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The exhibition "Johannes Vermeer", on display at the National Gallery of Art in Washington, D.C. November 12, 1995 through February 11, 1996 before moving to The Hague's Royal Cabinet of Paintings Mauritshuis, was the first ever exclusively dedicated to the paintings of the celebrated seventeenth-century master of Delft. This show brought together twenty-three of the thirty-six works attributed to Vermeer, presenting a once-in-a-lifetime opportunity to experience a thorough survey of his stunning work.
Vermeer chose as his motifs moments from ordinary life. He often portrayed individuals transfixed in quiet contemplation or in the performance of some seemingly mundane task: pouring water or milk, reading or writing a letter, donning jewelry. Yet the images are rendered with such expressive virtuosity that these moments are transformed into aspects of eternal truth.
The means by which Vermeer accomplished this transformation is one of the arcane mysteries of his art. The inviting realism of his paintings makes them accessible to nearly everyone. A closer examination of Vermeer's technique, however, reveals that he often altered reality in order to achieve a more powerful expression of his theme. The manipulation of light and shadow, in particular, served to intensify aspects of his composition.
The preparations for the exhibit have resulted in valuable additions to Vermeer scholarship. Most of the works underwent cleaning prior to the show, which not only presented their pristine appearance, but revealed many hitherto unrecognized subtleties in technique. Specialists have subjected the paintings to x-radiograph and infrared reflectography. These state-of-the-art methods provide a behind-the-scenes look at how Vermeer planned and executed the works. In many cases they reveal changes he made to his original composition, providing insight into his creative process.
Few biographical details of Vermeer are known. He left no writings. No facts have come to light regarding his artistic training and there are no records of any commissions he may have received As a result, art historians have had to focus exclusively on the paintings themselves. This concentration on technique, omitting biographical detail in the critical interpretation of Vermeer's work, has clearly contributed to our comprehending his art as an expression of eternal truths transcending the ostensible subject matter.
This exhibit was unfortunately affected by the federal government shutdown. It is a sad reflection on the state of affairs in Washington that budgetary gridlock limited the number of people able to view this extraordinary display. The only consolation is the knowledge that the art of Vermeer will be remembered long after the names of today's politicians have been swept into the dustbin of time. While no reproduction can substitute for the experience of viewing the genuine work of art, we at Glyphs hope that this review conveys at least a taste of the exhibit for those who were unable to see it in person.
"View of Delft", c. 1660-1661
( 700 x 571 / 51 k / jpeg )
Oil on canvas
96.5 x 115.7 cm (38 x 45 9/16 in.)
Royal Cabinet of Paintings Mauritshuis, The Hague
"View of Delft", c. 1660-1661
In an early review of the exhibition, curator Arthur Wheeler was quoted as asserting that the show would not have been held had "View of Delft" not been made available. Although I had always considered it a remarkable painting, this claim still seemed somewhat extravagant. Then I saw the exhibition. "View of Delft" is prominently hung in the center of the second room. It is without a doubt one of the most captivating, compelling works of art I have ever seen. It has an overwhelming presence, conveying the perception that you are beholding a cityscape more real, more substantial than anything you could possibly encounter in the outside world. One of the pleasures of Vermeer's art is its accessibility. You can stand in awestruck wonder before this painting without having to analyze it, without needing to understand it on an intellectual level in order to appreciate it. Of course, when you awaken from your aesthetic reverie, it is only natural to want to understand how Vermeer could bring about such an intense effect.
The most significant effect is the lighting. Dark clouds overhanging the city cast the foreground in shadow. This not only calls attention to the vastness of the sky, but serves to draw the eye into the heart of the city, which is bathed in warm sunshine. Vermeer also used various textural effects to convey the physical presence of Delft. Anticipating Georges Braque by 250 years, he blended sand with the paint used to render the stone facades, bridge and roofs. In the tallest tower, Vermeer applied a thick impasto of yellow to accentuate the sunlit areas.
"View of Delft" is the only painting of Vermeer that lends itself to comparison with a known motif. As such, it offers valuable insight into his creative procedure. Study of contemporary topographical drawings and paintings of Delft reveals that Vermeer freely adjusted the cityscape in the interests of his composition. He made numerous changes that flattened the cityscape, reinforcing its frieze-like profile. By accentuating the horizontals of the buildings, walls and bridge, Vermeer gave the city added weight and solemnity.
X-radiograph and infrared reflectography show that in the original composition, the reflections of the twin-gated tower ended in the water. By later extending these reflections downward past the bottom of the canvas, Vermeer bound the city profile to the foreground. The reflections, functioning practically as shadows, anchor the mass of buildings to the near shore, forcefully integrating the composition.
In this painting, Vermeer achieved a sense of monumentality by subtle textural, lighting and compositional techniques. He moved beyond descriptive realism to create a mood that conveys the history and character of his city.
"Woman in Blue Reading a Letter", c. 1663-1664
( 575 x 701 / 48 k / jpeg )
Oil on canvas
46.6 x 39.1 cm (18 11/32 x 15 13/32 in.)
Rijksmuseum, Amsterdam
"Woman in Blue Reading a Letter", c. 1663-1664
We all know how annoying it can be in a crowded gallery to overhear the comments of other patrons discussing a work. And the Vermeer show was of course so crowded that this was inevitable. Yet my experience in the exhibition was that as viewers approached this painting, they assumed a hushed silence. It was as if no one dared to interrupt the woman's concentration on the contents of her letter. In this painting, Vermeer has rendered an intense contrast by combining the dynamically expectant posture of the woman with a geometric composition that locks her in space.
The woman is placed precisely in the center of the composition. A table and chairs erect a framework around her statuesque profile. The strong horizontal of the bar at the bottom of the map focuses attention on her hands holding the letter. This compositional grid restricts any hint of motion and denies physical release of the woman's emotional excitement. It seems as if the wandering patterns of the map above her head are her only outlet and express her inner turmoil.
The geometric arrangement does not end with the positive elements of map, table and chairs. Vermeer incorporated the negative shapes of the wall into the structure as well. The asymmetrical balance of these shapes provides additional stabilization of the composition. The importance of these spaces to Vermeer is revealed through an x-radiograph, which shows that he extended the original map outline toward the left. This balanced the width of the wall areas to the left and right of the figure.
Vermeer also used color to stabilize the design. The blue of the jacket, chair and table coverings and the light brown of the dress and map exert a calming effect. The tonalities firmly affix the figure within the compositional framework.
There are two light sources. This serves to diffuse the shadows, avoiding the harshness that a dominating light source would have imposed on the work. Yet again, Vermeer shows his willingness to revise reality to enhance his composition. The flow of light is subtly altered. While the chair and map cast shadows, the woman does not. Encompassing the woman in a diffuse light separates her from her temporal framework, which enhances the sense of permanence that she radiates. To intensify this effect, Vermeer went so far as to contour the figure with a line of light blue.
Although no narrative in the painting makes the content of the letter explicit, there are references to it. In Dutch painting of this time, a letter is nearly always associated with love. The map, as well as the empty chair, allude to an absent lover. The sense of expectancy is made literal by the apparent pregnant condition of the woman.
In "Woman in Blue Reading a Letter", Vermeer achieved a remarkable synthesis of permanence and expectation. The result is a powerful emotional expression that goes beyond the transient associations of the subject matter.
"Woman Holding a Balance", c. 1664
( 719 x 800 / 48 k / jpeg )
Oil on canvas
40.3 x 35.6 cm (15 7/8 x 14 in.)
National Gallery of Art, Washington
"Woman Holding a Balance", c. 1664
This painting has been known until recently as "The Goldweigher" or "Girl Weighing Pearls". Microscopic analysis, however, has revealed the pans of the balance to be empty. The highlight on the pans is not rendered with lead-tin yellow, which is used elsewhere on the canvas to depict gold. Vermeer represented pearls with a thin gray layer topped with a white highlight. The pan highlight is a single layer. In addition, there no loose pearls on the table that would indicate other pearls waiting to be weighed.
This seemingly trivial analysis as to what is being weighed actually bears importantly on the meaning of the work. For "Woman Holding a Balance" is overtly allegorical. The woman stands between a depiction of the Last Judgment hung in a heavy black frame and a table covered with jewelry representing material possessions. The empty scale stresses that she is balancing spiritual rather than material considerations. Vermeer's portrayal does not impart a sense of tension or conflict, rather the woman exudes serenity. Her self-knowledge is reflected in the mirror on the wall. Vermeer's point is that we should lead lives of moderation with full understanding of the implications of a final judgment.
The composition is designed to focus attention on the small and delicate balance being held. The woman's arms act as a frame, with the small finger of her right hand extended to echo the horizontal lever of the balance. The bottom of the painting frame is even altered to provide a partial niche for the scales. The frame ends higher in front of the woman than it does behind her. The complex interplay between verticals and horizontals, objects and negative space, and light and shadow results in a strongly balanced, yet still active composition. The scales are balanced, but dynamically asymmetrical. A cleaning in 1994 revealed previously undetectable gold trim on the black frame that provides a tonal link to the yellow of the curtain and the woman's costume.
Vermeer has endowed "Woman Holding a Balance" with more overtly allegorical context than his other domestic scenes. As such, it loses some of the invitingly subjective interpretation of a less direct work such as "Woman in Blue Reading a Letter". Nevertheless, Vermeer's masterful composition and execution produced a powerful and moving work.
"The Geographer", c. 1668-1669
( 550 x 616 / 53 k / jpeg )
Oil on canvas
52 x 45.5 cm (20 1/2 x 17 15/16 in.)
Stadelsches Kunstinstitut, Frankfurt am Main
"The Geographer", c. 1668-1669
In "The Geographer", Vermeer presents another individual in an interior. This male figure, though, is endowed with intense energy in comparison to the contemplative women of other compositions. The flow of light from left to right activates the canvas. The flow is accentuated compositionally by the massing of objects on the left. The light spills forcefully into the open area on the right, casting a powerful series of diagonal shadows. Vermeer adjusted his initial depiction of the figure to provide a more active stance. Detailed study of the canvas reveals that the geographer originally looked down at the table, with his dividers also pointed down. Adjusting the composition to align the man's face and the dividers with the flow of light gave further energy to the movement across the canvas. The folds of the robe also serve to activate the figure, with their dynamic, almost abstract depiction in their sunlit portion.
The painting accurately renders the cartographic objects that express the theme: the sea chart, globe, dividers, square and a cross-staff that was used to measure the elevation angle of the sun and stars. It is probable that Vermeer's sophisticated presentation of these instruments was informed by his association with famed scientist Anthony Van Leeuwenhoek. Although no documents exist linking the two, they were both born in Delft in the same year. A contemporary portrait of Leeuwenhoek closely resembles the figure in Vermeer's geographer, and it is very possible that Leewenhoek served as the model.
Another Vermeer work, "The Astronomer", is commonly considered a pendant to "The Geographer". In it, the same model is depicted, this time among the instruments of astronomical study. Both paintings dramatically convey the excitement of scholarly inquiry and discovery. Considering these works as pendants offers an allegorical interpretation: the astronomer, student of the heavens, searches for spiritual guidance; the geographer, student of the earth, charts the proper course for temporal life.
"The Lacemaker", c. 1669-1670
( 600 x 446 / 51 k / jpeg )
Oil on canvas transferred to panel
23.9 x 20.5 cm (9 13/32 x 8 1/2 in.)
Musee du Louvre, Paris
"The Lacemaker", c. 1669-1670
"The Lacemaker" is a small scale painting, nearly dwarfed by its impressive wooden frame. Unlike the more contemplative figures in Vermeer's work, the subject here is very active, intensely focused on a physical activity. As opposed to the full-figure compositions, where furniture and drapery act to facilitate or deflect the viewer's visual entry, "The Lacemaker" brings the subject dramatically to the foreground. As a result, the viewer is drawn into a powerful emotional engagement with the work. Although the composition is quite shallow, there are different depths of field that draw the viewer into the canvas. The forms nearest the eye are unfocused, which encourages the viewer to pass on to the more distinctly defined middleground.
The intimacy is accentuated by the small scale, personal subject matter, and natural composition. The lacemaker's total preoccupation with her work is indicated through her confined pose. The use of yellow, a dynamic, psychologically strong hue, reinforces the perception of intense effort. Contrasts of form serve to animate the image. For example, her hairstyle expresses her essential nature - both tightly constrained and, in the loose ringlet behind her left shoulder, rhythmically flowing. Another strong contrast exists between the tightly drawn threads she holds and the smoothly flowing red and white threads in the foreground. The precision and clearness of vision demanded by her work is expressed in the light accents that illuminate her forehead and fingers.
The diffused ocular effect of the foreground objects, especially the threads, was definitely derived from a camera obscura image. Vermeer used the informal, close framing of the composition suggested by the camera obscura to accentuate the realistic, immediate impact of the painting. Contemporary Dutch painting portrayed industriousness as an allegory of domestic virtue, While the inclusion of the prayer book pays fealty to this theme, it is a secondary concern to the depiction of the handicraft of lacemaking, and, in the highest sense, the creative act itself. Once again, Vermeer succeeded in transforming a transitory image into one of eternal truth.
"The Girl with the Red Hat", c. 1665
( 575 x 734 / 54 k / jpeg )
Oil on panel
22.8 x 18 cm (9 x 7 1/16 in.)
National Gallery of Art, Washington, DC
"The Girl with the Red Hat", c. 1665
Coming upon this painting in the exhibition, the viewer is confronted with an abrupt change from the other works. "The Girl with the Red Hat" is small even by Vermeer's standards; it is his only known work that was executed on wood panel; and most importantly, its immediacy and intimacy contrast sharply with the meditative mood of the other paintings.
Despite its modest dimensions, a strong visual impact results from the large scale of the girl. Brought close to the picture plane, she communicates directly with the viewer. Her direct gaze and slightly parted lips impart a sense of spontaneity and anticipation. Vermeer relies heavily on color to establish the mood of the work. The red of the hat and the blue of the robe contrast strongly with the muted background. The bright red of the hat advances, heightening the immediacy of the girl's glance, while the blue of the robe recedes, balancing the composition. Vermeer retained warmth in the robe by painting the blue over a reddish-brown ground. The materials - the red hat, robe and chair finials - are animated by highlights of reflected light. Subtle highlights on the girl's eye and mouth animate her expression. Finally, the intense white of the girl's cravat, painted as a thick impasto with parts later chipped off, cradles her face, focusing attention on her expression.
The small size of this work allowed Vermeer to use painstaking detail in its execution. A precise depiction of texture and light is achieved through the duplication of thin glazes over painted ground. To represent the hat, Vermeer firs painted an opaque layer of deep orange red. He then added semi-transparent strokes of light red and orange to render the feathers. The robe highlights allow the underlying blue to show through. With this glaze technique, the underlying layer is used to help model the forms of the composition.
Most scholars agree that Vermeer utilized a camera obscura in the composition and execution of "The Girl with a Red Hat". It is possible that he chose a wood panel support to replicate the gloss of a camera obscura image, which was normally projected onto glass. In particular, the diffused specular highlights of the lion head chair finial resemble the unfocused effect of an image seen in a camera obscura. Vermeer expert Arthur Wheelock points out, however, that Vermeer did not simply paint on top of an image projected by a camera obscura. While camera obscura effects were emulated in portions of the painting, in other places, the expected effects are not seen.
Compositional adjustments also contradict the literal reproduction of a camera obscura image. For instance, the left chair finial is larger and angled to the right. If the chair top is extended to the left, it ends up misaligned with the finial. Vermeer adjusted the lines of the chairback to stress the foreground plane of the composition while at the same time, allowing space for the girl's arm to rest.
"Lady Writing a Letter with Her Maid", c. 1670
( 600 x 721 / 53 k / jpeg )
Oil on canvas
72.2 x 59.7 cm (28 13/32 x 23 1/2 in.)
National Gallery of Ireland, Dublin
"Lady Writing a Letter with Her Maid", c. 1670
This masterpiece has been stolen not once, but twice in the last twenty-five years. The owner, a member of Britain's Parliament, was targeted by the IRA, who broke into his estate in 1974 and took a total of nineteen paintings. It was recovered a week later, having sustained only minor damage. In 1986, the Dublin underworld stole the painting. Only after more than seven years of secret negotiations and international detective work was the painting recovered. Hopefully Vermeer's "The Concert", recently stolen from the Gardner Museum in Boston, will be recovered in a similar manner.
"Lady Writing a Letter with Her Maid" exemplifies Vermeer's essential theme of revealing the universal within the domain of the commonplace. By avoiding anecdote, by not relating actions to specific situations, he attained a sense of timelessness in his work. The representation of universal truths was achieved by eliminating incidental objects and through subtle manipulation of light, color and perspective.
The canvas presents a deceptively simple composition. The placid scene with its muted colors suggests no activity or hint of interruption. Powerful verticals and horizontals in the composition, particularly the heavy black frame of the background painting, establish a confining backdrop that contributes to the restrained mood.
The composition is activated by the strong contrast between the two figures. The firm stance of the statuesque maid acts as a counterweight to the lively mistress intent on writing her letter. The maid's gravity is emphasized by her central position in the composition. The left upright of the picture frame anchors her in place while the regular folds of her clothing sustain the effect down to the floor. In contrast, the mistress inclines dynamically on her left forearm. Her compositional placement thrusts her against the compressed space on the right side of the canvas. Strong light outlines the writing arm against the shaded wall, reflecting in angular planes from the blouse that contrast abruptly with the regimented folds of the maid's costume. The mistress is painted in precise, meticulous strokes as opposed to the broad handling of the brush used to depict the maid.
The figures, although distinct individuals, are joined by perspective. Lines from the upper and lower window frames proceed across the folded arms and lighted forehead of the maid, extending to a vanishing point in the left eye of the mistress. The viewer's eye is lead first to the maid, then on to the mistress as the focal point of the painting.
Vermeer shuns direct narrative content, instead furnishing hints and allusions in order to avoid an anecdotal presentation. The crumpled letter on the floor in the right foreground is a clue to the missive the mistress is composing. The red wax seal, rediscovered only recently during a 1974 cleaning, indicates the crumpled letter was received, rather than being a discarded draft of the letter now being composed. Since letters were prized in the 17th century, it must have been thrown aside in anger. This explains the vehement energy being devoted to the composition of the response. Another hint is provided in the large background painting, "The Finding of Moses". Contemporary interpretation of this story equated it with God's ability to conciliate opposing factions. These allusions have led critics to construe Vermeer's theme as the need to achieve reconciliation, through individual effort and with faith in God's divine plan. This spiritual reconciliation will lead to the serenity personified in the figure of the maid.


