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The impact of finances on relationships has long been an area of fascination for me and led me to write The Couple's Guide to Love and Money, a guide to coping with this often-difficult topic. So I was excited about Match.com's survey of singles in America, a survey with a healthy portion of money-related questions. Since the mid-nineties Americans been on a wild economic ride. We experienced giddy euphoria in the late nineties when we started to believe that jobs were becoming obsolete and we all had the Midas touch. Most of us have been humbled since then, as our retirement funds and home values crumbled and frugality has come back into style. I was particularly curious about the attitudes and behaviors of singles in the aftermath of this manic-depressive economy.
Stressed by finances
Nearly three out of ten American singles in this survey (29%) reported that they were "very stressed" by the economy and money concerns and 84% described themselves as at least "slightly stressed" (slightly, somewhat, and very stressed combined). Women feel the stress a little more than men, and economic pressures stay fairly constant until age 65, when there is some relief. These findings are consistent with the American Psychological Association November 2009 survey of stress in America. This survey found finances were the top stressor, described as a significant source of stress for seven out of ten Americans.
Money and gender roles
Over the past fifty years, there have been dramatic changes in gender roles. In the early seventies, as feminist ideas took root, society properly recognized that genders were interchangeable in the workplace – women could do a "man's job" and men could competently handle jobs traditionally occupied by women. As feminist Wilma Scott Heide cleverly observed, "The only jobs for which no man is qualified are human incubators and wet nurse. Likewise, the only job for which no woman is or can be qualified is sperm donor." But as economic pressures increased, gender-related choices became gender-related necessities. Many men no longer had the luxury of proclaiming sexist Archie Bunkerisms, "A woman's place is in the home," and only in affluent families did women (or men) have room to choose between pursuing a career and being full-time homemakers.
As we climb out of the worst and most widespread economic disaster since the 1930s, have singles' ideas about dating and roles shifted even further?
Current attitudes
Singles were asked to indicate how much they agreed with the statement, "Because of the economy, I am more interested in finding someone to share my life with than before." I was disturbed by this statement, as it seemed to express an unromantic and uncomfortably pragmatic attitude toward romance. I was relieved to see that four out of five respondents did not endorse romantic involvement as a way to relieve financial pressures and that women were only slightly more likely than men to seek economic relief through a relationship.
Basic tenets of financial gender equality were highly endorsed by both men and women. About three out of four respondents agreed that couples should share household duties and share financial decisions equally, with women only slightly more likely to endorse these concepts than men. Fewer than one in five singles still believe that the woman should be the primary caregiver in the home, with this notion favored only slightly more often by men than by women. While most singles are comfortable with gender equality, role reversal is still not yet completely accepted. Although 45% of men declare they are ready to step up to the challenges of being a "househusband," the partner primarily taking care of home and childcare duties, only one out of three women say they are ready to accept men in that role.
In spite of social and economic changes, certain male/female roles appear slow to change. The moment when the bill arrives after a first date has become an increasingly awkward moment. Thirty-seven percent of men but only 19% of women believe that it is always the man's responsibility to pick up the check on the first date. To make matters even more confusing, this tradition may be making a comeback, as the youngest and oldest singles were the most likely to endorse it.
The bottom line is that, as American society evolves and pressures increase we become more diverse in our opinions and traditions. We can no longer assume that our date's economic views and views of a possibly shared future are the same as ours. More than ever, couples need to share their views about finances and other important issues at the beginning of a relationship and for as long as it lasts. The median single in this survey believed that these important disclosures should come two to six months into a new relationship. The process of coming together is more challenging and requires more communication than ever before. But maybe that's not a bad thing.
About Dr. Jonathan Rich
Dr. Jonathan Rich received his BA from the University of California, San Diego, his MA from San Diego State University, and his Ph.D. from the California School of Professional Psychology. He is a member of the American Psychological Association, and has been licensed as a psychologist since 1987. He currently maintains a private practice in southern California, specializing in psychological testing and research consultation. He is the author of the self-help book, The Couple's Guide to Love & Money.
For more information on our "Single in America" study:
- "Everything You Think You Know About Singles is Wrong" by Match.com
- "The Forgotten Sex: Men" by Dr. Helen Fisher
- "Aren't You Glad You Weren't Single Fifty Years Ago?" by Professor Stephanie Coontz
- "Why Monogamy Matters" by Dr. Justin R. Garcia
- "Can Love Last?" by Dr. Bianca Acevedo
Try Match.com for free today!


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Russland (Kolja Erdmann)Posted: January 19, 2012 Filed under: Kolja Erdmann | Tags: bbc productions, epic portrayal, mainstream audiences, nature documentaries, nature documentary, planet earth series 3 Comments
Final Musings: Kolja Erdmann may not be well known outside of his homeland, but his work for Russland is definitely warranting some more attention. A score of magnificent scope in its choral splendor and orchestral lyricism, listeners will be blown away by the stunning music of this score. While some may find some hints of influence from Zimmer's score for King Arthur, this score still offers some of the best material of its year. Ladies and gentlemen, if you have not done so, make it a priority to obtain this hidden gem of 2011.
Countless nature documentary features have attempted to get the importance of environmental protection to mainstream audiences by dazzling them with the stunning beauty of planet Earth, and this is done often with great success (look to BBC's infamous Planet Earth series or the Blue Planet). Russland is the cinematic incarnation of the series Wildes Russland (Wild Russia). The German production team definitely approached the concept with great ambition in mind, and it's hard not to argue for their success. Spending over 3 years of filming to capture over 100, 000 miles of land within 600 hours of raw material is indeed quite a feat. They really hoped to capture all of Russia onto their film. The film's scope is impressive with absolutely stunning imagery and an epic portrayal of Russia's landscapes. It is interesting to note that usually nature documentaries of grand scope come along with scores of equal scope as shown by Geroge Fenton's countless efforts for BBC productions. It is the one genre that film score fans can still count on for grand orchestral scores.
Kolja Erdmann does not fail to attest to this notion. The German composer has often scored a variety of nature features in his homeland and with this score; Erdmann seems to be giving it his all. The score is colossal in scope and surprisingly dramatic. With dark and mature tones, the music suggests an epic along the heights of big Hollywood pictures such as Gladiator or Ben-Hur (although the actual scores of these films could not be more different). In fact, the music can be so massive at times that one cannot help but think how a work as impressively dominant as this could be attuned to footage of narration over shots of nature. Russland must be an impressive documentary indeed to feature such a score. There is much to love in a production like this. It features rich themes, dynamic orchestral colours and rousing choral work to consistently keep listeners in awe. Read the rest of this entry »

subset: commoncrawl


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Product info
- Length from nape to hem
- 148cm
- Fabric composition
- 100% Polyester
- Lining
- 100% Polyester
- Washing instructions
- Dry Clean
- Style code
- 5495
Editor's Notes
Endlessly flattering. Perfect for your upcoming occasions, the Abigale dress will invite so many compliments. Featuring a sheer decolletage, décolletage panel, grosgrain waistband and full skirt, it offers plenty of swoosh on the dancefloor. Style with simple heels and a chic clutch bag. Model is 175cm/5'9'' and is wearing a size UK 8.


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FN SCAR 16S w/10" Barrel Suppressor Question
Discuss the FN lineup of tactical rifles; the FS2000, SCAR, and the venerable FAL.
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FN SCAR 16S w/10" Barrel Suppressor Question
I'm looking at purchasing a SCAR 16S and SBRing it to 10" and running it suppressed 100% of the time with a MB mount and was wondering which suppressor would work best with the 10" barrel the best far as reduced back pressure and sound reduction AAC M4-2000, AAC SR5, or 762 SDN-6? Anyone running anyone of these setups on your SCAR 16S 10" barrel?
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Re: FN SCAR 16S w/10" Barrel Suppressor Question
Buffman wold be a good guy to ask about this.
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Oregon and Washington are ending a 35-year agreement to honor each other's permits for winter recreation areas.
Washington said its more expansive Sno-Park program, which costs more, no longer matches Oregon's.
"Why are we doing reciprocity when our programs are not reciprocal?" said Pamela McConkey, manager of Washington's winter recreation program. "Washington pays for much more out of the Sno-Park permit."
Washington charges $40 for an annual permit, $20 for a daily. Oregon charges $25 a year, $4 a day, The Oregonian reported recently.
Permits are required to park at cross-country ski, snow shoeing and sledding areas. Oregon also requires them at some downhill ski areas.
Washington uses the money to pay for its entire Sno-Park program, including snow removal, trail grooming, sanitation, education programs and enforcement.
Oregon's program, which is run by the state Driver and Motor Vehicle Services Department, is much smaller, McConkey said. "Reciprocal means they're the same, and they're really not the same anymore," she said.
Washington wanted to end the agreement in 2010 but couldn't because the governor at the time, Chris Gregoire, had a moratorium on rule changes. The moratorium ended last year.
David House, spokesman for the Oregon DMV, said he understands Washington's decision. But it means Oregon can no longer honor Washington Sno-Park permits, House said.
"We have no idea how many people this will affect," House said.
The Oregon Department of Transportation Web site says Oregon permits will still be honored in Idaho and California.


