text:
Three Questions for Verónica Reyes Regarding Her Debut Poetry Collection, "Chopper! Chopper!"
By Daniel A. OlivasFebruary 27, 2014
VERÓNICA REYES is a self-described "Chicana feminist jota poet from East Los Angeles." And there is little doubt that she is also well on her way to making a name for herself in the poetry world. Reyes earned her BA from California State University, Long Beach, and an MFA from University of Texas, El Paso. She has won AWP's Intro Journals Project, an Astraea Lesbian Foundation Emerging Artist award, and was a Finalist for the Andrés Montoya Poetry award. Reyes has received grants and fellowships from the Vermont Studio Center, the Virginia Center for the Creative Arts, the Ragdale Foundation, and the Montalvo Arts Center. Her work has appeared in many well respected journals including The New York Quarterly, ZYZZYVA, Calyx, and Feminist Studies. She is a member of Mujeres Activas en Letras y Cambio Social (MALCS) and the Macondo Writers' Workshop. Her first collection of poetry has been published by Red Hen Press's imprint Arktoi Books. Reyes kindly agreed to sit down with LARB for a virtual chat about her book and other literary matters.
There are many ways to pay homage to one's community and identity. You chose to do it through writing, specifically in your debut collection, Chopper! Chopper!: Poetry from Bordered Lives (Red Hen Press/Arktoi Books). What led you to choose the literary path and could you talk a little about the subtitle of your book?
I have been writing since I was 14 or 15 years old. At the time, I did not think of it as poetry. I just thought this is my "writing in the moment." All my pieces were little scripts I wrote the moment the piece hit me. I wrote the words scrolling down in me. So they were my writing pieces. But at that age, I had not thought of them as poetry, yet.
It was later on after my first Chicano literature course, after being encouraged to take a creative writing class, that it dawned on me that I had been writing poetry when I was younger. I was around 23. At Long Beach State, I was in my first fiction class, my first short story was workshopped, and my professor was awed by my writing. I remember thinking, I have something in me.
By then, the early 1990s, I had read Chicano literature and saw the limited avenues for Chicana poetry. In essence, we were secondary. And clearly I noted that Chicana jota literature was still "pushed" to another level. I saw the triple oppression. And I was not going to have any of it. I was not going to stay quiet. I just thought I can give something to our communities of literature, but more importantly to our communities in el barrio. Home. Familia. I thought we deserved to have our stories/experiences told.
I thought there is plenty of room for more Chicana jota poets, and I was going to write pieces that reflected what I understood to be from el barrio. To be marimacha like me, to be "familia" like queer raza. To be a tomboy and find joy in it and not shame. To find pride in one's self.
Clearly, my politicized self saw the need to add diversity not only within American literature and to shatter this "traditional" American image of what literature is. Basically, white-male-hetero, or white female heterosexuals, or white gay males, or white lesbian writers/poets are dominant. As well, I saw and felt the limited constructions of Chicano literature. The same narrow constructions of literature were being imposed: the vast majority of Chicano literary writers are/were straight males or straight females. Chicana lesbian literature is really just coming to exist in the 1980s. Even today, Chicana lesbian literature is clearly associated with two main writers: Cherrie Moraga and Gloria Anzaldúa. Rightfully, they deserve and merit recognition for their groundbreaking work. We need to acknowledge and respect that. But we also need to have more published writers. Poets/writers, who are firme/amazing, are not getting published. And this is the main issue I have with the "publishing industry," including small presses.
I felt there could be more and should be more. I thought that "American" literature should be diverse as a beautiful rainbow like us, Chicana/o jotería.
This was my tool. Poetry. I knew I had something in me. I could write. And people got it. This is what mattered to me.
I wrote for el barrio. For existence. For stories. For women like my mama, who came to this country and deserved better, but society did not entirely give it to them. What they got was something less: health issues, government cheese, lousy medical care, and more. For hombres like my papa, who were hardworking men and did what they could to keep a family afloat in a country that did not necessarily want them here. For la jotería, who experienced homophobia in and out of our communities and still created safe spaces. I write for Mexicanos, Chicanas/os, for the next generation to see/read pieces that looked like us. That embodied us. I write to add the stories I know and understand and say this is us, the gente from North Sydney Drive. This was how we lived. We exist. We matter. This is our story.
And I hope it resonates with raza, la jotería, and to working class people. The everyday person. These are the people who matter to me. This is why I write.
As for my subtitle, Poetry from Bordered Lives, it was part of the original title of my book. I kept it. I decided that I wanted to have this subtitle that linked itself to my original manuscript, which I submitted to contests and never won, to presses and got rejected. I wanted that connection. To show the long road a Chicana dyke from East L.A. has experienced to finally get published. As for the book, the length and poems changed throughout the years I was working on it. But I wanted to have this link. It was important to me, this connection like a bridge from my years as a younger poet to now, a 45-year-old poet.
So I scripted this subtitle to include the lived experiences people are forced into. I thought it captured the idea of border on many levels: physical, geographical, emotional, national, the isms, i.e., racism, sexism, heterosexism. This idea that poetry was sharing narratives from individuals or people who experienced these enforced constraints/obstacles. Maybe the person does not have the word for it, but it is this lived experience. This poetry was deriving its existence from voices/subjects who were "bordered." The subtitle was acknowledging more than just the frontera, but all the layers bordered can embody. It still comes back to: We exist. We matter.
As a poet, I liked the visual imagery. Like a poem where I can play and mold words together to create concrete images, I thought Poetry from Bordered Lives was like a painting or photo that is framed. The art is framed. The poems are framed. Their narratives are framed. (I hope in a respectful manner even when challenging societal constraints.) Like my cover image, specifically commissioned and created for my book by a local artist, José Ramírez. His painting ELA framed my manuscript. Everything worked together.
Of course, this last part was purely intuition. When I asked José to paint a painting for my book, I did not know what it would look like and how it would all come together in the end. I wanted a collaborative piece. To bridge a painter and a poet, to bridge a straight man to a jota's life. To bridge our existences 'cause we both come from el barrio. It was purely a gut response. At a coffee joint near the East LA Civic Center, I trusted my gut and asked him if he could paint a painting that captured the energy for my book. Of course, we had talked for a couple hours and we met up a few times, and I gave him a stack of poems to read. I also shared a photo of my dad's house, which has a big tree — one evening I had asked my older brother to take the photo. To José I said: "I trust you. Paint what you think captures the energy of our pláticas and my poems." I thought he would do a wonderful job, and he did. The painting is beautiful, vibrant, very Mexican, and very barrio. The painting captivates people to stop and look at the book. When I originally asked him, when I came up with the subtitle, I really did not envision this. In the end, all these layers/narratives work together. But the original idea was to capture the experiences of people living in el barrio, whether straight, familia, or queer.
So Poetry from Bordered Lives was and is an intricate part of creating this book, as is the main title. It is about the people, us, me. A tomboy, a young girl, a femmy boy, a jota or joto who can see themselves in these poems. And recognize our experiences, because lives matter. It is about raza, queer or straight.
You describe yourself as a "Chicana feminist jota poet from East Los Angeles, California." This multiple identity runs throughout your poems. In particular, your poem "Panocha Power!" begins:
the queer crowd screamed dreamy orgasms
books lined the narrow aisles of the store
an evening poetry reading was on its way
in the graffiti-layered streets of East L.A.
and like usual the poet was on Xicana lesbiana time
(allot fifteen minutes for each title)...
It is a wonderfully funny, soulful, proud poem, one filled with great images that almost convert the piece into a bit of flash fiction. Could you talk a bit about the crafting of this particular poem?
Well, the title, "Panocha Power!," popped into my head at a dinner. It was at Lucy's Café in El Paso. I was with friends, fellow grad students at UTEP, and we were planning for poetry reading. I knew the moment I said, "What about Panocha Power," for the title of the reading that I really wanted the title for a poem. It really was one of those moments where you know this is going to be a good piece. So I volunteered the title; then took it back. It was mine.
As for the crafting, it was one of those pieces that came out flowing onto the typed page. At the time, I usually sketched a poem in a journal; I did not type up a poem. But this poem came into existence on my word processor. I just typed it. Once I found time to write it, I sat down, and it flowed out of me. I trusted the voice. I trusted there was something special here. So I did not question it. I just went with it. The poem's voice took me on this whirlwind of a ride, and I rode it. All along, I was beaming. It was that type of piece. It was a fun piece. I could hear it being performed on a stage. I imagined being somewhere on a poetry stage and reading this poem. I said "Panocha!" and the audience yelled, "Power!" People getting into it. And to some extent, what I envisioned for its performances has come true.
Afterwards when I was "cleaning it up," I reviewed it to see if I was happy with it. I liked what I saw and what came out. I knew spacing was very important; literally the typed space on a page. I knew I wanted lowercase text for most of the poem and certain words had to be capitalized. There was meaning there. I knew that I wanted to represent what it meant to be a Chicana jota/dyke from East L.A., a poet, and living in El Paso and existing in graduate school. So the images are meant to capture this strong, fighting mujer like a "Chicana kickboxing ruca" who is gonna shatter the barriers that exist. Shatter the isms, i.e., racism, sexism, heterosexism. Oppression. It is about claiming space. Acknowledging personal power. It is about honoring our female lineage, our mamas, and saying fiercely no one/no man/no patriarchal society can ever hurt her or negate her existence. It is a poem about empowerment.
So, I wrote this poem in graduate school. It is a 3-page poem. I always thought it did its "job." It captured the story, the voice/s, the images, the battles against oppression. I will add this: When I was asked to prepare it for the galleys, I really recognized how strongly I felt about the whole piece and why it needed to exist on the page as it does, the aesthetics/spacing and really its powerful energy. I changed nothing from its inception in 1998. As a Chicana jota poet, I understood and knew why I crafted my poem in this form and why it needed to stay that way.
Getting a poetry collection published is no easy task. How did your manuscript get into the hands of Arktoi Books, an imprint of Red Hen Press?
Well, it took years of work — about a decade. After graduate school, I really had to learn on my own how and where to submit poems to journals. I worked and juggled my life as a poet and educator. At the time I was living in Toronto; I devoted some "spare" time the first few weeks of a semester for submissions to journals, writers' residencies, like Vermont Studio Center. But once midterm week came, I needed to focus primarily on teaching. So a lot of my time was given to teaching. I had to squeeze in "poet time" into this framework, which unfortunately is the norm for so many writers. We do not have time to create or work on getting a book completed. I remember the first time winning a grant for a residency, and I could not attend because it did not cover the entire cost, and I could not afford to pay. I needed to work, so I gave it up to work. But the second time I was accepted and offered a grant at VSC (April 2008), I made a conscious decision that I was going to attend and suffer the economic losses. By this time, I was back in East L.A.
So there were many factors that took place over time. I eventually took all the tidbits of advice from residencies, writers' conferences, and my own experience. I put it all together, and it made sense what I needed to do. I will credit that writer's advice happened at Virginia Center for the Creative Arts, Macondo, and Napa Valley Writers' Conference. At a talk about new publications, one poet mentioned he submitted to 70 presses and contests. I kept that idea in me. But I also knew I was not going to pay money for contests. After years of paying for postage and online submission fees, I was not going to pay for contest fees. I knew I would submit to small presses and university presses. After my VCCA residency, it became a firm idea in me that I needed one final poem. Summer 2009, I wrote "East L.A. Poet," and it captured the essence of the book and who I was/am.
At one point, I was at Macondo Writers' Workshop, and a fellow Macondista mentioned Arktoi Books to me. I kept this info. When I started to submit heavily to presses, Arktoi was on my list. So in August 2011, I submitted my manuscript to Eloise Klein Healy (she is the publisher/editor of Arktoi). A few days later, I remember getting an email from Eloise and feeling a good vibe. I really liked the last line of her email: "Nice to see a manuscript from a local gal." There was something there for me. I just felt this one is it. I even wrote a note in my sketch journal a couple months later. And well, when January came, I was just hoping. By this time, I had submitted to 50 presses. I got plenty of rejections. And I received early on one very positive letter. A handwritten note that kept me afloat over the months. It just gave me hope to not give up even if/when a press says no; someone will say yes.
So in late January 2012, I'm home and get this email from Eloise. The moment I read her name I knew. I was smiling. I opened up the message, read it, and after years of hard work trudging it on this Chicana jota poet's road, I sat in awe and then cried. I had to. I just had to let it all out. This was a long road.
This is how Eloise and I came to cross paths. And when we met in person, she had good energy. I felt my book was in good hands. Eloise was a very good editor/publisher, and I'm glad she chose my book, precisely because this was her imprint. She had her vision of a strong lesbian writer community, including our diverse voices. I was able to stay true to my poetic style and political beliefs. Eloise genuinely trusted and believed in me. Arktoi was wonderful.
LARB Contributor
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text:
Ava Golf Team Takes First at Willow Springs
The Ava High School golf team traveled to Willow Springs last Tuesday, April 24, and took first place.
Ava came in with a combined team score of 168, well under Houston 186, Licking 188, Willow Springs 193, Liberty 202 and Alton 211.
Individual scores for Ava were Tristan Haltom 38, Seth Maples 42, Jesse Dean 43, Dexter Fish 45, and Trey Everett 46.
Ava also had two scramble teams in the meet. Joe Herrell, Zach Bray and Matt Freeman scrambled for a 39 and Caleb Allen, Kevin Philpott and Lucas Tabor scrambled for a score of 42.

