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Shingle Style: Capturing the View
A Long Island home built to take advantage of Oyster Bay views
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This newly built house on New York's Long Island was designed by architect Stuart Disston with one overriding challenge: "how to take advantage of the really spectacular view" of Oyster Bay.
The two-story shingle house presents a traditional face street side, with a subtly bowed front facade swelling above the portico. View subsequent slides to see how well Disston succeeded in creating rooms with a view.
Architects: Stuart Disston, AIA, with Joshua Rosensweig and Guy Horvath, AIA, Austin Patterson Disston Architects, 376 Pequot Ave., P.O. Box 61, Southport, CT 06890; 203/255-4031; and 4 Midland St., Quogue, NY 11959; 631/653-1481, apdarchitects.com.
Interior design: Eliza Gatfield, Custom Cool, LLC, 357 Centre Island Rd., Oyster Bay, NY 11771; 516/413-6313.
Photography: Bruce Buck
Produced by Bonnie Maharam
To create as many water views as possible, Disston strung together the main living spaces--library, living room, family room, breakfast area, and sunporch--on a north-south axis, so each room has views of the bay to the east. The rooms are linked by a series of double doors that open for easy traffic flow and unfettered views through the house.
This is the breakfast room. Homeowner Eliza Gatfield, who is herself trained as an architect and who did the interior design of her house, had the room's dining chairs covered in eight different fabric patterns, with no two chairs sporting the same combination.
Elvis, one of the family's two Burmese cats, enjoys the library couch. The rug was designed by homeowner Eliza Gatfield, borrowing on painterly ikat motifs. Eliza designs textiles for her business, Custom Cool.
Sofa; ottoman; chair: owner's collection.
Sofa fabric ("Radiant Velvet''/Stone); sofa cushions ("Beaumaris''/Vapor): Robert Allen, 800/333-3777, robertallendesign.com, trade only.
Sofa pillows; ottoman fabric: owner's collection.
Chair fabric (by Designers Guild); green-and-taupe flocked fabric on sofa pillow and window seats ("Ombrione''/Aurora by Designers Guild): Osborne & Little, 212/751-3333, osborneandlittle.com, trade only.
Sheers (#8476-1 by Kravet Couture): Kravet, 888/457-2838, kravet.com, trade only.
Rug ("Candy,'' Ikat): Custom Cool, 516/413-6313.
Chandelier (discontinued): Oly, 775/336-2100, olystudio.com, trade only.
Art over bookshelves (by Jennifer Bartlett); sculpture; music stand: owner's collection.
Paint (custom mix of Farrow & Ball, 888/511-1121, and Benjamin Moore, 888/236-6667.
Paneled doors flank the living room fireplace, linking the room to the library.
Floral slipper chair: owner's collection.
Floral fabric ("Giant Peony''/Fuchsia, Cob #R1400-4 by GP&J Baker): Lee Jofa, 800/453-3563, leejofa.com, trade only.
Cream slipper chairs ("Sand Slipper Chair''): Custom Cool, 516/413-6313.
Fabric (#19535, Kravet Couture): Kravet, 888/457-2838, kravet.com, trade only.
Area rug (antique): owner's collection.
Mantel (custom, limestone): Chesney's, 646/840-0609, chesneys.co.uk, trade only.
Sconces: Charles Edwards, 011 44 207 736 8490, charlesedwards.com.
Art over mantel (contemporary Chinese brush painting); coffee table; side tables; etagère: owner's collection.
Paint (custom): Farrow & Ball, 888/511-1121, farrow-ball.com.
Like much of the house, the living room has a great view of the sailboats on Oyster Bay.
Eliza Gatfield is happy to give credit where credit is due, and when it comes to her gently worn pine floors, the honors go to Pug, Mopsy, Cooper, and Sesame. "We have four dogs, and they have aged the floors beautifully," she says, "I know it would drive some people insane, but I love the wear and tear. It gives the floors such a wonderful lived-in feel."
Carpenters hammered black nails randomly into the chocolate-stained wide planks to play up the antique look. "The floors are key," Eliza says. "Everyone who comes here comments on how it feels like the house has been here for centuries, and gradually updated."
Chandelier ("Jenny Chandelier''/natural shell with antiqued silver finish): Oly, 775/336-2100, olystudio.com, trade only.
Bergère ("Hanna Chair''); fabric (raffia with white herringbone cushion); armchairs by window ("Sophie Armchair); armchair fabric (toffee mohair): Oly, 775/336-2100, olystudio.com, trade only.
Area rug (antique): owner's collection.
Safavieh area rug: Safavieh, 866/422-9070, safavieh.com.
A sky-blue ceiling and an array of quaint fabrics keep the mood light in the master bedroom. Curtain panels in alternating fabrics offer privacy when needed, but don't block the view. "I wanted the landscape to become part of the architecture," Eliza says.
Bed ("Willa"); armchairs ("Sophie Armchair''); armchair fabric (toffee mohair): Oly, 775/336-2100, olystudio.com, trade only.
Bench; round table; rug: antique.
Bench and pillow fabric ("Dora-2''/Beige, Blue #AM-Dora-2, by Andrew Martin): Lee Jofa, 800/453-3563, leejofa.com, trade only.
Drapery: owner's collection.
Bed cover (using fabrics from the room): Custom Cool, 516/413-6313.
Paint: custom mix of Farrow & Ball, 888/511-1121, and Benjamin Moore, 888/236-6667.
Eliza's mix of fabrics enlivens the master bedroom. "I use traditional materials, but I combine them in unusual ways," she says. "What you achieve by mixing and matching is a lack of formality."
Eliza worked with painters to create timeworn finishes on the cabinetry she designed for this room and for the butler's pantry.
Cabinetry (custom); cabinet finish ("Eggnog'' and "Iced Shoreline''): Custom Cool, 516/413-6313.
Fabric backdrop in cabinet top left; fabric insert in door top right and bottom left: Lee Jofa, 800/453-3563, trade only.
Fabric backdrop in cabinet second row left: owner's collection.
Fabric backdrop in cabinet third row left and fabric insert on door bottom right ("Somerby''/Red #BP10019-4, by GP&J Baker): Lee Jofa, 800/453-3563, trade only.
Bottom row left, top row center, and two bottom rows right ("Dora-2''/Beige, Blue #AM-Dora-2, by Andrew Martin): Lee Jofa, 800/453-3563, trade only.
Backdrop in cabinet: top right, second row right, and fabric insert on cabinet door top left ("Oriental Bird''/Red, Stone #R1398-3, by GP&J Baker): Lee Jofa, 800/453-3563, trade only.
Accessories on round table: owner's collection.
Paint: custom mix of Farrow & Ball, 888/511-1121, and Benjamin Moore, 888/236-6667.
Eliza put a fresh spin on the utilitarian kitchens of early-20th-century manor houses she had admired in Europe. "I love to cook, and I wanted a kitchen that would function properly but not be overly modern." White subway tiles cover the walls nearly to the ceiling, and appliances are white rather than too-21st-century stainless steel. Eliza and daughter Ella, 10, often bake together, so Eliza designed a spacious island with storage for baking supplies. At the heart of the island is a Dutch baking cabinet Eliza found in Europe. "It was made to sit on a counter and has glass containers that pull out for flour and sugar," she explains. "We literally built the island around that piece."
Cabinetry; cabinetry finish ("Distressed Robin's Egg''); island; refrigerator; pot rack: Custom Cool, 516/413-6313.
Cabinetry hardware: Whitechapel Ltd., 800/468-5534, whitechapel-ltd.com.
Stove; oven; microwave: Viking, 888/845-4641, vikingrange.com.
Light fixtures ("Porter Pendant''): Pottery Barn, 800/922-5507, potterybarn.com.
Tile; apron sink; island sink and faucet: Waterworks, 800/899-6757, waterworks.com.
Faucet on apron sink: Blanco America Inc. 800/451-5782, blancoamerica.com.
Countertop: honed Carrara marble.
Island countertop: custom butcher block.
When Eliza couldn't find the style of refrigerator she liked, she designed a wall of built-ins that resemble old iceboxes. Working with a company that installs commercial coolers, Eliza had three refrigerators and a freezer built in, with the compressors in the basement below. The units are fitted with reproduction heavy-duty latches and temperature gauges above each unit.
A Dutch door next to the range leads to the mudroom and the house's exclamation point: a serpentine staircase with beadboard walls and clerestory windows. (See next slide.)
Architect Disston was inspired by an old Shaker design when he created the curving staircase off the kitchen. Even the dogs appreciate it. "They love to sit on the stairs and look out the little round window," Eliza says. "It's probably the most perfect space in the house."
The winding staircase is housed in an octagonal tower at the south end of the house.
As in the master bedroom, nearly every cabinet front in the butler's pantry features a different shirred fabric insert, and even the hardware is mismatched. On a trip home from England, Eliza loaded her luggage with an assortment of antique bronze and brass cabinet latches and handles. "I bought as many as I could fit in a suitcase," she says.
Cabinetry (custom); finish ("Dune Blue''): Custom Cool, 516/413-6313.
Cabinetry hardware; chandeliers: antique.
Fabric panel, top left ("Faveto''/Red, discontinued); fabric panel, top right ("La Declaration''): Pierre Deux, 888/743-7732, pierredeux.com.
Fabric panel, bottom left ("Hewlett Plaid''/Cream, Blue, Red #2002185-55 by Diamond & Baratta); fabric panel, bottom right ("Chinese Folly''/Red, Cream #J0510-470 by GP&J Baker): Lee Jofa, 800/453-3563, leejofa.com, trade only.
Light fixtures (antique): owner's collection.
Light-fixture finish ("Chinese Red''): Custom Cool, 516/413-6313.
Paint: custom mix of Farrow & Ball, 888/511-1121, and Benjamin Moore, 888/236-6667.
The second-story child's bedroom with a built-in bed has a great view, too.
Drapery panel on right ("La Begude''/red, blue); drapery panel on left ("La Declaration''): Pierre Deux, 888/743-7732, pierredeux.com.
Shade fabric; sham (back row): owner's collection.
Pillow at left, middle row; coverlet at bottom of bed: Pottery Barn, 800/922-5507; potterybarn.com.
Pillow at right, middle row (custom); bolster pillow, front row (custom): owner's collection.
Sheet with red trim ("Cayman'' by Lulu DK); pillowcases: Matouk, matouk.com.
White blanket: The Company Store, 800/323-8000, thecompanystore.com.
Star light: Charles Edwards, 011 44 207 736 8490, charlesedwards.com.
Built-in bed: custom.
The fireplace on the sunporch is backed by an outdoor fireplace that shares the flue.
Stone fireplace: Connecticut fieldstone.
Art over mantel (by Elizabeth Blackadder); chairs; upholstered bench; wicker chair; chandelier: owner's collection.
Pedestal table: Pottery Barn, 800/922-5507, potterybarn.com.
Candelabra on mantel ("Faux Bois Candelabra''): Oly, 775/336-2100, olystudio.com.
Blue paint on floor and walls (custom); trim paint (custom): Farrow & Ball, 888/511-1121.
Ceiling paint (custom mix of Farrow & Ball, 888/511-1121, and Benjamin Moore, 888/236-6667).
Eliza Gatfield on her back terrace with Pug and Cooper, two of her four dogs.

