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If you're a 21st century Chicago artist and your name isn't Kanye, Common, Lupe or Fall Out Boy, your album doesn't debut in the Billboard Top 10. Sadly, it just doesn't happen.
The exciting exception is EDM trio and north suburban Northbrook-bred Krewella, whose debut full-length "Get Wet," anchored by massive singles "Live for the Night" and "Alive," launched at No. 8 when the album dropped in September. Jahan Yousaf, who shares vocal duties in the group with her younger sister Yasmine, says they didn't celebrate that achievement—selling out shows she likens to action movies means more to her than charts and numbers—but they'll definitely celebrate after the tour-capping hometown show Nov. 16 at Aragon, a venue few local acts have the audience to play.
From New York, Yousaf—who moved to L.A. earlier this year and declines to confirm her reported age of 24, saying, "When I turned 21 I actually told myself that every single year I'm going to keep turning 21"—talked about supporting "dirty" fans, crowds too intoxicated to pay attention and guys touting an unexpected slogan.
How much should people train for your show? It seems a certain level of endurance may be needed.
You don't have to train at all. In fact, it's about liberating yourself. It's about letting go. It's about not preparing. Prepare with water, obviously. We encourage people to not get dressed up and not wear heels and not try to look good at our shows. Because you can't have a good time if in the back of your mind you're always thinking about how pretty you look or if you're trying to stay away from sweaty people. A lot of people go to shows and they try to stay toward the back away from all the really dirty kids. We like the dirty, grimy kids. We're on that same level.
Have you ever looked into the crowd and seen that one person who got super-dressed up and was trying not to get soaked, and then something happens and it drenches them or gets them dirty?
[Laughs.] I try to look at everyone in the crowd when we play. Especially when the strobes shine on them. I always scan the crowd from left to right, top to bottom, all the way to the balcony. It's just adults, the older couples that stay toward the back in the balconies. People that are on dates together, which I don't even know 'cause that's not really a hot date or a romantic date, going to a Krewella concert. Unless you're down to get weird with your date. In the front rows, everyone is just crazy.
What does it mean to you to headline a local venue the size of Aragon?
It's so crazy because I just remember being a kid and I'd be listening to 94.7, which doesn't even exist anymore, but that was like the last metal station and I'd hear all my favorite bands: "Now playing at Aragon on July 21," or whatever day it was. You'd always hear that name thrown around. It's so crazy; it feels like a teenage dream now that we're playing there.
How are you going to crank things up to close out the tour at the hometown show?
It's probably going to be the best show because our parents are there. We have our core, the nucleus of our fanbase there, the people that have been coming to our show since when we were playing little raves to 10 kids ... My best friends from high school … Fans in Chicago feel a certain sense of loyalty … When we were opening for Porter Robinson back a couple years ago and we had probably 300 kids in the crowd, which isn't that much considering Logan Square Auditorium is pretty big, those kids know that they were the first ones and they feel that sense of ownership.
There's obviously an association between EDM and drug use at shows. You guys have been outspoken about not doing hard drugs and the importance of safety. Is that something you emphasize live as well? It's easy to imagine you talking about safety and people who would rather hear artists talk about everyone getting messed up would start booing.
We party. We love to party. But I don't do hard drugs. None of us do. I know it's happening; I'm not stupid. I know it's happening at our shows, and I can see it. We're part of a scene where people are doing that, but I'm not anyone's mother. Our shows are 18 and over, and I'm not there to preach. I think it's important that people are responsible. They have to make the decisions themselves. Hopefully they look up to us in a way where when we write a blog post and encourage people to do research, that's all I can say: Do your research beforehand and surround yourself with people that are looking out for you.
You guys talked recently about how much better you can judge a DJ set when sober. Many people may think they best enjoy dance music when outside themselves.
Yeah. I encourage people to be independent thinkers and know their rights and know what they're allowed to do and have the freedom of choice. I encourage people to do whatever they want to do in that way. At the same time it's really interesting if you try one night going out and actually be sober and listening to music, it's completely different and you are a better judge ... It's a completely different world when you're sober. As an artist I think that's what makes you want to challenge yourself more. That's what makes you want to be a better producer and a better writer. You can drop the same 4-on-the-floor songs and the same themes with similar sounds. If you look at the top 10, a lot of those songs have the same feel to them. Mimicking the same sounds. You notice that stuff when you're sober, but drop that for a drunk kid or a kid rolling he doesn't [bleeping] know. It makes us want to be more compelling artists and keep pushing ourselves and try to evolve.
Is there any frustration when you're trying to set yourselves apart lyrically and musically but the chances of people paying attention to anything when totally out of their minds is slim?
Yeah. It's frustrating sometimes when we perform for a crowd that's really [bleeped] up, and we'll be pouring our hearts out on stage and I'll look in the front row and I always try to make eye contact with people, and they won't even be able to look me in the eye. Their eyes are rolling in the back of their heads; it's almost scary. As a performer you want that connection with people.
I suspect the album title may have prompted a new and rather transparent pick-up line.
"Do you want to get wet?" … That would be cool if in five years people just started saying, "Yo, bro, let's get wet tonight." I would love that.
Guys saying that to each other?
That's the weird thing, and that's actually amazing to know that guys can start saying that. They're wearing "Get wet" shirts; they're holding signs that say, "Make me wet." It's originally something women say; women get their [bleeps] wet. [Laughs.] Let's just be real. But I love to know that guys can let down this guard that they have of being so masculine and they can sing songs of ours. We're girls singing. They're very feminine lyrics sometimes and very sexual lyrics, but I see guys in the front row singing along and that makes me happy to know that they're not trying to be masculine and they don't feel too girly. They just don't care. And that's all we want at our shows. We want people to not give a [bleep]. We want people to feel liberated. We want people to not feel any restrictions from society.
Krewella, 9 p.m. Nov. 16 at Aragon. $30.
Watch Matt on "You & Me This Morning," Friday at 6:55 a.m. on WCIU, the U
Want more? Discuss this article and others on RedEye's Facebook page.


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Code division multiple access (CDMA) is a cellular frequency that, originally developed during World War II for military purposes, incorporates "spread spectrum" techniques. Unlike other cellular systems like GSM and TDMA, every channel on the network uses the full available spectrum. This allows each user (identified by a unique pseudonoise code (PN)) to communicate over several frequencies, as opposed to only one. This allows for better coverage, usually better signal strength, and a higher capacity to allow multiple users to connect at any given time.
CDMA History
QUALCOMM developed the key advances that made CDMA suitable for cellular phones and conducted an open demonstration in San Diego in November 1989.
The first CDMA network were launched commercially in 1995 as cdmaOne and provided approximately 10 times more capacity than analog networks. CDMA has become the fastest-growing of all wireless technologies, with over 100 million subscribers worldwide.
CDMA Benefits
- Greater capacity. Provides 10-20 times the capacity of analog equipment and three times the capacity of other digital platforms.
- Excellent voice and call quality through the filtering out of background noise, cross-talk, and interference.
- Rapid deployment. CDMA systems can be expanded quickly and more cost effectively than most landline networks.
- Fewer dropped calls
- Improved security and privacy because of CDMA's digitally encoded transmissions. Reduced background noise and interference by combining multiple signals which improves signal strength

