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The art installation, "Never Let It Rest!," by German artist Hans Molzberger is a documentary project relating to the small town of Salzwedel in the Saxony-Anhalt region of Germany during the time of Nazi control. Through this project, Molzberger documents the history of the concentration camp that was built there and the lives and histories of the Jewish citizens of Salzwedel who died at the hands of the Nazis. Molzberger's artwork is based on his study of interviews and historical documents that were shared with him by citizens, museums and archives in Salzwedel. The exhibit seeks to explore two questions related to history, art, and remembrance: How do people remember a community if no one remains from that community? How do art and history work together? To further explore the history of Sazwedel and those questions, the following research guide was created to provide resources on Salzwedel, Germany, as well as Holocaust art, memorials, memory and remembrance.
The purpose of this research guide is to provide library resources that will assist visitors in exploring additional information on various Holocaust- and genocide-related topics. The research guide is created using materials that are located in Holocaust Museum Houston library collections. The guides are not meant to be exhaustive. The annotations provided will help users determine the materials' focus and library location. Those unable to visit the Museum library may be able to find these materials in a local public or university library. Contact your local library or librarian for assistance in locating materials.
Salzwedel, Germany
Books "Lasst es ruhn!?" Gegen ein Vergessen: Besuch ehemaliger Häftlinge des KZ-Aussenlagers Salzwedel vom 30. April bis 6. Mai 2001: Dokumentation des Treffens by [Redaktion, Ulrich Kalmbach ; Heidburg Behling].Freundeskreis KZ-Gedenkstätte Neuengamme 2005The history of Salzwedel, Germany in the era of National Socialism from 1933 to 1945. It includes information and photographs of the Hans Molzberger exhibition while installed in Salzwedel, Germany in 1998. Written in German. D805.5 .S26 L3 1999 Ger – In General Collection Encyclopedia of Camps and Ghettos, 1933-1945 edited by Geoffrey Megargee. Indiana University Press, United States Holocaust Memorial Museum 2009This is a two-volume encyclopedia of early camps, youth camps, concentration camps and sub-camps under the SS-Business Administration Main Office (WVHA). The encyclopedia is arranged by structure of the camps and ghettos established by the Nazi regime. The main camp is listed first and the sub-camps of the main camps are listed alphabetically under the appropriate main camp. It includes bibliographical references and an index, as well as an entry on Salzwedel.REF D805 .A2 E53 2009 v.1 pt. A & B – In Reference CollectionWhere Once We Walked: A Guide to the Jewish Communities Destroyed in the Holocaust, by Gary Mokotoff; Sallyann Amdur SackAvotaynu 2002This gazetteer documents Jewish towns in Central and Eastern Europe before the Holocaust. The guide contains town names and alternate names, town latitude/longitude and population statistics. There is a phonetic index to locate towns that may have multiple spellings. It includes an entry on Salzwedel.REF DS135 .E83 M65 2002 – In Reference CollectionThe Encyclopedia of Jewish Life Before and During the Holocaust, by Shmuel SpectorNew York University Press 2001This three-volume dictionary documents Jewish communities that were destroyed during the Holocaust. It includes an entry on Salzwedel. REF DS135 .E8 E45 2001 v.1 – In Reference Collection FilmLasst es ruhn!?: Salzwedel im Nationalsozialismus: Medien fur den Schulunterricht Video Film 1-8, Friedrich Johann, Danneil Museum.Johann Friedrich Danneil Museum 2005This film depicts the history of Salzwedel, Germany and National Socialism during World War II. The video is 60 minutes. (VHS format) VHS 247 2005 – In Audio/Visual CollectionHolocaust Art, Memorials, Memory and RemembranceBooks
At Memory's Edge: After-Images of the Holocaust in Contemporary Art and Architecture by James E. Young.Yale University Press 2000This book examines several post-Holocaust artists' work in America and Europe, including that of Art Spiegelman, Shimon Attie, David Levinthal and Rachel Whiteread, to determine the way memory has shaped their work as passed down through memoirs, film, photographs and museums. It includes a bibliography and index.NA9330 .G4 Y68 2000 – In General Collection The Art of Memory: Holocaust Memorials in History edited by James E. Young with contributions by Matthew Baigell ... (et al.).Prestel 1994This provocative book probes how and why public memory of the Holocaust is being shaped in museums and monuments in Europe, North America and Israel. By examining the historical, philosophical and aesthetic elements of Holocaust memorials, "Holocaust Memorials in History" shows how they reflect the myths, ideals and political needs of the nations that built them. The book poses challenging questions about the motives behind memorial designs, as well as their impact, intended or not, upon the public. The book was published on the occasion of the exhibition "The Art of Memory: Holocaust Memorials in History" held at the Jewish Museum, in New York, March 13-July 31, 1994, and at further venues in Germany. It includes bibliographical references (p. 191-192). D804.3 .A82 1994 – In General Collection The Texture of Memory: Holocaust Memorials and Meaning by James E. Young.Yale University Press 1993 This book focuses on several Holocaust memorials to explore the idea of monument and its role in public memory. It includes bibliographical references (p. [373]-390) and an index. D804.3 .Y68 1993 – In General Collection
Mein Kampf by David Levinthal.Twin Palms Publishers 1996 Levinthal uses photography and toy figurines to tell Holocaust history and his own hypermediated reality of the Holocaust. REF TR654 .L459151 1996 – In Reference Collection Writing and Rewriting the Holocaust: Narrative and the Consequences of Interpretation by James E. Young.Indiana University Press 1988This book uses Holocaust diaries, video testimonies, memoirs, poetry, fiction and memorials to explore the creation of historical memory and understanding after the Holocaust. It includes a bibliography and index.D810 .J4 Y58 1988 – In General Collection In Fitting Memory: The Art and Politics of Holocaust Memorials text by Sybil Milton photographs by Ira Nowinski.Wayne State University Press 1991This book is a survey of Holocaust memorials and monuments in Europe, Israel and the United States. This book attempts to provide an analysis of the complex interrelationship between authentic historic sites, disparate and ephemeral representations of history, and the changing political and aesthetic balance between commemoration and escapism. These memorials and monuments have served not only as secular shrines, but also as temporal institutions reflecting changing public constituencies and distinctive political, social and cultural contexts. It includes bibliographical references (p. 297-315) and an index.D804.3 .M56 1991 – In General Collection In Everlasting Remembrance: A Guide to Memorials and the Monuments Honoring the Six Million by American Jewish Congress.American Jewish Congress 1969.This book serves as a guide to Holocaust memorials and monuments in Europe and Israel. Each entry provides information about the memorial or monument and its historical significance and includes a photograph. D810 .J4 A576 1969 – In General Collection The Claims of Memory: Representations of the Holocaust in Contemporary Germany and France by Caroline Wiedmer.Cornell University Press 1999This book uses contemporary cultural texts such as memorials and memorial sites, museums and exhibits, national commemorations, books and films to interpret the conflicted memory of the Holocaust in Germany and France. It includes bibliographical references and an index.D804.17 .W54 1999 – In General Collection Holocaust Remembrance: The Shapes of Memory edited by Geoffrey H. Hartman.Blackwell 1994This collection of essays written by scholars, artists and writers looks at the ways the Holocaust has been, might be and will be remembered. It includes bibliographical references (p. [265]-298) and an index.D804.3 .H6494 1994 – In General Collection To Holokautoma ton Hellenon Evraion: Mnemeia kai Mnemes = The Holocaust of the Greek Jewry: Monuments and Memories keimena Evrake Neolaia Hellados and Alexes Menexiades.Kentriko Israelitiko Symvoulio Hellados 2006 This book lists Greek Jewish communities and provides historical information on the community, post-war memorials and monuments. It includes German-occupation and post-war population numbers. Text in Greek with parallel English translation.REF DS135 .G7 H76 2006 – In Reference Collection The Longest Shadow: In the Aftermath of the Holocaust by Geoffrey H. Hartman.Indiana University Press 1996Scholar Geoffrey H. Hartman, himself forced to leave Germany at age nine, collects his essays, both scholarly and personal, that focus on the Holocaust. Hartman discusses artistic, scholarly and pedagogical responses to the Holocaust, such as survivors' testimony, historical research, films, monuments and novels. He also examines the relation of the responses to the possibility of closure, the extreme experiences represented and transmitted and the links between representational techniques and ethical concerns. It includes bibliographical references and an index.D804.3 .H359 1996 – In General Collection Skausmo knyga = The book of sorrow compiler and author of the texts Yosif Levinson.VAGA 1997This book examines Lithuanian monuments erected at Jewish victims of the Holocaust mass grave sites to memorialize their deaths. It provides the text of several monument plaque inscriptions that are at the graves sites. It includes bibliographical references and an index. The text is in Yiddish, Hebrew, Lithuanian and English.DS135 .L5 L43 1997 – In General Collection Materials on the Memorial to the Murdered Jews of Europe published by the Foundation for the Memorial to the Murdered Jews of Europe.Nicolai 2005This collection of essays, maps and photographs traces the history of the Memorial to the Murdered Jews of Europe in Berlin and serves as a guide to the Memorial's Information Centre. Several chapters discuss the conversations and debates that created controversy about appropriate forms of remembrance and respect in building the memorial. It includes an index of names and index of places.REF D804.175 .B4 M37 2005 – In Reference Collection
United States Holocaust Memorial Museum: James Ingo Freed by Adrian Dannatt, photography by Timothy Hursley.Phaidon Press 1995James Ingo Freed discusses the architecture, planning and building of the U.S. Holocaust Memorial Museum and examines some of its exhibits documenting the European Holocaust from 1933 to 1945. He discusses the interpretation of architecture and space as a structure of memory. It includes bibliographical references (p. 60) and museum photographs.REF NA6700 .W34 D35 1995 – In Reference Collection
Auschwitz, Poland, and the Politics of Commemoration, 1945-1979 by Jonathan Huener.Ohio University Press 2003 This analysis of post-liberation Auschwitz as a commemoration site emphasizes Polish national martyrdom and the neglect of the Shoah as the prominent element of the camp's history. The analysis focuses on the configurations and reconfigurations of memory at Auschwitz that address the motivations for and barriers against change in the site's landscape and commemorative agenda. It includes bibliographical references (p. [293]-315) and an index.D805.5 .A96 H84 2003 – In General Collection Memory Offended: The Auschwitz Convent Controversy edited by Carol Rittner and John K. Roth.Praeger 1991In 1984, Carmelite nuns sought to establish a convent in an abandoned building that borders Auschwitz to remember the Polish Catholics who died in the camp. Worldwide protests by the Jewish community led to an agreement to remove the convent. This book examines the history and politics of memory, the psychology of memory and finally the theology of memory using the Auschwitz convent event. The book includes key documents about the Auschwitz convent controversy, a bibliography, an index and information about the editor and contributors.BM535 .M44 1991 – In General Collection Memorial Sites for Concentration Camp Victims in Upper Austria edited by Siegfried Haider and Gerhart Marckhgott translated by Barbara Zehetmayr and James Zimmer.Kulturland Obersterreich 2002This book provides the history of Austrian concentration camps, a list of memorial sites according to type and function, and the process and politics involved to create the Austrian concentration camp memorials. It includes geographic maps and memorial photographs. D805 .A8 O34713 2002 – In General Collection Generations Should Remember by Bohdan Rymaszewski translation Letterman Sp.zo.o. Agencja tlumaczy, Krakow; English edition prepared by: Marilyn Kupetz.Auschwitz-Birkenau State Museum 2003This book provides a history of Auschwitz-Birkenau, background on the monuments, discussion of the camp as a place of remembrance and the actions taken to preserve and maintain the camp without altering history. It includes bibliographical references.D805.5 .A96 R9613 2003 – In General Collection After Auschwitz: Responses to the Holocaust in Contemporary Art edited by Monica Bohm-Duchen.Sunderland, Northern Centre for Contemporary Art, Lund Humphries 1995 Several artists created post-war artwork on the subject of the Holocaust. The artists are victims of the Holocaust as well as individuals that were not victims but influenced by the Holocaust during the war and post-war period. Leading experts contributed essays that discuss Holocaust art, memorials, artists and their significance. The book waspublished on the occasion of the travelling exhibition "After Auschwitz: Responses to the Holocaust in Contemporary Art." It includes photos of artwork.REF N7417.6 A33 1995 – In Reference Collection
Considering Maus: Approaches to Art Spiegelman's "Survivor's tale" of the Holocaust edited by Deborah R. Geis.University of Alabama Press 2003This book is an analysis of the illustrated novel "Maus: a Survivor's Tale." Maus tells the story of a Jewish mouse in the ghettos and camps during World War II through a series of cartoons. Ten scholars explore the influence of comic artists, use of animal characters, repeating images, appropriation of cinematic technique, Maus's place among Holocaust testimonials and the implications of the work's commercial success. It includes bibliographical references and an index.D810 .J4 C665 2003 – In General Collection
A Mission in Art: Recent Holocaust Works in America by Vivian Alpert Thompson.Mercer University Press 1988This book examines the artwork and motivations of artists for whom the Holocaust is the main theme or influence. This book analyzes artwork by survivors, children of survivors and artists not directly affected by the Holocaust. It includes bibliographical references and artwork color reproductions. REF N6538 .J4 T4 1988 – In Reference Collection
Abstraction and the Holocaust by Mark Godfrey.Yale University Press 2007This book considers the responses to the Holocaust by artists and architects working with abstraction between 1951 and the present. It uses paintings, video installation, memorials and sculptures to challenge the idea that abstract art cannot respond to history. It includes bibliographical references (p. 279-289) and an index.N72 .H63 G63 2007 – In General Collection Memory Effects: The Holocaust and the Art of Secondary Witnessing by Dora Apel.Rutgers University Press 2002This book analyzes the ways in which artists born after the Holocaust, referred to as secondary witnesses, represent a history they did not experience firsthand. "Memory Effects" uses visual art such as photography, reenactment and videos to provide a unique understanding of contemporary representations of the Holocaust. The book demonstrates how these artists frame the past within the conditions of the present, the subversive use of documentary and the archive, the effects of the Jewish genocide on issues of difference and identity, and the use of representation as a form of resistance to historical closure. It includes bibliographical references and an index.N7417.6 .A64 2002 – In General Collection
Depiction and Interpretation: The Influence of the Holocaust on the Visual Arts by Ziva Amishai-Maisels. Pergamon Press 1993This book surveys artists' works that depict the Holocaust. The artists are discussed one at a time, and it includes the way the artists portray the Holocaust or the alternative method of using symbolic themes or abstraction to interpret the Holocaust. It includes lists of artist illustrations, bibliographical references and an index.REF N8210 .A59 1993 – In Reference Collection Preempting the Holocaust by Lawrence L. Langer.Yale University Press 1998Langer explores the use of Holocaust themes in literature, memoirs, film and painting. He focuses on several controversial issues: the attempt of commentators to appropriate the subject of the Holocaust for private moral agendas; the ordeal of women in concentration camps; conflicting claims of individual and community survival in Kovno ghetto; current tendency to fuse the Holocaust with other modern atrocities, thereby blurring the distinctive features of each; and the sporadic impulse to shift the emphasis from the crime, the criminals and the victims to the question of forgiveness and the need for healing. Langer concludes with the challenge of teaching the Holocaust to students that know less and less of its history. It includes bibliographical references.PN56 .H55 L29 1998 – In General Collection Last Traces: The Lost Art of Auschwitz photography and text by Joseph P. Czarnecki introduction by Chaim Potok.Atheneum 1989This book presents photographs of artwork created by prisoners on the buildings at Auschwitz. The artwork is reproduced using photography with descriptive text for each piece. The editor Czarnecki evaluates and interprets several artworks. It includes bibliographical references.REF ND2812 .P82 0834 1989 – In Reference Collection A Sculpture of Love and Anguish: The Holocaust Memorial, Miami Beach, Florida by Kenneth Treister, foreword by Elie Wiesel, history, Helen Fagin, photographs, Al Barg, Jeff Weisberg & Kenneth Treister.S.P.I. Books 1993This book focuses on the Holocaust memorial at Miami Beach, Florida. Kenneth Treister, sculptor and designer, explains the process and concepts that went into creating the memorial. Colored photographs of the memorial are presented in the book. REF D810 .J4 T75 1993 – In Reference Collection
Reflections of the Holocaust in Art and Literature edited by Randolph L. Braham.Columbia University Press 1990This book analyzes literature and art on the subject of the Holocaust. The book is divided into three parts. The first part of the book is devoted to critical literary analyses of individual writers and poets. The second part contains articles that provide an overview on Holocaust literature. The third part includes articles that deal with reflections on Holocaust art. It includes bibliographical references.PN56 .H55 R44 1990 – In General Collection Image and Remembrance: Representation and the Holocaust edited by Shelley Hornstein and Florence Jacobowitz.Indiana University Press 2003This book examines representations of the Holocaust in architecture, film, painting, photography, memorials and monuments to discuss the role art plays in shaping historical and collective memory. It includes bibliographical references and index.NX 650 H57 I46 2003 – In General Collection Visual Culture and the Holocaust edited and with an introduction by Barbie Zelizer.Rutgers University Press 2001This book uses film, photography, comic books, art and artistic installations, museum artifacts, the human body, television and video, and the Internet to explore what it means to visualize the Holocaust, why doing so makes sense, for whom and under which conditions it works most effectively. It includes bibliographical references and index.NX 650 H57 V57 2001 – In General Collection Maus I: A Survivor's Tale: My Father Bleeds History by Art Spiegelman. Pantheon Books 1991This book uses a comic-strip form to tell the story of a Vladek Spiegelman, a Jewish Holocaust survivor. Maus tells the story of a Jewish mouse in the ghettos and camps during World War II. D810 .J4 S643 1986 – In General Collection Light from the Yellow Star: A Lesson of Love from the Holocaust by Robert O. Fisch.Frederick R. Weisman Art Museum, University of Minnesota 1998Fisch, a Holocaust survivor, created abstract paintings to narrate his experiences in a World War II concentration camp. This book is an exhibition catalog of paintings, personal narrative and translations from the gravestones in the memorial concentration camp cemetery in Budapest. It is written for grades 7–12.JUV DS135 .H92 B8344 1998 – In Juvenile Collection Building History: The Shoah in Art, Memory, and Myth edited by Peter M. Daly, Karl Filser, Alain Goldschlager, Naomi Kramer.Peter Lang Publishing 2001This book includes papers given at a conference held in Munich and Augsburg Nov. 8-14, 1997. The conference focused on transmitting historical and human aspects of the Holocaust through secondary sources such as art, memorials and cultural modes. It includes bibliographical references and index.D804.18 .B85 2001 – In General Collection Maus II: A Survivor's Tale: And Here My Troubles Began by Art Spiegelman. Pantheon Books 1991This book is a memoir of Vladek Spiegleman, a Jewish survivor of Hitler's Europe, and his son, a cartoonist who tries to come to terms with his father, his story and history. A comic-strip format portrays Jews as mice and Nazis as cats. This second novel begins in Auschwitz and takes the reader to the Catskills in New York.D804.3 .S66 1991 – In General Collection There is no Why Here by Karl Koenig.Holocaust Museum Houston 2004Koenig uses a photographic process, known as polychromatic gumoil, which he employs with his photographs. The gumoil process allows the manipulation of color, line, form and contrast to provide the sense of remembrance in the images. The photographs are the remains of 10 concentration camps taken between the years 1994 and 2003. The photographs are accompanied with title, dimensions, locations and informational text. TR647 .K41 2004 – In General Collection From Ashes to the Rainbow: A Tribute to Raoul Wallenberg works by Alice LokCahana, curated by Barbara Gilbert, text and interview with the artist by Barbara Rose, historical essays by Sybil Milton and Alfred Gottschalk.Hebrew Union College Skirball Museum 1986Alice Lok Cahana, a Holocaust survivor, creates abstract art and poetry to tell her story 40 years after her experiences. This book contains reproductions of Cahana's art with poems that were part of an exhibition organized by Hebrew Union College Skirball Museum. It includes an artist biography, artist interview, bibliography and an index of works of art. REF N7417.6 .C3 1986 – In Reference Collection Using and Abusing the Holocaust by Lawrence L. Langer.Indiana University Press 2006Langer examines literature, film, survivor testimony and art to address the way the Holocaust is being remembered and transmitted to others through these mediums. It includes bibliographical references and an index.D804.195 .L357 2006 – In General Collection Clinging to the Humanity: In Search of Hope: Paintings and Poems of the Holocaust by Saul Balagura.Florida Holocaust Museum 2000Saul Balagura creates abstract expressionist paintings with accompanying poems on the subject of the Holocaust. Balagura began his Holocaust paintings in the 1980s. It includes bibliographical references.ND237 .B2265 A4 2000 – In General Collection Cabbages & Geraniums: Memories of the Holocaust by Valerie Jakober Furth.Social Science Monographs 1989Valerie Jakober, a Holocaust survivor, conveys her memories through art 30 years after her experiences. Jakober's art is accompanied with text that tells her personal story. N8217 .H6 F87 1989 – In General Collection
Holocaust Project: From Darkness into Light by Judy Chicago with photography by Donald Woodman.Penguin Books 1993 Judy Chicago and Donald Woodman collaborated to create artwork, using painting and photography, that conveys the human story of the Holocaust. The book is divided into four parts. Part one is the introduction, part two is the research process, part three explains the research transformation into artwork and part four is the body of art. It includes bibliographical references.N6537 .C48 A4 1993 – In General Collection Light in the Shadows by Barbara Milman.Jonathan David Publishers Inc. 1997Barbara Milman created prints based on Holocaust survivor stories. Using five survivor interviews, Milam created prints with narratives to portray their experiences. NE1336 .M55 A4 1997 – In General Collection Imagined Landscapes by William Pachner.Florida Holocaust Museum 2005Pachner emigrated from Czechoslovakia to the United States in 1939. Pachner's family remained in Czechoslovakia and became victims of the Holocaust. Using secondary knowledge of the Holocaust, Pachner created art, paintings, mixed media and illustrations on the subject of the Holocaust. It includes an index of art, artist resume and bibliography. This book is the accompanying catalog of an exhibition at the Florida Holocaust Museum Feb. 5-June 26, 2005.REF N6537 .P33 2005 – In Reference Collection Silent Voices Speak: Remembering the Holocaust paintings by Barbara Shilo.B. Shilo 2000Shilo uses black-and-white photographs taken in Europe between 1933 and 1945 that documented the Holocaust to create mixed-media paintings. Shilo multiplies and alters portions of the images and adds color to them to create her artwork. This book is a catalog of an exhibition. It includes the artist's personal history, artist exhibitions resume, checklist of the exhibition paintings, index of original source photographs and a bibliography.NX650 .H57 S55 2000 – In General Collection
Fritz Hirschberger edited by Feinstein C. Stephen.Center for Holocaust and Genocide Studies, University of Minnesota 2002.Hirschberger, a Holocaust survivor and artist, attempts to depict his impressions of historical events of the Holocaust in paintings. Hirschberger's paintings are not a narrative but an understanding of the Holocaust through reading and introspection. Hirschberger's paintings are pictured with poems or text providing historical explanation. It includes a bibliography.N72 H63 F75 2002 – In General Collection Landscapes of Jewish Experience Paintings by Samuel Bak essay and commentary by Lawrence L. Langer.University Press of New England 1997Bak, a Holocaust survivor and artist, uses his personal experiences and experiences of humanity to create paintings on the subject of the Holocaust. It includes a biography on Bak, a bibliography and afterword.REF ND979 .B27 A4 1997 – In Reference Collection
The Book of Alfred Kantor with a preface by John Wykert.McGraw-Hill Book Company 1971 Cantor created drawings in 1945, after liberation from Nazi detention camps, of his experiences in the concentration camps of Terezin, Auschwitz and Schwarzheide during the period from December 1941 to May 1945. This book is the published work of Kantor's drawings. Accompanying text provides the drawings with historical context. NC139 .K3 A4 1971 – In General Collection
Kristallnacht: Un Rostro, un Nombre = A Face, a Name instalacion de Remo Bianchedi.EK Produccion & Cultura 2003 Bianchedi visited an exhibit of portraits and self-portraits made in extermination camps during World War II. Inspired by this exhibit, 10 years later, Bianchedi created portraits from the exhibit based on his memory. This book contains pictures of the paintings created by Bianchedi. It includes an artist resume and index of works. The text is in Spanish and English in facing columns.ND339 .B53 A4 2003 – In General Collection Beyond Despair by George Aptecker.Kahn and Kahan Pub. Co, 1981Aptecker creates photographs and accompanies them with excerpts taken from books on the subject of the Holocaust. Aptecker's black and white photographs are pictured in this book. It includes an introductory essay about the Holocaust.D810 .J4 A66 1981 – In General Collection Who Was the Woman Who Wore the Hat? by Nancy Patz.Dotton Books 2003Patz was inspired by a hat at the Jewish Historical Museum in Amsterdam to create illustrations and poetry about the Holocaust. JUV PS3566 .A826138 W47 2003 – In Juvenile Collection Artists Confronting the Inconceivable edited by Irvin J. Borowsky.The American Interfaith Institute 1992Glass masters created glass artwork that expresses remembrance of Kristallnacht and the Holocaust. The artwork is represented by color photographs and are accompanied by the artists' explanations behind their creations, captions and dimensions. It includes a participating artist directory.NB1270 .G4 A77 1992 – In General Collection
A Jew Among the Germans by Marian Marzynski and Frontline.Distributed by PBS Video 2005Marzynski, a Polish Holocaust survivor, sets out on a personal quest to find out how Germans are going to design a memorial to the murder of 6 million Jews to be unveiled on the 60th anniversary of the end of World War II. Over three years, he meets artists, architects and planners who struggle with questions of guilt, responsibility and memory. He struggles with his own relationship to the German people and meets a young "third generation" of Germans who declare their distance from their parents and grandparents. (DVD format)DVD 98 2005 – In Audio/Visual Collection
Through the Eye of the Needle: Fabric of Survival: The Fabric Art of EstherNisenthal Krinitz interview with Esther Nisenthal Krinitz by Lawrence Kasdan.Art & Remembrance 2005. Krinitz (1927-2000) was a survivor of the Holocaust in Poland. In October 1942, after living under Nazi occupation for three years, the Jews of her village were ordered to report to the nearby train station. The 15-year-old Esther decided she would not go. She and her 13-year-old sister Mania assumed new names and evaded the Gestapo, pretending to be Catholic farm girls. They never saw their family again. After the war ended, the two sisters made their way to a displaced persons camp in Germany, where Esther met and married Max Krinitz. In 1949, Esther, Max and their daughter immigrated to the United States. In 1977, at the age of 50, Esther Krinitz began creating works of fabric art to tell her story of survival during the Holocaust. Trained as a dressmaker, but untrained in art, she created a collection of 36 fabric pictures of strong, vivid colors and striking details with a sense of folk-like realism. Her meticulously stitched words beneath the pictures provide a narrative. (Video slideshow and high-resolution digital images. (DVD format)DVD 125 – In Audio/Visual Collection
Art and Remembrance: The Legacy of Felix Nussebaum produced, directed and written by Barbara Pfeffer.First Run/lcarus 1993 This video focuses on the artwork of Felix Nussebaum, a German Jewish artist that created paintings of European Jews during the Holocaust, as a vehicle to tell about the Holocaust and to examine how young Germans today feel about their nation's past. Nussebaum hid in Brussels for four years during World War II. (VHS format)VHS 377 1993 – In Audio/Visual Collection Research StrategiesThe terms below are Library of Congress subject headings. Using the terms in library catalogs and electronic search tools will retrieve relevant materials. To locate information on Salzwedel, Germany:
To locate information on Holocaust art, memorials, memory, and remembrance:


