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Notes on Ronald Bladen Sculpture 2012
I have wanted to write down some thoughts about my personal experiences with my late friend Ronald Bladen for a long time - to reveal the Ronald Bladen I knew, not the art gallery press release or faux art history book version of him. To reveal the person and the life of a friend unfiltered. If people's feelings are hurt here then too bad. I do have permission from Bladen himself as I shall explain. A few years after Ron had died, I was asked by my poet friend Bill Berkson to write down some observations on Ron's sculpture and specifically his working methods for a retrospective that Bill was curating for the San Francisco Museum of Modern Art. I wrote what I remembered at that time - now written some twenty-one years ago. I add to it now, but include the memory of a day in 1987 when for whatever fleeting reasons I asked Ron if there was anything about his life that he wanted hidden. He waved his hand through the air and said "No man, don't hold anything back. Tell the truth." OK, Ron.
Ronald Bladen was a name I knew from my student days at Boston College. Just a name, but a name included in my Janson's History of Art and illustrated with a black and white photograph of his sculpture "The X" seen straddling the atrium of the Corcoran Gallery of Art in Washington, DC. By a complete chance of fate we were to meet at the Skowhegan School of Painting & Sculpture in Maine when I was accepted as a student and he was hired as one of the resident artists. One day in early June 1981 at Skowhegan I observed Ron standing all alone in the middle of a field next to a huge boulder. He was staring straight into space. What the Hell was he doing? I walked over to him and told him that I had something important to tell him: "I hate all outdoor sculpture." He laughed and with a big smile replied "You know something, so do I." I have since been told this was a very rude thing to say to a sculptor known primarily as a maker of huge, outdoor, steel sculptures. But Ron immediately knew what I meant ― that most public sculpture had degenerated into tame, decorative jewelry and was entirely forgettable. He also knew that even in my arrogance I did not think of his work that way. Since we both did not drive (and he never did as long as I knew him and I still don't) we would take any available truck rides into the town of Skowhegan to buy the things we needed― mostly cigarettes and beer. I always ended up "borrowing" a cigarette on the way in and he always generously offered me one of his low-tar Carltons with an embarrassed smile. (The Carltons were supposed to make him cut down on his smoking, but in fact increased it as he tried to get his nicotine fix.) The summer went by quickly and when I started graduate school that fall at Columbia University in New York, Ron re-appeared as a visiting artist there — which was a big surprise to him as he stepped into my studio. I never expected to see him again nor he I though I was now living in New York. After lending me another cigarette Ron proceeded to talk about my painting. He specifically told me how I could make my paintings better. He was unlike other visiting artists I had already met at Columbia who had cliche answers that were meaningless. Ron told me "Try making a painting with no lines." I realized after he left my studio how dependent I was on outlining every damn thing in my paintings. His earlier career as a painter was entirely unknown to me at that time.
After Columbia I began working odd jobs for money, mostly restaurant work in SoHo until I began work for Bill Jensen who had also been a visiting artist at Columbia. Bill and I got along immediately and he told me he just bought a building in Williamsburg. I spent the next three years working with Bill on his studio and it needed a ton of work. Now three years later the construction work was winding down and Bill suggested I try working for Ron Bladen with whom Bill had worked as an unofficial assistant for years. I figured why not since we all used to meet socially after work or after gallery openings to drink, smoke and eat at Magoo's Bar just south of Canal Street (now long gone) These were still the days when most artists lived in Manhattan - Bill and fellow painter Margrit Lewczuk living on W. 14th Street near Ninth Avenue; myself right around the corner on W.16th street and Ron on 21st Street off Fifth Avenue. Ron I was told was working alone then and could use some help. This was around the fall of 1985.
Ronald Bladen, Black Lightening(1981), painted aluminium
Ronald Bladen, Cathedral Evening(1969), painted aluminium
Ronald Bladen, Three Elements(1965), painted aluminium, Storm King
I began to work with Ron in his truly Albert Ryderesque studio - a fourth floor walkup at 5 West 21st Street . This was just above the third floor studio he used to share at one time with then fellow dirt-poor artists Al Held and Sam Francis in the late 1950s. (They had each worked on a separate section of wall). What a mess Ron's studio was now for a compulsive hand-washer like myself. Sawdust everywhere like sand on a beach, wood scraps galore, styrofoam coffee cups half-filled with moulding old coffee, orange Roman Meal plastic bread wrappers, empty margarine containers, empty jam jars, bags and boxes of screws and bolts, and literally hundreds of cigarette butts everywhere. You could hardly see the bent and crooked floor.
Ronald Bladen at Lippincott fabricators in July 1972 - courtesy of Lippincott Inc.
The first work I remember doing was sanding half-finished sculptures and lengths of 1 x 2" pine that he used in his sculptures. Ron must have felt that I was careful enough and did things exactly as he asked because eventually I was allowed to do more and more work on the sculptures themselves. It was a great experience to be able to see Ron working from beginning to end on his sculptures and more amazing to find myself working side by side with an artist I had heard about before I had even left Boston. One day a week with him quickly became two days a week and finally three days a week. We began work each day at noon. When I got there Ron would be eating his usual lunch of bread, jam and margarine. This would be followed by coffee and cigarettes. He would make instant coffee for the both of us (strong as hell since he could never find a spoon in the mess around us and would always spill way too much from the jar into the two cups for us). While drinking it we would talk NY art gossip, tennis news (as a former tennis player in Canada he particularly loved Jimmy Connors, John McEnroe and the Spaniard Andres Gomez) and ask what I was painting or what I had done the night before. Then we would begin to work. "I need four 1X2's thirty-six inches long and two 1 X 2's fourteen inches long" for example. I would then cut and sand them. As I worked he would be arranging pieces of wood together, clamping them together with precision. Ron never used sketches, drawings or models for the sculptures we worked on. After he had clamped a sculpture together, he would mark in pencil where the holes were to be drilled. While I would be drilling he would be planning in his head his next few steps. After we had been working together awhile we were comfortable in each other's presence. Ron was often very quiet and far away in his own world while I sanded and drilled away at the worktable. I never dared say anything or bother him. Usually I didn't even move or else sat down on his broken-down cat hair-covered couch if it was close to me. After he would come out of this reverie he would say that he needed this or that piece of wood, or that the structure was wrong and unscrew half the piece or bring in a whole new structural idea which would make no sense to me at all (even after a few days of work) but which later came together so perfectly that I was thankful I was a painter. Occasionally he would say "Al, could you cut…" then stop and say "Sorry, Larry." He had worked so much in the past with Al Held in this old building saying Al became a habit.
We worked on the sculpture DOUBLE SUMMER all that hot summer of 1987. I particularly remember thinking after it was completed that Ron had worked on it like a painter. He had a big, powerful structure that contained so many possibilities as to how it could turn out that, as often happens to lesser artists, the possibilities could have become paralyzing. It had two heraldic aluminum shields to it and because it seemed so menacing and complex and it was the summer, we started referring to it as the "Double Summer" piece. A purely descriptive title that became its ultimate title. The structure looked like a scaffold. There were 1 x 2's zig zagging in different directions from the four corners of the top section of the piece. Then Ron simply took a large Swedish handsaw and we each took turns cutting the 1 x 2's off at the angles Ron had marked. Him the left side and me the right. Suddenly the sculpture appeared before us. The smaller wing sections he had screwed onto the sides below it now made total sense. Ron knew the sculpture was finished. I remember telling Ron it was just like painting. He had just added the last few masterful strokes. What I didn't know at the time that just beyond the wall behind us were over fifty large paintings on masonite that Ron had painted in the late 1950s and early 1960s. After Ron had died I discovered them along with some paintings by his friends Al Held and Alice Noera painted on what appeared to be bed sheets. The paintings were hidden behind a partition in the locked hallway closet just to the right of his studio door. I had recognized the Helds by their style and the Noera paintings by her small signature on the backs. The Helds were so heavy with paint they had pulled the canvas right off the stretchers and were heaped at the bottom. Some of these early Bladen paintings would be shown at the Washburn Gallery in New York and later at Ron's early hometowns of San Francisco and Vancouver ( as "Ronald Bladen: Early and Late" at the SFMoMA and the Vancouver Art Gallery all curated by Bill Berkson).
Ronald Bladen, graphite on paper, 1970s, courtesy Larry Deyab
In the beginning Ron he would have me cut all the aluminum he used with an old Rockwell saber saw. The aluminum was actually flashing for repairing roofs and came in big rolls as wide as twenty-four inches. Ron would sandwich the aluminum between sheets of one-eighth plywood. Each time he would carefully measure, adjust, clamp and draw the lines to be cut, no matter how long or short the piece was. It was very time-consuming setting up each cut along the length of the work table. Eventually I suggested it would be easier if we cut the metal using a mat knife with a clamped down T-square as our guide. Ron said "show me" and I did so. After he saw how fast and easy it could be done he allowed all the aluminum when possible to be cut this way. This mat knife method was used in FUGUE, DOUBLE SUMMER and most of the late wood and aluminum sculptures. The long piece of aluminums used in both IN 5/4 TIME and GRAND PRIX were cut using the original saber saw method since GRAND PRIX in particular needs a very long and wide piece of aluminum that can't be dented or scratched in the slightest. We had to rig two connecting tables with a supporting bridge to do it - and all this kept level to cut using his old vintage 1960 Porter-Cable saber saw. Ron then made one continuous cut with the saw braced against and guided by long piece of pine. I remember the last year we worked together ― before Ron became sick with what turned out to be cancer ― he would have me cut a large number of 1 x 2's, enough perhaps for three new sculptures. These pieces would then be assembled into small rectangles. Ron would use these as starting points for very different ideas. These rectangles later became MAGICIAN, BIRD'S SONG (CHARLIE PARKER) and BEATRICE NOW which he named for his mother Beatrice(the name of both our mothers).
The sculpture LION'S EYE was first exhibited in a different form than now exists and it helps illustrate Ron's way of working. Originally the sculpture was totally stationary on the wall. After Ron's exhibition at Washburn Gallery ended in late 1985, he realized that he wanted it better to be able to grab the available light. So back in his studio we built a structure beneath and behind it to allow the front horizontal aluminum section to be tilted upwards to meet the light. It was his belief that light completed his sculptures. Unlike many sculptors who consider the lighting in a gallery as an afterthought, Ron thought of light from beginning to end. Theoretically all of Ron's sculptures should be able to be lit with one bare light bulb ― because that was all he ever used in his studio. It always seemed to us that the fancier the gallery lights, the more trouble we had with the installation. So even the aluminum itself was sanded by Ron to control the light. When we first started working together, Ron had been using very fine steel wool to sand the aluminum. Later he moved on to very fine sandpaper. Some of the sanding Ron did and some I did, often both of us combining on the same sculpture. I had a heavier way of sanding which Ron liked very much, in particular DOUBLE SUMMER. In other sculptures, such as BIRD SONG and BEATRICE NOW, Ron did a more delicate sanding himself. After watching Ron sand certain sculptures with a specific intent to capture the light, I said to Ron "So, you're painting again, huh?" And Ron said "Yeah." He agreed.