subset: commoncrawl


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Co-captain Robert Millock and the Crimson will host
Providence Wednesday (Photo courtesy of Harvard Athletic
BOSTON – Kyle Henderson scored his first-career goal on a free kick in the first half, and Austin Harms stopped two shots, but the No. 21 Harvard men's soccer team fell at local rival Boston University by a score of 2-1 Sunday evening. The loss drops the Crimson to 2-2-3 overall, while the Terriers move to 5-3-1.
Harms made two saves in the first 15 minutes of the opening half, as he stopped a chance by Ben Berube and then blocked away a shot by Aaron O'Neal. At 26:24, BU broke through the Crimson defense and took a 1-0 lead, as Kelvin Madzongwe headed a shot past Harms. Following a foul on the Terriers with 2:05 to play in the half, Henderson took a free kick and blasted the ball through the BU defense and into the net, tying the game just before halftime.
At 53:50 Jamie Rees nearly gave Harvard its first lead, but his shot hit the post and bounced away from the cage. Less than three minutes later, O'Neal and Vicente Colmenares traded passes to Berube who kick the ball beyond Harms, making it 2-1 in favor of the Terriers at 56:21.
BU earned four of the five corner kicks in the game, and outshot
Harvard by a 12-9 margin, including 4-1 in shots on
Harvard will return home to host Providence Wednesday evening at 7 p.m. The game will be played at the Soldiers Field Soccer Stadium.


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A roundup of unusual news of the past week as reported by GateHouse newspapers.
Panther gunned down as it tries to get in home, attack officer NEOSHO, Mo. -- A deputy shot and killed what experts believe to have been a pet black panther as it tried to batter its way into a woman's home. Newton County Sheriff's Deputy Cpl. Donn Hall responded to a 9-1-1 call from a Neosho-area resident that a panther was trying to get in her back door. "Most of the time when you get a call like that you're like, 'OK, whatever,'" said Capt. Richard Leavens, patrol supervisor with the sheriff's department. But when Hall arrived at the residence just after 6 a.m., he was met by the animal, which began running toward him. According to Leavens, Hall grabbed his service 12-gauge shotgun and pumped two shells into the attacking animal. Deterred, the panther retreated down the driveway, but then it turned back and came at Hall again, who had time to squeeze off his last shotgun round, draw his Glock .45 service pistol and empty the clip into the cat, which killed it. The resident, who was not identified, later told officers that she had been outside when the panther ran at her. She screamed and took off for her house. The cat would have overtaken her if her dogs hadn't jumped in to fight the animal off. It bought her the time she needed to reach her door and call the police. To her horror, the panther — who had brushed the dogs aside — then tried to break its way through the door to get at her. Hall arrived shortly thereafter. The dogs weren't injured in the fight. Hall was given the carcass of the animal and is having it stuffed, Leavens said. 'Wonder Woman' has baby as husband drives on KINGSTON, Mass. -- Gregory Dunn has a new nickname for his wife: "Wonder Woman." Melissa Dunn delivered the Kingston couple's third child – their first girl – in the passenger seat of a moving car. "I knew she was in hard labor," Gregory Dunn said. "But I didn't think she was going to have the baby right there in the front seat." Grace Maria Dunn, born about 3 a.m. Tuesday in a Dodge Durango en route to the hospital, is doing fine, her father said. Gregory said he and Melissa, both 30, left for the hospital shortly after she went into labor about 1:30 a.m. About eight minutes into the trip, Melissa said the baby was coming. "I was just concentrating on trying to get there," he said. "I didn't think she was going to deliver, then there's a baby there, crying. I was shocked." Woman flees accident, gets into another one CAMDEN COUNTY, Mo. -- A 19-year old Camdenton woman who sped off in a van after slamming into a sign at a fast-food restaurant managed to elude authorities -- until she became involved in another accident a few minutes later. The first accident was reported at 6:10 p.m. when the woman hit the sign used to place food orders at McDonalds, then left, according to the Camdenton Police Department. She was driving a gray mini-van with two children inside. Officers were on their way to the scene of the accident when a vehicle matching the description wrecked in the parking lot of another restaurant down the street. When officers arrived, the woman was outside the vehicle holding her two children. She suffered cuts and bruises to her arms and legs and refused medical treatment for her and the children.
The woman faces a string of charges including two counts of child endangerment, leaving the scene of a motor vehicle accident, property damage and operating without a valid driver's license.
A goat ate it -- I swear!
BOURNE, Mass. -- The Bourne Public Library received a package in the mail last week that included a letter of lament from the May family, who said their goat ate a library.
The package also included a book replacement: "Storey's Guide to Raising Pigs" by Kelly Klober. Also included were pictures of new piglets and the goat that ate the original book.
The May family says the original helped greatly in the birth of the piglets. Then it was devoured.GateHouse News Service


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Eveil de source has been formulated to moisturise the upper layers of the epidermis with Aloe leaf juice. Macadamia oil brings suppleness to the skin.
As proven by the tests made by an independant laboratory, it acts as a skin hydrating booster : a maximal significant mean gain of hydration of +24% was observed 2 hours after test product application, remaining at least 8h at +17%.


