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Eli Broad remains a player in LACMA's proposed takeover of MOCA
Michael Govan came to the Los Angeles County Museum of Art seven years ago with a mission to make it one of the most prestigious institutions in the country, one worth mentioning alongside New York City's Metropolitan Museum of Art and Museum of Modern Art.
Now he's trying to seize an opportunity to gain ground on them in a single stroke. Govan and LACMA's trustees have proposed a takeover of L.A.'s financially adrift Museum of Contemporary Art and its crown jewels: a 6,000-piece collection that's one of the world's most admired troves of post-World War II art.
But Govan has an imposing rival in billionaire Eli Broad, L.A.'s eminence grise of art philanthropy. And Broad has cards of his own to play.
FULL COVERAGE: 2013 Spring arts preview
Broad is brokering a possible MOCA partnership with the National Gallery of Art in Washington, D.C., whose board chairman, John Wilmerding, said this week that the federally funded museum is eager to provide curatorial expertise but not money.
Broad has repeatedly declined comment on the possible LACMA-MOCA combination, and so have MOCA leaders who ultimately will have to decide the question.
But art world experts speculate that Broad could be motivated by rivalry with Govan and a desire to ensure a successful launch of his namesake Broad Collection museum, which is set to open across the street from MOCA's Grand Avenue base next year.
"It strikes me as purely personal," said Bruce Robertson, a former curator of American art at LACMA who teaches art history at UC Santa Barbara. "Eli has worked very hard to have the position as most important philanthropist in town," while "Michael Govan has demonstrated emphatically that he doesn't need Eli Broad to be successful."
But that theory is discounted by Thomas Lawson, dean of the School of Art at California Institute of the Arts in Valencia.
"That's an easy way of explaining things, to find a slightly dark personal angle," he said.
Lawson believes Broad's resistance to a LACMA takeover could be motivated more by concerns that LACMA control could make operations at MOCA more distant and bureaucratic, less collaborative with the Broad Collection and less likely to generate the diverse and dynamic programming vital for its success.
If MOCA, whose holdings are more extensive, doesn't offer frequently changing exhibitions that can generate repeat visits, the Broad Collection could also stagnate, Lawson said. He thinks Broad may be banking on symbiotic programming between the two museums to generate a vibrant Grand Avenue cultural scene; the concern would be that LACMA control might prevent effective teamwork.
Robertson and Lawson agreed that the best scenario would be for MOCA to remain independent and capable of asserting its own distinctive approach.
"It's not because Michael wouldn't do a great job, but because L.A. as an art capital needs as much diversity as it can get," Robertson said. "MOCA's vision has always been different from LACMA's."
PHOTOS: Arts and culture in pictures by The Times
For his part, Govan said that LACMA has promised to keep the MOCA name and its downtown locations, and would raise $100 million to ensure that it thrives. He envisions strength in unity.
"If you put the two collections together … it's not too shabby," Govan said this week. What's more, he said the combined collection could be a magnet for even more strong art, since collectors who want their holdings to wind up in museums often seek out the most prestigious destinations.
"If you put this whole thing together, it's potentially more attractive to collectors," he said.
When he saw Broad recently at a trustee's party, "I gave him a hug," Govan said. "I said we should work together."
Broad's response? "He smiled," Govan said, "and Edye [Broad's wife] and I talked about something else."
For those laying odds on who will prevail, it's worth noting that Broad has already frustrated LACMA twice.
The 79-year-old billionaire announced in 2008 that he would not give his own impressive collection of contemporary art to the county museum, even though he gave it $56-million for a building named for him that was about to open on its campus. Later that year, he thwarted LACMA and Govan's bid to acquire MOCA at a time when the downtown museum was all but destitute. The museum board accepted a Broad bailout of MOCA instead.
It is because that bailout didn't really work that Govan and LACMA have a second chance.
Despite Broad's infusion of $3 million a year in exhibition support — a pledge that will run out at the end of this year — and an additional $6.25 million for its endowment, MOCA has not achieved a stable fiscal footing. In fact, its capacity for generating art exhibitions and other important museum programming appears to have fallen considerably the last few years, the curatorial staff dwindling since last spring from five to two.
But LACMA's second chance to absorb MOCA could be an even longer shot than the first. That's because Broad's 2008 deal to keep MOCA independent includes a provision expressly designed to make it harder for Govan to successfully come calling again.
Broad doesn't have absolute veto power over a LACMA takeover, but he can make such an acquisition much more complicated while buying time for other suitors to emerge who might be more to his liking.
The 16-page bailout agreement, obtained by The Times, includes a four-page section concerning "significant actions" that MOCA trustees can't take with a simple vote. One of them is agreeing to be subsumed under another local museum — such as LACMA — before 2019.
The review process would begin with the appointment of an independent three-member "special committee" that could overrule Broad's opposition and allow LACMA and MOCA to consummate a union — but not before the Broad Foundation had a chance to make a counteroffer.
The committee's first task would be to determine whether "exigent circumstances" exist that would justify breaking the prohibition against merging with a nearby museum. The agreement defines "exigent circumstances" as "the inability of the museum … to operate without a ... deficit for a period of two consecutive fiscal years," or a situation in which it was at risk of "bankruptcy, dissolution … or violations of law or contractual obligations."
MOCA has declined requests for up-to-date financial information, so it's unclear whether it ran a deficit in the 2011-12 fiscal year or whether deficits are projected for the current fiscal year, which ends June 30.
If at least two of the three special committee members reviewing a possible merger decided that such circumstances existed, it would then have to decide whether LACMA's offer "would be in the best interests of [MOCA] in light of all of the then-current facts and circumstances."
If the committee gave the deal its greenlight, MOCA trustees could accept LACMA's offer "without any consent or approval of the Broad Foundation."
But once the review process began, it could take unexpected turns. The special committee can propose — but not impose — its own alternate solutions to a MOCA emergency, after reaching out to "any person or entity" who might be able to help.
The Broad Foundation would have a right to submit a counterproposal, but the agreement says it "is not entitled to any special privileges or priorities" as to how that proposal is considered. Broad conceivably could even make a bid to subsume MOCA under his Broad Collection museum.
Last summer, as MOCA made headlines with the forced resignation of longtime chief curator Paul Schimmel and the layoff of seven other staff members, fears arose — including from some MOCA trustees — that Broad might be angling for the museum's art collection. He firmly denied it.
The MOCA board would have the final vote on whether to adopt any proposal OKd by the special committee. But if board members tried to circumvent the process and strike a union with LACMA without the special committee's approval, the agreement says that the Broad Foundation would be "entitled to seek … remedies such as injunctive relief" — a court order stopping the deal from going through.
Times staff writer Jori Finkel contributed to this report.
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The World of Warcraft fan art of Chinese artist Jian Guo lies somewhere between medieval storybook art and stained glass window, telling visual stories of Warcraft lore in gorgeous, highly-detailed works.
Below is Guo's "Fall of Arthas," one of a handful of lovely art pieces inspired by World of Warcraft. Other must-see storybook murals from Guo include "Blood Sunset," "Journey of Faith" and "Ancient Wars."
Prints are available for each, but even if you don't feel like spending, check out the rest of Guo's World of Warcraft fan art at deviantArt, along with plenty of StarCraft and Fallout inspired stuff.
G/O Media may get a commission


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So is the market go to die a slow death by a millions pricks, or will it revive from it's Zombie state it's been in the last few weeks? Let's get some fresh perspectives on the market…..
For any of those that are interested, I finally got my first article published on Seeking Alpha! The article is for DDD, check it out!
My first SA article


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Earthworms ingest soil that may contain animal and plant pathogens, and these pathogens are likely to be transported internally within the worms. In addition, some exotic earthworms are considered to be plant pests through their disruption of the soil which may cause undesirable impacts on plant growth and diversity. Consequently, a PPQ 526 permit is required for their importation from all countries except Canada. A PPQ permit is not required for the domestic movement of earthworms within the Continental U.S.; although, it may be required for movement to Hawaii, Puerto Rico, U.S. Virgin Islands, and U.S. Territories. State and Territory approval is also required for all movements.
Eisenia (=Dendrobaena) veneta and D. hortensis are currently the only earthworm species that are permitted for importation into the U.S. from countries other than Canada for release into the environment. However, import permits for environmental release are only issued for receipt from certain European countries that are free from foot-and-mouth disease. When issued, permits require strict conditions for treatment of earthworms prior to shipment to the U.S. to remove any soil from their bodies. They must be reared on a diet free of soil or other vehicles for pathogens. The diet may contain paper pulp, sawdust or Pasteurized vegetables (vegetables that have been held at a temperature of 161 degrees Fahrenheit (71.7 Celsius) for 30 minutes). At no time during the rearing or packaging process are earthworms to be fed soil, uncooked vegetables or partially cooked vegetables. At all times during the rearing operation, worms must be kept separated from the ground by a heavy layer of plastic, fiberglass, metal or other material that is not biodegradable. Plant Protection and Quarantine (PPQ) officers may inspect shipments at any time to confirm the identification and gut contents of the worms, and to make sure that no soil is present in the shipping containers. Receipt of a PPQ permit does not relieve the applicant from the obligation to comply with regulations of other State and Federal agencies (e.g., U.S. Fish and Wildlife Service).
Earthworms of Canadian origin do not require a PPQ permit for importation into the Continental U.S., but are subject to inspection at the first port of entry. Canadian earthworms may enter the U.S. with soil as long as they do not originate from the following areas:
Permits are required for the movement of earthworms from Canada to Hawaii, Puerto Rico, U.S. Virgin Islands, and U.S. Territories.
General Information
Importation of powdered, frozen or freeze-dried earthworms, their castings, and related products also require a permit. These products have the same restrictions and requirements as importation of living earthworms.
Once imported, PPQ does not require permits for subsequent distribution of the earthworms throughout the Continental U.S. Permits may be required for the movement of earthworms from the Continental U.S. to Hawaii, Puerto Rico, U.S. Virgin Islands, and the U.S. Territories. In addition, States and Territories may also regulate earthworms under their own statutes so you must also contact the State Department of Agriculture in each State or Territory where you plan to distribute them.
A USDA importation permit does not relieve you of your responsibility to comply with other authorities that may regulate sales and release of earthworms.
Frequently Asked Questions
View a list of the commonly asked questions and concerns associated with the application process for importation of earthworms.


