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Emmanuel College
In December of 2012 Joanne DiGeronimo Migliaro '88 and her husband Anthony, consistent supporters of Emmanuel College in the past, made a five-year, $150,000 pledge to support the College's efforts to restore the Administration Building. In recognition of their generous support, Room 156, one of the building's new high-tech classrooms, has now been renamed The Joanne DiGeronimo Migliaro '88 and Anthony Migliaro Classroom.
The motivation for this generous gift is a profound belief in the mission of Emmanuel College and a deep understanding of the power of giving, instilled in them by someone very special.
Joanne is the daughter of Joseph J. DiGeronimo, the former senior vice president of Victory Supermarkets, from whom she learned of the value of giving back at a very young age. Her family founded the supermarket chain in 1923 when they purchased a small home-delivery grocery market in Leominster, Mass. The second and third generations continued to own and manage the chain, which grew to 20 different locations. Philanthropy and community support long stood as the front-runners of her father's priorities.
"My father has been instrumental in my understanding the importance of philanthropic giving—he gave back to the communities wherever he had a supermarket located," Joanne said. "Schools, churches, hospitals…I've learned so much and continue to be encouraged by him. Even to this day, at 85, he encourages us to give."
Joanne always maintained a rigorous standard when it came to her education. She earned her RN from St. Vincent Hospital School of Nursing in 1975, then a certificate from the Carney Hospital School of Nurse Anesthesia. With these qualifications, she landed a job in the Emmanuel neighborhood, working at the Deaconess Hospital, now Beth Israel Deaconess. With a goal of obtaining a college degree and a familiarity with the Sisters of Notre Dame de Namur through her time in grammar school (Julie Country Day), Emmanuel College was the perfect fit for pursuing her bachelor's degree. Upon entering Emmanuel as an adult learner and enrolling in the political science program, Joanne felt right at home.
"The undergraduates and on-campus students really accepted the adult learners into the programs," she said. "You were just like one of them, even though you were older and not living on campus. To this day, that has always stuck in my mind about Emmanuel. There was always a wonderful sense of community."
Today, Joanne and her husband Anthony have become valued members of that same community, giving generously to the Emmanuel College Annual Fund and Sister Janet Eisner's 30th anniversary as president of the College, in 2010. When the proposal to support the restoration of the Administration Building was put before the Migliaros, they knew now was the time to step up and give back in a significant way.
"When the time came to make this gift to Emmanuel," Anthony added, "we called [Joanne's] father and she said 'Dad, we made a decision, we are going to make this pledge to support Emmanuel and the Administration Building.'The first words out of his mouth were 'Yes, absolutely, do it. It's very, very important.'"
For the Migliaros, the importance of giving back to one's alma mater is paramount.
"If you're successful, you owe it, in part, to the college or university you graduated from," said Anthony. "No matter how hard you worked, you still had to get into college and get your degree as a step to get where you are today. I am a firm believer in giving back to the institutions that made it all possible. Higher education needs to be laid out as a philanthropic priority and put on the front burner."
The Joanne DiGeronimo Migliaro '88 and Anthony Migliaro Classroom is a brand-new classroom that features 80-inch high definition LED displays, replacing the standard projectors and screens of the past. The displays are mounted on a unique "rolling track solution" that allows instructors to utilize the technology and whiteboards simultaneously, thus creating a versatile and immersive classroom experience. The screens, which maintain high visibility throughout the room, allow faculty to highlight minute visual details inanything from artwork to molecular structures that would otherwise be unseen.
Emmanuel's Information Technology department has been partnering with individual faculty to develop innovative ways to incorporate the classroom's new technology intoexisting lesson plans to engage students on an entirely new level and make classroom time that much more efficient. The rooms also feature award-winning and student-focused Learn2 seating, adaptable for enhanced collaborative interaction.
Such innovative technology and collaboration was a major draw to the Migliaros.
"Keeping the Administration Building up to date keeps Emmanuel students competitive in an ever-advancing world, and that is extremely important," said Anthony. " The Administration Building has been there since 1919. All alumni have set foot in those halls, learned in those classrooms. The Administration Building has a lot of history to it, and by helping to support its restoration we have become a part of that history and hope that others will join us."
Honoring the cherished past and helping to secure a bright future, the Migliaros continue to play an integral part in Emmanuel's growth and development. Emmanuel is forever grateful for their tremendous gift, which will enrich the lives of students for generations to come.


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Discover for free which first names would suit you or your baby !
Meaning of name Kristie
Etymology : Variant of KRISTY
Saint :
Origin : English
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Gender : girl
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Numbers :
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Who is she?
Kristie is an independent woman for whom freedom is much more than just a seven-letter word! She´s an individualist who loathes restriction, is fascinated by the unknown and can often be undisciplined, taking risks without considering the potential consequences of her actions... Often proud and haughty, Kristie can be disconcerting at times, oscillating between excitement and despondence: she certainly never does things by halves! With an active number of 14, Kristie could be enticed by all sorts of pleasures. Her sensuality and her overwhelming desire for more, together with her impulsiveness sometimes take her further than she intends... Adam would have understood! She enjoys networking and negotiations, and her adaptability proves to be a valuable asset. She is highly excitable and impatient, and compensates by a significantly high mobility that can take her to explore new, far away horizons. When motivated, she is capable of bounding into action with great enthusiasm and energy, as well as enormous effort, at an admittedly inconsistent rhythm. Authoritarian and persuasive, she has great practical sense and is apt to organize and be in the driver´s seat, which is fortunate because she doesn´t like taking orders! As a child, she is a little demon and a bit of a tomboy who isn´t scared of anything, and she may well need to be tamed before it´s too late! She tends to employ her charm in spite of the fact that she hasn´t mastered it yet and isn´t always conscious of where it could lead to. It is therefore necessary to warn her of the potential dangers that lie ahead while she is still relatively young, with special attention to her sexual education. She needs action in her life, so sport, dance and group activities are highly recommended.
What does she like?
To shine, to be the centre and the source of things and the freedom to do as she pleases; such are the joys and requirements of this individualistic, proud, sometimes egotistical lady. In love, she tends to be the one who wears the trousers! She is no stranger to love at first sight, and outbursts of passion punctuate her romantic life, indeed she can be a violent and jealous tigress, although her own loyalty isn´t totally infallible... But she´s so very lovely when she purrs! It will suffice for her to find a companion who idolizes her, even if this means him humouring her, while keeping the upper hand: with Kristie , love often has to be confrontational in order to be interesting!
Get your free Personality test card now !!
What does she do?
Kristie is definitely not cut out for the role of a stay-at-home housewife! Her professional choice - or indeed choices - will most likely be orientated towards mobile careers involving variety and travel (tourism, marketing or advertising...), the independent professions in connection with communication, the media and journalism, or one of the creative occupations (film, theatre...).
Discover others girls first names : Krasimira Kreindel Kreine
*To note: :
It sometimes happens that two different first names have the same meaning. This has nothing surprising: both first names have the same figures of numerology. It is as in astrology: two persons belonging to the same sign present the same characteristic...
Names compatibility
Test the compatibility of your names to know if your love relation is lucky to succeed. Friendship, love or passion?
Discover fast what waits for you...
Verify now if your names are compatible!
The last comments about "Kristie "
|The accuracy. I can?t believe it!
|Oh my goodness, I have never related to something so much! this is absolutely crazy!
|I have admired her since I met her about 10 years ago. I was Married so off limits by myself and her I am sure but no longer. Trying to sort out correct approach.
|Yepp, that's me in a nut shell. Thats really amazing.
|Only kinda sound like meeee
|Sounds like my Kristie!
|couldn't have explained me better
|This is weirdly accurate omg
|Heh, the only part of this description of my name that sounds like me is the dancing...
Post your comment
Your Name Horoscope !
Thanks to the numerology, we propose you daily a horoscope personalized for your first name. Love, money , Shape: discover what waits for you for today. In Bonus every day find your daily lucky figure .. Horoscope of the first names
Love :Couples: The complicity between the two of you will be reinforced. Singles: An admirer will make themselves known.
Money :You are trying to decide whether or not to make a property investment. Take your time.
Health:You won't see any results without some effort Kristie .
Your Lucky number : 80

subset: commoncrawl


text: Objective measurements of portable players using df-metric 2018-09-14 08:44:23 After two years of beta-testing I would like to present objective measurements of portable players, performed in accordance with the new audio metric - df-metric. Such measurements:correlate well to human perception of sound quality;are valid for digital audio;do not contradict traditional audio metric but extend it;are understandable to people without technical background;can be performed at home using any recording device; accuracy of that device will determine final accuracy of the measurements.This listener-centric audio metric is aimed at consumer control over manufacturers of audio equipment. While R&D of this new measurement approach is still in progress, the objective measurement procedure for hardware audio circuits is mature enough for practical use. Portable players are very suitable candidates to start with.The following page has short and clear explanation of the measurement method along with some help for interpretation of its results. Measurements of first two devices are included. Feel free to propose portable players for testing. I'm ready to answer your questions. http://soundexpert.org/portable-players


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Have you played with Pinterest at all yet? It's a graphical bookmarking site. You bookmark images by "pinning" them, and you can organise those images into "boards". And of course it has a social element, so you can see whatever your friends have "pinned" as well. All great fun. I quite enjoy it, but I've not been using it as much as I could do because most of my web browsing is done via my iPad or iPhone, and there is no easy way to "pin" items from those devices. Or so I thought…
A little bit of Googling today, and I found an entry on the Pinterest blog (which seems to now have been deleted) which details how to create your own "Pin it" button in Safari on the iPad or iPhone. It's written in a not very detailed kind of way, so having got it working for myself today I thought I would create a more "step by step" guide to help others wanting to do the same thing.
First of all, before you start following the steps below, you need to do one thing. On your iPhone or iPad highlight the code snippet below and choose the "Copy" option. Make sure you highlight accurately – you need all the text, but no extra bits!
OK, now you're ready. Follow these step by step instructions:
And that's it. Now as you browse the web from your iPhone or iPad if you come across something you want to pin you just need to go into your bookmarks menu and choose your "Pin It" bookmark.
To make life even easier on your iPad you can add the "Pin It" bookmark to your bookmark bar, and then it's visible on your browser at all times, removing the need to open a menu to "pin" something. Note that if you haven't done so already you'll probably want to go into the "Settings" app on your iPad and select "Always show bookmarks bar" in the Safari settings. (Note this option is not available on the iPhone).


