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If you're heading out for a long day on the hill it is very important to start your day off with a hearty breakfast. Likewise, if you're shredding through the trees and ripping turns all over the mountain, a filling lunch is just as important to keep your energy levels up. As part of our Restaurant Spotlight Series we thought we would tell you about one of our favorite joints on the mountain: The Paramount
The Paramount is located in Torrian Plum Plaza on the right side.
–If you are coming from downtown head west towards the ski area >> turn right onto Pine Grove Rd. >> take a left onto Mt. Werner Rd. >> take a left on Mt. Werner Circle >> turn onto Ski Time Square.
–If you are taking the bus, get off at the "Ski Time Square" stop.
–If you are coming from Rabbit Ears Pass/Westbound on Highway 40, take a right onto Walton Cree Rd >> take a left onto Village Drive >> Left at the Stop sign >> Take a right at the Rotary >> Right onto Ski Time Square
For parking, turn right at the Rotary and you will see an underground garage.
Two Steamboat locals fulfilled their dream and opened The Paramount in 2010. Their vision for the restaurant was to provide great food made with quality ingredients. Fresh is the name of their game as you won't find any cans in their kitchen. The Paramount sources local ingredients, flavors their own liquor, and makes their own sauces.
Monday – Sunday 8:00am- 5:00pm
Happy Hour: 3:30pm-5:00pm
**Breakfast served all day
Do yourself a favor and start off with a Bloody Mary ++ homemade habanero vodka. We recommend the Breakfast Sandwich—fried egg, cheese, and local sausage or bacon and add avocado. The Chicken and Waffles are also off the charts!
We recommend the Arrachera Cheesesteak—flank steak, onions, peppers, shitake mushrooms, provolone, and garlic mayo. We promise you will leave satisfied. For a lighter option, we recommend the Chicken, Corn, Avocado Salad.
See more of the menu here
Paramount is a hip and inviting atmosphere at any time of day. Natural lighting and fresh smells provide induce feelings of rejuvenation that are matched by delicious, all natural menu options. The outdoor patio has lots of seating and a great view of the slopes! If you pass by, you are sure to be drawn in by the great music and happy crowd! So head on over to The Paramount for breakfast and lunch you can feel good about eating! It is soon to be your go to, on mountain eat spot!


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With all the controversy over the Indiana Religious Freedom Bill and its "modification" to supposedly ensure that it doesn't discriminate against the LGBT community, some people seem to forget that Indiana is still one of the states where you can still be fired for being gay. Here is an important Compete Classic for TBT from our January 2013 issue of Compete Magazine, written just before Jason Collins' historic coming out announcement.
By Connie Wardman
If you don't recognize the name Dave Pallone, you are either too young or you've never been fired from a job because of your sexual orientation. Dave has been an LGBT activist since 1989. That was the year he was fired from his professional career as a major league baseball (MLB) umpire because he was gay. Since that was a time when the public really believed that there were no gay people in professional sports, there was absolutely no tolerance for anyone who wanted to come out. Homophobia ruled professional sports!
Although Dave was fired over 20 years ago, don't be fooled into thinking that his story is simply an historic event that has no relevance to professional sports today. Homophobia in sports is still a reality that keeps most, if not all gay professional sports figures in the closet during their playing days. Unfortunately, his story is still relevant. But thanks to Dave and legions of other athletes, both gay and straight allies, homophobia in sports is a fact that is finally starting to change.
Since that traumatic time in his life, Dave has owned and hosted his own sports radio show in Boston; been featured in an ESPN documentary, "Homophobia in Sports;" appeared on ESPN's "Outside the Lines;" and was selected by GENRE Magazine as one of the 100 men of the twentieth century. And that doesn't even count the number of interviews he's given or the number of appearances he's made at colleges, universities and major corporations. He is one of the leaders for change in passing non-discrimination laws that protect jobs for LGBT employees and their right to earn an honest living.
For those of you who don't know Dave's story, let's go back to 1971 when he umpired his first game at age 19 in the New York-Penn League. He didn't know then that his passion to umpire would turn into an 18-year professional career, 10 of them in MLB. He was good enough to advance through several other leagues, including the International League. And that's where he was when a 1979 strike by MLB umpires propelled Dave into the major leagues. He was one of only eight umpires hired to replace the striking umps and so his entry into MLB wasn't a particularly pleasant one. He was called a scab and a union buster by umps and fans alike, a situation that left him vulnerable to the on-going anger of the remaining umpires after the strike was over.
Once called the "most hated" person in the major leagues, Dave actually received death threats after an intense, emotionally-charged fight in 1988 with Pete Rose, then the manager of the Cincinnati Reds. Calling New York Met's hitter Mookie Wilson safe at first, Rose rushed out of the dugout to argue the call. Tempers got out of hand and when Dave's back was turned, Rose pushed him. At that point the fans got involved and, taking Rose's side, they threw everything they could get their hands on at Dave – food, drinks, programs, bottles, even a boom box. Clearly, he was good at his job and unafraid to go head-to-head with a team manager, but he still was never secure enough in his own sexuality to make friends within the LGBT community or to let others around him know he was gay. Like so many gay athletes, Dave felt he had to live a lie to match the macho image people in professional sports are expected to exhibit.
Eventually, he started to feel more comfortable in his own skin and slowly began to make some friends in what he thought was the safety of the LGBT community. Unfortunately, one of those people who knew about Dave's job and his sexual orientation decided he wanted to make some money. For $100 this person "leaked" a story to the New York Post that Dave was gay. And in an effort to make it more salacious, he added that Dave was also tied to a "teenage sex ring." As Dave got off the plane at LaGuardia Airport, someone handed him the Post containing the story, letting him know that he had been publically "outed," and not on his terms. This is how everyone, including his family, found out he was gay.
Stunned and upset by this, Dave said it felt like he had been "psychologically raped." Yet at the same time he felt like a 2,000 pound weight had been lifted off him – paradoxically, he actually felt a sense of relief. Saying that we all live in a box and have a secret that the box protects, Dave asks people to imagine that they were the ones getting off a plane and seeing their deepest secret exposed on the pages of the Post – not a pretty picture!
Thoroughly investigated on the charge of participating in a sex ring for underage boys, he was found to be totally innocent. Nevertheless, MLB officials came to the conclusion that his conduct was "unprofessional" and that he was now unable to "fulfill his duties" – they fired him outright. Dave contends that his only offense was being controversial – and gay. At that time the state of New York didn't have non-discrimination laws in place to protect him and his job. Trying to figure out what had just happened to him and needing to put it all in perspective, Dave began writing his autobiography with Alan Steinberg, "Behind the Mask: My Double Life in Baseball." Although this gave him a way to get his feelings out, he also needed to make some money. He says that he received a large amount of money from the MLB so he would leave quietly and not sue the league. But he still needed to find a new line of work. Beginning his book with a Bette Davis quote – "You've got to have the guts to be hated," Dave was later quoted as saying, "I guess I had the guts to be hated. But I didn't have the guts to be true to myself."
In an ironic sense of justice, the book became not only a New York Time's best-selling autobiography but also an international best seller that the NY Times Book Review dubbed "an emotional memoir." It tells the story of Dave's life from a young age to the point where he was fired from baseball – how he felt and what he went through. In it he discusses how he loved what he did and how every day he struggled to reveal who he really was on the inside while still trying to come out on top. As a result, it is now recognized as a "cross-over" book to which both gay and straight people can relate. Based on its continuing relativity, the book was re-released on its 20th anniversary. It is available as an eBook on all formats to address the changing way people are reading and for as little as $5.00 so it's accessible to everyone who could benefit from Dave's story.
