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Right then chaps after the success of the 08 veges with most shops selling out and even north running out- the 09 is about to be released and after the majority of us reading the 09 Pdf file of the 09 vegas with Ken Winner saying that the profile has changed 'The main change in overall geometry is toward a more swept-back look– slightly more in the direction of a Rebel' –
This got many of us worried and a few people tried stocking up on the 08 vegas if they could get they hands on one.
I decided to take the risk and order the 09 Vegas even thou I did love my 08 vegases.
And I have now received my 10m vegas – One of the first people to get one (Lucky Boy) yesterday 05/September, curtest of the shop I ride for Bracklesham Board Riders in the UK and they do also have 3 more left - anyhow I have already had two sessions on it in the most horrible conditions of the UK but I had to fly it.
So Please Note I am a store rider but will be as truthful and honest as I can.
So my views-
The bag is fairly similar to last years apart from the colour being white (see picture below).
And now has a strap that goes from each of the shoulder straps across the chest, so the kite doesn't blow about if the struts are kept inflated. Also the extension pocket that you pull out if you decide to keep your struts inflated is now half mesh instead of previous years only having mesh at the top of the pocket, which will allow the kite to breath more if put away wet.
When I first unravelled the kite one of the attachment points on the kite had a card on it informing you that a quality check list has been on the kite and has been signed for this making sure that the kite has been pumped, no twists are in the bladders, length of noseline ect
See Picture Below
Firstly I pumped up the struts and there is a big improvement on the quality on how the struts are attached to the leading edge and is reinforced past the inflation point and reinforced around the strut. The kite is also reinforced along the base of the kite with the thicker material that has been used around the tips of the kites in previous years.
So my judgement the quality on the kite has improved a lot to last years kites- which were also noted by the stores who managed to get the demo one.
One thing I did notice is this year's has a Y fifth line attachment to the leading edge compared to last Years only having a single line attachment. Don't know if this makes a massive difference I'm not a kite designer but I though I would note this.
See Picture below
So now the leading edge is pumped up it did look alot smaller to the 08 as my friend was flying the 08 and when put next to each other in the sky, the 09 vegas looked like it had been put on steroids over the year and put on some bulk.
I decided to fly it on the setting that it came out the bag which is the freeride setting with maximum depower as the conditions was not good and its always good to see what the kite fly's like out the bag.
So flying the kite, it did look a lot smaller with the aspect ratio on the 09 being 5.3 and the 08 being 5.4 and the projected area of the 09 being 5.4m2 and the 08 being 5.6m2. And in the air it did look abit rebel shaped looking at it straight on in the air perhaps this is because of the Aspect ratio being smaller than the 08.
I asked someone to launch me and I got a bit of interest from a few people on the beach asking what was it. One person thought it was an Evo so that shows how much the shape has changed. Bare in mind I have it on the freeride setting.
Flying the kite it did feel like it was a rebel with the way it moved through the air but I'd admit it was a worry at first. But it did seem to be more powerful through the air and was more constant so I was pleased, it did seem a little bit faster through the air as well and jumping was an ease.
The depower was very respectable when you let the bar out it didn't flutter or stumble just sit there where you have it parked.
I was pleased with the kite and was getting tired so decided to go back and see what other settings are available especially this freestyle setting. After a few changes to the pig tails I wanted to see what changes it would make to the kite. Once launched and just parked to the side of the window the kite seemed to have completely changed shape with the kite looking more like the 08, it looked like the kite had completely changed its aspect ratio to being a lot higher. I didn't go back out as I had had enough by then but did mess about on the beach with it with the new settings, and when I would unhook even in the gusty conditions it would just sit there at the side of the window so I was really looking forward to trying this in some decent conditions.
But in the new settings its whole shape changed which filled me up with more confidence.
The follow day (6th/September) went to the local beach conditions again not good with rain coming down hard wasn't the best day to test the kite again, but I had to get out. So from yesterday I kept the freestyle settings on even thou it looked like I would be overpowered and was looking very dim. I went out and the kite would just sit into position didn't manage to unhook as I was overpowered but was a joy to fly in this setting, wasn't out for long sorry to say as the weather was dismal but I had to put it to the test. When I depowered the kite, it seemed to open up more similar to the setting to factory setting but this was when the bar was right out – but the session has filled me up with confidence and I am very tempted to buy a 7m now.
So basically I'm one happy customer despite everyone being worried about the comments made in the Pdf. I still think there are still settings to be discovered on the kite – I just need more sessions on it.
Anything else I will try and answer- Very Happy – Well done North and to those people who said why didn't they just keep it the same but make it better quality and why change it ect– I'd suggest ride the 09 before making any judgement.
Cheers to the store for getting me one!
Will Try and get more photos.


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Tell us a little bit about yourself (Your studies, When did you join Dell etc.
I am Kriti Jain, born and brought up in Delhi, India. I graduated from BITS-Pilani, Rajasthan in electronics and communication. Recently I completed my MBA in Marketing from Symbiosis Institute of Business Management, Pune. Also through campus placement I got an opportunity to work with Dell and therefore I joined Dell in May 15.
What has your experience like as a University hire been? How did you hear about Dell and what was the application process like?
Dell was coming to our campus for recruitments after a long gap. The process started around eight in the night. There was group discussion followed by an interview process. Unlike other organizations, the interview process was more of a discussion rather than a yes/no round, the panel was giving a chance to all the candidates to prove their talent, but finally at 10 we got to know that I have been selected to work with such a reputed brand.
Why did you choose to come work at Dell?
Dell has given me my first job and as everyone wants to start their career with a good brand, Dell was the perfect platform to start my career. Secondly, some of seniors were also working in Dell at that point of time and they told me about the culture of the company which promotes employees to do whatever they wish to do.
What are some projects that you have recently been involved with and some of your career highlights at Dell?
Initially for four months I did a stint with the Marketing team of consumer business and after that continued in the sales team. The project I did in the initial four months was driving consistent customer experience in Dell exclusive stores across India. The project was appreciated by the entire leadership team of consumer and small business (CSB) and now it is being carried forward by other team members.
How do you think Dell can help you achieve your career goals after graduation?
After graduation I wanted to implement everything whatever I had learnt during those two years and more importantly it gives you an opportunity to define your career path yourself. Two years down the line after learning all the facets of sales I wish to grow in the marketing domain and I am sure Dell would be able to provide me an opportunity to do so.
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Theo Walcott hopes a recent 90 minute heart-to-heart with Arsenal legend Thierry Henry will help him continue his upward trajectory and fire on all cylinders for both club and country.
Henry recently spent a spell training with Arsenal to maintain his fitness levels during a break fro duty with New York Red Bulls, and the Frenchman was able to provide Walcott with some priceless advice.
Walcott caused some what of a stir at Arsenal with his apparent insistence to be considered by Arsene Wenger as a central striker, but the 23-year-old's stubbornness has paid dividends so far this season.
Henry arrived at Arsenal in the summer of 1999 as a winger but was transformed into the club's most prolific marksman, and the advice of the 35-year-old has proved inspirational to Walcott.
Walcott has found the net on 11 occasions this term - his best ever tally - and has revealed that a chat with former Gunners star Henry was a catalyst for recent success.
"We had a good hour and a half in a room together and we chatted about a lot. It's probably the best hour and half I've ever had," Walcott told The Mirror.
"I just went up to him. I didn't expect an hour and half to be honest. But I'm glad it was that long.
"Thierry was always going to have a good chat. It was about all sorts of stuff in a private room at the training ground and that was a good thing, so it wasn't like anyone else could see. It meant a lot.
"To have someone with that much experience to talk about not just yourself but what he had to deal with means you learn a lot."
"It was a shame he had to go back so early, to be honest. But when you're learning from the likes of that it's only going to make you get better.
"I'll keep it between me and him but I've taken it all it. I always listen to people but when it's my hero I listen extra hard."


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8 S.Ct. 505
31 L.Ed. 423
In re SHERMAN.
January 23, 1888.
[Statement of Case from pages 364-367 intentionally omitted]
Roger M. Sherman, pro se.
This motion is denied. The object of the petitioner is to compel the circuit court of the United States for the Southern district of New York to set aside an order granting a motion to remand a suit against him, which he had caused to be emoved from a state court, and to proceed to a rehearing, on the ground that at the former hearing the court did not have before it, and did not see, the complaint in the case, on which he relied to show his right to a removal. The petition makes it apparent that the motion was submitted by both parties, and decided on the papers then furnished. If, in point of fact, the complaint was not included among those papers, and it had been omitted by mistake, a rehearing might have been granted, in the discretion of the court, upon a showing to that effect; but this court has no power to require that court to do so by mandamus.


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Thank you for visiting our past auction result archives. If you have an item identical (or similar) to this auction lot, please call, write or contact us to discuss. We will be able to help you.
Lot # 1743 (of 1743) < Previous Lot | Next Lot >
1961 Ruth/Mantle/Maris Jumbo Home Run Button
Starting Bid - $200, Sold For - $1,058
Before McGwire, before Sosa, and before their battle for the single-season home-run record, there was Mantle, Maris, and Ruth. This extremely rare celluloid button was a very special souvenir sold at Yankee Stadium concession stands during Mantle and Maris' 1961 assault on Ruth's record of sixty home runs. The button features photos of Ruth, Mantle, and Maris above "Shooting For 61 In '61" and was the prize keepsake for those lucky youngsters who could convince their mothers or fathers that springing for such a large and (at the time) costly souvenir was really, really essential to everyone's enjoyment of the afternoon. Few succeeded. The large 6-inch diameter pinback button also has a cardboard easel attachment on the reverse, allowing it to stand freely. A magnificent souvenir of the season-long home-run duel between the two great Yankee sluggers of 1961. The pin displays moderate surface wear, including a number of light scratches, that does not detract from its overall Excellent appearance. Reserve $200. Estimate $400+. SOLD FOR $1,058
(Click the smaller thumbnails to the left and right (if any) to cycle through each photo in the gallery of images for this lot.)