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Advocates In Sahawar
Get free legal advice from the Best lawyers in Sahawar. Hire the Best Law Firms for your Legal issues. Lawyers in Sahawar are listed here,to provide fast,cost effective legal services in Sahawar. Here you will get Best Advocates in Sahawar for your legal issues. immigration lawyers, litigation attorneys, injury lawyers, employment lawyers, family law Advocates, Top Lawyers In Sahawar are available here.


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Note: All magento v1 extensions are developed by their core developers and are final sale. These extensions are available only for limited time. If you want to use it in future then please download and keep its backup copy for your reference. Instructions to download and install Magento v1 Extensions are given below. Happy coding 🙂
AltaPay for Magento1
Stable Version
Compatibility: Magento 1.9.3.x, Magento 1.9.2.x, Magento 184.108.40.206, Magento 220.127.116.11, Magento 126.96.36.199, Magento 188.8.131.52, Magento 22.214.171.124, Magento 18.104.22.168, Magento 188.8.131.52, Magento 22.214.171.124, Magento 18.104.22.1687


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All News Releases By Date
Monday: EPA and the State of Kentucky to Recognize $1.95 Million Recovery Act Clean Water Project in Lexington, Ky.
Release Date: 03/26/2010
Contact Information: Davina Marraccini, 404-562-8292, firstname.lastname@example.com
(ATLANTA – Mar. 26, 2010) On Monday, the U.S. Environmental Protection Agency (EPA) will join the Kentucky Infrastructure Authority (KIA) to recognize a $1.95 million project funded in part through the American Recovery and Reinvestment Act (ARRA) of 2009 in Lexington, Ky. The Kentucky Horse Park received loans through the Clean Water State Revolving Fund for the purchase and installation of a manure bioenergy management facility.
President Obama signed the ARRA on Feb. 17, 2009, and has directed that the Recovery Act be implemented with unprecedented transparency and accountability. To that end, the American people can see how every dollar is being invested at Recovery.gov.
WHO: Stanley A. Meiburg, EPA Acting Regional Administrator;
- Dr. Len Peters, Secretary of the Kentucky Energy and Environment Cabinet;
Matt Sawyers, Deputy Secretary, Tourism, Arts and Heritage Cabinet;
John Covington, Executive Director, Kentucky Infrastructure Authority; and
John Nicholson, Kentucky Horse Park
WHAT: Clean Water Recovery Act Funds to the Kentucky Horse Park
WHEN: Monday, Mar. 29, 2010, 2 p.m. EST
WHERE: Kentucky Horse Park
- 4089 Iron Works Parkway
Lexington, Ky.
Search this collection of releases | or search all news releases
View selected historical press releases from 1970 to 1998 in the EPA History website.


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Contact Information
425 Prairie Street W
Cottonwood, MN - 56229
425 Prairie Street W
Cottonwood, MN - 56229
Last-Modified: 2019-08-23 10:18:40
Median apartment rental rate in this zip code: $821
Population in zip code: 1,871
Median age of those living in this zip code: 37.7
Average household income of those living in this zip code: $55,288
Average home value in this zip code: $156,180
Cottonwood Housing and Redevelopment Authority provides housing assistance to low income residents through the management of Low Rent Public Housing. This program is income based and the eligibility guidelines are set by HUD.There may be waiting lists for these rentals and at times the lists may close to new applicants based on the size of and length of wait on the lists. If you are in need of housing assistance in the area please contact the Housing Authority directly to obtain more information about eligibility requirements, availability of rentals, the status of any waiting lists and their application procedures.
Note: Apartments may not have openings or may have long waiting lists. Call for complete details.
Most apartments have waiting lists. Search early and do not just settle on one apartment choice.
Housing authorities have many opportunities. Many do have closed waiting lists, but they may be able to provide other public housing resources.
Check to see if you qualify for low cost or free housing by comparing the guidelines to your income records.


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Contribute to ReadWriteThink / RSS / FAQs / Site Demonstrations / Contact Us / About Us
To view our printable materials, you must download the latest version of the free Adobe Acrobat software.
Our lesson plans are written and reviewed by educators using current research and the best instructional practices and are aligned to state and national standards. Choose from hundreds of topics and strategies.
ReadWriteThink has a variety of resources for out-of-school use. Visit our Parent & Afterschool Resources section to learn more.
Home › Classroom Resources › Printouts
Tips For Using Movie Maker
Window Movie Maker is an easy-to-use program found on many computers. With just a little help, children can start stringing together an original video. It's an increasingly important skill to have as the world communicates more and more through video.
- Ask the child if he or she has used Movie Maker or another movie-making software. The Using Windows Movie Maker printout can help orient him or her to the basics. Chances are he or she will catch on fast!
- Youll need some raw video to work with. The child can use existing video, but be sure not to alter any video files that are important or irreplaceable. He or she might also like the assignment of taking fresh video to make a movie. (Be aware that video captured with a cell phone will need an extra conversion step.)
- Help your child choose a good subject for the video. It could be something straightforward like, Heres how you make brownies. Or it could be more complicated, such as a scene from an original script written by the child.
- Use the Youre the Director! printout to help the child account for all the decisions a director has to make during filming. They include characters, setting, camera angles, action, music etc. Even if he or she is making a more straightforward video (such as instructions for making brownies), many of those same decisions need to be made.
- Once the video is filmed, the easy movie-making process involves selecting which pieces of the video you will use and choosing the transitions that will go in between. To make these decisions, help the child think through the creation of the video. Whats the point? To be informative, funny, or make the audience feel scared or sad? Discuss how the child the film editor can make choices that help achieve those goals. For instance, the person who picked the music for those tense scenes in Jaws surely made the right decision!
- Dont forget the credits! Movie Maker allows budding directors to give credit where credit is due. Remind the child to list himself and anyone else he likes in the credits. Watch a real movies credits for some ideas on how to create this important aspect of the video. Maybe the child will name you executive producer so glamorous!
- Does the childs video crack you up? Maybe its a contender for YouTube. If you upload it there, make sure you take all necessary precautions to keep his or her identity safe. Also know that YouTube videos allow comments and sometimes YouTube watchers can be unkind.
- Give the child a compliment by hiring him or her to give the Movie Maker treatment to a home video. Edited, well-presented videos of friends and family make great keepsakes.
- If the child likes making little movies, look for opportunities to use this skill in school assignments. Teachers may be willing to receive assignments or supplements to assignments in video format. For instance, if a teacher asks for a how-to report, video is a great way to show and tell!
Grades 6 – 8 | Lesson Plan | Unit
3-2-1 Vocabulary: Learning Filmmaking Vocabulary by Making Films
Bring the vocabulary of film to life through the processes of filmmaking. Students learn terminology and techniques simultaneously as they plan, film, and edit a short video.
Grades 9 – 12 | Lesson Plan | Standard Lesson
Exploring a Teen's World: Learning SAT Vocabulary Through Drama
Students use SAT vocabulary to create and film a screenplay. They perform all roles, from writing through filming, resulting in a resource for their classmates.


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– TMZ is reporting the following:
"WWE star Jack Swagger was arrested last night in Mississippi, TMZ has learned — after allegedly committing several traffic offenses.
Source close to the situation tell TMZ, Swagger was leaving a "Smackdown" taping at Mississippi Coast Coliseum in Biloxi when he was pulled over.
It's unclear what traffic offenses Swagger is accused of committing … but they were serious enough to result in an arrest.
We're told Swagger — a former WWE World Heavyweight champ — was taken in by local sheriff's deputies … and later released on his own recognizance.
We reached out to WWE, who tells TMZ, "Mr. Swagger is responsible for his own personal actions.""
Alternate WrestleMania Title Match Revealed, WWE Pissed at Top Outgoing Star, More…