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Wearing the blues
Added Mar 17, 2013
by rosyragpatch
Horsham, United ...
Self drafted button front skirt worn with Deer & Doe's Airelle Blouse in cotton lawn.
I made the original skirt pattern by tracing around a ready made skirt so that I could make it a lining. The original skirt had a zip at the back and the first skirt I made from the pattern had a back zip. I'm a real fan of button front skirts (all those lovely buttons!) so I adapted my pattern by eliminating the back seam and creating a front opening. I added self facings to the front.
This was my first attempt at drafting my own pattern and I've made it 5 times plus the version with the back zip.
See more at http://rosyragpatch.wordpress.com/2013/02/27/wearing-the-blues/
Material Notes
This skirt is made of corduroy but I've made it in lots of different fabrics as shown in the photo.
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YuGiOh Gold Boosters, Cases, Packs, and Single Cards from all 5 Editions!
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The faculty, staff and students in the Department of Systems Science and Industrial Engineering are friendly, collegial and committed to providing you with an outstanding academic experience. After all, that's why you're here. If you have questions, we have answers -- you just have to ask.
For information about, and contact information for, individual faculty members, visit their web pages which you'll find on our faculty and staff page.
If you're in need of assistance, our administrative staff contact can also be found on the faculty and staff page.
Graduate students also play a major role in the educational life of the department. Don't hesitate to take advantage of their experiences if you have questions. To make a better connection between the current graduate students and the incoming graduate students, an SSIE Ambassador Program has been established. As an incoming student, click here if you would like to learn more.


