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By guest author Kent Steine
By 1930 Bradshaw Crandell was producing covers for many of the major periodicals of the time like The Saturday Evening Post, Collier's and American.
In 1925 he opened a "shop" at 405 Lexington Avenue and simply called it John Bradshaw Crandell Studios. Crandell himself only recalled producing one editorial or story illustration. That was produced for Redbook magazine early in his career. There were countless advertising illustrations produced for a variety of elite clients and products. The images usually depicted an attractive woman or couple engaged in some glamorous or exciting activity. He became widely recognized for his Old Gold ads and point of purchase displays. Crandell's depictions of beautiful women were the staple for Palmolive skin soap advertising campaigns during the early 1930's. However, it was his Cosmopolitan magazine covers that made Bradshaw Crandell a household name.
By 1935, Crandell dropped the 'John' from his name, moved to a new penthouse studio at 400 East 52nd Street (he would maintain this location until August of 1965), and was at the beginning of his 12 year run as the cover artist for Cosmopolitan. He also produced covers for Ladies' Home Journal and various other "Curtis" publications. During WWII Crandell produced a variety of war effort illustration art. In 1939 he provided the artwork for the Salvation Army fund drive, and also produced numerous illustrations for General Motors Pontiac Division, depicting workers and their roles in producing aircraft.
Cosmopolitan was known for it's beautiful covers portraying Hollywood's most popular and attractive movie stars. It was imperative that these depictions not only be recognizable, but more beautiful and glamorous than the camera or "real life" could present. There was an abundance of infinitely skilled illustrators in those days. Few however had the ability to draw and paint a pretty face like those produced by Bradshaw Crandell. Over the years there have been but few artists with this uniquely aesthetic ability.
(Above: This feature in FOCUS magazine from the 1940's nicely represents a typical Crandell model sitting, in addition to his notoriety during the time.)
When Carole Lombard posed for Crandell in 1935, she was at the height of her acting career and popularity. In the image conscious movie industry of the 1930's to the 1950's, anything less than perfect would not be tolerated or accepted. This alone is a testament to Crandell's considerable abilities and influence within the studio system of yesterday. Movie stars of today are forced to embrace the public's fascination with the candid reality of photography. Somewhere along the line, the elements of fantasy and innocence have been lost.
(Above and below: These "Screen shots" of Bradshaw Crandell working, are from the historical movies produced by Frank Reilly. Filmed in 16mm between 1949 and 1952, they included many of Mr. Reilly's friends and fellow artists. Some of the finest illustrators of the last century participated in the project, and included: Crandell; Arthur William Brown (who documented everything in triplicate); William "Obie" Oberhart; John Falter; James Montgomery Flagg; Harvey Dunn; and featured Dean Cornwell's introduction and incredible demonstration. Here, Crandell begins a live portrait in pastel, and is shown looking back at his easel, drawing from memory.)
Bradshaw Crandell's approach, or technique to producing a pastel picture was in effect, quite laborious. The process gave his finished pastel pictures a deeper, richer appearance than a direct application. The first stage was to draw his model from life with charcoal. For a portrait bust he worked large, approximately 22" x 30", on white heavyweight paper attached to a board, and locked in an easel. He employed all of the various blending and rubbing techniques common to pastel and charcoal drawing, and with a mouth atomizer, would apply a fixative at various stages. After the initial drawing was adjusted and corrected, he would then begin to add whites and lighter values to the drawing with pastel.
(Above: Brad has already begun to establish the color and refinement process of the picture, and here we see the the artist, drawing, and model in each position of perspective.)
Now with a fully rendered B&W en grisaille drawing, he would apply a fixative with a mouth atomizer, and remove the drawing from the easel. Laying the work flat, Crandell applied a varnish/medium, to the entire working surface with a 2" sable brush. Once the surface was dry, he would begin to add the color with pastel.
(Above: A close up of Brad Crandell refining the details of the face. Like all well trained artists, he worked from the large to the small, from the simple to the complex.)
This approach is similar to an undertone (verdaccio) used when oil painting. He worked in the same manner one might when painting with oil, ie: dark to light, establishing all of the dark values and passages first with a corresponding value of color. He created new hues, by blending the colors as they were applied one over the other. As the medium dictates, this was a process of refinement and polish. After the trademark Bradshaw Crandell signature, he would spray fixative over the entire surface, and the picture was complete.
Although there are visual records of how Crandell created his pastel pictures, it would seem none of his working methods are available after he transitioned to painting with oils. However, it would be reasonable to presume his fundamental approach was similar.
* Kent Steine is an artist, author and teacher. His renowned series of "Masters" articles for Step-By-Step magazine remain some of the best ever written on the history of illustration. With this week being the anniversary of Bradshaw Crandell's death, I'm very grateful to Kent for sharing the story of this fabulous artist with us. An abridged version of this week's series of posts originally appeared as an article in SXS magazine. ~ Leif
Kent Steine's website


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Home > News & Events > Wayland Press Release Archives > 2007 News Releases > April 2007 > Theatre students to direct, act in annual Shorts production
Theatre students to direct, act in annual Shorts production
PLAINVIEW – On the surface, Wayland Baptist University theatre's annual Shorts production hasn't changed much over the years. It's still a collection of short plays, directed by students with students in the casts. But each year's production takes on a feel of its own, taking on its own identity.
This year, the tenth for Shorts, marks not only a milestone anniversary for the student-led production but also the first time the show has been produced in the spring. After nine years as the lead-off hitter in the WBU theatre season lineup, Dr. Marti Runnels, theatre director, said it began to make sense to move it later in the year.
"One of the challenges with Shorts is that it's part of the directing class assignment," Runnels explained. "When it's at the very front of the season, the students are directing without really having much of the class yet.
"We thought it would be good for our new students if their first theatre experiences were more traditional. Then the Shorts can be more of an experience for directing class students who really want to do it."
That said, the season flipped and Shorts X is set to take the Harral Studio Theatre stage on April 19, 20 and 21. The first production on Thursday, April 19 will be a 10 p.m. "sneak preview" performance aimed at students, who tend to be night owls normally, though the general public is always welcome. The Friday and Saturday performances will be the traditional 8 p.m. start.
"We moved the Thursday show to 10 p.m. because the International Choir is doing their spring concert and tribute to Jennie Lynn Hodges that night, and the theatre department wants to encourage everyone to be at that event as well," Runnels noted. "We didn't want to create a situation where someone would come to our show and have to miss that event."
While the evening of short plays often follows a theme, Runnels said this year's theme of relationships is a bit looser. Each of the five Shorts deals with people relating to one another, sometimes in a romantic sense and sometimes just in social situations.
"Self-Torture and Strenuous Exercise," by Harry Kondoleon, is a black comedy with physicality and flying props. It deals with four people isolated from each other by their perceptions of the universe but connected by love and literary triangles. Grant Jasper, senior theatre major, directs the production, which features a cast of theatre returners Chris Smith of Lubbock, Jessie Else of Idaho and Khrystne Eckerd of Ruidoso, N.M., and newcomer Peter Bourland, a junior transfer student from Tucson, Ariz.
"Businessman's Lunch" by Michael Quinn features three employees from a candy company who are enjoying making fun of others, especially a hopeless nerd from work. Thomas Hoffman, a sophomore from Wasilla, Alaska, directs the production, with the cast including theatre regulars Feliciano Moralez of Plainview, Bobby Hon of El Paso, Andy Baker of Plainview and Rachel Morrison, a high school student from Turkey who had a chorus role in the musical Spitfire Grill.
"The Color of Heat," directed by theatre veteran Hannah Stewart, a sophomore from Lubbock, is written by Samuel Zachary. The play involves a husband who is trying to revive his marriage by making up colorful stories about the antics of a neighbor couple. Conner Davis, a freshman from Plainview who also was in the Spitfire Grill chorus, stars, along with Hayley Cox of Plainview.
"Charlie the Chicken," written by Jonathan Levy, features a pair of Vaudeville performers who create quite the laughs on stage but have a lot of other issues going on behind the scenes. Directed by senior theatre veteran Mary Feril of Grand Prairie, the play stars senior veteran Tim Fisher of San Antonio, Bourland and Rebekah Ballinger, a music student who starred in Spitfire Grill.
"Present Tense," directed by senior veteran Tim Fisher, is written by John McNamara. The play involves a Walter Mitty-ish young man with romantic problems, starring Grant Jasper and featuring theatre veterans Rachel Morgan of Plainview, Thomas Hoffman, Mary Feril, and Hannah Stewart, and newcomers Conner Davis and Stephanie Ciszek of Phoenix, Ariz., a member of the Spitfire chorus.
"These plays are all comic but almost all of them have a serious side to them as well," notes Runnels, who reads all the scripts ahead and offers the student directors a choice of 12 options. He oversees the production in a supervisory role, though the students do the majority of the work.
Tickets for Shorts X are $8 for adults and $4 for students. Reservations can be made by calling the theatre box office at (806) 291-1089.

