Lowering the chances of former inmates going back to prison is the
goal of a new proposal filed in the Florida Legislature. State
lawmakers are partnering with business backed group, Florida Smart
Justice Alliance, to rehabilitate nonviolent inmates to reduce the
number of crimes.
When an inmate gets released from prison, the
general assumption is they normally get $50 and a bus ticket and are
thrown out into society. But, under a new proposal, lawmakers are
aiming to change that for eligible non-violent offenders serving the
last few years of their sentence.
Essentially it would allow
released inmates to have an official ID card with the state, making it a
bit easier for them to find a job.
But, Republican Senator
Thad Altman says that’s only after they complete treatment at a
re-entry facility created by the Florida Department of Corrections.
“We
have a separate facility designed specifically for re-entry back into
society where these inmates after being released from hardened prisons
where many times they come out a more hardened criminal than when they
went in, are going to be going to a different facility, a facility
specifically designed to support them and help them re-enter society,”
said Altman.
And, that’s what “Smart Justice” is about, helping
to reduce the recidivism rate, which is just keeping ex-inmates from
committing more crimes. Altman, the bill’s Senator
sponsor,Polypropylene and polythene can be used in a process called plastic injection mould.
has been working on the “Smart Justice” proposal with Republican
Representative Dennis Baxley, the bill’s House sponsor.Browse our huge
selection of Safety goggles from the best brands.
“There’s
a nexus of opportunity here, whether you’re trying to save the state a
billion dollars in Corrections cost, whether you’re trying to prevent
victims of crime from reoccurring, or you see that somebody in this
system needs some drug treatment or some attachment to some career
paths for them to be a success when they come out that gate,” said
Baxley.Our precision manufactured lasers and laser marker systems deliver the highest possible laser marking performance.
A
number of business leaders brainstormed ideas of ways to find
cost-effective ways to improve public safety, like this one. They call
themselves Florida Smart Justice Alliance.
The group’s
President and CEO Barney Bishop says while he acknowledges recidivism
rates are dropping, Bishop says there’s still more work to do in
rehabilitating these inmates—pointing to the Florida Department of
Corrections’ own data:
“Two out of five new inmates are
reoffenders. Merely locking them up again and again, is neither smart
nor the best of our tax dollars. Yet, of the 33,000 inmates released
every year from state prison, only 23-percent receive any kind of
treatment. That’s fewer than one out of four,” said Bishop.
Bishop
and the two bill sponsors made their remarks at a press conference
Tuesday to announce the bill. They were also joined by Democratic
Representative Darryl Rouson, who also showed his support for the
proposal. The bill is still in the drafting process and does not yet
have a bill number.
The Lions have now won just one of their
last ten matches in the Championship and have dropped to 14th in the
table, having been on the cusp of the play-offs at the turn of the
year.
Lee Tomlin put the visitors ahead after just seven
minutes and although James Henry restored parity, Tommy Rowe put Posh
ahead before the break and Tomlin made it 3-1 shortly after.Willkommen
im virtuellen Zuhause der Lercher Werkzeugbau GmbH.
Nathaniel
Mendez-Laing put the result beyond doubt with a fine solo effort
before Shane Lowry was shown a second yellow card and Boyd tapped in a
late fifth.
Winger Boyd had the first effort on target of the
match but his cross-shot never looked like troubling David Forde at his
near post.
But the deadlock was broken in the seventh minute
when Boyd was given time and space to pick out the onrushing Tomlin,
who smashed the ball into the top corner of the net.
A minute
later and Peterborough could have doubled their lead when left-back
Rowe swept in a cross which Dwight Gayle mis-hit just wide.
The
Lions' first real chance came in the eleventh minute when Bobby
Olejnik's poor goal-kick fell to Liam Trotter, who played the ball to
Henry but the winger's cross narrowly evaded Rob Hulse.
Trotter
was involved again three minutes later when he picked the ball up on
the edge of the box and shifted the ball out of his feet before seeing
his placed shot kept out by Olejnik.
But there was nothing
Olejnik could do to prevent Henry from drawing Millwall level with a
superb lob with the outside of his foot after Hulse's clever dummy in
the 13th minute.
Within moments of the restart, Henry
bamboozled Mendez-Laing before crossing for Afobe, whose left-footed
shot flew straight into Olejnik's arms.
Henry almost turned
provider when his chipped cross was knocked back across goal by Afobe
to Trotter, but his goal-bound effort was charged down by Gabriel
Zakuani.Bay monitoring and parking guidance system come together in seamless integration offering more benefits.
Trotter
then found space on the edge of the area before attempting to place
his shot when he perhaps should have gone for power.
2013年2月19日 星期二
2013年2月18日 星期一
Escalating tax credit proposed to boost WNY film production
Angelina Jolie almost filmed an elaborate fight scene in Buffalo for
the action thriller “Salt,” using the Skyway, the I-190 ramp and the
railroad tracks below as a backdrop.
A location scout wanted it to happen, but it was just too costly to film here.
So the production went to another city.
It’s a problem that has kept many film studios away, despite the enticement of Buffalo’s picture-perfect settings, according to film promoters here.
“The things we have that always blow these filmmakers away – and it’s probably a testament to the preservationists here – is that our architecture is so preserved and so pristine. They see our grain mills,Online shopping for luggage tag from a great selection of Clothing. the grittiness of the First Ward, the Cobblestone District with real cobblestone streets,” said Tim Clark, head of the Buffalo Niagara Film Commission.
It is just the costs that stop movie crews from coming here.
Big productions must bring in crews from New York City, and that means paying additional costs for transportation, rental vehicles, hotel rooms and per diems.
“The experts tell me it’s close to a 45 percent difference between shooting a movie in Buffalo versus shooting a movie in Staten Island,” Clark said.
Now State Sen. Patrick Gallivan has proposed legislation that he feels could level the playing field and make Buffalo much more competitive with other cities. His bill calls for raising the state’s 30 percent film production tax credit – the amount of expenses a film studio can deduct in taxes – on an escalating scale upstate. For Western New York, it would be 45 percent.
“The farther you get from New York City, the more expensive it is to bring films to Buffalo,” the Elma Republican said. “But over time, we can build the industry and workforce, and the costs will naturally go down.”
His proposal follows a change last year that boosted the state’s tax credit for post-production work – such as titling, color correcting and special effects – from 10 to 30 percent, with an additional 5 percent bump for upstate and Western New York.
“We have a very good number of small-budget films being made in and around this area.A lanyard may refer to a rope or cord worn around the neck or wrist to carry an object. But we’re relegated to the non-union, smaller-budget movies,” Clark said. “They are good bread-and-butter kinds of projects for us, but we’re likely not to see the bigger stuff until we get some sort of relief in the tax credits here.”
For example, a little over a week ago, director Ivan Reitman and a location scout were in town to consider making “Draft Day,” which would star Kevin Costner as a fictitious Buffalo Bills general manager.
But Lionsgate studio also is considering Cleveland for the movie because it offers a variety of incentives not available in Buffalo.Find the best iPhone headset for you Another example: Producer Don Carmody, whose credits include “Good Will Hunting” and “Chicago,” set his latest film, “The Factory,” which came out direct-to-video on Tuesday, in Buffalo.
But the movie, which stars John Cusack, was filmed in Montreal.
“There is huge competition with the tax credits all over the place, and when we made ‘The Factory,’ even the New York State rebates weren’t that big a deal. It was just better for us to shoot the thing in Montreal and take advantage of their tax credits,” Carmody said.
Gallivan said he is hopeful fellow lawmakers will support the four-tiered film production tax credit boost – from 30 to 45 percent – that would give upstate and Western New York the maximum boost.
It’s the only way, he said, that regions outside New York City can have a level playing field.
“I don’t know if we need four or three tiers, but the general concept essentially is to level the costs so every region can compete equally to bring film production to upstate and Western New York,” Gallivan said.
His bill has the support of John Ford, president and business manager of Motion Picture Studio Mechanics Local 52, based in New York City. More than 100 members are between Buffalo and Rochester in the various locals and he would welcome the chance to add more, he said.
“You need the employers to bring the work here. Once the shows start coming, then you get as many local people on as you can and they learn over time,” Ford said.
Clark said the legislation to provide equity is overdue.
“In 2006, ‘The Savages’ shot here two or three days and went to Staten Island, where it was made to look like Buffalo,” Clark said, referring to the film that co-starred Philip Seymour Hoffman and Laura Linney.
Clark said representatives from several major movie studios have assured him that they would shoot more pictures throughout New York State if the production tax credit went up.
Other upstate movie promoters agree.
Based on conversations with line producers who budget movies, “the magic tax credit number is 42 percent,” said Nora Brown, who heads Rochester’s film commission.
That would help Rochester retain films she said have been lost lately to Massachusetts. Some other states, for instance, allow a portion of salaries paid to the director, writer and leading cast members to be deducted from taxes.
Downtown Rochester is slated for 10 days of shooting this spring for “The Amazing Spider-Man 2,” according to John Scardino, regional representative for the International Alliance of Theatrical Stage Employees 52. But the amount of film, which reprises Andrew Garfield as Peter Parker/Spider-Man, being shot there was cut in half due to added costs.
Efforts also are under way to increase critical post-production work in parts of the state outside of New York City.
Gov. Andrew M. Cuomo last July signed legislation that raised the state post-production tax credit for upstate and Western New York to 35 percent – 5 percent higher than for New York City, where most of the industry is located.
The governor announced his support in January for extending the tax credit five years, something the Legislature still has to approve.
Increasing the post-production tax credit is working,A chip card is a plastic card that has a computer chip implanted into it that enables the card to perform certain. said Kenneth Adams, president and CEO of Empire State Development Corp.
“For the first couple of years that the post-production credit existed, there were 17 projects that sought support. In the six or seven months since, we’ve had 34 projects sign up for the credit, indicating there is strong interest,” Adams said.
Later this year, the school plans to begin a visual-effects certificate training program to train students to work in the post-production industry.
Sam Hoyt, a member of the Western New York Regional Economic Development Council, said there have been “advanced discussions” about how to support what Daemen is doing.
“We think Daemen has something that is very unique based on our discussions and our due diligence, and we’re in discussions with the team there as to how we can make it become a reality,” Hoyt said.
Adams said the growing industry could help retain a highly skilled and well-trained technical workforce in Buffalo.
“If this works, it’s another strategy in keeping young people in Western New York. It’s a very cool industry,” Adams said.
Ben Porcari, who operates IBC Digital, a production company in Buffalo specializing in post-animation and digital effects, said the post-production tax credit makes Buffalo much more competitive.
“Companies can benefit from the low cost of operation in Buffalo and take advantage of the extra 5 percent tax credit. On a $1 million job, that’s a decent amount of money,” Porcari said.
With possible changes to production tax credits along with the change last year in the post-production credit, Buffalo and Western New York’s film industry could be turning a corner, said Clark of the Buffalo Niagara Film Commission.
“I truly believe we are on the cusp of something really big here,” Clark said. “It’s also really sexy. You have movie stars in town, you have lights,Our premium collection of quality personalized keychains generously offers affordability in a custom keychain. camera, action. It’s a great way to boost the economy.”
A location scout wanted it to happen, but it was just too costly to film here.
So the production went to another city.
It’s a problem that has kept many film studios away, despite the enticement of Buffalo’s picture-perfect settings, according to film promoters here.
“The things we have that always blow these filmmakers away – and it’s probably a testament to the preservationists here – is that our architecture is so preserved and so pristine. They see our grain mills,Online shopping for luggage tag from a great selection of Clothing. the grittiness of the First Ward, the Cobblestone District with real cobblestone streets,” said Tim Clark, head of the Buffalo Niagara Film Commission.
It is just the costs that stop movie crews from coming here.
Big productions must bring in crews from New York City, and that means paying additional costs for transportation, rental vehicles, hotel rooms and per diems.
“The experts tell me it’s close to a 45 percent difference between shooting a movie in Buffalo versus shooting a movie in Staten Island,” Clark said.
Now State Sen. Patrick Gallivan has proposed legislation that he feels could level the playing field and make Buffalo much more competitive with other cities. His bill calls for raising the state’s 30 percent film production tax credit – the amount of expenses a film studio can deduct in taxes – on an escalating scale upstate. For Western New York, it would be 45 percent.
“The farther you get from New York City, the more expensive it is to bring films to Buffalo,” the Elma Republican said. “But over time, we can build the industry and workforce, and the costs will naturally go down.”
His proposal follows a change last year that boosted the state’s tax credit for post-production work – such as titling, color correcting and special effects – from 10 to 30 percent, with an additional 5 percent bump for upstate and Western New York.
“We have a very good number of small-budget films being made in and around this area.A lanyard may refer to a rope or cord worn around the neck or wrist to carry an object. But we’re relegated to the non-union, smaller-budget movies,” Clark said. “They are good bread-and-butter kinds of projects for us, but we’re likely not to see the bigger stuff until we get some sort of relief in the tax credits here.”
For example, a little over a week ago, director Ivan Reitman and a location scout were in town to consider making “Draft Day,” which would star Kevin Costner as a fictitious Buffalo Bills general manager.
But Lionsgate studio also is considering Cleveland for the movie because it offers a variety of incentives not available in Buffalo.Find the best iPhone headset for you Another example: Producer Don Carmody, whose credits include “Good Will Hunting” and “Chicago,” set his latest film, “The Factory,” which came out direct-to-video on Tuesday, in Buffalo.
But the movie, which stars John Cusack, was filmed in Montreal.
“There is huge competition with the tax credits all over the place, and when we made ‘The Factory,’ even the New York State rebates weren’t that big a deal. It was just better for us to shoot the thing in Montreal and take advantage of their tax credits,” Carmody said.
Gallivan said he is hopeful fellow lawmakers will support the four-tiered film production tax credit boost – from 30 to 45 percent – that would give upstate and Western New York the maximum boost.
It’s the only way, he said, that regions outside New York City can have a level playing field.
“I don’t know if we need four or three tiers, but the general concept essentially is to level the costs so every region can compete equally to bring film production to upstate and Western New York,” Gallivan said.
His bill has the support of John Ford, president and business manager of Motion Picture Studio Mechanics Local 52, based in New York City. More than 100 members are between Buffalo and Rochester in the various locals and he would welcome the chance to add more, he said.
“You need the employers to bring the work here. Once the shows start coming, then you get as many local people on as you can and they learn over time,” Ford said.
Clark said the legislation to provide equity is overdue.
“In 2006, ‘The Savages’ shot here two or three days and went to Staten Island, where it was made to look like Buffalo,” Clark said, referring to the film that co-starred Philip Seymour Hoffman and Laura Linney.
Clark said representatives from several major movie studios have assured him that they would shoot more pictures throughout New York State if the production tax credit went up.
Other upstate movie promoters agree.
Based on conversations with line producers who budget movies, “the magic tax credit number is 42 percent,” said Nora Brown, who heads Rochester’s film commission.
That would help Rochester retain films she said have been lost lately to Massachusetts. Some other states, for instance, allow a portion of salaries paid to the director, writer and leading cast members to be deducted from taxes.
Downtown Rochester is slated for 10 days of shooting this spring for “The Amazing Spider-Man 2,” according to John Scardino, regional representative for the International Alliance of Theatrical Stage Employees 52. But the amount of film, which reprises Andrew Garfield as Peter Parker/Spider-Man, being shot there was cut in half due to added costs.
Efforts also are under way to increase critical post-production work in parts of the state outside of New York City.
Gov. Andrew M. Cuomo last July signed legislation that raised the state post-production tax credit for upstate and Western New York to 35 percent – 5 percent higher than for New York City, where most of the industry is located.
The governor announced his support in January for extending the tax credit five years, something the Legislature still has to approve.
Increasing the post-production tax credit is working,A chip card is a plastic card that has a computer chip implanted into it that enables the card to perform certain. said Kenneth Adams, president and CEO of Empire State Development Corp.
“For the first couple of years that the post-production credit existed, there were 17 projects that sought support. In the six or seven months since, we’ve had 34 projects sign up for the credit, indicating there is strong interest,” Adams said.
Later this year, the school plans to begin a visual-effects certificate training program to train students to work in the post-production industry.
Sam Hoyt, a member of the Western New York Regional Economic Development Council, said there have been “advanced discussions” about how to support what Daemen is doing.
“We think Daemen has something that is very unique based on our discussions and our due diligence, and we’re in discussions with the team there as to how we can make it become a reality,” Hoyt said.
Adams said the growing industry could help retain a highly skilled and well-trained technical workforce in Buffalo.
“If this works, it’s another strategy in keeping young people in Western New York. It’s a very cool industry,” Adams said.
Ben Porcari, who operates IBC Digital, a production company in Buffalo specializing in post-animation and digital effects, said the post-production tax credit makes Buffalo much more competitive.
“Companies can benefit from the low cost of operation in Buffalo and take advantage of the extra 5 percent tax credit. On a $1 million job, that’s a decent amount of money,” Porcari said.
With possible changes to production tax credits along with the change last year in the post-production credit, Buffalo and Western New York’s film industry could be turning a corner, said Clark of the Buffalo Niagara Film Commission.
“I truly believe we are on the cusp of something really big here,” Clark said. “It’s also really sexy. You have movie stars in town, you have lights,Our premium collection of quality personalized keychains generously offers affordability in a custom keychain. camera, action. It’s a great way to boost the economy.”
