text:
The HDFC BANK Vadodara Branch IFSC Code is HDFC0009359. The Bank is located at Ground Floor, Ghanshyam Complex A7 8, Apexa Park, Iskcon Temple Rd, Opp Swaminarayan Temple, Vadodara, Gujarat – 390007. You can use the HDFC BANK IFSC Code to transfer funds online for RTGS, IMPS and NEFT transactions.
HDFC Bank Vadodara Branch, Vadodara IFSC Code
IFSC Code: | HDFC0009359 (used for RTGS, IMPS and NEFT transactions) |
Branch Code: | 009359 (The last six characters of the IFSC Code represent the Branch code.) |
MICR Code: | 390240033 |
Bank Name: | HDFC BANK |
Branch: | Vadodara |
City/District: | Vadodara |
State: | Gujarat |
Address: | Ground Floor, Ghanshyam Complex A7 8, Apexa Park, Iskcon Temple Rd, Opp Swaminarayan Temple, Vadodara, Gujarat – 390007 |
Contact: | 1860-2676161 |
Website: | www.hdfcbank.com |
- What is IFSC Code?
- Uses of IFSC Code
- How to Find IFSC Code?
- What is MICR Code?
- How to Find MICR Code?
- What is NEFT?
- What is RTGS?
- FaQs
What is IFSC Code?
The Word IFSC is the short form of the Indian Financial System Code, used for online bank transactions in India. IFSC code is an 11 digit code combined with alphanumerical characters assigned by RBI (Reserve Bank of India) to identify every bank branch uniquely. You can usually find the IFSC code in a bank account passbook, chequebook issued by the bank, or the RBI website. A valid IFSC code is required to transfer funds to any bank account. The different types of bank transfers are NEFT, RTGS and IMPS.
Uses of IFSC Code
- NEFT: It allows you to electronically transfer funds from your bank account to any other account of the same bank or different bank.
- RTGS: Transfer Minimum limit of Rs 2 Lakh.
- IMPS: Bank account holder can transfer funds 24×7 365 days.
- Online Banking
How to find IFSC Code?
- IFSC code can be found on the cheque page and passbook of the HDFC BANK.
- You can obtain IFSC Code from the HDFC BANK or the Reserve Bank of India's website.
Where to find HDFC IFSC Code on a chequebook?
IFSC Code is printed on the Top of the cheque page.
What is a MICR Code?
The MICR is the short form of Magnetic Ink Character Recognition. It's a printing technology used to print alpha-numeric details. For example, MICR Code is printed on cheques, and this code is used in cheque processing.
How to find MICR Code?
- MICR code can be found on a chequebook and bank passbook issued by the HDFC Bank.
- You can also find the MICR code on the HDFC BANK website.
Where to find HDFC MICR Code on a chequebook?
MICR Code is printed on the bottom of the cheque page, next to the cheque number.
What is NEFT?
NEFT is the short form of National Electronic Fund Transfer. It's an online fund transfer system supported by RBI. NEFT is used for small and medium amount transfers between banks and accounts. There is no minimum amount limit set for NEFT.
What is RTGS?
The RTGS is the short form of Real-Time Gross Settlement. Its a fund transfer system used to transfer money from one bank to another. This gross basis transfer is a real-time transfer system used for making large transfers. The minimum transfer amount must be Rs.2,00,000. Relevant fees are applicable.


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I love classic pastas dishes. There is something totally satisfying about an Italian pasta dish prepared in the traditional way. When I am in the kitchen preparing such a dish, I try to imagine I am in the midst of a large Italian family. The buzz of the ceiling fan, the background music of cheerful Italian pop, the shouts of the children playing soccer on the cobblestone streets outside, the full bodied aroma of a huge pot of freshly prepared pasta and sauce are all images and sounds that entice my imagination.
One of the most classical pasta dishes has got to be Spaghetti alla Bolognese. It also happens to be the most favorite pasta dish in our household. I like spending time over the bolognese, because after all if prepared with love and care this sauce is really unbeatable.