subset: commoncrawl


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Smart WiFi Toggler for Android Learns Where Your Networks Are, Toggles Wi-Fi and Data Automatically
Android: Smart WiFi Toggler is a free utility that automatically learns where your preferred wireless networks are located, and when you approach their location, will turn on wi-fi and join those networks. More »
Netflix Finally Comes to Ubuntu in the Form of an Unofficial Desktop App
Ubuntu: Watching Netflix on Linux has always been a pain, since Microsoft Silverlight isn't available on Linux. The unofficial Netflix app for Ubuntu makes it easy to install Netflix and start watching movies right away. More »
Air Display Free Uses Your iPad as a Second Monitor, No Purchase Necessary
iOS: If you've been itching to try out using your iPad as a second monitor, but are hesitant to actually drop any cash, the popular screen sharing app Air Display has released a free, ad-supported version so you can check it out. More »
Bones Simplifies the Process of Creating a WordPress Theme
WordPress is a wonderful blogging platform and CMS-a reader favorite, in fact-but creating a theme isn't easy if you don't know the ropes. More »
Good Habits for iPhone Encourages You to Keep Doing the Things You've Always Wanted to Do
iOS: Good Habits helps you keep track of multiple activities and habits that you want to build over time. The app shows you a calendar of your current and longest unbroken chain lengths, shows you your to-dos as a checklist, and helps you stay motivated to keep your habit chains unbroken. More »
Eye In Sky is a Clean, Minimalist Weather App for Android
Android: Eye in Sky Weather is a free, elegant weather app for Android phones and tablets. The interface is simple and minimal, and the customizable home screen widgets fit right in with Android's Holo theme. More »
Goal Streaks Supercharges Seinfeld's Productivity Secret with Highly-Customizable Goal and Habit Tracking
iOS: Goal Streaks helps you set and track repeat tasks so you can form habits and achieve long-term goals more easily. The idea is to chip away a little bit each day, but Goal Streaks is incredibly versatile and can handle just about any more complex schedule you care to throw at it. More »
AppWatch Lets You Know When Android Apps Go on Sale
Android: Google Play has a great wishlist function for apps and content for which you're not quite ready to pull the trigger but doesn't have a way of notifying you when content goes on sale or if there is a price drop. More »
Decor8 Personalizes the Windows 8 Start Screen with Custom Backgrounds and Color Schemes
Windows: If you're getting a little tired of the handful of low-resolution backgrounds for the Start screen in Windows 8, Stardock's Decor8 gives you all the tools you need to personalize it to your heart's content. More »
Khan Academy Comes to iPhone with Over 3,500 Educational Videos
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- IBS Center for NanoMedicine
The Center for NanoMedicine(CNM) was established by the Korean government to ambitiously promote basic science in Korea and is the first worldclass basic science research institute in Korea that was established by after closely benchmarking Max Planck Institute in Germany
- About Us
We, the director and faculties of the Center for NanoMedicine(CNM), strive to promote the highest quality of research that will nurture the current global basic science and generate new opportunities for the future. We pursue excellence in science and our goal is to advance the frontiers of knowledge and to train the tomorrow's leading scientists.
- Research
The Center for NanoMedicine(CNM) aims to establish a foundation for future oriented convergence science and to create new science with themes of nanomaterials and biological systems. Its goal is to introduce new possibilities to the scientific community by developing nanomaterials capable of monitoring and understanding biological phenomena with ultimate precision and accuracy.
- Department
The Center for NanoMedicine(CNM) provides a cutting edge education and training in nanoscience and nanomedicine. It offers three types of education programs to the undergraduate students in order to provide true learning experiences: Nobel Series, Science Mentoring Program, and Enrichment Program.
- Notice
The Center for NanoMedicine(CNM) hosts a variety of events from academia symposium to leadership seminars in order to foster scientific leaders with global minds at the highest intellectual level. It also engages in cooperative programs with worldwide research Institutions and universities to expand future opportunities.


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Gertrude Creath attributes much of her knowledge and understanding of life to the fact that she has been living with epilepsy for the last 13 years. At the age of 12, her mother passed away and she began having anxiety attacks and seizures. She was diagnosed with epilepsy and even though she was on medication, her seizures only became worse over the years. In her early twenties, with no insurance or disability benefits, Gertrude turned to the Epilepsy Foundation of Greater Chicago when it was clear she was not receiving optimal treatment.
As Gertrude and her Epilepsy Foundation case manager worked to have her benefits approved by the state, she continued to struggle with epilepsy and experienced seizures in several places, including a train platform. Despite her struggles with uncontrolled seizures, Gertrude was able to "see the bright side of things" when she took part in the Foundation's Studio E: the Epilepsy Art Therapy Program, a multi-week art workshop for people with epilepsy. "The art program was special because it let me be creative and let me feel like I was special."
Gertrude was recently approved for disability benefits and underwent diagnostic testing. With her neurologist, and assistance from a Foundation case manager, she is looking into all treatment options. "When you have seizures for as long as I have, it makes you realize that life isn't simple. At the Foundation, I've found that I am not the only one with epilepsy. I've also learned that there are people who can help."
Carl Wadley, a 15-year-old living with epilepsy, spent years struggling to find the right treatment to fight his seizures. Fortunately, two years ago, he was given a VNS implant and has been able to control his seizures ever since. The period when Carl's epilepsy was not under control, however, is a time he and his family will never forget.
"We were too scared," Sylvia, Carl's mother, recalls. "I felt like I always had to be in his shadow and there were a lot of activities he missed out on."
This past summer, Carl attended Camp Blackhawk, the Foundation's week-long retreat for kids and teens living with epilepsy, for the first time. Carl made fast friends, loved swimming in the lake and pool and creating artwork. He feels that Camp has given him the opportunity to do so many new activities. Carl's perspective has changed since returning from camp, in part because of his experiences, but also because of his new understanding of epilepsy.
"I had never seen someone have a seizure before, and I now get the impact that my epilepsy has had on my family. It's hard. I want them to know that I know that now. It's all because of camp and I am so thankful for my family and my experiences here."
Help us to continue our mission of service and inspiration with a gift during this special season of giving. Together, we can make sure people like Gertrude and Carl have the ability to pursue their dreams and soar above seizures.
On behalf of everyone at the Epilepsy Foundation of Greater Chicago, thank you, and may you have a beautiful, healthy and joyous holiday season!
Did you know that you can help the Epilepsy Foundation of Greater Chicago by registering and participating in one of our many events listed on the sidebar of this page? Did you know that you can also sign up to become a Foundation Volunteer? Also, why not host a clothing drive or donate old clothes & household items through our donation program? Did you know that Friends of the Epilepsy Foundation works with Savers stores in the Chicago area to collect clothing, and in return we receive a small payment per pound of the clothing collected? Did you know that you can inform people about epilepsy and the Foundation through social media? Friend us on Facebook and follow us on Twitter. Did you know that we have created new Community Action Boards in your area?
Fundraising isn't the only way you can help the Epilepsy Foundation of Greater Chicago - there are so many important, exciting ways for you to get involved!
There are 130,000 people in Illinois living with epilepsy, and we need your help to make sure people are aware of our many free programs and services. Get involved today and help us take action against epilepsy! We are here to help. Please feel free to visit us on our website at epilepsychicago.org or call us at 800.273.8027.
Established in 1946, the Epilepsy Foundation of Greater Chicago offers programs and services for people with epilepsy and their families. The Foundation is dedicated to creating and maintaining cutting-edge initiatives that will support and improve the quality of life for people living with epilepsy. These initiatives include:
Looking for someone participating in an event?