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Are you curious where the worst cities are or skin care? Many of us want to have beautiful skin but may live in one of the worst areas to have. According to studies that have been done regarding this topic, Pittsburgh, Houston, and Bakersfield, California are at the top of the list when it comes to the worst skin cities to live in.
This study examined the pollution levels, how many people in this area smoked, the amount of sun and humidity on a daily basis, as well as number of tanning salons that were in these cities. All of these are factors which can cause significant damage to the skin and make it breakout as well as cause wrinkles and unclear skin. If you want to have smooth skin, you need to stay away from many of the factors that these cities have.
For instance, the amount of pollution that a city has over period of time can add up and cause break outs to a persons skin as well as make it look much duller if exposed to it over a long period of time. In addition, smoking is one of the worst things anyone can do to the skin. Just imagine all that smoke being absorbed into the skin every time you take a puff. This is not good for the skin in any shape or form.
We all know by now that overexposure to the sun can cause a lot of premature aging as well as damage to the skin that can go as far as turning into skin cancer. So, it is very important to limit the amount of time that is spent out in the sun. Also, avoid tanning salons because they can damage the skin as well.
So, even if your city is on the list, if you do the right things you can avoid having bad skin. Listed below are some of the things you should do on a daily basis to protect your skin:
Be certain you keep your skin cleansed. You should do this day and night. Always wear sunscreen. Regardless if you are working in the yard or driving to the grocery store, you should protect your skin. – Stay out of tanning booths. Regardless of what anyone tells you, there are not good for your skin and can ultimately cause significant damage that can really affect your skin over time.
Do not smoke. If you do smoke quit because it can seriously cause damage to your skin. The effects of smoking are extraordinary bad for you skin as well as your health.
So, bear in mind it doesn't matter where you live you can take control of your skin if you know the right and the wrong things to do. It is all a matter of educating yourself and then following through with the right and the wrong things that make your skin look great or cruddy. It's all up to you and what you do with your skin.


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This article provides information on how to perform a consistency check using Dell OpenManage Server Administrator (OMSA).
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Style # 219189
Contrast Drape Overlay Dress is rated out of 5 by 3.
Rated 5 out of 5 by RMD11 from Gorgeous dress This dress is amazing... 1) it fits like a glove (if you order the right size of course 2) although the dress is tight, if you have a little tummy the sash will hide it, but if you have nice cleavage, the dress shows that off well, the sash allows a little peak at the cleavage 3) be careful with the sash, the string that connected the sash to the hip of the dress broke easily- it's no big deal, the sash still lays beautifully, but just a warning to be careful 4) the dress makes you look like an Egyptian princess of something... i got so many complements BUY THE DRESS!!!!
Date published: 2013-11-21
Rated 5 out of 5 by smhorne187 from AMAZING!!! Went into bebe looking for a dress for a friend's bday party. It doesn't look like much on the hanger but is stunning when you put it on. Got it in the deep green color and I can't wait to wear it. One warning for taller women... I'm 5'10 and the dress just reaches my fingertips. So it could be a little short for some.
Date published: 2013-10-22
Rated 5 out of 5 by AnnaGemma88 from Beautiful dress This dress looks absolutely awful on the model but in real life this dress is absolutely amazing . I got it in the emerald green colors for a wedding in couple weeks and I am so happy with it
Date published: 2013-10-17


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John A. Hanover, Ph.D.
The Cell Biochemistry Section employs diverse genetic and biochemical tools to understand mechanisms of nutrient sensing and nuclear-cytoplasmic regulation. Researchers are interested in organelle biogenesis, innate immunity, and developmental plasticity. The central focus of the Section is understanding how nutrient availability may influence disease susceptibility in the current population through transgenerational epigenetic influences such as O-GlcNAc cycling.
Orna Cohen-Fix, Ph.D.
The Cell Cycle Regulation and Nuclear Structure Section focuses on cell cycle regulation and nuclear architecture. Researchers primarily conduct cell cycle studies in budding yeast. This experimental system allows scientists to combine genetic, biochemical, cytological, and molecular biology methodologies easily and effectively.
Deborah M. Hinton, Ph.D.
The Gene Expression and Regulation Section investigates the mechanisms of transcription initiation and activation using a simple model system based on bacteriophage T4 gene expression. The action of transcriptional activators and coactivators often regulates transcription, which is critical for normal development.
Karen Usdin, Ph.D.
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William Prinz, Ph.D.
The Lipid Trafficking and Organelle Biogenesis Section studies different aspects of organelle biogenesis in the model organism S. cerevisiae. In this work, researchers use a combination of biochemical, genetic, and imaging approaches. Specific projects include investigations of intracellular lipid trafficking, phospholipid trafficking to mitochondria and peroxisomes, and understanding the proteins that determine endoplasmic reticulum (ER) structure.
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The Structural Cell Biology Section studies membrane and protein recycling within eukaryotic cells. Researchers examine the structure and function of proteins involved in these processes by transmission electron microscopy, including cyro-electron microscopy, and by biochemical methods. Presently, Section scientists are investigating a 100 kDa GTPase called dynamin. Dynamin is involved in the constriction and fission of clathrin-coated pits from plasma membrane during receptor-mediated endocytosis and during membrane retrieval in nerve terminals. Researchers in the Section have shown that dynamin self-assembles into spirals and onto lipid bilayers to form dynamin decorated lipid tubes. These tubes undergo a large conformational change upon GTP addition, which results in membrane constriction. To understand further the mechanism of dynamin-induced membrane constriction, staff members have solved the 3-dimensional structure of dynamin in the non-constricted and constricted states by high-resolution electron microscopy and image processing methods. This work suggests a GTP-induced conformational change within the dynamin oligomer is responsible for constriction. Additional dynamin family members are implicated in numerous fundamental cellular processes, including other membrane fission events, anti-viral activity, cell plate formation, and chloroplast biogenesis. Current work examines the effects of GTP on these proteins to determine if a common mechanism of action exists for all dynamin family members.
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From the Braver Institute
I was walking past a television set that happened to be on and I couldn't help but notice Alan Hunter in a commercial. I have no idea what the commercial was for since I have little use for television and even less use for commercials, but I did notice Alan.
For those of you who don't know who Alan Hunter is, allow me to enlighten you. Alan Hunter is one of the people directly responsible for the end of the civilized world as we knew it—or at least that was what some people who were "too old" (i.e. our parents) thought back in the early days of Music Television, more popularly known as MTV.
Alan was one of the original video jockeys (or VJs) on MTV. In those early days MTV actually played music videos, much like a video version of a radio station.
When MTV first appeared on cable systems across the country I can remember being fairly anxious to get a chance to see it. It wasn't available in my area and even if it was I still wouldn't be able to watch since my parents didn't have cable. I had read about its existence and the idea of being able to watch performances by the artists I had been listening to seemed to be almost as good as going to a concert.
I am not sure when MTV became available in our area but I remember being amazed by it. The first thing I saw was a program called Friday Night Video Fights where you could call in and vote for the best video. Amazing this technology stuff.
I don't recall there being much, if any, controversy when MTV was added to the local cable lineup but I do remember some other communities getting up in arms about the prospect of it being offered.
As kids we used to say "if it's too loud, you're too old" and Munising (if memory serves me) was one town where there was a large and vocal group of the "too olds" who were demanding that MTV be kept off of their televisions. It would seem that hearing music was one thing but seeing music was another thing completely. Music videos were going to completely corrupt the youth of the day. MTV would be the final nail in the coffin of the future and the world would be brought to ruin at its hands as it dragged countless teenagers down the road of anarchy and rebellion. I am sure they speculated it would bring about a real-life version of the film Over the Edge, (about a group of teens who listen to rock and roll and take over a small town) which was released a few years earlier, the terror of which still smoldered in the minds of the "too old" everywhere.
In reality, MTV didn't cause mass rebellion by the youth who were watching. If anything it kept them home, firmly planted in front of the tv for hours on end watching video after of video of songs with images that had absolutely nothing to do with the song. Frequently we wondered if the video director and the musicians themselves had actually listened to the lyrics of the song they were making the video for.
If MTV had originally planned on destroying the world using music videos, their plan must have backfired or they simply had a change of heart somewhere along the way. One day we discovered that they had broken out of the mold of "radio on tv" and introduced a game show called Remote Control. It was interesting enough and it did use music videos, but it wasn't the same thing as playing music videos or concert footage.
Remote Control marked the first step down the slippery slope of cable channels getting away from their original mission. Not long after this, The Real World made its debut on MTV, which has largely been regarded as the first "reality tv" program. The show was a hit.
Suddenly cable networks across the country realized that they could dispense with high production costs associated with actors, directors, and scriptwriters, and simply follow real people around with video cameras and call it a program. This of course led to countless notalent people, with last names like Kardashian, rising to celebrity status for no reason at all.
I know that I have railed against reality television before, but it really does deserve every beating it has coming. This garbage is corrupting the minds of our children. It is going to turn them all into a group of self-centered brats. Reality television is going to destroy the world.
Wait just a second. Maybe that was MTV's game plan all along. Alan Hunter was our friend. We trusted him. All he wanted was to bring us the music but the music was just a red herring and reality television was actually the thing that would undo us.
Well played MTV, well played.
— — —
Waye Braver can be contacted on Facebook or by email at firstname.lastname@example.com. Visit the Braver Institute at www.braverinsitute.com.
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Tigers Pick Up First Win Of Season, Top Engineers 7-6
March 15, 2013
Terre Haute, Ind. – The DePauw baseball squad picked up its first victory of the season after defeating the Engineers of Rose-Hulman, 7-6, thanks to a three-run eighth inning in a Friday night contest on Art Nehf Field on the campus of Rose-Hulman in Terre Haute, Ind.
DePauw moved to 1-2 on the season while Rose-Hulman dropped to 3-7 after their first 10 games of the year.
Reliever Sean Brennan (1-0) picked up his first collegiate victory after tossing one inning of hitless ball, striking out two in the process. Joe Wojda recorded the save for the Tigers. Rose-Hulman's Jake Althouse (0-1) was saddled with loss after allowing the go ahead run in the top of the seventh inning.
Tigers' centerfielder Brendon Pashia led the DePauw offense, breaking out of an early season slump to tally four hits in five trips to the plate, plating two runs. Connor Einertson chipped in with three hits and three RBI, while Pat Lyons, Zach Galyean and JB McCallum struck two hits apiece.
Rose-Hulman was led by third baseman Bobby Newman and his two-hit, three-RBI effort. In total, four Engineers tallied two hits in the contest.
DePauw never quit throughout the entire contest, fighting back from 2-0, 5-1 and 6-4 deficits.
The Tigers rally started after the Engineers sent starter Ben Menich to the shower after a seven-inning, four-earned run, 11-hit effort.
Trailing 6-4 entering the top of the eighth inning, Pashia led off the inning with a single for DePauw and advanced to second after an Engineer balk. The Tigers would move two runners into scoring position after an Einertson single as Pashia advanced to third and Einertson to second after an error by the Rose-Hulman centerfielder.
With runners at second and third and two outs, McCallum singled in both runners to tie the game, 6-6.
McCallum moved around the diamond to third base after a stolen base and a wild pitch, scoring the go-ahead run after a Lyons single to give the Tigers a 7-6 lead.
They would take the one-run lead into the bottom half of the inning after a DePauw strikeout ended the inning.
DePauw's bullpen would do the rest, only allowing one hit the rest of the way to give the Tigers their first victory of the season, 7-6.
The Tigers return to Art Nehf Field in Terre Haute, Ind., on Saturday, March 7 for a pair of games. The first game gets started at 11 am as DePauw takes on Rose-Hulman. The Tigers then take on Concordia (Ill.), with the first pitch for that contest slated to begin at 2 pm.
For more information on the DePauw baseball program, follow DePauw on Twitter (@DePauwAthletics / @DePauwBaseball) or like them on Facebook (www.facebook.com/DePauwAthletics).Back


