text:
Assessment |
Biopsychology |
Comparative |
Cognitive |
Developmental |
Language |
Individual differences |
Personality |
Philosophy |
Social |
Methods | Statistics | Clinical | Educational | Industrial | Professional items | World psychology |
Statistics: Scientific method · Research methods · Experimental design · Undergraduate statistics courses · Statistical tests · Game theory · Decision theory
Parametric statistics is a branch of statistics that assumes data come from a type of probability distribution and makes inferences about the parameters of the distribution.[1] Most well-known elementary statistical methods are parametric.[2] and include:
- Analysis of variance (ANOVA)
- ANCOVA (Analysis of Covariance)
- F test
- Introduction to factor analysis
- MANOVA (Multivariate Analysis of Variance)
- Pearson product-moment correlation coefficient
- Principal components analysis
- Regression analysis
- T test
These tests are mathematical procedures for statistical hypothesis testing which assume that the distributions of the variables being assessed belong to known parametrized families of probability distributions. In that case we speak of parametric model.
For example, analysis of variance assumes that the underlying distributions are normally distributed and that the variances of the distributions being compared are similar. The Pearson product-moment correlation coefficient assumes normality.
Generally speaking parametric methods make more assumptions than non-parametric methods. If those extra assumptions are correct, parametric methods can produce more accurate and precise estimates. They are said to have more statistical power. However, if those assumptions are incorrect, parametric methods can be very misleading. For that reason they are often not considered robust. On the other hand, parametric formulae are often simpler to write down and faster to compute. In some, but definitely not all, cases their simplicity makes up for their non-robustness, especially if care is taken to examine diagnostic statistics.[3]
Because parametric statistics require a probability distribution, they are not distribution-free.[4]
Example Edit
Suppose we have a sample of 99 test scores with a mean of 100 and a standard deviation of 10. If we assume all 100 test scores are random samples from a Normal distribution we predict there is a 1% chance that the 100th test score will be higher than 123.65 (that is the mean plus 2.365 standard deviations) assuming that the 100th test score comes from the same distribution as the others. The Normal family of distributions all have the same shape and are parameterized by mean and standard deviation. That means if you know the mean and standard deviation, and that the distribution is Normal, you know the probability of any future observation. Parametric statistical methods are used to compute the 2.365 value above, given 99 independent observations from the same Normal distribution.
A non-parametric estimate of the same thing is the maximum of the first 99 scores. We don't need to assume anything about the distribution of test scores to reason that before we gave the test it was equally likely that the highest score would be any of the first 100. Thus there is a 1% chance that the 100th is higher than any of the 99 that preceeded it.
While parametric techniques are robust – that is, they often retain considerable power to detect differences or similarities even when these assumptions are violated – some distributions violate the assumptions so markedly that a non-parametric alternative is more likely to detect a difference or similarity.
History Edit
Statistician Jacob Wolfowitz coined the statistical term "parametric" in order to define its opposite in 1942:
"Most of these developments have this feature in common, that the distribution functions of the various stochastic variables which enter into their problems are assumed to be of known functional form, and the theories of estimation and of testing hypotheses are theories of estimation of and of testing hypotheses about, one or more parameters. . ., the knowledge of which would completely determine the various distribution functions involved. We shall refer to this situation. . .as the parametric case, and denote the opposite case, where the functional forms of the distributions are unknown, as the non-parametric case."[5]
See alsoEdit
- ↑ Seymour Geisser and Wesley M. Johnson, Modes of Parametric Statistical Inference, John Wiley & Sons (2006), ISBN: 978-0471667261
- ↑ D. R. Cox, Principles of Statistical Inference, Cambridge University Press (2006), ISBN: 978-0521685672
- ↑ David Freedman, Statistical Models: Theory and Practice, Cambridge University Press (2000), ISBN: 978-0521671057
- ↑ David C. Hoaglin, Frederick Mosteller and John Tukey, Understanding Robust and Exploratory Data Analysis , Wiley-Interscience (2000), ISBN: 978-0471384915
- ↑ J. Wolfowitz, Annals of Mathematical Statistics XIII, p. 264 (1942)
Please copy and paste this prompt to other appropriate areas. Feel free to edit as necessary
Parametric Statistics: Academic support materials
- Parametric Statistics: Lecture slides
- Parametric Statistics: Lecture notes
- Parametric Statistics: Lecture handouts
- Parametric Statistics: Multimedia materials
- Parametric Statistics: Other academic support materials
- Parametric Statistics: Anonymous fictional case studies for training
|This page uses Creative Commons Licensed content from Wikipedia (view authors).


text:
Belly Cakes, Continued
I believe I ended yesterday by saying that belly cakes were in dire need of some serious sex appeal. Well fortunately, a couple of Anony Mice have come to the rescue. Now then, I'll just cue up some sexy saxophone "Muzak" for atmosphere...
[Accordion instrumental of the "Chicken Dance" begins to play]
Whoops! Haha! Sorry - wrong CD. [fumbling with disks]
[Sax rendition of "Whole New World" begins]
Theeere we go. Much better. Ok. Y'all ready?
carbonite to mind. But hey, killer nips!
Still, it's just not sexy enough, you know? I mean, it still has some clothes on.
Enter the "Sexy Suds" belly cake!
This clean bit of fun was submitted by the baker herself, although she asked to remain anonymous. And hey, it IS a beautifully done cake - it's just also a pregnant torso wearing nothing but bubbles. (Woo woo woo!)
But you wanna know the best part? Anony writes:
Oh I believe you, my friend - I do. Just remember: It's all fun and games 'til it ends up on Cake Wrecks*. Or 'til mom-to-be's in in the delivery room talking smack and brandishing a pair of kitchen tongs. One of the two, anyway. ;)
*I admit it: This is a shameless plug to sell more CW aprons.

subset: commoncrawl


text:
Online: (0)
Online: (26)
|Posted By : Jeff Moore
|Piece Title : Bandelier
|No. of times Viewed (September 2019) :6
|Total No. of times Viewed :855
|No. of Media Uploads :0(Videos -0, MP3 - 0, Photos - 0)
|Dificulty Rating :
|Level :
|Composer / Arranger : Lefever, Maxine
|Composer / Arranger Details: Unknown
|Total Number of Percussionists Required :3 Percussionist(s)
|Categories : Percussion Ensemble
|Instrument / Discipline : N/A
|Instrumentation : N/A
|Range of Instruments / Number of Drums :
|Written for / Commissioned by : Unknown
|Permission given for Youtube video by Copyright holder
and Youtube Channel Owner. Recorded / Provided by: Unknown
|Accompanied :N/A
|Publisher :Kendor Music, Inc.
|Publishers Website :www.kendormusic.com
|Publisher Details :
When the need for student-level stage band publications was realized, the brainchild of three instrumental music teachers immediately started a publishing company in December 1953 giving birth to the now known Kendor Music. The company name came from the combination of names of Western New York communities of Kenmore, Delevan, and East Aurora where the founders Les Chappell, Art Dedrick and Bob Hudson taught, respectively. Kendor Music started its first year as an evening-and-weekend project comprising of only 6 staffs of which includes the three founders and their respective wives. Collation of music was done manually at the basement of Bob Hudson`s house. The first four Prom Series arrangements namely, Moonlight Waltz, Prom Jump, Liebestraum, and Finale medley were publicized early in 1954. All the sales and marketing activities for the first Kendor publications were done manually using single-page brochures mailed to all the schools listed in the directory of the New York State School Music Association at the time.
During those days, Kendor Music monopolized the student-level stage band publication industry. Though there are a lot of stock charts available, school bands usually find them too difficult. Armed with his experience as a public school teacher and as a trombone player and arranger for the famous Vaughn Monroe band way back 1940`s, Art Dedrick incorporated all the appealing elements of professional charts in the first Prom Series arrangements making them easier for young school jazz musicians.
Kendor has successfully released thousands of works and has been behind the launching to the worldwide jazz education community of the music of great writers including Thad Jones, Toshiko Akiyoshi, Sammy Nestico, Jeff Jarvis, Bob Mintzer, John Fedchock, Frank Mantooth, Maria Schneider, among others. Besides jazz, the Kendor catalog that offers quality editions for various concert bands, string and full orchestras, instrumental soloists and chamber ensembles has also gained international popularity. Kendor also carries a number of critically-acclaimed books that tackles jazz improvisation, composing and arranging, and performance.
Kendor launched educational music to the market in 1992 by offering teachers a means to save money. The company sold extra score and part components from their solo and ensemble editions, rather than selling an entire publication. This is such a great deal especially when the customer only needs a particular piano score for adjudication or something to replace one that might be lost or damaged. This venture has gained a lot of positive reviews from teachers and retailers, especially. Due to the innovative ideas fearlessly brought to the market, Kendor became the recipient of the prestigious `Publisher of the Year` award from an international association, that is, the Retail Print Music Dealers Association.
Currently, continues to maintain its reputation of excellence in the publishing industry. It also continues to expand through acquisition of exclusive distributorship of other publishing outlets such as the Doug Beach Music, another outstanding label that caters to jazz education. With the supervision of its seasoned key officers, Craig Cornwall (President) and Jeff Jarvis (CEO), Kendor`s future in the publishing industry is undeniably promising.
|Year Composed / Copyright Date : /
|Duration :UnknownMinutes
|No. of Mallets/Sticks Required :N/A
|Special Needs :N/A
|Sheet Music Available From :Unknown
|Programme Notes / Performance Details :Unknown
|Member Rating : 0Vote(s)
|Scheduled Performances : Update