2013年2月5日 星期二
No ‘round pegs’ in ‘square holes’ in Greenville’s autism program
But they can’t. The best a teacher can do is say, “This is how I
teach THIS student with autism.” And even that may vary from day to day,
depending on more factors than most people would want to keep track of
on a daily basis.
Though there are of course some constants upon which a teacher may rely, each student in Greenville Public Schools’ autism program presents a unique set of challenges. Some students in the program have almost no communication skills; others evince symptoms so subtle that there’s a real danger they may be overlooked altogether.
According to Michelle Blaszcynski, principal of Lincoln Heights Elementary School, which serves several autistic students, teaching techniques with regard to autistic students have evolved far beyond what they were even a dozen years ago.
Whereas once a student with autism might be consigned to an education separate from mainstream students, modern teaching techniques recommend incorporating that student into daily school life whenever and wherever possible.
“We try to integrate the students in the regular ed classroom and have as much integration as possible,” Blaszcynski said.
Not only does this help the special needs student to feel more accepted, it gives the mainstream students a chance to better understand the needs of others. These two factors can have an immensely positive impact on both groups, Blaszcynski contends.
Integration is simply one of several techniques used to reach students with autism, however. According to the Baldwin Heights Elementary School’s list of “guiding principles” for working with autistic students, the following precepts hold true and should be considered in most cases.
According to Director of Student Services Linda VanHouten, it is exactly this sort of loosely regimented thinking that allows teachers to reach students with autism far more effectively than was possible in the past. Also, ongoing scientific advances and sociological studies provide new data on a regular basis.
“We just know so much more now about what makes these kids tick,” VanHouten said. “They don’t really know the medical cause (of autism) but there are clues as to why these kids behave as they do, and that helps us develop plans to make them more successful.
“Many of our staff went through intensive training to help them identify and deal with the treatment of autism.”
To facilitate this special training, Greenville Public Schools have coupled with the Statewide Autism Resources and Training (START) program offered by Grand Valley State University.We specializes in rapid plastic injection mould and molding of parts for prototypes and production. It was there that many staffers developed the skills needed to successfully educate autistic students and meet their special needs.
Teachers and para-professionals also tapped into a program called Rethink Autism, which — according to VanHouten — helps educators identify autism in students.
“It helps us identify autism and figure out the best direction we can go in for each student,” VanHouten said. “The program even provides video training for us. We’ve come a long way in knowing what to do.”
The evidence of these advances is no further away than observing any local autism classroom. In place of the chaos that was all too common in years past,The stone mosaic series is a grand collection of coordinating Travertine mosaics. there is order. Students are learning; learning to read, to write, to deal with the personality quirks endemic in autism.
Autistic students are no longer expected to conform to ideals beyond their ability. No “round pegs” are pounded into “square holes.” Instead, each student is treated as an individual, respected, and taught to develop to the best of his or her ability.
“It is not the student’s job to fit our mold,” said Blaszcynski. “It is our job to customize to whatever the student needs, academically, behaviorally, emotionally and socially. That’s our job in public education.”
He has had 14 jobs at Raytheon, working his way up from the “factory floor and rising through the ranks to lead from the corner office,” Swanson said. Today, he oversees the company, which in 2011 reported $25 billion in sales and 71,000 employees worldwide.
Swanson is an example of an American success story, and one that has its roots in San Luis Obispo County. He grew up on the Central Coast, earned an engineering degree from Cal Poly and continues to maintain family and business ties here. He co-owns the Avila Golf Resort with business partner Rob Rossi, and his family visits the county “whenever we can.”
“I know that for me, the area will always have a special place in my heart, since it provided me with the spark that launched my career, and it is a place where I hope to retire and give back to the community and Cal Poly,” he said.
There are so many things I’d point to in terms what the people of Raytheon have accomplished and that I’ve been fortunate to be a part of during my career. I am so proud to work for a company that provides critical technologies, systems and services that help our servicemen and women successfully complete their missions and come home safely. I would also count the transformation of Raytheon’s balance sheet over the past 10 years as an important accomplishment. And I’d like to point to the progress we’re making, at Raytheon and elsewhere,Bay State Cable Ties is a full line manufacturer of nylon cable ties and related products. in supporting science, technology, engineering and math (STEM) education to inspire a new generation of innovators.
One of the biggest challenges is making sure that all of our roughly 70,How cheaply can I build a solar power systems?000 members of the Raytheon team — from the factory floor to the corner office — are aligned around our strategy.I thought it would be fun to show you the inspiration behind the broken china-mosaics. We do this through a lot of communication, and not all top-down: Raytheon is made up of six large businesses and we do business around the world, so we employ multiple ways to get strategy and messages out to our teammates.
One of the most effective ways we initiate a strategic conversation with employees is through our internal town hall meetings and forums. These are hosted either by me or the senior leadership team and are often very engaging conversations.
Our newer generations in particular want to know why management is making the business decisions that we’re making, so we take the time to explain why. Never has it been so important for our leaders to engage in valuable face-to-face dialogue about our business with our employees, and despite their social media habits, our newer generations actually want more face-to-face time. This is healthy because they need the social skills to become leaders.
Though there are of course some constants upon which a teacher may rely, each student in Greenville Public Schools’ autism program presents a unique set of challenges. Some students in the program have almost no communication skills; others evince symptoms so subtle that there’s a real danger they may be overlooked altogether.
According to Michelle Blaszcynski, principal of Lincoln Heights Elementary School, which serves several autistic students, teaching techniques with regard to autistic students have evolved far beyond what they were even a dozen years ago.
Whereas once a student with autism might be consigned to an education separate from mainstream students, modern teaching techniques recommend incorporating that student into daily school life whenever and wherever possible.
“We try to integrate the students in the regular ed classroom and have as much integration as possible,” Blaszcynski said.
Not only does this help the special needs student to feel more accepted, it gives the mainstream students a chance to better understand the needs of others. These two factors can have an immensely positive impact on both groups, Blaszcynski contends.
Integration is simply one of several techniques used to reach students with autism, however. According to the Baldwin Heights Elementary School’s list of “guiding principles” for working with autistic students, the following precepts hold true and should be considered in most cases.
According to Director of Student Services Linda VanHouten, it is exactly this sort of loosely regimented thinking that allows teachers to reach students with autism far more effectively than was possible in the past. Also, ongoing scientific advances and sociological studies provide new data on a regular basis.
“We just know so much more now about what makes these kids tick,” VanHouten said. “They don’t really know the medical cause (of autism) but there are clues as to why these kids behave as they do, and that helps us develop plans to make them more successful.
“Many of our staff went through intensive training to help them identify and deal with the treatment of autism.”
To facilitate this special training, Greenville Public Schools have coupled with the Statewide Autism Resources and Training (START) program offered by Grand Valley State University.We specializes in rapid plastic injection mould and molding of parts for prototypes and production. It was there that many staffers developed the skills needed to successfully educate autistic students and meet their special needs.
Teachers and para-professionals also tapped into a program called Rethink Autism, which — according to VanHouten — helps educators identify autism in students.
“It helps us identify autism and figure out the best direction we can go in for each student,” VanHouten said. “The program even provides video training for us. We’ve come a long way in knowing what to do.”
The evidence of these advances is no further away than observing any local autism classroom. In place of the chaos that was all too common in years past,The stone mosaic series is a grand collection of coordinating Travertine mosaics. there is order. Students are learning; learning to read, to write, to deal with the personality quirks endemic in autism.
Autistic students are no longer expected to conform to ideals beyond their ability. No “round pegs” are pounded into “square holes.” Instead, each student is treated as an individual, respected, and taught to develop to the best of his or her ability.
“It is not the student’s job to fit our mold,” said Blaszcynski. “It is our job to customize to whatever the student needs, academically, behaviorally, emotionally and socially. That’s our job in public education.”
He has had 14 jobs at Raytheon, working his way up from the “factory floor and rising through the ranks to lead from the corner office,” Swanson said. Today, he oversees the company, which in 2011 reported $25 billion in sales and 71,000 employees worldwide.
Swanson is an example of an American success story, and one that has its roots in San Luis Obispo County. He grew up on the Central Coast, earned an engineering degree from Cal Poly and continues to maintain family and business ties here. He co-owns the Avila Golf Resort with business partner Rob Rossi, and his family visits the county “whenever we can.”
“I know that for me, the area will always have a special place in my heart, since it provided me with the spark that launched my career, and it is a place where I hope to retire and give back to the community and Cal Poly,” he said.
There are so many things I’d point to in terms what the people of Raytheon have accomplished and that I’ve been fortunate to be a part of during my career. I am so proud to work for a company that provides critical technologies, systems and services that help our servicemen and women successfully complete their missions and come home safely. I would also count the transformation of Raytheon’s balance sheet over the past 10 years as an important accomplishment. And I’d like to point to the progress we’re making, at Raytheon and elsewhere,Bay State Cable Ties is a full line manufacturer of nylon cable ties and related products. in supporting science, technology, engineering and math (STEM) education to inspire a new generation of innovators.
One of the biggest challenges is making sure that all of our roughly 70,How cheaply can I build a solar power systems?000 members of the Raytheon team — from the factory floor to the corner office — are aligned around our strategy.I thought it would be fun to show you the inspiration behind the broken china-mosaics. We do this through a lot of communication, and not all top-down: Raytheon is made up of six large businesses and we do business around the world, so we employ multiple ways to get strategy and messages out to our teammates.
One of the most effective ways we initiate a strategic conversation with employees is through our internal town hall meetings and forums. These are hosted either by me or the senior leadership team and are often very engaging conversations.
Our newer generations in particular want to know why management is making the business decisions that we’re making, so we take the time to explain why. Never has it been so important for our leaders to engage in valuable face-to-face dialogue about our business with our employees, and despite their social media habits, our newer generations actually want more face-to-face time. This is healthy because they need the social skills to become leaders.
Find bargains in resale shops
Anderson recently purchased a picture of leopards for $23, which was
on sale for 40 percent off its original price. That wasn’t her first
purchase at Forget Me Nots, however.
“I’ve got two beautiful green curtains I got here,” she said. “I got a bedroom set here for my daughter, and I got an armoire here.”
Forget Me Nots at 204 E. Government St. in Brandon is the largest of Rankin County’s consignment shops.I thought it would be fun to show you the inspiration behind the broken china-mosaics.
From vintage records to a Royal typewriter, from shoes to a sectional sofa, purses to paintings, Forget Me Nots has an eclectic mix. It also sells gently used clothes for women and children, jewelry and purses.The stone mosaic series is a grand collection of coordinating Travertine mosaics.
In this economy when every dollar counts, a growing number of shoppers are looking for more bang for the buck, according to NARTS: The Association of Resale Professionals. Some shoppers want to buy almost new merchandise at reduced prices, and others want to consign or sell unneeded clothes and furniture and share the profit with a store that sells them.
The association estimates there are currently more than 25,000 resale, consignment and not for profit resale shops in the United States. First Research estimates the resale industry in the U.S. has annual revenues of approximately $13 billion.
America’s Research Group, a consumer research firm, estimates about 12-15 percent of Americans will shop at a thrift store during a given year compared to 11.4 percent of Americans who will shop in factory outlet malls, 19.6 percent in apparel stores and 21.3 percent in major department stores.
Melanie Mann, a former dental hygienist who once had booths at antique malls in the metro area, opened Forget Me Nots in October 2009 in a 900-square-foot location in Brandon. Business proved to be good, and she relocated the store two years later to its current 10,Bay State Cable Ties is a full line manufacturer of nylon cable ties and related products.000-square-foot location.
“You never know what’s going to come in the door,” said Mann, citing a 1920s stove as one of the most unusual things she’s sold. “We sell a lot of furniture, not just from the 1920s and 1930s but modern, vintage, retro and shabby chic. Sectionals sell quickly.”
Many customers desire bargains — hence, the Last Chance Room at Forget Me Nots — but others are value-conscious and shop where they find quality items, Mann said.
Mann stages her store by mixing furniture and accessories. That allows customers to visualize how the furniture and decorative items would look in their homes and provides ideas for how they could use their own furnishings, she said.
It works like this: Customers drop off items the store will take on consignment for 60 days and sign an agreement for the store to price the items and keep 50 percent of the selling prices. Consignors are paid in cash or check, depending upon the amount, and have the option to apply what they’ve earned toward a purchase at the store.
Joann Smith of Brandon, who is retired, said she has found consigning unwanted clothes that are in good shape a way to declutter her closet and pocket a little extra cash.
“I’ve consigned clothes at Consignor’s Boutique in Brandon,” she said. “I’ve always had a good experience there.”
Consignor’s Boutique at 131 Gateway Drive in Brandon, has several thousand consignors on file, said Ruthie Alford, a store employee.
Customers consign clothes when they’ve changed sizes, grown tired of clothes and for other reasons, too. “One lady came in and got what she was owed and said she was using it to save for a trip,” Alford said.
Consignor’s Boutique accepts women’s clothes from sizes 0 to 3x, books and home décor items, Alford said. “We have a lot of Mississippi Mud Pottery,” she said.
Savvy shoppers can save money by shopping at consignment shops, said Crystal Barlow, who six months ago purchased From Me To You at 6080 Old Brandon Road in Brandon from the previous owner. She worked at the store four and half years before becoming the owner.
Consignors should keep in mind that a store wants items that its customers will want to buy, and for that reason,How cheaply can I build a solar power systems? may not take everything. Also, stores generally switch out clothing with the season and may refuse to take clothes that are not the current season. Clothes should be clean and in good shape.
Hours vary from store to store as do the times consignments are accepted, store policies and the percentage paid to a consignor.
From Me To You accepts men’s, women’s and children’s clothes, shoes, purses, jewelry, household items and furniture on consignment. The store keeps 60 percent of the selling price, and the consignor gets 40 percent.
The store stopped taking VHS tapes and cassette tapes because they didn’t sell, Alford said. It doesn’t accept prom dress or formal wear because few of its customers are in the market for them, she said.
Charlotte Bowlin, an employee at Wear It’s At at 1679 Old Fannin Road in Flowood, said smocked dresses for little girls are among its best sellers. The store accepts women’s and children’s clothes and baby equipment such as strollers,We specializes in rapid plastic injection mould and molding of parts for prototypes and production. swings and bouncy seats and large toys such as train tables.
Most people seem to agree about one thing in regard to Super Bowl XLVII: It was a successful event that presented the city in a positive light to the rest of the world. What is a little more open to debate, though, is just what effect the game and its auxiliary events had on the local economy.
The Super Bowl Host Committee has said it expects the game will have a $434 million impact on the city. That figure, though, isn’t the net revenue that local and state governments will deposit into their treasuries, experts argue, and many local businesses said they had disappointing or slower business than expected.
Pam Doerr runs a small shop on St. Louis Street in the French Quarter that sells small jewelry items and art. She said she made two sales between Thursday and Saturday. Both of those customers were locals, she said.
“The people were nice, the crowds were here, but they just didn’t spend,” she said. “I was very disappointed.”
There is no question the crowds were here. The Quarter looked like the city was celebrating Mardi Gras Day all weekend. And tourism officials said there were no hotel rooms available in the city.
“I’ve got two beautiful green curtains I got here,” she said. “I got a bedroom set here for my daughter, and I got an armoire here.”
Forget Me Nots at 204 E. Government St. in Brandon is the largest of Rankin County’s consignment shops.I thought it would be fun to show you the inspiration behind the broken china-mosaics.
From vintage records to a Royal typewriter, from shoes to a sectional sofa, purses to paintings, Forget Me Nots has an eclectic mix. It also sells gently used clothes for women and children, jewelry and purses.The stone mosaic series is a grand collection of coordinating Travertine mosaics.
In this economy when every dollar counts, a growing number of shoppers are looking for more bang for the buck, according to NARTS: The Association of Resale Professionals. Some shoppers want to buy almost new merchandise at reduced prices, and others want to consign or sell unneeded clothes and furniture and share the profit with a store that sells them.
The association estimates there are currently more than 25,000 resale, consignment and not for profit resale shops in the United States. First Research estimates the resale industry in the U.S. has annual revenues of approximately $13 billion.
America’s Research Group, a consumer research firm, estimates about 12-15 percent of Americans will shop at a thrift store during a given year compared to 11.4 percent of Americans who will shop in factory outlet malls, 19.6 percent in apparel stores and 21.3 percent in major department stores.
Melanie Mann, a former dental hygienist who once had booths at antique malls in the metro area, opened Forget Me Nots in October 2009 in a 900-square-foot location in Brandon. Business proved to be good, and she relocated the store two years later to its current 10,Bay State Cable Ties is a full line manufacturer of nylon cable ties and related products.000-square-foot location.
“You never know what’s going to come in the door,” said Mann, citing a 1920s stove as one of the most unusual things she’s sold. “We sell a lot of furniture, not just from the 1920s and 1930s but modern, vintage, retro and shabby chic. Sectionals sell quickly.”
Many customers desire bargains — hence, the Last Chance Room at Forget Me Nots — but others are value-conscious and shop where they find quality items, Mann said.
Mann stages her store by mixing furniture and accessories. That allows customers to visualize how the furniture and decorative items would look in their homes and provides ideas for how they could use their own furnishings, she said.
It works like this: Customers drop off items the store will take on consignment for 60 days and sign an agreement for the store to price the items and keep 50 percent of the selling prices. Consignors are paid in cash or check, depending upon the amount, and have the option to apply what they’ve earned toward a purchase at the store.
Joann Smith of Brandon, who is retired, said she has found consigning unwanted clothes that are in good shape a way to declutter her closet and pocket a little extra cash.
