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Heyokas and Performance Artists by Linda Mary Montano : A Wikipedia and Linda Dialogue
The Lakota medicine man, Black Elk, described himself as a heyoka, saying he had been visited as a child by the thunder beings.[1] (Thunderbirds).
What a relief finding an anthropological home for my proclivities, my calling, my bizarre/radical/dangerous/sloppy/antisocial actions which I have pursued all of my life and have called "art."
Knowledge is power and Wikipedia is often the good news deliverer. For my argument, I have re-posted everything this secular bible Wikipedia, said about the word Heyoka, because that word is relevant to my need for affirmation and inclusion. We all need that! To be tribed and part of the hive mind and my hive mind of choice is the American Indian Heyoka. Truly I want to be known as that and also a performance artist. No longer embarrassed by my need to be/do/think opposite, I have found inclusion in the ancients whose vocations are to bless by being wrong, bless by having been visited by the destructive powers of thunder and lightening, blessed by being willing to be the perennial outsider.
I'm just like them.
The Heyókȟa is thought of as being backwards-forwards, upside-down, or contrary in nature. This manifests by their doing things backwards or unconventionally — riding a horse backwards, wearing clothes inside-out, or speaking in a backwards language. For example, if food is scarce, a heyókȟa may sit around and complain about how full he is; during a baking hot heat wave, a heyókȟa might shiver with cold and put on gloves and cover himself with a thick blanket. Similarly, when it is freezing he might wander around naked, complaining that it is too hot. A unique example is the famous heyókȟa sacred clown called "the Straighten-Outer":
He was always running around with a hammer trying to flatten round and curvy things (soup bowls, eggs, wagon wheels, etc.), thus making them straight.
Not until 2015 when my car with me in it was struck by lightening, was I a bonafide Heyoka and member of this esteemed SACRED CLOWN CLUB which I became interested in back in the late 70's when I lived in California and attended American Indian ceremonies in New Mexico with Pauline Oliveros and the Rothenbergs. That began my fascination and always re-fascination with the culture that loves the earth; my fascination with the people who step softly on the earth; my fascination with their methodology of respect for all of the earth's animals and their fascination with their commitment to feeling breathtaking beauty.
These indigenous people and we performance artists as well, have a way of playing with brain waves, with vibrational frequencies, with energies, with the sacred, that seperates us from everyday/ordinary mind-goers. We tricksters climb the ladder going up and down from Delta Waves (babies, deep relaxation, sleep) 0HTZ-4HTZ to Theta Waves 4-8 HTZ(hallucinations, meditation) to Alpha Waves 8HTZ-12HTZ(day dream) to Beta 12-40 HTZ to Gamma 40 HTZ.. These journeys are erratic and unpredictable and allow both the performance artist and the audience-viewer to play mentally with our own hidden stuff, with our own subconscious , with our issues in a way that a clearing and spaciousness can be practiced as art and later applied to daily life; articulated as loving awareness. For you see, the Sacred Clown/Performance Artist has an important duty. That of mind cleaner!
The heyókȟa symbolizes and portrays many aspects of the sacred beings, the Wakȟáŋ. His satire presents important questions by fooling around. They ask difficult questions, and say things others are too afraid to say. Their behavior poses questions as do Zen koans. By reading between the lines, the audience is able to think about things not usually thought about, or to look at things in a different way.
Principally, the heyókȟa functions both as a mirror and a teacher, using extreme behaviors to mirror others, and forcing them to examine their own doubts, fears, hatreds, and weaknesses. Heyókȟa have the power to heal emotional pain; such power comes from the experience of shame — they sing of shameful events in their lives, beg for food, and live as clowns. They provoke laughter in distressing situations of despair, and provoke fear and chaos when people feel complacent and overly secure, to keep them from taking themselves too seriously or believing they are more powerful than they are.[3]
In addition, sacred clowns serve an important role in shaping tribal codes. Unbound by societal constraints, heyókȟa are able to violate cultural taboos freely and thus critique established customs.[4] Paradoxically, however, by violating these norms and taboos, they help to define the accepted boundaries, rules, and societal guidelines for ethical and moral behavior. They are the only ones who can ask "Why?" about sensitive topics; they use satire to question the specialists and carriers of sacred knowledge or those in positions of power and authority.
For people who are as poor as us, who have lost everything, who had to endure so much death and sadness, laughter is a precious gift. When we were dying like flies from white man's disease, when we were driven into reservations, when the government rations did not arrive and we were starving, watching the pranks and capers of Heyókȟa were [sic] a blessing.
Like the HTZ-frequency of the earth, performance artists have their ears to the breath of the ground and march to the beat of a different drummer, one that is not only heard by animals and trees but also by infants before they reach discursive/enculturated/highly negatively addictive mind controlled thought.
I realized all my life that I was really different, although my mother had told me that as well as she tried to make sense of her child rearing skills and my interpretation of her best efforts. But it seemed I had access to an intuition that I didn't own but owned ME and allowed me to know the code that opened the door to siddhis which Hindus say are fantastical inner/outer phenomenon. It was absolutely apparent in 1966-69 when my 3 sculpture professors came into my studio at the University of Wisconsin Madison and asked, "Montano, what are you going to do for your MFA show?"
1. My response was , "Chickens." Had I known then that the role of opposition and jester was my sacred calling, I would not have been as surprised as I was by my answer because although I had a few reasons to say the word chickens, having visited them at the University's agricultural school while an MFA candidate so as to escape the art of the male /fellow grads, it was still an upside down answer and one that totally surprised me. It was a heyokas answer perchance given I was in an elite graduate art program at a prestigious university?
2. Or maybe this is why I said, chickens? My father had put the family's chickens in their kitchen as a prank when his mother would not allow him to go to a Saturday afternoon movie and realizing the punk gesture of my father and his bravado, I imitated his courage some 40 years later by putting chickens I an art gallery
3. Or was this the reason? My mother's chicken collection graced every table, shelf and bookcase in our middle class home.
4. Subconsciously this might really be the reason? I was feeling "chicken", the bad aspect of chicken; that is fearful, overpowered, misoginistically overlooked, patriarchically powered-over and out of my league at this over abundantly male and large sculpture making department comprised of 404,947 testesteroned ones and 3 of us brave warrior women also in the sculpture department. Having just graduated with an MA from an all womens university at an Italian Medici-made castle in Florence, I was not ready for this boys club. And remember, it was 1976 when women were seen and not heard, present but not presiding. Hiding behind live chickens was a wise ploy.
5. By 2016, CHICKENS had become my true friends. See below.
Only those who have had visions of the thunder beings of the west can act as heyokas. They have sacred power and they share some of this with all the people, but they do it through funny actions. When a vision comes from the thunder beings of the West, it comes with terror like a thunder storm; but when the storm of vision has passed, the world is greener and happier; for wherever the truth of vision comes upon the world, it is like a rain. The world, you see, is happier after the terror of the storm.
MONTANO SAYS: Had I had indigenous training in otherness, had I danced Chicken dances with soft moccasins as a child, had I been sent to a menstral hut at 13 for a week to live with other mensrating women and girls, had I been encouraged to ask for a vision in my private hilltop quest, had I ridden bareback and had my hair braided by elders, then my choice for using live chickens as material/theme/subject for my art would have seemed more natural and less disconcerting to both myself, my audience, the faculty and administration of the art school which removed my three, four by eight foot chicken wire cages with three chickens in each cage nine total. That's what I had to do when wealthy patron-donors toured the new art department building and I was told, "They just won't understand showing chickens as art, Linda. Please take them away. " I had by then gotten my MFA so I gave the chickens to the janitor. Boo Hoo, had I known that I was a Heyoka, I would have gotten in the cage myself with them and refused to move!
In Lakota mythology, Heyókȟa is also a spirit of thunder and lightning. He is said to use the wind as sticks to beat the drum of thunder. His emotions are portrayed opposite the norm; he laughs when he is sad and cries when he is happy, cold makes him sweat and heat makes him shiver. In art, he is depicted as having two horns, which marks him as a hunting spirit.[6]


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Irrigating Sugarcane
for Irrigating
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Plows, road crews prep for the storm
Iowa plows and employees are ready for a winter storm.
"We're prepared. We're usually ready for something like this usually by late October. We've been ready for a long time and it should be business as usual, I hope," said Darren Moon, Story County engineer.
Moon said trucks will be loaded and final preps done Wednesday afternoon.
He said that with the ground still not frozen, crews have been working on the nearly 1,000 miles of county roads they maintain.
If the storm hits, 26 people will work on removing snow and ice from paved county roads and gravel roads.
"We're ready to go," said Moon.
A lot of sand and salt was left over from last year, which saved about $50,000, Moon said. The county typically uses about 1,000 tons of salt during a normal winter.
Moon said crews will work up to 12 hour shifts as necessary.