subset: commoncrawl


text:
This looks like a paradox.
Let's say we have an hydrogen atom. Superposition of states could be possible for electrons. But if an electron is in a superposition, I guess it could decay into a lower state by emitting a photon.
Different initial and final energy expectance would make possible photons of arbitrary energy levels. But that is not the case.
So that, what is wrong? Is energy conservation violated?


text:
My only plan is to finish reading
Summer Rental by Mary Kay Andrews…and dip in the pool when I get hot
and maybe…
let my toes get sandy.
what is on your agenda?
Mary Kay is generously giving away a signed copy of her yet to be released newest Novel
to a Lime in the Coconut reader
So that you can bury your toes in the sand too! She is generous that way…that Mary Kay
It is a fun and perfect summer read…especially for houseaholics like us. Yeah I'm talking to you.
just leave a comment….and a winner will be picked by Wednesday night June 1st at 11:59 pm.
yep. one minute before midnight...…and because I have recieved some emails that some of you are having a hard time leaving commentsthank you blogger…you can sign in as anonymous…just leave your name and email in the text of the message.
Happy Reading!


text:
Time::HiRes - High resolution alarm, sleep, gettimeofday, interval timers
use Time::HiRes qw( usleep ualarm gettimeofday tv_interval );
usleep ($microseconds);
ualarm ($microseconds);
ualarm ($microseconds, $interval_microseconds);
$t0 = [gettimeofday];
($seconds, $microseconds) = gettimeofday;
$elapsed = tv_interval ( $t0, [$seconds, $microseconds]);
$elapsed = tv_interval ( $t0, [gettimeofday]);
$elapsed = tv_interval ( $t0 );
use Time::HiRes qw ( time alarm sleep );
$now_fractions = time;
sleep ($floating_seconds);
alarm ($floating_seconds);
alarm ($floating_seconds, $floating_interval);
use Time::HiRes qw( setitimer getitimer
setitimer ($which, $floating_seconds, $floating_interval );
getitimer ($which);
The Time::HiRes
module implements a Perl interface to the usleep
, ualarm
, gettimeofday
, and setitimer
system calls, in other words, high resolution time and timers. See the "EXAMPLES" section below and the test scripts for usage; see your system documentation for the description of the underlying nanosleep
or usleep
, ualarm
, gettimeofday
, and setitimer
If your system lacks gettimeofday()
or an emulation of it you don't get gettimeofday()
or the one-argument form of tv_interval()
. If your system lacks all of nanosleep()
, usleep()
, and select()
, you don't get Time::HiRes::usleep()
or Time::HiRes::sleep()
. If your system lacks both ualarm()
and setitimer()
you don't get Time::HiRes::ualarm()
or Time::HiRes::alarm()
If you try to import an unimplemented function in the use
statement it will fail at compile time.
If your subsecond sleeping is implemented with nanosleep()
instead of usleep()
, you can mix subsecond sleeping with signals since nanosleep()
does not use signals. This, however, is not portable, and you should first check for the truth value of &Time::HiRes::d_nanosleep
to see whether you have nanosleep, and then carefully read your nanosleep()
C API documentation for any peculiarities. (There is no separate interface to call nanosleep()
; just use Time::HiRes::sleep()
or Time::HiRes::usleep()
with small enough values.)
Unless using nanosleep
for mixing sleeping with signals, give some thought to whether Perl is the tool you should be using for work requiring nanosecond accuracies.
The following functions can be imported from this module. No functions are exported by default.
In array context returns a two-element array with the seconds and microseconds since the epoch. In scalar context returns floating seconds like Time::HiRes::time()
(see below).
Sleeps for the number of microseconds specified. Returns the number of microseconds actually slept. Can sleep for more than one second, unlike the usleep
system call. See also Time::HiRes::sleep()
Issues a ualarm
call; the $interval_useconds
is optional and will be zero if unspecified, resulting in alarm
-like behaviour.
Note that the interaction between alarms and sleeps are unspecified.
tv_interval ( $ref_to_gettimeofday [, $ref_to_later_gettimeofday] )
Returns the floating seconds between the two times, which should have been returned by gettimeofday()
. If the second argument is omitted, then the current time is used.
Returns a floating seconds since the epoch. This function can be imported, resulting in a nice drop-in replacement for the time
provided with core Perl; see the "EXAMPLES" below.
NOTE 1: This higher resolution timer can return values either less or more than the core time()
, depending on whether your platform rounds the higher resolution timer values up, down, or to the nearest second to get the core time()
, but naturally the difference should be never more than half a second.
NOTE 2: Since Sunday, September 9th, 2001 at 01:46:40 AM GMT, when the time()
seconds since epoch rolled over to 1_000_000_000, the default floating point format of Perl and the seconds since epoch have conspired to produce an apparent bug: if you print the value of Time::HiRes::time()
you seem to be getting only five decimals, not six as promised (microseconds). Not to worry, the microseconds are there (assuming your platform supports such granularity in the first place). What is going on is that the default floating point format of Perl only outputs 15 digits. In this case that means ten digits before the decimal separator and five after. To see the microseconds you can use either printf
with "%.6f"
, or the gettimeofday()
function in list context, which will give you the seconds and microseconds as two separate values.
Sleeps for the specified amount of seconds. Returns the number of seconds actually slept (a floating point value). This function can be imported, resulting in a nice drop-in replacement for the sleep
provided with perl, see the "EXAMPLES" below.
Note that the interaction between alarms and sleeps are unspecified.
The SIGALRM
signal is sent after the specified number of seconds. Implemented using ualarm()
. The $interval_floating_seconds
argument is optional and will be zero if unspecified, resulting in alarm()
-like behaviour. This function can be imported, resulting in a nice drop-in replacement for the alarm
provided with perl, see the "EXAMPLES" below.
NOTE 1: With some combinations of operating systems and Perl releases SIGALRM
restarts select()
, instead of interrupting it. This means that an alarm()
followed by a select()
may together take the sum of the times specified for the the alarm()
and the select()
, not just the time of the alarm()
Note that the interaction between alarms and sleeps are unspecified.
Start up an interval timer: after a certain time, a signal arrives, and more signals may keep arriving at certain intervals. To disable an "itimer", use $floating_seconds
of zero. If the $interval_floating_seconds
is set to zero (or unspecified), the timer is disabled after the next delivered signal.
Use of interval timers may interfere with alarm()
, sleep()
, and usleep()
. In standard-speak the "interaction is unspecified", which means that anything may happen: it may work, it may not.
In scalar context, the remaining time in the timer is returned.
In list context, both the remaining time and the interval are returned.
There are usually three or four interval timers available: the $which
can be ITIMER_REAL
, or ITIMER_REALPROF
. Note that which ones are available depends: true UNIX platforms usually have the first three, but (for example) Win32 and Cygwin have only ITIMER_REAL
, and only Solaris seems to have ITIMER_REALPROF
(which is used to profile multithreaded programs).
results in alarm()
-like behavior. Time is counted in real time; that is, wallclock time. SIGALRM
is delivered when the timer expires.
counts time in (process) virtual time; that is, only when the process is running. In multiprocessor/user/CPU systems this may be more or less than real or wallclock time. (This time is also known as the user time.) SIGVTALRM
is delivered when the timer expires.
counts time when either the process virtual time or when the operating system is running on behalf of the process (such as I/O). (This time is also known as the system time.) (The sum of user time and system time is known as the CPU time.) SIGPROF
is delivered when the timer expires. SIGPROF
can interrupt system calls.
The semantics of interval timers for multithreaded programs are system-specific, and some systems may support additional interval timers. See your setitimer()
Return the remaining time in the interval timer specified by $which
In scalar context, the remaining time is returned.
In list context, both the remaining time and the interval are returned. The interval is always what you put in using setitimer()
use Time::HiRes qw(usleep ualarm gettimeofday tv_interval);
$microseconds = 750_000;
usleep $microseconds;
# signal alarm in 2.5s & every .1s thereafter
ualarm 2_500_000, 100_000;
# get seconds and microseconds since the epoch
($s, $usec) = gettimeofday;
# measure elapsed time
# (could also do by subtracting 2 gettimeofday return values)
$t0 = [gettimeofday];
# do bunch of stuff here
$t1 = [gettimeofday];
# do more stuff here
$t0_t1 = tv_interval $t0, $t1;
$elapsed = tv_interval ($t0, [gettimeofday]);
$elapsed = tv_interval ($t0); # equivalent code
# replacements for time, alarm and sleep that know about
# floating seconds
use Time::HiRes;
$now_fractions = Time::HiRes::time;
Time::HiRes::sleep (2.5);
Time::HiRes::alarm (10.6666666);
use Time::HiRes qw ( time alarm sleep );
$now_fractions = time;
sleep (2.5);
alarm (10.6666666);
# Arm an interval timer to go off first at 10 seconds and
# after that every 2.5 seconds, in process virtual time
use Time::HiRes qw ( setitimer ITIMER_VIRTUAL time );
$SIG{VTALRM} = sub { print time, "\n" };
setitimer(ITIMER_VIRTUAL, 10, 2.5);
In addition to the perl API described above, a C API is available for extension writers. The following C functions are available in the modglobal hash:
name C prototype
--------------- ----------------------
Time::NVtime double (*)()
Time::U2time void (*)(UV ret[2])
Both functions return equivalent information (like gettimeofday
) but with different representations. The names NVtime
and U2time
were selected mainly because they are operating system independent. (gettimeofday
is Unix-centric, though some platforms like VMS have emulations for it.)
Here is an example of using NVtime
from C:
double (*myNVtime)();
SV **svp = hv_fetch(PL_modglobal, "Time::NVtime", 12, 0);
if (!svp) croak("Time::HiRes is required");
if (!SvIOK(*svp)) croak("Time::NVtime isn't a function pointer");
myNVtime = INT2PTR(double(*)(), SvIV(*svp));
printf("The current time is: %f\n", (*myNVtime)());
You tried to use a negative time argument.
Something went horribly wrong-- the number of microseconds that cannot become negative just became negative. Maybe your compiler is broken?
Notice that the core time()
maybe rounding rather than truncating. What this means is that the core time()
may be reporting the time as one second later than gettimeofday()
and Time::HiRes::time()
Adjusting the system clock (either manually or by services like ntp) may cause problems, especially for long running programs that assume a monotonously increasing time (note that all platforms do not adjust time as gracefully as UNIX ntp does). For example in Win32 (and derived platforms like Cygwin and MinGW) the Time::HiRes::time() may temporarily drift off from the system clock (and the original time()) by up to 0.5 seconds. Time::HiRes will notice this eventually and recalibrate.
D. Wegscheid <firstname.lastname@example.com> R. Schertler <email@example.com> J. Hietaniemi <email@example.com> G. Aas <email@example.com>
Copyright (c) 1996-2002 Douglas E. Wegscheid. All rights reserved.
Copyright (c) 2002,2003,2004 Jarkko Hietaniemi. All rights reserved.
This program is free software; you can redistribute it and/or modify it under the same terms as Perl itself.