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If this is really Pryor's car—and it sure as hell looks that way—we have ourselves a new nadir of the Buckeye scandal. That it happened at Buckeye Donuts makes it all the more Jamarcus Russell-y. At least Russell had first-round money.
Worry not, though. He has a bunch of other cars.
UPDATE: Reader Michael writes in with a correction—
The recent article you posted about Terrelle Pryor's car being towed should be corrected. There is no actual parking lot for Buckeye Donuts and the picture you show is from the Wendy's parking lot, which is right next to Buckeye Donuts.
First reported by @StrtchizUnusual, image via tipster Kevin.


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Finally prices are dropping.
just got the e-mail , century is selling this month to the dealer price at $599 , price is coming down
Centerfire has them for around the $600 mark also
What I lack in accuracy, I make up for in Volume!!!!
atleast i was able to get my saiga 12 for $450 but $600???
I don't think prices have finished dropping just yet. I sold my saiga, actually both, when prices were going up. I'm hoping the MKA will gain some traction and drop prices back down to reasonable. $500 would be nice. Then I'll jump back in.
Gunshow prices last weekend, S-12s $729-$769.
Saiga .223s $429-$469.
Any Krag $995.
Any Garand $995
SMLEs $250-$550 (more if you're anal-retentive and insist all the parts be present)
Golani Sporters $379 (!)
You have to know what the going prices are for items you want, there are deals to be found at shows but they are few and far between.Gun shows are a huge rip off.
"Government is not the solution to our problem, government is the problem" Ronald Reagan
The sad part is the military style conversion is going to add around $300.00 to the initial
cost + the cost of the gun. It's way to much cost to have a pistol grip & drum on a shotgun. The above is just my option and it's only worth .02* That is if your paying someone to do the conversion.
Last edited by Frogman; 11-13-2011 at 11:05 AM.
"The two enemies of the people are criminals and goverment, so let us tie the second down with the chains of the Constitution so that the second will not become the legal version of the first" ~ Thomas Jefferson
I will just hang onto my $280 Mossburg.