text:
The African World Heritage Fund celebrates the year of entrepreneurship and business skills in 2014, a new theme to help focus efforts on boosting community involvement in World Heritage conservation.
As we replace old calendars with fresh ones, the New Year offers a time to pause, reflect and look ahead. For the African World Heritage Fund, 2014 marks the year of entrepreneurship and business skills. With it comes the opportunity to raise awareness and stimulate action around this theme, following a series of activities around risk preparedness in 2013.
The African World Heritage Fund, founded in 2006, provides training and financial support to strengthen capacity and achieve better conservation of Africa's natural and cultural heritage. It works in collaboration with UNESCO, IUCN and ICCROM. For the year to come, it has set out to put into action a plan focussing on issues related to business activity surrounding World Heritage sites.
"World Heritage is about protection of the site, but it also brings economic benefits due to tourism for example," says Souayibou Varissou, Head of Programmes at African World Heritage Fund. "Of course, there has to be a balance between protection and business opportunity. Communities need adequate business skills to benefit from the opportunities arising out of World Heritage sites and build sustainable activities as entrepreneurs."
The implementation of the action plan will pan across several activities. Firstly, training will be provided to help potential entrepreneurs understand risks and recognize obstacles. Secondly, field projects will take place to identify potential issues and evaluate needs that could translate into business opportunities. Finally, research will be conducted on World Heritage and business activity so that lessons learnt can help future projects.
So how do you reconcile business with World Heritage values? "That is a good question, but a difficult one – particularly in the context of natural World Heritage," says Souayibou Varissou. "The issue is more straight-forward for cultural heritage, because cultural heritage sites already imply human interference. But we can get a good idea of how this can work in practice for nature by looking at cultural landscapes."
Cultural landscapes are defined as outstanding examples of the combined works of nature and man under the UNESCO World Heritage Convention. They not only show how humankind interacts with the natural landscape, but also a level of interdependence that develops to the benefit of both nature and humans.
"The presence of indigenous communities in certain sites creates unique types of traditional management systems of the surrounding environment," explains Souayibou Varissou. "Ancestral knowledge is passed on from generation to generation, perpetuating a particular know-how that helps for the conservation of a particular site, which otherwise may not have been protected."
Varissou quotes the Sacred Mijikenda Kaya Forests as an example. The cultural site in Kenya consists of 11 forest sites containing the remains of fortified villages (or kayas), which are now revered and maintained by elders as sacred sites. The rules they imposed to access and use of natural resources have allowed biodiversity to remain largely intact.
This extraordinary site is an inspiring example of how the environment can benefit from man. But in the case of natural sites, more often than not the reality shows that human activity is a threat to nature. In the most deprived parts of Africa, it is difficult to prevent local communities from using natural resources provided by biodiversity-rich protected areas to sustain their livelihoods. In turn, this can result in cases of land encroachment, illegal logging, fire or wildlife trade.
In the context of World Heritage, where the highest level of protection is expected, human settlement is unfortunately usually viewed as incompatible with nature conservation. Consequently, the protection of a natural World Heritage site can sometimes engender the delocalization of people.
According to Souayibou Varissou, the most important aspect of this problem is that people need to find alternatives to their livelihoods. This is why it is important to offer them the opportunity to acquire the necessary business skills to develop activities that are compatible with the integrity of World Heritage sites.
"We need to convince people that participating to the conservation of natural World Heritage brings benefits. To do this, we need to show them how to achieve this concretely, for example by becoming a park guide or developing ecotourism activities," he says. "2014 is the year where we will start giving tangible support to communities so they can learn how to benefit from World Heritage site while helping to conserve them in a sustainable way."
For more information visit the African World Heritage Fund or contact [email protected]


text:
Civic Center Synagogue
New York City Landmarks Preservation Commission: December 8, 1992.
The Civic Center Synagogue was built in 1967 for Shaare Zedek, a Jewish Orthodox congregation established in 1938 as a weekday synagogue for civil servants and textile workers in downtown Manhattan. In 1957 the synagogue completed its first permanent home at 80 Duane Street. In the early sixties, the building was condemned to construct the United States Federal Building and Customs Courthouse. In 1965, the displaced congregation purchased and demolished a brownstone on White Street between Church Street and Franklin Place build new, modern synagogue.
The congregation commissioned architect William N. Breger to design a building that would respond to the restrictions of the site but also differ substantially from the previous structure. The architect was asked to consider the programmatic needs of a synagogue attended by congregants who did not live in the area and only stopped to worship in the mornings and evenings. Contrary to most neighborhood synagogues, the congregation did not require extensive space for classrooms or a social hall. This allowed the architect to concentrate stylistic expression in the sanctuary, which defines the synagogue interior. The building was a special project for Breger, who has remarked that it was the only building in which he was truly able to express himself as an architect.
Both the exterior and the interior are laden with symbolism. The bowing façade evokes the flame of the burning bush; the windowless sanctuary receives illumination from a skylight high above the bimah. Breger's design endowed the building with qualities of mystery, fluidity, and light. Viewed from any direction, the building appears to float above the lot, suspended between two adjacent cast-iron structures.
The Civic Center Synagogue sits on a rectangular red brick base between two 19th-century cast-iron buildings on a combined lot 100 feet deep and 50 feet wide. The total building area is 12,300 square feet. The building is set back significantly from the street and recedes further as it rises to its final height. The lot is entered through a wrought iron security fence that preserves the street line. The sharply curving façade, which lacks any fenestration, is faced with white marble bricks. The shape of the structure is formed by three curving sheets of concrete of varying thickness. The front and the rear shells are connected by a framework of horizontal and diagonal steel beams topped with a sloping skylight of double-paned glass that rises 40 feet above the bimah. The roof shell is largely invisible inside and out.
The structure is revealed entirely in the sanctuary, which takes up the whole of the interior, with a hidden staircase behind the ark. The sanctuary was built to seat 300 congregants. It has four walls, clad in three different materials. The east and west walls are buff brick. The rear sloping wall which forms the backdrop to the bimah is lined with horizontal birch slats. The front wall which forms the back of the exterior façade and curves upward from the sanctuary entrance to form its ceiling is simply plastered and lined with small can lights at the base of the curve. The floor is framed in steel.
In general, the design scheme and choice of materials are intended to convey a feeling of openness and light. The pews are varnished blonde wood, with men's and women's sections separated by a row of white curtains. The overall look achieved is dramatic and fully in keeping with 1960s modern synagogue design, which relies strongly on the use of wood paneling for the ark and bimah. The ark is comprised by two vertical boxes of differing heights, illuminated by a gilded cylindrical lamp.
Offices and classrooms are relegated to the cellar and sub-cellar of the building, with a lobby and small office on the ground floor. The entrance, framed in glass and steel admits light into the base of the building. A playground has been set up to the right of the base.
The Tribeca East Historic District is an collection of intact cast-iron and masonry commercial buildings erected from mid-19th to the early 20th century when the area was a dry goods district. This typology is augmented by later office and bank buildings built in white marble, with classical details. The District comprises nearly 200 buildings in a range of 19th century styles, including Neo-Grec, Queen Anne, and Renaissance Revival. A number of striking commercial buildings clearly express Parisian (Second Empire) and Renaissance Venetian influences attesting to the neighborhood's 19th-century cosmopolitan character.
The District is noted for its side streets which provide strong, uniform streetscapes. The longest of these, White Street "contains buildings which represent the full historical context of the area – a few early nineteenth century dwellings converted at mid-century for commercial use, many five- and six- story store and loft buildings in a variety of materials and mid-nineteenth-century styles, and a limited-number of late-nineteenth-century structures."
The Civic Center Synagogue replaced a five-story 1866 Greek Revival brownstone on a block dominated cast-iron and marble façades. Together with its neighbors, this unusual building presented an uninterrupted row of 19th century lofts along White Street. Though his design received the 1968 AIA Honor Award, Breger was criticized for disrupting the street's continuity. In fact, Breuer was highly conscious of the street line, as evident in synagogue's height, scale, and setback, and the low walls of the entrance court.
The Civic Center Synagogue is an outstanding example of thin-shell concrete construction, which saw widespread use in the United States in the sixties and seventies. As a representative structure of that period, the synagogue gains additional importance in light of recent demolitions of historically significant thin-shell concrete buildings in other parts of the country. Optimization of thin-shell concrete structures in the twenties and thirties resulted in very thin roof structures, typified by Eero Saarinen's Kresge Auditorium at MIT. The three concrete shells that comprise the Civic Center Synagogue are only 4-7 inches thick; the front wall shell is the thickest, acting as a "reversed-curve beam" in relation to the other two shells. Breger's design, however, is most notable for its use of curved surfaces. According to the Association of Preservation Technology, these forms, "often exposed to public view from the street level, are a significant architectural feature of many thin-shell concrete buildings."
Breger's design emerged from a significant post-war shift in synagogue architecture in the United States. The tragedy of the Holocaust transformed American Jewry and its houses of worship. In the 1940s refugees and Holocaust survivors from Eastern Europe founded numerous synagogues in New York City. These differed remarkably from temples built by their wealthier counterparts in the 1920s. Newer congregations found little meaning in the pre-war Moorish revival style, shedding its ancient vocabulary in favor of Modern and Abstract Expressionist forms.
Breger owes much to his predecessors in the Civic Center Synagogue. The fifties and sixties were a golden age for Modern synagogue design. Jewish artists and architects were given complete leeway by congregations to produce visually stunning designs that were works of art inside and out. Percival Goodman, the most noted post-war synagogue architect, essentially created the Modern synagogue in 1951, with his design for B'nai Israel. The most renowned contemporary artists of the day contributed elements to the interior, sparking demand for Modern synagogues in communities across the United States.
Breger focused on creating a trascendent, adaptable space for a transient religious community, while hewing closely to Modern principles of synagogue architecture. In the Civic Center Synagogue, the architect sought to convey a sense of fluidity, in contrast to what he viewed as the "directional quality" of a Christian church. The design, while externally self-referential, is therefore, essentially Jewish and stylistically fitting to its purpose.
When it was completed, the Civic Center Synagogue warmly received by the architectural community. The editors of Architectural Forum were so impressed by Breuer's attention to site and context that they suggested the building as a model for other development projects in New York City; "Breuer's little synagogue in Lower Manhattan is an excellent demonstration for the need of more imaginative controls rather than the rule-of-thumb zoning regulations that encourage the indiscriminate and unrelated building of plazas." The Forum also lauded the soaring sanctuary, calling it "an impressive space, beautifully lit by day and night." In 1968, the AIA selected the building for its Honor award. The jury termed Breger's design "a very ingenious solution to a restricted urban site." The AIA Journal did not feature the synagogue interior but summarized the challenges of the program as "the exploitation of the chapel, the development of an open space, and the expression of this complex in a monumental way."
The Civic Center Synagogue is, in every sense, a product of its time. The design reflects the construction methods of the day as much as the sensibilities of the congregation. For a Jewish architect, trained in the Modern tradition, it was a vehicle for personal expression, an attempt to elicit the ethereal in the material. The building is a unified structure that encapsulates what is extraordinary about Modernism; its choice of materials, its abstraction of natural forms and its extensive use of illumination. Unencumbered by its 19th century context, Breuer's synagogue transcends its genre while paying tribute to its predecessors. Though it lacks the expansive backdrop of Lincoln Center or the business community of Midtown Manhattan, the building remains the most daring, innovative and resplendent of New York City's Modern synagogues.
"Interval in a Street." Architectural Forum 127.3 (1967): 64-69.
"The 1968 Honor Awards." AIA Journal 49 (1968): 84-104.
Boothby, Thomas E., M. Kevin Parfitt and Charlene K. Roise. "Case Studies in Diagnosis and Repair of Thin-Shell Concrete Structures." APT Bulletin, 36.3 (2005): 3-11.
City of New York. Landmarks Preservation Commission. Tribeca East Historic District Designation Report. 8 Dec. 1992.
Ennis, Thomas W. "Architects Honor Building Designs." New York Times 26 May 1968
Glassman, Carl. "Synagogue to Alter 'Floating' Façade." Tribeca Trib 3 July 2006.
Gray, Christopher. "Contrasting Styles are Startling on White Street." New York Times 24 Dec. 1989.
Stern, Robert A.M. New York 1960: Architecture and Urbanism Between the Second World War and the Bicentennial. New York: Monacelli Press, 1995.
Synagogue for the Arts. "Our History." 25 Nov. 2010.
Wong, Janay Jadine. "Synagogue Art of the 1950s: A New Context for Abstractionism." Art Journal 53.4 (1994): 37-43.


