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Posters centre-stage of V&A's British Design showTuesday, March 13th, 2012
These two stunning Barney Bubbles posters will be taking centre stage in the graphics section of the V&A's forthcoming exhibition British Design: 1948-2012.
These two stunning Barney Bubbles posters will be taking centre stage in the graphics section of the V&A's forthcoming exhibition British Design: 1948-2012.
As highlighted in Will Birch's tremendous Ian Dury biography, the creative relationship between the late singer and Barney Bubbles was one of the most fruitful in the history of pop.
Of similar ages with deep art school roots, Barney and Dury commenced their partnership in the spring of 1977 just as both were heading for the top of their game, with Barney installed at Stiff after a hiatus of more than a year and Dury preparing to unleash the career-defining records and performances which brought him enduring national treasure status.
Unlike his treatment of others, Dury was never-less-than respectful of Barney. "Barney was easily the most incredible designer I'd ever come across," Dury told Birch.
Dury said Barney "scared the shit out of me. He was righteous. He didn't have the faults or the ego and he made me feel second class. I wanted his approval in a strange kind of way".
And, as Birch details, when Jake Riviera departed Stiff with Nick Lowe and Elvis Costello at the end of 1977, remaining partner Dave Robinson was left with Dury's recently released New Boots & Panties!! as his main chance for commercial survival.
The decision was made to throw all resources behind the polio-stricken performer and his band The Blockheads. Barney art-directed a sustained marketing and promotional campaign made up of several elements: his Blockhead logo, numerous press ads, several posters, a songbook and a tour programme. Together these helped maintain the album's presence in the charts for more than a year and set up hits What A Waste and number one smash Hit Me With Your Rhythm Stick.
The cover of Birch's book is a delightful rendition by Dury's friend and mentor Sir Peter Blake, while on the back is a photo by Chris Gabrin from sessions for a series of music press ads.
These are littered with Dury's skewiff humour and guttersnipe poetry and feature some of the possible titles he had drawn up for his debut solo album.
Gabrin's monochromatic clarity and his strong working relationship with both parties was an important element in the Dury/Bubbles dialogue. "We were working full-pelt at the time," said Gabrin the other night. "There was so much to do to keep up with press ads and tours."
Gabrin's band portraits of Dury and The Blockheads (and minder Fred "Spider" Rowe) hit the UK's music weeklies in February 1978.
A Gabrin photograph from an earlier session (which Barney had overlaid with a lurid orange screen for one of five giant posters for the Stiff tour) was used for a standard sized poster to hammer home the album's availabiity. The year ended with more band shots in the incredible fold-out programme for the December 1978 Hanky Pantie tour.
The matchstick portrait cover was even used for the manufacture of hankies (to be knotted and worn on the head). A couple of Stiff employees – maybe Paul Conroy or Andy Murray can identify them? – sport these in the Top Of The Pops audience for Dury and The Blockheads' triumphant performance of Hit Me.
By 1983, when Dury was filmed by director Franco Rosso for a Channel 4 documentary, the wordsmith was in a very different place.
On one of his regular separations from The Blockheads and main writing partner Chaz Jankel, Dury's career was about to hit the skids as he recorded the half-baked 4000 Weeks Holiday. During the making of the film, management company Blackhill collapsed, but there are some sequences where it's office can be seen decorated with Barney's designs.
As well as Blockhead logo stickers there are posters for Do It Yourself and also the spoken-word album Blackhill's Peter Jenner released on Charisma by cricket commentating legend John Arlott.
This was cooked up with Charisma publicist and Barney's friend Glen Colson, who recalls how he came up with such faux cricket positions as "Wayward Short Leg".
By the time the documentary was screened in 1984, Barney had died at his own hand.
"Barney Bubbles told me a few straighteners towards the end of his life," said Dury, towards the end of his own. "Barney told me: 'You were a horrible piece of work in those days Ian.' I said: 'Barney, I didn't want to be'."
A couple of years earlier, Barney had delivered his views on Dury's behaviour via the designs for 1981 greatest hits Jukebox Dury and it's single, the reissued What A Waste.
Gone is the affection of the New Boots & Panties!! era. In it's place, with stark contrasts, the bleached-out image renders Dury as Frankenstein's monster, while the jaunty razor-blade earring is now used for chopping out coke, lobotomising the artist.
Will Birch's book is a fully rounded portrait of this extraordinary man, and is heartily recommended.
Here's a chance for you to get your hands on a FREE copy SIGNED by the author.
Send your answer to the question below to email@example.com – we'll be announcing the winner's name on February 14 .
Q: What is the title of the B-side of Hit Me With Your Rhythm Stick?
Good luck!
If proof were needed that Barney Bubbles continues to inspire contemporary designers more than a quarter of a century after his death, look no further than London's own Kate Moross, the 23-year-old making waves around the world with a remarkable body of work which first started to attract attention while she was still at Camberwell College of Arts.
Moross shares Barney's deft use of colour, concerns for isometry, geometry and architectural form and his appetite for music (operating vinyl-only label Isomorph). She is similarly fascinated by symbols – not least the repeated representation of her trademark three triangles – and applies a serious work ethic across a range of media and disciplines.
Moross determinedly creates at the cross-hatches of fine art and graphic design but, in a similar fashion to Barney, refuses to be pinned down stylistically.
Her flyers, posters, stickers, record sleeves, t-shirts, art direction, lighting design, stage sets and videos for the likes of La Roux, Simian Mobile Disco, heartsrevolution and Telepathe exemplify a dedication to detail and a ready wit.
Music video, directed by Jo Apps and Kate Moross. Audacity Of Huge, Simian Mobile Disco, 2009.
Moross – who has designed for record labels including Allido and Merok Records, created campaigns for such companies as Cadbury's and a clothing range for Top Shop – was introduced to Barney's work via his 1977 sleeve for The Damned's album Music For Pleasure.
"It was old and new and confusing," Moross told us while on the road this summer: last month she took part in Semi Permanent, the international design event in New Zealand, lining up with fellow Brits Harry Pearce (of Pentagram), Sanky (AllofUs) and Tim Beard (Bibliotheque), as well as such design legends as David Carson.
"I love confusing," declares Moross. "I love codes and symbols, so Music For Pleasure has everything; graphic and illustrative, pattern and block colours, everything mixed together perfectly."
Moross says that the coherence within Barney's disparate methods and styles lies in his ability to "fit the brief, and that's what every artist or designer's goal should be. Not everything needs to be the same, but it should always be brilliant, and Barney was brilliant".
Moross's rise coincided with the reawakening of interest in illustration, packaging and graphics in music circles in the Noughties.
"I think that the Sixties and Seventies did wonders, but then the Eighties and Nineties kind of stopped caring; it was the artists that sold the music, not the art," she believes.
"But it came back round. Packaging and design were back, labels and bands started employing illustrators and designers to make something special again."
Moross is particularly keen on the 7in sleeve for Ian Dury & The Blockheads' 1978 number one single Hit Me With Your Rhythm Stick.
"I love the way the fractured isometric shapes are broken apart in a bold three-colour composition and then beautifully reconstructed on the reverse," she said.
"To be honest, I didn't know Barney's work until recently," Moross added. "But when I found it, I wished I could have been around at a time of such awesome creativity within musical ephemera. I feel like, with my enthusiasm, I would have fitted in well."
That may be true. But their loss in the Seventies and Eighties is definitely our gain today.
Today we celebrate the 30th anniversary of the release of Do It Yourself by Ian Dury & The Blockheads with a visual feast including previously unpublished images.
When the album came out on May 18, 1979, much was made of the fact that the wallpaper cover was available in a number of variations. There have been claims that as many as 56 were printed in stock from the Crown range. We found 27 in the course of researching Reasons To Be Cheerful, most of which are reproduced here.
The inspiration for the cover came from a book of wallpaper samples; as ever Barney Bubbles delighted in elevating the mundane and everyday, though his initial proposal was for four covers.
When Stiff Records' boss Dave Robinson persuaded Crown to provide the materials for free in exchange for featuring the order number on the front of the album, Stiff swiftly escalated the plans with 10 alone for the UK and many others for their licensees around the world.
With screw-hole lettering embossed onto the surface of the wallpaper, the front cover carries the tracklisting and also a Barney classic; an illustration entitled "Tommy The Talking Toolbox says it's…for all the family to enjoy!"
One piece of original artwork unearthed for the book contains part of the lyric from the album's lead-track Inbetweenies, which was released as a single in some countries.
The back cover carries a Chris Gabrin photograph of Dury and the Blockheads lined up outside a wig shop; this is mirrored in abstract form in a painting by Barney on one side of the inner, entitled "Better Being Mugs Than Being Smug".
The other side of the inner – headed "Ultramine" with Gabrin billed as "Gabrinovsky" – features the musicians and their team hand-triggering portrait shots of themselves.
A lot was riding on the album's release. It's predecessor – New Boots & Panties!! – had established Ian Dury as a new wave star, remaining in the charts for 90 weeks and setting up hits such as Hit Me With Your Rhythm Stick.
When Dury refused to allow Hit Me to appear on the album, the Stiff staff, including marketing men Alan Cowderoy and Paul Conroy (who went on to work with hit acts from Madness to the Spice Girls), pulled out all the stops with an advertising and promotional campaign which integrated Barney's design work centred around the theme of home improvement.
Barney's paintbrush and paint logo for the record label was extended across posters, in-store banners and music press ads, as were his graphics representing paint splashes and stains.
Famously, Stiff sent teams of wallpaper hangers to decorate music press offices before journalists arrived while the exterior of record label's offices received similar treatment.
A photo-shoot took place at Barney's Shoreditch studio with Ian Dury – complete with knotted hankie on his head – as a housepainter.
Barney created point of display artwork on clear vinyl to be posted in record shop windows, and press ads and many badges (including an adapted Blockheads logo) continued the theme.
Promotional items even included "Blockhead" tins of paint while posters such as the one on the right below (which belongs to designer Alan Aboud) were printed on wallpaper and pasted onto exterior walls.
Typical of his approach to advertising in this period, Barney exploited the presence of five weekly music papers with different ads using spot-colour to "paint" and decorate full pages. Several incorporated his Blockhead ideogram (which has been identified on John Coulthart's Barney post by Paul Murphy as stemming from British political imprint of the 30s, the Left Book Club).
One is a cut-out-and-keep face mask (so that the reader could, er, do it themselves…), while another features a splash of paint over one "eye". The Watchmen ident has always put me in mind of this image.
The volume and sustained quality of the work is impressive, particularly since Barney also delivered sleeves and promotional, advertising and marketing designs for other projects in this period, including Labour Of Lust by Nick Lowe and Frogs, Sprouts, Clogs And Krauts by The Rumour and their attendant singles.
In the event, Do It Yourself didn't achieve the hoped-for sales levels. The absence of Hit Me was compounded by the mercurial Dury's decision to hastily release a new track as the next single.
Reasons To be Cheerful Part 3 was recorded while on the road in Europe, and released a month or so after Do It Yourself (and effectively eclipsing it). The artwork was not designed by Barney but Dury's friend and former art-school teacher Peter Blake. But that's another story…
Tommy The Talking Toolbox would have been proud.
Fun for all the family was had at Howies store in Bristol on Thursday night as our pals at the Barney-mad company hosted an evening to celebrate the publication of Reasons To Be Cheerful.
With the invaluable support and assistance of Howies mainmen Nick Hand (who also took these photos) and Tim March, we mounted a mini-display in a hitherto unused upstairs room as the first in a series of monthly events the guys are organising.
The core of our little taster was a collection of 24 of the 27 variations to the cover of Do It Yourself by Ian Dury & The Blockheads.
This seemed particularly appropriate since the site was once occupied by a Laura Ashley branch; some of the walls in the until-now disused upstairs space are still covered in her divinely daft and dated flowery wallpaper.
To keep the ID/BB theme going, we also displayed original artefacts and artwork, including the paste-up for what later became the cover of Ian's 1984 album 4000 Weeks Holiday.
Thought to be among the very last projects Barney worked on, this has been contributed to the Reasons archive by our friend Pauline Kennedy. In her previous incarnation as Caramel Crunch, Pauline was Barney's assistant and continued his work at such labels as Go! Discs.
With a book signing and talk about Barney, complete with power-point presentation of images from the book, the evening was capped by Paul and Caz mixing up the aural medicine with DJ sets of Barney-related sounds. These, we're happy to tell you, went down a storm.
Here's a selection of 10 of the Barney best to warm the cockles (click on the links to download/buy):
Eastbourne Ladies – Kevin Coyne (Marjory Razorblade 1973)
Inbetweenies – Ian Dury & The Blockheads (Do It Yourself 1979)
Lipstick Vogue – Elvis Costello & The Attractions (This Year's Model 1978)
Fung Kee Laundry – Quiver (Gone In the Morning 1972)
Love My Way – The Psychedelic Furs (Forever Now 1982)
Opa-Loka – Hawkwind (Warrior On The Edge Of Time 1975)
Post-War Glamour Girl – John Cooper Clarke (Disguise In Love (1978)
Darling Let's Have Another Baby – Johnny Moped (Cycledelic 1978)
Just Can't Get Enough – Depeche Mode (Speak & Spell 1981)
Ghost Town – The Specials (single 1981)
These are just a few examples of how the BBSS can get the joint jumping. For a playlist from Caz's set see Howies' blog Brainfood.
Barney Bubbles credited one of the most creatively satisfying phases of his career to a prescient feature by marketing guru and cultural commentator Peter York published in the September 1978 issue of Harpers & Queen magazine.
York's piece, headlined Grey Hopes, investigated the ageing demographic of the rock consumer and the concurrent wave of post-modernism pervading popular music. "The paradox of rock is that at precisely the time that a new rock sensibility is starting to invade the commercial heartland, the whole rock thing is uncomfortably coming of age," wrote York, who also declared: "Rock & roll is the hamburger which ate the world."
Presenting research which showed that 25- to 44-year-olds, not teens, had become the largest single group of record buyers, York pointed to the likes of Roxy Music as examples of art rockers who "consciously saw rock as a medium like any other".
York cites the highly referential example of Generation X, which was apposite; Barney designed two of the group's single sleeves, the El Lissitzy-quoting Your Generation and the symbol-strewn King Rocker (available in four variations denoting vinyl colours).
Guitarist Tony James says that, during the planning stages of the sleeves, he and Gen X singer Billy Idol talked to Barney about t-shirts they had designed in a Constructivist style. "Barney looked at our original ideas and took them a very inspired step further," he adds.
In a letter to his assistant and friend Diana Fawcett late in 1979, Barney says that York's article "gave me my orders for the year" regarding "technology, urban environment, rock, etc". He also says that he had carried out "everything I wanted to. It was a great, successful year".
This is true; the previous 12 months had been an extraordinarily fruitful period. Notwithstanding the advertising and promotional material which formed the bedrock of his business, Barney had also executed such triumphs as the redesign of the NME and creation of the paper's Book Of Modern Music as well as sleeves for albums such as Armed Forces by Elvis Costello & The Attractions, 25 Years On by Hawklords (including the integrated stage show set), Do It Yourself by Ian Dury & The Blockheads, Labour Of Lust by Nick Lowe and Frogs, Sprouts, Clogs And Krauts by The Rumour.
In addition Barney completed the catalogue for the Lives exhibition at The Hayward (in which he also participated) as well as Brian Griffin's Copyright, The Ian Dury Songbook and The John Cooper Clarke Directory. We shall be exploring all of these and more over the coming months.
Barney also tells Diana he has "had his orders" for 1980, the coming year. Since this was to witness advances into video-direction, painting, the realisation of the ambitious visual identity for the new F-Beat label AND a slew of releases by Elvis Costello & The Attractions, Carlene Carter, Clive Langer & The Boxes, Rockpile, Inner City Unit, Dirty Looks and many more, it can safely be assumed the instructions came from as rich a source as York's Grey Hopes.