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Gazing Anew at Jugs, Curves and Maps
This is a guest article by Judith Brin Ingber.
Besides the fact that Suzanne Dellal Dance Centre brought together more than 130 international personalities interested in dance Dec. 4-Dec. 8, what I saw brought me to some new thoughts and quandaries.
Of course one person couldn't possibly watch all the dance offerings in large and small spaces (starting in the morning and lasting past midnight), nor could one meet all who came from such far distances. I'm always curious about political perspectives, dance tastes and choreographic motivation, what someone else thinks are the ideal and the practical, plus who executes the choreographic intentions effectively in performance. Some of these concerns I talked about with a dashing woman from a big festival in Eastern Europe, and the gallant, elderly director of a theatre in southern Europe who gave me a picture postcard of his most beautiful 18th century theatre. The comments were far different with a radio personality who spoke Arabic as well as several European tongues, English and Hebrew—she'd grown up in North Africa and fled a hostile situation against Jews when she was young. She was upset and left one of the dances described below; her responses to what she saw were decidedly different than a Broadway dancer I also spoke with who'd graduated to handling a big American university theatre.
Politics come up all the time in Israel, but just this morning in conversation with dance writer Gaby Aldor, she mentioned that politics aren't necessarily a defined political act or obviously from the right or the left– it could be an action of everyday life. But after watching a few of the new performances I wondered about politics from several different points of view: what were the politics of the presenters watching the dances and how might they affect what the international presenters bring to their venues? In fact, the issue of what is overt and what subversive, what is clear to us viewers and what is not became more and more interesting. Obviously political was Arkadi Zaides's 4 Years 4 Projects 40 Minutes presented in one of the Centre's studios. Once an acclaimed Batsheva dancer, he's left behind the demands on an extraordinarily accomplished company dancer for Naharin dances in favor of his own highly individualized post-technique moves. We sat on the floor in front of two large screens. Zaides sat on a chair with a microphone in hand and typed papers he later read from in English. Rather than a live performance we saw a video of Zaides dancing, in regular guy garb, his movements distorted and agonizing to watch. Next to the large screen showing his relentless moves was another showing a loop of video clips he'd chosen from an archive of the Israeli Information Center for Human Rights. Program notes indicated he was strict in choosing only clips "recorded by Palestinians" that "portray Israelis only" seeking, he wrote, to map the movement of the human body in the "local reality of ongoing conflict and emergency in Israel/Palestine." We seemed to be peeping at roadways and some separation barriers or yards with encounters recorded in everyday shots, sometimes parents with children, sometimes religious Jews with soldiers. It was hard to understand what the incidents were about with no context. All the while, on the screen to the right, Zaides's convulsive movements pulled his body askew in disturbing ways. He read a monologue about being a refugee himself and how he was searching for ways of connecting "political and personal spheres." After the presentation, I got to talking to a presenter at Zaides's performance who mentioned his own facial scar from barbed wire. Without asking where was his encounter with the barbs, I knew they weren't from a cattle ranch in the Western U.S. A different presenter had walked out and later told me she didn't agree at all with what Zaides was presenting.
I sat in a much bigger audience for the second afternoon of the Festival in a surprising place. How much of a political act was it that we were bused to a new alternative space outside the Suzanne Dellal Centre for Dance and Theatre? Not as comfortable as their main hall because it's an unheated proscenium theater but it's a daring cooperative venture, controlled by dancer/choreographers within a huge old building known as the "hanger." In one of the Old Jaffa Port's weathered warehouses, it opens out to the sea. Just because I was sitting in the "hanger" I had the odd feeling that a plane might swoop down with the gulls and come right in. But I settled down to watch several dances, and I want to disclose that my politics agreed with those in the dance Bodyland. I was delighted with what Oded Graf and Yossi Berg choreographed, for 5 men including the choreographers plus Soren Linding Urup, Pierre Enaux and Robin Rohrmann. Before they began speaking to the audience (in English) I could imagine from their names in the program that some of the cast were European. By their accents and autobiographical comments, we learned the dancers were Israeli, Danish, French and German. The mélange of comments were put together with movement to humorous as well as physical and political effect.
Yossi Berg and Oded Graf's Bodyland. Photo by Christoffer Askman.
All kinds of unexpected things happened in an almost childlike, nonsensical way: balloons attached to fingers and toes of one of the dancers making an extraordinary, colorful bouquet before rocketing off or an inflated, enormous Mylar arm shape joined by a gargantuan inflated pair of silvery hands (designed by Sille Dons Heltoft) engulfing the dancers. The first performer came onto the stage in gym shorts, t-shirt and silver high-tops. He started a cumulative movement routine about body parts, talking and pointing out "heart, brain, butt" with comments, some morphing into self-deprecation. Some Jewish audience members could personally relate to his aside "I hear my nose is too long." Eventually four men in their work-out shorts and gym shoes join him in jumping rope, a sequence as staggering a show stopper as 32 whipping fouette turns from Swan Lake. Flawlessly they jumped and jumped, their ropes beating an unceasing rhythm before beginning to talk in their different accents—the Frenchman saying as he pulls up his shirt, "This is the welcoming face of France," then pointing to one of his nipples reporting "this is my home town." The audience laughed from the unexpected comments. The Dane explained where is Copenhagen as if his bare torso also was the map of his country. Movements accompanied the repartee with a remark that "Since the creation of the European Union it has become very flexible." The commentary got a little more provocative and cutting as the two Israelis indicated on their bodies how enmeshed is the map here, including a certain male part to stand for the territories. True invention ran amuck as one explained where is there a bakery and where is the Western Wall, while one mooned the audience. Legs and body parts entangled with outstretched arms evolving into an obvious reference to the sacrifice of Jesus. Through daring, physical originality we then witnessed a recapitulation of the original body parts: "butt, brain, heart, cheek." Now however, we saw them as locations in a "bodyland" map that had taken us on a journey we could not have imagined.
Dancers at the second Dalia Festival. As pictured on page 111 of pictured in Judith Brin Ingber's book Seeing Israeli and Jewish Dance.
The Festival showed so many different solos and group pieces by women and about women that it caused me to think about womanhood anew. It used to be in the 1920s and 1930s and even in early days of new Israel in the early 1950s through the early 1960s, decorative arts and dances showed young women with jugs on their heads or held on their hips. The jugs tied to ancient Biblical stories of matriarchs at the well, and symbolized renewed Jewish life on the land. (These thoughts were crystalized for me when visiting a recent Haaretz Museum exhibition on jugs and young women.) Classic Israeli dance choreographers like Yardena Cohen and Sara Levi-Tanai plus countless folk dance creators evoked these thoughts too. Nowadays however that image of an Israeli woman no longer fits. Instead the dances are posing questions about what are the expected and unexpected roles for women, and how do choreographers approach femininity and feminism? Many dances we saw dealt with different phases and ages of women. I report below on a few that struck me.
Anat Grigorio's Mr. Nice Guy. Photo by Gadi Dagon.
I was instantly caught up in the solo called Mr. Nice Guy by the outstanding dancer/choreographer Anat Grigorio. It graphically or should I say choreographically and performatively dealt with the politics of The Male Gaze as it's come to be known. What is the effect of the male looking at the woman and objectifying her? In this case, we in the audience are captivated watching Grigorio dancing in her chic, black, backless short dress, sometimes covered with a lush leopard coat. She tries over and over to physically answer the demands of a guy for whom she's apparently auditioning. With no set to soften what we see and no music to distract us from the voice, we watch Grigorio trying to please the demanding voice. She changes her body and her dance to fit his directions. His disembodied cloying voice is relentlessly demanding and asks what seem to be impossible moves and positions. Amazingly, she succeeds as she's led into faster and faster executions of more and more grueling shapes and phrases. We cheered for her at the end for two-fold reasons: to buck up the maligned and underappreciated woman we had seen auditioning and also to cheer the superb dancer that is Grigorio who has such pizzazz and an extraordinary technical facility.
A different view of women altogether but still related to the Male Gaze was Michal Herman's Plan B. It began with two women also on a bare stage—Herman and Inbal Shahar. They were perfectly dressed and coifed as old fashioned stewardesses in high heels in belted and elegant suits (was that in the 1950s or 1960s that women looked like that?). They showed us exits with the conventional stretching out of arms and pointed figures to direct our gaze. These gestures were also to a voice over, but it turns out the directions were not for exits in an airplane, but for the theatre where we were seated. Suddenly there was a black out and when the lights returned, we were presented with the Present. The stewardesses were now two young women dressing as modern dancers, the audience laughing at their transformation from elegance to rags as they pulled on leg warmers and stretched t-shirts, so different from their previously perfect lady-like looks. We watch them effortlessly fulfilling the directions of the teacher-director-male voice, "improvising" he says. The demanding voice causes them to show familiar movements necessary to master in dance today, aping contemporary class movements (even images that come out of Gaga classes, in fashion today). They seemed to be showing us pages from a current dance manual. Through wit, clever costuming and moves, we watched how young women are expected to look and move, transported through a portal of time from past to present in a satiric, very successful piece.
Many dances showed the difficulties and challenges that could arise as time goes by in a woman's life. These might include: does she accept herself? Will someone else accept her? What might have been true in other eras? What is true for her in the moment? In Yasmeen Godder's See Her Change a figure is set apart as she ages. Or, is she questioning how to accept her aging body in her dance profession? Three dancers — Dalia Chaimsky, Shuli Enosh and Yasmeen Godder –- performed on a messy stage littered with costume pieces, a dressing table and a patchwork of ideas, the sections, seemingly casually presented. There was strutting in high heels, then shuffling in clogs, coffee cup in hand, changes of clothing topped off with wigs, or not, boas and pieces of clothing off and then on, hung up on the stage curtains, or not. A child's voice is heard saying "mama, mama" but the lead character is too distracted to respond; instead there are silent screams, chocking gestures and many repeated movements pulling scraggily hair unhappily across the face.
Instead of obscuring the face, obscuring the hair was the subject of a more modest piece, Hat with a Feather choreographed by Tami Izhaki for the all-women Nehara Dance Company shown in one of the studios. I was fascinated with its originality and have been pondering a situation it portrays for observant Jewish women. We are introduced to four young women and one older in demure pastel colored pantaloons or dresses. Two primly walk next to each other and we realize their braids are attached as if they are Siamese twins. Their movements are therefore circumscribed, one skirting only just so far around the other, their heads held just so. Another young woman perches mermaid-like on the floor, trying to rise but as she moves, we notice her big toe is entangled in the end of her incredibly long braid. Her foot jerks her head backwards menacingly whenever she tries moving, her extremely arched backward position a marvel. The demands of her hair stretch her head towards her foot in painful-looking pulls. A mother figure arrives, seemingly to straighten things out, first flicking off some awful sounding music, and corralling the young women. She matter-of-factly demonstrates how to properly adjust a long scarf over one's hair to conceal all of it as required by strict Jewish code once a woman marries. On the one hand she frees the braid from the young woman's foot, but the freedom is circumspect. Another young woman struggles and is tamed through the reins of convention and traditional expectations. She is finally crowned; the hat with the feather ending the moves for self-sufficiency and bringing modesty. In truth, the five accomplished dancers practice traditional Judaism exploring through their dancing some of the challenges of their observance. The Hat with a Feather serves them well.
Much more menacing was Cassandra, the duet by Ronit Ziv, based on Aeschylus' texts about Cassandra's power of prophecy cursed by disbelief from others. The paradox begins when we confront two dancers standing with their backs to us. We assume they are naked on top with their bare torsos, their flowing skirts incongruous in their fullness. When Gefen Liberman and Sofia Krantz turn, however, their nipples are taped over with wide black swatches. It was a hideously disturbing look throughout as I watched their torsos freed of clothing yet marked with the terrible tape. Even though their torso movements were so articulate, they were stifled and marked. The two moved often in unison leading me to believe they were two sides of one, reaching one way and the other in their yearning madness –huge reaches of limbs whether stretching in their uprightness or pulling on the ground in one direction and then another. Are we watching something of the dark and painful state, maybe even a feminine flaw dealing with uncomprehending, authority figures who ignore and refuse to accept what is present, never mind what might happen in the future?
Other dances were also disturbing and unsettling on the same subject of womanhood. Atom by Oded Zadok and Kazuyo Shionoiri with animation by Neta Canfi was enhanced by extraordinary shadow puppetry enacted by the two choreographers. But it was a cruel depiction of a submissive wife who never figures out an alternative to her doomed life. All we watch happened to her in her kitchen and bedroom. In Ich Bin Du by Ella Ben-Aharon and Edo Ceder, the two choreographer/dancers sometimes showed a Madonna figure that was needed but repulsive. Aging was also the thrust of two pas de deux in a collaboration between Ido Tadmor for himself and Elwira Piorun. Danielle Agami's Shula danced by women in the Batsheva Ensemble remains a fascinating piece in my memory. Young women making a real salad, and serving dinner for each other, carrying on with life as they straighten enormous upturned structures that transform into tables and chairs, literally straightened things out for one in their social group. Another voice over in English harasses a young woman listening on the phone to her supposed lover's sarcastic, cruel remarks: "Call me in April to remind me of your birthday in May" he says. Her apt moves with dismissive flicking legs, or crashing off upended benches and crawling into others showed her state of mind. The young women help each other in understated moves that literally still carried weight and showed us they would manage, unlike some of the other women characters we had seen in other dances.
I began to wonder why were there so many dances with male voice-overs? And why were the voice-overs in English? I asked one of the choreographers if there were versions in Hebrew for Israeli audiences. "No," he slowly said, surprised, "Dance is so international and performers come from all over to work in Israel, so English suffices for all of us from all over, and besides, audiences here, too, all understand English." Is that a political statement, I wondered? Who in Israeli audiences is left out from fully understanding the layers of a dance if the language projected is English? Does it also represent something of the invasive style of America and her expectations? I couldn't get away from the feeling the sound scores were created with foreign audiences in mind, ready for tours abroad.
I don't remember voice in the sound score created by choreographers Inbal Pinto and Avshalom Pollak's for their group dance Dust performed by their company of eleven on opening night of the festival. It wasn't outwardly political, nor about the plight of women, filled with the choreographers' signature plethora of imaginative images. Real dust invades everything on earth, so perhaps they thought that justified the endless unearthly images? The set was enchanting with a door upstage that opened to let in a flood of dust motes like children in odd school uniforms of white caps and white knee-length gowns. These unruly children in their classroom sat at their desks, a stymied teacher barely managing in stuttering steps, often crossing the room to no effect. The desks collapsed with odd legs, others were up-ended and transformed into spinning flip books of animated images; others were projected on the upstage wall (by Roni Fahima and Shimrit Elkanati). Through the door odd characters emerged, a boneless figure oozing to the floor and canes of the blind tapping as many pushed in through the classroom door. The canes became lines of structures and suddenly we saw a construction, a house, invaded by the children/dust. Whether seen or not, the ubiquitous dust motes in the hands of Pinto and Pollak took over all the space in an orchestra of originality.
After watching so many dances, another set that stood out was the askew playground in Nadar Rosano's Asphalt, a broken down bench and slide inhibiting the dancers' freedom and possibilities. Another set piece was a bird's nest in Idan Cohen's Songs of a Wayfarer to Gustav Mahler's music of the same name. It became a surprising mask, blinding the solo dancer in a evocative piece that connected the choreographer to his European-born grandmother, who suffered from the Holocaust despite a life of freedom afterwards in Israel. Rami Be'er's Undividided Void for his Kibbutz Contemporary Dance Company had a monumental set for his evening length piece featuring a sensual figure (Renana Randy) sought after by all the men—in a beige leotard she was sometimes seen in a raised space outlined by a metal frame upstage—showing off parts of her sinewy torso undulating in alluring ways; at first there was one wooden panel also placed upstage, opposite the screen. I misunderstood it to be an empty bookshelf, as if culture and history were missing in the rush of movement and aggression. The sensual figure came down off her pedestal, out of the shadow box even becoming a regular figure in the crowd. Sometimes however she was threatened and sometimes she was danced with lovingly—was she the old sides of the desired but the object to discard? Or just a part of all of us? Whatever the murky meaning to her, the oddest part of the dance to me remains the set. More and more wooden sections were brought in by stagehands during the evening, standing them contiguously, upright along the perimeter of the stage. The wooden panels did add a warmth and a sheen as the stage lights bounced off the wood.
One could never level triteness as a criticism of the dances presented at the Festival, but repeated movements did cause visual fatigue. Of course there are arabesques, turns and deep knee bends in many dances, but when a gesture seems specific but then pops up in many dances, it loses its punch. Unfortunately the sequential bending backwards requiring virtuosic control by the dancer became a matter-of-fact accomplishment as did a sudden swirling to the floor in sudden dramatic falls. Nonetheless, profound originality in a myriad of dances (often dealing with womanhood, the politics of place and coping with everyday living) confronted me in so many of the dances. Based on my impressions and what I've tried to describe of the extraordinary International Exposure 2013, the foreign presenters who came to Suzanne Dellal Centre for Dance the Theatre have provocative and thrilling choices for their audiences world wide.
Judith Brin Ingber lives in Minnesota but returns often to Israel to teach dance history and to catch up on dance performances. She lived in Israel from 1972-1977 teaching apprentices for the Bat Dor and Batsheva Dance Companies. She also choreographed a program for young audiences for Batsheva, assisted Sara Levi-Tanai at Inbal Dance Theater, and co-founded the first dance magazine with Giora Manor called The Israel Dance Annual. Her recent book, Seeing Israeli and Jewish Dance, was published by Wayne State University Press.
2 comments
Anat Grigorio is such an amazing and talented dancer, I always enjoy watching her perform, love Sharon!
I'm big fun of Anat Grigorio. She is great dancer & choreographer.