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"Fast. Fresh. Italian." Two Out Of Three Ain't Bad
To start with, I actually kind of like Fazoli's. I realize "actually kind of like" is not exactly a ringing endorsement, but it could be worse. The chain's current advertising hook is "Fast. Fresh. Italian." To which I say, "Okay, two out of three ain't bad." I say this because Fazoli's is about as Italian as hot dogs and apple pie. It's the American ideal of an Italian eatery, which is to say it's not very Italian at all.
Founded in 1988 in the cultural hotbed of Italian-ism that is Lexington, Kentucky, Fazoli's was a forerunner in the concept of fast Italian. Originally conceived as a pizza joint, it took Kuni Toyoda, a Japanese entrepreneur, to establish the format and menu as we now know it. Toyoda realized that the world didn't really need yet another pizza chain, but that there was a definite niche for fast-food-style pasta dishes. The early, pre-Toyoda pasta offerings were fairly dreadful: small portions of badly overcooked noodles. Toyoda was instrumental in (marginally) improving the quality of the pasta and increasing the portion size. Soon Fazoli's locations were springing up like dandelions. By the late 1990s, Fazoli's had become one of the most popular and fastest growing restaurant concepts in the country. It currently operates or franchises more than 320 restaurants in 27 states and is looking to expand overseas. The chain's appeal is driven by people searching for alternatives to the standard McDonald's/Burger King fast-food menu of burgers and fries. You've got to admit, nobody else is serving up fast-food spaghetti.
Fazoli's current menu consists of what it considers to be "classic Italian" dishes. Things like Chicken Parmigiano, Penne with Creamy Basil Chicken, Chicken Broccoli Penne, Ultimate (Chicken) Fettuccine, Three-Cheese Tortellini Alfredo, and Baked Spaghetti. And then there are the signature "Submarinos" sandwiches, featuring the likes of Turkey Mozzarella Fresco and Turkey Club Classico. Fazoli's also offers pizza, salads, desserts and, of course, unlimited garlic bread sticks. The problem here is that there's not a single authentic Italian item in the bunch. Everything is Italian-American at best and stuff made up to sound Italian at worst. For some reason, Americans just don't jibe with the idea that Italians don't put chicken in their pasta. In fact, Italians aren't much for mixing any kind of meat in with their pasta. You won't find anything "Alfredo" on an authentic Italian menu, and while turkey is a popular sandwich meat in Italy, piling it high on a toasted garlic sandwich roll with lettuce, bacon, mozzarella, and Parmesan peppercorn ranch dressing is anything but "classico."
To add insult to injury, the few real Italian offerings on the menu are served up American-style. Dining at the Shallowford Road location in Chattanooga, Tennessee the other day, I ordered a simple spaghetti marinara. Now, they don't actually do spaghetti "marinara" in Italy: it's spaghetti al pomodoro, but I don't want to nitpick.....much. What I got was a heaping plate of bland spaghetti with a lot of red sauce dumped over the top. Sorry, that's not Italian. It may be what Americans have been conditioned to expect, but it's simply not Italian. Kuni Toyoda may have made inroads into introducing pasta cooked al dente, but he didn't quite get there and he definitely didn't do anything about the pasta's flavor – or lack thereof. Pasta has to be cooked in aggressively salted water in order to achieve any flavor of its own. Otherwise, it's bland and flavorless. And once it's been cooked, you can't dump enough salt on bland, flavorless pasta to make it taste anything other than salty. I know. I tried.
On the plus side, the tomato sauce with which they top the pasta isn't bad. The texture is good and the flavor is acceptable for the commercial sauce that it is. If only they would prepare the dish in the traditional Italian manner of finishing the cooked pasta in the sauce rather than just dumping the sauce over the top of the pasta. Cooking the pasta in the sauce for a final minute or two allows the flavors to marry and mingle. Ladling the sauce over the top of the cooked pasta does nothing for either element. But again, it's what American diners expect. I've had one or two customers in my restaurants object to "having it all mixed up." To them I say, "What does this place look like, Fazoli's?"
Something to which I object is gargantuan portions. I had the hardest time breaking my cooks of the habit of piling enough pasta to feed an entire Italian family onto a plate being served to just one person. Kuni Toyoda succeeded in getting Fazoli's to Americanize their portion sizes. Neither my wife nor I could get anywhere near finishing the portions on our plates. And since we were traveling and boxing up leftovers was not a viable option, the food just went shamefully to waste. But to be fair, Fazoli's only provided us with twice as much food as we could eat. I've been in "Italian" places where I've been served three or four times what I'm capable of consuming – and I'm capable of consuming quite a lot. So Fazoli's is not bad by comparison.
And that's why I say I "actually kind of like" Fazoli's. Despite the advertising claims, it's not "classic" Italian. But it is pretty decent "Italian-ish" or Italian-American. The prices are very reasonable, the portions, while oversized, are not staggering, and the food is largely inoffensive. Service is very fast and generally friendly, two elements upon which Fazoli's prides itself. Fazoli's offers table service, another plus above the common fast-food experience. Much of the food is served on real plates with real metal flatware instead of paper plates and plastic sporks. The atmosphere is pleasant and unpretentious and the restaurants are usually pretty clean. Okay, maybe a little Dean Martin on the radio might have added to the ambiance better than Megadeth or whatever it was they were playing when I was there, but, hey, I'm old. What do I know? All and all, non c'è male.
Among the fast-food gamut of hockey-puck hamburgers, greasy chicken, unpalatable fish, and whatever the hell they put in those tacos, even mediocre Italian looks pretty good. So, if you are out and about and just can't stomach the thought of another anemic, run-of-the-mill burger, don't look for golden arches, look instead for a big tomato in the sky. Try Fazoli's and you might "actually kind of like" it, too.
Locations nationwide.