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Nature of the Work |
Working Conditions |
Employment |
Training, Other Qualifications, and Advancement | Job Outlook | Earnings | Related Occupations | Sources of Additional Information
Significant Points
- Actors endure long periods of unemployment, intense competition for roles, and frequent rejections in auditions.
- Formal training through a university or acting conservatory is typical; however, many actors, producers, and directors find work based on experience and talent alone.
- Because earnings for actors are erratic, many supplement their incomes by holding jobs in other fields.
Nature of the Work
Actors, producers, and directors express ideas and create images in theater, film, radio, television, and other performing arts media. They interpret a writer's script to entertain, inform, or instruct an audience. Although the most famous actors, producers, and directors work in film, network television, or theater in New York or Los Angeles, far more work in local or regional television studios, theaters, or film production companies engaged in advertising, public relations, or independent, small-scale movie productions. Actors perform in stage, radio, television, video, or motion picture productions. They also work in cabarets, nightclubs, theme parks, and commercials, and in "industrial" films produced for training and educational purposes. Most actors struggle to find steady work; only a few ever achieve recognition as stars. Some well-known, experienced performers may be cast in supporting roles. Others work as "extras," with no lines to deliver, or make brief, cameo appearances speaking only one or two lines. Some actors also teach in high school or university drama departments, acting conservatories, or public programs.
Producers are entrepreneurs, overseeing the business and financial decisions of a production. They select scripts and approve development of script ideas, arrange financing, and determine the size and cost of stage, radio, television, video, or motion picture productions. Producers hire directors, principal cast members, and key production staff members. They also negotiate contracts with artistic and design personnel in accordance with collective bargaining agreements and guarantee payment of salaries, rent, and other expenses. Producers coordinate the activities of writers, directors, managers, and agents to ensure that each project stays on schedule and within budget.
Directors are responsible for the creative decisions of a production. They interpret scripts, express concepts to set and costume designers, audition and select cast members, conduct rehearsals, and direct the work of cast and crew. Directors approve the design elements of a production, including sets, costumes, choreography, and music.
Working Conditions
Actors, producers, and directors work under constant pressure. To succeed, they need patience and commitment to their craft. Actors strive to deliver flawless performances, often while working in undesirable and unpleasant conditions. Producers and directors experience stress from the need to adhere to budgets, union work rules, and production schedules; organize rehearsals; and meet with designers, financial backers, and production executives. Acting assignments typically are short term--ranging from 1 day to a few months--which means that there often are long periods of unemployment between jobs. The uncertain nature of the work results in unpredictable earnings and intense competition for even the lowest paid jobs. Often, actors, producers, and directors must hold other jobs to sustain a living.
When performing, actors typically work long, irregular hours. For example, stage actors may perform one show at night while rehearsing another during the day. They also might travel with a show when it tours the country. Movie actors may work on location, sometimes under adverse weather conditions, and may spend considerable time in their trailers or dressing rooms waiting to perform their scenes. Actors who perform in television often appear on camera with little preparation time because scripts tend to be revised frequently or written moments before taping.
Evening and weekend work is a regular part of a stage actor's life. On weekends, more than one performance may be held per day. Actors and directors working on movies or television programs, especially those who shoot on location, may work in the early morning or late evening hours to do nighttime filming or to tape scenes inside public facilities outside of normal business hours.
Actors should be in good physical condition and have the necessary stamina and coordination to move about theater stages and large movie and television studio lots. They also need to maneuver about complex technical sets while staying in character and projecting their voices audibly. Actors must be fit to endure heat from stage or studio lights and the weight of heavy costumes. Producers and directors should anticipate such hazards and ensure the safety of actors by conducting extra rehearsals on the set so that actors can learn the layout of set pieces and props, allowing time for warmups and stretching exercises to guard against physical and vocal injuries, and providing adequate breaks to prevent heat exhaustion and dehydration.
In 2000, actors, producers, and directors held about 158,000 jobs, primarily in motion pictures, theater, television, and radio. Because many others were between jobs, the total number of actors, producers, and directors available for work was higher. Employment in the theater is cyclical—higher in the fall and spring seasons—and concentrated in New York and other major cities with large commercial houses for musicals and touring productions. Also, many cities support established professional regional theaters that operate on a seasonal or year-round basis.
In summer, stock companies in suburban and resort areas also provide employment opportunities. Actors, producers, and directors may find work on cruise lines and in theme parks. Many smaller nonprofit professional companies, such as repertory companies, dinner theaters, and theaters affiliated with drama schools, acting conservatories, and universities provide employment opportunities for local amateur talent and professional entertainers. Auditions typically are held in New York for many productions across the country and for shows that go on the road.
Employment in motion pictures and films for television is centered in New York and in Hollywood. However, small studios are located throughout the country. Many films are shot on location and may employ local professional and nonprofessional actors. In television, opportunities are concentrated in the network centers of New York and Los Angeles, but cable television services and local television stations around the country also employ many actors, producers, and directors.
Training, Other Qualifications, and Advancement
Persons who become actors, producers, and directors follow many paths. Employers generally look for people with the creative instincts, innate talent, and intellectual capacity to perform. Actors should possess a passion for performing and enjoy entertaining others. Most aspiring actors participate in high school and college plays, work in college radio stations, or perform with local community theater groups. Local and regional theater experience and work in summer stock, on cruise lines, or in theme parks help many young actors hone their skills and earn qualifying credits towards membership in one of the actors' unions. Union membership and work experience in smaller communities may lead to work in larger cities, notably New York or Los Angeles. In television and film, actors and directors typically start in smaller television markets or with independent movie production companies, then work their way up to larger media markets and major studio productions. Intense competition, however, ensures that only a few actors reach star billing.
Formal dramatic training, either through an acting conservatory or a university program, generally is necessary; however, some people successfully enter the field without it. Most people studying for a bachelor's degree take courses in radio and television broadcasting, communications, film, theater, drama, or dramatic literature. Many continue their academic training and receive a Master of Fine Arts (MFA) degree. Advanced curriculums may include courses in stage speech and movement, directing, playwriting, and design, as well as intensive acting workshops.
Actors at all experience levels may pursue workshop training through acting conservatories or by being mentored by a drama coach. Actors also research roles so that they can grasp concepts quickly during rehearsals and understand the story's setting and background. Sometimes actors learn a foreign language or train with a dialect coach to develop an accent to make their characters more realistic.
Actors need talent, creative ability, and training that will enable them to portray different characters. Because competition for parts is fierce, versatility and a wide range of related performance skills, such as singing, dancing, skating, juggling, and miming are especially useful in lifting actors above the average and getting them noticed by producers and directors. Actors must have poise, stage presence, the capability to affect an audience, and the ability to follow direction. Modeling experience also may be helpful. Physical appearance often is a deciding factor in being selected for particular roles.
Many professional actors rely on agents or managers to find work, negotiate contracts, and plan their careers. Agents generally earn a percentage of the pay specified in an actor's contract. Other actors rely solely on attending open auditions for parts. Trade publications list the time, date, and location of these auditions.
To become a movie extra, one must usually be listed by a casting agency, such as Central Casting, a no-fee agency that supplies extras to the major movie studios in Hollywood. Applicants are accepted only when the number of persons of a particular type on the list—for example, athletic young women, old men, or small children—falls below the foreseeable need. In recent years, only a very small proportion of applicants has succeeded in being listed.
There are no specific training requirements for producers. They come from many different backgrounds. Talent, experience, and business acumen are very important determinants of success for producers. Actors, writers, film editors, and business managers commonly enter the field. Also, many people who start out as actors move into directing, while some directors might try their hand at acting. Producers often start in a theatrical management office, working for a press agent, managing director, or business manager. Some start in a performing arts union or service organization. Others work behind the scenes with successful directors, serve on boards of directors, or promote their own projects. No formal training exists for producers; however, a growing number of colleges and universities now offer degree programs in arts management and managing nonprofits.
As the reputations and box-office draw of actors, producers, and directors grow, they might work on bigger budget productions, on network or syndicated broadcasts, or in more prestigious theaters. Actors may advance to lead roles and receive star billing. A few actors move into acting-related jobs, such as drama coaches or directors of stage, television, radio, or motion picture productions. Some teach drama privately or in colleges and universities.
Job Outlook
Employment of actors, producers, and directors is expected to grow faster than the average for all occupations through 2010. Although a growing number of people will aspire to enter these professions, many will leave the field early because the work, when it is available, is hard, the hours are long, and the pay is low. Despite faster-than-average employment growth, competition for jobs will be stiff, in part because of the large number of highly trained and talented actors auditioning for roles. Only performers with the most stamina and talent will regularly find employment.
Expanding cable and satellite television operations, increasing production and distribution of major studio and independent films, and continued growth and development of interactive media, such as direct-for-web movies and videos, should increase demand for actors, producers, and directors. A strong Broadway and Off-Broadway community and vibrant regional theater network are expected to offer many job opportunities.
Median annual earnings of actors were $25,920 in 2000. The middle 50 percent earned between $16,950 and $59,769. The lowest 10 percent earned less than $12,700, and the highest 10 percent earned more than $93,620. Median annual earnings in the industries employing the largest numbers of actors were as follows:
- Motion picture production and services $54,440
- Producers, orchestras, and entertainers 28,310
- Miscellaneous amusement and recreation services 13,500
Minimum salaries, hours of work, and other conditions of employment are covered in collective bargaining agreements between show producers and the unions representing workers. Actors' Equity Association (Equity) represents stage actors; Screen Actors Guild (SAG) covers actors in motion pictures, including television, commercials, and films; and the American Federation of Television and Radio Artists (AFTRA) represents television and radio studio performers. While these unions generally determine minimum salaries, any actor or director may negotiate for a salary higher than the minimum.
On July 1, 2001, the members of SAG and AFTRA negotiated a new joint contract covering all unionized employment. Under the contract, motion picture and television actors with speaking parts earned a minimum daily rate of $636 or $2,206 for a 5-day week. Actors also receive contributions to their health and pension plans and additional compensation for reruns and foreign telecasts of the productions in which they appear.
According to Equity, the minimum weekly salary for actors in Broadway productions as of June 25, 2001 was $1,252. Actors in Off-Broadway theaters received minimums ranging from $440 to $551 a week as of October 30, 2000, depending on the seating capacity of the theater. Regional theaters that operate under an Equity agreement pay actors $500 to $728 per week. For touring productions, actors receive an additional $106 per day for living expenses ($112 per day in larger, higher-cost cities). According to Equity, fewer than 15 percent of its dues-paying members actually worked during any given week during 2000. Median earnings for those able to find employment in 2000 were less than $10,000.
Some well-known actors—stars—earn well above the minimum; their salaries are many times the figures cited, creating the false impression that all actors are highly paid. For example, of the nearly 100,000 SAG members, only about 50 might be considered stars. The average income that SAG members earn from acting, less than $5,000 a year, is low because employment is erratic. Therefore, most actors must supplement their incomes by holding jobs in other fields.
Many actors who work more than a set number of weeks per year are covered by a union health, welfare, and pension fund, which includes hospitalization insurance and to which employers contribute. Under some employment conditions, Equity and AFTRA members receive paid vacations and sick leave.
Median annual earnings of producers and directors were $41,030 in 2000. The middle 50 percent earned between $29,000 and $60,330. The lowest 10 percent earned less than $21,050, and the highest 10 percent earned more than $87,770. Median annual earnings in the industries employing the largest numbers of producers and directors were as follows:
- Motion picture production and services $50,280
- Producers, orchestras, and entertainers 38,820
- Radio and television broadcasting 34,630
Many stage directors belong to the Society of Stage Directors and Choreographers (SSDC), and film and television directors belong to the Directors Guild of America (DAG). Earnings of stage directors vary greatly. According to the SSDC, summer theaters offer compensation, including "royalties" (based on the number of performances), usually ranging from $2,500 to $8,000 for a 3- to 4-week run. Directing a production at a dinner theater usually will pay less than directing one at a summer theater, but has more potential for income from royalties. Regional theaters may hire directors for longer periods, increasing compensation accordingly. The highest paid directors work on Broadway and commonly earn $50,000 per show. However, they also receive payment in the form of royalties—a negotiated percentage of gross box office receipts—that can exceed their contract fee for long-running box office successes. Producers seldom get a set fee; instead, they get a percentage of a show's earnings or ticket sales.
Related Occupations
People who work in performing arts occupations that may require acting skills include announcers; dancers and choreographers; and musicians, singers, and related workers. Others working in theater-related occupations are hairdressers, hairstylists, and cosmetologists; fashion designers; set and exhibit designers; sound engineering technicians; and writers and authors.
Sources of Additional Information
Disclaimer: Links to non-BLS Internet sites are provided for your convenience and do not constitute an endorsement.
For general information about theater arts and a list of accredited college-level programs, contact:
National Association of Schools of Theater, 11250 Roger Bacon Dr., Suite 21, Reston, VA 20190.
For general information on actors, producers, and directors, contact:
Actors Equity Association, 165 West 46th St., New York, NY 10036.
Screen Actors Guild, 5757 Wilshire Blvd., Los Angeles, CA 90036-3600.
American Federation of Television and Radio Artists—Screen Actors Guild, 4340 East-West Hwy., Suite 204, Bethesda, MD 20814-4411.
Editor's Note:This article was republished with permission from the Bureau of Labor Statistics. Hundreds of other occupations are reviewed in similar fashion in its Occupational Outlook Handbook, 2000-2001 Edition.