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Friday 9 May, 2014, 08:02 - Spectrum Management, SatellitesIt seems that following the ESOA submission to Ofcom concerning the apparent errors in the RealWireless study on spectrum demand for mobile data reported by Wireless Waffle on 15 Febuary, the offending report has now been re-issued (note the publication date is now 11 April 2014) with the axis on Figure 44 which shows data traffic density re-labelled from 'PB/month/km²' (PetaBytes) to 'TB/month/km²' (TeraBytes), thereby reducing the calculated data traffic by a factor of 1000 and now making the document internally consistent. Well done Ofcom and RealWireless, though they could have publicly admitted the apparent error, instead of quietly re-issuing the document with no fanfare. Presumably this now makes ESOA look rather silly.
Posted by Administrator
Posted by Administrator
But... even a 10th grade student could complete the sum that is behind the ITU data forecasts and realise that the axis should have read 'PB' all along (and therefore that the internal inconsistencies are not fixed and that the data in the ITU and RealWireless models is still hundreds of times too large). Here, for you to try, are the values - taken from the ITU's 'Speculator' model - and the maths you need to apply. The values are for 'SC12 SE2' which represents people using 'high multimedia' services in urban offices and is with the ITU model in its 'low market' market setting (it has a higher one too).
|User density:
|120,975 users per km²
|Session arrival rate per user:
|3.3 arrivals per hour per user
|Mean service bit rate:
|13.83 Mbps
|Average session duration:
|81 seconds per session
Now for the maths...
- First, multiply the first two numbers to get 'sessions per hour per km²'. (120,975 × 3.3 = 399,217.5)
- Then multiply this by the average session duration to get 'seconds of traffic per hour per km²'. (399,217.5 × 81 = 32,336,617.5)
- Then multiply by the mean bit rate to get 'Megabits of traffic per hour per km²'. (32,336,617.5 × 13.83 = 447,215,420)
- To make the numbers more managable, divide by 8 to get from bits to bytes, then by 1,000,000 to get from Megabytes to Terabytes (447,215,420 ÷ 8,000,000 = 55.9)
The number of days in a month is relatively easy to work out, it's 30.4 on average (365.25 ÷ 12). So monthly traffic per square km would be 559 × 30.4 = 16,994 TeraBytes per month per km².
This is the monthly data for just one urban traffic type in the ITU model, there are 19 others. Ignoring the others completely, Figure 44 of the RealWireless report should show monthly traffic in urban areas for the ITU model being 17,000 TeraBytes per month per square km, include the other activities that urban office workers undertake and the value should be much higher still. But it now shows as being just over 100 TB/month/square km for the ITU and less for the RealWireless prediction, 100 or more times too low. Oh dear!
So having corrected the figure in the RealWireless report, it is now wrong. It was correct before. And it still does not tally with the total data forecast for the UK that is in the same report.
Surely there are people at Ofcom who own a calculator, have a GCSE in maths, and possess a modicum of professionalism such that they would want to check the facts before blithely allowing their suppliers to fob them off with an 'oops, we mis-labelled an axis' argument. Presumably they thought that it was ESOA who couldn't handle a calculator properly.
Now who looks silly?
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Department of Microbiology and Immunology
Xue-Zhong Yu, MD & MS
Department of Microbiology & Immunology
Department of Medicine
Distinguished Endowed Chair
SmartState Cancer Stem Cell Biology & Therapy Program
Medical University of South Carolina
Dr. Yu received a Bachelor of Science degree in Medicine (an MD equivalent) and then a Master of Science in Immunology from Peking University Health Sciences Center in Beijing China. After his residency in Nanchang China, he completed a postdoctoral fellowship at the Fred Hutchinson Cancer Research Center in Seattle, Washington.
Contact Info
Email: email@example.com
Phone: (843) 792-4756
Office: HCC HO350
Lab: HCC HO356
Research Interests
The research in Dr. Yu's Lab focuses on the biology of graft-versus-host disease (GVHD) and graft-versus-leukemia (GVL) after allogeneic hematopoietic stem cell transplantation (HSCT). The ultimate goal of these studies is to prevent or treat GVHD while preserving GVL effect, which could greatly enhance the therapeutic potential of HSCT. Because T cells play central role to induce GVHD and mediated GVL effect, understanding T-cell response to normal tissue versus tumor cells is critical for achieving the ultimate goal. The major lines of current work in Dr. Yu's Lab include: 1) T-cell differentiation and GVHD development; 2) Biology of regulatory T cells and their potential application in the control of GVHD; 3) Understanding how micro-RNAs regulate T- and B-cell responses after allogeneic HSCT; 4) Evaluation of metabolic pathways or intermediates as biomarkers and therapeutic targets in GVHD and leukemia relapse.
Recent Publications
Liang Y, Liu C, Djeu JY, Zhong B, Peters T, Scharffetter-Kochanek K, Anasetti C, and Yu XZ. (2008) Beta2 integrins separate graft-versus-host disease and graft-versus-leukemia effects. Blood 111(2):954-62. PMID: 17928532
Wang H., Peters T, Sindrilaru A, Kess D, Oreshkova T, Yu XZ, Seier AM, Schreiber H, Wlaschek M, Blakytny R, Rohrbein J, Schulz G, Weiss J, and Scharffetter-Kochanek K. (2008) TGF-beta-dependent suppressive function of Tregs requires wild-type levels of CD18 in a mouse model of psoriasis. J Clin Invest 118(7):2629-39.
Guo F, Iclozan C, Suh WK, Anasetti C, and Yu XZ. (2008) CD28 controls differentiation of regulatory T cells from naive CD4 T cells. J Immunol 181(4):2285-9. PMID: 18684917
Yu Y, Iclozan C, Yamazaki T, Yang X, Anasetti C, Dong C, and Yu XZ. (2009) Abundant c-Fas-associated death domain-like interleukin-1-converting enzyme inhibitory protein expression determines resistance of T helper 17 cells to activation-induced cell death. Blood 114(5):1026-8. PMID: 19429865
Valenzuela JO, Iclozan C, Hossain MS, Prlic M, Hopewell E, Bronk CC, Wang J, Celis E, Engelman RW, Blazar BR, Bevan MJ, Waller EK, Yu XZ, and Beg AA. (2009) PKCtheta is required for alloreactivity and GVHD but not for immune responses toward leukemia and infection in mice. J Clin Invest 119(12):3774-86. PMID: 19907075
Iclozan C, Yu Y, Liu C, Liang Y, Yi T, Anasetti C, and Yu XZ. (2010) T helper17 cells are sufficient but not necessary to induce acute graft-versus-host disease. Biol Blood Marrow Transplant 16(2):170-8. PMID: 19804837
Semple K, Yu Y, Wang D, and Yu XZ. (2011) Efficient and selective prevention of graft-versus-host disease by antigen-specific induced regulatory T cells in mice. Biol Bone Marrow Transplant 17(3):309.
Semple K, Nguyen A, Yu Y, Anasetti C, and Yu XZ. (2011) Strong CD28 costimulation suppresses generation of induced regulatory T cells from naïve precursors through Lck signaling. Blood 117(11):3096.
Li J, Semple K, Liu C, Chen F, Blazar BR, and Yu XZ. (2011) Role of CD28, CTLA4 and ICOS in acute graft versus-host disease mediated by CD4 T cells in mice. Biol Bone Marrow Transplant 17(7):962.
Yu Y, Wang D, Liu C, Kaosaard K, Semple K, Anasetti C, and Yu XZ. (2011) Prevention of GVHD while sparing GVL effect by targeting Th1 and Th17 transcription factor T-bet and RORγt in mice. Blood 118(18):5011-20. PMID: 21856864
Veerapathran A, Pidala J, Beato F, Yu XZ, and Anasetti C. (2011) Ex vivo expansion of human Tregs specific for alloantigens presented directly or indirectly. Blood 118(20):5671-80. PMID: 21948174
Yu Y, Yu J, Liu C, Iclozan C, Kaosaard K, Anasetti C,and Yu XZ. (2012) Bim is required for T-cell allogeneic responses and graft-versus-host disease in vivo. Am J Blood Res 2(1):77.
Wang D, Iclozan C, Liu C, Xia C, Anasetti C, and Yu XZ. (2012) LBH589 enhances T cell activation in vivo and accelerates graft-versus-host disease in mice. Biol Blood Marrow Transplant (8):1182-1190. PMID: 22698484
Yu Y, Cho HI, Wang D, Kaosaard K, Anasetti C, Celis E, and Yu XZ. (2013) Adoptive transfer of Tc1 or Tc17 cells elicits antitumor immunity against established melanoma through distinct mechanisms. J Immunol 190(4):1873-81. PMID: 23315072
Wang D, Yu Y, Haarberg K, Fu J, Kaosaard K, Nagaraj S, Anasetti C, Gabrilovich D, and Yu XZ. (2013) Dynamic change and impact of myeloid-derived suppressor cells in allogeneic bone marrow transplantation in mice. Biol Blood Marrow Transplant (5):692-702. PMID: 23376089
Li J, Heinrichs J, Leconte J, Haarberg K, Semple K, Liu C, Gigoux M, Kornete M, Piccirillo CA, Suh WK, and Yu XZ. (2013) Phosphatidylinositol 3-Kinase-Independent Signaling Pathways Contribute to ICOS-Mediated T Cell Costimulation in Acute Graft-Versus-Host Disease in Mice. J Immunol 191(1)200. PMID: 23729441
Yu Y, Wang D, Kaosaard K, Liu C, Fu J, Haarberg K, Anasetti C, Beg AA, and Yu XZ. (2013) C-Rel is an essential transcription factor for the development of acute graft-versus-host disease in mice. Eur J Immunol 43(9):2327. PMID: 23716202
Veerapathran A, Pidala J, Beato F, Betts B, Kim J, Turner JG, Hellerstein MK, Yu XZ, Janssen W, and Anasetti C. (2013) Human regulatory T cells against minor histocompatibility antigens: ex vivo expansion for prevention of graft-versus-host disease. Blood 122(13):2251.
Haarberg MK, Li J, Jeinrichs J, Wang D, Liu C, Bronk CC, Kaosaard K, Owyang AM, Holland S, Masuda E, Tso K, Blazar BR, Anasetti C, Beg AA, and Yu XZ. (2013) Pharmacologic inhibition of PKCα and PKCθ prevents GVHD while preserving GVL activity in mice. Blood 122(14):2500. Featured Article in that Issue.
Betts BC, Veerapatharan A, Pidala J, Yu XZ, and Anasetti C. (2014) STAT5 polarization promotes iTregs and suppresses human T-cell alloresponses while preserving CTL capacity. J Leukoc Biol 95(2):205.
Chatterjee S, Thyagarajan K, Kesarwani P, Song JH, Soloshchenko M, Fu J, Bailey SR, Vasu C, Kraft AS, Paulos CM, and Yu XZ and Mehrotra S. (2014) Reducing CD73 expression by IL1β-programmed Th17 cells improves immunotherapeutic control of tumors. Cancer Res 74(21):6048.
Bronk CC, Yoder S, Hopewell EL, Yang S, Celis E, Yu XZ, and Beg AA. (2014) NF-κB is crucial in proximal T-cell signaling for calcium influx and NFAT activation. Eur J Immunol 44(12):3741.
Fu J, Wang, Yu Y, Heinrichs J, Wu Y, Schutt S, Kaosaard K, Liu C, Haarberg K, Bastian D, McDonald DG, Anasetti C, and Yu XZ. (2015) T-bet is critical for the development of acute graft-versus-host disease through controlling T-cell differentiation and function. J Immunol 194(1):388.
Xiao G, Wang X, Sheng J, Lu S, Yu XZ, and Wu JD. (2015) Soluble NKG2D ligand promotes MDSC expansion and skews macrophage to the alternatively activated phenotype. J Hematology & Oncology 8:13.
Wu Y, D Bastian, S Schutt, HD Nguyen, J Fu, J Heinrichs, C Xia, and Yu XZ. (2015) Essential role of interleukin-12/23p40 in the development of graft-verse-host disease in mice. Biol Bone Marrow Transplant 21(7):1195.
Li J, Heinrichs J, Haarberg K, Semple K, Veerapathran A, Liu C, Anasetti C, and Yu XZ. (2015) HY-specific induced regulatory T cells display high specificity and efficacy in the prevention of acute graft-versus-host disease. J Immunol 195(2):717.
Zhang L, Ke F, Liu Z, Bai J, Liu J, Yan S, Xu Z, Lou F, Wang H, Zhu H, Sun Y, Cai W, Gao Y, Li Q, Yu XZ, Qian Y, Hua Z, Deng J, Li QJ, and Wang H. (2015) MicroRNA-31 negatively regulates peripherally derived regulatory T-cell generation by repressing retinoic acid-inducible protein 3. Nat Commun 6:7639.
Yan S, Xu Z, Lou F, Zhang L, Ke F, Bai J, Liu Z, Liu J, Wang H, Zhu H, Sun Y, Cai W, Gao Y, Su B, Li Q, Yang X, Yu J, Lai Y, Yu XZ, Zheng Y, Shen N, Chin YE, and Wang H. (2015) NF-κB-induced microRNA-31 promotes epidermal hyperplasia by repressing protein phosphatase 6 in psoriasis. Nat Commun 6:7652.
Wu Y, D Bastian, J Heinrichs, HD Nguyen, J Fu, C Liu, J Jin, QJ Li, C Xia, and Yu XZ. (2015) MicroRNA-17-92 controls T-cell responses in graft-versus-host disease and leukemia relapse in mice. Blood 126 (11):1314.
Schutt S, J Fu, H Nguyen, D. Bastian, J Heinrichs, Y Wu, C Liu, J Pidala, and Yu XZ. (2015) Inhibition of BTK and ITK with Ibrutinib is effective in the prevention of chronic graft-versus-host disease in mice. PLoS One 10 (9): e0137641.
Fu J, Y Wu, H Nguyen, J Heinrichs, S Schutt, C Liu, and Yu XZ. (2015) T-bet promotes acute graft-versus-host disease through hematopoietic antigen presenting cells in mice. J Immunol, in revision.
Nguyen HD, KM Haarberg, Y Wu, J Fu, J. Heinrichs, D. Bastian, S Schutt, S Chatterjee, S Shrestha, C Liu, S Mehrotra, H Chi, and Yu XZ. (2015) Distinct metabolic reprograming of T cells in response to alloantigen after hematopoietic cell transplantation. J Clin Invest, in revision.
Current Research Support
Alloreactive Regulatory T cells Control GVHD and Maintain GVL (PI)
08/01/2006 – 06/30/2016
Elucidating the Function of PKC-theta in Alloreactivity and GVHD (Co-PI)
06/01/2010 – 05/31/2016
Targeting IL-12/23 p40 Pathways for the Control of GVHD (PI)
03/01/2013 – 02/28/2018
JAK2/STAT3 as a Therapeutic Target and Marker of GVHD (Co-Mentor)
7/01/2013 – 6/30/2018
Identification and Validation of T-cell Metabolic Targets for Controlling GVHD and Leukemia Relapse (PI)
2/01/2015 – 1/31/2017
MicroRNA Regulates Graft-versus-Host Disease (PI)
08/01/2015 – 02/28/2020
South Carolina Center of Economic Excellence Endowed Program (PI)
State of South Carolina
05/2013 -