subset: commoncrawl


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After the aches and pains of Thursday, yesterday's jog through Leigh Woods was very pleasant. While it was hard work in places, it was the right kind of hard work, the kind of hard work that left me standing at the tops of hills panting until I'd recovered, rather than the kind of hard work that had me running along the flat frowning while wondering why my hip was aching so much.
I also got out early enough to snap the sun just rising over the Suspension Bridge. There are limited vantage points with a good view of the bridge from the towpath, so I figured I'd try a different kind of shot, this one through some bare Autumn branches, to try to get something a bit less "same‑y". I think it worked quite nicely.


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Battle of the Audio Canal
- Melia
- 05 Sep 2010
- 1 comment
For the past seven days, I've been feeling like I just stepped off the teacups at Disneyland after Andre the Giant shared it with me and spun it off the rails. To say remaining upright is a challenge is an understatement.
When I was pregnant with my daughter, instead of morning sickness, I often felt faint. I may have passed out once or twice, I can't remember. Before that, the only other time I passed out was at the doc's office after a reaction to some meds. But before that, I experienced the one and only time I was so drunk I couldn't see straight. Damn that cheap wine. We're talking spinning rooms, lolling head, body made of rubber, incapable of sitting up in our booth at Golden West. I kept slipping on down to the floor.
I remember that night quite vividly because it was brought back to me last week when I began feeling dizzy for a few seconds every so often as I got ready for work.
I thought it would pass so I soldiered on, drove to work – except I had to pull over once when a dizzy spell hit. The reason I didn't turn around and just go home is because of all the fecking days for this to happen, it was the day I needed to help man my newspaper's booth at the new State Fair and get a live chat going. I had shit to do and I really thought it was a passing thing. Until I arrived at work.
I made it to my desk, feeling a bit hot and the dizziness was starting to become a steady thing. I sat down hard at my desk and leaned to the left, unable to get my bearings. Things began spinning and I began getting scared. I couldn't think straight. Should I tell a coworker who was chatting nearby? Did I need to go to the ER? How could I get there? But I needed to get to the Fair. More spinning. Tears. Decide to call Grampa and ask for help. He had to get dressed and get down to me, and by that time my boss had come over to say hello and noticed I was not doing well.
From then on it was a blur of being helped to the bathroom because I was pretty sure I was going to throw up and absolutely did not want to puke at my desk in front of everyone. But I couldn't walk without help. So now, I'm mortified and probably freaking people out but I made it to the bathroom, locked the stupid door out of habit and tried what I used to do when I felt faint when pregnant, which was run ice cold water over my wrists. No good though, and the puking began.
So now I'm making horrendous noises – and I can't stress this enough: I HATE THROWING UP. It scares me when I have no control over my own body. And I am seriously regretting eating oatmeal for breakfast. I will probably never eat it again.
I hear people outside asking if I need help and I can't remember if I answered. I just remember someone saying they needed the key because I must not have been able to make it to the door to unlock it.
Somehow the door was opened and my wonderful coworkers helped me to my grampa's car. Pretty sure I was apologizing left and right. Probably crying. I was so embarrassed to cause such a scene, and added to that was I was miserable at the Fair.
Before I carry on, I just want to thank Sarah, Deb, George, Jack and anyone else who was there very much for your help. I also appreciated the well-wishes and offers of help this past week. It really meant a lot to me.
My grampa seemed to take the loooooong way to the hospital but eventually we made it and I ended up on my side on a bed, hooked to an IV as valium and something called zophran was dripped into me along with saline. God the spinning, it wouldn't stop. I froze as the second bag of saline dripped and discovered the amazingness of the Heated Blanket. Threw up again after sneaking a sip of water. My mouth was so damn dry.
And after all that drama, the doctor pretty much said there wasn't much that could be done other than ride it out. I got a prescription for Antivert which is given to people suffering from Vertigo – something I've never been afflicted with – and then he sent me home.
I slept. And slept. and then when I was tired of sleeping, I slept some more. I looked at my prescription: "May cause drowsiness." Well fuck.
It is now a week later, and I am *still* having dizzy moments if I turn my head too fast, and I haven't left my apartment but once when I decided to try walking down to the mailbox yesterday. I don't need to hold the walls anymore when I walk around, unless I turn my head too fast and then I have a little oops moment where I might tumble over. But I haven't felt nauseated since last Monday and I'm eating okay. Tonight I cooked a proper dinner and did all right until the end when I got a bit overwhelmed with dizziness and had to sit quickly.
But I can work on the computer now without feeling icky, which is pretty much my job, so after Labor Day tomorrow, I will go back to work. I can sit at my desk and stare at my screen and I should be fine.
I stopped taking the meds yesterday though. 1. So very tired of being asleep and 2. I felt like they just treated the symptoms and not the cause, so I am seeing how I do without them. So far, I feel about the same, just less sleepy.
I am so very tired of the dizziness though. I can't stress that enough either. I don't like this feeling. I didn't like it that night I got so drunk I couldn't see straight and I don't like it now. It's frightening.
Last night as I was falling asleep at 2am (have I mentioned how out-of-whack my schedule is?) I thought I could try some kind of visualization stuff. I I closed my eyes, held still and I pictured my inner ear. I have no idea what it looks like for real, but in my mind it's all rather dayglo-y and an evil glowing blue blob has attached itself to my ear canal and it's laughing an evil laugh as it tricks my brain into thinking it's at sea. So I pictured millions of my white blood cells attacking the crap out of it. It was an epic battle but I think I fell asleep too soon so I've no idea how it turned out. I'm still dizzy though so I'm guessing the white blood cells are regrouping and preparing a frontal attack tonight.
Why am I blogging about this, especially when I haven't blogged here in forever? I want to sort of document it in case it happens again. I don't know what caused it, or why it came on so suddenly (the doctor told me this often happens to people out of the blue which is just weird to me.) I don't know if I have some kind of infection I can't feel inside my ear, or if this is the onset of a chronic problem (better not be!) or if this will clear up as mysteriously as it started and never happen again. I do keep hoping I'll wake up and my stupid ear will have popped or something and I'll be fine. No luck so far.
But I'm armed for battle tonight. Look out evil blue glowing blob, I'm going to kick your ass.