During a period of the roughly three years Ron and I worked together, he competed to get two big sculpture commissions, one in Omaha, Nebraska and the other in Broward County, Florida. Both commissions were for airports and the sculptures BLACK TOWER and SEVENTH VOYAGE were the results. Ron began by making a series of rough pencil sketches on long, horizontal sheets of paper. The drawings I remember were powerfully futuristic. When I came upstairs one afternoon I saw Ron had them attached to the walls so that he, Connie Reyes ― his companion and personal tormentor in my opinion - and I could discuss and try to select which idea to use. All three of us had to agree on which drawing was the strongest for it to be chosen. Once chosen, Ron would figure out a schematic treatment of the drawing which could be cut out in heavy cardboard and glued together and painted black to see how the plywood model might look. Modifications would be discussed ― aesthetic and practical such as proper drainage of rainfall off of the sculpture. Once Ron was satisfied with everything we could begin work on the plywood model. These were made with one-quarter inch luan plywood. Ron would draw the forms out on vellum tracing paper and figure out the exact mathematical proportions he wanted, plus straighten out the lines and perfect the curves. These forms were then drawn onto the plywood and then cut. To get the exact perfect curves Ron wanted, he would build the most beautiful, elaborate, painstakingly-built templates. (They still exist somewhere.) The curve of SEVENTH VOYAGE was cut with a saber saw along one of these templates. The precise cutting, gluing and nailing of these templates was maddening. It was during the building of these templates that our puns would start flying. Ron loved puns of every sort. Punning became a finely honed skill with us. It was a way to relieve the tension after days and days of exact cutting, measuring and gluing. Now I can't remember even one of them.
BLADEN "Head" Drawing from 1980 - Pencil on paper, courtesy Larry Deyab
To achieve the curve of the inner section of SEVENTH VOYAGE, Ron carefully soaked the plywood strips we cut in water to get the curve we needed without breaking the wood. After assembling the sections and carefully gluing and clamping the model together, it was sealed all along the edges with DAP compound and sanded. We both did this. Finally I would spray the model with forty or fifty separate coats of Krylon semi-flat spray paint with both of us decidedly not wearing masks and probably smoking cigarettes at the same time. Then Ron began the specification drawing that were necessary for both the fabricator and the presentation. Each section of the model ― about fourteen views for each piece ― had to be drawn. Once these were made Ron and I would trace copies from his originals that could be mailed out to fabricators and each of the selection committees. He kept his original drawings and once gave me his original schematic drawings of BLACK TOWER as a gift which I still have. I was always totally dependent on Ron. Many times I felt like a baby taking tiny, careful steps around him. I was a painter, not a sculptor and on top of that I knew nothing about carpentry. I understood two dimensions not three.
Ron and I used to spend many hours after work talking about his early life in San Francisco in the 1940s and 50s. Life among the early "foot soldiers" as Al Held called them of the anarchists and poetry movement. Sitting down with our red wine and cigarettes, Ron spoke of his friendships with such painters, poets and dancers as Kenneth Patchen, Kenneth Rexroth, Dave Koven, Yvonne Rainer, Jack Kerouac, Allen Ginsberg, Michael McClure, Philip Lamantia and Lawrence Ferlingetti. It seemed any artist or writer I mentioned or admired, Ron personally knew ― like his one-time neighbor in Partington Ridge, CA, the writer and painter Henry Miller who is a particular favorite of mine. (Miller's "Big Sur and the Oranges of Hieronymus Bosch" was written at this time of their lives.) So our conversations would go on and on into the night, refueled by cheap red wine and cigarettes. Old gossip was remembered - Ron told me how in 1950s San Francisco during a party Kenneth Rexroth took Ron aside to accuse him of having an affair with his wife Martha. As Ron and I both knew, she was actually having an affair with poet Robert Creeley. The fact that I already knew it was Creeley endeared me to Ron. He loved the fact that I knew so much about the Beats and art history in general. We talked about the now famous night at the Six Gallery in San Francisco when Allen Ginsberg read HOWL for the first time with Ron and Al Held in the audience. This was the early counter-culture being born. The Six Gallery was also the place where one of Ron's first painting exhibitions in America was shown. It was organized by his poet friend Robert Duncan. It was ironic that the same day Ron died in New York - February 3, 1988 ― all the way across the country in San Francisco Duncan died as well. Both their obituaries were in the New York Times on the same page two days later.
Music was important to Ron. Every Monday, Wednesday and Friday around noon I would knock on his door to start work. The inside of the door was covered with photographs of jazz musicians, especially saxophone players. Photos of Dexter Gordon, Sonny Rollins, Thelonius Monk, Coleman Hawkins, and his friend Gato Barbieri with whom Ron would play in his studio whenever Gato was in town for a concert. Eric Dolphy was one of his favorite saxophonists and Ron talked to me about the day he had heard of his death and the sadness he felt. Ron played the saxophone himself, often recording himself on homemade tapes and performed with a group of his 1960s Park Place Gallery artist friends like Richard Van Buren, John Chamberlain and Frosty Myers. Even John Coltrane occasionally joined in as I remember. I own one of the two saxophones Ron's used and it remains in the same purple, velvet-lined case he kept it in with all his old mouthpieces, including his old Rico reeds. His radio was always tuned to only one radio station ever - WKCR - the New York jazz station. IN 5/4 TIME, FUGUE and SILVER IN C SHARP were based on music and BIRD SONG (for CHARLIE PARKER), COLTRANE and DEXTER'S DREAM (for Dexter Gordon) were made for the musicians he loved.
RONALD BLADEN - Self Portrait ( dated twice on front by artist "Dec. 24, 1931) Watercolor and tempera on paper - 16 x 15" - Given to me by Ron's sister Kitty Carson
Poetry played a huge part of Ron's daily living and working. Ron's love of poetry and literature was reflected in the sculptures we built together. DOMINION was his homage to poet Dylan Thomas whom he had heard reading during Ron's first exploratory visit to New York in the 1940s. HARMON was titled for Jim Harmon, San Francisco poet and best man at Ron's 1949 wedding to Barbara Gross in Sausalito. KEROUAC'S ROAD was made for his friend Jack Kerouac with whom Ron used to hang out in the San Francisco railroad yards. The story Ron told me and others was that he was sitting with Kerouac and Allen Ginsberg as they improvised verses for PULL MY DAISY. My Boston accent made Ron laugh and remember this; he said it reminded him of the way Kerouac pronounced words.
The sculptures IN 5/4 TIME and GRAND PRIX were so complicated to hang that Ron and I - on my suggestion ― wrote out detailed instructions on its installation. I still can't figure out how he built the sculptures without any drawings and managed to install them on the wall by himself. The walls of his studio were not even remotely flat ― there were cracks and curves and bumps all along the long narrow walls. To hang the separate carriage sections of the sculptures, the most the measurements on the wall between them could be off was a sixteenth of an inch. And even if all the measurements were correct, just to hold up and attach the aluminum to each carriage and bolt it on while making sure the aluminum section is taut and undamaged, is an amazing feat for any one person ― especially an almost seventy-year-old sculptor. But that was exactly what Ron did. My presence just made it easier. So before Ron's exhibition at Compass-Rose Gallery in Chicago opened in May 1987, we rehearsed over and over like a daily fire drill the installation procedure for both GRAND PRIX and IN 5/4 TIME. Chicago was too far from his studio to make any mistakes. Ron, Connie and I flew to Chicago for two weeks to install the show and after the exhibition was over Ron and I flew back to Chicago by ourselves to take it down. I mention the second trip because Ron and I stayed together in the same hotel room and in the manner of an English rock band we trashed the place - by accident. Over the course of a few days as we drank and smoked while lying in the two beds we ended up spilling a large amount of brandy and wine - on the beds and the rugs as well as burning cigarette holes in our sheets and pillowcases. Ron left a sad, faded five dollar bill on his bed before we left for the maid. To him it was a lot of money.
Back in New York our work on new sculptures became more and more intense. Ron wanted to get more work done. I realize now he must have known how sick he really was. As we progressed his sculptures became better and better ― the lines more precise and straight, the aluminum tauter and more brilliant. I can only try to imagine the brilliance yet to come had Ron lived even a few years longer. He had started to get into color, painting blue acrylic paint directly onto certain parts of the wood to get blue reflections cast up onto the aluminum. The last large and heavy aluminum and wood sculpture that we started was left unfinished. He was to sick to work very much any more. He would pass out unconscious on his couch and five minutes later come to. It was horrible for me to witness and it marked the beginning of the end for him. I tried to get Connie to take him to the hospital but she told me to mind my own business. A few days later she bought him a bottle of cheap children's vitamins from the discount place on the corner. Cheaper for her than taking him to the hospital.
Ron had always worked alone up in studio on the fourth floor and would come down each night after work to his makeshift living quarters on the third floor. Most of the space was used as Connie Reyes' studio (she lived nearby in an apartment on Second Avenue). Ron's bed was a small cot and because he was so tall, he had to pull out a drawer from a small nightstand table by his bed and put a pillow in it to sleep on. Otherwise his head would hang over the end. (Somehow I imagine William Blake doing the same). He ate very simple food and had an absolutely British hatred of onions or anything spicy. We got into an argument in Chicago when I bought us cheeseburgers from McDonalds and he found onions on them and disgustedly took threw them off onto the same tortured hotel rug we were destroying. He was convinced by Connie that he had no money and would often live on plain pasta and potatoes. Often during the last year of his life I would buy him bags of small red potatoes and carrots from the nearby Union Square farmer's market, which was ironic since I had very little money myself. I was only paid $7.00 an hour for all my work with Ron, but if it were up to Ron he would have given me any amount of money I asked for. Since I filled out my own check myself and gave it to him to sign, I once told him I was paying myself $1000.00 for the day's work. He said "Go ahead! I'll sign it!"
We had great fun together. Some of the best times I ever had with him were in Westhampton, Long Island at a summer cottage Connie Reyes and her husband owned there. Ron and I once spent an entire weekend alone together doing small repairs on the roof, talking about art, drinking massive amounts of red wine and brandy. Before we both passed out late one Saturday night Ron noticed we had only one small plastic cupful of wine left and he managed to get himself to the refrigerator and place the cup on the shelf for the next day. It was so ridiculous. In the morning we were too hung over to remember where we left the cup and so searched for - and found - the secret stash of booze Connie had hidden away for herself. We sat in the sun drinking and smoking all that Sunday so that by the time Connie arrived we were both shivering uncontrollably. She slapped us both for drinking all her wine and being sick on top of it. Fortunately she had a second hiding place for her other secret stash of alcohol and so we opened bottles and the three of us continued drinking into the night. We drank a lot.
I mention all these little moments to remind myself of the many good times Ron and I had together before the memory of the last few months of his life burned these memories away. How many lessons on art and life did I learn from this artist who never compromised with the world? Ron lived simply and honestly and cared only for his art and his friends. It seemed Ron could survive anything since he had so few needs. Then the inevitable happened. One morning in mid-December 1987 I got a telephone call from Connie to come to the studio. Ron had gotten so sick that she realized that he had to go to the hospital and now he would no longer listen to her. She knew he would listen to me and asked me to go upstairs to his studio and convince him to go to the hospital. I went up, knocked on the door and when he heard my voice he let me in. As I told him he needed to go to the hospital I noticed for the first time that his stomach was swollen out from the cancer. In the cold of his studio I hadn't seen it before under his jacket (Cruelly, the landlord had shut off the heat when the winter began to force him out of his loft since she wanted to raise all the rents). Ron was standing around fussing with his broken down shaving kit trying to get his few things together if he was going to go. His cat Bon Bon was on the couch. He didn't want to go to the hospital because as he told me: " If I go in, I know I'll never leave." I didn't know what to say. Ron finally agreed to go with me and I got him downstairs and hailed a taxi and we left for the hospital.
The ride there was very silent. What could either of us say? We got to Beth Israel hospital on First Avenue and I helped Ron into the emergency room entrance and filled out all the necessary forms as the doctor and nurse took him to be examined. I could hear them behind a curtain in the next room. Maybe a half hour later a nurse told me Ron wanted to see me. Ron was sitting on an examination table. He thanked me for being there with him and we held hands and I told him we would see each other again soon. But I wouldn't really. I never saw him conscious ever again. By the time I returned to New York from a Christmas visit to Cambridge to see my mother, Ron was in a coma. My very last contact with him still alive was in the hospital. Still in a coma, I grabbed hold of his hand and held it as I talked to him. After a half hour I let go of his hand to leave and found he was now tightly holding mine. In the time we were talking the energy had shifted from my hand to his. I am sure he knew I was there and heard everything, but could not speak. He died a week later.
All this pains me even now after twenty-four years.
Larry Deyab
September 24, 2012
Cambridge, MA