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Live updates
Profumo "fixer" is star of new Lloyd Webber musical
The swinging 60s is a decade celebrated for music and fashion. But away from Carnaby street, there was another word on everyone's lips: Scandal. In 1963 it emerged the secretary of State for War John Profumo was having an affair with Christine Keeler, the mistress of a Soviet Spy.
It became one of the biggest political scandals of modern times. Now an Andrew Lloyd-Webber musical based on the Profumo Affair is about to open in London. Sharon Thomas was given a sneak preview.
New video: Stephen Ward and Christine Keeler in new Profumo musical
Andrew Lloyd Webber's latest production stars Alexander Hanson as Stephen Ward and Charlotte Spence as Christine Keeler.
Andrew Lloyd Webber speaks to ITV London
Sharon Thomas has been to meet Andrew Lloyd Webber and speak to him about his new production Stephen Ward, a musical about the Profumo Affair of the 1960s.
Watch at 6pm to find out why he was inspired to tell the story of the man who introduced call-girl Christine Keeler to War Secretary John Profumo
First look at new Lloyd Webber musical
Stephen Ward, the man who introduced John Profumo to Christine Keeler, sparking off a cold war political scandal, is the subject of Andrew Lloyd Webber's latest musical.
- ITV Report
Profumo: The musical!
Profumo fixer is star of new West End musical
A man at the centre of the 1960s Profumo affair is to be immortalised in a new West End show by Andrew Lloyd Webber.
Stephen Ward was the alleged high-society "fixer" who, it's said, introduced call-girl Christine Keeler to War Minister John Profumo, who resigned over the scandal 50 years ago.
Watch our archive video below from March 1963, in which Stephen Ward backs John Profumo's denials about his affair with Christine Keeler.
It was later revealed that Profumo was lying, and that he had been seeing Keeler, who was also sleeping with a Russian naval attache.
Stephen Ward was arrested in June 1963 and charged with living off immoral earnings, as well as with a separate charge of procuring prostitutes. He took a fatal overdose the night before his trial finished.


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TUSCALOOSA | Nothing was going to stop Alexa Guarachi on Saturday.
Not singles.
Not doubles.
Not a rain delay.
And certainly not the Memphis Tigers.
TUSCALOOSA | Nothing was going to stop Alexa Guarachi on Saturday.
Not singles.
Not doubles.
Not a rain delay.
And certainly not the Memphis Tigers.
The University of Alabama's 5-foot-8 senior played with power and passion to lead the ninth-seeded Crimson Tide to a 4-0 victory over No. 33 Memphis in the Tuscaloosa Regional final in the NCAA Women's Tennis Championship.
Alabama (21-5) advanced to the program's first appearance in the round of 16 since the NCAA field was increased to 64 teams in 1999. UA will face eighth-seeded California in Champaign, Ill., at 9 a.m. Friday.
Guarachi supplied attitude and energy to Alabama's matchup against Memphis. With partner Mary Anne Macfarlane, she got the Crimson Tide's sweep started with an 8-1 doubles victory over Tiffany Welcher and Alyssa Hibberd.
"We set the tone with the doubles and we just got on a roll," Guarachi said.
Moving over to singles, playing in the No. 2 position against Welcher, a former UA player, Guarachi was overpowering. She hit scorching forehands and blistering backhands, and attacked the net at every opportunity to put points away in a 6-4, 6-3 win.
The match was interrupted by rainfall that held up play for about an hour, but Guarachi came out attacking again when it resumed.
"I felt like that's our biggest attribute is when we have a lot of energy as a team," Guarachi said. "I feel like being a senior I have to sometimes create that for the team. We didn't have as much energy (in Friday's win over Northwestern State) and we got away with it, but today we knew they were going to come after us. We said no, this is our house, we're going to go after them."
When she wasn't hitting winners, Guarachi was yelling encouragement to her teammates in full voice, her cries resonating over the other courts at the Alabama Tennis Stadium.
"She set the tone with her energy, her mentality, her fight, her competitive spirit," Alabama coach Jenny Mainz said. "You could tell that she decided she was going to make it happen, she was going to lead on the court."
Guarachi has played a major role in the progression of the Alabama women's tennis team. A resident of Destin, Fla., she was offered scholarships by other top programs at a time when the UA program was down. The daughter of a former Alabama men's tennis player and great-granddaughter of a player on the Crimson Tide's 1930 national championship football team, she followed the family bloodline.
"I was all fired up," Guarachi said. "I wanted to make history. This was my last home match, being a senior, so I wanted to go out with a bang."
Maya Jansen and Emily Zabor won singles matches for UA. Macfarlane won the first set of her match and was behind in the second when Alabama got the match-clinching point, ending play. Antonia Foehse was up 6-2, 5-4 and Natalia Maynetto was 3-3 in the second set after dropping the first.
"We won the first set on five courts," Mainz said. "We came ready to play."
1. No. 34 Mary Anne Macfarlane (UA) vs. No. 55 Courtney Collins (MEM) 6-4, 1-4, unf.
2. No. 36 Alexa Guarachi (UA) def. Tiffany Welcher (MEM) 6-4, 6-3
3. No. 118 Maya Jansen (UA) def. Skylar Kuykendall (MEM) 6-3, 6-2
4. Antonia Foehse (UA) vs. Liza Tymchenko (MEM) 6-2, 5-4, unf.
5. Natalia Maynetto (UA) vs. Caroline Wegner (MEM) 5-7, 3-3, unf.
6. Emily Zabor (UA) def. Alyssa Hibberd (MEM) 6-4, 6-2
1. No. 7 Guarachi/Macfarlane (UA) def. Welcher/Hibberd (MEM) 8-1
2. No. 83 Foehse/Jansen (UA) def. No. 77 Gray/Collins (MEM) 8-5
3. Maynetto/Zabor (UA) vs. No. 64 Mikesz/Wegner (MEM) 7-2, unf.
Reach Tommy Deas at firstname.lastname@example.com or at 205-722-0224.


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Heavener looks to bounce back from season-opening loss with by winning home opener
The Heavener Wolves lost their season opener 34-6 to Savanna on the road last week.Tonight, they will play their first 2011 home football game at Harvey Stadium as they welcome the Sallisaw-Central Tigers to town. Kickoff is set for 7:30 p.m.The Wolves (0-1) hope the home-field advantage will be just the thing they need."We're glad to be home," Heavener Coach John Thompson. "It's good having the home crowd, and just more people here. We're looking forward to it."


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Atlus has finally lowered the PSN pricing for some of its PSP games (most of which were originally priced at the release MSRP).
I've been interested in giving one of the Shin Megami Tensei games a try; sure, the Persona series is just a spinoff, but there's nothing wrong with that.
I just haven't decided if I should start with Persona (the first game in the spinoff series) or Persona 3 Portable. I don't think they're strongly connected, more just set in the same universe (or even just with the same basic battle options and game mechanics, like the Final Fantasy or Tales of series).
On the one hand, Persona started the spinoff series, and I do like starting at the beginning.
On the other hand, it was a PSX game, and is bound to look dated, especially compared to Persona 3, which was ported from a PS2 game.
On the gripping hand, the characters in Persona 3 have an … interesting … way of summoning their personas into battle.
I'm not even considering starting with Persona 2, since for some reason it's $10 more expensive than the other two games. Good job on consistency there, Atlus.
I suppose I should be happy they responded to the demand from Vita owners, though; since the only way to play PSP games on the Vita is by purchasing the PSN version of the game, everyone who was interested in Atlus's PSN catalog complained vociferously about how they hadn't reduced prices on most of their games since the first of them were listed digitally almost three years ago.
If anyone has any suggestions about whether Persona 1 or Persona 3 is the better starting point for someone who's never played a SMT game in his life, feel free to share them.