subset: commoncrawl


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Financing is available to qualified buyers at an APR of 3.9% for a term up to 48 months. A 48-month contract at a rate of 3.9% would require payments of $22.53 per $1,000 financed. For amounts financed less than $10,000.00, higher rates may apply. The Vehicle Protection Plan discount is not valid in Florida. Offers only valid in the United States. Additional residency restrictions may apply. Offer valid until 06/30/2018.
Only Hertz Gold Plus Rewards members qualify for the Hertz Car Sales® bonus with purchases starting October 15, 2013 through July 10, 2016..
Financing is available to qualified buyers at an APR of 2.99% for a term up to 48 months. A 48-month contract at a rate of 2.99% would require payments of $22.09 per $1,000 financed. For amounts financed less than $10,000.00, higher rates may apply. On approved credit. Not all buyers will qualify. Buyers who do not qualify for the promotional rates may qualify for other terms and conditions. Residency restrictions apply.
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I'm usually a fairly focused person when I have a task to finish…except when Genealogy ADD sets in.
I have a trip coming up which might take me near the Kentucky Historical Society in Frankfort. My Carr, Mauzy and Jameson families came through Kentucky in the late 1700-early 1800's. Yesterday, I found myself with a couple of hours that I could spend putting together a list of objectives, if I do get the chance to visit. Sounds simple, no?
I opened up my Family Tree Maker file, and did a location report for Kentucky. I've done this before and should have known better. Somehow, in generating the report, the program seems to change random entries to Kentucky. I noticed this when my Henry Mauzy, who I "know" died in Virginia in 1804 now is listed as dying in Kentucky. Rats!! Now I have to fix this! Better go online and check my tree at Ancestry to mend the other….oh, look! There's someone else with an ancestry for Henry Mauzy's wife! But, wait, that birthday can't be right. I wonder what the source is? Of course, it's the dreaded "Family Data Collection", described as
"The Family Data Collection - Individual Records database was created while gathering genealogical data for use in the study of human genetics and disease."
which sounds to me like someone collected data online without doing much to verify whether it was true. When is a source not a source?
You know, maybe I can find something about the Mauzys on FamilySearch. Heading over there it occurs to me that I haven't checked their entries for France, since this family descends from a Huguenot refugee. Lots of Mauzy births, but no hits. They were supposed to have married in England at some point, to a Connyers, let's try England. I had no idea there were so many Connyers in England!
You know, GeneaNet has a lot of European sources. Let's see what a Mauzy search brings. Lots of listings. Too bad a lot of them are in French….oh look, there were Mauzy families in Illinois! I wonder who? None have new information. I think they all memorized the same information about the Huguenot ancestor. Why, here's a copy of the Arbutis, a University of Indiana student publication from the early 1900's, and it mentions my grandmother, Mary Louise Mauzy! How cute! I should download that!
You know, I don't know much about the Huguenots. There is a book here listing the Huguenot settlement in Virginia. What if I Google that? Well, now, there are a few sites on this topic. Why, there's even a Huguenot Society of Virginia! Here are some interesting links.
You know, I've never been able to identify the ship that the early Mauzy came over on. I wonder if there is anything here?
Wait! What? It's time to make dinner?
Wednesday, July 6, 2011
Genealogy ADD
Posted by Mary at 7:10 AM
2 comments:
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Write some Software
Budget €750-1500 EUR
At the moment, I run LTSP fat clients, and have done so for several yrs. I want to get free from LTSP, and be able to use a pxe booted client that downloads a full linux OS installed every boot occasion on ram disk drives in the client.
What I need is a system for building the image. I want to use a full linux installation on a virtual machine(KVM), to be the image base from where I build the image.
In this VM I can install the software I need, and run an image build everytime I want to change it.
The /home should reside on nfs. Only root user should be present in the image, all other users should be provisioned from LDAP with sssd.
I believe that the freelancer that take on this project need to be familiar with LTSP, since it is a very good start for understanding what I want to do here.
Basically, what I want to get free of from LTSP and fat clients, are the problems with users not present in the local image, the read only file systems, and the problems to install software into the image that needs a GUI to install. I also want to speed it up by using RAM disk drives, since RAM is cheap nowadays.
What I read about this matter, is that it might be problems with memory leaks, to run an image totally in ram?
This is NOT a web design project! I have NO need for web technology, MySQL, any other database. It needs system development understanding, bash scripting, pxe general and pxe image understaning.
I don't want freelancers to offer to do this that have no knowledge of what I'm talking about!
14 freelancers are bidding on average €1174 for this job
Hello.. I have an experience of more than 8 years in web development and maintenance. I have in-depth knowledge of php, mysql, jquery, paypal integrations, API's, css, html, html5 and SEO. Our team is experienced, More
Hello, I m Tahsinul Alam, completed Masters in Software Engineering now working as one of the project manager of WSIT-Austalia software firm located in Melbourne,Australia. We have 13 different teams to work in dif More
Hello, I understood the initial scope of this project. Although i want to discuss further this job in order to prepare the final concept for this project. After Complete discussion over the call or in chat, i wi More
HI Hello Sir, We have gone through the details you have provided and would be pleased to work on this with you to deliver the results that you have expected and We are sure you will not be disappointed if you give us More
I have done similar work before . In the bid amount , I shall provide multilinugal website , android application ios application with 1 year support for any changes / updates / bug removal . We shall provide/create yo More
Hi there! I have read what you exactly need, however I would like to ask you a few questions. I wouldn't call myself a master but I do work smart and do not rest until I get the job done. Please feel free to ping me an More
Hello I have gone through your project description. I am ready to work with you as you approve me, I will start the work. But Before start the things I need to discuss regarding the project so we will be on same More
iPXE and iSCSI/NFS/SMB are some of the ways in which you could accomplish the task that you want. iPXE is the advancement of gPXE with a newly coded framework it allows remote diskless boots over the internet, integrat More


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FEBRUARY 18, 2002 Andy Warhol Foundation for the Visual Arts Announces $1 Million in Grants to Nine Regional Visual Arts Organizations
The Andy Warhol Foundation for the Visual Arts today announced $1 million in capacity-building grants to nine small-to-midsize non-profit visual arts organizations. The grants are part of the foundation's nationwide Warhol Initiative. The grantees are: Creative Time, Inc., Dieu Donné Papermill, and Exit Art, all in New York City; Headlands Center for the Arts in San Francisco; the Kansas City Arts Coalition in Kansas City, MO; Los Angeles Contemporary Exhibitions and Self-Help Graphics in Los Angeles; Out North in Anchorage, AK; and Space One Eleven in Birmingham, AL.
Announcing the awards, foundation president Joel Wachs praised the organizations for the pivotal role they play in strengthening the arts infrastructures of their regions. He said that the Warhol Initiative had been created in order to assist such non-profits in achieving the long-term fiscal stability they need to effectively serve artists and their communities.
Wachs noted that in many cases these organizations are the only institutions of their kind within a large geographic area. "They are on the ground, nurturing America's artists in their local communities, offering both needed services and supportive environments. To a very great extent, they are what keeps American creativity thriving, and we owe them a great debt of gratitude for doing their work so devotedly and so well."
Wachs remarked that while this is the third year of the five-year Warhol Initiative, "it is perhaps more important now than ever in light of the severe economic blow non-profit arts organizations suffered in the wake of September 11th."
Foundation program director Pamela Clapp called the Initiative "an excellent example of the innovative approach the foundation has taken to assisting its primary constituency, the nation's non-profit visual arts organizations." She said that it was created in response to a study the foundation commissioned showing that small-to-mid-sized visual arts organizations were both particularly valuable and uniquely vulnerable. It is directed at "artist-centered organizations" with budgets of $1 million or under, and offers sizable grants for organizational capacity-building. The grants include technical assistance as well as targeted funding of stabilization-oriented projects like endowments, mortgage payment, cash reserves, and other similar efforts.


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File this under human interest story, but for those of you don't game much, you may not know Randy Pitchford. He's the very vocal and prominent face of Gearbox Software (www.gearboxsoftware.com), who is riding high on the success of its Borderlands 2 game (of which numerous writers here at Windows Phone Central are huge fans; Sam still sticks to Halo, sigh).
Recently, he appeared on the Nerdist podcast to discuss, well, gaming, but at the very end in a discussion of Minesweeper, Pitchford notes that he's using a Windows Phone 8 device. He was slightly excited over the Achievements that you can get by playing Minesweeper and while he doesn't go into detail, he seems pleased with his device (we'll try to find out which Windows Phone exactly that he owns).
If you don't follow Randy on Twitter (@DuvalMagic) and you play Borderlands 2, you probably should as he's the oracle of Golden key Shift Codes, regularly tweeting them out.
Either way, as our tipster Karl C. notes, it's cool that one of the biggest names in video games has our phone. Indeed.
Source: Nerdist (Listen in at 1 hour, 23 minutes)


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Real competitive advantage via IT is now based on service innovation, and the implications for talent management and recruiting are far reaching.
A recent white paper from the University of Cambridge (http://www.ifm.eng.cam.ac.uk/ssme/documents/080428ssi_us_letter.pdf) brings to mind a distinction I make between
- First-order business cases, which are based on the automation of some task or business process, and
- Second-order business cases, which are based on the integration of first-order solutions, and
- Third-order business cases, which are based on the improved management of second-order solutions.
Most IT projects are now based on second and increasingly third order business cases: Commodity technologies are still finding their way into first-order solutions, but mostly in late adopter sectors, such as governmental services. In almost all businesses, most of the low-hanging automation business cases have already been picked & consumed, or already thrown out onto technology compost heap.
Yet our education and training methods for preparing our IT workforce are still largely based on first-order automation and its constituent technologies: We still teach the design of operating systems, compilers, train on low-level programming languages, etc. But as a percentage of industry labor, such base technology work is rare, and, outside of the open source community, limited to a select few companies.
Successful second- and third-order business case projects require modeling, analytic, design, management and financial skills that today are only acquired through many years of hard knocks. Our Cambridge Don's suggest that,
"Service Science is emerging as a distinct field. Its vision is to discover the underlying logic of complex service systems and to establish a common language and shared frameworks for service innovation. To this end, an interdisciplinary approach should be adopted for research and education on service systems…Industry refers to these people as T-shaped professionals, who are deep problem solvers in their home discipline but also capable of interacting with and understanding specialists from a wide range of disciplines and functional areas."
Bowen & Spohrer at IBM have suggested that a hybrid degree program, half business and half computer science, is best suited to the new age.
My own education was almost entirely interdisciplinary and liberal arts; my technology training came later and on the job. Back in the eighties, that was novel; but in the future, perhaps not. I also think the trend bodes well for integrating more women into the IT workforce, women being generally more communicative and group-engaged then the "deep problem solvers" who are 90% male.


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It looks as though Caterham is starting to go the Mustang route with special editions of the Seven, though most of these actually improve the performance and don't have strange movie tie-ins (Caterham R500 FTW!). This newest Seven commemorates 15 years of the Caterham Driving Experience (CDX) and includes more than just a paint job. Similar to the Caterhams they use on track days, the new CDX Seven gets push-button engine start, Momo leather steering wheel, a 135 horsepower version of the K-Series mill, limited slip differential and a track-day roll-over bar. All that for around $40,000 when built from the factory. Press release below the jump.
CDX Limited Edition Seven - Let The Driving Experience Never End To commemorate 15 years of the renowned Caterham Driving Experience (CDX) days, Caterham has released a high-spec, limited edition version of the tyre-smoking cars at an attractive price. Caterham's motto of 'Designed for racing, built for living' is more relevant than ever with the CDX Limited Edition. Thrill-seeking drivers are urged to act fast as the first 20 cars will include over £2000 worth of performance extras - including a tuned 1.6-litre power unit - within the £17,495 asking price. A finance option is also available on this model with a monthly payment as low as £199*. Created to mimic the highly focused abilities and looks of the actual Sevens used on CDX days, the latest Seven boasts a 135bhp version of the distinguished K-Series powerplant, a limited-slip differential and track day roll-over bar. All this creates a serious tool for the track that's equally at home on the road. Finished in gloss black with a decal kit reflecting that of the real CDX cars, this limited run car also includes a push button engine start, Momo leather steering wheel, full weather equipment and sticky Avon tyres fitted to 13" Superlight alloy wheels. Power is transmitted to the rear wheels via a 5-speed manual gearbox. Caterham Driving Experience (CDX) days have been enjoyed by thousands of drivers of all ages and abilities. Hosted at venues in the UK and across Europe, the popular days place licensed drivers behind the wheel of a legendary Seven - be it for the Slalom, Drift or Circuit courses. With experience days starting from £99, participants are taught new driving skills to help push the venerable two-seater to its limits or simply to execute some tyre-smoking frolics. The latest Seven is available in component form from just £17,495, or factory built for £20,495, and can be owned for as little as £199 per month.* Caterham is offering a finance scheme of 9.5% APR on the limited run car, requiring a deposit of £4600 followed by 36 monthly payments and then a final balloon payment. For more information visit www.caterham.co.uk or call 01883 333 700 (South) or 01455 841616 (Midlands).
[Source: Caterham]