The bolognese sauce, also known as ragu, is basically a meat based sauce, which originates from the city of Bologna. It incorporates ground beef, chunky vegetables, pancetta, and tomato paste to give a thick delectable sauce. Traditionally, the bolognese was served with fresh flat pasta, similar to the tagliatelle, over the years however spaghetti became the popular pasta dish which was served with this sauce.
The best bolognese I have eaten was, surprisingly not in Italy! It was actually at the Sheraton in Doha, Qatar. The chef was a humorous Swiss guy. I literally grew up on the stuff, when I would dig into a huge plateful of pasta bolognese at least once a week. When I finally got around to training in the kitchen of the Sheraton at the age of 19, I was lucky enough that the Chef was still around. My first day with the chef was memorable. He had me cutting vegetables in the tiniest of cubes for the whole day. I was irritated because all I wanted to do was make that bolognese. The next day he winked at me and put a huge sack of onions and garlic in front of me. I have never cried and cursed so much in my life. On the fourth day, he finally took me under his wing and showed me how to make the prized bolognese.
I have worked on this recipe over the years. Not really changing very much, just a sprinkling here and a hint there. But as I write this recipe for you, I am looking at the old Sheraton Doha letterhead, where I wrote the recipe down that day during my lunch break. And as if it were a seal of approval, there is a huge stain of the bolognese at the bottom.
The bolognese ragu can be varied in several ways. If you do not like beef use ground chicken. Add a handful porcini mushrooms to the sauce for a wonderful earthy flavor. For a vegetarian ragu, I have used vegetarian "ground beef" crumbles made of soya protein. These can be found in almost any grocery or organic stores. Whatever is used the basic method of preparation remains the same. I guarantee you a thick ragu for your pasta that will have you licking the plates clean.
Monthly Mingle 21 - Appetizers & Hors'Doeuvres
The Monthly Mingle is traveling this month again. This time to sunny California at Mansi's Fun & Food. Mansi has chosen a great theme - Appetizers and Hors'Doeuvres. If you love entertaining then you cannot miss this mingle.
For this monthly mingle, we'd like you to share some fancy vegetarian appetizers. Cook something that's pretty to look at and tasty to bite in, something that looks good on a plate and is irresistible to your guests!
Here's how it works:
1. All entries must be vegetarian (no meat or seafood); eggs and cheese is allowed
2. It can be sweet or savoury, as long as it is petit and crudite, fitting to be an Hors'Doeuvres. Anything that is bite-sized or individual serving-size is acceptable.
3. Entries must be received by June 9th at the latest.
4. Email your
- your name
- your location
- the name of your blog and its url
- the name of your dish and a link to the relevant post
- a copy of the main photo of your dish 200px wide
to mansibshah[at]gmail[dot]com
5. Please include a link-back to Mansi's post and/or to this blog to encourage more readers to join in the fun.
6. Feel free to use the logo above
7. Older entries on blogs can be accepted only if they are republished in the month of May with a link-back to this announcement.
Printable version of recipe here.
2 onions, finely chopped
1 garlic, finely chopped
1 medium sized carrot, finely chopped
1 leek, finely chopped
50g pancetta, finely chopped
3 springs each - thyme, oregano and basil, finely chopped
2 tablespoons extra virgin olive oil
400g ground beef - not too lean or else the ragu will get too dry
2-3 tablespoons tomato paste
1/8 liter stock - vegetable or beef
Salt and pepper
Nutmeg, ground
1 bay leaf
1-2 cloves
425 ml can of tomatoes
400g fresh pasta - spaghetti or tagliatelle
40g parmesan cheese, grated
In a large heavy pan heat the oil and sauté the ground beef, breaking up the beef with a spatula - approx. 5 minutes. Add the pancetta, onions, garlic and vegetables into the pan and continue to sauté for a further few minutes. Salt and pepper to taste.
Mix in the tomato paste and cook for a minute. Pour in the stock and add the bay leaf, cloves, thyme and canned tomatoes including the juice. Bring everything to a rolling boil then reduce heat and simmer for 30-45 minutes, stirring occasionally.
Cook pasta according to the instructions on the packet.
Add the basil and oregano to the ragu, which should have nicely thickened by now.
