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Portland, OR 97214
(503) 234-2427
Portland, OR 97211
(503) 253-6766
Pizza blogs are a dime a dozen, but one blog stands head and shoulders above the rest (including this one). Do I even need to tell you?
It's Slice.
Adam Kuban, a former Portlander, moved to
Anyway. Slice. It is the pizza blog to read on the internets. Slice got picked up by Ed Levine's Serious Eats, which just happens to be the food blog to read on the...yeah, you get it. Both sites have benefited from the association with the other, and both are mega-popular among the foodies. If you want to know about pizza--not just in NY, but across the world--you read Slice.
So imagine my excitement when I learned that Adam Kuban was about to embark on a serious pizza research expedition of the West Coast, and that his first stop would be Portland, Oregon (you know, where I live), and that he wanted me to join him on his two-day Portland pizza crawl.
As the writer of a pizza blog, I am shamefully indifferent to the idea that a site like mine (well, mine specifically) should offer its readership such amenities as, oh, daily updates, or comprehensive pizza coverage. I'm just too slow and lazy to be on top of things like that. In
That was all going to change now with Adam Kuban's arrival. Since he wanted to hit as many of Portland's best pizza joints during his brief stay in town, and since I was going to pal around with him the whole time, I was going to get to try two new places I hadn't hit yet and probably wouldn't for another few months of procrastination. It was perfect: work and play, living together in joyous harmony like the slogan on some peacenik bumper sticker on the back of a brown 1987 station wagon.
We hit Ken's Artisan Pizza first. You all know how I feel about Ken's (and if you don't, just read about it here). I wanted so desperately to have that high opinion validated by hearing Adam say he loved it too. I knew my plan couldn't fail. You see, I had a secret weapon: it's called the Soppressata Basil pie, and Ken's makes a masterful version of it. I knew that if Adam tried this pizza, he'd become a believer.
Then God in His infinite jest proved once again how little control we have over this world of ours and halted the production of the soppressata Ken's uses for one week. The one week Adam Kuban of Slice was in town, he would not be able to eat my absolute favorite meal in
We still had a great meal at Ken's. The hit of the evening was the fennel sausage & onion pie, to which we added hot Calabrian chilies, and Adam loved it (or at least he said as much to placate me). You can read his thoughts on the experience here.
From Ken's we went directly to Wy'east Pizza, the cart two blocks north of Powell on 50th (you can read my impressions here and Adam's here). We ended up getting the last ball of dough for the evening, but had to wait about two hours for the finished pizza (Wy'east cooks only one pie at a time, you see, so the queue fills up rather quickly). It tasted the same as it did the first time I was there, which is to say that it's a decent pie (made even more so by the fact that it's from a cart, though that crust was still lacking in flavor.
On Day 2, the schedule was tight: Apizza Scholls, followed by Nostrana, then concluding with Al Forno Ferruzza.
Had I any foresight whatsoever, I would not have gorged myself at Apizza Scholls. I am in love with Brian Spangler's sausage pie, and tonight's was no exception. Just the best sausage pizza in the world. We also tried the 'Margo'rita, the Apizza Amore (a 'Margo'rita with hot capicola), and the house special, which had some kind of pork, onions, and Italian spices sprinkled on top. All were magnificent, and Spangler was a gracious host. He even handed out free T-shirts. Cool! You can read Adam's opinion here.
There was no delay between Scholls and our next destination, Nostrana. Nostrana is a full Italian restaurant, offering many great entrees on its menu, but we were only there for the pizza. Nostrana has the distinction of being the only pizzeria in
The pie was out of Nostrana's wood-burning oven lickity-split and placed before us piping hot. Nostrana, in the true Neapolitan tradition, does not cut its pies, instead opting to present its pizzas to the customer as whole discs. They do, however, provide some durable kitchen shears that do the job nicely. There's some kind of joyous youthful nostalgia that comes with picking up those scissors and cutting into your pizza as if it were construction paper, and Adam and I actually did a pretty good job of dividing the pie into six equal slices with them.
As for the pizza itself, it didn't rock my world. It's far from the best Neapolitan-style pizza I've had in the United States, and not even close to the top of the list for even the Pacific Northwest. The best thing about it is the sauce, as it's a pretty standard San Marzano blend. The rest of the pie seems a step down in quality from other VPN-certified pizzerias I've visited, such as Tutta Bella and Ristorante Picolinos in Seattle. The crust that night--crisper than most Neapolitan pies--was a little bland, and the mozzarella was on the thick side. It's not a bad pie by any means, just not an outstanding one. And next-day reheating is out of the question: I tried it, and it was a disaster, turning the crust to rubber and the collective flavors to something very unappealing. I still recommend you get a pizza when you come here, but get one with more toppings on it, and finish it there.
Last stop of the crawl: Al Forno Ferruzza, the former PSU-adjacent cart-turned-brick-and-mortar pizzeria. Adam and I were joined by one of his old
Like Nostrana, this isn't bad pizza. Far from it, actually. It's just not blow-your-mind pizza like Ken's Artisan or Apizza Scholls. If you're hungry for pizza and you're in the neighborhood, and don't feel like driving/waiting in line at either of the two Big Ones, you could do worse than Al Forno Ferruzza. I've heard the calzones are killer, too; next time I'll try one.
So that was the two-day pizza bonanza with Adam Kuban. I had a blast, and I hope Adam did, too. He flew off the next day to hit a few places in
Hey, there are starving kids in


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pilar png
You can get acquainted with the presented collection of pilar png to choose suitable ideas for your business or design interface.
Today we have 10 cliparts and vectors for this category.
Advice on how to make a good presentation
Follow the basic layout rules. Do not align the text to the width
Most PowerPoint presentations target the center of the heading, when it comes to text alignment. But that doesn't look too good in every instance. Here are some rules of alignment for you to follow:
- Go for one uniform style of alignment instead of getting confused with them.
- When you are not sure always go for the left-side. We are all used to the left alignment as a default and therefore we can effortlessly read it.
- Only use center-alignment when you have a solid reason for doing it and when it doesn't look silly.
Test how your alignment looks better and more legible to the audience

subset: commoncrawl


text: 1FINANCE TO APPROVED PURCHASERS ONLY. Particulars are for information only and does not guarantee loans or constitute a loan application. Monthly payments are based on a secured commercial loan. Purchase price to be paid over 84 months @ 6.5% with $3,000 deposit (to approved purchasers). Fees and charges apply. Annual percentage rate may vary. Please consult Melbourne's Cheapest Cars on 1300 303 987 during normal business hours. Comparison Rate Schedule available at premises of Melbourne's Cheapest Cars Pty Ltd. "WARNING: This comparison rate applies only to the example given. Different amounts and terms will result in different comparison rates and may influence the cost of the loan." LMCT 8399.


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If a picture is worth a thousand words, then 1000 Designs for the Garden and Where to Find Them is priceless. This book is sure to melt away the winter blues with a healthy dose of imaginative garden designs and accessories. Originally referred to me by a client, I immediately picked up his book which now has a select spot in my reference library. Over 300 pages are filled with everything from modern planters and watering cans to artistic trellises and unusual furniture. Hopefully some of my favorite pieces below will inspire your imagination to take your garden to the next level.
This powder coated aluminum room divider is a brilliant way of defining a wall area in an open outdoor garden. With several patterns to choose from, Paul Kerlaff designed this screen to filter a view or to adorn a wall as an independent panel. I could easily see this attached to a fence or brick wall with a delicate Clematis vine growing through the 'Maple' design. The panels are available in a variety of colors and patterns. A similar piece pictured below by Michael Koenig is available in zinc-plated sheet metal.
For a modern take on an umbrella, consider the Nenufar Parasol by Yonoh. The eye-catching design allows the piece to blend with traditional furniture or make a statement on its own. It would be the perfect shade element by a pool or an accent for a secluded patio in an intimate landscape. The small sculpted 'Dew Drop' by British glass designer, Neil Wilkin, are like jewels for the garden. A handful of them clustered together in a patch of Artemisia 'Silver Mound' would be gorgeous.
Finally, to warm up the patio or terrace visually, consider the urBonfire fireplace designed by Michael Hilgers. Made from borosilicate glass and polished stainless steel, flames don't come any more chic than this.


