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"I'm skeptical of the current fad for (easily salable) nostalgic dibbity-dab abstract paintings" - Andrew Russeth
"Since the economy tanked, we have become so accustomed to seeing so many artists churn out insipid, derivative drivel that we cannot imagine things any other way. The lemming abstractionist movement (also commonly referred to as the Martha Stewart School of Provisional Painting) still seems to have inexplicable hegemony over most of the art world." - Irena Jurek
"There is an overabundance of nostalgic abstract painting in the world today. Many of these works are shown and garnering attention in Manhattan's Lower East Side, in close proximity to the gallery that shows Liz's work. The system of art is lubricated for nostalgia: The dealer can easily talk about these paintings because they look like older art, the collector "gets it" because it is something that he or she has seen before, the artist feels comfortable since it gives him or her a relationship to "history", and comparing contemporary art is a trusty crutch taught in MFA programs. The job of the artist is to question - not to be boringly complicit with - all of these structures." - Carter Mull
Monday, March 18, 2013
Posted by Martin at 9:35 PM
2 comments:
- vc said...
is this a backlash or a frolash?
There's always been shitty painting. Lets name names.
Anything you don't like, anything I don't like, is lemming/nostalgic/complacent.
Anything can sell.
Amy Feldman, Varda Caivano, Jered Sprecher - good
Katy Moran, Allison Fox, Andrew Masullo - meh
Raoul de Keyser lost something when he realized he was Raoul de Keyser.
more to say, no time
- Anonymous said...
Carter, I think your statement might need a little more "tooth"?
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Hello, my name is John Staedler and I am a Technical Project Manager and Web Designer. I currently work in digital strategy at a large tech company in San Jose, CA and run a small Technology Consulting Business called allofIT.org
I recently finished my Master's degree at San Jose State University, and I'm currently working on Project Management Professional (PMP) Certification. I'm planning on using this site in part, to create and promote some of the best practices I've learned in my technical project management career so far, with an emphasis on website design and marketing best practices.
When I'm not working, I enjoy traveling locally in silicon valley and northern California. I also enjoy the South First Friday Art Walk in downtown San Jose, CA and doing web development with the The Niles Main Street Association, where I live.

subset: commoncrawl


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By Michael Kolarcik, SJ
Special to Catholic News Service
The first chapter of the Book of Genesis is more than likely quite clear in our imagination. In six days God creates, separates, names, commands, and blesses, and on the seventh day God rests.
As we read Genesis 1 or hear the story read at the Easter Vigil, God's word majestically creates and displays the cosmos before our imagination. If there is one word which perhaps best describes the value placed on creation in this story, it would be the word, "good."
And God saw that it was good! We hear this judgment altogether seven times in the story (Gen 1:4, 10, 12, 18, 21, 25, 31). You might think there is a judgment of goodness for each day of the week, including the seventh. But that is not the case. In fact it is quite interesting to notice where the judgment of goodness in God's creation is made and where it is not.
We might then see that the judgment of the goodness of creation is not simply an idyllic affirmation of creation. Rather, even despite the chaos and instability of the universe and in human beings, the Genesis story affirms the goodness of the created world.
The unfolding of creation in six days is quite stylized. In the first three days God creates a habitat of spaciousness. In the following three days, God creates inhabitants who are to thrive in their corresponding habitats. Notice the balance of the six days of creation:
Day 1 – Light, darkness; day and night Day 4 – Sun, moon, stars; day and night
Day 2 – The dome above, waters below Day 5 – Fish, birds; sea and sky
Day 3 – The earth, vegetation Day 6 – Animals, humans male/female
Day 7 – God rests; the sabbath is blessed
Notice how each day has a double creation involving one or two of the four various activities of God associated with creation (separating, naming, commanding, and blessing). It is also interesting to notice how vegetation in Day 3, the last created element of the habitats, is both an inhabitant of the earth and itself becomes a habitat for animals and humans on Day 6.
But this is all part of the artistic display of the story which highlights the value of goodness associated with creation.
Now let's pay attention to the places where God's judgment of goodness is not made.
On Day 2, we do not encounter the judgment of goodness for the dome. But we hardly notice this since on Day 3, as if to compensate for this lack, we have two judgments of goodness regarding "vegetation." Why does the story not highlight the goodness of the dome?
The next rather surprising silence of the judgment of goodness occurs on Day 6 regarding human beings. Though human beings are created in the image and likeness of God, the story does not highlight the goodness of human beings.
Even after the animals were created we heard God's judgment of goodness (Gen 1:24), but not for human beings. Again, as if to compensate for this lack, after the gift of food to animals and humans Day 6 concludes with a general judgment of goodness for all of God's creation: "God saw everything that he had made, and indeed, it was very good" (Gen 1:31).
And so both Day 3 and Day 6 have a double judgment of goodness. Why is the narrative silent on the goodness of the dome and of human beings?
It is not as if they are evil, since both the dome and humans are included in the final judgment of goodness. Genesis 1 knows how the dome and humans are associated with chaos in the stories that follow. Adam and Eve introduce moral chaos and alienation from God in their act of disobedience. Moral chaos spreads to their own children as Cain kills his brother Abel.
Later, because the violence of human beings becomes unbearable to God, the forces of chaos in the flood are unleashed on all life precisely through the dome. Destructive water is unleashed from the portals above the dome and from the depths below.
The story of creation in Genesis could not quite bring itself to name the chaos in the cosmos and certainly the chaos of which human beings are capable as "good." But notice that even with the instability of the cosmos, where chaos at any point may rise against life, and even with human potential for violence, the Genesis story affirms strongly the goodness of creation.
The silence of the judgment of goodness for the dome and for humans has the effect of inviting us to a stance of humility before the grandeur of creation. Yes, though creation is a good and beautiful habitat for such a variety of creatures, there remain within it forces of chaos.
Though human beings are the pinnacle of the created world, they are equally capable of great love and terrible violence. In fact, in the face of so much violence as that which we see in the flood story, it would be easy to have a view of creation that is dark, violent and miserable. There are such stories of origins in the ancient world. The Genesis story of creation affirms the opposite. It affirms the goodness of creation even with its instability and violence. This is perhaps its enduring value and appeal.
The Genesis story holds up before our imagination our deepest desire for a good habitat in relation to a loving God even as we face our fears of mortality and violence. In this story God is telling us that even with its instability, and even with our propensity for violence within it, creation is good indeed!


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SCO Says Jury Didn't Really Mean What It Said... And Judge Should Order Novell To Hand SCO Unix Copyrights
from the good-luck-with-that deptSCO really is quite the zombie of a company, isn't it? It just never dies. It's been a month since getting smacked down yet again and having a jury declare that Novell still owns the Unix copyrights, and they were never transferred to SCO (after a judge had already said the same thing). And yet, as Slashdot alerts us, SCO has now told the judge he should order Novell to hand over the copyrights anyway. Talk about getting desperate. When will SCO finally be put out of its misery?
Filed Under: copyrights, linux, software, unix
Companies: novell, sco


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Add vehicles to compare. You can compare up to 3 vehicles at a time.
Your 2018 Chevrolet Equinox Vehicle Resource Serving Madison
Think you're searching for an automobile which provides the best equilibrium of design, refinement, and even fuel efficiency? Then you should look at considering the latest Chevrolet Equinox, offered at Ballweg Chevrolet Buick in Sauk City. This vehicle unquestionably draws a person's curiosity, mainly because of its Chrome-accented dual-port grille as well as available LED daytime running lamps. This excellent automobile features a cozy interior; it has leather-appointed seats that come with a 60/40 split-folding style and design, which assist you to load and unpack the items without any difficulty. Employing a wide array of on the web connectivity solutions including the 4G LTE Wi-Fi, MyLink infotainment system, and smartphone integration systems, you'll be able to keep in touch on the go. With six standard airbags along with high-strength steel safety cage, this excellent automobile will keep people protected from a good number of road dangers. Look at the wonderful deals and discounts provided on this crossover here at our Sauk City store; you're going to be won over by all of them. Visit our dealership, Ballweg Chevrolet Buick, near Madison, to know more.


