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NABC Library Mission and Policies
In keeping with the Purpose Statement of Native American Bible College, the Mission of the Library is to provide the bibliographic resources, research services, and the study environment necessary to support the academic and related educational programs offered by Native American Bible College to equip Christians, particularly Native American Christians, to be effective in ministry to God, the Church, and the world.
Library Hours
|Monday, Tuesday, and Thursday
|Monday, Tuesday, and Thursday
*Except during chapel or when the librarian is teaching or an assistant is not available.
Circulation Policies
1.0 Borrowing Privileges
1.1 Eligible Borrowers
The Native American Bible College Library is for the use of the faculty, staff, and students of the college. With the approval of the college president or the library director, external users with a demonstrated need to consult our collections and local clergy of any Christian faith may register for onsite use of our collection, without borrowing privileges. The faculty, staff, and students have priority in the use of materials, equipment, staff assistance, service, and seating.
1.2 Loan Periods
|Circulating Books
|21 days
|end of semester
|Audio Cassettes
|7 days
|7 days
|Video Cassettes
|7 days
|7 days
|Transparencies & Vertical Files
|3 hours
|Library use only(2 hours, renewable for another 2 hours if not requested by another patron)
|3 hours
|Periodicals & Reference Books
|3 hours
1.3 Reserve Materials
The faculty may request that circulation material is set aside on reserve for students. Such material may be for use in the library (2 hours) or be borrowed for 24 hours, 3 days, or 7 days, at the discretion of the instructor.
1.4 Maximum Items That May Be Checked Out
To ensure that the library has an adequate supply of materials for all patrons, a maximum of 12 items (which may include up to 3 books on any one subject, up to 2 audio cassettes, and up to 2 videos) may be checked out at one time. An exemption to these limits may be made at the discretion of the Library Director.
1.5 Renewals
A patron may renew one (1) time provided the material is not needed by another borrower. This renewal may be done either in person or by a telephone call to the librarian or library assistant on duty at 843-5304 Ext. 113.
1.6 Holds/Reserves
A patron may place a hold/reserve on a circulating book, audio cassette, or video cassette which is presently checked out by another patron. When a hold/reserve is filled, the patron is notified and the media is held for 2 days. Holds/reserves can be made either on the online catalog via Intranet or in person.
When a circulating book, audio cassette, or video has as many as 3 holds on it, the loan period is reduced from 14 days to 7 days or from 7 days to 3 days, according to the type of media it is.
1.7 Check-Out Procedure
The patron must present his/her identification card along with the material (book, sound or video recording) he/she wishes to borrow. The librarian on duty at the Circulation Desk will check the material out and stamp the date due slip on the material being borrowed.
No one may check out material for another person. The borrower is responsible for any books or other library material checked out by him/her.
1.8 Interlibrary Loan
Native American Bible College has interlibrary loan agreements with four Christian college libraries. Current faculty/staff and students engaged in class related research may request to borrow books or to get copies of journal articles from these institutions.
Only after a patron has thoroughly searched the Native American Bible College Library for a particular item, should he/she submit an interlibrary loan request. The request must be submitted to the Librarian in writing on an Interlibrary Loan Request form available at the Circulation Desk. Sufficient time (at least three weeks) must be allowed for a request to be processed. All borrowed material must be returned within six weeks. The borrower is responsible for return postage. Books will be sent and returned at Library Rate. Copies of articles are for the patron to keep. To cover the cost of printing articles which arrive by fax or e-mail, the patron shall pay $0.10 per page.
2.0 Overdue Material
2.1 Overdue Fines
|Circulating Books
|$0.25 per day
|no fine
|Audio Cassettes
|$0.50 per day
|no fine
|Video Cassettes
|$0.50 per day
|no fine
|Vertical Files
|no fine
|no fine
|no fine
|no fine
|Periodicals & Reference Books
|no fine
|no fine
The maximum fine is $5.00 per item. Fines should be paid at the Circulation Desk. The fine should be paid in full. With a valid reason and at the discretion of the Library Director, a partial payment may be made, but the final payment is due before the end of the semester.
2.2 Overdue Notices and Charges
When circulating media is 14 days overdue, overdue notices are sent as a courtesy. Non-receipt of overdue notices does not relieve the patron from paying overdue fines. It is the responsibility of the patron to monitor his/her library transactions.
2.3 Procedures for Non-Respondents
A student with any overdue material(book/sound or video recording)or an outstanding fine loses his/her privilege to borrow library materials until the overdue material is returned and the fine is paid. At the end of each semester, failure to pay fines, to return library materials, and/or to pay for lost materials may prevent a student from taking final examinations, and will prevent the student from receiving grades/transcripts, receiving a diploma, or registering for a new term, until the delinquent account is settled. Any exemption to this policy is at the discretion of the Library Director.
3.0 Replacement of Lost or Damaged Materials
3.1 Damaged Materials
Fines on damaged books, sound or video recordings, etc. will be determined by the Library Director and the Administration. If the material is damaged beyond repair, the patron will be charged the replacement cost of the said material.
3.2 Lost Materials
The replacement cost for a lost book, sound or video recording, or any other library material, as well as any necessary processing fee, will be charged to the patron. This cost will be determined by the Library Director and the Administration.
4.0 General Guidelines for Library Patrons
4.1 Library Classification System
Books, sound and video recordings, and CD-ROM's are classified according to the Dewey Decimal System. Card catalogs for these are located in the appropriate areas of the Library. The online catalog (a work in progress) is accessible via campus computers.
4.2 Use of Library Equipment
Audio and video equipment may be used in the AV Room only. Computers and printers are available at the appropriate stations in the Library. Upon request, the librarian will assist the patron in locating the desired CD-ROM.
4.3 Common Courtesies
The Native American Bible College Library has been equipped and furnished by many individuals and groups across the United States. The Library houses collections of books (reference books and stacks), video recordings, sound recordings, CD-ROM's, periodicals, newspapers, vertical files, etc. Patrons are asked to be good stewards of the materials that have been provided and to adhere to the following rules:
- No eating or drinking is allowed in the Library.
- There is to be no talking above a whisper. If a discussion is necessary, the parties involved should step out into the hall.
- Any waste paper etc. should be thrown into the wastebasket. Chairs should be pushed in.
- Library materials (books, files, journals, videos, etc.) that have been pulled must be left at the designated areas for the librarian to shelve or file. Please refrain from "helping" the librarian.
- Unattended children will not be permitted in the library. If it is necessary for a parent to bring a child with him/her when doing library studies, the parent is at all times responsible for the child.
- While on duty, student library assistants possess the full authority of the librarian in maintaining order.
Ask the Librarian
Librarian: Liisa Kelly
Phone contact: 910-843-5304 ext. 1013
E-mail: email@example.com
Rev. 3/19


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subset: commoncrawl


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Nokia Camera Beta has been updated with a UI tweak foe the photo library. If you're on the normal version its not worth switching to the beta just for this. But if you wish to try it or if you're already in the beta bandwagon, go update here's the link
Facebook Beta has also been updated and here's the link. By the way, do you like the Facebook app from Microsoft? We do not like it much and feel its limited by features, share what you think in the comments.
And in other news EvLeaks has a tweet for you.


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Kazakhstan and Russia on their way to joint air defence system
The legal framework of the joint air defence system of Kazakhstan and Russia has been completed, and its practical implementation has commenced, Tengrinews reports citing RIA Novosti.
Kazakhstan Minister of Defence Imangali Tasmagambetov met with his Russian counterpart Sergei Shoigu on April 16 within the framework of the International Security Conference in Moscow, Russia that brought together 400 representatives of 70 countries, including 15 ministers of defence and representatives of six international organisations on April 16-17.
He added that the commander of the system who will be selected jointly by Kazakhstan and Russia, had not been appointed, but the candidate for the position had been approved by the Russian President Vladimir Putin and that President of Kazakhstan Nursultan Nazarbayev would soon announce his decision. "Therefore, the system virtually enters into force in practice," Tasmagambetov said.
Kazakhstan and Russia on their way to joint air defence system. Military. Tengrinews.kz


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alpha h liquid gold: look fantastic (£31.50)Cult Chemical Exfoliator
I've been using Alpha H Liquid Gold for around 6 weeks now so I think its about time for me to get a review of this up. When I bought it I didn't really know what it did, It was definitely one of those buy now, think later products. Everything I heard about it seemed to be overly positive so I thought it was a bandwagon I'd just have to jump on.
Liquid Gold is basically a chemical exfoliator, it contains Glycolic Acid which breaks down the dead skin cells and as a result it leaves your skin looking glowing, plumped and fresh. It's hard to explain the overnight difference when using Liquid Gold unless you can see it for yourself and even harder to explain. My skin looks so much healthier and happier the day after I use it. I try and use this twice a week, I saturate a cotton pad and apply it before I go to bed after removing makeup and washing my face. I've noticed a HUGE differnce in some of the scarred areas of my skin and a patch of hyper pigmentation also virtually disappearing. I feel it has dramatically reduced the ammount of spots I get as well as speeding up the healing time of active breakouts. I don't particularly have bad skin like acne or similar skin problems, I just tend to a regular crop of spots that like to make themselves known on my chin when Im lazy with taking my makeup off or eat alot of dairy! But I have noticed since adding Alpha H Liquid Gold to my skincare routine these sorts of breakouts seem to be less frequent and heal much quicker.
The price tag of Alpha H Liquid Gold won't be to everyones taste. I think it's a fair price for 100ml of product when you only use a tiny bit of it and especially once you see the incredible difference this can make to your skin. I've skipped normal exfoliaters in the past as they tend to irritate my skin way too much and leave my skin looking more drab and sore than radiant and glowing. It's hard to explain what Liquid Gold really does to the skin without seeing it for yourself. I can wholeheartedly say that do I think it's a product you have to try before getting the hype. Personally though, I love it and will 100% be continuing to use this! I can totally see why it's a cult product and incredibly hyped up at the moment.