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Ace Hood - Light It Up Freestyle
Official music video for "Light It Up Freestyle" by Ace Hood off his
new mixtape The Statement dropping soon.
Posted by @WorldStarVids
Please click the "Report" button below if the video on this page is not working properly.
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We all want younger looking skin, unfortunately you can't turn back the clock but you can certainly take steps towards preventing your skin from ageing too early.
Premature ageing of your skin can be caused by the health and lifestyle decisions you make every day. Smoking, sun exposure, lack of exercise, eating processed unnatural foods, too much alcohol, stress, too much caffeine, lack of sleep and dehydration can contribute to this.
While some signs of aging skin are inevitable, there's a lot you can do to look your best at any age.
Taking care of yourself is the most important step when you want younger looking skin and this can be achieved by following these 5 tips.
1. Choosing the correct skin care products for your skin type is an essential part to younger looking skin. If you have problem skin and suffer from adult acne, rosacea, dermatitis or eczema then all natural skin care products are your best bet. Using a skin care product that contains harmful ingredients can increase your chance of premature ageing. Natural ingredients will help your skin remain wrinkle free for as long as possible.
2. Always use a good eye cream that contains vitamin A and retinol. They will soften the fine lines that appear under your eyes by boosting the collagen production. Never use your face moisturizer as your eye cream as these creams weren't meant for such delicate under eye skin. Using a suitable eye cream will also help with under eye puffiness, wrinkles and dark circles.
3. Your face cream must always contain SPF 15 sunscreen which will protect your skin from the sun's harmful rays. UVA rays from the sun can penetrate deep into your skin and damage the collagen, which can result in premature ageing and wrinkles.
4. It's not only important to cleanse your face daily but you must also make a point of exfoliating regularly, which will increase omega intake and essential fat, eliminating dead skin cells and giving you younger looking skin.
5. Increasing the amount of exercise you do can contribute immensely to younger looking skin. Try to keep active for at least 30 minutes a day. This can include going to the gym, running, taking your dog for a walk or even chasing your kids around the local park. Exercise gets your blood flowing, and an increase in blood flow will carry more oxygen to the skin. The boost in blood flow and oxygen to the skin cells also carries nutrients that improve skin health, supporting all the effort you make with moisturizers and other skin care products.
Following my 5 tips to younger looking skin will not only make you look better but you will feel better too.