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thanks for the Fetus of God reference! looks nice.
but I was thinking about something like Half Life 1's boss
Johannes Gunnar wrote:But it sure could be it/him.
goran wrote:I painted this yesterday, it could be wrk, could be, could be. ...
Ok, maybe not
Scrumie wrote:Here is another possibility of what the Jjaro coudld've looked like. Enjoy
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Blogging anniversary
30 comments:
- Victoria said...
Happy (belated) Blogoversary! I love your new layout :) What an excellent way to celebrate!
- July 30, 2011 at 9:01 AM
- Valerie Gamine said...
Wow, it's already been one year of fabulous food and writing?! Those delicious-looking ginger cookies are still on my to-do list, and I'm sure I'll be adding a lot more from you in the future. :D
A very happy Blogoversary to you Beth!
- July 30, 2011 at 9:19 AM
- Anonymous said...
Happy Blogoversary! Your blog looks wonderful - great job!
- July 30, 2011 at 9:19 AM
- laxsupermom said...
Happy Blogiversary! I always enjoy your posts and that raspberry buttermilk cake has been on my must try list.
- July 30, 2011 at 9:30 AM
- natalia said...
Ciao ! I love your anniversary new look ! AUGURI !
- July 30, 2011 at 9:33 AM
I love your post and blog so much!!!.))
I need your help. I spend another survey but this time with another question.
"Where do you prefer to shop? What is your favorite shopping center?"
- July 30, 2011 at 9:37 AM
Happy blogaversary!
- July 30, 2011 at 10:40 AM
- Sweet And Crumby said...
Congratulations! And Cheers...my one year blogaversary was this month as well. I have so enjoyed getting to know you through your posts and adore you and your blog. Thanks for sharing of yourself and your beautiful photos and delicious desserts.
- July 30, 2011 at 10:56 AM
- Kayte said...
Happy Anniversary...so happy you are blogging! What fun to read Top of choices...always curious about those kinds of things and love to read them! Enjoy the day...keep blogging, I always enjoy your posts and I may not comment on all of them, but I do READ all of them!!
- July 30, 2011 at 12:05 PM
- Gloria Baker said...
Happy bloanniversary Love your blog, gloria
- July 30, 2011 at 12:50 PM
Happy blogging anniversary!
- July 30, 2011 at 1:28 PM
- Lydia Kang said...
Those were some of my favorite posts too! Happy Blogiversary!
- July 30, 2011 at 1:57 PM
- Carol said...
Happy Blogiversary! Some fantastic posts highlighted. I enjoy your blog!
- July 30, 2011 at 3:17 PM
- chow and chatter said...
oh love the new look and always enjoy your blog
- July 30, 2011 at 5:46 PM
- Monet said...
Sweet friend, I am so blessed by your blog, and I'm so happy that you continue to do what you do. Thank you for always making me smile with your yummy food, thoughtful words and inciting recipes and travels. I hope you have a blessed Sunday!
- July 30, 2011 at 7:28 PM
Happy blog anniversary!!!
- July 30, 2011 at 7:38 PM
- Xinmei @ Pudding Pie Lane said...
It's never too late to celebrate - happy anniversary, it's been great to follow your blog at least part of the way through :)
- July 31, 2011 at 6:39 AM
- Janet Johnson said...
Happy Anniversary! And isn't it so interesting to see what posts are popular? But those ginger cookies DO look good. Definitely trying them. :)
- July 31, 2011 at 9:41 AM
- Deniz Bevan said...
Happy anniversary! Love the new look. And ginger cookies, ooh! Soo hungry...
- July 31, 2011 at 11:26 AM
- Unknown said...
Happy Anniversary, Beth! I'm bummed to have missed several posts. I just realized that I wasn't following you here, so you weren't showing up in my reader. I'm off to tempt myself with your meringues now.
- July 31, 2011 at 5:23 PM
- Sue said...
Happy Anniversary! Love your new look! I'm so glad you joined the blogging world, Beth:)
- July 31, 2011 at 7:38 PM
- Reeni said...
Happy Blogiversary! I love your new look and it's been a joy reading your posts and getting to know you!
- July 31, 2011 at 10:00 PM
I've been loving your blog! I hope you keep on writing and have many more anniversaries.
- August 1, 2011 at 4:43 PM
Happy belated anniversary!
- August 1, 2011 at 9:00 PM
- Rita said...
I missed this post; but I just wanted to come and say Congratulations; I really enjoy coming to read you.
- August 2, 2011 at 9:40 AM
- Lorraine said...
Congratulations on your blog anniversary! You have a wonderful blog. I do want to try those cookies:)
- August 2, 2011 at 7:32 PM
- Claudia said...
Happy Blogaversary, Beth! I've made your raspberry-buttermilk cake three times.
- August 2, 2011 at 10:06 PM
- Beth said...
Thanks to everyone for your kind comments. And Claudia, I'm so glad you like that recipe too! I love it!
- August 3, 2011 at 5:47 AM
Congratulations on your anniversary! I'm so glad that you decided to blog.
- August 3, 2011 at 11:53 AM
- Amie Kaufman said...
Oh, I'm frantic -- sorry I'm late to the celebration!
Yours is must MUST NOT MISS blog. It's the one I read if I have to read it while I'm brushing my teeth, or if I have to read it all in one go after crawling out from underneath thousands of words a day of writing. Here's to many more years!
- August 7, 2011 at 6:52 AM


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NEWS- Flash in the pan: Red lights now permanent
And on the seventh day, the city said, "Let there be lights." Traffic lights, that is, and last Sunday, October 15, that decree was enacted as downtown signals on Market and Water streets became fully operational for the first time in two decades.
"It's a no-brainer," says pedestrian activist Kevin Cox, who cites an increase in downtown traffic over the past several years that makes the flashing signals impractical and even dangerous.
Cox wrote a letter to the city's new traffic engineer, Jeanie Alexander, in early October, requesting the change in signals, but he says he didn't expect to see quick action.
"Even when it's really obvious there needs to be a change, they're resistant," says Cox of the city.
He underestimated the response.
Alexander, who started working for the city three weeks ago, says she and Lonnie Randall in the traffic department observed traffic patterns on Sunday October 8, and determined Cox had a point. "I think he's correct that things have changed, and it's time to reexamine," she says.
But not everyone agrees.
"That's bad news," says longtime Park Street resident Bill Walton, who thinks the lights that used to flash from 10pm Saturday until 6am Monday were appropriate. He wonders what prompted the change.
"Probably one person complained," he says. "It's typical of Charlottesville.
"Look what they've done to Park Street with the traffic calming," he says, referring to the "bump-outs" the city installed in 2001. "That hasn't changed a thing," he says.
Alexander says she observed the operating signals on Market Street at Second Street NW, Fourth, Fifth and Seventh streets and on Water Street at Second and Third streets, and says she believes the change is for the better.
"There were quite a few pedestrians who I think benefitted from the signals," she says, acknowledging that there were "a few cases where some vehicles were stopped when they probaby wouldn't have liked to be."
While mid- to late-morning, when churches are letting out, is the busiest time on Sunday, Alexander says other times traffic is lighter. The decision on when signals should operate, she says, may be open to some "tweaking."
Cox doesn't argue with that.
"I'm not asking them to make the lights work all the time; late at night they should be flashing," he says. "My point is that the traffic during the day on Sunday is so heavy that flashing signals are no longer appropriate."
The city has cracked down on flashing... traffic lights.


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Related Resources
- ISSN International Centre
- ISBN Agency, R.R. Bowker
- National Information Standards Organization (NISO)
- U.S. Copyright Office
- Copyright Clearance Center
- U.S. Patent & Trademark Office
- U.S. Postal Service
Contact information
Library of Congress
U.S. ISSN Center
101 Independence Ave., S.E.
Washington, DC 20540-4284
Tel.: (202) 707-6452
Email: [email protected]
Service hours:
9:30 am-5:00 pm
What Do the Letters ISSN Stand For?
International Standard Serial Number. According to the pertinent national and international standards (ISO 3297; ANSI/NISO Z39.9) the abbreviation"ISSN" denotes the singular and plural forms, according to context.
Why Do I Need an ISSN?
The ISSN can be thought of as the social security number of the serials world. Just as an individual's social security number is used in many automated systems to distinguish that person from others with the same or similar names, the ISSN distinguishes a particular serial from others with which it might be confused. The ISSN also helps library patrons, libraries, and others who handle large numbers of serials to find and identify titles in automated systems more quickly and easily.
Does the ISSN Have Any Meaning Embedded in the Number?
Unlike the ISBN, which contains country and publisher prefixes, the ISSN contains no inherent meaning.
Why Do Some ISSN End in an "X"?
An ISSN is composed of eight digits: the arabic numerals 0 to 9, except that in the case of the last digit, which is a check digit, the upper case X can appear. The purpose of the check digit is to guard against errors caused by the incorrect transcription of the ISSN. The method of determining the check digit for the ISSN is the modulus 11 basis, using the weighting factors 8 to 2. In the case of the ISSN, the Roman numeral X is used where the check digit calculation results in a remainder of 10.
Who Assigns ISSN?
ISSN are assigned by a network of 88 centers worldwide coordinated by the ISSN International Centre located in Paris. ISSN are assigned to serials published in the United States by the U.S. ISSN Center at the Library of Congress. Serials published outside of the United States are assigned ISSN by the national center in their country of publication, or, in the case of countries lacking a national center, by the ISSN International Centre. Information about the ISSN network and ISSN centers worldwide can be found on the ISSN International Centre's home page.
Who Is Eligible to Obtain ISSN From the U.S. ISSN Center?
The U.S. ISSN Center generally only assigns ISSN at the direct request of the publisher or an agent (such as an attorney) acting on the publisher's behalf. Libraries and other ISSN users interested in obtaining ISSN should contact the head of the U.S. ISSN Center, Regina Reynolds, [email protected], to discuss other possible arrangements.
How Do I Get an ISSN for a U.S. Serial?
U.S. publishers should complete an application form and send it to the U.S. ISSN Center together with a representation of the serial (either a sample issue, or a photocopy of the cover, title page (if present), masthead, publisher information, and any other pages giving information about the serial.
How Much Does It Cost to Get an ISSN?
There is no charge for the assignment of the ISSN, or for the use of an ISSN once assigned. (However, the Library of Congress incurs substantial costs to staff and maintain the U.S. ISSN Center. Additionally, the Library of Congress is assessed a considerable fee to belong to the ISSN Network.)
Do I Need a Separate ISSN for Each Issue?
No. ISSN are assigned to the entire serial and stay the same from issue to issue unless you change the title of your serial in any way except to increment the date (e.g., The World of Serials 1996 to The World of Serials 1997).
What Happens if I Change My Title?
Title changes are costly for libraries and can be costly to publishers as well. If you must change the title, please apply to the U.S. ISSN Center for a new ISSN at least a month in advance. If you are in doubt as to whether a contemplated title change would require a new ISSN, please contact the center ([email protected]). The Whats in a Name? brochure has further information about the costs of serial title changes.
How Many ISSN Do I Need?
That depends. For most serials one ISSN for each title under which it has been published is sufficient. But, if your serial is published in different language, regional, or physical editions (e.g., print, electronic), you will probably require a separate ISSN for each edition. Further information about electronic serials is available.
Where and How Do I Print the ISSN?
The preferred location for printing the ISSN on a printed serial is on the upper right-hand corner of the cover. Other good locations are the masthead area, the copyright page, or in the publishing statement where information about the publisher, frequency, and other publication facts are given. On a non-print serial, the ISSN should be printed, if possible, on an internal source, such as on a title screen or home page. Other suggested locations on non-print serials are on external sources such as microfiche headers, cassette or disc labels, or other containers. If a publication has both an ISSN and an ISBN, each should be printed. If a publication is in a series which has its own ISSN, both ISSN should be printed, accompanied by the title to which it pertains.
Do I Have to Send You Each Issue I Publish?
No. The ISSN office only needs to see one published issue either at the time of registration, or after publication, for ISSN issued prior to the publication of the first issue of a serial. However, please see Copyright Circular 7d, Mandatory Deposit of Copies or Phonorecords for the Library of Congress [PDF, 135K] for information on Copyright deposit requirements you may be subject to.
What Is the ISBN?
ISBN or International Standard Book Number is the book counterpart to the ISSN. It is a national and international standard identification number for uniquely identifying books, i.e., publications that are not intended to continue indefinitely.
Can a Publication Have Both an ISSN and an ISBN?
Yes. This situation occurs most commonly with books in a series and with annuals or biennials. The ISBN identifies the individual book in a series or a specific year for an annual or biennial. The ISSN identifies the ongoing series, or the ongoing annual or biennial serial.
What Is the Relationship Between ISSN and CIP?
CIP or Cataloging in Publication information is only available for books. So, unless the cataloging in publication data is for an individual book in a series, a publication will not normally be eligible for both cataloging in publication and ISSN.
What Is the Relationship Between ISSN and Copyright?
There is no connection between Copyright and ISSN. Having an ISSN does not confer any Copyright protection, nor does sending a serial to the Copyright office eliminate your need to send the U.S. ISSN Center a sample issue of a serial for which you were given a prepublication ISSN.
Does Registering a Title with an ISSN Mean No One Else Can Use It?
No. Getting an ISSN for a title does not confer any exclusive rights to that title. Nor can titles be copyrighted. The best way to protect a title is to register it with the U.S. Patent & Trademark Office.
Does Having an ISSN Mean I Can Mail My Serial at Special Postal Rates?
No. The U.S. Postal Service uses the ISSN as an identification number for periodicals rate mailing privileges, but all publications have to meet the same requirements for a periodicals mailing permit regardless of whether they have an ISSN or not. Contact your local postmaster about obtaining a periodicals rate permit.
How Are ISSN Used in Bar Codes?
The ISSN is used in several bar codes as the title identifier portion of the code. One such code, the SISAC bar code symbol, can be found on scholarly, technical, medical and other subscription-based serials. The SISAC symbol is used by libraries and library-affiliated organizations. The symbol can also represent articles within journals and is used by document delivery services. The other major bar code that uses the ISSN is the EAN (International Article Number). The EAN is used in the U.S. by major bookstore chains for trade and other book publications. It is used extensively in the U.K. for magazines.
Although the ISSN is used as an element of the above bar codes, NSDP does not issue the actual bar codes. Further information concerning the SISAC bar code symbol is available from Publication ID Division of Product Identification & Processing Systems, Inc. (PIPS), on the Web at http://www.pips.com/
Last Updated: July 7, 2016