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May 22, 2010
Culinary Gad News Roundup (5-22-10)
A good many press releases come my way devoted to my favorite subjects: food, wine, spirits, and/or travel. Occasionally something comes along that I find interesting or newsworthy enough to bring to your attention, but yet I don't want to turn it into the subject of an entire post. So beginning today I'll compile such items into periodic Gadabout Roundups.
Wine Delivered in Kegs
Wine kegs in restaurants are nothing new—in other parts of the world, anyway. Traveling in the French countryside I've sometimes been served local wines from a small barrel delivered to a restaurant by the winemaker. In fact, one of my fond memories involves being in the Beaujolais region in late November—right around the time that the Nouveau arrives in the U. S. Le propriétaire recommended a local Nouveau, and we were delighted when he dipped a pitcher into a wooden barrel on the counter and carted it to our table. It was, as he had predicted, fantastique!
In the U. S., wine in kegs is a fairly innovative concept—but one that's becoming accepted (read this NYT article by Eric Asimov). And now a company called Silvertap has begun providing quality organic wines in tappable plastic kegs to restaurants and bars. They're going about it in a business-like fashion, so this may really turn into something. Among many virtues, kegs do away with the cost of bottles, corks, labels, foils, and boxes, decreasing the wine cost by as much as a 30%. This by-the-glass reduction will hopefully be passed on to the consumer (call me a cynic, but I'll take a wait-and-see approach on that). Current Silvertap wines include the 2009 Sauvignon Blanc and 2007 Merlot, both from Sonoma County. More wines will be on the list by year's end.
Russian River Valley's "Single Night" Celebration
A group of next-generation farmers, winemakers and other wine industry folks in California's Russian River Valley is hosting a big celebration on June 5. Dubbed Single Night, it will take place from 6:30 to 10 p.m. at C. Donatiello Winery in the Sonoma County town of Healdsburg. The event includes tastings of small-lot Single Vineyard wines from the Valley; an auction of "adventure lots" (kayaking/clam bake on the Russian River, hot air ballooning, etc.); and dancing with music provided by DJs Franco Finn and Samantha Vegas. Get more details or a List of participating wineries
Peru's Pisco Liquor Gaining Popularity Worldwide
Pisco, a three-centuries-old liquor from Peru, is making big inroads in the U. S., according to its #1 exporter, Gran Sierpe Pisco. This is probably due to the growing (and nationwide) popularity of classic cocktails. With its 19th century roots, the Pisco Sour—Peru's most well-known cocktail—fits right into this trend. Gran Sierpe saw a whopping 67.5% growth in Q1 2010 exports as compared to the same period in 2009. The company's major growth markets included Japan (591%); Chile (236%); and the US (59%). Download a Pisco Sour recipe
Read my review of an outstanding Peruvian restaurant in San Francisco, La Mar Cebicheria Peruana
Fair Trade Vodka
FAIR Vodka is not only the world's first vodka made with Fair Trade Certified ingredients, it's also the world's first vodka made with Quinoa. Worshipped as the "mother of all grains" and an excellent source of protein, Quinoa has been a staple in the diet of Peruvian Andean people for centuries. But in vodka? Apparently it works! FAIR Vodka, the first product in the premium spirits line from The Fair Trade Spirits Company, won the Gold Medal (93 points) at the November 2009 Chicago Beverage Institute and was nominated "Best Tasting Vodka 2009" at the New York Spirits Award last June.
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5 Women Environmentalists Who Have Changed the World
Today on #WorldWaterDay we celebrate women environmentalists who saw a problem, spoke up, and changed the world.
Women of color are impacted by environmental issues like water pollution and climate change at disproportionate rates as a result of systemic inequity.1 Harmful stereotypes and a lack of access to education, economic status, and health resources often leave women and people of color out of the conversations that impact them, specifically about land use, natural resources, and environmental policy decision-making.
Despite these challenges, environmentalists of color and women continue to be on the front lines of creating change. Get to know these 5 women environmentalists who have created an inspiring and bold legacy of activism.
Wangari Maathai (1940 – 2011), Kenya
Founder of the Green Belt Movement, which has planted over 51 million trees, Professor Maathai focused on environmental conservation and women's rights. She studied biology in her undergraduate and graduate school programs and later won the Nobel Peace Prize for her vast contributions to sustainable development.
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Berta Isabel Cáceres Flores (1971 – 2016), Honduras
Berta Cáceres was an indigenous environmental justice activist and grassroots leader who created the National Council of Popular and Indigenous Organizations (COPINH) in Honduras. She fought courageously against illegal and harmful mining and logging as well as the construction of a dam that would cut off water, food and medicine for the indigenous Lenca people. Cáceres Flores was tragically murdered in 2016, sparking international outrage. The Cáceres family continues to demand justice for this corrupt violation of human rights. 2
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Isatou Ceesay (b. 1972), The Gambia
Isatou Ceesay is known as the Queen of Recycling in The Gambia, and rightfully so. Though she was kept from finishing school, she created the Njai Recycling and Income Generation Group, which turns plastic bag waste into purses, creating revenue streams for local women. Ceesay also educates and empowers women through environmental advocacy.
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Winona LaDuke (b. 1959), White Earth Indian Reservation
Founder of the White Earth Land Recovery Project and Honor the Earth, LaDuke is an environmentalist and political activist with Indigenous communities. She focuses on sustainable development, renewable energy, climate change, and environmental justice. The White Earth Land Recovery Project is one of the largest non-profit organizations in the United States dedicated to recovering original land and maintaining tribal food, water, and energy rights.
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Dorothy Green (1929 – 2008), Los Angeles
Founder of Heal the Bay, the late Dorothy Green was a celebrated environmental and grassroots activist in California who stopped millions of gallons of sewage from being dumped into the Pacific Ocean and changed water policy in California. She also created the Los Angeles & San Gabriel Rivers Watershed Council (now the Council of Watershed Health). Her goal was to restore and preserve the ecological health of the ocean and watersheds and advocate for better water quality in the Los Angeles region. Her legacy lives on today in our organization's mission.
In honor of National Women's History Month, we thank these women environmentalists, from around the world, who fought for what was right despite facing strong opposition for simply being who they were. Women and girls are leaders in their communities and agents of change. Supporting and listening to them will benefit the health of our planet for generations to come.
About the author: Mariana Estrada is a digital advocacy intern at Heal the Bay. She grew up in Boyle Heights, Los Angeles where she enjoys a lively community of close-knit families and great food. She became interested in environmental issues like air quality at an unusually young age due to living in the city. Estrada's area of focus is combining humanities and environmental issues to create effective and meaningful storytelling that renders real results. She studies English Literature and double-minors in Environmental Systems and Society and Environmental Engineering at UCLA.
1 Gender and climate change-induced migration: Proposing a framework for analysis. Author Namrata Chindarkar. Published by School of Public Policy, University of Maryland, College Park, USA. Published on 22 June 2012. Retrieved from https://www.researchgate.net/publication/254496452_Gender_and_climate_change-induced_migration_Proposing_a_framework_for_analysis
2 Berta Cáceres: 2015 Goldman Prize Recipient South and Central America. Published by The Goldman Environmental Prize. Retrieved from https://www.goldmanprize.org/recipient/berta-caceres/