1989 is the year Dave Pallone began his new life. Once the book came out at the end of that year, he began to receive lots of handwritten letters (over 70 thousand) from people who were supportive of him. Although he wrote back to everyone in the beginning, he soon realized that this would be an overwhelming task. So he replied only to those people whose letters spoke to him the most but he still continued to read every letter. As he started to receive requests for speaking engagements, he began his new career as an LGBT activist, particularly around the issue of states passing non-discrimination legislation to protect the jobs of LGBT employees.
Going on his first speaking engagement at a Massachusetts school in 1990, Dave remembers wearing a suit and tie so he looked professional. But he was uncomfortable in that outfit and decided that he needed to wear something that not only made him feel comfortable but also sent the message to the college-age students in his audience that he wasn't better or more important than they were. This telling story is part of what makes Dave Pallone so real and approachable. He doesn't try to impress people with his past importance of being at the pinnacle of his chosen sport nor does he talk down to them. Instead, he thinks about the people in his audiences and the best way to get his message of equality across. As a speaker and diversity trainer who lives his life in integrity by being true to who he is and accepting of others, he inspires others to do the same.
It wasn't until 1994, though, that he finally realized the impact his appearances were making. Speaking to a group of students at Central Missouri State University, one of them came up to him after waiting over an hour to talk with him. He told Dave that "because of you, I did not kill myself when I doubted myself. You saved my life." Dave recalls that this was his "Aha" moment, the time when he knew that he had chosen the right path for his life's work –that his life had an important purpose. When he went back to his hotel room, he broke into tears. This experience truly motivated him to keep going because he believes that for every five people who email you, there are 50 others too scared to reach out. He says that "no one should take their own life, even one is one too many."
After all Dave has gone through, there is a happy ending to his personal trials. He and Keith, his partner of 16 years, now live in Colorado Springs where Keith is director of finance at a local hospital. Dave continues his life's work advocating for job protection for LGBT employees. Saying that we don't live in a world of absolutes, he is frustrated that while everyone rallies around the idea of equal rights, the most current cause being same-sex marriage, there are still 28 states in the U.S. where you can still be fired for being lesbian, gay, bisexual or transgender without any job protection. Even harder to believe is the fact that some of the states that have passed the Employee Non-Discrimination Act (ENDA) are still excluding transgender employees from that protection even though the "T" in LGBT stands for transgender.
It was the 1993 Congress under President Bill Clinton that first brought up legislation to protect jobs for LGBT employees and Dave still finds it hard to believe that this important bill hasn't been passed now by every state in the U.S. He believes that it's important to have the right to love and live with the person you choose but what good does that do if you can't work to provide for you and your loved ones. He wants to be sure that the current drive for equality includes passing non-discrimination legislation so people's jobs are safe.
After years of calling "balls and strikes, safes and outs, fairs and fouls," Dave is continuing to call on the 28 states that have not yet done so, to pass ENDA, the act that offers job protection for LGBT employees. He is also calling on the remaining 16 states where employees can still be fired for being transgender to honor in full the protection legislation they already passed. He also calls on companies of all sizes to offer the same internal job protection to all their employees, saying that "there is no difference that is too little." It is heartwarming to know that Dave says at this point in his life "I have come to realize I could not be more at peace with my life." May we all be so fortunate!


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Who doesn't love fresh baked cookies?
But often times it's at a really inconvenient time.
If you are me~ it's usually midnight!
So to solve this conundrum I have put into motion my professional habits from when I worked in a high volume bakery kitchen and started the practice of freezing cookie dough at home too!
You will love this whether you are living alone or have a family of 8!
Because it is so easy to grab a few cookie dough balls out of the freezer and by the time the oven is preheated they have thawed and you are eating fresh hot cookies in less than 30 minutes!
Check it out in the video below for the scooped cookie varieties, but the same thing goes for cut out cookies too like Gingerbread & Sugar Cookie cutouts!
Need to get ahead of the game for an upcoming event?
No problem, get those cookies rolled and cut out and then freeze them in layers on sheet pans with parchment paper in between each layer.
Wrap the entire sheet pan very well with plastic wrap, and you can get ahead on hundreds of cookies this way!
Simply bake them when you are ready and there is no compromise in taste or texture!
I have not yet found a cookie dough recipe that does not freeze well!


text:
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|Patrick Sigurdsson
|Paris, France
|NomCom Recommendation
|Video Link
|Watch my video
|Professional Career
|Deloitte (audit and management consulting), KPMG Peat Marwick Consulting, Founder and CEO of Amadeus Consultants (Real Estate consulting) in France, Belgium, Luxembourg, Founder and CEO of BNPParibas Real Estate Consultants, Founder and CEO of Aktis Partners (current), MRICS
|AIESEC Experience
|CCP 1979 Belgium, EE Togo 1980 and implementation of Aiesec in Togo, IHM, Chairman International Congress Germany 1982 (year uncertain).
|Alumni Experience
|International Congress in Malta, personal contacts with alumni's
|What is your vision for AAI?
|A dynamic professional network between professionals having a common attachment, a bridge between senior and junior AIESEC'ers. Fun, Business, Value added.
|What skills and perspective would you bring to the Executive Board?
|Development, international mind structure, creativity
|What, specifically, would you most like to work on as an EB member?
|international network and fundraising development
|Are you willing and committed to undertake responsibility for developing, implementing and overseeing specific tasks at AAI?
|Will you be able to attend two in-person meetings per year and participate in monthly calls?
|Please provide (optional) links to your social media such as LinkedIn, Facebook and Xing.
|Will you be in Warsaw for the election on August 21?
|What is your term availability?
|Available for terms of up to 3 years
|Victor Loewenstein
Professional experience
AIESEC and Alumni experience
|I have known Patrick for more than 20 years.
He has solid attachments and interest to the Alumni cause.
He brings organisation, entrepreneurship, international.
|Martine Audenaert
Professional experience
AIESEC and Alumni experience
|I have known Patrick since 1979. Patrick was OCP of the IC Louvain la Neuve and i was on the team.
He is very professional, high level executive, excellent track record in AIESEC, a very international person with strong roots and network in Europe (Iceland, Belgium, France,…)
He brings network, very good with people and management of large projects, Closeness to Belgium (AAI being registered there).


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Avanti-Avanti Studio: "Design for All, the Start of the Creative Process is Through Individual Diversity"
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Avanti-Avanti Studio: "Design for All, the Start of the Creative Process is Through Individual Diversity"
Proyecto Pabellón de Cataluña en la Bienal de Venecia 2017. Image Cortesía de Institut Ramon Llull
Avanti-Avanti Studio is a design studio dedicated to the development of creative communication strategies, particularly specialized in ?Design for All.? Founded by Alex Dobaño (graphic designer and member of the Design For All Foundation) and Elvira Muñoz (architect), the duo leads a multidisciplinary team of professional people in communication, design, and technology, and work with companies and institutions specialized in leisure, tourism, culture, museums, and cities. They describe their practice as a meeting point, where professionals from different fields come together for every new venture, to ensure that the built environments are suitable and inclusive for anyone exp...
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TeamLab Borderless
Gunkanjima is a small island located about 20 kilometers from Nagasaki Port. Until 1974, the island served as a coal mine, and more than 5000 residents called the 480 meter long, 150 meter wide island home, resulting in the highest population density in history recorded worldwide.
To accommodate so many people in such a small area, every piece of land was built up so that the island came to resemble a massive battleship. In fact, "Gunkanjima" is a nickname that means "battleship island" in Japanese. The island's formal name is Hashima.
Coal was first discovered on Gunkanjima in 1810 by the feudal lord of Saga. Industrial mining began in the late 1800s, and soon after, the island was purchased by the Mitsubishi Corporation. As production increased, the island was expanded, and large residential and industrial buildings and high sea walls were constructed.