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Our friends at Uncommon Knowledge recorded a special edition with Newt Gingrich this week. Because of the timely nature of the interview, they requested that we make it available as soon as possible. Just one problem: they forgot to include me in their message, so we're a tad late getting to the video. They introduce this special edition of the show as follows:
The 58th Speaker of the House and 2012 GOP presidential candidate Newt Gingrich makes the case for his candidacy, explains why he's not a Washington insider, and describes his vision for his first term: gaining energy independence, ending the war on religion, balancing the budget, and repealing and replacing ObamaCare and why he is temperamentally suited for the highest office.
Let's make up for lost time. Please check it out. Commenters, take it away.


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Currently, only selected museums, exhibitions and institutes of the Staatliche Museen zu Berlin are open to the public. Visits to any of these venues require a time-slot ticket. Read more
Neue Nationalgalerie
After 'Modern Times. The Collection 1900-1945', the second instalment in the showing of the National Gallery's collection of 20th-century art will go on display in November 2011.
Germany's 'economic miracle' and the building of the Berlin Wall, the Cuban Crisis and Vietnam War, Sputnik and Apollo, Kennedy and Mao-stark contrasts, entrenched positions and clear fronts mark the eventful years between 1945 and 1968. Fine art from this period was significantly influenced by the atmosphere of the 'Cold War' and the political ideologies connected with it. In art, two major paths essentially separated East and West, the figurative and abstraction. The West held aloft the open structure of abstract or 'informal' art as a symbol of freedom. And it was certainly no coincidence that the pop art that followed it arose in the major capitals of the West, where the phenomena of mass production and a rising tide of consumer culture were everywhere to be seen. In the Eastern Block, by contrast, socialist realism became the prevailing trend and a defining basis for all developments in the art that came after it. In all of this, the individual became the point by which all things were measured, artists made the 'human condition' the core focus of their work.
Under the title 'Divided Heaven' (echoing the novel by Christa Wolf), the New National Gallery introduces us to the key figures from this epoch. In its focus, however, the exhibition deliberately looks beyond barriers, geopolitical and artistic, and concentrates instead on universal artistic ideas, held by both camps at once. At the heart of 'Divided Heaven' stand the international disparities: the juxtaposition of styles and art forms, the contemporaneity of the non-contemporaneous.
The exhibition is sponsored by the Sparkassen Finanzgruppe.
Potsdamer Straße 50
10785 Berlin
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Opening times on public holidays Plan your visit
Museum Pass Berlin 3 days for permanent exhibitions
29,00 EUR Concessions 14,50
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temporary exhibitions not included
50,00 EUR Concessions 25,00
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Let's take a moment and pause from our regularly-scheduled programming this Veteran's Day to remember the men and women who serve our country bravely. I've dug into the archives and reposted a friend's tattoo, which appeared originally here on Tattoosday in January 2008. Be sure to thank a Veteran today, and to appreciate not only our soldiers at home and abroad, but their families who support and inspire them to serve our country courageously.
This post originally appeared January 14, 2008:
Tracy is a friend of mine who lives in Fort Drum, New York. She was in town last weekend, visiting family, and this was the first time I have seen her since Tattoosday was born over the summer.
I knew Tracy had at least one tattoo, because she and my wife have talked ink before. So when I saw her on Saturday, unexpectedly, I was happy that I had a couple of Tattoosday printouts in my pocket.
I explained the blog and asked if she'd like to participate. She was happy to oblige and, as fortune would have it, she was coming to an indoor soccer game the following day. Her nephew plays on the same team as my daughter Shayna.
After the game Sunday, I asked if she was ready. She lifted the back of her shirt to reveal:
I was surprised, honestly. I was not expecting butterflies, but expecting the one above it which, as fate would have it, is later in this post. But I wasn't about to pass up a cool tattoo, so I took a picture of this one as well.
Tracy is a mother of two boys, Matthew and Danny, and these butterflies represent each of them, as they flutter and transform, as ones children are apt to do, growing from infants into people. Tracy had these inked three years ago in Victorville, when she was living at Ft. Irwin. She said that they had been done at "Victorville Designs," which has either changed names or gone out of business, based on this link.
These butterflies are nicely inked and really seem to float over the skin. Definitely a nice tattoo, from design to execution.
Above the butterflies is the tattoo that I had heard about:
A simple, basic script. The arced triad of three pillars of strength in many people's lives: "Faith. Family. Friends."
In order to understand this tattoo, we have to take a little side journey.
Whatever one's politics may be, or however one feels about what we are doing in Asia and the Middle East, one thing must be acknowledged: the men and women in our military are there to do a job, to serve our country, and to fight to not only protect the people there, but here as well. Thousands of American men and women have given their lives and their souls to serve our country.
As one may have guessed by two prior references (Ft. Drum and Ft. Irwin), Tracy is closely tied to the United States Army, as she is married to Pete, who is a soldier with the 10th Mountain Division, Light Infantry.
On October 31, 2006, Pete's friend and fellow soldier, Major Douglas E. Sloan, was killed in the line of duty in the Wygal Valley in Afghanistan, while serving with Company B, 1st Battalion, 32nd Infantry Regiment. You can read more about Doug here at the Arlington National Cemetary website.
As every drop of spilled blood in the line of duty hits home, the loss of Major Sloan was devastating to his family and friends back in the States. The community of Fort Drum mourned Doug's passing and hearts went out to his wife Kerry and their children.
In December 2006, to pay tribute to Doug's memory, Tracy and three friends, including Kerry, went to Tattoos Forever in Evans Mills, NY, and each had the same inscription inked. In hindsight, Tracy recalls how funny it must have appeared, for four moms in minivans to drive up to the shop and collectively get tattooed.
It is a recurring theme on tattoo shows. Memorial tattoos are among the most popular types of body art. People mourn, heal, and remember through the art of the tattoo. And a piece of the loved one lives on, for years, in the flesh of the survivors, who gain strength and hold on to the memory of the departed.
The alliterative mantra of "Faith, Family, and Friends" reminds not only the tattooed, but those around them, of the most important things in life.
I want to thank Tracy for sharing her tattoos, and the stories behind them. I would add a special nod of gratitude to the memory of Major Douglas Sloan, who I never knew. Yet, by virtue of this tattoo, helped remind me of the sacrifice that our soldiers make day in, day out, and their families they leave behind.
Some related links:
A touching tribute to Major Sloan from YouTube:
Also of note, Occidental College professor Mary Beth Heffernan's "The Soldier's Skin," currently on exhibit at Pasadena City College.
Tracy's husband Pete subsequently returned from Afghanistan, but has since returned to duty overseas. On behalf of all of our Tattoosday readers, I want to thank Tracy and Pete, for their commitment and sacrifice, and for sharing this one story among thousands, with us here at Tattoosday.


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NWRL offers programs for all ages, from preschoolers to Seniors, to enhance the pure enjoyment of library services. Programs offered in each Branch Library are free and open to the public. Please visit the links to each branch libraries for specific dates, times and details.
- Warren
- Greenbush
- Grygla
- Hallock
- Karlstad
- Red Lake Falls
- Roseau
- Thief River Falls
- Warroad
All events for Evening Story Time
January 2020
September 2019
June 2019
January 2020
September 2019
May 2019
January 2020
September 2019
December 2019
September 2019
Summer Reading Program
Concentrates on helping elementary school-age children practice their reading skills during summer months with weekly programming and incentives given for books read.
Teen Programs
Middle school students are encouraged to use the library through special programs geared just to them.
Family Night
All Branch libraries are open at least one evening per week so that families can set aside time to enjoy using the library together. Programming is offered twice per month.
Popular films are shown for the young and not so young.
Book Clubs
Offered for adults who enjoy discussing popular titles with others.
Hot Reads Winter Reading Program
A Winter Reading Program for adults with the theme "Hot Reads for Cold Nights."
Outreach Programming
Outreach programming such as story times and book exchanges are offered in several Branch Libraries.
Legacy Programming
Special programming made available by dedicated funds approved by Minnesota voters in November 2008 for Minnesota's Outdoor Heritage, Clean Water, Parks and Trails and Arts and Cultural Heritage.
Library Friends/Other Programming
A rich number of programs sponsored by local Library Friends and volunteers as well as special programming developed by library staff.