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|Hummelstown, Pa.
|High School:
|Lower Dauphin
|Sport Management
2012: Enters his sophomore slated to earn significant playing time behind the dish for the Green and White ... has a strong arm and has developed a good raport with the Spartan pitching staff ... not only has good tools behind the plate but also has very good offensive skills ... has a smooth swing that allows him to have good gap power ... has worked very hard to become a good defensive catcher.
2011: Played in 16 games, earning a start in nine of those contests ... finished the year hitting .229 with eight hits in 35 at-bats ... had four runs scored, seven RBI and a double ... tallied his first career hit in the March 5 win at Wesley ... had a career-high two RBI in the March 26 game against Frostburg State and then matched that high on April 26 against Montclair State ... had a career-high two hits in the April 25 game against F&M ... ended that game against the Diplomats 2-for-3 with a run scored and an RBI in addition to a walk.
Personal: Is a sport management major ... is the son of Robert and Mary Jane Herr ... lists his father, Robert, as the person he most admires ... names Albert Pujols and Hines Ward as his two favorite athletes ... selected York because of the small town feeling, the friendly atmosphere and the great sport management program ... earned Mid-Penn First-Team All-Star accolades as a senior at Lower Dauphin High School ... also earned Big 12 honorable mention consideration while he won his high school Homerun Derby championship ... played for Hummelstown Legion Post 265 ... his Lower Dauphin high school team advanced to the State PIAA Class AAAA Semifinal game during his senior year ... tied the Lower Dauphin school record for hits in a season.