text:
We will send you an email to reset your password.
In her memoir, Mrs. Bush for the first time gives readers a very private look at a life lived in the public eye for more than twenty-five years. She begins with a compelling portrait of her early years, including: growing up in Rye, New York, and meeting George Bush; life as a young bride and mother, moving far away from home to West Texas; and the almost unbearable pain of losing a child.
With contemporary American history as the backdrop, Mrs. Bush remembers the shock of learning that her fiance has been shot down in the Pacific during World War II; the disbelief when a black friend is refused service in a Southern restaurant in the 1950s; and the fear when she is caught in the middle of a student protest march in the 1960s.
She recounts her years in public life, from first moving to Washington when George Bush was elected to Congress; to her experience living in New York as the wife of the Ambassador to the United Nations and in China as wife of the U.S. envoy. She talks candidly about the ups and downs of three presidential campaigns and describes her role as the wife of the Vice President, culminating in the climactic White House years.
Drawing upon excerpts from her diary, which she has compiled for more than thirty years, Mrs. Bush takes us behind the scenes of the Persian Gulf conflict and the end of the Cold War. She talks about both the Bushes' struggle to overcome Graves' disease and how she faced the controversythat erupted at Wellesley College before her commencement speech.
Through the friendships she developed over the years with world leaders and their spouses, we meet and get to know the Gorbachevs, the Thatchers, the Mitterrands, the Mubaraks, and many others. And she tells us why she threw so much of her energy and compassion behind the important cause of making more Americans literate.
This memoir includes hundreds of the funny, often self-deprecating, and occasionally touching anecdotes for which Mrs. Bush is well known: surprising a rat while swimming in the White House pool; accidentally stomping on Boris Yeltsin's foot under the table during a state dinner; wearing a $29 pair of shoes for her husband's inaugural ball.
She also talks about the disappointments of the 1992 presidential campaign and the joys of rediscovering private life, including driving and cooking again for the first time in twelve years.
This is a warm and funny memoir that will charm Mrs. Bush's millions of admirers and earn her many more.


text:
"Nobody likes fire ants."
Daniel Goldman, Georgia Tech, Los Angeles Times, May 20, 2013.
"The sound is like an elephant rumble…. It is way below what humans can hear but it travels long distances."
John Trostel, Georgia Tech, describing a tornado, The Wall Street Journal, May 21, 2013.
"If crowdsourcing is one more way to almost weaken the regulatory environment, then that might actually have unintended consequences."
David Kaiser, MIT, on the idea of crowdsourcing science funding, BBCNews.com, May 22, 2013.
"The difficulty is that you need a very lightweight nuclear reactor to get you enough power for it."
Geoffrey Landis, Glenn Research Center, on using a nuclear reactor to power a rocket ship, The Washington Post, May 30, 2013.
"We said, 'To heck with electromagnetic, we're going with electrostatic.' "
Richard Post, Lawrence Livermore National Laboratory, on his development of a new kind of battery using a flywheel, The San Jose Mercury News, June 3, 2013.
"The subject has become very contentious."
Mark Boslough, Sandia National Laboratories, on a theory that a meteor created a minor ice age 13,000 years ago, The Washington Post, June 3, 2013.
"In the first time cloak paper, they discussed hiding events of a few billionths of a second once in a while. Here, they are talking about being able to hide data 46% of the time. This really suggests that this has gone from a curiosity to something that could be used in optical communications and data processing."
Greg Gbur, University of North Carolina at Charlotte, on another researcher's paper on "time cloaks," BBCNews.com, June 5, 2013.
"The reason is simple: I believe I am the best candidate to continue the passionate advocacy for progressive values that Sen. Lautenberg exemplified."
Rush Holt, announcing his bid for a Senate seat from New Jersey, The Washington Post, June 6, 2013.
"It was amazing to be able to see the complete aria…. For me, uncovering the composition of a genius' work that had been lost for centuries is as thrilling as trying to uncover one of the big secrets of nature."
Uwe Bergmann, SLAC, who used X-rays to see the lost sections of Luigi Cherubini's 18th century opera Medee, The Daily Mail, June 11, 2013.
APS encourages the redistribution of the materials included in this newspaper provided that attribution to the source is noted and the materials are not truncated or changed.


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I am new to Oracle 10g xe. When I log into hr account, how do I start creating new database and insert values? My case study is a five aside football league, where the organizer wants to know following questions:
- alphabetical list of all the teams and their players.
- how many time players have been awarded player of the match?
- list different types of penalty points which can be awarded?
- produce a list of all teams playing all other teams indicating who is at home and who is away.
and lot more.
How do I start creating a new database from scratch?


text:
Model: B 2069-B 3014
Color: Burgundy
Material: Plastic
Shape: Rectangular
Lenses: For your convenience, these eyeglasses' lenses have been removed, since they won't be needed to fit in your own prescription lenses. With this frame type, your optician or online lens replacement service will cut new lenses using the frame as a pattern.
Lens Width
53 mm mm
Bridge Size
16 mm mm
Lens Vertical
32 mm mm
Temple Length
135 mm mm


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Art Therapy Exercise |
Wednesday, January 11, 2012
Why Do Things Go Awry?
5 comments:
- Ms. said...
Perfect for a friend of mine today, and for me when the time comes round again. Thanks for sharing your honest wisdom. the exercise is such a good idea. We tend to push away those hurts, or make them worse by stewing over them rather than nurturing and healing them, when the simple act of turning towards them with acceptance, and understanding could be the better choice.
- January 11, 2012 at 5:41 AM
- Karen Wallace said...
Thanks for your comment. Always love hearing from you. Hugs Karen
- January 11, 2012 at 7:31 AM
very thought provoking.
- January 11, 2012 at 11:38 AM
- Café Ciza said...
As I read through your post, I found a reflection of my thoughts in your words on the subject. It didn't happen over night, but I did learn to look at such events as learning experiences, and recognize the "red flags" early on, which is not easy to do under pressure: peers, society "norms", expectations, and other "noise" flowing through your mind day in and day out. While it's important to hold yourself responsible for the outcome of whatever decisions you may have made at any point it time to get you where you are now, I believe it is even more important to step outside of yourself, recognize the value of the event and add it to your ever-evolving "brain buckets" of do's, don'ts and other "can do it better" tricks to maintain a healthy mind balance when things go awry. It's a bit too wordy, I hope it makes sense
- January 12, 2012 at 12:53 PM
- The Creative Beast said...
I've had conversations with an acquaintance about the concept of 'good/bad' in the world and the idea that we could always be experiencing joy and happiness at every moment, but I often wonder if such a thing is truly possible - how would we know what is 'good' if we do not experience the 'bad' to make a comparison? Your words about the dark times and chaos happening to help us wake up or let go of old ways really resonates for me.
Also, your words regarding not listening to one's inner voice or instinct is spot on. I am trying to listen to my instincts when they are telling me that I may be taking on more than I should =-\
Thank you for another thoughtful post Karen! And thanks to your readers for their great insights - the comments are great to read here =-) - January 13, 2012 at 7:44 PM