“I’ve consigned clothes at Consignor’s Boutique in Brandon,” she said. “I’ve always had a good experience there.”
Consignor’s Boutique at 131 Gateway Drive in Brandon, has several thousand consignors on file, said Ruthie Alford, a store employee.
Customers consign clothes when they’ve changed sizes, grown tired of clothes and for other reasons, too. “One lady came in and got what she was owed and said she was using it to save for a trip,” Alford said.
Consignor’s Boutique accepts women’s clothes from sizes 0 to 3x, books and home décor items, Alford said. “We have a lot of Mississippi Mud Pottery,” she said.
Savvy shoppers can save money by shopping at consignment shops, said Crystal Barlow, who six months ago purchased From Me To You at 6080 Old Brandon Road in Brandon from the previous owner. She worked at the store four and half years before becoming the owner.
Consignors should keep in mind that a store wants items that its customers will want to buy, and for that reason,How cheaply can I build a solar power systems? may not take everything. Also, stores generally switch out clothing with the season and may refuse to take clothes that are not the current season. Clothes should be clean and in good shape.
Hours vary from store to store as do the times consignments are accepted, store policies and the percentage paid to a consignor.
From Me To You accepts men’s, women’s and children’s clothes, shoes, purses, jewelry, household items and furniture on consignment. The store keeps 60 percent of the selling price, and the consignor gets 40 percent.
The store stopped taking VHS tapes and cassette tapes because they didn’t sell, Alford said. It doesn’t accept prom dress or formal wear because few of its customers are in the market for them, she said.
Charlotte Bowlin, an employee at Wear It’s At at 1679 Old Fannin Road in Flowood, said smocked dresses for little girls are among its best sellers. The store accepts women’s and children’s clothes and baby equipment such as strollers,We specializes in rapid plastic injection mould and molding of parts for prototypes and production. swings and bouncy seats and large toys such as train tables.
Most people seem to agree about one thing in regard to Super Bowl XLVII: It was a successful event that presented the city in a positive light to the rest of the world. What is a little more open to debate, though, is just what effect the game and its auxiliary events had on the local economy.
The Super Bowl Host Committee has said it expects the game will have a $434 million impact on the city. That figure, though, isn’t the net revenue that local and state governments will deposit into their treasuries, experts argue, and many local businesses said they had disappointing or slower business than expected.
Pam Doerr runs a small shop on St. Louis Street in the French Quarter that sells small jewelry items and art. She said she made two sales between Thursday and Saturday. Both of those customers were locals, she said.
“The people were nice, the crowds were here, but they just didn’t spend,” she said. “I was very disappointed.”
There is no question the crowds were here. The Quarter looked like the city was celebrating Mardi Gras Day all weekend. And tourism officials said there were no hotel rooms available in the city.
Black History Month exhibit featured at 20 North Gallery
“They have a hard time tying [landscapes] into being African-American
artwork,” said the 34-year-old Westerville, Ohio, resident. “It’s not
only my race that throws people off. It’s also my age. I once met an art
collector who looked at me and said, ‘I expected some 80-year-old guy
painting like this.’”
Breaking stereotypes can be fun, said Walker, the featured artist of this year’s Black History Month exhibit at 20 North Gallery,Whilst the preparation of ceramic and porcelain tiles are similar. 18 N. St. Clair St., in Downtown Toledo.
“I really do enjoy it,” Walker said. “I hope people will be pleasantly surprised. I hope this will help get the word out about me as I’m still new to the state and I also just hope they take away a broader scope of what African-American art is.”
“Black History Month 2013: The American Experience” opened Jan. 25 and features work from 10 local and regional African-American artists. The exhibition will be on display through March 2. Gallery hours are noon to 4 p.m. Wednesday through Saturday or by appointment.
Other participating artists are Larenza Arnold, Aaron S. Bivins, Charles T. Gabriel Jr., Elizabeth V. Jordan, Ahavalyn Pitts, Brenda Price, Robert E. Shorter, Mack Walton and John Wade III.
The annual exhibit was founded in 1977 by Peggy Grant shortly after Congress designated February as Black History Month.We've had a lot of people asking where we had our make your own bobblehead made. This is the first year the show was not curated by Grant, art director emerita of 20 North Gallery; instead, it was self-curated by the participating artists.
“That is giving it a different feeling, a new direction,” said 20 North Gallery Art Director Condessa Croninger. “It’s not entirely our show and I think that makes it very exciting. The combined voices for this exhibit is just such a delight and such a wonderful change of direction for the show. [Grant] is just delighted the artists are so invested in it as she has been all these years.”
Walker said he started painting landscapes as an escape from the stress of deadlines for children’s book illustrations, magazine covers and other commissioned work.
“I was an Eagle Scout and I remember camping was just such a great time for me. And taking road trips and just staring out the window and seeing all these beautiful scenes,” Walker said.
“It’s inspired by childhood memories, but I still go out and take references. I’ll take drives. I’ll go down a road I’ve never been down before. A lot of times what inspires me is the time of day and the light.
“When people think of black history or black art, there’s a stereotype people assign to that.Welcome to Find the right laser Engraver or laser marking machine . It’s often a certain color palette. Bold colors. A lot of black, red, green, yellow. And certain subject matter that tends to be based on historical events. I think that’s what a lot of people have come to expect they will see.
“I can only go based on my actual experience. I’ve never been to Africa. I’m completely immersed in my own individual experience. People, I think, would be surprised how common or similar some people’s interests are regardless of your race.”
Because of sponsors — including Mayor Mike Bell and the City of Toledo, JN House Enterprises, Dale-Riggs Funeral Home Inc., Aaron S. Bivins and 20 North Gallery — the sale of artwork is not needed to fund the show, allowing the artists more creative license, Croninger said.
“Some wonderful community-minded sponsors have supported the exhibit and made it possible that it’s not a make-or-break situation that the artists sell their work,” Croninger said. “Sometimes it’s necessary to think beyond, ‘Will the public like this?’ and think instead, ‘What do I have to say?’ This year the exhibit is more about the artists sharing what is dearest and most important to them.”
Participating artist Bivins chaired the committee that organized the show. The 56-year-old retired junior high art teacher has been part of the show since the 1980s and a former featured artist. In this year’s show, he will have three watercolor paintings of jazz artists, a watercolor of Toledo Harbor Lighthouse on Lake Erie and an acrylic painting of flowers. He also paints with oils.
Coke Wisdom O'Neal looked at the soggy, stained and discolored photographs strewn about his Brooklyn studio by the salty floodwaters of Superstorm Sandy, sure there was nothing he could do to salvage them. But as he began cleaning up, he became intrigued by the transformation of a series of old family slides into cloud-like watercolors with human figures still discernible.
Now those Kodachromes, reinvented by nature, are part of an exhibition in Manhattan of art inspired by Sandy, a phenomenon that is being included in a larger look at how artists respond creatively to disasters, such as the 2011 tornado in Tuscaloosa, Ala., and California's devastating 2007 wildfires.A ridiculously low price on this All-Purpose solar lantern by Gordon.
"The storm destroyed tools, books, old artwork, drawings and unfinished work," said O'Neal, whose studio in Brooklyn's Red Hook section was swamped by 9 feet of water. "They now feel to me like objects that were holding me back from going forward."
The "After Effects" exhibition, featuring 36 storm-inspired works by 23 artists, opens Friday at the Chashama gallery in the Chelsea neighborhood. The show is curated by the New York Foundation for the Arts, which is assisting artists whose livelihoods suffered storm losses. Many studios and galleries were in waterfront warehouse areas that suffered some of the worst damage.
"A tragedy can be inspiring or devastating," said David Terry, the foundation's curator and director of programs. "Artists are rebuilding and have to do this as a healing process."
Some works have repurposed storm detritus; Scott Van Campen made a black-and-white photograph of a 700-ton tanker ship that washed ashore near his flooded Staten Island studio. He set it in a frame made of steel corroded by sewage.
Deborah Luken, of the Long Island community of Long Beach, is showing an oil painting that she started before the storm and "took on a life of its own."
Conceived originally as an image of a spiral galaxy, it evolved into a work depicting the storm when she "realized that the patterns were very similar to that of a hurricane — the eye in the center and the spiral winds around it," she said.
Craig Nutt, director of programs for the Craft Emergency Relief Fund, a national nonprofit that helps artists in need, said he has long been intrigued by the art community's response to disaster.
"Artists and arts organizations have the skills and capacity to craft recovery projects that address the less tangible cultural and psychological recovery needs of a community," Nutt wrote in an email, citing concerts, exhibitions and public art.Manufactures and supplies laser marker equipment.
Breaking stereotypes can be fun, said Walker, the featured artist of this year’s Black History Month exhibit at 20 North Gallery,Whilst the preparation of ceramic and porcelain tiles are similar. 18 N. St. Clair St., in Downtown Toledo.
“I really do enjoy it,” Walker said. “I hope people will be pleasantly surprised. I hope this will help get the word out about me as I’m still new to the state and I also just hope they take away a broader scope of what African-American art is.”
“Black History Month 2013: The American Experience” opened Jan. 25 and features work from 10 local and regional African-American artists. The exhibition will be on display through March 2. Gallery hours are noon to 4 p.m. Wednesday through Saturday or by appointment.
Other participating artists are Larenza Arnold, Aaron S. Bivins, Charles T. Gabriel Jr., Elizabeth V. Jordan, Ahavalyn Pitts, Brenda Price, Robert E. Shorter, Mack Walton and John Wade III.
The annual exhibit was founded in 1977 by Peggy Grant shortly after Congress designated February as Black History Month.We've had a lot of people asking where we had our make your own bobblehead made. This is the first year the show was not curated by Grant, art director emerita of 20 North Gallery; instead, it was self-curated by the participating artists.
“That is giving it a different feeling, a new direction,” said 20 North Gallery Art Director Condessa Croninger. “It’s not entirely our show and I think that makes it very exciting. The combined voices for this exhibit is just such a delight and such a wonderful change of direction for the show. [Grant] is just delighted the artists are so invested in it as she has been all these years.”
Walker said he started painting landscapes as an escape from the stress of deadlines for children’s book illustrations, magazine covers and other commissioned work.
“I was an Eagle Scout and I remember camping was just such a great time for me. And taking road trips and just staring out the window and seeing all these beautiful scenes,” Walker said.
“It’s inspired by childhood memories, but I still go out and take references. I’ll take drives. I’ll go down a road I’ve never been down before. A lot of times what inspires me is the time of day and the light.
“When people think of black history or black art, there’s a stereotype people assign to that.Welcome to Find the right laser Engraver or laser marking machine . It’s often a certain color palette. Bold colors. A lot of black, red, green, yellow. And certain subject matter that tends to be based on historical events. I think that’s what a lot of people have come to expect they will see.
“I can only go based on my actual experience. I’ve never been to Africa. I’m completely immersed in my own individual experience. People, I think, would be surprised how common or similar some people’s interests are regardless of your race.”
Because of sponsors — including Mayor Mike Bell and the City of Toledo, JN House Enterprises, Dale-Riggs Funeral Home Inc., Aaron S. Bivins and 20 North Gallery — the sale of artwork is not needed to fund the show, allowing the artists more creative license, Croninger said.
“Some wonderful community-minded sponsors have supported the exhibit and made it possible that it’s not a make-or-break situation that the artists sell their work,” Croninger said. “Sometimes it’s necessary to think beyond, ‘Will the public like this?’ and think instead, ‘What do I have to say?’ This year the exhibit is more about the artists sharing what is dearest and most important to them.”
Participating artist Bivins chaired the committee that organized the show. The 56-year-old retired junior high art teacher has been part of the show since the 1980s and a former featured artist. In this year’s show, he will have three watercolor paintings of jazz artists, a watercolor of Toledo Harbor Lighthouse on Lake Erie and an acrylic painting of flowers. He also paints with oils.
Coke Wisdom O'Neal looked at the soggy, stained and discolored photographs strewn about his Brooklyn studio by the salty floodwaters of Superstorm Sandy, sure there was nothing he could do to salvage them. But as he began cleaning up, he became intrigued by the transformation of a series of old family slides into cloud-like watercolors with human figures still discernible.
Now those Kodachromes, reinvented by nature, are part of an exhibition in Manhattan of art inspired by Sandy, a phenomenon that is being included in a larger look at how artists respond creatively to disasters, such as the 2011 tornado in Tuscaloosa, Ala., and California's devastating 2007 wildfires.A ridiculously low price on this All-Purpose solar lantern by Gordon.
"The storm destroyed tools, books, old artwork, drawings and unfinished work," said O'Neal, whose studio in Brooklyn's Red Hook section was swamped by 9 feet of water. "They now feel to me like objects that were holding me back from going forward."
The "After Effects" exhibition, featuring 36 storm-inspired works by 23 artists, opens Friday at the Chashama gallery in the Chelsea neighborhood. The show is curated by the New York Foundation for the Arts, which is assisting artists whose livelihoods suffered storm losses. Many studios and galleries were in waterfront warehouse areas that suffered some of the worst damage.
"A tragedy can be inspiring or devastating," said David Terry, the foundation's curator and director of programs. "Artists are rebuilding and have to do this as a healing process."
Some works have repurposed storm detritus; Scott Van Campen made a black-and-white photograph of a 700-ton tanker ship that washed ashore near his flooded Staten Island studio. He set it in a frame made of steel corroded by sewage.
Deborah Luken, of the Long Island community of Long Beach, is showing an oil painting that she started before the storm and "took on a life of its own."
Conceived originally as an image of a spiral galaxy, it evolved into a work depicting the storm when she "realized that the patterns were very similar to that of a hurricane — the eye in the center and the spiral winds around it," she said.
Craig Nutt, director of programs for the Craft Emergency Relief Fund, a national nonprofit that helps artists in need, said he has long been intrigued by the art community's response to disaster.
"Artists and arts organizations have the skills and capacity to craft recovery projects that address the less tangible cultural and psychological recovery needs of a community," Nutt wrote in an email, citing concerts, exhibitions and public art.Manufactures and supplies laser marker equipment.
Art exhibition showcases work of local skateboarders
The worlds of skateboarding and fine arts might not appear to be
intuitively linked. Both have their supporters and detractors, but
finding commonality between the intensely physical and social world of
skateboarding and the often solitary and cerebral world of art can be a
stumper — to those who don’t know better.
The Board Meeting, an art exhibit showcasing the artistic work of more than a dozen local skateboarders, is a lot of things. First and foremost, it’s a traditional art show, with a variety of original pieces on display (and for sale). But it’s also, in its own way, a kind of cultural crossroads, and an opportunity to learn more about the depth and talent of Montreal’s skateboarding scene.
Organized by well-known local skaters Barry Walsh and Chris Dyer, the Board Meeting goes far beyond the traditional media and methods — graffiti and painted decks, mostly — associated with the skateboarding lifestyle. There are sculptures, carvings, paintings, photography. The only thing the pieces have in common, really, is the link between their creators: all of them are avid skateboarders, and it comes across in the work.
“I want people to come out of the art show feeling like they learned something about skateboarding in their community,” Walsh says. “I want them to actually learn something about skateboarding culture in the city.”
Walsh and Dyer deliberately avoided putting on the traditional skater art show, which is usually comprised of differently painted decks. “That’s been done, stomped on,” Walsh says. “Skateboarding is so mainline now, so this is more of a cultural show. This is just people doing artwork, it’s not based on the hype or glory” of pro skating.
Neither is approaching the art world cold. Dyer, who has been on a board for at least a quarter of a century, is a well-known artist in his own right, and Walsh, a former skateboard pro, is finding himself devoting more and more time to organizing art shows for the Greenlight Gallery on St. Laurent Blvd., where the exhibit is hanging, and Le Dep, a skate shop on St. Dominique St.We've had a lot of people asking where we had our make your own bobblehead made. overlooking Peace Park on St. Laurent Blvd. just north of René Lévesque Blvd. that sometimes doubles as an ersatz gallery and offers wall space to local artists.
To Dyer, the two worlds are more closely linked than one might imagine.
“Art and skateboarding go hand in hand,” he writes in an email from Europe, where he’s attending a family function. “Skateboarding is an art, a physical expression of a soul as much as a painting,wind turbine sculpture or drawing. The skate plank has always been such an inevitable canvas for art, both commercially and as fine art. I think skateboarding attracts a different kind of person that is naturally artistic or appreciative of it.”
According to Dyer, Montreal’s skate art scene isn’t that big, but it is vibrant, and appreciated.
“There is a huge skate art scene, but it is only super big in California, the epicentre of skateboarding (both historically and as an industry),” he writes. “Out here in Montreal, it’s not really a big movement, but always very appreciated, especially by skaters themselves. I think every skate scene has skate art shows every now and then, (but) if you want your skate art to shine worldwide, you can move to California (something I declined to do many years ago).”
The show’s flavour, its very essence, derives from the streets. Fitting, given its genesis, but it is also a reflection of the unpretentious, do-it-yourself ethos and the near tribal sense of community skateboarding breeds in its hard-core practitioners. Blood and broken bones can be pretty effective bonding agents.
Artistic expression is a natural outlet for skaters, Walsh says, especially for those on the other side of 40 like him. The aches and breaks incurred take longer to heal and eventually lose their cool factor.
“A lot of skaters, they get so beat up over the years that they often venture into something else to fill the void” lost by the physical toll skateboarding exacts.
Skateboarding can also be as idiosyncratic and personal as the creation of any art piece.