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Verschijning van de architect-bemiddelaar
Een verkenning van een architecturale productie gericht op bemiddeling
Architectuur in naam van de vader
Column #3 over de oorsprongsmythen van de architectuur
Uplace of Shopping K? Nee, bedankt
Artikel over de architectuur van een vals dilemma rond winkelcentra
Dood van een dienstverlener
Column over het bouwen als olifant in de kamer van de architectuurcultuur.
Het belachelijk sublieme in de Vlaamse architectuur
Artikel over humor als het teken van kritische afstand in de architectuur
Verslaafd aan architectuur
Een artikel over de betekenis van de Biertempel discussie voor de architectuurcultuur in België
Wafels, bier en architectuur
Een artikel naar aanleiding van de herbestemming van de Beurs in Brussel tot biertempel naar ontwerp van Robbrecht & Daem Architecten.
Creatio ex nihilo
Column #1 over de oorsprongsmythen van de architectuur
Zorg dragen voor architectuur
Artikel over gebruik en postproductie in de architectuur naar aanleiding van het Jozef Plein in PC Cartias (Melle).
Do Good architectuur
Artikel over de rol van ontwerp in zorgarchitectuur.
Pic Nic Architectuur
Een retroactief manifest voor Pic Nic the Streets als bijdrage aan de architectuurcultuur in België. > Version Française > English Version
Wraak op de commons
Een artikel over het nakende einde voor Agrocité en de toekomst voor architectuur onder zelfbeheer.
Architectuur van de schaamteplek
Wie grip wil krijgen op de problemen van in psychiatrische ziekenhuizen, begint bij het ontwerp van de isolatiekamer.
Van Utopia naar Wuustwezel
Er zijn weinig termen die zo'n beladen betekenis hebben in de architectuurgeschiedenis als utopie. Version Français
Relational Architecture
Read about the production proces of the Kanunnik Petrus Jozef Triest Square in the Psychiatric Centre Caritas, Melle. Article in Dutch / English / French
Hoeveel samenwerking kan architectuur verdragen?
Artikel over de tentoonstelling 'Ensembles. Architectuur en Ambachtschap' in deSingel en Vlaams Architectuurinstituut.
Bouwstenen voor het psychiatrisch centrum van de toekomst
Lees meer over de visieontwikkeling rond het psychiatrisch centrum van de toekomst gepubliceerd in Psyche.
Eco-politiek in Brussel: Bas Smets en de Brussels Urban Landscape Biennial
Artikel over het nut en nadeel van landschapsarchitectuur als instrument voor regionale ontwikkeling in Brussel.
Architectuur vol van verlangen
Artikel naar aanleiding van de opening van het Kanunnik Petrus Jozef Triest Plein in Melle.
Proud to present the A+261 issue on architecture and politics - Dutch and French edition.
Architectuur met schaduw
De 20ste eeuw baarde vele duivelspacten tussen architectuur en politiek. Opvallend genoeg wordt de architectuur van het Italiaanse fascisme tot op vandaag geprezen omwille van haar abstracte vormentaal. Dergelijke rehabilitatie is de architectuur van het Derde Rijk nooit te beurt gevallen. België heeft zo zijn eigen kleine trauma in de relatie met de politiek.
Ingebedde architecten
Lees meer over de architectuur van oorlog en vrede
Vakmannen aan het front
Een recensie over de bijdrage van Bravoure in de Architectuurbiennale van Venetie.
Toiletemmers in Werelderfgoed
Er is iets curieus met de inrichting van de gevangenis van Merksplas, waar enkele weken geleden een opstand uitbrak. De geschiedenis van de site reflecteert een utopisch beeld van de gevangenis van de toekomst, de manier waarop omgegaan wordt met die geschiedenis symboliseert dan weer de gemiste kansen.
FPC Gent: geen markt, geen gevangenis
De opening van het Forensisch Psychiatrisch Centrum in Gent zorgt na één jaar werking voor een grote opluchting - zelfs bij voormalige critici. De juiste vraag is niet of aanvankelijke bezorgheid terecht was, maar wel of de opluchting niet een beetje voorbarig is?
Het penitentiair verdriet van België
In de bouw van het gevangenisdorp Haren vormen de lokale en regionale overheid samen front met de actiegroepen tegen de federale overheid - of toch niet? Hoe kunnen we de knoop tussen activisme en politiek ontwarren?
Een psychiatrisch centrum bouwen we samen
Ook architectuur heeft zijn plaats op de Vlaamse Hersteldagen. Doe mee op 18 november in de Vooruit.
Eindelijk een kennisplatform voor humane gevangenisarchitectuur
De website www.prisongear.be presenteert het onderzoek naar een humane gevangenisarchitectuur.
Ontmanteling van de psychiatrische kliniek
Lees de gevalstudies over zorgarchitectuur in Vlaanderen gepubliceerd in Psyche
Een sterke leefomgeving begint met ruimteregie
Wie is er bang van het Bouwmeestercollege?
Iedereen lijkt het roerend eens dat de Vlaamse architectuur zonder de Bouwmeester overgeleverd is aan de wetten van de markt en de willekeur van het politieke bedrijf. Lees de opinie 'De Bouwmeester en de onheilsprofeten'.
A humane prison is coming to your neighbourhood
As part of the Conflict & Design Triennial the knowledge platform Prison Gear presents design studies that pave the way for a humane prison in Leopoldsburg, Belgium.
Een humane gevangenis komt naar je toe
Als onderdeel van de Conflict & Design Triënnale presenteert Prison Gear twee visieontwerpen voor de toekomstige gevangenis op het militaire domein Reigersvliet in Leopoldsburg.
Limburg City / Stad Limburg
Read the memorandum of the Limburg Europa Workshop / Lees de projectnota van Atelier Limburg Europa
The dismantling of the psychiatric clinic
Read the case studies on care architecture in Flanders
Wat is ontwerpend onderzoek?
Drie vragen over ontwerpend onderzoek, drie antwoorden vanuit de Noorderkempen.
Heeft een gemeenplaats ook een gemene waarde ?
Commentaarstuk bij het Architectuurboek n° 10: Radicale Gemeenplaatsen - Europese architectuur uit Vlaanderen
Is onzichtbare psychiatrische zorg mogelijk?
Review van de opstart Pilootprojecten Zorg door de Vlaams Bouwmeester
Limburg heeft ambitie / Limburg has ambition
Presentatie van de Startnota Provinciaal Bouwmeester Limburg / Presentation Initial Memo Limburg Government Architect
Hoeveel vernieuwing kan de gevangenis verdragen ?
Lees hoe de modernisatie van de gevangenisarchitectuur in handen van Stéphane Beel begon en eindige bij het Ducpétiaux-model.
San Gimignano aan de Zenne
Lees de column naar aanleiding van de Keukentoren van XDGA
Sociaal-realisme of zelfcensuur
Met Jonas Staal schreef BAVO een pleidooi voor een nieuw sociaal-realisme in de kunst. Sociaal-realisme is broodnodig in het tijdperk van de hysterische reproductie.
Nu ook een schreeuw om architectuur!
Niet occupy-en, maar de gevestigde orde verleiden om in crisistijden te investeren in leuke projecten. Lees hier meer over de Studio for Unsollicited Architecture.
Gesloten architectuur is ook humaan
Lees meer over Fleur Agema's gevangenismodel
Waarom kunstenaars niet fascistisch genoeg zijn
Lees het artikel in het decembernummer van Rekto:Verso.
De Culturele Elite
Lees de bijdrage.
Recensies van boek Too Active to Act
Artist Participation in South Africa
The international PR campaign to showcase Rotterdam's robust policy on artist participation is now also tapping into the emerging African art markets.
Denkverbod op liberale kunst
Column over de stellingenoorlog naar aanleiding van de aangekondigde bezuinigingen in de cultuursector.
Maak liberaal kunstbeleid liberaal
Lees BAVO's advies aan staatssecretaris Zijlstra met betrekking tot de noodgedwongen keuzen die de cultuursector in Nederland te wachten staat.
Vrijheidscampagne met inhoud
Edinburgh prepares for artist participation
Kunstenaars vormen een nieuwe alliantie met Geert Wilders / Artists form a new alliance with Geert Wilders
International promotion campaign of the Office for Artist Participation kicks off
The City of Edinburgh will be the first to host an international promotion event of Rotterdam's innovative cultural policies for enforcing the participation of artists in heightening a city's competitiveness and securing social peace on the local level.
Culture and Contestation
The essay 'Neo-Liberalism with Dutch Characteristics: The Big Fix-Up of the Netherlands and the Practice of Embedded Cultural Activism' is published in the book volume 'Culture and Contestation in the New Century'.
Art and Activism
BAVO's essay 'Artists... one more effort to be really political!' is published in the volume 'Art and Activism in the age of Globalisation'.
Boek verschenen: Too Active To Act
Het boek biedt een kritische analyse van de maatschappelijke betrokkenheid van culturele actoren in Nederland in de afgelopen tien jaar.
Commoning the Clinic
Read more about the Kanunnik Triest Square (designed by architects De Vylder Vinck Taillieu) in the Caritas psychiatric centre (Melle) and how it results from a participative process with psychiatrists, managers, staff, and patients.
Plea for an uncreative city
project: THE UNCREATIVE CITY
date: 31/08/2006
author: BAVO
source: administrator
status: article
Five points prior to any discussion about launching a cultural counterweight against the current launching of Rotterdam as cultural capital of the Netherlands
First draft of a yet to be finalized manuscript Rotterdam, Augustus 31st 2006
By traditional standards, Rotterdam is today undergoing a miraculous phase. We all remember the days when progressive policy consisted in educating, organizing and emancipating the working class – abundantly present in Rotterdam. Raising the level of the conditions of existence of this underprivileged and discontented masses – for instance by providing housing, health care, education and leisure facilities – was seen as a conditio sine qua non for creating high social cohesion as well as a stable economy. The policy pursued by Rotterdam today, inverts this logic. Progressive policy no longer strives to stabilize the economy, but to dynamize and innovate it in function of its international competitiveness. It no longer aims at creating whole, tight-knit communities but stimulates individuality and variation. For this, it no longer invests in the large majority of the population – the middle group – but in smaller, more specific groups which – so one claims – give colour and life to the Rotterdam community such as artists, designers, ICT-nerds but also managers, yuppies, CEO's.1 The manifestations of this change in mentality are today visible everywhere in Rotterdam. Think for instance of the Lloyd Quarter, a mega-development conceived by by the Rotterdam municipality and its privileged partners as an oasis for living and working for the creative class. A smaller yet equally symptomatic project is the housing project 'De dichterlijke vrijheid' [The poetic freedom] in Spangen, where houses were literally given away to youngsters working in the creative sector.
The general policy-line behind these two examples is clear: rather than optimizing the welfare level of the largest possible group, creative capital is located in specific groups and 'tapped off' in the belief that this best serves the common good. One is convinced that only creativity can reawaken Rotterdam's cultural, social and economic life from its winter sleep. Three reasons are commonly put forward here. First, the creative class is launched as the most essential condition for a lively urban culture. Often mentioned in this regard are its unconventional behaviour, its eccentric daily occupations, its varied – and often inimitable – housing preferences. Second, this creative urban climate is said to install an atmosphere of permanent innovation and renewal which forms a feeding ground for existing as well as new economic activities. Finally, one believes that the creative sector will exert a pulling force on high earners, so that the city's population would become more varied. This is said to be especially important for municipalities like Rotterdam since this would enable it to generate the necessary funds for being able to keep on financing social services for the majority of its population – and this without artificial, negative measures such as erecting a fence around Rotterdam. In short, pampering the creative class with locational advantages, cheap living and working arrangements or attractive leisure facilities is today not regarded one-sided social policy privileging a specific stretch of the population and thus the restoration of a class society running on two speeds. On the contrary, it is propagated as the mantle piece of a progressive policy in which everyone – all though some by nature more than others – can maximally exploit his or her creative potential.2
The creative class is not only interesting as a producer of a dynamic urban climate but also because of its insatiable consumption drive. It is not a coincidence that Richard Florida characterizes the contemporary creative as a bohemian, a sensualist who is willing to pay a lot of money for his or her life quality. This character trait is highly desired today by cities. Thus Ron Boschma claims that "wherever the creative class lives, companies settle down, new companies are being started and employment rises. The creative class is not only creative and innovative, they also spend a lot of money on different kinds of leisure activities... hotels, restaurants, cafés, theatres, which leads to extra employment and a contribution to the local economy."3 Nurturing the bohemians among its inhabitants is thus for Rotterdam an investment with an assured 'return'. This as opposed to the old strategy of building sport stadiums for instance, which all too often offered a low or uncertain return value.4 Not to mention the year-long investments that disappeared in the bottomless pit of social housing. Today it is claimed that only by placing one's bets on those sectors with a high return value – such as the bohemians – Rotterdam can generate the necessary income for sectors that demand more care such as social housing. In short, the creative class is today also as a consumer regarded as vital to the survival of cities. It contributes to the construction of a strong, regional economy providing Rotterdam with an own economic base and thus no longer making it dependent on 'outside' forces. This conviction is strengthened further by the realization that although Rotterdam, with its harbour activities, might posses an economic-industrial asset of international importance, its success is nonetheless very uncertain. A decision on the other side of the ocean might submerge Rotterdam in no time in a financial crisis, the shock waves of which will spread across the entire Rotterdam metropolitan area. It is thus a matter of life and death for Rotterdam to make serious work of its creative industry, apart from the harbour activities.5
'Big neighbour' Amsterdam serves as a shining example with regards to urban management focused on creativity – as well as being Rotterdam's nearest competitor. When compared to Amsterdam, that is considered by many as 'creative by nature', Rotterdam seems to have a historic backlog.6 And indeed, when Florida propagates the homosexual as the textbook case of the bohemian, and elevates him or her into the critical yardstick for determining the 'creativeness' of cities, Amsterdam no doubt beats Rotterdam with hands free. As we already remarked however, Rotterdam doesn't just sit down in despair but on the contrary is very busy with taking all kinds of measures to commit creativity to the city, to mobilize, stimulate and organize it. We here encounter a flagrant contradiction within the theory and practice of the creative city. It is one of its articles of faith that for a city to be creative it shouldn't do anything at all and merely remain authentic. Arjo Klamer described this as 'Lean back and be authentic... more stress on knowledge, than on the harbour."7 In short, Rotterdam shouldn't tender so much for new contracts with multinationals but offer space to new initiatives that develop spontaneously 'from the bottom up'. In spite of all this talk about authenticity and spontaneity, in practice the opposite is the case: all creative initiatives are marked by a strong entrepreneurial attitude as well as a belief in the 'malleability' of a creative city. One assumes the latter can be developed (Paul Rutten) or at the least organized (Siebe Thissen). Local governments try hard to engage partners and stakeholders in all possible ways in the conception and execution of new initiatives. One can think here of the many public-private co-operations in which the know-how and capital of private parties is utilized for restructuring the city. Giving away old warehouses, industrial complexes or pre-war social housing to creative professionals is also part of this production of creativity. Think for instance of the old VOC-building that was put at the disposal of the music and movie podium WORM@VOC. Finally, the launching by local governments of interactive city projects such as the 'Groeibriljanten' [Growth brilliants] – in which the common man is 'allowed' to identify and exploit the creative potential in his neighbourhood and thus contribute to the construction of the new Rotterdam, is part of this remarkable rebirth of a social constructivism. The creative age is thus not just some natural event, spontaneously occurring as the next phase in the historical development of cities. Rotterdam seems to give history a helping hand by first constructing and installing a creative class – by putting a part of its population on the throne which then have to behave authentically and creatively.8
When Florida claims that 'place' is the most important economic and social organizing unit of our age, we shouldn't be misled.9 It doesn't simply affirm the Marxian insight into what David Harvey called 'the central moment of urban construction'. Harvey claims that "all politico-economic processes that we perceive are mediated by the filter of the urban organization", and thus that "the urban and the city are not simply constituted by social processes, but that the former inversely constitutes the latter."10 For Florida, in contrast, place is dependent primarily on what he calls 'the three T's': technology, talent and tolerance.11 Even though Florida claims that these three values are of equal importantance, he nonetheless puts forward tolerance as the most important of the three – as a value elevated above all else. In short, it is clear that Florida is not so much concerned with 'place' but with a personal character-trait of 'man': a tolerant mental attitude. Here, we encounter the pure reversal of the Marxian conviction that the economical-spatial lay-out of society forms the basis of the social construction – the so-called infrastructure – on top of which the cultural-ideological superstructure is erected. The function of the latter would be to rationalize and make plausible the economic decisions, for instance through mobilizing religious convictions or cultural norms and values. Within the theory of the creative city this hierarchy is put upside down. The psychological attitude of man now becomes the determining factor in society's construction, while a flourishing economy is seen as the effect of the right kind of attitude or state of mind. Translated to the case of Rotterdam this means that a sustainable economic development is linked to the willingness of the individual to live out his or her creativity without constraints and put it to the service of the community. We here encounter a development analogous to the one Boris Broys identifies as the 'psychologization' of communism during the reign of Stalin.12 Now that it is clear that the recasting of society in a capitalist mold, isn't capable of keeping its promises – the promise for instance of an open and free society – its subjects are summoned to behave as if they are already free and creative.13
