may tell you whether you'd like to read the book. I found out about the blog at the tail end of a nice interview with Taylor on the web/NPR show The Sound of Young America - currently you can find the episode here. I like this program enough to subscribe to its podcast, but much prefer it when it relaxes its fixation on comedy and uses host Jesse Thorn's quite considerable talents and charms as an interviewer. (Also highly recommended is his interview with Matmos from October.)
Turning Around on Rirkrit Tiravanija
April 4th, 2007
A Tiravanija installation, with the artist at the far right of the pic.
I went to hear the artist Rirkrit Tiravanija speak tonight at the Ontario College of Art & Design, of which, by the way, he's an alumnus: He moved to Canada with his Thai diplomat parents when he was 19, started as a history student at Carleton in Ottawa and as his interest in art was stirring, happened to notice an OCAD (or OCA as it was then) calendar on a counsellor's office shelf, pulled together a portfolio and applied. This was in the early '80s, an especially dynamic time in the Toronto art scene, which spilled over into the school. (He moved on from there to study at the Chicago Institute of Art and the Whitney program, and is now based in Thailand, Berlin and New York.) On his return visit, Rirkrit (as everyone seems to call him) is the first of OCAD's "Nomadic Residents," a program of the school's new Professional Gallery, which is meant to "inspire and influence the OCAD community by featuring artists from around the world whose work questions issues such as travel, mobility, displacement, dislocation, and homelessness, as well as the speed or instability of modern life. … [to] to join here to there, the local to the global and the provisional and the permanent." He had a low-key chat with OCAD prof and gallery curator Charles Reeve, sometimes so low-key it was boring, and yet I walked away feeling inspired.
Tiravanija is a bit of a pet of the "relational aesthetics" scene, enough so that a picture of one of his installations formed the cover of Parisian critic/curator Nicolas Bourriaud's book of that name. He's best known for installations he's been doing since the early 1990s in which he cooks Thai food for gallerygoers, making the social interaction his material. Another is a meticulous reconstruction of his New York apartment, installed in various galleries in other cities, open 24 hours with an invitation for people to just come hang out and use the place as they pleased. I've always been a bit mystified by the acclaim, from descriptions of his work, feeling that aside from the obvious desire to subvert the inertia of museum/gallery space (an old theme by now), it sounded rather thin. And when he started talking about his student days, when he said his work was always very well-received, I thought, "Aha, maybe he's just, like, the perpetual 'A' student of the art world."
But as he spoke, in gentle tones and small whorls and spirals, around his work, of how he concentrates on the details of the spaces he works in and, particularly, how his projects are always in contention with the physical and legal and institutional barriers and limits of those spaces, and how he changes his work in relation to those limits, I started to get a sense of the energy and chargedness that those who attend his shows seem to experience. It was also striking how much of his work is really to create instructions (or "recipes" if you will) that other people interpret and carry out, and how unnarcissistically open he is to the inevitability of those instructions being altered and improvised upon by the participants, in a flux and flow. For two "retrospectives" of his work in Europe, for instance, he simply left museum spaces totally empty and wrote a script for their docents to use (and elaborate on) to guide audiences around the room while pointing out and describing the "works" that weren't actually there. It's a beautiful concept, a game of let's-pretend that at the same time elegantly answers the absurd problem of how to gather together a body of work that consists mainly of ephemeral experiences. (Very cagey.) And it doesn't involve Tiravanija's presence at all, except as absent referent, as source of initial chain of reaction, reinforcing the quiet rebuke to individualism in his approach. Likewise, I was moved by the idea of "The Land," a collaborative project he's undertaken on a large former rice field in Thailand, which is simply open for artists to use as a site - including architectural investigations of sustainable development. He described the recent "One Year" project, in which a group of artists just spent a year there, getting some work done, but mainly getting to know and talk with one another - it made me think about relationship versus work, in the way some of the best "relational" projects I've seen or been involved with have done, whether all this business of producing artifacts and documents and art is, in the end, as important as the human connections that arise in the process.
His responses to audience questions that drew on the art-world rhetoric around his work were also nice to see - when people asked about "the social as the new modernism" or "open-source art" he would shrug them off, a bit embarrassed, though respectful, conveying that his role as an artist was to explore and expose the territory, not to be the one to map it. I often feel that it's unseemly when artists get too excited about the critical vocabularies around their own work, as though their works really were reducible to a journal article on issues in politics or philosophy or aesthetics, in which case maybe they'd be better off just writing journal articles. (This isn't meant to be a slam against artists who do have a precise intellectual armature for what they're doing, as many of the greatest have, and certainly not against journal articles; but with the re-academicization of the art world, sometimes the critical discourse has become the cart drawing the horse; by distancing himself from the hype other people use to sell his work on the intellectual market, Rirkrit seemed to avoid becoming their product.)