“The connection to art culture comes through the individuality of each skater,” he says. The variety of the media on display at the Board Meeting is proof of that. “We’re showing skater artwork, and it’s all different.”
The CEO and pitchman’s appearances helped create an iconic brand that more than 70 percent of consumers recognize despite having only a 5 percent share of the upright vacuum market 10 years ago, according to the company.
But there was a problem: Oreck vacuums had a bag. And in 2002, British engineer James Dyson introduced his sleekly designed,Welcome to Find the right laser Engraver or laser marking machine . bagless vacuums to the U.S., put them in larger retail outlets and gobbled up customers, forever altering the way vacuums are designed and marketed. A decade later, about 80 percent of upright vacuums sold are bagless.
Now, Oreck Corp. is in a different city (the company moved its headquarters from New Orleans to Nashville, Tenn., in 2008), has a different CEO and an almost entirely different staff. And it is in the process of recreating itself after years of transition and sluggish sales of its trademark vacuums.
“We feel like a 50-year-old startup,” said Doug Cahill, who became Oreck’s CEO in 2010 after stints as chief executive of Mars Petcare and president of Winchester Ammunition.
With $2.3 billion in sales in 2012, upright vacuums are a sizable market, one in which Oreck’s share has slipped to 4 percent. About 70 percent of its revenue comes from selling and repairing vacuums, mostly through direct sales and its 325 specialty stores.
As the company looks to transfer some of that brand recognition to sales, it’s invested heavily in consumer research, product development and marketing, and has made a host of changes.
For starters, Oreck has extended its TV advertising beyond infomercials and has purchased spots during popular shows, including “General Hospital” and “Law and Order.”
“We know we have 92 percent of the insomniac market,” Cahill said. “Why don’t we sell vacuums to people who sleep at night?”
Oreck is in the midst of introducing several new products, including its first bagless vacuum,Manufactures and supplies laser marker equipment. an air purifier and an item Cahill was especially proud of: a lightweight,Whilst the preparation of ceramic and porcelain tiles are similar. bagless vacuum/steam mop hybrid. “The industry’s never seen that,” he said.
The Board Meeting, an art exhibit showcasing the artistic work of more than a dozen local skateboarders, is a lot of things. First and foremost, it’s a traditional art show, with a variety of original pieces on display (and for sale). But it’s also, in its own way, a kind of cultural crossroads, and an opportunity to learn more about the depth and talent of Montreal’s skateboarding scene.
Organized by well-known local skaters Barry Walsh and Chris Dyer, the Board Meeting goes far beyond the traditional media and methods — graffiti and painted decks, mostly — associated with the skateboarding lifestyle. There are sculptures, carvings, paintings, photography. The only thing the pieces have in common, really, is the link between their creators: all of them are avid skateboarders, and it comes across in the work.
“I want people to come out of the art show feeling like they learned something about skateboarding in their community,” Walsh says. “I want them to actually learn something about skateboarding culture in the city.”
Walsh and Dyer deliberately avoided putting on the traditional skater art show, which is usually comprised of differently painted decks. “That’s been done, stomped on,” Walsh says. “Skateboarding is so mainline now, so this is more of a cultural show. This is just people doing artwork, it’s not based on the hype or glory” of pro skating.
Neither is approaching the art world cold. Dyer, who has been on a board for at least a quarter of a century, is a well-known artist in his own right, and Walsh, a former skateboard pro, is finding himself devoting more and more time to organizing art shows for the Greenlight Gallery on St. Laurent Blvd., where the exhibit is hanging, and Le Dep, a skate shop on St. Dominique St.We've had a lot of people asking where we had our make your own bobblehead made. overlooking Peace Park on St. Laurent Blvd. just north of René Lévesque Blvd. that sometimes doubles as an ersatz gallery and offers wall space to local artists.
To Dyer, the two worlds are more closely linked than one might imagine.
“Art and skateboarding go hand in hand,” he writes in an email from Europe, where he’s attending a family function. “Skateboarding is an art, a physical expression of a soul as much as a painting,wind turbine sculpture or drawing. The skate plank has always been such an inevitable canvas for art, both commercially and as fine art. I think skateboarding attracts a different kind of person that is naturally artistic or appreciative of it.”
According to Dyer, Montreal’s skate art scene isn’t that big, but it is vibrant, and appreciated.
“There is a huge skate art scene, but it is only super big in California, the epicentre of skateboarding (both historically and as an industry),” he writes. “Out here in Montreal, it’s not really a big movement, but always very appreciated, especially by skaters themselves. I think every skate scene has skate art shows every now and then, (but) if you want your skate art to shine worldwide, you can move to California (something I declined to do many years ago).”
The show’s flavour, its very essence, derives from the streets. Fitting, given its genesis, but it is also a reflection of the unpretentious, do-it-yourself ethos and the near tribal sense of community skateboarding breeds in its hard-core practitioners. Blood and broken bones can be pretty effective bonding agents.
Artistic expression is a natural outlet for skaters, Walsh says, especially for those on the other side of 40 like him. The aches and breaks incurred take longer to heal and eventually lose their cool factor.
“A lot of skaters, they get so beat up over the years that they often venture into something else to fill the void” lost by the physical toll skateboarding exacts.
Skateboarding can also be as idiosyncratic and personal as the creation of any art piece.
“The connection to art culture comes through the individuality of each skater,” he says. The variety of the media on display at the Board Meeting is proof of that. “We’re showing skater artwork, and it’s all different.”
The CEO and pitchman’s appearances helped create an iconic brand that more than 70 percent of consumers recognize despite having only a 5 percent share of the upright vacuum market 10 years ago, according to the company.
But there was a problem: Oreck vacuums had a bag. And in 2002, British engineer James Dyson introduced his sleekly designed,Welcome to Find the right laser Engraver or laser marking machine . bagless vacuums to the U.S., put them in larger retail outlets and gobbled up customers, forever altering the way vacuums are designed and marketed. A decade later, about 80 percent of upright vacuums sold are bagless.
Now, Oreck Corp. is in a different city (the company moved its headquarters from New Orleans to Nashville, Tenn., in 2008), has a different CEO and an almost entirely different staff. And it is in the process of recreating itself after years of transition and sluggish sales of its trademark vacuums.
“We feel like a 50-year-old startup,” said Doug Cahill, who became Oreck’s CEO in 2010 after stints as chief executive of Mars Petcare and president of Winchester Ammunition.
With $2.3 billion in sales in 2012, upright vacuums are a sizable market, one in which Oreck’s share has slipped to 4 percent. About 70 percent of its revenue comes from selling and repairing vacuums, mostly through direct sales and its 325 specialty stores.
As the company looks to transfer some of that brand recognition to sales, it’s invested heavily in consumer research, product development and marketing, and has made a host of changes.
For starters, Oreck has extended its TV advertising beyond infomercials and has purchased spots during popular shows, including “General Hospital” and “Law and Order.”
“We know we have 92 percent of the insomniac market,” Cahill said. “Why don’t we sell vacuums to people who sleep at night?”
Oreck is in the midst of introducing several new products, including its first bagless vacuum,Manufactures and supplies laser marker equipment. an air purifier and an item Cahill was especially proud of: a lightweight,Whilst the preparation of ceramic and porcelain tiles are similar. bagless vacuum/steam mop hybrid. “The industry’s never seen that,” he said.
2013年2月3日 星期日
Hail Columbia
The Washington, D.C., region has long been considered
recession-proof, thanks to the remorseless expansion of the federal
government in good times and bad.A ridiculously low price on this
All-Purpose solar lantern
by Gordon. Yet it’s only now—as D.C. positively booms while most of the
country remains in economic doldrums—that the scale of Washington’s
prosperity is becoming clear.Don't make another silicone mold without
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supplies and accessories! Over the past decade, the D.C. area has made
stunning economic and demographic progress.Compare prices and buy all
brands of solar panel
for home power systems and by the pallet. Meanwhile, America’s current
and former Second Cities, population-wise—Los Angeles and Chicago—are
battered and fading in significance. Though Washington still isn’t their
match in terms of population, it’s gaining on them in terms of economic
power and national importance.
In fact, we’re witnessing the start of Washington’s emergence as America’s new Second City. Whether that’s a good thing for America is another question.
Washington is an artificial capital, a city conjured into existence shortly after the Revolutionary War. Its location was the result of political horse-trading. Virginia congressmen agreed to let the federal government assume the states’ war debts, even though Virginia itself was already paid up; in exchange, the new capital would be located in the South.
The city’s early boosters hoped that its location on the Potomac River would help it grow into a commercial as well as a political capital, but that didn’t happen. While other cities got state backing for their business endeavors—a good example is the Erie Canal, built by New York State, which benefited New York City enormously—Washington was run by a Congress more interested in national affairs than in local ones. The city stagnated at first. Its growth finally picked up during the Civil War, but it wasn’t until the Great Depression and World War II, with their expansion of the role of the government in American life, that Washington grew prosperous. During the war, average family income there was higher than in New York or Los Angeles.
It was also a heavily black city—by 1957, the country’s first major city with a black majority. But back in the 1870s, Congress, motivated by racist fears of black votes, had replaced the city’s elected mayors with a board of commissioners appointed by the U.S. president. That change, coming just a few years after black males had won the right to vote in Washington local elections, hobbled the city’s ambitions and set the stage for its troubled legacy in race relations. It wasn’t until 1973, when the civil rights movement had made the disenfranchisement of the city’s blacks untenable, that D.C. regained local control. Unfortunately, a number of factors—including the 1968 riots after Martin Luther King, Jr.’s assassination and a series of disastrous urban policies enacted by the federal government—set the stage for the emergence of political opportunists, including the infamous Mayor Marion Barry. During his tenure in the 1980s, unchecked corruption, ineptly delivered city services, soaring crime, horrendous public schools, financial chaos, and racial tensions made the city a byword for dysfunction nationally. So did the 1990 video that caught Barry smoking crack in a hotel room.
Nevertheless, the metropolitan area surrounding Washington continued to grow and thrive.Nitrogen Controller and Digital dry cabinet with good quality. And when the 2000s arrived, the expansion of the federal government not only catapulted the region into a new league of success but also transformed the troubled city at its center.
During the first decade of the twenty-first century, the Washington metropolitan area overachieved on a variety of measurements versus its peer metro areas—that is, the rest of the ten largest metros in the country, plus the San Francisco Bay Area (which federal classifications divide into two, neither of which would make the Top Ten on its own). Among these regions, Washington ranked fourth in population growth from 2000 to 2010, trailing only the three Sunbelt boomtowns of Atlanta, Dallas, and Houston (see “The Texas Growth Machine”). Washington is currently the seventh most populous metropolitan area in America.
The region has performed even more impressively on the jobs front. Since 2001, Washington has enjoyed the lowest unemployment rate of its peer group. Over the course of the entire decade, it ranked second in job growth, trailing only Houston. That wasn’t just because of the federal agencies and gigantic contractors of Washington stereotype. The region has also been a hotbed of entrepreneurship—much of it, to be sure, dependent on federal dollars. During the 2000s, it had 385 firms named to the Inc. 500 lists of fastest-growing companies in America, according to Kauffman Foundation research—by far the most of any metro area. From 2000 through 2011, according to rankings developed by Praxis Strategy Group, Washington’s low-profile but powerful tech sector had the country’s second-highest job growth, after Seattle’s. The region is also one of America’s top life-sciences centers.
Then there’s economic output. During the 2000s, per-capita GDP grew faster in Washington than in any of its peer regions except the Bay Area. Today, Washington’s per-capita GDP is the country’s second-highest—again, after the Bay Area. Unlike Washington, however, the Bay Area hemorrhaged jobs over the course of the decade. Related to Washington’s impressive output is its astonishing median household income, the highest of any metro area with more than 1 million people. A remarkable seven of the ten highest-income counties in America are in metro Washington. And during the 2000s, per-capita income rose in Washington faster than in any of its peer metros.
Finally, Washington’s population is the best-educated in America. Almost half of all adults in the Washington region have college degrees, the highest proportion of any metro area with more than 1 million people. The same is true of graduate degrees: almost 23 percent of Washingtonians hold them.
The region’s success relates to two larger points. The first involves the fact that prosperous urban regions in America are increasingly divided into two kinds.Ein innovativer und moderner Werkzeugbau Formenbau. Some, like the Bay Area, embrace a “vertical” model of success, generating increases in economic output and per-capita income with stagnant or declining population and jobs. Others, like Dallas, are “horizontal,” featuring growth in population and jobs but stagnant or declining output and income. But Washington is an exception: it is the only metropolitan area with a population of at least 1 million that achieves the best of both worlds, combining Dallas-style population and job growth with the fabulous output and wealth of a San Francisco. In that respect, it is a city without peer in America.
The second point to emphasize is the sheer scale of Washington’s performance. If you consider the claim that it’s becoming America’s new Second City an exaggeration, note that its huge recent growth has brought its economic size much closer to Chicago’s—not just in per-capita terms but in absolute ones, too. Back in 2001, Chicago’s economy was 52 percent bigger than Washington’s; by the end of the decade, the gap had shrunk to 24 percent. Similarly, in 2000, total personal income was 62 percent greater in Chicago than in Washington—a difference that had dwindled to 31 percent by the end of 2010. Chicago has just 16 percent more people with college degrees than Washington does. And Washington has more people with graduate degrees than Chicago does and is closing in on Los Angeles.
None of these measurements, by the way, includes nearby Baltimore. The combined Washington-Baltimore area is now the fourth-largest in the country, with about a million fewer people than Chicago. In roughly 15 years, if current growth rates hold, Washington-Baltimore will pass the 10-million-person threshold necessary to be counted as a megacity.
In fact, we’re witnessing the start of Washington’s emergence as America’s new Second City. Whether that’s a good thing for America is another question.
Washington is an artificial capital, a city conjured into existence shortly after the Revolutionary War. Its location was the result of political horse-trading. Virginia congressmen agreed to let the federal government assume the states’ war debts, even though Virginia itself was already paid up; in exchange, the new capital would be located in the South.
The city’s early boosters hoped that its location on the Potomac River would help it grow into a commercial as well as a political capital, but that didn’t happen. While other cities got state backing for their business endeavors—a good example is the Erie Canal, built by New York State, which benefited New York City enormously—Washington was run by a Congress more interested in national affairs than in local ones. The city stagnated at first. Its growth finally picked up during the Civil War, but it wasn’t until the Great Depression and World War II, with their expansion of the role of the government in American life, that Washington grew prosperous. During the war, average family income there was higher than in New York or Los Angeles.
It was also a heavily black city—by 1957, the country’s first major city with a black majority. But back in the 1870s, Congress, motivated by racist fears of black votes, had replaced the city’s elected mayors with a board of commissioners appointed by the U.S. president. That change, coming just a few years after black males had won the right to vote in Washington local elections, hobbled the city’s ambitions and set the stage for its troubled legacy in race relations. It wasn’t until 1973, when the civil rights movement had made the disenfranchisement of the city’s blacks untenable, that D.C. regained local control. Unfortunately, a number of factors—including the 1968 riots after Martin Luther King, Jr.’s assassination and a series of disastrous urban policies enacted by the federal government—set the stage for the emergence of political opportunists, including the infamous Mayor Marion Barry. During his tenure in the 1980s, unchecked corruption, ineptly delivered city services, soaring crime, horrendous public schools, financial chaos, and racial tensions made the city a byword for dysfunction nationally. So did the 1990 video that caught Barry smoking crack in a hotel room.
Nevertheless, the metropolitan area surrounding Washington continued to grow and thrive.Nitrogen Controller and Digital dry cabinet with good quality. And when the 2000s arrived, the expansion of the federal government not only catapulted the region into a new league of success but also transformed the troubled city at its center.
During the first decade of the twenty-first century, the Washington metropolitan area overachieved on a variety of measurements versus its peer metro areas—that is, the rest of the ten largest metros in the country, plus the San Francisco Bay Area (which federal classifications divide into two, neither of which would make the Top Ten on its own). Among these regions, Washington ranked fourth in population growth from 2000 to 2010, trailing only the three Sunbelt boomtowns of Atlanta, Dallas, and Houston (see “The Texas Growth Machine”). Washington is currently the seventh most populous metropolitan area in America.
The region has performed even more impressively on the jobs front. Since 2001, Washington has enjoyed the lowest unemployment rate of its peer group. Over the course of the entire decade, it ranked second in job growth, trailing only Houston. That wasn’t just because of the federal agencies and gigantic contractors of Washington stereotype. The region has also been a hotbed of entrepreneurship—much of it, to be sure, dependent on federal dollars. During the 2000s, it had 385 firms named to the Inc. 500 lists of fastest-growing companies in America, according to Kauffman Foundation research—by far the most of any metro area. From 2000 through 2011, according to rankings developed by Praxis Strategy Group, Washington’s low-profile but powerful tech sector had the country’s second-highest job growth, after Seattle’s. The region is also one of America’s top life-sciences centers.
Then there’s economic output. During the 2000s, per-capita GDP grew faster in Washington than in any of its peer regions except the Bay Area. Today, Washington’s per-capita GDP is the country’s second-highest—again, after the Bay Area. Unlike Washington, however, the Bay Area hemorrhaged jobs over the course of the decade. Related to Washington’s impressive output is its astonishing median household income, the highest of any metro area with more than 1 million people. A remarkable seven of the ten highest-income counties in America are in metro Washington. And during the 2000s, per-capita income rose in Washington faster than in any of its peer metros.