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April 29, 2007
Take Deep Breaths and Waste Sweet Seconds
The weekend's photos are really starting to backup up in here.
I've only just now had the chance to upload my pics from Thursday night's Bridge Art Fair preview (selections posted below).
Not yet posted: more photos from Art Chicago, selections from New InSight and The Artist Project, and a near-full accounting of the Version 7 exhibits and doings from both the Co-Prosperity Sphere and the Zhou B. Center this afternoon.
And, even as I slumber tonight, my laptop should continue to grind away of its own accord, uploading some 255 photos from Friday's Carnival of Art on the River (aka, Art War), which should hopefully all be available on Flickr by morning. [Update: Uploadr choked on the upload overnight, but close to half have made it so far and can be found here, the rest to follow.]
Anyways... For now, a little bit of that Bridgey goodness:
"Take Deep Breaths and Waste Sweet Seconds"
Posted by Dan at 03:32 AM | Referenced URL's | Comments (0)
April 27, 2007
You can't see it all
As 9pm rolled around last night, I found myself hopelessly lost in the maze of Art Chicago.
I'm going to have to consult the map to figure out what I missed.
For the time being, some selections from Art Chicago (see more on Flickr):
"You can't see it all"
Posted by Dan at 12:16 PM | Referenced URL's | Comments (2)
I'm Gonna Take Satisfaction, I'm Gonna Get Rock Action
Charging down to the Merchandise Mart (after a full day of work today) for the Preview Night festivites of Art Chicago and Bridge has already pushed me past the brink of early exhaustion. It's barely Friday, but please don't tell my poor feet what I have in store for them later today.
As if the fairs themselves weren't enough to undermine my precious vitality, 11 pm Friday night will find me at the doors of the House of Blues for a rendevouz with recently reunited Chicago punkers Naked Raygun. (It will be the second show of the evening, so here's hoping they save of a bit of the rocket fuel for us Johnnie-come-latelies.)
The full bill: "Naked Raygun with Special Surprise Guest, Dillinger Four, and the Bollweevils." A surprise guest? Tantalizing.
Punknews.org reports that Raygun will be joined onstage by Dan Schafer (aka, Dan Vapid) and (drum roll...) Jake Burns of Stiff Little Fingers.
Not 100% shocking, let alone unprecedented:
Can we bank on Jake joining them for "Suspect Device" tomorrow, too? This could be sweet.
Though it'll be cool to see the recently reunited Bollweevils, it's kind of a shame we won't be getting the Effigies as well. They're playing the 6:00 show, but John Kezdy will be running off to DJ at Exit afterward.
Anyways, I'll make the rest of this brief... Sharing is caring, so enjoy the following:
Super special meta goodness... The Bollweevils cover Naked Raygun: "New Dreams"
And a special bonus... Ripped from my copy of the Bollweevils' "Ripple" 7-inch: "999-Stoney"
(Do enjoy the snap, crackle and pop of the latter. Like a warm analog blanket.)
"I'm Gonna Take Satisfaction, I'm Gonna Get Rock Action"
Posted by Dan at 04:10 AM | Referenced URL's | Comments (0)
April 26, 2007
Quick Hits: The Wages of Art Blogging/Chicago Pachydermata
A quick Chicago art link-around for your afternoon reading.
First, a little where-are-they-now on a couple reformed fromer art bloggers...
If you look over here you'll find Newcity's newest, Jason Foumberg (ex-Houndstooth*), discussing one Rowley Kennerk (ex-Folding Chair, since disappeared from the living internets) and his eponymous West Loop gallery:
Kennerk's gallery is currently passing its six-month mark in existence. As the new kid on the block of Peoria Street, Chicago's real-estate ground-zero for contemporary art galleries, Kennerk must contend with such legendary heavyweights as Rhona Hoffman Gallery and Donald Young Gallery. While Hoffman is celebrating her thirtieth year in Chicago, the legacy of the work that she has supported continues to succeed beyond bounds. In fact, conceptual art is flourishing, tagged with the prefix neo, and is being carried into this century by newcomers such as Kennerk. Currently at Rhona Hoffman, a geometric sculpture by conceptual-art pioneer Sol LeWitt represents the staying power of idea-based art, and as it is composed of building blocks stacked in a gentle upward thrust (reminiscent of the Sears Tower), it reminds us that chronic lust for "the new" often succeeds by pushing off from the shoulders of the giantess.
Kennerk does not own LeWitt's sculpture, but what LeWitt codified exceeds the structure of formal or expressive art; it is a prescription for a moral life. Or, in LeWitt's words, "Ideas can be works of art." Idea art does not become dated in the way that Op art or even Pop art from the same period yellows—conceptualism is the product of an international cosmopolitanism. Rowley Kennerk's programming is turning out to be like this sculpture, or perhaps like a Mies van der Rohe building—it is both assertive and supportive of the new canon of art. If both art and life can be stylized, then Kennerk is International Modernism, which was (and continues to be) such a powerful code for living because it could exist anywhere in the world without appearing out of context, untranslated from one locale to the next.
Neo-conceptualism, drawing from Sol LeWitt's design, and which grew exponentially in Chicago in the 1980s and 1990s with such artists as Jeanne Dunning, Gary Justis and Richard Rezac, is not Chicago-bound; it connects a network of worldwide intellectual practices. Similarly, Rowley Kennerk, who was born, raised and educated in the Midwest (from Indiana to Michigan to Chicago), is working independently of the hard-nosed Chicago style. Instead, he seeks to bring new ideas and artists to Chicago viewers. Some art in the gallery's short exhibit history directly references 1960s culture and the breakdown of absolutism, such as works by Richard Prince and Sam Durant. Others, such as David Liekse and Florian Morlat's works (who Kennerk will show later this year), press on the barriers of history in favor of an openness to the universal. By introducing the work of these "significant emerging" artists to Chicago audiences, Kennerk hopes that we will be as challenged as he is, and that our taste for uncertainty, as well as the uncertain future, will be edified.
Deliciously meta.
But how about multi-tasking, fellas? (Like I'm one to talk.)
[*Update: Huh. Would you look at that. Possibly not an ex-blogger after all? But what's become of the archives?]
Also, a belated tip of the hat to Tony Fitzpatrick, who had an editorial in the April 15 Sunday Tribune:
Chicago talks to me. On my best days, I listen, and put those voices into my work.
I'm not sentimental about the "old" Chicago—wistful maybe, but not sentimental. I do not miss the city that enforced segregation with brutal efficiency, not to mention bricks and bottles. I do not long for the days of mutual distrust among the myriad of ethnicities in this city.
It's not as if those struggles are completely behind us. We are still a segregated city. We are still a city of tribes or, put more gently, a city of neighborhoods. My friend Alex Kotlowitz, the author of the splendid Chicago work, "Never A City So Real," describes Chicago as a city of "messy vitalities" and he is right.
I think my task as an artist is to remember this place. To put some sense and order to it for myself, and then hope that these combinations of drawing and collage have some resonance for others as well.
I believe there is a magical Chicago—one that transcends the rusted, steel-belted old tropes of Sandburg poems. Don't get me wrong. I love the Sandburg poems. They are the seminal text of my work. They are also very old and unforgiving. They also sometimes miss those moments when this city is heart-stoppingly beautiful. Like when I was 7 years old, riding in my father's big shark of an Oldsmobile, in the dead of winter, past Chicago Stadium and seeing a boy, no bigger than I was, walking three enormous costumed elephants through the snow into the back of the old barn. I had never seen anything like it. It was one of those moments where the incongruities meld into a magical reality—elephants on Damen Avenue in the middle of the gray West Side. That was the day that I was hypnotized by Chicago. It is a spell I am still under.
This city has something to do with what I know, and how I know it.
"Wistful maybe, but not sentimental." I like that.
As the kids say, read it all.
"Quick Hits: The Wages of Art Blogging/Chicago Pachydermata"
Posted by Dan at 02:06 PM | Referenced URL's | Comments (3)
Look Upon Me! I'll Show You the Life of the Mind!
In addition to packing the weekend with a variety of performances and concerts (not to mention a modicum of art), ARTropolis organizers have prepared some special programs that will illuminate the mind and dazzle the eye. And they run the gamut.
Holding it down at the Mart will be a range of discussions in concert with both Art Chicago and Intuit's satellite show.
And just a stone's throw across the Loop, something called Symposium C6 (that is: Conversations, Creativity, Collaboration, Culture, Community, Chicago) will find a home in Millennium Park's Pritzker Bandshell.
Over 30 participants will trade turns donning the Moustache of Understanding for a three-day conference, kicking off tomorrow morning (that is, Thursday), entitled "The Art World is Flat."
Originally conceived as an invite-only VIP event, it's since been opened to the plebes at a mere $100 bucks a head per day (or a flat $250 for the full course).
With lunch included, it's a hell of a bargain.
Schedules ho...Art Chicago
Friday, April 27
1:00—The Next Wave: MFA Production and the Future of Art
Lisa Wainwright, Leslie King-Hammond
New InSight is an exciting opportunity for young artists to meet, present their work, and talk about the contemporary art issues. Join this town meeting-style discussion with the graduate students who were selected to participate in this unprecedented exhibit.
3:00—Public Art: The Collaboration Between Architect and Artist
Dirk Denison, Walter Hood, Mary Jane Jacob, Mary Miss, Edward K. Uhlir
Artists and architects have had creative and contentious relationships over the years as they struggle to bring new buildings, parks and art to the public. These panelists will talk about the new models that are emerging and the publics reception to them.
5:00—Stolen Art and the Experts Who Retrieve It
Robert K. Whitman
From raids on the treasures of cultural heritage sites internationally, to repatriation of works taken as wars plunder, to ingenious thefts at well-secured museums, the traffic in stolen art, and the challenges of locating and returning it to its rightful owners, continues to frustrate and fascinate.
Saturday, April 28
1:00—On the Cutting the Edge: Young Curators on Young Contemporary Artists and the Art Market
Courtney J. Martin, Dominic Molon, Sara Reisman, Franklin Sirmans
Young curators are often on the cutting edge when it comes to identifying talented young artists. Dr. Isolde Brielmaier, Visiting Assistant Professor of Art at Vassar College and Director and Chief Curator of The Rotunda Gallery, moderates this discussion with a dynamic group of young curators. Each of whom will share their experiences and thoughts on working with highly popular young artists.
3:00—Painting Protest: Art in a Time of War
Leo J. ODonovan
Over the centuries artists have responded vigorously to the destructive and dehumanizing effects of war. This lecture will recall some of the most memorable images created in response to the violence of the 20th century, including work by Otto Dix, George Grosz, Max Ernst, Salvador Dali, Pablo Picasso, and Jacob Lawrence, and assess their influence. In conclusion it will pose some questions about painting today in the 21st century and our emerging views of wars.
Sunday, April 29
1:00—Artists in the Current Political Climate
Paul Shambroom, Jeremiah Barber, Mary Patten
Recently there has been a resurgence of contemporary art exploring the questions of if and how cultural practice can affect political change. Adam Brooks, artist, curator and educator at Columbia College Chicago, member of Industry of the Ordinary, moderates this panel discussion on strategies of resistance employed by contemporary artists.
3:00—Art and New Technologies
Erika Dalya Muhammad, Jon Winet, Benton C. Bainbridge
Artists in all disciplines are using new media technologies in unprecedented numbers, and delivering their work to new audiences both inside and outside of the traditional gallery and museum systems. This panel discussion is moderated by Amanda McDonald Crowley, executive director of Eyebeam, an art and technology center in New York.
Intuit Show of Folk and Outsider Art
Friday, April 27
12:00–1:00—Outsider Art 101
2:00–3:00—The Art of Daniel Watson
Presented by Mary Donaldson, curator of the exhibition Dont Fence Me In: The Art of Daniel Watson. Admission: $10
Saturday, April 28
12:00–1:00—Outsider Art 101
2:00–3:00—The Art ofJoseph Yoakum
Presented by Carl Hammer, Carl Hammer Gallery, Chicago. Admission: $10
4:00–5:00—Q&A with Mr. Imagination
Meet the prolific, self-taught Chicago artist known for his bottle cap creations. Admission: $10
Sunday, April 29
12:00–1:00—Outsider Art 101
2:00–3:00—Talking with David Philpot
Visit with Chicagoan David Philpot, creator of elaborately bejeweled wooden staffs. Admission: $10
4:00–5:00—Henry Darger and the Realms of the Unreal
A presentation by Jane Kallir, Galerie St. Etienne, New York, on Americas most well-known outsider artist—Chicagos own Henry Darger. Admission: $10
Thursday, April 26—9:30–4:15
New Capital(s)
Hegemony and Resistance in the Global Cultural Economy
How do shifts in wealth encourage or limit cultural visibility and diversity? Will new cultural centers emerge, offering new possibilities? What are the new models of interventionist cultural practice? Why are new patrons creating alternative structures and processes for cultural experiences?
Keynote (10:30–11:30): Peter Sellers, "Globalism—Crisis and Opportunity"
Panel Discussion (1:00–2:30): "New Models of Cultural Production and Distribution"
Panel Discussion (2:45–4:15): "Interdisciplinary Artists and Unconventional Interventions"
Friday, April 27—10:00–5:00
No Borders Here?
Cultural Hybrids, Nomads, Refugees
What economic, political and cultural imperatives drive the new nomadism? How is technology erasing traditional hierarchies and boundaries of cultural production, distribution and interpretation? How is the restless peripatetic creative class producing new dislocations, networks and communities?
Panel Discussion (10:00–11:30): "Challenging Cultural, Political and Formal Boundaries"
Conversation (1:00–2:00): Robert Enright interviews Ken Lum
Panel Discussion (2:15–4:00): "Connecting Local to Global/Past to Future"
Keynote (4:15–5:00): Bruce Ferguson
Plus... a private screening of filmmaker Lynn Hershman Leeson's Strange Culture, a film about the mindblowing (and ongoing) harassment of artist Steve Kurtz at the hands of the FBI. 9 pm at the Museum of Contemporary Art.
Saturday, April 28—10:00–4:00
Green World
Art for a Sustainable Ecological Consciousness
What new solutions to the ecological crisis are emerging from collaborations between science, culture and technology? How are green artists, designers and architects using developments in science, genetics and technology? What role does culture play on the brink of environmental catastrophe?
Panel Discussion (10:00–11:30): "Creating a Sustainable Future"
Conversation (1:00–2:00): Lawrence Wechsler interviews David Buckland
Panel Discussion (2:15–3:45): "New Artistic Practices in the Culture of Ecology"
Followed by a performance by Anna Deavere Smith, 5 pm at the Merchandise Mart.
"Look Upon Me! I'll Show You the Life of the Mind!"
Posted by Dan at 12:37 AM | Referenced URL's | Comments (184)
April 21, 2007
Back up in your ass with the Resurrection
I suppose it's a probably a couple weeks too late to exploit the full blasphemous polysemy of this title, but I think it remains apt enough, considering.
After all, and my own incipient return to blogospheric glory notwithstanding, there's a certain other resuscitated elephant in this room at the moment: a little upcoming Chi-town to-do, what goes by the name of...
ARTropolis (aka, Art Chicago Premium Edition).
But we're getting ahead of ourselves...Alternate Takes
Art fair fever actually gets its unofficial jumpstart this weekend with the inauguration of Version 7, this year dubbed "The Insurrection Intenationale."
Lumpen's latest international convergence kicked off with video and performance at The Compound on the West Side Thursday evening and the opening of "We're Rollin',They're Hatin'," the fest's flagship exhibition, at the new Public Media Institute/Lumpen
Pleasure Dome Co-Prosperity Sphere in Bridgeport last night.
Beefed-up (Deanna Isaacs has Edmar claiming a budget of $50,000) and now officially not-for-profit (since last December).
From Isaacs:
Marszewski expects his expenses to rise to as much as $50,000 in '07. "This year we want to make sure we have a budget to build more things, fly in more people from overseas, and also pay for security and cleanup staff," his e-mail said.
The latter was mostly a joke, but the costs, which keep increasing, have "been draining," he says. "It's really tough to do two festivals a year just relying on [volunteers]; we have to institutionalize in order to improve." Besides encouraging individual donations, nonprofit status will allow Public Media and its participants to dip into the grant pool. Sixteen years after he started Lumpen in Champaign, Marszewski is supporting his empire by carpentering, designing Web sites, and working at his mother's Bridgeport bar. At 38, he sees the need to "get a base" to sustain people. "I'm going to burn out soon," he says. "We need a structure in place to continue without me."
With some two and a half weeks' worth of programming on tap, Version 7 certainly offers up an imposing schedule. But it also offers a soothing, non-commercial palliative to art fair overexposure and is well worth a visit in the midst of it all.
In addition to the aforementioned "We're Rollin', They're Hatin'" at the Co-Prosperity Sphere (a show organized around the theme of fantasy role-playing games), Version is also presenting two photo shows at the The Zhou B. Center, both opening next Thursday: the 43rd Annual Versionfest Photographic Invitational (works by ten photographers from across the country, curated by Brian Ulrich and Jonathan Gitelson) and UNKRAUT (a selection of current works from nine German photographers).
The Zhou B. Center will also play host to the Version NFO XPO, a science fair-styled expo of artists, spaces and projects from Chicago and beyond.
There will be roving interventionist street art in the form of customized moving trucks, a preemptive May Day celebration on the 29th in the form of a guerrilla history tour departing from the West Loop Haymarket Memorial, plus video, music and workshops galore.
The capper, though, at least in my own fevered imagination, is Version's sponsorship of a spectacle that could easily prove the highlight of this year's art fair weekend if it lives up to its description, as "hundreds of artists, performers and cultural workers of all stripes" lay siege to ARTropolis' capitalist stronghold:
This Year Version will wage an Art War on the existing Art Fair structure of Chicago. We will engage the enemy by land, water and air. Dozens of organisations and groups have organised the alternative art festival: Carnival of Art on the River on April 27, 2007.
(Survivors to adjourn to Sonotheque after the war for the enjoyment of noise rock.)
Some 25 hours before the insurgent art warriors of Version and cohort join their assault on the citadel of art commerce, Merchandise Mart Properties is set to finally raise the curtain on their ambitious relaunch of Art Chicago.
If you missed out on the troubles plaguing last year's edition you could do worse than consulting the various news and blog reports on the topic I distilled at the time. In short, though: when the Merchandise Mart bailed Thomas Blackman Associates' already foundering fair out of an eleventh hour crisis last year (72 hours to show time, give or take), Blackman sold his operation to the Mart, making them the proud producers of the once (and dare we hope future?) King of the American Art Fairs.
Come 2007, the once-venerable Art Chicago is now being relaunched in what was described to Victor Cassidy as "a public-private partnership similar to Art Basel."