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Shipments from this vendor are temporarily suspended. Contact us for details.
Flora LED Ceiling Flush Mount features an Opal glass diffuser with a Dark Smoke, Black, or Bronze finish. One 25 watt 120 volt LED module is included. Dimmable with line voltage and low-voltage electronic dimmers. 24.1 inch width x 7 inch height. UL listed for indoor damp locations. Made in the USA.
1 x LED/25W/120V LED
LED module included
Since 1974, just as ancient hand-forging techniques live on at Hubbardton Forge, our design is truly timeless. Simple. Classic. Elegant. Original. Form and function are inseparable in every piece we design. From heavier gauge metals, custom turnings and superior internal components, to environmentally sound powder-coated finishes, we strive to create structural integrity... products that will endure. Blended with the time honored traditions of forging are some of the best applications of modern technology. Our award winning, environmentally sound finishing systems provide the quality and efficiencies that allow us to spend our time doing what we do best - designing and hand forging our products.Made in the USA.See more from Hubbardton Forge


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Schools & Colleges
Apply Now
With over 4,000 universities in the US, that places us in the top 5%. Some other rankings and pride points:
© The Regents of the University of Colorado, a body corporate. All rights reserved.
Accredited by the Higher Learning Commission. All trademarks are registered property of the University. Used by permission only.


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Know what device every visitor is using to visit your website.
Use that knowledge to deliver a richer user experience and drive business growth.
Take your website to a whole new level.
Read More Downloads
51Degrees provides deeper insights into user preferences and device-specific behaviour, for mobile network operators and their suppliers.
Enhance your analytics, maximise your network and improve your customer services and targeting with TAC data from 51Degrees.
Read More Contact Us
Discover how your customers are viewing your website - what device, what screen size…
Learn how your website performs and discover great insights into how customers behave based on their device.
Richer content, better user experience, increased engagement.
Identify the connection speed and quality of every website visitor.
Deliver a better user experience on your website, by tailoring your content based on your customer's connection.
Great user experience, reduced shopping cart abandonment, better performance.
51Degrees legal terms and conditions.
The ability to quickly segment audiences, target appropriately and optimise ad creative based on accurate analytics is vital for Adtech companies.
51Degrees' Device Intelligence can help you do this with it's patented technology, unrivaled accuracy and industry leading speed.
Use Device Intelligence to take your business to a whole new level.
You have invested in advertising in all the right channels, why fall at the last hurdle.
Leading advertisers use device intelligence to ensure they understand every user before delivering digital content and experiences.
51Degrees ensures your website doesn't get in the way of your brand conversations.
Publishers mobile sites often have huge page load times which results in abandoned page visits and ads not being viewed.
51Degrees enables content and advertising requests to be optimized for every user's device.
Improve user experience, drive engagement and increase advertising revenue with 51Degrees Device Intelligence.
Responsive web design is not a one size fits all solution.
With money and man hours spent on advertising don't let a poor user experience compromises a potential conversion.
Implement 51Degrees server-side to optimize content faster, resulting in an improved user experience and increased conversion rates.
Leading digital agencies need to keep up to date with the latest trends and tool sets to ensure your clients get the best results can be a challenge when you are busy managing the day to day demand from clients.
Using 51Degrees you can adapt online content to maximise the potential of online conversions and steer the end user purchase path.
Plugin us into yours and your clients' web platforms and see a more granular level of detail about the devices used for clients site.
Your platform is dependent on accurate device data to support improving client-side performance by optimizing user experiences server-side
51Degrees provides the fastest and most accurate device information, including 217 device properties such as retail price, vendor, device age, screen size and more to allow more granular analytics and better content optimization
We support over 20 leading CMS platforms.
Find out how our products have been used to improve user experience and to maximise revenue.
Read Case Studies
To generate these results in your business contact us.
Contact Us
Understand how 51Degrees works with web platforms.
Learn about APIs for .NET, C#, C, C++, Java, Node, PHP, Perl, Python, NGINX, Varnish and JavaScript.
Browse API Docs
There's documentation about the data model, migrating from competitors and how 51Degrees works.
Read More
Download Premium or Enterprise data with a paid for licence key or login.
Download Data
Download open source APIs for .NET, Java, C, C++, Node, PHP, Python, Perl, NGINX, HAProxy and more.
Select an API
Browse the full list of properties available in 51Degrees device detection solutions. Find out what values are supported in the Lite, Premium and Enterprise data sets, including full descriptions and advice on how they can be used.
Enter a user-agent and find out the associated device, operating system, and browser.
Blog entries focused on API changes and uses.
Community support forums for questions and answers concern all 51Degrees products and services.
Purchase 51Degrees device data subscriptions and other products and services.
Answers to common questions about 51Degrees products and services.
Find devices contained in the 51Degrees data sets by vendor, model or using free text search. View the properties and values available for each device.
Compares the major measures, licencing models and costs associated with 51Degrees, DeviceAtlas and ScientiaMobile's WURFL product.
Find out how 51Degrees redefined the device detection industry.
Logos and corporate images useful to press, bloggers and affiliates.
Mobile device emulators for Windows based operating systems recommended by 51Degrees.
Published on Friday, July 31, 2015
Competition in the multibillion dollar Android market is thriving. Over the last two years it has been notoriously dominated by Samsung. However, Samsung is not the only Android manufacturer in the battle, so the question we posed was which Android manufacturer is the front runner for second place?
51Degrees monitors and tracks more than 1.5 million websites around the world, detecting more than three billion data sessions to websites each month. This web traffic data helps to paint a realistic picture of ongoing device usage as opposed to initial sales figures.
The data starkly shows the demise of HTC. Globally, in June 2013, 25% of traffic was measured from HTC devices leaving it as Samsung's closest competitor. This is a significant proportion during this period compared to the likes of Motorola with 16%, LG 14%, Sony 8% and Asus 2%. However, of all of the Android devices measured HTC's demise is the most significant with a steady decrease during the last two years to now only 9%.
In Europe HTC's usage plummeted during early 2015. Forbes predicted this in November 2014 and put it down to "a result of competitive pressures". The fact that the HTC had developed "a series of devices that were too niche-oriented to appeal to a broader audience" was seen as the issue by IDC's smartphone research manager Ramon Llamas.
In both Germany and the UK, perhaps a reflection of Europe as a whole, Sony device web traffic has been increasing over the past two years. Since June 2013, it has risen by 12%, from 21% to 33%. So why is this?
In 2015 alone, Sony has already released six new Android smartphone devices including the Xperia Z3 series and the 'selfie smartphone' the Xperia C4 and C4 Dual. It could be argued that this ability to churn out new devices and tap into the culture of the young generation in Europe has allowed them to take more market share.
Outside of Europe, India in particular, it would seem that devices branded with a local manufacturer are preferred. In India, Micromax for example, has maintained the second place spot comfortably for two years. This could be due to availability but it could also be argued that performance is improved due to the knowledge and familiarity of the Indian market. Surprisingly, one country that bucks this trend is the US, with Motorola usage steadily decreasing over the past two years.
The 51Degrees data also shows that in the UK there has been a sharp spike in the use of budget tablet devices such as Tesco Hudl. Usage on these devices was non-existent up until the Hudl release in September 2013 and this has steadily risen to almost 10% today. This data shows that if you combine a well-known brand with a desired product that has a good price point it is likely your product will sell and have longevity. There may be more space for the cost effective android tablet manufacturers in the coming months.
According to the data Sony has globally earned the second place spot in the Android market. With rumoured devices in the pipeline such as the Xperia Z4 Ultra and Xperia C670X it would seem that Sony are here to stand their ground in the Android battle.
Author: Anonym
Categories: Analysis
Tags: Analysis


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Discover Galicia
My Guide Galicia is part of the global My Guide Network of Online & Mobile travel guides.
Galicia is a land of mysteries and surprises. Pilgrims from all over the world converge on Santiago de Compostela which is a majestic and ancient capital situated in the heart of Galicia.
My Guide Galicia is focused on offering unrivalled levels of local information. This is what we pride ourselves on, and it's our promise to our users. Galicia is run by a team on the ground who have their fingers on the pulse and write from a first-hand experience.