Managers, workers and their families all called the little island home. The residents of the island were able to live out a more or less typical life. Half of the island was devoted to the workings of the mine, the other to residential space, schools, restaurants, shops, a public bath and a hospital.
In April 1974, the mine was closed, and its residents had to leave Gunkanjima, abandoning the island with all its buildings. Over the years since then, direct exposure to typhoons has caused the residences and mining facilities to deteriorate, giving the island an eerie and haunting atmosphere. Due to the danger of collapsing structures, Gunkanjima was closed to the public, and for many years could only be seen from sightseeing cruises that circled the island.
In April 2009, however, a newly constructed boat dock made it possible for sightseeing tour boats to land on Gunkanjima. Tour participants are taken to three observation decks in a small part on the southern end of the island and spend about 45 minutes on the island with Japanese speaking tour guides. Tours do not involve getting too close to the buildings because of the risk of collapse.
The boat ride between Nagasaki and Gunkanjima is also enjoyable. Boats take about 50 minutes one way, and pass large Mitsubishi ship building factories and other islands along the way. The ride also allows for some nice views of the city of Nagasaki and its port from the water.
Tour boats are operated by multiple companies and depart from various locations in Nagasaki Port, including the Nagasaki Port Ferry Terminal near the Ohato tram stop (3 minutes by tram line 1 from Nagasaki Station) and the Tokiwa Terminal near the Ourakaikandori tram stop (15 minutes by tram line 1 and 5 from Nagasaki Station).
Multiple companies operate boat tours to Gunkanjima. Tours typically take about three hours, including close to an hour spent on the island itself, and cost around 3400-4500 yen per person. Note that in case of bad weather or high waves, landing on the island may not be possible or boats may not operate at all. Advance reservations are recommended especially on weekends and during holidays.
information source: japan-guide.com
Address: Takashimamachi, Nagasaki-shi, Nagasaki Hashima
Airport: Nagasaki Airport


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Native American Made Round Red Jasper + Sterling Silver Ring
Gunn & Swain
$ 32.00
This product is currently sold out.
Beautiful and simple vintage Native American-made red jasper and sterling silver ring. Stamped .950, meaning it is marked as 95% pure sterling silver.
- Size: 8
- Measurements: Stone is .5" wide
- Material: Red Jasper (brownish color with white waves) & sterling silver


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Who: Transylvanian Polka
When: Monday, Feb. 6
Where: Boot Pub
What is a Transylvanian Polka? An elated dance of the vampires?
According to lead vocalist Evan Symons its the name of a Vancouver-based art rock band coming Feb. 6 to Monday Madness at the Boot Pub.
"Its kind of a late 60s, early 70s thing," Symons explained of the art rock band. "Pink Floyd bordered on more of an art rock than progressive sound. It has a big classical and jazz influence in the rock context."
He said progressive rock often comes off as complicated and dizzy, where art rock is more simplistic although he admitted the band shares some prog rock influences along with residual traces of Frank Zappa, Radiohead, Genesis, David Bowie and Led Zeppelin.
"I kind of grew up with it," he said. "I always liked prog and its complexity. I was always interested in things off the beaten path. Now things are becoming more acceptable."
These days Symons is listening to a variety of bands performing around Vancouver.
For a little over a year, Transylvanian Polka has danced its way around the Vancouver nightclub circuit with shows at the Railway Club and The Pick, along with island hopping for a handful of concerts and festivals.
Symons is joined by David Ramos on guitar, Jakub Svoboda on drums and Richard Fordham on bass.
So besides the name, what makes the band unique?
"We do a mixture of different styles," he said. "Weve got quite a lot of energy. We play some complicated music, folk rock, hard rock and a mix of covers."
The band is also characterized by the broad spectrum of music its shows encompass.
"Our music is varied: its not like we are canvassing the same song over and over again," he said. "Weve got variety and good musicianship."


text: Keep cosy (and cool) at home with our collection of women's slippers. From faux fur mules and flip flop slippers to boot slippers and embellished sliders, wear with a matching set and add the finishing touch to your loungewear or swap your heels when you get home from work. Staying in has never looked so good.


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The Carter Cars
Project: Injected styrene HOn3 cars
The first Packaged Cars
Doors ... all three on one shot ...
Ejector Pins and the Carter car floor dies.
27 foot Carter car floors Hey Hey Hey The dies work!.
Door Handles. I engraved the clovers and then put .008 wire. Hard to see it.
Here's the side and end ...
This is something I've always wanted to do. You can leave the door open and the car half loaded and it will look and photograph right. I got a scale thickness on the walls which is the reason the mold is so tricky to run. Take a look
Floor installed .... ....
Denise cutting her first mold blanks


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About Us
The Downtown Brockville Business Improvement Area is an association of businesses operating within a specific district approved by the City of Brockville, in a self driven initiative to support local Downtown business.
Engage, promote and support Downtown Brockville
The DBIA is a catalyst for an alive and vibrant downtown
Respect, Cooperation, Partnership, and Inclusivity
View our Strategic Plan here
Meet our Team
Haley Veronyak
Executive Director
Melissa Boulton
Events and Communications Coordinator
Board Member Bios
Anne Barabash (Chair)
From custom clothing design to picture framing, Anne has over 35 years of creative design under her belt. A former employee turned owner, Anne runs Hang Ups Creative Picture Framing where she gets to work with people's memories and treasures on a daily basis, making every encounter unique. Anne brings her creative flair and ability to design outside the box to every endeavor she faces as a downtown business owner.
Paul Klepaczko (Vice-Chair)
Paul is willing to go to great distances to create new relations for his business at The Coin Hunter, including driving out to do home appraisals. Paul's critical eye allows him to look at every suggestion for the downtown improvement in great detail, suggesting things that others may have missed. When he's not working, he's out on the river, enjoying everything our waterfront has to offer.
Keeley Patterson (Treasurer)
Keeley is a financial advisor at O'Farrell Financial who helps individuals and business owners alike make educated important financial decisions to help them live the lifestyle they want. With a family of 5 kids, she's mastered the art of juggling busy households and careers while keeping an active role in our community.
Jennifer Robinson (Secretary)
Jennifer is a long standing Brockville resident who has primarily worked within the downtown core for the past 35 years. From employee to proprietor, she co-owns and operates Savvy Shoes. Jennifer's sense of fashion combined with her commitment to quality brings a satisfying and pleasurable experience to everyone who visits the boutique. Her strong leadership and solid beliefs in collaboration, teamwork, and fairness keep her thriving throughout any challenges that come her way. When not at work, Jennifer can be found sharing good times and creating warm memories with her family and friends; she is a valuable asset to the Brockville business community.
Siobhan Brodwoski
Siobhan is a bed and breakfast co-owner here in Brockville. She has worked for herself before in Ottawa as well as a career with the Federal Government. Her first involvements with Brockville was on a volunteer basis with the YMCA, the Employment and Education Volunteer Centre and at the Aquatarium. She moved to Brockville March 2017 and opened 1000 Islands B and B. A former Irish dancer and an artist she brings with her a deep passion for whatever she sets her mind to. Raised in Ottawa, but chose Brockville as her home. She believes that for business to succeed, it is done as a group, each helping each other thrive.
Amund Christensen (Events and Promotions Chair)
Amund moved to Brockville in 2015 and opened the Spitfire Café with his partner. Since then he has opened Court House Lodge, an event venue, Golden Age Comics and Collectibles, and Spitfire Records. Amund has years of experience in the food industry. They also put on a number of events including the Red Hot and Blue Festival over Labour Day weekend. The pair have been recognized for numerous awards including Entrepreneur and Small Business of the Year.