Roping in some pretty decent civic, institutional and commercial support (not to mention "the tacit support of Mayor Richard M. Daley," insofar as, I suppose, Hizzoner II hasn't explicitly protested their plans), the Mart is constellating a full complement of social and cultural happenings around the occasion of art fair weekend under the umbrella of ARTropolis.
They're also pulling the Bridge Art Fair (formerly NOVA) into the fold as one of three "satellite shows" alongside the main fair and the Mart's spring antiques fair. Also on tap in the satellites: an outsider/folk art show from Intuit and an exhibition of 48 unrepresented artists dubbed The Artist Project.
Additionally, as a part of the main fair itself they'll be presenting New Insight, a special (and apparently first-of-its-kind) exhibition featuring work from 24 MFA students from major American grad programs curated by the Renaissance Society's Susanne Ghez.
All that with just one ticket to see them all, one place to find them.
The main show will feature 132 exhibitors (including a relatively healthy contingent of 40 dealers from NYC)—still a far cry from the fair in its heyday, but also a marked improvement over the last couple of years.
There will be only 20 hometown representatives (more on which in a moment), but included in the exhibitor rolls are a few Chicago A-listers notably absent from the local fairs in recent years: Rhona Hoffman, Richard Gray, Kavi Gupta and Alan Koppel.
And, if Edward Winkleman is to be believed, the opinions of collectors and gallerists are on the rebound:
We were very pleased to learn we had been accepted, but still remained a little nervous. What if they threw a world-class art fair, but nobody came. The proof is in the total experience, and a big part of that is attendance.
But slowly the excitement has begun to grow, and I'm beginning to hear from collectors near and far that they're curious, impressed (the VIP program for this fair is pretty astounding actually), and increasingly excited. Chicago is rolling out a very comprehensive and enticing red carpet, with a city-wide approach that combines a wide spectrum of arts and culture (learn more about this feast of options at the Artropolis website).
... Do please stop in if you're attending. And consider coming if you hadn't already. From all indications, you'll want to say you were there the night Chicago was reborn.
Rebirth, you say?
Paul Klein, too, dropped these two cents around ABMB time:
Let me preface my remarks about visiting the myriad art fairs in Miami the past few days by saying that Ive been privy to the Chicago 'Merchandise Mart's presentations about what they have been doing and will do to revitalize ArtChicago. Clearly the Mart has very deep pockets, an army of caring, quality event organizers and a passion for substance. In a nutshell, it would not surprise me to see ArtChicago win a World Series long before the Cubs do.
A bit oblique, perhaps, but no less positive.
So, the upshot is that, with a bit of (apparently) competent management at the helm, the early buzz is (apparently) turning out pretty good.
But, to paraphrase David Byrne, how did we get here?
Let's review to the tape...
As Winkleman notes, a major focus of the Mart's efforts has been to revitalize the fair's VIP offerings.
Charles Storch and Alan Artner highlighted this in a December 3, 2006 Tribune article (now offline), "How the Mart is trying to repair Art Chicago":
On Thursday, Art Basel Miami Beach, the sun-tanned spawn of the great Swiss international art exposition, cuts the ribbon on its latest installment. A-list dealers and collectors from around the world are expected to attend the four-day contemporary art fair—as well as several satellite marts in its orbit—and to party with celebrities in homes of the super-rich or the most exclusive nightspots.
Many may even be lured to a party that is to be given by the Chicago-based Merchandise Mart Properties Inc. The Mart last year bought Art Chicago, the longest-running and once-leading contemporary art fair in the country, from its longtime producer. Its team will be at Art Basel Miami Beach—as it has been at other such fairs around the world—to try to make the contacts and find the elements that could return Art Chicago to international prominence.
"We recognized [after last spring's Art Chicago] that to revitalize the show we had to raise the caliber of the dealer base," said Mark Falanga, Mart senior vice president, in an interview last week. He added, "We're mindful there is damage to repair. That's why we are creating a more broad-based, ambitious show than has been here the last few years."
Luring top collectors
Some of the ARTropolis partners have been involved in the Mart's plan to indulge the penthouse tastes of top collectors and other VIPs. Falanga said a three-day symposium on "globalism" would be convened solely for A-listers at Millennium Park's Pritzker Pavilion. They also will get preferred access to Mart shows and receptions, tickets to concerts, reservations at fine restaurants, use of a car service and other perks.
"We're cognizant of what other shows are offering VIPs, and we will be competitive," he said.
But will parties and other favors be enough to draw prospective buyers should top galleries not be represented at the fair? And would the continued absence of more-prominent Chicago dealers undermine the show's appeal to their counterparts elsewhere?
The notion of "a more broad-based" show bears certain undeniable echoes to the populist designs of Pfingsten Publishing's erstwhile Art Chicago usurper, Chicago Contemporary & Classic. As does the Mart's attempt at some level of art-antique fusion.
But by all indications there's a sense of ambition and wide-angle vision in the Mart's plan that was almost entirely lacking in CC&C's 2005 bid for the art fair crown.
"If somebody were to announce an Art Basel-like show for Chicago, it wouldn't work, because that's such a high sliver of the marketplace that couldn't be pulled off overnight," said Rob Spademan, Pfingsten's marketing director. "Chicago needs to go for the $5,000 to $50,000 price point for collectors."
Mark Lyman of Chicago-based Expressions of Culture Inc.—whose competing bid to produce an art fair in the same time slot at Navy Pier was rejected—disagrees, adding that he is still in discussions with partners for a Chicago show that would aspire to the very top echelon of art fairs.
"They were probably realizing that they were going to have difficulty filling up the hall with the top-level fine-art dealers, so they're taking a more generalist, lower-level approach to this," Lyman said. "I think this makes it very clear that there's a strong opportunity in Chicago for a top-level art fair that would span contemporary and later modern art."
Incidentally, Lyman (of SOFA) remains a sideline figure in the art fair chronicles. Always seemingly on the brink of dipping his toes in the Chicago fine art fair waters, he again pulled back from doing so this past December:
Looks like the Merchandise Mart and Art Chicago won't have to worry about a competing art fair at Navy Pier in 2007; DMG World Media has pulled the plug on its plan to hire a director and mount what producer Mark Lyman had said would be a "world-class show" at the Pier. Lyman says that after polling a number of key dealers internationally, DMG decided the best thing for Chicago would be to "sit tight a bit and let time take care of some things."
Still waiting-and-seeing, then?
Hard to blame him, quite honestly. In their December Trib report, Storch and Artner found Rhona Hoffman and Paul Gray still withholding their blessings:
"There are well over 100 fairs. In New York alone, there are at least a couple a month," said Paul Gray, a director of the Richard Gray Gallery in Chicago and New York.
His gallery has been absent from Art Chicago for some years but is represented in four other large fairs. He said each takes up "a better part of a month" in preparation and execution and the four combined cause a "strain on the availability of inventory."
Although he believes the Mart is trying to "bring the fair to a higher level," he doubts that it can "put together a roster of exceptional galleries that would motivate me" to be represented there in 2007.
Not committing yet
Like Gray's, Rhona Hoffman's gallery here had been a mainstay of Art Chicago until recent years. Like many others, she is adopting a wait-and-see attitude to joining the fair.
"I support my city. People in the greater Midwest would love to have a good art fair here," she said. "If [Mart people] get together a group of first-rate galleries—I don't care if it's 10 or 200—I will sign on."
Roy Boyd, president of the Chicago Art Dealers Association, said he is "very impressed" with the actions being taken by the Mart and is among those who want to have their galleries at the show. One of them is Stephen Daiter, a local dealer in photography who long has been an advocate for the fair.
"I think it will be a lot, lot better than in the last two years," Daiter said, adding, "It sounds to me a very good, at least, regional fair."
Art Chicago expects to draw up to 150 exhibitors. Falanga said the Mart has received 125 applications, with booth deposits, from galleries. He said many of those galleries were not here last spring, and a number of them are of high caliber.
Falanga said the Mart already has brought together dozens of collectors, art administrators and business people for a host committee to assist in planning the fair and ARTropolis. It will seek to recruit about 12 dealers from around the world for a gallery selection committee.
As we've noted already, however, both Hoffman and Gray have since signed on the proverbial dotted lines. Deanna Isaacs fleshed out some of the intervening happenings (and a bit of controversy thereof) in March:
Kennedy said the first thing the Mart did to get this year's show off the ground was solicit the support of the Art Dealers Association of Chicago (CADA). CADA members recall that Mart representatives held a series of enthusiastic meetings with them last fall, turning on the PowerPoint charm and enlisting them as ambassadors to recruit dealers nationally and internationally. A few remember a warning voiced by one of their own: "They might mount a show we can't get into." But at least some felt the Mart was focused on creating a fair with a distinctive Chicago identity. "We were very excited," says Flatfiles Susan Aurinko. "I was the biggest cheerleader in the city for what they were doing. We were calling people and saying, 'You have to apply.'"
Art Chicago appointed a ten-member gallery-selection committee that included three Chicago representatives: CADA president Roy Boyd, photography dealer Stephen Daiter, and—in a coup—the queen of the citys tiny A-list, Rhona Hoffman. All three will have booths at the show, and even A-lister Richard Gray was lured back. But only 20 Chicago galleries made the list, which was released last month. Flatfile was out, as was Jean Albano (which would have been showing Karl Wirsum and Gladys Nilsson). Thomas Masters, whose gallery was also turned down, says CADA members realized they'd been "spun off the wheel" in an event striving to be elite rather than inclusive. "Without the Art Dealers Association of Chicago, I'm not sure Art Chicago could have happened this year," Masters says. "The fair was floundering. They came to us and said, 'What should we do? We cannot get this fair off the ground without you.'"
Masters says the Mart abandoned a core group of half a dozen dealers who gave their time and support to the fair with the tacit understanding that they were "forging their way into it." He says "the selection committee was not made aware of their contribution."...
Hoffman, who was in Telluride the day the selection committee met (when it reportedly reviewed 300 applications in about ten hours), says she participated by FedEx and phone. "The goal was to be an international fair," she says. "Sour grapes" notwithstanding, "not everyone should be in it."
Paul Klein, again parenthetically sharing his optimism for the coming extravaganza, also emphasizes Hoffman's role:
There are three world-class galleries in Chicago: Rhona Hoffman, Richard Gray and Donald Young, and quite a few contenders. Rhona Hoffman and Paul Gray (of Richard Gray Gallery) have been major players in contributing to the culture of Chicago and deserve significant credit for supporting ArtChicago in its meteoric rise from the ashes to the celebratory showcase were about to see in two weeks. Rhona particularly has been front and center in cajoling her peers to come to town.
Could helping bring a once-proud art fair back from the brink turn out to be the crowning jewel in Hoffman's 30th anniversary year as a Chicago art dealer?
There seems to be hope for the moment at least. So... watch out, Utica: Art Chicago is an art fair on the... grow.
Long as this post has grown, I find it necessary to append a postscript; if possible, a short one.
A check of Thomas Blackman's old domain reveals yet more unpaid bills. It's something that's really neither here nor there at this point, but interesting nonetheless:
ThomasBlackmanAssociates.com is Unavailable
This site has been disabled due to issues of non-payment by Thomas Blackman for a period of over 15 months. Thomas, please contact your hosting company to resolve these billing issues soon. Thanks.
Good luck with that.
According to Google's cache, this notice was posted at some point after Mar 30, 2007 13:03:58 GMT, placing the start of the as-yet-unresolved 15-plus-month delinquency squarely in the heart of the run-up to Debacle 2006.
Hardly shocking, I know, but...
"Back up in your ass with the Resurrection"
Posted by Dan at 02:47 AM | Referenced URL's | Comments (4)
November 29, 2006
He's beboppin' and scattin', and I'm losin' it!
"Critics should probably stay out of the predictions business," Tribune Entertainment Editor Scott L. Powers writes, "but I predict in the articles that follow, the Chicago Tribune arts critics will have a wide variety of TV shows, movies, plays, architecture, music, dance and art that they will argue deserve another look."
A bold prognostication? Really, he's just laying the formula bare: "Critical Reversals" was the watchword of the day in Sunday's Arts & Entertainment, "Upon further review..." was the headline.
It was a clever little weekend feature, offering the paper's arts critics a chance to reconsider some snap judgments and to otherwise humanize their opinions. A chance for candor and a chance, perhaps, to even eat a little crow.
The motto: "Critics change their minds. And they can be just plain wrong."
In probably the pithiest piece in the section, Chris Jones says he "blew it" when it came to MacArthur genius Sarah Ruhl, "inarguably one of the leading contemporary American playwrights." He also, for good measure, apologizes for urging readers to give Twyla Tharp's "The Times They Are A-Changin'" the benefit of the doubt. "It was one of the worst shows I have ever seen in my life."
Blair Kamin shares his realization that his response to Rem Koolhaas' IIT Campus Center was clouded by ideological preconceptions and explains how he's warmed up to the structure since its 2003 unveiling.
Greg Kot admits he was mistaken in doubting U2's "Achtung Baby," misguided in his praise of R.E.M.'s "Monster" and just plain wrong to take Jesus Jones over Oasis in the Britpop sweepstakes.
Sid Smith admits that "A Chorus Line" is probably not all that when all's said and done, and that Michael Bennett is no Bob Fosse.
Michael Phillips, doing little to overcome my impression of him as a bit of a benign jackass, confesses to a misplaced faith in the taste and discrimination of the greater movie-going public (as well an underestimation of the appeal of Borat).
Maureen Ryan goes sour on Studio 60 and Phil Vettel regrets giving a gimmicky, derivative crab shack three stars ("that lack of perception still rankles").
Michael Wilmington tells of his change of heart concerning "Waiting for Guffman," Howard Reich tells us that a singer whose schtick quickly wore out its welcome in 1990 is now among his favorite performers, and John von Rhein assures us that, his early praise for it aside, the acoustics of post-renovation Orchestra Hall are atrocious.
Ah. But I hear you asking, "What, pray tell, is our friend Alan G. Artner rethinking?"
Why the Imagists, of course, Chicago's very own homegrown art movement (if you dare to call it such).
Never mind that Alan is reaching back a quarter century in search of his critical faux pas. The Hairy Who, Nonplussed Some and their cohort are certainly a promising enough topic, if only for the prospect of seeing this renowned crank with heavy formalist sympathies and serious-art pretensions—our tireless guardian of the high against the creeping incursions of the Entertainment Culture spectacle—revisiting his animus toward a fundamentally anti-serious, pop-culture-inclined set of rabble-rousers.
Might he really recant? Really? Is this a come-to-Jesus moment, however slight? A great metaphorical deathbed confession?
Are you crazy?
No. The message of Alan G's "Critical Reversal," titled "Early attacks on Imagism lacked reason" and conveyed with that trademark weary irritation we've all grown to tolerate, is as clear as it is ridiculous... My only regret is that I cared too much:
I set out to do things differently, as an outsider, thinking my words were motivated solely by the work I saw. But the language in which I wrote about my recoil from Imagism was wrong because it was vehement. And that vehemence came from the mistake of reacting as much to the environment Imagism had caused as to the work itself. Imagism was only a style, here for a moment and, even among those who made up the "movement," soon gone. Art was not brought low by it. Art is more resilient than is thought by would-be protectors and defenders. Art in Chicago simply would move on.
...What did I think would happen if an art greater in appetite, deeper in thought and subtler in feeling had attention instead of Imagism? The history of Chicago art might have recognized sooner that the city's greatest aesthetic achievement lay in photography, not painting. But the rest of the world already had started to see that and, really, the biggest change would only have been that power and money would have been distributed differently, providing ego gratification, unnecessary possessions, drugs and cosmetic surgery for a whole other set of players. I am embarrassed not to have seen it.
If I remained in agreement with critic John Canaday's early-'70s verdict that Imagism was "greasy kid stuff," I don't believe the tone of my writing about it was as wrong again as it was in the beginning. Anger in criticism initially may sweep a reader along, but it seldom ages well because the emotion behind it seems to have gotten the better of reason, hobbling the argument. A particularly regrettable mistake is to go with that feeling over a finely reasoned argument—and in regard to Imagism, I made it.
He was right all along, see, and remains so. He just regrets his failure to appreciate that the rest of the world would eventually catch up (so says Alan) and he now just wishes that he hadn't been so "vehement" in his dismissals.
Quite a reversal there, Al.
This is all so self-evidently and embarrassingly asinine, I'll keep my response brief.
I don't doubt the value of a fire-breathing iconoclast taking aim at market-driven consensus. Nor do I question this erstwhile outsider's earnestness in countering the Great Malignant Hegemony of Vulgar Taste. But to be waging the same battles and gouging the same eyes 23 years after the fact—and, what's more, to be couching it in terms of a critique of incivility—is a wee bit perverse.
To further seize upon an editorial exercise undertaken in a spirit of critical humility as an opportunity to take a bitter, self-regarding victory lap? That's nothing short of classless.
But, then, Jim Nutt was a total dick to Alan once during the intermission of Cav/Pag. Yeah, and this one other time, on a Wisconsin pleasure cruise, Nutt laughed at him...
"He's beboppin' and scattin', and I'm losin' it!"
Posted by Dan at 11:01 AM | Referenced URL's | Comments (2)
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text:
I have MySQL databases.
Database A and
Database B. Running on Mysql 5.5 and Ubuntu 12.04.
Into Database A i am doing
UPDATEs every minute (cron) (The whole database has over 15 millions rows and growing).
I want to synchronize Database B with Database A use it for SELECT queries (for performance).
So I want to know: How can I synchronize new rows with Database B every 4 hours. I looked into MySQL replication. Is it good for this?
- I am thinking think about SQLite3 DB.
- All tables are InnoDB
- I'm looking for a headless command, not a GUI tool.
- Everything is on one machine.
- I need a fast utility. I tried Mysqldump, but I am trying to sync, not get the entire database.