text: Star's exclusive forced convection system keeps the toaster cool to the touch and extends the life of critical components. Star's exclusive forced convection system keeps the toaster cool to the touch and extends the life of critical components. The forced convection increases productivity by re-circulating pre-heated air into toasting chamber. Quartz infrared heaters provide faster, more consistent heating than traditional heating elements. High performance - QCS3-1000 produces up to 1000 slices per hour. 1 1/2" Product opening easily accommodates toast and bagel halves. High volume compact toaster - requires only 18-1/2" of counter space and our patented forced convection system allows the unit to be placed against a wall. Other toasters have louvers requiring additional counter space. Easy to use control panel takes the guesswork out of temperature and speed control settings. Variable speed and top/bottom heat control for perfect color and texture of bread, bagels, English muffins and more! Energy efficient operation with power saver switch that reduces electricity consumption by 75%. And our quartz heaters return to full power in seconds vs. minutes for metal-sheathed elements. Extended conveyor belt for easy loading and large warming area for higher production. Safe load up area with full width coated front burn guard and cool to the touch exterior. "Smart" crumb tray keeps the breadcrumbs from falling under the toaster. Heated holding area to keep toast at the perfect temperature. Hi-limit switch prevents toaster from overheating protecting critical component parts. 24 hours 7 days a week technical support by Holman technicians.


