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Table of Contents
Body mass index (BMI), also called the Quetelet Index, is a calculation used to determine an individual's amount of body fat.
The BMI gives healthcare professionals a consistent way of assessing their patients' weight and an objective way of discussing it with them. It is also useful in suggesting the degree to which the patient may be at risk for obesity-related diseases.
BMI is a statistical calculation intended as an assessment tool. It can be applied to groups of people to determine trends or it can be applied to individuals. When applied to individuals, it is only one of several assessments used to determine health risks related to being underweight, overweight, or obese.
The history of BMI
The formula used to calculate BMI was developed more than one hundred years ago by Belgian mathematician and scientist Lambert Adolphe Quetelet (1796-1874). Quetelet, who called his calculation the Quetelet Index of Obesity, was one of the first statisticians to apply the concept of a regular bell-shaped statistical distribution to physical and behavioral features of humans. He believed that by careful measurement and statistical analysis, the general characteristics of populations could be mathematically determined. Mathematically describing the traits of a population led him to the concept of the hypothetical "average man" against which other individuals could be measured. In his quest to describe the weight to height relationship in the average man, he developed the formula for calculating the body mass index.
Calculating BMI requires two measurements: weight and height. To calculate BMI using metric units, weight in kilograms (kg) is divided by the height squared measured in meters (m). To calculate BMI in imperial units, weight in pounds (lb) is divided by height squared in inches (in) and then multiplied by 703. This calculation produces a number that is the individual's BMI This number, when compared to the statistical distribution of BMIs for adults ages 20–29, indicates whether the individual is underweight, average weight, overweight, or obese. The 20–29 age group was chosen as the standard because it represents fully developed adults at the point in their lives when they statistically have the least amount of body fat. The formula for calculating the BMI of children is the same as for adults, but the resulting number is interpreted differently.
Although the formula for calculating BMI was developed in the mid-1800s, it was not commonly used in the United States before the mid-1980s. Until then, fatness or thinness was determined by tables that set an ideal weight or weight range for each height. Heights were measured in one-inch intervals, and the ideal weight range was calculated separately for men and women. The information used to develop these ideal weight-for-height tables came from several decades of data compiled by life insurance companies. These tables determined the probability of death as it related to height and weight and were used by the companies to set life insurance rates. The data excluded anyone with a chronic disease or anyone who, for whatever health reason, could not obtain life insurance.
Interest in using the BMI in the United States increased in the early 1980s when researchers became concerned that Americans were rapidly becoming
Interpreting BMI calculations for adults
All adults age 20 and older are evaluated on the same BMI scale as follows:
- BMI below 18.5: Underweight
- BMI 18.5-24.9: Normal weight
- BMI 25.0-29.9: Overweight
- BMI 30 and above: Obese
Some researchers consider a BMI of 17 or below an indication of serious, health-threatening malnourishment. In developed countries, a BMI this low in the absence of disease is often an indication anorexia nervosa At the other end of the scale, a BMI of 40 or greater indicates morbid obesity that carries a very high risk of developing obesity-related diseases such as stroke, heart attack, and type 2 diabetes.
Interpreting BMI calculations for children and teens
The formula for calculating the BMI of children ages 2-20 is the same as the formula used in calculating adult BMIs, but the results are interpreted differently. Interpretation of BMI for children takes into consideration that the amount of body fat changes as children grow and that the amount of body fat is different in boys and girls of the same age and weight.
Instead of assigning a child to a specific weight category based on their BMI, a child's BMI is compared to other children of the same age and sex. Children are then assigned a percentile based on their BMI The percentile provides a comparison between their weight and that of other children the same age and gender. For example, if a girl is in the 75th percentile for her age group, 75 of every 100 children who are her age weigh less than she does and 25 of every 100 weigh more than she does. The weight categories for children are:
- Below the 5th percentile: Underweight
- 5th percentile to less than the 85th percentile: Healthy weight
- 85th percentile to less than the 95th percentile: At risk of overweight
- 95th percentile and above: Overweight
Application of BMI information
The BMI was originally designed to observe groups of people. It is still used to spot trends, such as increasing weight in a particular age group over time. It is also a valuable tool for comparing body mass among different ethnic or cultural groups, and can indicate to what degree populations are undernourished or overnourished.
When applied to individuals, the BMI is not a diagnostic tool. Although there is an established link between BMI and the prevalence of certain diseases such as type 2 diabetes, some cancers, and cardiovascular disease, BMI alone is not intended to predict the likelihood of an individual developing these diseases. The National Heart, Lung, and Blood Institute recommends that the following measures be used to assess the impact of weight on health:
- Waist circumference (an alternate measure of body fat)
- Low HDL or "good" cholesterol
- High blood glucose (sugar)
- High triglycerides
- Family history of cardiovascular disease
- Low physical activity level
- Cigarette smoking
BMI is very accurate when defining characteristics of populations, but less accurate when applied to individuals. However, because it is inexpensive and easy to determine BMI is widely used. Calculating BMI requires a scale, a measuring rod, and the ability to do simple arithmetic or use a calculator. Potential limitations of BMI when applied to individuals are:
- BMI does not distinguish between fat and muscle. BMI tends to overestimate the degree of "fatness" among elite athletes in sports such as football, weightlifting, and bodybuilding. Since muscle weighs more than fat, many athletes who develop heavily muscled bodies are classified as overweight, even though they have a low percentage of body fat and are in top physical condition.
- BMI tends to underestimate the degree of fatness in the elderly as muscle and bone mass is lost and replaced by fat for the same reason it overestimates fatness in athletes.
- BMI makes no distinction between body types. People with large frames (big boned) are held to the same standards as people with small frames.
- BMI weight classes have absolute cut-offs, while in many cases health risks change gradually along with changing BMIs. A person with a BMI of 24.9 is classified as normal weight, while one with a BMI of 25.1 is overweight. In reality, their health risks may be quite similar.
- BMI does not take into consideration diseases or drugs that may cause significant water retention.
- BMI makes no distinction between genders, races, or ethnicities. Two people with the same BMI may have different health risks because of their gender or genetic heritage.
BMI is a comparative index and does not measure the amount of body fat directly. Other methods do give a direct measure of body fat, but these methods generally are expensive and require specialized equipment and training to be performed accurately. Among them are measurement of skin fold thickness, underwater (hydrostatic) weighing, bioelectrical impedance, and dual-energy x-ray absorptiometry (DXA). Combining BMI, waist circumference, family health history, and lifestyle analysis gives healthcare providers enough information to analyze health risks related to weight at minimal cost to the patient.
Parental concerns
Childhood obesity is an increasing concern. Research shows that overweight children are more likely to become obese adults than normal weight children. Excess weight in childhood is also linked to early development of type 2 diabetes, cardiovascular disease, and early onset of certain cancers. In addition, overweight or severely underweight children often pay a heavy social and emotional price as objects of scorn or teasing.
Both the American Academy of Pediatrics (AAP) and the United States Centers for Disease Control and Prevention (CDC) recommend that the BMI of children over age two be reviewed at regular intervals during pediatric visits. Parents of children whose BMI falls above the 85th percentile (at risk of being overweight and overweight categories) should seek information from their healthcare provider about health risks related to a high BMI and guidance on how to moderate their child's weight. Strenuous dieting is rarely advised for growing children, but healthcare providers can give guidance on improving the chid's diet, eliminating empty calories (such as those found in soda and candy) and increasing the child's activity level in order to burn more calories and improve fitness.
Tish Davidson, A.M.