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Insulating, light, elastic, breathable, palm with silicone honeycomb structure, grip area reinforced with PU patches, velcro fastener, reflecting logo.
Elastic fabric
The special Elastane fibre construction is developed in the innovative Löffler's own knitting factory. It features excellent durable two-way stretch achieving maximum freedom of movement and perfect fit. The super-ealstic Dimple Elastic with dimple structure (golf ball structure) follows every movement, is very light, highly breathable and dries very quickly. In addition aerodynamic advantages could be measured in wind tunnel tests. The development of the material was done in close cooperation with the Austrian Ski Association (ÖSV).
Material: 43% Polyester, 30% Polyurathane, 20% Nylon, 7% Elastane.


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A Note From the Board President
In the last issue of Witness the Arctic Vera Alexander quoted Bob Dylan's song "The Times They Are A-Changin'" in reference to the myriad environmental, cultural, and political changes we're witnessing in the Arctic. As Vera's successor I've thought a lot about that quote and also thought about how fast things change in one's lifetime. I want to personally thank Vera for sharing, over the years, her keen insights and vast experience in Arctic research. ARCUS and Arctic research will benefit from her strong and enduring commitment to developing a multidisciplinary Arctic research community, poised to take on the challenges that we are facing today.
In another major transition this fall Susan Fox, our Executive Director, announced that she would be leaving ARCUS in late October to take the position of Executive Director of the Acoustical Society of America. Susan was at the helm of ARCUS for four and a half years – that time seems to have passed so quickly. I vividly remember her interview visit during a cold, ice-foggy, early January in Fairbanks and wondering if we'd brought our candidate in the worst possible weather. Susan not only endured the visit, she quickly accepted the position and then immersed herself in learning about all aspects of Arctic research: the community, ongoing and planned initiatives, agencies, and stakeholders. I will always appreciate her positive attitude, her direct approach to problem solving, and her work, along with the ARCUS staff, to getting the job done well. I wish her well in her new position and thank her for all she has done for ARCUS and Arctic research.
Over the next few months the ARCUS Board of Directors will be working to recruit and hire a new Executive Director. In the meantime, the board has assembled a transition committee of board and staff members that will develop a short-term plan to ensure that ongoing and planned ARCUS activities continue during the interim period.
The board and staff are energized and looking forward to the challenges and opportunities that lie ahead. We welcome several new members who've recently joined the board: David Cairns, Texas A&M University; Howard Epstein, University of Virginia; and John Payne, North Slope Science Initiative. Please visit the ARCUS website for more information about our entire Board of Directors. Earlier this year the ARCUS board and staff held several Task Force sessions to continue developing a Strategic Plan that clearly articulates and reaffirms our values, vision, mission, and goals. Arctic researchers are at the center of the ARCUS focus and a major goal for ARCUS is to be the place where Arctic scientists come to develop and manage interdisciplinary and collaborative projects.
A number of board and staff members will be attending the 2013 American Geophysical Union Fall Meeting the week of 9-13 December in San Francisco, California. We look forward to visiting with researchers from our member institutions and learning about your research ideas and concerns.
Mike Retelle
President, ARCUS Board of Directors