text:
#130428 by midnightrainband
Sat Jul 20, 2013 8:56 pm
Sat Jul 20, 2013 8:56 pm
Hey Mike,mikelawson wrote:Nice to meet you, Tim. I'm emceeing the entire four days and playing solo in-between each act, so there's no way you won't meet me since I'll be announcing your band to the audience.
I'm bringing my bolt with me to sit in with folks, but playing mostly acoustic over the week. I did it last year and it was awesome. I just heard from Phil that my Bolt is shipping out on Tuesday. STOKED!
NSP wrote:Hey Mike! I will be at the GGG as well. My band, New Speedway Players, has a Thursday slot right before Brian Lesh and Ross James.mikelawson wrote:I'm sure eager to get this thing, been waiting a long time. Its supposed to be here in time for me to get to know it before I go to WI to emcee and perform at the Grateful Garcia Gathering Aug 1-4.
I can totally relate to you being eager about getting your guitar. If all goes as planned, I will have my AO Wolf for that gig....I'm chomping at the bit waiting as well!
Hope to see you there (and show each other our new guitars),


text:
At 5:23 AM -0800 3/6/01, William Loughborough wrote: >At 01:00 PM 3/6/01 +0200, Lisa Seeman wrote: >>"minimize" and not "do not use" so that you can have alert boxes or >>other necessary distractions. >Repeat after me: "user-controllable". I try, but whenever I attempt it I say "edapta." Oops, was that a product plug? :) >"Guideline 2. Design content that allows interaction according to >the user's needs and preferences" - checkpoints may need crafting >and techniques might be elaborate, but the *principle* is what we >should keep in focus. If a user's environment would be ruined by >crawling ants, but must still permit fire alarms, then we deal with >that in techniques for achieving *needs* (P1) and *preferences* >(P2/P3?). I'm not sure if P1/P2/P3 break down that way but I do acknowledge the wisdom of what you are saying. >LS:: "The problem is concentrating or following and not interaction." >WL: IMO "interaction" is still OK because diverting one's attention >to ants/spiders/fireworks is clearly interactive. Thus >"concentrating/following" are interactions in the sense used here. Yes. At 5:28 AM -0800 3/6/01, William Loughborough wrote: >Not to speak for Lisa but I don't think we want to say either >"minimize" or "do not use" but rather "provide escape route" from >crawling ants, etc. with "exception" for life-threatening alarms? Yes, but I feel that her specific example above was of the sort "don't put crawling ants on the screen." :) I agree 100% that it should be user-configurable -- on the client, on the server, or BOTH -- whether or not ants are a distraction. The default, I think, should be to assume that they _are_ a distraction and to only use them if there is a specific need by the author to attract the user's attention to something. Note: This does still allow the author to create an animated banner specifically for the purpose of attracting the user's attention away from the rest of the information on a page. However, this is a feature, not a bug; it's intended that if the author wishes to do this, that is a _legitimate_ use of "distractive" techniques. (The conflict here is between the desire of the user to use a page for a certain purpose, and the desire of the content provider to use a page for a different purpose. The example in the current 2.0 draft, that says "you may want to provide a banner-free version of the page", is hopelessly naive in understanding this conflict and reduces it to a simple "well, just don't make money" business non-decision!) --Kynn -- Kynn Bartlett <email@example.com> Technical Developer Liaison Reef North America Tel +1 949-567-7006 _________________________________________ ACCESSIBILITY IS DYNAMIC. TAKE CONTROL. _________________________________________ http://www.reef.comReceived on Tuesday, 6 March 2001 09:46:06 UTC
This archive was generated by hypermail 2.3.1 : Tuesday, 16 January 2018 15:33:36 UTC