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I can't imagine a garden without the lovely fragrance of acidanthera (peacock orchid). A type of gladiola, the acidanthera flower is a white bloom with a maroon blotchy center and, like the gladiola, is a summer bulb.
Summer bulbs and tubers are planted after the last frost date, once the ground has warmed a bit. In our area, this means planting will take place roughly from mid-May to June.
Gladiolas, dahlias, calla lilies, canna lilies and tuberous begonias are all planted in the spring for summer bloom. Some of these are tubers and corms, but for purposes of planting and storing, they tend to be grouped together under the term "summer bulbs."
These plants are not winter hardy, so they need to be lifted and stored in the fall before the ground freezes. If you'd like to try summer bulbs this year, be sure to keep these basics in mind.
Summer bulbs prefer well-drained soil. Amend the soil with organic matter, such as compost, composted manure or peat moss if needed. Bulbs are to be planted at a depth of about three times their height. Check the package for specific bulb depths.
Make sure you place bulbs in the ground correctly. Bulbs and corms are planted sprout side up; tubers are planted horizontally.
Summer bulbs like moist soil, so water immediately after planting, and keep the soil moist while they sprout. As always, keep your garden weed free. Weeds compete with your plants for nutrients and moisture. Once all your plants have broken the soil, mulch your garden, sit back and enjoy the blooms, fragrances and textures.
After the leaves of tender bulbs have been killed by frost, harvest the bulbs for winter storage. Lift your bulbs with a garden fork, shake off the extra soil and air dry for several days.
Bulbs should be stored in a well-ventilated, cool, and dry location. I generally place my bulbs in a paper bag with a little peat moss and place them on a basement shelf until spring. Mesh vegetable bags also store bulbs well.
Don't store your bulbs in an airtight plastic container because this will retain moisture and encourage mold and rot. Remember to label your bulbs by type and color for easy identification the following spring.
Mixed with annuals, summer bulbs are a striking addition to your container plantings. Plant them closer together to fill the container quickly. Canna lilies are wonderful container plants for blooms and foliage. Tuberous begonias, calla lilies and caladium also make great container plantings.
Try summer bulbs this year for a touch of the tropics in your yard.
Until next time, happy gardening.
I can't imagine a garden without the lovely fragrance of acidanthera (peacock orchid). A type of gladiola, the acidanthera flower is a white bloom with a maroon blotchy center and, like the gladiola, is a summer bulb.


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Artist's description:
This is a charcoal drawing on paper. I use only top quality art materials. Finest quality high grade professional charcoals. Finished with a glaze of fixative to protect against sunlight and dust damage. The colors may look a little bit different depending on the screen. An artwork is signed on the front. A signed Certificate Of Authenticity will be included with the artwork.
Size: 100 x 70 x 0.1 cm, 39" x 28" x 0.04"
This original drawing is currently for sale.
Please note, drawing is being sold unframed. Framed picture is only for your reference. The mounted work will fit in a 100 x 70 cm, 39" x 28" frame.
In order to protect your drawing I will pack it with great care using quality shipping packing materials designed for art safe delivery. The drawing delivered rolled in a wide cardboard postal tube. All drawings are shipped within 1-5 business days. Worldwide shipping takes around 10 days to arrive, depending on it's destination. Each painting is inspected and professionally packaged for safe travel so that your painting arrives to you in perfect condition. All works are insured for the whole evaluated price.
Please feel free to contact me if you would like to ask any questions.
© Pamela Rys
Materials used:
charcoal on paper
The Naked Eye : 39" x 28" - 100 x 70 cm - human study by Pamela Rys (2006)
Charcoal drawing by Pamela Rys
- Charcoal drawing on Paper
- One of a kind artwork
- Size: 27.56 x 39.37 x 0.08 in (unframed)
- Signed on the front
- Style: Expressive and gestural
- Subject: People and portraits
This artwork is sold by Pamela Rys from United Kingdom


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For more information, contact:
Sarah Lubeck
(619) 234-8484
Economic development is about more than just ribbon cuttings and groundbreakings. It involves long-term, strategic support of companies large and small, often over the course of several years.
And while everything can't be packaged into neat headlines, we wanted to take you behind the scenes for a look at the work that goes on along the way.
Click the link below for an interactive look at EDC's 2017 in review. Thank you and happy holidays to those who make this work possible: our partners, investors and friends.
Here's to 2018, and a prosperous San Diego economy in the new year.


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Tigers: Worth More Dead Than Alive
Like most people, I have never seen a tiger in the wild. Despite being a conservation biologist, the only tigers I regularly encounter at close range are popular icons in Western culture, like Hobbes, Tigger, Sher Khan, and the jolly Tony on my breakfast cereal box. I have admired tigers in zoos, however, so they are somewhatmore real tome than dinosaurs, but much less so than the grey squirrels outside my office window. Nonetheless, it is important to me that tigers roam the world, as it is to many others. In a 2004 poll for the cable network Animal Planet, more than 20 percent of 50,000 viewers representing 73 countries voted the tiger the "world's favorite animal."
Maybe, paradoxically, this is why the world holds fewer than 4,000 wild tigers today. Tomost of us, they are thriving—in our minds and imaginations, on TV, and in the pages of magazines like this one—and this enables continued denial and inaction. Meanwhile, the reality of the tiger is that all remaining subpopulations—none of which numbers more than 250 individuals—are in decline and that they now roam across only 7 percent of their original range.
Of the nine tiger subspecies that once thrived, poaching, conflict, and competition with human populations have driven three species to extinction and three others to near extinction within the past 50 years.The South China tiger, vigorously persecuted after a bounty was placed on its head by Chairman Mao himself, is considered to be functionally extinct.


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Discover Pristina
When Kosovo declared independence on 17 February 2008 a large sculpture spelling out the word NEWBORN was unveiled in Pristina. The sculpture was featured on the cover of the New York Times and has become one of the city's best-known sights. The letters of the sculpture, which has won several awards, are painted in the colours of the flags of the countries that have recognised Kosovo's independence.
Pristina, the capital of the country with a predominantly Albanian population, also boasts a statue of the Albanian national hero Skenderbeg, who in the fifteenth century halted the Ottoman expansion and to whom Vivaldi dedicated the opera Scanderbeg. In the Middle Ages Pristina was a seat of the Serbian kingdom, but it later passed into the hands of the Ottoman Turks. Sadly most of the architecture from the Ottoman period was destroyed after the Second World War.
One of the surviving buildings today houses the Emin Gjiku Museum, which is well worth a visit, while Pristina's Great Hamam, the former Turkish baths complex, is being restored to its original appearance. Kosovo's National Museum is housed in a building inspired by Austro-Hungarian architecture, while other sites worth seeing are the renovated Jewish cemetery and the remains of the Roman city of Ulpiana.
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A pinnacle of versatility, the Summit Buffalo Knit Boot is machine washable with slipper-like comfort and a foldable upper. A cozy cabin boot, the Summit is the pick of the winter for coffee on the porch, a dash to the woodpile or lounging in front of a fire.
Protects from the elements in any season.
Four-way stretch inner bootie provides insulation and comfort.
Lightweight insulation that provides warmth and protection
Lightweight fabric that absorbs and evaporates sweat.
Provides a shock absorbing cushion and foot support that lasts the life of the product
The highest standard of chemical and slip resistance.
Earth-friendly bio-technology that activates to fight unwanted odors.
Guards against snakebites and prevents sharp objects from piercing the boot.


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More Information about Heraldry
Some useful books on heraldry
To obtain a list of periodicals and books in French, please visit our website at: www.gg.ca/heraldry/info/index_f.asp#livres
Flagscan, published by the Canadian Flag Association. A colourful publication examining the world of flags from a Canadian perspective.
Heraldry in Canada, published by the Royal Heraldry Society of Canada. Since 1966, this journal has been an important source of information on the subject of Canadian heraldry. The Society also publishes a newsletter, Gonfanon.
Beddoe, Alan, revised by Strome Galloway, Beddoe's Canadian Heraldry, Belleville, Ont., Mika Publishing Co., 1981, 224 p. Somewhat out of date now, but a good source of information about pre-1988 heraldry in Canada.
Brooke-Little, John, An Heraldic Alphabet, revised edition, London, Robson Books, 1996, 234 p. A useful heraldic dictionary by a veteran English herald.
Friar, Stephen, A Dictionary of Heraldry, New York, Harmony Books, 1987, 384 p. An excellent resource with superlative artistic examples.
Greaves, Kevin, A Canadian Heraldic Primer, Ottawa, Heraldry Society of Canada, 2000, 56 p. Very accessible yet thorough. Ideas about heraldic design are included, and there is substantial Canadian content. Available from the Royal Heraldry Society of Canada.
Gwynn-Jones, Peter, The Art of Heraldry: Origins, Symbols, Designs, London, Parkgate Books, 1998, 128 p. The author is the present Garter King of Arms in England, and this book contains some interesting recent English grants.
Moncreiffe, Iain and Don Pottinger, Simple Heraldry, Edinburgh, Thomas Nelson & Sons, 1953, 64 p. A delightful classic, the work of two Scottish heralds.
Neubecker, Ottfried, Heraldry: Sources Symbols and Meaning, London, McGraw-Hill, 1976, 288 p. Profusely illustrated, it examines each component of a coat of arms.
Paston-Bedingfeld, Henry and Peter Gwynn-Jones, Heraldry, London, Bison Books Ltd., 1993, 160 p. A good overview of heraldry by two English heralds, illustrated with examples from the College of Arms in London.
Pastoureau, Michel, Heraldry: an Introduction to a Noble Tradition, New York, Harry N. Abrams Inc., 1997, 144 p. A beautiful book by a leading French scholar.
Slater, Stephen, The Complete Book of Heraldry, London, Lorenz Books, 2002, 256 p. A lavishly illustrated and wide-ranging introduction to heraldry. This is the first international publication that gives substantial coverage of Canadian heraldry.
Swan, Conrad. Symbols of Sovereignty, University of Toronto Press, Toronto, 1977, 272 p. A historical overview of national and provincial arms, flags and seals.
Symbols of Canada, Ottawa, Dept. of Canadian Heritage, 2002, 59 p. The most recent update of the federal government's guide to national and provincial symbols, available from Publications Canada. http://publications.gc.ca.
von Volborth, Carl-Alexander, The Art of Heraldry, Poole, Dorset, Blandford Press, 1984, 224 p. This book contains some valuable design advice as well as an overview of artistic styles through the centuries.
von Volborth, Carl-Alexander, Heraldry: Customs, Rules, and Styles, Poole, Dorset, New Orchard Editions, 1981, 229 p. This work is filled with interesting examples, with a focus on European personal heraldry.
The protection of Canadian heraldry