text:
Dir: Till Schauder. Germany-Iran-US. 2012. 93mins
The Iran Job follows an African-American who can't make the NBA, but ends up heading a motley professional team in Shiraz, Iran. Missteps on his improbable journey into the Axis of Evil offer some laughs, and even some wisdom.
The Iran Job skirts some basic questions, like why basketball, imported from imperialist nations, has flourished in the Islamic state.
This lively documentary breaks no new ground cinematically, yet its mix of discovery and befuddlement should bring more than sports fans to a basketball story. The Iran Job will be a novelty at festivals and theatrically, but its largest public will be on sports cable. Basketball is now a global sport, and the film can exploit the NBA's vast exposure in Europe and Asia. It is sure to be pirated widely in Iran.
What it won't do is revive the basketball career of Kevin Sheppard, although he shows acting potential.
In Sheppard, the filmmakers found a character whose personality takes him beyond the sports template in this tale of a journeyman player's "hoop dreams" gone awry. Gregarious, overbearing and photogenic, Sheppard is also thoughtful, making his first-person account of misadventures in Iran an unexpected delight.
German-American director Till Schauder follows the young man who called his host country "eye-RANN" into unknown territory, the southeastern city of Shiraz. The film lacks the polish of higher budget sports docs, yet it captures beguiling details that couldn't be farther from St. Croix in the Virgin Islands, Sheppard's home. And it conveys Iran's brief 2009 electoral optimism, when candidates criticised the Iranian government openly, only to lose in a disputed vote, as police bludgeoned protesters in the streets.
In a parallel course, Schauder tracks Kevin inspiring the proverbial team that couldn't shoot straight, taking them to a shot at the country's championship. A seven-foot Serbian teammate adds comedy to the cartoonish ensemble. The seductive groove of Iranian rap music during game sequences (Shahin Najafi, Jaduguaran, ZedBazi) stresses the pull of US hip-hop culture on Iranian youth.
Love and politics take Schauder's film beyond the obvious. The plot transcends a predictable fish-out-of-water travelogue when Kevin (with a girlfriend at home) meets glamorous Elaheh, who dreams of being an actress, with a more achievable (yet discreet) ambition of marrying a foreign basketball player.
His immersion in Iranian society deepens as he meets her family (bewildered by his table manners) and hears her and her friends' frustrations as women in a theocracy. "We don't have any fun to do here," he's told. (Malapropisms ensure that Kevin isn't the only one whom the audience laughs at.) Elaheh also makes the doc watchable, with an ideal face for close-ups and dark playful eyes that enliven reaction shots that any director would envy. You're still wondering, when their scarves are off, why she and her friends wear their hair in Sarah Palin uplifts.
As Kevin and the doc stumble into Iranian politics, The Iran Job jolts from bumpy hand-held team conversations on the street or on the bus to television clips of Iranian officials trumpeting campaign rhetoric in the 2009 elections.
Politics careens into basketball's realm (the team locks hands and shout "Praise Ali" before players hit the court) as decrees from on high prohibit and then permit women to attend the games – a vein of gender politics explored more deeply by Jafar Panahi in his football feature Offside.
The Iran Job skirts some basic questions, like why basketball, imported from imperialist nations, has flourished in the Islamic state. Spooning out basic information, presumably for a US audience that gets its news about Iran in soundbite denunciations, Schauder (filming on a German passport) convinces you that Sheppard fared better refining his sport in Iran with a losing team than his friends did broadening freedom of expression.
Production companies: Fork Films, Partner Pictures, Post Republic
US Distributor: Paladin
International sales: Partner Pictures, http://partnerpictures.com/
Producers: Sara Nodjoumi, Till Schauder
Executive producer: Abigail Disney
Co-producers: Michael Reuter, Rebekka Garrido
Associate Producers: Karen Santiago, Josh Levin, Julien Segui, Chris Valentien
Cinematography: Till Schauder
Editor: David Teague
Music: Kareem Roustom


text:
Gordon Weir, M.D.
Research Summary
Dr. Weir's research is focused on pancreatic islets, which contain insulin-secreting beta cells. The main research goal of Dr. Weir and his colleagues is to find ways to preserve and replenish the insulin-producing pancreatic beta cells that are deficient in both types 1 and 2 diabetes.
Regenerative potential of human pancreas
A major goal is to understand the regenerative capacity of human pancreas for making new beta cells. Human islets are obtained and transplanted into immuno-deficient mice, which allows us the opportunity to study the capacity of beta cells for replication, and also the capacity of transplanted duct cells for neogenesis, which is the creation of new islets. In addition, we can use gene expression studies to compare beta cells in the pancreas with beta cells that have been transplanted. This can provide important insights into the mechanisms of beta cell replication and beta cell death pathways.
Formation of new islets from duct cells in rodents
This work is complemented by studies in rodents to learn more about the regenerative capacity of duct cells in the pancreas. This work is being done in collaboration with Drs. Susan Bonner-Weir. Work is ongoing on pancreatic duct ligation in rats, which is an injury model, to see whether this stimulates the formulation of mew islets. This work has been helped by the sophisticated technique of laser capture microdissection, which allows us to look at gene expression on small collections of tissue, in particular the beta cells within the islet. Another approach to understanding neogenesis is to examine the potential of isolated pancreatic duct cells that are placed into tissue culture. We are pursuing a particularly promising approach of a three-dimensional culture system using a collagen gel. This allows branching morphogenesis to produce newly developed ducts, and there are indications that the formation of new islet tissue can be promoted.
Reprogramming pancreatic exocrine cells
This project is concerned with reprogramming of pancreatic exocrine cells. This follows up on an important paper in Nature in 2008 by Drs. Qiao Zhou and Douglas Melton of Harvard in which pancreases were injected with three transcription factors, PDX-1, Ngn3 and MafA. It was found that the exocrine cells could be reprogrammed to become insulin-producing cells. We are now collaborating with Dr. Zhou and using some of our animal models to test the potential of this exciting new avenue.
Beta cell replication
Beta cell replication is another appealing approach for obtaining more beta cells to replenish those that are missing in diabetes. To learn more about replication we have collaborated with the group of Dr. Melton at Harvard with a high-throughput screening approach to identify new molecules that can stimulate beta cell replication. This project was done with isolated rat islets; the islets are then dispersed into single cells, placed into multi-well plates, and treated with unknown compounds. Following the treatment, the cells are stained for evidence of replication. It is gratifying that several new compounds have already been identified.
Islet encapsulation
For the past 20 years Dr. Weir has been interested in encapsulation to protect transplanted islets from being killed by the immune system. There is a Juvenile Diabetes Research Foundation funded project in which Drs. Robert Langer and Dan Anderson of MIT are developing new biomaterials and approaches to the challenge of bringing encapsulated islets to the clinic. Dr. Weir is working mainly on the biological aspects of this problem to determine the efficacy of these new materials in a variety of diabetic animal models. The plan is to determine the best materials with rodent studies and then move to monkeys with the obvious goal of bringing this to human trials as soon as possible.
Clinical trial with new-onset type 1 diabetes
Dr. Weir led a multi-center clinical trial supported by the Immune Tolerance Network of NIH to determine if alpha-1 antitrypsin can slow the destruction of beta cells is individuals with new-onset type 1 diabetes. This follows up on encouraging results in a mouse model of type 1 diabetes (NOD mice) in which diabetes could be reversed with this treatment. The work has produced information about safety and pharmacokinetics.
Dr. Gordon Weir is the Diabetes Research and Wellness Foundation Chair at Joslin and Professor of Medicine at Harvard Medical School. He Co-Heads Joslin's Section on Islet Cell and Regenerative Biology. Dr. Weir completed his medical degree at Harvard Medical School and his residency training at University Hospital in Cleveland, OH. Training in endocrinology was obtained at Massachusetts General Hospital. Before coming to Joslin, Dr. Weir was Professor of Medicine at the Medical College of Virginia.
When he first came to Joslin, he served as the Center's Medical Director for 9 years, in addition to conducting a broad research program. Dr. Weir is the recipient of numerous honors and serves and has served on the editorial boards of several prestigious journals, including the American Journal of Physiology, Journal of Clinical Endocrinology and Metabolism, Endocrinology and Transplantation. He served as Editor-in-Chief of the journal Diabetes. He also served Head of the Diabetes Program of the Harvard Stem Cell Institute. He currently serves as chairman of the JDRF Encapsulation Consortium.
Page last updated: September 19, 2019


text:
Study Claims Old People Select Stronger Passwords Than Teens
from the maybe-they-just-follow-instructions-better? deptWe've all seen tons of reports on how bad people are at choosing secure passwords, but it's not too surprising to find out that different demographic segments are better or worse than others at having secure passwords. Though, it may be a bit surprising to find out that a new study suggests that those over 55 pick passwords that are twice as secure as teenagers:
This was based on research on the hashed versions of 70 million Yahoo users, in which a Cambridge research tried to determine the strength of all of the passwords, and see how different groups did. Some of the other findings:
People with a credit card stored on their account do little to increase their security other than avoiding very weak passwords such as "123456". Unsurprisingly, people who change their password from time to time tend to select the strongest ones.In terms of more specifics:
Password strength is measured in bits, where cracking one bit is equivalent to the chance of correctly calling a fair coin toss, and each additional bit doubles the password's strength. On average, Bonneau found that user-chosen passwords offer less than 10 bits of security against online attacks, meaning it would only take around 1000 attempts to try every possible password, and around 20 bits of security against offline attacks.Of course, this reminds me (like so much does) of an xkcd comic on how we've all been trained into selecting weak passwords that are hard to remember, on the false belief that they're strong.
That's surprising, because even a randomly chosen six-character password composed of digits and upper and lower case letters should offer 32 bits of security. Bonneau says the discrepancy is due to people picking much easier passwords than those theoretically allowed. He suggests assigning people randomly chosen nine-digit numbers instead, which would offer 30 bits of security against every type of attack – a 1000-fold increase in security on average. "I think it's reasonable to expect people to have the capacity to remember that, because they do it for phone numbers," he says.
Filed Under: cambridge, passwords, security, teenagers, xkcd


text:
Lucerne Plus Protein Dairy Beverage Pumps the Protein and Cuts the Sugar of Regular Milk
Safeway Inc. has introduced private-label Lucerne Plus Protein Dairy Beverage. This line of protein-enhanced dairy drinks comes in three varieties, all of which contain more protein and less sugar than traditional milk.
The Reduced-Fat Chocolate variety contains 40 percent more protein and 45 percent less sugar than reduced-fat chocolate milk. The two white varieties - fat free and reduced fat - both contain 30 percent less sugar than their regular milk counterparts, with the fat-free variety also having 30 percent more protein, while the reduced-fat variety has 60 percent more protein.
All three varieties are based on nonfat milk, which has been filtered to concentrate the protein and remove the sugar. The result is a nutritious dairy beverage that is satisfying by the glass as well as poured over cereal. It can also be used in baking, for making smoothies and in any recipe that calls for milk.