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It's been a tumultuous week in San Francisco. The city's transit agency held hearings to regulate the ubiquitous tech buses, but protesters say the buses have already ruined the city's real estate. It's a What's Ruining Our Cities San Francisco Special Edition.
Tech buses are ruining affordable housing
On Tuesday, the San Francisco Municipal Transportation Agency approved an 18-month pilot program to charge tech companies to use public bus stops for their private shuttles to Silicon Valley. Protesters showed up en masse with claims that rents and evictions are higher near the places that the buses stop, proving that the buses are pushing out local residents. "I know there is a lot of frustration and anxiety in the city right now around the cost of housing … blaming tech workers in not a solution to our housing problems," said Carli Paine, an SFMTA employee. The protesters did not agree. [Time]
Tech buses are ruining public transit
One of the biggest complaints about the tech buses is that these companies are funneling money into a private service which could be used to improve the commuter system Caltrain, which runs directly to Silicon Valley. Turns out that even though the bus riders value living in the dense walkable community of San Francisco, they're not down with patronizing public transit. Two grad students at the University of California at Berkeley interviewed workers at the estimated 200 private shuttle stops, asking them what they'd do if the bus service ended: "48 percent of these people said they would drive to work alone. Only 18 percent said that they would take Caltrain, and 15 percent said they'd carpool. 10 percent said they'd leave the job." [Atlantic Cities]
Techbrats are ruining everything
Maybe San Francisco would be a better place if the overly vocal tech leaders would just shut up and do something for the city? That's the idea in two separate pieces that place the blame squarely on the "techbrats" who are giving San Francisco startups a bad name. Anil Dash and Jason Calacanis both offer advice for tech companies to host events, start nonprofits, and open up their campus to the community—anything that will infuse their ethos with some civic responsibility. [Dashes, PandoDaily]
Members of the Housing Rights Committee of San Francisco and other activists protest outside of City Hall in San Francisco, Tuesday, Jan. 21, 2014. San Francisco officials are set to vote on a plan to start regulating employee shuttles for companies like Google, Facebook and Apple, charging a fee for those that use public bus stops and controlling where they load and unload. Private shuttle buses have created traffic problems, blocking public bus stops during peak commute hours. (AP Photo/Jeff Chiu)


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My last doll for the year! Made from my Marie Antoinette Bust pattern, I enjoyed making this one for our new Gallery in town, called CRAFTED: Waitaki Artisans Gallery!
I love the green with the midnight blue and the int of black velvet, which lends itself to frame this moody face.
I particularly liked making her little broomstick brooch on her hat! I have made this doll a few times now and marvel at how different each one looks!


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Heineken have just launched a multi-platform gaming app called the "Heineken Star Player", available on mobile (iPhone only for the moment) and Facebook, with the game placing you at the centre of every UEFA Champions League match, where you can take on friends and indeed the world, as you make big calls for points and prizes, while the game is played on TV.
The app is synced live with each UEFA game, allowing it to challenge you with decisions as they happen, like penalty kicks… Will he score and where top left? Bottom right? This app puts what you are thinking into the palm of your hand, to play against the world. With approximately 86% of people who use mobile Internet, using their phones while watching TV, it's easy to see the potential success of an app like this, and makes it a very powerful tool for Heineken. Created by AKQA.
Is this the type of app that will de-throne Fantasy Football the world over? Not sure, but I do love it!
This style of real-world digital integration is set to become a gold mine over the next year.


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- "The Almighty forgives, The Lost don't!"
- ―Billy Grey
William "Billy" Grey is a character in the Grand Theft Auto series, who appears as the main antagonist of The Lost and Damned as a minor character in The Ballad of Gay Tony and mentioned during Grand Theft Auto V.
Early Years
Billy Grey was born in 1971 in Acter, Alderney. He was introduced to violence and racism at a young age, by watching news coverage of the Vietnam War and/or Chinese Cultural Revolution deaths when he was under 10 years old (as he tells a Triad capo during Chinese Takeout). Around 1984, he was friends with Michael Klebitz when Michael was 15 and Billy was 13, and Billy was introduced to his younger brother Johnny Klebitz, Johnny being only 10 at the time. According to Michael, Billy "thought he was Jesus on an acid trip" and quickly became a bad influence on Johnny. Michael, in contrast, became a soldier in Iraq and an upstanding citizen, criticizing Billy's and Johnny's criminal biker lifestyle. In 1986, Billy was arrested for stealing a bike when he was 15, which Johnny would soon imitate in 1991. Billy committed many other crimes and served up to two years in juvenile hall before he and Johnny both joined the Lost MC. He was arrested for murder in 1989 when he was 18, possibly alongside Brian Jeremy who was arrested for the same crime in the same year (whether or not, Brian would eventually be his most loyal follower in the Lost).
The Lost MC
Billy worked his way up from a prospect to president of the chapter. Billy is shown to be a sadistic and violent leader and as president, he enacted the worst acts of violence to the Lost's ongoing rivals since 1982, The Angels of Death. During his presidency, he was to blame for an accident that handicapped fellow Lost member Angus Martin, and put their AOD rival Joe Jon's nephew in a coma. His drug problem severely worsened; he began using heroin. The mission This Shit's Cursed reveals that Billy used to take steroids.
At another point in time, Billy slept with Johnny's girlfriend Ashley Butler; despite common belief, this goes against most normal Outlaw Motorcycle Club's laws, as sleeping with a member's girlfriend or old lady/wife is strictly forbidden. Johnny became understandably jealous but never outwardly criticized Billy for it, possibly hinting that his relationship with Ashley was already weak due to her drug addiction, with the affair being the final add-up for the relationship's end.
Events of The Lost and Damned
In early 2008, Billy was arrested with heroin and was placed in rehab. Johnny became president in his place, giving Billy's motorcycle to the Angels of Death as a peace offering. Months later, he was released (in the first mission of the game Clean and Serene), and reclaimed his place as chapter president, also continuing his drug habits. Billy -- just as he returned from jail -- demanded Johnny and the gang go steal his bike back.
Billy later held a party at the clubhouse, and had the gang exterminate all the Angels of Death members who ambushed it. He then later, after introducing Johnny Klebitz to Dave Grossman, sent The Lost to strike down many more AOD members -- after the ambush, he announced that Jason Michaels was killed, and told the Lost that the AOD killed him. This was the basis Billy used to fully raid and attack the Angels of Death Clubhouse (with some Grenade Launchers he purchased from Ray Boccino).
During the mass raid, Billy found a large pile of Heroin belonging to the AOD; against Johnny's statement that they should abandon it since it will start a war, Billy decided to take the heroin to himself. He later sent Johnny Klebitz to Elizabeta Torres to sell the Heroin to a third party; however, despite having Niko Bellic and Playboy X as backup, the deal turned out to be a sting.
Betraying Johnny and Jim/Return to Jail
In the TBoGT mission Chinese Takeout, it is revealed that Billy was making a deal with a Triad leader -- he would lead Johnny Klebitz and Jim Fitzgerald to the Triad building, and would just let the Triads exterminate them and take the Heroin for himself (he also has a brief, 2-line conversation with Luis Lopez and Tony Prince in this mission). However, when the plan came to come in the mission This Shit's Cursed, Johnny and Jim -- despite losing the Heroin -- were able to escape the ambush. Not only that, but Billy also ended up arrested by the LCPD (possibly tipped off by the Triads). This left Johnny Klebitz in charge of The Lost (this started a brief civil war between Brian's Faction and Johnny's that started in End of Chapter and culminated in Bad Standing.
- "Checkmate, dude."
- ―Some of Billy's last words.
In the mission Was It Worth It?, Ray Boccino commented that Billy told him that Johnny and Jim were backstabbers. Also, Agent Jones -- an unseen FIB agent -- also told Johnny in his second phone call to him that Billy was testifying against him. In the game's final mission, after Thomas Stubbs explained that Billy was to testify against the MC, Johnny decided to take the last three combat-enabled members of The Lost (himself, Terry Thorpe and Clay Simons) mass-attacked the Alderney State Correctional Facility and after blasting through all the security guards, confronted and executed Billy, ending his life for good.
Mission appearances
- The Lost and Damned
- Clean and Serene (Boss)
- Angels in America (Boss)
- It's War (Boss)
- Action/Reaction (Boss)
- Buyer's Market (Voice)
- Off Route (Post-mission phone call)
- This Shit's Cursed (Boss/Betrayal/Arrested)
- Get Lost (Killed)
- The Ballad of Gay Tony
LCPD Database Information
Surname: Grey
First Name: BillyAge: 37
Place of Birth: Acter, Alderney
Affiliations: The Lost
Criminal Record:
- 1986 - Hijacking
- 1987 - Assault
- 1989 - Murder
- 2002 - Racketeering
- Head of the Alderney Chapter of the Lost Outlaw Motorcycle Gang.
- Recently convicted of drug related felony and sentenced to rehabilitation.
- Johnny Klebitz is been believed to have taken control of the Chapter while Grey was incarcerated.
Murders committed
- Angels of Death Lieutenant - Murdered for crashing his party and flipping him off.
- When Johnny Klebitz and Billy Grey are arguing early in the game, Johnny mentions that Billy's Revenant "Chopped that girls leg off," and that Billy put Joseph Johnson's nephew into a coma. He states that this the reason, apart from the financial problems, that the bike was not returned.
- Billy is missing a President patch on his vest on his concept artwork.
- Billy has a skull tattoo with "1%" inside on his forehead. "1%" means that the Lost MC is an outlaw motorcycle club. His tattoo is also similar to Charles Manson's.
- Billy looks similar to James Hetfield from Metallica.
- Billy has betrayed Johnny twice. First, in This Shit's Cursed, where he conspired with a triad member to kill Johnny (although it is only seen in Chinese Takeout in TBOGT). In Get Lost, where he pins a major drug operation on Johnny and his "buddy in the chair" (Angus Martin) so he can have them sent to prison.
- In the Meet Billy Grey trailer, he is seen driving a Zombie and Hexer. However, he is not seen driving either of these in the game.
- There are four colored wings on Billy's vest. The purple one indicated he once had sex with a corpse.
- After Johnny kills Billy in Get Lost, his police database still says that he is in custody instead of deceased. This is the same for GTA IV and TBoGT.
- In Clean and Serene, before Johnny gets back to the clubhouse, you can see that Billy wore blue jeans and brown causal boots while in rehab.
- According to the LCPD database, Billy is 37 years old by the time of the events of The Lost and Damned. Michael Klebitz sends Johnny an email which states that Billy and him were friends at 15 when Johnny was 10. This contradicts what the LCPD police database says about his age. What the email says is probably just an error.
- Billy, Dimitri Rascalov and Big Smoke are the only antagonists who disappear after their betrayal and reappear only when they are killed. In Get Lost, in Billy's case. Billy is also the only one of these three who doesn't disappear by choice (since he was arrested).
- Billy is the only main antagonist in GTA IV who is not Russian. (Dimitri Rascalov and Ray Bulgarin are the main antagonists of GTA IV, and The Ballad of Gay Tony, respectively, and they are both Russian).
- Non-chronologically, Billy is one of the three antagonists to be killed in their first appearance (TLAD) and reappear in another game (TBoGT), the others being Catalina and Ricardo Diaz.
- Billy's personality is very similar to that of Charles Manson.
- Billy is mentioned during one of Trevor Phillips' missions in Grand Theft Auto V, in a conversation between members of the Lost MC who didn't believe that Billy was a snitch. However, the subtitles misspell his surname as "Gray". Billy is also mentioned in a Bleeter message.