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Class Details
Class Name: Beaded Chain FREE
Class Cost: $FREE (with purchase of supplies)
Class Length: 2.5 hours
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Bonus: In an effort to ensure that students achieve successful results in class, as well as to keep the cost of the class low, we request that students purchase class supplies or class kit from Crystal Creations Bead Institute. On all PAID classes, students will receive 10% off all applicable class supplies and/or required kits for class project. Class discounts do not apply for FREE Classes, FREE Workshops, or Guest Teacher kits which are brought in by teachers.
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Fast and easy beaded chain that is loaded with sparkle! Can be made in a variety of sizes. This is a FREE class with purchase of supplies. Please Limit once per person
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Reviving 'Songs For The Jewish-American Jet Set'
Whether it was klezmer music, novelty recordings, cantorial music, if it appeal to Jewish Americans in the 1950s and '60s, Tikva Records would release it if the price was right. Tikva was a low-budget label that got performers on their way up or their way down or their way to nowhere.
A new anthology of Tikva Records has been produced by the Idelsohn Society for Musical Preservation, a group founded with the mission of collecting lost Jewish recordings and re-releasing or archiving them.
The founders have been through more than their share of thrift shops and flea markets. My guest is one of the founders of the group, Josh Kun. He's a professor at the Annenberg School for Communication and Journalism at the University of Southern California, where he directs the Popular Music Project at the Norman Lear Center.
The new Tikva anthology he co-produced is called "Songs for the Jewish-American Jet Set." Here's the opening track, "Mazel," which is Yiddish for luck. It's sung by Leo Fuld.
GROSS: That Leo Fuld singing "Mazel" from the new anthology "Songs for the Jewish-American Jet Set: The Tikva Records Story."
Josh Kun, welcome to FRESH AIR.
JOSH KUN: Thank you.
GROSS: So tell us about Leo Fuld, who we just heard.
KUN: Leo Fuld is considered to be one of the kind of greatest Yiddish superstars of the World War II era, and especially in the postwar years. And he was someone who though best known for his Yiddish and English songs, most believe he sang somewhere around 15, in 15 different languages, kind of the ultimate polyglot pop star of that era. And this is him doing a really kind of swinging and jazzy English and Yiddish and Hebrew tune that he mixes up all these different languages in the, you know, in the songs that he would sing.
GROSS: Now, one of the things I find amazing about the record that we just heard is that the R&B vocal group The Ravens recorded that song first and...
KUN: They did. Yeah.
GROSS: Do you know when they recorded it and why they recorded it?
KUN: I believe they recorded around 1947. I believe it was the first recording of "Mazel," actually. And so the first recording of "Mazel," which was written by Artie Lane and Max Beekman, this was a song that was, you know, with very much explicitly Jewish content, was recorded by one of the leading African-American R&B groups, you know, of the post-World War II years.
As to why they recorded it, there is one story that's been floating around for a while that basically the songwriters came into the recording session and kind of pushed the song on the group. But I also think it speaks to the extent to which there were so many Jewish songwriters writing for black artists and so many Jewish managers managing them that there was a kind of common ground, where in-jokes in Yiddish, in-jokes about blacks and Jews, about Jews in America, were something that had become fairly common among so many blacks and Jews working in the pop music industry at that time.
GROSS: Okay, so here's The Ravens' recording of "Mazel."
GROSS: It's such an interesting comparison between the two. And really, it's Leo Fuld who does it more as a novelty song and The Ravens sing a pretty straight.
KUN: Yeah, that's not uncommon, actually. You know, we found over the years in following the amount of black artists who would sing Jewish tunes, that so often it was the African-American artists who would do the songs more straight and it was the American Jewish artist who would kind of add a little bit of humor to them. So again, that back-and-forth is something that's been going on for a long, long time.
GROSS: So let's get to the Tikva Records story...
KUN: Yes.
GROSS: ...and the first recording reheard, the Leo Fuld recording, was on Tikva Records. It's included on the new anthology you put together.
KUN: Mm-hmm.
GROSS: "Songs for the Jewish-American Jet Set." Now, you described the Tikva label Rasta as a Who's Who of who's that.
And the DJ, Art Raymond, who played a lot of Yiddish music on his show, and I think helped you find some Tikva recordings...
KUN: Yeah.
GROSS: ...he described the label's output as junkie music.
GROSS: So why would you want to put together an anthology of this label?
KUN: One man's junkie music is another generation's joy. This so I think that this label, which was the most prolific record label that catered to an American-Jewish audience in the post-World War II years, that operated from the late '40s through the 1970s, it gives us this kind of window into understanding what Jews were buying, what Jewish identity could sound like in all of its mixture and diversity, and it was this crucial time in American Jewish life, you know, in these post-World War II years, where you had record numbers of Jews moving up the economic ladder, suburbanization was on the rise, corner shuls were becoming big synagogues out in the suburbs, and Jews were caught in that push and pull between mainstream American white identity and the kind of old world identities of the pre-World War II years, balancing English and Yiddish and Hebrew. Hassidic populations were on the rise in the United States after World War II. And so there was all these different identities and what we loved is that you looked at Tikva Records and Allen B. Jacobs just said, well, I'm not going to try to choose one of these; I'm going to try to market and cater to all them.
So the entire catalog is this grab bag of identities and styles that speaks to all of these different changing political affiliations. Of course, you know, the rise, you know, the birth of the state of Israel in 1948. So there's a lot of new material on the roster that speaks to the kind of growing power of Israel in the American imagination. So it's all there.
GROSS: Well, you mentioned the birth of the state of Israel kind of coinciding with the birth of Tikva Records and that leads to the next recording I want to play. And this is by Avram Grobard who was Israeli. So tell us a little bit about who he was and about this recording that you featured on the new anthology.
KUN: So Avram began, I guess, as an Israeli paratrooper who ends up coming to the United States as an accordionist and as a singer but also as a nightclub owner. He owned a fairly successful nightclub in Manhattan called El Avram and it was called that, not because he's Latino in any way but because it used to be a flamenco bar owned by a Puerto Rican.
And Avram couldn't afford to completely redo the marquis so he left "El" up there and he stuck his first name on the marquis and it became, you know, a Jewish and Israeli nightclub. He called the music Mediterranean bouillabaisse of sound.
GROSS: The nightclub used to be called El Chico and he changed to El Avram. Yeah.
KUN: Exactly right. Exactly right. And he now â he still is with us, so much so that he has recreated the nightclub in the basement of his home in New Jersey. So if you go to Avram's house and knock on the door he will take you downstairs. And he has meticulously recreated the nightclub in his basement.
GROSS: So this is Avram Grobard recorded in 1968 and it's included on the anthology "Songs for the Jewish-American Jet Set: the Tikva Records Story."
GROSS: So that's Avram Grobard from the new anthology "Songs for the Jewish-American Jet Set: the Tikva Records Story." If you're just joining us, my guest is Josh Kun and he's one of the four members of the Idelsohn Society which is dedicated to finding well known and obscure Jewish recordings and rereleasing them and giving them new life.
The new anthology they've brought out is called "Song for the Jewish-American Jet Set: the Tikva Records Story." Let's take a short break here and then we'll talk some more. This is FRESH AIR.
GROSS: If you're just joining us my guest is Josh Kun. He's one of the members of the Idelsohn Society, a small group that tries to rediscover Jewish recordings and find new ways of getting them to an audience. So they have a new anthology called "Songs for the Jewish-American Jet Set: the Tikva Records Story." So tell us a little bit about the founder of the label, Allen Jacobs. He had owned other labels before starting Tikva. What was his plan on starting Tikva Records?
You call this his biggest gamble. Why was it a gamble?
KUN: It was, well, he was a gambler. He was really kind of a hustler and an entrepreneur, really trying to make his way in the record business. But it seems clear to us, the more that we talk to folks and spoke to the kids of many of the artists who are on the records, that, you know, he was somebody who wanted â who saw this as a business opportunity.
But really saw this as a chance to produce records inexpensively, to record them very quickly, to put the cover art together, in most cases, himself with his trusty pair of scissors. And, as most believe, cutting his masters together himself, often in some sloppy ways that you can hear on some of the records in an attempt to cater to what he saw was a massive audience of American Jewish record buyers.
And, you know, the result was this, again, this kind of grab bag of styles and sounds.
GROSS: Did you get a sense that he really loved music or that he was just in it for the money?
KUN: It's a mix of both. I mean, there's clearly elements, I think, the more we looked at a lot of the stuff and especially talking to a lot of the kids of the artists that, you know, saw him as someone who wanted to put stuff out quickly. And there is a rushed quality to a lot of the records. They sound real good on the anthology but when you listen to a lot of the original vinyl, you can hear the edits on the vinyl.
You know, you can hear where the tape comes together in a lot of ways. So he would rush through them but it's clear he had to love the music. I mean, he spent, you know, from the late '40s to the '70s collecting this stuff and putting it out and, you know, I doubt he was making a fortune off of it.
So I think that the love had to be there. And I think that shows in the range of materials and in the joy that so much of the music has within it.
GROSS: Now, the Idelsohn Society which you're part of which produced this new Tikva Records anthology, among other things, they're named after Abraham Zevi Idelsohn, the musicologist who wrote "Hava Nagila." Now, when I read that I thought somebody wrote "Hava Nagila?" I thought that was like an old folk song by anonymous.
KUN: Yeah. The melody is actually an ancient Hassidic tune, but the lyrics were written fairly recently in the 19-teens by Idelsohn and his students at the music school that he started in what is now Israel but then was Palestine. And Idelsohn was the, you know, the man responsible for giving us these lyrics that, you know, has become the kind of great global Jewish anthem.
GROSS: So what do the lyrics mean in English?
KUN: They are a command to be joyous and be happy and rejoice, rejoice, rejoice. One of the happiest songs ever written and, you know, again it's â but I think what's also important for us about that tune is it's something that people think of as so Jewish. I mean, it's the ultimate Jewish song and yet it's been covered by everyone.
I mean, it's been covered at least, you know, in the U.S. something like 200 times and it got famous in the United States, you know, by Harry Belafonte.
GROSS: I didn't know that.
KUN: That - yeah. I mean, when he performed that song live at Carnegie Hall in, I believe it was 1959, it pushed that song into the folk music world and kind of made it into a pop anthem, something that so many people have grown up with. I think that's also what is kind of symbolic of the work that we're interested in, is this stuff that is in a way Jewish at its core and yet it is also not Jewish in its routes and its travels. And we're kind of interested in following all those pathways.
I mean, what's also, I should say, interesting about Idelsohn is he's someone that as a musicologist devoted much of his life to â you know, we often think of him as like a Latvian Alan Lomax, that, you know, he would roam the Middle East, you know, looking for songs that he could compile to say this is Jewish music.
He would do multivolume encyclopedias of music as a way to try to define Jewish identity.
GROSS: So as you pointed out, there are so many recordings of "Hava Nagila" yet none of them are on your anthology "Songs for the Jewish-American Set." Did Tikva not record "Hava Nagila?" Or did it not record good versions of it?
KUN: There were some "Hava Nagila" versions, none of which were as outstanding as "Hava Nagila" should be. One of the projects we have in the near future is to do a compilation of only "Hava Nagila" versions. It's going to be about 20 different versions of "Hava Nagila" which will either make you completely insane...
KUN: ...or will bring you nothing but endless joy.
GROSS: Okay. So, you know, it's interesting. I think probably the majority of Jewish-Americans who came of age in America while Tikva was releasing records â 1950 to 1973 â are the progeny of Eastern European Jews. But the next recording I want to play from your anthology is by a Sephardic Jew, someone who was from Morocco.
KUN: Yes.
GROSS: And this is an interesting recording and he has an interesting personal story. So tell us a little bit about him before we hear the record.
KUN: Yes. This is the "Moroccan Prince" as he became known, you know, in the U.S., the great Jo Amar. And Jo Amar was born in Morocco but ends up coming to Israel and within Israel becoming the main importer and popularizer of Sephardic melodies and so-called Eastern melodies. And he was instrumental in popularizing, you know, the musics of Morocco, of North Africa, of the Sephardic past, into a kind of hybridized pop and spiritual sound.
GROSS: Well, Josh Kun, thank you so much for talking with us.
KUN: Thank you so much, Terry.
GROSS: Josh Kun is one of the producers of the new anthology "Songs for the Jewish-American Jet Set: the Tikva Records Story 1950 to 1973." We'll close with a recording by the singer we were just talking about, Jo Amar. It's called "L'Oriental," and as you can guess by the title, it's sung in French.
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Integrated Emissions Control system part of optimized technology solution
John Deere announces continuation of its planned building block approach to meet United States Final Tier 4 and European Union Stage IV emissions regulations. Final Tier 4/Stage IV regulations for off-highway diesel engines begin as early as 2013 for engines 55 kW (74 hp) and below. Regulatory dates for engines 56 kW (75 hp) and above will be implemented in stages starting in 2014 and 2015, and require particulate matter (PM) levels established by Interim Tier 4/Stage III B regulations to be maintained while requiring an additional 80 percent reduction in nitrogen oxides (NOx) from previous regulations.
To meet Final Tier 4/Stage IV emissions regulations in some power categories, John Deere developed the Integrated Emissions Control system — an optimized aftertreatment solution paired with the performance enhanced, fuel-efficient Interim Tier 4/Stage III B engine platform featuring proven cooled exhaust gas recirculation (EGR). The John Deere Integrated Emissions Control system will typically consist of a diesel oxidation catalyst (DOC), diesel particulate filter (DPF) and a selective catalytic reduction (SCR) system specifically designed to meet the rigorous demands of off-highway applications. John Deere will continue to tailor its Integrated Emissions Control system configurations to fit a variety of off-highway applications.
"At John Deere, we continue to offer the right combination of technologies at the right time to meet increasingly stringent emissions regulations and customer needs," said John Piasecki, director of worldwide marketing, sales and customer support for John Deere Power Systems. "Exhaustive research and testing determined that an application-specific SCR system that is well integrated with our proven Interim Tier 4/Stage III B engine platform will be the best solution to achieve Final Tier 4/Stage IV emissions compliance while delivering the power, performance, ease of operation, fluid efficiency, reliability and economical operating cost that our customers expect from John Deere."
Consisting of an exhaust filter and SCR aftertreatment components that are optimized and fully integrated, the Integrated Emissions Control system will allow John Deere engines to utilize less diesel exhaust fluid (DEF) than alternative Interim Tier 4/Stage III B SCR technology solutions. Lower DEF consumption means DEF tank size can be smaller — minimizing the impact on vehicle applications, extending DEF filter service intervals and reducing operator involvement. Monitored and controlled by proprietary electronics within John Deere's enhanced engine control unit (ECU), the Integrated Emissions Control system also provides outstanding fluid efficiency without sacrificing overall performance.
Like John Deere's approach to previous tiers, its Final Tier 4/Stage IV technology solution has been designed to consider overall performance and operating efficiency, which takes into account total fluid consumption including diesel fuel and additional fluids such as diesel exhaust fluid (DEF). John Deere Final Tier 4/Stage IV engines will operate efficiently with traditional ultra low-sulfur diesel as well as biodiesel five to twenty percent (B5-B20) blends meeting applicable ASTM standards, providing optimal performance and fuel choice flexibility.
John Deere is one of the few manufacturers dedicated to providing efficient power to meet the needs and rigors of off-highway applications. Designing engines for OEM applications and their own construction, forestry and agricultural machines provides John Deere with unique expertise in integrating the engine into the rest of the vehicle including the drivetrain, hydraulics, electronic control unit (ECU), cooling package and other vehicle systems for optimized efficiency. This integrated process will benefit John Deere machine owners and OEM customers by maximizing performance, operator convenience, fluid economy and overall value.
John Deere's proven worldwide dealer network of over 4,000 service locations is trained and prepared to fully support customers and their Final Tier 4/Stage IV engines.
For more information on John Deere's Final Tier 4/Stage IV engine technology, check our web site at www.JohnDeere.com/tier4.
Deere & Company (NYSE: DE) is a world leader in providing advanced products and services and is committed to the success of customers whose work is linked to the land – those who cultivate, harvest, transform, enrich and build upon the land to meet the world's dramatically increasing need for food, fuel, shelter and infrastructure. Since 1837, John Deere has delivered innovative products of superior quality built on a tradition of integrity. For more information, visit John Deere at its worldwide website at www.JohnDeere.com.