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Wikipedia defines Performance art as
Performance art refers largely to a performance which is presented to an audience but which does not seek to present a conventional theatrical play or a formal linear narrative, or which alternately does not seek to depict a set of fictitious characters in formal scripted interactions. It therefore will often include some form of action or spoken word which is a form of direct communication between the artist and audience, rather than a script written beforehand.
For many years, my vision of this type performance art was what I saw in a circus. Though they were well rehearsed, the jugglers, acrobats, fire breathers, ring masters and puppeteers were still performing a kind of live artistic maneuvers on stage that is a delight to experience.
I still don't understand where the line is between performance art and other staged performances – the likes of drama, dance, orchestra etc. Is it the elements of spontaneity and uncertainty above and beyond the usual scripted performances? I doubt it. Modern directors of all forms staged performance deliberately design and introduce some sense of spontaneity in their performances.
If your tastes permit, check out this video of spooky performances art by a Japanese artist. And then, the guy who paints his body like a silver statue and stands sill for hours in Times Square, only to wink occasionally at an odd bystander. Are these people performance artists? May be? We can debate for hours both ways.
Leaving that debate aside, Museums and art galleries, at least the leading ones, are reinventing performance art. Priya Kulasagaran writes about how Malaysia's National Art Gallery is breaking out of its mold to embrace new age performance artists and hosting their arguably bizarre acts.
She says, "One of the stand out performances of the night was Jumaadi's avant-grade wayan kulit performance. Armed with modernist shadow puppets and a backdrop of didgeridoo, electronic sounds and haunting vocals, the Indonesian artist weaved a tale of origins of rice and rats – complete with wrath of god, death and an incestuous love affair."
I remember the traditional puppet shows (called bommalattam in Tamil) I watched at the temple across the street where I grew up in Gandhipuram, Coimbatore in India. Changes in audience taste plugged with sophisticated technology now enables folks like Jumaadi to produce "avant-grade" performances. And then there are the innovators, who think laterally redefining art. Priya writes about Tan Zi Hao's performance dealing with "communal memory". The audience were staged along with a chair, phone and a scrapbook full of notes on directions to a specific destination. Elsewhere in Malaysia, a volunteer student was let loose to figure the route to that destination – except he can call as many times this phone, which will ring only to connect the audience in this at Art Gallery performance who can advise directions to the student. Though I would consider this neither as an art nor performance, it did remind me of something lot more fascinating.
Early last year, The Museum of Modern Art in New York demonstrated a intriguing work by god-mother of all performance artists, Marina Abramovic. This is one such performance that just catches you off-guard to remind why this art form is referred as "an ephemeral medium". Marina sat in a chair, quiet, inactive and indifferent, for 7-hours a day, and six days a week, across another chair where audience took turns to sit and "participate" in the performance. Unquestionably, it was titled "Artist is Present". Not to confuse her work with theater, she says "To be a performance artist, you have to hate the theater. Theater is fake…the knife is not real, the blood is not real and the emotions are not real. Performance is just the opposite". Want to know her latest quest? Making you eat Eat Flaming Volcano Dessert. Suppose you want to read more about her, here is her interview in UK's guardian news paper.
While on the topic, check out http://weburbanist.com. They showcase some unbelievable art projects, from murals to 3D street paintings. These are not necessarily performance arts; They still are spectacular works of art requiring extraordinary performance by the artist.


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Hematology and Oncology Outpatient Clinic
The Hematology/Oncology Outpatient Clinic is designed to be a link between the family, home and the hospital. The clinic is located on level H11 in the new main hospital. The clinic hours are 8 a.m. to 5 p.m., Monday through Friday. The clinic can be reached during office hours at (614) 722-3250. If you need to reach the clinic after hours, call the hospital operator at (614) 722-2000 and ask for the hematologist on call.
Please arrive 15 minutes before your scheduled appointment time to help reduce the time your have to wait. When your child is seen in the clinic, you will receive an appointment card. Please take the card to the receptionist's desk to schedule your next appointment.
What happens at the clinic?
When you arrive at the clinic, please sign in at the front desk. At this time, your child will be registered, the lab tests that are needed that day will be ordered, and a nurse or patient care assistant will draw your child's blood. Your child also will have his or her height, weight and vital signs taken. Then you may go to the exam room where he or she will have a physical exam.
It usually takes 1 to 1½ hours to receive lab results. If your child is receiving chemotherapy that depends on the results of the blood tests, or is having a procedure such as a spinal tap or bone marrow aspiration, you will need to plan on being at the clinic for four to five hours.
We can complete much of your child's care in the clinic. If your child is going to be sedated for any procedure, please remember that he or she may have nothing to eat or drink for four hours before the procedure.
What should we bring to each clinic visit?
Although we often have volunteers and television to occupy the children, we recommend that you bring books, toys and snacks for both you and your child. (Be sure to check with your doctor or nurse practitioner about food or drink if your child has a procedure scheduled.)
It is very helpful to come to the clinic with your questions written down. Bring the notebook if it is helpful for writing down your answers.
Bring your child's medicines and a list of refills you need. This ensure that we know all the medicine your child is taking and that the doses are correct.
What if my child is ill?
If your child is ill at home and it is during the time the clinic is open, please call the clinic first, and please call as early in the day as possible. You will speak with a nurse and decide if your child needs to be seen that day. Calling ahead is helpful to us so we can prepare for your visit. If your child needs to come in, we can see him or her until 3 p.m. After that time, you may be instructed to take your child to the Emergency Department.
If your child has a rash, has been exposed – or even possibly exposed – to a contagious disease such as chickenpox, mumps or measles, we must be notified immediately.
When will I receive my child's test results?
It can take up to two days for the results of scans. We encourage your to call your nurse practitioner for these results if you don't hear from us in 48 hours.
Children's Clubhouse
Children's Clubhouse is a special place at Children's Hospital for preschool and school-aged brothers and sisters. Siblings (ages 3-11) of children receiving inpatient or outpatient services at the hospital are invited to visit the clubhouse in the main lobby. Child Life Specialists staff this safe and supportive place, and help address many of the concerns siblings may have.
Hours are: Mon - Fri., 8 a.m. – Noon and 1 p.m. - 8 p.m. and Saturday, 1-4 p.m.
Children can stay up to 3 hours a day. Parents are strongly encouraged not to leave children longer than 1-1/2 hours at a time.
As you will discover, space is limited in the clinic. For this reason, we ask that you not bring other children if at all possible, especially if they are ill. Please do not leave your child unsupervised in the clinic without first telling a staff member.
Parking Updates
Our new underground parking garage located immediately in front of our new main hospital on Children's Drive, is the ideal parking spot for those visiting inpatients as well as for Hematology/Oncology Outpatient Clinic visits that are located at the new main hospital on level H11.


text:
Simsu is a basic Sudoku game. You can switch between filling in
notes (pencil mode), or filling in answers (pen mode). To make it
easier to see where to place numbers, you can highlight all
instances of a number. You can also check your answers for
correctness while playing. The game stores your current notes and
answers, so that you can pick up where you left off the next time
you play.
Maintained by: Ryan P.C. McQuen
Keywords: sudoku,logic
ChangeLog: simsu
Download SlackBuild:
simsu.tar.gz.asc (FAQ)
(the SlackBuild does not include the source)
Individual Files: |
doinst.sh |
simsu.SlackBuild |
simsu.info |
slack-desc |
© 2006-2024 SlackBuilds.org Project. All rights reserved.
Slackware® is a registered trademark of
Patrick Volkerding
Linux® is a registered trademark of
Linus Torvalds


text:
3 February 2018 20:00 | to | 4 February 2018 00:00 |
10 February 2018 20:00 | to | 11 February 2018 00:00 |
12 February 2018 20:00 | to | 13 February 2018 00:00 |
Marco Polo halls, hotel Danieli
Saturday February 3rd and 10th, Monday February 12th
The event begins at 8 p.m.
A unique opportunity to experience an authentic masked ball
with the Dance Master
The Gala dinner is a chance to experience an authentic evening ball with the presence of a Dance Master. During and after dinner you can learn the basic steps – easy and fast learning – of the dances from 1700s and 1800s, such as minuet, counter-dance, waltz, and other period dances. The dinner is seated and a baroque ensemble will play live throughout the evening in the Marco Polo hall of the hotel Danieli, near St Mark square.
Dress Code: period costume
Prices and Booking: www.meetingeurope.com
If you don't have a costume you can rent it at the Atelier Tiepolo with prepaid special offers reserved to the participants of the Ball


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ZADOK 'IMANI or 'AMANI ():
African liturgical poet, who wrote the following eight poems that are found in the Tripolitan Maḥzor: (1) "El hekal ḳodsho"; (2) "Le-bet el banu"; (3) "La-Adonai et yom ha-shebi'i berak"; (4) "Meḥolel kol be-ḳaw yashar"; (5) "Ezri yabi el me-'ayin"; (6) "'Al rob 'awoni"; (7) "'Ammeka le-shaḥareka ḳamu"; (8) "Ki bo Elohim dibber be-ḳodsho." No. 3 consists of thirteen strophes, and each of the others consists of five strophes. Nos. 3, 4, 7, and 8 are to be recited on the Sabbaths of the month of Elul. Only No. 3 bears the complete signature ; No. 7 is signed , while all the others show only the name . Nos. 3 and 8 are both "mustajabs"; in the former every strophe begins with "la-Adonai" and terminates with "Adonai," while in the latter the strophes begin with "ki bo" and rime in "to."
- Zunz, Literaturgesch. pp. 598-599.