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Think about this... when you feel discouraged.
"You are as much serving God in looking after your own children, and training them up in God's fear, and minding the house, and making your household a church for God, as you would be if you had been called to lead an army to battle for the Lord of hosts." - Charles Spurgeon
What else can be said...? nothing. Thanks Mr. Spurgeon for the encouragement.
I'm planning to enjoy every minute of it while I can.
Awana Rocks!
This year, as part of our homeschool, we registered the kids for Awana. First time ever and they love it...
It is quite amazing how much they learn and how much I am learning too! So we practice verses all week and on Thursday nights the kids have to tell them to their leader.
We have one T&T, one Sparky and one Cubbie who are having fun going to their meetings.
My T&T is so eager that sometimes he does too much - so he has been told to slow down... Slow down we did. He has an advantage on the other kids because he is homeschool which means we incorporate the Awana lessons in our days. Obviously the kids who goes to school during the day do not have as much time to spend on their book/projects to do. So to make it harder I asked him to also do the silver and gold sections. In a recent project, he has to do a poster on creation.
My Sparky has a blast. I find that it is more difficult for him to do memorization. He was having trouble with the New Testament books the last two week. Fortunately, his Sparks book came with a CD (which Jasmine had broken and we got a new one!) and I had bought the extra CD with songs as well. So we popped these in the CD player and listened to them. He was able to say them no problem after that.
My Cubbie is having fun. I'm glad he was able to adjust himself easily for this. I had a bit of fear but he is so happy of his vest and getting new patches for it. It is so cute.
While the kids are going to AWANA, hubby, Jasmine and I are having a date night. Mostly we do groceries... LOL but it has to be done. The funny part is that Jasmine doesn't want mommy to push the cart is has to be daddy - ALL the time. *grin* Daddy's girl through and through.
working...working... working..
For those who don't know, we collect comics. Mind you it has been years since we bought new ones and recently I've discovered that HULK was red at one point.
A few years ago, we bought about 186 boxes of comics for a really good price and sold some during a garage sale. Out of these we have about 35-40 boxes we kept to create two separate collections to sell eventually. The work we have right now is to bag the comics and price them (we are still waiting for the price guide to come in) and open our basement for potential buyers.
And let me tell you it is a BIG job. Alexandre is very helpful and the three of us can do a lot in one afternoon but we are still only three. We are almost done going through collection #2. Now my job is to try to place in alphabetical order the 10-15 boxes at one corner of the basement.
So we are having fun. The funniest thing is that right now it makes me want to read some comics. It has been a long time since I did that.
Something sweet just for me
Check out the cool chocolate my kids got during Halloween...! Isn't it cute?
The best part is that my kids gave them to me because the REALLY know I love this little creature and that I am known to be the Canadianladybug on the net. I do have sweet kids! I love them. LOTS!
This little ladybug comes in three flavors - caramel, a green paste and a pink paste. The pink paste one is the best I think - flavor is like cherries.
Blog Archive
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All lawns in the Wheeling area have a basic need for proper weed control and lawn fertilizing. Lederlandscape's lawn fertilization and weed control treatments are just suitable to fulfill all your lawn needs to make it lush green and weed free. Our organic lawn fertilizing program is spaced out evenly throughout the growing season.
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TCU faculty are committed to the teacher-scholar model. Our faculty members are passionate about teaching and are experts in their area of teaching specialty.
In addition to majoring in psychology, students also have the option of pursuing a major in child development or in neuroscience, and a minor in child development. We also offer Ph.D. and MS degrees in experimental psychology, and a MS degree in developmental trauma.
Our department emphasizes a scientific approach to psychology. All of our tenure-track faculty members maintain active research labs with both undergraduate and graduate research assistants. Our faculty is active in several research areas including: cognition, learning, developmental, social, physiological, and quantitative psychology. Please see the web pages of individual faculty members for more information about their research.
Our research labs are an important component of our teaching philosophy because students are able to actively apply principles they learn in the classroom and enrich their teaching skills with scientific principles learned through direct involvement in research. See our latest publications by clicking on the image.
Faculty members in our department also engage in advising and mentoring activities. We have an open-door policy that welcomes students to ask questions ranging from choosing classes to preparing for graduate school and inquiring about scientific issues in psychology.
If you are a prospective student, a current undergraduate or graduate student, or alumni, this site will direct you to more information about our department and resources to help you in your academic quest. Welcome to the Department of Psychology!
TCU's Experimental Psychology Newsletter


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Imagine living in a world where you are constantly bombarded with messages that you don't understand, where you can't find the words to express yourself and where you continually feel a sense of loneliness and isolation. This is the reality that many children with an Autism Spectrum Disorder (ASD) face every day.
At Geneva Centre for Autism, our services build skills in children so they can realize their potential. Working in partnership with the Ministry of Children and Youth Services and other community partners, we develop and deliver a wide range of innovative services that meet the unique needs of children on the Autism spectrum. These services are provided by a multi-disciplinary team that includes psychologists, speech language pathologists, occupational therapists and behavioural therapists.
The point of entry to access Geneva Centre for Autism's services is done by calling the Centre at 416 322 7877. Your call will be directed to the appropriate department.


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A city man was critically injured in an accident on June Street last night.
Police said the 35-year-old man was unconscious when firefighters arrived, and had to be extricated from his Ford Ranger pickup. He was taken to UMass Memorial Medical Center -- University Campus and is listed in critical condition with head trauma. Police did not identify him.
According to police, evidence at the scene suggested the Ford struck a parked Ford pickup on the shoulder of the northbound side, near 59 June St., around 8 p.m. The Ranger then traveled across the street into the southbound lane onto the sidewalk, striking a Volvo. After striking the Volvo, the Ranger then went back into the southbound lane and struck a tree.
Police said it appears speed was a contributing factor to the crash; they said they will fully inspect the truck and seek a warrant for the driver's medical records. No other injuries were reported, police said. June Street was closed after the crash between Hadwen Road and Nevada Street.