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studied German language and literature and empirical cultural sciences in Tubingen and Vienna, as well as violin in Nuremberg. He was executive director of the Schloss Werneck Chamber Orchestra (Bavarian Chamber Orchestra Bad Brückenau).
From 1992 to 2002 Rietschel was general secretary of Jeunesses Musicales Germany, subsequently general secretary of the German Music Council (2002).
Since May 2004 Thomas Rietschel has been president of the Frankfurt College of Music and Performing Arts. He is the father of three children.


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+86-755-2309 5451
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We are strict performer of quality control in accordance with IS09001:2008 Certificate.
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Latvia signs Cooperation Agreement
Latvia becomes the second Baltic country to sign a Cooperation Agreement with ESA. ESA's Director of Legal Affairs and External Relations, Peter Hulsroj, and Latvian Minister for Education and Science, Tatjana Koke, signed the Cooperation Agreement in Riga on 23 July 2009.
Latvia follows Estonia, which signed a Cooperation Agreement in 2007, and discussions are currently ongoing with Lithuania to conclude the same kind of agreement.
Latvia has longstanding experience in astronomy and space science. The Ventspils International Radio Astronomy Centre, Bruker Baltic (a company specialised in the development and production of semiconductor detectors and spectrometric devices) and the Institute of Physics of University of Latvia are all potential partners for ESA activities. The Latvian State Institute of Wood Chemistry is already working with Astrium Germany to develop internal and external cryogenic insulation materials and technologies.
An ESA delegation first visited Riga in March 2004 and met several space organisations working in the navigation field. The former Latvian Minister for Economics, Mr Krisjanis Karins, had a meeting at ESA Headquarters in Paris in February 2005 to discuss in more detail the different types of cooperation that exist with ESA.
This signature continues the cycle of 'rapprochement' of all recent and new EU Member States towards ESA. So far, all the countries have expressed their intent to cooperate with ESA. The European Space Policy adopted by both EU and ESA Member States provides a unique frame to develop space activities within its industry, institutes and universities.


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Welcome to the first edition of insight - the new monthly e-newsletter for the FACES community. In the past, FACES had a quarterly newsletter. As you may recall this past summer's newsletter had an entirely new look that was much more contemporary in design, with an engaging presentation style. The redesign of the newsletter was the catalyst for creating a shorter monthly e-newsletter. The goal of insight is to communicate on a more regular basis what is taking place within the FACES community; a special highlight focus on a doctor each month at the Comprehensive Epilepsy Center, (this will begin with the December issue), and updates on epilepsy and seizure research. We live in an electronic world that changes so fast. Hence, FACES wants to be at the forefront of keeping you up to date with the latest information. FACES will continue to have an annual newsletter that will be produced each summer in addition to insight.
NYU Langone Medical Center changed their logo design. You will notice that FACES is also pleased to present for the first time with insight our new logo. FACES will now be in all capitals. This new sleek design reflects the critical importance of being relevant in today's social media world. A growing commitment of FACES is to be at the forefront of bringing you the latest news and resources on epilepsy and seizures. The focus of the FACES logo remains on finding a cure with the letter C as the focal point.
Finally, FACES will be launching a new website on December 15, 2011. FACES cannot wait to share it with you! Wishing you and your loved ones a Happy and Healthy Thanksgiving. Truly, thank you for your support and loyalty this past year. FACES would not be what it is today without your friendship.
Best wishes,
Brian G. Bachand
Executive Director
Help FACES raise awareness about epilepsy and seizures
by sharing our YouTube video, "You Can Do This!"
And, I'll post the youtube separately.
FACES on Facebook and Follow @NYUfaces
__________________________________________________ ____________
by Louis J. Alloro, M.Ed., MAPP
Tuesday evening, October 4th, I gave a talk at NYU Langone Medical Center for FACES: a nonprofit devoted to improving lives of people affected by sezures and epilepsy. The program last week, Caring for the Caretaker, attracted 200 people, many of whom were parents of children with epilepsy, and some were patients themselves.
What happened though was quite unlike anything I've experienced before as a facilitator: resistance writ large across a crowd of folks up against real stinkin' conditions. "Who will pay the medical bills?" "Will he ever be able to ever live alone?"
"I never know if my son's next seizure will be his last," one mom expressed to me. I spoke to Jeanne several days prior as I was preparing for this talk, and quickly realized that I didn't know much about this chronic condition; heck, I couldn't even spell it.
So, I started the program offering gratitude for their roles as caretakers and asking for forgiveness of my ignorance of what they're facing day-to-day. I had done some research only to find epilepsy affects a lot of people and that there's no real cure for it.
Upfront in the program, I told the audience that I didn't have a prescription for their troubles, nor would they, in two hours, have everything they need to be resilient. Learning positive psychology to me is like going to the gym is to your body. It's about building a new muscle, which takes time, intention, attention, and like all good workouts: an open mind and heart.
However, I forgot to mention the "open mind and heart part" at the beginning of the talk as I usually do. And from hindsight, I was able to see other holes that I can own like, not getting clear on what their expectations were coming in. I often do a "check-in", asking participants to tap into what they're coming wanting, which makes a point that carries through the content of the lab: what we expect is what we experience.
There were some in that auditorium who got it. Others didn't. And yet others, couldn't. At one point, a mother said, "Two years ago I wouldn't have been able to hear this message. Now I can." This was one of many insightful moments that came from within this learning lab: that we're all at different places. And so it is.
please visit www.louisalloro.com to continue reading Louis' blog entry
__________________________________________________ ____________________________
by Emma Davis
Do you ever feel like you have so much boxed up inside of you? Or that your head is going to explode from the constant buzzing of secrets? And are you ashamed of a certain secret that describes part of your whole? Are you scared that this secret defines you as a person? I know I was.
When I was little, my peers never truly understood what I was about. In fact, I was completely misunderstood. When I tried to share and clarify what made me tick, people were confused and hesitant and overwhelmed. After sharing with whom I thought were my best friends I began feeling more alone than ever. I kept being pushed to the outside of their lives. And soon it became something like a one-sided mirror. You know the kind that detectives use when watching a criminal? I could see in, but people never bothered to break free of conformism and try to see me through the foggy glass. I constantly played the role of the observer as I looked on what a "normal" life was. At first I was jealous that these girls had what I wanted most, true friends. Those few people who love you just for you and nothing else. But looking more closely at these girls I knew that they didn't even really appreciate their friendships because they had no idea what life would be like without them. As I grew older and developed more confidence, I thought I was better off because I didn't want to know anyone who didn't want to know me. I turned my back to the mirror and lived happily on my own for years thinking I could handle everything myself.
It wasn't until high school that I realized the difference between being alone and being lonely. I had been alone and independent and strong because I had to be. I was tired of waiting for the possibility of friendship. People are afraid of things that are different. I realized after years of being alone that I couldn't blame my lack of friendships just on others. I was afraid to be social because it meant being vulnerable to further rejection.
Honestly, there isn't a magic wand to wave or a big button to push to make being social easier. You just have to jump. And sometimes I fell and was bruised but ultimately I found these amazing people who adored my humor and my exuberant personality and loved surrounding themselves with me constantly. As I realized that these people were the kind of true friends that I had searched and prayed for, I was nervous to tell them - last time I did so I was ostracized. I also felt guilty for not being completely honest with them about my history because it is a big part of my fabulous whole.
I decided that I would have to open myself up eventually and I did. I couldn't have been happier. They were understanding, inquisitive, caring. Everything I had wanted and more. The minute I finished telling them and they hugged me that gigantic one-sided glass shattered into a million pieces. My trust in them grew immensely and to this day we all stand by each other, despite any differences.
I encourage you to be comfortable enough with who you are to be able to share with the people in your life that you have epilepsy. I'm not saying to tell just anyone and everyone. Be very careful with whom you choose to share this but don't feel so ashamed or nervous or scared that you can't tell your closest friends. They will stand by you and think nothing of it except that it is just another amazing thing that is a part of you. Don't be afraid to bust through that murky mirror!
Thanks to all the kids of FACES!
On Saturday, September 24th, FACES welcomed a large crowd of young people to Chelsea Piers for GAME DAY. It was a day filled with rock climbing, face-painting, games and just fun. Please enjoy these photos of some very happy smiling faces who participated on Saturday.
for FACES photos, visit: facebook.com/facesfriends
FACES will launch its new website
next month on December 15th!
Mailing Address:
FACES at NYU
223 East 34th Street
New York, NY 10016
Contact Name: NYU Faces
Telephone Number: (646) 558-0900