I was also stirred by the video that was projected while he and Reeve talked, a gorgeously simple documentary of a meal he cooked with a group of people in Singapore, which gave a bit of a taste (sorry) of his work for those of us who haven't encountered it first-hand. And then there's his exhibition in the OCAD gallery, which opens today, and which he avoided addressing directly but explained by means of several stories about dealing with those aforementioned institutional limits in other places. The background (at least as rumoured in the audience) is that he wanted to have something cooking, but that was deemed a fire hazard; other proposals ran up against other OCAD rules. So what he did, as a few of us found out by slipping upstairs for a peek, was to wall up the entrance to the gallery - and again, remember, this is its first exhibit, as well as Tiravanija's first Canadian solo show - with, I think, cinderblock bricks, and sealed with mortar. So no one can enter it. He said this was also a "time-based" work, hinting broadly that it wouldn't stay in the same condition over the coming months. I'm very curious to see how it develops.
You can view a video of a conversation a year ago between Tiravanija and science-fiction writer and conceptual gadabout Bruce Sterling at the Walker Center in Minneapolis online. It's more animated than tonight's talk was, but be warned, Sterling is rather overbearing in relation to the softspoken Tiravanija. Still worth watching, though.
Plus, for some music content: the Rirkrit Tiravanija song (er, not a keeper).
A Close Shaver
April 4th, 2007
Fingers crossed that everything turns out all right for Billy Joe Shaver. The 67-year-old country songwriting legend (Old Five & Dimers Like Me, Old Lump of Coal, Georgia on a Fast Train) turned himself in yesterday after shooting a guy in the face (what we call "the full Cheney") in the parking lot of a Waco-area bar on the weekend. Shaver says the shooting was in self-defence against a drunk, knife-wielding stranger, an explanation that looks fairly likely to stick. Shaver posted $50K bail and then went to play a gig at Waterloo Records in Austin.
Chris Frey has a valuable piece about how copyright issues are hobbling documentary filmmakers, related to the Open Source Cinema link I posted on Monday.
Eye-gouger of the week: A re-enactment of 9/11. In mime. The Enya soundtrack does not help matters. This video actually reminded me of an excellent story on the This American Life TV show this week, in which a 9/11 widow recounts how she tried to get back to her hobby - standup comedy - in the year after her husband died, and couldn't understand why her jokes - often about her husband - weren't getting laughs after she revealed the context. "I've got the setups, the beats, the punchlines - what could be wrong?" She was so far inside the experience that she couldn't see that other people would be shocked. In the segment, shot more recently, she watches old videos of herself doing the act, and comments that she must have been out of her mind, but at the same time it was something she'd had to do and doesn't regret. Likewise, the mime in the YouTube video is so locked in his "craft's" invisible box that he can't see the tackiness of his act through the invisible wall. (If I could at this point I would link to the great 9/11 song by Milkbag Brother, but it seems to be nowhere online. Assistance, anyone?)
(I'm liking the TV translation of TAL in general, by the way, although I still prefer the radio version - the show is really well done, the photography especially, but beyond the imaginative richness of radio, the fact that the TV version is only a half-hour rather than an hour on a given theme means it loses dimensionality and depth.)
"In the bed sheets of boredom": Someone has YouTubed a whole lot of scopitones and TV clips of Jacques Brel and other French chansonniers with English subtitles. I love Brel, but sometimes the results of the transliterations explain how Seasons in the Sun turned out the way it did. (Don't get me wrong, I like Seasons in the Sun in all its mawkish glory. But it doesn't quite preserve the urbanity of Brel.) His guitar technique, as in this clip of Seul, is also a thing to wonder at.
Ooh, almost forgot: Since I haven't mentioned any of his pieces for a while except in a complainy way, I want to mention that Sasha's current New Yorker piece on Prince is very good: "His songs can be maudlin, clever, obvious, as ornate as Versailles, as simple as pencils, hilarious, crude, breathtakingly wise, corny, and so musically rich that he seems to be working with instruments nobody else owns."
Omnium Gatherum: Vocal Noise, Scream 4 Streams,
Tune-Troubling Authors & Soul Truffles
April 2nd, 2007
An enormous pile of jottings of the past few days to share with you. So let's get started:
The most interesting visitor to Toronto of the next week or so is Phil Minton, the British monster vocal improvisor who's performed with everyone from Fred Frith to Peter Brotzmann to Derek Bailey to Tom Cora to Bob Ostertag to John Butcher to Carla Bley to Higo Hiroshi to Mike Westbrook to… well, the whole blinkin' improvised-music world. Minton is mainly here for an Images Festival gig with Toronto's own Michael Snow (and the festival includes some other promising audio-visual performances too), but the most intriguing thing is Sunday's workshop of Phil Minton's Feral Choir, a vocal group improv orgy mostly for non-musicians. (Here's a sound clip.) If that seems a bit familiar, it's not unlike what Toronto's own Misha Glouberman has been up to with his improv workshops the past few years (unaware, he tells me, of the Feral Choir); but Minton of course brings his own supper to that table. The Feral Choir event takes place Sunday afternoon, and you have to pre-register. Minton's other local appearances are in the gig guide (and in the "top shows" sidebar to your left).