Russ Disotell
Russ has spent the last 20+ years living and working in Downtown Brockville. A writer by trade he has worked for nearly every media outlet in the region, as well as serving on the Boards of several downtown not-for-profits. Dialogue, collaboration and mutual benefit are his cornerstone values when tackling any challenge. He is the author of Brockville The River City as well as many articles on the city. You may know him as the facilitator for Brockville Culture Days.
Rob Harsh
Rob is going into his third season managing the Brockville Farmers' Market, managing 70 vendors, site planning, and social media. Rob spent 15+ years managing parking lots in the City of Ottawa previously, and is now a farmer by trade for Harsh By Nature Farm in Kemptville. Rob has two passions in life, his family and his work. Farming and farmers' markets are one of his main passions because he sees the domino effect of what shopping local does for the community and everyone involved. Rob has been managing farmers' markets for well over a decade and has been a huge supporter of anything to do with bringing people closer to shop local where ever they may be. Besides farming and managing multiple farmers' markets, Rob is also a stay at home Dad. You can see Rob at the Brockville Farmers' Market from May to December on Market Street West.
Robyn Houle
Robyn is the Front of House Manager, Volunteer & Visual Arts Coordinator for the Brockville Arts Centre. Robyn is an admitted downtown fanatic, spending lots of time dining and shopping downtown. She has previous experience in various industries ranging from sales to account management. She aims to provide the best customer service experience with every interaction and is a creative and vibrant addition to the Board.
Rob Thompson
Rob has a vision for the downtown. He sees a downtown that attracts visitors and tourists alike. He believes that getting locals reengaged in their downtown will support small businesses and help them thrive. He has said "When a downtown thrives it creates buzz and a perpetual motion forward begins". Rob has started 5 businesses in the last 13 years in the City of Brockville, employing 6 people and 7 more in the near future. Currently, he is working on opening 48 King West, a boutique hotel in the centre of downtown. Rob is also a big supporter of budding entrepreneurs and is always willing to meet someone new to discuss opportunities. Rob sits on the Tourism Advisory Committee, and is the Brockville and District Chamber of Commerce business person of the year.
Nathalie Lavergne (City Council Representative)
A Montreal native, Nathalie visited Brockville in her work with the Pan-Am games, and visited regularly to scuba dive. She moved to the city in 2015, and has since opened Spitfire Records, Court House Lodge, and Spitfire Records. She also runs an event planning company, Double Concept Productions, which produces events such as Red Hot and Blue Rockabilly Festival, Oktoberfest, the Brockville Wedding Show, and many more. She was on the Downtown Board of Management a representing her businesses until being elected to City Council in the 2018 Municipal Election. She now serves as the Council representative on the Board.


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The Nez Perce Tribal hatchery "NI MII PU CUY'EEMNIM SEPEEPYIMNIWEES" (A place to cause fish to grow) helps restore naturally reproducing populations of spring and fall Chinook salmon in the Clearwater River basin. The hatchery helps preserve the genetic integrity of these fish populations and, in the long term, establish harvest opportunities for tribal and non-tribal anglers.
On tribal lands next to the Clearwater River, the hatchery currently produces 1.4 million fall Chinook and 825,000 spring Chinook salmon annually. Several semi-natural rearing techniques are used to encourage the hatchery reared fish to behave like wild fish. The hatchery releases juvenile salmon at several locations throughout the basin to encourage their return as adults.
At these release sites, the fish imprint on natural stream water so they will return to that location to spawn. All sites were selected based on habitat that can support spring and fall Chinook and are within areas where tribal fishing traditionally occurred.


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4 Sure Signs You Are Suffering From Restless Legs Syndrome
You've surely had a night or two (or more) where you just could not stop tossing and turning. And it probably seemed the ability to find a comfortable sleeping position was just the most impossible thing you've ever attempted. That inability to get comfortable lead to frustration, which furthered your inability to sleep, which as you know, started a vicious chain reaction of the effects that little to no sleep has on your body.
If this is something you struggle with regularly, there may be more to it than just discomfort. You may be suffering from restless legs syndrome.
Chances are you've heard that term before, but do you really know what it means?
We are here to give you a run-down on what restless legs syndrome is, and some signs to look out for if you think your leg discomfort may be more than typical.
What is Restless Legs Syndrome?
According to the Mayo Clinic, restless legs syndrome (RLS) is "a condition in which you have an uncontrollable urge to move your legs, usually due to leg discomfort."
Though this problem can occur at any time of day, it is usually experienced at its maximum at night, when you're sitting or lying down for long periods of time.
It seems as if this is an issue that would only affect older people.
The truth is that RLS does not discriminate in terms of age — anyone at any age can be affected by it.
However, the syndrome does tend to get worse as you get older.
Signs that You May Have Restless Legs Syndrome
RLS affects a somewhat small part of the population: the National Institute of Neurological Disorders and Stroke estimates that 7-10 percent of people in the United States suffer from restless legs syndrome.
NINDS also found that RLS is more likely to occur in women than it is in men.
So what signs point the way to a restless legs syndrome diagnosis?
Here are things you should be on the lookout for if you're wondering whether RLS is what you're dealing with.
1. You are unable to fight the urge to move your legs
Many of us don't like sitting still for long periods of time. We all get restless.
However, the level of restlessness for people suffering from RLS is magnified by many fold.
For people with RLS, it is nearly impossible for them to not move their legs.
In addition, that urge to move their legs is coupled with uncomfortable feelings including:
● Itchiness
● Creeping
● Pulling
● Tugging
This unfightable urge to move your legs is the number one symptom of restless leg syndrome, so if you aren't experiencing these feelings, then chances are good you're not suffering from RLS.
2. The pain and discomfort lessen when you are moving
If you read #1 above, and it all sounds familiar to you, then let's see if this second sign is something you experience as well.
Do the uncomfortable feelings discussed above (including itchiness and creeping) go away once you start moving your legs?
If you answered "yes," then you are still on the path that points towards restless leg syndrome.
The relief of pain that occurs when you move may be immediate, or more gradual, but either way, that alleviation of pain that goes along with movement is another sign that you're dealing with RLS.
3. The pain and discomfort worsen when you are not moving
For those suffering from restless leg syndrome, the symptoms get worse when you are at rest.
That can occur when you are laying in bed, or if you're sitting for long periods of time.
Desk jobs and travel are two things that can make restless leg syndrome really act up.
So, if you find that your pain gets worse when you're at rest for a while, you can check off another sign that you are suffering from RLS.
4. The symptoms you're dealing with make sleeping a challenge
Because RLS is worse in the evenings, trying to sleep when you're suffering from restless leg syndrome can be one of the most frustrating things you've ever experienced.
Even if you are finally able to stop moving your legs and go to sleep, you may be woken up (or may wake your partner up) by periodic limb movements (PLMS).
What are periodic limb movements?
These are leg movements that happen every 20-30 seconds throughout the night that, as you can guess, make it very difficult to sleep.
If you're a heavy sleeper, thank your lucky stars. You may be able to deal with PLMS without it waking you up too often.
However, if you're a light sleeper, or have a partner you share a bed with, chances are sleep is not a relaxing and revitalizing thing for you.
Because PLMS happens periodically throughout the night, you could be woken up (or wake your partner up) every few minutes.
This sounds pretty terrible, doesn't it?
If you suffer from the above symptoms, it is highly likely that you have restless legs syndrome.
According to the NINDS, there is no other medical or behavioral condition that the above symptoms, when experienced all together, could possibly be a sign of.
Vein Disease and Restless Legs Syndrome
Vein disease is one of the leading causes of RLS. Valves in veins that have been damaged start the problem of achy, restless legs.
While finding out that you have RLS is not a good thing, you will find relief in the fact that Vein Clinics of America is able to help you with your leg issues.