Finally, Washington’s population is the best-educated in America. Almost half of all adults in the Washington region have college degrees, the highest proportion of any metro area with more than 1 million people. The same is true of graduate degrees: almost 23 percent of Washingtonians hold them.
The region’s success relates to two larger points. The first involves the fact that prosperous urban regions in America are increasingly divided into two kinds.Ein innovativer und moderner Werkzeugbau Formenbau. Some, like the Bay Area, embrace a “vertical” model of success, generating increases in economic output and per-capita income with stagnant or declining population and jobs. Others, like Dallas, are “horizontal,” featuring growth in population and jobs but stagnant or declining output and income. But Washington is an exception: it is the only metropolitan area with a population of at least 1 million that achieves the best of both worlds, combining Dallas-style population and job growth with the fabulous output and wealth of a San Francisco. In that respect, it is a city without peer in America.
The second point to emphasize is the sheer scale of Washington’s performance. If you consider the claim that it’s becoming America’s new Second City an exaggeration, note that its huge recent growth has brought its economic size much closer to Chicago’s—not just in per-capita terms but in absolute ones, too. Back in 2001, Chicago’s economy was 52 percent bigger than Washington’s; by the end of the decade, the gap had shrunk to 24 percent. Similarly, in 2000, total personal income was 62 percent greater in Chicago than in Washington—a difference that had dwindled to 31 percent by the end of 2010. Chicago has just 16 percent more people with college degrees than Washington does. And Washington has more people with graduate degrees than Chicago does and is closing in on Los Angeles.
None of these measurements, by the way, includes nearby Baltimore. The combined Washington-Baltimore area is now the fourth-largest in the country, with about a million fewer people than Chicago. In roughly 15 years, if current growth rates hold, Washington-Baltimore will pass the 10-million-person threshold necessary to be counted as a megacity.
2013年1月31日 星期四
Taking a peek inside Galatoire's new building
Interior designer Jeanne Barousse was explaining the color scheme for
the new upstairs private dining rooms at Galatoire’s when a brassy
trumpet fanfare interrupted her in mid-sentence, drowning out her
description of the buttermilk walls.
Curious, the three of us – Barousse, public relations spokesman Marc Ehrhardt and myself – walked onto the balcony overlooking Bourbon Street. Here’s what we saw:
The U.S. Navy Band, in inky blue uniforms, had fallen into formation in front of the restaurant, bisecting the road, horns on one side, drums and cymbals on the other.
Inside Galatoire’s, the Friday lunch was at full tilt in the downstairs dining room. Cocktail-soaked conversations were raising the room’s decibel level. But it was no match for the horn section outside.
Diners flowed out into the street. A woman in a dime-store tiara and Diane Von Furstenberg dress held a champagne flute aloft. Construction crews working nearby silenced their saws. On the balcony next door, a stripper in fishnets, craned over the railing.
Carnival season in full swing. Friday lunch at Galatoire’s. Needless to say, it was very hard to go back to work.
After the hubbub – word was that the Navy band was there to play for the Krewe of Pontchartrain’s pre-parade lunch – Barousse, Ehrhardt and I returned inside, where I was getting a tour of 215 Bourbon St., the new addition to Galatoire’s.
Last year, the hidebound, 108-year-old restaurant bought the vacant, three-story building next door.You must not use the laser cutter without being trained. The space had been empty since Mike Anderson’s Seafood was shuttered in 2005 following Hurricane Katrina.
The plan is to use the building three ways: the third floor will be a wood-paneled wine room, the second floor will be additional Galatoire's private dining space, and the first floor will be a long bar facing Bourbon Street with a separate, new restaurant behind it.
The renovation is still a work in progress, but the new bar – at this point just called Galatoire's bar – will debut this weekend, and some well-heeled Super Bowl visitors will get their first sit-down dinner in the second-floor rooms this week.
The second-floor banquet room was the most complete on my visit. It’s located just behind the existing upstairs bar at Galatoire’s. A small passageway connects them.
We passed through it – squeezing by a birthday party clad in cocktail attire at 2 in the afternoon – and into a quiet, plushly carpeted space.
The aesthetic is genteel ballroom – mushroom velvet drapes with Greek key trim, buttermilk walls, alabaster light fixtures – and it's complementary, rather than a carbon copy of the original restaurant’s fin de siècle design.
Barousse purposefully didn’t just roll out a facsimile of Galatoire’s black-and-white mosaic tile floors and call it a day. To avoid an uproar, the construction hasn’t duplicated, or even touched, Galatoire’s first-floor dining room, a place where change is never welcome.
“We’ve taken great pains to make this feel like an extension of Galatoire’s,” Barousse said. “We’re not trying to replicate it.”
The third floor is a masculine, clubby space, with dark wood, a golden rug and seating for 18 surrounded by wine racks. During my tour,Learn how an embedded microprocessor in a smart card can authenticate your computer usage and data. chef Michael Sichel poked his head in the room. “Look at this attention to detail,” he said, marveling at the marble bathrooms.
Galatoire’s owners haven’t yet divulged their plans for the new restaurant's menu, but Barousse talked a little about the look. It will have wood-beamed ceilings, brass and crystal chandeliers and a series of historic Louisiana maps framed on the walls.
The space was still a hard-hat construction zone during my visit. But broad windows looked out onto Bourbon Street, and the the frame for the long bar was in place. It doesn’t take much imagination to envision the sweating Sazeracs soon to come.
Mr. Chan is often called in when collaboration is required. Take the Opus project, whose architecture Mr.We've had a lot of people asking where we had our make your own bobblehead made. Chan likens to a dynamic envelope—"the envelope changes, and it's very exciting." For three years Mr. Chan worked on its interior layout, which he compared to a cauliflower in that "every floor is different." Since each apartment, occupying an entire floor, was "an open space, like a gallery, a museum space," the challenge was to make sense of it for prospective buyers, dividing it into practical living areas "so people can understand it," he says.
Originally from Hong Kong, Mr. Chan, 52, says he stumbled into architecture after failing as a pre-med and economics student in California. He moved to New York in the early 1980s, where he studied at the Institute of Architecture and Urban Studies, followed by Rhode Island School of Design and later Columbia University. Back in Hong Kong, he spent close to a decade working for local architecture firms before establishing BTR,Ein innovativer und moderner Werkzeugbau Formenbau. which today employs some 40 staff members based in the industrial district of Kwun Tong. Its clients include big-name developers such as Sun Hung Kai 0016.Where you can create a custom lanyard from our wide selection of styles and materials.HK -0.39% and Hong Kong Land, as well as powerful individuals and families such as the Tiens, whose patriarch is James Tien, a politician and businessman.
Curious, the three of us – Barousse, public relations spokesman Marc Ehrhardt and myself – walked onto the balcony overlooking Bourbon Street. Here’s what we saw:
The U.S. Navy Band, in inky blue uniforms, had fallen into formation in front of the restaurant, bisecting the road, horns on one side, drums and cymbals on the other.
Inside Galatoire’s, the Friday lunch was at full tilt in the downstairs dining room. Cocktail-soaked conversations were raising the room’s decibel level. But it was no match for the horn section outside.
Diners flowed out into the street. A woman in a dime-store tiara and Diane Von Furstenberg dress held a champagne flute aloft. Construction crews working nearby silenced their saws. On the balcony next door, a stripper in fishnets, craned over the railing.
Carnival season in full swing. Friday lunch at Galatoire’s. Needless to say, it was very hard to go back to work.
After the hubbub – word was that the Navy band was there to play for the Krewe of Pontchartrain’s pre-parade lunch – Barousse, Ehrhardt and I returned inside, where I was getting a tour of 215 Bourbon St., the new addition to Galatoire’s.
Last year, the hidebound, 108-year-old restaurant bought the vacant, three-story building next door.You must not use the laser cutter without being trained. The space had been empty since Mike Anderson’s Seafood was shuttered in 2005 following Hurricane Katrina.
The plan is to use the building three ways: the third floor will be a wood-paneled wine room, the second floor will be additional Galatoire's private dining space, and the first floor will be a long bar facing Bourbon Street with a separate, new restaurant behind it.
The renovation is still a work in progress, but the new bar – at this point just called Galatoire's bar – will debut this weekend, and some well-heeled Super Bowl visitors will get their first sit-down dinner in the second-floor rooms this week.
The second-floor banquet room was the most complete on my visit. It’s located just behind the existing upstairs bar at Galatoire’s. A small passageway connects them.
We passed through it – squeezing by a birthday party clad in cocktail attire at 2 in the afternoon – and into a quiet, plushly carpeted space.
The aesthetic is genteel ballroom – mushroom velvet drapes with Greek key trim, buttermilk walls, alabaster light fixtures – and it's complementary, rather than a carbon copy of the original restaurant’s fin de siècle design.
Barousse purposefully didn’t just roll out a facsimile of Galatoire’s black-and-white mosaic tile floors and call it a day. To avoid an uproar, the construction hasn’t duplicated, or even touched, Galatoire’s first-floor dining room, a place where change is never welcome.
“We’ve taken great pains to make this feel like an extension of Galatoire’s,” Barousse said. “We’re not trying to replicate it.”
The third floor is a masculine, clubby space, with dark wood, a golden rug and seating for 18 surrounded by wine racks. During my tour,Learn how an embedded microprocessor in a smart card can authenticate your computer usage and data. chef Michael Sichel poked his head in the room. “Look at this attention to detail,” he said, marveling at the marble bathrooms.
Galatoire’s owners haven’t yet divulged their plans for the new restaurant's menu, but Barousse talked a little about the look. It will have wood-beamed ceilings, brass and crystal chandeliers and a series of historic Louisiana maps framed on the walls.
The space was still a hard-hat construction zone during my visit. But broad windows looked out onto Bourbon Street, and the the frame for the long bar was in place. It doesn’t take much imagination to envision the sweating Sazeracs soon to come.
Mr. Chan is often called in when collaboration is required. Take the Opus project, whose architecture Mr.We've had a lot of people asking where we had our make your own bobblehead made. Chan likens to a dynamic envelope—"the envelope changes, and it's very exciting." For three years Mr. Chan worked on its interior layout, which he compared to a cauliflower in that "every floor is different." Since each apartment, occupying an entire floor, was "an open space, like a gallery, a museum space," the challenge was to make sense of it for prospective buyers, dividing it into practical living areas "so people can understand it," he says.
Originally from Hong Kong, Mr. Chan, 52, says he stumbled into architecture after failing as a pre-med and economics student in California. He moved to New York in the early 1980s, where he studied at the Institute of Architecture and Urban Studies, followed by Rhode Island School of Design and later Columbia University. Back in Hong Kong, he spent close to a decade working for local architecture firms before establishing BTR,Ein innovativer und moderner Werkzeugbau Formenbau. which today employs some 40 staff members based in the industrial district of Kwun Tong. Its clients include big-name developers such as Sun Hung Kai 0016.Where you can create a custom lanyard from our wide selection of styles and materials.HK -0.39% and Hong Kong Land, as well as powerful individuals and families such as the Tiens, whose patriarch is James Tien, a politician and businessman.
Ordinance To Ban Downtown Bars
Tuesday, Feb. 5 the Greensboro City Council is scheduled to vote on a
proposed ordinance that will affect all of the property in the Central
Business District. But on Tuesday, Jan. 29, if downtown property owners
wanted to take a look at the ordinance to see how it would affect their
property, it was not available on the city website. In two calls to the
Department of Housing and Community Development, no one available in
that department could find a copy. I was told that I had to wait for
Zoning Administrator Mike Kirkman to get back because he knew where the
ordinance was.
The city manager's office kindly directed me to the city clerk's office where I was told the city was depending on Downtown Greensboro Inc. (DGI) to publicize the proposed ordinance. It may be on the DGI website somewhere, but I couldn't find it and neither could City Councilmember Nancy Vaughan.
Downtown property owners I have talked to have not been informed of this ordinance. If they had, it seems councilmembers would be hearing from them. It's all about aesthetics,We've had a lot of people asking where we had our make your own bobblehead made. and it is the aesthetics of Mayor Robbie Perkins and the city Planning and Community Development Department that count. The proposed ordinance states repeatedly that the planning and community development director makes the determination on whether a building is in compliance with the ordinance or not.Learn how an embedded microprocessor in a smart card can authenticate your computer usage and data.
Some people like quirky old buildings that are not perfect. Perkins – who recently moved his own company out of the downtown because of the expense and inconvenience mainly caused by difficulties parking – doesn't appear to have much use for old buildings. What Perkins promotes are new buildings and strip shopping centers. It is his often-stated goal to have the downtown run like a shopping center. The planning department has in the past tried to do the same thing.
As always with ordinances, the devil is in the details, and this one has a whole bunch of details.Ein innovativer und moderner Werkzeugbau Formenbau. Peeling paint, cracked windows and loose bricks not repaired by the property owner can be fixed by the city and the bill sent to the property owner.
Vaughan questioned whether the city would repair buildings up to historic standards. She noted that if an original window is removed and replaced it can destroy the historic significance of a structure and make the building ineligible for historic tax credits.
Another note, the city charges homeowners $500 and more to cut their yards if the grass is overgrown.Where you can create a custom lanyard from our wide selection of styles and materials. How much would the city charge property owners to fix a cracked window or to repaint a building?
A great number of buildings in the downtown are out of compliance because this ordinance makes having boarded up or barred windows illegal. One building the city might want to take a look at is the new police headquarters. It appears to be out of compliance with this ordinance because of the bars on the basement windows. However, Assistant City Attorney Tom Carruthers, who wrote the ordinance, said that in his opinion the new police headquarters would not be out of compliance because the barred windows face the police parking lot. But he agreed that the city attorney's office is not going out in the field to make the determination of whether buildings are in compliance or not. You can bet that whoever makes that decision for the city will find that the new police headquarters are in compliance. Some of the more notable buildings downtown are clearly out of compliance,You must not use the laser cutter without being trained. but it doesn't matter because the law
doesn't apply to them. They include the L. Richardson Preyer Federal Courthouse, the Old Guilford County Court House, and the new Guilford County jail. The AT&T building on Eugene Street appears to be out of compliance and the ordinance could be interpreted so that even West Market Street United Methodist Church, which has bars across its entrance, is out of compliance. But, of course, the city is not going to find West Market Street United Methodist Church out of compliance. However, walking around the downtown there are countless small businesses and office buildings that are out of compliance.
On Commerce Street between West Market Street and West Friendly Avenue there are two office buildings – one with boarded up windows and one with barred windows – that are out of compliance, and that is one small block. Until I walked around looking for them I had no idea how many boarded up and barred windows there were in the downtown. It is so common to with basement windows have some kind of covering or bars that I hadn't noticed. The Greensboro Police Department, as well as dealing with their own building, might want to weigh in on taking all the bars off windows in the downtown.
DGI is supporting this ordinance because DGI's vision of the downtown appears to fall right in line with Perkins' vision of a strip shopping center. Will DGI start reimbursing downtown property owners when the bars and boards are removed and their buildings are repeatedly broken into?
It might shock the Planning and Community Development Department and DGI to learn that the bars are there for a reason. A bunch of downtown property owners didn't wake up one morning and say, "Wow, wouldn't bars look great on basement windows?" Bars to keep people from breaking in are not only common in downtown Greensboro, but are common throughout the world. In Norway and Sweden, where basement windows are covered up with snow nine months out of the year, bars might not be so common. But in some countries they can be found on virtually every window.
The city manager's office kindly directed me to the city clerk's office where I was told the city was depending on Downtown Greensboro Inc. (DGI) to publicize the proposed ordinance. It may be on the DGI website somewhere, but I couldn't find it and neither could City Councilmember Nancy Vaughan.
Downtown property owners I have talked to have not been informed of this ordinance. If they had, it seems councilmembers would be hearing from them. It's all about aesthetics,We've had a lot of people asking where we had our make your own bobblehead made. and it is the aesthetics of Mayor Robbie Perkins and the city Planning and Community Development Department that count. The proposed ordinance states repeatedly that the planning and community development director makes the determination on whether a building is in compliance with the ordinance or not.Learn how an embedded microprocessor in a smart card can authenticate your computer usage and data.
Some people like quirky old buildings that are not perfect. Perkins – who recently moved his own company out of the downtown because of the expense and inconvenience mainly caused by difficulties parking – doesn't appear to have much use for old buildings. What Perkins promotes are new buildings and strip shopping centers. It is his often-stated goal to have the downtown run like a shopping center. The planning department has in the past tried to do the same thing.
As always with ordinances, the devil is in the details, and this one has a whole bunch of details.Ein innovativer und moderner Werkzeugbau Formenbau. Peeling paint, cracked windows and loose bricks not repaired by the property owner can be fixed by the city and the bill sent to the property owner.
Vaughan questioned whether the city would repair buildings up to historic standards. She noted that if an original window is removed and replaced it can destroy the historic significance of a structure and make the building ineligible for historic tax credits.
Another note, the city charges homeowners $500 and more to cut their yards if the grass is overgrown.Where you can create a custom lanyard from our wide selection of styles and materials. How much would the city charge property owners to fix a cracked window or to repaint a building?