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Haus Birmingham | Serviced Apartments | Short Stay | Contractor Accommodation
Guaranteed Rent. No Fees. No Voids.
Birmingham ( (listen) BUR-ming-əm) is a city and metropolitan borough in the county of West Midlands in England. It is the second-largest city in the United Kingdom, with a population of 1.145 million in the city proper, 2.92 million in the West Midlands metropolitan county and approximately 4.3 million in the wider metropolitan area, the largest metropolitan area outside of London. Birmingham is known as the second city of the United Kingdom.Located in the West Midlands region of England, approximately 100 miles (160 km) from London, Birmingham is considered to be the social, cultural, financial and commercial centre of the Midlands. Distinctively, Birmingham only has small rivers flowing through it, mainly the River Tame and its tributaries River Rea and River Cole – one of the closest main rivers is the Severn, approximately 20 miles (32 km) west of the city centre. Historically a market town in Warwickshire in the medieval period, Birmingham grew during the 18th century during the Midlands Enlightenment and during the Industrial Revolution, which saw advances in science, technology and economic development, producing a series of innovations that laid many of the foundations of modern industrial society.
Ashted, Aston Hall, Aston Triangle, Balti Triangle, Bartley Green Reservoir picnic area, Birmingham Airport Viewing Area, Birmingham Central United Synagogue, Birmingham City Council, Birmingham District, Birmingham LGBT, Birmingham Metropolitan Area, Birmingham Progressive Synagogue, Bordesley Green, Charlemont With Grove Vale, Chinese Quarter


text:
Detailed plot synopsis reviews of Sensei |
Chapter Analysis of Sensei |
Click on a plot link to find similar books!
Plot & ThemesComposition of Book descript. of violence and chases 10%Planning/preparing, gather info, debate puzzles/motives 40%Feelings, relationships, character bio/development 40%How society works & physical descript. (people, objects, places) 10% Tone of story - suspenseful (sophisticated fear) How difficult to spot villain? - Very difficult--no foreshadowing/clues Time/era of story: - 2000+ (Present) What % of story relates directly to the mystery, not the subplot? - 70% Kind of investigator - police procedural, American Kid or adult book? - Adult or Young Adult Book Any non-mystery subplot? - feelings towards family/friends Crime Thriller - Yes Murder Mystery (killer unknown) - YesMain CharacterGender - Male Profession/status: - champion of justice Age: - 20's-30's Ethnicity/Race - White/AmericanSettingUnited States - Yes The US: - NortheastWriting StyleAccounts of torture and death? - generic/vague references to death/punishment Amount of dialog - significantly more dialog than descript |
Books with storylines, themes & endings like Sensei |
Sullivan's Justice by Nancy Taylor Rosenberg | |
Entombed by Linda Fairstein | |
44 Cranberry Point by Debbie Macomber | |
An Hour to Kill by Karin Yapalater | |
Death At The Door by K.C. Greenlief |


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Umeå University in Sweden will be a national resource for advanced electron microscopy thanks to a contribution of SEK 57 million. Scientists across the country will be able to use the techniques for research, including detailed studies of microorganisms that cause infectious diseases.
"Sweden needs a national platform with a state-of-the-art electron microscopy facility to meet the future needs of visualization in medical, chemical and biological research. Umeå will now become a central node in a national network of research groups working together to improve the methods. This is not only a strength for our researchers, but also for the university as a whole," says Lena Gustafsson, Vice-Chancellor at Umeå University.
The Knut and Alice Wallenberg Foundation is investing SEK 37 million to develop the platform. The main applicants are Bernt Eric Uhlin and Linda Sandblad, Umeå Centre for Microbial Research (UCMR), who along with colleagues at Umeå University, Karolinska Institutet, Linköping University, Lund University and the Swedish University of Agricultural Sciences have developed plans for a national platform in Umeå.
Umeå University is also supporting the venture with another SEK 15 million. Moreover, the Kempe Foundation is investing SEK 5 million, which allows the acquisition of the most advanced and powerful equipment for electron microscopy.
"Thanks to the funding we can make a major upgrade of our existing technology, we will, for example, be able to create 3D electron microscopy images with the best possible resolution and visualize molecular details of bacteria and other cells," says Linda Sandblad, group leader at UCMR and director of Umeå Core Facility Electron Microscopy (UCEM), located in the Umeå University's Chemical Biological Centre (KBC), where the new equipment will be included.
"This new grant further strengthens the research environment at Umeå Unversity and should promote collaboration both locally and nationally over faculty and university boundaries," said Per Gardeström professor and scientific coordinator for KBC. "It will hopefully also help to attract additional top researchers to Umeå."
The funding will be used to enhance two different techniques. The first technique is called cryo-electron microscopy, which makes it possible to study the smallest building blocks of life – for example proteins and lipid membranes – such as they occur in their natural water-soluble environment. The resolution is at atomic level. With the second technique, electron tomography, it is possible to visualise and analyse a sample in three dimensions. A sample with, for example, bacterial cytoskeleton can be rotated in the electron microscope and visualised from different angles.
"We are very pleased to be entrusted with this opportunity to establish a national resource here for research using advanced electron microscopy," says Bernt Eric Uhlin, professor of medical microbiology and director of MIMS (Laboratory for Molecular Infection Medicine Sweden), which is the Swedish node in the Nordic EMBL Partnership for Molecular Medicine, with support from the Swedish Research Council. "By visualising at very high resolution, for example, protein complexes and membrane structures in microorganisms causing infectious diseases, we will learn more how about they are structured and what mechanisms and functions they fulfil in the microbial cells."
Two new electron microscopes and tomography equipment will be purchased to the national platform thanks to new funding. The techniques will be very important to a large number of research projects conducted at Swedish universities. It will also further strengthen the international research centres in Umeå: UCMR, MIMS and Umeå Plant Science Centre (UPSC) with the Berzelius Centre for Forest Biotechnology.
National partners and co-applicants in the application for funding to the national infrastructure for electron microscopy:
- Rishikesh Bhalerao, Professor, Department of Forest Genetics and Plant Physiology, Swedish University of Agricultural Sciences
- Stefan Björklund, Professor, Department of Medical Biochemistry and Biophysics, Umeå University
- Markus Grebe, Professor Department of Plant Physiology, Umeå University
- Vasili Hauryliuk, Assoc. Professor Group Leader MIMS, Umeå University
- Richard Lundmark, Group Leader MIMS, Umeå University
- Ruth Palmer, Professor Department of Molecular Biology, Umeå University
- Elisabeth Sauer-Eriksson, Professor, Department of Chemistry, Umeå University
- Sun Nyunt Wai, Professor, Department of Molecular Biology, Umeå University
- Nora Ausmees, Assoc. Professor, Department of Molecular Cell Biology, Lund University
- Birgitta Henriques-Normark, Professor, Karolinska Institute, Stockholm
- Karl-Eric Magnusson, Professor Department of Medical Microbiology, Linköping University


text:
After the Haitian earthquake: saving priceless murals, artifacts, and other treasures
| Port-au-Prince, Haiti
Cori Wegener, an associate curator at the Minneapolis Institute of Arts, talks of missions to rescue works of art and other "cultural property" in the wake of disasters as if they were warfare.
She speaks of SWAT teams and military missions and emergency situations. And she knows what she is talking about.
Ms. Wegener, a combat veteran, has literally written the book on rescuing cultural treasures: a US Army training manual with the daunting title "GTA 41-01-002: Arts, Monuments, and Archives Guide." It refers to a country's churches, mosques, temples, museums, works of art, and archives as "its soul, its memory, and its meaning."
Yet too often, she says, outright plunder has followed an armed conflict or natural catastrophe such as an earthquake, leaving a country in danger of losing the "tangible representation of significant human events, beliefs, and values."
Now Wegener, a retired Army major, is doing something about it.
Her thinking on the issue, she says, is being shaped by her work as the international project coordinator of the Smithsonian Institution's Haiti Cultural Recovery Project – created largely at her initiative following the earthquake that struck that Caribbean island last year.
The project, whose aim is to recover, safeguard, and help restore Haitian works of art, artifacts, documents, and other cultural property, is being overseen by Richard Kurin, the Smithsonian's undersecretary for history, art, and culture.
But it was Wegener, Dr. Kurin says, who provided the spark for the project by calling a meeting of art professionals and US government officials less than a month after the Haitian earthquake to discuss what they could do to help.
The group decided to supplement the humanitarian aid going into Haiti with an aggressive program of "cultural aid."
An initial $275,000 was provided by The Broadway League, a national trade association of US commercial theaters. Another $90,000 was provided by the National Endowment for the Arts, the Endowment for the Humanities, and the Institute for Museums and Library Science.
Then the United States Agency for International Development set aside another $2 million for the project. Private donors, notably Broadway producer Margo Lion, also stepped in with support.
Under an agreement with the Haitian government, work on the project will run through November. After that, it will be turned over to the Haitian people, Wegener says in an interview.
Central to the project will be the removal, repair, and safe storage of three huge murals at the Holy Trinity Episcopal Cathedral in downtown Port-au-Prince, the capital. They somehow survived the earthquake, which nearly leveled the church.
The murals were painted in the late 1940s and early '50s by three of Haiti's most famous artists: Philomé Obin ("The Last Supper"), Castera Bazile ("Baptism of Our Lord"), and Préfète Duffaut ("Native Street Procession"). Eleven other murals in the church were damaged beyond repair.
Work on removing the murals for eventual installation in a new church began in January and is expected to take another two months or so. The restoration work will be carried out at a three-story building in the hills overlooking Port-au-Prince previously occupied by the United Nations Development Program and now dubbed the Haiti Cultural Recovery Center.
Stephanie Hornbeck, a retired Smithsonian conservator who is serving as chief conservator for the project, told a recent visitor to the center that tens of thousands of objects rescued from the quake need to be restored. These include thousands of paintings and sculptures from the Musée d'Art Nader in Pétionville, a private museum that housed works by 20th-century Haitian masters such as Duffaut and Hector Hyppolite.
Also flattened in the earthquake was the Centre d'Art, where many of those same masters were trained and which contained thousands of paintings now in need of restoration.
Wegener is also president of the US Committee of the Blue Shield, which considers itself the cultural equivalent of the Red Cross. It provides assistance to countries whose cultural heritage has been threatened by disaster.
She was deployed to Iraq in 2003 to help revive the National Museum and saw there firsthand how a quicker response could have saved much more art. She's determined to see that that will not happen in Haiti.
"What we're talking about is an emergency response to a cultural disaster," Wegener says. She hopes to put together an international institution to save works of art modeled on Doctors Without Borders that would be ready – bags packed and money in the bank – to move out at a moment's notice, she says.
"We want to be able to respond quickly to the next disaster," she says. "We're working toward that goal."
It is shortsighted to focus only on providing humanitarian assistance while ignoring the need to also restore a nation's cultural heritage, she says.
"Clearly, it is an essential part of any country's overall recovery," she says.
• To see other stories about people making a difference, go here.