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One excellent weekend
How good was Saturday night's world premiere performance of "Poet Li Bai?" The headline over Denver Post critic Kyle MacMillan's review says it all when it describes the opera as "poetry in motion." The review will appear in Wednesday's paper; read it in advance by visiting http://www.denverpost.com/entertainment/ci_6333098.
Everything that surrounded the performance was pretty spectacular, too. What follows is lengthy, but stay with me for a look behind the scenes — a look that combines the Who's Who with the What's What.
When I arrived in Central City late Saturday afternoon for the dim sum reception that preceded a celebratory dinner, the first thing I saw was a crowd spilling onto the sidewalk from a Teller House garden festooned with lanterns and colorful bunting.
"Where did all these people come from?" I mumbled to no one in particular. A cheery reply came immediately, from Central City Opera staffer Nancy Roddy: "From all over the world."
That they did. They were there from Shanghai and Beijing; from Hong Kong and London, plus Florence, Italy; Buenos Aires; New York; San Francisco; and Chicago.
Just as the opera itself has a long and fascinating story, that magical night in Central City didn't "just happen," either. Nor did it stand alone. It was bracketed by other special events that began over a year ago.
Many took part and made unique contributions, but the couple that stands out is John and Anna Sie.
"Without them, this production would not have taken place," declares chairwoman Denise Gliwa. "They gave Martha and Tian great support, both personally and financially, when they began this endeavor in Beijing. The Sies helped sponsor a master class (in Beijing) from which the apprentice singers that were brought to Central City were chosen, and John Sie worked with the Central City Opera to negotiate the contract and secure the agreement (to stage "Poet Li Bai")."
In addition, the Sies had major roles in the premiere weekend.
Working with Sandy Bolton and Linda and Jimmy Yip, Anna Sie not only aquired the Saturday night decor from China, she helped set it up and take it down. She also conceived, ordered and donated the party favors: exquisite Chinese snuff bottles with a scene from the opera hand-painted on the front and a Li Bai poem engraved on the back.
The Sies' daughter, Michelle, and her husband, Tom Whitten, were the hosts for Friday night's VIP welcome, a wine and cheese party held at Jean and Michael Micketti's Denver home. And on Sunday, the success of the opera was toasted at a brunch that Anna and John had at their home, Villa Bella Vista, in Cherry Hills Village.
The food was good, the company was excellent, but most memorable was when young tenor Yang Bo serenaded Anna Sie, who is Italian, with "O Sole Mio." Yang, along with soprano Zhou Xiao Lin, were recipients of the Anna and John J. Sie Award in the Bel Canto International Opera master class held in Beijing in 2005.
Saturday night's festivities began with the aforementioned dim sum reception, the food for which was prepared by chefs from Johnny Hsu's Imperial Chinese Restaurant. Johnny, of course, wanted everything to be outstanding so instead of prepping the food at his restaurant and hoping for the best once it arrived at its destination, he loaded the ingredients into a trailer and used the kitchen at the rental home that Martha Liao and hubby Hao Jiang Tian were sharing while in Central City.
Liao is the founder and president of Asian Performing Arts of Colorado, whose 20th anniversary was one of the big reasons "Poet Li Bai" premiered in Colorado. Tian is a graduate of the University of Denver's Lamont School of Music and started his now international-in-scope singing career with Opera Colorado.
Martha's sister, Diana Liao, wrote the "Poet Li Bai" libretto with Xu Ying. After graduating from the University of Hong Kong with majors in comparative literature and translation, Diana took post-graduate courses in journalism at the Universite de Paris V before spending 32 years in New York working as a simultaneous interpreter at the United Nations by day and writing at night.
She gave the first draft of the libretto to Tian for a birthday present seven years ago. Her son, Ming, who works in movies and video in Los Angeles, came in for the opening.
They were joined by a third Liao sister. Sarah, who is Secretary for the Environment, Transport and Works of the Hong Kong Special Administrative Region. She was a member of the Executive Council of Hong Kong 2002 and was instrumental in helping to bring the Olympics to Beijing.
Sarah Liao was the one who facilitated CH2M Hill's six-figure support of "Poet Li Bai." She had worked for CH2M Hill in Hong Kong and introduced her sister Martha to chairman Ralph Peterson. Peterson, who attended the world premiere with his wife, Betty, was an honorary chairman of the opening, along with Dan Ritchie, chancellor emeritus of the University of Denver, former chairman of the Central City Opera board and current chairman of the Denver Center for the Performing Arts; Pat Cortez, a senior vice president with Wells Fargo Bank; and the Sies.
Sarah and Martha's brother, York Liao, a Hong Kong businessman, was there with his wife, Manling, and their son, Ting Liao, a computer programmer working in San Francisco.
Tian's mother, Mme. Tian, was there, too, along with his sister, Lorraine Tin, her husband, Frank Hu, and their daughter, Jane Li.
Dr. George Ho, who had gone to high school in Hong Kong with Martha Liao and saw her name in a Denver Post article about the opera, was there with his wife, Katherine; so, too, was kidney transplant surgeon Larry Chan, who also had known Martha in Hong Kong, and his wife, Cynthia.
Opening night was dedicated to the memory of Dr. John Fleming, a longtime Asian Performing Arts of Colorado supporter and dear friend of Martha and Tian. His widow, Celeste, was in attendance with two of their daughters, Anne of Denver and Alexandra of London.
The dinner — ginger-chili shrimp over Asian slaw followed by filet mignon, tamarind-glazed sea bass, bok choy and sticky rice from Kevin Taylor's Rouge at the Teller House — was coordinated by Gayle Ray and Gail Johnson. Gayle Ray and Lily Shen also served as event co-chairs with Denise Gliwa.
Immediately before the performance, guests paused in the Teller House garden for the unveiling of a plaque commemorating the opera. Another unveiling came after the performance, when Gliwa, Ray and Shen presented a Jan Steinhauser bronze sculpture to Martha Liao on behalf of the APAC board. Jan and her husband, Sheldon, delayed a three-week trip to Italy to take part in the Li Bai festivities.
Jan Steinhauser is a founding member of the APAC board, along with Woon Ki Lau, Paul Ramsey, Lorraine Smith, Nancy Elkind, Denise Gliwa and Celeste Fleming.
David Gockley, who became general manager of the San Francisco Opera after 30 years spent building the Houston Grand Opera, enjoyed catching up with Lanny and Sharon Martin. Lanny is a past chair of the Central City Opera board and served on the board in Houston, as well. In 2008, Tian will be the only male in the cast of "The Bonesetter's Daughter," an opera based on the novel by Amy Tan.
Shirley Young, former chair of the Committee of 100, a Chinese-American leadership organization, and senior adviser to General Motors-Asia Pacific, flew in from New York to join such other VIP guests as
part-time Vail resident Oscar Tang with his wife, Argie, and sister, Sarina Tang; Laura and Jim Marx of Denver-based Marx Okubo; New York Times reporters Lois Morris and Robert Lipsyte, who are writing Tian's biography, which is due out in the spring; China's cultural attache, Shu Xiao, and Ann Walsh, who with her late husband, John, had provided a home for Tian while he was a student at DU.
Also, Central City Opera board member Hilton, and wife Liz, Martin who after seeing Tian perform in New York several years ago became a fan and helped pave the way for Central City to partner in the production; Philip Levy, who was a director of the Denver Partnership during the first Celebrate China! event that was one of APAC's first projects; and Joe Ingalsbe of Boulder-based Agile Funds. He served as the weekend's transportation coordinator, no easy feat given the demand for buses and vans caused by two major conventions in town at the same time.
Denise Gliwa enlisted her daughter, Catie, a graduate of East High School who'll attend Yale in the fall, and several of Catie's friends, to staff the check-in table. Fellow East grads Alice Wotkyns, who'll go to Occidental College, and Emma Byers (University of Puget Sound) were joined by Moira Cassidy, a Cherry Creek High School grad headed for the University of Chicago. Gayle Ray's daughter-in-law, Carla Kenny, put in long hours as a logistics expert, keeping everyone and everything on track.
Others joining in the fun were Callae Gilman; Diana Lee and Dr. Roy Stahlgren; Joy Burns; Bill Jackson; Susan and Lewis Sharp; Ralph and Anne Klomp; Bert and Max Buckman; Denver Lyric Opera Guild President Helen Santilli and Lyn Barber; Trygve and Vicki Myhren; Bill and Bei-Lee Gold; Carl and Lisa Williams; Sherrye Berger; Donna Boucher; Ron Otsuka; Ann Levy; Nancy Parker; Leo and Linda Goto; Nancy Lake Benson; Harvey and Joanne Sender; Deanna Leino; Jaima and Dr. Valdemar Lindquist; Charlie and Barbara Ferguson; Jim Creamer and Margaret Cunningham; Steve Edmonds; Susan Stiff; Mieko and R.V. Bailey; Sandy Vinnik; Bob Fullerton and Beverlee Henry; Agatha Kessler; Dr. Lawrence Spivak; Jennifer Heglin; Ray and Bernice Yost; Gary and Sally Newcomb; Glenda Richter; Judy Tucker; and Ginnie and Tom Maes.
Denver Post Society Editor Joanne Davidson's column appears every Sunday, Tuesday, Wednesday and Friday. She can be reached at 303-809-1314 or email@example.com.


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Those who take the Matterhorn Express from Furi to Schwarzsee are in for a surprise in winter. Depending on the snow and weather conditions, up to 50 chamois can be spotted from the cable cars on the slopes of the Schafberg. But as soon as there is danger of an avalanche the animals vanish as if by magic: ''Chamois can adapt themselves very well to their alpine environment", says game warden Bruno Tscherrig. The chamois leave the slopes before avalanches start to roll. But as soon as the danger is past, they come back to the snow-free parts of the avalanche area and feed on the withered autumn grass.
Ibex are also not hard to find in the Zermatt mountains. ''We have the animals practically outside our front door", says the warden. On the Gornergrat for example, where a salt stone attracts them in summer. They stand there, still and majestic, and survey the mountain world around them.
One may be lucky enough to catch a glimpse of a golden eagle or even a bearded vulture. And by observing carefully the prints one can recognise the tracks of white hares or foxes. Feathered species are also well represented: golden eagles, snow grouse, rock partridges (very seldom) and birds of all kinds.
But you don't even have to leave the village to see wild animals, you just have to stay awake at night. There are badgers in Zermatt that scurry around the church during sleeping hours. Families of martens help themselves out of the rubbish containers. And dozens of foxes are drawn to the village every night, as the locals feed their cats in the open air. But beware: feeding is forbidden, and human contact is to be avoided.
The curious ones: the chamois
Recently a chamois looked into the office of the operation controllers at the heliport. And an old chamois was sighted regularly below the Hotel The Omnia. Many locals have stories to tell – for chamois are very curious.
Both sexes of chamois have hooked horns about 25 cm long. They live in packs, especially in the winter time. Powerful rams, weighing up to about 35 kilos, indulge in fights during the rutting season from November to December. During this time the antagonists pursue each other in wild chases. The gestation period is a good five months, and the kid – usually just one – generally is born between mid-May and mid-June.
The majestic ones: the ibex
Male ibex can weigh up to 80 kg, females however only up to 35 kg. The mating season is in December and January, and the gestation period is six months. A single young ibex is born in June. Both sexes carry horns, rams up to about 100 cm, the female to about 30 cm. The rams grow up to two knots per year in their horns. Ibex live at altitudes of between 1600 and 3000 metres, so the area around Zermatt is ideal for this majestic alpine inhabitant.
The loud ones: the red deer
A male red deer can weigh up to 200 kg, the female up to 100. The mating season is mid-September to mid-October. Does gestate for 34 weeks, and the young, mostly just one, are born in May or June. The deer also have an antler cycle, with the antler growing from February to July and shedding in February/March. The kids have a red coat with white spots, and thus can easily be confused with fawns. In the rutting season the male deer bell loud and long. They are clearly audible at daybreak, especially between Täsch and Randa, during the rutting season.
The invisible ones: the roe deer
There's a large roe deer population in Zermatt. Males can weigh up to around 23 kg, females 20. Their summer hair is reddish brown, the winter hair grey-brown. The rutting and mating season is in July and August. The gestation period is 42 weeks, and the young are born between May and June, mostly as twins. Only the males have antlers. These grow from December to April, and are shed every year between October and December.
The cute ones: the marmots
Zermatt has many colonies of marmots. The animals lie in extensive lairs and weigh between three and six kilos. Their mating season is in April and May, and the gestation period is only 33 days. A litter contains two to three animals. Marmots have a distinctive social character, so that they can be observed easily by hikers and walkers – especially in June, when the young are already raised and no longer immediately obey their parents.
Best observation places and times
(see map)
Chamois: Winter: Matterhorn glacier paradise: Schafberg, from the cable car of the Matterhorn Express, after Furi to Aroleid. Rothorn: from the cable car, between Blauherd and Rothorn peak. On the piste, below the traverse before Blauherd. Gornergrat: from the Gornergratbahn, between Findelbach and Riffelalp (rather seldom). Summer: throughout the area, especially in the Schweifine area.
Ibex: Winter: Täschalp (January), only accessible on skis. Summer: Gornergrat Kulm, at the salt stone, also visible from the restaurant terrace. Hiking trail Rotenboden in the direction of the Monte Rosa Hut, above the lateral moraine of the Gorner glacier. Riffelhorn. Chalbermatten bei Zmutt.
Red deer: Winter: in the woods. Summer: Randa to Herbriggen, partly visible from the Matterhorn Gotthardbahn, along the Vispa, downstream direction, mainly on the left.
Roe deer: Winter: in the woods. Summer: Wooded areas Aroleid, Findeln, Täsch woods etc. In Zermatt one can hear the deer belling in July and August during the rutting season.
Marmots: Winter: they are in hibernation. Summer: On the Murmeltierweg (marmot trail) at Sunnegga/Blauherd, on the hiking trail Täsch-Zermatt, between Furi and Aroleid. Patient observers can spot them almost everywhere.
Golden eagles: Trift/Mettelhorn.
Important wildlife protection
In Zermatt many areas are designated as wildlife protection areas. ''Snow sports fans often overlook the signs and stray off the pistes and into the wildlife sanctuaries. In most cases this spells death for chamois and deer", says game warden Bruno Tscherrig. Because in winter the body metabolism of the chamois, deer and company functions at a minimum. So for example if a frightened chamois is forced to flee it will often die of exhaustion. If it's a doe, its young will die too because they depend on their mother to lead them.
All guests seeking pleasure or relaxation in the open air are asked to observe the instructions on the numerous signs, and not to leave the pistes and hiking trails. Snow sports fans who indulge in a wild woodland descent cutting straight through a protected area risk a very big fine and forfeiting their ski pass.
But the pleasure in observing the shy wildlife can be great. Those who observe the animals with time, patience, binoculars and warm clothing are rewarded with an unforgettable experience.