text:
This Fireball Die-Cut Sticker is Precision cut for a killer look on a car, skateboard, or anything you want to look sick.
Front and back printed. Red Fireball logo is the sticker. Pack of three.
Stoked wants you stoked. We offer hassle-free returns within 30 days on brand new, resellable, and unused products without restocking fees.
In most cases, return shipping will be your responsibility. We can offer affordable return labels upon request.
Returns that are used or opened are subject to a restocking fee. Used, open box, and mystery products are all final sale.
USA Shipping
Shipping is free on orders over $25. Free shipping carriers will be determined by our warehouse, usually FedEx or USPS.
International Shipping
We will ship anywhere in the world.
To get a shipping rate for your country, add the items you wish to order to your cart and proceed to the "My Cart" page. Put in your address and select the shipping option that best applies to your needs.
Note that custom fees are not included in the price paid on our website. If your country applies these fees to your order, you will be responsible for them. Check with your local post office for more details.
Please also note that we will also beat any other competitor pricing. Simply link us to the page and we can generate a coupon code for you.


text:
We accept all major credit and debit cards including Visa, Mastercard, American Express, Discover, Jcb and Diners club.
We do support PayPal and PayPal Express checkout.
All submitted orders will be charged at the time of checkout for the full amount including shipping costs and taxes. If you encounter any problems during payment or checkout, please contact us here.
Electric Only Series
Electric Only Series is dedicated exclusively to electric motor r/c airplanes and multi rotors. Features wide, thin under-cambered blades for optimum lift, flight duration and power draw. Tractor and pusher props available for twin engine airplanes. Made of Glass Fiber Reinforced Composite.
|Propeller diameter
|10" / 254mm
|Propeller pitch
|7" / 178mm
|Hub thickness
|7/16" / 11.1mm
|Shaft diameter
|1/4" / 6.35mm **
|Propeller Weight
|0.57oz / 16.2g
|Direction of rotation
|Normal / Tractor
|Glass Fiber R Composite
* prepared for versatile shaft diameters. For more information check the shaft diameter guide here


text:
Sarah Goodyear
Sarah Goodyear is a Brooklyn-based contributing writer to CityLab. She's written about cities for a variety of publications, including Grist and Streetsblog.
The number of homeless students in the United States has hit a record high, according to new data from the Department of Education.
The raw numbers are shocking: in the 2011 school year, 1,168,354 homeless children were enrolled in preschools and K-12 programs. Even more disturbing is the trend those numbers show: nationally, they represent a 10 percent jump over the previous school year, and a stunning 72 percent increase since the beginning of the recession in 2008.
The crisis is not confined to any one region. Forty-three states reported a rise in the number of homeless kids, and 10 showed jumps of more than 20 percent, according to a compilation of the DOE data assembled by the National Center for Homeless Education [PDF]. The biggest jumps were found in Maine (58 percent), Michigan (42 percent), North Carolina (53 percent), North Dakota (212 percent), South Dakota (35 percent), Vermont (31 percent), and Wyoming (40 percent).
In terms of raw numbers, California, New York, Texas, and Florida were hardest hit.
The spike in homelessness among American schoolchildren is an unsurprising result of the prolonged effects of the economic downturn. In communities around the country, huge numbers of families are being pushed into homelessness by foreclosure, which has affected some 8 million children [PDF], along with the combination of spiraling rents and stagnating wages.
The majority of these kids, some 71 percent, are living in "doubled-up" housing situations, a status defined under DOE rules as "sharing the housing of other persons due to loss of housing, economic hardship, or a similar reason."
"One of the toughest things about this issue is that many of these families are invisible," says Cara Baldari, the senior policy director and legal counsel for First Focus, a bipartisan advocacy organization for families and children. And different agencies define homelessness differently. HUD, for example, has regulations that make it difficult for families who are living doubled up to access HUD funded-services. Yet, Baldari says, the stresses on doubled-up kids and families are severe. Efforts to bring DOE and HUD policy into line have been stalled in Congress for the past year.
Another 15 percent of homeless schoolkids are in shelters. Six percent are in hotels and motels, and 4 percent are "unsheltered."
If you want to know what kind of a life an "unsheltered" child lives, look no further than the grim story published yesterday in the San Jose Mercury News about a Santa Clara County bus known as "Hotel 22." Traveling from Palo Alto to San Jose through the heart of hyper-affluent Silicon Valley, the 22 is the only county bus that runs 24 hours. That makes it a place of refuge for people who have no other option than to pay the fare -- $2 a ride or $70 for a monthly pass – and sleep under the fluorescent lights as the bus bumps along.
There are plenty of passengers. According to the article, more than 19,000 residents of the county are projected to be homeless at some point this year, and 27 percent of homeless people surveyed in Santa Clara County, where housing prices are soaring, had been turned away from emergency shelter in the previous 30 days.
While most of the people living "life on the 22" are adults, the Mercury News also encountered a father and his 10-year-old daughter, who had been making this their home for five months. "We don't have a place to stay," the man told the reporter, adding that they are on a waiting list for family shelter. "From early evening to morning, we're on the bus." While the transit authority makes no attempt to discourage homeless passengers, everyone has to get off after the 22 completes a one-way two-hour run, then re-board a bus making the return trip.
The homeless 10-year-old, her father said, is doing remarkably well under the circumstances: "She's managing, much better than I ever expected. I have no idea how she's doing it. This is one of her best years so far in school."
This girl may be holding her own, but research shows that children who are homeless, including those who are doubled up, are at higher risk for a variety of problems. They are sick four times as often as kids who are not homeless, twice as likely to be hungry, and suffer from emotional and behavioral problems at three times the rate of other children.
Ed Walz, vice president of First Focus, says that the stresses on families produced by the housing crisis have other potentially disturbing outcomes as well. He cites a study released last year by the Children's Hospital of Pennsylvania Policy Lab that showed an association between the increase in delinquent mortgages and hospital admissions for suspected child abuse.
The story of the girl on the Santa Clara bus, says Baldari, says a lot about the importance of federal regulations requiring school districts to make accommodations for homeless kids – allowing them to stay in their schools, providing special transportation arrangements if necessary. "Stable education is obviously so important, and school might be one stable place for these kids," she says.
In some communities, getting school districts to deliver on their federal obligation to accommodate homeless students has been a problem, leading to class-action lawsuits in cities like Baltimore.
Baldari says the new numbers on homeless kids prove how many families in the U.S. continue to struggle for basic necessities. There's a real need, she says, for coordinated action on affordable housing, as well as continuing to fund programs like Medicaid, the Children's Health Insurance Program, and SNAP (the Supplemental Nutrition Assistance Program, aka food stamps).
"While the headlines say the recession is over, it's still having a really strong and significant effect for these families," says Baldari. "We're really alarmed by this."
From ancient Rome to modern Atlanta, the shape of cities has been defined by the technologies that allow commuters to get to work in about 30 minutes.
White families quickly recuperated financial losses after the Civil War, and then created a Jim Crow credit system to bring more white families into money.
Designed by an acclaimed architect for a famous televangelist, a unique church in Southern California has been transformed.
A group of architects proposed a new design to help raise environmentally responsible kids.
With a large share of affordable housing and restrained architecture, the six-acre project seeks to fit into—rather than shake up—New York's Lower East Side.


text:
As Egypt's political crisis degenerated into violent clashes between pro-democracy protesters and those supportive of President Hosni Mubarak, the United States Wednesday did little more than reiterate its calls for a speedy transition to democracy.
The Obama administration has already taken sides, expressing support for the "legitimate needs and grievances expressed by the Egyptian people," as Secretary of State Hillary Clinton puts it. It's promised – read "threatened" – a review of the $1.5 billion the US provides Egypt every year in foreign aid, most of that for military and other security programs. And President Obama has called for an "orderly transition" to a post-Mubarak government that "must begin now."
But the Egyptian president – whose one-man rule has lasted nearly 30 years – is digging in his heels, refusing to relinquish power until next September's elections there.
In a tough statement, the Egyptian Foreign Ministry said foreign calls for a democratic transition to begin now were "rejected and aimed to incite the internal situation in Egypt."
"This appears to be a clear rebuff to the Obama administration and to the international community's efforts to try to help manage a peaceful transition from Mubarak to a new, democratic Egypt," Robert Danin, a former senior US official now at the Council on Foreign Relations, told the Reuters news agency.
While the administration is "planning for a full range of scenarios," as White House spokesman Robert Gibbs put it Wednesday, it has yet to reveal what those plans might be other than to reiterate what Obama said after speaking with Mubarak Tuesday night.
"Events have moved enormously quickly in a very volatile region of the world," Gibbs said. "That simply demands that we continue to watch and continue to ensure that we are taking the steps to communicate directly with all of the entities of their government about what we expect in terms of nonviolence, what the world expects in terms of nonviolence, and the steps that need to take place in order to see that transition."
While Gibbs refused to be pinned down on any degree to which the administration may be ratcheting up the pressure on Mubarak to leave sooner rather than later, again and again he emphasized the importance of change "now" – pointing out that since Obama used that word Tuesday night, "now means yesterday."
In Cairo, it's clear that officials are feeling the heat from Washington – and complaining about it.
An Egyptian official told the New York Times that his government has "a serious issue with how the White House is spinning this."
"There is a contradiction between calling on the transition to begin now, and the calls which President Mubarak himself has made for an orderly transition," the official said Wednesday. "Mubarak's primary responsibility is to ensure an orderly and peaceful transfer of power. We can't do that if we have a vacuum of power."
While Republicans as well as Democrats started out generally supportive of the Obama administration's stance on Egypt, senior lawmakers of both parties now are pushing their rhetoric even farther.
On Tuesday, before Mubarak had said he would not run for reelection, Senator John Kerry (D) of Massachusetts, who chairs the Foreign Relations Committee, wrote in a New York Times op-ed: "Egyptians have moved beyond his regime, and the best way to avoid unrest turning into upheaval is for President Mubarak to take himself and his family out of the equation.''
And in a statement Wednesday, Senator John McCain (R) of Arizona said, "The rapidly deteriorating situation in Egypt leads me to the conclusion that President Mubarak needs to step down and relinquish power."
"It is clear that the only institution in Egypt that can restore order is the army, but I fear that for it to do so on behalf of a government led by or involving President Mubarak would only escalate the violence and compromise the army's legitimacy," McCain said. "I urge President Mubarak to transfer power to a caretaker administration that includes members of Egypt's military, government, civil society, and pro-democracy opposition, which can lead the country to free, fair, and internationally credible elections this year as part of a real transition to democracy."
Regarding Wednesday's street violence in Cairo and other Egyptian cities, administration officials could only say the White House "deplores and condemns the violence" while repeating its "strong call for restraint,"
"The administration's rhetoric has come a long way in the last week. They are seeing the realities of the situation," Michele Dunn, an Egypt expert at the Carnegie Endowment for International Peace and an informal White House adviser, told the Wall Street Journal. "But as typical with this administration, they are trying to be subtle, nuanced, soft spoken. That has its virtues, but it's not getting across to hundreds of thousands of demonstrators."