text:
How would you go around creating a reusable weapon class? I can't really wrap my head around creating a class, which will work for both melee and ranged weapons.
Example given, that you have a knife, an RPG, and you have an ordinary pistol. How would you go around creating a class all three can inherit from?


text: Cultivators (0 Cultivators)Help aerate and break up your soil for easier planting using a cultivator. These handy garden tools not only beak up clumps in soil, they can also help eradicate weeds or mix fertilizer in with your soil. Some can help plant seeds, and even include different plates for seeds of different shapes and sizes. Keep your garden cared for with help from a Cultivator.


text:
Our History
A Brief History of the City of Middletown Police Department
In 1772 John McGarrah and John Patterson were appointed as Constables in the Town of Wallkill. At that time Middletown was part of the Town of Wallkill and Constable McGarrah and Patterson would have been responsible for the Middletown area as well. Middletown was incorporated as a Village in 1848. A Village Charter was adopted in 1872 which divided the Village into four wards, set the number of Aldermen to eight, and established a Village Police Department. Village records from 1828 list Lewis Parsons as Police Constable, and Thomas Ogden as Pound Master. Parsons was responsible for law enforcement on a part-time basis, while Ogden collected stray animals and returned them to their owners for a fee.
The Middletown Police Department continued to expand and in 1878, with the President of the Village also acting as Police Chief, it consisted of nine policemen. The first set of rules and regulations was produced on April 26, 1884. They were handwritten by Village President James N Pronk.
In 1888, Middletown became a City and, by charter, the police force was set at eight, although the Mayor could appoint special Constables. The Common Council was given the power to appoint not more than eight persons as Police Constables, who held the position for one year. No person could be appointed to the position who was not a citizen of the United States, who had been convicted of a crime, or who could not read and write in English. The annual salary was set a $700.
In 1912, the Police Department was located in the new City Hall on James Street. Prior to this time, it had been located on Center Street. When City Hall opened in 1912, the first person one encountered when entering the building on James Street was the Desk Sergeant. The Police Department remained in City Hall until March of 1972, when it moved into the present-day location, which had been the U.S. Post Office.
In 1942, the Middletown Police Commission was established, in part to insulate the force from politics. The five-member Commission acts in an advisory role. The Mayor acts as Chairman of the Commission, and the Chief of Police serves as its Secretary. No more than two persons from the same political party can be appointed to the Commission. The first Board of Police Commissioners, which went into effect on July 1, 1942, was made up of Mayor H. H. Smith, J. Lester Burnett, Frank A. Monaghan, John D. Botti, and Robert F. Cunningham.
A more complete history of the Middletown Police Department can be obtained from the publication "Middletown's Finest" available from:
Historical Society
Middletown and the Wallkill Precinct
25 East Avenue Middletown, NY 10940 845-342-0941


text:
Your marketing campaign will soar to new heights with custom printed promotional kites. Kites are fun toys for kids and adults, and are a fantastic activity at the beach or a public park. Throughout the year as long as there is a good breeze, these fun custom imprinted kites will brighten up your customers' lives. Customized logo kites are attractive, fun and cheery promotional items. Who wouldn't want to play with one of your personalized logo kites? Invest in promotional kite giveaways to entertain your clients, customers and colleagues throughout the year.
At IASpromotes.com, we make it easy to personalize our many styles of custom promotional kites with your company name, corporate logo or business slogan for a unique advertising experience. There is no better way to promote your organization than to encourage having fun outside.


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Do you have questions about your reservation? Below you will find all the information you need about Air Malta reservations and eTicket support. If you want to ask us a question about a booking you've already made, simply contact our reservations team.
When booking online: Once you start the booking process, if you lose your internet connection or take too long to move onto the next step, you might receive an error message. If this happens, please login to MyKM to check if your booking has gone through. If you cannot find the details on your dashboard then you can try booking again.
Mistake in passenger details: While you are making your booking, you will be notified of the charges you might incur if you need to change details after payment. If you realise that you made a mistake whilst inputting passenger details following the authorisation of payment, you need to contact our reservations team immediately to check whether this error can be corrected upon payment of applicable charges.
Upgrading your ticket: If you want to upgrade your ticket from Economy to Club, you can call our International Call Centre. You will be asked to quote your booking reference code (PNR) which can be found on the ticket and is made up of six letters.
If you're trying to use your KMiles to do upgrade your flight, please contact [email protected].
Next of kin details: During the booking process, you will be required to insert the basic contact information of a relative or friend, for our use in case of an emergency only. This information will not be used in case of flight changes or cancellations or for marketing purposes.
Ticket transfers: If you're travelling with Air Malta, you can transfer your ticket to someone else. This depends on the availability of seats in the same class of service, otherwise the ticket will need to be upgraded to the next available fare. A ticket transfer fee will also apply. If you wish to request a ticket transfer, please contact our call centre on +356 21662211.
Lost or misplaced tickets: If this happens for an online booking, don't panic! We will still have your details, and your dashboard will give you an overview of your next flight. Simply login to your MyKM account to view the flight details and then present your passport at check-in.
If your ticket was a traditional paper ticket issued directly by Air Malta, you should call our reservations team or visit your nearest sales office and we will replace your ticket against a charge. If your ticket was issued by a travel agent and not directly by our airline, you first need to contact your agent to obtain the relevant documentation. We will only be able to issue a replacement ticket when all relevant details are provided.
Booking for infants and children: On all travel classes, when booking for a child or infant you are eligible for a discounted price. We consider a child to be an Infant up to the day before he/she is 2 years of age. Children refers to those passengers between the ages of 2 and 12 years.
Remember. If your infant will reach his/her second birthday before the return segment of the air ticket is used, we will classify him/her as a child for the return segment. At this stage, reservations for such cases may be made with our reservations team, Air Malta sales offices or your travel agent.
Open tickets: If you want to visit one of our destinations but are not yet sure of a return date, an open return ticket is the answer. At the moment these can only be purchased by calling our International Call Centre or visiting one of our sales offices.


text: OTIS REDDING 'Lonely & Blue' BLUE Vinyl LP Sale! from 3700 /per Qty. Add to Cart This item is currently on backorder but you can still purchase it now and we'll ship as soon as more become available. Click here for more details on this release Condition: Mint/Sealed Qty available:2