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The "Black Dragon" Japanese cedar (Cryptomeria japonica "Black Dragon") is a cultivar of the Japanese cedar (Cryptomeria japonica). It gets its name from its dark needle-like foliage, and is prized by North American gardeners for the color and texture it adds to the landscape. While it is a smaller cultivar of its parent, the Japanese cedar, the two share many characteristics and cultural requirements.
The "Black Dragon" Japanese cedar produces needle-like foliage and brings color and interest to the landscape from early spring onward with its yellow to light-green new growth that matures to stiff, deep black-green needle-like foliage in summer. The trunk of the "Black Dragon" Japanese cedar is covered by thick bark. This red-brown bark is one of its most appealing features, because as it ages this bark peels away in vertical strips, revealing pleasantly scented wood that is prized in the construction industry for its strength and water resistance.
Hardy to U.S. Department of Agriculture plant hardiness zones 5 through 9, the "Black Dragon" Japanese cedar prefers locations where it receives full sunlight, although it will tolerate partial shade. Once it has established, "Black Dragon" Japanese cedar needs only occasional watering when the soil has dried to the touch. It does best in fast-draining, acidic soils. When planting this tree, choose a shaded location to protect it from strong winds that can cause the foliage to dry out.
In the landscape, the "Black Dragon" Japanese cedar grows to between 6 and 7 feet tall, with a spread of 4 to 6 feet wide, although it can reach heights of 10 feet in ideal growing conditions. This conifer grows slowly, taking on a dense, pyramidal shape. The parent species of this tree, Japanese cedar, grows more rapidly under ideal conditions, and can reach heights of 25 feet in as little as 10 years.
Although its common name leads you to believe it is a cedar tree (Cedrus spp.), "Black Dragon" Japanese cedar is party of the cypress (Cupressaceae) family, while cedars are part of the Pinaceae family. There is only one species in the genus Cryptomeria, which is the Japanese cedar, but there are several dwarf cultivars grown from this parent plant in cultivation. Cryptomeria is one of only 10 genera that were once in the ancient plant family, Taxodiaceae, which also includes California redwood (Sequoia sempervirens), which is hardy to USDA plant hardiness zones 7 through 10a, giant sequoia (Sequoiadendron giganteum), which is hardy to zones 6 through 8, and bald cypress (Taxodium distichus), which is hardy to zones 4 through 9. However, because of their similar characteristics, botanists have since combined this ancient plant family with the Cupressaceae family.
Landscape Uses
Japanese cedar and its cultivars have been used as ornamental plants in Japanese landscapes for centuries, and they also make suitable bonsai plants. In North American landscapes, the "Black Dragon" Japanese cedar grows well in large containers on decks and patios, and it makes an attractive specimen plant as well, because its dark foliage and upright growth habit makes it stand out. "Black Dragon" Japanese cedar can also be included in mass plantings or as a border plant along driveways and garden paths.


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Next beach walk: A dish hunt?
You've all heard the old adage "You eat with your eyes first". As a Chef, I'm always looking for ideas for making a plate appealing. If it looks attractive, I can be sure it will be gobbled up by my guests and besides the quest is fun! I look for pretty dishes everywhere I go – even on my recent trip to Marco Island, a place known for its beautiful shells washing up on the beach. As well as shells for table decoration, I was looking for dishes. Yes, I said dishes!
When you find your shells, first sanitize them by dissolving one "San Tab" (available at Gordon Foods) in a gallon of water. Then add the shells for at least 20 seconds and that takes care of it. Be sure to also rinse them well to remove the chemicals and you've got an interesting and attractive dish. (You can also paint them with Mod Podge on the outside to make them a little shinier if you like, but don't paint the surface where you will place food.)
I looked for large white clam shells, Sunray Venus clam shells and the largest scallop bowls I could find. Most of these were out on Tiger Tail Point Beach. What's really interesting about the ocean is that different things wash up each day. One day it will be full of Fighting Conch shells and the next day you might not be able to find any at all. Different shells can be found in various parts of the beach. Make sure not to take one that's alive or inhabited, which is actually illegal. If you really want to help protect the eco system, you take those that are alive out beyond the waves and throw them out into the ocean so they will have another chance.
But let's get back to the table. Small shells went into decorative bowls. (You can leave them simply as they are or fill the bowls with water and float candles or flowers above them. You could also partially fill a vase and add flowers.) Fighting conchs, starfish and a sand dollar became appetizer tray decorations. Larger shells became containers for little specialties I like to make. The larger shells could simply be handed to people with appetizers in them. I took it one step further and added them to a Bento Box (a Japanese lunch box divided into four sections. Plastic boxes can be found in Japanese grocery stores. Or, if you want beautiful lacquered ones like these, you can find them online). I found the little dishes that fit in them in all kinds of different stores on my travels as well as at Crate and Barrel.
What you see in the box below is grilled shrimp marinated in olive oil, lemon juice, salt and pepper and perched on purchased Quinoa-Vegetable Salad, marinated chicken skewers, lump crab and a crab cake topped with a little fresh thyme. The sauces are Sweet Chili Sauce and Thai Peanut Sauce – both simply purchased. On the clam shells on the appetizer tray are seared scallops topped with shredded ribs, Sushi and sashimi. You don't have to use these exact things. Just use little things that you like to make and don't forget about your leftovers for toppings or other little creations. Simply have fun with it!
To make the ribs: Cut four pounds of bone-in ribs into four pieces. Sprinkle with salt and pepper and sear in hot oil in a Dutch oven. Then spread a small can of tomato paste on the meaty side. Turn them over so the tomato side is down. (Heating the tomato sauce sweetens it.) Add 1 cup of beef stock. (If you don't make your own, I like the Kitchen Basics brand the best.) Cover and bake for 2-1/2 hours at 350 F – or until the meat pulls away when you rake a fork over it. Remove the meat and chop it. Freeze any extra for another meal.
The marinade for the chicken is ½ cup Sesame Seed oil, ½ cup Soy Sauce, 1 Clove minced Garlic, 1 minced Green Onion, 2 Tablespoons Hoisin Sauce. Pinch of Cayenne Pepper, 1 Tablespoon Curry Powder and 1 Tablespoon ground ginger. Marinate for at least 45 minutes and then cook them in a pan. Remember to soak your skewers ahead of time so they won't burn.
To make the crab cake: Mix 1 pound of crab with 1/4 cup chopped pepper, 1/4 chopped shallot, ¾ cup Pepperidge Farm Herb dressing (first mixed with 2 Tablespoons Dijon or Mucky Duck mustard and 1 egg and then added to the mix) and salt and pepper to taste. Press into cakes and dip in Panko. Fry in butter. Enjoy!


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Plan for data backup problems, and know cloud's limits
When it comes to backup and recovery, what can go wrong will go wrong.
"What we see typically is backup windows are missed. I'm going to say something a little different. Just plan on them being missed," said George Crump during his presentation at Storage Decisions in discussing backup problems. "Here's another one: Plan on backup jobs failing."
Crump said that getting 100% perfection for every data protection measure in a large enterprise is "really hard." He said that environments should be built with the assumption that backup problems will appear at some point.
While cloud backup is now being pushed for DR, it has its limits, and services can vary widely from vendor to vendor. Crump gave an example of a cloud backup vendor who claimed any application could be run from the vendor's cloud and that their service could replace tape.
But the vendor does not offer a service-level agreement (SLA) to guarantee a customer's access to data and applications stored in the cloud.
"I'm not against disaster recovery in the cloud. I'm against being there forever if you don't want to be," said Crump. "And if you want to be, I want to have an SLA that says, 'Yes, your application is going to run perfectly well in the cloud.'"
The rise of disaster recovery in the cloud
Disaster recovery in the cloud can take many forms, including a straight public cloud or any number of hybrid offerings.
Is backup necessary for data stored in file sync services?
Eric Slack of Storage Switzerland discusses whether it is necessary to back up data stored in file sync services in this Expert Response.
Cloud backup versus cloud storage comparison
Cloud hype has blurred the cloud storage and cloud backup, recovery and restore line. This tip will offer a cloud BURR versus cloud storage comparison.


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This is the product page for: WIDE FIT Yellow Bow Ballet Pumps
Image carousel, press Enter to cycle through the images, press the Z key to zoom in and out of an image. Once zoomed in, use WASD keys to pan around image.
Stay sassy with colourful ballerina pumps. Yellow may not be a colour you usually turn to, but it's easier to work into a look via shoes. It adds a fabulous splash of the hue without going top-to-toe canary. With an extra wide fit, these shoes aren't just stylish, they're comfy too and easy to slip on with your black and navy blue jeans, or your floral midi dress.
Your shopping bag is empty.
Content is loading, please wait.


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Temple Run 2 Released for iOS, Android Version Coming Next Week
The hugely popular Temple Run has now got a sequel, Temple Run 2. The game was just released for iOS, but Android users will have to wait till next week.
The game is a lot more interesting now, with the runway twisting and turning, instead of being straight like in the first version. You also have to control moving carts which channel you through tunnels.
Collecting coins is still the objective if you want to achieve a high score. Collecting enough coins will give you power ups in the game to use right there and then.