How is the creative class mobilized to perform her revolutionary task in the historical development towards a creative society? In the traditional Marxian scenario, the revolutionalization of the proletariat is a logical consequence of its place within the relations of production – a place which, in the case of the proletariat, also functions as the symbol of the structural injustice on which the entire societal organization is build. All the talk about authenticity in the recruiting campaigns of Rotterdam towards creative youngsters, reveals how the latter are mobilized through the cunning of the superego. The present generation of artists and designers would have to be caught in a self-destructive loop not to welcome the many advantageous given to them – the free work and living places, exciting leisure facilities and so on. These are designed to satisfy their inmost desire: to give free course to their in-born creativity and thus to 'become themselves'. This is the superego at its most cunning: the subject is being blackmailed into choosing something by the superego's argument that he or she cannot not do this something – that is, if he or she doesn't want to go against his/her own 'nature'. In short it reduces something of the order of a choice to that of a natural necessity.
This is off course a double-edged sword. The creative class is not only urged to live out its inborn capacity for innovation, at the same time a massive expectation is placed onto its shoulders. This causes the typical 'split' personality of the creative class. Gerard Marlet and Clemens van Woerkens thus claim that the creative class "combines a Calvinist work ethics (with hard work as its goal) with a hedonistic lifestyle (with enjoyment as its goal)."14 How are we to understand this? Convinced of its holy mission, the creative class adjusts its entire thinking and acting towards this goal of saving society through creativity: after a bloody day of attempts to make its creativity productive, its seeks compensation by indulging in an urban culture of enjoyment. The creative class also particularly seems to enjoy its intensive work rhythm – which causes its subjective structure to resemble the paradoxical structure of masochism, finding pleasure in pain. To outsiders it is never clear when the creative class is in fact 'working' and when it is 'enjoying'. Its work routine is relaxed and almost festive while its night life is an integrated part of its work – networking during exhibitions, technical discussions with colleagues at dinner, interactive dance labs, and so on. Rather authentically enjoying, the opposite seems the case: the entire 'being' of the creative class testifies to a compulsive response to the injunction to be creative.
Is it surprising within this context – in which all kinds of advantages are lavished upon an already spoiled creative class – that Rotterdam has recently witnessed an upsurge in populism? It is part of the earlier mentioned 'inversion of all values' – in which the Left unashamedly invests in the creative class – that the Right-wing populists of all people take a traditionally Leftist stance. It is Leefbaar Rotterdam [Liveable Rotterdam] which – in the debate on a creative Rotterdam – poses the obvious question whether it is really such a matter of life and death for the city to subsidize the creative sector and further asks whether the 'normal' inhabitants of Rotterdam also feature in its future. In this way we're confronted in Rotterdam with a situation in which only the most Right-wing party has the courage to say what everybody silently thinks and openly questions the official doctrine that keeps Rotterdam in its grip: more precisely the conviction that the creative class is the long-awaited messenger of God that is going to update its slacking competitiveness and thus secure the welfare of all.
On the one hand it is heart-warming to see how Leefbaar Rotterdam tries to mobilize the last bits of democratic consciousness of the Rotterdam population. In its election programme for the period 2006-2010 it claims: "Every inhabitant of Rotterdam must feel safe / Every inhabitant of Rotterdam who needs help, will receive help / Every neighbourhood of every inhabitant of Rotterdam must become attractive..."15 On the other hand we are left hungry here. If the idea of a creative city is an ideological construction that covers up an ordinary compromise between the creative sector and the Rotterdam elite and serves as a rationalization of a plain and one-sided urban policy focused on high-earners, surely something more radical is needed than a pathetic plea for a city in which everyone's desires and interests are satisfied. The idea of a total or undivided city – in which there's something for everyone – is moreover not fundamentally foreign to the doctrine of the creative city. The latter presents itself equally – however superficial – as 'inclusive'. It not only explicitly intends to give a chance to spontaneous initiatives from the bottom up, it is also based on the idea that investing in the creative class will generate a spin-off to the lower regions of society. It is said that every 'creative' job creates X new jobs for low-trained workers (for instance in delivery services) and that creative enterprises generate the necessary funds for social pilot projects.
Our point is that these inclusive urban models excludes the traditional democratic gesture in the way Jacques Rancière theorizes it. It wants to pacify the discontents of the excluded masses by including traditional non- or low-skilled labour in the compromise between capital and creativity. In this way Leefbaar Rotterdam strives towards what David Harvey calls a 'regional compromise'.16 With this a monster alliance is forged between the different classes in the region, in which each expresses one's willingness to take their 'natural' place so that the region can compete unimpeded with its neighbours. The democratic gesture Rancière points to, aims at precisely the opposite: rather than a moment of consensus, it concerns a moment in which "the demos, the horde that has nothing" undermines the existing division of power by presenting itself as "the political community of free Atheneans" and take their own decisions.17 Within Rotterdam we can for instance think of the half-legal Eastern European workers indissolubly connected to the Rotterdam economy and responsible to a large degree for the competitiveness and thus wealth of Rotterdam, which are nevertheless not counted as a fully-fledged part of the Rotterdam community. Because of this they have less right to their 'piece of the pie', and within the regional compromise receive the shortest end of the stick. If democracy in Rotterdam still means anything at all, it has to give voice to this 'horde that has nothing', this group that regardless of its crucial contribution to the urban is not included in the official representation of the city.
This desperate attempt to reduce the demand for democracy by forging a regional compromise in which the existing power relations are kept intact, is symptomatic for the current debate on the value of creativity for the city. This doesn't mean however that there is no debate on the creative city. The Netherlands wouldn't be the Netherlands if - throughout the country - thousand-and-one consultation rounds, workshops and debates weren't been organized in which the new phenomenon of the creative class is discussed in all its facets. In spite of this all-encompassing atmosphere of debate, discussions nevertheless often get stuck on the attempt to identify that 'something' that causes the one city to be that little bit more creative than the others, as well as on the question how to acquire or hold on to this 'something'. This quest is off course a never-ending process because creativity is always 'on the moove' and constantly reinvents and redefines itself. Or, as Florida expresses it: "Economies are fluid and creativity is an asset that has to be cultivated constantly."18 This permanent discussion about what deserves the label of being creative and what not, has to be understood as an interpassive activity. It is meant to prevent the creative doctrine itself from being called in question – for instance for not being able to fundamentally rethink the urban process. Differently put, the constant streaming of debates establishes a band width, in which the use and advantage of creativity is assured its place as the prime article of faith.19
This consensus doesn't mean however that the different participants in the debate are hand in glove. On the contrary, within creative cities there is a permanent struggle between the different groups in society for acquiring the hallmark of most productive and profitable creative sector. Each faction tries to profile itself as more creative than the others. In response to Rotterdams 'Groeibriljanten'-programme mentioned earlier, Wouter Vanstiphout for instance complained about the fact that the cultural sector was bypassed by displacing the initiative of creativity to another part of society: that of the common man who was now allowed to set loose his or her own imagination on his life-world and uncover and exploit the hidden opportunities.20 The squatter's movement secured their own creativity by erecting a clear boundary between their own so-called authentic creativity and the institutionalized, economized or 'yupiefied' creativity. Finally, the recurring characterization of artists as 'elitists fool' by Marco Pastors, leading man of Leefbaar Rotterdam, is obviously intended to say that the art sector no longer is creative and that the vital creativity has to be localized somewhere – God knows where - else.21
What all these positions have in common is that they engage in a struggle about the content of the notion of creativity and situate the demarcation line of the struggle horizontally.22 Geert Loving thus speaks of a 'creative class struggle': a struggle between different groups in society for cultural hegemony.23 It is more correct however to see it as an ordinary quarrel between different factions within the same class over the privileged position of being the creative capital of the urban economy or, if the struggle is lost, like in the case of Vanstiphout, a desparate attempt to come into the city manager's good books. This often hilarious display of creative factions engaged in infighting, mustn't blind us however about the true class struggle – in the traditional, Marxian sense of the term. Marlet and van Woerden for instance conclude that in Richard Florida's theory, the label 'creative class' in the final instance comes down to the traditional category of high-earners.24 However, instead of following Marlet&co in their search for a more precise definition of the creative class, it seems more productive to follow Harvey's advice when he claims that "if something looks like a class struggle and behaves like it, then we should also call it one."
We can learn here from the stance André Thomsen took towards the attempt of the city Den Bosch to reshape itself according to the new demands of the creative age.25 Especially the residential neighbourhood Boschveld was 'elected' by the municipality and their private partners as the 'place par excellence' to further the creative revolution (it was to be demolished and replaced by a more creative, read: more up-market, urban lay-out). Thomsen side-stepped the quarrel between the municipality and the developers on the one hand and the inhabitants on the other, that was mainly dominated by the claim of the former that the inhabitants shouldn't behave asocially and that they should sacrifice themselves for the higher cause: that of launching Den Bosch in the creative age. He conducted research that revealed how the houses up for demolition were actually, provided that a few minor adjustments were being made, in a good shape, thus dismantling the major argument of the corporations and developers that the houses were hopelessly outmoded. Thompsen concluded that it was not so much the houses but their inhabitants that were seen by the developers and authorities as the major obstacle to their dream of a creative Den Bosch. Thomsen refused in other words to situate the class struggle 'horizontally' and instead drew a 'vertical' line: that is to say, he made visible how the discussion about creativity as a condition sine qua non for a prosperous city, hides how a creative elite is being prioritized in urban planning, repressing unwanted inhabitants to an unknown destination
This allows us to take the thesis of Merijn Oudenampsen that in the creative city "talent [is being] sought and social problems averted", one step further.26 The example of Den Bosch reveals that strategy of attracting and accommodating talent by the municipality and its private partners can only be presented as a 'wonder cure' for social problems by deporting the unwanted or untalented groups. We are thus confronted with the condition of possibility of the creative city: it can only present itself as such by first outsourcing the old, production based industry to other parts of the Netherlands or even the globe and by fragmenting the remainder of jobless low-skilled workers over the urban territory.
Instead of participating in this creative circus, our proposition to cultural agents is to use their creativity for generating strategies to make concrete Dieter Lesage's plea that Rotterdam, instead of desperately trying to look for a metropolitan image, has to embrace its poverty.27 The first step would be to take absolutely serious the philosophy of self-sufficiency that is preached today to the common man. If Rotterdam really believes that it should learn how to maintain itself, than it should give away its dilapidated houses in the first place to the current inhabitants of the problem neighbourhoods, including their informal inhabitants such as junks and Eastern European workers. This, as opposed to the current scenario in which self-sufficiency serves as an alibi to deliver unwanted groups to the abstract logics of the market-place, while pampering wanted 'creative' groups with free 'klushuizen' [do-it-yourself houses]. Only as 'city of poverty' can Rotterdam restore its democratic status.
1 In the case Rotterdam the category of the creative class is usually broadened to encompass not only the traditional artist in an old industrial warehouse but also the creative service sector and manager's elite. Think of Gerard Marlet's intervention during the debate 'Creatieve klasse: kansen voor stad en regio', organized by the Nirov, December 2 2004 in Amsterdam. For a report see: 'De creatieve stad: hype of kans', on: ndhttp://www.nirov.nl/nirov/docs/signalen/sig3884.pdf
2 In this regard, Richard Florida speaks of creativity as 'the great leveler'. Richard Florida, The rise of the creative class, Basic Books 2004, p. xiv.
3 Ron Boschma a.o., Creatieve klasse en regionaal-economische groei, Departement Sociale geografie en planologie, Universiteit Utrecht, version Juni 21st 2005, p. 2.
4 Richard Florida, op. cit., p. xxiv.
5 See Economische Verkenning Rotterdam 2005, on: www.obr.rotterdam.nl
6 For a comparison of the creative industries in Rotterdam en Amsterdam, see Paul Rutten a.o., Creatieve industrie in Rotterdam, TNO Rapport EPS 2005-06, Delft 2005.
7 During a debate organized by the Rotterdam board for Art and Culture on Februari 24th 2005. For a report see 'Stad als laboratorium', on: http://www.rrkc.nl/laboratorium/lab2_3.htm
8 Gerard Marlet en Clemens van Woerkens, Het economisch belang van de creatieve klasse, in: ESB 11-6-2004, pp. 280-283.
9 "… place is the key economic and social organising unit of our time." Zie: Richard Florida, op. cit., p. xix.
10 David Harvey, Contested Cities: social process and spatial form, in: Transforming Cities, Routledge, London 1998, p. 19 en 23.
11 Richard Florida, op. cit., p. xix.
12 Boris Groys claims that once it was clear that the new economic layout in the Soviet Union didn't automatically produce a new Soviet man, the "previous irrational belief in technology was replaced by an equally irrational belief in the latent human strength." It is this superhuman force that was displayed in the Social Realist art works. See: Boris Groys, The total art of Stalin, Princeton University Press, New Jersey 1998, p. 60 and further
13 If the masses are not prepared to do this, cities can always make use of the well-known strategy of the United States to, as Florida remarks, create a free and open society by investing massively in creativity (education, research, culture) and by attracting (European) intellectuals. Richard Florida, op. cit., p. xxiii.
14 G. Marlet en C. van Woerkens, op. cit., pp. 280-283.
15 http://www.leefbaarrotterdam.nl/index.php/info/leidraad
16 David Harvey, Spaces of global capitalism, Verso, London 2006, p. 102 and further
17 Jacques Rancière, Disagreement, Minnesota University Press, 1999, p. 9 and further
18 Richard Florida, op. cit., p. xxiii.
19 We can ths claim that the current explosion of the discourse on the city coincides wit hits 'implosion' – an implosion that is comparable to the one that occured during Stalin's show trials.
20 In the context of the Groeibriljanten-programme Vanstiphout speaks of "the inversion of cultural politics". He claims that: " Instead of looking at Rotterdam from an international point of view, as a subject of constant change architectural innovation, they [city's cultural administrators and civil servants] are forced to lower themselves to the level of its inhabitants, and work upwards from there. Lastly, it acts as a brutal provocation to the city's artistic and architectural elite, by seemingly destroying any chance for huge, centrally supported cultural programs on a monumental level, and turning cultural and architectural innovation over to the streets". See: Wouter Vanstiphout, Dirty Minimalism, In: Archis #5, 2004, pp.77-78.
21 See: http://www.leefbaarrotterdam.nl/index.php/weblog/comments_marco/oenen_krijgen_wel_subsidie/
22 The deeper link between populism and 'creativism' comes to the fore in the popular idea amongst city managers that the creative class is equally keen on quiet, safe and pleasant neighbourhoods.
23 Geert Lovink, Creatieve klassenstrijd, mei 2006, on: http://www.networkcultures.org/geert/creatieve-klassenstrijd/
24 G. Marlet en C. van Woerkens, op. cit., pp. 280-283.
25 In the Tegenlicht-documentary 'Planner's blight: de strategie van het gummetje', June 26th 2005. See: http://www.vpro.nl/programma/tegenlicht/afleveringen/22966523/items/22153505/
26 "Dit is de nieuwe logica van insluiting en uitsluiting in de stadsvernieuwing. In het I Amsterdam model wordt talent gezocht en sociale problemen geweerd." See: Merijn Oudenampsen, Total Makeover, September 2005, op: www.flexmens.org
27 Dieter Lesage, Omtrent Metropolitane machinaties, in: MetropolisM #2, 2005, pp. 80-84.