text:
LR/PS - Making a Movie in Photoshop Extended (Part 1)
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[♪music♪] [Adobe TV Presents] The Complete Picture by Julieanne Kost] Hi, and welcome the this episode of the Complete Picture. Today we're going to be preparing some images to take into Photoshop in order to make a movie using Photoshop CS4 Extended. So I'll begin here in Lightroom, and what I have here is a sequence of images. Basically, I just set up the camera on a tripod, and I have an intervalometer and I just asked it or programmed it to take a picture every some number of seconds. So if we move through these images, you can see, just using my right arrow key, that in each image a little bit is changing. Obviously, the buildings aren't, but all the boats in the Hong Kong harbor are. So what I would like to do is, I would like to make some adjustments to these images. and then. obviously, I don't want to make an adjustment to every single image, so I'll make an adjustment to one using Lightroom and then apply those adjustments across the all of the rest of the images. So let's begin with the first image, here. I'm going to pop over into the develop module. Now, ultimately, in Photoshop when I make this time-lapse animation, what I want to do is I actually get kind of a selective focus so that these images look like they are models that are really small in the harbor. There's a number of ways you can do that. I guess the most common way to do it would be to add selective focus and also highly saturate the original images. You want to add contrast to them in saturation because if you think about it, if we were actually photographing models they would be very small, which is great because we have this nice vantage point of up high looking down into the harbor, and then it would also be painted so they would probably be not quite as realistic as real life. They would be more saturated, and you would be able to tell they're models. That's the typical thing you would do, but I want to actually do something a little bit different. First of all, I'm going to crop my image because I just think it's too big. There's too much going on, so I'm going to tap the R key. The R key in Lightroom, of course, gives me the crop tool. And I know this isn't a typical video aspect ratio, but I'm simply going to crop this to be square, right? Because there's nothing that says it absolutely has to fit in a certain layout. So, I'm just going to reposition the crop right about here. Yep, I like that. I want to make sure that I include the building here, and then I'll tap the enter or the return key in order to apply that crop. Now, I probably also want to make some other changes, so let's take a look at my basic panel. I might want to increase the exposure just a little bit because I'm also going to increase the blacks. You can see my histogram there. I didn't have any information down there in my shadows, so I'm definitely going to increase the blacks, and that's going to help, also, to kind of pop the image and give it more contrast. I can also move down and give it more contrast if I want to. Again, this would be kind of more along the lines of what I would do if I wanted this to look like a model and wanted to saturate those colors and increase that saturation and contrast. But in this case, I'm actually going to take the image to gray-scale, so I'm going to tap the V key. V as in Vlack and Vhite, we say. So that will be our gray-scale image. Now what I want to do is I want to add some little overlays. You'll notice when I did take it to black and white it got a little bit too dark, so let's just back off a wee bit on the blacks there and maybe even a wee bit on the brightness, as well. Okay, so adding our overlays, I'm going to click right here on the graduated filter, and the first one that I'm going to add is actually going to be a color overlay. So I'll go ahead and select the color swatch here. Just clicking on it, then you can see I can just reposition to add any color overlay I want. And what I would like is kind of an aqua color, so maybe somewhere around-- I don't know--let's try it there, because remember, because this is nondestructive, I can always come back and edit that. So I'll go ahead and click down here at the bottom of my image. I'm not going to click straight up into my image because what that does is basically it just draws your eyes straight from the bottom into the top. I'm actually going to drag it at a little bit of an angle because I also know that later on in Photoshop, I'm going to be blurring this lower area down here, as well as these buildings back here in the background. So it did add my color overlay, but unfortunately it also added-- I didn't notice that my exposure was set to negative. So what I'm going to do is just double-click on the word exposure so that now my exposure isn't changing, just the color is. And I can tell that it is actually quite heavy, so let's go ahead and click that blue swatch again. What I'd like to do is really decrease the percentage here. I can either do that by dragging, or I can go ahead and use my saturation slider right down here. So, I don't know, maybe around 20 or 25 percent. That's looking better. Let's just scoot that over a little bit to the right. I kind of want it a little bit more getting out of the aqua and more into the sky blue. Okay, great. So I like that. Obviously, I can rotate it, the graduated filter, by clicking and dragging on this middle line right here. I could change the location of it or increase the gradient of the graduated filter by clicking on one of the in-line, or I can click on the point here and actually move it into my image. But I'm going to leave it maybe right about there for now. The great thing, of course, is that I can always return to this later because it's a nondestructive edit. All right, now I want to add my second gradient, so let's click the new button right here. And I'm going to double-click exposure to get rid of any change of exposure. And let's go ahead and just drag it. I'm going to drag from the upper left down into the image, but this time, obviously, I don't want it the same color, so we'll click on the color swatch. And I'd rather have kind of a yellow color here, so let's go ahead and move this over maybe right about there. That's looking pretty good. Then I'll just reposition that. I want that to come down further into my image. I don't want it to be quite as much of an angle. Okay, excellent. So let's go ahead and get off that tool, and let's see how that looks. So that's looking fairly decent to me. I also do want to add a vignette, though. So we'll scroll down here in my panel, and let's just add a post-crop vignette. There we go. Great. All right. So let's say that I made all the changes that I wanted to make. Now what do I do to apply these changes to all the rest of the images? Because, look at this, I've got a ton of images down here in my film strip. So the easiest thing to do is simply select all of those images, and then come over here and click on the sync button. I want to go ahead and synchronize everything because I don't need to go in an turn certain ones on and off. What I did to the first one I want to apply to all the rest of them. So we'll just click synchronize, and that's synchronizing those settings. So whatever I apply to the first one, you can see is now being applied to all of the rest of the images. Perfect. That's exactly what I want. Now that they're prepared as far as the color and tonality goes, I now need to export these images so that Photoshop can use them--can pick them up and use them as a sequence. The key here is that when you export, you've got to export these as a sequence, a numeric sequence, like 01, 02, 03. Obviously, because I have over a hundred of these, I'm going to need to make it a 3-digit sequence. So let's go ahead and click on the export button. All of my images were selected, and I know that because, well, I just synchronized them and also it says up here, "Exported 157 images." And let's go ahead and export these to a specific folder. We'll go ahead and go to the desktop and we'll make a new folder and this will be called export. And inside of there, when I click choose, I will put these exported images in the subfolder called Hong Kong. I don't really need to add them back to the catalog because I'm not going to do anything with them again in Lightroom. I'm kind of moving forward from Lightroom to Photoshop, and then I'll export my movie from there. As far as file naming goes, I have a custom sequence here, and what I've done is basically I went into edit and I just added custom text and then an underscore and then a sequence. So that's all I'm doing here, and I'm going to put in as my custom text Hong Kong. It's up to you whether or not you want to put a space in between those. A lot of people put an underscore; whatever you feel comfortable with. I'm going to go ahead and just put them next to each other then I'll put an underscore and that will go ahead and put the underscore between the numeric value in the sequence. All right. Up to you whether or not you want to export these as JPEG files or as Photoshop files or as TIFF files. In this case, I'm going to export them as PSD files. There's a reason for that, but we'll get into that when we go over to Photoshop. If you want to, you can export them as JPEG files. I just don't want to recompress them . I don't need them as 16-bit, so 8-bit is going to be just fine. I'll go ahead and resize these to fit. In this case, I cropped them square anyway, so it doesn't matter. So it will be short edge or long edge will be 500 pixels. I'm going to sharpen them from the screen, and afterwards I'm not going to do anything. So, let's go ahead and export these images. All right. Now that they've exported, I'm going to move over to Photoshop. And here is the key to this, because I know what's going to happen. You're going to want to open these using Bridge or something, but don't do it. You have to use Photoshop's file menu, and you have to select file open because we need this open dialog box. Let's go ahead and move to the desktop to export. There's my folder filled with all of my Photoshop documents. You can see they are numerically sequenced. They have to be. There can't be any gaps in those sequences or this won't work. And look what happens when I select the first one. Down here in the lower left, see where it says image sequence? You need to check that on. But don't be fooled. If you try to select all of your images over here, image sequence goes away. So just select the first image in your sequence, click on image sequence, and then choose open. Photoshop is going to ask you for a frame rate. In this case, I don't want 30 frames per second because I that's going to go so fast and it's going to make the image look so jerky that I'm going to decrease this down to six. So I just type that in because you can't actually select that from the list here, so just type in whatever frame rate you want and then click okay. And what happens? Photoshop recognizes that time lapse as a sequence. That sequential file format gave it that hint that it needed, and it's created a movie layer in the layers panel. Now, this is Photoshop CS4 extended. You need to have extended in order to make this work. And you can see down here I've got my timeline showing, which I did by just selecting the animation panel underneath the window. And if I click on the play button, we can see this animation or this time lapse play. So that is how easy it is to create a movie from a time lapse sequence, making all the adjustments that you want to. Oh, we can see here that it's at night. Hmm, it seems a little bit dark. I wonder if there's a way we can fix that? Well, in fact, there is a way that we can fix that, and we will be doing that in the next episode. So, thank you very much for joining me. I hope you'll join me next time when we fix and we make different changes to different areas of this image and also add this lens blur, which will make it look like a little miniaturized movie that was shot with a tilt-shift lens. So until then, enjoy, and I hope you'll join me again next time on The Complete Picture. [♪music♪] [Executive Producer, Bob Denton; Producer, Karl Miller] [Director, Kush Amerasinghe; Post-Production, Jake Wiens] [Adobe TV Productions]
Video Details
Duration: 12 minutes and 10 seconds
Language: English
License: All rights reserved
Genre: None
Views: 77
Posted by: adobetv on Oct 7, 2010
In this episode of The Complete Picture, Julieanne Kost shows you how to create a video file using an image sequence in Adobe CS4 Photoshop Extended.
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text: probain was the first to submit news that Crytek has officially announced the port of their CRYENGINE game engine to Linux and will be demoing it at the Game Developers Conference next week. Quoting:"During presentations and hands-on demos at Crytek's GDC booth, attendees can see for the first time ever full native Linux support in the new CRYENGINE. The CRYENGINE all-in-one game engine is also updated with the innovative features used to recreate the stunning Roman Empire seen in Ryse including the brand new Physically Based Shading render pipeline, which uses real-world physics simulation to create amazingly realistic lighting and materials in CRYENGINE games."