Our doctors are incredibly well-versed in restless legs syndrome, and will be able to work with you to determine ways to alleviate your RLS symptoms.
Rather than just focusing on fixing the surface problems, our clinics focus on getting to the bottom of your vein-related problems, so that you can get back to living life as you ought to.
To read more about Vein Clinics of America and the work that we do, please visit us and be sure to schedule a free consultation.
See if you qualify for a FREE** consultation
Have a Vein Clinics of America network physician examine your legs and recommend a treatment program customized to your specific condition.
Find your nearest vein clinic:
Over 60 locations
in 15 states


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Finding Barnum on the Internet
An antebellum museum in cyberspace
On July 13, 1865, one of the most celebrated institutions in the United States, the American Museum, burned to the ground. But thanks to the wonders of technology, it has been rebuilt—sort of—on a Website called The Lost Museum, sponsored by the American Social History Project of the CUNY Graduate Center, in collaboration with the Center for History and New Media at George Mason University. As it was managed by Phineas T. Barnum, the original American Museum was located in lower Manhattan and presented an ever-growing collection of wonders across five floors, ranging from "cosmoramas" and wax figures, to aquariums and live-animal specimens, to "moral representations" in the Lecture Room.More than a historical resource, "The Lost Museum" invites us, then, to ponder the narratives with which we stage authenticity, the material objects and practices with which every generation reimagines the kinship of truth and fiction.
This new virtual version uses the resources of the Web to present artifacts relating to Barnums establishment and to recreate historically particular spaces of an antebellum dime museum. Here, we have a central room linked to three "floors," containing "Barnums Office," which houses, among other items, a desk adorned with a photograph of Barnum with Tom Thumb, an 1850 Illustrated Guide Book to the Museum, an 1844 image of Bowery Bhoys, and a handwritten letter expressing concern over cruelty to animals. The second floor contains a portrait gallery, while "The Lecture Room" on the third floor contains a screen, framed by a theatrical proscenium, on which the viewer can see magic-lantern slide shows about great fires or nineteenth-century etiquette. Perhaps in deference to the shorter attention span of todays technology-saturated museum goers, the designers have made a selective version of Barnums museum. If antebellum visitors made an entire day of their trips to the real thing, you can be in and out of "The Lost Museum" in about half an hour.
Despite the verisimilitude with which it is portrayed, "The Lost Museum" does not exist in the physical world; it is, rather, an ingenious visual hoax. A virtual museum of oddities and artifacts, it offers a wide-ranging, interactive encounter with the cultural history of nineteenth-century America. In addition to electronic reproductions of historical objects and sources—daguerreotypes, illustrations, broadsides, printed books, manuscripts, and the other detritus that would have filled Barnums collections—the site includes a series of illuminating short essays on the museums social and cultural contexts. Unlike other pioneering virtual archives, such as the ground-breaking American Memory project of the Library of Congress, "The Lost Museum" recreates the experience of a museum from another era, encouraging us to get lost in the artifice of history. For here we are not just viewing a series of documents. We are exploring the particular, sometimes arbitrary ways institutions and scholars link artifacts to larger stories. More than a historical resource, "The Lost Museum" invites us, then, to ponder the narratives with which we stage authenticity, the material objects and practices with which every generation reimagines the kinship of truth and fiction.
The virtual "central room" of "The Lost Museum." Courtesy American Social History Productions, Inc.
Public Leisure and the Print Medium
Barnum remains our most reliable reference point for understanding the struggle between commerce and philanthropy in nineteenth-century America. In her 1997 study of dime museums, for example, the scholar Andrea Dennett baldly asserts, "The answer is clear: Barnum conceived his extraordinary museum for the purpose of entertainment—not education—and with profit as his central concern." Dennett asserts that "education" and "entertainment" are timeless, discrete categories of experience, rather than concepts developed in the later nineteenth century to justify the mission of civic philanthropy and the modern university. She likewise holds pursuit of profit to be antithetical to a disinterested acquisition of knowledge. Like so many scholars of the American Museum, Dennett makes the outsized personality of Barnum himself—the very image that he so carefully cultivated in print media, in order to market and brand his exhibitions—exhibit A for achieving clarity about the past. In the nineteenth century, however, both producers and consumers of popular knowledge spoke about forms of "rational amusement" in ways that defy simple distinctions between education and entertainment. If Barnums name is now synonymous with the tricks of modern advertising, his entertainment succeeded by combining commerce and culture, challenging the simplistic meanings (passive vs. active, imagination vs. utility) that moralists—conservative politicians and evangelical ministers of the early nineteenth century, no less than cultural critics of the twentieth century—would attribute to these concepts.
So how did Barnum fashion American taste? As Neil Harris famously argued, Barnum developed an "operational aesthetic" that made learning about how he pulled off his stunts, hoaxes, and humbugs a major part of their appeal. Amidst rising scientific literacy and populist skepticism of expert learning, Barnum "trained Americans to absorb knowledge" by marketing his museum as an experience of "process," of problem solving, and of information gathering. Or as another historian, Miles Orvell, puts it, "Learning to tell the true from the false, the lie from the truth, learning trust and mistrust, was part of a process of an acculturation" in a rapidly commercializing America. Another way to think about the value of Barnums museum, however, is as an introduction to mass communication, which engaged patrons in a distinctive kind of collective imagination. The latter was being made possible by the confluence of cheap print technology and novel spaces of urban leisure.
To further understand Barnums innovations, it is worth attending to his own aesthetic and moral design. To begin with, as he explained in his second autobiography, Struggles and Triumphs, Barnum wanted to attract the largest crowds possible by giving "them abundant and wholesome attractions for a small sum of money." Like the huge theaters, concert halls, and hotels that competed for antebellum pleasure seekers and tourists, the American Museum sold recreation to "truly mass audiences" that numbered in the thousands. These were, as Harris notes, "heterogeneous groups of men willing to take off their hats and open their pocketbooks for art, but demanding entertainment at the same time." Although scholars have tended to romanticize these audiences for their raucous, lowbrow, and socially varied character, Barnum suggested that there was no more "truly popular place of amusement" because it was "wholesome" and "attractive" to diverse customers. He "abolished all vulgarity and profanity from the stage," for example, so that "parents and children could attend the dramatic performances in the so-called Lecture Room, and not be shocked or offended by anything they might see or hear." And unlike most museums and concert halls, he banned the sale and consumption of alcohol from his galleries. He even hired private detectives to eject men who were drunk or women suspected of prostitution. Barnum made urban leisure safe for everyone.
Using print in innovative ways, Barnums promotions turned a visit to his museum into a new kind of imaginative experience. Barnums own repeated avowal of a profit motive—so often used to impugn techniques of modern advertising as amoral—underscores the fact that the ends of publicity were more instrumental than symbolic: to mobilize the actions of large groups of people. With commercial signage, broadsides, sandwich boards, and printed money, "a vast spectacle of writing and print [became] part of everyday life in the city by the 1840s and 50s," the historian David Henkin writes, and Barnums "bold lettering and eye-catching graphics" made him, "quite literally, an urban man of letters." Barnum understood that he owed his success to the "means of printers ink, which I have always used freely," and that advertising was integral to the museum spectacle. Like modern marketing gurus, Barnum understood that he was not just selling particular goods or services. He was selling stories that heightened expectations and speculations about those goods and services. In short, Barnum beat his competitors by telling much better stories about his attractions. "My puffing was more persistent, my advertising more audacious, my posters more glaring, my pictures more exaggerated, my flags more patriotic and my transparencies [or illuminated banners] more brilliant."