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Introducing Brea's First Children's Book Kid Characters3 years ago by Carolyn Campbell in ( BBON , Broadcast your Event , City Guide , Culture/Arts , Events , News , Old/New , Schools , Uncategorized , Welcome to Brea , What's New! , Who's Who )
Although it was a very difficult choice to select district children to be featured in the city's first children's book, celebrating 100 years in Brea, recently five additional students were chosen. But before I reveal their names, I'd like to thank all those parents who answered the casting call submitting information about their children. Again, a very tough decision, as each and every one of the student's backgrounds was awesome!
The five students selected are as follows:
Sixth grade Fanning Elementary student: Lauren Thompson
Fourth grade Mariposa Elementary student: Jesse Hirsch
Third Grade Arovista Elementary student: Madison Morrill
Fifth grade Olinda Elementary student:
Jarred Gonzalez
Third grade Country Hills Elementary student: Skyler Sandrock
They will be joining Valeria Zavala, who made history in Brea as the first student awarded National History Day champion for California, while attending fifth grade at Laurel Elementary in 2015. Roman Meraz, a current student at Laurel Elementary, will chime in also. Roman was recognized as a County Champion in the Elementary Division in 2016.
It has always been my desire to feature as many children as possible in the once-in-a-lifetime book. So there are three awesome sub-projects, starting with Kids Imagine Brea Essay Contest that was electronically sent out today via BOUSD principals newsletters.
Kids Imagine Brea Essay Contest: BOUSD students in the grades 3rd - 6th will have a chance to enter the essay contest, giving their perspective of Brea's future. There will be four winners selected per 3rd, 4th, 5th, and 6th grade, as judged by the Brea Education Foundation members. The winning essays along with photos will be featured in the book.
In addition, we are in the process of scheduling a panoramic book photo to show as many students as possible. And lastly, a whimsy video has been planned to feature an animated Charlie the Clock dancing with children to a song uniquely personalized.
The entire project is very community-oriented. Further details are forthcoming.
Casting Call – An Exciting Historic Centennial Opportunity for Brea Kids!3 years ago by Carolyn Campbell in ( BBON , Broadcast your Event , City Guide , Events , News , Old/New , Uncategorized , Welcome to Brea , What's New! )
BOUSD elementary students, grades 3rd-6th, you can apply to be featured as kid characters in Brea's 1st children's book showcasing the city's iconic Charlie's Clock aka Charlie the Clock in time travel with friends - - celebrating Brea's centennial year in 2017.
I have received parental consent for Valeria Zavala, a former student of Laurel Elementary, who made history as the first Brea student, awarded California National History Day Champion in 2015. Five more students are needed: one from Arovista, Country Hills, William E. Fanning, Mariposa and Olinda elementary.
Overseeing the project based on my concept, the author of the book is Teresa Hampson, known for her history book, Brea: Celebrating 75 years, and 2006 BOHS grad and recent CSUF grad, Heather Ashlyn Collins, who drew Charlie the Clock caricature, is the book's Illustrator.
I'm looking for kids who excel at academics and are interested in Brea history!
The deadline has been set for Friday, January 6, 2017.
If you are interested, I'll need your child's name, name of school, grade level, and academic interests.
No doubt, it's going to be a very hard decision. Parents will be notified either way. More to come on Charlie the Clock group photo book op and sub-project opportunities for BOUSD kids, grades 3rd - 6th.
Please send your information via private message on Brea Old and New Facebook/Instagram or firstname.lastname@example.com. It's a once-in-a-lifetime opportunity!
I look forward to hearing from you!
Thank you!
BOHS GITA Club to build Charlie the Clock centennial children's website3 years ago by Carolyn Campbell in ( BBON , Broadcast your Event , City Guide , Culture/Arts , Events , News , Old/New , Schools , Video Adventures , Welcome to Brea , What's New! , Who's Who )
What did the unwound clock say to its owner? A: It's about time!
Update on Brea's historic iconic Charlie's Clock aka Charlie the Clock caricicature:
Today, I met with Mr. Salesky, the creator and sole instructor of BOHS GITA (Global IT Academy), and three of his students, Anjali Patel, Zoya Kahn and Kyle Tam, who are working on building a Charlie the Clock website -- showcasing the city of Brea's first children's book, celebrating its centennial year in 2017.
BOHS GITA club students: Anjali, Zoya, and Kyle, shown working on Charlie the Clock website!
Charlie the Clock and friends children's history book is coming along nicely -- and soon I will be sharing excerpts of the text and illustrations for everyone to see! Plus, I will be announcing two more magical sub-projects that involve many community people! Stay with us to hear the wonderful story unfold!
Birch Hills Golf Course Clubhouse now open3 years ago by Carolyn Campbell in ( BBON , City Guide , Hotspots , News , Old/New , Restaurants , Uncategorized , Welcome to Brea , What's New! )
Back in 2011, the Birch Hills Golf Course was is major renovations and swathed in green fencing cloth with signs that stated, "Thank you for your patience."
Some of us wondered if it would ever be completed, but in May the 18-hole executive course finally reopened, and it is a real beauty. Driving or walking by one always sees many golfers on the lush course with rolling hills and water features.
While the golf course is first class and popular, it lacked a new clubhouse to replace the old, dinky one that was previously there.
But that has finally changed.
Imperial Golf, operators of the golf course, now have a clubhouse that includes the TreeHouse Restaurant, opened in October, a causal, family-friendly indoor-outdoor dining spot. And it is not just popular with golfers, said Imperial principal, Matt Clabaugh,
"We get about 50-50 golfers and other folks," he said, adding that the lunch and after-work crowd continues to grow, especially with people from the nearby office buildings on Birch Street and other locals. The daily happy hour and dinner menu might be attracting some of the after-work crowd. The restaurant is open for breakfast, lunch and dinner every day until 10 pm.
But I think it would be difficult to just stop in for a quick bite at noon and go back to work because TreeHouse has huge, east and west facing glass walls that fully open to phenomenal views.
Clabaugh said the view at sunset is unbelievable. I'm afraid I'd just want to pull up a chair, maybe by one of the three outdoor fire pits, and just sit back and enjoy the view, which includes Segment 5 of the Tracks at Brea trail that is completed, but yet to open.
According to Bill Bowlus, Brea's public works director, there are just a few items to wrap up, including some type of pass through for bikers and hikers, and then the trail will open. Hooray.
The trail meanders through the golf course and includes an interpretive rest stop with a replica of an old Red Car, like the ones that used to be in Brea. Of course, the rest stop is at the clubhouse and restaurant.
The restaurant, which Clabaugh described as efficient, casual and contemporary, can accommodate banquets for up to 75 people.
"We've already had some golf tournament banquets and sports groups award ceremonies in our restaurant," he said. It could be a good spot for Brea Chamber of Commerce lunches and mixers too.
Something I didn't expect to find at a golf clubhouse-restaurant is weekly live music. Clabaugh said they also plan some star walks and moon walks, once the trail opens. And you thought Birch Hills was just for golf!
But the official grand opening will not be until January or February, Clabaugh said. Perhaps they will coordinate it with Brea's big Centennial Celebration Feb. 17, which begins with a community parade starting from Birch Hills Golf Course to the Sports Park to celebrate Brea's 100th birthday.
Terri Daxon is a freelance writer and the owner of Daxon Marketing Communications. Contact her at firstname.lastname@example.com.
City of Brea 100 Day Centennial Countdown3 years ago by Carolyn Campbell in ( BBON , Broadcast your Event , City Guide , Events , News , Old/New , Sponsors , Uncategorized , Welcome to Brea )
At the stroke of midnight the blast off begins!
After months of planning Brea's milestone anniversary-- we are countdown to our 100-day centennial birthday celebration on February 23, 2017!!
A special City Council meeting is scheduled on Brea's anniversary with festivities including recognition of 100+ residents and sister cities. Plus a special Happy Birthday cake for all to enjoy outdoors at the Civic & Cultural Center plaza level. Donating a cake for the festivities is Frost My Cake. Owner Ann Tran, said they're very excited to take part in the celebration commemorating the once-in-a-lifetime event.
Prior to the milestone anniversary party will be our yearlong centennial kick-off celebration-- starting with a parade and picnic during the day, and the Silent Poster Exhibition, later in the evening on Saturday, February 18.
List of centennial events as follows:
Brea Night at Angels Stadium - Tuesday July 18, 2017
Brea Fest - Fireworks planned Friday, August 18, 2017
Youth Art Project sponsored by Brea Rotary Club - Sunday, October 15, 2017
Centennial Gala - Saturday, October 21, 2017
Tales from the Canyon: The Olinda Story to be held at the Curtis Theatre in November 2017.
Interested in sponsorship information, please visit City of Brea website.
Also, a milestone keepsake treasure is in the planning stages. Brea's first children's book and exciting sub-projects, which is an independently produced community project featuring Brea's iconic historic "Charlie the Clock" and grade school friends, along with newsy reporters, in a whimsy time travel – celebrating 100 years in Brea!
Fanning PTA and Stagelight Productions to present Peter Pan3 years ago by Carolyn Campbell in ( BBON , Broadcast your Event , Events , News , Old/New , Uncategorized , Welcome to Brea )
HOT BREA NEWS! Brea elementary school students in conjunction with Stagelight Productions present PETER PAN with two amazing casts in six performances! All shows at BOHS Performing Arts Center.
Tickets Available:
Wed. 11/9 6:30 pm, Red, 110 tickets available
Thurs. 11/10 6:30 pm, Blue, 120 tickets available
Sat. 11/12 2:00 pm, Blue, 75 tickets available
Sat. 11/12 6:30 pm, Red, 70 tickets available
Sun. 11/13 2:00 pm, Red, 136 tickets available
Sun 11/13 6:30 pm, Blue, 110 tickets available
Tickets are $10 and are available for purchase about 1 hour before each show. The little ones have done an AMAZING job rehearsing for weeks.
Courtesy of Cindy Fuller and Crystal O'Barr
Tom Fuller
Brea Centennial Throwback: POW/MIA Captain Stephen Hanson3 years ago by Carolyn Campbell in ( BBON , News , Old/New , Uncategorized , Welcome to Brea )
I continue my honoring of Brea's centennial with another look back in the history files. How many people remember wearing a POW-MIA bracelet with the name of Steve Hanson engraved on it? In April 1971, the city adopted Capt. Stephen Hanson, a Marine pilot who had been missing in action in the Southeast Asia for nearly four years.
Steve was thought to be a prisoner of war in Vietnam. He had been shot down while piloting a helicopter on a rescue mission over Laos on June 1, 1967.
Many local people wore Steve Hanson POW bracelets. John Wayne, Ronald Reagan, Cher and many other celebrities also wore his bracelet.
The high school held a dedication for Steve and all the television channels covered the event.
Patrick Wayne was the keynote speaker.
Future movie director James Cameron, a Brea resident at the time, painted a picture of a POW in a bamboo cage to display on the podium during the ceremony.
Later, the high school conducted a swim-a-thon raising thousands of dollars for a college fund for Steve's son, Todd. Many Brea residents and seven high schools participated in a walk-a-thon to Knott's Berry Farm (10.3 miles) organized by Brea Olinda High School students to raise money for a national mailing campaign to North Vietnamese officials.
Steve's wife, Carole Hanson, was grand marshal of the Brea Bonanza Day Parade. The theme was "Let's Not Forget America."
Steve was later declared killed in action and the bracelets were gathered from all over the United States, melted down by Brea Olinda students and made into wings, which were placed on a commemorative plaque and hung in the high school office.
Carole later married a former POW, Jim Hickerson, and they adopted a Korean girl. I am sure many of you remember Todd, who accompanied Carole at all Brea events. He was then 5 years old. He has a family of his own now. Jim and Carole are living in Hawaii and are very happy.
Carole is writing a book and Brea will very much be included in it.
Susan Gaede has cast her eye on local news for more than 40 years: 714-529-8561 or firstname.lastname@example.com.
2016 BBON Certificate of Excellence: Choha Kim and Anabel King3 years ago by Carolyn Campbell in ( BBON , City Guide , News , Old/New , Schools , Uncategorized , Welcome to Brea )
October 30, 2016
Beautiful Brea Old & New (BBON) is proud to award a certificate of excellence in the area of journalism and academics to Brea Olinda High School (BOHS) senior students and BBON team members, Choha Kim and Anabel King for their contribution in the area of journalism and academics on BBON. For the past two years, both Kim and King have contributed noteworthy community online news articles of interest focusing primarily on BOHS. We applaud Kim and King for a job well done and look forward to their stories and engaging posts on social media in the weeks and months ahead as we countdown to our centennial celebration.
BOHS Spreading Talents Club to start off the new year3 years ago by Choha Kim in ( Uncategorized )
Every single person has their own talents that are useful. Some people are good at art and some people are good at engineering. Spreading Talents Club was found in order to give BOHS students opportunities to explore their own talents and influence surrounding people positively. Spreading Talents club held its first meeting on October 12 at BOHS. With over 14 attendees, first meeting marked its grand beginning for Spreading Talents Club.
Esther Kim, president of Spreading Talents Club, started off with the introduction of the club. "We are going to decide on which project we will do on every 3 or 4 weeks. Our plan is to explore various genres and fields, regardless of how skillful we are."
Ranging from freshman to senior, students joined to find their hidden talents, to derive their potential talents, and to share their own talents. Sarah Kim, sophomore at BOHS, stated, "[Since] this is my first time to join a club, I want to actively participate [in] this club and do my best. I love the purpose of this club, and I want to find my hidden talents and use it to help the other people."
The club meetings will be held on Wednesday every week regularly at room 214.
Written by Esther Kim , staff writer/photographer
Edited by Choha Kim, student editor-in-chief
Brea Police Department to wear badges commemorating city centennial3 years ago by Carolyn Campbell in ( BBON , City Guide , News , Old/New , Uncategorized , Welcome to Brea , What's New! )
"I don't know where the original historic badge is. I haven't seen it myself," said Brea's historian Officer Celmer. The image of the nostalgic badge has been used in various departmental printing such as their annual report (shown in the bottom photo.)
Everyone in town is getting geared up for our centennial year in 2017 including Brea Police Officers, who be sporting a full size constable shield badge. In the place of CAL will be the City of Brea seal. 1917 will be on the left side and 2017 on the right, marking 100 years, along with a rank and ID number on the bottom.
The Brea PD's centennial badge will surely be a special one as its style will be similar to the Deputy Constable Brea Township Badge back in the day.