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Welcome to the Urban Obstacles Guided Tour
Today we will take you on an half an hour walk. David Helbich and myself, Thomas Laureyssens, will be your guides. We won't say much during the walk, except for some brief interruptions and commentaries.
The essence of our walk is the subtle play of movement in space. We would like you to watch, feel and listen carefully, intensively. Observing both yourself, us as a group and the dynamics that play with the other users of the city. This project is not so much about actual route we are walking, more about the interactions that we create while walking it.
The city is a complex emergent system in constant evolution, impossible to grasp as a whole. Meanings on the city are formed by trajectories through this emerging mass. These trajectories are not without their subtle influence: in the act of walking we 'occupy' the space when we walk through it. We reconfigure the space by the simple act of being there. Even when we are just passive observers, we can be obstacles for others in their own trajectories. In a dynamic system, there is no such thing as an indefinite obstacle. There are only changed trajectories.
As the practicalities of this walk concerned, David and I will both follow slightly different trajectories. It's up to you to decide which one of us to follow, you create your own walk. And may I ask you - the participants - to stay silent during the walk. Speak only the bare necessary, since chattery is an obstacle to the observation of the subtle. And is subtlety that we're looking for in this walk.
First walked may 1+2 at the Micronomics festival.


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SCOTTSDALE, Ariz. — Tiger Woods, coming off an 82 for his worst round as a pro, will be out of the top 50 in the world ranking for the first time in more than three years.
And if he doesn't turn his game around quickly, he will be ineligible for a World Golf Championship for only the second time in his career.
Woods was No. 1 in the world eight months ago. But after missing most of last year recovering from back surgery, and playing poorly in the few times he did play, Woods made his 2015 debut in the Phoenix Open at No. 47 in the world. He missed the cut by 12 shots.
Woods will be no better than No. 53 next week, and could fall even further depending on what happens...


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Why 50% of U.S. Workers Are Retirement Have-Nots
Half of American workers don't participate in savings plans for retirement at work often because the places where they work don't offer savings plans. MarketWatch's Thomas Bemis discusses what that means for future retirees. (Photo: AP)
This transcript has been automatically generated and may not be 100% accurate.
I ... the ... half of American workers don't dissipated statement or a big part of the reasons because the places where they were ... on offer savings plan ... and Tom Bemis MarketWatch forty two million workers in America or about a third of private sector employees work for companies that employ fewer than a hundred people ... of those companies only fourteen percent offered any plans to employees does help them say ... if you work for a company with one to foreign places and ninety five percent chance that you don't have a savings plan a failed ... government accountability office study released this month found so other reasons why companies don't offer ... what ... they include the costs of setting up the complexity of choosing option for employees ... and the added legal burden of offering retire ... but just because your company doesn't offer retirement plan doesn't mean you can't say ... experts say you can always set up an individual retirement account and save up to five thousand five hundred dollars the year and even if you can't say that much you should try to save as much can the true reason ... why ... you fill the savings habit in your financial state ... and to you take advantage of what Albert Einstein reportedly called the greatest power in the universe ... compound interest ...


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By: Mark McGrouther, Category: Science, Date: 12 Aug 2011
This week we feature footage of a 'very lazy' snailfish filmed more than 1 km below the surface. Sadly, we show yet another incidence of how innocuous-appearing litter can have disastrous effects on fishes. As always, thank you to all the people who have contributed images.
Blind Shark and lethal headband
Blind Shark found dead near Shelly Beach
Juvenile Western Talma
Red Cod, Pseudophycis bachus
Robust Ghostpipefish, Solenostomus cyanopterus
Stephanie Baccarella and Mandy Reid
Mark appeared on the Catalyst Longfin Eel story. More on the amazing migration of this species can be found on the factsheet.
Tags fishes, ichthyology, lethal headband, floating, snailfish,


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Jets try to halt slide vs. Habs in battle of division leaders
The Winnipeg Jets hope to put the brakes on their longest losing streak of the season as they visit the Montreal Canadiens on Thursday night in a battle of first-place teams.
The Jets have lost four straight and six of their past eight and now own just a two-point advantage over the Washington Capitals for first place in the Southeast Division, with the Carolina Hurricanes only four points off the pace. Winning the division is the goal of all three clubs seeing as the second-place Caps sit outside of the playoff picture at 10th overall in the Eastern Conference.
Winnipeg's struggles continued on Tuesday with a 5-2 loss to the New York Islanders. Paul Postma scored both goals for the Jets, who gave up the go- ahead goal in the final minute of the second period. Postma came into the game with just one goal in 29 career games.
Ondrej Pavelec stopped 34-of-38 shots in the setback.
"It was a tough game for us," said Jets head coach Claude Noel. "It looked like we were slow, it looked like they had the puck, it looked like we were struggling to get it."
Winnipeg defenseman Grant Clitsome sat out the game after taking a stick to the eye in Monday's loss to the New York Rangers, but fellow blueliner Mark Stuart returned to the lineup after missing six straight with an upper-body injury. However, forward Nik Antropov suffered a lower body injury in the setback and is out.
The Jets, who conclude a three-game road trip, countered the loss of Antropov by claiming forward Mike Santorelli off waivers from the Florida Panthers on Wednesday. Santorelli has played in 24 games with the Panthers this season, recording two goals and one assist.
The Canadiens failed to increase their one-point lead over the Boston Bruins for the top spot in the Northeast Division on Wednesday, falling 5-3 to the Philadelphia Flyers. Montreal has played one more game than Boston, which hosts the New Jersey Devils tonight before visiting Montreal on Saturday.
The Habs got goals from Brandon Prust and David Desharnais 20 seconds apart late in the second period versus the Flyers to go up by a goal, but managed just two shots on goal in the third period while giving up 14 and three goals.
"We just didn't match their intensity, it's just that simple," said Montreal head coach Michel Therrien.
Carey Price stopped 29 shots for Montreal, which had its winning streak snapped at three games. Alexei Emelin scored in the first period.
Montreal opens a three-game homestand, but could do so without forward Tomas Plekanec after he left Wednesday's game with a lower body injury. He has notched 13 goals and 14 assists this season.
The Canadiens have won three straight and six of their last seven versus the Jets overall as well as four in a row and eight of the previous 10 encounters at home.