text: VMware has an ongoing commitment to help our customers and partners transform their businesses. Through strategic acquisitions, we can expand and enchance our product lines to offer full suites of products that deliver a more dynamic, scalable, integrated and efficient architecture. With less time and money spent integrating, running, and supporting underlying IT infrastructures, customers can focus on efforts that yield greater business and competitive value. Our continued innovation lets us deliver what our customers want while creating value for our shareholders.


text:
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Photo Credit: Amy Dumas' picture is courtesy of WallpaperBase. Photographic illustrations of Amy Dumas are copyright © by their respective holders. The images are published with permission or as allowed by the copyright law's fair use or quotation provisions. If any copyright holder objects to an image being included, please notify us and it will be removed immediately.
Disclaimer: This information about Amy Dumas is derived from astrological interpretation of Amy Dumas' date, time, and place of birth.


text: The IIHF Ice Hockey World Championship is the biggest annual winter sports event worldwide.In 2013, 16 teams will play in two preliminary round groups with eight teams in each, using the IIHF World Ranking for seeding. This means that each team will play seven preliminary round games against beforehand known opposition. The dates of the tournament are 3-19 May. Preliminary rounds will be played in Stockholm (Sweden) and Helsinki (Finland).The top four teams in each preliminary round group will advance to the quarterfinals. For more information about the format click here.The total number of games played in 2013 IIHF Ice Hockey World Championship will be 64. The two top teams will have to play ten games to reach the final.


text:
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We can set up a new website for you or fix up your old one. We take care of the design, hosting, and we do your updates for you year-round.


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text:
Chandler City Hall
Developer: City of Chandler
Contractor: Sundt Construction
Architect: SmithGroup
Size: 125,000 SF
Location: 175 S. Arizona Ave., Chandler
Completed: October 2010
Chandler City Hall is a low-to-mid-rise complex consisting of administrative offices, a public TV studio and Council Chambers. City Hall is a modern, efficient and environmentally appropriate building. The complex is designed with open space and shaded walkways. Flexibility within the building allows for change as both the community and the city's technological needs evolve. The space within the building is multi-functional, able to accommodate individuals, small social groups and large gatherings. Space also includes bicycle storage and changing rooms. Above all, the new Chandler City Hall is not just another office building. It creates a sense of place and identity, giving the residents of Chandler a destination that serves as the city's new community center.
Honorable Mention: Mercy Medical Commons
Developer: Irgens Development Partners
Contractor: Okland Construction
Architect: Architectural Nexus
Broker: Grubb & Ellis
Size: 47,000 SF
Location: 3645 S. Rome St., Gilbert
Completed: September 2010