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UL Standards for kiosks
Meeting UL regulation and having your product officially UL Listed requires budget and it requires time. It is an investment which increases your products viability in the marketplace as well as serving to mitigate liabilities.
Deployments in Europe require CE as the equivalent. In more regulated countries such as Canada you may find that UL is more a requirement than an option as it is here in the U.S.
| Example UL Tilt Test by Olea
When we design a new kiosk, we put it through a UL Stability Test. This consists of 2 tests.
Most often in the U.S. a manufacturer will say that everything they build is built to meet or exceed UL standards in the electrical sense. What this means is that, as a rule, the components all wear the UL tag. And that actual certification would be facilitated by that. And for reference the parallel carries over into PCI PA-DSS when a manufacturer uses "certified" components but has no evidence of being examined by QSAs. It is complicated.
There are companies that advertise UL certification yet have no recorded UL certifications. Buyer beware.
UL certification for custom kiosks means the stability of the units. These tests are known as the slide test, force stability test and 10 degree status tip static tip stability test. The tests are baselined against the normal 5 year old child. The usual precaution is if the unit is subject to a push force of 9Kg in any direction, then bolt it down. See iCORE_Installation_Manual_english from Wincor Nixdorf.
The force & tip are practical circumstances much like UL-291 which estimates how long it would take a large person with a crowbar to force open a currency acceptor. UL-291 comes up in regards to the Safe being using along with the type of location and inherent security (or lack of).
Additional UL standards specific to exhibitions and displays should be considered. Also with new telehealth structures there are more UL standards which come into play. Kiosks, displays, fixtures, POP, infrastructure, furniture (check-in at hotel).
Excerpt from UL 2361
1.1 These requirements cover self-contained, custom-built kiosks that provide information, ticket machines, electronic point-of-sale products, customer self-checkout stands, and business application products to be employed in accordance with the National Electrical Code, NFPA 70. Kiosks as covered by these requirements are intended for indoor use only, except that they will be investigated for outdoor use or use in a protective location when so designated by the manufacturer.
1.2 These requirements cover kiosks intended for general use, operating from a voltage of 240 volts or less. This equipment is intended for installation in locations in accordance with the National Electrical Code, ANSI/NFPA 70, where the ambient temperature does not exceed 25°C (77°F) maximum unless specified by the manufacturer.
1.3 This Outline of Investigation does not directly apply, however is capable of being used as a supplement to the Standard for Coin and Currency Changers and Actuators, UL 756, when kiosks are intended for use with coin, credit card, debit card, currency, and token-operated devices.
Reference: http://ulstandards.ul.com/standard/?id=2361
Useful Links
- Search for UL certifications by manufacturer
- New to UL? Link
- RoHS [rohsguide for now]
- International TUV, CE, CUL and NOM
- CartStability PDF
- UL-291-faq
- UL-291 Standards for "ATMs"
- UL-2305 for display units, expositions
- UL-962 for motor operated furniture
Thank you to our Contributors
- Kiosk Innovations