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PISCATAWAY N.J. — For three quarters, the Arkansas defense played well enough to give the Razorbacks a win against Rutgers.
But Rutgers quarterback Gary Nova reminded the Razorbacks it's a four-quarter game as he rallied the Scarlet Knights from a 17-point deficit for a 28-24 win.
"Give credit to them. They were able to capitalize on some mismatches and some things that they were able to pick apart. Their quarterback converted and their receivers made some plays," Arkansas head coach Bret Bielema said.
"We'll definitely have a great learning experience from this. It hurts. It's a very somber locker room, but hopefully we'll take some things from this and learn and it will help us down the line. It's a process, one that I'm enjoying on a daily basis. But we'll come out of this better because of what happened today."
At the end of the third quarter, Nova was 15-of-30 passing for 199 yards with one touchdown and one interception. But he was brilliant in the fourth quarter as he completed 7-of-15 for 127 yards and two more TDs.
Nova has shredded the Arkansas defense for two seasons now.
In 2012, he completed 25-of-35 passes for 397 yards and five touchdowns. The Scarlet Knights rolled for 525 total yards in a 35-26 win at Fayetteville and added 400 more yards on Saturday.
Nova, who suffered a concussion on Sept. 14 in a 28-10 win against Eastern Michigan, was battered by the Arkansas defense early. The Razorbacks forced him to fumble on the opening possession of the game inside the Arkansas 10. Darius Philon got two of the five Arkansas sacks in the first quarter.
Then, with Arkansas up 3-0 in the final seconds of the first quarter, Trey Flowers hurried Nova into a bad throw that wound up in Tevin Mitchell's hands. The Arkansas cornerback returned the pass 26 yards for a touchdown for a 10-0 Arkansas lead.
"We were in Cover 2, I read the quarterback's eyes and he threw it right into my hands," Mitchell said. "With the help of the (defensive) line … I was able to score."
Nova's favorite target was tight end Tyler Kroft. He entered the game with just five catches for 53 yards and one TD this season. He caught six for 133 yards and one touchdown against Arkansas. Bielema said Kroft's 15-yard touchdown catch with 39 seconds left in the second quarter was a momentum swinger.
On first-and-10 at the Arkansas 19, Smith sacked Nova for a 15-yard loss. But on second-and-25, linebacker Jarrett Lake was whistled for a face-mask penalty which gave the Scarlet Knights a first down at the Arkansas 15. Two plays later, Nova hit Kroft for the score.
"I think that's huge. We get a negative-yard play. We take them really probably out of field goal range and then we have a personal foul," Bielema said. "I don't know what our penalty totals were (six for 66 yards) but they're absolutely insane. That's just something that needs to be eliminated.
"We cannot win football games — you will not win a football game you're supposed to, creating penalty yardage like we did and that's just all on me."
Rutgers lost another fumble early in the third quarter when Flowers stripped the ball from Nova and defensive end Chris Smith recovered. On the next play, running back Jonathan Williams threw a TD pass to tight end Hunter Henry for a 24-7 Arkansas lead.
After Rutgers made it 24-14 on a 58-yard punt return for touchdown, Arkansas had a chance to slow the Scarlet Knights' momentum. But linebackers Otha Peters and Martrell Spaight each missed easy interceptions.
"When we were up three scores there, we just needed a break for that to happen," Bielema said. "Otha, God bless him, he's out there playing with a cast on and it bounced off his hands.
"Martrell, where he just kind of flashed behind it. For us to win on the road with our personnel, we're going to have to get a break or two. We'll point those things out to those guys, but you have to make those plays, too."
Arkansas held Rutgers to less than 30 yards of offense in the third quarter. But the Scarlet Knights put together a six-play, 98-yard TD drive early in the fourth.
Kroft caught a 42-yard pass which helped spark another scoring drive. Then on fourth-and-12, Nova hit Leonte Carroo for a 33-yard TD that cut the Arkansas lead to 24-21 early in the fourth quarter.
"They were running routes we hadn't seen before before, we had to make our corrections," Arkansas safety Eric Bennett said. "They were running different routes than what we'd seen on film. Just in the second half they started running routes we hadn't see before."
Another long punt return put Rutgers at the Arkansas 33 midway through the fourth quarter. Nova completed 3-of-5 passes for all 33 yards as Rutgers took the lead and, eventually, the win.


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Wigan Warriors' unbeaten run ends at Warrington
Wigan's 13-game unbeaten run was ended last night (Monday) as two late tries from Micky Higham and Chris Hall secured a huge victory for Warrington at the Halliwell Jones Stadium.
The Warriors had fought back from 10-0 down to take a second-half lead, with tries from Sam Tomkins and Anthony Gelling moving the visitors two-points ahead.
However, it was the Wolves who came through when it mattered most, with the scores from Higham and Hall added to the earlier scores from Ben Westwood and Joel Monaghan.
"Wigan had enough ball to win four games. The amount of defence we went through was enormous," said Warrington coach Tony Smith post-match, according to the BBC.
"To keep them to the points we did, with the amount of ball they had on our line, was an enormous effort."
Warriors head coach Shaun Wane was in philosophical mood at the finish, and whilst he was disappointed to lose, he pointed to injuries within the camp, which had an impact on his side.
"I don't want to take anything away from Warrington. They're a quality team and probably the best team won on the day, but they know they've been in a game," he said, according to the BBC.
"I'm very proud of our effort, when you consider we've got nine out [injured].
Despite defeat, Wigan remain three-points clear at the top of the table, with Huddersfield Giants second and the Wolves just a further point back in third.
The Warriors will expect to get straight back to winning ways when Castleford travel to the DW Stadium on Friday night, whilst Warrington face a tricky looking trip to Bradford.News Now - Sport News


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Inspired by "My Guy" designers Bill Kerr and Weeks Ringle of FunQuilts
Quiltmaker: Laura Boehnke
26—5" squares assorted pastel batiks (blocks) or 5/8 yard total assorted pastel batiks
1-3/4 yards cream batik (blocks, border, binding)
2-1/2 yards backing fabric
43x52" batting
Finished quilt: 36-1/2x45-1/2"
Finished block: 9x4"
Quantities are for 44/45"-wide, 100% cotton fabrics.
Measurements include 1/4" seam allowances. Sew with right sides together unless otherwise stated. {C}
Related Links:


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Welcome to the ICannt.org.
Drop by and Spawn a thousand barrels... then get PERMABANNED.
16x16 pixels get you going? Do you love the in game Chickens as much as Trab does? Talk about World of Minecrack here!
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Welcome to our newest member, KandA ©


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Okay, Whovians, in advance of BBC America's week-long 50th anniversary Doctor Who "takeover," a complete rundown for your occasional sleep-scheduling purposes. The network has even provided recipes for Who-themed snacks ("Tiny TARDIS Pies," anyone?) to assist in party planning.
Sad to say Denver is not one of the 11 U.S. cities hosting a simulcast in theaters on Nov. 25. But there's plenty of programming coming beginning Nov. 18 with "Doctor Who: Tales from the TARDIS," followed by "The Science of Doctor Who with Brian Cox," then "Doctor Who Explained" and "An Adventure in Space and Time" on Nov. 22, and a Matt Smith retrospective, "Doctor Who: The Doctors Revisited –The Eleventh Doctor" on Nov. 24.
The full schedule from BBC America is posted below. Until then, travel through time with the Doctor in a newly released "Day of the Doctor" trailer.
Doctor Who Takeover Schedule:


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Search Jim Cramer's "Mad Money" trading recommendations using our exclusive "Mad Money" Stock Screener.
NEW YORK ( TheStreet) -- Here's what Jim Cramer had to say about some of the stocks that callers offered up during the "Mad Money Lightning Round" on CNBC last night: Vivus ( VVUS - Get Report): "The numbers weren't that good. I reiterate my sell recommendation." Boardwalk Partners ( BWP): "I like this stock. I think it's a buy." JC Penney ( JCP - Get Report): "You have to believe that retail is coming back in order to buy JC Penney or Sears Holdings ( SHLD). I'd stay away from both of them." Frontier Communications ( FTR - Get Report): "I want you to sell, sell, sell. The quarter wasn't that good." To read a full recap of "Mad Money" on CNBC, click here. To sign up for Jim Cramer's free Booyah! newsletter with all of his latest articles and videos please click here. To watch replays of Cramer's video segments, visit the Mad Money page on CNBC. -- Written by Scott Rutt in Washington, D.C. To email Scott about this article, click here: Scott Rutt Follow Scott on Twitter @ScottRutt or get updates on Facebook, ScottRuttDC