Remove from heat. Put the pasta in a large bowl and pour the ragu over the pasta. Toss well. Serve in deep plates with a good sprinkling of parmesan cheese.
- Make a double portion of this ragu and use it to make a scrumptious lasagne.
- Buying pasta that is a bit rough will help the ragu to coat it well. Look out on the packet for pasta that is formed in copper forms. Pasta produced in such forms is the traditional way pasta is made. Pasta made in plastic forms produces a smoother pasta which causes the sauce to simply slide off.
Nothing could bring bigger smiles all around the dinner table. This sauce has a perfect balance of spices, herbs and vegetables. It's not too tomato-ey but rather chunky. It's perfect when you have a lot of friends around for game night. I normally make three to four different types of pastas to serve with this sauce for variety. Thanks Chef Z. for teaching me how to make this great ragu. I hope you all enjoy it as much as we do!
More pasta dishes on WFLH:
Caramelized Homegrown Tomatoes on Homemade Gnocchi | |
Pasta with Shrimps and Asparagus | |
All photographs and written content on What's For Lunch, Honey? © 2006-2008 Meeta Khurana unless otherwise indicated. | All rights reserved | Please Ask First

subset: commoncrawl


text:
Tecumseh Real Estate
With a population just under 10,000, Tecumseh is a small city boasting shops, restaurants and small businesses housed in historic buildings.
A small city in Lenawee County, Tecumseh was one of the first settlements in Michigan territory. Today, Tecumseh, Michigan is a vibrant community located 25 miles southwest of Ann Arbor, 60 miles southwest of Detroit and 45 miles northwest of Toledo, Ohio. In 2009 Tecumseh ranked #93 in CNNMoney.com's 100 best small towns to live in.
Tecumseh is home to more than 8,700 residents and 275 innovative businesses. Downtown Tecumseh features a mix of specialty shops, professional services, boutiques, and dining options housed in beautiful historic buildings. In addition, Tecumseh is home to manufacturing and industrial firms.
Tecumseh offers a mix of housing styles and ages.


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Interviewer: > Beryl Graham & Verina Gfader Interviewee: > Michele Thursz
Verina Gfader: Let's just start with what you are doing right now? Can you describe your practice? Michele Thursz: The past couple of years I have been consulting with galleries and collectors about contemporary art. I worked in a gallery as the director and I was bringing in a new programme. Currently I am working with two private collections, and dealing mostly with the organisation of the collection, new acquisitions, and how to collect and package 'moving image'. VG: I created a few questions according to your making and doings. So maybe you can talk a little bit about the term 'Post Media'? MT: Post Media... I had a gallery, a moving image gallery, and mostly there were artists using electronic and computer based media. Post Media I developed when I lost the gallery space. I was thinking about Post media as after the fact. At the Moving Image Gallery I had to define what new media was in reference to history. And then also I was trying to not segregate new media arts as new media arts but as contemporary arts that use technology. And the idea of "Post Media" formed part of that. Since we didn't have a gallery space any longer, I was starting to use other spaces, and other platforms. We were from the net, doing net specific work, presenting on the net, downloadable publications and so on. I was trying to think about how the concept of working online, and how technologies could be made malleable to these other spaces and specific to those platforms such as the club, the street, institution, and, most exhibitions, and better articulated to a broader public. So Post Media was built out of necessity to allow for a lot of possibilities to happen. It was meant like a grounding. It was a grounding for me to be able to produce a lot of possibilities for artists. VG: So it had to deal with multiple spaces rather than medium and technology as such - possibilities of location and spaces? MT: Right, it was a way of looking at the use of public as medium. The institution and academia were mostly interested in the medium itself but not the content. I have always been interested in art, and art in the way of the personal perspective, and the personal languages that artists develop with the medium of their choice. A lot of artists are working with technology or information. So I hinged myself on this idea that all mediums and data are equal, or all information is useful, and can be used as a medium. So Post Media was after all the different views and development, mass media, distribution and possibilities of distribution. VG: So it's in a way your practice to be moving away from the term media as such, or everything becomes media anyway, or "all is media"? MT: It can be. As media, it's the possibility for the use of our experience today - as contemporary art, in a contemporary art medium. So meaning that if it is both a strategy and structure of the market, the technology, it's a formal art practice. They all relate, and the fact is, it is possible to be specific, to be able to use the platforms to the extent of their possibility, not to make boundaries, or instructions with the structures of the art market, or, say, a gallery. In art making, you can use these different forms of distribution and marketing, and make art. I don't have to fit within the structure of the gallery, that was Post Media... (laughter) VG: Is there also a