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My Day Snapshot
Phe hasn't written a snapshot yet.
My Life To-Do List
Currently on my Life Wish List:
World travel (again)
Moving to a better \\\'hood, preferrably on the ocean
Goals I am working on:
Losing weight
Reducing negative stress
Projects I am working on:
Learning to landscape
Recent Activity
Phe's Friends
2 comments so far...
I LOVE your hair!
Flag as inappropriate Posted by Uhura on 27th May 2009
Welcome, Phe, to WorkitMom. I noticed you were from Boston. I am from west of Boston. Nice to meet you.
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We are unable to accept any more repairs until July '20. We're booked solid. Sorry!
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The MFA Fashion Design and Society at Parsons School of Design is the first graduate program of its kind in the United States, with a unique interdisciplinary and international approach to fashion. Each year, a small group of students join this academy for advanced studies in fashion design and train to become innovative and progressive world-class designers. Initiated by Parsons alumna Donna Karan, the program has received support from major names in fashion such as Diane von Furstenberg, Swarovski, Uniqlo, LVMH, and Kering.
Explore the MFA Fashion Design and Society community to see what students, faculty, and alumni are doing in NYC and around the world at fashiondesignandsociety.com. This program is part of Parsons'
School of Fashion.
The two-year, 60-credit program combines intensive studio-based projects with research and exploration. In the tradition of critical social research at The New School, the program helps students develop an understanding of the global business, intellectual, and ecological contexts of their work. Supplemental classes in filmmaking, presentation, and photography broaden students' visual design vocabulary and communication skills, preparing them for success in collaborative professional settings and showing them how to present and position their work within the market.
At the end of their second year, in May, students present their graduation collections to industry insiders, headhunters, select press, stylists, and buyers in an exhibition format, which often results in employment or other professional opportunities. In addition, students present their collections on the runway during New York Fashion Week in September.
Part of Parsons' renowned School of Fashion, the MFA program offers students opportunities to exhibit their work on an international scale, to build relationships with industry leaders, and to participate in high-profile collaborations. Student work is regularly featured in a number of media outlets, including the New York Times, WWD, Vogue (US, UK), Vogue.com, Elle, Marie Claire (US), ID, Interview, and SO-EN (Japan). Recent graduates have gone on to work as designers at major labels such as Alexander Wang, NIKE, Oscar de la Renta, Under Armour, Kanye West for Adidas, St. John Knitwear, Burberry, Donna Karan International, DKNY, Calvin Klein Collection, CK Jeans, Coach, The Gap, Reed Krakoff, Ralph Lauren Black Label, Narciso Rodriguez, and Opening Ceremony.
Others have launched their own businesses and gone on to sell at Dover Street Market in New York, London, and Tokyo. Students have won or been finalists in fashion competitions such as Feel the Yarn at Pitti Filati in Florence, the International Fashion Showcase in London, International Talent Support (ITS sponsored by Diesel), H&M Awards, VFiles Made Fashion, New York Fashion Week, and the LVMH Prize.
Graduates pursue career paths including fashion design, art direction, curating, and teaching.
MFA Fashion Design & Society Alumni WebsiteShowcasing Generation Overview, Runway, Achievements, Biographies and Special Projects
MFA Fashion Design & Society InstagramShowcasing Student Work, Press, Runway, Exhibitions, Events and Archival Material
The Master of Fine Arts degree is awarded for completion of 60 credits. Transfer credits are not accepted. Students must maintain a 3.0 cumulative grade point average and fulfill all requirements in a timely manner.
The development of the new MFA Fashion Design and Society program has been a creative exercise in itself. As a directional and conceptual designer, I have always found that the "personal" is so important in defining identity. If there was ever a time to stake out a personal
vision, defy market conventions, and rev up the creative engines, it is now. Innovation and thoughtfulness may be the only route for students, and I can't think of a more critical time than now for all thinking to become international.
There is something unique about New York, and I came here specifically to launch a new MFA program, with the intention of facilitating an exchange of ideas between the School of Fashion and the traditional academic disciplines. Design education is in need of reform. If we are to maintain the spotlight on
New York as a bright center and a resource for innovative design, we must reprogram that next generation of talent right here. At the end of the day, I am trying to create "idea people" — better thinkers who are aware of the bigger picture.
I must first thank Parsons alumna Donna Karan, whose foresight and generosity were instrumental in the creation of this program, the first of its kind in the United States. I think the program reflects her innovative design sensibility, her business acumen, her adventurous spirit, and, perhaps most
important, her deep interest in humanity.
Since its founding in 1896, Parsons has been a leading innovator in design education. That's the reason Parsons is the perfect place for the MFA in Fashion Design and Society to live and to develop and advance the study of fashion. It is also important that Parsons is part of
The New School, a university founded on the principles of intellectual freedom and civic engagement. Students in this program will find a studio-based learning environment within a larger social and critical context.
Shelley Fox
Donna Karan Professor of Fashion
MFA Fashion Design and Society
School of Fashion
Parsons School of Design
Since graduating from the MA Fashion program at Central Saint Martins College of Art and Design, Shelley Fox has won international recognition for her experimental and innovative approach to womenswear. As a directional and conceptual designer, she is distinguished by her use of
materials and manipulation of fabric, particularly her development of an unorthodox pattern-cutting technique. Constantly questioning convention, she has redefined the way clothes are worn from New York to London to Hong Kong.
Honors Shelley Fox has received include the Jerwood Fashion Prize, Peugeot Design Award for Textiles, Crafts Council Development Award, and Stanley Picker Fellowship for Design. In 2007, she was nominated for the Prince Philip Design Prize by the Arts Council England. Her work has been featured in exhibitions
at the Victoria and Albert Museum, Design Museum, Barbican Art Gallery, Modemuseum, Crafts Council, Antwerp Landed 2001, and FIT in New York. Fox's designs have also been shown in British Council exhibitions in Germany, France, Belgium, Poland, Lithuania, the Czech Republic,
Denmark, the Netherlands, Russia, Sweden, and Japan.
The TOMODACHI-Uniqlo Fellowship provides financial support for a student from Japan who is enrolled in the MFA Fashion Design and Society program. This fellowship is administered by the U.S. Japan Council. The fellowship is possible thanks to the generous support of the U.S. Japan Council, Uniqlo, and Fast Retailing Co., Ltd.
The TOMODACHI-Uniqlo Fellowship is open to applicants from Japan and provides financial support of up to $150,000, to the full cost of attendance for both tuition and living expenses for the two-year program. The amount awarded is based on the student's financial need.
In addition, the fellowship recipient has the opportunity to participate in an internship at Fast Retailing Co., Ltd., during the summer after his or her first year in the program.
The TOMODACHI-Uniqlo Fellowship seeks candidates who meet the following criteria:
To be considered, individuals must apply and be accepted to Parsons' MFA Fashion Design and Society program. Parsons will review all eligible applications for scholarship consideration and select a recipient on the basis of the criteria listed above. The TOMODACHI-Uniqlo fellowship recipient will be notified at the time of admission.
There is no separate scholarship application for the TOMODACHI-Uniqlo fellowship; simply apply to the MFA Fashion Design and Society program by visiting
newschool.edu/apply. If you would like to address your candidacy for the TOMODACHI-Uniqlo fellowship in your application, please feel free to mention it in your Statement of Interest essay (as part of the online application).
Inquiries about the MFA Fashion Design and Society program can be addressed to firstname.lastname@example.com.
For application-related questions, contact the graduate admission office at
For information about more scholarships and grants that may be available, visit
Student Financial Services.
2 years, 60 credits
Full-time graduate program
A highly selective program that combines intensive studio-based projects with research and artistic exploration. Successful candidates typically have a bachelor's degree in fashion design and a substantial portfolio.
3-4 semesters, 60 credits
Can be completed full-time or part-time
A professionally oriented course of study that provides essential foundation training and technical skills, enabling students to build a competitive portfolio and launch a new career in their chosen industry. Best suited to students who have previous college experience in an unrelated field and want to change careers.
Explore the AAS degree option
4 years, 120 credits
Full-time undergraduate major
A holistic degree program that immerses students in challenging studio courses, art history and critical theory, as well as the wider world of liberal arts. The course of study culminates in a thesis and qualifies alumni for further graduate study. Best suited to first-time college students.
Explore the BFA degree option
Application Deadline
The application deadline is January 2. To be most competitive for admission and merit scholarship consideration, please apply before the deadline. We will continue to review applications submitted after the deadline pending space availability in the
program. The Admission Committee will make a decision on your application only after all the required materials have been received. Spring term admission is not offered for this program.
Financial Aid Deadline
Merit Scholarships: All admitted students are considered for merit scholarship awards determined by the strength of their applications. International students are eligible only for merit scholarships.
Federal Student Aid: If you are a U.S. citizen or eligible non-citizen, we encourage you to complete the Free Application for Federal Student Aid (FAFSA), which can be found at
www.fafsa.gov. The FAFSA is available each year on October 1. The New School's federal school code is 002780. You do not need to wait for an admission decision to apply for federal
aid. Submit your FAFSA by our February 1 FAFSA Priority Deadline.
All applicants are required to apply online. Save your work frequently and print a copy for your records. You must complete all required fields and uploads prior to submission.
Any additional supporting documents that need to be sent by mail must include an
Application Materials Cover Sheet. All supporting materials must be received before your application can be reviewed.
See below for additional information regarding submission of transcripts and recommendations.
Some of your required application materials will be submitted through
Shelley Fox, Program Director
Joffrey Moolhuizen, Associate Program Director
Parsons Wide
School of Fashion
Undergrad Wide
Read and download viewbook