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Ask the Experts
Ask the Experts
Business intelligence best practices
What are some major data management technology trends?
In this expert Q/A, you'll learn about some major data management technology trends coming out of the recession, including MDM and new types of data analysis tools. Continue Reading
When during a project lifecycle should we conduct a risk assessment?
When should you conduct a risk assessment? Find out, plus learn how enterprise risk management (ERM) can help you manage and address project risk. Continue Reading
Understanding five major enterprise information management benefits
Learn about the primary enterprise information management (EIM) benefits and five major problems EIM can help solve, including data quality, information management, process efficiency, security and organizational agility. Continue Reading
Do you need enterprise information management software to conduct EIM?
Do you need enterprise information management (EIM) software or tools to conduct EIM? See what our expert says, plus find out what makes for a successful EIM program. Continue Reading
Benefits of project management professional certification training
Is there any value or benefits to receiving project management professional certifications and training? Get an expert's opinion and find out if PM programs are worth more than PM experience. Continue Reading
How to design project management plan templates for large projects
Managing several projects with large teams? Find out how many project management templates you should use to best control each, plus read a project definition in this Q/A from a project management expert. Continue Reading
Defining enterprise information management (EIM) vs. other data management initiatives
Find out about enterprise information management (EIM) vs. other data management applications and programs and learn how to maximize the benefits of an EIM initiative. Continue Reading
Keys to planning an enterprise information management (EIM) initiative
Make sure you know the key factors for an effective enterprise information management initiative. Learn the primary benefit of an EIM system and how EIM can keep information secure. Continue Reading
Project management tips for a decision-support system implementation
Learn the keys to project management when implementing a decision- support system and find out some steps to follow for the implementation process in this tip from a systems, data and project management expert. Continue Reading
What business intelligence (BI) skills are required for a successful career?
A successful business intelligence (BI) career entails developing both business and technical skills. Find out which BI skills are worth expanding. Continue Reading
Roles and responsibilities for new MIS unit handling data quality and BI
Read advice on sorting out the roles and responsibilities of an MIS unit that is tasked with handling data quality, business intelligence and reporting. Continue Reading
How can I get into a career in BI and DW?
Business Intelligence in 2002
Help with justification of BI investments
William McKnight explains how to calculate ROI to justify a BI investment. Continue Reading
Communicating with the DSS
For effective communication between users and DSS, our expert recommends a program of data stewardship. Continue Reading


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Burglary and Vehicle Theft Arrest
- February 23, 2015
- Category: Press Releases
Date and Time of Release: 23 February 2015
Date and Time of Incident: 20 February 2015
Subject: Burglary and Vehicle Theft Arrest
During the morning of 20 February 2015, Christopher Warfield, 37 of Oakdale, was released from the Tuolumne County Jail, where he had been booked by the Sheriff's Department on a warrant and for tampering with a vehicle. Warfield is on felony probation out of Stanislaus County for numerous violations, including burglary and possession of stolen property.
After Warfield was released from the Tuolumne County Jail, he observed a subject leaving their residence on West Jackson Street. After the subject left their residence, Warfield burglarized it and left his jacket behind. His jacket was later identified by jail video and staff.
After committing the burglary on West Jackson Street, Warfield was observed sitting in a parked vehicle, which didn't belong to him, on Linoberg Street. Warfield then made his way to the lower Save-Mart, where he was observed looking into several vehicles.
As officers looked for Warfield, he walked to McCoy's Tires, where he stole a truck belonging to the owner, which was parked in front of an open bay door. Inside the truck was a loaded handgun. Employees observed Warfield driving off in the truck and gave chase. The employees were able to box Warfield in on Saco Street in Jamestown.
The employees removed Warfield from the truck and called law enforcement. Warfield then attempted to flee and he was tackled by the employees and held until officers arrived. Warfield was transported to the Tuolumne County Jail and booked for felony vehicle theft, felony burglary, felony felon in possession of a firearm, and felony violation of probation. It is believed Warfield is also responsible for another burglary in the Jamestown area.


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Inspired by La Tomatina Festival in Bunol, Spain, about 10,000 people of Dongguan, southern Guangdong province, China, organized their own tomato fight on October 19. Over 15 tons of tomatoes were used in this over-sized food fight and this led to a huge controversy both online and in the national media. People were baffled when they saw so much good food go to waste for a few hours of entertainent, in a country where some people are still starving.
That's a good point if you ask me, why wate food when you can't afford to eat?
Dont" keep me in ur eyes, i may fall as tears.Keep me in ur heart, so that ur every "heart beat" may reminds u that there is "someone 4 u"...
This message has been posted on HMGoogleGroup by: sweetdoll
Message Source...


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Rockbox mail archiveSubject: FS#8806 - MikMod MOD, S3M, IT, XM player
FS#8806 - MikMod MOD, S3M, IT, XM player
From: Frank Gevaerts <frank_at_gevaerts.be>
Date: Thu, 4 Nov 2010 14:43:07 +0100
Are there fundamental reasons not to commit FS#8806? I know that ideally
This patch has been on flyspray for ages. It would be nice to finally
-- "Debugging is twice as hard as writing the code in the first place. Therefore, if you write the code as cleverly as possible, you are, by definition, not smart enough to debug it." - Brian W. KernighanReceived on 2010-11-04
Page was last modified "Jan 10 2012" The Rockbox Crew


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The TurboVap Series of direct expansion (DX) split-gas evaporators for boats is based on the revolutionary engineering advancements of the award-winning Turbo self-contained air conditioning system. Featuring a rust-free molded composite drain pan, condensate water is rapidly removed at one of two easy-to-plumb drain locations. The pan also has innovatively designed anti-slosh ridges and "positive flow" channels to ensure condensate does not spill even in the roughest seas.
For improved installation ease and flexibility, the enclosed blower motor eliminates overhang and the blower can be rotated 270° with a single adjustment screw. The unit's unique inlet ring is designed to optimize air flow and ensure that the height of the unit does not increase when the blower rotates. The fully insulated, high-velocity blowers are quiet and efficient.
Experience better noise reduction with the TurboVap Series' built-in cushioning system which minimizes vibration to the deck. Additionally, the innovative mounting clips utilize vibration isolators.
TurboVap units can be paired with condensers that use either R-22 or R-417A refrigerants. See the Emerald Series of TurboVaps and condensers for a complete split system that uses R-410 refrigerant


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How do Ugeek?
Share your Stories with Photos & let your photos do the talking for you.
What do you want to listen to? Choose from awesome collections here.
Check out videos worth watching. Upload videos & share with the whole world.
Create, promote, and host your meetings, conferences, special events, etc.
Join groups based on your interest and get connected with the world.
You must be wondering how our community works. It's too easy and in a few steps:
Get access to the Ugeek Club on your smartphone and access all of our features quickly easily accessible within your palm.