A great number of buildings in the downtown are out of compliance because this ordinance makes having boarded up or barred windows illegal. One building the city might want to take a look at is the new police headquarters. It appears to be out of compliance with this ordinance because of the bars on the basement windows. However, Assistant City Attorney Tom Carruthers, who wrote the ordinance, said that in his opinion the new police headquarters would not be out of compliance because the barred windows face the police parking lot. But he agreed that the city attorney's office is not going out in the field to make the determination of whether buildings are in compliance or not. You can bet that whoever makes that decision for the city will find that the new police headquarters are in compliance. Some of the more notable buildings downtown are clearly out of compliance,You must not use the laser cutter without being trained. but it doesn't matter because the law
doesn't apply to them. They include the L. Richardson Preyer Federal Courthouse, the Old Guilford County Court House, and the new Guilford County jail. The AT&T building on Eugene Street appears to be out of compliance and the ordinance could be interpreted so that even West Market Street United Methodist Church, which has bars across its entrance, is out of compliance. But, of course, the city is not going to find West Market Street United Methodist Church out of compliance. However, walking around the downtown there are countless small businesses and office buildings that are out of compliance.
On Commerce Street between West Market Street and West Friendly Avenue there are two office buildings – one with boarded up windows and one with barred windows – that are out of compliance, and that is one small block. Until I walked around looking for them I had no idea how many boarded up and barred windows there were in the downtown. It is so common to with basement windows have some kind of covering or bars that I hadn't noticed. The Greensboro Police Department, as well as dealing with their own building, might want to weigh in on taking all the bars off windows in the downtown.
DGI is supporting this ordinance because DGI's vision of the downtown appears to fall right in line with Perkins' vision of a strip shopping center. Will DGI start reimbursing downtown property owners when the bars and boards are removed and their buildings are repeatedly broken into?
It might shock the Planning and Community Development Department and DGI to learn that the bars are there for a reason. A bunch of downtown property owners didn't wake up one morning and say, "Wow, wouldn't bars look great on basement windows?" Bars to keep people from breaking in are not only common in downtown Greensboro, but are common throughout the world. In Norway and Sweden, where basement windows are covered up with snow nine months out of the year, bars might not be so common. But in some countries they can be found on virtually every window.
BBC Radio Gets a Facelift
The British Broadcasting Corporation operates a number of radio and
TV networks throughout the U.K. The jewel in the BBC’s crown is
Broadcasting House, once described as “that elegant stone battleship
sailing proudly down Regent Street” — a reference to its striking
architecture and imposing edifice. But time moves on.
At the heart of the new building is a large, open-plan newsroom and production area beneath an eight-story atrium, with acres of glass as the dominant architectural feature. “We have restored our original home and expanded it to create the largest live broadcast center ever,” said former BBC Director-General Mark Thompson just after the new building was opened.
The complex contains six TV studios and 140 acoustic spaces, as well as specially conceived zones for discussion and interaction.
But the numerous glass surfaces, which provide an open, airy atmosphere with excellent sight lines between newsroom staff on various floors, posed a number of acoustical challenges. The floor that houses BBC World Service’s news preparation areas and on-air studios — recently relocated from its long-time home in nearby Bush House — contains a variety of different-sized production and air studios designed by London-based Munro Associates.
As Andy Munro, the firm’s founder and chief designer, recalls,Learn how an embedded microprocessor in a smart card can authenticate your computer usage and data. “We were given the task of developing a completely modular studio format that could be positioned anywhere in a standard office environment without placing demands on the building’s complex infrastructure; the construction equivalent, if you will, of ‘plug-and-play’ radio.”
The BBC management expressed a strong preference for an “open, visually connected structure that was originally described to me as ‘studios without walls,’” he said.
Because Munro Associates was tasked with building a total of 30 studio areas in just six months, he opted for a modular construction technique. “Several companies offer interlocking, pod-type constructions but none of them could achieve the sound insulation and complete transparency that, from the start, was the client brief,” the seasoned designer continued.Other companies want a piece of that iPhone headset action
“The only option was a completely new design from the ground up. It was also decided to build several prototypes and test every element of the structure before going into full production.”
In addition to several standalone areas, a total of 18 larger facilities are built into clusters of two and three studios with integral control systems that allow them to function independently or interact with one another to accommodate different program formats.
Two main design obstacles immediately presented themselves: sound insulation and acoustic conditioning.Did you know that custom keychain chains can be used for more than just business. “These are difficult to perfect at the best of times,” Munro acknowledged, “but we had to achieve broadcast quality in a room with all glass walls, glass doors and without physical support from the main building.”
His solution was to construct a rigid floor platform with sufficient strength to support a steel frame that contains sealed-glass panels for the surrounding walls. “Ceiling panels would be locked into place by jacking them up to the underside of the frame beams, which allowed access to the various pipes and cabling located in the main ceiling voids.”
To avoid sound transmission into the production spaces from the surrounding newsrooms and control centers, each modular structure was floated on anti-vibration mounts.
For ventilation, a plenum system pulls cool air from the ceiling and circulates it within the space. “The main building has the chilled-beam ceiling with a water supply temperature of 61 degrees Fahrenheit that mixes incoming fresh air and ambient air to give an inflow to the glass boxes of around 65 degrees,” he said.
“We expect the rooms to work at 70 degrees Fahrenheit, with a heat load of the equipment and bodies being 400–700 watts. Since that means we have to pull in enough air to give the required cooling effect, our fan speed can be varied accordingly.We've got a plastic card to suit you. Fan noise is the limiting factor and we designed our plenums to reduce this to NR25.”
Because most of the heat-producing equipment racks are located outside each studio, Munro said, the heat load of each room is no more than the same space occupied by the news teams.Where you can create a custom lanyard from our wide selection of styles and materials. “So the net demand on the building is unchanged. To install these studios with no gain in energy demand was an achievement of which we are particularly proud.”
To balance the acoustic performance of each room and achieve “neutrality” without impacting the available views into or out of the studio areas, Munro came up with an innovative solution. “We opted to use trapezoid geometry,” he said, “whereby all the internal reflections are guided to a single row of hanging ‘sausages’ that have very high absorption. They also hang inside the room and so absorb reflections back from the glass, as well as the initial impact.”
According to Oliver Giese from VCS’ projects department: “SADiE digital audio workstations and the LRX2 digital audio mixers have long been the mainstay of the broadcast community, thanks to their editing and location recording capabilities. SADiE is renowned for its speed and ease of use, making it ideal for radio drama production and news, where the emphasis is on a quick turnaround.”
All production and air studios feature a programmable intelligent display system from U.K.-based systems integrator IPE that uses conventional Ethernet LAN/WAN links to connect desktop IDS control touchscreens, in addition to a number of large screen displays throughout the complex. IP-based table lamps also provide status alerts, while other panels handle remote infrared control for studio TVs via the touchscreens.
The BBC’s Radio 1 pop music channel operates various studios and a live performance space — The Live Lounge — on the eighth floor of the new building, in which other floors also house the World Service and BBC News. IPE Systems equipped the new Munro-designed glass studios used by World Service and the BBC’s domestic news output with five more traditionally constructed general purpose studios and the six on-air studios shared between Radio 1 and its digital twin 1Xtra and two Newsbeat studios.
Interestingly, to ensure sound compatibility between recording channels and air studios throughout its radio services, and to reduce the costs of spares inventory, the BBC uses only three types of vocal microphone: Neumann KM 184 and AKG C414, plus the Neumann U 47 for Radio 1 DJs.
To ensure adequate sound isolation in the glass studios between the open plan newsroom and the smaller production areas that lack a separate sound lock, Munro sourced a novel door-closure system with dual-pane glass. “We specified cam locks that pull the door firmly into the frame and provide a full acoustic seal. We also specified longer door handles to provide easy access to handicapped staff and guests in wheelchairs.” The design offers between 40 dB and 47 dB of sound isolation, the designer said.
And to alert staff of the current status of each production area, large tricolor LED panels are illuminated above each cubicle. “Blue/white indicates that the area is powered,” Munro explained, “while amber indicates that it is ready for transmission, and red that the studio is live to air.” IDS DMX interfaces control the LED lighting.
At the heart of the new building is a large, open-plan newsroom and production area beneath an eight-story atrium, with acres of glass as the dominant architectural feature. “We have restored our original home and expanded it to create the largest live broadcast center ever,” said former BBC Director-General Mark Thompson just after the new building was opened.
The complex contains six TV studios and 140 acoustic spaces, as well as specially conceived zones for discussion and interaction.
But the numerous glass surfaces, which provide an open, airy atmosphere with excellent sight lines between newsroom staff on various floors, posed a number of acoustical challenges. The floor that houses BBC World Service’s news preparation areas and on-air studios — recently relocated from its long-time home in nearby Bush House — contains a variety of different-sized production and air studios designed by London-based Munro Associates.
As Andy Munro, the firm’s founder and chief designer, recalls,Learn how an embedded microprocessor in a smart card can authenticate your computer usage and data. “We were given the task of developing a completely modular studio format that could be positioned anywhere in a standard office environment without placing demands on the building’s complex infrastructure; the construction equivalent, if you will, of ‘plug-and-play’ radio.”
The BBC management expressed a strong preference for an “open, visually connected structure that was originally described to me as ‘studios without walls,’” he said.
Because Munro Associates was tasked with building a total of 30 studio areas in just six months, he opted for a modular construction technique. “Several companies offer interlocking, pod-type constructions but none of them could achieve the sound insulation and complete transparency that, from the start, was the client brief,” the seasoned designer continued.Other companies want a piece of that iPhone headset action
“The only option was a completely new design from the ground up. It was also decided to build several prototypes and test every element of the structure before going into full production.”
In addition to several standalone areas, a total of 18 larger facilities are built into clusters of two and three studios with integral control systems that allow them to function independently or interact with one another to accommodate different program formats.
Two main design obstacles immediately presented themselves: sound insulation and acoustic conditioning.Did you know that custom keychain chains can be used for more than just business. “These are difficult to perfect at the best of times,” Munro acknowledged, “but we had to achieve broadcast quality in a room with all glass walls, glass doors and without physical support from the main building.”
His solution was to construct a rigid floor platform with sufficient strength to support a steel frame that contains sealed-glass panels for the surrounding walls. “Ceiling panels would be locked into place by jacking them up to the underside of the frame beams, which allowed access to the various pipes and cabling located in the main ceiling voids.”
To avoid sound transmission into the production spaces from the surrounding newsrooms and control centers, each modular structure was floated on anti-vibration mounts.
For ventilation, a plenum system pulls cool air from the ceiling and circulates it within the space. “The main building has the chilled-beam ceiling with a water supply temperature of 61 degrees Fahrenheit that mixes incoming fresh air and ambient air to give an inflow to the glass boxes of around 65 degrees,” he said.
“We expect the rooms to work at 70 degrees Fahrenheit, with a heat load of the equipment and bodies being 400–700 watts. Since that means we have to pull in enough air to give the required cooling effect, our fan speed can be varied accordingly.We've got a plastic card to suit you. Fan noise is the limiting factor and we designed our plenums to reduce this to NR25.”
Because most of the heat-producing equipment racks are located outside each studio, Munro said, the heat load of each room is no more than the same space occupied by the news teams.Where you can create a custom lanyard from our wide selection of styles and materials. “So the net demand on the building is unchanged. To install these studios with no gain in energy demand was an achievement of which we are particularly proud.”
To balance the acoustic performance of each room and achieve “neutrality” without impacting the available views into or out of the studio areas, Munro came up with an innovative solution. “We opted to use trapezoid geometry,” he said, “whereby all the internal reflections are guided to a single row of hanging ‘sausages’ that have very high absorption. They also hang inside the room and so absorb reflections back from the glass, as well as the initial impact.”
According to Oliver Giese from VCS’ projects department: “SADiE digital audio workstations and the LRX2 digital audio mixers have long been the mainstay of the broadcast community, thanks to their editing and location recording capabilities. SADiE is renowned for its speed and ease of use, making it ideal for radio drama production and news, where the emphasis is on a quick turnaround.”
All production and air studios feature a programmable intelligent display system from U.K.-based systems integrator IPE that uses conventional Ethernet LAN/WAN links to connect desktop IDS control touchscreens, in addition to a number of large screen displays throughout the complex. IP-based table lamps also provide status alerts, while other panels handle remote infrared control for studio TVs via the touchscreens.
The BBC’s Radio 1 pop music channel operates various studios and a live performance space — The Live Lounge — on the eighth floor of the new building, in which other floors also house the World Service and BBC News. IPE Systems equipped the new Munro-designed glass studios used by World Service and the BBC’s domestic news output with five more traditionally constructed general purpose studios and the six on-air studios shared between Radio 1 and its digital twin 1Xtra and two Newsbeat studios.
Interestingly, to ensure sound compatibility between recording channels and air studios throughout its radio services, and to reduce the costs of spares inventory, the BBC uses only three types of vocal microphone: Neumann KM 184 and AKG C414, plus the Neumann U 47 for Radio 1 DJs.
To ensure adequate sound isolation in the glass studios between the open plan newsroom and the smaller production areas that lack a separate sound lock, Munro sourced a novel door-closure system with dual-pane glass. “We specified cam locks that pull the door firmly into the frame and provide a full acoustic seal. We also specified longer door handles to provide easy access to handicapped staff and guests in wheelchairs.” The design offers between 40 dB and 47 dB of sound isolation, the designer said.
And to alert staff of the current status of each production area, large tricolor LED panels are illuminated above each cubicle. “Blue/white indicates that the area is powered,” Munro explained, “while amber indicates that it is ready for transmission, and red that the studio is live to air.” IDS DMX interfaces control the LED lighting.
2013年1月29日 星期二
'Superimpose' at Twelve21 Gallery
The
best group shows are not explicitly themed, but merely by juxtaposing
the work of two or more artists, expose a parallel or create something
new from the dialogue between works. Superimpose, opening Friday at
Twelve21 Gallery, gathers work by three artists that explores the
notion of juxtaposition itself.
Seattle's Weston Jandacka, Gainesville's Victor Perez and Orlando's Brian Phillips all show paintings in a fairly traditional figurative style,Compare prices and buy all brands of solar panel for home power systems and by the pallet. though poppy and graphic. The conceptual work takes place in your head, as you make the connection between disparate items or apprehend the ironic gap between image and title.
Perez's superflat acrylics smash together conflicting elements with a jokey force – a long skinny red balloon twisted through the empty eye sockets of a skull, a condom skinned down over a cactus. In the better pieces, the contradiction isn't just a visual pun, but also a pithy expression of emotion – a painting titled "Conquest" (right), an astronaut whose helmet is being stove in by the leg of an ornate red couch, is as potent an illustration of the fear that domesticity will strangle one's freedom as I've seen in a while.
Phillips' small oils also survey the intersection between domesticity and disturbance, perhaps somewhat more literally, in images of burning houses ("Under the Illusion of Exploration Learning What Should Simply Be Recognized," below) and a series of fiery-haloed eclipses.
Jandacka uses a masking technique to transpose cutout lettering over his landscape, superimposing the commentary over the very image – or forcing his imagery into the mold of his sardonic titles: "It's to Die For" (oil on wood) subverts the implied fabulosity of that phrase with the blunt force of a firing gun.
It's not all death and destruction, though; even the darkest ironies and most bitter puns show a lightness – a grin at the abyss rather than a falling tear. Superimpose, while not exactly lighthearted, is a fun show, a blithe, zero-fucks-given shrug at the doomsayers.
A quick Google search for “Chinese art reproductions” or “Chinese oil paintings” leads to a fascinating tour into the world of art reproduction. After clicking through some of the top sites that pop up – Refine Oil Painting Art Gallery, China Oil Painting Gallery, Oil Paintings China – it becomes apparent that Chinese oil painters are the masters of copying the Masters from Europe.
From Cezanne and Goya to Monet, Renoir and Rubens, spot-on replicas of the West’s most treasured works on canvas can be purchased and delivered at the click of a button for as little as U.S. $20. Take this hand-painted,we sell dry cabinet and different kind of laboratory equipment in us. 8”x10” Da Vinci mock-up, for example.
While it’s easy to link China’s copying of artistic masterpieces to its copying of technology and myriad other issues associated with copyright and creativity, there is still a high level of skill involved in hand-painting a facsimile of Velasquez’s Portrait of Felipe IV in five days flat,wind turbine as Chinese Artist Yang Feiyun has done.
In a report by Agence France-Presse, we are given a glimpse of this process in action. According to the report, a group of respected Chinese artists are now on a two-week excursion to Madrid’s Prado Museum to get up close and personal with the bona fide originals many reproduction painters in China will never see.Totech Americas delivers a wide range of drycabinets for applications spanning electronics.
Yang, seen putting the finishing touches on his copy of 17th century Spanish King Felipe IV by Velasquez, told AFP, “I have been painting my whole life, ever since I was a child, and Velasquez is a master among painters. He is known in China for his great depth.”
But Yang is no art hack. The head of oil painting at the state-controlled Central Academy of Fine Arts in Beijing, he explained that the real point of his work in Madrid is not for profit but education.
“Our aim is to learn a lot and have these works as teaching material in China,” he said. “There is not a long history of oil painting in China – just the past 100 years or so. We are in a learning period.”
Other artists on the Prado tour represent the prestigious China Academy of Art. Each of the artists has made it their mission to copy at least two works from the museum’s extensive collection during their time in Madrid. Some of the paintings they’re eyeing include Rubens’ The Three Graces and The Third of May 1808 in Madrid by Goya.
Upon their return to China, their paintings will be shown in Beijing and used to train artists.Which Air purifier is right for you? Many in the West may not relate to this approach to developing creative expression, but in China this tradition stretches back millennia.