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Connector FME-Female to SMA-Female | 971136
Product Description
SMA Female to FME Female. Adapter piece for joining components of cell phone signal booster kits.
Warning: Cancer and Reproductive Harm - www.P65Warnings.ca.gov
|Model Number:
|$ 7.99
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Showing 10 out of 1 Questions
Asked by jody 2 years ago
Question: Does this connect the blue amp to indoor antenna?
Answer: Thank you for your question! This connector is often used to connect some of our newer mobile antennas to older boosters. However, we would like to work with you directly to ensure this connector will fit your needs. You can reach out to us here for help: [email protected]
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BEFORE USE, you MUST REGISTER THIS DEVICE with your wireless provider and have your provider's consent. Most wireless providers consent to the use of signal boosters. Some providers may not consent to the use of this device on their network. If you are unsure, contact your provider. You MUST operate this device with approved antennas and cables as specified by the manufacturer. Antennas MUST be installed at least 20 cm (8 inches) from any person. You MUST cease operating this device immediately if requested by the FCC or a licensed wireless service provider.Warning.
E911 location information may not be provided or may be inaccurate for calls served by using this device. Please note, the four largest carriers, namely, AT&T, T-Mobile, Verizon and Sprint, and more than 90 regional carriers have given a blanket consent to all boosters meeting the new certification standards