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If you live in North America and have an infant, chances are you are using plastics. If you are using plastics there is good reason to be informed and careful in their use.
Whenever you can opt for stainless steel or glass alternatives. That said, I use plastic and you likely will/do to. Let's be as informed as we can in their usage.
Never microwave any plastic. Never cover any food to be microwaved with plastic wrap. Avoid storing babies' food in plastic. Wash plastics on the top shelf of your dishwasher or by hand. Avoid using old and scratched plastic bottles.
Choose Glass or Stainless Steel Baby Bottles – this is your best protection against future headlines! My concern is that we'll discover down the road that other petroleum made plastics also leach.
If you are choosing Plastic Baby Bottles, most manufacturers now make BPA-free baby plastic bottles, with all BPA headlines in the news. If you are using plastic – double check to ensure bottles you use are BPA free.
Choose bottle nipples made from silicon. They are the most durable and inert options. Latex rubber nipples can cause allergic reactions and can contain impurities linked to cancer. The same goes for pacifiers. Throw away any nipple or pacifier that is discolored, thinning, tacky or ripped.
Liners: Only use if you have a colicky baby and they've been advised by your doctor. The soft plastic liners may leach chemicals into formula, especially when heated. They are also a poor choice from an environmental perspective.
Glass, that is the best choice for storing & freezing pumped milk – if you can come up with a system that work for you.
The sealable plastic nursing bags designed for storing breast milk are made of polyethylene. Studies published in Early Human Development and Nutrition Review showed no chemical leaching into the milk, but did indicate that milk stored in these bags may lose some nutrients because they cling to the plastic. This is what worked for our family. I would freeze the milk flat on a box, once frozen stand it up and place at the back of the milk inventory. Thawing was very quick in warm water.
Let me know if you come up with an efficient glass storage method, I'd love to share it with my readers!
When your infant starts on their first foods, instead of plastic dishes use glass custard cups. They are durable, can be microwaved, and some even have lids. Chances are – at this stage – you're the one doing the feeding. Why risk exposure at this very early stage?
Before you know it your baby is going to start eating real food. Chances are you will be serving most of that food on plastic dishes. my children are 3 & 4 years old, so I know why! Plastic is less likely to break when it's tossed to the floor.
Don't store left over foods in the plastic dishes – store the leftovers in the custard cups we were just discussing – in my books. Less time in the plastic = less time for chemical leaching.
Look for stainless steel or tempered glass bowls to use as snack containers – they are your safest option. We originally purchased plastic bowls for dry snacks and chopped fruit – my understanding is that leaching occurs most with heat and liquids, but if we could do it again, I'd choose a safer material. BTW – plastic bowls break too!
If you are using plastic dishes – move your children to regular dishes at an earlier age. My 2 year old son eats his dinner on the same plates as the rest of the family and at the dinner table drinks from a glass. We've only lost one plate.
Duralex glasses are extremely durable; they are tempered making them stronger than regular glass. Shopping for glasses look for Duralex if you want to keep them for a while!
Avoid polycarbonate for babies food and drinks.
Polycarbonate plastics, marked with a #7 code or PC; they are rigid, transparent and used for food storage containers and water bottles, among other things. Trace amounts of BPA can migrate from these containers, particularly if used for hot food or liquids.
Plastics with the recycling labels #1, #2 and #4 on the bottom are better choices because they do not contain BPA.
Soft or cloudy-colored plastic does not contain BPA.
FURTHER READING: BPA's & INFANTS
Check out these plastic alternatives available at amazon:
Thinkbaby Complete BPA Free Feeding Set
These look great for on the go lunches:
LunchBots Pico Stainless Steel Lunch Container


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Men start taking advantage of nursing shortage
Two posts ago we talked about how difficult it is for men to become flight attendants in Japan, where the job is still considered women's work. However, another occupation that in the past was solely associated with women, nursing, is now openly encouraging male applicants, and the men are signing up. In the West, of course, there have been male nurses for decades, but because of tenacious gender roles and the fact that nursing is still a poorly paid position, Japanese men until recently have never tried to break into the field. That's changing.
According to health ministry surveys, there were 63,000 male nurses working in Japan in 2012, which is two-and-a-half times the number ten years ago and six times the number 20 years ago. Nevertheless, this number only accounts for 6.2 percent of all the nurses in Japan. It is still overwhelmingly considered a woman's job, but the numbers are increasing. Asahi Shimbun reports that 17 percent of the 112 students who enrolled last spring at a nursing school in Atsugi, Kanagawa Prefecture, were male. The portion of men among the new class was even larger at a nursing school in Osaka City — 28 out of 118.
What's significant, however, isn't the portion, but the age range. The youngest are just out of high school or college, while the oldest is in his mid-40s. Since nursing schools are essentially technical schools (senmon gakko), they don't follow the archaic university custom of effectively limiting enrollment to recent high school graduates, and many men who want to change career paths are opting for nursing.
One 31-year-old student at the Atsugi school told Asahi that he worked in the administrative department at a preparatory school after graduating from university, but he was always a contract worker and his salary never rose the whole time he worked there. Now that he's married and has a child, he wants something more stable and potentially lucrative.
A 22-year-old fourth-year student at the Osaka school, which opened in 2010, thus making him a future alumnus of the school's first class, said he originally wanted to be a paramedic, but his mother suggested nursing because she had read that local governments were cutting budgets for ambulance service. He's already been offered a full-time job at a general hospital in Osaka.
Almost all nurses are hired as full-time regular employees with benefits, because the demand for nurses remains high. In 2013, the health ministry estimated a nationwide nursing shortage of 42,000. The projection for 2014 is 30,000, which takes into consideration the number of people who will be graduating from nursing schools next year, though it doesn't necessarily factor in turnover, which is high.
The annual turnover rate nationwide is 10.9 percent, but in major cities, where most nurses work, it's over 14 percent. The reasons are obvious: long and late hours, demanding work conditions and pay that many don't think is fair compensation. Almost all nurses are women, and when they get married or have children they often decide to quit the business altogether.
The chief nurse at a hospital in Otaru, Hokkaido — a woman, it should be noted — told the Asahi that her department was actively recruiting male nurses because they are perceived as looking at the occupation in the long term, as a real career, as if women didn't. "We can reduce turnover," she said. The health ministry says that there are 550,000 "hidden nurses" in Japan, meaning women with nursing licenses who no longer work as nurses.
According to the National Personnel Authority, the average monthly pay for a 37-year-old nurse in Japan is ¥346,000, while that of a 35-year-old general office worker is ¥320,000, so actually the pay is slightly above average. Moreover, the Japan Nursing Association says that pay for nurses were not adversely affected by the recession five years ago. Starting salaries tend to be pegged to educational level: though all nurses must go to nursing school and pass a test, those who went to university beforehand usually start at higher salaries than those who are only high school graduates.
This is another area where men have the advantage. Men who enter nursing now tend to be college graduates, while women usually go to nursing school right out of high school, or even junior high school. Traditionally, many women became nurses by going to high schools with nursing programs. Another change that has made nursing more attractive is lighter work loads. In 2006 the health ministry implemented guidelines that mandated one nurse per seven patients in a hospital. Previously, the ratio was one to ten.
Tags: technical schools