text:
Fred Setterberg's most recent book is Sam Maloof: 36 Views of a Master Woodworker, published by Heyday. Critical Blast likened the book to "a clinic on biographical narrative." Feathered Quill deemed it, "Fun, lighthearted, beautiful stories, this memoir is one to be savored." Fred is also the author of Lunch Bucket Paradise: A True-Life Novel and The Roads Taken: Travels Through America's Literary Landscapes, winner of the AWP prize in creative nonfiction, and co-author of Under the Dragon: California's New Culture, along with five other books. He has received an NEA creative writing fellowship and numerous journalism awards.
Sam Maloof: 36 Views of a Master Woodworker
© Fred Setterberg 2016
Excerpted from chapters 13 and 14.
Harrison McIntosh
Harrison McIntosh and the interviewer from KCET, the local PBS affiliate, position themselves on Maloof chairs at the Maloof table. Behind them hangs a large abstract painting by Karl Benjamin. Just out of the camera's eye you can spot another abstraction by James Hueter, his oil on wood, "Grey, Flush, and Setback."
While the four artists spent many, many hours in one another's company (along with Rupert "Rummy" Deese, with whom Harrison shared a studio for fifty years, and whose ceramics are similarly assembled slightly off camera), this particular arrangement of their artwork serves as a kind of mockup, a symbolic recreation of mid-20th century creative life in the Pomona Valley. The occasion is Harrison's 100th birthday party, marked by a grand commemorative exhibition at the American Museum of Ceramic Art in Pomona, California.
Four hundred friends and associates mill through the galleries, pausing at Harrison's early terracotta torso, the glazed stoneware illustrated with mishima circles and lines, the vases and plates, lidded jars and footed bowls, the bottles and chrome-base sculptures. A balance of pattern and movement characterizes each display. "I always had classical music playing on the radio when I was working," said Harrison. "I feel my work was close in kin to music, especially Bach." The exhibition confirms this notion: the repetition of line and figure, the potent compact of entwined energy and serenity, the precision of detail culminating in a state of tremulous equilibrium.
Harrison's admirers span the globe, his ceramic vessels collected in more than forty museums, from the Los Angeles County Museum of Art to the Smithsonian, the Louvre, and the National Museum of Art in Tokyo. Over the course of a half-century, he has been the focus of forty-three solo exhibitions in Los Angeles, San Francisco, Chicago, Baltimore, Detroit, Wichita, and beyond. A generous portion of this achievement Harrison attributes to the happy accident of moving to the Pomona Valley at a moment when a contingent of like-minded artists had caught a similar drift.
By 1945, the war had ended and the possibilities of the Servicemen's Readjustment Act – the GI Bill – were just beginning to dawn on young veterans returning from Europe and the Pacific. The GI Bill covered tuition and a living stipend, making it possible for individuals who had never considered the possibility of higher education to enroll in the university and radically alter the course of their lives.
After being discharged from the Army, Harrison entered the newly-established Claremont Graduate School as a "special student," a non-matriculating resident specializing in ceramics. Other fledgling artists joined the ranks, some earning degrees, others spending months and then years in workshops and studios until their benefits ran out. Students included Paul Soldner, recently discharged from the Army after helping to liberate Mauthausen concentration camp, later to become a pioneer of American raku pottery. The sculptor John Svenson, an Army Air Corps aircraft mechanic and native of the Pomona Valley who studied with English-born Albert Stewart. Former B-24 turret gunner and painter, Roger Kuntz. Harrison's close friends, painter and sculptor Jim Hueter, a former Army camouflage artist, and ceramicist Rummy Deese, an Army Air Corps mechanic. The veterans brought to their studies an intensity and highly compressed ambition, reshaping the campus culture. "An 18-year-old out of high school," observed Navy vet and painter Karl Benjamin, "is a lot different than a 21-year-old with three years of being shot at." Studios remained open twenty-four hours a day and the young vets with vivid memories of the European front and the South Pacific poured themselves into their work like beneficiaries of a mortal reprieve.
The indispensible man behind all this activity proved to be Millard Sheets. Under his leadership, the Scripps art department had attracted a distinguished faculty, including painters Phil Dike and Henry Lee McFee, designer Jean Ames, ceramicist William Manker, and Albert and Marion Stewart in sculpture and weaving. Millard seemed to be everywhere. He oversaw the commission of a 100-foot campus mural by Alfredo Ramos Martinez, one of the era's leading practitioners from Mexico. He organized first-rate art exhibitions at the Los Angeles County Fair, bringing to the region 670 pieces from Egypt, the Middle East, Greece, Rome, and the Etruscan age for "6,000 Years of Art in Clay." His "One World of Art" show controversially displayed work from the ex-belligerent nations of Japan, Germany, and Italy shortly after the war. In 1953, the fair, under Millard's direction, exhibited the advance guard of nonrepresentational art with canvases by Robert Motherwell, Hans Hofmann, Adolph Gottlieb, Ad Reinhardt, and William Baziotes.
Millard also designed and executed a series of mosaic exteriors for local and regional branches of Home Savings bank, hiring assistants from the pool of Claremont vets. Harrison participated in the project – along with Sam Maloof, who had served in the Army, but never used the GI Bill to enroll in college. Sam benefitted in other ways from Millard's presence. For four years, Millard employed him as his assistant, collaborating on a myriad of construction projects at the Sheets' residence, making signs, and building picture frames. Most important, Millard introduced Sam into the university art scene where the gregarious young man threw himself into the task of making friends.
Claremont was then a small town of 3,000 people – a village suffused with bucolic intimacy and buffered by distance and tradition from the surging population of central Los Angeles and its surrounding suburbs. In contrast to the dominant New York art scene, where the blistering urgency of the abstract expressionists' new paintings often matched their frantic, disorderly conduct, the young Pomona Valley painters, sculptors, ceramicists, and woodworkers struck a more conciliatory, balanced tone. "We learned a lot from abstract expressionism," said Harrison – though he and his friends rejected their design for living. Many of the young vets were married, starting families, preparing themselves for careers. On the heels of history's great nightmare, in an act of will and forgetfulness, they immersed themselves in a vigorous creative discipline to achieve a kind of frontier bohemian normalcy. If they adhered to any discernible aesthetic philosophy, it might have aligned with Flaubert's dictum: "Be regular and orderly in your life, like a bourgeois, so that you may be violent and original in your work."
Order brought freedom. Harrison, Sam, Rummy, the entire corps of young artists, enjoyed the autonomy to devise their own interpretations of the artist's life. No school or method prevailed; there wasn't a Claremont style. Under the shield of Millard's entrepreneurial zeal (his character seemed better suited to a field general than department head), all approaches to art could gain a foothold, as long as they registered exacting and true. Disciplines mixed freely. Ceramicists, painters, woodworkers, and weavers relished the camaraderie, exchanging perspectives, techniques, and materials – eventually trading among themselves their own creations: a painting for a pot, a chair for either. Friendships ignited and burned on for decades. "We all felt like we were doing something new," said Harrison. "We enjoyed seeing the results of what each of us was attempting. We supported each other, admired one another's work."
Harrison and Sam began eating lunch together at Walter's in downtown Claremont, a weekly routine that persisted for fifty years. They discussed painting, wood, children, money, family, problems, peers, galleries, aesthetic movements of the past and present; the business of making art and the art of living.
"Much of the time we'd be talking about his furniture," acknowledged Harrison, "and who was the latest collector. Who was going to pay $30,000 for this or that piece. He wanted to make sure that people knew the value of his furniture. He was the best salesman I ever met."
Fellowship did not eradicate struggle. Each artist continued to grapple with his personal vision, pulling together disparate elements of craft and intuition to assemble something striking and fresh in their studios as daily life unfolded with its pressures and conventions. Harrison branched out into industrial design, fabricating tile patterns two days a week over two years for Interpace (where Millard also served as company consultant). Over ten summers, Harrison, along with his wife, Marguerite, designed crystal and ceramic dinnerware for Mikasa, first in Bavaria, then Japan, but the ceramicist always longed to return to the solitude of his own studio. Claremont proved the perfect site for a quiet life of prodigious output, free from distraction yet filled with colleagues, collectors, opportunity, appreciation.
Sam continued turning out his chairs, tables, and cradles while sculpting his woodworker's compound by hand.
"He never wanted any company to try to reproduce his furniture," remembered Harrison. "Sam insisted that the only pieces going to be sold had to be made by him and his crew. He had some very good offers, some rather large companies that wanted to buy his designs so they could be mass produced. He could have made a lot more money. But he turned them down."
The two artists found room to differ. Claremont's lack of a prevailing aesthetic ideology, and the absence of scrutiny by the national press and its critical apparatus, conferred on them a spaciousness. The adamantly miscellaneous artistic community resisted both conformity and jealousy; work was less like competition than parallel play. The former citizen-soldiers each year more emphatically assumed the role of citizen-artists.
The vignettes assembled for Harrison's 100th birthday exhibition speak to the enviable state of this peaceable kingdom. Harrison and Sam and Jim Hueter and Karl Benjamin and Rummy Deese, along with so many other artists, constructed a blissfully leaderless artistic enclave that could not be duplicated today without corresponding upheavals and adjustments of history to assemble in one place a like number of talented, motivated people and afford them the time and isolation to engage in the joint project of becoming themselves. They needed one another. They helped shape each other, if only by reflecting a common aspiration to make a life of art. In the process, perhaps they improved one another. (Said George Frideric Handel, Bach's counterpart, musing on his writing The Messiah: "I should be sorry if I only entertained them, I wish to make them better.") Sam and Harrison proved particularly attuned. Harrison, so keen on and influenced by architecture, even in his youth persuading his parents to commission a house designed by Richard Neutra: what better friend and colleague across Walter's lunch table than Sam, the master builder? And Sam, the devoted collector of mid-century ceramics, his home filled with beautiful pieces, Harrison's most numerous of all – wasn't he fortunate to have a friend whose strength and delicacy, judgment and hunger for work confirmed his own suspicions about what the good life contained?
James Hueter
"First of all," intoned Jim Hueter, his soft voice murmurously patient and measured, "I want to say that I don't know what I'm doing. I don't think any artist really knows."
It's a sentiment echoed by Henri Matisse in the catalog to Hueter's 2009 retrospective at the Claremont Museum of Art.
"In art," proclaimed Matisse, "truth and reality begin when one no longer understands what one is doing or what one knows, and when there remains an energy that is all the stronger for being constrained, controlled and compressed."
Fortitude and reserve drive creative energy. And time. Years spent in the same place learning what's worth portraying, training one's eye to perceive the deep structure of physical space before discovering how to paint it. Since 1942, Hueter has made Claremont, California, his home. Along a gravel road close to the suburban tract developments that long ago mowed over acres of citrus groves and chaparral, he designed and built a house and studio advantageously removed from the busy sprawl. A modernist compound influenced by Frank Lloyd Wright and Richard Neutra where he could study the world's shape and color in privacy and reinterpret it with utmost feeling.
"The best word that I can hear from anybody about my work is that they were 'moved,'" he said. "What the work is, I don't know. But the sense of being moved is something that has to be there."
Over the decades, Hueter's paintings have wound through realism, surrealism, and abstraction, employing an array of perspectives and techniques in a questing spirit. His more recent work combines oil on wood with shellac, glass, mirrors. They're beautiful and mysterious, puzzling and inviting. "Some people say, 'Oh, that work is so precise with the mirrors.' But those paintings are put together by luck. By trying and pushing and pulling so they look as if they're all finished."
Less luck, perhaps, than persistence. Hueter recalls a Halloween party a half-century ago at the home of his colleague, the painter Paul Darrow. The host's son was being introduced to another guest who playfully quizzed him about Hueter.
"Is he a good painter?"
"No," the boy replied. "He isn't now. But he will be."
A smile ripples across Hueter's tightly-drawn lips. "That's what my friends thought about me at that time. I was working on it."
Mostly, he endeavored in solitude. "I've always been a loner," he admits. "Some people would be happy working in a studio. Sue Hertel, Paul Darrow, Doug McClellan, Roger Kuntz. They were in a studio together and had a wonderful time. Joking, having a lot of fun. I'd be in another studio by myself working on these tight little still lives. But I didn't mind it."
Solitude did not signify isolation. In the midcentury beginnings of his career, Hueter could count on the company of more than a score of dedicated artists drawn to the Pomona Valley. "Milford Zornes was around," he recalled, "and Milford was a good painter, a good draftsman. And a very nice person." Frederick Hammersley, whose hard edged style Hueter admired, taught for a decade at Pomona College. "We had something going together, we felt the same way about making paintings." The dominant presence of Millard Sheets, then assembling the art department at Scripps, provided to a great extent the impetus for Hueter to return to the Pomona Valley after being mustered out of the army. "Millard talked to me as if he had known me all my life," he recalled of their first meeting. "He was the most agreeable, most interested person." Hueter caucused regularly with painters Darrow, Kuntz, McClellan, Tony Ivins, and Karl Benjamin. "We would get together once a month. We were busy with our careers, working and showing. It was a very influential time for me. For each of us."
Later, Hueter joined what local observers referred to as "the artists' group" that regularly met for lunch at Walter's in downtown Claremont. "The group was two people," he corrected. "Sam and Harry McIntosh. Rummy Deese sometimes. I got invited somehow. Freda would ask, 'What can you all talk about for two hours?' Sam did a lot of the talking. He had good stories about the famous people he had done work for. We'd talk politics sometimes. Rummy was a very strong believer in Israel. Rummy had facts, he knew dates, names, everything. I thought, My gosh, this guy is very bright. Sam thought what had been done to the Palestinians was terrible. Sam had emotion. But they never got really mad. They just came on kind of strong at times. Then I'd kid Sam about going to the bank across the street to loan the bank money. He was getting pretty famous."
When Hueter had a show scheduled to open at the Tobey C. Moss Gallery in Los Angeles, he supplemented his paintings with an assortment of working drawings, and then started thinking about Sam. "Sam was the one who made beautiful working drawings. Why not have Sam in the show? I talked with Tobey who said, 'Why not have Harry and Rummy, too?' I was in Aptos on vacation. Tobey called and said, 'Everybody's on board. What do you think would be a good title for the show?' Right off the top of my head, I said, 'Four Friends.' People thought that was the name because we all went to Walter's. But it wasn't."
With years and proximity allowing acquaintance to develop naturally into friendship, small favors and unremarkable services could be rendered without fuss or notice. Sam made frames for many of Hueter's early paintings. Hueter's mother purchased a large chair and end table from Sam and made a present of the furniture to her son. "For the two pieces, she paid an outrageous sum of five hundred dollars. She thought that was awfully high. This was in the early Fifties." Sam admired a drawing of Hueter's at a Scripps exhibition and agreed to trade it for a rocker specially designed to fit the painter's small frame. "It's an unusual one in that it's a small size. One of a kind. It was the one hundredth chair that Sam made in 1974, the last one of the year." When the Huntington opened its 2011 show, "The House That Sam Built," Hueter's beguiling oil on wood, Thin Figure Rising, joined the work of thirty-six other Pomona Valley artists associated with Sam Maloof.
Still, Jim Hueter balks at the notion that he has spent the past half-century as a member of an "artists community."
"When I think of community, I think of my close friends. And people outside of the arts who worked with and for us. Plumbers, the heater man, the air-conditioning fellow just down the block who will come anytime to help, practically for nothing. Other people, too, who are very good friends." Assumptions about the lively gratifications of a regional artists community mildly rile Hueter with its idealized vision of languid productivity and predictable reward "where everybody's an artist and they're all very good."
What Hueter and his peers most certainly did possess – nurtured by steadfast effort and freshened over the years with innumerable conversations, questions, viewing, and use – was a standard of achievement that each artist felt obliged to pursue.
"We all respected each other's work," said Hueter. "Sometimes, I'd look at one of my paintings, and say, 'Damn, that's good.' Then I would have negative feelings. I wasn't moving ahead very fast. But I started to learn that other people admired my work. People I admired who were quite successful."
Which, finally, might be the most important aspect of friendships configured to sustain a creative life. Without design or even conscious seeking, Jim Hueter found himself surrounded by people who made excellence the unspoken assumption of their efforts and tacitly expected an equal measure from their peers. It brought to the Pomona Valley a vivifying and enviable freedom.
"I was going through some drawings yesterday," said Hueter. "I had one stack I called My Little Daily Drawings. I just loved to draw and see what would happen. Just making a statement. It was pretty disciplined. I might do three or four in a row. I dated them. After a year, I had close to a thousand. One group is quite geometrical. Another, I just put some marks down in the center and scratched the head, eyes, nose. It was the most wonderful feeling that I ever had in making work because I didn't have to think about it. I'd make something, and then see what that led to."