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As an autistic, purebred Himalayan runt, my cat Rufo poses a triple threat of cuteness the whole world can enjoy. Sound like the everyday delusions of an average cat owner? Perhaps. But if Rufo is indeed a superstar dying to be born, then it's my responsibility to help him, via the Internet. After all, what better use of the Web than as cat promotion?
At first, Rufo's site was nothing more than a few paragraphs describing his unique kitty allure. Although a good start, mere words failed to convey the complete Rufo experience. For that, I needed graphics. Not just photographs – if Rufo was to be taken seriously as a cat celebrity, his Web presence had to look fun and professional. So I needed other collateral as well, like a logo, page banners, and graphic navigation.
My initial attempts were less than flattering. Pictures had blurry fur, the colors were pale and washed out, and the images took forever to download. So I taught myself how to create the kind of fast, sleek, and professional images that Rufo deserves. And now I'm going to share that hard-won knowledge with you. In the pages that follow, you'll find tips, hints, and links to off-site resources or more advanced Webmonkey tutorials – everything an aspiring graphics designer needs to transform a texty site into a graphic sensation.
We begin at the very beginning: Getting images into the computer. For Rufo's site, this meant importing photographs and finding usable graphics.
Imports Are In
There are two ways to approach the creation of Web graphics:You can make something out of nothing, or you can import an image from an outside source. We'll create a from-scratch Rufo Web graphic later, but first, let's take at the different ways you can import an existing image.
For photographs, most local film developers offer digital processing, which transforms your old-school pics into digital images stored on a disc or CD. However, if you plan to take and use a lot of photographs for your site, you need to learn the basics of digital photography. Digital cameras import images directly into your computer, bypassing the need to print and scan the photo. Plus, most digital cameras offer a preview feature, which comes in handy whenever Rufo squirms out of the picture at the last second. If Rufo doesn't like what he sees on the preview screen, the offending image can be zapped with the push of a button.
For digitizing those cheap and cool analog photos or illustrations, you need to learn how to use a scanner. High-end scanners are great for print projects, but for scanning Web images, most inexpensive models do just fine.
Web-ready clip art is another possible source for images. Usually the collections are so extensive, you can find something for almost any situation. Several online resources offer free or reasonably priced clip art:Creativepro, Mediabuilder, and EyeWire, and Webmonkey-sister-sites Tripod and Angelfire offer their users an extensive Image Library. In addition, book and CD collections are relatively cheap and surprisingly handy.
Another great place to find graphics for the Web is the Web itself. Saving pictures from a website is as easy as right clicking on the image (ALT + click for Macs) and selecting Save, or simply SnagIt. It's important to remember, however, that most online content is protected by copyright. To use an image from the Web, you must either first get permission from the original owner or edit the image beyond all recognition.
Edits Big and Small
After importing an image into your computer, the next step is to open the file with one of the many graphic editing software programs available to you. Adobe's Photoshop has been the professional's choice for years, but there are cheaper alternatives. Jasc's Paint Shop Pro and the open source GIMP offer many of the same features and capabilities of their more expensive counterparts. And the GIFworks tool offerd by both Tripod and Angelfire is always good for some down-and-dirty image editing.
Image editing can encompass a wide range of different processes, and in the following example I'll take you through some of the most common and useful graphic edits. For my example, I used picture of Rufo (of course) to illustrate image resizing, color correction, and cutouts. I did everything with Photoshop, but whatever image editing software you choose to work with should let you do something similar using comparable commands.
Chances are, your imported image isn't the exact size it needs to be for your site. To resize an image, choose Image Size under the Image menu and convert the increment setting to pixel for exact resizing. Also, since monitors only display 72 dpi (Dots Per Inch), any finer resolution is lost on your computer views, so make sure the Resolution is set to 72. Once the image has been resized, you may notice a loss of resolution quality. Unsharp Mask (under Filter > Sharpen) is an invaluable tool for precisely sharpening an image into focus.
Color Correction
Another thing people often like to do with imported Web graphics is correct the color. Simple tweaking of the Contrast and/or Saturation (under Image > Adjust) can enrich even the most washed out photos. For more complex corrections, the Color Levels feature is helpful, offering both subtle and extreme color changes.
The easiest way to remove a portion of an image is with the Rectangular Marquee Tool. Simply click and drag the "marching ant" trail to surround what you want to keep of the image (to make your selection perfectly square, hold down the shift key as you work), go to Select > Inverse, then hit Delete. If your cut is more complex, begin by making a general selection either with the Marquee/Lasso tools or by color range. From there, the selection can be refined in the Quick Mask mode. Quick Mask mode enables a selection to be finely edited with the Pen and Eraser tools. Such flexibility is important in making good selections, which in turn makes for good cutouts.
That should be enough to get you started, but I encourage you to play around with the many other tools that come with image editors to see what other startling effects you can come up with. That said, editing imported images is only part of the Web graphics game. Occasionally, you have to start with nothing and create an image from scratch.
Starting from Scratch
When only original art will do – the creation of a Rufo logo, for instance – building Web graphics from the ground up is sometimes necessary. Whether you have a clear plan of what you want to create or no idea at all, there are a few things to take into account. In the step-by-step example that follows, I used Macromedia's Fireworks program, but you could also use a product like Adobe's Illustrator.
Getting Started
Under File, select New. A New Document window will pop up with settings for canvas size and pixel resolution. As I said before, since monitors display at 72 pixels per inch, Web graphics are limited to that resolution.
Type Casting
Creating a graphic usually begins by adding shapes and/or type to the canvas. For unique shapes, start with something simple like a circle or square, then experiment by reshaping it with the Pen tool. Combining shapes via Union, Intersect, and Punch (under Modify) can sometimes produce pleasing results.
As a general rule, you should use HTML to create text on your site whenever possible – type should only be used in a graphic when absolutely, aesthetically necessary (logos, banners, etc.). This is because the file size of graphic type slows the overall page download time, plus extensive use of graphic type can alienate people with disabilities or old-schoolers running a text-only browser like Lynx (test your site with Bobby to see how it measures up). Alt text (a description included in an image tag, such as <img src="" alt="The Precious Little Sweety Meow">) can help text based Web surfers better understand graphic content and navigation.
If you choose to use type in an image, anti-aliasing may become an issue. Anti-aliasing is an effect that counters the jagged edge of rounded graphics by blending the pixels along the graphic's edge with the background color. This blending creates an illusion of smoothness and is usually preferred in most cases. However, the added colors do increase file size and sometimes anti-aliasing can blur small type.
Finally, a diverse font collection is paramount, although it's important to use them sparingly. There are several online resources that offer free or cheap fonts.
Browser-safe Colors
The inconsistencies between how different browsers and operating systems display colors is a nightmarish mess. To make sure images look the same no matter what a viewer uses to look at them, the limited yet relatively Web safe palette of 216 colors was born. Select the "Web 216 palette" from the list of swatches and choose your colors from amongst those provided. For the ultimate in Web color safety, try the really safe palette.
Try, Try, Again
Once you have a basic design set, the real fun can start. Experiment with different enhancing features like fills, strokes and effects. And there's all sorts of fun to be had with Photoshop filters – the lighting effects are especially nice.
The key is to try an endless combination of shapes and fonts while remaining mindful of a few important factors, like the limited color palette. For additional support and ideas, peruse some of the various online design resources – AIGA is a great place to start.
With your from-scratch and edited graphics now complete, your now ready to place them on the Web. But before you can export anything, you have to first decide on which Web file format best suits your image. For this, you'll need a basic understanding of the nature of computer graphics and the features that distinguish them.
Formats for Every Occasion
Whether they're Rufo-related or not, computer graphics boil down to two basic types:bitmaps and vectors.
Bitmap (or raster) graphics are stored as a series of tiny dots called pixels. Each pixel is assigned a color, and when theyre viewed all together, they form the picture. Bitmap graphics can be edited by erasing or changing the color of individual pixels. There are many different bitmap file formats:TIFF for print; Photoshop's PSD and BMP; and finally GIF, JPG, and PNG for the Web.
Unlike bitmaps, vector graphics are not based on pixel patterns, but instead use mathematical formulas consisting of lines and curves that make shapes. Vector graphics are ideal for illustrations, line art, and type. However, with the exception of Adobe' Flash and Microsoft's Silverlight formats, most browsers do not support vector graphics. As a result, vectors have to be converted to bitmap ( rasterized) before being displayed on the web. Some file formats include: EPS; Illustrators' AI and WMF; and PICT for the Mac.
The two primary file formats for Web graphics are GIF and JPEG, although support for PNG is growing. Both GIF and JPEG formats use different methods of compression and have respective strengths and weaknesses.
The Gift of GIF
GIF (Graphic Interchange Format) is the most common Web graphic file format. GIF compression is 8-bit and has a maximum of 256 colors. As a general rule, GIFs are better suited for graphics with areas of solid or flat color such as illustrations and logos. Other advantages to the GIF format is that it lets you create transparencies, interlacing, and animations.
A transparent GIF allows one color to be set as transparent, usually a background color. All Web graphics are square or rectangular and transparencies are a way to create the illusion of irregularly shaped images. Interlaced images display a rough version of the entire image quickly and then gradually fill in the details. This affords the viewers a sense of the image before it fully downloads, a godsend to those with low bandwidths. Animated GIFs are files that contain multiple images set to display like a slide show. They work on all major browsers and require no plug-ins.
The JPEG/JPG Option
The JPEG format (Joint Photographic Experts Group) was especially designed for images of photographic quality. JPEG compression is 24-bit, which means files can contain up to 16.7 million colors. As a result, JPEGs are ideal for photographs, drawings, and any image with complex or subtle color gradations. Unlike GIFs, the standard JPEG file is not interlaced, a problem addressed by the Progressive JPEG. However, some older browsers do not support progressive JPEGs.
PNG Pong
PNG (Portable Network Graphic) is largely considered the format of the future. PNG compression can be 8-bit, 24-bit, or 32-bit, making it the ideal format for almost any kind of graphic. However, some older browsers (like IE 6) do not support the format entirely, and some newer versions still have sporadic problems. Despite some well-founded skepticism, the future still looks somewhat bright for the license free PNG.
Armed with this basic overview of graphic file formats, we are now ready to export our images for the Web.
Exporting We Will Go
Now that your image has been edited to perfection, it's time to prepare it for online viewing. Export an image largely involves optimization techniques, GIF transparencies, and image slicing.
Optimizing a Web graphic file can be tricky. There's a fine line between reducing file size for faster download speeds and maintaining the integrity of the image. Most of the major graphic programs like ImageReady offer a file optimizing toolbar with preview capabilities. From this toolbar, select a file format. Depending on the type of image, the format will usually be either a GIF or a JPEG.
For GIFs, experiment with the different color palettes (Adaptive, Web 216, Exact, etc.) to find the best one for your particular image. After choosing a palette, the next step is to reduce the amount of colors as much as the image will allow. Once the palette has been reduced, you may wish to experiment with the level of dithering. Dithering is a process where unsupported or eliminated colors are simulated by combining different colors from the existing palette. The result can sometimes be grainy or noisy, depending on the type of image. For extensive dithering, the adaptive palette usually produces the best results.
When exporting transparent GIFs, after optimizing, select the transparent color (usually the background color). This will sometimes produce an unseemly edge or halo around your image. Setting the matte color to match the background can help counter this effect by blending the anti-aliased pixels into the background color.
Exporting JPEGs is even easier. The amount of compression is based on a scale from 1 to 100. The lower the number, the more compressed the file and the more loss of quality. The compression requirements for each JPEG image are different, but most can get away with a level between 30 and 70.
Large images that appear on several Web pages and only change slightly on each page can often be sliced into pieces. By slicing an image, the consistent pieces are carried over to the next page in the browser's cache. Only the smaller, swapped portion is downloaded, thus greatly improving the overall download speed of each page. Image slicing is also sometimes necessary to accommodate complex HTML designs.
You now have the know-how to import, create, edit, and export impeccable Web graphics. However, static imagery isn't always enough. In these instances, graphic rollovers and animated GIFs can help bring a Web page to life.
Images in Motion
When used effectively, simple mouse rollovers and animated GIFs add interactive excitement to any site, and they're easy to make.
All Over the Rollover
Start by creating or importing the first image and draw a slice or hotspot around it. With the slice or hotspot selected, open the Object window and name the image. The program will automatically generate the name of the second frame. Then fill out the ALT text and assign the URL you'd like the image to link to or, in this case, assign a mailto.
Next, open the Frames window and add a new frame or duplicate the first one.
Create or import the second image within the second frame. Once the second image is roughly in place, "onion skinning" (a handy feature that lessens the opacity of each frame, allowing you to see and compare both at once) helps with final adjustments.
Export the image as usual, only this time save the HTML as well. This contains the JavaScript code and can be integrated into a larger page design with programs like Dreamweaver or cut and pasted into any HTML text editor.
Your simple rollover is now complete. They can get more complicated, but the basic principles stay the same.
Animated GIFs
Animated GIFs are similar to rollovers inasmuch as they are images with multiple frames. However, animated GIFs aren't usually triggered by a cursor, and they're capable of rotating through many more frames. Animated GIFs enjoy all the benefits of a regular GIF and are supported by the major browser without additional plug-ins. There are many reasonably priced programs like GIF Constructor Set for the PC and GIFBuilder for the Mac that can [/webmonkey/99/18/index1a.html produce animated GIFs] and are easy to use. For this example, I used Fireworks again to create a four-frame, animated GIF of Rufo's archenemy, Dogbot.
Step 1) Create or import an image into two or more frames.
Step 2) Adjust and compare each image with onion skinning.
Step 3) Fireworks sets the default frame rate at 20/100 per second, but this can be adjusted for each selected frame in the Frames window, under Properties. Also, determine how many times the animation cycles with the Looping icon at the bottom of the Frames window.
Step 4) Optimize the image and then export as an Animated GIF.
Set Frame Rate
Export Animation
It's that simple. Animated GIFs can really draw attention to a page, but they can also be very distracting. It's usually wise to use them only when the design or content requires it.
Now all that's left to do is upload those GIFs and JPGs to your site.
Uploading, HTML, Plus a Peek at Tomorrow
Once you have your images saved in the proper formats, all you have to do is upload them to your site for all the world to see. And all you need to do that is FTP (File Transfer Protocol) software like the free and open-source FlieZilla. Some users prefer something with a cleaner interface, like CuteFTP (or Fetch or Transmit for Mac).
Once your image is on your server, all that's left to do is include an img tag in your HTML file, and that's it! Finally your site has got the picture. Congratulations!
But now that you've managed to give your site the right image, how to make sure it stays au courant with all the latest image technology? With that in mind, let's finish this overview with a list of a few up-and-coming image formats that you might want to keep your eye on.
Imagining the Web Images of Tomorrow
The future of Web graphics is both exciting and frustrating as browsers slowly continue to develop support for alternate file formats.
At the forefront is the PNG, which despite its relatively long history and glaring advantages is only now becoming supported by all the current browsers. Still, web graphic enthusiasts look forward to the day when PNGs completely replace GIFs altogether. More advanced formats like the MNG are still in development and may never enjoy widespread support.
As for vector graphics, Flash's formats continue to lead the way. However, a vector standard built around XML called SVG (Scalable Vector Graphic) is currently being considered by the W3C. This has prompted graphic giant Adobe to support and develop the format.
Also on the horizon is the new language called Canvas, which promises even more vector display and animation options. By supporting both simple and complex graphics, Canvas may soon even rival Flash.
In the meantime, the workhorse GIF and the adequate JPEG will have to suffice. By recognizing the strengths and weaknesses of each format, it's possible to produce graphics worthy of a pet site.
As for Rufo's future, his campaign to become America's favorite cat continues to gain momentum, thanks in part to well-crafted Web graphics. At this rate, it won't be long before he purrs his way into the hearts of people just like you.Go Back to Top. Skip To: Start of Article.