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It is appropriate that this essay appear on the Internet since Fashion Moda, according to its founder Stefan Eins, is not an art gallery but "a collection of science, invention, technology, art and fantasy".1 Eins was prescient since our experience of art on the Internet is just that--a meeting of science, technology, art, and fantasy. What Fashion Moda became, however, and the history it made, is a different story, one that more closely parallels contemporary developments in the downtown art world during the early 1980s. By telling the history of this Bronx-based art space where a group of young, white artists from downtown interacted with the community, using technologies not known 20 years ago we restore and further Fashion Moda's original philosophy and purpose.
Fashion Moda was one of several Bronx-based arts organizations that during the 1960s and 1970s acknowledged and embraced the artistic contribution of the new immigrants from the Caribbean, Latin America, and the American South who had replaced an early population of immigrants, mostly European, from Manhattan's Lower East Side. It was Fashion Moda in particular that celebrated the street life of its neighbors in exhibitions of graffiti art and performances of hip-hop music and break dancing. During the 1980s the message of these vernacular art forms was transmitted to Soho, the East Village, and internationally to exhibitions such as Documenta in Kassel, Germany. The influence of all three--graffiti, breaking dancing and rap music--on American culture today can hardly be overestimated.
While others have chronicled the spread of this influence, there is no history of that moment in time when art born of the streets was absorbed into the larger culture. This transition was effected, in part, by a group of artists associated with Fashion Moda. The documentary history which follows is neither conclusive nor complete since Fashion Moda's story does not reside in dusty archives but in the memories of its participants. Many of them have been contacted and those that who responded have contributed greatly to this project.
The Bronx
When Fashion Moda opened in 1979, the area called the South Bronx had become a world-wide symbol of urban blight. Many have attributed its decline to the construction of the Cross Bronx Expressway during the late 1940s and early 1950s when much of the housing of the area was condemned, virtually destroying a community striving to redefine itself during the Post-War building boom. The deterioration of the South Bronx is also tied to the construction of Co-op City in the northeastern part of the borough, a large-scale building complex which attracted many from the railroad flats or tenements which characterized the building stock from the turn of the century when the Bronx was first developed. Soon the community was beset by seemingly intractable social problems--drugs, poor schools, and a large welfare roll--and by the late 1960s and early 1970s this part of the Bronx came to symbolize all that was wrong with urban America. Both Presidents Jimmy Carter and Ronald Reagan made historic stops there calling for programs and financing to help the citizenry and halt urban decay. In contrast to the efforts of the politicians, which were deemed opportunistic, a number of Bronx citizens worked hard to commemorate and further the culture of the borough as it tried to renew itself.
When the Bronx Council on the Arts appeared on the scene in 1962, it was like the first crocus of spring after a harsh winter. Dedicated to nurturing the cultural development of the Bronx, it provided financial support to local artists and non-profit community arts organizations. In 1980 it established Longwood Art Gallery in an abandoned school building, P.S. 39, at 965 Longwood Avenue where today, in addition to a gallery, it maintains studio space for artists. Three artists in particular who have been associated with Longwood, Pepón Osorio, Tim Rollins, and Fred Wilson (who was director of Longwood from its opening in 1985 to 1992) have gone on to international careers.
Further evidence of cultural renewal was the creation of the Bronx Museum of the Arts in 1972. Located originally in the Bronx County building at 161st Street and the Grand Concourse, it moved in 1988 into its new facility a few blocks further north at E.165th and the Grand Concourse. Today its dedicated staff continues the celebration of the visual arts with professionally organized exhibits of artists from the community and beyond, and a popular arts education program for local school children.
Other signs of new cultural life were the public art projects which began to appear in the early 1980s. These efforts were documented in the Lehman College Art Gallery's recent exhibition "Public Art in the Bronx" in which nearly fifty new projects were documented for new public schools and colleges, libraries, parks, and subway stations.
In addition, and bringing us closer to the subject of this essay, was the presence of several artists from downtown who made the Bronx their home both literally and professionally. These include John Ahearn who, with Rigoberto Torres, spent a number of years commemorating his neighbors in distinctive painted plaster casts some of which now adorn building walls in the Banana Kelly area. Tim Rollins also joined forces with students from the Bronx and established KOS or Kids of Survival, a quasi art school called the Art and Knowledge Workshop that created collaborative projects that have been exhibited world wide. Finally, there is Stefan Eins, the founder of Fashion Moda which was, and still is in Eins' mind, a world-wide arts organization with a storefront location in the South Bronx.
Fashion Moda
In its Bronx manifestation, Fashion Moda was located during the late seventies and eighties at 2803 Third Avenue near 147th Street and the Hub, the South Bronx's shopping center. Never designed as a conventional community art gallery, it functioned more like a happening, those celebrated, anarchic events of the early 1960s when artists and audience alike participated in the creation of outrageous and unrehearsed performances. Similarly at Fashion Moda, with the synergy created by artists from downtown and from nearby hanging out together, ideas for exhibitions and events emerged spontaneously. Eins, as he says, was dedicated to creating an environment in which "'community people can display their art work in a gallery setting that is a dynamic living enterprise.'" He and other artists from Manhattan were motivated by a desire to create an art environment that was collaborative, collective, cooperative, and communal. As Eins saw it, the gallery was "'a means of communication beyond ideology.'" It connected "'the street...with the international art world. It open[ed] the door to everyone.'" Surprisingly, to those not familiar with the ways in which recent art movements function and flourish, and given Fashion Moda's location in the South Bronx of the late 1970s, its success within the larger New York and international art world was amazing and immediate. Its impact on the Bronx, however, is much harder to gauge.
In the beginning, however, before Fashion Moda became associated with graffiti, hip-hop and the punk culture of the East Village, its earliest exhibitions of holograms and of materials related to extraterrestrials more nearly reflected Eins' stated philosophy to fuse science, technology and fantasy. These were not, however, the exhibitions which attracted the Manhattan critics. Instead it was the participation of several young, downtown artists including Jenny Holzer, John Ahearn, Christy Rupp, David Wells, Justen Ladda, Charles Ahearn, Jane Dickson, and Rebecca Howland who brought it to prominence.
Six months after it opened, Holzer created for Fashion Moda's facade, one of her earliest public text pieces called Sentence Philosophy, part of her Truisms series. Accompanied by audio tapes, large color photostats were fastened to the windows with lists, in English and Spanish, of her now familiar aphorisms. Also in spring 1979, John Ahearn did face castings of local South Bronx residents as a form of outdoor performance art. While throughout the year there were on-going concerts and performances: some by Bronx-based rappers like the Wicked Wizards, others by musicians from downtown. That summer, having met and employed as co-directors Joe Lewis (who also served as national director from 1980-82) and William Scott, a local teen-ager, Fashion Moda presented several summer shows including photographs of jazz musicians by Ray Ross called "The Face of Jazz" and a David Wells piece called Inventions.
Eins, also an artist, as well as entrepreneur, was born in Austria. He emigrated to the United States in the late 1960s and settled in Soho near Chinatown at 3 Mercer Street. During the 1970s he lived in this storefront building and exhibited his own work and that of artist friends. Called the Mercer Street Store it was similar in function and informality to the artist-run galleries which had been a fixture of the downtown art world of New York since the 1950s.
The 1970s were also a time when non-commercial art galleries, which came to be called artists or alternative spaces, played an important role in the flowering of contemporary art in New York, particularly in lower Manhattan. The lead was taken in 1971 by the Committee for the Visual Arts, founded to serve the "non-traditional arts community of New York State". Composed of like-minded artists, critics, administrators, and academics, and aided in part by grants from the National Endowment for the Arts and the New York State Council on the Arts, the Committee established Artists Space a not-for-profit art gallery. Its first location was a floor above the Paula Cooper Gallery on the corner of Wooster and Houston Streets; later it occupied several sites in Tribeca. In a short time a number of other groups emerged, no two alike. The Kitchen Center for Video and Music, founded in 1971, moved to Soho in 1974 where, as its expanded title indicates, became a center for video, new music, dance, and performance art. Creative Time, established in 1973 worked with artists to find abandoned or under utilized spaces for the placement of sculpture and site-specific work. Their best known endeavors were the sponsorship of temporary sculpture installations called "Art on the Beach" which took place on the landfill of what is now Battery Park City. The Alternative Museum under the leadership of Geno Rodriguez has for 20 years worked successfully to create an important and supportive environment for minority and third-world artists. In addition, there were the artist-run galleries such as A.I.R., the first women's cooperative gallery, SOHO 20 and 55 Mercer. Of this group, however, and the one that may have been a precedent for Fashion Moda in terms of exhibiting policies, was the Institute for Art and Urban Resources or P.S. 1 in Long Island City.
Its inaugural show was titled "Rooms" and was the brain child of its director Alanna Heiss who invited a large contingent of artists to tour the space of an 100-year old abandoned public school building, pick a location and design a work for it. When it opened June 1976, it became one of the most important showcases for sculptors and artists working with installations and site-specific projects, a grand collaboration among the decade's leading new generation of artists: Robert Ryman, Howardena Pindell, Walter de Maria, Stephen Antonakos, Judy Rifka, Gordon Matta-Clark, Stefan Eins, Richard Artschwager, Scott Burton, Mary Miss, John Baldessari, Jennifer Bartlett, Judy Shea, Nam June Paik, Richard Serra, Bruce Nauman, Carl Andre, Charles Simonds, Vito Acconci, Michelle Stuart, and Joseph Kosuth.
By 1979, and indicative of the rapid generational turnover in the contemporary art world, a number of the artists involved with P.S. 1 had established large careers and had had their work included in such prestigious venues as the Whitney Biennial. Yet when a new crowd of younger artists arrived in town anxious to make their mark in the burgeoning downtown scene, more seemed to be at stake than generational discontent. The younger artists, in from RISD (Rhode Island School of Design) and moving slightly downtown from SVA (School of Visual Arts), were social activists who disdained the cool anonymity of conceptual art and minimalism, and no longer believed that art or art making was a disinterested, intellectualized process. They distrusted the established museums, galleries and even the newly formed alternative spaces. It was also tough to find a place to live and residential outposts were established in the East Village and the lower East Side. Here, particularly for those on the lower East Side, art and life merged as these artists joined together to form a coalition called Collaborative Projects, or Colab. Founded in March 1977, the organizers wanted "to create a socio-political aesthetic discourse in various communities and provide themselves as artists with facilities, services, information and finances to develop their projects."
Such were the ambitions which Stefan Eins brought to the South Bronx when he migrated there and founded Fashion Moda in an abandoned store formerly used by the Salvation Army. Not long after Colab, inspired by the Bronx-based gallery's commitment to interacting with local residents, undertook a broad range of exhibitions and performances that culminated in the notorious Real Estate Show. Out of frustration with the City's housing policies, along with a high sense of outrageousness, a group of lower East Side artists, some associated with Colab, took over an abandoned, city-owned building on Delancy Street. Here they put on the visually cacophonous and overtly political Real Estate Show in which art was made from or inspired by the detritus of the building and its surroundings.
Wishing to expand the audience for their protests, which varied from an adolescent desire to act out to the idealism of creating art for social change, two of the artist-members of Colab, Tom Otterness and John Ahearn, helped organize the artist-invite-artist exhibit in an abandoned tenement in Times Square at 41st Street and Seventh Avenue. As described by the writer Jeffrey Deitch the Times Square show was "a month-long party, business enterprise and loosely curated exhibition of art, film, fashion and exotica.... with a startling variety of paintings, peep shows, sculpture, statues, model rooms, bundled clothing and even a punching bag set up for practice". Covered extensively by the Village Voice, the Soho Weekly News, and the East Village Eye, the Times Square show rated feature-length articles in all the art press. Art on the margins had come to the center.
Earlier, Fashion Moda had attracted similar notice and the first critic to write at length on their efforts was Lucy Lippard who connected the desire to create the Real Estate show to the same impulse which spawned Fashion Moda. Writing in the short-lived Seven Days, she included a quote from the Real Estate's show manifesto noting that for both the Colab artists and for Eins it was important to bridge the "'gap between artists and working people by putting art on a boulevard level'". In the Bronx Lippard found that Fashion Moda was not defined "by art nor by do-goodism. Its success stems from a genuine mesh of its own interests and those of its audience, and it avoids 'cultural imperialism' by respecting itself as well as its audience". She also remarked that Ahearn's plaster casts had become "the most popular art ever shown at Fashion Moda."
It is through the person of Ahearn, in particular, that the fortunes of Fashion Moda and the artists of the Lower East Side begin to merge for the year before the Times Square show Ahearn created a sensation with his exhibition of painted plaster casts of local Bronx neighbors and turned the casting process into an outdoor performance. The exhibition of nearly 40 of these casts at Fashion Moda in Spring 1979 helped put the new gallery on the map. It didn't hurt when Walter Robinson, writing about the exhibition in Art in America, linked Ahearn's work to the work of Duane Hanson, John de Andrea, George Segal and Robert Graham.
That first year other artists from Colab exhibited at Fashion Moda including Christy Rupp who, in the fall of 1979, inaugurated her art education program "Animals Living in Cities" as part of her City Wildlife Projects. Part educational, part political and certainly iconoclastic, the presentation involved the combined effort of artists and scientists to introduce South Bronx school children to the city's wildlife--ants, spiders, roaches and rats.
In the spring the Ladies Auxiliary Wrestling Team performed and Charles Ahearn showed his film the Deadly Art of Survival. That summer, in addition to a performances by the Relentless Blues Band, Haim Steinbach exhibited a work called Changing Displays, and in the fall Jane Dickson created her City Maze.
Today, however, Fashion Moda is most often associated with graffiti art and its acceptance into the art world through such figures as John Fekner, Jean-Michel Basquiat, Jenny Holzer, and Keith Haring. Its first graffiti show was in the fall of 1980. Curated by Crash, a 19-year-old graffiti artist, invited eleven of his friends most of whom were black and Puerto Rican. One exception was Lady Pink, a woman, who would go on to collaborate a few years later with Jenny Holzer. The works, either spray canned directly on the walls or on canvas, ranged from blown-up tags to full narratives and included works by: MITCH, KEL, 139TH, DISCO 107.5, FUTURA, ALI, ZEPHYR, as well as CRASH and LADY PINK. It also included the work of John Fekner whose stenciled admonitions became famous following an 1979 visit of Ronald Reagan to the South Bronx. Earlier Fekner had written the phrases "Broken Promises" and "Decay" on exposed walls which provided the backdrop for a Reagan press conference. The exhibition's success was due in part to the encouragement of Eins and Lewis who had issued an on-going invitation to local graffiti or street artists to sign the walls of the back room at Fashion Moda. But credit must also be given to timing. Graffiti in the subways had been a divisive issue between liberals and New York politicians for a number of years since the early 1970s when tag writers began using new subway cars as moving billboards and Mayor John Lindsay declared war on graffiti. To many New York intellectuals, including Norman Mailer, Lindsay's anger and frustration seemed misplaced particularly since he had become the hero of residents of Bedford-Stuyvesant and the South Bronx when, during the riot-torn summer of 1968, he walked the streets of their neighborhoods effectively calming their fears. He had also made them promises one of them being new air conditioned subway cars: "'You see we had gone to such work, such ends, to get those new subway cars in. It meant so much to people here in the city to get a ride for instance in one of the new air-conditioned cars.... And you know, that was work. It's hard to get anything done here. You stretch budgets, and try to reason people into activities they don't necessarily want to take up on their own.... We were proud of those subway cars....And then...the kids started to deface them.'" Lindsay contended that the working class who rode the trains saw graffiti as vandalism, and visitors regarded it as sign of the deepening deterioration of the city. Yet artists such as Claes Oldenburg celebrated it: "'You're standing there in the station, everything is gray and gloomy and all of a sudden one of those graffiti trains slides in and brightens the place like a big bouquet from Latin America.'" Yet no one from that earlier period could have predicted the profound impact the graffiti culture, when combined with rap music and break dancing and the fashions they spawned, would have on American culture. While we are still too close in time to fairly evaluate its influence, its power is such that the magazine section of the Sunday The New York Times recently featured on its cover an article about Suge Knight the C.E.O. of Death Row Records, the leading producer of Gangsta Rap. For the author, Knight's real genius was being able to shape "street culture for consumption by the youth of America."
Ironically, Fashion Moda has not benefitted from its embrace of this burgeoning cultural phenomenon. Some of its more financially successful practioners--Holzer, Haring and Basquiat--were supportive of its enterprise but just as the home-grown graffiti writers had only fleeting fame with the commercialization of their art, so too was Fashion Moda's direct involvement short lived.
Early on, however, its celebration of graffiti as an art form and its on-going connection to the downtown art scene resulted in its being included in the New Museums "Events" exhibition which opened in December 1980. As described by one critic, Fashion Moda's 'event' was "more funky than slick, more naive that sophisticated, more littered than organized" but was indicative of its "democratic politics". What impressed the critics and viewers was the democratic sharing of space by the urban street artist and those with art school training and art world connections. Forty-eight artists participated. In addition to the graffiti artists Ali, Crash, Futura 1000, Lady Pink, Lee, Rammellzee Mic Controller, and Zephyr, more established artists also participated: John Ahearn, Robert Colescott, Keith Haring, Candace Hill-Montgomery, Philip Pearlstein, Judy Rifka, Christy Rupp, as well as Eins, Lewis and Scott. The critical attention it received was enthusiastic and supportive and with a museum catalogue, complete with footnotes, bibliography and exhibition schedule, Fashion Moda entered the nether world of the contemporary art world establishment.
In January 1981 Artforum included an article on Fashion Moda which included a descriptive history of the organization in English, Chinese, Spanish, and Russian as well as several posters designed by Stefan Eins, Christy Rupp, John Fekner, John Ahearn, and Walter Robinson. The following month a photograph of Scott, Lewis and Eins taken at Fashion Moda graced an article "The New Collectives--Reaching for a Wider Audience," in the New York Times Sunday Art and Leisure section. Fashion Moda was also becoming associated with New Wave Punk Art scene associated with the East Village. These developments were documented in a large, sprawling show curated by Diego Cortez for P.S. 1 in Long Island City titled "New York/New Wave". But it is was not well received and critics compared it unfavorablely to Fashion Moda. The raw energy and vitality of the art spawned by the urban ghetto was becoming sapped as it was embraced by the demimonde and fashion vultures of Manhattan. Peter Schjeldahl writing for the Village Voice noted that he had "anticipated something fervid, volcanic" but instead found "participatory narcissism."
Meanwhile in the Bronx, Eins and company continued to encourage and support the convergence of artists from downtown with the community of the South Bronx believing according to Thomas Lawson that "art should be as available to the poor and the disadvantaged as it is to the middle classes." During the summer 1981, Justen Ladda created a now-famous and arresting image titled The Thing next door in a deserted school building. Here in its rubble strewn auditorium, Ladda painted the seats over which strode a highly illusionistic cut-out of the comic-book inspired Spider Man. On the stage he created a trompe l'oeil pyramid of books, a reminder of both book burning and the community's loss of the school and its library.
By the end of the year, Fashion Moda's fame was such that its participants were invited to take part in Documenta 7 in Kassel, Germany. What Eins, Holzer and the other artists involved in organizing their exhibit did, was to create a store with the visual look of Fashion Moda. Here they sold prints, T-shirts and novelty items by many of artists who had exhibited with them including Holzer, Haring, Fekner, Wells, Rupp, Kenny Sharf, Mike Glier, Tom Otterness, Kiki Smith, Louise Lawler. In addition, they maintained a "video lounge" where tapes by Charlie Ahearn, Jane Dickson, Dieter Froese, Joseph Nechvatal, and Glenn O'Brien could be viewed and bought. Benjamin Buchloh, who was deeply critical of Documenta 7, calling it "a desperate attempt to reestablish the hegemony of esoteric, elitist modernist high culture," felt that Fashion Moda's participation was "one of the few courageous curatorial choices".
In some ways Fashion Moda's participation was the high point of its critical history and certainly many of the artists invited to participate in its Kassel 'store' went on to have important careers in New York and internationally. The fortunes of its Bronx site, however, have not fared as well. Eins continued his direct involvement until 1985 and others including James Poppitz and Juma Santos proceeded to run it but it never again garnered the critical attention of its glory years nor did it benefit much from its involvement with the new art stars from downtown.
Back to the Bronx
In an article in the New Yorker in 1983 Eins told the writer Calvin Tomkins that he chose the South Bronx "partly because of its media image as the worst ghetto in the nation." There is a whiff of opportunism in Eins statement but it also expresses a romantic European point of view about American ghettos. It is striking that few American writers in their discussions of Fashion Moda 'saw' the South Bronx and commented about it as the context for what was going on inside. In contrast, the Italian critic Francesca Alinovi, who visited it in 1982, wrote an article accompanied by photographs that made the area look like Dresden after the war: "Picking one's way through the rubble of the city sacked by hordes of vandals, as in the Middle Ages, one treads on electric wires, carcasses of cars, plants and vegetation, all mixed together around the garbage...men and debris are the same thing." Nor was the Bronx's reputation enhanced by the 1981 movie "Fort Apache, The Bronx," or Tom Wolfe's 1987 novel Bonfire of the Vanities.
The 1990s, however, have witnessed a turnaround in the borough brought on by a variety of factors some of which were cited as early as 1986 by Jill Jonnes in her book We're Still Here. The Bronx's resurrection is now documented regularly in the New York Time, and last year Smithsonian magazine published an article accompanied by upbeat illustrations by Ralph Fasanella and written by a former resident of the borough Patrick Breslin called "On these sidewalks of New York, the sun is shining again."
This then is a kind of happy ending to the history of Fashion Moda. Not so much for this alternative art outpost as for the Bronx itself. Over the past ten to fifteen years, the vast improvements in the quality of life and the built environments can be seen as the victory of middle/working class ethos over the forces of political opportunism, urban decay and neglect. With the establishment of Hostos Community College with its post-modern architecture, and the building of blocks of single-family homes, a new family-oriented ethos prevails in the South Bronx. From this Bronx perspective neither the benign neglect of the Reagan era nor the international trans-avant garde have had as much impact or influence in creating this recovery as the working-class values of its citizens.
Professor Sally Webster
Art Department, Lehman College CUNY
Bronx New York
Art History Program
Graduate Center CUNY
February 1996
1."Fashion Moda," Stefan Eins, Joe Lewis and William Scott interviewed by Thomas Lawson, Real Life (January 1980): 7.
2. This history is best documented in Jill Jonnes, We're Still Here, the Rise. Fall ! and Resurrection of the South Bronx, Boston: Atlantic Monthly Press, 1986.
3. The name Fashion Moda acknowledges the gallery's international character since the English word fashion is coupled with its Spanish equivalent, moda, and, when typefaces permit, it is translated into Russian and Chinese.
4. "Dialogue: Stefan Eins with Annette Barbasch," Cover, v. 2, #1( January 1980): 35.
5. Calvin Tomkins, "The Art World, Alternatives," New Yorker (December 26, 1983): 56.
6. Jane Kramer touched on this issue of an outsider's relationship to the South Bronx in her New Yorker (December 21, 1992) article and subsequent book Whose Art is It?, (Duke University Press, 1994) in which she relates the controversy surrounding the placement and removal of John Ahearn's three free-standing bronze sculptures, Raymond and Toby, Daleesha, and Corey for a traffic triangle between 169th Street and Jerome Avenue in September 1991.
7. The exhibition of holography took place Fall 1978. In March 1979, Eins mounted an exhibition on extraterrestrials called "Other Worlds" (also referred to as "On Alien Intelligences") which included a contribution from the astronomer Carl Sagan.
8. For a listing of the performers see: Events, New York: The New Museum, 1981, pp. 26-7.
9. It is difficult, but maybe not necessary given the fluid structure of Fashion Moda, to precisely document who was director when and with what title. For instance, one piece of evidence from January 1981 cites Eins as "founder, director"; Lewis as "director", and Scott as "junior director." See: "Some Posters From...", Artforum (January 1981): 50.
10. See: Alan Moore, "Stefan Eins," Artforum (February 1975): 72.
11. Claire S. Copley, "Research Report on the Field of Artists Spaces," conducted and compiled under contract to the National Endowment for the Arts, May 19, 1980-November 1, 1980, p. 15. Also see: Organizing Artists: A Document and Directory of the National Association of Artists' Organizations, 3rd ed., Washington, D.C.: National Association of Artists' organization 1992.
12. It is now located at 38 Greene Street.
13. Copley, p.33.
14. Alan Moore and Marc Miller, "The ABC's of No Rio and Its Times," introduction to ABC No Rio Dinero: The Story of a Lower East Side Art Gallery, New York: ABC No Rio with Collaborative Projects, 1985, p. 3. A number of other exhibitions and performances, which took place under the guise of theme exhibitions, where mounted such as the 'Batman' (organized by Diego Cortez) and 'Dog' shows (by Robin Winters) at 591 Broadway. These were followed by 'Income & Wealth' (by Colen Fitzgibbon) and the 'Manifesto' show (by Jenny Holzer) at a storefront on Bleecker Street.
15. Other artists involved with the organization included: John Ahearn, Scott and Beth B., Andrea Callard, Colen Fitzgibbon, Matthew Geller, Alan Moore, Cara Perlman, Ulli Rimkus, Mike Roddy, Mike Robinson, and Christy Rupp.
16. Jeffrey Deitch, "Report from Times Square," Art in America, September 1980, pp. 59-63.
17. See: Peter Frank and Michael McKenzie, New, Used & Improved, Art for the 80s, New York: Abbeville Press, 1987.
18. Lucy R. Lippard, "Real Estate and Real Art," Seven Days (April 1980): 32-34.
19. Walter Robinson, "John Ahearn at Fashion/Moda," Art in America (January 1980): 108.
20. Lou Cannon, "Reagan Makes Appeal for Black Votes," Washington Post, August 6, 1980, p. 1.
21. The Faith of Graffiti, documented by Mervyn Kurlansky & Jon Naar, text by Norman Mailer, New York: Praeger, 1974, n.p.
22. Ibid.
23. Lynn Hirschberg, "Does the Sugar Bear Bite, Suge Knight and his Posse," The New York Times Magazine, January 14, 1996, pp. 24-31; 39-40; 50; 57.
24. Holzer as mentioned earlier did a series of 'truisms' for its windows and later participated in Fashion Moda's 'store' at Documenta 7 in Kassel, Germany. Basquiat exhibited at Fashion Moda under his 'tag' SAMO and in 1984 did a drawing for a benefit announcement. Haring was included as one of the artists to represent the gallery at the New Museum "Events" exhibition in late 1980.
25. The exhibition was organized in three parts and took place over a period of three months from December 13, 1980 to March 5, 1981. Two other organizations participated: Taller Boricua, a Puerto Rican arts workshop and Artists Invite Artists, an ad hoc organization of minority artists invited by the New Museum to introduce younger artists to a downtown audience. This latter effort was a last-minute replacement when Colab decided not to take part. Fashion Moda's participation extended from December 13, 1980 to January 8, 1981.
26. Mary Anne Staniszewell, "Fashion Moda," Artnews (March 1981): 230.
27. "Some Posters From...", Artforum (January 1981): 50-2.
28. Peter Schjeldahl, "New Wave No Fun," Village Voice, March 410, 1981, p. 15.
29. Thomas Lawson, "Fashion Moda. The New Museum," Artforum (March 1981): 81.
30. Benjamin H. D. Buchloh, "Documenta 7: A Dictionary of Received Ideas," October 22 (Fall 1982): 105-26.
31. Tomkins, New Yorker, p. 55.
32. Patrick Breslin, "On These Sidewalks of New York, the Sun is Shining Again," Smithsonian, April 1995.