text:
How do you make a slave? How do you take a human being who's natural state is one of freedom and liberty and force him into submission?
There are two ways to make a slave. One is with whips and chains. Chains to prevent him from fleeing, and the whip to force him to do your will. That is an easy one to enforce, but you will never whip out the desire for freedom in one who has had a taste of liberty.
The other, more damaging way to make a slave is with ignorance and dependence. Unlike most creatures on earth, human infants are born with no instinctive knowledge of how to survive. That is why human children take so long to mature. They need the time to learn all the things they have to know to function in our world. In all things, he must be carefully taught. ("Train up a child in the way he should go; even when he is old he will not depart from it." Proverbs 22:6)
Therefore, if you want to create a slave, take a young child and carefully teach him to be totally dependent on the slave master for all things. And carefully shield him from the kind of thorough education that will teach him to think for himself, or assume responsibility for his own welfare. Once he is totally dependent on some force outside himself for his food, shelter, clothing and health he will be fiercely loyal to that source. Because to be otherwise would place his entire life system at risk.
Suppose you were taught from infancy to depend on government for your well-being and someone came along and told you that to maintain your well-being you had to vote for a specific candidate, or go to a certain street and hold up a sign that you might not even understand, or that you must say repeatedly a slogan exactly as they taught you, you would feel that you have no choice but to do as you were told. You would be a slave to the government.
Millions of Americans are slaves to government today. These slaves come in all colors, from all regions of the nation, and are of all sexual inclinations. They have very poor language skills, limited mathematical skills and undeveloped logic capacities. Even if they went to school, they were never motivated by their families and peers to learn the things they need to be self sufficient.
And sadly, they are also deficient in parenting skills, so their children are left in the same trap and will also become slaves to government.
The more we turn our lives over to government, the less ability we have to be free and independent citizens. A large percentage of our citizens are slaves today, and if the trend continues, we will become a nation of slaves. And once that happens, the characteristics that made us a great nation will be quickly eliminated and slavery will be the norm. Time is short and we must act now to save our liberty.
But if we are unwilling to do the things that are necessary, then perhaps we do not deserve to be a free people. I hope I am wrong but I am not very optimistic.
Frank Gillispie is founder of The Madison County Journal. His e-mail address is email@example.com. His website can be accessed at http://frankgillispie.tripod.com/
OPINION: Millions of Americans are slaves to government today
No Trackbacks
Display comments as (Linear | Threaded)
The author does not allow comments to this entry


text:
Divine Boundaries
Wojciech Magierski | www.magierski.pl
Pixelism is a blog dedicated purely to the sharing of digital art. Its aim is to take the perspiration out of inspiration by showcasing the very best digital art from around the web. What is digital art? Digital Art can be defined as any art that is made with the help of a computer - be that digital painting, illustration, 3D modelling, montage, collage, vector, or photo-manipulation - with the outcomes being everything from the abstract to the surreal.
"We are entering the Age of Integration! ...The digital artist is the vehicle to that kind of cultural change. We are the first generation of this new breed and we will most surely be remembered...for we bring a quake of expression and technique that makes the art world very uncomfortable and that is as it should be."
—Gene Hirsch
Have you found some sexy digital art you want to share or are you an artist who has just created a new piece and want to show it off? We can't guarantee it will be posted and if it is posted…when, but if it's good it will go up.
Email us at the address below with your submission and any information you feel is relevant to accompany the image. You can also get in contact with us via Facebook or Twitter.


text:
94 N. Main Street, Jasper, GA - (706) 253-2457
We know you have at least one, a Facebook friend who drowns the Newsfeed with their incessant, hate-filled posts about religion, politics, or whichever issue they have stuck in their craw.
You know the kind: "God, can you please answer my prayers and rid the world of all the idiots I'm forced to deal with?" [Actual status update].
If you are one of these fomenting commenters, we would like to tell you your endless comments and weird photos about "Obummer," "ignorant Christians," anti-gays, pro-choicers, or anyone who isn't just like you get old. We also think you are doing yourself a huge disservice in the real world.
Hatebookers need to think hard about the impact negative posts have on their social lives. People read their unpleasant status updates, make judgments, and then make decisions about interacting with these same people in person. The following are two recent examples from our staff's experience.
One of our employees is "friends" with a person who makes several status updates daily about how much he hates President Obama and really just about anything that smells of a Democrat or liberal. One example: "10 out of 10 idiots support Obama." One day our employee saw this same person in a grocery store but opted not to say hello. He pretended not to see his "friend" and walked the other way. Why? The employee wasn't offended by this person's politics but by the sheer volume (quantity and shrillness) of their one-track recording on things political, at least as spouted on Facebook.
Chances are the public encounter between these friends would have been filled with trite little pleasantries, but why risk it?
Another staff member was reacquainted with her best friend from elementary school on Facebook but has been hesitant to set up a meeting, because of this person's outlandish, extreme animal rights posts, i.e., "I love animals, it's people I hate." If they met up for dinner, would our employee's chicken tacos reap a hearty side serving of the stink eye, or worse yet, a lecture?
Interestingly enough, people who make these type posts are usually cordial and even friendly when you talk to them in person. So, what is it about social media forums that can turn these same folks into raging jerks?
Studies out of the University of Waterloo have shown that people who continually make negative posts on line may actually have self-esteem issues. One researcher said social media forums seem safer, so people with lower self-esteem feel more comfortable sharing their emotions in these forums than they do in face-to-face social interaction.
The study examined posts from people who said they have low-self esteem, and found the majority of those posts were negative. The study also showed that not only did the negative posts not succeed in making the person who penned them feel better about him or herself, but their friends found them less likable because of what they had posted.
"We found that although people with low self-esteem considered Facebook an appealing venue for self-disclosure, the low positivity and high negativity of their disclosures elicited undesirable responses from other people," ––stated in the abstract of the study, published in Psychological Science.
We don't think the average Facebook user wants to spend their time ranting about serious issues. So, Hatebookers, you aren't doing yourself any good, and it's not doing the rest of us any good, for you to keep heaping coals onto the world's aggregate anger. For the next week, why not make only positive posts (or at least cut your stream of negativity in half) just to see how your mood changes and how responses from your friends may change.
Much like negative attitudes, positive attitudes are contagious. And we'll take positive over negative any day.


text:
Chris Webber isn't just one of the NBA's best-dressed announcers—he's also one of its most insightful.
Tapping into a 15-season NBA career rich with hard-fought grudge matches (see Kings v Lakers for the Western Conference, 2002), Webber translates his experience on the frontlines as an elite power forward into court-side commentary that elucidates the pressures, mindsets and motivations of players and coaches like none other.
Check out Webber's style highlights from the 2012 post-season, and don't miss the video below—it's the kind of unflinching advice that could only come from a man who's been there himself.
— — —
[Above]: Act Natural. It takes more than a three-piece suit to stifle Webber's animated personality—a good reminder to have yours tailored trim, but still comfortable enough to move around in.
Shop Blue Suits: Regular | Big & Tall
White Shirts: Regular | Big & Tall
Monochromatic Ties: Regular | Extra Long
Sweat the Small Stuff. Usually the rule is to vary the scale, but here he nails a difficult small-on-small pattern combination. The secret is varying the kind of pattern: like dots on checks. The solid-grey suit helps calm down the intricate shirt and tie.
Shop Checked Shirts: Regular | Big & Tall
Patterned Ties: Regular | Extra Long
Grey Suits: Regular | Big & Tall
Old-School Flair. Brown can risk looking vintage, but this modern blend of cool earth tones easily stands out amongst the crowd of navy blue.
Shop Brown Suits & Sportcoats: Regular | Big & Tall
Brown Dress Shirts: Regular | Big & Tall
Brown Ties: Regular | Extra Long
Go Big or Go Home. A signature part of Webber's look is a masculine, '70s-inspired lapel. You don't have to be 6-foot-10 to pull it off—just confident. (Here he boldly goes stripe on stripe, on stripe. Vary the scale between all three and you're good.)
Shop Striped Suits: Regular | Big & Tall
Striped Shirts: Regular | Big & Tall
Striped Ties: Regular | Extra Long
Real Talk. Webber's comprehensive knowledge of Machiavellian hoops tactics, delivered in his signature zen-like, philosophical syntax (although he gets a bit revved up here) is a rare commodity in a field that often defaults to the stereotypical "boring guys yelling." Above, his brutal but honest words of wisdom for last year's faltering Miami Heat.
[Video stills courtesy of ABC, ESPN, TNT. Individuals pictured do not endorse Nordstrom.]