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ABATACEPT (a ba TA sept) is used to treat moderate to severe active rheumatoid arthritis in adults. This medicine is also used to treat juvenile idiopathic arthritis.
This medicine is for infusion into a vein. It is given by a health care professional in a hospital or clinic setting.
Talk to your pediatrician regarding the use of this medicine in children. While this drug may be prescribed for children as young as 6 years for selected conditions, precautions do apply.
Side effects that you should report to your doctor or health care professional as soon as possible:
allergic reactions like skin rash, itching or hives, swelling of the face, lips, or tongue
breathing problems
chest pain
signs of infection - fever or chills, cough, unusual tiredness, pain or trouble passing urine, or warm, red or painful skin
Side effects that usually do not require medical attention (Report these to your doctor or health care professional if they continue or are bothersome.):
nausea, vomiting
sore throat
stomach upset
Do not take this medicine with any of the following medications:
live virus vaccines
This medicine may also interact with the following medications:
It is important not to miss your dose. Call your doctor or health care professional if you are unable to keep an appointment.
This drug is given in a hospital or clinic and will not be stored at home.
They need to know if you have any of these conditions:
are taking other medicines to treat rheumatoid arthritis
infection or history of infections
recently received or scheduled to receive a vaccine
scheduled to have surgery
tuberculosis, a positive skin test for tuberculosis or have recently been in close contact with someone who has tuberculosis
viral hepatitis
an unusual or allergic reaction to abatacept, other medicines, foods, dyes, or preservatives
pregnant or trying to get pregnant
Visit your doctor for regular check ups while you are taking this medicine. Tell your doctor or healthcare professional if your symptoms do not start to get better or if they get worse.
Call your doctor or health care professional if you get a cold or other infection while receiving this medicine. Do not treat yourself. This medicine may decrease your body's ability to fight infection. Try to avoid being around people who are sick.
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NAND Market Suffering From Apple-Related Memory Loss
The NAND flash memory supply may be heading for a drought, thanks to Apple. According to a new report from iSuppli, Cupertino is again planning to increase the iPhone's memory, which will motivate rivals to boost memory in their smartphones.
The resulting demand for NAND flash will be "insatiable," says iSuppli analyst Michael Yang. And supplies for the year will likely be strained. iSuppli figures that in 2010, iPhone shipments will reach 33 million units, up from 25.1 million in 2009–each with an average of 35.2 gigabytes of NAND.
That's a hell of a lot of flash. Add to that the memory requirements of Apple's iPod line and its new iPad slate and, well, you can see where things are going (see chart below; click to enlarge). Says Yang: "With the iPhone already the largest application for NAND, this huge growth is likely to lead to some periods of under-supply for the year."
That's not likely to be a problem for Apple (AAPL), which typically inks long-term supply agreements with its flash suppliers to ensure that its needs are met. Recall that the company boasted of a half-billion dollar flash memory deal with Toshiba last July.
"We did a long-term supply agreement with Toshiba," Apple COO Tim Cook explained at the time. "As a part of that, as part of the terms and conditions, we paid them $500 million as a pre-pay earlier in the quarter. You know, we view Flash as a very key component for us because as you know we use it in so much on so many of our products and also we are a reasonable percentage of the user of Flash on a worldwide basis."
But an undersupply of flash will almost certainly cause difficulties for other consumer electronics companies, which may be forced to grapple with part shortages and price increases across the entire NAND flash market.


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The last week in November was supposed to be Julia Gillard's last as Prime Minister. That's what her enemies were saying a few months ago.
They said Labor's relentlessly poor showing in the opinion polls would reach critical mass within caucus and force a return to Kevin Rudd.
But much has changed, thanks to a confluence of political and policy eventualities that have strengthened her hold on the leadership and, perhaps, Labor's electoral fortunes.
Alan Jones's ratings might have gone up, but his comments about the Prime Minister's father dying of shame swung public sentiment, across political persuasions, behind Gillard in a way that perhaps no Australian political leader has experienced.
Despite the unpalatable sleaze surrounding Peter Slipper and the unedifying argument of moral relativity about which side of politics had protected him most, Gillard's leadership and Labor's primary vote strengthened after her ''This Man'' speech.
Policy? The Coalition is having difficulty demonising the interim carbon tax.
The government remains trapped, however, by its continued lack of courage on asylum-seeker policy, hostage to its belief that it must neutralise xenophobia in sections of the electorate with solutions that ape Howard-era toughness rather than enlightenment and honesty.
Conversely, the Gillard government's response to the latest outcry over the generations-old tragedy of the sexual abuse of children by members of religious and other institutions was commendably swift, and a reminder of the appalling inertia of previous governments.
So, where a vast number of Labor MPs were looking at Gillard a few months ago and pondering what they would do after losing their seats at the next election, they are now wondering whether they might, just, hold on.
Hold that thought. This new glimmer of optimism is, according to Rudd's supporters, perhaps the strongest card in his suit.
Time - media-confected deadlines and anniversaries - is the enemy of political leadership. Tick, tick, tick.
Since the 2010 election, Tony Abbott and his closest supporters have told anyone who would listen the minority Labor government wouldn't last a year. They hoped. Abbott's short-term strategy of negating government initiatives while providing few policy alternatives was formulated to this end. But since late last year, there has been an underlying party-room anxiety that voters would grow cynical of this strategy. Tick, tick, tick.
With brutal efficiency, Labor has painted Abbott as ''backwards man'' - a leader with no capacity to take a progressive, globally ambitious, socially complex Australia forward. The ''misogyny'' label Labor assigned him was potently resonant, not because of its literal meaning (does he really hate women?) but for everything else it implies. Labor wants to promote Abbott as a conservative Catholic, with all that that implies on social issues such as abortion, contraception, homosexuality and euthanasia. Abbott is careful to quarantine his religious views from his political persona. With mixed success.
Abbott's comments on ''urban Aboriginal'' Liberal MP Ken Wyatt add definition to Labor's picture of him as a middle-aged fogey. In truth, Abbott has shown greater practical awareness of the problems facing Aboriginal Australia than most MPs. More such mistakes will cost him dearly.
And so to next week - the last parliamentary sitting week for the year. Tick, tick, tick.
You'd have to say Gillard will survive it, but she's headed for a torrid week, as the opposition sharpens focus on her time as a solicitor in the 1990s.
The Coalition pursuit of these matters is somewhat illusory. The fact is, Gillard's Labor enemies are said to be even more energetically promoting the contention that she still has questions to answer.
It's an astounding illustration of the bastardry of politics. But, then again, so too was the undoing of Rudd.
That Gillard has lifted Labor's standing works in Rudd's favour, his supporters contend. Their rationale: Labor MPs who thought they had no hope of retaining their seats a few months ago now see that Gillard is capable of bringing them close - but perhaps not close enough. They know Rudd, for all his faults, remains - with Malcolm Turnbull - the most popular putative leader in Parliament.
And Abbott? Well, it's a big final sitting week for him, too. At the end of that week it will be exactly three years since he took over as Opposition Leader. Tick, tick, tick.