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H-E-B Thanksgiving Day Parade
Join Us Thursday, November 28, 2019!
Join us Thanksgiving morning, November 28, 2019, at 9:00 a.m., for the H-E-B Thanksgiving Day Parade. The Parade is located in downtown Houston and is FREE for all. For those who would like to purchase general seating, there is an opportunity to do so on this page that will post November 2019.
The Houston Thanksgiving Day Parade began in 1949, when Santa arrived at Union Station and rode his sleigh to the downtown Foley's. Since then, the Thanksgiving Day parade has gone through a few changes but today, it remains a 70-year-old holiday tradition showcasing the Houston community and entertaining parade-goers lining the streets on Thanksgiving morning. Join us again this year as we embrace the holiday spirit on Thursday, November 28, 2019 with the 70th Annual H-E-B Thanksgiving Day Parade.
The 70th Annual H-E-B Thanksgiving Day Parade is produced by the Mayor's Office of Special Events, Susan Christian, Director and Parade Producer.
69th Annual H-E-B Thanksgiving Parade (2018)


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Looks like both the recent Samsung Galaxy Note 8.0 leak we've recently seen and out hunch that it was real were spot on. This latest set of pictures depicting the upcoming device in real-life seem to be a perfect match with what we've seen leaked previously. Today's leak comes from Italy and completely strips the Galaxy Note 8.0 of its secrets.
Both the front of the device (above) and the back (below) are exactly like in the previous leak. This means that the rounded corners of the Nexus 10 are meeting the Galaxy S III/Galaxy Note II design principles. There is of course a very thin chance that this is a prototype and that the final version, on display in Barcelona next month, will be slightly different.
As far as specs are concerned, the screen appears to be the one rumored, of eight inches with a 16:10 aspect ratio resolution of 800 x 1280. Visible in the picture is the back-facing camera sans flash, probably one of five-megapixels, in addition to the 1.3-megapixel front-facing webcam. While nothing is certain at the moment, we can expect a quad-core processor as well as 2GB of RAM once it will be unveiled at MWC.
While the previous leaks indicated that there will be a stylus, the S-Pen is not visible in these images, because of the fact that it is most probably holstered in the lower left corner of the back of the device.
Let us know what you think of the Note 8.0! You can also find two more pics at the source below.
Source: Dday


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Specialty Nights
- Post-Show Discussion Nights October 14 & 27 and November 4, 2015
- Pride Nights October 16 & November 6, 2015
- Open Captioned Performances November 14 at 8PM, November 15, 2015 at 2PM and November 17, 2015 at 7:30PM
A Battle-of-the-Baking-Sexes World Premiere Musical
Cake Off
by Sheri Wilner, Julia Jordan & Adam Gwon
A hilarious world premiere musical adaptation of Sheri Wilner's riotous battle-of-the-baking-sexes play starring Sherri L. Edelen.
It's the 50th Annual Millberry Cake Off. The legendary jackpot: one million dollars for the best homemade sugary delight. After a chilly pre-heating, hardy contestants Paul and Rita don their aprons, strap on their oven mitts and square off. Armed with whisks, bowls, knives and eggs, the two engage in an increasingly ludicrous all-out brawl… and only one can remain standing when the timer dings.
Ferociously funny, there's nothing sweet about this wild musical satire, presented as part of the Women's Voices Theater Festival.
Sheri Wilner has concocted an original and laugh-out-loud satire on gender roles … barbed, witty, thoughtful, giggle and snort inducing. The New York Times
The performance will last approximately ninety seven minutes with no intermission.
Cake Off is sponsored by Wesley Pickard and Jeanette Studley
New work at Signature Theatre is sponsored by The Reva and David Logan Foundation
Partial support for open captioning provided by Theatre Development Fund.
Cake Off is presented as part of the Women's Voices Theater Festival
More than 50 of the Washington, D.C. regions professional theaters are joining together to produce, in the fall of 2015, the Womens Voices Theater Festival. The companies will each present a world premiere production of a work by one or more female playwrights, highlighting both the scope of plays being written by women, and the range of professional theater being produced in and around the nations capital. The Womens Voices Theater Festival will be the largest collaboration of theater companies working simultaneously to produce original works by female writers in history.
Press Reviews
This stunning high-octane comedy is both hilarious and heart-warming, a true veritable rollercoaster of emotions in just 100 minutes of sensational singing and performing.
Rousing a confectionary musical comedy
Signatures new musical hits sweet notes
Nails the madness of a baking competition.
An appetizingly savory musical.
Sweet and charming.
"Heartfelt and hysterical."
Top-flight cast.
Creative Team
Based on the original play by
Sheri Wilner
Book by
Sheri Wilner & Julia Jordan
Lyrics by
Julia Jordan & Adam Gwon
Music by
Adam Gwon
Directed by
Joe Calarco
Musical Direction by
Andrea Grody
Scenic Design by
Jason Sherwood
Costume Design by
Frank Labovitz
Lighting Design by
R. Lee Kennedy
Sound Design by
Lane Elms
Production Stage Manager
Julie Meyer
Production Assistant
Jessica Skelton
Satisfy Your Craving with a Signature Cupcake
enjoy classic red velvet, smores, vanilla chocolate, and salted caramel cupcakes from the Happy Tart Bakery before or after the show.
Cocktail Specials
pumpkin spiced martini
a fall inspired pumpkin martini laced with nutmeg and finish with a graham cracker rim
caramel coffee cake
Baileys salted caramel liquor and Kahlua served over ice
salted caramel
Baileys salted caramel liquor and Bulleit Bourbon


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What do you give the person who has everything? It's an age-old question that pertains not just to the rich who have the means to have anything they could possibly want, but just as much to any of us who just don't need any more "stuff" (and most of us have more "stuff" than we need).
Why not give the gift of beauty? Flowers and plants are among the most wonderful of nature's gifts and bring joy to both the recipient and the sender. At Bo-Ty Florist, our December is filled with bringing gifts and decorations to folks around the Triad. Poinsettias of many colors, amaryllis, paperwhite narcissus, Christmas cactus, and cyclamen are among the beautiful plants we have to offer.
We make European gardens for the table by arranging an array of plants in a basket and dress them up with ribbons and ornaments perfect for Christmas.
It seems the season is not complete without evergreens in the home. We can create fabulous arrangements of fresh fir, pine and holly with red roses, tulips, and carnations or a seasonal design in your favorite colors! Enjoy the flowers for their time and you still can have an arrangement of greenery, pine cones, and ornaments after the flowers fade. Outstanding specialty flowers like amaryllis, green Fuji mums, Star of Bethlehem, and oriental lilies can make an impression and brighten the season, taking care of that gift list and spreading cheer to everyone who sees them.
Fresh flowers and plants help make lasting memories of Christmas wherever you may roam. So, for those last hard-to-shop-for people on your list, let Bo-Ty Florist deliver an exceptional surprise to help make their holiday special.


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Christina Aguilera & Pitbull: 'The Voice' Finale Performance (Video)
Christina Aguilera shows off her midriff while performing onstage during day two of The Voice Season 4 Finale on Tuesday (June 18) in Universal City, Calif.
The 32-year-old entertainer was joined on stage by Pitbull while performing "Feel This Moment."
PHOTOS: Check out the latest pics of Christina Aguilera
"Happy Hillbilly Birthday @BlakeShelton sending you love! XoXtina," Christina tweeted earlier in the day.
Over the weekend, Christina was spotted rocking a fedora while arriving at Four Seasons Hotel in L.A.
Christina Aguilera – 'Feel This Moment'
10+ pictures inside of Christina Aguilera performing on The Voice…


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Google Pixel 3, Pixel 3 XL to Capture 'Super Selfies', Come With Updated Visual Core Chip: Report
Google Pixel 3 lineup has been a part of a massive number of leaks over the past few days. Now, yet another report has hinted at some more details about the upcoming flagships. The latest report contains information about multiple features that are related to the camera, Pixel series' best-known feature. The camera is one of the most important features in… Read More »