text:
Hottest Tattooed For Hot Men & Women
What year did you start tattooing?
I started tattooing April 2001.
How did you get into tattooing?
My buddy felt that I had the potential to be a tattoo artist so he kept badgering me to start tattooing. I was so reluctant to give in to tattooing since I didn't even know where to start. So I did like any other scratcher would do back then and ordered a set of Kaplan machines off the back of a tattoo magazine and went at it. I was nervous as hell and never expected to reach the level of tattooing that I am at today.
What was your first shop experience like?
My first shop experience was seriously scary as hell. My first shop was The Ink House in Ventura, CA. Big Bob had hired me. I asked him what I was to do when I showed up for my first day of work. He said, "Set up your station and start tattooing." I was confused and nervous as hell. I didn't know anybody that worked there and wasn't introduced to any of the other artists. I didn't even know what station I was going to work at. So I arrived for my first day at the shop, set up in the first station that looked available, and grabbed the first walk-in. I tattooed this angel on some dude who eventually tapped out on me and I never finished. I was way out of my league. Big Bob later that day told me that he was glad I manned up and took the job.
Do you have any special training?
I really have no special training as far as art goes. I do have military training that has helped guide me through all this time. Motivation, discipline, honor, courage, and commitment have helped me achieve this level of tattooing.
How do you describe your style?
I guess I am in the realism category but I'm still not quite happy with how realistic my tattoos appear. Compared to the photo reference, it's still missing something. I will always try to get it as close to real as I can but sometimes real is a bit boring. I don't mind applying my artistic license to my tattoos. Every now and then I will dabble around with some new school tattooing.
What sets you apart from other artists?
I think the biggest thing that sets me apart from other artists is my subject matter. I love nature and really enjoy tattooing nature-related things. My attention to detail is also what separates me. I try my hardest to put every ounce of detail and texture into my tattoos. I think that the references that I choose to use are also different. I try my hardest to find the perfect reference every time. My criteria for choosing a reference are rather strict. My color palette is also very different. I always try to apply my artistic licensing to all my work.
You served your country for just under nine years. How has that helped you get where you are today?
I think my time in the service has helped me take my life seriously and give me the strength to overcome all the obstacles in my life. Tattooing is easy compared to some of the things I had encountered in the Navy. As stated previously, motivation, discipline, honor, courage, and commitment. It also taught me attention to detail.
What other media do you work in?
Prior to tattooing I liked to do graffiti art. As of late I'm trying to do more oil painting. Painting allows me much more flexibility. I have much more freedom with painting than I could ever have with tattooing.
What tattoo artists do you admire most?
Guy Aitchison, Tom Renshaw, Paul Booth, Filip Leu, Shige, Nikko Hurtado, Frank La Natra, Rich Pineda, Mike DeVries, Ty McEwen, Dmitriy Samohin, Boris, Domantas Parvainis, Timmy B., Emily Rose Murray, John Anderton, James Tex, James Kern, Cory Kruger, Paul Acker, Fernie Andrade, Chente Rios, Andrés Acosta, Paul Dobleman, Myke Chambers, Matt Jordan, Dongkyu Lee, Nicklas Westin, Tanane Whitfield, Dave Tevenal, and many more.
Category: Mehndi & Tattoo


text:
Bracelet Size Guide: Most accurate if you can measure wrist directly. When measuring the wrist please add 1in or 2-3cm to the wrist measurement to allow for the beads.
General Size Guide - Children/Extra Small Adult:
Children Age 2-4 = 6in - 15cm
Children Age 5-8 = 6.3in - 16cm
Children Age 9-13 = 6.7in - 17cm
General Size Guide - Adult
Extra Small = 6.7in - 17cm
Small = 7in - 18cm
Small-Medium = 7.5in - 19cm
Medium = 7.9in - 20cm
Medium-Large = 8.3in - 21cm
Large = 8.7in - 22cm
Extra Large = 9in - 23cm
We use Simple Global as our designated delivery and warehouse provider in the USA. We are happy to ship worldwide to any country. Our packages are typically around 6 oz.
Deliveries within the USA usually take around 1-3 working days, The rest of the world takes 5-12 days. Delivery times are estimates only and can differ, especially during peak times such as Christmas.
USA Free Standard 2-4 day working days with delivery confirmation
USA Priority 2-3 day with delivery confirmation
ROW 5-12 day service
Please get in touch with us by any of the following methods;
Telephone: +44 1226726080
Liberty Charms Ltd C/O
620 Centerpoint Blvd.
New Castle, DE 19720
A beautifully polished stainless steel Gemini Symbol Charm.
The Gemini symbol is that of a pair of twins. This is because this zodiac sign rarely likes to do anything alone. People born under this sign are never happier than when they are sharing ideas with someone else.
This charm makes a lovely addition to a bracelet for girls and ladies with a birthday between the dates of 21st May and 20th June. It is compatible with all of our bracelets as well as most other makes of charm bracelets.
Dimensions: Approx. 11mm x 11mm. Hole size 5mm.
Gift wrapped in tissue paper with sticker.


text:
Wednesday, July 23, 2008
On the Street….French Casual, Milan
CommentsClose comment
45 comments
so trendy, j'adore ce style!!!
I'm not loving the matchy denim and the double sleeve roll, but I do love the scarf, such a nice accessory.
I would not turn my head if I saw this young gentleman on some other fashionblog or in real life. But on Sart I turn to the finer details. Rimbaud never goes out of style and on this casual frenchman it all comes together.
I love his hair. And his scarf!
Love how he wears the cloths! love everything besides the handkerchief(?) he has around his neck…
never understand why men does that and how it become a trend..
LOVE this! his patched shirt, the hair, neckerchief and the pushed up sleeves of the unstructured jacket. i love the background colour too – it makes the whole ensemble really pop. Beautiful photo, Sart.
This is a portrait – one can imagine – of a 17 th century aristocratic son/daughter in the darkness of a mannor's attic corridor somewhere in the country.
Great portrait Sart
It's those rolled sleeves again! Love the intense colours in this shot.
Excellent, a man who appreciates the details.
(But he can wear just about any look I suspect.)
He looks so French (meaning, in my head, elegant and undone all at once)
Everything about this photograph is wonderful.
I think you shot this guy before last fall (or early spring). He wore a similar color palate and had longer hair and looked a bit androgenous then.
I like his style a lot. Very elegant and effortless.
His hair is great, and I like the outfit though the shirt is a bit much. The biggest thing I noticed, actually, isn't clothing related: his arms are terribly skinny. Check out those veins, yikes.
Wow, this time Hannes Hetta looks 10.000 times better than the last time I saw him on here.
I reccon it was in may when he wore this weird vampire coat ;))
His hair is shorter, that does a lot for him.
And cigarette + beer + rolled silken scarf + jeans… simply adorable!!!!
This is perfection.
The purple in the neck tie is a nice flash of color with the traditional blue and beige.
a male jane birkin!
i love this.
The lighting of the picture is spectacular. The soft construction jacket is nice but too large for him (shoulder seams vs. his shoulders). The shirt is torn in a couple of spots- my rule is when you wear something worn or torn (jeans), then the rest of your outfit should be crisp or very basic; and I dont think that is the case here. Pushed-up sleeves have already been discussed enough on this blog, IMO. Nice looking guy- model? Jorge from W Palm Beach
oh, the (fake?) penny-less artist… almost a classic! ;)
This looks doesn't get me, it lacks spontaneity… too constructed, as in a catwalk.
This guy is unbelievably stylish. I loved him in the last shot you took, Sart, and I love his look now as well. His hair is also completely awesome. Despite the fact I'm a girl, he totally my style inspiration.
hannes hetta!
very Peter Bogdanovich.
The subdued green really makes the blue shirt underneath stand out. Almost reminds me of grunge (minus all the plaid flannel).
What a beautiful picture! And what a gorgeous guy! In a way very daring, this outfit; the rolled up sleeves, the scarf; not macho at all. But him holding a sigaret and a beerbottle makes up for the softness. Nice haircut too. This guy knows how to dress without making it too obvious.
Thanks Jrn
Pieces are good, presentation off , for my tastes
Best worn by a little-heard-of painter residing in a cheap loft, furnished with a three-legged table (a stack of books substituting for one leg) and a broken mattress on the floor, who bought all these garments in a second-hand shop
If he's really a stock broker and bought everything new… bah!
He reminds me of Evan Dando of the Lemonheads.
love the rolled "tie"!!! the rolled up sleeves definitely make him look casual. if he tucked in the denim shirt loosely in the front, that would look pretty chill also.
He, the lighting and the background. such an impressive shoot.
fabulous colors. so great. and the double sleeve roll – love it.
Good stuff. Shirt sleeves showing below jacket sleeves. A very good trend indeed. Works with jackets and cardigans and really everything.
His patchwork style is also quite exciting to look at. Not for everyone, but clearly very suited to him.
Romance in Paris, youth so innocently decadent and sweet. This photo is art if anything. And that´s what style at its best is about. Bravo!
PS What is he carrying in his left hand?
Just a note- I rocked the same hair when I was a high high school girl circa 1985. I had moved from L.A. to Staten Island NY, the epicenter of the big hair pandemic. I might as well have been from Mars…but he looks very cute in a nonthreatening 11 year old girl crush kinda way. Not loving the neckerchief…a bit farmerish paired with the denim.
Oh god, he's so adorkable. Can he be my boyfriend? Check yes or no.
Very cute, very Stefano "Pilati-ish". That deconstructed cotton jacket and denim shirt are both YSL!
everything looks so… refined on him. it must have cost a lot of money to look this 'rough'
this is the most beautiful clothes i´ve seen
He's holding the best fashion accessory men have at their disposal: a bottle of beer!
If i saw his picture printed on the back of a novel about a hard year on the road, i would judge that book by its cover and buy it right away.
hands, hair, eyes.
Oh, and the pearl bracelet and ring on the right hand. Love it even more. Really, the hair and scarf are amazing, but just a snapshot of the bottom left corner of this image is brilliant.
Even good enough to make me forget about the ball-rolled cuffs.
Such a cool dude! But I recognize him.. isn't he a swede from Uppsala?
he looks like a couch
from jords
one of my favs…He is very beautiful and the scarf gives him a soft but masculine look…wonderful!
This photo really stood out to me. I think its his attitude that won me over.
Love the distopian casual chic. Or is it ironic retro farmboy? Do I care? Je ne t'adore.


text:
Spotify Hits a High Note: Valuation Tops $4 Billion
Music Service Raises $250 Million as It Expands World-Wide
Spotify AB has secured about $250 million in new financing that values the music-streaming company somewhere "north" of $4 billion, according to multiple people familiar with the deal.
The round of funding, led by Silicon Valley firm Technology Crossover Ventures, will help fuel Spotify's global expansion plans. While already established in many Western markets, including the U.S., Spotify is aiming to launch its service in more countries, including Japan....