text:
Cardiff's dossier to the Football Association was not deliberately timed to have any effect on Malky Mackay's candidacy for the Crystal Palace job, Press Association Sport understands.
The Daily Mail has reported that the document contains allegations of racist, sexist and homophobic text messages and Mackay now looks to be out of the running to succeed Tony Pulis at Palace.
The Welsh club have sent a report to the Football Association detailing a number of issues related to when former manager Mackay and Iain Moody, the Bluebirds' former head of recruitment, were at Cardiff.
Malky Mackay is the subject of an FA investigation
Moody resigned as Palace sporting director on Thursday as the FA revealed it was investigating allegations of misconduct during his time at Cardiff.
Press Association Sport understands the dossier was filed more than a week ago and its timing had nothing to do with Mackay being strongly linked with the Palace job.
Cardiff owner Vincent Tan sacked Mackay in December 2013, just a few months after the Scot had ended the Bluebirds' 51-year wait for top-flight football.
Two months earlier Moody had been placed on gardening leave before being subsequently dismissed.
Mackay launched a £7.5million legal claim against Tan for compensation and wrongful dismissal after his sacking but suddenly dropped the claim in May and issued an apology to the Malaysian businessman.
Cardiff have declined to make any public comment on the dossier and the matter is now in the hands of the football authorities.
An FA spokesman said: "The FA can confirm it is currently investigating this matter."
Kick It Out chairman Lord Herman Ouseley believes it is vital that, in cases where wrongdoing is proven, those involved in the game should not be able to excuse themselves by pointing to the fact that their comments or actions were not intended for public consumption.
Ouseley said football continued to be "tainted" with discrimination and that "the football establishment knows and condones it".
He also said that when private exchanges become public knowledge that "the individuals concerned must accept the full consequences of their actions".
He added: "What you see at face value is not always reflective of the attitudes which are actually held deep down. It's easy to present yourself as being reasonable and fair, and to behave in ways that hide prejudice and bias.
"However, any in-depth forensic examination or analysis of hidden views would be likely to reveal otherwise. That is what makes it difficult to eliminate and eradicate such prejudices, bigotry and even hatred.
"The governing bodies and the clubs must denounce such attitudes prevalent in the game, and take the appropriate action."
Tim Hartley, chairman of the Cardiff City Supporters' Trust, said: "The Trust condemns without reservation any racist, homophobic and sexist comments whenever and wherever they are made.
"We are not privileged to the details of the dossier concerning alleged comments made by our former manager Malky Mackay.
"The Football Association has been sent documents by the club and we await the outcome of any investigation. It would be wrong of us to speculate further at this stage without any detailed information being made available."
Moody followed Mackay to Cardiff from Watford following the Scot's appointment in the summer of 2011.
Moody had worked as a football writer and agent before joining the Watford press office. He later became head of football operations at the Hertfordshire club.
Earlier this week Palace were fined by the Premier League for their part in the 'spygate' saga involving Cardiff last April.
The Premier League determined that Palace had breached its 'good faith' rule – B16 – by obtaining information about Cardiff's team ahead of their 3-0 win when the two clubs were relegation rivals.
The Welsh club had complained to the Premier League that Moody had contacted Cardiff employees for information in the build-up to the game, an accusation Moody denied.
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text:
aumair wrote:elvis wrote:Hello all
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5 euro:
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- Netherlands P/P006 UNC
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10 euro:
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20 euro:
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Interested in swap for UNC banknotes of Pakistan Rupees ??
No, Thank you. I only collect eurobanknotes..


text:
FASD is a broad term to describe a range of growth, behavioural and central nervous system abnormalities caused by exposure of the developing fetus to alcohol during pregnancy.
Professor Elliott has undertaken extensive research in the area and her data played an important role informing the work of a House of Representatives Committee Inquiry into FASD.
The result of the committee work has seen the release of a new Commonwealth Action Plan which will focus on FASD research and prevention, tackle alcohol abuse and keep woman and children safer.
Speaking at the launch of the plan, Professor Elliott said for paediatricians, FASDs are amongst the most frustrating and distressing of all conditions they have to deal with.
"Frustrating, because they are potentially preventable – if only women could avoid alcohol during pregnancy. Distressing, because alcohol consumed during pregnancy is toxic to the rapidly growing brain and other organs," she said.
"Alcohol is a problem throughout Australian society but, unlike us, the fetus has no say in the debate.
"We know from our research that many Australian women drink alcohol during pregnancy and many turn to alcohol to deal with the stresses in their lives, not knowing it may harm their unborn child.
"But we also know that early diagnosis can prevent the secondary problems seen in adults – problems with mental health, crime, substance abuse and unemployment – and that appropriate care enables adults with FASD to contribute usefully to society.
"Rates of FASD are particularly high in some remote Aboriginal and Torres Strait Islander communities where alcohol has decimated the community over decades, and has had added implications for a people who have an oral culture.
"The Minister's announcement is most welcome. Prevention is the future and we desperately need the proposed public education, prevention programs and evidence-based treatment for women who are alcohol dependent.
"We urgently need tools, training and facilities to enable health professionals to diagnose and manage FASD and we particularly need to assist Aboriginal communities."
Announcing the plan, Minister for Mental Health and Ageing Jacinta Collins said the goal was to prevent and manage the impact of FASD on Australian children and families.
"FASD is an entirely preventable condition, and we need to take strong action on this critical issue for many Australian families," Minister Collins said.
"Our action plan will continue efforts to improve the diagnosis of FASD which will help support those affected."
The Action Plan has five key priority areas:
- enhancing efforts to prevent FASD in the community
- secondary prevention targeting women with alcohol dependency
- better diagnosis and management of FASD
- targeted measures to prevent and manage FASD within Indigenous communities and families in areas of social disadvantage
- national coordination, research and workforce support.
Media enquiries: Rachel Gleeson, 02 9351 4630, 0481 004 782, [email protected]


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New York City
|New York City
|United States
|New York
|Area (sq mi)
|Population density (/sq mi)
|Current mayor
|Bill de Blasio
|New Yorker
New York City, officially the City of New York, is a city and metropolis in the state of New York, located on the East coast of the United States of America. New York City is known best for the New York Stock Exchange and financial district, its liberal media, its liberal Broadway shows, and its high cost of living. Shows broadcast from New York City include The Tonight Show Starring Jimmy Fallon, The Late Show with Stephen Colbert, Saturday Night Live and Fox News; New York City is also where the major networks grew in influence: ABC, CBS and NBC.
With a population of 19 million in the three-state metropolitan area (and 8,140,000 in the city as in 2005), it is the most populous urban area in the United States. The city is divided into five different counties, called boroughs. Manhattan is the financial, commercial, and tourist center. Brooklyn is the most populous of the boroughs, and suburban Queens is the largest in area. The other two boroughs are The Bronx, a downscale residential area, and suburban Staten Island. The modern city was formed in 1898 through a merger of the original New York City with Brooklyn.New York City is the cultural capital of the world; it has global importance in fashion, finance, news, diplomacy, education, medicine and arts. The city is a world-class tourist destination. It contains many landmarks, including the Statue of Liberty, Wall Street, in Lower Manhattan, and many others. The city (along with its #2 rival Chicago) invented the skyscraper, and still has some of the tallest buildings in the world, like Empire State Building; the original World Trade Center towers were destroyed by Islamic terrorists in the September 11, 2001 attacks.
New York owes its success to its status as the major hub of world transportation by air and water. It grew because it has one of the world's finest natural harbors. It is ice-free year-round and deep enough to enable large ships to reach its piers regardless of the tide. The Port Authority of New York and New Jersey was established in 1921 by the two states in order to administer jointly the shared waterfront. Most traffic is now handled through containers. Three major airports serve the city: John F. Kennedy International Airport (for international travel) and La Guardia Airport (for domestic travel), as well as nearby Newark International Airport. All three airports are operated by the Port Authority, which also operates certain bridges, tunnels and subway lines that connect New York and New Jersey.
When Hurricane Irene was headed for the city in August 2011 following a harsh winter, the MTA (Metropolitan Transportation Authority) shut down all its commuter rail, subway and buses. This move was criticized by some as excessively cautious.
The first Dutch settlers arrived on Manhattan in 1624, naming the town New Amsterdam. Indian claims were bought out for the equivalent of $24. The Dutch sent settlers up the Hudson River (which is easily navigable by sailing vessels) to Albany. The Dutch colony, named New Amsterdam, was run in autocratic fashion by Governor Peter Stuyvesant. It soon had a cosmopolitan flavor, with freedom of religion and numerous ethnic and religious groups; the Dutch brought slaves as house servants.[2] The city was captured in war by the British in 1664; they renamed both the city and the colony for the Duke of York (who later became King James II).
The use of Ellis Island as the checkpoint for millions of European immigrants in the late 19th Century caused New York City's population to swell, as many settled in the city.
New York City is historically considered a liberal city, with the majority of the population voting Democrat. However, the mayor has recently been Republican, in the case of Rudy Giuliani or independent in the case of the liberal Michael Bloomberg. In November 2013, liberal Democrat Bill de Blasio was elected mayor and despite his anti-law enforcement rhetoric and liberal socialistic policies, was re-elected in November 2017. Fox News Channel is based there in Manhattan. Of the 13 congressional districts that include parts of New York City, only one is represented by a Republican (Daniel M. Donovan, Jr. of Staten Island).
New York City has strict gun control laws and although non-lethal self-defense sprays are sold in some pharmacies and sporting goods stores in the city since they weren't legal for civilians in the state until 1996, different answers are given to callers at different police precincts in the city as to whether or not civilians can actually carry and use them for their own protection.[Citation Needed]
New York City is home to top-notch museums in art, architecture, photography, natural history, television, radio and technology, like: The Metropolitan Museum of Art, Solomon R. Guggenheim Museum, The Frick Collection, the National Design Museum, the Museum of Natural History, and the National Academy Museum and School of Fine Arts.[3]
Featured cultural sites are:
•Lincoln Center for the Performing Arts
•Carnegie Hall
•Radio City Music Hall
•Hayden Planetarium
•New York Aquarium
•The Morgan Library
•New York Public Library
•Rose Center for Earth and Space
•International Center of Photography
•Empire State Building Lobby Gallery
•Museum of Biblical Art
•Staten Island Institute of Arts & Sciences
•Center for Architecture
•Studio Museum in Harlem
Each of New York City's boroughs is coterminous with a county in the State of New York. The five boroughs are:
- Manhattan (New York County)
- Brooklyn (Kings County)
- Queens (Queens County)
- The Bronx (Bronx County)
- Staten Island (Richmond County)
Each borough elects its own borough President and district attorney. Unlike the London boroughs, the boroughs of New York City do not operate as local governments. All of the non-Manhattan boroughs are sometimes referred to collectively as "the outer boroughs" as they are arranged in a sort of semicircle around Manhattan. Each borough has its own court system, and two boroughs have separate public library systems.
Many places have been proposed as "Sixth Boroughs," which can carry a different meaning depending on who is asked. Some areas often cited as "Sixth Boroughs" include:
- Hudson County, New Jersey
- Nassau County, Long Island, New York
- Westchester County, New York
- Newark, New Jersey
- Philadelphia, Pennsylvania
See also
- J. Wilbur Chapman
- Jacob Javits
- Fiorello La Guardia
- John V. Lindsay
- Nelson Rockefeller
- Art cities
- New York Yankees
External links
- Museum of American Financial History.
- The Met.
- A Walking Tour of Rockefeller Center's Public Art.
Further reading
- Burrows, Edwin G., and Mike Wallace. Gotham: A History of New York City to 1898 (2000) excerpt and text search, the best history; Pulitzer prize
- Caro, Robert. The Power Broker: Robert Moses and the Fall of New York. (1973) excerpt and text search
- Jackson, Kenneth, ed. The Encyclopedia of New York City (1995), the best reference book; 1350pp; excerpt and text search
- Jackson, Kenneth and Sam Roberts, eds. The Almanac of New York City (2008)
- Kessner, Thomas. Fiorello H. LaGuardia and the Making of Modern New York (1989) the most detailed standard scholarly biography
- Slayton, Robert A. Empire Statesman: The Rise and Redemption of Al Smith, (2001), 480pp, the standard scholarly biography; excerpt and text search
- ↑ (1922) World Almanac and Book of Facts for 1923, series: World Almanac and Book of Facts (in English). New York: Press Pub Co. (The New York World), 63. Rounded down toward zero.
- ↑ Slavery was finally abolished in 1799.
- ↑ Museums in New York City