Kevin of Aperture Enzyme has posted video of the Wavelength panel discussion on diversity and the Toronto indie-kulcha scene, which took place in February. He's also posting work from his ongoing documentary-in-progress on local participatory culture, beginning with his interview with the folks from Newmindspace, whom I discussed in this recent post, and who were the subject of a (frequently, but of course not always) cogent critical discussion in recent days on Stillepost, as well as this interesting post on a blog new to me (although I object to the overly precious distinction being drawn there between "fun" and "pleasure"). The two new postings on Kevin's site make for an amusing contrast - a discussion of diversity combined with a group that illustrates exactly how not to cultivate diversity (not that diversity's necessarily the highest virtue, but). Personally, I hope that the Newmindspace "issue" stops sucking up all the oxygen for talking about participatory work, art games, public space, etc., and that more compelling (and less-easy-to-snipe-at) practitioners can get some smidgen of the same attention. For which reason, I won't talk any more about Newmindspace on this site. Instead, I direct your attention for instance to the next, season-capping edition of the group-conversational art-talk-show Pick 7 at Hub 14 whose guest on April 17 will be composer-producer John Wilson, ex-of Meat Beat Manifesto. Just for instance. Feel free to wear your fairy wings. And participate.
Speaking of participatory art, renowned relational artist Rirkrit Tiravanija is giving a talk Wednesday to launch his residency at OCAD.
And speaking of web-based, participatory documentaries-in-progress, Montreal filmmaker Brett Gaylor is working on an NFB film called The Basement Tapes which deals with copyright and remix culture issues, and he's putting his footage where his rhetoric is with a website called Open Source Cinema, where you can sign up to do your own mixes of material from the movie, which includes interviews with artists such as Brazil's Bondo do Role and Philadelphia's Girl Talk - an artist who inspired, as I've just learned because somehow I overlooked the entire Internet gabbing about it, a stirring defence of mashups, remixes and mix tapes on the floor of the U.S. House of Representatives last month.
Such moments are all too rare in the ongoing artists-versus-corporations-versus-(let's also admit this)-pirates war, despite the lukewarm comfort of today's anti-DRM announcement by iTunes/EMI. For all the ink and hysteria that the defence of music theft can inspire - and although I'm not entirely against illegal downloading - the issues of fair use, sampling and appropriation will always get me going more. Then again, so will pigheaded legislation that threatens to destroy an entire new medium (in this case, streaming web radio, which I will often use several hours a day), and, hey, could even open the door to wrecking the old medium too (as if it weren't already wrecked enough).
Which makes me doubly grateful for the Future of Music Coalition, the artist-driven education-and-lobbying group, who may not be copyright radicals but do have a keener-than-the-average-net-geek sense of which fights count. Their latest campaign, Rock the Net, rallies musicians around the fundamental question of supporting net neutrality (I assume you know what that means, and if not you can learn on their site). The artists involved so far include R.E.M., Ted Leo, Death Cab, OK Go, Bob Mould, Calexico, Kathleen Hanna, The Donnas, Kronos Quartet… and they'll be performing to raise cash & awareness on neutrality in the coming months.
Before entirely leaving behind the Canadian-documentary-film front (if I haven't already, and I suppose I have), I'll also mention that it's worth watching the trailer for I Met the Walrus, a creative animated redeployment of the tapes Toronto teen Jerry Levitan made when John Lennon and Yoko Ono were bedding-in here in 1969.
Last week, one of my favourite mp3 blogs, Moistworks, held its annualish Writer's Week, drawing contributions from Susan Choi, Jenny Offill, Dana Spiotta, Christopher Sorrentino and Rick Moody. They're all worth reading, although collectively they drove me a bit crazy, as the impulse a novelist seems to have when asked to write about music seems to be almost universally to let the melodic madeleines unleash so many memories about what-they-heard-when that practically every one of them tells you half their life's story. The exception is Moody, which stands to reason as he writes about music more frequently. The tale he tells of his friend who makes music with his younger brother Bill, who has Down syndrome, is a compelling case of the "outsider music" problem, challenging our sense of where exploitation does or doesn't arise (reminiscent of Reynols). I suggest you watch Bill's Bigfoot video, peruse some of the consequent comments on YouTube, and mull it over for yourself.