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Talk:The Big Bang Theory
|This article needs to conform to our limits on quotations policy.
The subject of this article is a television show, and as a result, there should only be: one quote for less than 30 minutes, two quotes for 30 minute shows, and five quotes for 60 minute shows (see our TV policy for shows of other lengths).
If you would like to add another quote to the page, you may first need to remove one that is already there in order to keep within the bounds of fair use of copyright material.
What the hell is this limitation to 2 quotes? —The preceding unsigned comment was added by 220.127.116.11 (talk • contribs) on April 6, 2009 at 22:43 (UTC)
- Please see Wikiquote:Limits on quotations for the answer to your question. - InvisibleSun 02:32, 7 April 2009 (UTC)
suggested edits[edit]
this section was originally for me to paste a correction and addition for someone on IRC who offered to edit for me; now that the content has been updated, I figured it would be okay to remove it from here, and also add another suggested addition from episode 2.20 The Transporter Malfunction, which I just finished watching.
(Penny just gave Leonard and Sheldon each a vintage Star Trek transporter toy)
- Sheldon: Look, it was actually designed for my vintage Mr. Spock action figure!
- Penny: Oh, that's great, let's open it up and put him in there!
(Leonard and Sheldon recoil and cradle the boxes defensively)
- Sheldon: Oh, good lord, no!
- Penny: Why? They're just toys.
- Sheldon: Mint in box!
- Penny: C'mon, can't we open one up and take a look?
(Leonard and Sheldon recoil again and shout)
- Leonard: No! Once you open the box it loses its value.
- Penny: Yeah, yeah, my mom gave me the same lecture about my virginity. I gotta tell you, it was a lot more fun taking it out and playing with it.
K.clow (talk) 05:53, 4 April 2012 (UTC)
- Done correct me if I did it wrong PiRSquared17 (talk) 03:30, 5 April 2012 (UTC)
Not two theoretical physicists[edit]
Sheldon is a theoretical physicist and Howard is an applied physicist - unsigned comment by 126.96.36.199, 22:55, 14 February 2013
- Nice catch. Fixed it. ~ Robin Lionheart (talk) 04:57, 18 February 2013 (UTC)


text:
Farming's New Feudalism
Farming's New Feudalism
Percy Schmeiser and Other Casualties of Industrial Agriculture's Drive to Own It All
Like thousands of others in southern Germany in the late 19th century, Karl and Anna Schmeiser worked long, hard days farming a baron's vast tracts of land to keep a roof over their heads and food on the table. The baron owned the land, the draft animals, the equipment, and most of the crop—more or less as barons before him had since the Middle Ages. Also like thousands, Karl and Anna dreamed of a better life, and in 1890 they scraped together every last pfennig and left Germany forever, taking ship to the United States. Seeking cheap land and independence, they eventually moved northward to the prairies of western Canada, settling in Saskatchewan in 1904.
A century later, the land is no longer so cheap. The independence Karl and Anna found is threatened too, as grandson Percy Schmeiser and his wife Louise discovered in 1998. That's when Monsanto Corporation sued them after their canola seed was found to contain the company's patented, herbicide-resistant genes.* The case generated worldwide headlines, and an uncertain future for many farmers. Although the Schmeisers ultimately didn't have to pay Monsanto, the courts did find them guilty of patent infringement. The fact that a transnational corporation would persecute small farmers is troubling to many, and shows the depth and breadth of a decades-long transformation: the steady erosion of farmers' practice of developing and saving seeds. "Neither I nor my parents or grandparents ever envisioned farmers losing control of their seed," Schmeiser says.
Moreover, that's just the tip of the canola stalk. The privatization of seed is but one part of the steady consolidation of economic power throughout agriculture. Large agro-industrial and retail corporations have now secured toeholds in every phase of the farming cycle: they own seed and seed patents, they control processing facilities, they dominate the retail sector, and they have even moved into financing farmers' operations. It's as if the barons have arisen from the grave and brought the old feudal system back with them. The corporations that control poultry and hog farming have already reduced many livestock farmers to contract labor, and grain farmers like Percy Schmeiser seem headed for the same fate.
Until recently in its 10,000-year history, agriculture was more a way of life than an industry. Farmers were the seed producers and the guardians of societies' crop heritage. But by the early 1900s, the U.S. and Canadian governments began promoting the development of large export-oriented agriculture industries based on only a few crops and livestock species. To maximize uniformity and yields, seed breeding moved off the farm and into centralized public research centers, such as U.S. land grant universities. Variety development became commodity-oriented.
Scientific advances in the 1970s and '80s heralded a new era in agriculture. To boost flat sales, Monsanto and other agrichemical companies ventured into genetic engineering and transformed themselves into the biotechnology industry. They bought out traditional seed companies and engineered their herbicide-resistant genes into the newly acquired seed lines. Although the lower-cost, traditional seed lines simultaneously became less available, to maximize profits the industry needed farmers to buy new seed every year instead of saving it. This was a new arrangement. In the past, the public institutions in North America that bred seed varieties enjoyed a measure of intellectual property protection under the U.S. Plant Variety Protection Act or Canada's Plant Breeders' Rights Act. The institutions licensed companies to sell the seed to farmers and usually claimed a royalty. Farmers were permitted to save successive generations of seed for planting on their own farms. Arguably, this was a fairer system, but hardly profitable for a multinational biotechnology industry busy absorbing seed companies.
Patents changed this relationship. When coupled with contracts that enforced the patent rights, they provided the means of legal control over seeds needed to increase profits. The U.S. Patent and Trademark Office began issuing patents for genetically modified organisms, and later for seeds, in the 1980s and has granted more than 2,000 (for both genetically modified and conventional varieties) since 1985. Monsanto and the other companies' aim, according to Devlin Kuyek, a researcher with the NGO Genetic Resources Action International, was "proprietary control of seeds as a way to build new markets and secure their positions in a restructured global agri-food system." That transition could only be fully realized through commodifying seed, "the use of biological means, such as genetic engineering, and social means, such as patents, to prevent seed saving practices and guarantee monopoly rights over seeds." The strategy has been especially successful for Monsanto, which may already control as much as 90 percent of crop germ plasm (the hereditary material, or genes) in the United States, according to Neil Harl, a retired agricultural law and economics professor at Iowa State University. (Monsanto argues that growers do have a choice, and that hundreds of thousands of them are using the company's technology in various crops and are satisfied with it.)
Contracts are also used with non-patented seed varieties. Saskatchewan farmer and writer Paul Beingessner points to two new public, non-patented wheat varieties. The public institution that developed the seed, which is protected under Canada's Plant Breeders' Rights law, licensed it to a private company, Quality Assured Seed, to multiply and sell to farmers. However, farmers wishing to grow this wheat must agree contractually not to save successive generations of seed, but instead buy new seed yearly. And they have to deliver the wheat crop to Pioneer or Cargill.
With the profitability of seed increasing over the last 15 years, largely because of patents and contracts, the money and incentive for public institutions to develop new varieties are declining. Farmers also are saving less seed. With the introduction of genetically modified soybeans, for example, the rate of U.S. soybean seed saving dropped from 31 percent in 1991 to 10 percent a decade later (in terms of total acreage planted with saved seed), according to Michigan State University professor Lawrence Busch. He estimates that change yielded an additional $374 million in seed industry profits in 2001. Percy Schmeiser's own back-of-the-envelope arithmetic leads him to believe the whole set-up is quite profitable for Monsanto. Exhibit A is Monsanto's patented Roundup Ready canola seed, a genetically engineered variety designed to tolerate glyphosate, the active ingredient in the company's Roundup brand herbicide. In 1998 (the year Monsanto sued the Schmeisers), Monsanto's technology fee was C$15 (about US$12) per acre, seed was C$25 per acre, and Roundup was about C$9 per acre, for a total of about C$49 per acre. In contrast, the grower of a conventional variety paid about C$15 per acre (C$5.50 for seed and C$9–10 for chemicals). Schmeiser's total costs were even lower (C$5) because he saved the seed that he and Louise had developed over decades. In 2003, according to Devlin Kuyek, Monsanto was ranked third in pesticide sales (nearly US$3.1 billion) and second in seed sales (US$1.6 billion).
Monsanto vs. SchmeiserSo there's a lot at stake, which explains why the industry has taken off the gloves.
To protect its Roundup Ready genes in soybeans, corn, cotton, and canola, Monsanto has investigated hundreds of farmers for patent infringement or breach of contract. It has sued 90 farmers in 25 states and won over $15 million in judgments, according to the Center for Food Safety, a Washington, D.C.-based NGO.
Monsanto sued the Schmeisers after seeds from their canola harvest were found to contain the genes. After losing at the trial and appeals court levels, Schmeiser, who has always maintained his innocence, took his case to the Supreme Court of Canada. Last May the high court ruled that he had infringed the patent on the gene because it was present in the seed from his canola field.
The decision reaffirmed that while genes and cells are patentable under Canadian law, seeds, plants, and other higher life forms are not. Obviously the gene and cell are part of the seed and plant, however—which might suggest that Monsanto is trying to extend the reach of the patent. (Schmeiser's lawyer, Terry Zakreski, made that argument without success.) But in a 5-to-4 decision, the justices ruled that Schmeiser owed Monsanto none of his profits because he had not made money from its patented invention: "Their profits were precisely what they would have been had they planted and harvested ordinary canola…. Nor did they gain any agricultural advantage from the herbicide resistant nature of the canola, since no finding was made that they sprayed with Roundup herbicide to reduce weeds.
The appellants' profits arose solely from qualities of their crop that cannot be attributed to the invention." Surprisingly, given that Schmeiser lost, the Supreme Court also ruled that he didn't have to pay Monsanto's legal expenses. (All he has to do is pay his own C$400,000 legal bill.)
Agricultural law professor Roger McEowen, Neil Harl's successor at Iowa State, believes the ruling set the stage for a future "innocent infringement" defense that could hinder Monsanto's ability to capture revenues from its technology. Monsanto disputes that interpretation. All one need do, says Monsanto Canada spokeswoman Trish Jordan, is read Paragraph Two of the decision to understand that the justices weren't concerned with accidental or innocent infringement: "In reaching this conclusion, we emphasize from the outset that we are not concerned here with the innocent discovery by farmers of 'blow-by' patented plants on their land or in their cultivated fields." The key feature of the Court's decision, Jordan says, is that it declared the patent valid.
While McEowen agrees that innocent infringement was not the issue in this case, he says altered circumstances likely would have changed the outcome. Percy Schmeiser learned that the stray canola plants growing in ditches and around power poles on his property contained Monsanto's genes when they didn't die after a shot of Roundup, yet he saved and replanted seed from his harvest without informing Monsanto. In short, he "used" the invention without permission, and so was not an "innocent" infringer. But what if he'd been unaware that the genes were present in his canola (or knew and immediately called Monsanto), and the company sued him anyway?
Part of the answer lies in the paragraph Jordan mentioned, McEowen says: "The justices were foretelling that had the facts involved been a case of innocent infringement, the outcome might well have been different, and that point is bolstered by subsequent language in the Court's opinion. As a result of this case, Monsanto's patent is not as ironclad as they thought." This argument is bolstered by a U.S. case, in which a federal appellate judge's opinion used a hypothetical patented corn to describe the ease with which a selfreplicating organism could lead to inevitable patent infringement. In light of these two cases, McEowen thinks Monsanto eventually will have to back off unless it can muster solid evidence of intentional infringement. Some farmers, unwilling to risk going to court, will sign the technology user agreements and get on board. The rest will need to document seed purchases and cultivation and harvesting practices to show they didn't deliberately infringe on the patent.
Contracting OptionsAgribusiness consolidation in seeds, chemicals, and meatpacking is one effect of the structural economic transformation since World War II that emphasizes global free trade. But allowing consolidation to proceed unchecked eventually leaves farmers with few sources for inputs (such as seeds) and few buyers for their crops or livestock. The fewer buyers there are, the more effectively they can set prices (a condition called monopsony)—and of course they will want prices low. The result, for farmers, is debt: too little income compared with expenses. "Farmers got more for a bushel of wheat in 1978 than they do now, yet no one wants to talk about the increased costs of inputs, so no wonder they can't make it," Schmeiser says.
Debt is driving many farmers off the prairies of western Canada. Schmeiser divides the farmers into three categories. One-third, including himself, has no land- or machinery debt. One-third has debt, but it's manageable. The final third of farmers owes money for land, machinery, and other things as well. They are the ones losing their farms. With fewer farmers on the land, the knowledge base is declining, replaced by corporate interests that advise yet more purchases of expensive technologies and inputs. Those will help commodity crop growers produce an even bigger supply of food and feed that further drives down the prices they receive.
The story is similar in the United States. According to the University of Tennessee's Agricultural Policy Analysis Center, since the late 1980s "government's official policy has been to permit, even encourage, a free fall in domestic farm prices while simultaneously promoting rapid liberal trade measures to open new markets for U.S. products." The prices farmers have received for a number of commodity crops have plummeted some 40 percent since 1996, sometimes providing "agribusiness and corporate livestock producers access to agricultural commodities at below the cost of production, consolidating their control over the entire production and marketing chain." The government is using taxpayer dollars to pay producers enough to at least break even, in effect subsidizing cheap grain. But they're also effectively subsidizing expensive inputs, such as the patented biotech seed mentioned earlier. With U.S. budget deficits running high, the government has come under pressure to reduce income support payments (subsidies) to farmers. According to media reports, the Bush administration has proposed cutting the agriculture budget by 5 percent, including an approximately 30-percent decrease in payments any one farmer could receive. However, agribusiness's desire for cheap grain and livestock won't diminish, nor will their sway over policymakers, argues Roger McEowen.
With less support from the government, more farmers will deem it necessary for economic survival to enter contractual agreements (already a long-standing trend in the Canadian and U.S. poultry and pork industries). Contracts per se are not necessarily bad, but problems emerge when heavy consolidation eliminates bargaining power, often resulting in one-sided arrangements favoring powerful companies. Such con- solidation is well under way throughout agriculture. In the United States, for instance, nearly two-thirds of pork packing is controlled by four companies, according to data compiled by Mary Hendrickson and William Heffernan of the University of Missouri. Corporate market power is similar in the grain sector. McEowen says farmers could see realistic marketing opportunities for their corn, soybeans, or wheat limited to grain elevators operated by Archer Daniels Midland (ADM) or Cargill, the two biggest U.S. flour milling companies. (ADM is also the biggest U.S. soybean processor.)
The contract constraint is also edging into farmers' financing. According to Neil Harl, the fewer (but bigger) companies left in various sectors of agribusiness, through subsidiaries and partnerships, increasingly can offer farmers better terms for financing their entire operations than local banks. "It's clear that, over the long term, capital increasingly will be provided along with inputs over which the supplier has a monopoly position," Harl says. "The general trend is toward the integrators controlling a patented item that the [farmer] wants, usually seed, and then bundling that with other inputs. The muscle of the firm that has the seed is greater now that those can be patented."
Monsanto, Pioneer, Cargill and other companies offering such financing packages generally agree to unbundle them at a farmer's request. Failure to do so would be a step over the line into a "tying contract" that is illegal in the United States. However, farmers experience a number of pressures to opt for bundled contracts. Fellow farmers, seed and input sellers, equipment dealers, and others may tell them that a contract is the best way to go—peer pressure, in short. Some farmers, in deep financial trouble, can't afford to buy inputs, so they opt for a production or marketing contract that offers less risk and a guaranteed return (depending on the terms of the contract, of course.) Still others simply don't like marketing and see contracts as a means of avoiding it.
Harl emphasizes that farmers must read these contracts, including the fine print. Some don't. Percy Schmeiser recently met a sadder-but-wiser farmer who had contracted with a company to supply most of his seed, and all the fertilizer, chemicals, and fuel. He harvested the crop and delivered enough of it to the company's elevator to pay the value of the loan for the inputs, intending to sell the rest to other buyers offering a higher price. But the contract called for him to deliver all his crop to the company at its price. This is but one case of farmers signing away the rights to market their harvests and, increasingly to decide how they grow the grain, he says.
For farmers, the world is closing in and options are disappearing. Biotech crops, for instance, are clearly a bad deal in many ways—farmers can't save the seed, they risk litigation from drifting patented traits, weeds are developing herbicide resistance, and important markets may decline to buy biotech food. So why are so many choosing to plant them?
To stay competitive. Grain processors want to buy soybeans, corn, and wheat as cheaply as possible—and in a free-trade world, they can just as easily buy from Brazil or China as they can from Canada or the United States. Farmers respond by trying to compete on volume, growing as much as possible to overcome low prices. And Roundup Ready soybeans are easier to manage, which allows farmers to farm more acreage with the same amount of labor and equipment, says Indiana farmer Troy Roush.
"The trouble is, there is only a finite amount of land available, so this puts fellow farmers at each other's throats as we seek to rent and purchase additional land," Roush says. "What used to be a tight, vibrant, functioning community is reduced to petty fighting for land." When one of Roush's neighbors called Monsanto and accused him of illegally saving seed, the company sued. "[It] cost us $400,000 by forcing us to defend a baseless claim by Monsanto. So the next time a farm comes up for sale, we may not be as competitive. The end result is a destruction of the social fabric of rural America. All because multinational corporations hold patents on life."
Concentration Is Not a GameRoger McEowen recommends some remedies for what ails agriculture. First, return to a policy of managing supply, of producing only what is needed for the marketplace. This would eliminate costly surpluses that drive down the prices farmers receive and which waste natural resources better preserved for future generations. Second, replace welfare-style income supports (subsidies) with price supports. Long a part of U.S. agricultural policy before their elimination in the 1996 farm bill, price supports worked much like the minimum wage, establishing minimum prices for farmers' crops. Buyers were legally required to pay at least that amount, but before rampant consolidation, more buyers in the market meant the producer prices were often bid upward, so farmers actually made money.
According to Devlin Kuyek, the top 10 biotech companies controlled about one-third of the global seed market; four companies controlled 86 percent of the corn seed market and 49 percent of the soybean seed market. That's why Neil Harl thinks it's also crucial to enforce anti-trust laws: "We have towering concentration on the input side and towering concentration on the output side, which is a problem. Does this country want producers to be transformed into serfs or does it want them to be independent entrepreneurs? If it's the latter, then we must work toward meaningful competition… and it means effective anti-trust policy."
Corrective or preventive measures of some kind are needed worldwide, because increasing corporate control of the seed industry and the associated decline of seed saving isn't restricted to Canada and the United States. The worldwide commercial seed market is $23 billion, says Hope Shand of ETC Group, a Canadian NGO. It's mostly concentrated in North America and Europe, and prospects for further growth there are limited. But in the global South, home to the vast majority of the 1.4 billion people who depend on farm-saved seed, the market could be worth another $20 billion or more. No wonder seed giant Syngenta applied for a multi-genome patent in 115 countries that would give it monopoly power over the flowering sequences of some 40 plants.
Under pressure from ETC and others, Syngenta recently withdrew its application. But enforcing patents in many different developing nations with evolving laws could prove difficult, anyway. An easier strategy might lie in biological controls such as the Terminator. This genetic modification makes second-generation seed sterile. Farmers could plant Terminator seed and harvest a crop, but if they saved and planted the second generation of seed, it wouldn't grow. This renders contracts and patents irrelevant; farmers would simply have no choice but to buy new seed every year. (Since 1998, there has been a United Nations-brokered global moratorium on such technologies. Canada tried but failed to break the moratorium at a February UN meeting in Bangkok.)
Percy Schmeiser fears for the future of North American and world agriculture. "Farmers are going out of business because they can't make it in the face of markets manipulated by corporations. The corporations are becoming the barons and lords, which are what my grandparents thought they'd escaped."
Robert Schubert is editor of CropChoice, an online news service providing alternative news and commentary about genetically modified seeds and crops, agribusiness trends and practices, alternative energy, and sustainable agriculture.
For more information about issues raised in this story, visit www.worldwatch.org/ww/feudal/.