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Vail Associates, Inc. v. Vend-Tel-Co., Ltd., — F.3d —-, 2008 WL 342272, (10th Cir. February 7, 2008)
[Brian Beckham is a contributor to Internet Cases and can be contacted at brian.beckham [at] gmail dot com.]
Vail Associates, owner of the incontestable service mark VAIL (which is used in connection with a wide variety of skiing and resort-related services), sued Vend-Tel-Co, the operator of the "1-800-SKI-VAIL" phone number, for infringement. After trial, the District Court entered judgment in Vend-Tel-Co's favor, and Vail Associates sought review.
The Court of Appeals for the Tenth Circuit affirmed the lower court's judgment, holding that use of Vend-Tel-Co's "1-800-SKI-VAIL" mark (registered in 2001) was not likely to cause confusion with Vail Associates's VAIL mark (registered in 1989).
Key to the appellate court's decision was witness testimony from the proceedings. Vail Associates's vice-president of marketing and sales testified that customers dialing the phone number would mistakenly think they were reaching Vail Associates, but acknowledged "hundreds of uses of the letters V-A-I-L in the names of [other] businesses in the Vail Valley." As for the descriptive term "ski," testimony from another witness revealed ownership of no less than 23 vanity phone numbers incorporating that term. Also important was the testimony of a travel agent who fielded calls to the number 1-800-SKI-VAIL. She testified that the typical caller would ask questions of a general nature (e.g., about products, directions, lift prices, ski conditions, etc.).
Vend-Tel-Co's main witness, trademark attorney Kenneth Germain, testified that in the context of ski resorts, the VAIL mark was a "world renowned" strong mark, but that in the context of goods and services offered by businesses in the Vail area, it was weak (being geographically descriptive). Germain further testified that he did not deduce an intent to infringe (Vend-Tel-Co's advertising materials promoted area businesses), and that use of the VAIL mark was a necessary, good faith component of the Vend-Tel-Co's marketing activities.
Viewing the evidence in the light most favorable to the Vail Associates, the Court of Appeals was satisfied that the District Court did not err in finding that consumers perceive the VAIL mark as referring to a particular geographic location, namely, a Colorado skiing destination. It held that Vail Associates failed to prove consumers associate the word "Vail" exclusively with its resort services.
As to the likelihood of confusion factors, the court found none favored Vail Associates. It observed that (1) Vail Associates offered little evidence of actual confusion, and the testimony reflected that consumers recognized Vail as a destination, not a specific service provider, (2) despite some showing of secondary meaning, the VAIL mark was found to be "not particularly strong", (3) Vail Associates did not prove that in creating the phone number Vend-Tel-Co intended to deceive the public, trade on Vail Associates's goodwill or reputation, or infringe its mark, (4) the marks were not similar in sight, sound, or meaning, (5) the parties' services were not similar, but rather "symbiotic", and were not marketed in a similar manner, or with similar connotations, and (6) consumers exercised great care in purchasing Vail Associates's services which the court termed "first class accommodations at first class prices" in contrast to dialing a toll-free number.
The dissenting opinion offered that: (1) the marks were confusingly similar (indeed, the additional "1-800-SKI" elements furthered consumer confusion), (2) Vend-Tel-Co intended to trade on the goodwill and reputation of Vail Associates, (3) there was ample testimonial evidence of actual confusion (namely the travel agent's testimony), (4) the services and their marketing "appeal to exactly the same class of consumers," (5) despite care exercised by consumers in purchasing ski packages, there was significant, uncured initial interest confusion, and (6) VAIL is an incontestible descriptive mark whose strength was proven by evidence of secondary meaning, and that Vend-Tel-Co did not take VAIL out of the ski resort services context; instead, it emphasized that context with their choice of mark.


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Lauren's Cozy Cottage
Like this entry? Favorite it below!
- Name:
- Lauren
- Location:
- Charlottesville, VA
- Square Feet:
- 923
- Division:
- Small
- What I Love About My Small Home:
- I love how cozy and comfortable my little cottage is; despite the fact that it is in the middle of a city, the lush backyard and small street that it sits on makes it feel like a retreat. The living room and kitchen are also very generously-sized given the size of the house—and there is an astounding amount of storage.
- Three of My Best Tips and Tricks for Creating a Successful Small Space::
- 1. Buy what you love. My house is furnished mostly with vintage pieces and objects I've found in my travels. It makes my home feel very personal.
2. I love collecting fun vintage nick-knacks, but I try to edit what I have on display at any one time so it's not overwhelming.
3. Have fun with color. The yellows, reds, and turquoise colors that I have in the house elevate my mood. There is nothing wrong with neutrals, but I like lots of color. Since I can't paint the walls in my rental, I like to see color everywhere else.


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Some two weeks after our own Taylor Wimberly first got his hands on a gorgeous white Nexus 4 handset, LG has officially announced the device is launching May 29 in Hong Kong, making its way around the rest of the world in the weeks to follow.
Spec-for-spec, the white Nexus 4 is identical to the original black model. It still comes with a Snapdragon S4 Pro, 4.7-inch 1280 by 768 True HD IPS Plus display, 2GB of RAM, and of course, stock Android. The only way the two models are different is how they will initially be sold. The black Nexus 4 was released first in the US through Google Play, while the white Nexus 4 will be released first in Hong Kong, and then "will roll out globally in select markets in Asia, North America, Europe and the Middle East over the next several weeks."
The white Nexus 4 isn't the only Nexus making the rounds in LG news today. Both the Nexus 5 and a Google Experience LG device were mentioned as not currently on LG's radar. After a bit of clarification following an interview with Dutch site All About Phones, it was outed that LG is not working on a Nexus 5, though they wouldn't turn down the opportunity, and that a Google Experience device from the company is not likely. LG Mobile's European VP, Kim Won, has echoed concerns over Google Experience devices, saying such a device "has no added value for us without our own skins."
With the success of the Nexus 4, we still wouldn't count out LG just yet. Until the Nexus 5 is announced, by Google or LG, anything is possible.


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St. Catherine of Siena, A Woman for Our
As part of the Founders Week Celebration, Sr. Nancy Murray, OP
presents a one-woman show in which she depicts the life of St.
Catherine of Siena.
Originally named Caterina Benincasa, she was the 24th child born
into her family in Siena, Italy, in 1347. She later became a lay
member of the Dominican Order. Catherine cared for terminally ill
patients, ministered to those on death row, and provided spiritual
direction to men and women in search of God. Though she lacked
formal education, she is known for her many letters sent to men and
women of all walks of life. The letters, filled with wisdom and
spiritual guidance, were the fruit of her own relationship with
God. Catherine is best remembered for "The Dialogue," which
contains the intimate conversations or prayers that she and God
shared with each other. Catherine died in 1380 at age 33.
Nancy Murray, OP, is making her mark on audiences across the
country and throughout the world, bringing to life the Dominican
Saint Catherine of Siena, Doctor of the Church. With simple props
and a fertile imagination, Sister Nancy portrays Catherine as the
colorful, strong, passionate and enthusiastic personality that she
was. Thanks to Sister Nancy's gift of transforming herself into
this 14th century saint and patroness of the Dominican Order,
numerous churches, schools and organizations have become acquainted
with Catherine's fierce devotion to and love for God.
Admission is free. All are welcome.
For more information, call the Catholic and Dominican Institute
at 845-569-3467.


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There's something for every type of outdoors person - from the fishing enthusiast and boater to the naturalist - at Barr Lake State Park, a short drive northeast of the Denver area.
Bicyclists of all ages and abilities, nature hikers and horseback riders enjoy the level 8.8-mile multi-use trail that circles the lake, passing by several wildlife viewing stations and the park's wildlife refuge. More than 350 species of birds have been spotted in the park. Numerous bald eagles winter at Barr Lake and one pair stays to nest and raise its young every year. Barr Lake's Nature Center has displays about the park's wildlife and you can have your questions answered by a naturalist.
Fishing enthusiasts and boaters, including kayakers and canoeists, enjoy the lake's calm waters as powerboats are limited to electric trolling or gasoline motors 10 horsepower or less. Channel catfish, small and large-mouth bass, rainbow trout, walleye, bluegill, wiper and tiger muskie are among the species that inhabit the waters of Barr Lake. Get Colorado
boating registration and regulation information.
Located just 20 minutes northeast of Denver, Barr Lake offers 12 shooting lanes with heavy-duty targets. The targets vary from 10 to 100 yards, giving novice and advance shooters alike the opportunity to develop their skills. Only field or target-tips are permitted, but hunters who are prepping for the big-game seasons may shoot broadheads in designated lanes. Shooters may also provide their own targets on broadhead and "open" lanes.
Try our new 3-D target course! Bull elk, dinosaurs and epic sunsets are just a few of the attractions you'll find at Barr Lake State Park's archery range. Barr Lake is the latest state park to offer archery to its visitors as part of an ongoing effort by Colorado Parks and Wildlife to develop more public shooting ranges across the state.
For more information, read Colorado State Parks Raises The 'Barr' For Archers.
The Barr Lake boardwalk is situated over the park's beautiful wildlife reserve, where green tree canopies and glittering waters overwhelm the senses. Its level wooden surface makes it easily traversable for young children, and any wildlife enthusiast who prefers a smooth path! Featuring gazebos and benches overlooking the quiet lake, the boardwalk offers the perfect perch for birdwatching and photography. Although the walk is peaceful, there's never a dull moment if you're paying attention: splashing carp, diving grebes and hundreds of bird species offer endless entertainment. Gather educational materials online or at the nature center, or ask a park naturalist about all you see!
Groups of outdoor lovers can now make their next outing an event at Barr Lake's new Meadowlark Picnic Pavilion, which can handle 100 people and has easy access to the trails.
The Eagle Express—a motorized 13 passenger cart—takes bird watchers on naturalist-guided tours on Barr Lake's trails weekends from mid-May through September.