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The Societies' Monthly Image Competition is a 'must' for all our members. There are 27 categories that cover all aspects of photography and it is judged by some of the most esteemed Fellow, Master and Grand Master photographers in the UK and across the world. All entries which gain the coveted 'Gold' award are put forward to our annual judging and, if deemed to be the best, can gain their maker a prestigious 'Photographer of the Year' Award within its category at our annual Awards Dinner.
The closing date for the monthly competition is the last day of each month; it runs every month except December. All the awards for this competition are presented at the annual Awards Dinner in January at the Convention.
Check out the categories and definitions and what the judges are looking for before entering.
To upload your competition entries, follow these simple instructions:
Firstly, once your image is ready to be uploaded to the competition. Take the image in to Photoshop and set the image size to 2,000 pixels on the longest side.
Then use the 'Save for Web & Devices…'
Setting should be:
Quality: 100
This will strip the exif data out of this image to avoid an error message.
Remember to name your image:
e.g. Colin_Jones_landscape_August _Wales_2019_00001.jpg
Click the link 'Upload file'
Select the Album (Category) you wish to enter.
Browse your computer for the image.
Leave ALL other fields empty.
Click upload file.
The image will then be approved by our staff; please bear in mind this may take up to 48 hours with longer delays over the weekends.
Do not try to upload another image before waiting for the approval process; if your image is not approved our staff will contact you and explain the reasons.
If an image is uploaded with a filename such as 'IMG_1297.jpg' with no reference to the member, the image will be removed and we will not be able to contact the member to explain the reasons.
Applicants agree that any entered photograph may be used by The Societies and/or Professional Imagemaker in any of the publications, printed materials or electronic media. Also the image may be used for promotional use by the The Societies, unless otherwise agreed.
Prizes will not be awarded if the winner does not attend The Annual Awards presentation or provide an acceptable reason for absence.
Judges' Choice Award
Each month one of the Gold images is selected as the Judges' Choice Award.
This image is deemed to be the most outstanding of all the Golds.
Scoring system for the Monthly Image Competition
All images will be marked as follows:
Gold: Awards will go forward to the annual judging and are deemed to be images of the highest standard and will be published in Professional Imagemaker
Highly Commended: Above standard. These images will be reviewed every three months and have the potential of being reclassified as Gold.
Not Awarded: Unfortunately these images fall below the standard required to be given an award.
Disqualified: These images have not adhered to the competition rules or category definitions.
Rules of the competition
Entrant must have captured and created the original exposure
All digital manipulation must have been performed by the entrant
Any images that violate copyright, trademark or any other applicable law will be disqualified
The entrant's name, or any other distinguishing marks, must not appear on the face of the image
Only one image per category per month is to be entered
No entry will be eligible that has been made under the supervision of an instructor or as a class assignment
No image that receives a Gold award or a Merit in the 20×16″ annual competition may be entered more than once under any condition
No exact same image may be entered into more than one category
Any images uploaded which are not correctly named will be automatically disqualified
Any entry which has been reproduced from an existing photograph, portrait, graphic or any other artwork produced by another person is a violation of the competition rules and will be disqualified
Entrants agree that any photograph entered may be used by The Societies and/or Professional Imagemaker in any of the publications, printed materials, or electronic media. Also the image may be used for promotional use by The Societies, unless otherwise agreed
Images entered into Wedding Avant Garde and Wedding Traditional must have been taken on the day the register was signed and must be commissioned work only
Prizes will not be awarded if the winner does not attend the annual awards presentation or provide an acceptable reason for absence
By uploading and entering in to The Societies' Monthly Competition, You agree to have read and fully understood the Rules of the Competition and Category Definitions
Only open to current Societies' Members
We reserve the right to change or modify the rules without notice
Failure to name your image(s) correctly will result in your image(s) being deleted.


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Sleep Affects Diabetes
Health-e-Solutions comment: Joy Pape, RN, BSN, CDE, WOCN, CFCN, Contributing Nursing Editor for the PRESENT Diabetes newsletter wrote the following article about how sleep affects diabetes. The statistics associating poor quality and quantity of sleep to diabetes are alarming, such as: people who have difficulty staying asleep have an 84% increased odds of developing diabetes. we should take sleep seriously if we are serious about optimal health and blood sugar management..
Kristen L. Knutson, PhD., Assistant Professor of Medicine, The University of Chicago Department of Medicine presented a topic that is always interesting to me, Sleep Deficiency and Diabetes. She told us that, due to the prevalence of diabetes, it is important to identify modifiable risk factors. Sleep deficiency is a potential risk factor that has been receiving a lot of attention. Sleep deficiency can be the result of too little sleep (not sleeping long enough), impaired sleep quality, or a sleep disorder such as obstructive sleep apnea and/or insomnia.
Dr. Knutson discussed these points:
- Sleep reduction reduces insulin sensitivity.
- Sleep restriction decreases leptin (a hormone that decreases appetite), and increases ghrelin (a hormone that increases appetite). Appetite for specific food types change after short sleep versus long sleep. For example, short sleep increases appetite for sweets, salty foods, and starchy foods. It decreases one's appetite for fruits, vegetables, meat, and dairy.
- A summary of laboratory studies of sleep loss showed a 40% decrease in glucose tolerance, a 30% decrease in acute insulin response (AIRg), an 18% reduction in leptin, a 28% increase in ghrelin, a 23% increase in global appetite, a 32% increase in appetite for high carb foods, and an 18% increase in appetite for other foods.
- Short sleep is related to obesity. A meta-analysis showed that, in children, short sleepers had an 89% increased odds of being obese and adults who are short sleepers have a 55% increased odds of being obese.
- Sleep may be a diabetes risk. Short sleepers have a 28% increased odds of developing diabetes. People who have difficulty falling asleep have a 57% increased odds of developing diabetes, and people who have difficulty staying asleep have an 84% increased odds of developing diabetes.
- Sleep quality may be related to glucose metabolism in persons with diabetes. Poor sleep quality appears to be associated with worse glycemic control in persons with diabetes. A causal direction cannot be determined at this time. It may be that poor sleep impairs glycemic control, and/or poorly controlled diabetes can impair sleep. More research should be done to determine if improving sleep can help control diabetes.
- Obstructive sleep apnea (OSA) is related to type 2 diabetes. There is a high prevalence (over 50%) of OSA in people in people who have type 2 diabetes. Most cases of OSA are undiagnosed. It is still uncertain which comes first – the OSA or the type 2 diabetes – and it is still unclear if OSA is an independent risk factor for type 2 diabetes. Treating OSA seems to improve glycemia, but adherence is a problem. We need better treatment with greater adherence.
In conclusion, Dr. Knutson said
- Sleep loss and poor sleep quality may increase the risk of diabetes and obesity.
- Persons with diabetes have increased risk of poor sleep and OSA, which may impair their ability to control their diabetes.
So what does this mean? I think it means we should take sleep seriously. We need to assess our sleep length, quality, risk for OSA and, if diagnosed, our adherence to treatment.
Health-e-Solutions comment: Sleep is one of the five pillars supporting thriving health and better #BloodSugarControl in the Health-e-Solutions lifestyle. Diabetes and sleep problems often go hand in hand. Diabetes can cause sleep loss, and there is evidence that poor sleep increases your risk of developing diabetes. Research is revealing the links between sleep and diabetes and suggests that we should use sleep like diet and exercise to prevent or #ControlDiabetesNaturally. Make sleep a priority! We'll help you learn why and how with our downloadable, printable special report on Sleep, Health and Diabetes
- Buxton, O. M., M. Pavlova, et al. (2010). "Sleep Restriction for One Week Reduces Insulin Sensitivity in Healthy Men." Diabetes.
- Cappuccio, F. P., L. D'Elia, et al. (2009). "Quantity and quality of sleep and incidence of type 2 diabetes: a systematic review and meta-analysis. "Diabetes Care.
- Spiegel, K., R. Leproult, et al. (2004). "Leptin levels are dependent on sleep duration: Relationships with sympathovagal balance, carbohydrate regulation, cortisol, and thyrotropin. "Journal of Clinical Endocrinology and Metabolism 89(11): 5762-5771.
- Knutson, K. (2010). "Sleep duration and cardiometabolic risk: a review of the epidemiologic evidence. "Best Practice & Research Clinical Endocrinology & Metabolism in press.
- Knutson, K. L., A. M. Ryden, et al. (2006). "Role of sleep duration and quality in the risk and severity of type 2 diabetes mellitus. "Arch Intern Med 166(16): 1768-1774.
- Knutson, K. L., K. Spiegel, et al. (2007). "The metabolic consequences of sleep deprivation. " Sleep Med Rev 11(3): 163-178.
- Punjabi, N. M., E. Shahar, et al. (2004). "Sleep-disordered breathing, glucose intolerance, and insulin resistance: the Sleep Heart Health Study. " Am J Epidemiol 160(6): 521-530.