text:
Abstract and Keywords
Distributed Morphology (DM) is a framework in theoretical morphology, characterized by two core tenets: (i) that the internal hierarchical structure of words is, in the first instance, syntactic (complex words are derived syntactically), and (ii) that the syntax operates on abstract morphemes, defined in terms of morphosyntactic features, and that the spell-out (realization, exponence) of these abstract morphemes occurs after the syntax. Distributing the functions of the classical morpheme in this way allows for analysis of mismatches between the minimal units of grammatical combination and the minimal units of sound. Much work within the framework is nevertheless guided by seeking to understand restrictions on such mismatches, balancing the need for the detailed description of complex morphological data in individual languages against an attempt to explain broad patterns in terms of restrictions imposed by grammatical principles.
Keywords: morphology, syntax, allomorphy
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text:
Handmade Knot Earrings
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text:
Despite massive publicity about the "Accidental Racist" album cut, the hoopla did not translate into blockbuster first-week sales for Brad Paisley's Wheelhouse.
Even so, the album debuts at No. 1 on Billboard's country chart and at No. 2 on the magazine's all-genres ranking.
According to Nielsen SoundScan, Wheelhouse sold 100,441 copies its first week out, Paisley's lowest debut number for a "non-instrumental studio album since 2003," Billboard reports. (That was the year Mud on the Tires was released.)
On the country airplay chart, Lady Antebellum's "Downtown" arrives at the top after a 12-week climb.
Eric Church's Caught in the Act: Live makes its bow as the No. 3 album with first-week sales of 61,439 units.
The only other new album is Chuck Wicks' Rough EP, which enters at No. 21.
Returning albums are Vince Gill's Ballads (No. 56) and Jake Owen's Endless Summer EP (No. 65).
There are four new songs to note: Hunter Hayes' "I Want Crazy" (No. 24), Lennon & Maisy's "Ho Hey" (No. 57), Drake White's "The Simple Life" (No. 58) and Casey James' "The Good Life" (No. 60).
Albums No. 2, No. 4 and No. 5, in that order, are Blake Shelton's Based on a True Story, The Band Perry's Pioneer (last week's No. 1) and Florida Georgia Line's Here's to the Good Times.
Comprising the No. 2 through No. 5 songs are Thompson Square's "If I Didn't Have You," Miranda Lambert's "Mama's Broken Heart," Chris Young's "I Can Take It From Here" and Lee Brice's "I Drive Your Truck" (last week's No. 1).