Finally, we find out where Robyn Hitchcock went wrong: He thinks that "inconsequential" is a good artistic goal, while assuring us that his "painless" songs of "indifference" are not "meaningless." With which he gets everything exactly bassackwards and accounts for why ninety percent of his 1990s-and-on non-Soft-Boys music is so wearyingly exasperating.
Though nowhere near as weirdly bedeviling as this misbegotten "cultural celebration", which on the one hand just seems like garden-variety hyper-commodification, and on the other kind of nightmarish and sickening, like building a licorice model of Uncle Tom's Cabin with a gingerbread Eliza skipping across a lake of 7-Up. It's the authentic black experience! Just eat it!


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Kyosho MINI-Z AWD Citroen WRC 2011 Sebastien Loeb
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For all you rally car fans out there Kyosho has announced a very trick looking WRC 2011 Citroen AWD Mini-Z done up in Sebastien Loeb livery. The Citroen Loeb Mini-Z comes on the Kyosho A-020 platform and utilizes MR-03 variable camber suspension up front. This model is not a readyset, requiring you to come up ...5 days ago -
Report: All-wheel drive vehicle sales flourishing
— Authority:
Filed under: Car Buying , Safety As the market for new vehicles continues to improve and crossover and pickup sales have caught fire, its perhaps no surprise that the sales of all-wheel-drive (and four-wheel-drive) vehicles are also on the rise. Using data provided by Polk, The Detroit News points out ...6 days ago -
1/10th Warn Winch and Controllers by RC4WD
— Authority:
The crew over at RC4WD is bumping up the scale realism factor once again with their new Warn Industries collaboration. Now you can have an uber fully licensed Warn Winch for your 10th scale truck from RC4WD. There are 3 items in the new Warn Winch line-up- a winch, a wired controller, and a Warn style wireless ...6 days ago -
New Schumacher CAT K1 Aero 1/10th Competition 4WD
— Authority:
The CAT K1 Aero is an ultra modern, 1/10th scale, 4wd, electric buggy that continues the race winning tradition of Schumacher's legendary CAT "Competition All Terrain" vehicles. Schumachers design team have taken the ever popular CAT K1 and added a cool, aerodynamic wing and body combination! This together ...1 week ago -
Video Schumacher CAT K1 Aero buggy 4WD in scala 1/10
— Authority:
Dopo le immagini della CAT K1 Aero la Schumacher ha pubblicato un filmato di presentazione dove Tom Cockerill designer del modello ci mostra le caratteristiche di questo nuovo buggy da competizione. Caratteristiche Schumacher CAT K1 Aero Buggy - Nuovo telaio in fibra di carbonio - Nuova carrozzeria ...1 week ago -
Schumacher CAT K1 Aero: Buggy 1/10 da competizione 4WD
— Authority:
La Schumacher ha presentato il nuovo buggy 1/10 da competizione CAT K1 Aero con trasmissione a cinghia 4wd. Il modello viene venduto in kit di montaggio con una serie di novità come il telaio realizzato in fibra di carbonio con un nuovo layout e distribuzione dei pesi compatibile con batterie LiPo 2S, una nuova ...1 week ago -
RC4WD Mud Basher 1.9″ Scale Tractor Tires
— Authority:
So you've got a 1.9 scaler and are looking for some serious mud tires, where do you turn? To RC4WD of course. RC4WD has just announced their new Mud Basher 1.9″ Scale Tractor Tires . With a deep chevron design the Mud Bashers should be able to get you through even the muddiest of sections during your weekend ...1 week ago -
Things to Look for When Buying a Used 4WD
— Authority:
Buying a used car can be risky if you don't do the proper checks into the vehicles past, however the risks can be even greater when the vehicle you're considering is a 4WD. Whilst it is true that most 4WD's never see any more action than dropping the kids to school in the morning, some [...] The post Things to ...1 week ago -
Unboxing SWORKS S104 Ek1 4WD 1/10 - Electronic Dreams
— Authority:
La Electronic Dreams ha pubblictao un video con l'unboxing del buggy elettrico da competizione S-Workz S104 EK1 1/10 4WD . Il modello ha la trasmissione cardanica con il telaio in alluminio, torrette delle sospensioni in carbonio, supporto motore regolabile in alluminio, layout molto simile alla sorella ...1 week ago -
Product Spotlight – RC4WD Snow Plow Blade
— Authority:
Tis the season for lots of snow, thus we were pretty stoked to receive a legit snow plow blade from RC4WD . The blade is like everything else RC4WD makes, heavy duty, made from real metal, and it looked true to scale. We've been using (ok, mostly abusing) the snow plow blade for a few weeks now, here is what we ...1 week ago -
Road Tested: 2014 Toyota Tundra CrewMax Limited
— Authority:
Though it may seem like an also-ran in a segment packed with sales heavy hitters like the Ford F-Series and Chevy Silverado/GMC Sierra, Toyota still moves plenty of metal with the Tundra – about 10,000 units a month, in fact. Mazda sold about as many smiley-face 3s this year, and I see plenty of those rolling ...1 week ago -
RC4WD Version 2 Tough Armor Front Lightbar Bumper for Axial SCX10
— Authority:
RC4WD has another way to scale up the looks of your Axial SCX10 with their Version 2 Tough Armor Front Lightbar/Bumper . Made from steel, this lightbar/bumper should be able to take a beating while giving you a place to mount some cool looking lights to the front of your truck. * Welded by hand * Constructed from ...1 week ago -
Dual-powertrain Amphibious Responder searches and rescues on land and sea
— Authority:
Over the past couple of months, our attention has been caught by a couple of monstrous, land/water rescue machines in the form of the Ghe-O Rescue and the ARGO XTI 8x8 . The CAMI Amphibious Responder makes three, and it is the largest, most powerful amphibious rescue machine of the bunch. .. Continue Reading ...2 weeks ago -
Junkyard Find: 1978 Dodge Ramcharger
— Authority:
Even though Denver wrecking yards are always full of old trucks, the Dodge Ramcharger isn't quite as common as its GM, Ford, and Jeep rivals. In fact, this Royal SE '83 Ramcharger is the only example we've seen in this series, prior to today's find. This tan Dodge is every bit as Malaise-y as the yellow ...2 weeks ago -
2015 Audi Q7: second-gen luxury SUV spied up close
Car Advice | News Blog — Authority: 449
The all-new Audi Q7 has been spied up close hot weather testing in Spain, providing our best look yet at the second-generation luxury SUV due in 2015. Snapped from afar by CarAdvice's spy photographers back in August , the latest Audi Q7 shots clearly show sleeker headlights and LED daytime running lights up ...2 weeks ago -
Suzuki SX4 S-Cross Review
Car Advice | News Blog — Authority: 449
Part SUV, part hatch. The Suzuki SX4 S-Cross carries over one familiar badge but into a new crossover design that blurs body style boundaries. Smaller than compact SUVs such as the Hyundai ix35 and Kia Sportage but larger than compact crossovers like the Holden Trax and Peugeot 2008 , the S-Cross is more ...2 weeks ago -
RC4WD Mickey Thompson 2.2 Baja Claw TTC Radial Scale Tires
— Authority:
New from RC4WD are officially licensed 2.2″ Mickey Thompson Baja Claw TTC tires for that scaler or crawler of yours. Not only do they look like the real deal, but they are made from super soft rubber to give loads of traction. * Inner Ribbing for greater sidewall support * Weight- 5.04oz each * Inner diameter- ...2 weeks ago -
Suzuki SX4 S-Cross benchmarked Nissan Dualis, says chief engineer
Car Advice | News Blog — Authority: 449
The designers and engineers behind the all-new Suzuki SX4 S-Cross looked to the top-selling Nissan Dualis as the benchmark in their attempt to produce a class-leading compact SUV. Suzuki SX4 S-Cross program chief engineer Takehito Arai told CarAdvice at the car's Australian launch that Suzuki's goal was not ...2 weeks ago -
Team Durango DEX410v4 4WD Buggy
— Authority:
After a bit of teasing, Team Durango has released full information on their new DEX410v4 off-road buggy. The DEX410 platform is a proven winner, with the Version 4 upgrades it should be even more of an animal on the track. * 10th scale 4wd kit * Front & rear gear diffs * Harder diff cases * Ultra-Slim ...2 weeks ago -
Team Durango DEX410v4: Buggy 1/10 da competizione 4wd
— Authority:
La Team Durango ha pubblicato un video di presentazione del nuovo buggy 1/10 da competizione DEX410v4 . Nel filmato i vari dettagli del modello come il telaio in alluminio anodizzato ottimizzato per abbassare il centro di gravità e migliorare sterzo e stabilità alle alte velocità, i nuovi differenziali con ...2 weeks ago


text:
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The Valley's Only REAL Rock - Allentown, Easton, Bethlehem
Listen to 95.1 ZZO Live
Follow @WZZO
The Bearman and Keith
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Tommy Bolin
Tommy Bolin
The Ultimate: The Best of Tommy Bolin
Original Release Date: September 1989
Track Listing
1. Sail On
2. Cross the River
3. See My People Come Together
4. Showbizzy
5. Alexis
6. Standing in the Rain
7. Spanish Lover
8. Do It
9. Quadrant 4
10. Train
11. Time to Move On
12. Golden Rainbows
13. Nitroglycerine
14. Gettin' Tighter
15. Owed to "G"
16. You Keep on Moving
17. Wild Dogs
18. Dreamer
19. People, People
20. Teaser
21. Sweet Burgundy
22. Shake the Devil
23. Brother, Brother
Tommy Bolin: Guitar, Keyboards, Vocals, Producer
Deep Purple: Producer
James Gang: Producer
Jan Hammer: Keyboards
Alphonse Mouzon: Arranger, Conductor, Drums, Assistant Producer
David Sanborn: Saxophone