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Cataloging Label Program support
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Dana Perino forgets about 9/11 and the Beltway snipers
Sean Hannity ignores it.
Terrorism is a strategy used by a militarily weak group against a militarily strong one, to create fear, dread, and uncertainty among the general population toward some political or ideological end, such as ending military actions by the strong group against the weak. It's not clear to me that Major Hasan's attack at Fort Hood meets the criteria of a terrorist attack, or even a religiously motivated one, though that's somewhat more plausible. His action did share the element of being an attack by the weak against the strong, but he also appears to have had mental issues and an ongoing battle with the military over his desire to get out and not be sent to Afghanistan. There were clear warning signs that were missed or ignored, but it doesn't appear that he was part of a broader plot.
The Fort Hood shootings were a tragedy, and possibly one that could have been avoided. But it certainly isn't an event that provides justification for torture, warrantless wiretapping, the revocation of habeas corpus, and the expansion of "homeland security" to the detriment of our civil liberties. Perino and Hannity want to argue that the Obama administration has made us less safe on the basis of this incident, which makes about as much sense as blaming the Bush administration for the Virginia Tech shootings.
UPDATE (November 27, 2009): As a couple people have correctly noted, I should also have mentioned the post-9/11 anthrax attacks as another terrorist act Perino forgot about. Richard Reid, the shoe bomber, was another.
UPDATE: Hume's Ghost notes that Perino has said via Twitter that she meant "since 9/11," and correctly points out how absurd it is to discount 9/11 for Bush (as well as these other subsequent events she's ignored), while blaming Obama for Hasan's shooting: "...while there were warning signs about Hasan's fitness for duty that could have been noticed by those around him, this is hardly something that would have been on the President's radar. No one was briefing President Obama that Major Hasan was determined to strike a military base; however, President Bush was briefed that Bin Laden was determined to strike in the United States prior to the 9/11 attacks."


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"Through fire and floods, Brattleboro maintains its cool"
BRATTLEBORO "Between Hurricane Irene and the Brooks House fire, our downtown has sustained some big hits lately," said Jan Norris, owner of the Delectable Mountain fabric store on Main Street.
The key word is "sustained." Despite the double wallop in 2011 in April a fire gutted the historic Brooks House, which makes up an entire block anchoring the north end of the street, followed in August by the flooding of lower-elevation streets after Irene this resilient city of 12,000 doesn't seem to have skipped a beat. The hardships, economic and otherwise, wrought by these catastrophes are still very real. Yet on a bright winter Saturday, crowded sidewalks signal a vitality that many small cities would envy in any season.
Part of downtown's appeal lies in Brattleboro's pride of place, which includes not only its geography, but also its reputation as an arts-and-culture capital. Though that previously conjured the flash of tie-dye and a whiff of patchouli oil, in recent years the city has shed the dated baggage and hung onto a timeless vision: a destination that capitalizes on creativity, originality, and history.
For example, in the Delectable Mountain Cloth its name paraphrases a line in "The Pilgrim's Progress" two women fingering a bolt of fine pale fabric say that they have driven up from Brookline, Mass. "I discovered this place when I was going to college in this area," says Andrea Burns, who enjoys returning with her mother, Anne Burns, in tow. "It gives me a great excuse to come back here."
Brattleboro's mix of boutiques, coffee shops, outdoor equipment stores, pubs, and restaurants,
The unique store, which sells rare natural-fiber textiles and buttons that could pass for jewels, was one of the businesses that ushered in a downtown renaissance in the 1970s, when back-to-the-landers and artists like Norris a painter, dressmaker, and quilt maker migrated to the area. Within a streetscape of late-Victorian commercial buildings sandwiched between the Connecticut and West rivers, they opened galleries, bookstores, clothing boutiques, coffee shops, outdoor equipment stores, pubs, and restaurants. Even though many of the individual businesses have changed, the overall mix of retail still reflects the artistic influx of that time.
Even the bakery a few doors up on Main Street does double duty as a gallery: Amy's Bakery Arts Cafe serves espresso drinks, pastries, pizza, and sandwiches in a narrow storefront. Inside, the aroma of pastry dough melding with fig preserves in a hot oven hangs in the air, and the heat steams the windows on the street. Tables in the back look out on the wooded banks of the Connecticut River, with the slope of Wantastiquet Mountain rising from the opposite shore, in Chesterfield, N.H.
"Main Street, Brattleboro from atop Amy's Bakery Arts Cafe
The rivers and the dome of the mountain forming a backdrop behind the east side of Main Street lend the downtown a folksy character. In the past these geographical advantages gave Brattleboro strategic importance as a fort settlement and economic significance as a shipping port. Today they make the area a popular destination for hiking and paddling. Sam's Outdoor Outfitters (also on Main Street) is the central resource for all things outdoorsy. Hikers can find maps to in-town recreation trails online, including one showing the nearly 9 miles of public trails on the campus of the Brattleboro Retreat, a hospital on the shore of the West River that treats mental illness and addiction, and the Living Memorial Park Trail, west of Interstate 91, which touts snowshoeing and cross-country skiing. Fort Dummer State Park, site of the first English settlement in what is now the state of Vermont, lies just southwest of downtown.
Roughing it, however, is not a requirement. Since 1938 the Art Deco Latchis Hotel and Theatre has offered stylish hospitality and entertainment at the corner of Main and Flat streets. [...and who can forget, The Artist's Loft just up the block?] The lobbies in both the hotel and the theater (a three-screen cinema) boast gleaming terrazzo floors with brass inlay, and the hotel guest rooms contain period furnishings. The main downstairs theater holds a sumptuous display of "Greco Deco" bas reliefs, fountains, statuary, and murals. The figures of the Greek zodiac march in a wide circle on the theater lobby floor and float overhead on the painted-silk ceiling in the spectacular downstairs theater. The nonprofit arts organization that has owned the hotel and theater for the past decade has invested more than $1.8 million to buff up its one-of-a-kind premises.
Two galleries anchor each end of Main Street. On the north it's Gallery in the Woods, a quirky and fascinating venue that opened in 1998. It bills its wares as "Visionary Art, Surrealist Art, World Folk Art and Fine Craft." At the opposite end of the street the Vermont Artisan Designs Gallery sells fine art and contemporary American crafts in all media, made by artists and artisans in Vermont and elsewhere in New England. Established 40 years ago, this gallery was another successful pioneer in the downtown's postindustrial comeback. [...and don't forget, The Artist's Loft Art Gallery across the street!] Smaller shops with more specialized crafts beckon from the side streets in this ultimately walkable downtown.
Art lovers can check the latest exhibit at the Brattleboro Museum and Art Center, a non-collecting institution that continually freshens its exhibits. The center is housed in the 1915 Union Station depot building on Vernon Street.
"Mocha Morning" 8-color linocut print by William Hays
Mocha Joe's Coffee House and Coffee Roasters is cut into the slope above the Latchis block. Steps descend to this basement hideout for aging hippies and young hipsters. The lightning-quick barristas serve a perpetually backed-up line that overflows the stairs onto the sidewalk.
Eight area colleges ensure that pubs and bars are not in short supply. More than 30 restaurants cover virtually all price points and cuisines, from sushi to brick-oven pizza.
The revolution ushered in by the baby boomers is now part of history, and visitors may find the fading emblems of granola culture as quaint as the Victorian "water cures" that once lured city dwellers to the health resorts in town. But as long as historic preservation remains a priority here, the counterculture of the past will compose a significant stratum of all that underpins the city.
Jane Roy Brown is a freelance writer in Western Massachusetts
Return to Articles and Stories Page
The Artist's Loft Fine Art Gallery
All Contents Copyright 2013, The Artist's Loft Gallery