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- Williston State College Home
- >
- News & Events
- >
- Front drive project to change the "face" of Williston State
News Feed
Front drive project to change the "face" of Williston State
Wednesday, July 10th, 2013
Posted by Williston State College
Front drive project to change the "face" of Williston State
WILLISTON, N.D. - Williston State College has been host to an abundance of changes in the last five years. From a new president, to a number of new projects and programs, WSC has seen immense growth. In that time, the main entrance of the college has remained relatively unchanged. That, however, is about to change - drastically. To put it mildly, the expansive parking lot on the south side of Stevens Hall is about to disappear, laying the way for a new look for Williston State.
"We are all excited to get this campus beautification project started," stated Director for Facilities, Travis Rohrer. "The plan is to mobilize and put up protective fencing and detour signage as soon as July 11th."
JE Dunn, the lead construction firm on this project, is set to begin site staging and product delivery during the week of July 15th. Commencement of the main storm tie in and parking lot demolition will begin on July 22nd.
"The entire scope of the project is expected to be substantially completed within three months," said Rohrer.
Although this project will certainly serve as a campus beautification piece, as Rohrer states, there will be many pieces addressing functionality issues. Pedestrian traffic is one of those areas being assessed.
"During the fall and spring semester, we have around 200 students who walk between Frontier Hall and Stevens Hall daily," says Director for Marketing, Kayla McKeil. "With the way it's set up now, there are many blind spots and potential traffic-pedestrian hazards."
The reconfiguration of the main parking lot will include a number of protected and marked pedestrian walkways. Additionally the plans lay out a circular drive, controlling the flow of traffic in a more manageable pattern, and a nicely landscaped green space. The final product will result in an aesthetically pleasing front entry safe for pedestrian traffic and will provide efficient access to key points and buildings on campus.
Staff parking will be permanently moved to the north side of Stevens Hall. Student parking will be moved to the parking lot adjacent to Dickson Hall. Spill-over parking for students will be located behind Nelson, Manger, and Abramson Hall. Plans are being discussed for an additional potential parking lot to the east of Frontier Hal, but have not yet been confirmed.
During the construction of this project, the south doors of Stevens Hall will still serve as the primary entrance to the main office and academic building via the west parking lot adjacent to University Avenue. Detour signs will be posted at entry points to the campus and additional entrances to the building will also be clearly marked.


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Click here for details. zarlun.com or directly to http://www.zarlun.com/adwords-course-eb.html
Topic: Google Adwords Essentials to Create a Video Ad (Online Commercial)
Allow your video/online commercial to appear while prospective customers are searching for your products, services, business or event. Gain more website traffic and/or increased awareness for your products, services, business or event.
Google functions are updated frequently, and we incorporate changes into our courses.
- This course is designed for busy individuals who need online marketing solutions without investing a lot of time.
- You will learn and apply immediately.
- By the end of this course, you will have a finished product saving you tons of money.
- Capture a busy audience that is searching for your product or service by creating a video advertisement that appears in search results.
- Increase your sales, draw more traffic, and allow your website to rank in the search engines.
- This course is a plus for someone who is working with a low budget.
- We offer live demonstrations and a videos library. If you like learning hands-on, then you will benefit from this course.
- The live course is structured in a step-by-step advertisement creation order. This makes it much easier to retain what you learn.
- We also use non-technical jargon. It's easy to understand and grasp the concepts.
Topics Covered:
- Video Ad Formats
- Bidding
- Budget
- Campaign Schedule & Delivery Method
- Campaign Subtypes
- Ad Schedule & Delivery Methods
- Networks
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- Languages
- Devices
- Frequency capping
- Ad Header & sub-headers
- Targeting 9
General introduction, and covered in full detail in future advanced courses:
Ad Extensions
Offered in future advanced course:
Coding for Remarketing
Suggested Audience:
Beginners to Google Adwords
Small Business Owners
Anyone who is new to online marketing and need the essentials to get started on Google Adwords.
You will need to create or use an already created video that is uploaded to YouTube. We have a dedicated team who can help you if would like for us to create your video or teach you how to do it. Click here to request help. If you are a MAC user, we offer another course that teaches you how to create your online commercial / video for YouTube. Click here.
Our instructor(s) have mastered internet marketing and Google certification courses. Our instructor(s) are led by a Director with 10 years of technology experience and a Masters of Science in Internet Marketing.
Dates & online class time:
Offered Daily
Other classes we offer:
Startup Online Marketing Package - learn the essentials to advertise your business on the internet.
Small Business Online Marketing Bootcamp - learn how to fully market your business online and stop using old school methods.
Web Design Course - learn how to create a website for your business.
e-commerce Web Design Course - learn how to sell and market your products online.
Customer Relationship Management (CRM) Course - learn how to organize and create activities for your customers and prospects.
Email Marketing Campaigns Course - learn how to connect with your customers and prospects to drive sales using email marketing campaigns.
How to Make an Online Commercial - make a rockin online commercial for your business!
Low Cost Internet Advertising - blast your business online to get as many customers as possible.
Branding & Maximizing Your Online Visibility - a successful marketing strategy includes branding your business.
Online Reputation Management - techniques to manage your reputation online (bad reviews, unwanted details about your business, private details, etc.)
Internet Marketing Plan Course - learn how to develop a strategy for your online marketing, includes resources to help you be successful with digital advertising.
Website Optimization - make sure your website shows up in search results!
Mac users (Keynote) - learn how to use Keynote to make presentations and videos for online commercials.
Hidden Discount. Take 10% of Weebly website. https://www.weebly.com/r/Z3XPYC
We add new classes every month, make sure you follow us at twitter.com/zarlun or bookmark our website: zarlun.com
Follow us on Twitter. twitter.com/zarlun


text:
Every delectable drop of Silk® soymilk begins with whole-harvested soybeans. Unlike some soymilks that use chemically extracted soy protein, we begin with the whole bean to preserve the goodness that nature intended. We take extra care to select only high-quality beans grown without genetic engineering, right here in North America. We press the beans in filtered water, then remove insoluble fiber known as okara while preserving soy protein and other components. Finally, we blend in other ingredients, including vitamins, minerals and natural flavorings to make a one-of-a-kind sensation no taste bud can resist. Getting thirsty?
Silk works just like milk in cereal, recipes and beyond
Experiment with a splash of soymilk over cereal, in smoothies and in your favorite recipes. You can swap Silk for milk cup for cup in almost any dish, from creamy soups to tempting desserts. You'll love the taste, and probably won't miss the lactose and cholesterol of dairy milk one little bit. Who knows, this could be the start of a whole new passion for plant-based foods.
New to soymilk? Welcome to a 2,000-year-old history.
The migration of soymilk from Asia to Europe to your table took over 2,000 years! Our collective thanks to those soy lovers from history, because now finding Silk is as easy as traveling to the grocery store.
Tofu and soymilk trace their roots way back to China in the second century B.C. Nourishing and economical, they quickly became staples throughout Asia. Soymilk made the leap to Europe in the middle of the fifteenth century and into the United States around 1900. Bet you didn't know you were part of an ancient international club. (We'll discuss secret handshakes later.)
To learn more about the modern-day soy saga, check out the history of Silk, or explore our delicious soymilk varieties.


text:
- Technical Support
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F(ab')2 fragment antibodies are generated by pepsin digestion of whole IgG antibodies to remove most of the Fc region while leaving some of the hinge region. F(ab')2 fragments have two antigen-binding Fab portions linked together by disulfide bonds and therefore they are divalent. The average molecular weight is about 110 kDa. They are used for specific applications, such as to avoid binding of secondary antibodies to live cells with Fc receptors or to Protein A or Protein G.
Store freeze-dried powder at 2-8°C. When ready to use, rehydrate with indicated volume of d. water and centrifuge if not clear. Product is stable for about 6 weeks at 2-8°C as an undiluted liquid. Prepare working dilution fresh each day. For extended storage after rehydration, add an equal volume of glycerol (ACS grade or better) for a final concentration of 50%, and store at -20°C as a liquid. Note: after the addition of glycerol, the concentration of protein and buffer salts is one-half of the original. Alternatively, aliquot and freeze the product at -70°C or below in the absence of glycerol. Avoid repeated freezing and thawing.
Expiration date: one year from date of rehydration. However, the expiration date may be extended if the product is stored according to the recommendation and the test results are acceptable for its intended use.
1:100 - 1:800 for most applications
Dilution factors are presented in the form of a range because the optimal dilution is a function of many factors, such as antigen density, permeability, etc. The actual dilution used must be determined empirically.
Cy3 is brighter, more photostable, and gives less background than other orange-red fluorescing dye conjugates. Cy3 conjugates can be excited maximally at 550 nm, with peak emission at 570 nm. For fluorescence microscopy, Cy3 can be visualized with traditional tetramethyl rhodamine (TRITC) filter sets, since the excitation and emission spectra are nearly identical to those of TRITC. We recommend Cy3 as a brighter alternative to TRITC. Cy3 can be excited to about 50% of maximum with an argon laser (514 nm or 528 nm lines), or to about 75% of maximum with a helium/neon laser (543 nm line) or mercury lamp (546 nm line). Cy3 has been used with fluorescein for double labeling; however, the use of a narrow band-pass emission filter for fluorescein is recommended to minimize Cy3 fluorescence in the FITC filter set. Cy3 can also be paired with Alexa Fluor® 647 for multiple labeling when using a confocal microscope. However, a better choice for multiple labeling is Rhodamine Red-X because its fluorescence is midway between a green fluorescing dye (like Alexa Fluor® 488) and a far-red-fluorescing dye like Alexa Fluor® 647.
This product is for IN VITRO RESEARCH USE ONLY. It is not a medical device and it is not intended for diagnostic or therapeutic purposes.
Cy is a trademark of GE Healthcare Bio-Sciences Ltd. Jackson ImmunoResearch is licensed by GE Healthcare Bio-Sciences Ltd. to manufacture and sell conjugates of Cy2, Cy3, and Cy5 reactive dyes under US Patent Number 5,268,486, and other patents pending.