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Robo Control/Hotkeys
Pretty simple,
As nice as the current C(command) menu is, I would love to have some hotkeys,
QWERTY For things like Pay, Warn, and all the different Arrows, Ideally this would work the same as the menu does now, but just bound to hot-keys.
(This is mostly just a gripe since having to use the C menu multiple times to "pay" for fuel/battery drop offs is pretty finicky, and being able to just Tap 'Q' three times and drop 300 for the deserving bunny would be nice)
(And i swear if this is in already I feel like a moron already.)
What is the possibility of being able to toggle on/off the spot light?


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St. Joseph Boy Will Throw First Pitch at Minnesota Twins Game
MINNEAPOLIS (AP) - A 6-year-old boy who wasn't expected to survive as an infant will throw the ceremonial first pitch at the Minnesota Twins game.
The honor at Wednesday afternoon's game against the Cleveland Indians goes to Andre Robinson of St. Joseph as part of a Minnesota Brain Injury Alliance promotion.
Andre suffered a brain injury when he was just 19 days old. His dad fell down some steps and dropped his son. Andre's mother, Kim Notsch, says medical staff told them in the hours after the accident that the baby probably wouldn't live. But Andre did and he continued to beat expectations.
Alliance spokesman Pat Marciniak says Andre has inspired others through his accomplishments. The Going to Bat Against Brain Injury promotion at Wednesday's game is aimed at raising awareness about brain injury prevention.


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Gov. Tom Corbett called him "the little boy in the shower."
The prosecutors at Jerry Sandusky's child-sex abuse trial portrayed him as a one-time victim of the former Penn State defensive coordinator's abuse.
The world came to know of him simply as Victim 2, the mystery boy former assistant coach Mike McQueary saw Sandusky raping in a team shower in February 2001.
The incident, The Citizens' Voice has learned, was actually one of many assaults Sandusky committed on Victim 2, now in his mid-to-late 20s.
Sandusky, enabled by a decision by Penn State officials not to take McQueary's eyewitness account to law enforcement, repeatedly abused Victim 2 after the shower incident, an attorney for Victim 2 said in an interview last week.
Some of that abuse even occurred on the Penn State campus, despite a supposed warning from the athletic director at the time, Tim Curley, not to bring youths into university facilities, attorney Matt Casey said.
The officials' inaction led to allegations former head coach Joe Paterno influenced a cover-up; criminal charges against Curley and former university vice president Gary Schultz; and hefty sanctions imposed against the football program by the National Collegiate Athletic Association.
For Victim 2, Casey said, the shower incident was another in a continuum of abuse.
"His abuse wasn't limited to that event, so I don't necessarily think that he looks at that event as what may be in the public's mind the defining event of the whole Sandusky matter," Casey said. "For him it was yet another day that he was abused by Mr. Sandusky."
Paterno, according to the findings of an internal university investigation, dissuaded top officials at Penn State from taking McQueary's report to law enforcement even though he closely monitored a brief university police investigation into a similar episode of abuse involving Sandusky in 1998.
Paterno's inaction in February 2001 and that of the officials, however, enabled Sandusky's abuse to continue, according to the internal investigation, led by former FBI director Louis J. Freeh. Sandusky met or started abusing four of his victims after the incident, according to the prosecution's timeline of the case.
Then-Penn State President Graham Spanier, Curley and Schultz were prepared to alert the state Department of Public Welfare to the 2001 allegation, but Curley backed off the plan after speaking with Paterno, according to emails Freeh said his investigators uncovered in March.
Curley emailed Spanier and Schultz on Feb. 27, 2001, two weeks after McQueary went to Paterno, and told them he had changed his mind about an agreed-upon plan to alert the authorities.
"After giving it more thought and talking it over with Joe yesterday," Curley said, he instead wanted to tell Sandusky "we feel there is a problem" and would offer him "professional help."
If Sandusky was cooperative, Curley said, according to the report, "We would work with him" to inform Sandusky's charity for troubled youth, the Second Mile. If Sandusky did not cooperate, Curley said, "We don't have a choice and will inform" the state Department of Public Welfare and the Second Mile.
According to the report, Spanier replied, "This approach is acceptable to me," and acknowledged the university's potential liability if the abuse did not stop: "The only downside for us is if the message isn't 'heard' and acted upon and we then become vulnerable for not having reported it. But that can be assessed down the road. The approach you outline is humane and a reasonable way to proceed."
If the officials had banned Sandusky from bringing boys into campus facilities after the May 1998 allegation, they could have prevented at least three more shower incidents. Schultz, in handwritten notes pertaining to the 1998 incident, wondered if the allegation against Sandusky was an indication of a "Pandora's box" and if "other children" were involved.
Still, the report said, "Sandusky was allowed to continue with impunity."
Sandusky molested at least one other boy in a campus shower in August 2001, six months after the February 2001 incident. Prosecutors at Sandusky's June trial identified the boy, now a man in his mid 20s, as Victim 5.
At the same time, Sandusky was still abusing Victim 2, Casey said.
Victim 2 was mentioned frequently throughout the state and university investigations and during Sandusky's trial in June, but he never testified. Casey said prosecutors never discussed the possibility of Victim 2 testifying with him or his law partner, Joel Feller.
"We honestly aren't sure (why)," Casey said. "If the attorney general's office wanted him to testify, we certainly wouldn't have stood in their way."
Prosecutors called eight of Sandusky's 10 known victims as witnesses. In both instances where a third-party witnessed abuse - the February 2001 incident and a similar episode observed by a janitor in November 2000 - they did not call the victims to the stand.
"In order to meet the elements of that crime for Victim 2, there was no need to subject this young man to the public testimony because Mr. McQueary covered all elements as it relates to Victim 2," Feller said.
Casey and Feller represent three Sandusky victims who testified at his trial and several others, including Victim 2. They are not disclosing their identities.
A spokesman for the state Attorney General's Office, Nils Hagen-Frederiksen, declined comment when asked why Victim 2 never testified, citing the "ongoing nature of our criminal prosecutions and investigation."
Casey and Feller came forward as Victim 2's attorneys in July, in part, Casey said, because they "wanted to make clear on his behalf that he certainly did exist."
At the time the attorneys released audio of two voicemail messages they said were from mid-September 2011 in which Sandusky said he loved Victim 2 and offered to take him to a Penn State football game.
The attorneys said the messages were among a trove of "overwhelming evidence" they uncovered in preparation for a civil lawsuit against Penn State.
In a voice message the attorneys said was from Sept. 12, 2011, Sandusky appeared to be coaching Victim 2 on his testimony to investigators.
"Probably ought to just go forward," Sandusky said in the voicemail. "I would be very firm and express my feelings, uh, up front. But, you know, there is nothing really to hide. If you want, give me a call."
Sandusky purportedly called the man again Sept. 19.
"Just calling to see, you know, whether you had any interest in going to the Penn State game this Saturday," Sandusky said. "If you could get back to me and let me know, I would appreciate it. When you get this message, give me a call and I hope to talk to you later. Thanks. I love you."
Prosecutors charged Sandusky on Nov. 5 with abusing at least 10 boys over the last two decades. A jury convicted him in June on 45 of 48 counts. He is scheduled for sentencing Tuesday in Bellefonte. He will likely spend the rest of his life in prison.
Several of Sandusky's victims plan to attend the sentencing, Feller said.
"Thank God he can not do this to another young man and thank God he can not ruin another young life,'" Feller said. "They always come back to the question: how could Penn State have allowed this conduct to occur and how could they have facilitated this horrible conduct for as long as they did?"
570-821-2061, @cvmikesisak
In tomorrow's Voice: More on attorneys Matt Casey and Joel Feller, their involvement in the Sandusky case and their Northeastern Pennsylvania roots.Will be sentenced Tuesday