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SAN JOSE — When Alisa Burmeister got pregnant five years ago with her son, Gideon, she wasn't thinking about giving birth to a Silicon Valley startup that aimed to make childbirth less expensive and safer for babies and moms.
She simply wanted a certified nurse midwife to deliver Gideon — with a doctor on standby in case of emergency. And she wanted assurance the delivery would be natural, with no C-section and with pain control like showers and massages instead of drugs.
The 35-year-old Campbell teacher's second son is due in two weeks — and once again, midwife Maria Greulich will be at her bedside for the delivery with the same simple goal: Let nature take its course.
The back-to-basics philosophy — fueled by a $1 million investment from the wives of Google and Yahoo co-founders — is behind a pilot project to team midwives with doctors to drive down the alarmingly high rate of cesarean-section deliveries and early induced births.
Medical experts say too many low-risk expectant mothers and their physicians are opting for C-sections — out of convenience. Until the early 1990s, the surgical procedure was used only to ensure the health of pregnant women and their unborn babies.
"The philosophy is to trust the body's ability to do that process, and we are the overseer," said midwife Lin Lee, who joined Greulich and Dr. James Byrne to help start Lucina Maternity Foundation, a nonprofit named for the Roman goddess of childbirth who safeguarded the lives of women in labor.
Lee was a midwife for biotech CEO Anne Wojcicki, the estranged wife of Google co-founder Sergey Brin, and Angela Buenning Filo, Yahoo co-founder David Filo's wife.
"That does not mean some people don't want medication or an epidural," Lee said. "We will support you in whatever you choose to do."
Up to half of the Lucina Maternity Foundation's $1 million seed money allowed Lee and Greulich in early 2012 to start their own Cupertino midwifery center, called Bay Area Maternity.
Meanwhile, C-section delivery rates in the U.S. have risen from 4.5 percent in 1965 to 33 percent today. In California, the rates are similar. The World Health Organization recommends a rate less than 15 percent.
But several Bay Area hospitals are already on board. In 1975, San Francisco General Hospital began a program to pair midwives with doctors that is considered one of the best in the United States. UC San Francisco, Oakland's Highland Hospital and Alta Bates Summit Medical Center in Berkeley also have versions. Several Northern California Kaiser hospitals also use a collaborative model, as do some Sutter Health hospitals and their affiliates.
Greulich got her start as a midwife in the late 1980s under Dr. Tony Damore, who helped pioneer the team approach in the South Bay, though it never spread.
"Having midwives working in collaboration with physicians where everyone is using their appropriate skills and the appropriate time is better for the mother and baby — and is more cost-effective," said Tina Johnson, director of professional practice and health policy at the American College of Nurse-Midwives, which represents 11,192 certified nurse midwives. "And that's in line with the Affordable Care Act."
The new federal health care law, better known as Obamacare, aims to cut unnecessary medical costs. But reducing the number of C-sections is a sensitive issue for obstetricians and gynecologists, who are facing increased scrutiny by the federal government, business consortium and even physician groups.
C-sections generate more revenue for hospitals than vaginal births — about $7,000 extra per procedure. Some doctors acknowledge that they do them because they reduce their exposure to malpractice lawsuits resulting from complicated vaginal births.
But even the American Congress of Obstetricians and Gynecologists has concluded that C-sections are frequently unnecessary and in March issued new guidelines to help doctors reduce C-section rates and allow a prolonged labor.
Studies show C-section births often put women's health in jeopardy because they sometimes lead to hemorrhaging and infection, among other problems. And since most women who have a C-section with their first baby end up having repeat C-section deliveries for subsequent babies, the health risks keep mounting.
Like most midwives, Lee and Greulich focus on low-risk maternity cases — mothers who are healthy, not those with complicated medical or pregnancy issues. Still, they have always partnered with ob-gyns, who are on-call as a backup. But some private-practice doctors say that involving two medical professionals to deliver babies isn't an efficient use of their time. And doctors say some malpractice insurance carriers balk about the birthing handoff between midwives and doctors.
Lane Rado, 29, left her ob-gyn in Sunnyvale to have her baby three weeks ago with the midwives at the Bay Area Maternity center. While Rado, also a Campbell resident, liked her doctor, she felt their relationship emphasized "standard procedures" that involved intervention, not the kind of natural birth experience she envisioned.
Under an agreement with Lucina Maternity, the two midwives have five years to repay their loan to the foundation, which will then loan that money to other midwives interested in starting a business.
The rest of the funding is helping to launch a midwife-doctor program at Santa Clara County's Valley Medical Center, where Byrne, who heads the Lucina Maternity Foundation, also leads VMC's ob-gyn program.
"It is a standard of care used in almost all of the other industrialized nations of the world — which, not surprisingly, have far better outcomes," Byrne said.
Certified nurse midwives
California: 1,200
U.S.: About 40,000
California: 3,711
Nine of California's 58 counties do not have any ob-gyns
Source: American Midwifery Certification Board; California Nurse Midwives Association; American Congress of Obstetricians and Gynecologists
In 2011, one in three women who gave birth in the United States did so by cesarean delivery, a 60 percent increase since 1996.
The overall C-section rate in the U.S. is 32.8 percent, while in California it is 33.2 percent. The World Health Organization recommends that it not exceed 15 percent.
Source: American Congress of Obstetricians and Gynecologists, U.S. Centers for Disease Control and Prevention


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Levi called me up and let me in on what Misty had planned for the afternoon. It turns out her real name was Lisa but she introduced herself as Misty to protect her identity until she knew we were cool. Anyway, she came by with her bosom buddy co-worker who also happened to be one of her bed buddies unbeknownst to her estranged hubby. Her name was Deesiren and she was a super freak beyond that which even Rick James could possibly comprehend! They came over during their lunch break for an afternoon delight and put Levi through the ringer. Both of them sucked him hard and fast, went full on deep throat on his cock, let him go raw dog in both of their third inputs and Deesiren even squirted all over him and left him drenched in feminine love juices! This is a cannot miss update!
Levi Cash, Misty Law, Dee Siren


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Nunnington Hall - National Trust
One of Ryedale's finest attractions, Nunnington Hall nestles on the banks of the picturesque River Rye. With period rooms, major exhibitons, an organic walled garden, a full events programme, peacocks and ghosts, this honey-coloured Yorkshire family manor house offers something for everybody to enjoy. There is a tearoom inside the main Hall serving food and refreshments from 11am. The restaurant is very happy to cater for special dietary requirements - vegetarian and gluten free options are always available.
Venue Type:
Historic house or home, Garden, parklands or rural site
- National Trust
Period rooms displayed with a 1920's feel reflecting the donor family's period of occupation with layers of history then going back to Tudor and Stuart times before that. There are some nice examples of needlework and paintings, among a varied and interesting collection of contents. Paintings include a number of watercolours by Myles Birkett Foster. The Hall is also showing items that once belonged to the Graham family - former owners. This collection includes Jacobite memorabilia including items once owned and worn by Bonnie Prince Charlie.
In the attic rooms, visitors will discover the Carlisle Collection of Miniature Rooms, one of the world's finest collections of miniatures.
The Hall also hosts a changing programme fo temporary exhibitions by major artists and photographers. The 2007 programme include exhibitons by the musician and photographer Bryan Adams, the illustrator Ronald Searle and the photojounalist Tom Stoddart
Collection details
Architecture, Costume and Textiles, Decorative and Applied Art, Fine Art
Key artists and exhibits
- Historic House
- Great Days Out
- Visitor Attraction
- Ryedale
- Exhibitions
- Family Events
- Miniatures
- Miniature Rooms
- Peacocks
- Gardens
- Organic
- Tearoom
- Bryan Adams
- Ronald Searle
- Tom Stoddart
- Bonnie Prince Charlie
- The Carlisle Collection
- Myles Birkett Foster
- Furniture
- Needlework
- Samplers
- Illustration
- Photographic exhibitons
- Photography
Sense of the Past Resource Pack
Teacher resource pack using this historic manor house to develop literacy skills, help students distinguish between old and new and learn to appreciate life in the past.
How to obtain
Call 01439 748283 or email email@example.com for more information.
Nunnington Hall - National Trust
North Yorkshire
- About
- | Collections
- | Resources
- | Map


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29 May, 2013 | (01 hr)
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Your organization must foster a culture of inter-departmental teamwork to live the brand promise. Only when employees willingly seek opportunities to collaborate can your organization develop the agility to overcome business challenges. During this session, you will discover how to:
• Create brand ambassadors
• Live the brand promise
• Activate the core beliefs and values of the organization
Audience: If you're involved in marketing, branding, or image management, this webcast should be of interest to you.
Sara Tatchio
Sara Tatchio is Manger of Global Integrated Communications for Ford Motor Company, a position she has held since December 2007. Sara reports to Ray Day, vice president, Communications. But what, you may ask, does Integrated Communications really mean? In her position, Sara is responsible for two ...Full Bio
Meg Gottemoeller
Meg Gottemoeller is a Senior Fellow, Human Capital at The Conference Board. In this role, Meg supports the Human Capital Practice which includes The Conference Board Human Capital Exchange™, research, conferences, webcasts and programs in a broad spectrum of h...Full Bio


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Oct. 21, 2012: Health and Wellness
Boston may be rated the third healthiest major city in the country, but there's still work to be done. Low-income and minority communities grapple with obesity, diabetes, hypertension, and high asthma rates. Thankfully, strong food and fitness initiatives are in place to help.
We follow the rise of locally grown, healthy produce in Boston and in the heart of Dorchester.
Plus, we talk about a school health and fitness partnership that got the attention of the White House!
And two organizations looking to bring fitness and preventive care to the streets. Whittier Street Health Center, shares how they have made cancer and diabetes screening available in Roxbury.
And the Dorchester House Multi Service Center gets kids and adults off the couch and into the pool!
Dorchester House's Masquer-Aid Ball comes up on Friday, Oct. 26 from 7-11:00pm at the Venezia Waterfront Restaurant
Whittier Street's International Gospel Concert takes place Nov. 17t at the Berklee Performance Center
Victory Programs
ReVision Urban Farm
Boston Collaborative for Food and Fitness
Links Boston Chapter
Boston Athletic Association
Dorchester House Masquer-Aid
Whittier Street Health Center
Whittier Street International Gospel Concert