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This weekend is a busy one on the festival calendar: in addition to the DiS-sponsored Dour (Belgium) and Summercase (Spain), there's also Latitude in Suffolk. Expect to see plenty of DiS writers there if you're scuttling along. This writer, though, will be in Birmingham for the always-excellent Supersonic Festival, now in its fifth year and this summer supported by DiS. Held at the city's Custard Factory complex, the two-day event is organised by local promoters Capsule, and is headlined this year by Mogwai. The dates for your diary: July 13 and 14. Tickets, there are a few still available, but not many… Click the link at the article's end for details.
Ahead of Supersonic '07, DiS caught up with Lisa Meyer, one of the two Capsule types responsible for bringing the event together every summer. That picture: Isis, last year. Nice.
Hello Capsule! Please tell us who you really are, and what's dominating your stereo right now?
Who we really are is Lisa Meyer and Jenny Moore and we're not grannies despite what people say, but we do like cake. We've been listening and humming to Crippled Black Phoenix a lot recently, also been listening to Big Business, plus the William E Whitmore and Jenny Hoyston track that is on a Southern Sampler CD has been on repeat quite a lot, too.
Supersonic is now in its fifth year, is that right? What was the catalyst for starting the festival? Presumably you'd been promoting shows for a while before its establishment, as you continue to do now…?
We've been doing Capsule now since 1999. Basically, the way we started was because we both had pretty eclectic musical taste and at that time we were travelling round the country to gigs, as bands just weren't playing in Birmingham. We then decided that, instead of moaning about it, we'd start inviting bands to come and play in Birmingham. We realised that there was also a great amount of talent in Brum and wanted to find a way of supporting that by pairing up touring bands with high quality local acts. Birmingham is one of those places that has a bad outside perception, but once you come here you realise that there is loads going on. It's just not very visible to the outside world.
After going to Sonar Festival in Barcelona we were inspired by the idea that niche audiences didn't mean small, and that if we could make an event exciting enough we'd be able to attract a niche yet travelling audience, hence creating a larger-scale event. Many of the bands that play Supersonic are pretty underground, and rarely play to more than a handful of people, but if we can get that handful from every city around the UK and further afield to come along to Supersonic we have critical mass. As well as Supersonic we continue to do a year-round program of events and gigs.
Just how long, on average, does it take to pull together a Supersonic bill? Have there been acts you've narrowly missed out on, or are there any you're still trying to get for future events? In a dream scenario, who would you pick as headliners, regardless of cost, or even whether or not they're alive!?
We pretty much work on Supersonic year round: as soon as it finishes we start planning for the next year. You could say we are both pretty obsessive like that. We're massive music fans so we go along to loads of other festivals and gigs and are always on the look out for interesting stuff.
There are still plenty of bands that we'd want to have play. I guess if money was no object we'd have Lionel Richie play at the end of the night, to finish off the party. We know there are a lot of secret Lionel fans out there…
What's been your most memorable Supersonic yet? Personally it has to be 2005, for Battles and Aereogramme and bombs that never were… and a nightmare of roundabouts on the way home…
Yip, the Year of the Bomb (review) as we like to call it now was pretty surreal; it was a few days after the London bombings and Birmingham city centre was fully closed down mid-festival, all the security got in their cars and we were left to evacuate everyone. But we remained very calm throughout.
Really enjoyed LCD Sound System with full band in 2003. At the time we just wrote to James Murphy and asked him to play, and it was the first show outside of London. Who knew they would get so big? Our second year was a bit of a nightmare, like a bad second album: the weather was shit, the crew we hired let us down, we couldn't find a couple of the artists, and we were over tired. We learnt a lot from that year.
Can you see Supersonic expanding beyond the confines of the Custard Factory? While it's obviously a neat venue for such an event, it isn't exactly massive – would you like to run a Supersonic on a larger scale sometime?
We've thought about that quite in depth and we'd have to find a venue that was as suitable, somewhere that had loads of flexible spaces for us to program. It would be great to expand, but with that comes the idea of needing bigger bands to pull in bigger audiences which would change the nature of the festival.
While the bands are obviously a big draw, what else is there at Supersonic to entertain/inform the assembled attendees? It's quite a multi-media event, isn't it? There's a very strong visual side to every event – aesthetic appeal, presumably, is as important to you as attracting a diverse and talented bill?
We have a great cinema program put together, this year by 7 Inch Cinema, and also Southern Records have dug deep into their archive to pull out some rare live footage from the likes of Sonic Youth (circa 1985), Big Black and Butthole Surfers… and documentaries on The Obsessed and Neurosis. We're also screening The Knife DVD on the main stage.
We have two exhibitions as part of the Festival, one which responds to the title of our symposium, 'Metal', and includes artists Lucy Mclauchlan, Savage Pencil, French, Gas, No Heaven Waiting and Mark Titchner. For the other, we've invited the Outcrowd Collective to take over one of the units at the Custard Factory and turn it into a mini gallery.
This year we are also holding a symposium entitled 'Metal', which will explore the West Midlands' musical heritage. This is held on the Friday at the prestigious New Art Gallery, Walsall, and includes key speakers such as Jim Simpson (Sabbath's manager for the first three albums), Nicholas Bullen, originator of Grindcore, and Mark Titchner, a Turner Prize nominee in 2006. We've always seen a close link with music and visual arts, and as such there is a very strong visual side. We both studied art at university.
Just how far do people travel for Supersonic? Is it an international event, or are attendees primarily from around the UK? Was the original decision to hold it in Birmingham simply based on the fact that said city's sort of in the middle of England?
People come from all over the world, which is really exciting for us, as well as from all over the UK. The reason we hold the festival in Birmingham is because that's where we are based; however, this year there are a couple of offshoot events happening in London - we've got a night with Plan B magazine at the Spitz with Oxbow, ZX Spectrum Orchestra and Duracell.
Do you try to ensure that no Supersonic is dominated by a single form/genre of music? While reports and reviews have praised the electronica aspects of events past, you've also booked a fair share of metal and indie acts, too. This year we've Tunng and Shady Bard, neither of whom fall into either bracket – just what is the booking policy, if there's any?
The program has always been very eclectic in terms of genres, it's just that people tend to just pull out what they know. Last year we had Broadcast, Hanne Hukkelberg and then High On Fire and Thrones; the year before, Rother & Moebius and David Cunningham (Flying Lizards) through to dälek and Psychic TV. The line-ups are always like fantasy football: we program acts we'd like to see and, in turn, hope other people will be interested in as well.
Any plans for 2008's event yet? Already making approaches? What other Capsule shows are there in the near future that will be of interest to readers?
We've got some ideas for next year, a couple that we've already been chasing but none that we can announce. As for other events, we have a big show at the opening festival for the Town Hall in Birmingham, with Modified Toy Orchestra, Pram and special guests. This is particularly exciting as the Town Hall has been closed for years and in its former days had a lot of great gigs there, but before our time! It's been fully renovated and is a beautiful venue now. We also have shows with High On Fire, the Boredoms and Acid Mothers Temple coming up, so best join our mailing list to find out more…
For more information on Capsule and Supersonic, and to join the Capsule mailing list for information on upcoming shows, click HERE. Selected shows include Russian Circles and High On Fire at the Birmingham Barfly on September 1, The Boredoms at the same venue on October 27, and the aforementioned Birmingham Town Hall show on October 15.
Below, DiS picks out some of our highlights on this year's Supersonic bill…
Qui – from Los Angeles – were formed in 2000 by Paul Christensen and Matt Cronk; David Yow, of Scratch Acid and The Jesus Lizard, joined the band in 2006 after they'd already released their debut album, 2003's Baby Kisses. A follow-up, Love's Miracle, is out soon via Ipecac. Think punk-rock at its nosiest, played by men of an age where they should, maybe, know better… but where's the fun in that?
Shady Bard
Local boys (and girl) Shady Bard recently played DiS's DiScover Club at the Notting Hill Arts Club; we were mightily impressed with how they translated the epic understatement of their debut album, From The Ground Up, to the stage. Expect melancholic contemporary folk-isms, swathes of post-rock builds and fills, and vocals dripping with thick soul and vision. Read our review of From The Ground Up here.
Chrome Hoof
Do weirdoes come much weirder? London-based collective Chrome Hoof – whose Pre-Emptive False Rapture LP is out on Southern – are oddballs to defy all categorisations; even their own description on MySpace offers little guidance, mixing electro with death metal. Best bet: listen to the stuff. Just not with a full stomach.
Beestung Lips
Punk as it, most probably, should be: noticeably pissed-off and acerbic like so few acts proclaiming to be 'punk' actually are. The band's EP, Songs To And From An Iron Gut, is out via Capsule's offshoot record label, and demands attention from anyone moved by the likes of Hot Cross, Hot Snakes and Hot… erm… coffee in the crotch. Neat, basically.
Click HERE for the full running order.