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(c) Pocumtuck Valley Memorial Association, Deerfield MA. All rights reserved.
Contact us for information about using this image.
There is currently no available "Beginner" label. The following is the default level label: This roundabout chair has been traditionally known as the "Starr Memorial Chair." Eliza Allen Starr (1824-1901) moved to Chicago from Deerfield in 1856 and it was probably Miss Starr who commissioned the chair to be made. The form, the roundabout or corner chair, is an 18th century one, but the size and the elaborate carving, complete with the phrase, "VIVE EN ESPOIR" (live in hope) place it in a later time. Very likely, this phrase is the motto of the Starr family, as the coat of arms is undoubtedly the Starr coat of arms.
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10 of Ben Franklin's Lesser-Known Feats of Awesomeness
Franklin statue image via Shutterstock
We all know about Benjamin Franklin's kite-flyin', library-establishin', Declaration-signin', newspaper-printin', lady-killin' ways but, in honor of the Ben's 306th birthday, let's celebrate some of his lesser-known but very cool contributions to society.
1. Ben swam with the fishes.
As a youngster, Ben learned to swim in Philadelphia's Schuylkill River and became somewhat of an expert. On a Thames River boating trip with friends, a 19-year-old Franklin jumped into the river and swam from Chelsea to Blackfriars (around 3.5 miles), performing all sorts of water tricks along the way or, as he describes it, "…many feats of activity, both upon and under the water, that surprised and pleased those to whom they were novelties." Franklin's Phelpsian feats earned him an honorary induction into the International Swimming Hall of Fame in 1968.
He was such an excellent swimmer, one of the careers he considered (and seemingly one of the few he did NOT choose) was running a swimming school of his own. Of course, he also invented his own swim fins.
2. Ben made Benjamins — before they were Benjamins.
Many people know that Ben Franklin owned a printing company and the Pennsylvania Gazette. But it may be new knowledge that his company also printed all of the paper money for Pennsylvania and Delaware. Beginning in 1929, his face would grace the front of the $100 bill and people would call them "Benjamins" in his honor.
3. Ben developed an electric vocabulary.
Because the things Ben was doing in his experiments with electricity were so new, he had to make words up for it as he went along. One scholar suggests that Ben may have been the first to use as many as 25 electrical terms including battery, brushed, charged, conductor, and even electrician.
4. Ben was no debtor.
Ben was terrified of debt and viewed it as similar to slavery because he believed that, through the acquisition of debt, man essentially sold his own freedom. He was so anti-debt that he often spoke (seriously) about forming an international organization called The Society of the Free and Easy for virtuous individuals who, among other things, were free of debt and, therefore, easy in spirit.
5. Ben was always putting out fires.
In addition to being a famously calming voice of reason and a frequent mediator at the Constitutional Convention, Ben Franklin organized the first volunteer fire company in 1736: The Union Fire Company (nicknamed Benjamin Franklin's Bucket Brigade). Among his many writings are articles on fire prevention, stressing that an "ounce of prevention is worth a pound of cure." He was more eloquent than Smokey the Bear.
6. Ben invented so much cool stuff.
Of course, you probably know that he is responsible for the lightning rod, bifocal glasses and the Franklin stove. But in 1761, Franklin also invented the glass harmonica (or "armonica," as Ben called it). It became quite popular during Franklin's time and armonica-specific pieces were composed by the likes of Mozart, Beethoven, and Handel.
More of Franklin's inventions include:
• The library stepstool, a chair whose seat could be lifted and folded down to make a short ladder.
• A mechanical arm for reaching books on high shelves. (Book retrieval – clearly a focus of Franklinian innovation)
• The rocking chair – a chair that rocks.
• The writing chair – a chair with an arm on one side to provide a writing surface. (Activities one can do while seated – also a focus.)
• The odometer – used in Franklin's time to measure distance along colonial roads used by the postal service.
• A pulley system that enabled him to lock and unlock his bedroom door from his bed.
• The flexible urinary catheter.
7. Ben was partially responsible for the establishment of America's first hospital.
Established in 1751 by Ben and Dr. Thomas Bond, Pennsylvania Hospital was built "…to care for the sick-poor and insane who were wandering the streets of Philadelphia" (those sound like some crazy streets). While the hospital was Bond's brainchild, Franklin's support and advocacy got the project off the ground. Ben galvanized the Pennsylvania Assembly and helped raise the necessary funds. It appears that Franklin was more proud of this accomplishment than most (even all those outrageous swimming tricks); he said later of the hospital's establishment, "I do not remember any of my political maneuvers, the success of which gave me at the time more pleasure."
8. Ben rocked several pseudonyms.
Franklin was prolifically (and ambi-genderly) pseudonymous and his pseudonyms were pretty wonderful:
• Richard Saunders. Richard Saunders is Franklin's most well-known pseudonym; it's the one he used for his wildly popular Poor Richard's Almanac, which ran annually from 1732 to 1758. Poor Richard was partially based on one of Jonathon Swift's pseudonyms, Isaac Bickerstaff – Saunders and Bickerstaff shared a love of learning and astrology. The Richard character brought a comic frame to what was otherwise a serious resource in the almanac and, over the years of publication, the fun but likely unnecessary character gradually disappeared.
• Silence Dogood. When Ben was 16-years-old, he desperately wanted to write for his brother James' newspaper, The New England Courant, but James was something of a bully and wouldn't allow it. So, Ben contributed to the paper as a middle-aged widow named Silence Dogood whose witty and satirical letters covered a range of topics from courtship to education. A total of 15 Dogood letters were published, resulting in the amusement of Courant readers, several marriage proposals for the pretend Mrs. Dogood and, ultimately, a rise in the ire of James Franklin.
• Anthony Afterwit. Mr. Afterwit, a gentleman, wrote humorous letters about married life that appeared in Benjamin Franklin's own Pennsylvania Gazette.
• Polly Baker. Polly Baker was a pseudonym Franklin used to examine colonial society's unequal treatment of women. She was pretend punished by society for having pretend children out of pretend wedlock while the fathers of the pretend children went pretend unpunished.
• Alice Addertongue. Alice is another middle-aged widow who wrote what amounts to a gossip column for Franklin's Gazette in the form of scandalous stories about prominent members of society.
• Caelia Shortface and Martha Careful. These pseudonyms were used by Franklin to settle a personal dispute – they wrote letters mocking Franklin's former employer, Samuel Keimer, who had stolen some of Franklin's publishing ideas. Shortface and Careful's letters were published in The American Weekly Mercury, a publication by a Keimer rival.
• Busy Body. Also published in The American Weekly Mercury, Miss Body's letters were basically gossip stories about local businessmen.
• Benevolous. Benevolous wrote letters to British newspapers while Franklin was in London. The primary focus of the letters was to correct negative statements made about Americans in the British press.
9. Ben was a travelin' fool.
During Franklin's life, the average person never traveled more than 20 miles from their home. Franklin, on the other hand, crossed the Atlantic Ocean eight times (the first at age 18 and the last at age 79) and spent 27 years of his life overseas.
10. Ben thought getting together with buddies, drinking beer, and chatting it up was a fantastic way to ignite social action (and, as it turns out, he was right).
Benjamin Franklin formed a group that he called the Junto. The group's purpose was to gather and debate philosophical questions on topics from ethics to business. Initially composed of 12 members, the group brought together people from different backgrounds (among the originals were printers, surveyors, a cabinetmaker, a clerk, a glazier, a cobbler and a bartender) and gathered in a tavern on Friday nights. In his autobiography, Franklin described the group as a "…club for mutual improvement." But the group discussions resulted in not only self-improvement, but societal improvement — the Junto has been credited as the breeding ground for some of Franklin's greatest achievements, including the establishment of the first library, the first volunteer fire departments, the first public hospital and even the University of Pennsylvania. Makes your Friday night pub trivia team seem like a bunch of underachievers, doesn't it?
See Also: Ben Franklin's 200+ Synonyms for "Drunk"


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Lance Tamashiro needed a new logo design and created a contest on 99designs.
A winner was selected from 164 designs submitted by 57 freelance designers.
Our website offers users a unique look, approach and tools that allow them to become more productive and use their time more efficiently. We are known as THE go to guys when it comes to building businesses FAST and getting things done in incredibly , seemingly impossible amounts of time. This is due to our systems and thinking patterns.
Our target market is primarily successful internet marketers and entrepreneurs. However we target any entrerpreneur that is struggling with "information overload"
I am looking for someone to capture the idea of us being able to clear the confusion and information overload that they are being bombarded with daily and give them the tools to be focused, clear and move forward in an efficient manner.
The site is about Time Management and Productivity.
The Logo does not need to include the full URL, but should include IM Productivity Secrets
Please feel free to use your creative juices (us time management guys sometimes lack that) which is why we are coming to you, the experts!
Find out how a design contest works or learn more about our logo design services.