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OMAHA, Nov. 1 (UPI) -- Democratic nominee for U.S. Senate in Nebraska Bob Kerrey Thursday received the endorsement of former Republican Sen. Chuck Hagel, his campaign said.
Kerrey, a former U.S. senator and governor of Nebraska, has been in a tough battle with Republican state Sen. Deb Fischer to win the seat being vacated by Democratic Sen. Ben Nelson, who is retiring.
Hagel served in the U.S. Senate from 1996 to 2008 and has a reputation for being an individualist and crossing political lines. Hagel and Kerrey served together in the Senate and both are Vietnam War veterans who developed a friendship, the Omaha World-Herald reported.
Recent polls indicated the race, considered crucial if the Republicans are to take over the Senate, is tightening. A World-Herald poll this week indicated Kerrey trailed by 3 percentage points.
Republicans downplayed the endorsement, saying Hagel hasn't lived in Nebraska since he left the Senate.
"They have long been friends. It's not a surprise," Nebraska Republican Party Chairman Mark Fahleson said. "It's just another out-of-touch, longtime Washington insider endorsing another out-of-touch Washington insider. At the end of the day, Chuck Hagel has long lost touch with Nebraskans."


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x2go Server and Client
With x2go you can access your desktop using another computer -- that means both LAN and internet connections. The transmmission is done using the ssh protocol, so it is encrypted. By using the free nx libraries from NoMachine, a very acceptable permformance in both speed and responsiveness is archieved. Even an ISDN-connection runs smoothly.
This makes it is possible to connect your laptop to any computer with the environment, applications, and performance of the remote desktop. It is also possible to have a bunch of computers connected to one computer (terminal-server, thin-client).
Clients are available for Linux (Qt4 and Gtk), Windows and Mac. The latter two can be downloaded directly from the x2go homepage.
x2go and Arch Linux
Arch Linux x2go packages are available in the AUR. Currently the server, and the gtk/qt clients are available. The LDAP based usermanagement suite is not yet finished, nor are tools that make x2go more convenient for use in schools and thin client environments. But work is going on.
Installation and configuration
Installing the server
Install the x2goserver package. In order to do this, one must build x2goagent first. This is only tricky because x2goagent requires the compiled sources of nxcomp, nxcompext, and nxcompshad to be available to it. After building each of the dependancies, make sure the src directories available in the following directory structure:
./nxcomp/src ./nxcompext/src ./nxcompshad/src ./x2goagent (this is the one you build at the moment)
Installing the client
Install the x2goclient (for qt) or x2goclient-gtk (for gtk)
Configuring the Server
Given a working X-server plus Desktop-Environment (e.g. KDE) or window manager, you have to do the following:
a) Install the ssh-daemon using
pacman -Sy openssh /etc/rc.d/sshd start
If the TCP-wrapper is active (see /etc/hosts.deny or /etc/hosts.allow), you have to include sshd there. To have sshd started at boot time, you also have to put it into the daemeons line in /etc/rc.conf, e.g.
DAEMONS=(... network ... sshd ...)
b) Load the fuse module to let the client access the directory in read and write mode on the server.
modeprobe fuse
To have this module loaded at boot time, you also have to put it into the MODULES line in /etc/rc.conf, e.g.
c) Some users or groups have to get the rights to run a program as root.
pacman -Sy sudo visudo
An example for an entry in this file for all members of the group users:
%users ALL=(ALL) NOPASSWD: /usr/bin/x2gopgwrapper
d) Initialize the SQL database and start the SQL server
/etc/rc.d/postgresql start
This creates internally used tables of PostgreSQL. Now the x2go database and its tables are created this way:
cd /usr/lib/x2go ./x2gocreatebase.sh
The SQL-server and the x2goserver have to be restarted:
/etc/rc.d/postgresql restart /etc/rc.d/x2goserver start
If you want to have this services started at boot time,, include them in the DAEMONS line in /etc/rc.conf
DAEMONS=(... network ... sshd ... postgresql ... x2goserver)
Configuration of the Client
Convince yourself that you can open a ssh-session from the client to the server (host).
ssh YourUsername_onServer@yourhost_or_ip
Within the local network this should not be a problem. The way you connect from beyond your network, lets say the internet, to your comuter at home is a question of how your network is build up. This would go beyond the scope of this article. Therefore here only a few items:
- A port has to be opened at the router resp. gateway which forwards requests to your server, and there especially to the sshd-port (which normally is 22). To prevent a big part of the portscan attacks it is probably better to have 222 as publicly reachable port.
- To prevent you from having the need to keep your public IP address in mind (especially if this changes dynamically) it is advisable to use a dynamic DNS-Service (DynDNS, DynIP). Many routers are preconfigured to be reachable under a name rather than an IP address.
Enough preliminaries! Now to the x2goclient. Run
This opens the client application. Now you can create several sessions, which then appears on the right side and can be selected by a mouseclick. Each entry consists of your username on the server, hostname and IP and the port for ssh-connection. Furthermore you can define several speed profiles (coming from modem up to LAN) and the desktop environment you want to start remotely.
Easy made mistakes: Do not simply choose the defaults of KDE or Gnome, since the executables startkde or startgnome are usually not in the PATH when logging in using ssh. Use full paths to startkde or startgnome. You can also start openbox or another window manager.
You should be asked for your password for your user at the server now and after login you will see the x2go logo for a short time, and -- voila -- the desktop.
Exchange data between client and server(desktop)
On the x2goclient (e.g. laptop) local directories could be shared. The server will use fuse and sshfs to access this directory and mount it to a subdirectory media of your home directory on the server. This enables you to have access to laptop data on your server or to exchange files. It is also possible to mount these shares automatically at each session start.
To leave a session temorarily
Another special feature of x2go is the possibility of suspending a session. This means you can leave a session on one client and reopen it even from another client at the same point. This can be used to to start a session in the LAN and to reopen it later on a laptop. The session data are stored and administrated in a potges databse on the server in the meanwhile. The state of the sessions is protocolled by a process named x2gocleansessions.
At the moment the package consists mainly of the x2goserver and the x2goclient. It is planned to add in near future:
- LDAP-Integration. This allow the administration of users, sessions and logins using LDAP. This is an interesting feature for schols or companys. For this purpose there are control programs which integrate themselves into the KDE Control Center.
- The client for the command line. Furtermore the option to use x2goclient as an login screen for thin clients.
- the possibility to use locale devices (CD, floppy, USB-stick) remotely and transparently.
Questions and problems? You could contact me also directly. GerBra
(Many thanks to Stefan Husmann for translation from archlinux.de wiki)
Screenshot configuration dialog