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Hi everybody, and sorry for my poor English.
Few days ago, I noticed all emule-related *.exe files had disappeared from my internal HDD. I tried to copy them from a USB HDD, copy happened but two seconds later, the file disappeared again. This problem stopped when I deactivated Webroot Spy Sweeper's shield. After installing the Mule without Spy Sweeper, the install was completed successfully, but at the first boot after after having re-installed Spy Sweeper, I had a light blue screen annoucing "emule.exe deleted, eMule0.47a-Installer.exe deleted, shareazaa.exe not found, limewire.exe not found, kazaa.exe not found", etc.
Would it be possible that Spy Sweeper has been infected by some virus, or would it be an anti-p2p policy applied by Webroot?
My security tools are NAV 2006, NPF 2006, Ad-Aware, Ewido, Arovax, and formerly (of course) Spy Sweeper.


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HDL (high-density lipoprotein) is sometimes called "good"
cholesterol, because it helps move cholesterol out of the body. HDL does this by binding with cholesterol in the bloodstream and
carrying it back to the liver for disposal.
A high HDL level is linked to a lower risk of heart disease.
Last Revised:
June 29, 2012
Healthwise Staff
Medical Review:
Kathleen Romito, MD - Family Medicine & Robert A. Kloner, MD, PhD - Cardiology & Rakesh K. Pai, MD, FACC - Cardiology, Electrophysiology
This information does not replace the advice of a doctor. Healthwise, Incorporated disclaims any warranty or liability for your use of this information. Your use of this information means that you agree to the Terms of Use. How this information was developed to help you make better health decisions.
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Availability: Out of stock
Happy18th birthday!
Happy 18th birthday card.
This has been hand made from recycled paper, and is signed on the back, by a young person in Rwanda who has lost their parents to conflict or disease. Your purchase of this creative artwork empowers them to provide education, health, food and shelter for their brothers and sisters.
Envelope included.
Card has been left blank for your own message.
Landscape orientation.
Dimensions 11.5 x 16 cm


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Hello all,
My name is Roger and i have been lurking here for a loooong time, i may be a serial lurker.
I have been modelling in 009 and 0:16.5 for some years but was initially inspired to 'see the light' and go Gn15 after seeing Richard Andrews superb 'Ruggin Manor' at Expo Narrow Gauge, Swanley in 2005.
I immediately took up 'lurking' hear on The Gnatterbox and have looked in most days since.
In August 2008 Steve Bennett started his 'Simplicity Sidings' tutorial and the die was cast, hence my Simplicity Sidings does Richard Andrews clone (Orchard End), sorry guys but they do say "imitation is the greatest form of flattery.
It was during my last conversation with Steve and Gerry (Expong 2012) that i was 'shamed' into actually joining the forum instead of 'peering over the gate'.
Thanks to you all for the inspiration, help and entertainment that your posts here have given me, long may it continue.
Gnood modelling to you all,


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Embargoed until Wednesday, Dec. 26
Vernon Gholston may easily be a first-round NFL draft pick if he chooses to leave Ohio State after this season. Life in the pros is so irrelevant for the Buckeyes defensive end now, though. The BCS National Championship Game against LSU is the only thing on Gholston's mind.
Embargoed until Wednesday, Dec. 26 Vernon Gholston may easily be a first-round NFL draft pick if he chooses to leave Ohio State after this season. Life in the pros is so irrelevant for the Buckeyes defensive end now, though. The BCS National Championship Game against LSU is the only thing on Gholston's mind. Success by Ohio State will enhance the expected rewards Gholston receives when he moves on to the pros. Failure, as they say, is not an option. "The national championship ... that's going to be the biggest thing in my life now," Gholston said. "People can say what I do in this game will affect my chances of going on to the next level. So my focus now is LSU." The Buckeyes have a championship-caliber defense this season. Butkus Award winner James Laurinaitis leads the way. Gholston also has wreaked havoc on opposing offenses. Gholston tied Mike Vrabel's single-season sack record with 13 and was named Big Ten Defensive Player of the Year by the league's coaches. "It's never about me," Gholston said. "I go out there and try to play hard within the scheme of the defense. I play with my teammates and win games. That's most important to me. Whether I have 13 sacks or one sack, if we win every game, I'm happy." Only a few have risen as fast as Gholston. The 6-foot-4, 264-pound junior was not even a football player his first year at Cass Technical High School in Detroit. The school's coach saw Gholston in the hallways one day and persuaded him to give football a shot. Gholston quickly became one of the Midwest's top prospects and was an all-state selection as an offensive guard. Nearby Michigan, however, saw him head south to the Wolverines' archrival. Ohio State head coach Jim Tressel made quite an impact on Gholston. "It was big, probably the biggest influence," Gholston said. "The character he has and the type of man he is made me want to come and join the program." Michigan fans likely are looking at Gholston with envious eyes. Three of his sacks came in the Buckeyes' 14-3 win last month in Ann Arbor. He led a dominant defense that held the Wolverines to just 91 total yards and eight first downs. An even more dominant Gholston appears on the horizon. "I think his best football is ahead of him," Tressel said. "He just keeps getting better and better all the time." The Buckeyes desperately want to erase the bitter memories of their championship game appearance last season. Another SEC team, the Florida Gators, had their way in a surprising 41-14 beating of Ohio State. Gholston said the Buckeyes were always eager for a second chance. "That's what we worked hard for all year," he said. "We got that second opportunity, and hopefully we can capitalize on it." Reach Canton Repository sports writer Mike Popovich at (330) 580-8341 or firstname.lastname@example.com.