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Sunday, September 17, 2006
Has Anybody Driven a Ford Lately?
...one of the biggest changes I've seen as a result of the Way Forward plan is a new culture of candor and honesty in both our decision-making and our communications. We remain dedicated to honest, open, two-way communications throughout the business even when we have tough news to deliver. And today is no exception.
So began Friday's conference call held by the Ford Motor bigs charged with turning around the company that Ford family management has done their inadvertent best to drive into the ground.
The "honest, open, two-way communications" did not appear to make Wall Street's Finest feel any better: Ford's stock dropped as soon as the market opened midway through the call, and continued dropping, especially when the Q&A session began.
Ford stock finished the day down just over a buck a share on nearly two hundred million shares traded. Now, a buck may not seem like much until you consider there are only eight more of those to go before the stock reaches zero.
"Open" and "honest" management may be, Ford shareholders would probably take "ruthless" and "hard-nosed" any day.
I should make clear that "Way Forward" is the appellation given to the restructuring plan introduced by then-CEO Bill Ford early this year—a clever publication relations means of spinning a large, ugly restructuring plan into a kind of rallying cry.
After all, "Way Forward" certainly sounds more upbeat than other, possibly closer-to-the-truth alternatives, such as, for example, "Failure is Not an Option at This Juncture." Or my own personal favorite twist on the kind of sappy, eye-rolling motivational slogans you see on posters near the vending machines of cubicle-oppressed drones, which is "If at First You Don't Succeed, Skydiving is Not for You."
But I digress.
After noting "a lot has changed since January," Ford's President of the Americas, Mark Fields, delivered a laundry list of issues leading to Friday's updated "Way Forward" plan, the first being gasoline prices:
In April, gas prices rose $0.40 a gallon to $2.90 and they hit $3.00 a gallon this summer, the first time since Hurricane Katrina. This triggered an acceleration in demand away from less fuel efficient vehicles and it hit the full-size pickups, our bread and butter, particularly hard.
A cynic might note that Hurricane Katrina and $3.00 gas occurred before the first Way Forward plan. Furthermore, our cynic might note gasoline prices have collapsed lately, thanks to the resumption of refinery capacity taken offline for maintenance earlier this year precisely at the same time the summer driving season is winding down.
Nevertheless, Fields moved on to the second burden:
In addition to gas prices commodity costs are up substantially this year. That has put even more pressure on the business. Rhodium and copper are up about 60%. Platinum and palladium are up about 30%. And steel has risen another 15%.
Our cynic might note here that prices for rhodium and copper, as well platinum, palladium and steel, have presumably risen for every car maker, not just Ford.
Nevertheless, so far, it all seemed clear to this listener until Mr. Fields put forth an analysis of changing automobile demand patterns supposedly being caused by the aging of us Baby Boomers.
See if you can spot the non-sequitur in Mr. Fields' speech:
Added to this are the demographic changes that will accelerate over the next decade and dramatically affect the types of vehicles we produce.
Just as the largest buying groups, baby boomers, are downsizing every other aspect of their lives, including their homes, they are moving to smaller cars, crossovers, small SUVs and small premium utilities.
Does anybody out there besides Mr. Fields see baby boomers "downsizing every other aspect of their lives, including their homes"?
I see tiny 2,000 square-foot Colonials on half-acre lots being bulldozed and replaced with 6,000 square-foot McMansions, cathedral-ceilinged and three-car-garaged to boot. I see boomers whose parents rented beach cottages by the day buying, leveling and supersizing those cottages for their weekend getaways. I see Starbucks serving espresso drinks in twenty-ounce "Vente" cups instead of Greek diners serving plain old coffee in six-ounce cups.
And I see zero evidence that Baby Boomers are practicing anything remotely close to the ascetic behavior Ford Motor puts forth in order to justify doing what they should have been doing when oil prices broke above the $40-a-barrel all-time-record a few years back: which was building quality, fuel-efficient cars instead of bigger trucks.
Still, the hands-down strangest part of the conference call came at the end of the company's presentation and before the Q&A, after Mr. Fields had tried to impart to Wall Street's Finest the company's sense of urgency:
Now, to be clear, a lot has changed since January. And it's required us to take another look at the industry and our business in light of the significant changes we've seen externally. The conclusion has been very clear -- we need to go further and faster and accelerate our pace.
Yet after the company's presentation a Ford Investor Relations came on to announce the following:
"We'll now take a short break for 10 minutes and then will begin the Q&A session."
A ten minute break in the middle of a crisis-induced conference call! I am not making that up.
Maybe they needed a vente espresso to get through the Q&A.
Jeff Matthews
I Am Not Making This Up
© 2006 Jeff Matthews
The content contained in this blog represents the opinions of Mr. Matthews. Mr. Matthews also acts as an advisor and clients advised by Mr. Matthews may hold either long or short positions in securities of various companies discussed in the blog based upon Mr. Matthews' recommendations. This commentary in no way constitutes a solicitation of business or investment advice. It is intended solely for the entertainment of the reader, and the author.
12 comments:
- RichL said...
The GM restructuring calls last year was substantially different than the F call. The F call was remarkably light on numbers, while with GM there was a plan to deal with legacy liabilities. There was great skepticism voiced after the GM calls, but at least there was a plan to reduce liabilities. Ford didn't present any roadmap that quantifies the effect of their plans.
Just as important, GM has cars that sell, and Lutz has a good lineup of new product coming up. I'm not aware of similar revenue potential at Ford. GM is also an important producer of cars in China. For those people looking at Ford's restructuring as analogous to GM, there is currently no comparison.
- Michael said...
Trade journal Automotive News reports Mondya that GM and Ford have disussed a merger or possible alliance:
Story here: http://biz.yahoo.com/ap/060918/gm_ford.html?.v=8
- OldLineYankee said...
I was puzzled by the connection between the world changing since "The Way Forward" started in January and the analysis of the aging Baby Boomers. The aging of the Baby Boomers is a trend that has been occuring for 50 years. Even a Ford marketing genius should have been aware of that trend in January.
- Chris Fischer said...
I still think it is just a matter of time before Ford and GM declare bankruptcy.. I don't know what the time period is, and it could be a long one - but I think the real issue here is that GM and Ford produce inferior products. Every time I rent a car, it's like a 3 day anti-commerical for American vehicles - I'd rather drive the 1993 Honda Civic that I drove back in college that my folks still have and use as an emergency vehicle (how many people have 14 year old American cars that still run?) Very feel people in my age range that I know (late 20's) is interested in any kind of American car.
One guy I work with, a real die-hard pro-American, recently replaced his aging Ford truck with a Nissan Titan, which surprised me because he was talking about the buying the new Ford F-150. So I asked him why he went with the Nissan - his response - "I test drove them both."
Dress up the issue on a conference call however you'd like, and back it up with all of the irrelevant data you can, (GM tops JD Powers initial quality yada yada) but I think the real, core issue here is that no one is interested in American autos.
- burton said...
Chris Fisher asked, "how many people have 14 year old American cars that still run?" I have a 1992 Ford Explorer that I use every workday to get to the train station. Japanese brands like Honda and Toyota do enjoy a well-deserved reputation for superior quality versus domestic manufacturers. But the media, in my opinion, has exaggerated that quality gap.
Chris Fisher stated, "Very feel [sic] people in my age range that I know (late 20's) is interested in any kind of American car." I don't know where you live, but I'll venture a guess that you live on one of the coasts. Drive on the interstate in any mid-western state -- not just big domestic car producing states -- and you'll be struck by how few foreign cars you see.
Chris Fisher also stated "I think the real, core issue here is that no one is interested in American autos." Over 2,000,000 Ford F-series, Chevy Silverado and Dodge Ram pickups were sold in 2005. Those domestic pickup models accounted for three of the four bestselling vehicles in the U.S. in 2005. Sounds like someone is interested in American autos.
- Ryan said...
GM and Ford both have numerous problems.
But, for now, the least of them is selling cars as some here suggest.
GM, worldwide, sells more cars then Toyota. Yes, the trend is going against them and at some point Toyota will surpass them.
However, as we sit here today, more people choose to buy a GM product then any other product.
Hence the biggest issue confronting GM and Ford is cost, cost, and cost.
I live in Michigan and am involved in the auto industry.
GM and Ford are horrible to deal with and have been abusive with their supplier base for too many years.
Die hard 'Buy American' Tool & Die shops from yester-year now desire to do work with Toyota.
Things are going to come home to roost as the supplier base begins to have some power swing their way.
GM, Ford, and their unions have survived this long by being heavy-handed with their suppliers.
This game is coming to an end. And, unfortunately for all involved, I don't think the unions or (current) management teams have the backbone to make the tough choices.
Things will get much, much uglier as everyone else is to blame for their predicament.
Fixing costs is 'easier' in a sense then fixing design (which is an issue, of course). The fact that they've been unable to fix the obvious shouldn't give anyone the warm-fuzzies about how they'll tackle the tougher choices.
- DaleW said...
Trade journal Automotive News reports Mondya that GM and Ford have disussed a merger or possible alliance:
This sounds like a nightmare from the perspective of working out seniority in the white collar and production ranks on consolidating these two companies. I would think you'd have turmoil on that level for a couple years, plus it's ridiculous to think there's more to squeeze out of the supplier base. This is a boneheaded idea that probably came from the Ford side, which was hopefully rejected by the GM board.
Sounds like more milquetoast out of Ford from Richl's comments. The Bill Ford NYT piece earlier this year was unbelievable -- so much CYA and I-told-you-so it's not surprising the lack of hard-nosed business focus continues.
- karl_keller said...
In the last 8 years I have purchased three cars made in America -- they were made in Maryville, Ohio.
By Honda.
I will never by a car made by GM or Ford. Ever. They never lost me as a customer...they never had to me to begin with.
- Chris Fischer said...
Yes, I do live on a coast (the east.) You've basically summarized what most people know - the that midwest is the last place American cars still have a strong foothold.
As an Engineer, I feel American cars are at least a decade behind in refinement. I'm reminded of this every time I rent one.
"Over 2,000,000 Ford F-series, Chevy Silverado and Dodge Ram pickups were sold in 2005. Those domestic pickup models accounted for three of the four bestselling vehicles in the U.S. in 2005. Sounds like someone is interested in American autos. "
That's nice. GM's seen its market share shrink from 35.5 in 1990 to 27.3 in 2005, Ford has gone from 23.9 to 18.3. This is even after Ford and GM have thrown the consumer every discount imaginable making the domestics comparitively cheaper.
I'm glad you used truck sales as your counterpoint. July sales of the Ford trucks, including the F-150 plunged 44.8%, at GM, 31.2%. ( http://www.cbsnews.com/stories/2006/08/01/business/main1857572.shtml ) Overall, Ford sales are off 26% and GM's are off 21% (compare to a 9% GAIN for Toyota and a 1% gain for Honda. - http://www.theautochannel.com/news/2006/07/27/016114.html ) This is with toyota is just starting to go after the lucrative truck market.
Even the midwest is bound to catch on sooner or later.
- Aaron Koral said...
"Maybe they needed a vente espresso to get through the Q&A."
Considering the lines I'm seeing at Starbucks on a daily basis, I could see why those Ford execs would need a ten minute break for vente expressos!!
- J Wong said...
Chris, I rent a lot of cars too. The difference is plain to see if you drive a Ford Five Hundred and a Chevy Impala back to back. Ford has a problem with product. The engineers on the Five Hundred drivetrain team should be fired. Granted the Five Hundred does have a slight edge on packaging. Look at the Freestar van, horrible product rename it Freefall.
- ASG said...
The Germans have figured out that a) selling cars to rich folk is better than selling to the poor and b) America is a continent and selling in FL, TX, NY (Wash/Bos corridor) and CA is enough to get the unit economics that allow for good profits. They make great products (and great products = great stock prices if costs are under control)! They havent figured out yet how to implement in these states the world class service that exists in Germany & Europe, but they will.
Just wait and see what happens when F/GM try to integrate electronic transmissions and electronic braking systems into their cars. The worst thing that could happen to F/GM is an increase in speed limits to 75/120km. Then we'll see how crap their products are. (I mean who's ever heard of a BMW SUV rolling over!)