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Rushdie and Husain: Casualties of an Immature Democracy : Freedom of expression includes the freedom to offend or hurt organized groups, hurt public figures, hurt all those who are in the positions of influence, hurt all those institutions which are powerful and influential, hurt our histories, our legacies, and our past. Freedom of expression cannot come in doses of moderation, like what the Indians want us to believe.
Go back Rushdie, You are not welcome here: Though we are the 'greatest country' with the 'greatest culture' we are an insecure lot. In our country, we have a right to believe in blind theories, gobbledygook stories, and mystical interpretations of the working of the nature. And if for some reason, you seem to question them or speak against them, we have a right to threaten you, shut you up, and if needed, throw you in prison.
Run away from Indian Flag: Why give the flag to us when you can prosecute us with such silly allegations. Instead, please take the flag back; put it in a museum. Keep it on a pedestal, or keep it chains, but please keep it away from the reach of the mere mortals like us. We don't want the National Flag in our lives if we are to be constantly afraid of silly prosecutions and frivolous litigations.
M F Husain: Nude Saraswati: The way Indians got familiar with Ramayana through Ramanand Sagar's version on TV, the new generation Hindus now became familiar with a sari-draped ultraconservative version of their goddesses. But some of us know that Ramanand Sagar's version is not the only version of Ramayana. Many contemporary artists continued to depict their goddesses in nude but these figurines never entered the common man's homes as deity figures.
Understanding why M F Husain might have painted Nude Hindu Gods: For all we know, may be MF Husain was doing what every other artisan in India did for centuries – conform to the practices already in vogue, and not deviate from those practices by a lot. It is a common practice that an artisan who works on Hindu temples sculpts Hindu goddesses in nude and then goes to work on a mosque to etch Arabic texts onto the walls.
Scrap the Insane Laws, Immediately: There are many anachronistic, insane and stupid laws in this country. The fact that they have never been used, or that they are rarely used, or that they have been used with discretion is not a good enough reason for such laws to exist. No individual can stand up against the onslaught of a committed group which uses such insane laws to prosecute and persecute him.
MF Husain Dies: Intolerance Wins, India Loses: A basic requirement of a free nation is that it should allow expression of conflicting and dissenting ideas. And those who express those ideas should be protected from persecution, even when the targets are sacred symbols of majority or minority groups.
Freedom from persecution: Though High Court ruling clearly exonerated MF Husain of any wrongdoing, Indians kicked out MF Husain by hounding him with thousands of cases, generating hundreds of arrest warrants against him. A freedom sanctioned by the state of India also includes freedom from such frivolous and unnecessary prosecution, from such arrest warrants in each and every Indian city.
'You hate me, I arrest you': Words like hatred, anger, love, happy, cannot be and should not be legalized. The fact that such words, like 'hatred', appear in our Indian Penal Code with punishments of imprisonment for life is quite ridiculous. Indians are now hounding its authors and artists slapping them with innumerable number of cases in each city of India so that they are forced to flee the nation.
Scrap sedition laws: 'Whoever, by words, either spoken or written, attempts to excite disaffection towards the Government established by law in India, shall be punished with imprisonment for life.' That includes almost every criticism of India. Almost anyone who is unhappy with the way India is performing and therefore goes about criticizing it can be charged with sedition.
Khap the crap: Khap panchayats should have no jurisdiction over who an individual can marry, what an individual wants to do with his/her life. No amount of greatest culture and tradition can be used as a justification to deprive an individual of his fundamental rights. And the modern India has a responsibility to emancipate these common Indian men and women from the oppression of the majority carried out in the name of tradition and culture.
Freedom from Religion: What Indians need is freedom from religion; freedom from its foolishness, from its ignorance, from its zealotry. We need freedom from its imbecility, its bigotry and its intolerant imposition of values and virtues onto us. Religious people are free to practice any idiocy in their lives, but they have no right to impose it onto us, by any law or by any decree of the land.
Thou shall not eat beef!: Banning beef in Karnataka is a clear case of Hindu majority, dominated by upper caste version of Hinduism where cow is a sacred animal, imposing its will on other religions and lower-caste Hindus. Beef is a food to many people just like chicken or mutton. State has no right to impose what people of this country can eat or not eat. Making an animal sacred is not the domain of a secular country.
MF Husain takes Qatar Nationality: India has a long standing tradition of depicting their gods in nude. Indian temples are galore with various gods and goddesses in erotic postures and in some temples, the depictions are downright pornographic where more than one multiple partners are making love.
Unban banned books: So far, more than 54 books have been banned by various Indian governments. India bans books, plays and movies at the throw of a hat without debate, discussion or reason. India has to grow up. One of the sad outcomes of that growing up is to deal with things that are unpleasant.
Gujarat bans Jaswant's book on Jinnah: Books are not billboards that a person would look at involuntarily. Someone would read a book only because he wants to, it cannot be forced upon, and it would never be inadvertent either. An Indian citizen should be allowed to choose any book he wants to read. No government should think it is protecting its citizens from reading wrong stuff.
Homosexuality is not a crime anymore: The court observes: "Moral indignation, however strong, is not a valid basis for overriding individuals' fundamental rights of dignity and privacy. Constitutional morality must outweigh the argument of public morality, even if it be the majoritarian view". India took 150 years to reverse a law that criminalized an activity which is now considered natural though different from the majority point of view.


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As promised, here's a wonderful recipe for a thick and tasty soup using a small pumpkin known as the Potimarron. The flesh is dense and flavoursome and is perfect for adding to curries, risotto, vegetable crumbles and stews because it doesn't break up as easily as larger pumpkins and retains it's buttery, nutty taste. When made into soup, it hardly needs any other ingredients but in this French recipe, it's paired with leeks to give a lovely earthy and Autumnal thick soup.
Potimarron and Leek Velouté
½ potimarron or 1 small one (or substitute Butternut Squash, de-seeded and peeled)
2/3 large leeks
1 small onion
25g butter
Vegetable stock
Salt & Pepper
Start by preparing the potimarron. If you have a steamer, place the pumpkin in the steam for about 5 minutes to soften the skin- it makes it much easier to peel. Meanwhile, wash and chop the leeks and an onion.
Heat a large saucepan, melt the butter, then gently frythe leeks and onion until they are softened but not browned. Peel then chop the potimarron into large chunks and add them to the leeks. Stir in enough stock to cover the vegetables, bring to the boil, cover and simmer for about 20 minutes or until the potimarron pieces are tender.
Leave to cool a little then blitz in a blender for a smooth velouté. If it's too thick, add a little water, season with salt and pepper to taste and reheat when you're ready to serve. This soup tastes much better if it's left for a day or more for the flavours to develop.
Serve with a dollop of creme fraiche swirled through the soup for an extra creamy taste.
Related articles
- Roasted Butternut Squash Soup (frenchleave.wordpress.com)
- Potimarron progress (wcs4.blogspot.com)
- Pumpkin and potato soup (ckenb.blogspot.com)
- Quinoa stuffed Potimarron (vegetarianandveganfrance.com)


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Is this the end of the manual gearbox?
Not long ago you only had two options for changing gear in a car - manual or automatic. The former was for 'normal' cars and sports cars, the latter for barges and the like. But with technological developments the line has got very blurred and it seems to be bringing forth something that frightens the hell out of me as a petrolhead – the death of the manual gearbox.
We're already at the stage where you can no longer buy a manual Ferrari – imagine telling that to some tifosi 30 years ago and they'd spit their espresso in your face. The replacement for the Lamborghini Gallardo will undoubtedly be offered without a shiny stick sprouting from the centre console and Aston Martin will most likely ditch the option of human shifting on the next gen of cars. The only real saving grace out there for those of us who prefer to shift gears ourselves is Porsche.
But why are companies getting rid of the manual gearbox? Surely it's part of sports car lore? Well in the end, it very sadly all boils down to saving some polar bears. Yep, that's right – the eco mentalists are in charge of our sports car gear shifting. All car companies, including those that make our favourite super cars are being forced to lower their CO2 emissions and in order to get a 700bhp Aventador to sneak through the emissions ratings at under 400g/km Lamborghini, like all the others, fettle the gearbox and engine parameters so that at the specific rev and speed range used to determine the emissions, the 6.5 litre behemoth's powerplant is operating at the absolute optimum settings. This is very hard to do with a manual gearbox as you can't control it nearly as much.
The other reason is a technical one – in the Ferrari 458 all the systems; engine, suspension, gearbox, exhaust etc are all linked together by the multiple ECUs. This means you can set the car to Race and the suspension firms up, the gearshifts are lightning quick, the exhaust valves stay open and everything works as one. If you shifted gears manually this would be very hard to integrate. But do we really need all of this?
Porsche seem to be the only sports car maker willing to stick with the manual gearbox, developing a 7-spd manual box for the new 911. The next GT3 is set to offer a PDK option though which will enrage the purists. Not me though, I have no problem with companies offering the dual-clutch gearboxes and the like, just give us the option of shifting gears ourselves if we want to. Sadly it seems unlikely that the next generation of 911 will have a manual gearbox at all as Porsche are forced to lower their emissions even further.
As an example of my point, a while ago I drove my favourite section of blacktop back-to-back in a Ferrari 458 and a Porsche 997 GT3 RS. I went a good 15-20mph faster in the 458 and it was amazing, exhilarating even but I got to the end and pondered "How much of that was actually me?"
In the RS I got out at the end and my pulse was racing, I was sweating and the adrenaline was pumping through me. What I knew though, was that it was all me. Every perfectly timed downshift blipping the throttle, even every fluffed shift, gave me a thrill, a sense of achievement.
As an engineer, I am incredibly impressed by the dual clutch boxes, and indeed if I were to have a car as a daily driver it would be some kind of auto. But when I want to drive, really get the most driving pleasure I can out of a few miles in a sports car, I want to control it myself.
I love the tactile feeling of snicking that lever from gear to gear, timing the changes, heel and toeing to perfectly get that downshift on the way into a corner. Does it make me a Luddite? Absolutely not – I welcome these dual clutch 'boxes for the technical marvel that they are and I think they have a place. But for me, in my sports car, I'll take a manual shifter please. As a chap on Pistonheads so aptly put it recently…
"Paddles are for canoes"
Of course, the manual gearbox will be a common sight on 'normal' cars for some time yet. Manual gearboxes are simply much cheaper to produce at the moment. But all it takes is a push from some manufacturers to go auto across the range and the volumes will start to increase. When that happens they price of these dual-clutch and auto 'boxes will drop and you can expect to see them in everything from a base Fiesta to a £1m hypercar as standard.
What this could also mean, is that manual sports cars could become a rarity in the seconds hand market. Buying a Ferrari 575M with a manual gearbox now could see it rise in value purely because so few manuals were sold, while holding onto a manual shifting Porsche 911 GT3 is a pretty safe bet too.
We just hope that there will always be smaller manufacturers too, like Noble who don't even offer a non-manual version of their 650 bhp M600. We can always rely on them to satisfy our need to shift gears ourselves.


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The robots are coming. But perhaps not in the way we thought. A theme park in Japan is opening a high-tech hotel that will be staffed by robots, according to the hotel's website. The hotel will
open in July, and will be called Henn-Na Hotel, which translates in English to "Strange Hotel." At its open, the futuristic hotel owned by Huis Ten Bosch will open with three "actroids," or
robots that resemble humans, that will serve as receptionists and will be capable of conversing with humans. It will also have several service and porter robots that will be responsible for
cleaning and other maintenance tasks, according to a CNN report. Eventually, though, the president of Huis Ten Bosch, Hideo Sawada, said that the company aims to have more than 90 percent of
hotel services operated by robots, according to a Japan Times report. The hotel will also feature facial recognition technology that will replace keys to give guests access to their room. Rates
for a room at the hotel will range from 7,000 yen ($60) to 14,000 yen ($119), according to the report.
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