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Article content
An Indiana woman is under investigation after her husband's corpse was left in their home for more than nine months and fed on by birds, authorities said on Thursday.
Gerald Gavan Jr., 89, whose body was found on May 3 on the living room floor of his house in Lafayette, Indiana, had been dead since at least last July 15, Tippecanoe County coroner Donna Avolt said.
Investigators are trying to determine if Gavan's wife, Ila Solomon, had a financial motive for not reporting the veteran's death, Lafayette Police Sergeant Brian Phillips said. There are also laws that require prompt reporting of deaths, he said.
Avolt said the man's body had shriveled to skeleton form and was becoming "partly mummified." Gavan was identified because he had a steel plate in his ankle from an old injury, she said.
Solomon told Avolt her husband had been dead only a few days, the coroner said.
The cause of his death is unknown, but results of toxicology tests that are due back late in June might determine if there was any foreign substance in his body, she said.
Solomon also told Avolt she sometimes left the doors of the house open so birds could come in and feed on the corpse in a Tibetan tradition, at his request, Avolt said. Tibetan Buddhists call the practice a "sky burial."
Avolt said the decaying body would have emitted a strong odour in the house. But Solomon also owned a house next door that she had purchased in February 2013, according to property records provided by a Tippecanoe County official.
A phone number listed for the Gavan home in Lafayette was not in service on Thursday.
tap here to see other videos from our team.


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Cardi B Licks iHeartRadio Music Awards Trophy During Speech: Watch
By Paris Close
March 15, 2019
Victory tastes sweet, aye Cardi B?
The "Money" rapper took home the Hip-Hop Artist of the Year trophy at the 2019 iHeartRadio Music Awards on Thursday night (March 14), and celebrated her win in the most Bardi way ever: laughing — and licking! — off her haters. Although absent from the awards ceremony, the 26-year-old made sure to reach out via video to express her gratitude over winning the honor.
"I'm sorry, iHeartRadio, that I couldn't make it … I was busy doing a couple things," Cardi started her acceptance speech. "But I just want to say thank you so much to all my fans, to all my supporters and to all my haters."
"You know, I gotta thank my haters, you know what I'm saying. 'Cause y'all be saying mean things and y'all be thinking that those mean things is gonna discourage me but that just makes me go harder," the emcee continued. "Cause if everybody gives me compliments, then I get comfortable," Cardi goes on in the clip, bursting into a cackling laugh and her infamous "Okurr."
Shortly before closing her speech, though, the Bronx artist decided to rub it in her haters' faces even more by licking her trophy!
(Hi, haters! Bye, haters!)
Cardi B is also in the running for several other awards during tonight's show, including Song of the Year ("Girls Like You" with Maroon 5), Female Artist of the Year, and Hip-Hop Song of the Year.
Get live updates at iHeartRadio.com/awards and join the conversation as you watch live by using the hashtag #iHeartAwards2019 on social media.
Photo: FOX


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The Raconteurs to Celebrate New Album 'Help Us Stranger': How to Watch
By Taylor Fields
June 12, 2019
The Raconteurs have officially reunited and are releasing their first album in over a decade, Help Us Stranger, on June 21st. To celebrate, the band is performing during an intimate and exclusive iHeartRadio Album Release Party for fans in New York City just a few days later, and fans from all over the country will be able to tune in and watch the show live.
Written by the band's Jack White and Brendan Benson and recorded at Nashville's Third Man Studio, Help Us Stranger follows The Raconteurs' 2008 album Consolers of the Lonely, and features twelve new songs in total, including previously-released songs "Help Me Stranger," "Sunday Driver," "Now That You're Gone," "Hey Gyp (Dig the Slowness)" and "Bored and Razed." The band has also described Help Us Stranger as "the rock & roll album you've been waiting for."
During their iHeartRadio Album Release Party, The Raconteurs will perform some of their new music live for fans, as well as favorites from previous albums. The band will also talk about the making of Help Us Stranger during a Q&A with host Amber Miller.
How To Stream The Show
Fans can listen and tune in free for a video stream of the exclusive iHeartRadio Album Release Party with The Raconteurs via LiveXLive on Monday, June 24th at 7pm local time. You will NOT want to miss it!
Get pumped for the show and listen to some of The Raconteurs' new music from Help Us Stranger below.


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Bauwerk's wooden floors introduce a true piece of nature to your home, bringing warmth to your everyday life. Its palpable natural character appeals to all senses and creates a healthy, perfectly balanced atmosphere of well-being in every room.
Thanks to our flair for aesthetics and a strong sense of intelligent functionality, we highlight and reimagine the unrivalled features of authentic wood. This is how Bauwerk makes parquet to suit personal needs: clear, valuable, timeless.
Our ideas and work have always been marked by passion, precision and care. This is how we make top-quality parquet to meet the highest expectations. Every floor made by Bauwerk is a result of decades of experience and the closest attention to detail. These traits make our floors unique, life-long companions.
For us, innovation means continuously looking at wood in new ways — as a full product solution and in terms of our customer service, care and renovation. However, our goal is always the same: making floors that provide an unforgettable living experience.
In 1935, Ernst Göhner brought the idea of solid parquet to series production before founding Bauwerk Parkett AG in 1944. Since then, Bauwerk has been researching, developing and manufacturing innovative, aesthetic parquet solutions of the highest quality with great passion and Swiss precision. Original parquet floors from Bauwerk, one of the leading parquet manufacturers in Europe, offer the unique feel of a piece of real nature that provides tangible warmth and healthy living for a perfectly balanced atmosphere in any room.


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W Love Hangover Ball
Text: Natasha Stagg
Last night (November 28th), Kelly Osbourne hosted the W Love Hangover Ball, in support of amfAR, which anyone in attendance, if they stayed far enough away from the packed open bar, won't forget any time soon. The W Hotel in Union Square housed legends and icons for a full-on voguing competition, judged by Fatima Robinson, Fergie, Mr. Mickey, Father Andre Mizrahi, Simon Doonan, and Hector Xtravaganza, with awards presented by Bryan Boy, Derek Blasberg, Edward Enninful, Honey Dijon, Ana Matronic, Lily Donaldson, Isaac Mizrahi, Jason Wu, Pat McGrath, Richard Chai, and Zac Posen.
And we haven't even gotten to the guests... We have to at least mention that Nicola Formichetti, Alex Lundqvist, Doutzen Kroes, Anja Rubik, Anna Sui, Francisco Costa, Gary Clarke Jr., Kate Bosworth, Nicole Trunfio, the House of La Dosha, Nur Khan, Scott Lipps, Stefano Tonchi, Stella Schnabel, Tali Lennox, Terry Richardson and Wendy Williams were in attendance.
The performances were sickening, of course, with cunty commentary and lingo-lessons from the charming Miss Osbourne and MCs Jack Mizrahi and Ladyfag. Beats, thank Goddess, were provided by Johnny Dynell.
Big winner of the night was little vogue princess Daniela, who, according to everyone with a microphone in front of her (most vocally, Fergie, whose most memorable quote of the night was "I have love for working with a busted face"), hands-down owned the night.


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Jump to navigation Jump to search
From old French dialect biseau ("sloping edge"), variation on bijou ("jewel"), itself probably from Breton bisou, bizou ("ring worn on the finger"), from biz ("finger").
Unrelated to similar bevel, which is of distinct French origin.
bezel (plural bezels)
- The sloping edge or face on a cutting tool.
- The oblique side or face of a cut gem; especially the upper faceted portion of a brilliant (diamond), which projects from its setting.
- The rim and flange which encompasses and fastens a jewel or other object, such as the crystal of a watch, in the cavity in which it is set; the collet.
- The panel that covers the front of a computer case, or the panel covering each drive bay that can be removed to install a removable drive that requires external access, such as a CD/DVD-ROM drive, which usually has its own preinstalled bezel.
the sloping edge or face of a cutting tool
the oblique side or face of a cut gem
the rim and flange which encompasses and fastens a jewel or other object
the panel that covers the front of a computer case or the panel covering each drive bay
- The translations below need to be checked and inserted above into the appropriate translation tables, removing any numbers. Numbers do not necessarily match those in definitions. See instructions at Wiktionary:Entry layout § Translations.
See also[edit]
- bezel in Webster's Revised Unabridged Dictionary, G. & C. Merriam, 1913.
- Nouveau Petit Larousse illustré. Dictionnaire encyclopédique. Paris, Librairie Larousse, 1952, 146th edition