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Posted Sat November 21st, 2009 - 03:54 PM PST
Even though Liv Tyler was overwhelmed by the flashbulbs at Neil George last night, she was still able to joke around with her friend and photographers when she pulled away.
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The Wildlife Learning Foundation (WLF) supports the objectives of WLC. WLF's primary responsibility is to seek and provide financial support for the Center's animals and education programs. Ongoing fundraising supports the care of dozens of rescued and rehabilitated animals; covers veterinary care and daily animal care; funds enclosure construction and maintenance; provides school outreach programs; and pays for general operating costs.
Want to help spread the word about the center? Click on the link below.


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After spending a few minutes observing the polite chaos, I understood the enthusiasm for Erwin. First, he is absolutely charming. Young, talented, and enthusiastic, he is the perfect ambassador for his family and the company.
Fleurs de Gardenia, along with a special offering for clients: new, unique 8.4 ounce hand-blown glass decanters hand-painted with their choice of gold (or gold-and-silver) accents and engraved with their initials. Inside is their choice of CREED's Royal Exclusive fragrances: Spice and Wood, Jardin D'Amalfi (as beautiful as it gets), White Flowers (I am smitten), Pure White Cologne (adored at my house), or Sublime Vanille (which I must purchase sometime). Had I not already purchased more than half of these, I would have pre-ordered one. The bottles were gorgeous. I tried to purchase one of those glam gold atomizers, but they were sold out. Wendy will find me one - or I can look online at the CREED Boutique.
In case you haven't tried Fleurs de Gardenia yet, it's a floral blend in which no single flower is dominant - not gardenia, not roses, not peonies. It's soft and beautiful - and unique. That's a good thing. A lot of people find gardenia-heavy scents too sweet or too indolic. Not this one. The top notes are pink berries; fresh, ripe blackcurrant; and engaging galbanum. The middle notes are First Love gardenias, Double Blush roses, lavender peonies, lily of the valley, and pink jasmine. The base notes are soft musk, pink patchouli (no, I cannot smell it at all), and Virginia Cedar.
The photo at the top of this feature shows Erwin standing between Thomas Saujet, President of CREED North America, and Francesca Camacho, CREED representative at Neiman Marcus. Heaven only knows who Francesca was acknowledging as she pointed. There were so many people waiting to get Erwin's signature, and I was begging forgiveness as I tried to get a few "action" photos without stepping on anyone.
I would love to have had time to interview Erwin. It wasn't going to happen. The store was crowded with adoring CREED customers, new fans who were making their first CREED purchases, and store employees watching the event. The team's time of departure was near. They were headed in two directions as they left: Erwin and Thomas were flying to Las Vegas, and Dale was meeting up in Los Angeles with Roberto Ferreira, National CREED Educator and Curator of the CREED Collection, another member of the CREED team, who is a fabulous ambassador.
That was my late afternoon. I'm starstruck.
Photo of the Royal Exclusive courtesy of CREED; other photos by Best Things in Beauty, with an assist by Wendy


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I have recently had some problems understanding the new poison and the regeneration penalty on burning, would anyone care to explain them to me?
I understand how burning stacks (for purposes of damage) works, and I had no problem with the old poison either. I just feel there is some untapped potential in there, since I havent completely understood to use them yet.


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25 Years Of Custom Cool
To untold numbers of people, Paso Robles is simply a quaint little town off Highway 101 between Santa Barbara and San Francisco. The inland community is well known for its unique wineries, and tourists have a variety of bed and breakfasts to choose from. That is, unless you're talking about Memorial Day weekend, when "Paso" takes on a whole new meaning.
Thanks to the tireless efforts of West Coast Kustoms' Rich and Penny Pichette, along with a handful of WCK member volunteers, car folk like us know Paso Robles as the premier custom car and truck venue the West Coast has ever seen-and may ever see! While it should be mentioned that the annual Cruisin' Paso Robles hasn't actually been held in Paso every year (the first event was held at Lake Nacimiento, just outside town, in September!), for the most part, all one needs to say is that infamous four-letter word and any true gearhead will know what you're talking about.
Some faithfuls have attended every single event since 1981. Others, such as yours truly, may only have a dozen or so under their belts. And some might have attended their first Paso this past Memorial Day-but that's all it takes, just one Paso and you're hooked. Nonbelievers simply haven't had the opportunity to experience it…that or they just don't appreciate one of the finest assemblies of hot rods and cool customs on the face of the planet, period. Take a gander at the photos Rick Amado and our very own ex-staffer Damon Lee graciously provided. If that doesn't make you a believer, well, you better just start making plans to attend Number 26 here this coming May to see for yourself.
For more information, please write: West Coast Kustoms, 25717 Margaret Ave., Moreno Valley, CA 92551


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Carrie Cardi MTG necesitaba un nuevo diseño de papelería y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 26 diseños de 8 diseñadores freelance.
See website :carriecardinal.com
New venture: I have an existing established mortgage brokerage called Carrie Cardinal Mortgage Broker. I am now teaming up with two business partners to form a new brokerage called The Mortgage Market Regina. My main concern is my personal branding as I am recognized in the market place for this and wish to remain an individual within the new brokerage.
existing and potential home buyers
* carriecardinal.com logo,
* picture to side,
* phone number and
* email address
* tag line (new catchy tag line to tie in Carrie Cardinal to The Mortgage Market.)
*The Mortgage Market name/address/contact info
* News Talk logo (small)
* Mortgage Market logo labelled as final design (larger than News Talk logo)
Carrie Cardinal, AMP
206-4303 Albert Street, Regina, SK S4S 3R6
Phone: 306.721.HOME (4663)
Fax: 306.775.2500
Email: email@example.com
Web: carriecardinal.com
please see attached logos and pic
Colours: my personal branding colour is purple but would like to incorporate some green from The Mortgage Market Logo.
I am planning on using a silk matte finished business card with three rounded corners.


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Slept in. Called my Mom and told her I beat pink eye. Drove to Portland. Stopped at Ashland, OR and went to the Co-op and just bought a bunch of Methyl B-12. Jacob spent all the money he made from the previous shows on clothes at truck stops. He got this amazing giant (like XXXXXXL) red polo shirt. When he put it on in Portland he said, "Are there Crips in Portland?"
Tag Archives: pink eye
Tour Diary 7/6/2011: San Diego CA at the Che Cafe
Woke up and my pink eye was in pretty bad shape. Went to the UCSD health center but they turned me away. So I walked to Peet's coffee and ordered an extra bold freddo. Everybody in La Jolla: make sure to hit up #FreddoFridays at Peet's, two dollar freddos all summer long. That's a good deal.
Anyway, went to Wholefoods and bought pink eye medicine and some Wellness Formula (under Greg Fox's recommendation). Emailed Juiceboxxx to get some advice about dealing with pink eye on tour.
Tried to pick up my business cards that I had ordered in December 2010 from Imprints. They weren't at the copy place so I went and got a froyo at Yogurtland, extra rainbow sprinkles. As I was walking home I ran in to Andy Puls (frm Neon Hunk/current A Magic Whistle) driving around lost in the maze that is the UCSD campus. I got in his car and took him back to Frankie Martin's modern crib. We joked about his car getting pink eye and having one pink headlight…it seemed funny at the time. #dark
Frankie and Erik made us some delicious zucchini enchiladas with beans and rice and then we headed over the historic Che Café. This was the home for Drive Like Jehu, No Doubt, Mr. Bungle and even Simon and Garfunkel. A real important "venue" or "space".
Cool to see so many of the old San Diego heads still holding it down: Sam Lopez, David Barclay, Skinny Greg, Growling Esteban, Boston Tristan, Author and Punisher's GF, Chris Woo, Dr. Love, and many more.
Bruisecaster opened the show outside in the Che court yard. This band really plays with it's heart on its sleeve. I was impressed by the direct lyrics and emotional delivery of the vokills.
Andy Puls' new band A Magic Whistle was sich. The projected video feed back made his poncho look like a living, breathing tie dye. He used "home brewed" electronic instruments playing beautifully orchestrated, harmonically fantastical songs. Has Mammal heard this music? Gary, I think you would really like Andy's band.
Q.Q. put on Yellow and Black jumpsuits and did collaboration with Wizard Khalifa. I had the honor of turning on the strobe light. I was so nervous I could hardly believe it. But I think I got it right, they were very polite afterwards even if I messed it up. Thank you for not breaking my fragile heart.
Author Punisher played last and it was completely ill. When is Godflesh gonna open for this guy? I mean, he really is the best of the best in this genre. If you like doom or industrial/doom or industrial or music you must check out San Diego's THE Author and Punisher. Playing on a stool is definitely the new real deal. So hawt!
NTG Part 2 – Pressure by Author & Punisher
After the show we got into the Suzuki rental car and drove to Santa Barbara. Stayed in a room with a bunch of bats knocking over a cathedral. Jacob was like, "uh…did they pick this room out specifically for us?"