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Photo via Shutterstock
When the gales blow across the Windy City, residents may have more to worry about than mussed hair. According to a new study led by Keri Hornbuckle from the University of Iowa, chemicals found in a myriad of personal care products are polluting Chicago's air. Known as cyclic siloxanes, these compounds have been found to be toxic in aquatic life as well as posing a possible threat to other organisms. The airborne chemicals in downtown Chicago were recorded at levels ten times higher than in West Branch Iowa, and four times higher than in Cedar Rapids, Iowa. No studies have been completed yet to determine whether or not breathing the substances is harmful to humans, but their concentrations might be cause for concern.
Each year, the United States produces or purchases between 200 million and one billion pounds of cyclic siloxanes. Odorless, colorless, and smooth to the touch, they are found in a number of personal care products and durable goods. A chemical called D5 was found to be a major source of contamination both indoor and outdoors. The persistent chemical is found primarily in soaps, shampoos, and lotions. Samples taken inside the University of Iowa labs were 30 and 70 times higher than the outdoor samples of Cedar Rapids and West branch where D5 made up 95% of the mass. Another compound they identified was D4, contained in detergents, polishes, sealants, plastics, and adhesives. Researchers have seen evidence that D4 is toxic to certain species of wildlife including water fleas and rainbow trout, and it has been shown to cause tumors, reproductive problems, nervous and immune system complications, and estrogen-like effects in lab mice.
D4 and D5 are not regulated, although the US EPA stated last year that it would evaluate D4 under the Toxic Substances and Control Act. However, EPA will be focusing primarily on aquatic exposure instead of the atmosphere. A science panel on the European Commission in 2006 ruled that there was not sufficient data to assess the safety of the chemical for use in cosmetics. In 2007, California panels expressed concern over D5 and its long half life in humans as well as persistence in the environment. In 2009, Canada declared both the chemicals toxic. The strange structure of the molecules make them difficult to study, but there has been evidence out of Norway, England, and the US that have recorded levels of the contaminants accumulating in the food chain. We're only just beginning to understand how they interact with the our bodies and the places where we live. The Great Lakes are one of the world's largest sources fresh water, and pollution by these pervasive chemicals should be a major cause for concern.
Images via Wikicommons users Mortadelo2005 and Kulmalukko.


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The U.S. reportedly has decided to send small arms to Syrian rebels and is preparing to deliver these arms through bases in Turkey and Jordan that have been used to provide non-lethal assistance. According to the Washington Post the decision to supply arms predates the CIA's conclusion with "high certainty" that regime forces have used chemical weapons against Syrian rebels.
The decision is said to have been clinched not by that conclusion, but rather by growing confidence that we understand the various rebel factions well enough to be make sure the weapons we supply won't fall into "the wrong hands." As Ben Rhodes, the president's deputy national security adviser put it, the U.S. is capable of delivering materiel "not only into the country, but into the right hands."
I don't doubt that we are capable of delivering weapons to the groups we intend to give them to; nor do I question our ability to identify rebel factions that are not now dominated by the worst kind of extremists. The problem is that we cannot control what happens to the weapons after we deliver them.
This problem is compounded by the fact that, from all accounts I've seen, the composition of various rebel groups is in constant flux. Fighters tend to migrate from one faction to another.
We also know from John McCain's ill-fated photo opportunity that even groups we think have "the right hands" contain individuals whose hands are "wrong." To make matters worse, the New York Times reports that "even the Supreme Military Council, the umbrella rebel organization whose formation the West had hoped would sideline radical groups, is stocked with commanders who want to infuse Islamic law into a future Syrian government." According to the Times, "nowhere in rebel-controlled Syria is there a secular fighting force to speak of."
With the situation in flux but trending in favor of extremists, it's not a huge leap from commanders who "want to infuse Islamic law into a future Syrian government" to commanders prepared to wage war against secularists, and against U.S. interests and allies.
This doesn't necessarily mean that the Obama administration is making the wrong decision by arming rebel groups; the alternative may be a victory for Hezbollah and for Iran. But it does mean that a major component of the administration's justification for finally arming rebels is seriously flawed.
We should keep in mind, however, that the kinds of weapons we apparently are supplying are of the "light" sort, so that it won't be the end of the world if some fall into "the wrong hands." But by the same token, because the weapons are "light," it's questionable whether they will achieve our purpose of affecting the course of the civil war.
The administration is probably trying to act incrementally — start with lighter arms and see if they are enough to have the desired impact; if not, maybe supply heavier arms and perhaps even consider some kind of aerial intervention That's not an unreasonable approach.
But if heavier arms are provided, it will then matter that the administration seems seriously to underrate the likelihood that they will fall into the hands of Islamic extremists.


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Alice Neel (American, 1900-1984)
Oil on canvas
60" x 40"
Whitney Museum of American Art, New York, Gift of Timothy Collins
Alice Neel's daring portraits of people and places are among the most insightful images in twentieth-century American art. To celebrate the centennial of her birth, the Philadelphia Museum of Art has organized Alice Neel, the first full-scale examination of her inspiring and provocative life and work. Organized with the full cooperation of the artist's family, this exhibition features seventy-five paintings and watercolors, many of which have never been previously exhibited.
Born in 1900 in Merion Square (now Gladwyne), near Philadelphia, Neel led a rich and complicated life. A 1925 graduate of the Philadelphia School of Design for Women (now Moore College of Art and Design), Neel spent a year in Havana, then moved with her husband to New York City, where she remained the rest of her life. In the 1930s, her subjects included the colorful Greenwich Village poets and writers, as well as friends and family. Neel's revolutionary nude portraits of figures such as her young daughter Isabetta and the bohemian icon Joe Gould are still audacious images.
Employed by the W.P.A. during the Great Depression, Neel painted scenes of the city street that reflect her trenchant concern for the dispossessed: striking workers, impoverished families, and the homeless. She was steadfast in depicting the world around her with compassion, acuity and freedom. Portraits of her neighbors in Spanish Harlem employ humor and insight to great effect—both tender and unforgiving at once. Presented in the exhibition will be Last Sickness, a 1953 portrait of the artist's mother, which is a promised gift to the Museum from Richard Neel and Hartley S. Neel, sons of Alice Neel.
Neel's astounding emergence, late in life, corresponded with the dawning of the women's movement and with the art world's reawakened interest in the human figure. Her portraits of fellow artists—including Andy Warhol, Frank O'Hara, Robert Smithson, and Faith Ringgold—document a professional world in which Neel was suddenly a seemingly improbable star.
SponsorsAlice Neel was organized by the Philadelphia Museum of Art with the support of The William Penn Foundation, The Pew Charitable Trusts, Agnes Gund and Daniel Shapiro, The Women's Committee of the Philadelphia Museum of Art, and Alice's List, a consortium of individual donors.
Corporate sponsorship was provided by AT&T. Additional funding for educational programs was provided by The Comcast Foundation.
CuratorAnn Temkin • The Muriel and Philip Berman Curator of Modern and Contemporary Art
LocationDorrance Galleries, first floor
- Whitney Museum of American Art, New York City • June 29–September 17, 2000
- Addison Gallery of American Art, Phillips Academy, Andover • October 7–December 31, 2000
- Philadelphia Museum of Art • February 18–April 15, 2001
- Walker Art Center, Minneapolis • June 1–September 2, 2001
- Denver Museum of Art • October 6–December 30, 2001