relationship to mass media or alternative media, and where does that come in, or does it come in at all in this idea? MT: Well. Again, Post Media was just a conceptual gallery space that allowed for a lot of different types of production, and also this idea of arts management versus different types of markets etc. Artists have used other markets to create artworks, it's limitless in a way one can produce artwork. Only in my practice it wasn't really. People were categorising me as a new media curator because I worked with artists that use new technologies. Though it seemed to be. What I was really working with was topical and relevant information. It wasn't that I was so into 'new media' (laughter). The idea was more that today, erasing the ante a little bit from pop-art, I wanted to talk about what was happening now, not this recursive historical take on practice, but not dis-validating that practice. Meaning that the content was really important and there was a history behind certain types of acts, and this is the history that led up to the Now, and how are we going moving forward with that. And I think that it was funny after I started looking at new media - cinema, cinematic objects, data dynamic work, poetics, all sorts of relative historical things, and the idea of the communal and movie making, mass media, and mixology, edits, and club aesthetics. It does explode into how it all relates. But the artist and the institution, and also the galleries, didn't want to see that. It was really interesting, the artists still, even if they are practising 'new media', a lot of them want to still be validated by the gallery, and the success of the market. And so what I was always trying to do was give professional advice to artists about how they can best produce and distribute their work. And with keeping right the concept, without undermining the concept, and being able to use various platforms to distribute these ideas, and use the platform to its fullest capability, and that can also bring new markets and add strength to their 'art market' (laughter). Because it's not just creating this object that can be sold. I don't believe in derived objects. It's more about the whole process, the continuity of a practice, if that makes sense. VG: Maybe that also links to this question: do you consider the establishment of the artist's career when you work with them in such a progressive field? MT: Yeah. I guess that's one of my strengths I suppose. When I work with one of my artists, in all my exhibitions, and also professionally, it is almost like management or representation. Usually my exhibitions are long conversations, I am going on for ten years or whatever, so they are contextualised inside of contemporary art practice, and that helps the artist. I don't gain necessarily from that, except I gain from the value of the work and my conversation. I like to expand upon these ideas, these ideas are part of conversations, so I work with them on what are the issues, what are the professional issues, what are they really trying to say? Where are their interests? What is the best way to articulate these interests? How can they produce those projects effectively, and what public they are trying to address? Even in packaging new media for galleries, or something like this, working with different ways on how you can sell these on multi-user platforms etc. That was creative, I don't think this was the best idea (laughter). But yes I do, I always think about the artist and their professional development. VG: I am very interested in this kind of long relationship with artists, and you really follow them and they follow you... or are/work in parallel with you. How do you select? When is the moment where you think you want to work with this particular artist or is it a concept, or often both? How does it become this vast material and a particular moment of extracting from it something different, particular, singular? What is your relation to this vast material? MT: I think that it's interesting how that happens. There are two different ways in it. When I am doing something, when I am on the right path things all fall into place, everything is relevant, I mean everybody, whoever comes into my view. It seems, for some reason, an artist is doing exactly what I am thinking, and we have a conversation. Or maybe that's because that's a conversation I am having and they fit in, so I make it my conversation. I have different approaches to curating, in which I've come up with an area for which I like artists to complete the net, complete my investigation. And then I've gone off, and then I find there are a few artists that I have worked with over the past ten years that somehow have grown with me and I show almost serially. There are a few artists that haven't been in an exhibition I have curated but every two years they seem to be in an exhibition that seems relevant... so we are both evolving. Maybe five years back, I stopped really looking at only the relationship of new media artists to historic practice, and validating new media that way. I started going more narrative, doing something on my own narrative, and integrating many different artists into that practice. For instance, the exhibition copy it, steal it, share it had artists that appropriate an 'electronic layer' of culture, and included the work of Ellen Gallagher, Space Invaders doing the space invader mosaics; Godfried Donker using newspapers, Carlo Zanni doing landscapes, desktop landscapes; and Marina Zurkow doing different types of animation. So it was a grand mix of people, and we were using