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Armenian Culture, Science and Education Development Foundation
TORONTO! 100th Anniversary of the Armenian Genocide.
Photo by Emma Zarobyan
Other news
Upcoming Events
There are no upcoming events at this time.
- Թուրքիայում վաճառքի է հանվել հայ վարպետի պատրաստած երաժշտական գործիք
- Composer and pianist Tatev Amiryan will perform a benefit concert in San Francisco
- Тhe new album of Alexander Arutiunian's music will soon be available in the world leading music stores
- Shahen Shahinyan was re-elected as the rector of Conservatory
- The film ''Ashough Gharib'' by Sergey Parajanov will be shown in Turkey
- It is planned to develop a tourism development plan for Ashtarak
- Racist scraping appeared again on the wall of Armenian school in Istanbul
- Armenian Culture Days held in Egypt
- National Academic Theatre after Gabriel Sundukyan is ready for operation after renovation
- Aramyants' mansion from the perspective of tourism industry development can be very attractive. Prime Minister
- System of a Down will release a new album
- Dmitry Shostakovich and Johannes Brahms compositions at Khachaturian's Festival
- The President of Belgium Senate visited the Armenian Genocide Museum-Institute
- Painter Bill Plympton's visit to Armenia is finished
- 200-year-old Armenian rock-cut church is being destroyed by Kurdish embezzlers
- Dresden Symphonic Orchestra invited Turkish President Recep Tayyip Erdogan to be present at the concert dedicated to Armenian Genocide
- The Spain Malaga city recognized Armenian Genocide
- Dee Dee Bridgewater: ''Yerevan became for me a source of inspiration for new creative ideas ''
- An event dedicated to 25th anniversary of Armenia's independence in London