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Working Wonders for Nearly a Century
Since 1924, Goodwill of Orange County has helped people with disabilities find employment, become independent and support themselves and their families. We're proud of our heritage and have a rich, active history in the local community:
- Goodwill Industries was founded in 1902 by Reverend Edgar J. Helms in Boston Massachusetts
- Goodwill of Orange County opened its doors in 1924 as a branch of the Los Angeles-based Goodwill Industries of Southern California
- Our Orange County operation began as a storefront on Fourth Street in Santa Ana and has since become a well-recognized community service provider and leading employer with more than 900 employees and an annual budget of more than $78 million
- Thousands of children and adults with disabilities or other barriers are served every year
Along the way we've earned a number of accolades:
- Goodwill of Orange County is a responsible nonprofit agency, with 92% of every incoming dollar directly supporting our services for people with disabilities and other barriers to independence
- We're recognized as one of the seven Best Companies to Work for in Orange County by OC Metro Magazine
- We've been voted Best Thrift Store by The Orange County Register readers too many times to count and are currently the #2 Vintage store in OC
- Launched shopgoodwill.com in 2000 and was named among "TIME.com 50 Best Web Sites of 2009."
- The first and only Goodwill to create the Goodwill Fitness Program for people with disabilities and chronic illness
- We have consistently achieved three-year CARF (The Rehabilitation Accreditation Commission) Accreditation since 1980
I'm visually impaired, but I see a bright future ahead. Thanks to Goodwill, I work at Ralph Brennan's Jazz Kitchen in Downtown Disney. Someday I hope to be a catering manager.
What We Do
We offer a variety of services to help people with disabilities be independent and fully participate in their communities.
- We provide a comprehensive array of education, training, and employment services to assist individuals to overcome barriers to employment and to succeed at home, at work, or at school
- Program participants are paid for their work based on their level of productivity and ability (we focus on a person's ability, not their disability)
- Our program participants are trained in Packaging and Assembly, Custodial Services, Maintenance, Retail Sales, Retail Processing, Document Destruction and E-waste Solutions and Recycling
- Program participants are referred to Goodwill by the Regional Center of Orange County, the Department of Rehabilitation for the State of California, local schools, hospitals, and insurance companies
Contact Us
Have a question, comment or idea you'd like to share with us?
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Museum Presents Retrospective Exploring the Achievement of Arshile Gorky
The Philadelphia Museum of Art
will present a major traveling retrospective celebrating the extraordinary life and work of Arshile Gorky (American, born Armenia, c.1904-1948), a seminal figure in the movement towards gestural abstraction that would transform American art in the years after World War II. The first comprehensive survey of the work of this artist in nearly three decades, Arshile Gorky: A Retrospective will premier at the Museum and present 180 paintings, sculptures and works on paper reflecting the full scope of Gorkys prolific career. Drawn from public and private collections throughout the United States and Europe, this retrospective will reveal the evolution of Gorkys unique visual vocabulary and mature style. It is organized by the Philadelphia Museum of Art and will be accompanied by a major publication, published in association with Yale University Press. The exhibition will travel to Tate Modern, London (February 10 - May 3, 2010) and The Museum of Contemporary Art, Los Angeles (June 6 - September 20, 2010) following its debut in Philadelphia.
Gorky built upon the achievements of the early modern artists he greatly admired and broke new ground during a remarkable moment to become an inspiration to a new generation of American painters, said Timothy Rub, the George D. Widener Director-elect and CEO of the Museum. The exhibition and catalogue will offer a deeply moving reassessment of the artists entire career, including his struggles and his triumphspersonal as well as artisticand the powerful legacy of his work.
Arshile Gorky: A Retrospective is the first major exhibition of its type since 1981 and the first to benefit from the publication of three biographies of the artist: Nouritza Matossians Black Angel: The Life of Arshile Gorky (1998), Matthew Spenders From a High Place: A Life of Arshile Gorky (1999), and Hayden Herreras Arshile Gorky: His Life and Work (2003), all of which shed new light on the artists Armenian background and his central role in the American avant-garde. This will be the first major museum exhibition to highlight the artists Armenian heritage and examine the impact of Gorkys experience of the Armenian Genocide on his life and work. The retrospective and its accompanying catalogue have also benefited from in-depth interviews with the artists widow, Agnes Mougouch Gorky Fielding, who has generously supported the project from the start, through key loans and first-hand accounts of Gorkys artistic practice as well as his cultural milieu. Among the works to be included are such renowned paintings as the two versions of "The Artist and his Mother," 1926-36 (Whitney Museum of American Art, New York) and about 1929-42 (National Gallery of Art, Washington, D.C.); "The Liver is the Cocks Comb," 1944 (Albright-Knox Art Gallery), the artists largest easel painting; "Water of the Flowery Mill," 1944 (Metropolitan Museum of Art), which demonstrates his deep absorption in nature-based abstraction; "The Plow and the Song series," 1944-47, which reflects Gorkys continuing engagement with memories of his rural Armenian childhood; "Agony," 1947 (Museum of Modern Art, New York), Gorkys haunting late painting, a product of his increasingly tormented imagination in the late 1940s; and "The Black Monk" (Last Painting) (Museo Thyssen-Bornemisza, Madrid), which was left unfinished on Gorkys easel at the time of his death in 1948. Some of the works included in the exhibition have not been on public view before, among them the wood sculptures, "Haikakan Gutan I, II, and III" (Armenian Plow I, II and III), of 1944, 1945, and 1947 (collection of the Diocese of the Armenian Church of America (Eastern), on deposit at the Calouste Gulbenkiam Foundation, Lisbon), as well as the Museums recently acquired "Woman with a Palette" (1927).
Michael Taylor, the Museums Muriel and Philip Berman Curator of Modern Art and curator of the retrospective, stated: Gorky was a pivotal figure in modern American Art who has since come to be known as the quintessential artists artist. It is our sincere belief that this landmark retrospective will secure Gorkys place alongside Jackson Pollock and Willem de Kooning as one of the most daring, innovative, and influential American artists of the 20th century.
Arshile Gorky: A Retrospective will be presented in a generally chronological sequence. Thematic groupings will represent each phase of Gorkys career, which underwent an astonishing metamorphosis as he assimilated the lessons of earlier masters and movements and utilized them in the service of his own artistic development. Beginning in the mid-1920s with Gorkys earliest experiments with Impressionism and the structural rigor of the paintings of Paul Cézanne, and continuing through his prolonged engagement with Cubism in the 1930s, the exhibition ends with the Surrealist-inspired burst of creativity that dominated the final decade of Gorkys life and left us with so many breathtakingly beautiful paintings and drawings. In the 1940s, Gorkys contact with Surrealism informed his breakthrough landscapes in Virginia and the visionary works made in his spacious, light-filled studio on Union Square, which he called his Creation Chamber. Several galleries in the exhibition will serve as creation chambers in their own right, highlighting the artists working process by presenting Gorkys most significant paintings alongside the numerous painstaking studies that informed their making.
Arshile Gorky
Born Vosdanig Adoian around 1904 near Lake Van in an Armenian province of Ottoman Turkey, Gorky witnessed as a young boy the ethnic cleansing of his people, the minority Armenians. Turkish troops in 1915 drove Gorkys family and thousands of others out of Van on a death march to the frontier of Caucasian Armenia. Suffering from starvation in 1919, during a time of severe deprivation for the Armenian refugees, Gorkys mother died in his arms. With his sister, Vartoosh, he eventually arrived in the United States where, claiming to be a cousin of the Russian writer Maxim Gorky, he changed his name to Arshile Gorky.
Gorky stayed briefly with relatives in Watertown and Boston, Massachusetts, before settling permanently in New York in 1924, where he studied at the Grand Central School of Art, later becoming an art instructor there. Gorky met and became fast friends with many of the citys emerging avant-garde artists, including Stuart Davis, Willem de Kooning, John Graham, Isamu Noguchi, and David Smith. Among his students was Mark Rothko.