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Meanwhile, I hear the SDLP-leaning press in Belfast is having another pop at the Board of NI Water. ... Máirtín Ó MuilleoirBelfast Harbour Commissioners are appointed by Conor Murphy, the SF Minister for Regional Development, so why is Belfast Harbour sponsoring a project which has such close links to Sinn Fein?
Belfast Harbour responses to a series of questions:
1] What was the total expenditure by Belfast Harbour on this conference?
A: Principal sponsorship for the New York, New Belfast conference amounted to £20,000 exc. VAT. An additional cost of £900 was generated through the provision of Belfast Harbour branded delegate bags to organisers of the conference
2] Has Belfast Harbour participated in or financially supported other events organised by Belfast Media Group in the past five years? If so, please list.
A: Belfast Harbour had two delegates in attendance (free of charge) at one session of the City of Quarters Conference in March 2010. This session was held in the Harbour Office and the event was facilitated as part of our annual corporate responsibility programme. Previously Belfast Harbour Office played host to Belfast Media Group's Top 40 Under 40 Awards. It was one of 104 events staged hosted by Belfast Harbour that year within the 2008 corporate responsibility programme.
3] Can you please provide copies of correspondence between Belfast Harbour (or its representative) and the conference organisers which relate to this event?
A: Please see attached copy correspondence as requested, all of which is in email form.
4] Can you please provide copies of correspondence between Belfast Harbour (or its representative) and the DRD Minister and his officials/staff which relate to this event?
A: No such correspondence exists.
Here are some quotes from the Ó Muilleoir-Belfast Harbour emails:
p4/26 Contracting arrangements - can't write a [£20,000] sponsorship cheque to Belfast Media Group and need an apolitical solution. 01/12/09 9.00am
p3/26 Contracting solution for these not-for-profit events - Make out cheque to our charitable arm Nuachtain Charities, to the Irish Echo, or directly to New York New Belfast Conference which will have its own bank account 01/12/09 9.29am
p6/26 Need you guys to decide on sponsorship - best suggestion is .. that sponsorship cheque is made out to 'New York New Belfast conference' 15/12/09 11.53am
newyorknewbelfast.com is registered to Belfast Media Group so why didn't Belfast Harbour maintain its apolitical stance?
Ó Muilleoir has been appointed as an additional non-executive director (NED) to the Northern Ireland Water Board in the 'community confidence' category. Who decided to make this additional appointment, when was it decided and were the Commissioner for Public Appointments and the Consumer Council for Northern Ireland informed of the change? The names of the new NEDs were announced on June 30 yet the Ó Muilleoir letter of acceptance is dated July 1.
Paul Priestly, the suspended DRD Permanent Secretary, was a speaker at the Belfast Media Group organised New York conference; he was also involved in the selection of the NEDs. Was an interest declared?
CCNI reply: "The Consumer Council found out about the appointment of the additional NED to the board of NI Water on 30 June 2010."


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BEIRUT (AP) — Riding a wave of momentum, Syrian rebels made a run on Aleppo Saturday in some of the fiercest fighting seen in the country's largest city, which has been a key bastion of support for President Bashar Assad over the course of the 17-month-old uprising.
The rebels also took over a third border crossing — and the second one along Syria's frontier with Iraq — another sign the regime's tight grip on the country is wobbling.
The fighting in Aleppo comes on the heels of intense clashes in the capital, Damascus, as rebel forces target the pillars of regime power in their attempts to usher in what they hope will be the end of Assad's rule.
"There were huge explosions and the gunfire didn't stop for several hours," Aleppo-based activist Mohammad Saeed told The Associated Press via Skype. "The uprising has finally reached Aleppo."
The city has remained largely loyal to Assad and been spared the kind of daily bloodshed that has plagued other areas.
But Saeed said dozens of fighters from the rag-tag Free Syrian Army entered Aleppo — a commercial hub — from the countryside and were fighting regime troops from inside.
It was the first sustained fighting in the city center, focused on the Salaheddine district, although there have been protests in Aleppo and violence on the outskirts.
The rebels have put the regime on the defensive after a week of battles in the capital, Damascus, including a bombing that struck at the heart of the regime, killing four high-level government officials. The coming days will be crucial to determining whether the regime can recover from the blows, which have punctured the sense that Assad's hold on the country is impenetrable.
Rebels also took over the Syrian side of the border crossing at the Iraqi town of Rabiya, 520 kilometers (320 miles) northwest of Baghdad, according to Atheel al-Nujaifi, the governor of Iraq's Ninevah province.
Iraqi officials said rebels tore up and shot at posters of Assad but did not face any resistance from regime authorities who surrendered the sprawling, dusty border crossing peacefully. Iraqi officials quickly barricaded the crossing and ordered additional troops to secure the area.
Rebels also seized the Syrian side of the border crossing at the Iraqi border town of Qaim on Thursday. Rebels also attacked a remote Syrian military post near the border on Thursday, killing 21 soldiers, and overran a border checkpoint with Turkey last week.
French Foreign Minister Laurent Fabius warned Assad to prepare to leave.
"Bashar Assad's regime is condemned by his own people, who show great courage," Fabius said. "It's time to prepare for the transition and the day after."
He also encouraged the opposition — which is fractious and beset by infighting — to unite.
"It's time for the opposition to get started on taking control of the country," he said. "We want the rapid formation of an interim government that will be representative of the diversity of Syrian society."
Damascus and Aleppo are both home to elites who have benefited from close ties to Assad's regime, as well as merchant classes and minority groups who worry their status will suffer if Assad falls.
But for months, rebels have been gaining strength in poorer towns and cities in the Aleppo countryside, gaining footholds near the Turkish border.
Anger has been building inside Aleppo at the government's deadly crackdown on the uprising and in recent months, huge anti-government demonstrations have broken out, particularly among students at Aleppo University.
In May, Syrian forces stormed student dormitories during an anti-government protest at the university, firing tear gas and bullets in an hours-long siege that killed four students and forced the closure of the state-run school.
An amateur video posted online by activists showed Aleppo residents walking with bags of belongings or packing into cars and driving away.
Another video showed protesters pounding an iron bust of Assad's late father, Hafez, with rocks in an attempt to break it. The videos could not be independently verified.
Activists and residents reported relative calm in Damascus on Saturday, although sporadic gunfire and explosions could be heard.
Two residents who did not want to be identified for safety reasons said by telephone that the fighting peaked between 1 a.m. and 3 a.m. local time.
One of the residents said most shops in the capital were closed Saturday and traffic was light.
Authorities have set up checkpoints at the entrances of Damascus in an effort to separate it from rebellious suburbs, and the resident said many grocery stores and vegetable vendors were unable to get supplies.
Piles of rubbish were starting to pile up in many parts of the city.
"The tension is palpable, people are scared about what might be coming," the resident said by telephone from the upscale middle class Mazzeh district. "A lot of people are just staying at home."
The Britain-based Syrian Observatory for Human Rights and a Damascus-based activist said two people were found dead in the Midan district after regime forces stormed their apartment. The activist, who gave his name as Omar al-Dimashqi, said the pair had been stabbed with knives, but that could not be independently confirmed.
Syrian forces recaptured the battle-scarred neighborhood on Friday and proudly showed reporters the dead bodies of rebel fighters lying in rubble-strewn streets.
The fighting in Damascus has sent thousands of Syrians pouring into neighboring Lebanon and Iraq.
Iraqi officials said about 1,000 nationals had left in eight flights from Damascus over the last two days to escape the escalating civil war. An estimated 5,000 more has poured through a land crossing by Saturday, despite the rebel takeover of a major Syria border post farther north.
Capt. Saad al-Khafaji of the state-owned Iraqi Airways said Iraqi authorities sent four airplanes to Damascus airport Saturday to evacuate Iraqis stranded in the Syrian capital.
"The planes are waiting for Iraqi passengers, but few are showing up at Damascus airport," he said, adding it was due to difficulties in reaching the airport because of the violence.
Also Saturday, U.N. Secretary-General Ban Ki-moon said he is sending U.N. peacekeeping chief Herve Ladsous to Syria to assess the situation.
The U.N. Security Council unanimously approved a resolution Friday renewing the 300-strong U.N. observer force in Syria for 30 days. The resolution was a lifeline for the unarmed observers who were sent to Syria three months ago to monitor a cease-fire that never happened.
Ban urged all sides to stop the violence, but he singled out the Syrian government, saying it must "stop the killing and the use of heavy weapons against the population centers."
Associated Press writers Qassim Abdul-Zahra and Sameer N. Yacoub contributed to this report from Baghdad.