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One of the more rewarding aspects of my job as a partner with Baker Tilly is the opportunity to attend many business and civic events within the Madison (Wis.) community. This allows me to go to events that often feature outstanding speakers. I enjoy these outings; they fulfill a professional curiosity to learn something new. It was one of these events that led to my decision to donate a kidney through the University of Wisconsin (UW) Hospital and Clinics' organ transplant program.
In the fall of 2009, a monthly breakfast meeting of Downtown Madison Inc. showcased speakers from the National Kidney Foundation and the UW transplant team, who spoke about the U.S. Transplant Games. The games, which were scheduled in Madison during the summer of 2010, are four days of Olympic-type competitions, open to any athlete who has received a lifesaving organ transplant. I was surprised to learn that, at any given time, about 100,000 people are on a waiting list to receive a transplant. About 80% of them need a kidney.
I guess the enormity of the problem weighed on me. Over the years, I've experimented with different ways of giving back and helping others. A few days after that breakfast, I went online to the UW transplant website to research kidney transplantation, especially from the donor's perspective. I wanted to know, "Did donating shorten life span? Would it compromise my quality of life? What were the risks?"
Through my research I learned that UW medical transplant teams perform about 300 kidney transplants a year. About 200 of the donated kidneys are from deceased donors. More than 90 are from living donors, such as siblings or parents. The remaining few are from "humanitarian" donors, a nice way of saying living strangers.
I let the idea of becoming a humanitarian donor percolate for a while. In April I finally contacted the UW transplant office to begin the process of becoming a donor. That meant blood work, a CT scan, other tests, and lots of conversations with psychologists and sociologists, who made sure I was of sound mind and understood what I was doing.
Aside from my wife, Linda (who was concerned about the risks but was resigned to my decision), I didn't tell anyone—not friends, colleagues or even our three adult children—about my decision until two days before I went into the hospital. I didn't want people "admiring" me for doing this; I wasn't doing it for my ego. I was doing it to help solve a problem.
On Dec. 10, 2010, I got a call that my kidney was needed on Dec. 16. Despite all the preparation and testing, I still went to the hospital rather naively: I honestly believed I would be discharged from the hospital in two days, even though I was told it would be three or four. Unfortunately, I experienced some painful complications. The normal three-hour surgery lasted six, and I had to remain in the hospital for almost a week. Thankfully, once I came home, my health accelerated very quickly to full recovery.
What I really underestimated was the reaction of folks. I can't tell you how many heartwarming cards, letters, e-mails and conversations I received. I also can't say enough about the support I received from Baker Tilly. I can truly say that my firm lives by the values of integrity, passion and stewardship. To the firm, donating a kidney was a form of giving back.
Giving the gift of life to someone I may never meet is a marvelous feeling and puts things in perspective. I encourage others to consider giving this gift, but I know that not everyone can. The next best thing? Put that sticker on your driver's license, designate yourself an organ donor, and register online at donatelife.net.
—As told to Linda Segall, email@example.com,
a freelance writer from Jacksonville, Fla.
For more information on becoming an organ donor, go to organdonor.gov, or for kidney donation, the National Kidney Foundation, kidney.org.
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The possibility of suffering from a mental health condition can be gruesome. This does not mean that other ailments are good. Without a sound mind, it is impossible to utilize your senses effectively or act responsibly. The number of mental cases in hospitals is on the rise. This implies that everyone is at risk of suffering from this condition. The good news that something can always be done to improve mental health. Here are some recommendations that are good for the brain.
Sleep plays an important role in helping the brain relax. Professionals recommend at least 8 hours of sleep per day. Poor sleeping often leads to anxiety and nervousness, which are clear indicators that something is not good up there. Feeling sleepy is often a sign that your body needs to cool off. Most people take their sleep hours, but taking it in bits can serve you right as well provided the sum totals to 8 or even more.
You have every reason to watch what you eat. Poor dietary lifestyle not only affect your physique and general health, your mind too suffers. If you need to make your mind healthier, you have to eat more of certain foods and reduce others. For instance, a diet rich in omega-3 fatty acids is good for your brain. You can also have more portions of low-fat proteins like avocados and reduce the junk and processed foods.
Exercise is also key in developing your mental stamina and self-esteem. There are many ways to go about this like going for a walk in the woods. This will provide your body with fresh air and some vitamins from the sun. Another essential thing to do is to respect yourself and treat everything about you with value. Always spend time with yourself and invest in your brain.
Control what Your Mind Receives
Most of us listen and internalize anything that we hear. The sad part is that some of the messages we hear corrupt our mind and do us more harm than good. As such, develop a habit of choosing to listen to things that are beneficial – This might mean quitting social media or changing your click of friends.
Our minds are as vulnerable as our bodies. As much as the effects might not be evident at first, the mind suffers greatly. You need to take good care of your account to improve your mental health, which will better our quality of life in different ways…


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How We Work
Children can start at the Heron Park Nursery once they are 2 years of age.
Settling in visits
All children are unique and the amount of time that a child takes to settle into our nursery can vary enormously. Therefore, children will be given time to settle in at their own pace, so as to make them feel welcome, safe and confident in a new environment.
We encourage parents to help during this time.
Key Person
We have a 'Partnership of Choice' for the key worker system, we have linked staff with children who have built relationships or are requested by the parent/carers. Keyworkers are responsible for keeping Learning Journeys up to date and assessing their development, all staff will be involved in making observations and working on individual next steps.
Daily Diary
Each child receives a daily diary which provides communication between home and the nursery. In the diary we write information on how well your child's day has gone, what activities they have been involved in, what they have eaten and information on nappy changes etc.


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Commentary by Dr Peter Westaway, chief economist and head of the Investment Strategy Group for Vanguard in Europe.
Biola Babawale: Brexit: Does the EU tie the UK in red tape? My name is Biola Babawale. I am an analyst on Vanguard's sovereign credit desk. I have with me is Peter Westaway, chief economist and head of investment strategy at Vanguard Europe.
Peter, a common complaint about the European Union is that it is highly bureaucratic. Does this bear examination?
Peter Westaway: Well, I don't think it is completely unfair to say that there are rules and regulations of the EU that maybe we sometimes would like to do without, but I think there are a lot of myths around it.
Here, we have got a couple of charts that show how much regulation there is around the product market, that is goods and services, and around employment, that is the labour market. I think what these two charts show is that in both cases, the UK is already one of the least regulated in the whole of the EU, and it is also important to remember that when we come to regulation in goods markets, many of the regulations that are in place there to make it easier for British firms to sell goods into the euro area and into the EU, so it is about harmonising product specifications and so on.
When it comes to employment regulations, I think some of the regulations that are in place, we would probably want to have in place anyway, to do with discrimination or around environmental legislation and so on. I think the idea that all of these rules will be torn up if we left the EU is a little bit too simplistic. Overall, I think we hear too much about red tape.
Biola Babawale: Peter Westaway, thank you very much.
Peter Westaway: Thank you.
Important information:
This video is directed at professional investors only and should not be distribued to or relied upon by retail investors.
This video is designed for use by, and is directed only at persons resident in the UK.
The material contained in this video is not to be regarded as an offer to buy or sell or the solicitation of any offer to buy or sell securities in any jurisdiction where such an offer or solicitation is against the law, or to anyone to whom it is unlawful to make such an offer or solicitation, or if the person making the offer or solicitation is not qualified to do so.
The information on this video does not constitute legal, tax, or investment advice. You must not, therefore, rely on the content of this document when making any investment decisions.
The value of investments, and the income from them, may fall or rise and investors may get back less than they invested. Past performance is not a reliable indicator of future results.
Issued by Vanguard Asset Management, Limited, which is authorised and regulated in the UK by the Financial Conduct Authority.


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TRIPOLI, Libya — As allied airstrikes pound the military forces of Col. Muammar el-Qaddafi, rebels in eastern Libya and politicians in Western capitals are watching closely for signs that residents in the colonel's stronghold of Tripoli will rise up to drive him from power.
But during a rare unsupervised visit Friday to the Tajura neighborhood here — a rebellious district that led the brief uprising that burned police stations around the city just one month ago— several residents warned that a crackdown by Colonel Qaddafi's security forces had left them terrified of taking to the streets again anytime soon.
Two men, speaking anonymously for their safety, said that during Friday Prayer last week about 200 armed militiamen entered the mosque and prayed alongside them, a clear and intimidating message not to join protests after the services.
"Lots of people have been detained, including some of our relatives," one of the men said. "They tell people, 'We will only release your relatives if you don't protest next Friday.' "
"People are very scared these days," he continued. "They are watching from everywhere. They have people on the rooftops."
Like many others in Tajura, the two men said that they believed their neighborhood was under the control of a private militia loyal to Mansour Dou, a wealthy Libyan businessman close to the Qaddafi family who they said lives in the area.
Many white Toyota pickup trucks — the preferred vehicle of the Qaddafi militia — could be seen cruising the streets full of armed men, and a police wagon with men carrying machine guns was parked at an intersection leading downtown. Nearby gunshots were heard during the interviews.
Several others said they were afraid to speak. A cafe emptied immediately after two Western journalists walked in. One young man who stayed, Hamza al-Hader, said he worked at the cafe. Contradicting scores of recent interviews with Tajura residents, he repeated the story told by state television. He said the few protests that took place there were led by foreign-born Islamic terrorists wearing long beards — a line that in some circles appears to have become code language meant to signal one's disbelief in the official propaganda.
Whether he was sincere or ironic could not be determined. "Qaddafi should hit back hard," he said. "I would be a suicide bomber."
Even the official minders who typically accompany foreign journalists seemed jumpy on Friday. On an official trip earlier in the day, an official minder turned back over his shoulder to warn journalists not to photograph a heavily armed checkpoint in Tajura. "I don't want to go to jail," he said, "so don't film anything."
Later, a minder was stopped by security forces — more than 15 armed men sprang out of at least six vehicles — and questioned for more than 30 minutes, apparently because he allowed foreign journalists too much latitude to roam Tajura freely.
The Libyan government has been eager to show that the allied airstrikes are killing civilians. State television, for example, has been showing images of insurgent attacks on American military vehicles in Iraq, as part of its extensive effort to draw comparisons between the allied airstrikes on Libya and the war in Iraq.
But the press office has so far failed to show foreign journalists any convincing evidence of civilian casualties. On Friday, officials escorted foreign journalists to a lightly damaged house that they said had been hit in an airstrike.
Inside the house, a man who said he worked for the Libyan security forces was directing his three young daughters — one in tears — to tell their story to Libyan television cameras. On the lawn outside were fragments of a missile, including some that appeared to have been jammed into a tree trunk by an explosion or a fall. But no one was hurt, and the little damage done to the house appeared to come from bullets rather than a missile or explosion. At least one bullet casing was found at the scene.
But some in Tajura said — apparently without official staging — that they had lost family members who were part of the Qaddafi militias as a result of the Western airstrikes. Tarak Ali Rizk said matter-of-factly that his son Mohamed, 18, was killed in an airstrike on Thursday night.
He had been a soldier in the militia loyal to Colonel Qaddafi's son Khamis, Mr. Rizk said, and was killed in a barracks in the Tajura neighborhood. Another family member standing in the same cluster of men said he also had a young relative in the militia, Nurreddin Abdel Majid Rizk, who had been killed.
Unlike the others interviewed, the men told the stories of their losses under the watchful eyes of an official Libyan government minder and militia officers. But the minder and officers spoke only Arabic, and after a few moments another man in the group interrupted in English.
"We are afraid," he said. "We can never say the truth."
Asked of what, he said, "Of many things. I cannot say."
"My heart is full," he added, "but I am afraid to say."