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Look: Warm Green & Brown
Look: Warm Green & Brown
This was the second look I tried to test drive MAC's new long-wearing eyeshadows! 🙂 I don't know if I've paired green (without being brownish or olive) with browns – it's a very earthy combo! Hope you're having a fabulous day!
You will need the following…
- Eyes: NARS Smudgeproof Eyeshadow Primer (primer), MAC Fresh Flare Eyeshadow (green), MAC Keep Your Cool Eyeshadow (grayish brown), MAC Lie Low Eyeshadow (medium-dark brown), Burberry Trench Eyeshadow (highlighter), Urban Decay Lucky 24/7 Eyeliner (copper), Hourglass Film Noir Mascara
- Face: MAC Matchmaster Foundation (03), Korres #15 Natural Blush (nude brown), Guerlain Les Violettes Mineral Powder (03), Guerlain Parure de Nuit Pressed Powder & Blush (illuminator)
- Lips: MAC To the Future! Pro Longwear Lipcreme (nude), MAC Show Me! Pro Longwear Lipglass (peach brown)
For eyes, start by laying down your eyeshadow primer all over the lid and until the brow. Apply Fresh Flare eyeshadow on the lower two-thirds of the lid with the 239. In the crease, gently brush Keep Your Cool eyeshadow with the 222 and diffuse above the crease. Apply Lie Low eyeshadow in the crease to add warmth with the 239. Use Lucky eyeliner on the lower lash lin, then soften with Lie Low eyeshadow. Finish lashes with Film Noir mascara.
For face, apply Matchmaster all over face with the 193. Add color to the cheeks by gently dusting Natural blush near apples and blended out towards temples with the 116. Lightly dust on illuminator with the 165 or 188 on cheek bones. Set with Les Violettes with the 134.
For lips, apply To the Future onto lips and then layer over Show Me.