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Remember rebellion, Boozers? This week brought the one-year anniversary of the Occupy Wall Street movement and we found ourselves yearning for days gone by, when Occupiers took over the parks of America and Tea Partiers stormed the Capitol. In a society marred by apathy, there is something refreshing about the lunatic fringe, no matter what side they are on. Moderation in everything, including moderation, that's our motto.
And that deserves a drink. What we wanted was something quintessentially American — which, in our opinion, must include baseball, apple pie, and whiskey. America, some would say, was built on whiskey, and so it naturally becomes the basis for any truly patriotic cocktail. As whiskey often has what are called "grassy undertones", we thought, obviously, of baseball, now heading into the last few exciting days of pushing for pennants. Luckily, we recently read about an alfalfa-based cocktail that was purported to have a certain "vegetal" quality. Alfalfa in whiskey? That's what we call American ingenuity at its finest.
Occupy Whiskey
You'll know by now, dear Boozers, that we adore flavor profiles that provide interesting contrasts, so that each sip is uniquely different, leading the taste buds through a subtle progression of flavors. This a true sipping drink, perfect for after dinner on the front porch on a cool autumn evening: the alfalfa-infused whiskey provides a certain quality of a freshly-mowed outfield, leading to a tart apple finish laced with beer.
1 large tablespoon fresh apple-beer simple syrup (so delicious — maybe two tablespoons; recipe below)
2 generous ounces whiskey (we use our local Catoctin Creek Roundstone Rye for this, but use your local favorite, as always)
1/2 cup packed fresh alfalfa sprouts
To make the apple-beer syrup: Put 1/2 cup of sugar, one cup of beer (choose a seasonal fall variety — we used Port City Brewing Company's Oktoberfest), and 1/2 cup of freshly grated Granny Smith apple in a small saucepan and combine well. Simmer over low heat for 30 minutes or until the syrup has thickened. Strain well and set aside to cool. Will keep refrigerated for two weeks.
To infuse the whiskey: Put four ounces of whiskey and the sprouts in a cocktail shaker. Muddle the sprouts lightly and set aside for at least 30 minutes and up to two hours. Strain completely before using.
To assemble the drink: Put 1 – 2 tablespoons of the apple-beer syrup in the bottom of a rocks glass. Pour the infused whiskey into a cocktail shaker with ice and shake vigorously. Strain over the apple-beer syrup and garnish with a slice of apple.


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We have just added a link to an excellent online study course from the Hill Phoenix Learning Center entitled Basic Refrigeration - Online.
It's the beginning course of many the Learning Center has to offer focusing on Commercial Refrigeration and Supermarket Systems and it's available to you now as a free preview.
Check it out!


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Fear Station: Charlie is ready for download:
Text File
Download File
Happy New Year, friends.
Moderators: Rex Claussen, Persecution Complex Team - Paranoid, Phobos Directive Team
I'm very glad you liked it.Enjay wrote:A very nice way to spend Jan 1st. Loved the use of 3D - both decoratively and within the logic and layout of the map. Good supply of weapons just when I needed them and good progression of enemies.
Ha! I knew you'd feel that way if you played the map. You felt the same way after Fear Station: BravoIt's quite "corridory" ....
Yes, secret areas in my maps seem to have a way of getting your goat. I must be slipping in my old age.I even managed to ... find all secrets (without reading your secrets file - normally something I fail miserably at) and collect all items.
That's probably 15-20 minutes faster than I'm able to do.Took me 30 minutes and 3 seconds.
Oooh, that's clever. I did wonder if something was going on relating to weapons/enemies but I didn't think it was as cunning as that.Rex Claussen wrote:Incidentally, the battles play differently, depending on which weapons you pick up. For instance, you meet generally lesser resistance if you only pick up the shotgun, chaingun, and chainsaw. Somewhat stiffer resistance if you pick up the super shotgun. And maximum resistance if you pick up the rocket launcher and/or the plasma rifle. In other words, aside from the non-linearity lending itself to replay value, your decisions to pick up or skirt those 3 weapons also add to the replay value.


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How to Use
the Readings
Inquiry Question
Reading 1: The First Explorers
Arriving at the mouth of the great cave, a group of people begin a cautious descent into the mysterious darkness. For torches they carry flaming bundles made from cane reeds that have been gathered from the banks of the river and dried in the sun. As they move downward, their faces are brushed by the cool rush of air that comes from deep within the cave. Their torchlights flicker from the breeze. Sharp rocks on the cave floor push through their thin fiber sandals and grab at their feet. But they press steadily on, downward into the darkness.
Crouching as they proceed through a low passageway, they suddenly emerge into a great chamber, one so large that their torchlight does not reach across it. From this great chamber they walk through a large, arching tunnel of stone. The dancing orange light from their torches makes the cave walls seem to move like animals, but they have been followed into the cave only by their own shadows.
Up ahead, faint at first, then bright like stars in the nighttime sky, little rays of light twinkle from a high ledge near the ceiling of the great cave. One man climbs up onto a treacherous ledge to try to find the source of these twinkling lights. He crouches and sticks his torches into the soft dirt. Then he gets down on his knees and leans forward to use his digging stick to scratch into the cave dirt. He works slowly at first, and then faster and faster. Just beneath an overhanging boulder that leans toward the cave's ceiling, he has found the source of the twinkling lights. He has uncovered the beautiful minerals that will attract many generations of people to the cave. As he uncovers the small rocks from the dirt, he hears his companions call out to him from below.
Suddenly he feels a great weight pressing against his back; he cannot move his shoulder. The cool dampness of the cave soil presses against his face. In an instant his light is gone and there is only darkness around him. He does not hear the shouts of his companions below, as they watch helplessly as a large boulder falls and pins him to the ledge entombing him in the soft cave soil.
Many centuries later, two men crawl and climb along a rock strewn ledge near the ceiling of the cave. They move cautiously so they will not fall to the cave floor below. Tour guides for many years, both are veterans at moving around in the cave. One of the men decides to go around a large boulder, but slips for a moment, catching his balance by putting his hand down to steady himself. He has done this dozens of times before. This time, however, something feels different. Rather than the usual rough and jagged surface of the ledges, he feels something smooth and rounded. He calls his companion to come and look. To the amazement of the two guides, the dim light of their kerosene lanterns reveals the faint outline of the top of a man's head sticking out from beneath the large boulder. Quickly the men leave the cave to find others, including archeologists, to come and see their discovery.
That year, 1935, proved to be one of the most exciting years for archeological research in Mammoth Cave's history. The two guides, Lyman Cutliff and Grover Campbell, had found what archeologists would determine was the well-preserved body of a man who had visited the cave almost 2,000 years before. Their studies indicated that the man had indeed been on the ledge looking for something when he was trapped beneath the large boulder. With the help of the Civilian Conservation Corps, archeologists lifted the heavy boulder with ropes and pulleys, and revealed the body. The physical evidence showed that the man belonged to a group of people archeologists refer to as "Early Woodland"--a people who hunted game and gathered wild foods in the eastern woodland forests. They were also the first farmers in the Green River Valley, experimenting with growing gourds and sunflowers. Their artifacts, including cane reed torches, digging sticks, and sandals made from vegetable fibers "twined" together, have been found in many parts of Mammoth Cave.
Archeologists believe these first explorers probed deep into the cave to collect minerals such as gypsum which formed in the drier passageways. Why would they take such risks to collect minerals? Perhaps to use them in religious ceremonies or to trade to other groups. Perhaps the idea of collecting the sparkling minerals from beneath the earth made them especially valuable. The complete answer to this and other questions lies still buried deep in the darkness of Mammoth Cave.
Questions for Reading 1
1. How does the reading help you to identify with the first groups of explorers of Mammoth Cave?
2. What type of lights did these explorers use and how did they get the material to make them?
3. What were some of the sensations and emotions these people may have felt as they entered the cave?
4. Why do you think that people first went into the cave? What do you think it would be like to be an explorer with only the simple tools and equipment of these first explorers?
5. What product was found in the cave that can tell us about why prehistoric people pursued their explorations of Mammoth Cave?
Reading 1 was compiled from Alonzo W. Pond, Lost John of Mummy Ledge (New York: The American Museum of Natural History, 1937); and Kenneth B. Tankersley, Patrick J. and Cheryl Ann Munson, and Patty Jo Watson, "Prehistoric Selenite and Satinspar Mining in the Mammoth Cave System, Kentucky," Midcontinental Journal of Archaeology 14, no. 2 (Kent State University Press, 1989), 119.