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IBM SPSS Modeler provides a state of the art environment for understanding data and producing predictive models. InfoSphere Streams provides a scalable high performance environment for real time analysis of data in motion including traditional structured or semi-structured data to unstructured data types. Some applications have a need for deep analytics against stored information and low latency high volume real time use of those analytics to provide scoring.
Lets Take a look at some of the Actors in this story:
Data Analyst – a modeling expert that knows how to use the IBM SPSS Modeler tools to build and publish predictive models.
Streams Application Developer – an InfoSphere Streams developer responsible for building applications.
Lets hear the Plot of the Movie along with Actors: The problem is in a retail scenario of Online shopping, A user browses through various products and chooses a few products into his basket to check out. For example: If a person purchases Tennis Racket we can present him with various types of tennis ball and highlight the training ball,also if we knew that this person is a championship player and consumes high quality tennis balls. that can be offered to him rather than training balls. This leveraging of past known transaction pattern analysis and predictive next step solves this problem efficiently.
We will discuss the Actors roles in part of the future movie. More to come in Part -2 where we see actors working their roles where a discussion ensues about when to apply what kind of algorithm and how to use it in real time.Some of the hilarious failures from these learning models and how they eventually mature the sales process in the Online retail store called "FREEFORALL" Retail Chain.


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Downtown Beaufort will be turned into an international speedway May 1 when the best criterium cyclists in the world return to the Lowcountry for the Sixth Annual Beaufort Memorial Cycling Classic.
The competition is a favorite with spectators.
Forget the 25 mph speed limit in the Historic District. These racers will be barreling down the road at up to 40 mph, bumping, drafting and jockeying their way to the finish line.
"This is the big league of criterium cycling," said race organizer Don "DG" Veitch. "It's very exciting to watch 115 guys packed together like a tractor trailer going down Bay Street at 35 mph. You can actually feel the blowback."
The 0.6-mile course begins on Bay Street and loops around Scott, Raven and Newcastle streets. The 118 men competing in the race will make 75 laps; the 70 women riders will make 50 laps. At speeds averaging 25 to 30 mph, it will take the cyclists one and a half to two hours to finish their heat.
Criterium or crit racing is the most spectator-friendly form of cycling because the competitions emphasize speed and are run on short courses through city streets. Rather than see the riders cruise by them once, onlookers are watching the pack pass them every 90 seconds.
"A lot of people will set up chairs to watch the races, but I think it's more fun to walk around," said Joe DeVito, one of the organizers. "Every corner, every street offers a different perspective of the race."
To ensure pedestrians are off the roads as the cyclists whiz by, a pace car stays in front of the riders during the race. This year, an all-electric Leaf provided by Hilton Head Nissan will serve as the pace car.
There is no charge to watch the Beaufort event, which will begin with a kids' competition at 5 p.m., followed by the women's heat at 6 p.m. and the men's race at 7:30 p.m. Announcers will provide play-by-play commentary, analyzing the strategies and moves taken by the teams as they maneuver through the course.
Part of the USA Crits Southeast series, the race is one of seven cycling competitions to be held Saturday through May 6 in Georgia and South Carolina. The cyclists will include Olympians, world and nationally ranked men and women athletes.
The Beaufort heat - the third race in the series - is sponsored for the sixth year by Beaufort Memorial Hospital. Competitors will be vying for $15,000 in cash prizes and qualifying positions for the World Criterium Championships.
About 3,000 people are expected to line the streets to cheer on the competitors. For more information on the Cycling Classic, visit www.lowcountrycyclist.com.


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Publication Date: 2010
UNFPA Annual Report 2010
No. of pages: 36
Publisher: UNFPA
Donor contributions to UNFPA and other income in 2010 reached a record $870 million, up from $783 million a year earlier, according to the UNFPA Annual Report 2010, which also shows that 21 donors each made contributions exceeding $1 million and that the contribution from the Netherlands—UNFPA's largest donor in 2010—totaled more than $119 million.
The contributions supported UNFPA projects and other initiatives in 155 countries, areas and territories in 2010 that aimed to empower women to make their own reproductive decisions, promote gender equality, gather and use data to guide development programmes and prevent HIV, especially among young people.


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Privacy policy
The privacy of your personal information is important to Chiquita group ("Chiquita", "we," "us," "our"). The purpose of this policy is to inform you about the collection, use, disclosure, transfer and storage of your personal information that you may provide us when using this website (including via any smartphone application or other electronic means) ("the Website") and related services and also to explain you what Cookies we use.
By providing your personal information and data, you consent to the use, analysis and, where applicable, disclosure of such information by us for purposes associated in particular with your requests for our newsletters, press releases and recruitment messages. Therefore please carefully read the following to understand our views and practices regarding your personal data, how we will treat it and how we use Cookies.
Information we may collect
We may collect and process the following personal data about you:
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- If you contact us, we may keep a record of that correspondence.
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Traffic Data. Through your use of the Website, we may also gather certain information about your use of the Website that does not identify you individually. Generally, this information is collected through "traffic data." We may collect and store such information automatically whenever you interact with the Website. For example, we may collect your IP address, the hostname of your computer, browser information and reference site domain name every time you visit the Website. We may also collect information regarding customer traffic patterns and site usage. This information does not, however, contain anything that can personally identify you; it is used to analyze and improve the Website and to provide our customers with a fulfilling Internet experience.
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Children's online privacy. Protecting the privacy of the very young is especially important. For that reason, without an adult's express consent, we never collect or maintain information at our Website from those we actually know are under 16.
The Website may, from time to time, contain links to and from the websites of our partner networks, advertisers and affiliates. If you follow a link to any of these websites, please note that they have their own privacy policies and that we do not accept any responsibility or liability for these policies. Please check these policies before you submit any personal data to these websites.
Uses of your Information
We use information held about you in the following ways:
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- To notify you about changes to our service.
Use of Cookies and Similar Technologies
Like many websites, we use cookies and similar technologies (such as i-beacons, local stored object or JavaScript) ("Cookies") that is capable of storing information on your device. Cookies record certain information about the pages you have viewed on our Website, the date and time of your visit to the site, etc.. We are able to read this information during your subsequent visits.
Most browsers accept Cookies automatically but allow you to disable them. The help menu on most browsers will tell you how to prevent your browser from accepting new Cookies, how to have the browser notify you when you receive a new Cookie and how to disable Cookies all together. You can also disable or delete Cookies you have previously accepted if you wish to. However, we recommend that you leave Cookies "turned on" so that we can offer you a better experience on the Website. If you disable Cookies, you may still use the Website, but your browsing experience may be altered.
We use the following Cookies:
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We rely on Google Analytics and Google Tag Manager, two services provided by Google, Inc. ("Google"), to analyze your use of the Website. The information generated by Google Analytics is subject to Google's privacy policy and will be transferred to and stored by Google on servers in the USA. Prior to the transfer, it will be anonymized by removing the last octet of your IP address. Google will then process it on our behalf in order to evaluate your use of the Website, to compile reports on Website activity and to provide other services related to Internet usage. Google will not link your IP address with any other data held by Google. You may refuse the use of Cookies for the aforesaid purposes by setting your browser accordingly; however, in that case, you may not be able to use the full functionality of the Website. You may further opt-out of the collection of your usage data (including your IP address) and its processing by downloading and installing the add-on for your current web browser at http://tools.google.com/dlpage/gaoptout?hl=en. For more information about the use of your data by Google, please see http://www.google.com/analytics/learn/privacy.html.
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We engage on our Website in interest based advertising, including re-targeting or marketing technology provided by third parties ("Third Party Providers"), such as DoubleClick (a division of Google Ireland Limited / www.doubleclickbygoogle.com) ("DoubleClick"), Google Analytics Advertising Features ( a service of Google Inc.); to analyze your navigation on our Website. Based thereon, we are able to approach you with personalized advertisements. For this purpose, Cookies are stored on your computer. Only anonymized data are collected. The engagement of such technology is in full compliance with the relevant data protection legislations. Thanks to such data we can, for example, approach you with advertisement on third party websites which is personalized according to your interests in our products, e.g. after you have visited our Website and showed interest in a particular series of products, this technology may later show you more information in form of advertisements while surfing on another website. The only goal of engaging this technology is to best adapt the available information to your interests and to make your online experience as informative as possible. You can, however, adjust your browser settings to not store such Cookies and to delete already stored Cookies.
Please find in the following the opt-out functions of the Third Party Providers under the following links: DoubleClick: https://code.google.com/archive/p/google-opt-out-plugin/
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Anonymous data created by using Google Analytics Advertising Features may be used for demographics and interest reporting as well as network impression reporting.
However, we never use or install spyware on your computer or mobile devices, nor do we use spyware to retrieve information from your computer.
How we protect your Information
We adopt appropriate data collection, storage and processing practices and security measures to protect against unauthorized access, alteration, disclosure or destruction of your personal information.
Where we have given you (or where you have chosen) a password that enables you to access certain parts of this website, you are responsible for keeping this password confidential. We ask you not to share any passwords with anyone.
Unfortunately, the transmission of information via the Internet is not completely secure. Although we will do our best to protect your personal data, we cannot guarantee the security of your data transmitted to the Website; any transmission is at your own risk. Once we have received your information, we will use strict procedures and security features to try to prevent unauthorized access.
Recipient, Disclosure and Retention of your Information
Your personal data is retained for a period appropriate to the purposes for which it was collected and is stored on a secured servers which is located inside the European Economic Area. The recipient of your personal data is Chiquita Brands International Sàrl, A-One Business Center B4, La Pièce, Rte de l'Etraz, 1180 Rolle, Switzerland.
We may disclose your personal information to any member of the Chiquita Group, which means our subsidiaries, our ultimate holding company and its subsidiaries, who may be located inside or outside of the European Economic Area (EEA) or Switzerland. In such case Chiquita will put in place security and privacy measures at group level to ensure an adequate level of data protection irrespective of the geographical location of the group company that may be the recipient of the data (inside or outside the European Union) (such as sharing only anonymized data)
In addition thereto, we may only disclose your personal information to third parties in the following cases:
- In the event you have given us your prior approval to share such information.
- Chiquita has to share such information with third parties in order to provide the service you have requested or to administer the Website (such as our Internet service providers) or activities on our behalf. These third parties must at all times provide the same levels of security for your personal information as Chiquita and comply with the applicable legislation.
- In the event that we sell or buy any business or assets, in which case we may disclose your personal data to the prospective seller or buyer of such business or assets. If Chiquita or any company of our group is acquired by a third party (substantially all of its assets), in which case personal data held by it about its customers will be one of the transferred assets.
- If we are under a duty to disclose or share your personal data in order to comply with any legal obligation, or in order to enforce or apply our terms of use and other agreements; or to protect the rights, property, or safety of Chiquita or any member of our group, our customers, or others. This includes exchanging information with other companies and organizations for the purposes of fraud protection and credit risk reduction.
- We may share non-personal, non-individual (anonymous) statistics or demographic information in aggregate form with our marketing partners, advertisers or other third-parties for research purposes.
Your rights
To process your personal data for marketing purpose you have to provide us with your consent. We will inform you (before collecting your data) if we intend to use your data for such purposes. You can exercise your right to prevent such processing by checking certain boxes on the forms we use to collect your data. You can also exercise that right at any time by contacting us at the address set forth above or via firstname.lastname@example.com.
You have the right not to consent to our use of certain Cookies. Please see the section on Cookies for more information on this.
You have the right to access, correct and delete personal data which relates to you which we hold about you, and to object to the processing of such data. You may exercise this right at any time by writing to the address set forth above or contacting us via at email@example.com
Changes to our privacy policy
Any changes we may make to our privacy policy in the future will be posted on this page and, where appropriate, notified to you by email. Your continued use of the Website following the posting of changes to this policy will be deemed your acceptance of those changes
If you have any questions about this privacy policy, please contact us at firstname.lastname@example.com.
This document was last updated on March 21, 2016.