text:
£42.99 £84.99 You Save 49% (£42.00)
Type: Polo
Gender: Men
Sleeve Length(cm): Full
Pattern Type: Solid
Type: Slim
Style: Casual
Material: Cotton
Decoration: Button
Feature: Breathable
Color Style: Solid
Our goal is to offer you the best shipping options, no matter where you live. Every day, we deliver to hundreds of customers across the world, ensuring that we provide the very highest levels of responsiveness to you at all times. Generally, most orders will ship from Asia or the United States.
Please Note: We need 3-5 working days for manufacture, so our customers can receive the product in 8 -14 working days via Express Delivery.
Important note: Please note that all estimated shipping times stated are based on normal conditions. Every once in a while, we do experience heavy international shipping volumes, especially during the holiday seasons. Also, do note that customs in some countries do take longer times to clear and scan incoming packages, which explains for the difference in the estimated shipping times stated above.
You can always 'Track Your Order' and how it is being processed by simply following the link in our store.
We are dedicated to providing our products at optimum prices. Therefore Buyer is responsible for paying Tax involved, such as Import Duties/Tax, VAT etc.
Customs fees depend on the laws of your country. In the majority of cases you are not required to pay any customs fees. We mark all our orders as low-value gifts. Moreover, we send larger orders in separate packages to avoid such charges.
Countries We Ship To
Shipping Charges apply according to locations below:
Albania, Andorra, Austria, Australia, Afghanistan, Argentina, Belarus, Belgium, Brazil, Bulgaria, Bahrain, Bangladesh, Bhutan, Barbados, Canada, Croatia, Cyprus, Czech Republic, Cambodia, Chile, Denmark, Estonia, Faroe Islands, Finland, France, Georgia, Germany, Gibraltar, Greece, Greenland, Guadeloupe, Hungary, Iceland, Ireland, Italy, India, Indonesia, Israel, Japan, Jordan, Kazakhstan, Latvia, Liechtenstein, Lithuania, Luxembourg, Macedonia, Republic Of, Malta, Monaco, Montenegro, Malaysia, Maldives, Mongolia, Myanmar, Netherlands, Norway, Nepal, Pakistan, Poland, Portugal, Paraguay, Russia, Serbia, Slovakia, Slovenia, Spain, Sweden, Switzerland, Saudi Arabia, Sri Lanka, Turkey, Ukraine, United Arab Emirates, United Kingdom & United States.
Hello! Welcome to our Frequently Asked Questions section. Below is a list of answers to some of the most common questions.
We hope you find this section helpful, however if you've any other questions or concerns that we've not covered in our FAQ's section then please contact us and we will be happy to answer to your queries.
1) Do you offer free shipping?
Yes! Shipping is free on our priced watches on all locations. There is no minimum purchase requirement.
2) Do you offer international shipping?
Yes! We offer international shipping to all the countries mentioned (Please see 'Shipping Info')
3) Which Postage Service is used for international shipping?
For UK & US orders they are shipped by e-packet with tracking, which is a US Postal Service product. For all the other international destinations, we use China Post Air Mail with tracking.
4) Can I Track My Order?
Yes, you can track your order status and how it is being processed by following the 'Track Your Order' Link.
5) Do I have to pay custom fees?
We are dedicated to providing our products at optimum prices. Therefore Buyer is responsible for paying Tax involved, such as Import Duties/Tax, VAT etc.
Customs fees depend on the laws of your country. In the majority of cases you are not required to pay any customs fees. We mark all our orders as low-value gifts. Moreover, we send larger orders in separate packages to avoid such charges.
6) What is the payment option offered?
We accept most major debit and credit cards including Visa, American Express and MasterCard. We also accept payments by PayPal & Apple Pay.
7) How many days will it take to receive the watch once ordered?
The delivery time varies. After processing and leaving the warehouse, the ordered items usually take between 7 to 14 days to reach its destination. Please note that the estimated delivery time is shown at the time of checkout.
8) Can I return the product if I am not satisfied with my purchase?
Yes! You can return the product within 30 days of the purchase of the product. The product must be in the same condition as received and unused and must be in the original packing.
9) Can I cancel my order after I've placed it?
Unfortunately, orders cannot be changed or cancelled online. We begin preparing your order immediately after it is placed. This time frame makes it difficult for us to change or cancel your order; however, we'll do our very best to support your request. In case of cancellation please get in touch with us as soon as possible through the 'Contact Us' page.
Our policy lasts 30 days. If 30 days have gone by since your purchase, unfortunately we can't offer you a refund or exchange.
To be eligible for a return, your item must be unused and in the same condition that you received it. It must also be in the original packaging.
Several types of goods are exempt from being returned. Perishable goods such as food, flowers, newspapers or magazines cannot be returned. We also do not accept products that are intimate or sanitary goods, hazardous materials, or flammable liquids or gases.
Additional non-returnable items:
Gift cards
Downloadable software products
Some health and personal care items
To complete your return, we require a receipt or proof of purchase.
Please do not send your purchase back to the manufacturer.
There are certain situations where only partial refunds are granted (if applicable)
Book with obvious signs of use
Any item not in its original condition, is damaged or missing parts for reasons not due to our error
Any item that is returned more than 30 days after delivery
Refunds (if applicable)
Once your return is received and inspected, we will send you an email to notify you that we have received your returned item. We will also notify you of the approval or rejection of your refund.
If you are approved, then your refund will be processed, and a credit will automatically be applied to your credit card or original method of payment, within a certain amount of days.
Late or missing refunds (if applicable)
If you haven't received a refund yet, first check your bank account again.
Then contact your credit card company, it may take some time before your refund is officially posted.
Next contact your bank. There is often some processing time before a refund is posted.
If you've done all of this and you still have not received your refund yet, please contact us through the 'Contact Us' link.
Sale items (if applicable)
Only regular priced items may be refunded, unfortunately sale items cannot be refunded.
Exchanges (if applicable)
We only replace items if they are defective or damaged. If you need to exchange it for the same item, send us an email through the 'Contact Us' link and you will be advised as to where to send your item to.
If the item was marked as a gift when purchased and shipped directly to you, you'll receive a gift credit for the value of your return. Once the returned item is received, a gift certificate will be mailed to you.
If the item wasn't marked as a gift when purchased, or the gift giver had the order shipped to themselves to give to you later, we will send a refund to the gift giver and he will find out about your return.
To return your product, send us an email through the 'Contact Us' link and you will be advised as to where you should mail your product to.
You will be responsible for paying for your own shipping costs for returning your item. Shipping costs are non-refundable. If you receive a refund, the cost of return shipping will be deducted from your refund.
Depending on where you live, the time it may take for your exchanged product to reach you, may vary.
If you are shipping an item over $75, you should consider using a trackable shipping service or purchasing shipping insurance. We don't guarantee that we will receive your returned item.


text:
This was the first speaking date our 2007 World Tour. Well attended, the meeting was a great start to the tour. All the talks got a great response, although I think the highlight was a demo of metasploit by Rob and Simon.
Photos by Barbie, JJ (with Barbie's camera) and Rick.
Barbie talks about Selenium
Right Click and selct View Image to see the full size image.


text:
Often the culmination of a long-held dream, an African safari can nevertheless be an expensive undertaking, and at first glance prices may seem off-putting. So that's where our affordable African safari packages come in: these tours and safaris have been selected with the aim of delivering genuine value-for-money safari experiences in Africa's iconic destinations.
Classic itineraries in Kenya or Tanzania are available with our range of affordable safaris, and with destinations such as the Masai Mara, the Serengeti and Ngorongoro Crater included on our tours, you won't miss out on any of East Africa's top experiences either.
Affordability is also the name of the game with our Botswana, Namibia and South Africa safari packages: our best-value itineraries enable you to experience some of Southern Africa's top game viewing and most dramatic scenery but at far less than you thought. We've pared down the luxury element but with classic big game destinations such as Botswana's Okavango Delta and South Africa's Kruger National Park on our itineraries as well as must-visit Cape Town and Victoria Falls - we don't think you'll miss it.
For those looking for the most budget-friendly group travel option, our African scheduled & overland tours offer maximum value for money. You'll have to forego a measure of luxury and exclusivity, as well as share a vehicle with others, but you're not going to find such a combination of price, comfort and experience anywhere else.
Browse our recommended affordable safaris or simply contact our African Safari Experts for advice on the best packages for you.


text:
Ingredients (serves 4):To Cook in the Rice Cooker:
To Prepare Separately:
Measure the rice accurately and place in the inner cooking pan. Rinse rice under water until water clears.
Add water by filling up to the water scale marked "2" for "White Rice". Cook the rice using the "Regular" setting.
Make Tempura in a thicker batter by adding an extra 2 Tbsp. of flour to the batter and keep warm.
In a small saucepan, put soy sauce, mirin, sugar and bring to a simmer over medium heat.
When rice completes cooking, fill each serving bowl with rice and top with Tempura. Drizzle the prepared sauce and serve immediately.
© All rights reserved.


text:
The City of Denver is looking for help finding relatives of five memorials that used to decorate City Park Golf Course.
Five Memorial Benches In Limbo At City Park Golf Course
Sponsored By
Program: CBS4 News EveningCategories: News, Local News, KCNCTV
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Police Investigate Homicide At Shopping Center Parking LotDenver police say a man was found dead when they investigated a suspicious vehicle in the Green Valley Ranch neighborhood.
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Pride Parade To Close Some Streets In DenverThe pride parade is scheduled for Sunday morning.
Peoria On-Ramp To I-70 Closed Due To ConstructionThe Central 70 Project is 25% complete.
'Together With Karen Leigh' Show, 6/14 & 6/16"Together With Karen Leigh" airs weekly on CBS4 Friday at 6:30 p.m. and again on Sunday morning at 7:30 a.m.
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Children's Hospital Employees Volunteered Landscaping SkillsThey helped spruce up Fletcher Community School.
Copsicle Cruiser Helps Officers Mingle With CommunityDenver police hit the streets with frozen treats on Friday.