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Circadian clocks ensure that we modulate our physiological behaviors, like sleeping and eating, in a rhythmic, 24-hour cycle. They are present in all living cells, from cyanobacteria to humans. The circadian clock is temperature compensated, meaning that it does not speed up or slow down regardless of temperature; it's also entrained, meaning that it can reset according to external cues, like light, temperature and food. The selective advantage of entrainment becomes apparent as you debark from a flight that crosses time zones.
On a molecular level, this clock appears to be based on a feedback loop whereby the products of a set of clock genes negatively regulate their own expression, guaranteeing a rhythmic production. The specific clock genes are not conserved across distant species, but the underlying mechanism is the same.
Yet John O'Neill and Akhilesh Reddy at the University of Cambridge have used two very clever experimental systems to show that a circadian rhythm can persist even when these genes are not transcribed into RNA. The first system they used is human red blood cells, which lack a nucleus, so they have no transcriptional machinery or even genes to transcribe. The second is the single-celled alga Osteococcus tauri, one of the most primitive nucleated cells known.
Cycling without genes
Red blood cells transport oxygen from the heart all over the body. As such, they are packed so tightly with hemoglobin that they don't have any room to spare for a nucleus. They do, however, have antioxidant proteins called peroxiredoxins to control levels of reactive oxygen species (ROS). In the liver, peroxiredoxins have circadian rhythms of expression.
O'Neill and Reddy demonstrated that, in red blood cells from three individuals, peroxiredoxin levels stayed constant, but pairs of the proteins bound together and came apart in a 24-hour cycle. This cycle was temperature compensated—it retained its periodicity over three days at both 37ºC and 32ºC. (They tried putting the cells at 42ºC, but they died.) The peroxiredoxins maintained their cycles even in constant light. The cycle could also be entrained. When the cells were exposed to alternating high and low temperatures, they adjusted their schedules accordingly, even if that required them to completely reverse the phase of their cycle.
All that happened without gene transcription. Hemoglobin molecules in these cells also bind together, and they also do so in a rhythmic manner, but it's not yet known if hemoglobin's oscillations are temperature compensated or entrained. The researchers thought that these rhythms might correlate with metabolic pathways and, when they checked, they found that ATP levels in red blood cells also oscillated in 24-hour cycles.
Cycling in the dark
The other cell type they examined, O. tauri, possess nuclei and thus genes, but the organism has a cool and very useful property: when kept in the dark, it halts all transcription of its genes, and its clock comes to a halt. When shifted back into the light, both transcription and their clocks restart. However, the clock does not simply reset; rather, each cell resumes at the point in the cycle where it left off, so it keeps track of time in the dark, even though there is no gene transcription.
How do they do it? You guessed it—using the same peroxiredoxin enzymes O'Neill and Reddy identified in human red blood cells. In O. tauri, peroxiredoxin molecules bound together in couples and came apart in 24-hour cycles, even in the dark, even without transcription. Unlock clock genes, these proteins are highly conserved across the three major phylogenic kingdoms (eukaroytes, archaea, and bacteria), making them an attractive candidate for a fundamental regulator of circadian clocks.
O'Neill and Reddy stress that transcription clearly plays a pivotal role in maintaining circadian clocks. But they also point out that we already knew that cells can maintain their clocks without it. For instance, during cell division, making a copy of the DNA shuts down transcriptional activity, but the clock resumes afterwards without resetting. Moreover, there are organisms that have clocks but lack clock genes, like yeast and C. elegans.
These results don't demonstrate that peroxiredoxins are essential for circadian rhythms, but there is evidence indicating that the genetic and metabolic clock regulators interact. O'Neill and Reddy have discovered that cells from mice with mutated clock genes also have altered peroxiredoxin rhythms, and conversely, cell lines in which expression of peroxiredoxins is disrupted have distorted circadian rhythms. But, right now at least, we don't know how these regulators impact each other. Figuring that out has already been started in cyanobacteria, and hopefully it will be worked out in nucleated cells soon. The clock is ticking.
Nature, 2011. DOI: 10.1038/nature09702, 10.1038/nature09654 (About DOIs).


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New York ? A list of winners at Sunday?s MTV Video Music Awards, which aired live from the Barclays Center in Brooklyn, N.Y.
Video of the year: Justin Timberlake, Mirrors
Best female video: Taylor Swift, I Knew You Were Trouble
Best male video: Bruno Mars, Locked Out of Heaven
Best pop video: Selena Gomez, Come & Get It
Best hip-hop video: Macklemore & Ryan Lewis featuring Ray Dalton, Can?t Hold Us
Best rock video: Thirty Seconds to Mars, Up In the Air
Best collaboration: Pink and Nate Ruess of fun, Just Give Me a Reason
Best video with a social message: Macklemore & Ryan Lewis featuring Mary Lambert, Same Love
Best song of the summer: One Direction, Best Song Ever
Artist to watch: Austin Mahone, What About Love
Michael Jackson Video Vanguard Award: Justin Timberlake
Best direction: Justin Timberlake?s Suit & Tie (director David Fincher)
Best visual effects: Capital Cities, Safe and Sound
Best choreography: Bruno Mars, Treasure
Best art direction: Janelle Monae featuring Erykah Badu, Q.U.E.E.N.
Best cinematography: Macklemore & Ryan Lewis featuring Ray Dalton, Can?t Hold Us
Best editing: Justin Timberlake, Mirrors
Send your news stories to [email protected] and via WhatsApp on +1-508-812-0505


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The International Conference on Technological Advances in
Electrical, Electronics and Computer Engineering will be held
at Mevlana University, Konya,
Turkey from May 9-11, 2013 which
aims to enable researchers build connections between different
digital applications.
Conference Topics
The conference welcome papers on the following (but not limited to) research topics:
Electronics Engineering
- 3D Semiconductor Device Technology
- Adaptive Signal Processing
- Advanced Electromagnetics
- Artificial Intelligence
- Component Technology of MEMS
- Compound Semiconductor Physics and Devices
- Computer Engineering
- Device Electronics for I.C
- Electronics System-Level Based Design
- Electronics & Nano Electronics
- Electronics-Medical Electronics
- Epitaxy and Light-emitting Diodes
- Fiber Optics and Fiber Devices
- Giant Area Microelectronics
- Intelligent Transportation Systems
- Integrated Optics
- Medicine and Biology Applications
- Micro/Nano Systems and Networks
- Mixed Signal Circuits
- Mobile Computing
- Mobile Robotics
- Multimedia Services and Technologies
- Networks Design, Protocols and Management
- Optical Electronic Devices & Photonics
- Radio-Frequency Integrated Circuits
- Signal & Image Processing
- VLSI Testing and Design for Testability
Computer Engineering
- Algorithms
- Artificial Intelligence
- Automated Software Engineering
- Bioinformatics and Scientific Computing
- Computer-aided Design
- Computer Animation
- Computer Architecture
- Computing Ethics
- Computer Modeling
- Computer Networks
- Computer Security
- Computer Simulation
- Database and Data Mining
- Data Compression
- Data Encryption
- Data Mining
- Digital Signal and Image Processing
- Digital System and Logic Design
- Expert Systems
- Image Processing
- Information Systems
- Internet and Web Applications
- Mobile Computing
- Network Security and Cryptography
- Multimedia Applications
- Multimedia Networking
- Mobile Wireless Networks
- Programming Languages
- Wireless Communication
- Wireless Sensor Network
Electrical Engineering
- Software Specification
- Software Assurance
- Analysis of Power Quality and System Stability
- Assembly and Packaging
- Analog Circuits and Digital Circuits
- Antenna and Propagation
- Battery Management System
- Circuits and Electronics
- Computer Relaying
- Electric Energy Processing
- Electromagnetic and Photonics
- Electro-optical Phenomena of Semiconductors
- Integrated Optics and Electro-optics Devices
- Microwave Theory and Techniques
- Microwave and millimeter circuit and Antenna
- Modulation, Coding, and Channel Analysis
- Power Electronics
- Power IC
- Remote control and techniques of GPS
- Remote Control and Techniques of GPS
- Robotics and Atomization Engineering
- Signal Integrity Design for High-Speed Digital Systems
- Signal Processing
- Simulation of Propagation
- Smart Grid
- Solar Power Generation
- Techniques of Laser and Applications Of Electro-optics
- Wind Power Generation
Publication Opportunities
All papers will be published in SDIWC Digital Library and in the proceedings of the conference.
All Papers submitted will be reviewed by a minimum of two reviewers. The published proceedings will be reviewed for possible inclusion within the DBLP, EI, INSPEC, Research Bible, Scirus, and Google Scholar Databases. In addition, best selected papers will be published in one of the following special issues provided that the author do major improvements and extension within the time frame that will be set by the conference and his/her paper is approved by the chief editor:


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Sale ends soon!
Made of soft, thick luxurious fleece with oversized loose fitting sleeves, lets shoulders, arms and upper body remain protected from the cold while leaving arms and hands free to use a laptop, TV remote, read a book, talk on the phone, eat a snack, enjoy an outdoor sports event, and much more. Machine washable.


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Long Story Short – Lawrence Tseu
Leslie Wilcox talks story with Lawrence Tseu, a nationally recognized Honolulu dentist and philanthropist. As a boy who grew up poor in Kalihi, Lawrence shined shoes and sold newspapers to pay for his tuition at St. Louis. Dr. Tseu talks about the joys and struggles of growing up in a hardscrabble neighborhood and his journey to dentistry.
Long Story Short with Leslie Wilcox is a production of PBS Hawaii.
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