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West Plaza Inns and Suites in Farragut loses its operating licence. As of today, the website for the Tennessee motel shows happy children playing on the beach, an oceanfront meeting and photos of a luxurious breakfast.
The site welcomes you and entices you to come, stay and play.
Until arrival, some customers may never suspect that the website of West Plaza Inns and Suites in Farragut could be the stuff of pipe dreams and cloak and dagger deception.
The reality is much different than the sales job indicates. Not only is the hotel is hundreds of miles from the ocean, but WBIR reports that the West Plaza Inns and Suites has the distinction of being the first in Tennessee to lose its operating license. Roaches, bed bugs and no washing detergent for the sheets are a few of the reasons that were cited.
Then, if the not bizarre enough the story becomes even more strange. The West Plaza Inns and Suites in Farragut did not just lose it's license.
The marketing team seems to have lost its collective mind. Among other inaccuracies, the website claims the hotel is 'near to... Memphis and Lynchburg'. (This map shows puts the driving time between Lynchburg and Farragut at under four hours.)
Jet Patel, the hotel owner says he did not know that things were that bad and has lawyered up in response. His attorney Stephen H. Byrd tells us that the owner wants to fix up the property and get the West Plaza Inns and Suites open again. According to him it will be the 'cleanest in the state' when the work is finally completed. I hope so, but at the same time I have to wonder if all the oceanfront air is getting to the owner.
Updated note 3/28/12 at 6:55 pm: A reader asked why the shots above take you to the website. They will be linked for awhile so readers can peruse the site in its full ridiculousness. To see the shots of the West Plaza Inns and Suites for themselves, Chrome users can right click on the graphic and choose 'open graphic in new tab'. Hope this clears things up.
A savvy blog reader let us know that the links to the site are broken. We hope that this is good news. The screenshots should open in a new window for larger viewing. 4/6/12
Wednesday, March 28, 2012
West Plaza Inns and Suites loses license, Too much ocean breeze?
4 comments:
- AnonymousWed Mar 28, 11:35:00 PM EDT
This website is a classic case of "buyer beware". That's why I never book a hotel room online from any off brand. I want to see what I'm getting with my own eyes. If the place looks shady my foot doesn't hit the threshold.ReplyDelete
- AnonymousSun Apr 01, 10:08:00 AM EDT
Does the Henley Street Bridge come with the oceanfront property?ReplyDelete
this motel sucks i lived there for 6 months.there is drugs and prostitution all over the place just nasty and inhumane to put it lightley.Jet Patel is a scumbag.ReplyDelete
this motel is so nasty drugs,prostitution inhumane living conditions.the owner doesnt care bout nobody just money.he is also in charge of the ring of prostitution going on there.Ilived and worked for him for over 6 months.What a scumbag.ReplyDelete
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Red Apple has diverse holdings in the energy industry, with asset focus in the midstream and downstream.
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Red Apple Real Estate owns, develops, and manages real estate across the country with a focus on the New York City market.
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People's Champ
..........................................................................................Vince Ballentine
|Dodsworth mural. "If you set the bar high,
you can only keep going higher."
The magic in art is vision. Images offer us ourselves, our worlds, reflected back.... but with what more? Is it the sight of what lives below the surface: depths otherwise unavailable to us? What dwells there? What does it know? What happens if I touch it?
Years ago, I set out to become a teacher of the literatures that have given me the most - meaning, clarity, purpose - literatures primarily of tribes that have been marginalized, in some cases to the point of extinction. I said I wanted to ensure that these important voices were heard. I didn't go that particular road, but it is still my path.
A year ago I realized that a lot of emerging artists around me were also saying important things that I believed the world needed to hear. I write this blog to listen to, meditate on, and amplify those voices. Voices I believe are essential.
I met Vince Ballentine right around the time I realized I needed to add this artist interview element to The Mother's Nature. He's one of the people who drove home for me this obligation I have –with pleasure– to ensure that vital artists' voices are heard. One thing that struck me about Vince's work was that his street art speaks so loudly to so many people – in my neighborhood, and in others. It resonates deeply, not only for the sheer beauty, the presentation, the sensitivity of the paint, or the ideas carried, but for the presence. His portraits and scapes are living, breathing, they have a pulse. You almost cannot look away until you have fully acknowledged who is looking out of the paint, just as we would not evade the eyes of a living person whose gaze we have met until an acknowledgement of soul is exchanged.
Vince's paintings are as dynamic as humanity, and for this reason, they possess the power to reflect back to us not only who we are – but, like living water, that which lies below the surface, far more than we have yet conceived. Vince's paintings are, for me, possessed paint. They show me what I have not yet seen by asking me to look again, not with a shout or demand, but with the powerful gaze of a man who knows himself. Meet Vince…
|Vince Ballentine, artist
PAINTING: From the Beginning
when did you start painting?
V: the first time I ever remember doing something creative, I was drawing. I couldn't be more than 5 years old. And I was so proud of it and my mother, she looked at it and she said, "oh, that's so good, yadda yada!" I remember drawing the whole thing. It was like the first thing I could be proud of, like, "look: I did it!" And everybody was like "oh, ok, that's cool! That's cool! Yay!" and I remember Uncle Andre.
I love Uncle Andre to death, but he takes one look at it and he's like, "why's the head so big? Arms all little. Why you mess up the face like that!? You're s'posed to color in the lines! That's the best you can do?" That's what he gave me and I was kinda like, "damn."
sad face.
V: very sad face, you know what I mean. I wish I could speak emoji right now, that's what happened.
i'll put an emoji poop in the interview transcript.
V: right: a little poop, next to my face as a 5 year old: be like DAYUM! Defeated. But it was interesting though because that was my first taste of criticism. That was my first critique at 5 years old.
and plenty of detail along with that critique.
V: yeah, yeah, yeah! Well, see the one thing about a critique is it's criticism, but it's constructive. When it's family members who aren't creative, they just see what's wrong with it.
As an artist it's funny because you always see it wrong and you're always trying to perfect it. So even when somebody be like, "that's the most incredible thing I've seen!" I'm looking at it and I'm like, "yeah, well I fucked up here, here, here, here and here. That's bad, this is bad." Until the point where it's kinda like some Bob Ross happy imperfections type stuff. You know, little happy mistakes and stuff.
So… I think that's the constant quest.
what was your reaction to Uncle Andre?
V: the most immediate reaction was, "oh, yeah, well, I'm gonna show you!" So it turns into the next one. And then next one was kinda like, you know, "that's better." It wasn't good, "but it was better than that last piece of trash you showed me!" I mean, like, "Did you burn that yet? You still have that? Why would you even keep that!? It's horrible!" This one was like, you know, a smidge better than that! So a long story short, that's what progressed into where we are today.
what's the next memory after the age of 5?
V: I had other moments in life where I've been able to draw something or paint something, but I always remember the messed up criticisms. Those are the ones that stick with me. Those are the ones that somebody was like, "yo, you suck." Those drive me more than people telling me how good it is.
mm hmm, yeah…
V: so, high school kid, again, the same thing. Everyone's just like, "ok, you're good." I had Mr Brown, Malcolm Brown. He's just like worldwide dude. Again, love that dude to death, he gave two fucks about teaching us to do art. He would give us a little synopsis at the very beginning of the class: "ok, here's how you make a landscape. Ok, go make a landscape!" If you missed it, you missed it! Snap – like, "yadda yadda, horizon. Get it! Go!" and then he would sit down and work on his own personal paintings that he was gonna sell later for thousands of dollars. But at the same time though I was like, "well, he's at least a legitimate artist, out there really doing it so!" Go for it, salut! It wasn't him, 'cause he's the one that actually wrote my college recommendation.
It was Mr Hoffman.
evil eye, throwing shade!
V: Draggin – D-R-A-G-G-I-N-G! Mr Hoffman down the street by his nostrils
by his flaring, smoking nostrils!
V: punk! We're going around the room and everybody's saying what college they're going to, this is AP Art. So this is the only advanced placement class I got, you know what I mean! Everything else is like… I was in Science. It wasn't even like it was special or nothing. Was like, "you in biology?" What kind of science is it? It's science! Dude, science class. Yo, they took our frogs away! They were like, "if y'all can't get it together, y'all ain't doing shit!" We didn't dissect shit, we just watched shows about it.
So, we're going around the classroom, we're all asking, "where you going?" One guy's Parsons, another guy is Carnegie Mellon, "I'm going to Cooper Union." I'm going to these different schools.
those are some swanky schools!
V: exactly! And then uh, at the time I had got accepted to the art institute in Chicago.
that's good!
V: yeah, I felt somewhat proud! And the thing is, it's not like we went and visited a bunch of schools. We went to Chicago, to that school, and I got in, and that was it. It wasn't like we visited eight schools and all this. Naw: "you wanna go here? Ok, you gonna go here then!" And, um, everybody's going around the classroom and he gets to me and I was like, "yo, I'm going to the SAIC in Chicago." And he's like, "how!?" It was like, "hey, you're my teacher!" It took everything in me not to like jump scissor kick this dude smooth in his neck!
"Bruh, what- what do you mean, 'how?!' cause I didn't get a recommendation from YOU?" Dude, how did I, like, manage that? I know other people besides you, punk!
Which actually leads to the next story of rejection when I was at the art institute. Literally, in Chicago it was the first time I did a fine art spray paint piece and the first time I got arrested for the shit, so… it was a nice little flip, you see what I mean? Museum… Jail…
Coming from Cleveland, we had our artists that I really respected and I was able to connect with and all this good stuff, but again, it was just in Cleveland so I knew what that was. Going to Chicago was mind-blowing. I'm out in Chicago and I show my art work, and the teacher goes, "eh."
"Eh?!" what, what do you mean, "eh?" This shit is nice, like I did the – it's fresh.
"No… no… do better."
So I felt like, "this motherfucker just Uncle Andre-ed me!" Dayum! But at the same time though, he was critiquing everybody. So the people that I saw – there were people in the class that I was looking at like, "this motherfucker's incredible! Why are you here?! Why aren't you out there making money already?! You have no business being in art school, period. Cause, cause, just cause – for what?!"
And then he would look at mine and give me an accurate critique – it wasn't necessarily under the critique of someone that was really refined. So I felt good about that. But long story short is, I saw his work and I respected it, so it was ok.
And then he tells me, "go take the train north, sit by the window."
Again, I'm a young punk kid, so I think I know everything. I'm the dopest shit in the world. I get on that train and my face was glued to the window 'cause it was like, "oh, that's incredible, that's incredible, that's incredible, holy shit, that's dope." I wanted to stop the train and get off and walk from that point, let me just examine this shit, by myself, for myself. What is this?
Uniqueness and individuality – lines that people were using, the depth of the images, expression of characters, colors and styles, the different letters, and all of it happened in the cloak of night, couldn't see shit, getting bitten by rats…. And you still achieved all that!?
That realllly exploded my head. And I hadn't done that much, you know. I started to understand – with the help of art school for sure— line weight and how to find parts. Art is very mathematical as well, visually mathematic.