text: Whistler Tree Adventure Tours Explore the forest through network of bridges, boardwalks and platforms suspended in the trees on the TreeTrek Tour Conquer tightropes, planks, swinging logs, ziplines, cargo nets and ladders on the Treetop Adventure Course A fun adventure for families, kids and adults, any season of the year Tours Information Offers Reviews Tour Description Price Ziptrek TreeTrek Tour Guided family-friendly adventure for all ages. A fully guided ecology based tour that takes guests through the treetops on a series of suspension bridges and observation platforms. From $59 per person Superfly Treetop Adventure Course Traveling from tree-to-tree, navigate a variety of elements including suspended bridges, swinging logs, Tarzan swings, zip-lines and tightropes. The courses are colour coded and increase in height and level of difficulty. This tour runs in Summer only. From $70 per person *Please note tours and pricing are subject to change. Whistler Tree Adventure Deals Information Ziptrek TreeTrek Tour Discover secrets of the ancient rainforest from your birds eye view in the treetops of magnificent cedars, hemlocks and firs that are the setting for your guided, interpretive TreeTrek Canopy Walk adventure. TreeTrek is a fully guided ecology based tour that takes guests through the treetops on a series of suspension bridges and observation platforms. TreeTrek tours run in all weather conditions 365 days a year. This tour is a family-friendly adventure for all ages – no ziplining required! The oldest guest was a spry 93. Infants enjoy TreeTrek too - in a backpack. If you don't have a backpack, one can be provided. Just make sure to let us know at the time of your booking as supplies are limited. This is a guided tour. Allow 1.5-2 hours. Superfly Treetop Adventures Superfly's Treetop Adventure Course is a challenging and exhilarating way to experience the forest: bridges, rope swings, tight ropes, monkey bars, and ziplines to name just a few. Superfly has a built a treetop adventure specifically for 7-to-13 year olds. If you want to find the highest concentration of smiles in Whistler, come check out SuperFly Kids. Minimum age is 7-years-old, must be able to reach 180cms (5'11") for Full Course and 140cms (4'7") for Kids Course. This is a self-guided tour. Allow 2-3 hours round trip. Tours depart hourly from 9am to 5pm.


text:
Chile earthquake of 2010, severe earthquake that occurred on February 27, 2010, off the coast of south-central Chile, causing widespread damage on land and initiating a tsunami that devastated some coastal areas of the country. Together, the earthquake and tsunami were responsible for more than 500 deaths.
Earthquake and tsunami
The magnitude-8.8 earthquake struck at 3:34 am. The epicentre was located some 200 miles (325 km) southwest of the Chilean capital of Santiago, and the focus occurred at a depth of about 22 miles (35 km) below the surface of the Pacific Ocean. The earthquake—resulting from the rupture of a 300- to 375-mile (500- to 600-km) stretch of the fault that separates the South American Plate from the subducting Nazca Plate—was felt as far away as São Paolo, Brazil, and Buenos Aires, Argentina. A 2014 study contended that water pressure built up between the two plates had been the catalyst. The initial event was succeeded in the following weeks by hundreds of aftershocks, many of them of magnitude 5.0 or greater. The temblor was the strongest to strike the region since the magnitude-9.5 event of 1960, considered to be the most powerful earthquake ever recorded. (See Chile earthquake of 1960.)
Because the region's violent tectonic history had made it a focus of seismological study and monitoring, extant GPS sensors installed in Chile and neighbouring countries allowed the detection of subtle shifts in the location of cities, including Concepción and even Buenos Aires, as a result of the quake. A NASA computer model ascertained that the powerful force of the subducting plate had shifted Earth's axis sufficiently to shorten the day by more than a microsecond. A study of the aftershocks released in 2014 indicated that two anomalously dense rock structures beneath the South American Plate, previously undetected, had likely slowed the rupture and, as a result, intensified shaking at the surface.
Stress brought on by the convergence of the two tectonic plates caused rocks to shatter along the boundary between them. This forced a portion of the seabed upward, displacing the water above and triggering a tsunami. The Chilean town of Constitución was inundated by waves as high as 50 feet (15 metres), and the port of Talcahuano was damaged by a wave measuring nearly 8 feet (2.4 metres) high. Traveling across the Pacific Ocean at nearly 450 miles (725 km) per hour, the tsunami encountered the Juan Fernández Islands, located approximately 420 miles (675 km) off the coast of Chile. Although observers on the largest of the Juan Fernández Islands reported waves as high as 10 feet (3 metres), the tsunami weakened significantly before it reached the coasts of California, Hawaii, New Zealand, and Japan over the next several hours.
A study published in August 2014 noted that the temblor triggered small earthquakes in Antarctica. It was the first direct evidence that earthquakes could trigger secondary seismic events in the Antarctic's ice sheets.
Though damage to structures within the zone of the earthquake was likely limited by stringent building codes instituted in the wake of the 1960 earthquake and revised several times during the 1990s, many buildings still sustained significant damage, including nearly 400,000 homes. Particularly affected were Maule and Biobío, two first-order administrative districts along Chile's southern coast. Large areas of Biobío were left without major services, including water, electricity, and gas, and the tall buildings of Concepción—the capital of the district and one of Chile's largest cities—were among those most severely damaged. Copper production—a major contributor to Chile's economy—was halted at several mines, though it resumed after limited power was restored the day after the quake. The weakened state of the electrical grid became apparent when large swathes of the country—including Santiago, which had already endured a week without power following the catastrophe—were faced with a daylong blackout in mid-March after a major transformer failed.
Chilean government officials estimated that two million people had been directly affected by the quake. The Chilean National Emergency Office—initially responsible for documenting the casualties—estimated that more than 800 had died. However, as the Interior Ministry reviewed the data in the following weeks, the official total fluctuated significantly as missing persons were located and computational errors were discovered, leading to a reduction of the death toll by hundreds. Official tallies ultimately attributed more than 500 deaths to the disaster; 150 of those casualties were caused by the tsunami. Most fatalities occurred in the Maule district, with further deaths occurring in Biobío and in coastal and island areas damaged by the tsunami. In Concepción the limited availability of food and gasoline led to widespread looting—a phenomenon that later expanded to nonessential items such as televisions—and the consequent arrest of several dozen people. Chilean Pres. Michelle Bachelet arranged for food retailers to distribute necessities free of charge by the next day, but sporadic theft continued into the week as assistance proved slow to arrive. Isolated areas were particularly vulnerable to looting as the need for supplies became increasingly acute.
The Chilean army dispatched more than 10,000 troops to the devastated areas around the epicentre to direct recovery operations and keep the peace the day after the quake. Though Bachelet initially stated that Chile would not require assistance from other countries, she later requested United Nations aid and accepted offers of money and supplies from the United States, the European Union, and several Asian countries. At the time of the earthquake, only two weeks from ceding power to her successor, Sebastián Piñera, Bachelet was beset by criticism that her initial reluctance to deploy the armed forces was a politically motivated maneuver to avoid echoing the regime of military dictator Augusto Pinochet. However, as Piñera ascended to the presidency on March 11 in a ceremony rocked by aftershocks, much of the chaos of the early days of the disaster had subsided and reconstruction efforts were under way.
By June more than 50,000 provisional homes had been erected, and housing subsidies had been disbursed to many who had been left without shelter. A year later some who were displaced had not yet moved to permanent accommodations, and coastal areas affected by the tsunami still struggled to recover from damage to the fishing and tourism industries. However, infrastructural repairs, including those to highways and airports, were largely complete. In July 2013 the government reported that some 74 percent of the 222,000 home-rebuilding projects it had subsidized were complete. The rest of the projects were largely complete by the middle of 2014.
Precautions taken in the wake of the 2010 catastrophe were credited with saving lives during a magnitude-8.2 quake and tsunami that occurred in the northern part of Chile in April 2014. Some half a million people had participated in an evacuation drill in May 2012 in Valparaíso, and additional drills had been held in other coastal areas. Close to a million people were successfully evacuated from coastal regions following a tsunami alert in the wake of the 2014 temblor. Similar improvements to notification and evacuation procedures were noted during a September 2015 earthquake off the coast of Illapel.
Legal consequences
In May 2012 eight officials—including the director of the Chilean National Emergency Office and the director of the navy's Hydrographic and Oceanographic Service at the time of the earthquake—were charged with negligence for ignoring tsunami warnings and failing to notify coastal residents of approaching surges. Further investigation revealed in February 2013 that the Hydrographic and Oceanographic Service had attempted to alter its logbooks to obscure the fact that warnings had been dismissed. In March 2013 a seismologist from the University of Chile reached a deal that mandated additional training, and in March 2014 a supervisor on duty at the National Emergency Office when the quake struck was sentenced to probation after pleading guilty to charges of failing to issue proper notifications. In April 2016 an agreement was reached wherein the six remaining defendants would forgo a trial and instead pay a collective 235 million pesos ($236,300) to 104 families of victims lost in the tsunami. Also that month, the Chilean government was ordered to pay the families of tsunami victims some 2.8 billion pesos ($2.7 million).
Learn More in these related Britannica articles:
Sebastián Piñera>Chile earthquake of 2010). While Bachelet oversaw initial relief efforts, Piñera toured disaster sites and began speaking on the record as the Chilean leader. Piñera's inauguration ceremony, on March 11, was punctuated by two powerful aftershocks. In August 2010, 33 Chilean miners became trapped in…
Earthquake, any sudden shaking of the ground caused by the passage of seismic waves through Earth's rocks. Seismic waves are produced when some form of energy stored in Earth's crust is suddenly released, usually when masses of rock straining against one another suddenly fracture and "slip." Earthquakes occur most often…
Chile, country situated along the western seaboard of South America. It extends approximately 2,700 miles (4,300 km) from its boundary with Peru, at latitude 17°30′ S, to the tip of South America at Cape Horn, latitude 56° S, a point only about 400 miles north of Antarctica. A long, narrow…
Tsunami, (Japanese: "harbour wave") catastrophic ocean wave, usually caused by a submarine earthquake, an underwater or coastal landslide, or a volcanic eruption. The term tidal waveis frequently used for such a wave, but it is a misnomer, for the wave has no…
Epicentre, point on the surface of the Earth that is directly above the underground point (called the focus) where fault rupture commences, producing an earthquake. The effects of the earthquake may not be most severe in the vicinity of the epicentre. The epicentre can be located by computing arcs from…
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Investigations Of Experience
The painter Adolph Menzel (1815-1905) is not well-known, even in his native Germany. He was tiny and ugly and never married; he wrote in his will that "there is a lack of any kind of self-made bond between me and the outside world." Perhaps this lack of bond is what made it possible for him to devote himself so totally to the task of making pictures.
Menzel drew constantly. He drew everything. He drew with his left hand and with his right. He drew on napkins and on the backs of menus. No social event was so formal, or so intimate, it seems, as to quiet his active hands.
I heard a great writer say recently that her inspiration comes from an impulse to record, document, fix the moment, to hold on to time, to put things in words.
Menzel must have shared this impulse. But there was more to Menzel's mania.
Plato thought of the painter as merely recording an image that was delivered to the senses; it's easy to make a picture of anything, he wrote; you simply hold a mirror up to it.
Anyone who has tried to draw knows that Plato got this wrong. It isn't easy to make pictures. It is painstaking. It requires physical effort and thought.
Plato's mistake went deeper. The human action of seeing is, for Plato, also akin to holding up a mirror to the world. What we see are nothing but images.
Enter Menzel, whose work embodies a commitment to the refutation of this Platonic idea.
Sure, we look about and we name what we see. But really seeing, really noticing, discerning, finding, discriminating? This is not easy and maybe not even possible.
The world is not a given. We need to work for it, as we need to work to build a painting or reason out a drawing. First you look here. Then you look there. The visible world outstrips what can be taken in at a glance. Seeing is active, and thoughtful. It requires a philosophical eye.
And the sketches of this compulsive and unstoppable artist, no less than his oil paintings and his gouaches, are not so much documentations of what there is, as they are investigations of the way we manufacture our own experience.
Go to the Old National Gallery in Berlin and visit with one of Menzel's smaller paintings of the 1840s such as The Balcony Room. Ask yourself this question, what do I see? Give yourself the time to realize how very difficult it is to say.
In my case, Menzel taught me that art can be a way of doing philosophy.
The quote from Menzel's will is taken from Michael Fried's beautiful book Menzel's Realism: Art and Embodiment in Nineteenth-Century Berlin (Yale University Press, 2002). My whole approach to Menzel is indebted to Fried.
You can keep up with more of what Alva Noë is thinking on Facebook and on Twitter: @alvanoe