text: Curriculum Learning Foundations Overall Requirements All students must read English at an acceptable level in order to begin college-level courses. The college assesses two levels of reading proficiency as shown below. Both must be satisfied in order to enroll in college-level classes. Meet a basic reading standard by placement exam score, by taking DVR-0051 or ESL-0105, or by exemption due to prior college coursework. DVR-0051 Developmental Reading DVR-P005 DVR-0051 Proficiency ESL-0105 English as a Second Language: Intermediate Reading Skills ESL-1050 English as a Second Language: Intermediate Reading Skills Meet college-level reading standards by placement exam score, by taking DVR-0061 DVR-0071 or ESL-0106, or by exemption as a result of prior college coursework. DVR-0061 College Reading and Study Skills DVR-P006 Reading Proficiency Satisfied DVR-0071 Accelerated College Reading andStudy Skills DVR-P007 Placement in Dvr-0071 DVE-0012 Foundations of Composition and Comprehension ESL-0106 English as a Second Language:Advanced Reading Skills ESL-1060 English as a Second Language:Advanced Reading Skills The college assesses English writing proficiency at three levels as a prerequisite to enrollment in EGL-1010, the first college-level writing course. Those three levels are outlined below. Meet the minimum English proficiency requirement by placement exam score, by completing DVE-0009 or ESL-0102 or by exemption as a result of prior coursework. DVE-0009 Fundamental Language Skills DVE-P009 DVE-0009 Proficiency ESL-0102 English as a Second Language: Intermediate II ESL-1020 English as a Second Language: Intermediate II Meet intermediate level English proficiency requirements by placement exam score, by completing DVE-0011 or ESL-0201, or by exemption as a result of prior coursework. DVE-0011 Developmental Composition DVE-P001 DVE-0011 proficiency ESL-0201 English as a Second Language: Composition ESL-2010 English as a Second Language: Composition Meet pre-college level English requirements by placement exam score, by completing EGL-0100 or ESL-0202, or by exemption as a result of prior coursework. EGL-1000 Introduction to Composition EGL-1001 Introduction to Composition EGL-0100 Introduction to Composition EGL-0110 Introduction to Composition(accelerated Learning Program) EGL-100P EGL-1000 Waiver ESL-0202 English as a Second Language:Advanced Composition ESL-2020 English as a Second Language:Advanced Composition All students must satisfy the college's requirement for a solid foundation in mathematics. Students can document this foundation either with satisfactory placement test scores, with an exemption posted as a result of courses taken elsewhere, or with satisfactory performance in one or more developmental mathematics courses. In addition, all students must complete either PAS-1010 or PAS-1030 along with their first developmental math course. Meet the most basic arithmetic requirement by completing DLS-0011 or a satisfactory score on the placement test. DLS-0011 Fundamental Arithmetic Skills DLS-P010 Test Placement in DVM-0030 DLS-P001 Waiver of DLS-0011 DVM-P009 Test Placement in DVM-0030 Meet prealgebra requirements by completing DVM-0031 or with a satisfactory placement test score. DVM-0031 Prealgebra DVM-P030 ACUPLELALG Place in DVM0070 Meet elementary algebra requirements by completing DVM-0071 or achieving a satisfactory placement score. DVM-0071 Introductory Algebra DVM-X070 Placement in MAT-1040 DVM-P007 DVM-0071 Completed Meet intermediate algebra requirements by completing MAT-0104 or by achieving a satisfactory placment test score. MAT-0104 Intermediate Algebra MAT-104P Waiver of MAT-1040 You must take PAS-1030 during the same semester you take DVM-0031. PAS-1010 Planning for Academic SuccessLearning PAS-103P PAS-1030 Waiver PAS-1030 Planning for Academic Success in Math General Education - English Composition Take two courses in English Composition. EGL-1340 or EGL-1320 is recommended for Composition II. COMPLETE THE FOLLOWING COURSE: EGL-1010 Composition I: Expository Writing COMPLETE ONE OF THE FOLLOWING COURSES: EGL-1020, EGL-1100, EGL-1320, OR EGL-1340: EGL-1020 Composition ll: Writing AboutLiterature EGL-1100 Composition II: Writing About Issuesand Ideas EGL-1320 Composition II: Writing for Business EGL-1340 Composition II: Writing About Technical Topics General Education - Humanities Speech Complete SPH-1010, 1050, 1090 or 1110 SPH-1010 Introduction to Speech Communication SPH-1050 Group Communication and Leadership SPH-1090 Interpersonal Communication SPH-1110 Public Speaking SPH-0000 Speech Elective General Education-Humanities Group 2 AA/AS Complete one Art, Music, Theater, Philosophy, Literature, or Foreign Language course from the approved general education list. ART-1010 Introduction to Art MUS-1010 Music Appreciation PHL-1010 Introduction to Philosophy: The Art of Questioning PHL-1090 Introduction to Logic PHL-1330 Ethics THE-1010 Introduction to the Theatre ARB-1000 Arabic for Beginners ARB-0000 Arabic Language Elective FRN-1010 French for Beginners FRN-1020 French for Advanced Beginners FRN-2010 Intermediate French I FRN-2020 Intermediate French II FRN-2040 Advanced Conversation FRN-0000 French Elective SPN-1010 Spanish for Beginners SPN-1020 Spanish for Advanced Beginners SPN-2010 Intermediate Spanish I SPN-2020 Intermediate Spanish II SPN-2040 Advanced Conversation SPN-0000 Spanish Elective CHN-1000 Chinese for Beginners CHN-1010 Elementary Chinese CHN-0000 Chinese Language Elective EGL-2010 British Literature From the Anglo-Saxon Period Through the 18th Century EGL-2030 British Literature of the 19th and 20th Centuries EGL-2050 American Literature from the Beginnings to the Late 19th Century EGL-2070 American Literature from the Late 19th Century to the Present EGL-2090 World Literature From Ancient Times Through the Middle Ages EGL-2110 World Literature from the RenaissanceTo the Present EGL-2120 Introduction to African Literature EGL-2130 African-American Literature: Pre-1800to 1920. EGL-2140 African-American Literature: 1920 to the Present EGL-2170 Major American Writers EGL-2210 The Shakespeare Plays EGL-2230 Children's Literature EGL-2320 Literature and Film EGL-2330 Modern Literature EGL-2370 Studies in Bilblical Literature: the Old Testament EGL-2390 Studies in Biblical Literature: the New Testament EGL-2410 Mythology, Legend and Folklore EGL-2430 Survey of Science Fiction EGL-2440 Survey of Mystery and Detective Fiction EGL-2600 Introduction to the Novel PHL-0000 Philosophy Elective THE-0000 Theatre Elective EGL-2500 Women in Literature General Education - Mathematics Complete MAT-1120 or higher. MAT-1120 Finite Mathematics MAT-1130 Mathematics for Liberal Arts MAT-1140 Introduction to Statistics MAT-1160 Elements of Probability and Statistics MAT-1190 Probability MAT-1340 Trigonometry with Applications to Technology MAT-1370 Precalculus MAT-2160 Applied Calculus I MAT-2170 Applied Calculus II MAT-2210 Statistics MAT-2450 Linear Algebra MAT-2460 Differential Equations MAT-2410 Calculus I MAT-2420 Calculus II MAT-2430 Calculus III MAT-2500 Mathematics of Discrete Structures General Education - Science Complete BIO-2010, BIO-2050 and BIO-2060. BIO-2050 Human Anatomy and Physiology I BIO-2060 Human Anatomy and Physiology II BIO-2010 Microbiology General Education -RN Social Sciences Complete PSY-1010 and SOC-1010. PSY-1010 General Psychology SOC-1010 Introduction to Sociology General Electives - 3 Credits including PED Complete 3 credit hours from any subject. No more than 2 credits may be earned in PED-1000 or PED-1030. Required Nursing Courses Take all the Nursing courses listed. You must achieve grades of "C" or better in each one. NUR-1070 EMT-P to RN Transition Option NUR-2010 Nursing Care of Children and Families NUR-2020 Physiological Integrity II: Nursing the Client With Multidimensional System Involvement. NUR-2040 Management of Care and Professional Issues NUR-2031 Psychosocial Integrity NUR-2032 Physiological Integrity III Take PSY-2070. PSY-2070 Human Growth and Development