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Food & Drink in the Main Library
Library patrons are encouraged to consume food and beverages in the CyberCafe. Patrons who bring their lunches are encouraged to eat them in the CyberCafe. Food may not be ordered for delivery to the library.
Patrons are encouraged to use spill-resistant beverage containers in the Main Library. No food or drink in any container is permitted in the Map Library, Fine Arts Library, or Special Collections.
Examples of preferred beverage containers:
- library cafe or coffee shop-type travel mugs
- sport bottles
- straw-equipped bottles
- pop/soda bottles with sport bottle-type pop tops
- thermos bottles with spill-resistant, closable spouts
Spills should be reported immediately to the nearest service desk so they can be cleaned up quickly to avoid permanent damage.
Library users may be asked to remove food or beverage containers if judged by library staff to pose an imminent threat to library furnishing, equipment, or material. If users refuse to cooperate, assistance will be requested from the MSU Department of Police and Public Safety.


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First off here are the two promised tintypes from Spokane WA. For some reason the iPhone refuses to take god copies of these, so these images are still a lot less sharp than the original plates. Oh well - I really probably should have brought my 5DII on this trip, but I wanted to make this as analog of a trip as possible and since the 5D would only be used to copy the plates I figured I should leave space for real cameras instead. Now I kinda wish I had it since the iPhone liked to pick up color where there is none and it's really nowhere near as sharp as the Canon. I'll have to make good copies of all these plates when I make it back to San Diego and post them on my website - that will be a great reason to actually update that thing...
After seeing the sunset in Spokane and making the above plates I drove east until I reached Post Falls Idaho. There I filled up with diesel (which is a bit cheaper in ID than in WA) and found a dead end street that I thought I wouldn't be bothered on if I park there for the night. It was out of the way, behind an industrial park and close to a river with only one house farther up the road visible on GPS satellite image. I actually did some varnishing starting at 1am and so I didn't get to sleep until about 2:30. I like to keep on top of the varnishing process not only because it will prevent my plates from oxidizing, but also because it's quite a time-consuming process in itself, and if I were to fall behind on it and collect more than 10-15 plates it would take forever and a half and I'd inhale more alcohol fumes than I really would like to. Unfortunately my calculation about the street being quiet didn't pan out and at 6am exactly someone drove by at high speed while blasting electronic music like it was a mobile rave or an art car at Burning Man. I tried to go back to sleep, but not 5 minutes later they drove back with the same song still on and after that the sun was starting to hit the windows and it became too bright to sleep. I like to get more then 3.5 hours of sleep per night, but what's a guy to do?
I decided to explore the town where I ended up in, especially considering that my trek through Idaho was not going to be too long - I-90 goes right through the skinniest part of the state and if I didn't stop I could have been done with the whole state in 1-1.5 hours. Upon taking the side streets I found the following scenes right by a mill. The camera has to be set up for a while, so a manager came out and asked me how come there was a camera pointed at 'his building'. Apparently he thought I was an environmentalist of some sort and that I was collecting evidence... I asked him if they were polluting and he said they didn't. I didn't have time to do a full inspection and neither am I qualified to do that, so I had to take him at his word on that fact. The tintype of the building actually came out really great - one of the best tonal ranges I have gotten so far.
I wasn't done with the area just yet and, wanting to see what river life was all about, looked up a street that goes by the water. The street turned out to be a gravel private one, but there was no way to turn Gilli around and so I had to creep by the really nice waterfront houses at 5 miles per hour as the handwritten sign at the beginning of the private part requested. It being a private street I felt like I should ask someone if I could set the camera up on their property, so I stopped at a boat repair shop thinking that they would be OK with me walking out on one of their many docks. Not so. Apparently it's too much to let someone make art on their property. As I drove away I got a phone call and paused to talk with my engine still running. A nice old lady popped out of the house in front of which the bus was idling and after explaining what I do and why I'm on a private road (not being able to turn around was my excuse), she let me park by her garage and use one of her docks to make the following two exposures.
After those I felt that Post Falls has been explored enough and got back on I-90. Not far was a beautiful lake by the name of Corte d'Alene. I had a great chance to gaze at it because the highway makes a pretty steep climb and I was going about 30mph. On the slope down I was picking up speed, but still looking at the lake with the corner of my eye. To my surprise and delight I saw a very cool looking statue of an old-western looking photographer with a large format camera. I knew I had to stop and make a tintype of that. What followed was a serious effort to get the plates.
First off, as I mentioned, there was a good hill that I just got over and I didn't remember seeing an exit right on top of it. The next exit was about a mile and a half down the road and after taking it I pulled over to see how I'm going to get to this statue. The previous exit was indeed all the way back over the hill and quite a ways back, so I decided to take a side road that wound around on the other side of the highway and eventually seemed to pop right out by the lake again. Just my luck - the road turned out to be a mountain dirt road! Gilli took it rather well and I got to see some great property lots for sale and a few castle-like cabins on those lots that have already been sold. When I got to the paved road that runs around the lake, which I thought would lead me to the statue, there was a sign proclaiming that the road ended in 2 miles. I wanted to know how close to the object of my photographic desire those two miles would take me. The road ended in a large parking lot and the statue was nowhere in sight. There was a foot and bike path that went on from there, so, having already gone this far I parked and walked on to find the darn thing. I found it, but after looking back I thought to myself 'is it really possible to make a wet plate image with a darkroom being about a quarter of a mile away and it being about 80°F outside and what felt like 10% humidity?'. I was not going to give up easily though. Walked back to the bus, set up the chemistry, got the camera, walked to the statue, set up the camera and took this shot. Outlined in red on the right side of the frame is the roof of Gilli-the -darkroom-bus.
By the time I got to the darkroom the thermometer there read 90°F. Even before finishing the collodion pour I was sweating like I just ran a mile at full speed. While the plate was being soaked in silver nitrate I changed my jeans to shorts, shoes to shorts and took off my shirt in preparation for a run. I also prepared a plastic bag with water-soaked paper towels to keep the holder cool and in humid condition in hopes that it would keep the plate from drying. I don't run very often. I am a firm believer that we as humans were designed to run at full speed only in times of danger and even then only to a nearest tree that we can climb on, but this time I did run like there was a tiger chasing me and the camera was my safe zone. This run was up a slight incline and by the time I got to the camera I was starting to shake a little, but managed to unwrap the holder from the wet towel, stick it in the camera and press the cable release. After wrapping the holder back in the moist towel I darted back down and dove into the sauna/darkroom. When I ran out to the camera I actually started a timer to see how long it would take me to get back and when I got back to the bus I saw that it's been 3.5 minutes. The plate was as dry as I have ever seen a 'wet' plate prior to development, so I was not sure if my efforts were about to be annulled completely. As I was pouring on the developer my hands were shaking a bit and the dim red light seemed even dimmer than usual. Nonetheless I watched closely as an image started to form and was happy to see that detail is starting to appear. I actually had to add some developer because, either from the heat or from my hands trembling, by the 20 second mark there was no visible pool of it left on the surface. I think 30 seconds was the time I gave this plate and it seemed like the longest 30 seconds ever. After I rinsed and fixed it I thought that it was about 1 stop underexposed as I usually like my plates a bit brighter. Well, the camera was already set up and there was nothing left to do but to coat another plate and mentally prepare myself for another run. When I jumped out the bus for the second time I was sweating like a hog and looked pretty much like a mad man with purple gloves. I did notice that there was a a guy and his kids who were just about to leave loading up their truck and in the back of that truck was a bike. No bike has ever looked as good and I quickly proclaimed to the man that I would love to borrow his bike for a couple of minutes in the name of art. After finding out that I was making tintypes he quickly agreed, lowered the seat and off I went. The rushing wind has never felt so good against my wet skin and I was at the camera in no time. After adjusting the exposure and releasing the shutter I folded the tripod with the camera still on it and rode back downhill with the whole setup in my left hand while steering around a large and very spread out family with kids who suddenly appeared on the path. Besides kids there were two adults texting away on their phones and I must say that as far as paying attention to the surroundings they were wore than kids - kids jumped out of the way while I had to make road runner noises just to get the phone-glued adults to notice me. I think the time it took me to fold the tripod an the fact that on the way back the holder was no longer in a wet towel wrap meant that by the time I was back in the darkroom the second plate was as dry as the first. I again applied the developer twice and gave the same time. I think it was all worth it! Below are the results of this little story. I love both of the plates and have a hard time deciding which I prefer, but now am leaning toward the darker first one. I'll have to see how they take the varnish and give it some time to distance myself from the above experience in order to see these images more clearly for what they are vs. what I went through to make them.
I thought I was done shooting for the day, so I drove onward toward Montana on I-90. It didn't take me long to notice a tee-pee and to get yet another urge to make a plate or two happen. The place where the said tee-pee was placed is called Old Mission State Park and I got there just in the nick of time - it was 5 pm and the lady in charge of collecting visitors fees was seen walking away from her post. I selected a beautiful parking spot and made the following exposures.
After that I was definitely done for the day and drove into Montana with a sense of accomplishment. There are no big towns west of Missoula and I didn't feel like driving all the way there, so I pulled over and slept in a little no-stop-light town of St. Regis. In the morning I stopped by a coupe of antique shops and found a great little tintype that was made in 1930s. It loos like one of those tintypes that I've heard about - the kind that was made at a local fair and was given to the people in the shot within minutes of exposure. It has a really nice paper mat with art deco design and on the back are handwritten words reading 'Ain't we sweet'. The photo is badly darkened, probably because the photographer skipped on the archival processing in order to give the image to the customer as soon as possible and be on to the next one. In the shot there are two young ladies standing by a front end of a rather large automobile. I wonder if there is a way to brighten the image back up... I'll have to read up on tintype conservation and restoration.
The drive to Missoula didn't take long and I noticed a great little spot overlooking the city where there was a large dirt pull-off right on the side of the highway. I decided to come back there and did just that after contacting a photographer by the name of Brian H Johnson with whom I was hoping to stay for the night. Here is a plate that I got after going back on the freeway. I like how there is a letter M on the side of the mountain. There are not too many letters that can be reversed with no loss of meaning.
Having spoken with Brian I met him at his place where the neighbors were having a block party. The decorations and lighting caught my eye and I decided to do it justice by making a tintype as the folks neighbors on. I think this is a Very American plate.
Now it's past midnight and I should really get to bed. Tomorrow is an exciting day - I have a trip planned to Photographer's Formulary and can't wait to get up there so I can tell you all about it in the next post.