The noted art critic Harold Rosenberg observed that Gorky, a lifelong student, was an intellectual to the roots, he lived in an aura of words and concepts, almost as much at home in the library as in the museum or gallery. He was largely self-taught, visiting museums and galleries and reading voraciously. Gorky became familiar with modern European art and embarked on a systematic study of its masters and their methods, from Paul Cézanne and Henri Matisse, whose landscapes and still-lifes he emulated masterfully, to Pablo Picassos Cubist and neoclassical works, and the biomorphic abstractions of Joan Miró. Works by Giorgio de Chirico and Fernand Léger informed, respectively, Gorkys vast Nighttime, Enigma, and Nostalgia series of the early 1930s and the sequence of murals on the theme of aviation that Gorky created in 1936 for the Administration Building of Newark Airport, under the aegis of the Public Works of Art Project (later the Works Progress Administration), through which Gorky and many other American modernists found employment during the Great Depression.
One of the key themes of Arshile Gorky: A Retrospective will be the artists profound engagement with the Surrealist movement throughout the 1940s. Gorkys relationships with members of the Surrealist group in exile in the United States, including its leader, André Breton, as well as painters Yves Tanguy, Wifredo Lam, and Max Ernst, and his close friendship with the Chilean-born artist Roberto Matta all contributed to the development of his singular visual vocabulary, a highly original form of Surrealist automatism characterized by biomorphic forms rendered with thinned-out washes of paint. After his marriage in 1941 to Agnes Magruder, whose parents had a farm in Virginia, Gorkys experience of the American landscape would enrich his artistic vision, and, beginning in 1943, emerges as a central theme in the lush, evocative paintings for which Gorky is best known. The rich farmland and bucolic atmosphere of rural Virginia (and later Sherman, Connecticut) reminded Gorky of his fathers farm near Lake Van, and inspired him to create freely improvised abstract works that combined memories of his Armenian childhood with direct observations from nature. The resulting paintings, such as "Scent of Apricots on the Fields" (1944) and "The Plow and the Song" series (1944-1947), are remarkable for their evocative strength, lyrical beauty, and fecundity of organic forms.
Gorkys last years were tragic. In January 1946, a fire in his Connecticut studio destroyed 27 recent paintings. Shortly thereafter, he underwent a painful operation for rectal cancer, and while recovering created some of the most powerful, though agonized, works of his final years, including the haunting "Charred Beloved" series (1946), which alludes to his lost paintings. In June 1948, Gorky was involved in a serious car accident that left him with a broken neck and temporarily paralyzed his painting arm. His young wife left him shortly afterward to pursue a brief affair with Matta, Gorkys friend and mentor. Gorky took his own life on July 21, 1948, leaving behind an impressive body of work that secured his reputation as the last of the great Surrealist painters and an important precursor to Abstract Expressionism.
Gorky and Philadelphia
The Philadelphia Museum of Arts extraordinary collection of modern art provides a unique context for understanding Gorkys work, since it includes many paintings from the A.E. Gallatin Collection, such as Fernand Légers "The City" (1919), Pablo Picassos "Self-Portrait" (1906), Giorgio de Chiricos "The Fatal Temple" (1914), André Massons "Cockfight" (1930), and Joan Mirós "Dog Barking at the Moon" (1926), all of which inspired the artist during his formative years. Gorky often visited the Gallery of Living Art at New York University where the Gallatin Collection was on view in the 1920s and 1930s, and he made several paintings that were directly inspired by works by modern artists that he encountered there. De Chiricos painting "The Fatal Temple" (1914) provided the point of departure for the "Nighttime," "Enigma," and "Nostalgia" series, which consists of more than 80 drawings and paintings made between 1930 and 1934. Gorky also had his first one-man show at the Mellon Galleries in Philadelphia in February 1934, and one of his first patrons was the noted Philadelphia collector Bernard Davis. Bernard and Irmgard Davis were keen collectors of modern art and assembled a large collection under the name of La France Art Institute, including numerous works by Gorky, many of which were later donated to prominent American museums, including the Philadelphia Museum of Art, and the Museum of Modern Art, New York. Gorky and his first wife Marny George even spent their honeymoon with the Davis family in Frankford, a neighborhood in northeast Philadelphia, during which time Gorky visited the Philadelphia Museum of Art (then known as the Pennsylvania Museum of Art) as well as the Barnes Foundation in nearby Merion. The Museum also owns three major works by Gorky that will be included in the exhibition: "Abstraction with a Palette" (1930), "Dark Green Painting" (1948), and the recently acquired "Woman with a Palette" (1927).
Arshile Gorky: A Retrospective is organized by the Philadelphia Museum of Art in association with Tate Modern, London, and The Museum of Contemporary Art, Los Angeles.
The Philadelphia Museum of Art
Arshile Gorky
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George D. Widener
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Holocaust Museum Houston was created to recall the Holocaust, the murder of 6 million European Jews and millions of others, and the attempt to destroy a great civilization. It was also designed to teach people of all ages, backgrounds and interests that we can resist the worst in humankind. For these purposes, a dedicated site was commissioned and built to gather, teach, collect and preserve the history of the Holocaust.
Over six years, a small medical clinic at the Museum's current site was converted into the administrative offices and library of Holocaust Museum Houston.
But when New York architect Ralph Appelbaum, designer of the Permanent Exhibition at the United States Holocaust Memorial Museum, was selected in 1993 to design Houston's Permanent Exhibition, "Bearing Witness: A Community Remembers," he proposed more space was necessary to do it justice. Today, Holocaust Museum Houston comprises the original building, housing classrooms, a library and galleries plus the Permanent Exhibition, a 105-seat theater and a Memorial Room totaling more than 27,000 square feet. The two wings are linked by a long tapering lobby that opens with an entrance hall and terminates in a tranquil outdoor garden.
Appelbaum and his colleagues devised an austere and forceful addition to the existing building, a compelling collage of basic geometric forms. The new wing is wedge-shaped, with a sloping concrete surface, out of which rises a dark and looming cylinder. The top surface of the wedge is treated as a field of names, commemorating the destroyed Jewish communities of Europe. The cylinder references the chimneys of the crematoria used by the Nazis to burn the bodies of their victims in their killing centers and concentration camps. As Appelbaum remarked at the time, "We wanted to trigger moral and ethical discussions in the community to alert people to what hate and racism can ultimately do."
At the front of the entrance stands six steel columns that recall the 6 million murdered Jews. A series of steel trestles evokes the railroad tracks on which thousands were carried to their deaths. Austere finishes-dark steel plates and beams combine with gray concrete to remind visitors of the faceless architecture of the death camps and the industrialization of mass murder.
The Permanent Exhibition inteprets chronologically the history of the Holocaust. The gallery ceiling starts high above the exhibition, then descends, just as the specter of death closed in on victims of the Holocaust as time passed. At the conclusion of the exhibition, visitors arrive at a circular theater that lies directly under the towering cylinder.
Commemorating those who perished is a primary theme of the Museum's mission. In 1992, a national competition was announced for the design of a Memorial Room, a central space within the Museum that would recall the millions lost in the cataclysm. Artists Robert and Patricia Moss-Vreeland of Philadelphia and Murphy Mears Architects of Houston were selected to complete the design in 1993.
To create a space for reflection and remembrance, the designers created a light-filled, chapel-like space, with high, strained-glass windows, of which each wall serves as placeholder for particular memories and messages. The dominant feature is the Wall of Tears, a sweeping mosaic of 600 glazed tiles (15 feet high by 22 feet long), suspended in front of a glass wall on the east side of the chamber. The brown and gray tiles create the "impression of a wall made from and washed by tears," wrote journalist Patricia C. Johnson.
Flanking the installation of tiles, and creating a triptych, are the Wall of Remembrance (north side) and the Wall of Hope (south side). The former alludes to death and dying, the latter to renewal of life. Facing the Wall of Tears, along the west side of the Memorial Room, is the Memorial Wall designed by Houston architect Mark Mucasey, paved with ceramic tablets that are inscribed with the names of lost families. Beneath a line of scripture, families can commemorate the names of Houston survivors who have died. Together, architecture and art create a meditative space that is dignified and serene.
Just beyond the Lack Family Memorial Room, at the terminus of the central circulation corridor, is the Eric Alexander Garden of Hope. This tranquil outdoor space, designed by Houston architect Carlos Jimenez, commemorates the 1.5 million children who perished in the Holocaust. At the center of the garden is a monument of blue granite, inscribed with a poem by a 16-year-old Holocaust survivor, Alena Synkova of Czechoslovakia:
Though there is anguishdeep in my soul -What if I must search for you forever?I must not lose faith.I must not lose hope.