Seattle's Weston Jandacka, Gainesville's Victor Perez and Orlando's Brian Phillips all show paintings in a fairly traditional figurative style,Compare prices and buy all brands of solar panel for home power systems and by the pallet. though poppy and graphic. The conceptual work takes place in your head, as you make the connection between disparate items or apprehend the ironic gap between image and title.
Perez's superflat acrylics smash together conflicting elements with a jokey force – a long skinny red balloon twisted through the empty eye sockets of a skull, a condom skinned down over a cactus. In the better pieces, the contradiction isn't just a visual pun, but also a pithy expression of emotion – a painting titled "Conquest" (right), an astronaut whose helmet is being stove in by the leg of an ornate red couch, is as potent an illustration of the fear that domesticity will strangle one's freedom as I've seen in a while.
Phillips' small oils also survey the intersection between domesticity and disturbance, perhaps somewhat more literally, in images of burning houses ("Under the Illusion of Exploration Learning What Should Simply Be Recognized," below) and a series of fiery-haloed eclipses.
Jandacka uses a masking technique to transpose cutout lettering over his landscape, superimposing the commentary over the very image – or forcing his imagery into the mold of his sardonic titles: "It's to Die For" (oil on wood) subverts the implied fabulosity of that phrase with the blunt force of a firing gun.
It's not all death and destruction, though; even the darkest ironies and most bitter puns show a lightness – a grin at the abyss rather than a falling tear. Superimpose, while not exactly lighthearted, is a fun show, a blithe, zero-fucks-given shrug at the doomsayers.
A quick Google search for “Chinese art reproductions” or “Chinese oil paintings” leads to a fascinating tour into the world of art reproduction. After clicking through some of the top sites that pop up – Refine Oil Painting Art Gallery, China Oil Painting Gallery, Oil Paintings China – it becomes apparent that Chinese oil painters are the masters of copying the Masters from Europe.
From Cezanne and Goya to Monet, Renoir and Rubens, spot-on replicas of the West’s most treasured works on canvas can be purchased and delivered at the click of a button for as little as U.S. $20. Take this hand-painted,we sell dry cabinet and different kind of laboratory equipment in us. 8”x10” Da Vinci mock-up, for example.
While it’s easy to link China’s copying of artistic masterpieces to its copying of technology and myriad other issues associated with copyright and creativity, there is still a high level of skill involved in hand-painting a facsimile of Velasquez’s Portrait of Felipe IV in five days flat,wind turbine as Chinese Artist Yang Feiyun has done.
In a report by Agence France-Presse, we are given a glimpse of this process in action. According to the report, a group of respected Chinese artists are now on a two-week excursion to Madrid’s Prado Museum to get up close and personal with the bona fide originals many reproduction painters in China will never see.Totech Americas delivers a wide range of drycabinets for applications spanning electronics.
Yang, seen putting the finishing touches on his copy of 17th century Spanish King Felipe IV by Velasquez, told AFP, “I have been painting my whole life, ever since I was a child, and Velasquez is a master among painters. He is known in China for his great depth.”
But Yang is no art hack. The head of oil painting at the state-controlled Central Academy of Fine Arts in Beijing, he explained that the real point of his work in Madrid is not for profit but education.
“Our aim is to learn a lot and have these works as teaching material in China,” he said. “There is not a long history of oil painting in China – just the past 100 years or so. We are in a learning period.”
Other artists on the Prado tour represent the prestigious China Academy of Art. Each of the artists has made it their mission to copy at least two works from the museum’s extensive collection during their time in Madrid. Some of the paintings they’re eyeing include Rubens’ The Three Graces and The Third of May 1808 in Madrid by Goya.
Upon their return to China, their paintings will be shown in Beijing and used to train artists.Which Air purifier is right for you? Many in the West may not relate to this approach to developing creative expression, but in China this tradition stretches back millennia.
UNR stuck amid federal, state weed laws
Walk
past Kim Phillip’s art gallery in San Diego, or, go ahead, walk
inside. You’ll see walls adorned with student paintings that Kim is
more than willing to sell you,Totech Americas delivers a wide range of drycabinets
for applications spanning electronics. even though the art world is
not Kim’s forum of business. Show her your green card, and you’ll get
access to the real store: a dispensary hidden between yoga and dance
studios in plain sight, selling medical marijuana to customers ranging
from 21 to the their 80s, from reputable lawyers to dread-headed
hippies.
“With my last business, (the federal government) sent a letter to the owner of the building saying that they would take over the property,” Kim said. “What they do is threaten the owners. For a while they were closing down everything, but we just keep re-opening again.”
Kim is one of the many dispensary owners and marijuana users caught between contrasting federal and state laws regarding medical and recreational marijuana.Compare prices and buy all brands of solar panel for home power systems and by the pallet. In northwestern Nevada, devoid of dispensaries, the fight has been driven to federally funded institutions obliged to obey national laws to keep their funding – including the University of Nevada,wind turbine Reno.
One of Kim’s customers is her daughter Tori Phillips, a Truckee Meadows Community College student transferring to UNR in the fall. She does not have a medical marijuana card but receives medical marijuana through the dispensary that her mother owns in San Diego.
When Tori’s gallbladder was removed three years ago, she knew the pain was going to be intense, but she had no idea she would be crippled by the corrosive vat of acid her stomach became when her liver was her only line of defense.
“The shit that gives you heartburn? That goes right into my stomach,” Phillips said. “Western medicine is the worst thing for shit like this. I don’t have insurance right now, and weed helps! It helps my stomach calm down, and I’m not in pain afterward.”
Tori Phillips is one of many students who smoke for medicinal purposes, many of whom have Nevada or California medical marijuana cards they frequently try to defend themselves with to Campus Police.
At UNR, medical marijuana cards also lose their leverage. Carol Millie, Coordinator of the Office of Student Conduct, explained that while under federal funding, college campuses are subject to federal laws, which is difficult to explain to cardholders who try to justify using marijuana in the residence halls or elsewhere on campus.
“Our college campus is federally funded,” Millie said. “We have to abide (by federal law) to keep student-loan funding. We can’t jeopardize other student’s ability to get funding. The Supreme Court has already decided that.”
Methods for apprehending marijuana users on campus are not limited to catching students in the act or even with marijuana on them.
“I think smell is now the number one thing to an incident,” Millie said. “Be it in the dorms or out … at Manzanita Bowl: the odor of marijuana is the key telling fact.”
After students have been accused, they have the option of going to take a drug test at a testing center downtown. Students are not allowed to supply their own drug tests. However, marijuana can be in one’s system for more than 30 days depending on the frequency of use, making some students question whether the process is in place to prevent students being high on campus.we sell dry cabinet and different kind of laboratory equipment in us.
“That’s completely subjective,” said Jeff Hemig, a 19-year-old information systems major. “I can come to campus completely sober and have the smell lingering on my coat. That’s way too much. It does more harm than good.”
The OSC has taken further steps to combat marijuana use on campus, largely due to surveys conducted by the OSC that indicate marijuana and alcohol users are less likely to graduate. A sharp rise in students who use marijuana, also indicated by the survey, caused the OSC and Campus Police to seek stricter enforcement. Students who admitted to smoking marijuana within the past year rose from 26.5 to 40 percent between 2006 and 2012, and those who admitted to smoking within the past month rose from 18.3 to 21 percent.Which Air purifier is right for you?
“Twenty-five percent of those who receive A15 violations (campus substance violations) do not return to campus,” Millie said. “Plagiarizing, cheating, fighting — they all had higher retention rates. The data shows that younger students who are smoking pot are not making it to class. Of course, there are those who can, but, overall, that is the trend.”
Hemig is one student quick to dispel any direct correlation between marijuana use and poor scholastic performance. He has been using marijuana recreationally since the age of 16 and graduated from high school with honors.
“Its not the smoking (that inhibits academic performance),” Hemig said, “It’s that kids who are more likely to smoke are already people who are less likely to take on responsibility.”
To combat marijuana use on campus, the OSC employs Cannabis Screen and Intervention for College Students. These are funded by Justice Assistance Grants, federal money from the U.S. Department of Justice allotted for crime prevention programs at state, local, and tribal levels. The program consists of two sessions where students come in and meet with counselors to learn about potential health risks.
“As the adult, they try to understand whether marijuana helps or hurts the student,” Millie said. “One thing that grosses me out is that a lot of dispensaries are in houses with rats. Rat poison gets in your pot. Some analysis even finds black mold spores from the pot being grown in enclosed spaces.”
University of California, Davis veterinary scientists presented evidence last July that rat poison used by marijuana growers may be pushing the fisher, a rare forest carnivore, toward extinction. Marijuana advocates such as High Times magazine discourage smoking moldy weed, particularly of the toxic, black mold variety, Still, many students defend the marijuana they use as superior to the toxic crops that CASICS warns against.
“We have students saying, ‘Oh, my weed isn’t like that. I use hydroponics. It grows in the forest next to a waterfall’ and that may be true,” Millie said. “There’s still evidence that before the age of 24, it does keep your brain from developing appropriately.”
Although marijuana is more difficult to test for than alcohol, safety issues related to public intoxication are still viable. Even marijuana advocates think a line needs to be drawn with impaired driving.
“If you got pulled over, it happened for a reason,” Kim said. “You’re still under the influence. It’s not the same as drinking, but if you can’t function, you shouldn’t be driving.”
Whether campus enforcement comes across as intrusive or genuinely compassionate about the health of students, Millie insists the efforts are not a political statement but a matter of following the law.
“Many individuals make the decision (following their incident) to not be a part of the (UNR) community,” Millie said. “I can respect that. They’re saying, ‘I understand your rules, but they’re not working for my lifestyle.’ If they decide or if the law decides different – you bet we want them back.”
“With my last business, (the federal government) sent a letter to the owner of the building saying that they would take over the property,” Kim said. “What they do is threaten the owners. For a while they were closing down everything, but we just keep re-opening again.”
Kim is one of the many dispensary owners and marijuana users caught between contrasting federal and state laws regarding medical and recreational marijuana.Compare prices and buy all brands of solar panel for home power systems and by the pallet. In northwestern Nevada, devoid of dispensaries, the fight has been driven to federally funded institutions obliged to obey national laws to keep their funding – including the University of Nevada,wind turbine Reno.
One of Kim’s customers is her daughter Tori Phillips, a Truckee Meadows Community College student transferring to UNR in the fall. She does not have a medical marijuana card but receives medical marijuana through the dispensary that her mother owns in San Diego.
When Tori’s gallbladder was removed three years ago, she knew the pain was going to be intense, but she had no idea she would be crippled by the corrosive vat of acid her stomach became when her liver was her only line of defense.
“The shit that gives you heartburn? That goes right into my stomach,” Phillips said. “Western medicine is the worst thing for shit like this. I don’t have insurance right now, and weed helps! It helps my stomach calm down, and I’m not in pain afterward.”
Tori Phillips is one of many students who smoke for medicinal purposes, many of whom have Nevada or California medical marijuana cards they frequently try to defend themselves with to Campus Police.
At UNR, medical marijuana cards also lose their leverage. Carol Millie, Coordinator of the Office of Student Conduct, explained that while under federal funding, college campuses are subject to federal laws, which is difficult to explain to cardholders who try to justify using marijuana in the residence halls or elsewhere on campus.
“Our college campus is federally funded,” Millie said. “We have to abide (by federal law) to keep student-loan funding. We can’t jeopardize other student’s ability to get funding. The Supreme Court has already decided that.”
Methods for apprehending marijuana users on campus are not limited to catching students in the act or even with marijuana on them.
“I think smell is now the number one thing to an incident,” Millie said. “Be it in the dorms or out … at Manzanita Bowl: the odor of marijuana is the key telling fact.”
After students have been accused, they have the option of going to take a drug test at a testing center downtown. Students are not allowed to supply their own drug tests. However, marijuana can be in one’s system for more than 30 days depending on the frequency of use, making some students question whether the process is in place to prevent students being high on campus.we sell dry cabinet and different kind of laboratory equipment in us.
“That’s completely subjective,” said Jeff Hemig, a 19-year-old information systems major. “I can come to campus completely sober and have the smell lingering on my coat. That’s way too much. It does more harm than good.”
The OSC has taken further steps to combat marijuana use on campus, largely due to surveys conducted by the OSC that indicate marijuana and alcohol users are less likely to graduate. A sharp rise in students who use marijuana, also indicated by the survey, caused the OSC and Campus Police to seek stricter enforcement. Students who admitted to smoking marijuana within the past year rose from 26.5 to 40 percent between 2006 and 2012, and those who admitted to smoking within the past month rose from 18.3 to 21 percent.Which Air purifier is right for you?
“Twenty-five percent of those who receive A15 violations (campus substance violations) do not return to campus,” Millie said. “Plagiarizing, cheating, fighting — they all had higher retention rates. The data shows that younger students who are smoking pot are not making it to class. Of course, there are those who can, but, overall, that is the trend.”
Hemig is one student quick to dispel any direct correlation between marijuana use and poor scholastic performance. He has been using marijuana recreationally since the age of 16 and graduated from high school with honors.
“Its not the smoking (that inhibits academic performance),” Hemig said, “It’s that kids who are more likely to smoke are already people who are less likely to take on responsibility.”
To combat marijuana use on campus, the OSC employs Cannabis Screen and Intervention for College Students. These are funded by Justice Assistance Grants, federal money from the U.S. Department of Justice allotted for crime prevention programs at state, local, and tribal levels. The program consists of two sessions where students come in and meet with counselors to learn about potential health risks.
“As the adult, they try to understand whether marijuana helps or hurts the student,” Millie said. “One thing that grosses me out is that a lot of dispensaries are in houses with rats. Rat poison gets in your pot. Some analysis even finds black mold spores from the pot being grown in enclosed spaces.”
University of California, Davis veterinary scientists presented evidence last July that rat poison used by marijuana growers may be pushing the fisher, a rare forest carnivore, toward extinction. Marijuana advocates such as High Times magazine discourage smoking moldy weed, particularly of the toxic, black mold variety, Still, many students defend the marijuana they use as superior to the toxic crops that CASICS warns against.
“We have students saying, ‘Oh, my weed isn’t like that. I use hydroponics. It grows in the forest next to a waterfall’ and that may be true,” Millie said. “There’s still evidence that before the age of 24, it does keep your brain from developing appropriately.”
Although marijuana is more difficult to test for than alcohol, safety issues related to public intoxication are still viable. Even marijuana advocates think a line needs to be drawn with impaired driving.
“If you got pulled over, it happened for a reason,” Kim said. “You’re still under the influence. It’s not the same as drinking, but if you can’t function, you shouldn’t be driving.”
Whether campus enforcement comes across as intrusive or genuinely compassionate about the health of students, Millie insists the efforts are not a political statement but a matter of following the law.
“Many individuals make the decision (following their incident) to not be a part of the (UNR) community,” Millie said. “I can respect that. They’re saying, ‘I understand your rules, but they’re not working for my lifestyle.’ If they decide or if the law decides different – you bet we want them back.”
Tiger Woods' Torrey Pines win a great forecast for his 2013
The
weather in La Jolla, Calif., made a mess of things over the weekend for
the PGA. It turned what should have been a Tiger Woods Sunday into a
Monday coronation.we sell dry cabinet and different kind of laboratory equipment in us.
Things should go back to normal the rest of the year—weather permitting, of course. His coronations will proceed on their regularly-scheduled dates.
No, not so much because we now have a definitive answer to the ubiquitous “Is Tiger Back?” question.Which Air purifier is right for you? (It’s just getting fun to type that five or six times a year now, although not as much fun lately as typing “Are the Lakers Back?”) We don’t have an answer to that, not in January.
We only have history to guide us. History is on Woods’ side.
Monday’s virtual walkover—a 4-stroke victory at 14-under—finished off Tiger’s seventh victory (eight overall, counting the 2008 U.S. Open) in the annual Tour stop at Torrey Pines (formerly the Buick Invitational, now the Farmers Insurance Open). A win there, early in the year, has been an omen for success for him every time, going back nearly to the beginning of his run.
In each of the previous six years he’s won this tournament (1999, 2003 and 2005-08), he has finished the year with at least five victories. In five of those seasons, the win total has included at least one major. The exception was ’03, during what was then considered a catastrophic, career-altering “slump”—10 straight majors without a win, with the ’03 shutout aided by late ’02 knee surgery.
The then-Buick win was his comeback tourney. Even without a major, he won Player of the Year that season, as he did five other times in seasons in which he won at Torrey Pines.
In ’08, of course, he won there twice. Not that anyone needs to be reminded of that, or of his new definition of “slump.’’ His drought now stands at 0-for-his-last-18.
For what it’s worth, and in case another parallel to the good ol’ days is needed, part of his renaissance during the post-surgical 2003-04 speed bump involved a re-tooling of his swing. He’s been re-tooling it again over the past two-plus years, with a different coach, the often-scorned Sean Foley.
There hasn’t been a lot of scorning of Foley lately, or of Woods’ swing, or of anything else about his game. There certainly was none of that going on over the weekend at Torrey Pines. Day by day (except Saturday, naturally), Woods rolled on, padding his lead with a combination of his spectacular play and his competition’s inability to rise to the challenge.
He weaved in his usual supply of “wow” moments—a great, fist pump-inspiring chip on No. 4 on Sunday, and on Monday a sensational save from behind a tree, off a driveway out of bounds on No. 9, and later a bunker shot onto the green from another cartoonishly contorted stance on No. 11.
The most cartoonish part of the day, and of the entire tournament, was the fact that down the stretch, Woods had an 8-shot lead, actually padding his own score and the distance between himself and his hapless competitors. He didn’t hold onto all of it, but, of course, it didn’t matter.