Barnum repeatedly justified any particular fabrication that he advertised by pointing to the cumulative experience afforded by the museum. While extending the museum walls outward into the heterogeneous social and physical urban environment, the images and words of his printed advertising and planted "news" were always linked to a collection of bona fide objects and attractions, "a wilderness of wonderful, instructive and amusing realities." Customers always got their moneys worth because they were only paying twenty-five cents, and there was always more to see. In his first autobiography, published in 1855, Barnum declared, "If a sight of my Niagara Falls was not worth twenty-five cents, the privilege of seeing the most extensive and valuable museum on this continent was worth double that sum to any one who was enticed into seeing it by the advertisements." If the exhibits fell short of what was promised, how much would you pay for another chance to trade in incredulity and wonder? Barnum shrewdly perceived the value of irrationality in a country that, as he put it, was overwhelmed by "a severe and drudging practicalness . . . [that] concentrates itself on dry and technical ideas of duty, and upon a sordid love of acquisition—leaving entirely out of view all those needful and proper relaxations and enjoyments which are interwoven through even the most humble conditions in other countries." Barnum made sure his customers saw past the objects themselves to become participants in his public theater of the imagination.
Imagination and Virtual Experience
No less than Barnums museum, contemporary Web design entails the management of crowds. Because it is interactive and open ended, the user-friendly desktop computer has made our encounter with virtual space a matter of the hand-eye coordination we bring to moving cursors and clicking mice. For the rising generation of digerati, weaned on the ever-more seamless simulacrum of live-action and video animation, the intensive manipulation of on-screen images can itself seem awkward, an oddly old-fashioned way of encountering the past through artifacts that challenge the sophistication and flexibility one complacently assumes in the seemingly personal control of technology. For those unused to the rapid-response demands of Gameboys or the hair-trigger sensitivity of Xbox toggle sticks (or who can barely handle the remote control for home video and audio systems), what one finds in "The Lost Museum" often entails getting lost on the Internet. Accidentally pushing the wrong button or scrolling too haphazardly will—like following the strategic (mis)direction of Barnums famous "To the Egress" sign, which led some of his less literate (often Irish) visitors out a back door in search of a potential curiosity—land you on the sidewalk.
Courtesy of the Brown University Library Special Collections. Click on image to see entire broadside in new window.
As with "The Lost Museum," the navigation of Barnums collection in the nineteenth century assumed literacy in modern rituals and modern communication forms. Consider, for example, a broadside reprinted in the 1850s from a newspaper called the Eastonian, taken from the work of the American folk humorist Benjamin Penhallow Shillaber. The broadside narrates a visit to Barnums traveling museum in the voice of a censorious older woman, Mrs. Partington, who in a series of books had become a popular comic figure known for malapropisms and homespun wisdom. Throughout the first half of the text, this womans approach to the museum is clothed in elaborate, if not fanciful, words and phrases—"retrocession into the place," "reproaching the tent," "money Id given him to pay his dismission"—that strain the particularly spoken coherence of common sense and the simple poetry of marketplace doggerel. But once inside the museum, Mrs. Partington is seduced by the visual wonder of the collection: "I truly declare, I was all struck in a heap with what I saw there." These awkward verbal formulations give way to what Miles Orvell calls the "omnibus form" of descriptive detail, in which the arbitrary juxtaposition of objects is made natural by the merely rhythmic cadence of nouns and names:
Suits of armor, coats of mail
Together with the end of a comets tail,—
An Indian canoe, with a curious paddle,
A Mexican uniform, bridle and saddle,
The Point of an argument, wonderful shells,
And a Chinese pagoder all covered with bells.
If Partingtons entrance in the broadside, like her approach to the collection, is skeptical—"Whoever hear the like of that!/Said Mrs. P . . ."—she leaves it in silent reverie:
The old lady, lost in admiration
Here cut the thread of her narration,
And spreading her handkerchief over her face,
And replacing her needles, in her tin netting case,
Settled to sleep, and to dream of Tom Thumb
And the wonders of Barnums great museum.
As a byproduct of the notoriety Barnums showmanship had achieved, the broadside suggests how fully Barnums exhibitions were already touring an information highway. Partingtons visit begins with her "gazing at a bill, which showed in letters bold the wonders Barnum would unfold . . ." Here, as in so much of the publicity that surrounded the American Museum, Barnums own reputation for promotion—and especially his facility with the "bold letters" of printers ink—is literally built into ones encounter with the museum, providing the printed frame within which the retailing of goods and leisure "unfold" as "wonders." But by animating its depiction of Barnums museum with extended quotation of Mrs. Partington, the broadside situates our understanding within the local networks of vernacular speech. What one knows in such a world is always filtered through the homely, colloquial social matrices of gossip, conversation, controversy, and argument that spread the popular taste for antebellum entertainment (no less than politics and literary sentiment) by word of mouth. As Barnum himself so often put it, the key to success in the business of culture was "to make people talk and wonder."
What separates Mrs. Partingtons virtual experience of imagination from our own are the material frameworks through which audiences see and interpret objects. As recent scholarship by Benjamin Reiss, James Cook, and Bluford Adams has demonstrated, nineteenth-century audiences made sense of exhibitions such as the elderly former slave Joice Heth (billed as "Washingtons Nurse") and other curiosities both living and dead by drawing on contemporary narratives about race, politics, and the exotic. But situated within the motley collection of the American Museum, objects continued to appeal to the traditional cult of the marvelous. As the literary critic Stephen Greenblatt has characterized that pervasive phenomenon, it is the "power of the displayed object to stop the viewer in his or her tracks, to convey an arresting sense of uniqueness, to evoke an exalted attention." Much like its ancestor, the Renaissance cabinet of curiosity, the American Museum made the beautiful and the strange kindred forms. In doing so, it affirmed the power of man, nature, or the divine to defy the routine patterns and familiar assumptions of reality.
Objects displayed in museums today, by contrast, evoke the original contexts from which they were taken: the church wall, the royal burial chamber, the archeological dig, the vanished habitat, the ceremonial rituals of pre-modern tribes. They carry a resonance of otherness, differences of context and use that can only be partially recovered by catalogue descriptions and exhibition labels, whose very muteness endow objects with transcendent value as historical and aesthetic artifacts. We are expected to know their meaning mainly by silencing the informal narratives within which untrained viewers such as Mrs. Partington unfolded and circulated the social sense of Barnums wonders. Narrated within galleries organized by historical period, national context, artistic provenance, or stylistic tradition, objects became artifacts, whose authenticity and value are framed by omniscient scholarly narratives. As they came to be lit by boutique lighting pioneered in shop windows and department stores, these objects demanded the viewers deference to symbolic, immanent values, which—whether animated by the spirit of civilization, history, or an emerging anthropological sense of "culture"—divorced an artifacts meaning from the vernacular networks through which Mrs. Partington would have grasped Barnums wonders.
The modern infrastructure of public culture thus gives us wonder without talk, specialized kinds of historical and aesthetic education mediated less by the operations of vernacular speech and popular taste than the methods and institutions of professional expertise. Museums of natural history, for example, introduced formal taxonomies into the preservation and display of collections. "It is not the objects placed in a museum" that constitute its value, as William Henry Flowers, a director of the British Museum argued. It is "the method in which they are displayed and the use made of them for the purpose of instruction." Similarly, as historians and librarians, such as Harvards Justin Winsor, imported German methods to the American academy, a new "scientific history" displaced romantic narratives with documentary evidence that, as historian Steven Cohn notes in his intellectual history of late nineteenth-century American museums, "emphasized detail over values, facts over ultimate meanings."
Converted into such documentary evidence, objects not only present arguments about the past, but become totems of professional authority, offerings at the alter of positivist objectivity, licensed and guarded by professionals and institutions of higher education. Throughout much of the twentieth century, ordinary people thus learned to see objects not through the screaming letters of broadsides but through the silent reading of books, exhibit labels, collection catalogues, and the like. The apparatus of professional expertise promoted textual truth over the merely antiquarian, the spiritual, and the just plain popular.