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What is "active ageing"?
Active ageing is the process of optimizing opportunities for health, participation and security in order to enhance quality of life as people age. It applies to both individuals and population groups.
Active ageing allows people to realize their potential for physical, social, and mental well-being throughout the life course and to participate in society, while providing them with adequate protection, security and care when they need.
The word "active" refers to continuing participation in social, economic, cultural, spiritual and civic affairs, not just the ability to be physically active or to participate in the labour force. Older people who retire from work, ill or live with disabilities can remain active contributors to their families, peers, communities and nations. Active ageing aims to extend healthy life expectancy and quality of life for all people as they age.
"Health" refers to physical, mental and social well being as expressed in the WHO definition of health. Maintaining autonomy and independence for the older people is a key goal in the policy framework for active ageing.
Ageing takes place within the context of friends, work associates, neighbours and family members. This is why interdependence as well as intergenerational solidarity are important tenets of active ageing.


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"What are we looking at?" I asked Morelli.
"I'm guessing Lou Dugan," he said.
A half rotted hand was poking out of the disturbed dirt, and not far from the hand was something that might be part of a skull.
Smokin' Seventeen - Janet Evanovich pg. 13


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Vital Source Acquires CourseSmart
Vital Source Technologies, the e-learning content arm of Ingram Content Group, has acquired CourseSmart, a provider of digital textbooks in the higher education market.
CourseSmart was founded in 2007 by publishers Macmillan, Cengage Learning, John Wiley & Sons, McGraw-Hill Education and Pearson. Today it boasts millions of users around the globe and offers access to more than 90 percent of core higher education titles as e-textbooks, along with a large catalog of e-resources and digital course materials. The company recently released a data analytics platform that measures students' engagement with textbook content.
Vital Source plans a full integration of the CourseSmart product with its reader platform and distribution network. According to the company, the merger will provide more options for institutions, more inventory for faculty and course designers and greater scalability for content creators and resellers. Vital Source says it will remain committed to pioneering new technologies in areas like accessibility and analytics.
"By integrating the strengths of CourseSmart with Vital Source, we are creating an extensive global sales channel for publishers and bringing the best in digital learning technology and accessibility to the higher education community," said John Ingram, chairman and CEO of Ingram Content Group, in a press release. "We are strengthening our services in the higher education market and reinforcing our commitment to helping publishers, institutions, educators and students navigate the evolving landscape of digital learning and succeed by providing them with content in any format."
"Since its founding, CourseSmart's innovative services have led the company to become a leading higher education platform for institutions, professors and students to discover, adopt and purchase course materials," commented Will Ethridge, chairman of CourseSmart, in a prepared statement. "By becoming one company, CourseSmart and Vital Source will be able to further accelerate the adoption of digital learning materials to these audiences, while providing more effective distribution and customer relationships for authors and publishers as well."
Customers of both CourseSmart and Vital Source will not experience any immediate changes to their service, according to company representatives. All products and services will be maintained and supported until the full system integration occurs.
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Come on, enough already! This humid weather makes me feel like I'm in the middle of a Mississippi summer — and that isn't my cup of tea, even if you put sugar in it.
I'm already autumn dreaming and yearning for cool, crisp weather. Guess I'll just have to keep on fantasizing, because Fritz says that we are in for more of the hot-and-humid.
It was during one of those hot and humid nights when supporters of the La Cañada Flintridge Tournament of Roses Assn. gathered for the all-volunteer group's annual August Hamburger Night Happy Hour. Of course the topic of the evening was about the heat; people were wondering where SoCal's usual cool evening breezes were. How could Mother Nature be so fickle?
Once again, Mayfield and Sarah Marshall were hosts, welcoming guests to their Vineta Avenue home and its expansive back yard.
Acting as official greeters that night were Joey Mitchell and Eileen St. Amand.
"Floaters" and their friends enjoyed homemade appetizers followed by big, juicy hamburgers cooked on the grill.
The Marshall's spacious backyard looked so festive with bright red tablecloths. The beverage bar was open for business with an offering of cool drinks and great conversational opportunities with the bartenders.
Of course the reason for the gathering, besides good companionship, was to provide financial support for the construction of the new float, "Dog Gone," for the 2014 Rose Parade.
It was a happy group of people that included Tom Seifert, Jim Neilson, Herman Simpson, Doris Patterson, Peggy Barber, Sharon Denner, Ron and Jean Zink, Elizabeth Calciano Georgeon, Dorothy and Bob Lyans, Cynthia and John Benton, Penelope and Al Anton, Pat Foltyn, Elaine Butterfield, Lynn Jarvis, Brett Pounders and James Simpson.
More enjoying the burger night were LCF TRA President Ann Neilson, Eileen St. Amand, Larry Andreason, Sherrill Carbonetti, Julia Cameron and David Granish, Vera and Garth Gragg, Dick Grippi, David and Helen Gilstrap, Clyde and Bobbie Hemphill, Adrine Issavy and David Hildreth, Art Johnson, Diane and John Landrum, Joey Mitchell, Eremita Miranda, Bob Neilson, Tim Rahtz, Chuck Terhune, Nancy Wyman, Dianne Philibosian, Duane and Mary Battehorst, Bob and Joyce Covey, Barbie Eland, Jim Geoghegan, Chuck and Becky Gelhaar, Ann Hills, Chuck and Harriett Hughes, Lee Johnson, Ross Selvidge, Stuart and Gloria Lee, Lorie MacKenzie, Bill Pounders, Jenny Pass, Teresa Simpson, Joyce Ruygrok, Lynne and Joe Thompson, Pam Wiedenbeck, Sharlyn French, Betty Jones, David Moffett, Anthony Portantino and Bob Wallace.
The next Happy Hour will be at the home of Diane and Dick Crowther, 870 Green Lane, at 6 p.m. on Friday, Sept. 27. All over 18 are invited to attend and no reservations are required. Just bring an appetizer to share and enjoy the fun in support of LCF TRA's 2014 float.
Muse/ique's summer season came to a close with a rousing concert at the tree-lined Beckman Mall on the Caltech campus.
By the end of the concert, dubbed "Lose Your Senses with Ellis Hall," audience members were on their feet, dancing to Hall's and the orchestra's rendition of "I Heard It through the Grapevine."
It was a fitting conclusion for a show that was billed to "unchain the soul sounds of great musicians like Ray Charles, Marvin Gaye, Stevie Wonder and even Bach, Beethoven and Vivaldi."
Guests began arriving as the sun was setting to enjoy picnics with every imaginable kind of fare at tables that filled the mall.
The audience stood as the concert began with artistic director Rachael Worby leading the orchestra in "America the Beautiful" sung by Hall, who also performed such Ray Charles hits as "Hit the Road, Jack" — complete with audience sing-a-long, as well as Stevie Wonder's "My Cheri Amour."
The high-energy Selah Gospel Choir did an a cappella version of the traditional spiritual "Swing Down Chariot" and, for a change of pace, Muse/ique's concertmaster, Roger Wilkie, mesmerized the crowd with a section from Beethoven's powerful Violin Concerto.
Another concert highlight came with an excerpt from Maurice Sendak's classic children's book, "Where the Wild Things Are," read by Grace Olinski, daughter of Muse/ique board member John Olinski and his wife, Laura. The reading was set to Carter Burwell's score for Spike Jonze' film adaptation of the fanciful and much-loved work.
Caltech scientist Sean Carroll amused everyone with his take on the science of soul. Yep, you can bet the campus was really rocking to the music — it was so much fun.
Next on the musical menu for Muse/ique will begin with "Rail-bound Sound!" This musical adventure on the rails, from Pasadena to Union Station in Los Angeles, will take place beginning at 4 p.m. on Sunday, Oct. 20.
This unique gala, which is limited to 100 guests, will combine movement, music, spirits and supper as guests enjoy cocktails, music and designer nibbles on a Pasadena train platform before being whisked off in a private metro car on a rail adventure to Union Station, where supper and a pop-up music performance will be served at the historic Fred Harvey House. Sounds like this will be the most unique party all year long.
Proceeds benefit Kids/ique, Muse/ique's community outreach program that serves boys and girls, ages 12 to 18, in the San Gabriel Valley's network of residential foster care facilities by presenting interactive experiences with professional musicians.
The orchestra will also host a free family hip-hop dance party launching the season on Oct. 11. There will be five concerts in the adventurous "Uncorked" series before the summer season concert returns.
JANE NAPIER NEELY covers the La Cañada social scene. Email her at firstname.lastname@example.com with news of your special event.