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DashProfiler::UserGuide - a user guide for the DashProfiler modules
The DashProfiler modules provide an efficient, simple, flexible, and powerful way to collect aggregate timing (performance) information for your code.
The core of DashProfiler are DashProfiler::Core objects, naturally.
The DashProfiler module provides a by-name interface to DashProfiler::Core objects to avoid needing to manage object references yourself. Most DashProfiler::Core instance methods have corresponding DashProfiler static methods that take a profiler name as the first argument.
Behind the scenes, DashProfiler::Core uses DBI::Profile to efficiently aggregate timing samples.
DashProfiler::Core --> DBI::Profile
DBI::Profile aggregates timing samples into a tree structure.
By default DashProfiler::Core arranges for the samples to be aggregated into a tree with two levels. We refer to these as
context1 and
You provide values for these that make the most sense for you and your application. For example, context1 might a type of network service and context2 might be the specific host name being used to provide that service.
To add timing samples you need to use a Sampler. A Sampler is a code reference that when called creates a new DashProfiler::Sample object and returns a reference to it. Samplers are factories for creating samples. The Sampler code reference is customized (curried) to contain the value for
context1 to be used for the created DashProfiler::Sample.
Samplers are created using the prepare() method of DashProfiler::Core or DashProfiler (which is just a by-name wrapper for DashProfiler::Core).
.----------- DashProfiler::Core --> DBI::Profile
v ^
sampler code ref -. |
sampler code ref ---> DashProfiler::Sample
sampler code ref -'
Each time you call the Sampler code reference you pass it a value for
context2 to be used for this sample and it returns a new DashProfiler::Sample object containing the relevant information, including the exact time it was created.
When that DashProfiler::Sample object is destroyed, typically by going out of scope, it adds a timing sample to all the DBI::Profile objects attached to the Core it's associated with. The timing is from object creation to object destruction.
The DashProfiler::Import module lets you create and import customized Sampler code references at load-time as if they were ordinary functions.
DashProfiler::Import <--- DashProfiler
| |
| |
| v
| DashProfiler::Core --> DBI::Profile
v ^
sampler function -. |
sampler function ---> DashProfiler::Sample
sampler function -'
The DashProfiler::Auto module gives you a simple way to start using DashProfiler. It creates a DashProfiler called 'auto' with a useful default configuration. It also uses DashProfiler::Import to import an auto_profiler() sampler function pre-configured with the name of the source file it's imported into.
Where next?
Experimenting with DashProfiler::Auto is a good place to start.


text:
A 345-pound man jailed for driving with a suspended license was freed nine days early thanks to a Lake County, Fla., judge's "lose-a-pound, gain-a-day" deal.
George McCovery, 37, dropped 25 pounds in 20 days -- a feat he credited to bland prison food and the judge's weight-loss challenge.
"She gave me a chance to prove myself, and I didn't want to let her down," he told the Orlando Sentinel.
Judge Donna Miller, whose courtroom proceedings are replayed in the TV show "Lake Courts," is famous for her unusual sentence deals. In her 17 years as a judge, Miller has ordered defendants to start jogging, take a dance class, tutor math and write Christmas cards, according to the Sentinel.
"I do what I do to try to change the person in front of me," she said, acknowledging that her self-improvement sentences won't be doled out to everyone. "If the person needs jail, they get jail."
Miller said she would check McCovery's weight after 20 days. And to her surprise, he had already shed 25 pounds.
"It's not easy to lose weight," Miller told the Sentinel. "I thought he'd lose 5, maybe, 6 pounds -- not 25."
Carrying extra pounds can raise the risk of chronic, debilitating and even life-threatening medical conditions such as heart disease, stroke and type 2 diabetes. And if waistlines keep expanding at current rates, experts predict half of the U.S. population will be obese by 2030.
McCovery, who takes medication for high blood pressure, said he wanted to lose weight during the trial. But it isn't easy. Obesity treatments, such as bariatric surgery, are effective, but many people are reluctant to undergo such an invasive procedure. And a dearth of drugs approved to treat obesity leaves few options for extreme weight loss short of strict diets and intense exercise programs.
But the benefits of weight loss are well worth the effort. According to an August 2011 report, if every obese person decreased his or her body mass index by just 1 percent (a loss of 2 pounds for a 200-pound adult), as many as 2.4 million diabetes cases, 1.7 million cases of heart disease and stroke and 127,000 cancer cases could be prevented.
Although McCovery lost more than a pound a day, experts say slow and steady weight loss is the best way to shed the pounds for good.
"There's a lot that goes on between losing that first pound and losing that 100, 50 or even 20 pounds," Lisa Cimperman, a registered dietitian at University Hospitals Case Medical Center, told ABC News. Aiming to lose 1 to 2 pounds per week can help you stay on track and power through the inevitable weight loss lulls.
Along the way, McCovery was encouraged by his detention deputies, the Sentinel reported.
"Studies have shown that support groups or just having someone else encouraging you will help make you successful," said Lisa Cimperman.
That encouragement and the promise of making it home in time for Thanksgiving was enough for McCovery, who earned a note of praise from Judger Miller on his release order that read, "Good job, Mr. McCovery!"


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Unofficial Opinion 2010-3
Chairman, Prosecuting Attorneys' Council of Georgia
The "Crime Victims' Bill of Rights," O.C.G.A. § 17‑17‑1 through ‑16, has only limited application to juvenile court proceedings.
You have requested that I review 1996 Op. Att'y Gen. U96-1 to determine whether it should be modified or revised in light of subsequent changes to the statutes which it addressed. That opinion concluded that Georgia's Crime Victims' Bill of Rights, enacted the previous year at 1995 Ga. Laws 385, §2, was not applicable to juvenile proceedings.[1] In your request, you refer to amendments to O.C.G.A. §§ 17‑17‑1 through ‑16 (2008 and Supp. 2010) including those provisions enacted in the 2010 session of the General Assembly. 2010
The Crime Victims' Bill of Rights was enacted by the General Assembly to accord victims of crimes certain basic rights. See O.C.G.A. § 17‑17‑1. In the 1996 opinion, this office concluded that the 1996 version of the Crime Victims'
In 2010, the General Assembly passed HB 567, enacted into law at 2010 Ga. Laws 214 (Act No. 403). That enactment amended portions of the Crime Victims' Bill of Rights, O.C.G.A. §§ 17‑17‑1 through ‑16; however, it also amended other Code sections not contained within the "Bill of Rights," including, inter alia, portions of Title 15 "relating to juvenile proceedings . . . so as to expand provisions relative to victims' participation in the court system in juvenile and state courts; to change provisions relating to victim impact statements in delinquency proceedings; [and] to provide that victims may be present in juvenile court hearings . . . ." 2010
You refer in your letter to a right in juvenile proceedings that is similar to a right in criminal proceedings. O.C.G.A. § 15‑11‑64.2 (a) (former O.C.G.A. § 15‑11‑28 (f)).[3] That Code section previously read: "In any delinquency proceeding in which a petition has been filed, the juvenile court shall notify any victim of a delinquent child's alleged offense that the victim may submit a victim impact statement . . . ." 1992 Ga. Laws 2419, 2419-20, §1 (former O.C.G.A. § 15‑11‑28(f)(1)) (emphasis added). This statement was attached to the case file and could be used during any stage of the proceedings against the child. However, O.C.G.A. § 15‑11‑64.2 (a) was amended in 2010, and now reads: "In any delinquency proceeding in which a petition has been filed, the juvenile court shall notify any victim of a delinquent child's alleged delinquent act that the victim may submit a victim impact form as provided in Code Section 17‑10‑1.1 . . . ." 2010
The actual "Bill of Rights" begins with O.C.G.A. § 17‑17‑1, which specifically addresses "victims of crimes." At no point does the section refer to juvenile proceedings. The term "crime" remains defined as an act committed in this state which constitutes a violation of certain enumerated provisions of Titles 16, 30, and 40, and has not been expanded to include juvenile adjudications; O.C.G.A. § 15‑11‑38(a) clearly provides that a juvenile adjudication is not a conviction of a crime. There are definition changes in O.C.G.A. § 17‑17‑3 adding a definition of "arrest" which includes "the taking of a child into custody." That is consistent with the prior opinion and can be read to refer to those juveniles convicted of crimes but housed in a juvenile facility. This is particularly so since the definition of "victim" remains essentially unchanged and means "[a] person against whom a crime has been perpetrated." O.C.G.A. § 17‑17‑3(11) (Supp. 2010) (emphasis added). As the 1996 opinion correctly noted, "[a] juvenile under the jurisdiction of the juvenile court is not charged with the commission of a crime, but rather with the commission of a delinquent act which is not a crime but instead '[a]n act designated a crime by the laws of this state.'" 1996 Op. Att'y Gen. U96-1, at 91. While the new definition of "criminal justice agency" refers to "custodial authority," the definition of "custodial authority" has not changed. The inclusion of the Department of Juvenile Justice again can be read to refer to its role in housing juveniles treated as adult offenders.
Other changes to the Bill of Rights are also focused on criminal proceedings. For example, O.C.G.A. § 17‑17‑9 refers to the rights of the victim "to be present at all criminal proceedings" but does not refer to juvenile proceedings. The right to be present at juvenile proceedings is still addressed separately in the juvenile code. The provisions in O.C.G.A. § 17‑17‑12.1, however, concerning an accused communicating with a victim or his family, already specifically apply to those "adjudicated by the juvenile court of having committed a delinquent act or designed [sic] felony against such victim." This inclusion of juvenile offenses indicates an intention for this particular Code section to apply to all juvenile offenders. In fact, the specific inclusion of juvenile adjudications in this Code section cautions against reading the remainder of the Bill of Rights to apply to juvenile proceedings generally.
Pursuant to the principle of statutory construction, "Expressum facit cessare tacitum" (if some things are expressly mentioned, the inference is stronger that those omitted were intended to be excluded) and its companion, the venerable principle, "Expressio unius est exclusio alterius" ("The express mention of one thing implies the exclusion of another"), the list of actions in [a statute] is presumed to exclude actions not specifically listed . . . , and the omission of [additional actions] from [the statute] is regarded by the courts as deliberate."
Alexander Properties Group v. Doe, 280
It is significant that the General Assembly did not include a provision that would afford unenumerated rights to victims of juvenile delinquent acts. O.C.G.A. § 17‑17‑15 (d) provides that "[t]he enumeration of these rights shall not be construed to deny or diminish other notification rights granted by state law." Accordingly, the rights of victims of adult offenses are not limited to the Crime Victims' Bill of Rights. However, no similar provision is included anywhere in the juvenile code.
Therefore, it is my opinion that the Crime Victims' Bill of Rights, O.C.G.A. §§ 17‑17‑1 through ‑16, has limited application to juvenile court proceedings which are governed primarily by the provisions contained in Title 15, and the conclusion reached in 1996 Op. Att'y Gen. U96-1 remains the opinion of this office.
Prepared by:
Joseph J. Drolet
Senior Assistant Attorney General
[1]The opinion considered several factors in reaching that conclusion. It noted that the definitions of "crime" and "victim" were inconsistent with juvenile proceedings because a juvenile in juvenile court is charged with "the commission of a delinquent act which is not a crime . . . ." 1996 Op. Att'y Gen. U96-1 at 91. The opinion also found the reference to the former Department of Children and Youth Services (DCYS) as a "custodial authority . . . insufficient evidence of a legislative intent to include the juvenile courts within the ambit of the act" since the reference to DCYS in the act "relates to persons sentenced as adults and not juvenile offenders in general."
[2]The Act was a comprehensive effort primarily aimed at numerous provisions of state law regarding victim participation in and notification by the criminal justice system, and it amended portions of the juvenile (Title 15), criminal (Title 17), evidence (Title 24), and penal (Title 42) titles of the Code.
[3] The juvenile victim impact statement provisions addressed in this section were originally enacted at 1992 Ga. Laws 2419, 2419-20 (former O.C.G.A. § 15-11-28). That Code section was redesignated O.C.G.A. § 15-11-41 at 2000