yeah, we had classes where she would hit the clock and you couldn't pick up your pen for 27 minutes or whatever it was. You had to commit.
V: yeah! Yeah… Ink pen, that's like my favorite medium in the world because you can get so many variations of depth with that one tool: you can go really dark with the pen, you can go light; it's amazing.
But that's where it starts to lead everywhere else, so – left Chicago, went to Philly. Philly: learned a whole bunch, oh my god, what's going on. Moved out to Cali. Cali: learned a whole bunch, oh my god, this is crazy. Go to New York, same difference. And the beauty of it is that I can finally see different.
It's immediate: you can see your progress. I wish I still had the Uncle Andre piece to be dead-ass honest with you!
why are you so motivated to get better— be better?
V: everyone has a purpose; everyone has a reason to be here. I want to be acknowledged, I want to be recognized for what I do. I could be considered the best to like 8 people, but to me that's the base. Always wanted to be great at my thing. I always was a niche person… in the niche world that I'm in – I want to be one of the best to do it.
SEEING: Believing
V: I'm starting to see things— I mean, it's always a progression of seeing things, but, since I quit that job: hooray!
V: i'm not gonna knock on the job 'cause that shit was there when I needed it! But, getting out and being able to paint, my skill set went from zero to 60 real quick. I started to develop so fast! And then having to work fast – over the summer I did a piece for NYC Spread Art on Dodsworth — that was the one that you came to help me with, the two story one, with the scaffolding, that was two days. To be able to do a piece in two days now- meant you had to commit to a stroke and leave it. It wasn't a bunch of fixing, tweaking, this, that and the third. There's a high, there's a low, move on! Colors just stack on top of each other. You're cutting within that, move on! As opposed to, let's say, before even with characters where you have to push it to find what it is, to find the shapes…
pull out the personality…
V: yeah - having all of those elements together now, just through the progression of seeing.
one thing I hear is: you're deep in the actual physical activity of making work, which is not the case for everyone.
V: you mean they don't actually like painting!?
no. some artists are just more concept-driven. It's more about "I have an idea, I have something I wanna say, I'm just gonna find a way to say it." You talk about the involvement of getting into a line and following the line, developing a line.
V: yeah
and clearly the challenge of having to put something on the wall, let it be what it is, right? You can't tweak it. It's gonna be there and you gotta work with it and then you're gonna walk away.
V: you have to believe in your line.
yeah! And you have to be able to see. you have to have more vision sooner.
V: not even, you just have to be happy with how it lays. There's abstraction to everything, that's where stylization comes from, so, if I make an eyebrow, for instance, right? I make this eye and then I put this thick descriptive eyebrow on it. Now if you do that with one stroke then it's, depending on how that stroke is – is it wavy, is it straight, is it curved– that becomes dictated by your style. Your style becomes how you see, create, flow. You know how they say your first impulse is usually your best impulse. That's exactly how painting is. So the same way as you could make a line and then wanna correct it. No, you made the mark already. What's the next mark after that?
So, you're looking at balance from the very first line. It's like the game of chess even. The game starts with the very first move. That very first move is pivotal.
perfect metaphor
V: it's life or death right there.
PRESENTING: Stepping In
V: Sometimes the conceptual artists: that's all they got! And, for what it's worth, I don't always respect that, the overly conceptual artist, for the simple fact that anybody can do it. It becomes a point where if it's open for interpretation, then it's open for interpretation. If you can't immediately say if I like it or I don't like it, that says something right there. There should be an immediate reaction.
that person didn't have an authentic experience?
V: yeah. Yeah, yeah, but at the same time, be able to cross different platforms. I know some conceptual artists that are very elitist; it's like they got on some special 3-D glasses that nobody else has. It's like, "I see the world for how it really is; you're just too dumb to know."
so, what do you want, what type of experience do you want the viewer of your work to have?
V: immediate! If you think about it, predominantly, my work is on the street, so it's for people that don't have background. For people that could even give two fucks about some art work. So if you're gonna give 'em something , you gotta give 'em something! They could have walked by something for six years, and until you point it out, they're like, "I never knew that that was there!" So, knowing that, you have to immediately already engage people.
so they shouldn't have to do any digging, no context, nothing?
V: no. There should always be levels. Let's say it like this: the presentation of it needs to be finely crafted. That's one thing that can't be mistaken. If something is finely done, you can see the curves in it, the line, the detail – that's immediately gonna get your attention. And after it has your attention, then what happens?
That's what I mean. I'll do a piece and it'll immediately – even just by sheer size— it'll be so big that you're just like, "this is big as hell!" And that's actually a good way to think of it, too: it's so big that you can't get it, 'cause you're IN it!
You have to take a step back, and I think that metaphor reflects on most art in general. Some people's concepts can be so big that they can't get into it.
yeah, for sure!
V: but it's not a matter of stepping back, it's a matter of stepping in.
absolutely, yes!
V: and I don't think that a lot of people care to do that, especially when it's an extremely conceptual piece that isn't immediately finely crafted. I'm gonna quote this guy's work, Dasic Fernandez. He does these mad colorful images, of let's just say a woman, for instance, and she might be in a puddle or something so you see her reflection in the puddle, and they're massive. He has one over on Broadway, but the beauty of it is, it's immediately engaging. The first thing you do is look at it and say, "ho! Whoa!" but then you keep saying, "whoa!" And you start realizing the drips are coming off of her so, where is gravity? Why is the gravity negative? Why is she in this position? Why – the conversation just continues, and continues and continues and it can open up doors that other people don't see. You know what I mean?
As opposed to (laughing), the flip side of that is a lot of modern conceptual art, it's just like, "bruh, this is a blank canvas! But I'm not smart enough to know what you're doing with this right now?!" (teeth sucking) Get the fuck out of here, kick rocks! (laughing) You know what I mean?
V: 'cause if that's the case, if I'm not smart enough to understand your art, then – you're not smart enough to survive where I live every day. If you can't walk a mile in my shoes I won't walk a mile in yours! Meet me half way and we can both go there.
V: so, long story short – if you see that painting with a red dot, anybody can do it! When they have to differentiate between "is this a well-known millionaire artist" or "is this a 5 year old," and people are confused about which is which, that should tell you something about what it is that they looking at.
As opposed to if you see some of these street dudes who don't have that same education, that same background, they don't have the same motivation, they just wanna go do some dope shit, and you walking past some shit, like Dasic's or uh, Dasic and Ruben have done some work lately; uh, there's Danielle Mastrion, she's done some fantastic stuff; Shiro does the same character over and over again, but I love it every time I see it. But it speaks to the people that are lookin' at it.
And there's a lot more of us walking that block than there are people who have season's passes to the Met. That's for real. There's a lot more people that are playing pick-up basketball than have been to Madison Square Garden. So let's take it out of their hands and let's give it back to the people.
so that's who you're painting for?
V: the people. Definitely. Definitely.
VINCE: The Anti-Narcissus
we've talked around a good amount of space without actually talking about what you wanna say.
V: the mural on Halsey, on the Dreamway, with the big Indian headdress girl, 'cause that one set it off in so many different ways. So a kid walked by. And one of the organizers, actually, yet again, Tatu, man, love him to death! He was the founder of Xmental Inc. He was one of the ones sponsoring the wall. He said, "we have homework on everybody else but you! We didn't know about you."
"Oh, word!? Alright, just let me paint first, and if it's not good, then shit on me then."
Halfway done, he was just like— his boy was even like, "yo, if you use these caps you might be able to-" and then Tatu was like, "man, you should be teaching!"
A kid walks by and says, "I wanna paint." Say, "I wanna paint." That's dope. I got that kid wanting to paint. And the beauty of it is, I want the kid to say, "I don't wanna mess it up, though," which means that "I'm really gonna concentrate right now." That's what I want.
And then the second one was one of the promoters comes by like, "if I was a little girl seeing this, I would be so impressed. Because it's not many images of us out there." You don't see large, beautiful pictures of black people. It just says something when it's inclusive, when it speaks to everybody! Instead of a lot of pieces where if you're not this black person, you're not Rakim, if you're not Biggie, if you're not – this type person, we ain't got no holla for you. I really should stay away from that.
so, what's the conversation? What's your conversation?
V: that's exactly what I'm saying, is the fact that everybody is on their expression, and I don't wanna be brutal, but – fuck your expression.
Your expression should be reflective of what you're coming from. So, when I'm in Bed-Stuy, I'm doing Bed-Stuy shit. I'm doing shit for the people that live there. Cause after you leave, your piece is still there, but you are gone.
So, true and deep: think of it on a level of graffiti, cause graffiti gets wiped out, but I do a piece of art that's actually gonna be there for a minute and represent some shit, do something that's really gonna be there and represent some shit!
so to you it's really more about holding up a mirror.
V: holding up a mirror and exposing things that people don't see, like colors. There's a lot of blight – so people are used to these drab colors, rusted out, blown out buildings, you know what I mean. And there's this bright spot. It's not for everybody, but when I was a kid and I got Uncle-Andre-ed, and I got crapped on by the high school teacher: let me have a piece that I can go to and reflect on and say, "ok, but this is the type of stuff that I wanna do, because this is the type of stuff that I admire." And actually have something in the world that exists. It exists so someone else can exist with it, and not have to go to a museum. Not have to go to a gallery. Not have to know somebody who knows somebody to get a glimpse of this thing that's supposed to be precious 'cause Banksy did it!
See something that wasn't there before: that's the main thing – it was a dirt wall before. Look at it now.
I don't understand how people can not like that. How do you not like that?
i think what you're telling me is that the conversation is actually: you're painting to have a conversation. That's what the painting is about.
V: definitely, definitely. When I leave, what am I leaving? Once you know how to paint – what are you painting? When people look at it, what do they say?
|Bushwick Puerto Rican Community Mural."I'm a conduit."
THE PEOPLE: Listening
so, is you getting better as a painter about you being able to hear and respond better?
V: definitely, but I think that's inherent though. That's just a part of the process.
oh, it's not, my love, it's not!
V: if your journey is to get better then you have to be able to soak in so much – and be able to give a LOT.
the reason why you're getting better is so you can see better, so you can hear better, and so you can respond better?
V: yeah
i've never heard that. And you actually started saying this at the very beginning of the conversation when you described the train ride. You really want this engagement.
V: yeah!
because there's actually no conversation without the engagement.
V: yeah… yeah, yeah! I want 5 year old Vince to look at this and be like, "man, that's what I'm gonna be like in the future!?" I'm gonna be looking at my Uncle Andre and then I'm gonna look at 2016 Vince and be like, "I'm gonna be that!? when I'm thirty-something years old!?"