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The Walking Dead: Survival Instinct to Infect Wii U GamePads in March
There's a vast array of weapons you can use to defend yourself from walkers, such as guns, katanas, and baseball bats. This March, you can add the Wii U's GamePad to that list.
According to CVG, The Walking Dead: Survival Instinct will be headed to Wii U consoles as well, joining the Xbox 360, PC, and PS3 releases. The article says that producer Glen Gamble spoke to Digital Spy (the link to the article is now broken), and said, "We were over halfway through the project when the Wii U thing started coming about. We didn't want to change the game, because the game had already been established, so we tried to say, 'What can we augment with the Wii U version?'"
Gamble went on to say that they've added a, "more elegant inventory management system," which would make sense, given the GamePad's touchscreen that allows for easy access. No other details emerged about the differences in the Wii U version of the game, but some new screenshots did, as well as a March 29th, 2013 release date in the UK. There's yet to be an official release date for any platform on North American shores. Peep the screens below and let us know how you think this game is shaping up in the comments section!


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36th BCS Exam 2015 Circular has been published by BPSC. In 36th BCS, 2180 first-class officers will be recruited by the government, among which 740 for professional or technical cadre, 542 for general cadre and 871 for education category. Also 23 post for Teachers Training Colleges & 04 position for Technical Teachers Training Institutes.
36th BCS examinees can submit Online Application Form from June 14 to July 23. Complete 36th BCS Circular is available on www.bpsc.gov.bd.
36th BCS Preliminary Exam test will be held on September, 2015. Exact date, time & seat arrangement will be disclosed on media & online.
36th BCS Exam Online Application (BPSC Form-1) Submission Start & End Dates
Form Fill-up & Fee Submission Start Date & Time: Sunday 14/06/2015 10:00 am
Form Fill-up End Date & Time: Thursday 23/07/2015 06:00 pm
- Last Date of Fee Submission: 26/07/2015 06:00 pm (Only candidates who have received 'User ID', can submit 36th BCS Exam Fee by SMS)
- Amount of 36th BCS Exam Application Fee:
- 700 Taka
- 100 Taka (For physically disabled, ethnic and tribal & transgender)
Age Limits for 36th BCS Exam 2015
36th BCS candidates should follow the age restrictions strictly to avoid cancellation of application.
- 21 years to 30 years for all general candidates (Persons holding Birth Date from 02/05/1985 to 02/05/1994)
- 21 years to 32 years for Sons/Daughters of National Freedom Fighters, Physically Disabled and BCS (Health) cadre (Birth Date from 02/05/1983 to 02/05/1994)
- 21 years to 32 years for ethnic and tribal candidates applied for BCS (Education) and have Birth Date from 02/05/1983 to 02/05/1994
Nationality of candidates for 36th BCS Exam 2015
- 36th BCS Exam candidates must be a Bangladeshi nationality.
- A person who have married or planned to marry a foreign national without proper government, will be discqualified from 36th BCS Exam. He/she must submit government permission documents along with BPSC Form-2 application.
- There is no gender restriction for 366th BCS Exam for any Bangladeshi national.
- If a person is already employed under government , need to apply with proper permission from his/her current employer.
Application Forms for 36th BCS Exam 2015
- BPSC Form-1: BCS 2015 candidates should fill & submit BPSC Form-1 online to appear in 36th BCS Preliminary Exam.
- BPSC Form-2: After 36th BCS Preliminary Exam Result, successful candidates should download BPSC Form-2 from www.bpsc.gov.bd and submit to designated office with necessary documents & certificate.
- BPSC Form-3: BCS Candidates who have pass 36th BCS Preli Exam, must fill & submit BPSC Form-3 Online before 36th BCS Written Exam 2015. BPSC Form-3 will be available at http://bpsc.teletalk.com.bd or, http//www.bpsc.gov.bd.
BPSC Form-1: 36th BCS Exam 2015 Online Application Form Fill-up
- Visit http://bpsc.teletalk.com.bd to fill & submit registration for 36th BCS Exam 2015.
- Use Desktop PC or Laptop to fill & submit application. Do not use
- Follow the 'Instructions' to apply online. Ensure correctness before submission, because there is no option to edit or update the submitted application form.
- Choose your preferred Cadre from 3 cadre options and click 'Apply' –
- Application Form for General Cadre
- Application Form for Technical Cadre/Professional Cadre
- Application Form for General and Technical/ Professional (Both) Cadre
- Fill the following 3 pages with accurate information –
- Part-1: Personal Information
- Part-2: Educational Qualification
- Part-3: Cadre Option
- Declaration: Complete declaration of accuracy of information in the final part of BPSC Form-1.
- Photo: In application preview area, attach a 300×300 pixel color scanned photo file (jgp/png), taken not more than 3 months earlier. Photo file should be below 100KB in size. Black & white photo will be not accepted.
- Signature: In application preview area, attach a 300×80 pixel scanned signature file (jgp/png). Signature image file size should be below 60KB.
- Click 'Submit' and check Application Preview for the final time. If all information, photo & signature is viewing correctly in Application Preview, then submit the form for final registration in 36th BCS Preliminary Exam 2015.
- Upon final submission BPSC Form-1, applicant will receive a 'Applicant's Copy' with a 'User ID' number along with applicants photo & signature.
- Download 'Applicant's Copy' for future use & reference.
- Also print the 'Applicant's Copy' in a A4 size page.
- Then all applicant's should submit 700 Tk. application fee.
36th BCS Exam Application Fee Payment by SMS
After successfully completion of BPSC Form-1, 36th BCS Exam applicant's should submit application fee amount using a Teletalk PrePaid Mobile Number. 36th BCS Exam Application Fee is 700 Taka for normal applicants and 100 Taka for physically disabled persons.
- Get a Teletalk PrePaid Mobile Number.
- Recharge atleast 700 Taka in your Teletalk Pre-paid Number
- Applicant's have to send 2 (two) SMS to complete the application fee payment
- First SMS: BCS<space>User ID send to 16222
Example : BCS QRNTCBTP
In SMS Reply: Applicant's Name, Tk. 700 (100 Tk. for Physically Handicapped, Ethnic Minority Group and Third Gender Group Candidates) will be Charged as Application Fee. Your PIN is (8 digit number) 12345678. To Pay Fee, type BCS< Space>YES<Space>PIN and send to 16222.
- Second SMS: BCS <space>YES<Space>PIN send to 16222
Example : BCS YES 12345678
In Reply SMS: Congratulations! Applicant's Name, payment completed successfully for 36th BCS Examination 2015. User ID is (xxxxxxxx) and Password (xxxxxxxx).
- For Lost Password: Applicants should type from Teletalk prepaid mobile number, BCS<Space>HELP<Space>SSC Board<Space> SSC Roll<Space>SSC Year and send to 16222
36th BCS Exam 2015 Admit Card Download
36th BCS Exam Admit Card 2015 can be downloaded by all successful applicants by using User ID & Password that have been received in second SMS. 36th BCS Exam applicants should download admit card from respective choice of exam center registration number range. Admit card will be invalid if any wrong information have been found before or after 36th BCS Exam 2015.
36th BCS Exam Center-wise Applications Registration Number Range
|Exam Center
|Registration Number Range
|000001 – 1,99,999
|2,00,001 – 2,99,999
|3,00,001 – 3,99,999
|4,00,001 – 4,99,999
|5,00,001 – 5,99,999
|6,00,001 – 6,99,999
|7,00,001 – 7,99,999