text:
To return to Part I of this review click here.
Review by Samia A. Halaby, August 25, 1998. Edited February 2011.
(An exhibition of the work of seven Palestinian artists was presented by the Swedish Government at the Konstakademien Vastra Galleriet (Royal Academy of Art) in Stockholm from August 17 through September 20th, 1998. It was accompanied by a hard-cover book titled
Palestinian Art. Mr. Ulf Thomas Moberg was both curator of the show and author of the book. No publisher is specified in the book, but it was printed by Almqvist & Eiksell, Uppsala 1998, copyright Cinclus, Box 14089, 161 14 Stockholm.)
The educational intention of the organizers of the exhibition, as I was given to understand, is to increase mutual understanding by presenting the art of Palestinian Arabs to the European community, during this year when Stockholm is designated the cultural capital of Europe. The artists in the exhibition thank The Royal Academy, The Ministry of Foreign Affairs, the Swedish International Development Agency, and very specially Ulf Thomas Moberg for this commendable effort. And in the spirit of mutuality I wish to present some reflections of the cultural traditions of Arab artists.
In Part I, the book was described and evaluated. This Part II provides the proper conceptual basis for discussion of the subject of Palestinian Arab art. Such material was completely absent in the book, "Palestinian Art," where propaganda was more the intention than an art historical treatise.
As a writer, painter, and participant in the exhibition of Palestinian Art, I know that an exhibition needs a curator with a good eye as much as it needs a commentator with an intimate understanding of the artwork and its sources. And indeed this show of Palestinian Arab art is well curated by Mr. Thomas Moberg. But an understanding of the artwork and its sources was lacking. The installation of the work in the Royal Academy's galleries with natural lighting is was of high quality. To Mr. Moberg goes substantial credit for the immense task of compiling and bringing this exhibition to fruition and for publishing the accompanying book.
I find that important things have not been presented by the book which accompanies this exhibition; while things that are of no significance to Arabic art or to Arab artists receive focus. Furthermore, the goal as stated in the book is to show how Palestinian Arab artists have assimilated international trends and how in spite of this their art is distinctly Palestinian and of course, by logical extension, distinctly Arab though that local conclusion is never stated. This goal, clearly proclaimed in the book, remains unfulfilled. It is as though stating it gives permission to disregard it. For these reasons I extend a helping hand to the viewer, the critic, and the scholar in approaching and understanding our work. I do so based on my membership in this ancient culture of The Arab World as much as on my studies of the history of art.
We Palestinians are Arabs and part of a large aggregation of historical cultures dating from prehistoric times and spreading in mutual cultural exchange with regions as far east as India and as far west as Spain. As modern Arabs we are just as aware of our myriad ancestry as we are of the complex modern world we now live in. We are Arabs distinguished by our language and our history and we count among us adherents to many religions and origins.
Contrary to European art historical views of us, we do not separate ourselves from the ancient peoples which were our progenitors. We the Palestinian Arab artists have roots in the pictorial and cultural traditions of the Mediterranean basin including ancient Lebanon (Phoenicia), ancient Iraq (Assyria), and ancient Egypt; and we share this history in mutual interaction with our ancient neighbors in Iran (Persia), Turkey, Greece, Cypress, and Crete. Our ancestors were the earliest creators of writing and picture making.
In Western Art history more than several hundred different names are used to describe the various arts of our ancestors. Some of these names are religious while others are geographic. These myriad names create the illusion that we as Arabs are different from our ancestors. Concomitantly, modern historians apply to us their own theories of ethnicity calling us by their own labels avoiding the correct international identification of Arabic speaking people as Arabs. The result is that they try to alienate us from our history.
This method of labeling us creates the illusion that we, as Arab artists, belong to various disenfranchised minorities now seeking to rejoin the art world by imitating modern Western painting. That is precisely nothing more nor less than an illusion, the falsehood of which is amply contradicted by the artwork in the exhibition.
During the Middle Ages an unusual Arab art of pictorial abstraction developed from the various currents of our ancient ancestors. We intuitively and intellectually know the depth and breadth of our pictorial history including both medieval geometric abstraction as well as the ancient traditions of illusionism. Our present art is based on this knowledge combined with our awareness of the international nature of contemporary art.
It is an error to think that we borrowed the art of picture making from Europe or the West generally. It has been part of our heritage from ancient of times. Stockholm has a precious and sizable collection of art housed in many museums. Residents and visitors to the city can go to the Medelhavsmuseet (Museum of Mediterranean Art) at Fredsgatan 2 and examine in case D of room 2 of the Egyptian section the amazing pot labeled Negadeh II culture. On it is painted one of the earliest pictures of all mankind. It is an amazing testament from five and a half millennia before our present time. Viewers can easily notice the connection between the imagery on this ancient pot and those of the contemporary paintings off Tyseer Barakat which are on view only a few blocks away at our exhibition at the Royal Academy of Art.
The history of Arabic art is clearly and dramatically visible in the work of Tayseer Barakat. The rows of symbols of ancient Egyptian, Iraqi, Jordanian (Nabatean), Palestinian (Canaanite) art are reborn in the pictures shown at this exhibition. The Swedish visitor to the exhibition might remember what they studied of ancient Egyptian pictures and see most clearly these sources in the work of Barakat. What the visitors may not know so intimately are the many ancient arts of Palestine and the surrounding area which form a solid base of this modern art. Barakat presents to the viewer rows and compartments full of symbols most of which are flat simplified images of the human figure. The eye of the viewer travels from part to part wondering what is contained and what the images signify. The wonderment of ancient art is coupled with the realities of our time. In the work titled Three Women, 1992, we are moved when we see the female figures which are windblown and seem burnt can yet stand alive and solid as rock. These images remind me of the monumental heads of Easter Island as much as of the ancient figures of Egypt and Palestine. I also see the simultaneity of being blown by burning sandstorms while standing solidly against the fire of the sand. I think of the condition as being supremely Palestinian, standing strong in the face of the exigencies of history and the tragedies of Zionist encroachments. We call it Al-Sumoud and it has a deeply poignant meaning which is Palestinian in quality and which evokes both pain and yearning.
In Barakat's work I also see the profound influence of the abstract art of the medieval Arabs. Western historians like to describe these abstract pictures as Islamic decorations. They are in fact some of history's most sophisticated statements in the art of pictorial abstraction. The formal attributes of these abstractions are intimately part of Barakat's work. The compartments are much like the geometric cells which form the repeat patterns of Arabic Abstraction. The environmental nature of the formal boundaries of Arabic abstraction is a precursor to Barakat's various rectangles within rectangles which he uses as the formal ground for the compartments.
Tayseer Barakat has taken seriously the challenge presented by European misconception of the Arab World and has made a substantial effort to study the art of our ancestry and to do what seems monumental in the face of the modern world. That is, he wishes to develop his art strictly within Palestinian Arab tradition. Of course no one can succeed completely in such an endeavor. Citizens of Sweden might understand this when they consider how difficult it would be for their artists to move forward if they strictly limited their sources to the cultural history of Sweden.
Barakat is of course intellectually curious and thus inspite of this self-imposed limitation he is constantly absorbing the many currents in our modern world. But it is important to take note that in this regard Barakat is taking a stand which is inspiring to the youth of Palestine. And the young of Palestine will imitate his internationalism as much as they will imitate his constructive attitude of pride.
One such Palestinian Arab youth who admires Barakat is Tayseer Batniji. Batniji seems tired of the limitations of Gazze (Gaza) and wishes to broaden his experience and has exerted a huge effort to gain the opportunity to study in France. The economic strangulation of Gazze by Israel has created near unbearable conditions of unemployment resulting in economic want and crowded living.
It is very hard to know how Batniji will develop since he is the youngest participant in this group show. He is just out of art school although he worked for a time as an independent artist. It is clear from his words that he is hungry to continue to learn as much as he can about everything. Works in the exhibition bespeak an interest in Post Modernist symbolism with an intended content extracted from Palestinian Arab life. His work is executed with brashness and power. This visual power allows us to quickly delight in its textures and thus directly enter into the work. One such work, Baal-Composition, 1997, focuses on a Palestinian myth.
Like Post Modernism generally, Batniji's works do not reveal their meaning visually. A verbal explanation is always necessary. The stars of international Post Modernism generally allow the critic the attractive position of interpreting the meaning of their work. This gives the critic a certitude which cannot be challenged by the work itself. However those who have not attained international stardom must explain the work themselves. Short of this explanation the work may be interpreted in any number of ways. This is a condition which the young artist needs to address.
For example the several panels which form the work, La travesee du desert, of 1997, may be interpreted differently by different viewers. Someone on the West Bank in Palestine might think that the vertical dark lines through the yellow ochre background symbolize barriers. Thus their meaning is the many closures the Israelis impose on the life of Palestinian Arab Communities. While someone in Japan might see these dark verticals as the pristine simplicity of how bamboo divides the air. And a visitor to New York galleries might say that it is formalism without subject matter. Multiple meaning and the dialogue it provokes may be precisely what is wanted by the artist. Yet despite the openness to interpretation which is implicit in this work there remains a pictorial presence which allow it to stand on its own.