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Decision : 31 COM 8B.25
Nomination of natural, mixed and cultural properties to the world heritage list - Kaiping Diaolou and Villages
The World Heritage Committee,
1. Having examined Documents WHC-07/31.COM/8B and WHC-07/31.COM/INF.8B.1,
2. Inscribes the Kaiping Diaolou and Villages, China, on the World Heritage List on the basis of criteria (ii), (iii) and (iv);
3. Adopts the following Statement of Outstanding Universal Value:
The Diaolou and their surrounding villages demonstrate Outstanding Universal Value for their complex and confident fusion between Chinese and western architectural styles, for their final flowering of local tower building traditions, for their completeness and unaltered state resulting from their short life span as fortified dwellings and their comparative abandonment and for harmonious relationship with their agricultural landscape.
Criterion (ii): The Diaolou represent in dramatic physical terms an important interchange of human values - architectural styles brought back from North America by returning Chinese and fused with local rural traditions - within a particular cultural area of the world.
Criterion (iii): The building of defensive towers was a local tradition in the Kaiping area since Ming times in response to local banditry. The nominated Diaolou represent the final flourishing of this tradition, in which the conspicuous wealth of the retuning Chinese contributed to the spread of banditry and their towers were an extreme response.
Criterion (iv): The main towers, with their settings and through their flamboyant display of wealth, are a type of building that reflects the significant role played by émigré Kaiping people in the development of several countries in South Asia, Australasia, and North America, during the late 19th and early 20th centuries, and the continuing links between the Kaiping community and Chinese communities in these parts of the world.
The wholeness and intactness of the nominated properties are evident insofar as all the elements that express their values are still in place; the size of each of the properties is adequate as the features and processes that convey the significance are fully represented in the towers and their surrounding villages of small houses and farmland. The nominated Diaolou, their surrounding village houses, and the agricultural landscape are all authentic, apart from certain houses in Sanmenli Village.
Since 2001, all the Diaolou are protected as national monuments under the Law for the Protection of Cultural Relics, 1982 and also covered by Provincial and Municipal Regulations. A buffer zone has been established. The overall state of conservation of the Diaolou is good; the state of conservation of village houses and the agricultural landscape is reasonable. No extensive conservation works have been undertaken. Nevertheless minor repair works, are carried out where necessary, and inappropriate building interventions have been reversed. A Management Plan for the nominated property has been drawn up by Beijing University under the auspices of the People's Government of Kaiping City. It has been implemented since 2005.
4. Requests the protection of the wider setting of the Diaolou and their surrounding villages through sustaining their agricultural, pastoral and forestry uses;
5. Recommends that the State Party give consideration to the following:
a) Reinforced preventive measures to address the main threats from decay, uncontrolled tourism and development.
b) Research into appropriate repairs for the massed concrete of their construction.
c) Introduction of active preventive conservation measures in towers open to the public.
d) Proactive encouragement for the use of traditional building materials and techniques for village houses.
e) Monitoring of the condition of building interiors and associated moveable elements as well as the visual setting of the Diaolou.


text:
Watercolor batik is a painting technique that has been floating around for a while. I have painted on fabric before (not batik method strictly speaking), I knew the theory (basically, you use wax/paraffin in place of masking liquid and rice paper in place of regular watercolor paper) and I kept seeing paintings done in this technique here and there. Finally, months after bookmarking a demo by Kathie George on Artists Network, I decided to give it a try.
Materials and gear:
- Watercolor paints
- Some kind of oriental/rice paper. I used something looking like the regular sumi-e rice paper (the one that has no sizing and makes your paint run like crazy)
- Ink pen (optional). I used Pigma Micron
- Brushes - your regular watercolor brushes plus something designated specifically for applying paraffin. I used a 1.5" flat bristle brush from a hardware supply store and a couple of smaller bristle brushes.
- Electric griddle or some other way to keep the paraffin melted.
- Paraffin - I used a candle stump
- Iron
- Lots of newspapers/tissue paper/any thin absorbent paper that you can use for ironing the paraffin off your painting
The process
1. Make your drawing if you plan on having the lines. If you need to make a sketch first and then trace it onto the rice paper, be my guest. I drew straight on the rice paper - I think the uneven lines are not so horrible and actually add character.
Here, I already decided what my lightest lights are (a term meaning the areas of the artwork that will be the lightest in value. In watercolor, you typically leave them untouched, no paint at all). I masked them out with melted paraffin.
2. Apply first wash of color. You will be working from light to dark, so decide what your next lightest areas are and fill them in. Often, those are going to be your yellows, as they tend to be light in value. I also painted the bright colors of the flowers on the windowsills at this stage. I wanted to keep them fresh, so no more layers of paint on top.
3. Apply more paraffin to areas that you want to keep the way they are. Paint middle values.
4. Same thing. Mask out the areas that you are happy with and move on with another layer of watercolor. Here I am about to add the darks.
5. The image below is almost completely covered with paraffin.
6. More paraffin, more paint.
7. Once you're done, cover it all completely with paraffin and crinkle the paper. Apply a wash of color on top. I chose rusty orange to match the color of my ink lines. It will bleed into the cracks and bead on top of paraffin.
This step is optional. If you don't want the web pattern on top of the painting, feel free to skip it.
8. Newspapers and iron time. Place the painting between several layers of newspaper or tissue paper and keep ironing until all of the paraffin comes off. You will need to change the layers of paper to new ones in the process.
This is what it looked like after removing paraffin. I was fine with it for a day but then decided the white spots in the bottom third of the painting were just too distracting. When I tried painting them over, I couldn't: there was still some paraffin in the paper. One extra ironing removed it and I was able to tone the white spots down.
Here is the finished version:
Detail views:
And a handy time lapse video: French Windows
Hope you enjoyed it! Questions? Suggestions? Comments?