"Word! Let me just keep going then," you know what I mean?! Really push the envelope! Do something that's really gonna be provocative, have a conversation.
Case in point, we've talked about this before. We can talk about all types of police brutality, we can talk about disenfranchisement, we can talk about prison industrial complex, but nobody's actually gonna talk about racism. Let's just talk about that. Let's just talk about what the core problem is. Let's just talk about money, and how these people got it and these people don't.
It's like if – let's say somebody has a malignant tumor in their leg and someone says, "ok, we have to go through her neck to get there." Like, "what?" That doesn't make any sense. Like why would you – just go to the tumor and knock the tumor out, 'cause then in the process of you going through the neck to get to the leg you done fucked up all types of shit on the way down! Now you gotta fix everything that you fucked up trying to get to the initial problem.
another perfect metaphor.
V: you still got a limp, like, "why am I dying!?"
people like to do that, we like to get our ass kicked all over the place before we make any changes.
V: honestly – I feel like black folks been saying it forever. We've been like, "no, the problem is you keep smacking us in the face" and other nationalities, whatever, will say like, "well, we don't understand." It's like, how about this, "leave me alone, first. I'm not trying to get revenge, I'm not trying to come back and hunt you down, I'm not trying to rape your women and sell drugs in your community. That's not what I'm trying to do."
TALKING: Coquis, Black People & White People
V: i'm a conduit. That's what I do. I'm gonna represent y'all. If they call me to do me – then like the Indian headdress, that was more me. I felt like these are things that can be represented in a different way without exploiting it, you know?
If I go out here and paint pictures of black people on the walls, it gets looked at funny. Real talk. People look at it like, "huh," they don't necessarily get it. Let somebody else go up here and paint some African people and people love it. Because of the stylization, because of this, that and the third. I was like, "no, it's because you saw who was doing it." That's some real shit that I go through with all the time.
Flip of that, a friend was in Brownsville working with this group, doing this thing at the bottom that says, "black girls matter." And a black girl approached: "how are YOU gonna tell ME about ME, in MY neighborhood!?" She was immediately offended by the whole thing. And the painter turns around like, "well, first and foremost, I do have a biracial daughter." What's actually a smack in the face to you, chick, is "I'm doing it. What are you doing?" Done.
Washed up! What can you say after that? You can complain about it, but you're not gonna do shit. And I think that's where the conversation needs to start. Instead of having a bunch of shit to say, NO, go DO some shit! And let's talk about what you did.
so, what's the next piece of your conversation?
V: first I don't like the fact that murals have the stigma of painting dead people. I think we should immortalize people while they are still alive and they can come and see it and see what impact they've had on the world. In a huge mural that anybody can come and see – that's something – so they can see if people love 'em or hate 'em! I still wanna do my Blackstar piece, Mos and Kweli, I want that really bad.
from here it's definitely – show people that we can still hold onto now, push, get behind, you know, be motivated by. I think the THINK BIG piece, in a sense, it was different for me, cause it was all letter based. When we were sitting around knocking the ideas back and forth, it was, "well, we wanna do something Biggie," and I was like, "I'm not painting a mural of Biggie!" No, no because it's like 9000 murals of Biggie already! And he was like, "ok, well it's gotta be Biggie related." So I threw this, he threw that. The thing was though, to come out and to just say, "Think Big." It just, it stuck with me to the point where it was: "no, I HAVE to do this now!"
I'm making landmarks. I don't know who I'm affecting. I have no idea. I could be affecting you positively, negatively- don't know. But, the fact that I am affecting people is what makes the difference. The fact that I am causing conversation. The fact that somebody's looking at that and they either think it's dope, or they don't. They don't have to think- for what? Why should I care? Make 'em care. That's where we come in.
THE ARTIST: The Line
is there anything that's lingering?
V: the fact that I feel much more the people's champ than I do fine artist. I don't speak of art in these highbrow conversations. I just want that to be appreciated.
is that part of the reason why you wanna be as good as you can possibly be?
V: no, the only reason that I do this is for me. I don't do this for women, for money or fame. I do this because I – I really have to do this. It's just that if I don't do it, I'll die.
yeah. Yeah, yeah!
V: that's it.
It's little nuances that just get you and keep you.
no, I get that, when I really get in, get in the flow, there's definitely something that happens – everything's on fire, your face is on fire, your heart is on fire. You can feel those words coming! You're just in the line, right? You don't wanna get out of it.
V: yeah, yeah…
i feel like half the work I do is just – writing can be just bullshit, it can just be work! But I work that hard for the moment to get into the line!
V: yeah, you gotta get through it…
and that moment is rare, and it is precious and it doesn't last that long, Rafael's gonna wake up or whatever is gonna happen. But I get that, I get that.
V: yeah, yeah, yeah… Or better yet even, sometimes I'll black out doing stuff, it's just a blur – I don't really know how it happened, or what happened – but I know that's what's left – and that's kinda dope!
yeah, yeah!
V: it's funny cause I saw something recently that I did and it's just like I've done shit from last year – and looked back and like I'm ten times better than that now – from last year! So, whatever we're doing we have to try to stay on this path the best way we can, somehow. The best we can.
yeah, when you're standing on the trail – you really like can't step off the trail. You have to keep – wherever it's going, it's going. You just gotta—
V: yeah, you have to pull things on your trail, you can't go get it!
yeah, no, you really can't!
V: no. sometimes it even means food. Days will go by and I'm like – I haven't eaten, fuck!
POWER: What's valuable?
is there anything that I didn't ask you that's important?
V: I'll say this, a friend has a gallery that just opened. I gotta take it out of context and put it back in context. There was a joke where the guy says, "I hate it when people find out I'm a comedian because then all of the sudden they just want me to start telling jokes," and he's just like, "yeah, well… you know, I could just do some jokes and make y'all laugh, but usually there's a microphone, a stage, an environment set up, maybe someone serving drinks. It's a set up for me to be able to be successful in this environment. As opposed to, you know, being at a bar in front of a bunch of drunk people who could care less if I'm funny or not. And I don't get paid for this. There's no win-win for me right now."
It's the same thing for art. It's like unless you put it in a gallery or a museum and have cosigners – then it's not respected and appreciated the right way. And that's what happens with collectors versus people who just buy art. People who just buy art, they buy things based on do they like it or not, not realizing if they bought one, and their friend bought one and then their other friend bought one, and then their other friend bought one, you've just increased the value in what you bought! Real, whole, right, left side brain thinking on that one, though, which we don't get past.
Collectors will go out and decide, "ok, this guy's hot. We're all gonna go in on this collection." And now that this collection is bought, it has an increased value. So now, when I wanna trade this in, I spent a hundred bucks, I'm getting back two grand. That's the kicker. That's what a lot of people don't get.
The artists are the creators. We are the ones that bring those things to life. Or the writers, the musicians. What people pay for! But the people that have the money are the ones that feel like they hold the power.
yeah, they determine the value.
V: it's so the other way around! But that's how society looks at it.
V: and if I can make any segue in that, understanding what is valuable…. This money that you just gave me, that was mass produced, with a dead president on there, made out of some flimsy piece of paper that if it catches on fire, I have nothing now! As opposed to this creation that somebody did, which is unique, one of one. This person might want it but I bought it first, so now I can sell it to that person, for a hundred dollars more. I just made money off of this creator's person. You can't give me a five and I'll sell it to somebody else for ten!
So, that's my thing right there: understanding value. Treat people well. Stop trying to undercut people. Cause you're only decreasing the value of it for yourself.
if there's one thing I should get right, what is it?
V: how about this? Sometimes it's face value. Sometimes there's nothing else, besides "what do you see?" Immediate reaction. It's like a Rorschach test. What do you see? "Oh, I see this. And it's – I see a kid with glasses, and I see the flag in there, and it looks like, kinda like a liberty type thing going on."
Alright, good, carry on.
This is the easiest interview I've done yet. Vince is deeply thoughtful, illustrative and insightful; his work speaks for itself, just as he does with his stories, language and metaphors – elucidating what he sees, believes and manifests with far more than color, line, depth or character.
How generous of him! Not only to give work away on the streets of Chicago, Philly, LA and Gotham, but to basically let me roam anywhere I like in the territory where I demonstrate why seeing art is so important.
Raised in a tight nomadic family of six in a highly individualistic, capitalistic nation, I've long struggled with what Amurika tells us is a paradox: my own desire to be distinctively, recognizably individual while also equally the member of a tribe, a pack, where I belong– and an integral member of my herd.
Vince describes himself as wanting to be recognized for what he does. I think this is a desire we all possess. He works hard to be good, to keep getting better, not only so that he can be the people's champ, a real and insightful conduit for the community, but also so that he is acknowledged for what he does. For many of us, creatives included, what we do is who we are. Vince cannot separate himself from his need to create. Without his ability to make art, he would perish; he would cease to be himself. In other posts I've referred to that inner voice that tells him to paint, intuition, as the voice of the soul, while his motivation is the will, or the muscle of his soul.
And therein lies the answer to the paradox we've been sold. Humans were never meant to be self-sufficient, separate money-making incorporates. We were born pack animals and that's unlikely to change if it hasn't yet over so many millenia of evolution. We still want one thing more than anything else: connection. The answer to that connection was and is ever present in the urge to be what we are made to be – whatever that is. When we do what we are: we can be seen for what we actually are. We manifest ourselves in the world. And those manifestations are our gifts, gifts other people need. When we give what we have, we become necessary members of our tribes – we connect, we slip into our places like the missing pieces of a puzzle. We give our part, one of the whole needed by the tribe to thrive. The desire to be both distinctively individual and deeply connected to the tribe is not a paradox, but the necessary marriage of yin and yang that allow and feed one another, making it possible for each to fulfill its potential.
In giving what we have, we become the individuals that we are, we become recognized—and through that recognition we connect with our tribes. The tribe sees itself more fully in those deep pools – the eyes of the artist; the artist sees his vision more deeply through the tribe, in which he chooses a waking submersion.
It is so easy to be Narcissus, to see everything, including ourselves, as we want to see them. Vince's work calls us awake, makes us want to look again, to see again, to think again.
Vince's work opens at MoCADA
80 Hanson Place, Brooklyn, NY
Saturday, 7 May 2016 @ 7pm
with the work of Nia Love, Jasmine Murrell, and Everett Saunders,
curated by Marjani Forte-Saunders
You can also see his work all over New York City, at ig vballentine99, and http://vballentine99.wix.com/vballentine, and