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"..you know it's funnny – funny how time flies as I've watched days turn into yeeaars.." – lyric from 'Still a Thrill'
Though the pairing of black and white has always been a classic in fashion and runway mainstay it's back at the forefront of what's hot for Spring 2013. I can't help but recall wearing it back in 1980 for a photo session I did while a member of the group Shalamar. In fashion, everything comes back around in some form or another.
If I see something I like and buy it; it's simply about what appeals to me and my individual style and taste – this has remained consistent with me through the years. If you've been around for a 'trend' that has returned and you choose to wear it; it's about what works for you now. It's key to not be stuck in what worked in the past – make it work for you now. The same applies to make-up you can't wear the same hues that you did as a teen or young adult. Tweak, revise, remix, update! In this case I paired my new black and white blouse from Zara with bright orange slacks from H&M – effortless and relaxed chic.
The photo of me on the left is from 1980 when I was in Shalamar, the photo on the right was a couple of nights ago at a party I attended; still fabulous and still me – aging gracefully. If we're lucky, we're all going to get older; the key is to do it with style and grace!
Photo's: Jody Watley


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The BMW M5 is as old-school as high-performance sedans get. Name an opponent, and the M5 has taken it down. But can it hold its own against the comeback kid of 2009, the resurgent Cadillac CTS-V?
That's what our pals at MotorWeek sought to find out when they took the M and the V to Georgia's Roebling Road Raceway, having decided this title bout was too big for their little Owings Mills, Maryland.
In one corner, we have the beefy, V10-powered M5, described by Mr. John Davis as "muscular, but not bulging; think old-school like Gentleman Jim Corbett in his street clothes."
In the other, we have the CTS-V, "a visual statement that promises blunt-force trauma to all who get in its way; call it a young Mike Tyson in a torn t-shirt."
Who comes out on top — Germany's reigning champeen or America's eager new challenger? Grab some popcorn and put the kids to bed, it's time to ruuuuuuuummmmbleeeeee!
MotorWeek Theater is our showcase of some of our favorite classic reviews from public television's finest motoring program. How does this video only have 78,132 views on YouTube? It's 18 cylinders of fury!


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Cancer treatment bill being held up in state Senate
Cancer patients in Wisconsin are missing out on a treatment option that could save their life.
The issue at hand is the affordability of oral chemotherapy treatment.
As it stands, the majority of insurance companies cover IV chemotherapy, but either don't cover the oral version or charge tens of thousands of dollars for it.
A bipartisan bill in the state Senate would require insurance companies to cover the oral drug.
However, Republican Senate Majority Leader Scott Fitzgerald appears to be blocking a vote on the bill.
Republican state Sen. Alberta Darling is a cancer survivor and said this bill must pass.
"We should be able to have that choice, and the doctors should be the ones to choose the best treatment, and if you have insurance, and it covers chemotherapy, we're saying that there should be parity with oral chemotherapy as well," Darling said.
The majority leader's brother, Jeff Fitzgerald, is lobbying against the bill, but Darling doesn't believe those efforts have any role in why the bill hasn't come to vote.
Time is running out on any chance of it passing as the Senate prepares to finish out the session next week.


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The first time Arthur Friedman walked into Fort Lauderdale's Gateway Theatre a couple of years ago, he wasn't put off by the weathered marquee, ragged carpet, gloomy hallways and unwelcoming restrooms. He was charmed.
"It had a wonderful, intimate feel," says Friedman, a movie producer (the Bobby Darin biopic "Beyond the Sea," among others) with a long history of running small movie theaters in New England. In fact, the Bronx-born Red Sox fan (yes, he's complicated) thought the Gateway had "good bones," and just needed the kind of attention given to a revered Boston landmark.
"I was reminded of the first day I walked into Fenway [Park] in the 1960s. It was old and decaying," he says of the now-remodeled Red Sox stadium. "They took an old ballpark, which I love, and made it 'new-old,' by keeping the ambience. This is the movie version."
Where some saw a lost cause, Friedman, now living in Pompano Beach, saw the opportunity to create a community hub for people who love watching and talking about movies like he does.
After fixing the bathrooms, replacing the carpet and brightening passageways for nostalgic pictures and mementos ranging from Marilyn Monroe to Jackie Robinson (some from his own collection), he rebranded the building the Classic Gateway Theatre.
One of his signature projects begins this weekend with the opening of the second annual Classic Film Festival, a slate of 16 handpicked dramas and comedies running Friday through Sept. 26. What began last year as an idea to merely fill the slow weeks before the tourism season kicked in was instantly successful, Friedman says, and had to have a reprise.
"People were always coming up to me and asking when [the Classic Film Festival] was coming back," he says.
With easy streaming of movies into your family room, Friedman believes there is a whole generation of film viewers raised on small-screen versions of movies that deserve the term "epic." The sweeping grandeur of a "Dr. Zhivago" and "Lawrence of Arabia," the intimate emotions of "It's a Wonderful Life" and "The Way We Were," and the lusty laughs of "Young Frankenstein" and "Manhattan" are exponentially more powerful when absorbed on a big screen in a communal setting, he says.
"There is no other way to truly experience these films," he says.
Picking an all-time favorite is like asking Friedman to choose a favorite ballplayer. But he can do both pretty quickly: Willie Mays and David Lean's WWII epic "The Bridge on the River Kwai," which is again part of the festival.
"It's a masterpiece," he says. "It was made for the big screen."
The Classic Film Festival runs for four weeks, with four films running in revolving order at different times each day Friday through Thursday. Beginning this weekend, Week 1 rotates "On the Waterfront," "Dr. Strangelove" (trailer below), "Mr. Smith Goes to Washington" and "The Maltese Falcon." On Sept. 6, Week 2 has "All About Eve," "Band Wagon," "Tootsie" and "Dr. Zhivago." On Sept. 13, Week 3 has "It's a Wonderful Life," "The Bridge on the River Kwai," "An Affair To Remember" and "The Graduate." And on Sept. 20, Week 4 has "The Way We Were," "Lawrence of Arabia," "Manhattan" and "Young Frankenstein."
The Classic Gateway Theatre is at 1820 E. Sunrise Blvd. Tickets cost $10, $8 before 4 p.m.; seniors, students and 12 and younger $8. All tickets cost $7 on Tuesdays. A portion of the proceeds benefit the Sun-Sentinel Children's Fund. Info: 954-763-7994, ClassicGateway.com.
The Bonnie Clearwater era at NSU's Museum of Art/Fort Lauderdale (1 E. Las Olas Blvd.) begins with a celebratory bash for its new director beginning at 7 p.m. Saturday. Given Clearwater's years of smart stewardship at one of South Florida's most respected museums (North Miami Beach's Museum of Contemporary Art) and the resulting buzz over her move to MoAFL, you can imagine the arty who's-who who will be in attendance. The party includes drinks, hors d'oeuvres and live music. Admission: $5, free for members. Info: 954-262-0227, firstname.lastname@example.com.
The engaging Tracy Fields had a rewarding conversation with Silvano Monasterios the other night on her WLRN radio show "Evenin' Jazz" (9:30 p.m.-1 a.m. on 91.3 FM) in which the pianist, a man of prodigious talent, revealed that he fell in love with the genre thanks in part to pop albums such as Steely Dan's "Aja" and George Benson's "Breezin'" (with piano from fellow Argentine Jorge Dalto). This made me feel a little closer to the genius that is Monasterios. Hear him Friday night with the Fourth World Ensemble at the Arts Garage (180 NE First St., Delray Beach). Tickets: $25-$40. Info: 561-450-6357, ArtsGarage.org.
Three-day weekends can mean a getaway drive, which requires a soundtrack. Our playlist will include big chunks of "Treinta Dias" (Thirty Days), the bouyant major-label debut by La Santa Cecilia, an alt-Latino quartet from Los Angeles led by commanding vocalist Marisoul. Worth a mention is the song "Losing Game," featuring jazzy rock troubadour Elvis Costello. Hit the links for more on La Santa Cecilia or to buy "Treinta Dias"
The B.E. Easy Music and Art Festival moves to the revitalized (and yet still under-appreciated) Hugh Taylor Birch State Park near Fort Lauderdale beach noon-11 p.m. Saturday, bringing a strong dose of jammy grooviness from more than a dozen acts led by Ivan Neville's Dumpstaphunk, the Resolvers, Uproot Hootenanny, the Funky Nuggets and the Short Straw Pickers. A multitude of vendors and food trucks, including the consistently tasty Nacho Bizness) will be on hand as well. Tickets at $30, four for $100, at BrownPaperTickets.com. Proceeds go to the nonprofit B.E. Easy Scholarship Fund, created in the name of the late Ben Evans to help those in need of treatment for addiction. More info: BEEasyMusicandArtFestival.com.
Palm Beach Zoo
(1301 Summit Blvd., West Palm Beach) on Saturday brings back the popular
Food Truck Safari,
which drew more than 1,000 people in July. The event, which runs from 5:30 to 9:30 p.m., will again salute a food truck with a Sustainability Award for its environment-friendly operation. Last year's winner, the
Daily Special
, is back, along with other trucks scattered throughout the zoo, including
Spring in Roll Out, BFF, Taco Fresh, PS561, Dolce Gourmet Cupcakes, Paradise Shave Ice, Da Burger Shack
. Admission: $10, $9 members, $7/$6 for kids. The food trucks will take credit cards and are donating a portion of their proceeds to the zoo. Info: 561-547-9453,
As you may have read here earlier in the week, young Miami-based choral group Seraphic Fire was pushing for all of its fans to buy its new album, "Ave Maria: Gregorian Chant," when it was released on Tuesday to see if enough of the right Internet algorithms could be triggered to put the album on the Billboard chart coming out next Tuesday. Which should not obscure the fact that "Ave Maria" ought to be purchased quickly simply because it is an extraordinary recording, filled with lush harmonies and ancient mysteries. It's the perfect antidote to the stress of the inevitable traffic backup in the Keys. Hit the links to buy "Ave Maria: Gregorian Chant" on Amazon or on iTunes.
Best suggestion we've heard so far for Grease Burger's contest to salute FSU is that a Nole Burger should have anoles aplenty. But can you catch enough lizards to feed that packed house? This is the weekend when the West Palm Beach eating and drinking establishment (213 Clematis St.) gets down to it with its Seminole Burger competition. You have through Saturday to email your recipe to email@example.com (include your name and put "Seminole Burger" in the subject line). Three finalists will be announced at the restaurant during the FSU vs. Pittsburgh game on Monday. Grease will serve slider versions of the finalists during the Florida vs. Miami game on Sept. 7 to help determine the winner. More details here.
Not often that the vanguard of that infectious mix of reggae, electronica and Afro-Cubanismo that defines some of Miami's best shows wanders into Palm Beach County, but one of the best, Suenalo, hits the Bamboo Room (25 S. J St., Lake Worth) Friday night. Tickets: $12, $15 at the door. Info: 561-585-2583, BambooRoomBlues.com.
Admission: We don't really watch NBC's "The Voice," but used to keep track of the likable power-pop put out by Palm Beach County rockers Hey Monday. The band's vocalist, Cassadee Pope, winner of Season 3 of "The Voice," will return to her hometown of West Palm Beach on Friday with a free performance on the Summer Country Music Concert Series at CityPlace. Her debut solo album, "Frame by Frame," is set for release Oct. 8. The concert begins at 7:30 p.m., with an afterparty and public meet-and-greet nearby at Tequila Cowboy Bar and Grill. Info: 561-366-1000, CityPlace.com.
The Boca Raton quintet Phantomime will celebrate "The Heist," a new collection of their darkly theatrical rock at 8 p.m. Saturday in the Green Room (109 SW Second Ave., Fort Lauderdale), accompanied by Fort Lauderdale-based Cupcake Burlesque in what sounds like a particularly provocative performance that may involve straitjackets. The show, which includes the Pathetique and Raggy Monster, is free for 21-and older, $5 for the rest, who can't get in after 11 p.m. Info: 954-449-1030, GreenRoomLive.com, Facebook.com/Phantomime.
We takes our '80s seriously in South Florida. Everybody? Wang Chung. Saturday night. Yes, the band, the verb, will perform a free show 8:30 p.m. Saturday at Magic City Casino (450 NW 37th Ave., Miami). Info: 305-460-6579, MagicCityCasino.com.
The reason that GEICO's "Happier Than Eddie Money Running a Travel Agency" commercial worked (aside for his quirky snippet of "Two Tickets to Paradise") is that there was a time that he was pop chart money, from "Two Tickets" and "Baby Hold On" in 1977 to "Take Me Home Tonight" nearly a decade later. Money performs at 8 p.m. Saturday at the Seminole Casino Coconut Creek (5550 NW 40th St.). Tickets: $30-$52. Info: 954-977-6700, SeminoleCoconutCreekCasino.com.
Get daily updates on South Florida entertainment and things to do at SouthFlorida.com, on Twitter at @BenCrandell and Instagram /BenCrandell.