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Private-Equity Titans Take Home $2.6 Billion
Nine founders of four of the largest private equity firms took home a combined $2.6 billion last year, more than doubling their 2012 haul. Ryan Dezember joins MoneyBeat.
This transcript has been automatically generated and may not be 100% accurate.
... I ... thirteen with a bull ... Year for Private Equity ... unstoppable industry really ... benign founders oh four of the largest PE firms took home a combined two point six billion dollars last year ... more than doubling their twenty to twenty twelve Paul ... Ryan Dezember who wrote the story see there on the front page of The Wall Street Journal tech ... adjoins is hit the MoneyBeat guest to talk about it ... on ... monster year for the Scots ... yes ... yet they aam is a record year for ... we don't know because I have been public for very long bright so aam ... Munich or ten ... years like this are better in the past from her ... closely held ... and now very cloak time now that the public ... they have to file the things that put all these numbers and intended for ... laborious task to configure them out but yet there are gentle and often twice yesterday it ... was a ... well this year you know the rising stock market come a hot real state market on accommodating debt markets all that kind of conspired to make a really good environment in SA lot of ... up to his investments whether it's deals are are are the real state deals are companies are ... raising new tactical dividends on companies they own ... aam ... you know all those companies that bought the buyout boom before the financial crisis um ... you know in our right to sell and conditions were perfect for them to sell it ... I love the look the dodgy at the time they suffered in right yes Copley years immediately supplying I tell him all these were written below ... is in some cases like HD Supply some firms have been written down to zero and ... they were able to take the public and for on ... no couple these numbers to say that the the the the the take home pay of of of of the local management ... on the consumer in a pulpit Charter Korea ... Lee Leon Black Valley and he was the number one cause the one that own them all Renault's was in the Black stars we not in the four for Friday was a tough sell five hundred and forty six million dollars ... hundreds of dollars or so when the test on public one of the things they decided was on for whatever reason they wanted to um ... you know they take almost a token selling out and prevent sellers from air and from there to make this work you want some extra fifty thousand him for showing up and running the company ... um ... but they wanted to um kind of put their what they bring home the kind of their fortunes in line with how well they do for their partners to make a lot of money from investors ... to get a ... bigger piece of pie because it's out of Iraq they get big piece of pipe to better pie ... so so that's mostly dividends on the shares yet aam and it's it's investments the top ten in and alongside their funds ... ALM so it really kind of reflects the for this type of overall performance of Swan Hill Selim Carlyle's numbers write down all those of whit ... of leaving only three hundred and forty six point two million dollars ... I've that the sun so that ... now it's not yet been used as a mean ... and remember this is not from them selling their shares this is the dividend that the shares pay ... aam which is ... largely a slice of deal profits and share what there for shareholders aam but of course these have been public along a lot of the founders haven't sold any of their stakes in the habit very little ... so there you know ... taking a big chunk that dividends I think you know the apologize for example only fifty percent of shares ... ALM so ... why don't they pay out is the spread of them are taking half ... KKR and George Roberts and that is the means to lose money under sixty five under sixty one million ... and then I was full of Blackstone also Stephen Schwarzman ... she had the second-biggest take home a right to four hundred sixty five million yet ... and you know we have some insight into how he did before I aam Blackstone went public on in in the buyout boom um ... I think it was one year where they you know in their bitter registration documents ahead say what you put that paid him when he came away with ... aam it was like three hundred fifty three hundred sixty million so ... um this isn't the silly and new mom ... thing for them to be taking on these nine figure yet non amounts ... aam but you know now we have a t tell information on where comes from fear ... I didn't cry and think very much to do it ...


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|Mark and Lisa walking the ECR Big Walk (Photo by Nautical Images)
Partner Mark and his fiance Lisa tackled the 15km route on the Discovery East Coast Radio Big Walk this past Sunday. Both of them walked, and both survived!
As an entrenched part of the Durban community, we always do our bit to support all things local.


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By Mike Coyner
The terrible events of this past weekend in Paris remind us to pray for the people of Paris and France as they deal with the aftermath of another terror attack in their country. The outpouring of care and sympathy to the victims has been heart-warming, but unfortunately accompanied (as usual on social media) by some outrageous calls for revenge which are disproportional to the context. Sometimes we human beings are so angry at the obvious evil of others than we tend to want to respond in like manner. So France is taking retaliatory acts against ISIS, and that is probably appropriate. But some of the other "proposals" people are suggesting go way beyond any sense of justice or balance. We must be careful when we are hurt and angry, lest we fall into the same mindset of those who hurt us.
I have been impressed by the many, many persons who are reminding us to pray for the whole world – Paris is not the only place that has been victimized by acts of terror and warfare and senseless violence. Right here in Indianapolis we are in the midst of a terrible murder rate in 2015. Elsewhere in the world there are refugees and displaced persons due to violence and terror. So yes, we must pray for the people of Paris, but we must not be short-sighted in our prayers.
The good news is that prayer – rightly understood and practiced – will not allow us to be short-sighted. Prayer changes things, and it starts by changing us as we pray. I love the quote from Quaker writer Douglas Steere in which he says, "A season of prayer changes the way we pray." He is right. We may start out praying rather selfishly, or with anger and revenge, or with concern for only the obvious things of life. But praying for a long while – for several days and weeks – expands our perspective and changes our prayers. Prayer changes things, and it starts by changing us.So, Steere says, "It is OK to pray: Lord, I need $100." But he says we need to keep praying, and our prayer may become, "Lord, I need to budget better" or "Lord, I need to be more grateful for what I already have" or "Lord, thank You for opening doors and opportunities for me to grow in my stewardship." Prayer changes things, and it starts by changing us. Otherwise, prayer would just be a kind of "magic" whereby we say the right words and God is expected to perform. No, prayer is based upon a relationship with God is alive and vital – and thus a season of prayer evolves, grows, and changes.
So, yes, let's pray for Paris and the victims of the violence there. But let's pray for the whole world and its hurts, and let's keep praying until our prayers change us.
Mike Coyner is the bishop of the Indiana Area of the United Methodist Church. This post is reprinted from the INUMC website.


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Story #1. I gave David, the board member, several ideas privately on how he could improve the new business strategy of the startup. I expected him to go directly to the CEO and explain these to him. To my pleasant surprise he made all the suggestions in an email and attributed all the ideas to me, thus giving me full credit for them. My respect for him increased exponentially. I will always be willing to help David.
Story #2. As I read Sinans book I saw that he took credit, for the innovations at Company "A", as if he thought of them and implemented them on his own. No one that was part of the process was even mentioned.
Then by accident I met with the subject matter expert for the innovations implemented at Company "A" at a breakfast, and found that he had worked for the "Consulting Company" who did the actual discovery and work to implement the entire process for Company "A" that were now part of Sinan's new book and for which Sinan was taking full credit.
It gets even better….. Two weeks later I have lunch with a group of engineers and meet Greg (the names have been changed). Greg is a freelance consultant. In my conversation with Greg I find that the "Consulting Company" did not have the expertise inside their ranks to do the actual work for Company "A", and contracted with Greg to fulfill the contract. In the end there seems to have been a number of people, including a section of a new book, that took credit for Greg's work without ever mentioning Greg's name.
In the above two examples, which people would you rather work for? One was eager to share the credit and make another look good. The other was a eco system of individuals who did not pass on the credit. By doing this they left me to assume they each had done everything.
Giving someone credit for their work is honest and shows that you have character, especially when you don't have to give the credit. David could have told the CEO privately without me ever knowing. But then look at story #2. I am sure that the participants did not expect that I would have serendipitously ran into the players in that story to understand how it had actually unfolded.
The moral of the story is to be like David and give credit and build others when ever and where ever you have chance. If you don't, others will find out that you let the credit fall on your door step.
By the way, this type of character trait is common in David. David builds people and people want to work with and for him. If you compare the success level of David to the other players in story # 2 you will see that David is vastly more successful than any of them.
It should be pretty obvious why!
Its about the people!
John E Tanner


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- Store
- >
- Sweet Pies
- >
- Irish Whiskey Pecan Hand Pies
Irish Whiskey Pecan Hand Pies
18 45.95 $18.00 - $45.95
per item
It's hard to go wrong with pecan pie. Especially ours, since it's really loaded with pecans, has a touch of locally made Dubliner's Irish whiskey, isn't overly sweet, and is encrusted in our amazing flaky crust. A total WINNER!


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A poetic montage set to a poem about New York. Words by Prabhath Avadhanula, read by John Willey. Accompanied by "Summertime" as performed by the by the Sidney Bechet Quintet.
While undertaking an internship with A76 Productions in New York City, Jesse worked with fellow interns Evelyn Gallagher, Christopher Gowar, and Eliza Philpott to create The City. They shared the creative control as they shot and edited, creating a film that shows some of the many ways that people experience New York City.