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The FBI Knew Jihadis were Targeting Garland, Texas Free Speech Event
"It's a whole other thing if you're encouraging and cheering on the proposed murder of Americans who are standing in defense of the freedom of speech, and then not doing anything about it. Why did the FBI only have one agent there? And not a team waiting for them to shoot back?"


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July 3, 2009
Sunscreen: Use a shot glassful
Using the wrong type of sunscreen can further damage sun-exposed skin, a U.S. skin specialist warns.
New York dermatologist Dr. Bruce Robinson of the American Society for Dermatologic Surgery advises choosing products with zinc oxide that provide a physical block against the sun and do not take 20-30 minutes to become effective.Read the sunscreen label and look for broad coverage that protects not only against ultraviolet B but also ultraviolet A that can pass through windows and penetrates more deeply into the skin, Robinson says.
Robinson advises to apply sunscreen evenly and often. He recommends applying a shot glass size amount of sunscreen to the entire body and a teaspoon of sunscreen to the face -- cautioning some bodies may require more than the recommended amount. Cover all body parts, even those not exposed to the sun, with a thin even layer of sunscreen and reapply every two hours, Robinson says.
There are many ingredients and factors consumers should look for when choosing sunscreen products, Robinson says in a statement.
I tell my patients to avoid getting hung up on product gimmicks, and to instead pay more attention to the basics of sunscreen protection and their sunscreen regimen.


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Instant: The Story of Polaroid
Fall is also a great time for reading; as the days get shorter and the weather inevitably turns cold and rainy, going out becomes less desirable and I love to stay in with a good book. At the top of my autumn reading list is Instant: The Story of Polaroid, an upcoming release from Princeton Architectural Press that promises a behind-the-scenes look at one of the most fabled and innovative companies of the last century. Author Christopher Bonanos, senior editor of New York Magazine, traces the history of the company from its origins in 1948 all the way to its bankruptcy in the 2000s, documenting both its laudable rise to pop-culture phenomenon and its subsequent inability to reinvent itself in the wake of digital dominance. Heavily illustrated with photos and documentation of Polaroid's remarkable branding and marketing strategies, Instant promises to be a real treat. I can't wait to get my hands on a copy.
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Have you seen Dr. Marco A Delacruz?
Showing 12 of 40 Ratings
Five Stars
Self-verified patient of Dr. Marco A Delacruz - Posted on October 25th, 2015
I didn't find him until I was 68 yr old. He is EVERYTHING I ever hoped for in a doctor. Sure wish I had him years earlier.
Restorative Health Is the Only Way
Self-verified patient of Dr. Marco A Delacruz - Posted on October 4th, 2015
After reviewing my past blood work it was obvious I needed to make changes in my lifestyle where diet was concerned. Unlike most dr.'s that would write a script to send one down a path of taking meds he pointed out my body needed detoxifying and from there I needed to be aware of what foods should be avoided. I've learned how to use almond or oat flour when baking. And I know that Dark Cocao chocolate is the only way to enjoy that flavor to avoid the sugar sweet milk chocolate brings forward. I still mix green smoothies adding Activa Hemp Powder, and focus on eating green with little grains. My weight remains at 108 to 110#'s, not 123#'s. Exercising, breathing, and incorporating yoga all help in keeping me balanced. I believe that as I can follow the main principals of what was given to me I'll avoid becoming diabetic. My blood sugar before detoxing was as high as 160, afterwards it was 86. My cholesterol went down as well. And I believe I can avoid cancer scares too because my immune system will be boosted. I also learned that continuing my Vit. D3 supplement made sense to be sure my body processes glucose properly. I would hope Dr. De La Cruz would give seminars for other physicians to adopt the restorative methods he uses. I would be happy to share my experience if it would be of benefit.
A doctor you can trust.
Self-verified patient of Dr. Marco A Delacruz - Posted on October 2nd, 2015
I was a patient for nearly 8 years when my insurance changed and I could no longer see him. When I began to see him I was finding doctor after doctor that never listened to what I knew about my symptoms and health problems. Dr. De La Cruz listened. He improved my immediate problems and then tackled my general health. I was steadily gaining ground. The doctors I saw when I had to follow my insurance were the worst reminder of bad care. I asked repeatedly for the Shingle shot and it took 3 years to get it. My insurance now includes Dr. De La Cruz. I was so relieved to see him again, and little has changed. His caring and intelligent practice of medicine give me hope that I can restore my health. He reviewed everything with me carefully and I am so grateful for his new office and wonderful staff. You know that you are partners in your own healthcare here, and I look forward to renewed faith in the superior medical care I know I will receive.
Self-verified patient of Dr. Marco A Delacruz - Posted on January 14th, 2015
My husband and I had been referred to Dr De La Cruz by a co worker. Dr De La Cruz spend so much time with each of us not only on our intial vist but with our follow up visit. He not only listened to us but mapped out a long term care plan. I have never visited a physician who seemed to embrase his profession like Dr De La Cruz does. He really cares about the problem that you are there for the day of the visit but also about teaching you how to best work toward optimal wellness. My husband and I made several lifestyle changes and both us feel like we are living a much healthier lifestyle because of Dr De La Cruz's work with us. No other physician ever recommended anything like Dr De La Cruz had, they just want to give you another prescription to cover things up like a bandaid. We are truly blessed to have him as our physician.
Self-verified patient of Dr. Marco A Delacruz - Posted on August 9th, 2014
The best Dr. I have ever worked with. Knowledgeable, professional, excellent communication skills and follow up with his patients. He spends quality time never rushes me or my wife and explains everything. I was so fortunate to find such a wonderful compassionate physician to have on my team.
A truly knowldgeable, caring and compassionate physician
Self-verified patient of Dr. Marco A Delacruz - Posted on June 11th, 2014
I began seeing Dr De La Cruz about 3 years ago for several medical issues that not 1 Dr. was willing to spend the time with me figuring out what was really wrong. Most Dr. only want about 10 minutes with you and then hand your 2 or 3 prescriptions. Dr. De La Cruz was able to diagnosis and handle my medical issues. He worked closly with me for and I feel like a new person after suffering and getting no where with my health problems. He is kind, compassionate, and a caring physician. He is knowledgeable and truly spends a great deal of time helping patients get well. I have sent several family members and friends and they also love him as their physician.
Five Stars
Self-verified patient of Dr. Marco A Delacruz - Posted on August 15th, 2013
A mutual friend recommended Dr De La Cruz. I found him to be very thorough with his treatment plan. His manner is caring and genuine, and it is very evident that he has a passion for his profession. Every visit I have seen Dr De La Cruz is professional and accurate with the diagnosis. He is the only doctor I found that truly does a complete assessment and listens well to my concerns. I would highly recommend Dr De La Cruz
Hormonal Imbalance
Self-verified patient of Dr. Marco A Delacruz - Posted on July 6th, 2013
Dr. De La Cruz is a remarkable Dr. After going to several doctors for with some hormonal symptoms, they would not listen to my concerns. For about a year I had suffered with palpitations, anxiety, insomia and digestive issues. Thanks to Dr. De La Cruz he sat with me and patiently went over my symptoms. He has me on a great therapy and I find myself getting better. Thank you so much Dr. De La Cruz, you are a true blessing. I also want to thank his assistant Ann who is so sweet and patient.
Knowledgeable and willing to listen to me
Self-verified patient of Dr. Marco A Delacruz - Posted on July 20th, 2012
Dr De La Cruz was the 8th doctor I visited and came highly recommended. I can not tell you how much he gave me my life back by really working to restore some major health issues that no other doctor was able to diagnosis. He spent so ,uch time reviewing my symptoms and consulted with other other professionals to get to the root of my health condition. His bedside manner and caring attitude was so heart warming. I would highly recommend him for anyone who wants a professional who truly wants a physician that loves helping others. I have sent several other friends who all feel the same way about him.Thank you Dr De La Cruz
Suzette De Salvo
Self-verified patient of Dr. Marco A Delacruz - Posted on July 21st, 2011
I have been a patient of Dr De La Cruz's for several years. I find his knowledge of medicine to be the very best. He truly listens to his patients and his visits are extensive and never rushed. I referred several friends who were beyond pleased with his medical care. My mother was also very ill and every doctor just wrote one prescription after the other and never really tried to find the cause of her problems until Dr. De La Cruz, I feel he saved her life. He is truly what the medical community should mirror in excellent quality patient care.
Susan Coleman
Self-verified patient of Dr. Marco A Delacruz - Posted on April 14th, 2011
I was referred to Dr. De La Cruz from a friend. I had numerous health issues. Every doctor I saw did not listen to me and put me on antidepressants or wrote another prescription but never took the time to find out what the root of my health problems were. When I met Dr De La Cruz he was very personable, he spend a great deal of time on every visit and worked with me for months to restore some imbalances in my hormones and thyroid which no other doctor looked at. He had me meet with his nutritionist which gave me healthier living options, and encouragement to begin a moderate exercise program. He works toward prevention of health issues before they begin. I would highly recommend Dr De La Cruz as he is truly a caring doctor who values his patients.
Thyroid problems
Self-verified patient of Dr. Marco A Delacruz - Posted on November 23rd, 2010
Hello i have been a patient of Doctor De La Cruz for quiet some time and when i couldn't sleep for months, breaking out in hives and lossing weight and heart palpitations... He helped me get better...Doctor recommended a good multi-vitamin, Omega, iodine pills and espeially VITAMIN D3-5......I got better within weeks.... My test results showed a high count of Thyroid Antibodies and Super deficient in Vitamin D.....I am truly blessed to have found him...Think he's an excellent Doctor and knows his stuff!!!!!!!! Thank you Doctor and i always recommend Doctor De La Cruz.... With now has a new office in Lincoln Park
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Of Birmingham and Hungarian nut rolls
The cookbook I treasure, now that my Mom is gone, is a dog-eared, folksy collection of Hungarian and some American recipes. It was collated together by the St. Stephen's Mother Club in Birmingham of East Toledo, Ohio. Birmingham is not an actual place you can google map; it's an old historic district that began in the 1890's in East Toledo. The boundaries started at the Maumee river and grew as more immigrants came to work in the smokey, industrial factories that provided jobs.