Digital Humbug
Seeking "to startle, to make people talk and wonder," Barnum transformed the marketplace for leisure into a stage for "wonderful, instructive, and amusing realities." The door of the museum, no less than the two dimensional broadsides that kept it before a mass reading public, was a portal to "realities" that engaged viewers in multiple processes of representation—visual, verbal, architectural, and performative. The speculations that Barnum puffed in print were only consummated when people were motivated to pay the price of admission—the visit by which otherwise standard offerings of mass leisure were made into personal experience. Countless people would leave the museum to write about what they saw in their diaries or letters or simply to talk about their visit with friends and strangers. No matter what they saw, patrons took self-conscious pleasure in the entrepreneurial making and unmaking of meaning.
The digital age has allowed countless museums and libraries to mount exhibitions that travel the information highway but in ways that make the event of a "visit" increasingly passive. Where "The Lost Museum" offers Internet access to a virtual environment, Mrs. Partington traveled to a place:
To see it, and wondered, and marveled
From the first to the last—from morning to night,
And vowed for no money would have missed the great sight.
Today, we can have experiences without actually going anywhere, through increasingly inert and imaginary forms of mobility pioneered in Barnums broadsides. Indeed, a New York Times article from July 1, 2000, described "The Lost Museum" as "A Museum to Visit from an Arm Chair."
The "notepad" at "The Lost Museum." Courtesy American Social History Productions, Inc.
Much like the cacophonous nineteenth-century city, every Website assumes the viewers ability to navigate particular symbolic codes. In place of the typographic carnival of nineteenth-century broadsides, they trade in the contemporary conventions of the home page, arrayed with icons and lists. They also assume—as does "The Lost Museum"—our facility with the visual and verbal clichés of movies and broadcasting; the faint sound of horses and carriage wheels on cobblestones tells us that we are deep into "history" (any time and place before the automobile), while black darkness signals its vaguely sinister elusiveness (can we ever fully see the past with clarity and objectivity?). Like Caleb Carrs historical fiction The Alienist (New York, 1994) or Patricia Cline Cohens non-fictional history The Murder of Helen Jewett (New York, 1998), the site seeks to popularize the taste for nineteenth-century America by framing its cultural insights and artifacts in the narrative devices of an unsolved mystery: who might have burned down Barnums museum? The viewer is encouraged to navigate the documents and artifacts "housed" on the site by gathering clues, which suitably enough are indicated when the screen cursor becomes a question mark. In a clever touch, a notepad, done-up in the antiquated guise of nineteenth-century stationary, is furnished for viewers to record and store their clues, creating a personal narrative about what might have happened and why. With these tools in hand, the viewer becomes his or her own historian. For students, the device offers an elegant education in scholarly method. If the virtual realities of mass communication have removed the social dimension from leisure, Internet technology has, in such inspired sites as "The Lost Museum," allowed us to regain the sense of wonder that once accompanied a trip to the museum. The site insists that we confront artifacts not as disembodied texts and images—the transcription of handwritten documents or photographic reproductions—but as three-dimensional objects. By moving their cursors across the screen, viewers can reproduce for themselves the increasingly old-fashioned optical effects of walking through a gallery, scanning a wall or room crowded with stuff, zeroing in on a particular object or image, focusing ones attention on a detail. So too, even in its radically reduced number of artifacts, it recreates the eclectic visual experience of collection, the wonder that Partington attaches to the omnibus form of Barnums museum—the sheer quantity of objects linked to one another by the seemingly arbitrary logic of physical proximity, commercial expedience, and connoisseurship.
"Who Burned Down the Museum?" Courtesy American Social History Productions, Inc.
By blurring the line between entertainment and education, "The Lost Museum" allows us to recover an innovative space in the history of public leisure and popular taste. Ironically, the interactive breakthroughs developed for the Internet have given visitors new tools that succeed as education precisely because they trade in tricks of "rational amusement," adapting the narrative frameworks and media literacy of modern commercial entertainment. If Barnums museum was lost to history, its spirit moves again in the humbugs of digital technology.
Further Reading:
Barnums comments can be found in his two autobiographies: P. T. Barnum, Struggles and Triumphs; or, Forty Years Recollections of P. T. Barnum, written by Himself (Buffalo, [1876] 1883) and P.T. Barnum, The Life of P.T. Barnum, Written by Himself (New York, 1855). For scholarly assessments of Barnum in American culture, see Andrea Stulman Dennett, Weird and Wonderful: The Dime Museum in America (New York, 1997); Neil Harris, Humbug: The Art of P.T. Barnum (Boston, 1973); Miles Orvell, The Real Thing: Imitation and Authenticity in American Culture, 1880-1940 (Chapel Hill, 1989); David Henkin, City Reading: Written Words and Public Spaces in Antebellum New York (New York, 1998); Benjamin Reiss, The Showman and the Slave: Race, Death and Memory in Barnums America (Cambridge, Mass., 2001); James W. Cook, The Arts of Deception: Playing with Fraud in the Age of Barnum (Cambridge, Mass., 2001); Bluford Adams, E Pluribus Barnum: The Great Showman and the Making of U.S. Popular Culture (Minneapolis, 1997). On museum history, see Ivan Karp and Steven Levine, eds., Exhibiting Cultures: The Poetics and Politics of Museum Display (Washington, 1991) and Steven Cohn, Museums and American Intellectual Life, 1876-1926 (Chicago, 1998).


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CROATIAN CENTER of RENEWABLE ENERGY SOURCES
News and Events
June 15, 2011
Five Million Smart Meters are Installed Nationwide
More than five million smart meters have been installed nationwide as part of American Recovery and Reinvestment Act-funded efforts to accelerate modernization of the U.S. electric grid, DOE reported on June 13. Smart meters provide utility companies with greater information about how much electricity is being used throughout their service areas. The meters also give consumers access to real-time information about their energy consumption, allowing them to make informed decisions about how they use their electricity.
Transforming the current electric grid into a more intelligent system involves a wide range of advanced technologies, including smart meters, which will improve the reliability and security of the grid. Such meters will allow for the integration of renewable energy sources and help prevent blackouts and restore power more quickly when outages occur. Nearly 90% of the meters installed to date are in Arizona, California, Florida, Idaho, Michigan, Nevada, Oklahoma, and Texas.
In one project being implemented to help consumers manage their electricity, Florida Power & Light Company is deploying an advanced metering infrastructure; as of April 30, the company had installed 1.8 million smart meters. A project of CenterPoint Energy Houston Electric involves deploying a fully integrated advanced metering system and Web portal access to over 2.2 million customers; the company has installed 1.3 million smart meters.
DOE also announced a plan to create a data map that will allow consumers to contribute data and information about their electricity provided by their utility companies. The map will show where quality information is available nationwide based on voluntary consumer input. DOE will work with stakeholders during the summer to design the website that will launch in the fall.
More info at http://solarserdar.blogspot.com/
DOE Offers $2 Billion Loan Guarantees for Concentrating Solar Power Plants
DOE announced on June 14 its offer of $2 billion in conditional commitments to provide loan guarantees to support two concentrating solar power (CSP) projects in California, including $1.2 billion for the Mojave Solar Project in San Bernardino County and up to $681.6 million to the Genesis Solar Project, which is located on a Bureau of Land Management site in Riverside County. At 250 megawatts each, the projects' combined capacity will double the United States' currently installed CSP capacity.
Abengoa Solar Inc., the Mojave project sponsor, estimates that project will create more than 830 construction jobs and 70 operating jobs. NextEra Energy Resources, LLC, the Genesis project sponsor, estimates that project will create approximately 800 construction jobs and 47 operating jobs.