text:
Michael Ray Daniels, 61, Wabash, died at 1:54 a.m., Monday, Nov. 18, at Summit City Nursing and Rehab in Fort Wayne. He was born April 4, 1952 in Van Lear, Ky. to Helen (Webb) Wilcox.
Mike married Barbara J. "Barb" Campbell in Wabash, on Nov. 11, 1972. He worked at Aleris in Wabash 43 years. He was a member of the Wabash Chapel Church of God. Mike enjoyed his dog, Peanut.
He is survived by his wife, Barbara J. "Barb" Daniels, Wabash, mother and step father, Helen and Clifton Wilcox, West Van Lear, Ky., four children, Robin (Frank Gressley) Daniels, Wabash, Cory Daniels, Cleveland, Texas, Carrie (Herman) Staton, Laketon, and Kimberly (Shane) Burns, Wabash, 12 grandchildren, 11 great grandchildren, and his sister, Joyce (Dan) Hamm, Memphis, Ind.
Funeral services will be at 10:30 a.m. Friday, Nov. 22, at Grandstaff-Hentgen Funeral Service, 1241 Manchester Avenue, Wabash, with Rev. Ralph Johnson and Mary Moore officiating. Burial will be in Memorial Lawns Cemetery, Wabash. Friends may call 4-8 p.m. Thursday, at the funeral home.
Preferred memorial is Wabash County Cancer Society.
The memorial guest book for Michael may be signed at www.grandstaff-hentgen.com.


text:
Crispy Smashed PotatoesA potato is a pretty amazing little side dish. There must literally be thousands of ways to serve them from mashed to casseroles and every way in-between. There are even a variety of ways to simply bake them, such as cut into chunks and open roasted, or sliced and roasted covered, both different from the other and each different from a plain potato, baked naked, directly on the oven rack. Each method provides a different texture.
Same with these double-cooked, crispy, smashed potatoes, originating as Crash Hot Potatoes from Australian food writer, Jill Dupleix a few years back, but perhaps more readily recognized as being brought to fame by superstar Pioneer Woman blogger, Ree Drummond.
Smaller red or tiny new potatoes are best for this crispy side dish and are first boiled to cook them through and make them creamy. The potatoes are gently smashed down flat, and returned to the oven so that all of the bends and edges crisp up. I loved the way the Dupleix said to "blast them in a hot oven until they are terminally crisp," because indeed you don't want to take them out until they are well browned and crispy - that's the key that makes this side dish unique.
To start with you need some cooked potatoes. You really want a smaller potato for this recipe so look for the tiny new potatoes or slightly larger red potatoes. You could probably bake these, or microwave them, but I chose to boil them. Bring a large pot of water to boil and add salt; boil whole, unpeeled potatoes until fork tender. Set aside to drain. Preheat oven to 450 degrees F. Apply oil to a jelly roll pan, and roll the potatoes in the oil, coating all sides. Cut slashes lightly into the top of the potato.
Using a potato masher slowly and carefully press down on the potatoes to flatten them; trying not to break the potatoes apart. Sorry, I forgot to get a picture of that step. Sprinkle the potatoes with salt, pepper and fresh rosemary. Cut some cold butter into very thin slices - one slice for each potato that you have.
Stuff a slice of the butter into each smashed potato and then drizzle the tops with additional olive oil, or drizzle with melted bacon fat for added flavor. Bake at 450 degrees F for 20 to 25 minutes, or until potato becomes very crisp and browned on top. You can stop right here and serve these as a very delicious side dish alongside a grilled steak or chicken, or really, just about any protein.
I wanted to sort of take a cue on Loaded Potato Skins and go a bit further than that though, so I finished them with a sprinkling of green onion, and a pinch of cooked and crumbled bacon and shredded cheese.
Return the tray to the oven just long enough for cheese to melt. Serve two or more of the smaller new potatoes, depending on their size, or one red potato per person as a side dish.
Recipe: Crispy Smashed Potatoes©From the Kitchen of Deep South Dish
Prep time: 15 min
Cook time: 25 minTotal time: 40 minYield: About 4 to 6 servings
- 6 small red potatoes or 12 tiny new potatoes
- 2 tablespoons+ of extra virgin olive oil
- Kosher salt and freshly cracked black pepper
- 1 tablespoon of chopped fresh rosemary
- Thin slices of cold butter, one for each potato
- 1 green onion, sliced thin
- 3 slices of bacon, cooked crisp and crumbled
- 1/4 cup of shredded cheese
Bring a large pot of water to boil and add a couple pinches of salt; boil whole, unpeeled potatoes until fork tender, about 10 to 15 minutes, depending on size. Set aside to drain. Preheat oven to 450 degrees. Apply oil to a jelly roll pan, and roll the potatoes in the oil, coating all sides. Cut slashes lightly into the top of the potato. Using a potato masher slowly and carefully press down on the potatoes to flatten them; try not to break them apart. Sprinkle potatoes with salt, pepper and rosemary. Stuff each potato with a thin slice of butter and drizzle all over the top with olive oil.
Bake at 450 for 20 to 25 minutes, or until potato becomes very crisp and browned on top. Remove, top with green onion, crumbled bacon and a pinch of shredded cheese; return to the oven just long enough for cheese to melt.
Cook's Notes: Get creative topping these - sauteed mushrooms or peppers, pan seared andouille sausage, caramelized onion, a dab of chili, broccoli cheese sauce, a spoonful of pulled pork or chicken, or taco toppings - any favorite baked potato topping works! Fried potatoes can be kept warm in a sheet pan in a 200 degree F oven up to 30 minutes. Sprinkle with green onion, cooked and crumbled bacon and cheese, if desired, before serving. Instead of olive oil, drizzle the tops of the potatoes with the fat from the bacon drippings for extra flavor.
Greek Smashed Potatoes: Prepare as above in first step. Mix 2 tablespoons olive oil, 1 teaspoon lemon juice, 1/2 teaspoon dried oregano, 1/2 teaspoon and 1/4 teaspoon freshly cracked black pepper and brush mixture on both sides of potatoes for next step.
Skillet Fried Smashed Potatoes: Can also pan fry or deep fry potatoes for the second step. Heat oil in a 12-inch heavy skillet over medium-high heat until it shimmers. Carefully transfer the smashed potatoes with a spatula to skillet, then lower heat to medium-low and cook, turning once, until golden brown, about 20 minutes total. To deep fry, use enough oil to fully cover the potatoes and fry until browned and crisped.
Smashed Sweet Potatoes: Choose smaller and longer sweet potatoes, cooking whole using your favorite method allowing to cool slightly. Cut into thick slices, approximately 1-1/2 to 2 inches thick, leaving skin intact. Gently smash and finish as above, checking at 15 minutes.
Source: http://deepsouthdish.com
Requires Adobe Reader - download it free!
©Deep South Dish
☛ Are you on Facebook? If you haven't already, come and join the party! We have a lot of fun & there's always room for one more at the table.


text:
You can buy almost anything from a vending machine in Japan. So it's no surprise to find a machine fashioned after the old UFO catcher crane-and-claw-based arcade games vending live lobsters in Sapporo. 100 yen (less than a buck) is a bargain price for a potentially tasty dinner — not to mention the hearty guffaws to be had watching children (and Alec Baldwin) scream in horror.
Sponsored Links


text:
Recipes for a Chinese New Year Celebration
If you're wondering what the inscription on the photo is, it says "Chúc Mừng Năm Mới" or Happy New Year in Vietnamese. This year, since the Asian New Year follows the Lunar calendar, we have 2 celebrations at the same time: Valentine's Day and Tết (the Vietnamese New Year). We're going to be celebrating a romantic Lunar New Year of the Tiger !
I've started decorating the house with things that symbolize the New Year. I went to San Jose and bought Vietnamese flowers called bông vạn thọ, which literally translates to "longevity flowers". As usual, every year, I'm on a quest to find the best bánh tét. It's a must to have traditional food for Vietnamese Lunar New Year. I went to several different stores on Tully road (San Jose, California) and I'll give you the results this weekend of the best places I've found. Some of you might not know what a bánh tét is; it's a ake roll made from sticky glutinous rice and red beans with a center of mung bean paste with or without meat. The flavors vary; there could also be bananas in place of the lentils and meat.
If you are observing the tradition of eating vegetarian foods (ăn chay) on the last day of the previous year and first day of New Year, check out my tofu recipes.
For more details about Chinese New Year celebrations, check out last year's post.
Bánh Tét (Sticky rice roll cakes wrapped in banana leaves).