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Today's writing prompt: She went to the toilet and on her way back, opened the wrong door.
She went to the toilet and on her way back, opened the wrong door. It led to what looked like the boiler room underneath the restaurant. The stench in the room was that of mildew on laundry, which had sat wet for too long in the washer. Ew!
Kevin would get a kick out of this once she found her way back to their seats. Charlotte was always going in the wrong direction, even when it seemed like it was the right one.
Just as she was shutting the door, a shadow ran across the flickering light below.
Check out the other great stories! And come back each Wednesday for a new prompt.
Wendy Knight, Author: www.wendyknightauthor.blogspot
Kelly Martin, Author: www.kellymartinbooks.blogspot.
Alison Woods (Peering Into. . .): http://
Jessica Winn, The Distracted Writer:http://
Stephanie Worlton's Kreating Krazy blog: http://
Leah Sanders, inklings: http://
Laura D. Bastian http://www.lauradbastian.com/
Jaclyn Weist http://
Amryn Scott http://
K.R. Wilburn http://www.krwilburnbooks.com/
Lindzee Armstrong/Lydia Winters http://
Miranda D. Nelson http://
Angela Schroeder http://
Ginny Romney http://
Canda Mortensen http://
Jenna Eatough http://mistglenmoon.net/blog/
Starimprint: http://
Kaye P. Clark: http://
Jenifer Lee: www.myfam-i-lee.blogspot.com/
Caleb Warnock: calebwarnock.blogspot.com/


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Let's look at the facts here. The Windows Phone (WP) platform is not doing well. At the end of 2013, the WP market share was a whopping 3.2% for the world, and in the United States in particular, it is at 3.1%. Estimates put this at about 50 million devices, which doesn't really seem that bad… until you look at the competition. Android has an estimated user base of around 1.9 billion, and Mac and iOS have around 680 million. While this does technically make Microsoft the third largest mobile platform, it is far from a close race between the two. What is even scarier for WP is that they have become almost solely dependent on Nokia as a phone manufacturer, which shows that no one is really interested in picking up the platform for their devices. With the recent change in Microsoft's CEO and some new rumors of phones floating around, it is entirely possible that Microsoft may be considering adopting parts of Android for their next generation of smart phones. What Microsoft could do would be called forking, or taking the existing framework of Android, the Android Open Source Project (AOSP) and using it as the foundation to sculpt an OS. Basically, WP has failed in its grand experiment to gain a massive user base. Their sales are minimal in comparison to the other providers, and if they are looking to stay in the markets, they really need to consider changing. One of the most obvious options would be to adopt this Android-Microsoft merge, but lets look at how they could really do it.
There are two prime examples of adopting Android, and they are all based around whether or not the foundation uses Google Mobile Service, which I will just call GApps. Now, GApps are effectively all the Google parts of your phone, but the caveat is that it is all-or-nothing. You cannot just use part of the GApps. No, they are not built into AOSP, because that would be counter-productive to the purpose of the project. GApps allows for users to access things like the Google Play Store, Maps, Gmail, and Chrome, among many other services. If you look at a company like Amazon, they are a great example of a company that did not use GApps in their hardware. In their Kindle Fire tablets, Amazon only uses a forked version of Android with just AOSP, preferring to use their own stock apps and app stores. Should Microsoft opt for this route, they would have to build another app store from the ground up like Amazon did, which would require developers to deal with yet another store. While this is possible, it is highly unlikely given that the Google Play Store is already as mature as it is.
The other alternative would be to go the route that Samsung did, taking AOSP along with GApps. What Samsung did was take the foundation and framework, and add some of their own customization to it. While plenty of people have their issues with TouchWiz and how it covers up the stock Android feel, you cannot argue that it is selling. What Microsoft could do would be to build custom apps that run alongside the Google core apps, essentially following what Samsung did with TouchWiz.
But why should Microsoft even consider this? Well, the alternatives are simply not that good. Everyone else has an even smaller market share, and iOS is proprietary. Due to Android's open nature, there are over a billion of apps readily available for downloading. As the Microsoft App Store is currently lacking in this department, it would be a major perk to them. Also, Android keeps the playing field pretty level for third parties, which allows for nice fair competition. Will this actually happen though? I hope so. With a company as large as Microsoft entering the Android market, competition will surely increase, and with more competition comes more innovation and more competitive prices. What do you think? Be sure to let us know your thoughts in the comments!


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We've gathered fresh video for you to surf and enjoy on the Boing Boing video page. The latest finds for your viewing pleasure include:
• Tickle Me Elmo frozen in carbonite.
• Video romp through several years of spinning things in the name of science.
• "Most expensive" Starbucks order ever: 48-shot Frapuccino, ALL the additives.
• A doc on The Farm of SF, home to chickens, goats, and punk bands in the '80s.
• "Jesus Christ is my nigga," a likely fake but damned funny church video.
• "Applejack's Apple Harvest" My Little Pony automata.
• Video of the Castle Magpie wearable theater/costume in action.


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Learning a foreign language is a liberation from insularity and provides an opening to other cultures. At Highfield our chosen Modern Foreign Language is French.
In Key Stage One parents may pay for their children to have extra curricular French lessons which are delivered at lunchtimes by Le Jolie Ronde French School. Children also follow a mini scheme of work which runs alongside the topic in their classroom to begin to introduce them to French vocabulary.
In Key Stage Two we follow the National Curriculum programme of study and children learn French in their classes regularly. We use La Jolie Ronde French scheme of work and workbooks which run alongside the scheme.


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Warm wishes for a wonderful Easter!
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Our New Website
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ALEXANDRIA, Va. (6/10/15)--A registration link is now available for the National Credit Union Administration's town hall webinar scheduled for July 28, beginning at 3 p.m. (ET).
The webinar is free and, as reported earlier, will update participants on topics such as:
Webinar participants also will use the registration link to log into the webinar. Registrants should allow pop-ups from this website.
NCUA Chair Debbie Matz has said that the intent behind town hall-style webinars is threefold: to advance understanding of NCUA's initiatives, produce better policy outcomes and reduce potential misunderstandings.
"I'm looking forward to an interactive conversation on such subjects as examinations, regulatory relief and NCUA's budget development. I encourage everyone interested to participate in this webinar," she said.


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Slim wallets for men are accessorizing devices that limit the surface area in your pockets. They take up less space, producing a more fluent range or motion and limiting the discomfort a bulky wallet can cause. It also allows you to limit you carry, ensuring you don't expose your identity with multiple credit cards and identification items. They often represent a tool for concealing identity with RFID and other chip influenced technology. The slim wallet is an innovation that will continue to work toward the benefit of its users.
10. Guess Men's Naples Slim Front-Pocket Wallet
The Guess Men's Slim Wallet takes a chic look at fashion with elegant design patterns and reinforced leathers. This wallet features multiple pockets on each side, providing holding locations for important items. Folding out the front-face will produce additional pockets and slots. Stiches cover the outer face, adding a style sense that is woven in a subtle fashion. The money clip is available with purchase, coming in magnetic form. This item is also safe to wash by hand, keeping your wallet shining and in good shape no matter the occasion.
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Other Topic: Top 10 Wallets for Women 2019 Reviews
9. Perry Ellis Men's Michigan Slim Bifold Wallet
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4. Alpine Swiss Thin Front Pocket Wallet Business Card Case 2 ID Window 6 Card Slot
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3. Herschel Supply Co. Men's Charlie Card Holder Wallet
Herchsel Supply Co. takes a different approach to the slim wallet. Their unique design methods combine stitches and denim materials. Their product line houses many different patterns and designs, creating a large library of selections for the user. This is a fun take on the wallet and their designs help match the different outfits you may have. The inner and outer portions both house multiple pockets. It fits well will a pair of jeans, using the same materials that go into that product design.
- A fun take on slim wallets
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2. Alpine Swiss Mens Leather Flipout ID Wallet Bifold Trifold Hybrid
The Alpine Swiss Trifold is the wallet equivalent of the Swiss Army knife. The product folds to a tight closure, making it optimal for the slim wallet space. This wallet is comprised of pure leather materials, adding a strength component you can truly enjoy.
- Functionality increases
- Folds to a slim design
1. Alpine Swiss Mens Wallet Leather Money Clip Thin Slim Front Pocket Wallet
Alpine Swiss makes its third appearance in the slim wallet space with their unique money clip. This money clip houses 3 separate credit card spaces, giving you the most function out of you space. This leather is treated and reinforced, creating a strong element for holding your cards and money. The Alpine design ensures top quality and protection. As with all Alpine products, this wallet houses the RFID technology. This technology helps block out unwanted attention or hacking attempts.
- RFID technology
- More than just a money clip