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Click here to print the obituary below
In Memory of
Dolores G. Amitrano
September 18, 1937 - June 29, 2012
Dolores G. Amitrano, RN, 74, of Sauga Avenue, North Kingstown, passed away June 29, 2012 at home.
Born in Providence, she was a daughter of the late Frank and Rose (Papa) Amitrano; aunt of Elaine C. Colaneri; great-aunt of John "Jack" Colaneri and his wife Michelle and their son Michael; sister of the late Corrine "Dee Dee" Mercurio and Carolyn "Carrie" Colaneri.
Dolores was a 1958 graduate of RI Hospital School of Nursing and received her Bachelors and Masters degrees in nursing from Boston University. She was a charge nurse of pediatrics at RI Hospital, nursing coordinator at The Child Development Center at RI Hospital, professor of nursing at RI College, coordinator of the nursing program at Miriam Hospital, and nursing coordinator at the Groden Center until her retirement.
Visitation and funeral services will be held Thursday, 9-10 a.m. followed by a service at 10 a.m. in the PONTARELLI-MARINO Home, 971 Branch Avenue, Providence. Burial will be in St. Ann Cemetery, Cranston.
Thursday, July 05, 2012 | 09:00am - 10:00am
Pontarelli-Marino Funeral Home
971 Branch Avenue, Providence, Rhode Island 02904 | (401) 331-7390
Driving Directions
Funeral Service
Thursday, July 05, 2012 | 10:00am
Pontarelli-Marino Funeral Home
971 Branch Avenue, Providence, Rhode Island 02904 | (401) 331-7390
Driving Directions


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SummaryKorab Resources Limited (Korab) is a mineral resource exploration company. The company is engaged in the exploration, evaluation, and development of mineral resource properties. It primarily explores for gold, silver, potash, rare earths, tin, copper, lead, zinc, nickel, phosphate rock, magnesium, antimony, and iron ores. Korab also explores various industrial metals, including vanadium, titanium, wolfram, manganese, and cobalt. The company operates the Geolsec phosphate mine located near Darwin in the Northern Territory, and the Bobrikovo gold and silver project located in the Lugansk province in Eastern Ukraine. It also owns Winchester magnesite project, Ashburton Downs project, and Batchelor and the Green Alligator polymetallic projects. Korab is headquartered in West Perth, Western Australia, Australia.This comprehensive SWOT profile of Korab Resources Limited provides you an in-depth strategic analysis of the company's businesses and operations. The profile has been compiled by GlobalData to bring to you a clear and an unbiased view of the company's key strengths and weaknesses and the potential opportunities and threats. The profile helps you formulate strategies that augment your business by enabling you to understand your partners, customers and competitors better.This company report forms part of GlobalData's 'Profile on Demand' service, covering over 50,000 of the world's leading companies. Once purchased, GlobalData's highly qualified team of company analysts will comprehensively research and author a full financial and strategic analysis of Korab Resources Limited including a detailed SWOT analysis, and deliver this direct to you in pdf format within two business days. (excluding weekends).The profile contains critical company information including*,
- Business description – A detailed description of the company's operations and business divisions.
- Corporate strategy – Analyst's summarization of the company's business strategy.
- SWOT Analysis – A detailed analysis of the company's strengths, weakness, opportunities and threats.
- Company history – Progression of key events associated with the company.
- Major products and services – A list of major products, services and brands of the company.
- Key competitors – A list of key competitors to the company.
- Key employees – A list of the key executives of the company.
- Executive biographies – A brief summary of the executives' employment history.
- Key operational heads – A list of personnel heading key departments/functions.
- Important locations and subsidiaries – A list and contact details of key locations and subsidiaries of the company.
- Detailed financial ratios for the past five years – The latest financial ratios derived from the annual financial statements published by the company with 5 years history.
- Interim ratios for the last five interim periods – The latest financial ratios derived from the quarterly/semi-annual financial statements published by the company for 5 interims history.
Note*: Some sections may be missing if data is unavailable for the company.Key benefits of buying this profile include,
You get detailed information about the company and its operations to identify potential customers and suppliers.
- The profile analyzes the company's business structure, operations, major products and services, prospects, locations and subsidiaries, key executives and their biographies and key competitors.
Understand and respond to your competitors' business structure and strategies, and capitalize on their weaknesses. Stay up to date on the major developments affecting the company.
- The company's core strengths and weaknesses and areas of development or decline are analyzed and presented in the profile objectively. Recent developments in the company covered in the profile help you track important events.
Equip yourself with information that enables you to sharpen your strategies and transform your operations profitably.
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Table of Contents
Section 1 - About the Company
Korab Resources Limited - Key Information
Korab Resources Limited - Overview
Korab Resources Limited - Key Employees
Korab Resources Limited - Key Employee Biographies
Korab Resources Limited - Key Operational Heads
Korab Resources Limited - Major Products and Services
Korab Resources Limited - History
Korab Resources Limited - Company Statement
Korab Resources Limited - Locations And Subsidiaries
Head Office
Other Locations & Subsidiaries
Section 2 - Company Analysis
Korab Resources Limited - Business Description
Korab Resources Limited - Corporate Strategy
Korab Resources Limited - SWOT Analysis
SWOT Analysis - Overview
Korab Resources Limited - Strengths
Korab Resources Limited - Weaknesses
Korab Resources Limited - Opportunities
Korab Resources Limited - Threats
Korab Resources Limited - Key Competitors
Section 3 - Company Financial Performance Charts
Korab Resources Limited - Financial Ratios
Financial Ratios - Capital Market Ratios
Financial Ratios - Annual Ratios
Financial Ratios - Interim Ratios
Financial Ratios - Ratio Charts
Section 4 - Appendix
Ratio Definitions
About GlobalData
Contact Us
Note*: Some sections may be missing if data is unavailable for the company List of Tables
Korab Resources Limited, Key Information
Korab Resources Limited, Key Ratios
Korab Resources Limited, Share Data
Korab Resources Limited, Major Products and Services
Korab Resources Limited, History
Korab Resources Limited, Key Employees
Korab Resources Limited, Key Employee Biographies
Korab Resources Limited, Key Operational Heads
Korab Resources Limited, Other Locations
Korab Resources Limited, Subsidiaries
Korab Resources Limited, Key Competitors
Korab Resources Limited, SWOT Analysis
Korab Resources Limited, Ratios based on current share price
Korab Resources Limited, Annual Ratios
Korab Resources Limited, Interim Ratios
Currency Codes
Capital Market Ratios
Equity Ratios
Profitability Ratios
Cost Ratios
Liquidity Ratios
Leverage Ratios
Efficiency Ratios List of Figures
Korab Resources Limited, Performance Chart
Korab Resources Limited, Ratio Charts