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While on a top-secret Jalopnik mission to Tokyo (meet with Emperor, secure trade route for silks and spices) I was out wandering the Tokyo streets when I noticed three odd things: bicycles.
Bicycles are, of course, incredibly common in Tokyo— in fact, I think I saw some breeding. But these bikes were special, as they were branded Chevrolet, Corvette, and GMC.
Yes, it looks like GM finally cracked that tricky Japanese market, with some light, nimble very fuel efficient vehicles.
The branding appeared to be factory-provided and not just some goofy stickers someone thought would be funny. These are actual badges and embroidered logos that some company thought would be funny. And profitable.
A bit of research shows that, apparently others have heard of GM-branded bikes, and they're selling quite well, especially hummer.
Regardless, it fills me with an absentee patriot's pride to know American brands are desired for Chinese-built bikes by Japanese customers. USA! USA! USA!


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State Policies
Maine law (Sub Chapter 1A) states that all schools must be designed to reduce energy usage by 20 percent using the Maine Energy Code as a baseline. The Maine Public Utilities Commission (PUC) runs an initiative called Efficiency Maine which can offer grants to any new school in the state.
Grants & Rebates
DSIRE maintains a database of incentives for Maine, many of which can be applied to schools. See the page for more information.
Maine High Performance Schools
|Wells High School
|Wells, ME
Feature Your High Performance School Design Work
Are you an architect or engineer who has worked on a High Performance School in this state? You can download and fill out our questionnaire and NEEP will use it to complete a case study, highlighting your firm's exemplary work on high performance schools. We use these case studies on our website, webinars, and conference presentations, and often invite architects or engineers to speak about their work in these venues.
For More Information
The High Performance Schools Exchange offers presentations and trainings to design and building professionals as well as school administrators and committees. These are available at no cost and can be scheduled by contacting Carolyn Sarno at email@example.com or at (781) 860-9177 x119 or John Balfe at email@example.com or at (781) 860-9177 x109.