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text:
A question I field quite often is how and when should an amateur take dead aim at pins during the play of a normal round of golf. The answer to this question depends on several factors, but ultimately boils down to if the shot presented is a really good opportunity to take dead aim as well as if the situation is worth the risk, relative to your current position on the course.
The variables for such aggressive shots can be narrowed down to asking yourself these simple questions:
• Do you have a relatively short shot with an 8 iron through your wedges?
• Do you have a perfect lie?
• Is the pin placement easily accessible?
• Is the shot's ball flight comfortable to your game?
• Can you make a full swing?
• Can you swing with confidence?
• Does the situation allow you to gamble with odds in your favor?
If you can answer "Yes" to all these questions, then by all means, take dead aim at the pin. If you can not answer "yes" to most of these questions, it is probably best that you consider an alternative shot before deciding to take dead aim.Most golfers aim at pins far too often, placing too much risk in their games and not enough reward. If you find you are aiming at two to three pins a round, you are probably using good judgment and minimizing your risk.
To see if you can improve on your greens in regulation statistics as well as reduce your putting average, try playing a couple rounds of golf doing nothing more than aiming for the middle of each green. Every client I have that has tried this strategy has experienced immediate reduction in their scores.
Experts on the business and game of golf. The best coaching tips and latest golf news delivered straight to you. Sign Up to get the latest.


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Model S Reservation Tally
Model S Reservation Tally
I just received my confirmation e-mail today and apparently we have the same reservation sequence number - 3,872 US General Production
Has your number changed or do we have to share?
Just got my confirmation email today, May 13th. Number 3883, production, US California region.
Canada Signature #77 May 12, 2011 Sooooooo excited!
Got my number today: 296 US Signature Series
If you are in the seattle area let me know. :)
Is there a way to tell if a "P" has upgraded or dropped out?
I wonder: how close will it be to 20,000 by year-end?
As a reservation holder, I don't want 20k by year-end.
As a shareholder, I do.
However, the EV garage is more important than the bank.
As a reservation holder, you should applaud more reservations! I will mean that production will be ramped up, which will get you your car sooner.
Large reservation numbers means more reservation fees. Tesla can use the extra cash. Larger numbers of parts to be ordered from external suppliers means Tesla can improve on contracts with these suppliers.
My confirmation # as of May 16th is general production US Model S #3895.
May 17, US, GP #3917
Can't wait to catch more details as they emerge!
FYI. As of May 16, 2011. My confirmation number is 3,916 for a general production model. I love cars...I can't remember when I have been so excited about a new model (perhaps a Lamborghini Muira- I was tooooooo young for a Tucker).
Received my confirmation number this afternoon US - P#3922, also very excited. Hope they don't keep us waiting too long for delivery :)
If your reservation number is greater than the reservation number listed below, please post the 1) reservation number 2) region and 3) type: Signature or General Production.
Here is an updated collection of the numbers posted by members on various threads (i.e., these numbers are to be taken with a grain of salt):
S 303 (May 20, 2011)
P 3,932 (May 20, 2011)
R 260 (May 6, 2011)
S 77 (May 14, 2011)
P 104 (April 26, 2011)
S 52 (April 25, 2011)
P 346 (May 12, 2011)
Hong Kong
S 2 (April 27, 2011)
P 1 (March 23, 2011)
S 9 (April 10, 2011)
P 17 (January 21, 2011)
S = Signature Series (Model S)
P = General Production (Model S)
R = Roadster Owner/Friends and Family
I reserved MY Model S two moths ago, and got my reservation number May 17th: Norway/Europe Production #303.
Can't wait! :-)
I received my Signature Series Model S reservation number today (5/23/2011).
Mine will be delivered tomorrow. Just kidding!!!
U.S. General Production #3957 received today.
I'm U.S. reservation #3963. Ordered yesterday at about 5pm, got my email with my number at 2:06pm (eastern time) today.
This is - of course - a P, General Production.
I am US Production 3967. Reserved 5/23 received today 5/25.
Received my reservation number couple of days ago.
Canada P 114
Received my Reservation Sequence # today, Canada P138; interesting that on March 9th, Canada P was 143 and S was 69 and as of April 26th, Canada P was 104 ...!?....
I may suggest that you add a line at the end of each recount with the total number of reservations ... those who are not interested with the details (growth / region etc.) could get the picture in a glimpse :)
The lower canadian p number happened mainly because of the move by many to signature reservations when they started offering it this spring. Tesla then did a subsequent adjustment of the numbers to account for the holes that were left over ...
US P 3995 just reserved!
Put deposit down on Friday, May 27 and received confirmation Monday, May 31.
I just bought my way from US P3995 to R270. (June 1, 2011)
A side benefit is that the upgrade comes with a brand new Roadster! ;^)
Suggestion: bold or italicize the number that has changed since the previous tally.
Hi Guys,
Seems we have some funny business going on here - I just received confirmation that I am Australian General Production number 10...
Can we verify that 17 is accurate??
Maybe a buncha the Ps became Ss.
Hello everyone. I just became a "believer" last week. I was on the Fisker boat but jumped ship after the Karma's price was increased again to $90,000, the car was again delayed until August, and the expected miles per charged dropped "again" from 75 - 100 to 50.
I'm really disappointed with Fisker and I have really been impressed with Tesla and how it's handling it's business. The Model S looks great and has actually improved since I first saw the prototype a while back.
I'm looking at putting a deposit down for a 300 mile range general production Model S this year. I'm not really in a rush since I see that the order numbers aren't really that hight now, so I will probably wait to see the car in person if possible. I also am not sure what color I want yet, so I'd love to see one of the Alpha models in real life.


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Gene essential to stem cell health discovered
Potential application in treating age-related diseaseUniversity of Hawaiʻi at Mānoa
Posted: Jul 28, 2010
Researchers at the University of Hawai'i at Mānoa's John A. Burns School of Medicine (JABSOM) have discovered a gene that is essential to keeping stem cells healthy.
The gene, hypoxia inducible factor 1, helps keep levels of telomerase constant. Telomerase is an enzyme that is critical to a stem cell's lifespan, helping to prevent or slow deterioration in the cells. When telomerase is reduced in a stem cell, the stem cell ages faster.
To demonstrate the gene's role in regulating levels of telomerase, Dr. Richard Allsopp and his colleagues at JABSOM and Sierra Sciences, Nevada, reduced the amount of hypoxia inducible factor 1 to less than half of what is normally found in embryonic stem cells of mice. In the absence of the normal level of the gene, the scientists observed a corresponding reduction in telomerase and an increased rate of aging of stem cells.
"These findings have important implications for the development of potential therapies to treat both age-related diseases associated with exhaustion of stem cells, as well as various types of cancer that are dependent on cancer stem cells to grow," said Dr. Allsopp, an assistant professor and Graduate Program co-chair at JABSOM's Institute for Biogenesis Research.
Dr. Allsopp's results are published in July's online edition of the Proceedings of the National Academy of Science (PNAS).
Funding from The Tilker Medical Research Foundation in Honolulu and San Francisco helped support Dr. Allsopp's research. The Foundation is dedicated to finding solutions to a wide range of conditions, including multiple sclerosis, Parkinson's disease, amyotrophic lateral sclerosis, and Alzheimer's Disease, as well as spinal cord injuries and autoimmune diseases.
To access an abstract of Dr. Allsopp's PNAS findings, see