David Foster: Keyboards
Glenn Hughes: Bass, Vocals
Jon Lord: Keyboards
Moxy: Producer
Bobbye Hall: Percussion
Ron Albert: Engineer
Norma Jean Bell: Percussion, Saxophone
Bobby Berge: Drums
Martin Birch: Producer, Engineer
Dr. George Butler: Executive Producer
Buddy Caine: Guitar
Robbie Chamberlain: Drums, Vocals
Billy Cobham: Drums
David Coverdale: Vocals
Rafael Cruz: Percussion
Richard Dashut: Engineer
Barry Diament: Mastering
Tom Dowd: Producer
Skip Drinkwater: Producer
John Faris: Flute, Keyboards
Sammy Figueroa: Percussion
Jim Fox: Drums
Candy Givens: Harmonica, Vocals
David Givens: Bass, Vocals
Bill Halverson: Producer
Terry Juric: Bass
Roy Kenner: Vocals
Steve Klein: Engineer
Edwin H. Kramer: Producer, Engineer
Dennis MacKay: Producer
George Marino: Mastering
Reggie McBride: Bass, Vocals
Ian Paice: Drums
Jeff Porcaro: Drums
Dale Peters: Bass, Vocals
Jerry Peters: Keyboards
Simon Robinson: Liner Notes
Buzz Shearman: Vocals
Stanley Sheldon: Keyboards
Mark Stein: Keyboards, Vocals
Bill Wade: Drums
William E. Cobham, Jr.: Producer
Leland Sklar: Bass
Howie Albert: Engineer
Maria DeGrassi: Art Direction, Design
Tom Zutaut: Liner Notes, Compilation Producer
Fin Costello: Photography
Gabrielle Raumberger: Art Consultant
Henry E. Davis: Bass
Bob Ferbrache: Photography
Susan Goines: Photography
Lee Kieger: Associate Producer
Larry Grossman: Illustrations
Earl Johnson: Guitar


text:
Accepted Offer
Positive Experience
Difficult Interview
I applied online and the process took 5 months - interviewed at Fehr & Peers in August 2013.
Interview Details – Applied online to the general engineer/planner entry level position on the website. Was contacted via phone a little over 2 weeks later to set up a phone interview which would take place the following week. The purpose of the phone interview is to screen candidates to see if they match the company profile. Example questions are: "why do you want to pursue a career in transportation?", "what have steps have you taken that demonstrate you want to pursue a career in transportation?", "what are your goals for the next 5 years?". At the end of the screening I was invited to continue to the next step which involves answering a written questionnaire which consisted of 5 questions about your experiences, core values, basic principles, and interest in transportation. A month after submitting the candidate questionnaire I was contacted via e-mail for an office interview. The office interview occurred 2 weeks after I was contacted. The office interview lasted 3 hours and consisted of meeting individually with several of the senior staff, one after the other. Essentially this was a test to see if you fit with the company culture. 3 weeks after the office interview I was contacted saying they were "interested in hiring me." 2 months after that I received the offer letter (several follow up e-mails were required).
Interview Question – Why are you interested in working in the transportation field? How have you demonstrated your desire to pursue a career in transportation planning, engineering or design? View Answer
Negotiation Details – I received the offer via e-mail and accepted without negotiation.
No Offer
Neutral Experience
Average Interview
I applied online - interviewed at Fehr & Peers in July 2013.
Interview Details – Had first round phone interview about 1.5 month later of my online application. It was a general interview with hr and most of questions were behavioral questions. Then had a questionnaire with open questions. Still waiting for the second interview decision.
Interview Question – Pretty general questions. No technical questions asked in the first interview. Answer Question
No Offer
Neutral Experience
The process took 5 weeks - interviewed at Fehr & Peers.
Interview Details –
1st interview - phone. general interview questions.
2nd interview - phone. more detailed and technical.
3rd interview - in person. 4-hour extensive interview.
No offer.
Interview Question – How many cars travel on a typical freeway lane in an hour. Answer Question
No Offer
Neutral Experience
Average Interview
I applied online and the process took a day - interviewed at Fehr & Peers in April 2011.
Interview Details – Applied online and got a phone interview in a week. The lady that talked to me was very friendly and polite. The interview consists of a few behavior questions and topics of interest. You are then given a set of questions to write and send back after a few days. After that it's just a waiting game for someone to call back for a in house interview.
Interview Question – What sort of projects are you intrested in? Answer Question
No Offer
Neutral Experience
Average Interview
I applied through college or university and the process took a day - interviewed at Fehr & Peers in March 2011.