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amfAR, The Foundation for AIDS Research
Life Ball is the world's most extravagant HIV and AIDS benefit
held annually in the beautiful historical city of Vienna, Austria. Life Ball
combines the great Viennese Ball tradition with glamorous, outlandish
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diversity. Organized by AIDS LIFE, Life Ball has raised more than $20 million
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with amfAR, the William J. Clinton Foundation, the Elton John AIDS Foundation,
and UNAIDS. Through the Life Ball, AIDS LIFE has been a major supporter of
amfAR's TREAT Asia Pediatric HIV/AIDS Initiative.
DATESaturday, May 21, 2011
LOCATIONVienna, Austria
© 2020 amfAR All Rights Reserved || amfAR's mission is to end the global AIDS epidemic through innovative research


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Saturday January 20th is not so far away.
The Science Bloggers Conference is just around the corner. We've got over 140 people signed up as of this writing.
Anton says we can handle 150.
So go register now!
New Conference news from Anton: Burroughs Wellcome Fund and BlogAds have signed on as sponsors. Grab bag items will include: copies of The Lancet (Jan 6-12 issue), copies of American Scientist (Jan-Feb issue), and bookmarks and notepads from the NC Science, Math and Technology Education Center, copies of Seed Magazine, and assorted books from HarperCollins (Best American Science Writing 2006 and 3 other titles), copies of The Scientist Magazine, and copies of Nature. We'll also get copies of a science DVD from The NewsHour with Jim Lehrer.