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Theda Skopcol has written a lengthy post-mortem on the failure of cap-and-trade legislation aimed at reducing carbon emissions. An interview with Brad Plumer captures the gist.
In the course of this interview, Skopcol makes the following remarkable claim: "Climate-change denial had been an elite industry for a long time, but it finally penetrated down to conservative Republican identified voters around this time."
As Reihan Salam points out, this is an implausible account of what happened. I'll add, a wildly implausible account of what happened. I've been talking to conservatives about carbon taxes for years. They were never indifferent, waiting only for John McCain to lead them to the proper view on policy. They were always opposed. They just didn't spend much time thinking about it, because who cares?
Or as Reihan puts it,
A better way to think about this is that climate change was a low-salience issue until it was associated with the prospect of taxes on carbon-intensive energy, at which point the issue was politicized for the obvious reason that it became a live pocketbook issue. Skocpol's mental model appears to be that in the absence of elite "climate-change denial," to use her term, rank-and-file voters would have happily embraced steep taxes on carbon-intensive energy on the grounds that it might reduce U.S. carbon emissions even as it had no appreciable impact on, for example, Chinese or Indian emissions.
Consider the following graphs from Pew:
Belief in the reality of anthropogenic global warming dropped in the general population in 2009, not just Republicans; even staunch Democrats see a dip. And then it begins to rise again as Cap and Trade recedes as an issue.
What explains this? Let me suggest an alternative theory to "brainwashing by elite climate skeptics": large cuts in carbon emissions will be very painful. Barely 5% of the US population lives in the kind of neighborhood where a low-carbon lifestyle is even arguably desireable: dense, cheap-to-heat-and-air-condition attached housing with every major service, including solid public transportation options, within convenient walking distance.
As Upton Sinclair once noted, "It is very difficult to get a man to understand something when his paycheck depends on his not understanding it." Ditto his home value and his family budget. Before Obama said he was serious about reducing emissions, belief in AGW was a symbolic belief with no personal cost. Once that belief might actually result in legislation, people backed away.
I don't want to get into an argument about climate science here, so let's just assume arguendo that the skeptics are wrong, wrong, wrong. It does not therefore follow that the public would have enthusiastically embraced cap and trade if not for those darned skeptics. People do not like to make painful personal sacrifices for the sake of people who aren't born yet and mostly live in very far away places (that being who will bear most of the brunt of global warming).
Personally, I'm pretty skeptical that enough Democrats would have embraced cap and trade, een if the president had put it before health care. Democrats were willing to do a suicide charge on health care because they (incorrectly, so far) assumed that it would be much more popular after it was passed. Only a lunatic could have thought that Cap and Trade would be more popular once it started taking chunks out of peoples' paychecks. Especially in the middle of a brutal economic crisis.
My take is that any sort of meaningful carbon legislation was DOA, probably even without the Great Recession. That contra Skopcol, there was no set of political tactics, no coalition, that could have passed it in the face of these political realities. Note that this doesn't make me happy: I continue to support substantial carbon taxes. But I don't think we're going to get them. This is the mother of all collective action problems, and in my rather dour opinion, it is very unlikely that we are going to find a demand-reduction mechanism to curb it. If there's any hope, it is in technological advance on the supply side, not in austerity for the sake of one's great-great-great grandchildren.


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Welcome to the NJCAA Championship Events website and thank you for your interest in hosting one of 47 national championships sponsored by the second-largest intercollegiate athletic association in the United States.
Since 1938, the National Junior College Athletic Association (NJCAA) has been the governing body of two-year college athletics, offering athletic and academic opportunities to college students in concert with the educational mission of its member colleges. The NJCAA has over over 500 member colleges across the United States and each year nearly 60,000 student-athletes compete in one of 27 different sports the organization sponsors.
At the conclusion of each sport season teams from across the nation compete for the ultimate prize – a national championship. But first, the appropriate venue and community is needed to host these exciting events.
Civic organizations, colleges, sports commissions and similar groups across the country are looking for national events to help promote their community as a preferred destination. These groups understand the economic impact and prominence that is placed on a community when hosting a national collegiate championship such as those sponsored by the NJCAA. These events fill hotel rooms, impact local restaurants and businesses, provide exciting and affordable entertainment for families and showcases the community to a national audience.
Please take a moment and review the information and documents on this site to see if your community is potentially the right fit to host a champoinship event currently available for bid from the NJCAA .
Should you have any questions related to hosting an NJCAA Championship, contact NJCAA Director of Championships Rod Lovett: firstname.lastname@example.com


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There's no planning for the unexpected. And when the unexpected is an unfortunate car accident there can be several financial, legal and medical problems that arise. So what can you do to help yourself the most after a car accident
Well, bear in mind that it's going to cost money – hopefully a little, but possibly a lot. At the very least you're looking at minor car damage. Beyond that, in extreme cases, your car could be totaled. You may also incur any number of injuries ranging from minor to serious that will need immediate medical attention. For this reason, if you're living in Austin and have suffered through a car accident you should obtain the services of a personal injury attorney.
Insurance companies will go to great lengths to assure that they spend as little money as possible in a car accident settlement. Loopholes and technicalities are the nature of the business. A claims adjuster will work with you to receive some level of benefit, but having a personal injury lawyer will help hedge your bets and keep you protected under the law.
It's very important that you find the right Austin personal injury attorney to suit your needs. Without them you may find yourself in a difficult situation made worse. Search thoroughly for a reputable personal injury lawyer.
Whatever your specific circumstances - bringing a lawsuit against another driver, recovering from serious injury, attempting to get compensation for your totaled vehicle – a Austin car accident attorney may be the key to successful progress that will put you back on the right track.


text:
Aaron Sorkin is heading from Facebook to Apple.
Sony Pictures honchos say the Oscar-winning writer will write a screenplay based on the best-selling Walter Isaacson biography of tech giant Steve Jobs, who passed away last October at the age of 56.
Sony Pictures co-chairman Amy Pascal says Sorkin's script will be "everything that Jobs himself was: Captivating, entertaining and polarizing."
U.S. & World
Sorkin won the adapted screenplay Academy Award for 2010's "The Social Network," a drama about the origins of Facebook. The 50-year-old writer was nominated in the same category for 2011's "Moneyball," starring Brad Pitt as real-life Oakland Athletics general manager Billy Beane.
His other credits include "Charlie Wilson's War" and "A Few Good Men." He also created TV's "The West Wing," a popular dramedy about the professional and personal trials of a fictional White House staff.
Actor Ashton Kutcher is set to play Jobs in a separate project, which began shooting this month.


text:
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text:
GUANGZHOU, Aug. 9 (Xinhua) -- Authorities in south China's Guangdong province said Thursday they found no labor law violations in a Chinese Samsung supplier that had previously been accused of using child labor.
A statement on a local official website said the city of Huizhou launched an investigation after China Labor Watch alleged that the city's HEG Electronics Co. had employed children younger than 16.
The firm supplies phones and other digital products to several companies, including South Korean electronics giant Samsung Electronics Co.
The statement said that of the seven workers named by the New York-based labor rights group, two were adults and five were aged between 16 and 18 -- all above China's legal working age of 16.
The statement also said the company of 3,100 employees was not found to have imposed excessive work hours or to have withheld workers' wages.
China Labor Watch released a report on Tuesday accusing the Chinese firm of forcing child laborers to work 11 to 13 hours a day while paying them only 70 percent of the wages received by formal employees.
Samsung said Thursday that it would send a team of investigators to the factory, adding that two previous checks found no irregularities in the factory's working conditions. Enditem


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|Home | What is RSD? | About RSD UK | Support | Information | News & Activities | Feedback | Site Map
RSD UK This website is dedicated to the RSD UK which is now closed.
UK is a voluntary non-profit making charity which was set up to give support to
those concerned with Reflex Sympathetic Dystrophy/Complex Regional Pain Syndrome,
often abbrevieated to RSD, CRPS type I or CRPS type II. You may also have been
given the diagnosis of Sudecks Atrophy, Causalgia, Allodynia, Hand Shoulder Syndrome
and many more.
Reflex Sympathetic Dystrophy (Complex Regional Pain Syndrome) is a multi-symptom,
multi-system syndrome usually affecting one or more extremities, but may affect
any part of the body. Although it was clearly described well over 100 years ago
by Drs. Mitchell, Moorehouse and Keen, it remains very poorly understood and is
often unrecognised.
We hope you find the
information or support you are looking for.
If you would like a Patient Information Booklet posting , please email (UK residents only) for all other information please email
Full contact details may be found on the contact page.
A history of The RSD UK 2010