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SEE WHAT I WANNA SEE, BLACKTOP SKY and More Set for Steppenwolf Theatre's GARAGE REP 2013, Beg. 2/15
Performances of Steppenwolf Theatre Company's fourth annual Garage Rep are scheduled to begin February 15, 2013, featuring Bailiwick Chicago's See What I Wanna See, Buzz22 Chicago's She Kills Monsters and Theatre Seven of Chicago's BlackTop Sky.Under the leadership of Steppenwolf Associate Producer Jacob Padrón, these innovative storefront companies perform in rotating repertory for a ten-week run through April 21, 2013 (Press Performances are March 2, 2013). Performances are scheduled Wednesday through Friday at 8pm, and Saturday and Sunday at 4pm and 8pm in The Steppenwolf Garage (1624 N Halsted St); a full performance schedule follows. Single tickets ($20) and three-play passes ($45) are on sale now through Audience Services (1650 N Halsted St), 312-335-1650 and steppenwolf.org.
"With this year's Garage Rep, all three shows have a unique voice but their methodology, imagination, and commitment to company are reminiscent of Steppenwolf's early storefront past. This year's rep includes our first ever chamber musical; the fantasy world of Dungeons & Dragons; and a reunion with playwright Christina Anderson," comments Associate Producer Jacob Padrón. "In addition, we're introducing our new late-night series The After Party, an eclectic lineup of artists including Chicago's best rare soul DJs. Steppenwolf continues its ongoing work of making the Garage an exciting home for new work, emerging artists and millennial audiences."
Steppenwolf Theatre Company's Garage Rep 2013 Line-up
(All plays, artists and dates are subject to change)
Bailiwick Chicago presents
See What I Wanna See
Words and Music by Michael John LaChiusa
Directed by Lili-Anne Brown
Music Direction by James Morehead
Featuring Harter Clingman, Sharriese Hamilton, Evan Tyrone Martin, Peter Oyloe and Danni Smith
Michael John LaChiusa's three-part musical explores lust, greed, murder and redemption through the stories of a 1950s murder noir, a priest's crisis of faith, and the final tryst of two lovers. A lush musical score combining jazz, pop, classical and Asian influences drives the story telling in this virtuosic piece named by New York Magazine as one of the Best Musicals of 2005.
The creative team for See What I Wanna See includes Lizzie Bracken (scenic design), Samantha C. Jones (costume design), Lee Keenan (lighting design) and Cody Reynolds (sound design). Additional credits include Geoff Bleeker (associate producer), Michael Driscoll (assistant director) and Heather Stuck (stage manager).
Bailiwick Chicago (Lili-Anne Brown, Artistic Director; Kate Garassino, Executive Director; Eric Martin, Creative Director; Michael Harnichar, Managing Director) is a non-profit professional company with a mission to produce contemporary musicals and plays, reinvent classic musicals and develop new work, while sharing a powerful and authentic theatrical experience. We celebrate and engage our community through diverse programming, artistic partnerships and outreach opportunities. In just two seasons, Bailiwick Chicago has garnered 28 award nominations, including 10 Non-Equity Jeff Award nominations in their first Jeff-eligible season (2011/12). bailiwickchicago.com.
Buzz22 Chicago presents the Midwest premiere of
She Kills Monsters
By Qui Nguyen
Directed by Scott Weinstein
Featuring Katherine Banks, Rinska Carrasco-Prestinary, Daeshawna Cook, Fred Geyer, Jessica London-Shields, Allie Long, Morgan Maher, Jose Nateras, Ellie Reed, Sara Sawicki and Richard Traub
Agnes's life is turned upside down when she stumbles upon her late sister's Dungeons & Dragons notebook. As she embarks on an action-packed quest to save her sister's soul, Agnes comes face to face with homicidal fairies, raunchy ogres and blood thirsty cheerleaders, and discovers a side of herself she never knew existed. Qui Nguyen's touching comedy combines real life, fantasy and 90's pop culture in the search for the badass in us all.
The creative team for She Kills Monsters includes William Boles (scenic design), Rachel Goldberg (costume design), Lee Keenan (lighting design), Daniel Carlyon (sound design), Matt Deitchman (composer), Chuck Coyl (fight director) and Lori Buchanan (dance choreography). Additional credits include Colleen Werle (puppetry design), Sarah Fornace, Drew Dir and Julia Miller of Manual Cinema (shadow puppet design), Alex Tey (gore design, assistant fight director), Jamie Karas (properties master), Mary Hungerford (production manager) and Christopher Leck (stage manager).
Buzz22 Chicago (Scott Weinstein and Sara Sawicki, Co-Artistic Directors; Philip de Guzman, Managing Director) was founded by seven Northwestern University graduates in 2010. Since then, Buzz22 has staged four productions, including the Midwest premiere of Residue by Joel Sinensky and Quake by Melanie Marnich, performed in repertory at Royal George Theatre. The company seeks to provide a home for up-and-coming artists in the Chicago area. Buzz22 stages stories to explore the constant coming of age: the ever-occurring moments that challenge who we are and who we want to be. buzz22chicago.com.
Theatre Seven of Chicago presents
BlackTop Sky
By Christina Anderson
Directed by Cassy Sanders
Featuring Kristin E. Ellis, Eric Lynch and Julian Parker
BlackTop Sky examines the intersection of love, violence and community inside an institution with a haunting Chicago legacy: the public housing project. After witnessing police rough up a fellow resident of the projects, 18-year-old Ida befriends a young homeless man who sleeps on a nearby bench. As their unlikely friendship grows, will it strengthen her connection to home or drive her away in search of a new life?
The creative team for BlackTop Sky includes Lizzie Bracken (scenic design), Brenda Winstead (costume design), Lee Keenan (lighting design) and Chris LaPorte (sound design). Additional credits include Paige Collins (assistant director), Stephen Wisegarver (fight choreographer), Jennifer McClendon (production manager), Toni Kendrick (properties master) and Taylor Fenderbosch (stage manager).
Theatre Seven of Chicago (Brian Golden, Managing Artistic Director; Cassy Sanders, Associate Artistic Director) produces work that explores the diverse Chicago experience. Since 2007, the company has produced 17 standout offerings, greeted 13,000 audience members, paid 200+ artists for their contributions, earned nominations for three Jeff Awards and two Black Theatre Alliance Awards and won the 2012 Emerging Theatre Award. The company's noted world premieres include The Chicago Landmark Project, We Live Here, Diversey Harbor, Yes, This Really Happened To Me and Cooperstown. Theatre Seven also hosts a robust menu of auxiliary programming, including a monthly reading series, Shikaakwa. theatreseven.org.
Single tickets ($20) and three-play passes ($45) to Garage Rep 2013 are currently on sale through Audience Services (1650 N Halsted St), 312-335-1650 and steppenwolf.org. Student Discounts: a limited number of $15 student tickets are available online using promo code "GARAGEREP15". Limit 2 tickets per student; must present a valid student ID for each ticket. For additional student discounts, visit steppenwolf.org/students. Group Tickets: all groups of 10 or more receive a discounted rate for any performance throughout the season. For additional information, visit steppenwolf.org/groups.
Since the inaugural repertory in 2010, Garage Rep has brought the work of nine storefront theater companies in Chicago to the Steppenwolf stage, including: Hit the Wall by The Inconvenience, Oohrah! by LiveWire Chicago and He Who by Theatre Zarko in 2012; Heddatron by Sideshow Theatre Company, The Three Faces of Doctor Crippen by The Strange Tree Group and Sonnets for an Old Century by UrbanTheater Company in 2011; and The Twins Would Like To Say by Dog & Pony Theatre Company, punkplay by Pavement Group and Adore by XIII Pocket in 2010. Garage Rep 2013 marks the fourth annual series, adding Bailiwick Chicago, Buzz22 Chicago and Theatre Seven of Chicago to the distinguished list of Garage Rep participants.
Garage Rep 2013 also features The After Party, a line-up of late-night, cross-genre performances, every Thursday nights starting March 7. Curated by Steppenwolf Associate Producer Jacob Padrón, The After Party includes performances by Salonathon; experimental rock trio, Paper Mice; genre-bending classical musicians, Spektral Quartet; solo performer and spoken word artist Shannon Matesky; Route 66 Theatre Company; comedy-variety show, The City Life Supplement; and soul dance party, Windy City Soul Club.
Steppenwolf Theatre Company is America's longest standing, most distinguished ensemble theater, producing nearly 700 performances and events annually in its three Chicago theater spaces-the 515-seat Downstairs Theatre, the 299-seat Upstairs Theatre and the 80-seat Garage Theatre. Formed in 1976 by a collective of actors, Steppenwolf has grown into an ensemble of 43 actors, writers and directors. Artistic programming at Steppenwolf includes a five-play Subscription Season, a two-play Steppenwolf for Young Adults season and three repertory series: First Look Repertory of New Work, Garage Rep and Next Up. While firmly grounded in the Chicago community, nearly 40 original Steppenwolf productions have enjoyed success both nationally and internationally, including Off-Broadway, Broadway, London, Sydney and Dublin. Steppenwolf has the distinction of being the only theater to receive the National Medal of Arts, in addition to numerous other prestigious honors including an Illinois Arts Legend Award and nine Tony Awards. Martha Lavey is the Artistic Director and David Hawkanson is the Executive Director. Nora Daley is Chair of Steppenwolf's Board of Trustees. For additional information, visit facebook.com/steppenwolftheatre and twitter.com/steppenwolfthtr.


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DiscoveryGate API
The service provides information about types and availability of chemical compounds and chemistry products. It aggregates source information by compound and provider to facilitate comparison and purchasing decisions. Products are flagged by molecular structure to make them easy to find, along with listings of potential suppliers. API methods support specification of molecule "flags" or descriptors to identify progressively finer selections of available chemical compounds. Methods return potential matches with procurement information like supplier, location, and price.


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On Robert Kennedy
The emotions have had their day. We have witnessed a funeral which for most of us must have been the most moving ever seen, quite different in its monumental privacy from the somber pomp and circumstance of John F. Kennedy's state funeral. The grief of a family was made visible to millions. We went with the widow to St. Patrick's at five o'clock in the morning, watched her at solitary prayer, and followed her to the coffin, averting our gaze when she embraced that part of it where the shattered head of her husband lay.
Yet even in those moments of private grief which the nation shared, it was impossible not to think of politics. The President of the United States paid his respects three times to the dead man—at St. Patrick's, at the Washington rail-road station, and at the graveside—but he had hated that man as that man had hated him. Robert Kennedy regarded Lyndon Johnson as an usurper. He had become Vice President by a fluke, by accepting an offer which he was not expected to accept and which was seriously intended for Stuart Symington. He had been elevated to the Presidency through an assassin's bullet. It was by virtue of both these accidents that Lyndon Johnson held supreme power. Thus Robert Kennedy considered not attending the first Cabinet meeting of President Johnson, and then made it a point to be late; the symbolic significance of that late entry was not lost upon the President. And in the early morning of the day of President Johnson's inauguration, Robert Kennedy went to his brother's graveside, and he went there again in the afternoon with the photographers. He held a grudge against his brother-in-law Sargent Shriver for continuing to work for Lyndon Johnson.
What Robert Kennedy expected and worked for, Johnson feared and tried to prevent: that his tenure of office would be an interregnum between the Presidencies of two Kennedys. Thus Johnson said in 1963 that he would never have a Kennedy on his ticket, and in 1967, in a face-to-face confrontation, he threatened Robert Kennedy with political extinction within six months. To prevent Robert Kennedy from becoming President of the United States had become one of his major political goals, and now, for the second time, not his efforts but an assassin's bullet settled the issue. How galling it must be for a proud man to contemplate that he owes his elevation to supreme power and the elimination of a hated rival to the accident of two assassinations!
ROBERT KENNEDY, like Lyndon Johnson, was a beneficiary of his brother's assassination. The most precious inheritance John F. Kennedy left him was the myth of his unfinished stewardship. Nobody can say what John F. Kennedy would have accomplished had he lived. But it is certainly fair to say, as I did at the time, that while he lived as President he achieved little of substance. His domestic program was hopelessly stymied in Congress. In foreign policy, he was responsible…
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Responsibilities include Construction Project Materials Certification, Materials Testing
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The project materials Certification and Testing process verifies that materials
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requirements of the manual, develop and maintain the database of
certified equipment and personnel, and issue the certificates of completion
and training cards for everyone who has successfully completed training.
We gather input from field personnel, coordinate instructors, and
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associated testing materials.
We maintain the Approved Products/Certified Suppliers list which is a
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projects without furnishing a Certificate of Compliance.