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Product Description
The Scoli~Band is a Livestrong-styled bracelet designed to show unity among scoliosis patients, healthcare providers, and supporters worldwide. The green bracelet displaying the three curves from our logo was designed by Jamie Phillips, a post surgical teenager volunteering at a hospital and running a support group with her Mom to help other kids.
The bracelets are now available for $3 each and come in youth (7″) and adult (8″) sizes. NSF's net proceeds will be used to keep our focus on finding the cause, prevention and cure of scoliosis. In addition your support gives Help & Hope at the local level as well. Any organization such as schools, hospitals, research facilities, clinics, patient support groups, etc, can purchase the bracelets in orders of 25 for $2 each and use the remaining $1 to fund their local efforts to make life better for people with scoliosis and related spinal deformities.


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This is one of a series of responses to the publication of the report of the Leveson Inquiry. For an introduction, and links to other posts, see here.
Interest in the implications of the Leveson recommendations in Scotland in particular was highlighted by statements from the Scottish National Party this week reminding all and sundry that the Scottish Parliament might take a different approach, particularly if the response of the UK Government was too timid or too intrusive. I (and I'm sure others) therefore made a beeline for the discussion of the report and devolution (p 49). It is clear that there is an awareness that while some of the issues are currently within the exclusive competence of the UK government in respect of all territories, other issues are the subject either of specific devolution or (in the case of Scotland) not being reserved to the UK. (Compare for example media pluralism with the law of privacy). It's noted that it would fall to the relevant administrations to implement the report, but that it should be possible for that to happen. "I have not been made aware of any technical reason why my recommendations should not be able to be accommodated, with appropriate adjustment, in all parts of the UK, but I have not sought detailed advice on the matter."
Possible it may be, but I think that there are three issues to watch for here.
1. Policy divergence. This is the issue hinted at by the Scottish statement of this week. Let's imagine that the UK government declines to implement a particular recommendation, but there is support for it in Scotland, and it's in an area where there is legislative competence for Holyrood to take action. Will it do so? Would other administrations follow?
2. The role of Ofcom. This is not an issue dealt with in the report, but is worth thinking about. The vast majority of Ofcom's work falls within clearly reserved / non-devolved areas. Telecoms, television, etc. Ofcom is conscious of issues in 'the nations' including in its committee structure, its work on Welsh, Gaelic and Irish, etc. But if Ofcom were to be responsible for oversight of the press regulatory system, that would open up an interesting type of relationship between Ofcom and the administrations. This could be 'solved' by ensuring no government or legislative role in the process – which some favour and the report seems open to – but would the legislative change be done through UK legislation (applying the Sewel convention for the consent of devolved legislatures to UK legislation in devolved fields) or through the separate legislatures conferring power on Ofcom? Would Scotland want to beef up its oversight (policy, administration and finance) of Ofcom if Ofcom has oversight on a matter in which the Scottish Parliament has legislative competence?
3. Independence. Because by the time all of this gets up and running, it might have happened. The Scottish Government has already taken the approach of being gently critical of Ofcom issuing long-term licences in other fields given the upcoming referendum….
4. If regulation depends in part on being linked with legal remedies (i.e. relying on subscription to a regulatory body as a defence), many of those defences will relate to devolved areas – note in particular that the matters in the current Defamation Bill is not the subject of active consideration in the (separate) defamation law of Scotland.
5. Data protection is reserved, privacy is (generally speaking) devolved in respect of Scotland and (more tentatively) Northern Ireland. Ponder the future of the Information Commissioner in the context of devolution, particularly if it is to become an Information Commission. (Already, the ICO does not deal with FOI for Scotland).
Of course, the bit of Scottish interest that will get more of the headlines will be the role of the First Minister in relation to Sky (see pp. 1407ff, pp. 1418ff), on which I'm not sure I have anything interesting to say right now.


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Our elegant stretch velvet comes in a variety of colors. This fabric has a soft velvet top and is able to stretch in all 4 direction. Great for costumes, dancewear, skating, formals, pageants, special occasions or other sewing projects.
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Pick up this quality fabric today, and you will be amazed at the way it add beauty to your designs.


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Hey everyone! A new tutorial that I have made has arrived to Dragoart for you to view! This tutorial shows you how to draw an electric guitar. Please view, rate, and comment! Peace out.
DragoArt members upload artwork and drawing tutorials! They are also allowed to leave comments on tutorials, profiles, etc. Many more features, as well; it's way better than just being a boring guest! Register Now!


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Chris Drangle
Chris Drangle grew up in Arkansas. He has worked as a car washer, a legal assistant, a DJ and a copywriter. He is currently an MFA candidate at Cornell University, where he teaches freshmen and serves as an assistant editor at Epoch magazine. He is working on a novel.


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Global Standards for the Microelectronics Industry
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