text:
Wolfgang Stechow (1896-1974)
Wolfgang (Ferdinand Ernst Günther) Stechow taught art history at Oberlin for twenty-three years. He was born in Kiel, Germany on June 5, 1896 to Waldemar and Berta Deutschmann Stechow. Waldemar Stechow was a State Attorney in Prussia and a musician; Berta Deutschmann Stechow was also a musician. Wolfgang Stechow's early education was in the humanistic gymnasium in Göttingen, where he studied Latin, Greek, French, English, and mathematics. He spent his spare time in the study of music, accompanying his mother and playing in various chamber groups.
His university career, begun at Frieburg but interrupted by World War I, resumed at Göttingen, where he received his Ph.D. in 1921 in the history of Northern Renaissance and Baroque art. In 1921-22, Stechow was a Voluntary Assistant at the Kaiser Fredrich Museum in Berlin. He was an assistant to Dr. C. Hofstede de Groot in Hague, Holland (1922-23) and to the Institute of Art History at the University of Göttingen (1923). He began teaching at Göttingen as a "Privatdozent" in 1926, rising by 1931 to the rank of Professor Extraordinarius. During his tenure at Göttingen, Stechow was a member of the German Institute of Art History in Florence, Italy, 1927-28, and a guest professor at the Biblical Hertziana in Rome, 1931. Disagreeing with Nazi rule of Germany, Stechow moved overseas and accepted a position as an Acting Assistant Professor at the University of Wisconsin (1936); he was promoted to Associate Professor at Wisconsin the following year. He became a United States citizen in 1942.
Stechow was appointed Professor of Fine Arts at Oberlin in 1940 and retired in 1963, but retained the title of Emeritus Professor until his death. In 1945 he was named the Adelia A. Field Johnston Professor of Fine Arts. He returned to Oberlin College in 1972 as Distinguished Visiting Professor, and, in 1973, became an Honorary Curator of the Allen Art Museum. There, with a 1973 grant from the National Endowment for the Arts, he directed the publication of the first complete catalog of the Allen Art Museum's collection of European and American painting and sculpture. He also compiled the Museum's catalog of European and American drawings and served as editor of the Museum's Bulletin.
After his retirement, he was appointed Visiting Professor at University of Michigan, 1963-64, Robert Sterling Clark Professor of Art at Williams College, 1966-67, William Allan Neilson Chair of Research at Smith College, 1969, Mary Conover Mellon Professor at Vassar College, 1969-70, and Visiting Professor at Yale University, 1971-72. During 1964-66, Stechow served as Advisory Curator on European Art to the Cleveland Museum of Art. He was also appointed the Kress Professor in Residence at the National Gallery of Art in Washington, D.C. Stechow taught summer sessions at Harvard, New York University, and Middlebury College.
He received an honorary L.H.D. degree from the University of Michigan in 1964. Stechow received an honorary Doctor of Fine Arts degree from Oberlin in 1967, and from Baldwin-Wallace College in 1973. Two days before his death in 1974, Stechow learned he was the recipient of the 1975 Award of Art Dealers Association of America for excellence in art history.
He held research grants from the Institute for Advanced Study at Princeton, the American Philosophical Society, and Oberlin College. He was the director and vice president of the College Art Association of America, trustee of the American Society for Aesthetics, a member of the National Committee on the History of Art and of the advisory councils of the Renaissance Society of America and the Germanic languages at Princeton. He was a member of the Fulbright Selection Committee and the Archeological Institute of America.
Stechow's list of publications is lengthy. His most notable publications include Dutch Landscape Painting of the Seventeenth Century (1966), Northern Renaissance Art, 1400-1600: Sources and Documents (1967), Rubens and the Classical Tradition (1968) from the Martin Classical Series Lectures, and Pieter Brueghel (1971).
In 1975, the Allen Memorial Art Museum honored Stechow by naming a print study room in the newly remodeled section of the Museum after him.
Stechow married Ursula Hoff (February 15, 1911-January 16, 2008) of Hanover, Germany, a 1942 graduate of Oberlin College, on December 16, 1932. Ursula and Wolfgang met at the University of Göttingen, where Ursula was a student, studying medicine. Wolfgang conducted the orchestra in which Ursula performed. A lifelong music connoisseur, Ursula played the violin and later was a sponsor of the arts in Oberlin.
Ursula Stechow spoke several languages and taught French at Langston Middle School in Oberlin. She was known throughout the community for her dedication and involvement with the arts. She was often called "the bird lady of Oberlin," a reflection of her compassion for animals.
The couple had three children, Hans Axel Stechow, enrolled at Oberlin College from 1945-53, Barbara Stechow Harris '60, and Nicola Stechow Memmott '68.
Wolfgang Stechow died at Princeton Hospital in Princeton, New Jersey, apparently of a heart attack, on October 12, 1974.
Faculty File of Wolfgang Stechow, Alumni Records (RG 28/4), and the papers of Wolfgang Stechow (RG 30/238), OCA.


text:
- Home
- News
- Sports
- Opinion
- Obituaries
- Features
- Special Sections
- Classifieds
- Public Notices
Buckner Elementary teacher Mary Ann Kent said her Christmas wish for her kindergarten and first-graders is for the students to love learning throughout their lifetimes.
She's pretty sure all of her students are listed on Santa's nice list.
"My students are very cooperative and considerate," she said.
Dear Santa,
I bin good. I did fed the dogs and mad the bed. I unlodid the dishwater
(dishwasher). Thank you for the gift last yer. Thank you for the gitr
(guitar) last yer , and for the telescope last yer, too. I wunt a angry bid
(bird) set, plees . I am leven you milk and cookees!
Ben Goggans
Dear Santa,
T f(Thank) u fr the polc (police hs (house) u gav me. I pla wt(with) it a
lt (lot). Cod (Could) I ples hav a big bat cav fr Crsms? It wd (would) be
fn (fun) to play wt. I alws wntd (always wanted) 1. I hav bn (been) a good
booy. I hlp mi mom fs (fix) supr and mi dad lts me pt (put) the angl on r
tre. I wl pt ot (put out) cokes and a kp (cup) of milk fr u.
Caden Bowman
Dear Santa Clause,
Thank you for the Hello Kitty art stuff you gave me last year but I would
like to get a white Furreal Friend walking, meowing kitty. I would want one
because I like the name Bella. I like the color white. I would like to play
with it a lot, and I should get it because I obay my mom. I also want it
because I like kitty.
Merry Chrismas!
Lucy Diamond
Dear Santa
Thank you for all the presents you gave me. I want a toy kitten that
walks please. This is a good toy because I love kittens. I should get it
because I have been good by help cleaning the house. I want it because I can
put it in my toy stroller and pretend me and the kitten are traveling. I
should get it because I haven't been getting in trouble. I've been
good. I put my stuff animals on my shelf. I want a toy kitten that
walks please. I will leave out chocolate chip cookies for you.
Amaya Lopez
Dear Santa,
Thank you for the presents that you gave last year. Thank you for the DSI.
Can you please get me a My Little Pony? A pinky pie one. I am gana try
to give your reindeer something. I should get it because I do chors (chores)
like cleaning my room. Hao are your randeer? Merry Christmas!
Ashley Button
Dear Santa,
How have the reindeer been?
Please can I have a hot wheel car? I want it to be red.
When it's in water it
changes colors. I
have been good this year. I've been nice to my sister and my
stepbrothers. I didn't fight with them. Please can I have a surprise
present too?
Merry Cristmas!
Brady Guest
Dear Santa,
Than u for the tos (toys) u gav me . I wnt (want) a blu DSI. I wl (will)
pla Maro (Mario) and gamz on it. It wil be fn(fun). I hlp (help) mi mom
mak cookes. I wil lev u cookes and mlk.
Caleb Kershner
Dear Santa
Thank you for the zhu-zhu pets that you gave me last year. I am
playing with them. Can I please have an ipad? I can play fun games on it. I
can listen to my favorite music. It will be fun. I should get it because I
cleaned the toy room and I got some money. How are you and your reindeer? I
will put some chocolate chip cookies because I know they are your favorite. I
will also put some milk in the Santa cup. I wish I could be your elf. I miss
you. My favorite reindeer is Rudolph. I like Rudolph because of is red nose
and because he leads the slay.
Chloe Park
Dear Santa,
Thank you for the scotr (scooter) u gav me lst (last) yer. Please may I have
a pnk (pink) and wit (white) Hello Kitty freg (fridge)? I wll play wth it
and pt (put) food in it and it machs (matches) my room. Iv (I've) ben a
good grl. I do mi homwrk and help mi mom. I wl lev sm (some) kooks
(cookies) and milk.
Claire Ziegler
Dear Santa,
How are your Reindeer and you? I hope there good. Thanks for the presents
last year but I want to bild new stuff so can I please have a Lego set that
is spac? I will share . I will be fair. I will be nice. I should get it
because I do chors for my mom and I'm good all the days. What cookes do
you like so I can make them? So can I please have the Lego spase set?
Have a good Christmas!
David Calixtro
Dear Santa,
How are you and the Reindeer? I hope there good. I have been good this year
because I want a black spy watch! If I get it I will leave you a coin and a
apple and chocolate milk! I will invite my friend`s over to help me spy on
people because I want to see what there doing! I am doing my chores to be
good. I bring the garbage out. Merry Christmas!!!!!!!
Ian Patrick Hobbs
Dear Santa
I love my gum ball machine .Thank you for the candy last year. Please can I
have a Barbie car? I should get it because I do chores like feeding the
dogs, and letting the dogs out and clean my room and set the table. On
Christmas eve I will give you cookies and milk and carrots for your
reindeer. I want it because Barbies can ride in it. I wish you a Merry
Christmas and a happy new year!
Isabelle Woodruff
Dear Santa
Thank you for the note you gave me. I want a computer that is pink and
little. I fed my dog and I've been doing my home work. I like computers
because it makes me smarter. I will leave carrots for your reindeers and
leave milk and cookies. I will use it for resrech (research). I want it
because I will use it for learning. Please.
Isidora Perez
Dear Santa,
Thank you for all the toys last year. This year I want a Real Fraind.
This Christmas Eve I will have an awesome time whith that toy. My Real
Fraind and me will be good frainds. Can you drop it off at Colirado. It
will be a merry Christmas. How are your reindeer? Are they doing well?
Well, I am. I promis to lay out cookies and milk. What are your
favorite cand of cookies? I bet they are chocolate chip! I will bake them
on the 21 day before the 24 day before Christmas Eve. My favorite are
Merry Christmas!
Jon Clements
Dear Santa
Thank you for the presents last year!
I want for Christmas is a big umbrella so I have my own umbrella and I can
play with my friends and at school. I will share with my brothers and my
sister. I've been good this year. Please Santa I will make your farite
cookes! I lisin to my mom and I lisin to my teer (teacher)!
I wish you a mare Christmas!
Kora Birchmeier
D ear Santa,
How are your rander? I hope they are doing good thank for the presents last
yer. I wut gitar (guitar) becuz my old one broke and it does not sound good.
Thank you for the doll last yer and all the presns you gave me. I rile like
it. I play with it alot. I have bin good. I fed the dogs and I lod the
diswashr. I will give you cookes and carrots. Please may I have a gift?
We wish you a merry Christmas!
Meredith McFarland
Dear Santa,
I fed my dog. I hap(help) my fes (friends). Ho ar you and reindeer? Thank
you for the presis (presents) last yer. And I hop you like the cue fatser.
Wut do the reindeer et(eat)? We mad socings (stockings). I hop you ar not
sic. Ples can I hav a pink psa (Princess) scsee? I wil gif you cooeks
Thank you, Santa and Merry Christmas!
Nadia Martinez
Dear Santa
Can I please have a easy bake oven? Please, Santa, please? I help my mom
do the dishes. How are your reindeer doing and how are you doing? I'm
leaving milk and cookies for you and I will lef ceriks (carrots) for your
reindeer. I hop you have a merry Christmas, Santa.
Taylor Beaty
Dear Santa,
Thank you fr the hot wel rac crs (Hot Wheels race cars) yu got me las crsms
(Christmas). Please ma I hav a spi aut (spy outfit) and a spi rng and a spi
wch (watch)? I can wr (wear) it wn (when) I am bg (big). The wch wl tl
(tell) me the tim (time), and the rng hs a picr (picture) of a lazr on it to
see. I hav ben a good boe (boy) for six mns (months). I hlp mi mom and
I wl lev u otmel koocs (cookies)and chlt mlc (chocolate milk).
Theo Flowers
Dear Santa,
Thank you for the presis theis yer. I playd with the tos (toys) you gav me.
Aw (How) is your rander? How are you? I am goeing to lev com (some) ots
(oats) for the rander. I hav been good this year. I shrd (shared) my Legos
with my sistr and help my mom and dad. I wantd a spy woch (watch). I can
tel (tell) time with it.
Luv ,
Walker Gilbert
Add new comment
Read and share your thoughts on this story