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Last month God and China got pissed off at the committee that awards the Nobel Prize. China because the Peace Prize went to someone they threw in prison for advocating democracy. And God? Well, Robert Edwards won the Nobel Prize for Medicine for his contribution to the development of In-vitro Fertilization (IVF) in the 1960's. The award promptly raised the ire of the Vatican, whose position is that Edwards is not a hero but rather someone who has contributed to evil in the world. Since the development of IVF, about 4 million "test tube babies" have been born. The Church—and presumably God—is not happy about it.
Why wouldn't God be happy about a procedure that has allowed millions of couples to have babies who otherwise weren't able to? Well, it appears he didn't intend for these couples to have babies, and what happened? They did an end-around with this IVF malarky.
Look at it from God's point of view. Traditionally he's been in full control of the creation of new beings—and each new being means a new soul must be created. The production and punishment of souls is God's primary business. Heretofore, he's been the one to decide not only when but if a new soul will be united with a physical body and brought into life. Now, science has taken that away from him.
Wouldn't you be pissed?
Christians, especially those unmarried men at the Vatican, think God is very upset. God is so pissed about IVF that Cathy Lynn Grossman, author of the USA Today religion blog Faith & Reason, decided ask her readers if they thought God considered IVF children to be real children? Do they even have souls?
Now I'm sure no one, regardless of their religion, denies that IVF babies are real babies with human souls.
But here's the rub. Christians adamantly reject the notion that the soul is a product of biology. They disagree with scientists who see consciousness (and the ability to make moral choices about how to behave) as something gradually developing in the womb and after birth as a baby grows. It's not that Christians deny that our bodies are biological entities. But Christians insist that our soul—our consciousness and free will—does not have a biological source. The soul, they maintain, is a spiritual entity which comes from God.
If soul is to be a separate entity of its own, not just something that results from biological development, then it has to join the body all at once, in a unitary moment. The soul can't be something that gradually comes into existence over months or years. Furthermore, the magical fusion of body with soul must be God's doing.
This last point is important because it gets to the heart of God's role in the whole life business. According to Christianity, God assigns our soul to a body at the beginning of our life, and then at the end God decides whether or not we are deserving of going to heaven. This joining of soul with body therefore has a divine purpose—to judge the soul's fitness for eternity at God's side. The cruel act of saddling the soul with a temporal, flawed body is all a part of God's rather elaborate testing operation.
In short, God creates souls and then tests us—these souls—for fitness by combining us with biologically limited bodies and placing us into trying circumstances. And the reason is to find out which of us are good enough to be trusted for eternity in heaven. Not all Christians see it exactly this way. Some denominations believe our souls will not be judged for how we behave but only for whether or not we accept the redeemer, Jesus Christ, into our hearts. A test of a different sort, in other words, but still a test which we either pass or fail.
The difficulty is how to reconcile all of this with in-vitro fertilization.
God is supposed to be in charge of the creation of souls. He is supposed to be in charge of deciding when and if a soul will be combined with a body and therefore a new test of a soul will be done. But IVF makes it look for all the world as if God is not in control of the creation of souls at all, much less his whole soul-testing experiment.
When babies are the result of the rather uncertain hit or miss of sexual intercourse, it is easy to imagine that God has some hand in making pregnancy happen—at least for those who are inclined to a supernatural worldview. But now that scientists are deliberately creating new babies in test tubes, it looks like God no longer has any control over the matter. Now he is forced to test souls whether he wants to or not.
So yeah, if there's a God, he's got to be pissed. And the theologians in the Catholic Church have got to be pissed too, because now they have to explain away one more thing about life that no longer requires their God.


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|Viewsonic Announces 720p Portable Projectors
|Home Theater News LCD Front Projector News
|Tuesday, 27 September 2011
These projectors are made to be with you wherever you need to take them. They're palm sized, which means they can fit in a briefcase, backpack or purse without any trouble. The PLED-W200, which runs $499, weighs in at just under a pound. The PLED-W500 comes in at $699 and includes a gigabyte of memory. Both projectors will be out in October.


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* - поля обязательные для заполнения
With a Lonely Planet guidebook you'll get the best out of your Indonesian trip. Our 9th edition of Indonesia will take you to the best beaches and bars in Bali, through lush paddy fields in Sumatra, diving with turtles off the Gilis in Lombok and to a traditional dance in Ubud.Lonely Planet guides are written by experts who get to the heart of every destination they visit. This fully updated edition is packed with accurate, practical and honest advice, designed to give you the information you need to make the most of your trip.
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Versatile dancers shine at MASS MoCA
Published 8:56 pm, Sunday, March 3, 2013
NORTH ADAMS, Mass. — Together, the three very different works on Les Ballets Jazz de Montreal's program at MASS MoCA Saturday evening shone a spotlight on the company's versatility and virtuosity. One fabulous common element among the pieces was sylphlike redhead Celine Cassone, who glowed particularly brightly in that light.
Cassone and Kevin Delaney opened the evening with Cayetano Soto's "Zero In On," a nine-minute appetizer of a dance packed with texture and flavor. As its title suggests, the piece read like a rich distillation of the body and its capabilities. Every flex of the muscles and roll of the joints was magnified and ultra-articulated, as if the dancers were engaged in an experiment to determine what happens when they pushed each movement to its fullest expression.
Cassone's dancing in "Zero In On" was so deliberate and grounded that she seemed almost weighty; but in Wen Wei Wang's "Night Box" she was light as air, sailing over the heads of her fellow dancers as they passed her back and forth. Inspired by the rhythms and sensory stimuli of urban life, the piece — like every city — was a collection of overlapping stories. The dancers formed a crowd, moving together as if in a club or on the street, then broke apart into intimate vignettes.
Set to an electronic score with an inexorable beat (featuring Olaf Bender, aMute, the Steals and others), the choreography was sometimes slick, sometimes tender, always sophisticated and sensual. The night felt a little long at times, but then the energy lifted again. As time unspooled and the stage grew darker and then lighter, we witnessed breakups, love triangles, unexpected intersections. Each sequence could be the seed of a sexy, mysterious short film.
Wang's gray-scale palette gave way to an explosion of color and personality with "Harry," an exuberant dance/theater work by Barak Marshall, former resident choreographer for Israel's pioneering Batsheva Dance Ensemble. Known for staying out of the box, Marshall didn't disappoint here. Mourners wax philosophical over the felled Harry; the saying "Every pot has its lid" was played out with actual cooking pots; and the goddess Hera moaned to her sweetheart, Zeus, "I feel like crap. Can you start a war for me, please?"
Woven in between all this was some terrific dancing, set to lively music by the likes of Tommy Dorsey, Balkan Beat Box, the Andrews Sisters and many more. Along with quick steps and swaying hips, Marshall developed a kind of beautiful sign language for many of the numbers, a series of enigmatic gestures that were nevertheless so expressive that you felt as if you were just on the verge of understanding.
Tresca Weinstein is a frequent contributor to the Times Union.
More Information
Dance review
Program: "Zero In On," "Night Box," "Harry"
When: 8 p.m. Saturday
Where: MASS MoCA, 87 Marshall St., North Adams, Mass.
Length: Two hours, one intermission


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In brief
Report of the United Nations Joint Inspection Unit
At the request of the Executive Board in November 2011, the United Nations Joint Inspection Unit (JIU) has updated two earlier reports on management and administration practices, and the decentralization of WHO. A review has been on-going throughout 2012. These reports have been finalized and include the result of the staff surveys carried out earlier this year by JIU. These reports will be presented to the EB133 in January 2013.
United States Government Accountability Office: Reform Agenda Developed, but U.S. Actions to Monitor Progress Could Be Enhanced
In 2011 United States Government Accountability Office (GAO) was tasked with reviewing the WHO Programme of reform and the findings were presented in a report to the US Senate in July 2012. The report examines the steps WHO has taken to develop and implement a reform agenda that aligns with the challenges identified by various stakeholders, including the United States which has provided specific recommendations for WHO reform. Key findings include:
- The reform agenda aligns with the challenges identified by the stakeholders.
- WHO faces potential challenges throughout the implementation of the reform.
- The success of WHO reform depends on the ability of WHO to establish a comprehensive reform implementation plan as well as ensuring consensus of Member States and internal and external stakeholders on the implementation.
Stakeholder Perception Survey
WHO commissioned Grayling Public Relations, an independent global communications agency, to perform a survey to better understand various stakeholders' perspectives on WHO. This helps WHO to better understand stakeholder perception and concerns and will feed into the Organization's global communications strategy.
It will provide a benchmark as we repeat this survey every two-three years. Over a thousand people from 46 countries responded to the survey, including: Ministries of Health and other government ministries, NGOs/Civil society and health professional organizations, UN agencies and other international organizations, foundations and health partnerships, and journalists. In addition, 2300 WHO staff members responded to the survey. The findings will be made available shortly.


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Dvorak's Slavonic Dance, Op.46, No.8
- Classical music composed by Antonín Dvořák Dvorak: Slavonic Dance, Op.46, No.8
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André Navarra Plays Dvořák's Rondo for Cello André Navarra plays this cello repertoire classic by Antonín Dvořák.
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Dvořák: Slavonic Dance, Op. 46/8 / Rattle · Berliner Philharmonik Full-length concert at www.digitalconcerthall.com Antonín Dvořák: Slavonic Dance in G minor, Op. 46 No. 8 / Sir Simon Rattle, conductor · Berliner Philharmoniker / Recorded at the Berlin Philharmonie, 6 January 2009. The Berliner Philharmoniker's Digital Concert Hall: www.digital-concert-hall.com Subscribe to our newsletter www.digitalconcerthall.com Website of the Berliner Philharmoniker: www.berliner-philharmoniker.de
Dvorak Slavonic Dance Op. 72, No. 2. with pictures of Prague Antonin Dvorak Slavonic Dance Op.72 No.2 played by the Slovak Philharmonic Orchestra - conductor Zdenek Kosler. Photographs taken in Prague in April 2008. Please visit www.photonbooks.com to find out more.
Fairy Dance, Op. 12 No 4. - Grieg Grieg's Fairy Dance
Edvard Grieg - Op.46, In The Hall Of Mountain King Edvard Grieg - Op.46, In The Hall Of Mountain King Taken from a cd dont know wich orchestra is playing here.
Antonio Vivaldi's Concerto in A minor Op.3 No.8 sheet music - Video http://www.virtualsheetmusic.com/video54<br />Virtual Sheet Music presents the famous Antonio Vivaldi's Concerto in A minor Op.3 No.8 for two violins and piano. Subscribe to our channel to watch weekly Video Scores from our high quality sheet music collection. This Video Score is about violin and piano sheet music and related MP3 files. It gives you the opportunity to play the music directly from your computer screen and to discover our unique repertoire of high quality digital sheet music.
Chopin - Etude Op.10 No.8 - Kuschnerova Elena Kuschnerova's 1990 Tchaikovsky Competition performance. Web site elenakuschnerova.com . Listen to Elena's Classic Radio http , piano and chamber music, including all her CDs.
Valentina Lisitsa - Chopin Etude Op 25 No.8 ♥ ♥•.¸¸.•´¯`•♥ • • ♥ •.¸¸.•´¯`•♥ ♥ (Classical mussiC) www.facebook.com/Classical.Mussic ♥ •.¸¸.•´¯`•♥ ♥ (Classical mussiC) ♥ ♥•.¸¸.•´¯`•♥ • • ♥ •.¸¸.•´¯`•♥ ♥