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The FBI Can Engage In All Sorts Of Surveillance And Snooping Without Actually Placing Someone Under Investigation
It's unclear how many Americans are under surveillance by the FBI. Not only would the agency be extremely unwilling to even provide a broad estimate, but the underlying basis for a preliminary investigation is so thin it could conceivably cover a majority of US residents.
A previously-classified document [pdf] obtained by The Intercept gives more insight into the FBI's use of "assessments" -- an investigation the agency doesn't consider an investigation.
Assessments allow agents to look into tips or leads that don't meet the standard for opening an investigation, which requires specific information or allegations of wrongdoing — an "articulable factual basis" for suspicion, as FBI rules put it. In an assessment, by contrast, an agent just needs to give an "authorized purpose" for their actions. Agents can open assessments "proactively," in order to evaluate potential informants, collect intelligence about threats surrounding public events, study a field office's geographical area, or gather information about a general phenomenon of interest to the bureau.
This practice has been referred to elsewhere as "circling the target." The FBI scours publicly-available information on potential investigation targets, gathering anything it can without a subpoena or warrant. But it doesn't stop there. It goes much further, based on little more than unverified tips from confidential informants or indulging in its own hunches.
[I]f agents decide to dig deeper by opening an assessment, they are allowed to have informants collect information, and they can also physically surveil the subject — including by airplane. In some cases, they can issue grand jury subpoenas. If the purpose of an assessment is to evaluate someone as a potential informant, agents can give polygraph tests, dig through trash, and use fake identities in the course of their research.
In addition to these information-gathering tools, the FBI also has access to massive databases of information collected by other government agencies, including the NSA. [Thanks Obama] Analysts use FBI-built tools to uncover links between assessment targets and other suspects by poring through massive amounts of third-party records (email, phone, banking, etc.)
Then the agency starts tracking the target's movements.
The FBI also traces the subject's travel history through Department of State visa and passport records, a Customs and Border Protection database, and data held by a private company called the Airlines Reporting Corporation, which manages itineraries for airlines and travel agencies. In 2009, Wired reported that the FBI was seeking access to ARC's full database, which would include billions of travel records showing the data printed on the front of an airplane ticket and the method of payment used.
ARC told Wired it only handed over info in response to subpoenas and National Security Letters, which is likely the impetus for the FBI's push for full access. Anything that eliminates paperwork and paper trails for mostly-suspicionless investigations is a win for the agency. And, it must be noted, the information sought from ARC does not fall under the DOJ's guidelines for what records can be obtained with NSLs.
This is added to everything else the FBI can obtain without actually officially engaging in an investigation -- something that covers records held by the ATF, CIA, and NSA. Powerful data mining tools crack open a target's social media life for deeper exploration while FBI planes circle overhead. And yet, this person remains -- according to the FBI -- not under investigation.
In all fairness to the FBI, the assessments place it in the worst possible position. It's not allowed to convert these into investigations if it can't uncover anything more substantive during its assessment. FBI insiders say there's pressure to convert these as soon as possible, albeit not because of civil liberties concerns. And when its assessments fail to snag people who later engage in acts of terror, the FBI is viewed as incompetent.
Then again, in all fairness to the FBI's track record, it tends to spend a lot of its time converting mostly-incompetent people into "dangerous" terrorists -- effort that might be better expended chasing down truly dangerous individuals. And the sheer amount of information it has access to without actually opening an investigation can do more harm than good. It can generate a lot of false positives while burying stuff the FBI should be focusing on. Signal-to-noise is always a concern for intelligence agencies, and the FBI's dual hat-wearing (law enforcement/counterterrorism) gives it access to more data than more single-minded agencies.
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Apple press conference: what's been announced
iLife 11, FaceTime on Macs, OS X 10.7 Lion, new MacBook Air
Apple has today announced its new products – an Apple netbook (almost), OS X 10.7,
and FaceTime on Mac.
The first new product to be announced was iLife 11, with "Facebook enhancements" in iPhoto 11 and new full screen modes.
Obviously, Apple is calling it "the best version yet". iPhoto also brings "amazing new slideshow themes", an iPad-like album view, and you can pull in photos from Flickr.
iPhoto now also enables you to select and email photos from inside the app and create virtual books of your photos – which can be displayed in Project View on a rather cheesy looking wooden bookshelf background.
iMovie has had an update, too. iMovie 11 promises better audio editing, according to Jobs. It also offers "one-step effects", a people finder, news and sports themes and movie trailers.
One step effects are explained by Apple dev Randy Ubilous as "allowing you to group a number of changes, edits, and apply them at once."
The audio editing lets you select segments of audio and adjust the levels of that segment only.
Movie Trailers offers 15 trailers: fill in your trailer information, adjust the FPS if you want to, pick a template and then drag and drop your clips into the outline. The trailers feature sounded cringeworthy, but we have to admit, it looks like a very cool and fun function.
Face detection from iPhoto now appears in iMovie.
GarageBand 11
GarageBand 11 was shown by Apple next. Jobs says it has new features to help you fix timing in your music, new effects and new piano and guitar lessons.
The timing fix means that if you play drums but you can't actually play drums, GarageBand 11 will protect your reputation. Until you play live and people throw bottles at you, that is.
"It's like an automatic spellchecker for bad rhythm," says Apple.
The new built-in lessons, in full-screen, now offer a "Why do I suck?" mode. It's actually called How Did I Play? but it gives you the same info.
For more on iLife 11, check out our story Apple launches iLife 11.
FaceTime on Mac
So FaceTime. Want it on your Mac? You got it.
Jobs says it's the number one request Apple has received, and that there's "nothing to set up, there's nothing to configure."
FaceTime for Mac beta is out today.
OS X 10.7 - Lion
The next OS X will be called Lion. Jobs gave a preview. It's "Mac OS X meets the iPad", he says.
This means multitouch and the App Store are headed for your Mac.
"Apps on the iPad autosave... And when you launch apps, they auto resume," adds Jobs. "That'd be great on the Mac, too."
So this stuff is coming "back to the Mac," says Jobs (hence the name of the event).
For the full lowdown on Mac OS X 10.7 Lion, check out our story Apple announces Mac OS X 10.7 Lion.
OS X 10.7 release date is "this summer".
New MacBook Air
As expected, there's a new MacBook Air. Apple's "one more thing".
"What would happen if a Mac met an iPad?" said Jobs.
Promising solid state storage, instant-on and great battery life, Jobs went on to say: "What would happen if a MacBook and an iPad hooked up?"
It's the new MacBook Air, which Apple is calling the future of notebooks.
The new MacBook Air is 0.68 inches thick and weighs 2.9llbs. It has a 13.3 inch LED backlit display, Core 2 Duo processor, GeForce 320m, multitouch trackpad and, of course, a FaceTime camera.
Battery life is claimed as seven hours with wireless on - with 30 days standby time.
13.3 inch MacBook Air? Pah, too big!
Apple has also announced an 11.6 inch MacBook Air. So you (just about) have an Apple netbook. We can't wait to get hands on with this.
Both are available today.
New MacBook Air price
The UK prices for the various MacBook Air models are:
11.6", 1.4 GHz, 64GB: £849
11.6", 1.4 GHz, 128GB: £999
13.3", 1.86GHz, 128 GB: £1099
13.3", 1.86GHz, 256 GB: £1349
For more on the new MacBook Air, read New Apple MacBook Air unleashed
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After watching War Games and Tron more times that is healthy, Paul (Twitter, Google+) took his first steps online via a BBC Micro and acoustic coupler back in 1985, and has been finding excuses to spend the day online ever since. This includes roles editing .net magazine, launching the Official Windows Magazine, and now as Global EiC of TechRadar.


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Erie, PA: Theodore W. Parker, 62, of the Soldiers & Sailors Home, Erie, PA, died Wednesday, May 1st, at UPMC Hamot Medical Center, Erie, following a short illness. He was born in Greenville, PA on August 20, 1950, the son of Florence M. (Peterson) Lyda, of Meadville, PA and the late Duane J. Parker.
Mr. Parker attended Reynolds Area High School in Transfer, PA, served in the U.S. Army as a Pvt. during the Vietnam War, receiving the National Defense Service Medal, Vietnam Service Medal, Vietnam Campaign Medal, 2 O/S Bars & Marksman Badge Rifle M14. He worked as a self-employed Carpenter, having worked in many states. He loved to travel all over the United States, being in the Army and spending time with his family. Mr. Parker enjoyed people, riding motorcycle and had many friends.
Survivors include two daughters, Tammy L. Parker, of Jamestown, Tracy L. (Gary) Jock, Jr., of Dunkirk, and a brother James D. (Susan) Parker, of Meadville, PA. Also surviving are 4 grandchildren, Patrick Parker, Douglas Parker, Tiffany Jock and Brittany Jock. Also surviving are several nieces & nephews. Besides his father he was predeceased by an infant sister Trina Parker.
There will be no visitation observed. Memorial Services will be held from the Sheridan Fire Hall, Main Road, Sheridan, on Friday afternoon, May 10th, at 2 o'clock, with Rev. Bruce M. Ellis, pastor of the Forestville Wesleyan Church, officiating, followed by Military Services conducted by members of the Dunkirk Joint Veteran's Council.
The family suggests memorial donations may be made to the Dunkirk HS JROTC Program, 75 West 6th Street, Dunkirk, NY 14048. Arrangements are by Riles & Woolley Funeral Home, Forestville. To post condolences go to www.rilesandwoolleyfuneralhome.com.


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November 3, 2010
Hi folks, i do hope everyone out there had a swell Halloween. I know i did. Things have been busy for this bartender, as we gear up for our 2011 publishing schedule. Lots of good stuff coming down the pike, so stay tuned on that front.
• Top Shelf Five for Friday (from last week), courtesy Tom Spurgeon's Comics Reporter.
Big ups to everyone who chipped in!
• For everyone hounding me to join Facebook, claiming that one can set their own privacy standards? Suck on this.
"..affects tens of millions of Facebook app users, including people who set their profiles to Facebook's strictest privacy settings."
• Steve Lafler's band, Dick Nixon Experience, rocked the house last July at the El Vocho launch party, at the Mercury Cafe in SF.
• Akino Kondoh's animation, Ladybirds' Requiem digest version has been selected for top25!
YouTube Play: Live from the Guggenheim. A Biennial of Creative Video.
You can also watch all 25 videos on the YouTube Play Channel.
• Epic photo set of the Isotope: APE Aftermath Party. Pics by Dyami Serna. Have i mentioned how much i love that party? Oh, i have?...
• Cool stuff i scored at APE:
- Katy Wu's Tiger Bee. Wow! Absolutely lush and beautiful. Buy it!
- Movies R Fun!, by Josh Cooley. Outstanding ode to great moments in film. I LOVE this book! Buy it!
• Finally, here are some bitchin' covers and flap art for Jeffrey Brown's abandoned series Sulk. (Don't worry kids, he's got plenty of great comics up his sleeve still. Simmer down now!)


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For all the talk today about capital flows into emerging economies, the topic has actually been debated for many years within the IMF.
For a decade or more, we have grappled with the idea that very large capital flows into successful emerging market countries were almost inevitable and would prove extremely difficult to manage.
And now, with capital flows becoming larger and more volatile, old policy dilemmas are resurfacing with even greater force.
Awkward dilemma
The argument went as follows:
- Capital was scarce in emerging market economies relative to advanced economies. This would mean that rates of return would be higher as technology and institutional effectiveness caught up. Higher returns, together with the likely strengthening of emerging market currencies, would probably elicit large capital inflows.
- If monetary policy sought to contain demand by raising interest rates, this would attract more capital inflows and lead to correspondingly larger current account deficits. But if interest rates were set relatively low—to avoid these inflows—domestic investment would far exceed saving. Again, there would be large current account deficits.
- This awkward dilemma for monetary policy could be resolved by market forces if market risk premiums took proper account of underlying vulnerabilities (like the size of the current account deficit). But this turns out to be a rather big "if."
Along the route from very large capital inflows to excessive current account deficits and eventual financial crises there would be numerous warning signs: very rapid credit expansion, much of it in foreign currency; asset price bubbles; a shift in resource allocation out of tradable goods and into nontraded assets (most obviously, housing); substantial private sector vulnerability to foreign exchange risk; and, finally, a sudden jump in market risk premiums, often for reasons unrelated to domestic policies.
Benign or dangerous?
Perhaps the most interesting part of this whole story is this generalization: different markets react to external forces at different speeds—asset markets much more quickly than product markets. And the speed of reaction is critical in determining the path an economy will take.
- In the old days, capital inflows were regarded as wholly benign, and helpful to development and growth. By easing a domestic financing constraint, capital inflows would increase income and growth.
- The new view suggests in contrast that surges in capital inflows could well have seriously detrimental effects. For example, the easing of credit conditions would raise prices of assets, chiefly real estate prices. This would divert resources into these assets, rather than benefitting domestic manufacturing. With the availability of overseas-funded bank loans, the increase in real estate prices could become self-reinforcing, to the detriment of other sectors like export production, and a housing price bubble would ensue.
Theory becomes reality
Since these topics were first broached at a theoretical level, we have witnessed developments in a number of emerging economies in Europe that reinforce the concerns and underscore the implications for policy.
In the decade or so before the global financial crisis we saw very rapid growth in these economies. Until about 2003 this proceeded, for the most part, in a benign fashion—these countries were becoming more integrated into the advanced western European countries, and trade was booming. All was well.
But, then the warning signs emerged: capital inflows fueled excessive credit expansion, very large foreign exposures increased vulnerability, resources shifted out of tradable goods and into nontraded assets, real estate booms took off, and current account deficits widened.
The global financial turbulence prompted a reassessment of risk—a jump in market premiums—that interacted with the vulnerabilities in these emerging European economies to set off crises. Housing bubbles were pricked and burst, the foreign-financed bank credit dried up and wrought havoc on bank balance sheets.
But the underlying vulnerabilities, and thus the severity and duration of the downturn, differed substantially across this group of countries.
Live and learn
Two lessons may be learned from the experience.
First, the choice between fixed and flexible exchange rates is important, but perhaps not for reasons that are usually put forward.
- A fixed exchange rate—insofar as it is seen as an exchange rate guarantee—encourages rapid inflows and foreign exchange exposure, thus exacerbating vulnerabilities. Equally important, under a fixed exchange rate it is very difficult to stop credit booms. Once a credit boom starts, it feeds on itself—rising inflation leads to drop in real interest rates, further boosting demand for credit.
- Under a floating regime, countries can moderate excessive credit growth by letting the exchange rate strengthen. This will lower inflation, keep real interest rates higher (and possibly also elicit a perception of foreign exchange risk).
- Poland and the Czech Republic—both of which have floating exchange rates—managed to avoid much of the overheating that took place in fixed exchange rate countries like Latvia, Lithuania and Bulgaria. With much lower initial imbalances and vulnerabilities, they weathered the global crisis much better and have had much faster recoveries.
Second, monetary policy—and policy to stabilize the economy more generally—needs substantial reinforcement. This is particularly true for countries with some inflexibility in their exchange rates because of their commitment to the euro or a particular path to euro adoption. Stabilizing the economy will require policymakers to be keenly attuned to financial conditions and to draw on a menu of policy options, combining the right structural reforms and macroeconomic policies with regulatory (both micro- and macro-prudential) instruments and taxes, and in some cases, even disincentives for foreign currency borrowing or lending.