Interview Details – They gave a basic phone interview with a lot of basic questions for an internship position; like, how did I get into civil engineering, what projects I did in school and what I gained out of them, what internship positions I had and how I gained a lot from them. Very fair process . . .
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This is the October 3, 2012 news archive. View today's Cardinals rumors and news.
Albert Pujols, Zack Greinke T-shirts available for discount at Missouri thrift shop (Photos)
Updated Oct 3, 2012 Share TweetBLUE SPRINGS, Mo. - They were princes here once. Albert Pujols finished his formative years practically next door and went to college close by, too, before winning three NL MVP awards with the St. Louis Cardinals on the other side of I-70. No, the Cards
Regulars get rest in Cards' regular-season finale
Updated Oct 3, 2012 Share TweetKnowing that the second National League Wild Card is already theirs, the Cardinals took the opportunity to rest their regulars on Wednesday in the final regular-season game against the Reds.Source: MLB.comCards can once again leapfrog Braves to NLDS
Updated Oct 3, 2012 Share TweetIn the byproduct of baseball's successful push for a second Wild Card team in each league, the Braves and Cardinals will jockey for that chance to the advance to the National League Division Series.Source: MLB.comCardinals back in (and back into) playoffs with Dodgers loss
Updated Oct 3, 2012 Share TweetA season ago, the St. Louis Cardinals qualified for the playoffs as the wild card with the help of an epic collapse by the Atlanta Braves. Late on Tuesday night/early Wednesday morning, the defending World Series champions backed into the postseason tou…Source: yahoo.com-
Jim Bowden on Kyle Lohse
Oct 3Jim Bowden breaks down the pending free agency of St. Louis Cardinals pitcher Kyle Lohse. -
NL Wild Card Game Preview
Oct 3Cardinals at Braves, Friday 5:07pm ET.
Sports Columnists
Young defensive backs have made their marks
Oct 3At the 2012 draft, wide receivers were the rage, but it's been the rookie DBs who have made a difference, writes John Clayton


text:
Dear Customer,
Meanwhile our new website has been online for six months now. We want to thank you for all the positive response. Please continue informing yourself about the current events around the innovative world of Nill grips.
Additionally, we have just established a new online shop for you which offers a great variety of new features and an user-friendly surface. Get to know our comprehensive delivery program with a click on the button "Shop" (on the left).
During the European Championships (Shotgun) from 28th July to 8th August 2013 in Suhl the use of our modular stock system Ergosign EvoComp could again help to reach top results: Vasily Mosin (Russia) won in the discipline "Double Trap" and is now the uncontested European champion. In the competition "Double Trap Junior" Nathan Lee Xuereb (Malta) could win the title, Kirill Fokeev (Russia) reached the second place. Filip Praj (Slovakia) also won a notable second place in the discipline "Trap Junior". Congratulations to all winners!
Sincerely Yours, Wilfried Nill


text:
Che Tano
Miami, FL 33186
Miami New Times's Description
Argentines are recognized for their meat. In fact, you can find a parrillada serving loads of churrasco, sausage, and ribs in almost any Miami neighborhood. Argentine bakeries are not as ubiquitous, although they should be. Somehow, while the rest of the Hispanic world never thought to venture past chicken and beef empanada fillings, Argentines boldly went where no Latino had gone before. Che Tano celebrates this diversity by offering about 18 kinds of empanadas — double that if you count the fact that you can choose either baked or fried. Think of all the wonderful options: corn, cheese and onions, tuna, and ham, cheese, and hardboiled egg — the list seems endless. While variety might be the spice of life, let's not forget there is still value in tradition. After all is said and done, the beef empanadas (baked and fried) at Che Tano are the stuff that dreams are made of.