It’s also worth pointing out that Rory McIlroy did not play this tournament. Graeme McDowell didn’t either—yet he still got off the line of the week from the other side of the Atlantic, on Twitter: “Was thinking of adding Farmers Open to my schedule next year. Maybe need to reconsider. Tiger owns the place.”
They’ll all meet soon enough—McIlroy and McDowell and Adam Scott and the other contenders. Brandt Snedeker will be around, and the solid tourney he had at the Farmers likely will mean more than it did this time,Compare prices and buy all brands of solar panel for home power systems and by the pallet. when he disappeared from sight behind Tiger.
Phil Mickelson will be there, too, although, on the course that he, like Woods, calls his home turf, it was as if he was never there this weekend. His 2-under total never came close to getting it done.
Azul Systems, the award-winning leader in Java runtime scalability, today announced that it has formed a partnership with jClarity, a provider of Java performance analytics solutions for enterprise and Cloud-based environments. Under the collaboration agreement, jClarity will optimize their tools for Azul's Zing? Java Virtual Machine (JVM) and will recommend it to customers as a component of its Cloud toolkit.
Leveraging their work in the Java and Open Source community over the last five years, the founding members at jClarity create products that allow developers to quickly identify where a performance problem is within an application and what steps need to be taken to resolve it. The tools are designed to analyze the system as a whole without compromising the running system. Azul's Zing is a 100% Java-compatible high performance JVM and the only solution that delivers low latency, large in-memory datasets without performance penalty and elastic resource sharing in the Cloud.
Ben Evans, CEO at jClarity, said: "As the representative for the London Java Community on the JCP Executive Committee, I met Azul Systems and quickly recognized the benefits of the solution and how it complements the performance analytics of jClarity. Both companies specialize in Java and fully appreciate how predictable performance levels can deliver tangible commercial results."
Evans continued: "One of the key Azul stand-outs for me is its C4 garbage collection technology. It ensures consistency of response times - the ideal result when analyzing garbage collection impact on an application. Azul's technology also recognizes more subtle performance influencers such as queuing on the network, which is highly impressive as other JVMs do not do this. If you ignore these subtleties you end up with results which are misleading and ultimately could impact business results.wind turbine"
Scott Sellers, president and CEO of Azul Systems, said, "Being a member of the JCP Executive Committee means that we are at the forefront of Java development and interact with the leading innovators in our field.Totech Americas delivers a wide range of drycabinets for applications spanning electronics. It is very gratifying for a fellow member to recognize the engineering advances we've made and actively want to partner with us. Both firms are heavily involved in the low latency markets so we anticipate working with jClarity extensively to deliver high-value add solutions in this area."
Things should go back to normal the rest of the year—weather permitting, of course. His coronations will proceed on their regularly-scheduled dates.
No, not so much because we now have a definitive answer to the ubiquitous “Is Tiger Back?” question.Which Air purifier is right for you? (It’s just getting fun to type that five or six times a year now, although not as much fun lately as typing “Are the Lakers Back?”) We don’t have an answer to that, not in January.
We only have history to guide us. History is on Woods’ side.
Monday’s virtual walkover—a 4-stroke victory at 14-under—finished off Tiger’s seventh victory (eight overall, counting the 2008 U.S. Open) in the annual Tour stop at Torrey Pines (formerly the Buick Invitational, now the Farmers Insurance Open). A win there, early in the year, has been an omen for success for him every time, going back nearly to the beginning of his run.
In each of the previous six years he’s won this tournament (1999, 2003 and 2005-08), he has finished the year with at least five victories. In five of those seasons, the win total has included at least one major. The exception was ’03, during what was then considered a catastrophic, career-altering “slump”—10 straight majors without a win, with the ’03 shutout aided by late ’02 knee surgery.
The then-Buick win was his comeback tourney. Even without a major, he won Player of the Year that season, as he did five other times in seasons in which he won at Torrey Pines.
In ’08, of course, he won there twice. Not that anyone needs to be reminded of that, or of his new definition of “slump.’’ His drought now stands at 0-for-his-last-18.
For what it’s worth, and in case another parallel to the good ol’ days is needed, part of his renaissance during the post-surgical 2003-04 speed bump involved a re-tooling of his swing. He’s been re-tooling it again over the past two-plus years, with a different coach, the often-scorned Sean Foley.
There hasn’t been a lot of scorning of Foley lately, or of Woods’ swing, or of anything else about his game. There certainly was none of that going on over the weekend at Torrey Pines. Day by day (except Saturday, naturally), Woods rolled on, padding his lead with a combination of his spectacular play and his competition’s inability to rise to the challenge.
He weaved in his usual supply of “wow” moments—a great, fist pump-inspiring chip on No. 4 on Sunday, and on Monday a sensational save from behind a tree, off a driveway out of bounds on No. 9, and later a bunker shot onto the green from another cartoonishly contorted stance on No. 11.
The most cartoonish part of the day, and of the entire tournament, was the fact that down the stretch, Woods had an 8-shot lead, actually padding his own score and the distance between himself and his hapless competitors. He didn’t hold onto all of it, but, of course, it didn’t matter.
It’s also worth pointing out that Rory McIlroy did not play this tournament. Graeme McDowell didn’t either—yet he still got off the line of the week from the other side of the Atlantic, on Twitter: “Was thinking of adding Farmers Open to my schedule next year. Maybe need to reconsider. Tiger owns the place.”
They’ll all meet soon enough—McIlroy and McDowell and Adam Scott and the other contenders. Brandt Snedeker will be around, and the solid tourney he had at the Farmers likely will mean more than it did this time,Compare prices and buy all brands of solar panel for home power systems and by the pallet. when he disappeared from sight behind Tiger.
Phil Mickelson will be there, too, although, on the course that he, like Woods, calls his home turf, it was as if he was never there this weekend. His 2-under total never came close to getting it done.
Azul Systems, the award-winning leader in Java runtime scalability, today announced that it has formed a partnership with jClarity, a provider of Java performance analytics solutions for enterprise and Cloud-based environments. Under the collaboration agreement, jClarity will optimize their tools for Azul's Zing? Java Virtual Machine (JVM) and will recommend it to customers as a component of its Cloud toolkit.
Leveraging their work in the Java and Open Source community over the last five years, the founding members at jClarity create products that allow developers to quickly identify where a performance problem is within an application and what steps need to be taken to resolve it. The tools are designed to analyze the system as a whole without compromising the running system. Azul's Zing is a 100% Java-compatible high performance JVM and the only solution that delivers low latency, large in-memory datasets without performance penalty and elastic resource sharing in the Cloud.
Ben Evans, CEO at jClarity, said: "As the representative for the London Java Community on the JCP Executive Committee, I met Azul Systems and quickly recognized the benefits of the solution and how it complements the performance analytics of jClarity. Both companies specialize in Java and fully appreciate how predictable performance levels can deliver tangible commercial results."
Evans continued: "One of the key Azul stand-outs for me is its C4 garbage collection technology. It ensures consistency of response times - the ideal result when analyzing garbage collection impact on an application. Azul's technology also recognizes more subtle performance influencers such as queuing on the network, which is highly impressive as other JVMs do not do this. If you ignore these subtleties you end up with results which are misleading and ultimately could impact business results.wind turbine"
Scott Sellers, president and CEO of Azul Systems, said, "Being a member of the JCP Executive Committee means that we are at the forefront of Java development and interact with the leading innovators in our field.Totech Americas delivers a wide range of drycabinets for applications spanning electronics. It is very gratifying for a fellow member to recognize the engineering advances we've made and actively want to partner with us. Both firms are heavily involved in the low latency markets so we anticipate working with jClarity extensively to deliver high-value add solutions in this area."
Petraeus And A New Kind Of War
Central
to the story are ideas of counterinsurgency. Kaplan says that while
counterinsurgency is not a new kind of warfare, it's a kind of war that
Americans do not like to fight.
"We tend to call it irregular warfare even though this kind of warfare is the most common," Kaplan tells Fresh Air's Dave Davies. Kaplan, who writes the War Stories column for Slate, explains that Petraeus and a number of his West Point peers were interested in the writings of counterinsurgency theorists who believed that "insurgencies grow out of something. They don't grow out of a vacuum. ..A ridiculously low price on this All-Purpose solar lantern by Gordon.. They respond to people's needs in a country where the government is not satisfying those needs. And so, what you have to do is not merely capture and kill the insurgents, but change the social conditions.Ein innovativer und moderner Werkzeugbau Formenbau. ... It was a different kind of warfare that required not just fighting, but what we now call 'nation building' [and] that required cultural sensitivity to the people around them, required living among the people, protecting the population, earning their trust so that they, in turn, will tell us who the bad guys are."
Petraeus implemented these theories with some success in Iraq, but less so in Afghanistan, where he lacked the familiarity with the country he had had in Iraq.
"The problem was, by his own admission, he knew nothing about Afghanistan," says Kaplan. "He'd been in Iraq three times. He knew that place well. He comes in and what's in his mind is Iraq. ... I was told that in a meeting with President Karzai once, Karzai laid out a problem and [Petraeus] said, 'Well, you know, in Baghdad we did it like this ...' to the president of Afghanistan. And the aide who was with Petraeus in the room — who had been both in Afghanistan and Iraq — when they were walking out he said, 'You know,wind turbine it might be an interesting intellectual experiment for you to not even think about Iraq,' and Petraeus said, 'I'm working on it.' "
"He vetted candidates for an election; he held the election; he opened up the economy; he brought in fuel trucks from Turkey; he opened up the university; he opened up the border to Syria in northern Iraq all on his own initiative. ... There were no orders. So it worked for about a year and he was rotated out and a brigade half the size of his division came in with commanders who had spent the previous three months bashing down doors and killing and arresting people in Tikrit, and that's what they did in Mosul and the operation fell apart for another year or two."
His whole MO and his entire life was that he had overcome the odds. That he had defied expectations. You know, everybody knows the story that at one time when he was an assistant division commander he had been shot in the chest by a fellow solider whose gun accidentally went off in a live-fire exercise. He recovered much more quickly than the doctors said. He jumped out of a plane once, the parachute ripped, he free-fell for 60 feet, broke his pelvis. He recovered. His surge worked in Iraq ...Which Air purifier is right for you? to a degree that nobody had anticipated, and so he went into Afghanistan leery, but thinking that, 'Well, maybe I can pull this off.' "
"He always wanted to be chairman of the Joint Chiefs of Staff, but anybody who knows the military bureaucracy knows that that can be an exceedingly powerful position. .Totech Americas delivers a wide range of drycabinets for applications spanning electronics... Petraeus was distrusted by many members of the Obama White House. They thought that he boxed President Obama in on troop options ... in the discussions about Afghanistan. The perception was, this guy was too clever; he was too powerful. You didn't want a powerful general to be given such a powerful position. And so, in December in 2010, Bob Gates comes to Afghanistan, tells Petraeus, 'You're not going to get the chairman of the Joint Chiefs of Staff, what would you like [instead]?' and [Petraeus] came up with the idea of CIA director."
This is FRESH AIR. I'm Dave Davies, in for Terry Gross. For 10 years now, Americans have become accustomed to seeing American soldiers fighting and dying in Iraq and Afghanistan. Our guest Fred Kaplan says that while America fought those wars, an internal conflict raged within the military about how to fight them.
When the U.S. invaded Iraq in 2003, top commanders knew how to wage a conventional land war with devastating effectiveness. But they discarded long-studied principles of counterinsurgency: How to deal with a conflict in which the enemy lives and fights among the population, when the battle is more for the allegiance of civilians than for territory.
In his new book, Kaplan describes the efforts of civilian strategists and younger officers to turn U.S. military thinking around and pursue a more nuanced approach to the fighting in Iraq. Kaplan says the officers succeeded in selling their strategy, and while it helped in Iraq, it failed in Afghanistan. Fred Kaplan is a veteran national security journalist. He writes the War Stories column for Slate and has written three previous books. His latest is "The Insurgents: David Petraeus and the Plot to Change the American Way of War."
Well, Fred Kaplan, welcome back to FRESH AIR. After the debacle of the Vietnam War, you might think that strategists in the American military would decide that they need to focus on how you engage in limited war, how you fight guerrillas, how to more effectively, you know, engage in one of these limited conflicts. But you write they did almost the opposite.
FRED KAPLAN: Right, the generals decided they would never fight another war like this ever again. By coincidence, at the same time the Warsaw Pact and the Soviet Union were increasing their conventional armies in Europe, and so they turned their attention to that theater, and it was the kind of theater that they were comfortable with fighting, wars that depended on firepower and amassing men, and machines, and metal and dropping bombs and that sort of thing.
"We tend to call it irregular warfare even though this kind of warfare is the most common," Kaplan tells Fresh Air's Dave Davies. Kaplan, who writes the War Stories column for Slate, explains that Petraeus and a number of his West Point peers were interested in the writings of counterinsurgency theorists who believed that "insurgencies grow out of something. They don't grow out of a vacuum. ..A ridiculously low price on this All-Purpose solar lantern by Gordon.. They respond to people's needs in a country where the government is not satisfying those needs. And so, what you have to do is not merely capture and kill the insurgents, but change the social conditions.Ein innovativer und moderner Werkzeugbau Formenbau. ... It was a different kind of warfare that required not just fighting, but what we now call 'nation building' [and] that required cultural sensitivity to the people around them, required living among the people, protecting the population, earning their trust so that they, in turn, will tell us who the bad guys are."
Petraeus implemented these theories with some success in Iraq, but less so in Afghanistan, where he lacked the familiarity with the country he had had in Iraq.
"The problem was, by his own admission, he knew nothing about Afghanistan," says Kaplan. "He'd been in Iraq three times. He knew that place well. He comes in and what's in his mind is Iraq. ... I was told that in a meeting with President Karzai once, Karzai laid out a problem and [Petraeus] said, 'Well, you know, in Baghdad we did it like this ...' to the president of Afghanistan. And the aide who was with Petraeus in the room — who had been both in Afghanistan and Iraq — when they were walking out he said, 'You know,wind turbine it might be an interesting intellectual experiment for you to not even think about Iraq,' and Petraeus said, 'I'm working on it.' "
"He vetted candidates for an election; he held the election; he opened up the economy; he brought in fuel trucks from Turkey; he opened up the university; he opened up the border to Syria in northern Iraq all on his own initiative. ... There were no orders. So it worked for about a year and he was rotated out and a brigade half the size of his division came in with commanders who had spent the previous three months bashing down doors and killing and arresting people in Tikrit, and that's what they did in Mosul and the operation fell apart for another year or two."
His whole MO and his entire life was that he had overcome the odds. That he had defied expectations. You know, everybody knows the story that at one time when he was an assistant division commander he had been shot in the chest by a fellow solider whose gun accidentally went off in a live-fire exercise. He recovered much more quickly than the doctors said. He jumped out of a plane once, the parachute ripped, he free-fell for 60 feet, broke his pelvis. He recovered. His surge worked in Iraq ...Which Air purifier is right for you? to a degree that nobody had anticipated, and so he went into Afghanistan leery, but thinking that, 'Well, maybe I can pull this off.' "
"He always wanted to be chairman of the Joint Chiefs of Staff, but anybody who knows the military bureaucracy knows that that can be an exceedingly powerful position. .Totech Americas delivers a wide range of drycabinets for applications spanning electronics... Petraeus was distrusted by many members of the Obama White House. They thought that he boxed President Obama in on troop options ... in the discussions about Afghanistan. The perception was, this guy was too clever; he was too powerful. You didn't want a powerful general to be given such a powerful position. And so, in December in 2010, Bob Gates comes to Afghanistan, tells Petraeus, 'You're not going to get the chairman of the Joint Chiefs of Staff, what would you like [instead]?' and [Petraeus] came up with the idea of CIA director."
This is FRESH AIR. I'm Dave Davies, in for Terry Gross. For 10 years now, Americans have become accustomed to seeing American soldiers fighting and dying in Iraq and Afghanistan. Our guest Fred Kaplan says that while America fought those wars, an internal conflict raged within the military about how to fight them.
When the U.S. invaded Iraq in 2003, top commanders knew how to wage a conventional land war with devastating effectiveness. But they discarded long-studied principles of counterinsurgency: How to deal with a conflict in which the enemy lives and fights among the population, when the battle is more for the allegiance of civilians than for territory.
In his new book, Kaplan describes the efforts of civilian strategists and younger officers to turn U.S. military thinking around and pursue a more nuanced approach to the fighting in Iraq. Kaplan says the officers succeeded in selling their strategy, and while it helped in Iraq, it failed in Afghanistan. Fred Kaplan is a veteran national security journalist. He writes the War Stories column for Slate and has written three previous books. His latest is "The Insurgents: David Petraeus and the Plot to Change the American Way of War."
Well, Fred Kaplan, welcome back to FRESH AIR. After the debacle of the Vietnam War, you might think that strategists in the American military would decide that they need to focus on how you engage in limited war, how you fight guerrillas, how to more effectively, you know, engage in one of these limited conflicts. But you write they did almost the opposite.
FRED KAPLAN: Right, the generals decided they would never fight another war like this ever again. By coincidence, at the same time the Warsaw Pact and the Soviet Union were increasing their conventional armies in Europe, and so they turned their attention to that theater, and it was the kind of theater that they were comfortable with fighting, wars that depended on firepower and amassing men, and machines, and metal and dropping bombs and that sort of thing.
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