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The backwaters of Stockton-on-Tees and Middlesbrough would be about as unconventional as it gets when discussing prospective musical scenes. Yet, in the case of locally based five-piece The Chapman Family, they've pretty much single-handedly ensured the North East's contribution to refreshingly creative music extends beyond the more renowned gritty terrains of Newcastle.
Having initially formed as a four-piece in 2006, their early demos and intense live performances quickly brought them to the attention of (firstly) Leeds imprint Dance To The Radio, and then the harsher confines of the capital's notoriously fickle music press. Built up, knocked down and spat out at various intervals, it's been a consistent struggle for The Chapman Family, but one that finally paid dividends earlier this year with the release of excellent long player Burn Your Town.
Nevertheless, turbulence is never far away from their door, and after having played rapturous sets at this summer's Camden Crawl and Bestival among others, the departure of founder members Phil (drums) and Paul (guitars - they don't do surnames other than Chapman) left fellow original frontman and songwriter-in-chief Kingsley (guitars) and bass player Pop with a bit of a dilemma. Now, with the former guitarist moving to keyboards and the one-time bassist assuming the mantle of lead guitarist, additional members Kevin (guitar), Scott (drums) and Owen (bass) make up the current five-piece Chapman Family.
With a band in place, November saw them embark on their biggest headline tour for nearly two years. They decided to cut out the agents and tour managers too, choosing instead to do everything themselves, including choosing to play venues outside of the normal circuit (and in some cases far off the beaten track...). DiS found itself sat in the car park with Kingsley and Pop at one of these aforementioned shows at The Greyhound in the Nottingham suburb of Beeston, where later they'll play arguably the most ferocious half hour's worth of music its regular clientele has ever witnessed.
Smalltalk out of the way, let the conversation begin...
DiS: The last time I saw you guys was on the bandstand at Bestival. I remember thinking at the time it seemed a strange stage for The Chapman Family to be playing, particularly in relation to the rest of the line-up?
Kingsley: I don't remember too much about that show as I was collapsed at the back of the stage afterwards!
Pop: It was a weird stage. When we got asked to do it I pitched it to the rest of the band because I'd read on the Bestival website about the "legendary bandstand". I imagined it being quite small but still like a normal stage. I had no idea it would be this weird, circular-shaped, eclectic outdoor stage.
DiS: When I saw the rest of the bill on the day you played, I said to the people I was with that the promoters obviously hadn't heard your music and had just seen the name "The Chapman Family" and assumed you were a Mumford & Sons type band as the rest of the line-up seemed to consist of acoustic folk acts!
Kingsley: That's happened to us a few times before anyway! People have genuinely booked us thinking we were Chapel Club, which is nice because they give us quite a lot of money, only to realise as soon as we turn up that we aren't fucking Chapel Club! Then there was this festival we played at - Beach Breaks in South Wales - and we were dumped on at 1pm on a Sunday afternoon straight after a local battle of the bands winner who was doing acoustic folk and before some guy whose name escapes me playing Seasick Steve style Americana!
Pop: Considering the day before was all indie and rock bands like White Lies and We Are Scientists then we got put on a day when the headliner was Newton Faulkner tells you all you need to know!
Kingsley: You do wonder whether promoters even bother to read the band's biog let alone actually listen to our music!
DiS: So much for promoters who just book package deals through one agent.
Kingsley: It is pretty shit to be honest...
Pop: Idiots!
Kingsley: ...but unfortunately that's how these things seem to work. As they say on The League Of Gentlemen, it's a shit business.
DiS: 2011 seems to have been a bit of a rollercoaster year for the band so far.
Pop: It's been very up and down to be honest. It's been quite a weird year if anything. At the start of 2011 we finally released our album, and then we did a couple of support tours with O Children and The Joy Formidable plus a few festivals, so this is actually our first set of nationwide headline dates since 2009. Because we've arranged this whole tour on our own, it's kind of surreal to be back on the toilet circuit doing these small shows. You'd think by now after what we'd achieved in 2009 that we would be playing bigger venues, yet for some reason, as with other aspects of our career, touring seems to have been left by the wayside. Me and Kingsley have been especially annoyed about that, because touring is the main reason this band started in the first place. It's where we get to play and meet new people. It's what we're best at and what the band's meant to be.
Kingsley: When we started the band it was primarily to go on tour. I've always wanted to do gigs, so I can't quite understand not doing gigs, because it's the best way of getting people to hear our music. When I dreamed of this as a kid all I wanted to do was play live, and then make records, and ultimately, play bigger and better gigs, y'know? Yet in reality it doesn't always work like that. It's just a minefield of contractual obligations and red tape.
Pop: I think our management have always had our best interests at heart, yet because of the way the music industry has changed over the past three or four years no one really knows the best way to get a band out there. Is it to do loads of gigs or is it to not do any at all so that the demand is so great for when they do play that loads of people turn up and all the press go mental for it? No one seems to really know which way to go about it and I think we've ended up being trapped in the middle where they've tried both approaches without ever really settling for one thing, so I think finally now me and Kingsley have started being a bit more hands on with our management and taking some of the control back like we used to have.
Kingsley: We used to do everything ourselves. I used to do the MySpace page, Pop helps out on Facebook. We would be the ones getting in touch with promoters and venues, and when you're a new band 99 times out of 100 people would knock you back or in some cases, not bother getting in touch at all, but you've got to keep plugging away and trying. Eventually something comes through, someone will believe in you. This tour we've set up ourselves without any agents....
Pop: ...Via Twitter and Facebook. We just wanted to play for people who are friends or who've wanted to put us on in the past but then tried to go through the agent and maybe not been successful. This has just allowed us to be hands on and pick the gigs we wanted to do.
Kingsley: At the end of the day we just want to be pro-active. We had the album out when we were doing those support tours, but I wanted us to be out there constantly because it feels like you're actually in a band whereas being sat at home on the computer makes us feel more like a marketing machine.
Pop: We've always admired bands like Pulled Apart By Horses because they seem to be constantly on the road touring. They've a full-on DIY aesthetic and played to everyone, and just never stopped. The recordings and business side of things seems to be a secondary thought to them. Their whole ethos is just about gigging and that's what we've always wanted to do. Unfortunately, I think we've been a little bit naive in passing a lot of the control over to our managers assuming that they would be able to move us on from where we were. Because of the way the industry is going it's not worked out for the best, so now we've asked them to ease off a little bit so we can have more responsibility over our live shows, more responsibility over our recordings, and just really get back on track to where we used to be. So far I think it's working quite well in terms of the live shows because a lot of the promoters we're playing for on this tour are people we've built good relationships with in the past. It just allows us to go out there and enjoy it. We're driving ourselves around. We haven't got any drivers or soundmen or tour managers telling us what to do; we're just doing it all ourselves and it almost feels like when I first joined the band in that it's an exciting pastime again rather than a drudging job.
DiS: How would you describe the relationship between you and your management?
Kingsley: It's good, it really is. We don't want to give out the impression we're slagging them off because we're not.
Pop: There have been little arguments here and there as with any other relationship, but we get on really well with our management in general. I think we've been quite lucky in that with our managers, it was a case of them coming to us rather than the other way round. They saw us at a gig in London and originally the plan was for them to just put a single out for us on their label (Electric Toaster), but after 'Virgins' came out they asked if they could manage us as well, so it sort of went from them being fans of the band to eventually being our managers, which is a really good relationship to be in. I'd rather have a manager who has already bought into the band and genuinely enjoys us than someone that just sees us as a business opportunity.
DiS: How are you managing to fund the tour? Tonight's show for example is one of many that is free admission to the public.
Kingsley: If the van's paid for and the petrol's paid for then the next step is to make enough money to pay for a single Travelodge room! Have you ever tried sleeping five people in a single room? If you book a Travelodge room far enough in advance you can get them for half price or less so I've had some for as little as £15.
Pop: The rooms have resembled something like a refugee camp some mornings! Five blokes fighting for floorspace in a tiny room, it's almost like a Victorian one-up, one-down. Us lot just scattered around the room under duvets and stuff!
Kingsley: I think that's what surprised our management. They weren't expecting us to be able to book anything, but as I said before, we'd already been doing this kind of thing for the first two years of the band's existence.
DiS: It must be difficult to break even though, especially with so many overheads to cover?
Kingsley: Believe it or not we're actually in profit, albeit by a very small amount of money. We've lowered our fees quite a lot because we're not paying bookers or agents, but before we started we worked out the bottom line of what the tour would cost us, and then approached several promoters honestly by telling them it was a DIY tour, told them what the minimal lowest fee we could accept would be and basically asked them to be honest with us if there was no way they felt they could match it. Fortunately, everyone we've worked with on this tour so far has been excellent, better than a lot of those at some of the bigger, more established venues we've played at even.
Pop: There's been a couple of shows where we've taken a bit less, because the costs have balanced out or the promoter has been a fan and put on a DIY gig themselves just to have us play their town. It's happened a couple of times where they've just given us whatever they've made on the door. To be honest, we're just glad to be playing for people that want to see us. I think me and Kingsley would have been quite happy to put in a couple of hundred quid each ourselves. I'd rather be out playing places like this to people who care than going on tour with another Joy Formidable, which was brilliant for us, but at the same time difficult because ultimately it wasn't our crowd. It's better to play a small gig to people who know and like the band rather than a big show to a thousand people that don't.
Kingsley: I don't want us to be sat on our arses all the time. Over the summer it felt like we were doing nothing a lot of the time, and as I've said earlier, I don't think being in a band should be about that, especially in this current social and economic climate. It's just wrong.
DiS: In the current climate with regards to the music industry it's imperative for bands to be out touring as much as possible, surely?
Kingsley: Even the bigger bands aren't selling as many records or making as much money as they were a few years ago, and that's why a lot of these old 1990s bands are getting back together. Greatest Hits albums aren't selling like they used to because people are illegally downloading them, so they're not receiving any royalty payments so what are they going to do? Simple, they're going to have to patch up their differences and pretend they didn't fall out or shag one another's wives...
Pop: ...and hire four separate tour buses in the hope that no one notices!
Kingsley: But they'll still be playing every single festival next year for a million pounds a time. It's a joke because it means new bands don't get a chance. What that also means is that even fewer artists will receive record deals because Sony would rather sink another £15 million or whatever into another Stone Roses compilation with maybe one new track that they'll laud as a new single instead of signing a thousand new bands with a tiny advance each to see what they can do with them. Yet again, it's another kick in the nuts for struggling artists scraping by from day to day just to be able to exist.
DiS: It is quite depressing that the NME and other publications seem to be heralding the Stone Roses reunion as the greatest thing to happen to British music this century.
Pop: Well it's going to be pretty symbiotic for the NME because no one buys their magazine any more. They don't know their arse from their elbow; they just keep plucking out the new Arctic Monkeys or the new Libertines every other week. Repeat cover stories of the Stone Roses reforming might sell them an extra ten copies in each region, which I guess will be deemed as a success to them but...
Kingsley: There's bands cropping up all over the place now. Everyone wants to be in a band. They're not all good and by the same token not all bad either, but there's some really extreme things happening that most people will never get the chance to listen to because they aren't selling 10,000 records or a band from twenty years ago who've happened to reform because they're skint.
Pop: We've played with some genius bands on this tour. We played in Bristol the other day with a band called The Naturals who are unbelievable. They're Bristol's best kept secret.
Kingsley: They've got these great big swooning My Bloody Valentine style guitar sounds, loads of effects pedals. Yet at the same time they've got these sweet little Drums-y type vocals over the top, which I suppose you could call a little retro, yet they're putting a new spin on it.
Pop: The scary thing is they've been together since 2004, yet no one outside of their hometown seems to have heard of them. How they haven't been picked up and put on a small label is just completely mental, and again, indicative of the way the industry has ended up.
Kingsley: If they were from London they'd have been signed up ages ago, probably playing VICE gigs at the Old Blue Last. We used to get asked all the time about whether we'd move to London, yet I think if we had been from London and doing the same thing; not that I think anyone from London would be able to do what we do because it's a northern mentality; but if we'd have been doing a similar thing to what other London bands were doing at the time, I'm certain we'd have been on easy street.
Pop: By the same token we'd have been forgotten about in six months time.
Kingsley: It's nice being a fair distance away from London because you don't fall into the trap.
Pop: And we've never become complacent either, which I think happens to so many London-based bands.
DiS: It's interesting how many London-based buzz bands don't tend to play many shows north of Watford.
Pop: S.C.U.M. are one that immediately springs to mind. I tried to book them back in the day.
Kingsley: It's largely because they know no one will come to the shows. I've seen a lot of these so-called London buzz bands play up in the North East, and frankly no one gives a shit.
DiS: It's fair to say that outside of Newcastle, the north east doesn't really get that much recognition for its musical talent.
Kingsley: We're from the same town as that Amelia Lily girl on X Factor. I know her brother. Who else do I know? When I was at University I once went out with the "Pop!" girl in the Rice Crispies "Snap, Crackle & Pop!" advert!
DiS: There have been several line-up changes this year, most notably the departure of founder members Phil and Paul along with the band subsequently becoming a five-piece. How did these come about?
Pop: It's out of necessity more than anything. It isn't like we've suddenly decided we don't get along with everyone. Our old drummer (Phil) already worked for the BBC, and because the band weren't making any money he made the decision to leave the band and move away to the other side of the country...
Kingsley: ...yeah, Carlisle! To be honest I think he'd had enough of being in a band anyway. Our old guitarist Paul was in a similar situation financially. Again, he'd been with the band from the start and we used to practice in his loft in the early days but he can't afford to take three week blocks off from his job on a regular basis either.
Pop: He's our silent sixth member because although he's not playing with the band, he's still writing and helping us out in any way he can. He just can't physically do the gigs any more otherwise I think he'd be homeless.
Kingsley: We've had a bit of a shift around. Pop's moved up to play the guitar, and we've got another lad who used to be our driver, Owen, to play bass.
Pop: I found our new drummer, Scott, playing in another local band.
Kingsley: Kevin, who's joined us on second guitar, is an old mate of mine I used to watch football with. It's been quite a natural thing in many ways as we knew all three before they joined the band.
DiS: Do the rest of the band have day jobs?
Pop: I'm unemployed. I got sacked from my last job because they got fed up of me coming in every other day asking for time off to go to London. "Why?" Because our manager said so...
Kingsley: I work in an art gallery, telling people not to touch things. It sounds very impressive, very bourgeois, but it's not. It's a council job and I sit in a room and tell people not to touch paintings covered in elephant shit!
DiS: Looking back on Burn Your Town, are you satisfied with how everything turned out?
Kingsley: In terms of the record itself and the songs? Absolutely. But not in terms of how long it took for the album to get out there, no.
Pop: Or the way it's been promoted since either. See, this is what we were saying about going out on tour. The record has been out for most of this year yet we've done nothing on our own to promote it.
Kingsley: But it should have been out long before it was finally released anyhow. We'd planned to release it last year but were told to keep putting it back.
DiS: I remember being sent the five-track sampler well over a year ago actually.
Kingsley: Exactly, and eventually I said to our management let's release it on St Valentine's Day this year.
Pop: And it still didn't come out until March!
DiS: In the set you played at Bestival there was a lot of new material. Is the follow-up ready to go and if so, do you have a projected release date?
Kingsley: Well that's the thing. Nearly all of the songs on Burn Your Town were written before and up to the end of 2009, so technically, a lot of those unreleased songs aren't really that new. We've got about thirteen or fourteen songs ready to go, and hopefully there'll be an EP out in the early part of 2012.
Pop: At the end of the day, we just want people to hear our music. That's all we've ever wanted really.
The Chapman Family's final three shows of 2011 are as follows:-
9 Darlington Seen
17 Newcastle Cluny 2
30 Stockton-On-Tees Ku Bar
For more information on the band visit their official website.