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High School to Victor Valley College
The Victor Valley College Career Education (CE) program is designed to help create pathways that lead to an associate or baccalaureate degree or a post-secondary certificate in a specific career field. Students combine high school Career Education classes, real-world experience, and/or college classes, to form a balanced and practical educational experience. Within this model students are challenged to meet rigorous academic standards and experience hands-on learning in articulated secondary CE courses.
Students graduating from high school need highly technical skills to be competitive in the job market. Up to 85% of all jobs will require at least two years of education beyond high school. A career pathway is an effective way to help students see the application of academic knowledge and makes meaningful connections between education and a variety of career options. Career pathways include career preparation recommendations for course work that prepares students to:
- Enter directly into the workforce;
- Continue education focused on the associate degree; or
- Pursue baccalaureate degrees and beyond.
Articulation Defined
Career Education (CE) articulation is the process of developing formal, written agreements that identify High School courses (or sequence of courses) that are comparable to, or acceptable in lieu of, specific course requirements at Victor Valley College. These agreements provide an opportunity for students to earn college units or placement credit for approved coursework. Articulation assures students and faculty that students have taken the appropriate course. The assessment component of articulation ensures that outcomes for students are similar to those that would have been attained had the course been taken at the community college. This enables the student to progress to the next level of instruction.
Articulation is the result of working together to make things happen for our students. In its simplest form, articulation means that coursework taken by students in high school is recognized by postsecondary institutions. Ideally, it includes a seamless transition of course work where academic standards are designed, reviewed, and implemented to eliminate the duplication of skills and student learning outcomes. The primary goal is to avoid duplication of coursework required of students as they move through our educational system and to speed the completion of a certificate or degree from a postsecondary institution. This increases secondary retention, eliminates duplication, reduces the cost of education and increases the likelihood of attendance at the postsecondary level. Articulation is student-focused and is good for everyone.
Benefits of Articulation
A way to earn college credits in high school.
A clear pathway to follow with in individual career plan.
A solid foundation of academic and technical courses.
An introduction to the workplace.
Assists students in the transition from high school to college.
Direct connection to postsecondary education.
Save time and money by not having to repeat comparable courses.
A way to complete education and get started with a career earlier.
Opportunity for high school and college-discipline instructors to collaborate, and develop curriculum to best prepare students for success in their career.
Communities benefit by gaining a well trained, technically skilled workforce to meet the needs of local businesses, government agencies and industry.
If you need any help with this process or have any questions, please contact:
- Lee Bennett at (760) 245-4271 Extension 2403 or e-mail him at: email@example.com
- Chris Piercy at (760) 245-4271 Extension 2241 or firstname.lastname@example.com
- McKenzie Tarango, Ed.D. (760) 245-4271 Extension 2693 or email@example.com


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Tesla Motors says it should start building its long awaited Model X crossover vehicle for customers early next year.
The electric car company sent out e-mails to customers Monday saying that it expects to have prototypes of the Model X built by the end of this year, and for the car to go into production early in 2015. The company's previous statements said it expected to ramp up production of the Model X in spring of 2015.
The announcement helped lift Tesla (TSLA) shares nearly 9% by the end of trading on Monday. and shares were up another 3% on Tuesday. Tesla shares are up more than 50% so far this year, although they are still off their record high reached in late February.
Related: Tesla - All our patents belong to you
The e-mail said falcon-wing doors and all-wheel drive will be standard on the Model X, though it described a third row of seats as "optional." The fact the third row seats would not be standard as well sparked some objections from customers on the Model X forum on Tesla's Web site.
"Making 3rd row optional is definitely a disappointment," wrote one potential buyer on the site. "It is just another way of increasing the price."
Related: Right-hand drive Tesla reaches UK
The company first unveiled the design for the Model X more than two years ago, and immediately rang up $40 million in orders. It has been taking reservations and deposits from customers wanting the Model X, although it has not disclosed how many reservations it has received.
Total customer deposits for both the Model X and current Model S sedan reached $198 million by the end of March, up 21% from the end of last year. CEO Elon Musk said in February that his best guess was that demand for the Model X would exceed that for the Model S, the popular and critically praised sedan that has been the company's only offering the last two years.
It also has yet to disclose pricing for the Model X. The Model S starts at about $69,000.


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The good man Jesus and the scoundrel Christ by Philip Pullman
by Philip Pullman
The back of the edition of this that I read has only the words: This is a story. Interesting. Is that because the publisher's don't want to offend the ultra religious in the Christian world. Or is it a message from the author that the life of Jesus is a story. That the bible is a story.
Pullman, of course, is known for his ever so slightly controversial views on religion, he has used them in his fiction before. In that case it involved a worn-out god, and power-hungry angels. Here he revisits the myth:"(is a myth a religion we dont believe in?)": of Jesus Christ and weaves a new story out of it.


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Up a level |
Backer, Scott A. and Suez, Itai and Fresco, Zachary M. and Fréchet, Jean M. J. and Conway, Josh A. and Vedantam, Shantha and Lee, Hyojune and Yablonovitch, Eli. (2007) Evaluation of new materials for plasmonic imaging lithography at 476 nm using near field scanning optical microscopy. Journal of Vacuum Science & Technology B: Microelectronics and Nanometer Structures, 25 (4). pp. 1336-1339. ISSN 10711023
Backer, Scott A. and Suez, Itai and Fresco, Zachary M. and Rolandi, Marco and Fréchet, Jean M. J.. (2007) Covalent Formation of Nanoscale Fullerene and Dendrimer Patterns. Langmuir, 23 (5). pp. 2297-2299. ISSN 0743-7463
Fresco, Zachary M. and Suez, Itai and Backer, Scott A. and Fréchet, Jean M. J.. (2004) AFM-Induced Amine Deprotection: Triggering Localized Bond Cleavage by Application of Tip/Substrate Voltage Bias for the Surface Self-Assembly of Nanosized Dendritic Objects. Journal of the American Chemical Society, 126 (27). pp. 8374-8375. ISSN 0002-7863


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On the coastal salient of Punta Brava, on the Taganana hill, toward the far end of the San Lazaro cove - customary site of pirate landings - rises the Hotel Nacional de Cuba since December 30, 1930, the "flagship" of Gran Caribe.
During the 19th century, the hill on which the hotel stands held the famous battery of Santa Clara. The "Ordoñez" cannon, one of the largest of its time, still lies in the hotel's gardens. On the headland of Punta Brava, Corregidor Don Luis Aguilar chastised the British during the seige and assault of Havana. The hotel's most famous and luxurious restaurant is named after him.
The project and construction of this majestic building was completed in two years by the US companies McKim, Mead & White and Purdy Henderson Co.
Visitors are captivated by the galleries of the gardens that recollect monastic cloisters of Moorish-Spanish arcades, the main hall resembling three parallel aisles of a Medieval church, or the simulated beams of the ceiling that recall an old Catalan monastery with Arab reminiscences. Its eclectic architecture combining Art-Deco, neoclassic and neocolonial designs, the handsome Apartment of the Republic with its direct entrance and the necessary privacy for state guests, and its comfortable Presidential Suite have, time and again, attracted many distinguished personalities from the fields of art, literature, politics, commerce, science and business.
Among its first illustrious guests were artists, actors and writers such as Johny Weissmuller, Buster Keaton, Jose Mujica, Jorge Negrete, Agustin Lara, Tyrone Power, Romulo Gallegos, Errol Flyn, Marlon Brando and the famous Ernest Hemingway, who donated a blue fish specimen to the "Sirena" bar. The guestlist includes well known Italian American gangsters Santos Traficante, Meyer Lansky, Lucky Luciano and Frank Costello. The hotel's reputation as a deluxe host is backed by patrons such as Winston Churchill, the Duke and Duchess of Windsor, scientist Alexander Flemming, and innumerable Ibero American Heads of State and European monarchs.
The hotel was refurbished in the late 50's, when all the comforts that make it competitive were added without altering the original layout.
The protagonism of the Hotel Nacional goes on, welcoming distinguished businessmen and ordinary folk from all over the world, hosting important international events and still remaining that "Enchanted Castle" that Carpentier spoke of, as dazzling as it was on its opening night.
from the Hotel Nacional de Cuba
Official Emblem
Flights to Cuba
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