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Valentine's Day is near, and love and cake are in the air. Cake? Yes, cake! The Valentine's Day Cake event is here from February 4th to February 18th, 2013 to make everyone's day a little sweeter! Hop online and make the sweetest cake possible for a special Valentine's Day gift.
How, you ask?
1) Speak with a Commerce Imp to receive Flour Dough.
2) Purchase Cacao from Caitin or Glenis.
3) Grab yourself some sugar.
4) Mix it all together to make the perfect Chocolate Cake!
Once finished, you can give a Chocolate Cake to the Commerce Imp once per in-game day and you will receive a Valentine Dungeon Pass and learn the Proposal Action. What a great Valentine's Day treat!
Dungeon Rewards:
I Love You gesture coupon
Soy Chocolate
Mustard Chocolate
Wasabi Chocolate
Herbal Chocolate
Vinegar Chocolate
-The Mabinogi Team-


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Hello folks.
Four months ago, due to the fact that I had never seen a "Twilight" film and thus wouldn't be reviewing them in theatres, I announced that when "Twilight: Breaking Dawn Part 2" hit home video, I would sit down and watch all five of them in one day and live blog the experience. Well, that day has come, and I'm good to my word. Next Sunday, March 17th, I will be spending the day with Bella, Edward and Jacob, and sharing all the details with you for your reading pleasure. Five movies, five blog posts, one day.
Will I make it through? How long before I'm cursing my own stupidity for getting myself into this? What happens if I wind up getting into them?
As always, my pain will be your gain, so be sure to stop by next Sunday and read along!


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Ethan: All I can say is, "I feel your pain." Two years ago when Democrats were put out to pasture by the voters, I didn't know what had hit me. In the morning we controlled the Blaine House and both branches of the Legislature. That night, none of it. Sound familiar?
Phil: Sure does, except it took you 40 years to lose total control. We managed to fumble it in 24 months!
Ethan: If it's any consolation, the last time your party lost that many incumbents in the state Senate was back during the Johnson landslide of 1964. Two years later you were back in power.
Phil: That's not likely to happen in 2014.
Ethan: From your lips to God's ears.
Phil: What is clearer to me is that many voters are driven by an issue like abortion where nothing else matters about the candidate. They are either with the voter or against the voter, period.
Ethan: Phil, please know that I think you are a very smart and reasonable man, but if you believe the reason your party lost is because Mainers use a single litmus test for their ballot, you will be in the minority for another 40 years. Better to tell your party to look in the mirror and figure out why they are so out of step on so many fundamental issues like immigration, climate change, abortion, gay marriage and income inequality. Voters can handle people who are different on a few issues, but when you are out of step across the board you get hammered.
Phil: Hear me out before you pontificate. The more concerning issue for me is that America and Maine have fundamentally transformed into a culture where government is the heart and soul of what voters want and need. The notion that America works when government is limited, and that free people create and pursue dreams, is silently fading, and big government and big business now rules.
Ethan: I am not sure if government is our heart and soul, but it is fundamental to our freedom. Safety, education, health care, roads. All of these fundamental functions of government make us freer. And, yes, people understand that. When your party runs on a platform that government must be dismantled, without recognizing the consequences of those actions, the voters will reject that philosophy.
Phil: That's the point. They have rejected the message of limited government that pays its bills. Rather, those who don't pay income taxes and those who break the laws of immigration, for example, are telling those who live by the laws and pay taxes that we are not paying our share, that we are not compassionate, that abiding by the Constitution and balancing the books is "extreme."
Ethan: Yes, a majority around the country have rejected carte blanche limited government because they understand that a healthy government is fundamental to our freedom.
Phil: So help me see the future. How do you assure people who put everything they own on the line to meet payroll, donate to charity and raise their family without government grants and subsidies that taxing them and regulating them more is the right path?
Ethan: I don't think what people asked for Tuesday was more regulation and more tax — and you certainly didn't raise your family without the help of government (schools, clean food, laws protecting minors). But voters did reject the ideology of austerity as a way out of our economic doldrums. But, more importantly, what is your party going to do differently? You had the power to enact whatever you wanted. You did exactly that, and people said no. What now?
Phil: How can you say that, Ethan? You can't say that Democrats aren't going to raise taxes. They are. And now that the elections are over, you can be sure the Obama administration is going to unleash the regulatory forces at the Environmental Protection Agency, Securities and Exchange, the Labor Department and more. Big government will flourish! Big business will cope and pass along their costs! And the small business person is going to be demoralized. That is where the heart and soul of the economy and inspiration comes from, and it will be crushed.
Ethan: Wow. You are clearly still too angry about this loss to do much reflection. The only advice I can offer is to encourage you to try and stop blaming the voters. Your party has some hard work to do, and they need you to speak up, even though some will be mad at you for it. I had to do it for my party over the last two years, and Lord knows I took some grief. But, in the end, as Tuesday showed, it's worth it.
Phil: I'm not angry. The people have spoken. I just fear that the people who actually pay the bills are dwindling fast.


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denkbild on twitter
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House portrait, Maysville, Kentucky
In Fotografie veröffentlicht Ebenso getaggt Fotografie, houseportrait Kommentieren
Houseportrait in Maysville, KY
In Fotografie veröffentlicht Ebenso getaggt Fotografie, houseportrait, kentucky, maysville Kommentieren


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General Anxiety Disorder
General Anxiety Disorder (GAD) is a psychiatric condition best characterized by worries that are excessive and interfere with normal social functioning. The worry is intense and pervasive, lasts a long time, and frequently occurs for no reason. People suffering from GAD are likely to perceive everyday life as unmanageable. For adults to be diagnosed with GAD, they will exhibit at least three of the six primary symptoms.
Panic Disorder
People who suffer from Panic Disorder experience recurring sudden and intense fear that peaks within a matter of minutes. A panic attack may be expected or be unexpected with no discernible trigger at the time. The intensity and frequency of panic attacks can have a wide range. In addition to having at four of the 13 defined symptoms, panic disorder requires that a panic attack be followed by a minimum of one month of worry about additional attacks and/or behavior is changed to avoid a panic attack.
Obsessive-Compulsive Disorder
Obsessive-compulsive disorders (OCD) covers a related range of specific beliefs and behaviors. Obsessions are involuntary and unwanted intrusive thoughts that recur and persist and that an individual attempts to neutralize by performing a compulsion. Compulsions are thoughts or behaviors that are rigidly repeated; they are either excessive or not necessarily connected to the obsession. Examples include behaviors like showering for hours every day or arranging objects in a very specific order.
Post-Traumatic Stress Disorder
Post-Traumatic Stress Disorder (PTSD) is one of several trauma-related disorders resulting from exposure to a traumatic or stressful event. These are experiences that are deeply distressing and disturbing and negatively impact individuals. PTSD can be military or non-military in nature and presents itself in a wide variety of ways ranging from emotional and behavioral symptoms to dissociative symptoms. Children under six years of age have separate diagnostic criteria.
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Separation Anxiety
Separation Anxiety Disorder manifests itself by age-related inappropriate and intense anxiety or fear relating to being separated from a person to whom the subject is attached. For a true diagnosis, this will last for a minimum (for adults) of six months and include at least three specific symptoms. The situation will also result in impairment of everyday living and functioning at home, school or work.
Phobias are fears or anxiety relating to a specific situation or object. Some well known examples include fear of spiders, heights, needles, enclosed places like airplanes or elevators, loud sounds, and clowns. The reaction is intense and severe and totally out of proportion to the real situation and the person will take means to avoid the object or situation, which can impact normal daily functioning.
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WineWiseWeb reviewed three of our 2011 Gewurztraminers: "…a trio of beautifully made 2011 Gewurztraminers from Dario Sattui's dream winery in Calistoga. Winemaker Brooks Painter shows his deft hand with the variety with three different styles…Gewurz brings different varietal characteristics forward at different sugar levels. Each of these wines delivers excellent quality and complexity of aroma and flavor….
Castello di Amorosa's Gewurztraminer Dolcino
Read all of the reviews here:


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Just like its sister pool bars Singing Spirits and Grandstand Spirits, the one and only bar on the All-Star Movies Resort property lacks a bit in the atmosphere department, but remains a great place to grab a frosty libation before heading to your favorite spot poolside.
Service: Pool Bar
Type of Food: Just drinks!
Location: All-Star Movies Resort, Fantasia pool area; Walt Disney World
Disney Dining Plan: No
Tables in Wonderland: No
Official Disney Menu
Full bar, including Disney's standard cocktail menu; draft beer; and non-alcoholic drinks.
Important Info:
- Open from 1 p.m. to midnight daily.
- Conveniently located next to the main lobby.
Disney Food Blog Posts Mentioning Silver Screen Spirits
You Might also Like: Petals Pool Bar at POP Century, Banana Cabana at Caribbean Beach, Trout Pass at Wilderness Lodge


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Jared Hess will direct the heist action comedy starring Jim Carrey.
Loomis Fargo tells the story of a disgruntled bank employee who teams up with his work crush on a robbery and makes off with close to $20m. The studio said the story is based on real events.
The film is based on an original screenplay by Emily Spivey and written by Chris Bowman and Hubbel Palmer. Production is scheduled to begin in April in North Carolina. Relativity's Brett Dahl will oversee the project for Relativity.
Lorne Michaels and John Goldwyn are producing and the executive producers are Danny McBride, Jody Hill, Michael Aguilar, Kevin Messick, Relativity CEO Ryan Kavanaugh and president Tucker Tooley.
Carrey stars in this year's upcoming releases The Incredible Burt Wonderstone and Kick-Ass 2.


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pvi00 necesitaba un nuevo diseño de logotipo y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 105 diseños de 26 diseñadores freelance.
We believe in the character and values imparted by the international Scouting movement and want to remove economic barriers to allow participation by the maximum number of youth. Our goal is fundraising which returns the maximum percentage back to the scout, as well as funding scholarships and facilities. We believe in the Scout Law, the Scout Oath, self reliance, discipline, challenge, self navigation, Leave No Trace, and wilderness experience.
Audience is the general populace, especially parents of boys in Scouting or who believe in the Scouting mission.
Simple and abstract is best. 3-colors max if possible. Color is good! Should be easy to remember and implant itself in the brain :) Bonus points if you can hide an eagle head and wolf in the design. Stars are good, especially Big Dipper. Sun, Moon, sun dial, measurement, trees, mountains, water, reflections, compass points, all good possibilities. Colors like brown, olive, red, blue but this is not a patriotic logo. Please be aware of and avoid existing trademarks of Boy Scouts of America or Girl Scouts of America including Fleur-de-lis designs. Thanks!
Descubre cómo funciona un concurso de diseño u obtén más información sobre nuestros servicios de diseño de logo.


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Measure customer satisfaction and predict future growth by getting your Net Promoter Score (NPS). After you use SurveyMonkey's templates to get your score, you can see how your results stack up by comparing them to our benchmarks.
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Explore our Customer Satisfaction Data Report for industry insights.
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See if you're above or below the average in our Website Feedback Data Report.
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29 June, 2017
Mayfest 1983mrslakauf -- 1983 line up was Robert Hazard, David Johansson, and U2 1982 was A Flock of Seagulls and Squeeze; not sure about Toots.
03 November, 2014
Albany MayfestSorry Willie10C-"A Flock of Seagulls" was most definitely there along with "Toots and the Maytals", along with David Johanson and Robert Hazard. I can still see all their names on the advertisement flyer for the show! I came over with friends from SUNY Oneonta to see it. What a great day!
16 February, 2011
Mayfest 1983College students are sometimes prone to procrastination. I know I was. But that day for whatever reason, my friends and I set out early to find a good patch of earth from which to watch the acts. Reward for our early arrival: being right up against the stage. For a mere $5 we were treated to beer, food and three bands; one an up-and-coming band whose energy hinted at the greatness which lie ahead. The warm spring air became electrified as Bono bounded about the stage and climbed the scaffolding. The band worked it's magic and mesmerized us; in return the crowd embraced U2 with enthusiasm only seen in the young and unjaded. Bono called us to his rock altar using spirited lyrics which taught us of the sadness of the past but brought us a message of hope, and which sought change from the status quo. Twenty-six years later I can think back to that day, to the fact that the girl Bono pulled up onstage was two people away from me and wishing it had been me; to the fact that I was completely awed by the music I heard; to the beauty of the day and the students all enjoying the show as the semester drew to a close. Of the many U2 performances I've attended -- I will always be most fond of that first -- when a young girl saw her favorite emerging band.
19 July, 2010
Celebration '83Sorry, Jasonjl1, A Flock of Seagulls were not there. Support was from David Johansen and Robert Hazard. All in all, I agree with all posts as it was a great show! As it was my first live U2 experience, I too was hooked for life. It is surreal to think back and remember seeing the band outdoors on a college campus field...and in daylight!
04 May, 2010
confirmedwow I tell everyone about that show, when bono climbed that tower I climbed it with him. felt like 800 people to me... glad someone surfaced to recall the event to the detail! nothing like an outdoor concert... cheers
30 April, 2010
Mayfest 1983This day is seared in my memory 25+years later. An unusually warm spring afternoon on the SUNY Albany campus. Everyone was young, and anything seemed possible. About 8-10,000 students were frolicking in the sunshine (and enjoying the free flowing beer) when Bono grabbed their attention from the opening minute of the set Bono was in high energy mode, climbing the speaker scaffolding during Sunday Bloody Sunday. The riveting set made my a lifelong fan. Bono ended the show by saying thank you...we will never forget this day. He probably has, but I never will.
24 September, 2009
U2 at Mayfest in AlbanyI was there at the U2 concert on the campus of what they called Albany State. It was one of the best shows I have ever seen. I was a college sophomore at the time, and U2 was the headline band, with flock of seagulls playing before them. I was up against the stage rocking to Sunday bloody sunday, and new years day. It was an outrageous show. Also can't beat the fact that the ticket was $5 for the whole day of music and beer if you were a student.


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Russian prime minister resistant to changing clocks off summer time
MOSCOW (AP) -- When will the sun come up today? In Russia, it's a matter of fierce debate, and one that may reflect the sinking stature of Prime Minister Dmitry Medvedev.
Medvedev declared Thursday that he has no immediate intention of reversing his decision to leave Russia's clocks on summer time the whole year.
The move he made in 2011 when he was president has been widely unpopular as it has plunged the sprawling nation into darkness until late morning throughout the winter.
And now it's not clear how long that decree will actually last.
Medvedev's mentor, Vladimir Putin, who returned to the presidency in May after spending four years in the premier's seat due to term limits, has indicated that Russia could switch back the time soon.
Putin said in December that sticking permanently to summer time would make it difficult for TV audiences in Europe to watch the 2014 Winter Olympics in Russia's Black Sea resort of Sochi.
The games - on track to be the most expensive Olympics ever, even more than the Summer Games in London and Beijing - are known to be close to Putin's heart.
On Thursday, the daily Izvestia newspaper that kowtows to Putin said the Cabinet already had made the decision to switch Russia permanently to winter time and that a decree will be issued soon.
The government quickly denied the report, and then Medvedev himself told a Cabinet session that he sees no point in switching the clock now.
"The government considers it unfeasible to again switch time at the current moment," Medvedev said, adding that public opinion has been divided. "Let's not make sharp movements and live in those conditions without making extra fuss. Let's keep monitoring the situation and once again analyze the opinion of experts, doctors and citizens."
The switch to summer time is one of the few of Medvedev's reforms that has survived Putin's return to the presidency.
Since Putin came back, most of Medvedev's initiatives - from decriminalizing slander to ousting government officials from the boards of state-controlled companies - have been methodically reversed.
Putin's harsh course has contrasted sharply with Medvedev's modernization platform. The president has backed a series of repressive bills that introduced heavy fines for those joining unsanctioned protests and imposed new tough restrictions on groups promoting democratic rights.
Opposition activists have faced searches, interrogations and arrests and three members of the Pussy Riot punk band have been sentenced to two years in prison for an anti-Putin protest in Moscow's main cathedral.
Medvedev has avoided confronting Putin and defended his patron's new tough course, but is appearing increasingly cornered and powerless despite his show of loyalty.
State-controlled television stations have reduced their coverage of his activities, and a newspaper report recently claimed that the networks had received orders from the Kremlin to cast him in a negative light and focus on his unpopular decisions, such as the time change.
The Izvestia newspaper has recently published leaks from official documents critical of the performance of Medvedev's Cabinet, prompting an angry rebuke from his office.
On Thursday, it posted a December's letter by Jean-Claude Killy, head of the International Olympic Committee's coordination panel for Sochi, suggesting that the IOC would welcome Russia's switching back to the winter time but warning that such a decision need to be made soon.
But Russian Deputy Prime Minister Dmitry Kozak, who was in Sochi for Thursday's one-year countdown to the games, told reporters the government has made the decision to stick to summer time and a schedule for the 2014 Winter Games in Sochi has been made accordingly.