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|Project by LeeinEdmonton
|posted 10-06-2008 11:41 AM
|1708 views
|1 time favorited
|13 comments
I make toys which are distributed to needy kids at Christmas. I use salvaged blocking used to block machinery while in transport. The blocks are 4×4's x 4ft. long and species varies from red oak, cherry, aspen, etc. I also use shorts from my scrap pile accumulated from other projects. In any case this is a flat deck truck that will be included with a bunch of other toys I plan to have ready by December.
-- Lee
13 comments so far
#1 posted 10-06-2008 11:51 AM
Lee, the truck you have made out of salvaged wood is very pretty and children will love it. You have shown lot of skill in doing it and the choice of wood with different shades makes it look very attractive.
-- "If someone feels that they had never made a mistake in their life, then it means they have never tried a new thing in their life".-Albert Einstein
#2 posted 10-06-2008 12:47 PM
Very impressive as usual Lee , the kids will love them !!!
-- John in Belgrave (Website) http://www.extremebirdhouse.com , https://www.facebook.com/groups/extremebirdhouses/
#3 posted 10-06-2008 01:49 PM
Nice job as usual Lee.
How do you distribute your toys?
-- A mind, like a home, is furnished by its owner
#4 posted 10-06-2008 01:54 PM
Very nice work Lee. I would be interested in knowing a bit more about your distribution as well ?
-- Brian, Ontario Canada,
#5 posted 10-06-2008 02:18 PM
Great truck. The more I see these toys and read how folks are distributing them to kids makes me want to follow suit. I am sure the kids get a great kick out of these toys.
-- "Checking for square? What madness is this! The cabinet is square because I will it to be so!" Jeremy Greiner LJ Topic#20953 2011 Feb 2
#6 posted 10-06-2008 11:48 PM
God bless you LeeinEdmonton. Beautiful work you have done.
-- I will not preach, nor will I be silent.
#7 posted 10-08-2008 12:14 AM
There are many ways to get toys into the hands of needy kids. In many Cities, the fire dept.s collect & distribute toys at Christmas. In Edmonton I believe last week a Motorcycle Club held their annual toy collecting parade for distribution to needy kids. Up until this year, our woodworking guild made toys & donated them to the Catholic Atonement Home which operated the ABC Head Start program for Inner City children with learning difficulties between the ages of 3 to 9. The Atonement Home discontinued the program this year. They did not say why, but suspect a shortage of funds.
-- Lee
#8 posted 10-08-2008 12:49 AM
Lee . . . do you make all the parts? Do you make them from plans?
Just a thought . . . would it be difficult to inlay some of the darker wood into the cab to mimic windows.
You are going to make some youngn quite happy.
#9 posted 10-08-2008 12:56 AM
Zuki: It's a mix….some I make from plans, some are original, some I make up plans from photos & yes I make all of the parts, it's the only way I can exert control over my scrap bin LOL.
-- Lee
#10 posted 10-23-2008 07:55 PM
I also make amd give away toys at Christmas. Whiat kind of businesses are sources of this blocking?
-- Jerry, Wichita KS
#11 posted 10-23-2008 08:57 PM
very similar to the ones I have made well done Alistair
-- excuse my typing as I have a form of parkinsons disease
#12 posted 10-24-2008 03:15 AM
You will find that machinery distributors bring their stock in on flat bed semi-trailers & the blocks are usually 4×4's x 4 ft. long. The species are usually mixed ie: Poplar, cherry, red oak, both hard & soft maple, & some birch. The odd block has been 6×8 x 4ft. long. Some times the trucker will keep them & away they go with him. In my case they get left because the shipment originates in the States & is hauled into Canada & I suspect the trucker does not want a hassle at the border if he were to take them back with him. However, if I were you I would still canvas your local equipment dealers & you may hit a source.
-- Lee
#13 posted 10-24-2008 03:19 AM
That's a "big guy", probably more than twice the size of my truck & very nice.
-- Lee
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Essential Strategies For Improving Your Essay Writing Skills
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Friday, February 28, 2014
Wednesday, February 19, 2014
Death of a Policeman by M.C. Beaton
Policeman Hamish Macbeth's archnemesis, DCI Blair, wants nothing more than to close Hamish's police station and put him out of a job. Blair sends cop Cyril Sessions up to Lochdubh to spy on Hamish, hoping that Cyril will get some dirt on Macbeth that he can report to Superintendent Daviot. However, Cyril ends up murdered, found on the beach. When vengeful librarian Hetty Dunstable reports to the police that she heard Macbeth say he would shoot Cyril, Hamish finds himself suspended from work. Hamish, with his usual tenacity and help from his assistant, Dick (and other friends) is determined to uncover who killed Cyril.
Labels: cozy mysteries, mysteries, police procedurals, scotland, small town life
Friday, February 14, 2014
Under Your Skin by Sabine Durrant
Gaby Mortimer, a famous morning show presenter, finds the body of a woman while out jogging one day. The lead investigator, DI Perivale, is immediately suspicious of Mortimer and it isn't long before she's brought in for questioning. When connections begin to be made between Gaby and the murdered woman, Ania Dudek, Gaby wonders if someone is trying to frame her for the crime. With her marriage faltering and notes from a unknown stalker, Gaby enlists the help of a journalist to clear her name. For readers who enjoy psychological novels focusing on women's lives.
Labels: british, london, psychological
I Can See in the Dark by Karin Fossum
Labels: norwegian, psychological


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Special Programs
Early Education - began in September 2007, Hillview became host to an early education site. This is a program for children aged 2.5 to 5 years with severe special needs. The program has grown from two classes of nine students each to ten classes of nine or ten students. For more information, contact the school office.


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Hello ! Welcome to Tyler Davis - Social Studies/Asst Athletic Director!Name: Tyler Davis
Email Address: firstname.lastname@example.com
Phone number: 812-376-4366Welcome to the homepage for Mr. Davis' US History, Government and Sociology classes!Click one of the links on the left side of the page for information on your class.For the I Have a Dream speech, click HERE!
Mr. Davis' Links
Last Modified on August 22, 2013


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OUR Beer expertS
Female members of several brewing and developmental teams to come down
and hang out with us for the day. There will be a bunch of beers to try and a chance
to discuss women in the brewing industry.
and hang out with us for the day. There will be a bunch of beers to try and a chance
to discuss women in the brewing industry.
Stephanie Harper is the head brewer for Islamorada Beer Company's South facility. She focuses on recipe development and runs a two barrel system and is occasionally able to head north and work on the thirty barrel system, at their distribution facility in Fort Pierce, FL, as well. She grew up in Newark, Delaware and moved to North Carolina to swim on the swim team for college at ECU. Graduating after four years, she ended up moving to the Keys to pursue a career as a dive instructor and boat captain. When the brewery opened up, she had asked about bar tending and being involved in brewing after having home brewed and volunteer brewing experience in college. She fell in love with it immediately and when she was asked to start full time and run the brewery in the Keys, she couldn't turn down the offer. Now, a couple years later, she's still so happy to be living in the keys, brewing full time and diving for fun!


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- All Stories
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The adrenaline junkie's guide to Queenstown
Looking for an intense kind of thrill? Over four days, experience Queenstown's highest-flying adventures – bungy jumping, skydiving, ziplining and a very very big swing.
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Polaris Programs in Global Health
Polaris is one of the World Organization of Family Doctors' (WONCA's) regional movements for new and future family physicians. Launched in 2014 on World Family Doctor Day (May 19), the Polaris Movement for New and Future Family Physicians in North America provides an international platform for medical students, residents, and new family physicians. It aims to augment medical training with global experiences that include teaching, research, advocacy, exchanges, and leadership.
Polaris Membership
As a member of Polaris, you will have opportunities to:
- Interact with forward-thinking individuals who share your interest and excitement about family medicine
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- Broaden your exposure to the practice of family medicine internationally, including firsthand experience with diseases and conditions that are rarely encountered in North America
- Participate in Wonca initiatives, including:
- Family Medicine 360(sites.google.com), a four-week international exchange program for junior family physicians who want to experience primary care abroad. Polaris members have access to hundreds of exchange sites around the world.
- The ASPIRE Global Leader Program, a 3-tiered program that focuses on developing core leadership skills (e.g., research, public speaking, planning, cultural competency) through international collaboration
- Wonca Special Interest groups—focused on areas such as rural health, mental health, and research—that connect you to family physicians around the world
Membership in Polaris is free to medical students, residents, and junior family physicians living in the Caribbean, the United States, or Canada.
Learn More About Polaris
- Contact Alexander Ivanov - Director, AAFP Center for Global Health Initiatives
- Visit the Wonca Website(www.woncapolaris.org)
"[Polaris] allows participants to expand their horizons and join a global environment of collaboration that has existed for many years throughout the rest of the world. Globalization will only continue, so we must learn from others, teach others, and improve our footprint in the world through our experiences, collaboration, and research."
— Jelaun Newsome, DO PGY3 Resident Physician - Fort Bragg, NC
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