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Event Information
Idlewild Books
12 West 19th Street
(between 5th and 6th Avenues)
New York, NY 10011
Idlewild's language courses are both practical and fun, and have been recommended by New York Magazine and Daily Candy.
The classes are taught in our beautiful bookstore, not a stuffy classroom, and are limited to 14 students each.
Our Spanish for Beginners classes are taught by Juan Vallejo, a native of Colombia. Juan has several years' experience teaching in New York, including privately and at Berlitz, and uses a dynamic, participatory method that gets students talking from the very first class.
Is this class for you?
Our Spanish for Beginners course is an introduction to the Spanish language, with an emphasis on Latin American Spanish. The course is intended for people who are absolute beginners, or who studied Spanish a long time ago and want to brush up on the basics. The course includes presentation and practice of the following situations and grammar topics:
- meetings and introductions
- talking about yourself (nationality, profession, family, likes and dislikes, etc)
- asking and giving directions
- ordering in a restaurant
- basic conjugations of -ar, -er, and -ir verbs, and common irregular verbs
- describing actions in the present tense
- describing actions in the past tense
- numbers and their applied use (prices, dates, years, etc)
- definite articles and indefinite articles
- gender, plurals, possessives, and adjective/noun agreement
- forming and answering questions
- basic prepositions describing location
- comparatives and superlatives
Each of the ten lessons includes teacher presentation and student participation, including pair or group work.
About ourclasses
- This course is 8 weeks long and will meet for 75 minutes per weekly session.
- Class size is limited to 14 people.
- The beginner, advanced beginner and intermediate courses follow a text (not included in the course price but available to students for the discounted price of $15.99).
- There are no make-up classes. On the first day of class, each student will receive a syllabus that lists the weekly assignments so you can keep up with your studies if you have to miss a class.
If you wish to cancel your registration, you must contact Idlewild by telephone or email at least seven days before the start date of your class to receive a refund.
If you wish to postpone your registration to a later session, you must contact Idlewild by telephone or email at least three days before the start date of your class to receive a credit toward a future session (good for one year).
Idlewild Books
12 West 19th Street
(between 5th and 6th Avenues)
New York, NY 10011


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Distinguishing Signs of Vehicles
Distinguishing Signs used on Vehicles in International Traffic
Notified to the Secretary General of the United Nations
In accordance with the 1968 Convention on Road Traffic (article 45 (4)) and the 1949 Convention on Road Traffic
Distinguishing sign of the State of registration
1. (a) Every motor vehicle in international traffic shall display at the rear, in addition to its registration number, the distinguishing sign of the State in which it is registered.
(b) This sign may either be placed separately from the registration plate or may be incorporated into the registration plate.
Read more


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42 Biggest Travel Blunders Around The WorldPublished in News - January 1, 2015
International etiquette can be complicated. Clearing your plate in Ukraine is an insult to the chef - in England, it's a compliment. Similarly, the 'ok' gesture - an internationally recognised diving sign - could get you into serious trouble in Brazil.
We at Love Home Swap were curious about the unspoken rules and regulations of other countries. After some serious research, we've compiled a list of the biggest travel don'ts around the world.
Check out our infographic before your trip abroad, and avoid making an etiquette faux pas.
Add this infographic to your site with the following code:


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|Artist: Dawn
|Date Added: June 18, 2009
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|Tags: how to draw zodiac signs
Description: Zodiac signs are so awesome and reading your horoscope is something that a lot of people do on a daily basis because they practically live by what their signs say about their day or future. I have a few tutorials that I submitted on different types of zodiac signs and it is time for me to upload another. I am going to show you "how to draw zodiac signs Gemini step by step". How do you know if you are a Gemini? Well if your birthday falls between May 22 - June 21, than you are a Gemini. Gemini's are represented by "The Twins" and with your sign you are said to be very versatile, you have awesome communication skills, you are very witty, and you are also able to hold an intelligent conversation with another individual. Gemini's also have a very dark side as well. If you are a Gemini you are most likely nervous, tense, superficial, definitely inconsistent, cunning and inquisitive. The animal for Gemini is the wolf and your color is green. There is a lot of reasons why the Gemini is so popular but unfortunately I do not have the time to list all the pros and or all the cons. Anyways, this tutorial will show you "how to draw Zodiac signs Gemini step by step". I will be back in a bit and I know that you will have fun with this lesson. All you have to do is follow the steps the way they are laid out and you too will learn to draw better than before.


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Val Kilmer is going to Vancouver to shoot an eco-thriller, The Thaw. The story follows a group of students that discover an ancient parasite frozen inside a prehistoric wooly mammoth. The parasite comes back to life as the mammoth is thawed out, threatening the students and possibly spreading across the world. Actress Martha McIsaac (Superbad) will play Kilmer's daughter. More details on the parasitic monster after the jump.
Director Mark Lewis tells Dread Central that the parasitic monster was inspired by bed bugs and how vulnerable we all really are to Mother Nature. Although this an eco-thriller Lewis warns it won't get preachy at all.
Lewis also shares a little detail about the hairless monsters and how much CGI will be used.
Fortunately the aforementioned parasite doesn't have any hair, and we've partnered with a terrific VFX company. The tests have been amazing. I've never seen anything like it. It's going to be very creepy to say the least.
Shooting is starting this spring, I look forward to the mammoth thawing, but can it possibly be as great as the alien-possessed undead mammoth from the Sci Fi Channel movie? [The Province and Dread Central]


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