The work, Sans titere, 1998, is even more open to interpretation. To the uninitiated there is no hint of the intended content visible in the 24 rectangles which form the work. Before reading the explanation given to the author and presented in the book Palestinian Art, it appeared to be a simple group of soft rectangles rather than symbols of the culture of Palestinian Martyrs. Should the visual arts depend so completely on written explanation?
Rana Bishara is a young and energetic painter and installation artist working in several media. The most striking quality in her work at the exhibition is the decisiveness and assurance of her strokes. It bespeaks a certainty that is more often encountered in far more experienced artists. Visitors to the Dome of The Rock in Al-Quds (Jerusalem) will notice the similarity between the pictorial panels on the walls of this building to the work of Bishara. This is most apparent in the sensations of flatness as though the parts are inlaid one next to the other. The formal similarity is most visible in the delineation of boundaries. These masterful and bold strokes of Bishara's do not float in the white space of the paper -- rather they seem to be embedded in it. This analysis is confirmed by Bishara's use of script on the surface and at times near the edges of these shapes. The awareness of boundaries might also reflect the hostile encirclement of Palestinian communities by Israelis.
The doorway is another of the motifs that is prevalent historically in the Arabic art of abstraction and present in Bishara's work. In Composition, 1996, one notes that even the airy textures and the organic brush marks do not contradict the strength of boundaries. The image has a post and lintel motif aiding the sensation that the elements are architectural and thus structurally separate from each other. The doorway can be a Mihrab (an architectural element which defines the direction of prayer for Moslems) as much as it is the entry to a private home. The doorway is a primary motif in the drawings of Palestinian Arab children. It is often topped by the typical semi-circular lunette of stained glass. In Bishara's work the doorway is topped by a triangular weight bespeaking the social nature of monumental stone architecture rather than the privacy of a single home.
Bishara also executes installation works which are overtly Palestinian Arab in their political content as they are intuitively Arabic in their history. She, like some other Palestinian Arab artists, is distinguished for her use of the leaves of the Prickly Pear plant which in Arabic is called Subair or Saber in plural. The signular form is called Sabra. In this usage, Bishara asserts that the words, Subair, Saber, and Sabra, are Arabic in language and Palestinian in tradition despite their use by foreigners. Her work also asserts that this land of her ancestry and her present life is hers even in the face of grave adversity. The bravery of her stand is magnificent.
The geometry of medieval Arabic abstraction in combination with the abstraction of twentieth century Constructivism is the basis of my work. In recent years I have found great inspiration in the soft abstraction of a few paintings by Maria Ender executed in Leningrad during the mid-twenties. Ender was a young student when these works were executed. I have seen them in exhibitions and reproduced in books.
What is difficult in this soft painterly abstraction is to avoid creating pointillist landscapes while maintaining the freedom of the brush mark from the creation of shape. In the narrow area between the two historical brackets, I have discovered a world of expression consisting of the rhythms and general principles of motion one sees in the world around us -- both the world of nature as well as the human part of it. For example, I see similar principles at work in the movement of crowds of people as in the movement of leaves in the wind as in the turbulence patterns in water and I try to capture these principles in my paintings. My understanding of these general principles and my search for abstraction is illuminated by my studies of medieval Arabic abstraction.
Contrary to the first paragraph in the essay on my work in the book, Al-Quds (Jerusalem) is not "only a memory." There is now still our Arab Al-Quds. Its artistic crown, The Dome of The Rock, is still an inspiration in my work. And although Israelis have the power to prevent me from living in the city of my birth, I have visited it often in my adult life and I will do so again and again. I have made many paintings based on studies of the Dome of The Rock. It is a living reality which we seek to protect.
My wonderful memory of Al-Quds has nothing to do with European concepts of ethnic disharmony. When I described my memories which are partially quoted in the first paragraph in the chapter on my work, I described both the beauty of my childhood community and the disgust I feel at Israelis who steal our lands and homes and culture. I feel no guilt or shame in telling this truth which should not be hidden no matter how frightening it may be to some. How will we be judged by history if we fear to tell it?
Jumana El-Husseini creates fields of space. They vibrate with her masterful handling developed over many years of distinguished practice. These fields are articulated through the use of marks which mostly stand for individual characters or script. These fields might be rectangular and frontal attenuated in the traditions of abstract space or they might be three dimensional fields articulated through the use of atmospheric perspective.
In the abstract ones some frontal fields possess ambivalent distance while others possess the stability of a writing surface. A field of blue may recede inspite of the letters etched at its edges. Those fields which are filled with scripts gain the illusion of the hardness of a writing surface. The interplay of surfaces depends on the incidence of written marks. Some slabs appear transparent, made so by the overlap of blocks of script.
Often a rhythm is played over the entire surface of the paintings independently of these rectangular fields. A fragment of script is bolder than the rest and catches the attention of the viewer. The viewer's eyes jumps from one such signal to another being led thereby into a structured perusal of the whole. The paintings reward careful contemplation with a wealth of overlapping patterns. As we jump from signal to signal we feel that we are driven into a world of written information and later, after we leave, we regret not having read the script.
In those paintings which create aerial perspective a sensation of floating is created by layers and layers of evenly distributed single characters. These single characters graduate in size from larger at the bottom of the picture to smaller at the top. The gradually diminishing size creates an aerial perspective. We thus feel that we are floating in an atmosphere of depth where we encounter various characters whose significance is less important than the promise thereof.
A romance with the beauty of written characters and script is often encountered in the work of Arab artists. Indeed it is also a part of the work of Rana Bishara in this exhibition. This beauty seems to have a rightness and a power which is greater than the work of an individual artist. At times we are just as deeply moved by script as we are by natural beauty. I believe that this is due to the social formulation of script. It is as though millions of artists over centuries have contributed to their refinement. They have been subjected to millennia of use and have grown more elegant as they grow more functional in their power to communicate.
The work of Husseini depends on the traditions of the calligraphic art in the Arab World. In this tradition art lover and artists share in mutual artistic challenge. The artist must be creative within certain norms while the lover must show her/his prowess in deciphering the script. The art lover is disappointed if the calligraphy is too easy to decipher or if the artist excessively stretches the rules of the art. Husseini like many contemporary Arab artists has initiated a new set of rules in regard to this exchange between art lover and artist. We are no longer expected as viewers to actually read the text but we are expected to apply our traditional experiences with abstraction to test if the work succeeds in its ambitions to create pictorial space through the manipulation of calligraphic form. Thus in Husseini's work the pictorial space of twentieth century abstraction combines with medieval Arabic abstraction and is delineated through calligraphic markings.
The paintings of Samir Salamah are abstract images which combine consciousness of twentieth century Cubism and abstract expressionism with the geometric divisions one sees in Arabic abstraction.
It seems that artists of the Arab World unconsciously express in their work the fitting of parts together to fill foreground space. The division of the surface into parts, all of which seem to have the outline of positive parts, is peculiar to their work. Shapes which imply by their outline that they are negative shapes are rare.
To understand what I mean, the viewer might create in their imagination a view of a tray full of small lumps of dough ready to bake. If the lumps are far enough apart they will each grow to be puffy and circular when they finish baking. When we look at the tray from above we will see circular shapes possessing positive outlines and we will see the tray behind them as negative background. If the small lumps of dough are very close to each then as they puff-up in the baking they will push each other into a pattern of uneven squares thereby filling the entire space of the tray. The tray as background will not be seen and all the shapes will seem positive. It is just this sort of pattern that one sees in little villages where houses seem to adhere one to the other for safety and warmth. This quality is as much visible in medieval European village as it is in the villages of the Arab World. It is precisely this quality of fitting together and filling space that is seen in the painting by Salamah called Ma'lula, of 1974.
It is also this quality of fitting together and filling space which underlies the geometric abstractions of medieval Arabic art. Its geometry is a sophisticated and highly developed technology which is still the study of Christalographers and scholars of Symmetry. It is also this quality of fitting parts together which we saw in both Barakat's work and in mine as well as in the recent landscapes of Salamah such as Ma'lula Garden, of 1998. In this painting each segment takes on a strong life of its own and a definite texture of its own. Each shape is carefully studied and seeks to move forward as a positive frontal shape. Some shapes have clear outlines and all have clear boundaries. Even the sky is a definite shape simplified into a triangle which has the power to move forward in our perception of space or to remain behind other parts. When all shapes have the nature of positive shapes then they have both the tendency of seeming to push forward as well as the tendency to be pulled back by the forward motion of neighboring shapes.
This power to change position in space and to see-saw back and forth creates the sensations of motion even while it seems to freeze the parts. In some of Salamah's works one senses that the textures have grown strong and the see-sawing action might soon create an artistic explosion of color and painterly life which will challenge the formal boundaries of the painting.
It does not enlighten us to read in the book of the exhibition about the European history, Jewish or Crusader, which touches Salamah's birthplace. This is merely a small fragment of a larger history of the area dating back millennia. The imposition of this European fragment at the very start of the essay on Salamah's paintings has nothing to do with either his work or the inspiration of his work. In fact it is not even appropriate as history since it is fragmentary and misleading. It leaves the reader wondering about the reasons for such lack of focus.