text:
Cheryl L. Keyes is an associate professor of ethnomusicology at the University of California at Los Angeles.Keyes, Cheryl L. is the author of 'Rap Music And Street Consciousness', published 2004 under ISBN 9780252072017 and ISBN 0252072014.[read more]
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text: The new Panama Canal may not turn out to be an economic windfall for east and west coast US ports – at least in the short term. Just as the new Panama Canal channel and locks ramp up after the June 2016 opening, shippers like Nippon Yusen, Mitsui OSK Lines and Kawasaki Kisen are expecting major operating losses ($780 million) for the fiscal year ending in March 2017, as reported by Bloomberg Businessweek. As well, at a recent conference, the CFO of Haapag-Lloyd mentioned that the shipping industry is looking at the highest ship-scrapping levels ever seen. In Singapore, one of the world's largest ports, shipping container traffic fell 8.7% in 2015 and 1.7 % in 2016, so far.


text:
Over the past 2 years, Bai Xep (Xep beach) has been familiar to tourists thanks to the strong impression and effect of the childhood film named "Tôi thấy hoa vàng trên cỏ xanh" (Yellow flowers on the green grass) that is based on the famous long story of the "childhood" writer Nguyen Nhat Anh. Being naturally favored the smooth white sand, pristine blue water, and fresh breezes blowing from the sea, Bai Xep is definitely an ideal destination for those who love to "escape" from the hustle and bustle of the urban life. To reach this amazing destination, we follow the route passing through the large casuarina forest and immense rice field turning into the golden yellow.
Being in the "spot light" after the film that is on the screen, Xep beach has been attracting a significant number of tourists since then. To reach Ganh Ong, tourists have to walk along Xep beach. In other words, you will saunter from the smooth sandy beach to the immense lush lawn surrounded by bushes of wild cactus. Thus, you might feel as if you were shot on that film.
As in the childhood dream, you definitely face the majestic mountain and the immense green nature when reaching the peak of the hill. Nestled in the amazing land of Phu Yen, Ganh Ong is still considered as the masterpiece that is cleverly created my mother nature. Standing at the top of the hill, you would probably be "overwhelmed" by the vast prairie at the foot, the immense blue sea from a further distance, and even the spectacular cliffs featuring black rocks and white - foam wave. Therefore, you surely set aside all concerns and worries in life to indulge yourself in the breath – taking scenery facing you.
If you do not see boats floating at the middle of the sea and local residents dive under the cliffs, you might think as if you were at the "isolated" island. There is one thing interesting that Ganh Ong divides the beach into 2 areas, namely Bai Xep, a famous tourist attraction and the separated beach on the other side that is surrounded by a dense casuarina forest.
Characterized by crystal blue sea water, immense blue sky, and tranquil atmosphere, the beach is undoubtedly an ideal destination for those who want to fully relax in a cool and quiet place in the dynamic summer. Moreover, there are cactus bushes at the edge of the majestic cliffs that surrounded by unknown wild grasses.
Ganh Ong, Bai Xep is currently offering services of swimming and camping, so it is an ideal place for young travelers who love experiencing and exploring. From Ganh Ong, we go along the coast to admire other wonderful landscapes of Phu Yen.
Useful Links: Burma River Cruises | Strand Cruise | Road to Mandalay Cruise


text:
There's a reoccurring color theme in my life...Black and White. Funny because I am half black and half white. I don't know why I have so much black and white in my wardrobe but I love it! Simply but edgy! Just what I like. I went into the city and to the mall today and I decided to show you what I got!
Dress - Cheetah Shirt - Black and White Shirt - Forever 21
Fringe - LF stores
Cuff - No Rest For Bridget
Rings - Anchor and Knotted - Forever 21
Lots of Love,