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Cartoon like fruit illustrations. Orange, banana, pineapple, lemon and strawberry This vector art is under the Attribution Creative Commons 3.0 license That means YOU MUST GIVE ATTRIBUTION to Vector Open Stock for this artwork either if you use it in your designs or you republish in a website.
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A well put much need lesson some people need to know!
Nothing more annoys me than watching a film and having someone talk all the way through it! Didn't you just pay to see the film?
all-nighter etiqutte online
As well as comments, let's hear your survival stories...
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- Shinji Ikari
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Re: all-nighter etiqutte online
Thats where you was wrong Mr Tylor Was not in black but redthe-mental-one wrote:Yeah, I know, I revived an old post. Why? Because obviously this forum isn't used anywhere near as much as it should if a message from 2006 was like third on the list in the all nighter's section...and the etiquette guide is still relevant and still needs updating to include something about cosplayers - we're all mad and don't necessarily think enough about the costume and where we're going to be and whether it's appropriate, normally we're more thinking "oooh that'd be a cool costume" and pretty much nothing else enters into the decision to make it other than money and ability to perfect the costumeShinji Ikari wrote:you did look at the date of that post dint you it was 2006 lol
Also with regards the cosplay, I'm just assuming as I've seen you in the same one apart from one expo for over 3 years now but I suppose when you're volunteering you'll be wearing the black t-shirt...
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MOGADISHU, Somalia — Combat shook Mogadishu early Friday as government troops launched a dawn attack on a house belonging to a former warlord as part of a disarmament campaign. Seven people died in the violence.
Explosions and gunfire were heard as troops battled militiamen loyal to the former warlord.
The African Union military force in Somalia, AMISOM, said the raid was carried out near the home of a former district commissioner, Ahmed Daci. The AU said that Daci's militia fired at AMISOM, precipitating a firefight.
"During the operation, the militia was overpowered and 20 were arrested, 15 guns and an assortment of ammunition recovered," AMISOM said on its Twitter feed.
In bloody scenes that recalled the days of daily warfare in this seaside city, wounded Somalis were carted off the hospitals and onlookers helped carry or push the casualties.
The dead included four civilians, two militia members and one soldier, said police officer Capt. Mohammed Hussein. Eight people were wounded, he said.
Launched last week, the Somali government's disarmament campaign is an attempt to reduce the number of weapons in the violence-prone city. The government says some 500 guns were recovered during the first four operations. Friday's operation was the fifth.
The target of the government's disarmament campaign is the feared and powerful clan warlords. The government says the raids are taking place to ensure that the city's arms don't fall in the hands of al-Shabab militants.
However, some opposition politicians believe that the weapons drive is an attempt to silence or neutralize opponents of the government. A national election is scheduled for 2016 if the security situation permits.
"We are ready to lay down weapons for the pacification of Mogadishu, but this kind of tactic will not work," said Abdullahi Sheikh Hassan, a Somali politician whose home was also raided Friday.
Fatima Ali, a Mogadishu mother of four, said Friday's battle sent everyone in her house to the ground for safety.
"We are very terrified," she said. "We haven't heard something like this for some time."
A proposed disarmament law has been approved by the government's cabinet but hasn't yet been voted on by parliament.


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Dominique Strauss-Kahn gets preliminary charges in prostitution probe
LILLE, France – Dominique Strauss-Kahn was handed preliminary charges Monday alleging he was involved in a French prostitution ring, his lawyer said. The former International Monetary Fund chief is denying wrongdoing.
It was a stunning blow on the home front for Strauss-Kahn, a onetime French presidential hopeful whose sexual behavior has been in the international spotlight over the past year.
The French charges come two days before a New York court takes up a civil case in which a hotel maid accuses Strauss-Kahn of sexually assaulting her.
In the northern French city of Lille on Monday, investigating judges summoned Strauss-Kahn for questioning and held him for about eight hours. Afterward, Strauss-Kahn left in black sedan without speaking publicly.
Lawyer Richard Malka told reporters afterward that Strauss-Kahn was given preliminary charges of "aggravated procurement in an organized gang."
Strauss-Kahn was released under judicial supervision after paying euro100,000 in bail, and was barred from contacting others charged in the case, a judicial official said. The official spoke on condition of anonymity because the investigation is still under way.
Malka hotly contested the accusations. "Mr. Strauss-Kahn is finding himself, in large part because of his fame, thrown to the butchers," Malka said.
"No one can understand the application of the concept of procuring (prostitutes) to his situation," he said. "It is even less probable to apply the notion of an organized gang or network to describe simple libertine activity."
Another Strauss-Kahn lawyer has acknowledged that the ex-IMF chief attended orgies but was unaware prostitutes were involved.
Under French law, preliminary charges mean authorities have reason to believe a crime was committed but allow more time for investigation.
The Lille judges' questioning session had been scheduled for Wednesday -- the day of the New York hearing -- but was unexpectedly moved up.
Strauss-Kahn's wife of two decades, renowned TV journalist Anne Sinclair, is now editor of the new French version of the Huffington Post website. The site carried a banner headline Monday night reading "PRELIMINARY CHARGES" over a photo of Strauss-Kahn.
Strauss-Kahn quit the IMF after the New York hotel maid said he sexually assaulted her in May. The criminal charges were later dropped, leading the woman to now pursue the civil case.


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