The Mojave project will be the first U.S. utility-scale deployment of Abengoa's latest parabolic trough technology, originally developed in connection with a DOE award provided by the Office of Energy Efficiency and Renewable Energy. The solar collector assembly heat collection element uses an advanced receiver tube to increase thermal efficiency by up to 30% compared to the nation's first CSP plants. In addition, advanced mirror technology will improve reflectivity and accuracy, allowing collection of the same amount of energy as older technologies from a smaller footprint. The project will generate enough electricity to power more than 53,000 homes.
The Genesis solar project will feature parabolic trough solar thermal technology that has been used commercially for more than two decades. The project is expected to produce enough electricity to power over 48,000 homes. To date, DOE's Loan Programs Office has committed over $10 billion in loan guarantees to solar generation projects.
More info at http://solarserdar.blogspot.com/
Drop-In Biofuels Get up to $36 Million in DOE Support
DOE announced on June 10 it will offer up to $36 million to fund six small-scale projects that will advance the technology and process integration needed to produce "drop-in" advanced biofuels and other bio-based chemicals. The projects, in California, Michigan, North Carolina, Texas, and Wisconsin, aim to improve the economics and efficiency of biological and chemical processes that convert non-food biomass feedstocks into replacements for petroleum-based feedstocks.
Selections include a project by HCL CleanTech, Inc., in Oxford, North Carolina, that will develop and demonstrate process improvements for pretreatment, conversion to sugars, and subsequent conversion of those sugars to fuels. Also, an undertaking by the Texas Engineering Experiment Station in College Station, Texas, will focus on developing a novel pretreatment for cellulosic biomass feedstocks using a combination of chemical and mechanical processing. DOE's Biomass Program works with industry, academia, and national laboratory partners on a balanced portfolio of research in biomass feedstocks and conversion technologies.
More info at http://solarserdar.blogspot.com/
DOE Announces up to $70 Million to Advance Geothermal Energy
DOE announced on June 8 the availability of up to $70 million in new funding over three years for technology advancements in geothermal energy. DOE is targeting innovations in exploration technologies to locate geothermal resources, as well as in improvements in resource characterization, drilling, and reservoir engineering techniques. The goal is to reduce upfront costs and lower the price of geothermal energy.
This funding opportunity will support DOE's partnerships with industry, national laboratories, and academia to advance key technology research areas including advanced exploratory drilling to reduce costs; advanced well completion; tools to isolate fracture zones within a well by working to control injection and production of water in geothermal systems; observation tools and data collection systems for reservoir stimulation; geophysical exploration technologies such as remote sensing and advanced seismic surveying to locate hidden resources; and geochemistry and rock-fluid interactions.
More info at http://solarserdar.blogspot.com/
DOE Offers Conditional Loan Guarantee for Nevada Geothermal Project
DOE announced on June 9 the offer of a conditional commitment to provide a partial guarantee for a $350 million loan for a geothermal power generation project. The project, sponsored by Ormat Nevada, Inc., is expected to produce 121 megawatts (MW) of base-load power from three geothermal power facilities. And, it will increase geothermal power production in Nevada by nearly 25%. The company estimates the project will create approximately 330 construction jobs and nearly 65 permanent jobs.
The geothermal facilities feature Ormat Energy Converter modules, which draw hot water from wells deep below the Earth's surface, and the water's thermal energy is used to heat a secondary fluid that is vaporized and then forced through a turbine to generate electricity. The project is expected to avoid nearly 580,000 metric tons of carbon dioxide annually, an amount equivalent to the greenhouse gas emissions of over 110,000 vehicles. The project is also expected to produce over one million megawatt hours of power annually, enough to power nearly 88,000 homes. The project's total output is expected to be sold to Nevada Power Company under a long-term power purchase agreement.
More info at http://solarserdar.blogspot.com/
Partnership will focus on Energy Performance and Building Appraisals
DOE announced on June 13 a partnership with The Appraisal Foundation that will help expand access to energy efficiency and building performance information for commercial buildings. Under the new partnership, DOE and The Appraisal Foundation will work to ensure that appraisers nationwide have the information, practical guidelines, and professional resources they need to evaluate energy performance when conducting commercial building appraisals. This will help investors, building owners, and operators to accurately assess the value of energy efficiency as part of a building's overall appraisal.
In 2010, commercial buildings accounted for about 20% of all the energy used in the United States. By improving insulation, lighting, windows, and heating and cooling systems, and by using daylighting, America's commercial buildings can be more energy efficient, which saves money for businesses and helps make them more competitive. Under the partnership, DOE will develop educational materials and create a database to provide appraisers with energy-savings data, federal green building programs and policies, and additional information on energy performance.
More info at http://solarserdar.blogspot.com/
Innovative High Energy Density Capacitor Design Offers Potential for Clean Energy Applications
Can you imagine a photovoltaic module that's able to generate and store electricity on its own? Or an electric vehicle (EV) powered by a technology more durable than the advanced batteries in today's EVs? Malvern, Pennsylvania's TroyCap, LLC is using nanolaminate technology patented by Dr. Troy Barbee at the DOE's Lawrence Livermore National Laboratory (LLNL) to design innovative solid-state nanocapacitors that offer the potential to develop cross-cutting clean energy applications like these and others that lower the cost of energy and increase its efficient use.
TroyCap is using an innovative "sputtering" technique the company has developed with the support of LLNL to deposit alternating layers of conductive and insulating materials that are only several atoms thick on a thin metal substrate. Utilizing this process, the company hopes to manufacture what it calls High Energy Density Nanolaminate Capacitors (HEDCAPs) that the company projects will have 500 to 800 times the energy density of current capacitors and 5 to 10 times the energy density of current supercapacitors on the market, allowing them to store more energy.
More info at http://solarserdar.blogspot.com/
Belgium's Ghent University Prepares their E-Cube for U.S. Department of Energy's Solar Decathlon 2011
Ghent University's unique two-story home could be an international star at the U.S. Department of Energy's Solar Decathlon 2011 competition due to the Belgian team's innovative, ultra-efficient, "passive home" design of the E-Cube. E-Cube, named for its cube-like shape, features a very clean and compact boxy exterior, complemented by a very spacious interior for a family of four (including two children) with two bedrooms, one bathroom, a kitchen, and a living area. Ghent University founded the home on several basic principles focusing on modularity and passive house standards, structural flexibility and affordability, which are evident in every part of the home.
An important aspect of the E-Cube is the simple do-it-yourself modularity. The home is designed as a pre-engineered kit that can be easily constructed by communities without specialty workers or help from outside financial institutions. The internal structure is a very basic industrial pallet racking system that keeps access and affordability in mind along with standard building codes. The E-Cube is very plug and play. Because the entire structure is built from a kit, hooking up the solar panels and other technical components requires no specific expertise.
More info at http://solarserdar.blogspot.com/
CROATIAN CENTER of RENEWABLE ENERGY SOURCES (CCRES)


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Where is the Course Home Page?
The Course Home Page is the first page that students see when they click the Home link in their Course Navigation. As an instructor, you decide what you want students to see and interact with on the Course Home Page.
View Home Page
You can choose to:
- show your students the Course Activity Stream
- show your students a Page that you'll design yourself
- show your students your Modules for the course
- show your students the Assignments list
- show your students the Assignments list with the Syllabus
In this example, the home page is a page that is design for this course with a welcome title and a picture.
When would I use the Course Home Page?
Use the Course Home Page to:
- Direct your students to the most important resources they will need to be successful in your course.
- Remind students of their upcoming Assignments.
- Outline on a weekly basis what you will be covering in class and how they can prepare.
- View the Course Activity Stream so that you and your students can see the most recent Announcements and Discussions in your course.