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Over-the-counter (OTC) remedies are wonderful. You don't need a prescription, and relief is as close as the nearest drugstore. You may already use several OTC remedies.
It's easy to forget that OTC remedies are drugs that can cause side effects and affect other medications. That's why it's important to read the dosage instructions, health risks, and warnings on the packaging.
Many OTC products contain several different types of medications. For example, you may find combinations of acetaminophen, cough medicine, and decongestant for colds. Be sure to read the active ingredients listed on the box to know exactly which medications are contained in your OTC product.
Keep in mind that as an older adult, you may be more sensitive to some drugs or you may be taking prescribed medications that could interact with OTC medicines. If you take OTC remedies often at the highest dosage, you are more likely to have harmful side effects. Here are a few OTC remedies and some of their side effects:
Acetaminophen may relieve pain and fever, but taking large doses for a long time can lead to kidney damage. The drug is available in many formulations. Taking more than 4,000 milligrams a day can cause liver damage. If you have liver disease or have more than 3 alcoholic drinks a day, talk with a doctor before using medications that contain acetaminophen. The risk that acetaminophen will harm the liver increases when the drug is combined with alcohol or other drugs that can harm the liver.
If you take warfarin, acetaminophen is better to use for pain relief than aspirin or other nonsteroidal anti-inflammatory drugs like ibuprofen or naproxen because acetaminophen doesn't cause stomach bleeding or ulcers. It also has no effect on blood thinning. But the blood-thinning effect of warfarin can sometimes significantly increase after only a few days of using acetaminophen, because acetaminophen boosts the level of warfarin in the blood. If you start taking acetaminophen while on warfarin, you should talk with your doctor about decreasing the acetaminophen dose or having your warfarin levels monitored more frequently.
Antacids can interact with many drugs and cause problems for people with heart or kidney conditions or high blood pressure. Brands with aluminum may cause constipation or weaken bones. Magnesium-based antacids may cause diarrhea.
Aspirin can interfere with blood clotting and may worsen or trigger asthma. If you take a prescription blood thinner, use aspirin only if your doctor says you can. It can cause heartburn, indigestion, and ulcers, and may worsen asthma in individuals who are sensitive to aspirin.
Cold or allergy remedies can often have several medications, including antihistamines, decongestants, cough suppressants, and expectorants. Read the label to find the active ingredients, not just the product's descriptive marketing name. For example, Tylenol PM contains both acetaminophen and the antihistamine medication diphenhydramine. People taking this drug can have all the side effects of an antihistamine and of acetaminophen.
If you are taking more than 1 OTC medicine, be sure to review their active ingredients so that you don't accidentally overdose by taking more than 1 medicine in the same class of drug.
Antihistamines, such as diphenhydramine or chlorpheniramine, may leave you drowsy and sluggish, making driving dangerous. Light-headedness and blurred vision may occur in older adults, and difficulty urinating may occur in older men.
Decongestants, such as pseudoephedrine or phenylephrine, can cause nervousness and insomnia and may raise your blood pressure. If you have diabetes, heart disease, high blood pressure, or an overactive thyroid, use these remedies only with a doctor's permission.
Expectorants, such as guaifenesin for thinning of sputum and secretions, can cause some mild side effects, including dizziness and headache.
Cough medicines, such as dextromethorphan, can cause drowsiness, blurry vision, and lightheadedness.
Nonsteroidal anti-inflammatory drugs include ibuprofen and naproxen. They help relieve pain. Ask your doctor before using them if you have any kidney or liver problems, stomach problems, heart failure, high blood pressure, or if you take any blood thinners.
Remember to read the label and check with your doctor before taking an OTC remedy. Then you'll be ready to get relief.


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Branch Line Weekend - May 2017
After an abortive attempt in 2016, the ever-popular Branch Line Weekend made a welcome return to the Bluebell calendar in May 2017 on a warm and sunny Spring day. With guest engine 1054, the coal tank from the KWVR, the intention had been to showcase the SECR locomotives at the line. As the overhaul of the O1 no. 65 was not completed in time, the plan had been for Q class 30541 to deputise, but a further failure for her led to the distinctly "main line" 73082 running in her place. A failure for 592 meant the Saturday of the event would turn out to be her last action before withdrawal for overhaul.Read More


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|Big Booty Club
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- Andrew Mackenzie - biography
- BHP chief Marius Kloppers resigns
- Lower commodity prices weigh on BHP
- Mining boom-time chiefs call it quits
- Malcolm Maiden: Transition without drama
BHP Billiton's incoming chief, Andrew Mackenzie, may have been anointed to run the company only a matter of hours before, but he has been careful to make all the right moves, from calling his employer an ''iconic company'' through to talking up his new home, Melbourne.
He is good with people and has a softer side to him than outgoing chief executive Marius Kloppers. English-born, Scottish-reared Mackenzie described BHP as one of the world's greatest companies in his initial comments on Wednesday, carefully ticking the right boxes for the local media.
Mackenzie grew up in Glasgow, but his wife hails from Edinburgh, which made him well used to the rivalry between Sydney and Melbourne, he said, as he prepares to move to Melbourne.
For BHP shareholders, the key will be his ability to expand the company after the failures of his predecessor. Rival Rio Tinto blew billions with its disastrous $US27billion ($26 billion) purchase of Alcan Aluminium, a takeover that only last month claimed the scalp of its chief executive, Tom Albanese, who was replaced by the grandfatherly Sam Walsh.
At BHP, it was not a disastrous takeover, but rather a failure to land any of the deals that it launched – bids for Rio and Potash Corp of Canada – or to consummate the planned iron ore joint venture with Rio, which some say cost Kloppers his job. But the contrast between Kloppers and Mackenzie couldn't be sharper.
Aside from Mackenzie's intellect, the Scotsman has a strong ''emotional quotient'' (EQ) which meant he was good at dealing with people, one person close to the transition said.
''Compared to Marius, whose IQ is sky high but his EQ is not, Andrew has a much higher EQ. He is very good with people. He has got a softer side to him than Marius has. Really, these days you want in business someone who has got a good IQ and a good EQ, so they are good with people, they communicate well ... and people relate to them.''
In public, Mackenzie comes across as a reserved and earnest member of BHP's team. He holds a PhD in chemistry and his academic research produced findings still in use by academics and oil explorers.
Mackenzie spent 22 years at BP before joining Rio as the head of its industrial minerals division in 2004. He was persuaded by Kloppers to join BHP five years ago. Married with two daughters, he speaks five languages.
He may have gained a good grounding in working at the senior ranks at BP, but it was at Rio that he made his mark, putting him on the radar at rival BHP.
At Rio, he merged three separate businesses – borax, talc and Dampier Salt – into a single unit. Reporting was streamlined, simplifying some services that were formerly duplicated or even triplicated. He is also credited with developing a $5 billion metals project in Africa while at Rio.
''I get an enormous buzz out of creating wealth and wellbeing from natural resources,'' Mackenzie said while at Rio. ''At BP, that was expressed in just two products – oil and gas.
''Here at Rio Tinto, the real excitement for me ... is that we have the whole periodic table to play with.
He is very good with people he has got a softer side to him than Marius has.
''I've moved from organic to inorganic chemistry and I've had the chance to open up whole new chapters in my geology textbooks. It's no longer just drilling muds and sandstone; nowadays I'm into sedimentary rocks, metamorphic rocks, igneous rocks, the whole gamut.''
Now Mackenzie has been anointed to run the show and shareholders will be looking to see whether he can create more ''wealth and wellbeing'' from natural resources than the outgoing Kloppers did.
On Wednesday, Kloppers got the final word back at his chairman, Jac Nasser, following suggestions of tension between the two, which led to speculation of Nasser tapping Kloppers.
In an in-house video outlining the change in command, Kloppers said former BHP chief Paul Anderson had asked him upon his promotion to the top position to start thinking of his successor immediately.
''That was good advice,'' Kloppers said. ''One of the first decisions I made was to recruit Andrew,'' making his role in the selection of his successor crystal clear.