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Didn't really like the emphasis on "free" though. I know free has a different meaning when it comes to software, but people new to FOSS will perceive LM as nothing more than a "free" but possibly inferior (due to cheap cost) alternative to Windows, when it is far from that.Fresh. Friendly. Free
Heh.. this one is good. Maybe as an alternate or a secondary slogan, or something of that sort.Linux is now easy.


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As the so-heralded 'Summer of Love' descended onto the predominantly white districts of Haight-Ashbury, the worldwide perception of America seemed to be that of a nation embracing peace, love, unity and freedom. A land of opportunity; a land of brotherly love: both physical and spiritual bonding. But as the restrictions loosened and the tabs of acid were dropped, another more unedifying chapter in American history was still being played out with increasing exposure across the wireless and television sets of the day. Though substantial progress had unquestionably been made in the battle for black civil rights in the USA, each push for constitutional rights and the removal of hated, out-dated and draconian laws on racial segregation was still being met with obstruction and foul racism; in many cases from senior figures in the US political system. Against the frustrating grind and a perceived notion that the drive for change was not occurring quickly, drastically and (more importantly) combatively enough and as a diversion from the non-resistance movement practiced by the likes of Martin Luther King Jr.; The Black Panther Party was formed in 1966, quickly assuming a large degree of public support amongst frustrated young Black Americans. And so it was, that on May 2 1967, 11 days before Scott McKenzie released his classic version of 'San Francisco (Be Sure to Wear Flowers in Your Hair)' – soon to become the anthem of the hippie movement – approximately 30 armed black men and women in black berets invaded the courtroom steps of the California State Capitol, Sacramento, to protest against repression and legislation. Though initially a small protest, news of the forceful stand carried across many miles and served to galvanised a generation. From small beginnings, the era of Black Power had begun.
Across seven years, the ideological theorums of Black Power crossed over the race divide, and gradually assimilated itself into the culture and surroundings of the era. Based upon a firm set of moral codes and a championing of pride in black culture, the influence of the movement spread into music: twisting music and lyrics into something more forthright and puffed with pride. Though initially a rebound of the political ideology, the music of the Black Power era eventually became central to the whole culture of the movement, lighting a touch paper that would eventually result in the politicisation and the unheralded explosion of hip-hop and Black cultural influence nearly two decades on.
Listen, Whitey, The Sounds of Black Power 1967-1974 is the musical accompaniment to a labour of love and dedication by music producer and scholar Pat Thomas over the course of four years – interviewing leaders of the Black Power movement and collating music and artwork to piece together a 70,000 word tome on the sounds that defined a key movement and moment in Black American culture. Contained within the CD are a series of rare, rich and fascinating tracks inexorably linked with the Black Power movement. From Motown's short-lived Black Forum offshoot label, to the crossover between White and Black artists shouting for the same goal from differing perspectives and positions, it is a fascinating and captivating listen: equal parts history lesson, musical scholarship and a profound, humbling and richly textured listening experience.
A collection of archive audio, speeches, spoken word poetry, comedy and music, the album admirably draws from disparate corners of the cultural field. It shuns such behemoths as Marvin Gaye's 'What's Goin' On' and James Brown's 'Say it Loud - I'm Black and I'm Proud', instead seeking for lesser-known nuggets. Shahid Quintet's opener 'Invitation to Black Power Parts 1 & 2' sets forth a spoken word agenda to a thumping jazz clatter: a stark call to arms invoking Elijah Muhammad and warning against individual acts of violence in favour of collective action and strength in religion and community. The soaring tones of Elaine Brown - a singer with close ties to the Black Panthers – pour forth on the glorious, stirring cry to hope that is 'Until We're Free', while Marlena Shaw's live version of 'Woman of the Ghetto' (later sampled on Blue Boy's 'Remember Me') forms at a crossroads of jazz and early funk: taut and spiked in delivery yet loose and bubbling musically. The late, great Gil-Scott Heron - one of the true pioneers of politically charged funk and soul music - is represented here by the sparse, elegant and poignant 'Winter in America'. And then there is the swirling drum, organ and vocal clatter of Gylan Kain's 'I Ain't Black': twisting racial slurs and retorts into a free-jazz maelstrom of fury and confrontation. It is the track that stands out as the heartbeat of the record, perhaps best encapsulating the contrast of righteous indignation, confusion and self-belief that characterised the drive for rights, identity and acceptance amongst young Black Americans. Throughout all is a sense of dry humour that continues to shine through. Even in the bleakest moments, there remains the ability to laugh at, point and mock the absurdity of the situation. Talk about confidence…
The recordings of speeches are fierce and blunt. Activist Stokely Carmichael's electrifying 'Free Huey' speech ties the persecution of Black people and specifically jailed Black Panthers co-founder Huey P. Newton to the elimination of the American Indians and the conflict in Vietnam; imploring Black union. And then there's comedian Dick Gregory's 'Black Power', which starts out as a comedic skit but ends up making a series of profound reflections of the uses of the words 'black' and 'white' in popular culture. As an adjunct and a measure of the importance of such tracks, hip-hop fans will recognise many of the lines as having been sampled over the years, including The Original Last Poets' 'Die Nigga!!!' having been used as the introduction to N.W.A's ferocious 'Real Niggaz Don't Die' and elements of Amiri Baraka's 'Who Will Survive America?', which ended up comprising the coda to Kanye West's My Beautiful Dark Twisted Fantasy. The influence was long and the influence was essential. It all started from here. And as a final pointer towards the gulf between the fierce militancy of the Black Power movement and the "turn on, tune in, drop out" hippie ideology, there is a remarkable recording of Eldridge Cleaver discussing placing acid guru Timothy Leary under house arrest in Algiers; identifying how Leary's astral, lysergic-derived aesthetics were considered the antithesis of the plain-spoken, action-not-words approach of the Black Power movement. Two cultures in the same time and the same space: mutually incompatible and exclusive. Even beneath the stern glare of the establishment who considered both movements an equal threat to American youth, the rift between the two was miles apart. It is a quite fascinating piece of archive audio.
Equally captivating are the inclusion of three tracks from high-profile white artists, all of whom took special interest in the civil rights struggle and used their profile to support the cause. Bob Dylan had always been a fervent champion of civil rights but the inclusion of 'George Jackson' (a sparse acoustic piece lamenting the recently slain Black Panther leader who was shot by prison guards in 1971 during a bloody attempted escape) helps identify the point where Dylan returned to his protest roots. Similarly bold is John Lennon and Yoko Ono's spacey 'Angela', a track written in support of the then-jailed political activist Angela Davies (subtly and cleverly referencing Lead Belly's 'Sylvie'). But most powerful is Roy Harper's razor-tipped, stinging 'I Hate the White Man': a track that reverberates with cool fury and distain for the actions of his own creed and culture. Sat alongside such bold and forthright statements of Black pride and identity, they serve to perfectly complement the collection and serve notice that the ideology and sense of outrage that characterised Black Power was not simply restricted to the black community. It draws a direct line between the political and social roots of folk music and the similar aims of the Black funk, soul and jazz: two disparate musical movements that searched for the same aim, generations apart. Essentially, this was humans wanting their humanity. It may have been termed Black Power, but they had support from all races and all sides.
It seems furtive, pointless and belittling to give Listen, Whitey a score out of ten. For this record is a historical document as much as it is an album, and it is imperative that it is contextualised as such. In a modern world where hip hop took root in public culture and it is second nature to see a black artist extolling the virtues of their creed and culture, this album intelligently and imperatively reels you within sight of an age where mouths were crying to be heard; an age where equality was not guaranteed; an age where music was both a tool and a weapon in alternative clutches. For a soundbite, the music is magnificent: humorous, scabrous, fierce and mocking in equal measure: a glorious blend of jazz, soul, funk and folk. But the true power of this collection lies not in what it sounds like, but what it helped to crystallise and establish. This was the voice of the angry. This was a voice that shouted when others could only mumble and stammer. This is a chronicle of a crucial chapter in modern and musical history; expressed profoundly and proudly. This is the bubbling, volatile soundtrack to an era that genuinely changed the world.


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