Member Reviews
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Okay, so the Rice Krispies bars are really good, but there are other good reasons to visit this bakery café, one being the "bake" part.... More on Taste Bakery Cafe >>
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Miami is known for many things, but great bread is not among them, at least if you haven't tried La Provence's hearty, rustic artisanal... More on La Provence >>
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The Bagel Express, a nondescript delicatessen squeezed into a small, suburban strip mall, crafts deliciously simple bagels that... More on The Bagel Express >>
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This Argentine café is simply too good to have remained a secret. Generally speaking, if a bakery isn't crowded, it... More on Confiteria Buenos Aires Bakery & Cafe >>
Reviews and News
Best Of Awards
Argentines are recognized for their meat. In fact, you can find a parrillada serving loads of churrasco,... More on Best Empanadas »
The American butcher is dead. He was flattened by a cross-country truck packed with Boar's Head lunchmeat and... More on Best Butcher »
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Mid/North Beach
South Beach
Coral Gables/South Miami
East Kendall/Pinecrest
Mid/North Beach
See More Bakery Restaurants
Today's Daily Deal
Certified Bartending Training ONLINE ($75 value) View more Voice Daily DealsEvents Nearby
Our Lady of Lourdes
Fri, 7:30 pm -
Pancheros Mexican Grill
Sun -
Home Field Sports Bar & Grill
Mon -
Home Field Sports Bar & Grill
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Home Field Sports Bar & Grill
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Home Field Sports Bar & Grill
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West Kendall
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Joie Coelho
licensed agent
Overall Rating:
Rutenberg Realty
My web site
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Joie's background in Art and Interior Design made Real Estate a natural fit. Architecture has always been an endless source of fascination for her. When it comes real estate she is astutely intuitive. A former gallery owner and Artist she also understands the Bottom Line and how to advise clients on pricing, marketing, and negotiation strategies. Having traveled abroad over 40 times she is keenly aware of how mobile the world has become. Joie's inspiring wealth of experience, as well as her outgoing personality makes her easy to work with. She has an unwavering commitment to provide her clients with an exceptional level of service. She's a great listener, with a unique perspective. Some of her happiest clients are those that listen to her advice and insight. Her goal is to enhance what can be a daunting process. She considers "The Hunt" an adventure! Prior to joining Rutenberg, Joie
worked with a well known Boutique Firm in Soho specializing in Upscale Rentals where she cultivated positive relationships with many landlords. The renting process in New York is unique and requires the ability to navigate through a maze of landlords, management companies, and paperwork, not to mention the legwork. One of the biggest challenges is merging EXPECTATIONS with availability, budget and location in a limited time frame. While her Niche is finding Uptown Gems, she can show almost any property in New York and is happy to work with other agents on your behalf.
Renter Reviews
of Joie
Sergio ****
review date
overall rating
Professional, courteous and passionate about her work, Joie was one of the best brokers I met during my apartment hunt in NYC. She showed me apartments that made sense both to my needs and budget. I'd definitively recommend anyone working with her.
I did not rent an apartment from this agent.
Eru ****
review date
overall rating
Joie, is a great person to work with! She has an understanding and polite personality. After explaining my financial situation to her she was able to negotiate for a better rental price. I appreciate this and highly recommend her services to clients looking for a good realty experience in New York's difficult realty market.
I rented an apartment from this agent.
View all »
Joie's Apartments
1br, Harlem, $1,800
Dishwasher, Terrace, New Building
10 days
on site
1br, Harlem, $2,100
In-Unit Laundry, Dishwasher, Backyard, Outdoor Space, Brownstone
12 days
on site
Studio, Harlem, $1,500
Dishwasher, Outdoor Space, Brownstone
12 days
on site
Studio, Harlem, $1,400
Fireplace, Outdoor Space, Brownstone
12 days
on site
Studio, Harlem, $1,600
Balcony, Fireplace, Outdoor Space, Brownstone
12 days
on site
Joie's Specialties
Battery Park City, Chelsea, Chinatown, Clinton, East Harlem, East Village, Financial District, Flatiron District, Gramercy Park, Greenwich Village, Harlem, Hell's Kitchen, Inwood, Kips Bay, Little Italy, Lower East Side, Meatpacking District, Midtown Center, Midtown East, Midtown South Central, Morningside Heights, Murray Hill, NoHo, NoLita, Roosevelt Island, SoHo, Theater District - Times Square, Tribeca, Tudor City, Union Square, Upper East Side, Upper East Side, Upper West Side, Washington Heights, West Village
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text:
Celebrate Summer the Swedish Way!
The "kräftskiva" (crayfish party) is one of the most important social events of the year in Sweden. It is usually held in August during the height of the crayfish season, and it's a time for friends to gather together and celebrate the warm weather, warm company and heaping piles of fresh crayfish.
Participants often wear funny hats and enjoy "singing drinking," songs while taking snaps (or shots, as we call them.) The parties continue well into the night, when the unmistakable sounds of laughter and singing can be heard from the balconies, verandas and gardens all across the country
If you live close to an IKEA store, join their celebration! Or follow their lead and host your own.
Their menu is mouthwatering:
Dining is traditionally outdoors, but in some areas the party is often driven indoors by summer storms, or heat (as in the southwest), or by aggressive mosquitoes!
Customary party accessories are comical paper hats, paper tablecloths, paper lanterns (often depicting the Man in the Moon) and bibs.
The crayfish are boiled in salt water and seasoned with fresh dill – preferably "crown dill" harvested after the plant has flowered – then served cold and eaten with one's fingers.
I wonder how different, or similar, these taste to the way crayfish are eaten in Louisiana?
I wonder if there is a decidedly different flavor to the crayfish of the colder waters of Sweden than the warmer waters of Louisinana. As far as preparation, the crayfish I've eaten in Louisiana was usually in an étouffée or jambalaya, but a 'crayfish boil' is most likely an option as well!