Naser Soumi is most concerned at present with installation work. He has put heart and soul into the creation of works which pay homage to the cities of Palestine.
I was fortunate to examine the installation work of Soumi's at Darat Al-Funun in Jordan and to talk to Soumi about his work and to enjoy his collection of photographs of Yafa (Jaffa). With Soumi, I share the terror of watching our cities being razed and with it the incredible artistic and architectural history of Palestine. I wonder if citizens of Sweden would not feel a small part of our pain if they had to stand by helplessly watching foreigners tear down and bulldoze each and every building on the island of GAMLA STAN and then replace them with generic apartment buildings. A horror such as the one Swedes might feel creates the yearning and the pride at the base of the powerful creativity leading Soumi to make these homages to Palestinian cities. In the installation work as homage to Yafa, Soumi placed letters in Arabic and English from men and women who lived in Yafa and who write about their memories. This work of art and others like it have become a part of the process of healing and dealing with the monumental wounds created by the ongoing Israeli destruction of Palestinian Arab society. A dialogue on this issue continues among Palestinian Arab intellectuals of which Soumi is aware.
I lived in Yafa as a child and returned to it as an adult and produced also a work on the subject which is available on the WORLD WIDE WEB. I would be thunderstruck if someone told me they will do an artistic critique of this work by telling of the history of a minority (Jewish Palestinians) which they confusedly associate with our oppressors -- the very oppressors who are destroying Yafa. Yet this is precisely what is done to Naser Soumi.
It is important to learn to make a distinction between Judaism and Zionism. It is a distinction which the book fails to make. Judaism is an ancient religion and Zionism is a recent political movement. Clearly not every Jew supports Zionism and most certainly not every Zionist is a Jew. Furthermore, Jews of the Arab World are Arabs not Israelis unless they expressly change their identity and their loyalty.
Soumi's work is not presented in the exhibition but some pictures are presented in the book. What is unfortunate in the book is the description of unrelated fragments of history which do not enlighten us about Soumi's work. These minuscule fragments of the history of Arab Jews and of the Crusaders in Palestine leave me as an artist feeling doubt about the implications of the book -- implications which may or may not be intended. Perhaps unintentionally they belong more to a political point of view which seeks to undermine us as Palestinian Arabs more than it seeks to enlighten the viewer about our artistic sources.
I have written before about Vera Tamari's work. This treatise is available on the WORLD WIDE WEB at http://www.art.net/~samia. Tamari has utilized photographs of her own family's life in Palestine prior to the imposition of the State of Israel and the beginning of our dispossession. These photographs have then been rendered into bas-relief panels which are often glazed or painted. Tamari also made bas-reliefs of the Palestinian landscape. They are constructed from many three dimensional pieces of sculpted clay. The pieces fit intimately together like birds huddling together for warmth. The numerous parts are often fragile and thin. The pieces are assembled and mounted on a slab. Delight in the intimate fitting of parts to fill a ground is Arabic in its tendencies as explained above where the visual metaphor of a tray of buns was used.
These ceramic works are fragile and seem that way to the viewer. This quality is completely intended by Tamari and communicates a message which is unnerving. Tamari wishes to show us through this message the fragility she feels is the condition of Palestinian Arab life at the present time.
The new installation work by Tamari in this show is a wonderful increase in artistic power. Visitors to the exhibition to date have expressed admiration of this work. Fourteen ceramic masks float at various distances from a pictorial background made up of repeated reproductions of the Mediterranean shore of the city of Yafa. Tamari titles the work Oracle from the Sea, 1998. I was deeply moved by this work as a Palestinian who once lived in Yafa. I went to school there and recently visited the shores of Yafa and I found myself having to mentally cross the mountains of garbage which the Israelis continually dump on the sea shores of this city. I felt that the ancestors came back from the sea and came back to look at what has been done to Yafa. I felt that there was a promise in this, a connection, and the beauty of return of which we dream. I felt that it alleviated my loneliness and brought me back from strange distances.
The work is artistically whole even while Tamari tells that much more space is needed for this work and that the photographs should have been larger. The artist has given us a strong dose of her expressive powers. This power lies in the aggregate of the work, and in the content of its parts. The expressive power of the faces is substantial.
I cannot describe Tamari's work as Post Modernist as I did with Batniji. The message is clear and the power of the message collects and grows as we examine and remember it. Its sum is greater than the sum of the parts. It is intentional in style and the scope of its subject is social even while it remains somewhat open to precise interpretation. In the book is reproduced a photograph of some of these masks taken against the background of the Mediterranean sea on the shores of Yafa at a recent date.
In conclusion I thank the author, Ulf Thomas Moberg, for undertaking the huge task of research and travel needed to assemble materials for both the exhibition and the book. The work was done with humor and tenderness. He brings to the book many sweet passages of Palestinian Arab life both social and cultural. Moberg deserves a lot of credit for his courage in doing so on the artistic stage of one of Europe's most distinguished nations. In this he is singular. His admirable determination has allowed him to fulfill a dream which started when as a youth he visited Palestine and began collecting political posters seeing their historical value long before others did.
My views differ vastly from his in regard to the history of Palestine and its current political reality. Implicit to the text is the misconception that Zionist Israel may exist in Palestine due to Crusader and Jewish history even while Israel's past and current actions seek to extinguish us. Palestine is Arab and does not belong to Europe because of Crusader history nor does it belong to modern Zionism due to religious history. Our art, its form, its content, and its historic sources should have been the single focus of this book. Moreover, the repetition in numerous places in the book of an idyll of past harmonies between ethnic groups in Palestine is a shameful apology to false accusations. I feel neither guilt nor shame in relation to Israelis or Jews. I do feel immense pride in our struggle for national liberation. Thus I see both the apology and the accusation as remnants of European Colonialist thinking which does not belong to me.
Ahat Moberg calls Israeli Independence I call Israeli occupation and what he might understand as The Peace Process I understand most clearly is a process of economic and military strangulation. Thus, in view of the political content of the book, of which I was not informed in advance, this statement is made necessary especially since my position was made clear from the very beginning. I do owe a debt to Moberg for making clear through his book precisely the European attitudes towards Palestinian Arabs which I must address -- and this helped form the structure of my response. Without his venturesome nature and his sincerity we would not have had this arena for dialogue and exchange.
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When the former executive producer of one of Ted Turner's biggest cable successes and a man who generated over $250 million in revenue in one year gives a seminar on marketing, people tend to show up in droves. Such was the case this past week when former Time Warner executive Eric Bischoff gave a special guest lecture on marketing to the students of two Georgia universities.
It is always nice for a student when you get a person coming to talk to you about your chosen field who has actually done it successfully in the outside world (that is, not within the cozy confines of academia). My favorite lectures in university were when CEOs were brought in to talk to us. Nothing against our profs, who were great, but the chaps who had been in the trenches seemed to resonate with students more.
While Eric was not the CEO of Time Warner, he was a vital cog in the success of their television properties, brought to the table by none other than legendary entrepreneur Ted Turner. Eric inherited a second rate company, one that was not even considered to be in the same universe as the then-WWF, despite being the only other company running at the time. Remember the old Snapple slogan "Happy to be No. 3?" Well, WCW was No. 2 by default but looked like they were happy to look like No. 5.
Bischoff changed all of that when he brought his corporate raider attitude to the game. He quickly realized that the only place he could compete with Vince McMahon was in money and television flexibility, because his boss was a billionaire, and owned the cable networks. Bischoff put the money to good use after convincing Turner that an attack strategy was the only way they could deliver the type of ratings they needed to put Vince out of business.
Bischoff quickly signed Hulk Hogan, Randy Savage (reviving what were thought to be dead careers), and then, using a huge money offer, scooped two of WWF's most over talent -- Scott Hall and Kevin Nash. He paid the four of them more than Vince could have afforded at the time, and, God love him, started the process that would drive wrestler salaries through the roof for several years after.
It would be unfair to cast Bischoff as someone who simply had the key to Turner's vault, because that would ignore the fact that his creativity and aggressiveness took those high-priced talents and placed them in compelling stories that not only delivered ratings, but an entirely new demographic of younger, hipper viewers.
Suddenly the business was "cool" again. Perhaps his least recognized accomplishment was pushing McMahon to fight a war that brought out the best in Vince and saw the creation of Steve Austin, Mick Foley and the Rock, to name just a few. Bischoff's winning streak continued for over 80 weeks, before burnout and a poisoned corporate culture drove the company into huge losses and eventually, out of business.
But in kicking off the Monday Night Wars, Bischoff changed everything, and in the process made the business bigger than it had ever been.
Don't you wish you were a university student in Georgia?
If you are interested in re-living the Monday Night Wars, WWE has a DVD out that chronicles them rather nicely. It is so popular, that it is currently on back order. ... Garbonzos and NHB Radio invite fans of WrestleMania to come down and watch Wrestlemania 20 next Sunday at Garbonzos, which will be offering lots of great food and prizes. Tickets are available at the CanadInns Fort Garry Express and are only $5.