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At the end of the game, Eli Manning took a knee to run out the clock and end the game. The Tampa Bay defense pushed hard and knocked Eli over. Manning thought it was a cheap shot.
Tom Coughlin and the Giants think the "call" to try and tackle a football player during a football game came directly from Tampa Bay head coach Greg Schiano. So, at the end-of-game-handshake, Coughlin went off on Schiano.
Schiano addressed the dispute at his post game press conference.
"I don't know if that's not something that's done in the National Football League," Schiano said. "What I do with our football team is that we fight until they tell us game over. And there's nothing dirty about it, there's nothing illegal about it. We crowd the ball like a sneak defense and try to knock it loose.
This is all starting to sound like an unwritten rule controversy, which would be just about the worst thing to ever happen to football.
WATCH: Tom Coughlin has contentious hand-shake with Greg Schiano [CBS]


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Activists + > Authors > AR Non-Fiction
Right, Wrong, and Green: Ethical Complexities
printer friendly, larger print version
Dale Jamieson
Review: RIGHT, WRONG AND GREEN
Is it Ever Right to Shoot Goats, or Spill Raw Sewage into a Pristine Stream?: the Ethical Complexities of Saving the Environment
The Times Literary Supplement, Peter Singer, September 10, 2008
Even after taking three chapters to develop this extensive account of ethics, Jamieson does not move directly to what is commonly thought of as environmental ethics. His next chapter is about the moral status of non-human animals. Since almost every decision we make about the environment will have an impact on animals, we need to know what weight to give those impacts. Jamieson agrees with what now seems to be a near-consensus among philosophers that "species-ism" ? the view that we are entitled to take the interests of animals less seriously than we take human interests, simply because humans are members of our species ? is not a defensible moral position. That still leaves many further issues to explore: does the principle of equal consideration of interests adequately ground the moral status of animals (as this reviewer has argued) or should we also attribute rights to animals, as Tom Regan contends? The way we answer that question may lead to different judgments about the wrongness of painlessly killing sentient beings who, because they lack self-awareness, have no explicitly future-directed preferences, and whose death thus seems less of a tragedy than the death of a self-conscious being who does have such preferences.
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In this blog I talk about some of the personal programming I do as a hobby. By trade I'm a Java and database developer but I've dabbled in Haskell, front-end development, etc. I'm currently working as an architect but still enjoy getting my fingers dirty in code!
Friday, October 09, 2009
What client for an Haskell Multi Player Game?
What I'm trying to figure out at the moment is what architecture to use. Mainly, if I have no doubt there is going to be a server somewhere running Haskell code, I wonder about the client. Should I try to write a browser based game coupled with a Haskell web server? That way, users could easily play the game when (if) it gets to a usable state, and I won't have to worry about cross platform issues for the client. Getting proper server side events or push should be fun, and of course if I end up using something like web sockets I will probably require a fairly cutting edge browser, which negates the advantage. I'm not too sure meddling with AJAX long polling and dynamic HTML is such a attractive option.
The other path is to write a Haskell client. Granted, users will have to download it, which means either me dealing with cross platform issues (provide several exes) or restricting my users to people happy to use cabal install. But I'll get maybe into stuff like OpenGL in Haskell, and do everything in Haskell instead of mixing Haskell with HTML and JavaScript (I've just stumbled upon jmacro, which could be cool I guess).
I'm sure everybody has faced that question at some stage. Ah well, for the moment I'm still wondering what my game will do, so I guess I have time to play with a few things before I make my mind up.
8 comments:
- Harmen said...
I had the same idea a while back, and ended up writing the server in haskell and the client in C++. that way I learned both :)
This worked well for me since the client doesn't have _that_ much logic and you have much more options to choose 3D frameworks for the client. No need to write haskell bindings first.
Of course I got completely sidetracked with everything I came across, so nothing's working, but had a lot of fun ending up nowhere :)
- jerf said...
Google for "flash socket javascript" (no quotes in the google query). I'm thinking of doing a similar sort of project (not at all a game, but a lot of interaction) and that's the approach I'm eyeing.
I suppose if I'm really slick I'll make it so I can use websockets if they are present, and fall back to flash if not.
- wren said...
Depending on what all you're interested in you may want to look into some of the classic browser-based MMO strategy games (e.g. Utopia, though I don't know how the current version compares to the one I played). There was a whole genre of them around 1998~2003 before the graphics-heavy MMORPGs (WoW, etc) came out. You may also want to look into some of the classic (non graphics-heavy) MMORPGs like Ultima Online, or their modern open-source variants like (the excellent) Stendhal or the (ever nascent) The Mana World.
I guess my main point is that there are many subgenres of MMO. They differ obviously in their graphics, but the style of play and the overall user interface are also significantly different. A well-designed rogue-like would be easy to convert into a classic MMORPG. If you're worried about the graphics you could always go for cracktastic ASCII art (like the single-player Dwarf Fortress).
One thing you should be concerned with up front, though, is sharding and migrating. For anything MMO, you need to be able to split the world and the players up and distribute them across multiple machines. Even if you only have one server to play with for now, this is a feature you'll want and it's hard to alter code to add it after the fact.
- Sebastián said...
You can go OpenGL with isometric view (much like 2D view) and 3D effects. But you need really good artwork for backgrounds.
Server in Haskell makes a lot of sense.
Client in whatever language with builtin scripting in Lua or Scheme would rock. I think Scheme would fit you well considering that you like functional.
- James said...
You might consider writing a client (or server) for one of the existing fee MMOs.
Stendhal or The Mana World, mentioned above, would be good choices, or Worldforge. That way you don't have to spec out the protocols or build all the content yourself.
- linker said...
I wouldn't really touch HTML/CSS/JS with a barge pole, the reason being their utter brokenness. I'm talking about both specification and implementation.
Current web technologies require too much fiddling to get a result: that's why there are so many "frameworks" out there. Flash is much better for your task.
- Kirk said...
Make a text based game like a MUD. Graphics are overrated, only client you need is telnet.
- motiur nuggeta said...
- This comment has been removed by a blog administrator.


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It was my pleasure to receive a copy of Just My Type: A Book About Fonts from the publisher -- commenting that DT&G may be interested in it for a review. Hello? With the second letter in our banner meaning typography, yes I sure would be interested; as would all our readers. This book is a delight to read and must be required reading for all first-year typography students. The old geezers in the biz would also benefit from this book because author Simon Garfield covers ground that probably hasn't been touched until now!
The Ampersand
You've read other book reviews and are used to the way they go ... but to fully appreciate the writing in this book takes some sampling of pages. (Which, you can do at Amazon , and other booksellers.) I was particularly fond of how Simon worked his way into the story of Claude Garamond and the now ubiquitous Garamond type face. Humor me with this short passage from the book ....
Much of what one needs to know about the history and beauty of a font may be found in its ampersand. (clip) The finest ampersand, cut by William Caslon is still alive after almost three hundred years, and it has many impersonators but no equals. It is fiendishly difficult to draw, and when done badly may resemble aimless scribble. But when done well, it can be a work of wild freehand art in a way that few regular characters are allowed to be. It can bestow aristocratic virtue to a font, and it can cause the writer about fonts a considerable struggle to contain the purple prose.
Just My Type is simply full of delightful passages like this. He talks about Erik Spiekermann's quest for "warmth" in typography, and Herman Zapf's legacy.
Herman Zapf will always be remembered for his dingbats. But the German designer is also responsible for some of the twentieth century's most exacting typefaces, among them Palatino, Melior, Saphir, and Zapfino -- the latter one of the most fluid and effective calligraphic fonts. But it is his Optima typeface that stands out.
Love Letters
On 12 June, 2005, a fifty-year-old man stood up in front of a crowd of students at Stanford University and spoke of his campus days at a 'lesser institution' -- Reed College in Portland, Oregon. 'Throughout the campus' he remembered, 'every poster, every label on every drawer, was beautifully hand calligraphed. Because I had dropped out and didn't have to take the normal classes, I decided to take calligraphy class to learn how to do this. I learned about serif and sans serif typefaces, about varying the amount of space between different letter combinations, about what makes great typography great. It was beautiful, historical, artistically subtle in a way that science can't capture, and I found it fascinating. ... Ten years after his college experience, that man, by the name of Steve Jobs invented the Macintosh...
That's the introduction to the book -- and the truth about how society first began it's love affair with letters, letterforms, type, typography and fonts. Until that time, very few even had a remote idea of the names of the letterforms they had been reading for decades. But sadly, I cannot simply sit here and type in all my favorite passages from this book. It would take hours and hours, and the article would be dozens of pages long. You seriously need to read the book yourself.
A day without Helvetica
In Clare Jensen's blog (she's a Designer and Artist) she writes about "Just My Type" and follows this with an excerpt from the book :
A few years ago, a New Yorker called Cyrus Highsmith put his life on the line by trying to spend a day without Helvetica. As a type designer himself, he knew it would be a challenge. Whenever he saw something spelled out in the typeface he would have to avert his eyes. He wouldn't take any Helvetica-signed transport, nor buy any Helvetica branded products. He might have to walk into New York City from its suburbs; possibly go hungry all day.
Now you can read the rest at Clare's blog.
Is there really anything else I can say?
So, having said that -- you'll see it's very difficult to write a review that encourages you to make a very simple decision ... BUY THIS BOOK TODAY. Don't take my word for it... see the wonderful video below from the Penguin Group USA. Or, read other praise. But even if you're NOT a fonts or typography fan, you'll truly enjoy this read. And, you'll be a lot smarter for it.
Chip Kidd:
Whether you're a hardcore typophile or a type-tyro, there's something here for you: be it the eye-opening revelations of Eric Gill's utter and complete perversity, or the creation of the typeface that helped Mr. Obama gain entrance to the White House.
Michael Bierut, author of Seventy-Nine Short Essays on Design
With wit, grace and intelligence, Simon Garfield tells the fascinating stories behind the letters that we encounter every day on our street corners, our bookstore shelves, and our computer screens.
Jessica Kerwin Jenkins, author of Encyclopedia of the Exquisite
Simon Garfield reveals an invisible world behind the printed word... the lives of the designers and the letters they've created have never been more clearly detailed with so much flair.
Don't just sit there. This is a must-have book for the design conscious --- and for just about anyone else who loves to know a lot more about things that most people know nothing about! Tell'em Fred sent'ya!
Just My Type: A Book About Fonts
by Simon Garfield
Hardcover and soft cover: 356 pages, Language: English
Publisher: Gotham (September 1, 2011)
Simon Garfield's web site
thanks for reading
Don't forget ... we encourage you to share your discoveries with other readers. Just send and email, contribute your own article, join the Design Cafe forums, or follow DTG on Facebook!


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