the gallery, and then the street, just to disseminate these ideas. And some of those artists, even though they were coming from all different backgrounds, they work alike. The exhibition sought to show how new media arts and media arts have both been using information. The film maker Reynold Reynolds also was in that exhibition; and he was colllaging different iconic films in one concept of the destruction of history, into one feature film. He was also in my recent exhibition Meme: Romanticism which looked at the ideas around romanticism today, and he used generative film, feature film, and also how different people use those films and build communicative objects out of the film. So the relationships they come in and out. I work similarly to my artists, it's an integral process of using topical information and using all resources to get the idea across to a broader public - about what contemporary art to me is today. VG: You talked a little bit about this relation to history and then you are interested in the moment or the present which also means that it has to remain quite open as such, your own project, your narrative etc. in order to allow for a development... MT: Well, now, because I am into this idea - I am very directed. My concepts develop from one exhibition to another and through the transitions. One exhibition I did, Public Execution directly dealt with the public as medium, and that also dealt with the idea of a site-specificity and using all different modes of distribution, as prior process integral to the artistic medium. And then, a different exhibition Thread demonstrated this idea of research into craft and contemporary art making in relationship to technology. Thread was also about the breakdowns, and also directly related to the idea of the blog, and the threads of conversation. And then with Meme: Romanticism, again, and then this next exhibition, this video series. They all relate. Do I have to be more flexible? Is it by chance? It is a kind of curatorial process in a way. VG: They relate to the present. MT: Right. I would say it's probably my present. I see things. I have a lot of access which allows that, and I am a person that looks - I see what's going on and I talk to a lot of people. I take a lot of different perspectives, I look at the galleries, I talk to the artists, I look at the movies that are being made, I am thinking. I am very active. But I would say that it is really a personal perspective of what is topical to me. So in a way there is a fine line between cultural production, curating and art maker. I mean, in the way I am curating, one might consider it, if they looked at it in a different way, it could be an art project. I am very interested in this idea of a perspective, and how things change with the viewer and also with different platforms and how they adjust to the platform appropriately. I am interested in conversation and speaking to the public that you are approaching. VG: It also has to do with the idea of frameworks, and context related work or theme... And then also, I think, there is the question about distribution, dissemination and documentation, how do you consider those issues in relation to your making? MT: Well, it's integral (laughter). Basically it's the chicken and the egg. There is a basic concept, and then the concept can include how you are going better realise that concept, and how you are going to distribute that concept. And how not to undermine the original concept, but be able to adjust different modes of distribution. What were you trying to do could be right, or it could be the opposite way around it. It can be that you are interested in distribution, as the concept, and then you go around and learn that you have to go around the other way. How is art best distributed? You are addressing the missions of the individual platform - platform meaning the starting point of the conversation or the market even - that you are trying to distribute. So, it's always about identifying what it is that you are working with, and how. VG: You talk a lot about conversation, and that's part of the work, part of the process, part of the outcome as such. What role does it really have in the actual work, or, is there a 'final product' in some ways? MT: Well I think in the conversation it allows for there is this idea of sharing information and growing. I find people don't always share; people are not talking to each other, or sharing information even though they believe in sharing information. I think conversation can also be about addressing any issue, so say a gallery is struggling - they are interested in this art but they are struggling with how to sell this work. The conversation should be about the work. "How does it work?" Not, "what is this work, how does it fit into my communication with that gallery, what is the relationship to the other artists they work with?" And if it's not working on this platform then how can I best distribute it, so it can adjust to the market? I think there are many markets, and art doesn't have to be undermined by this art market. But we have to have a conversation about the art market... You can be outside it, but it has to be there. The conversation does not have to be about what's so different, but what are the similarities and there are many different ways to distribute information, and some are best left in an art practice after all. Some conversations are about an artwork's development and they need to be nurtured and then they can be made into bigger ideas that can be contextualised inside a public market. So all is about conversation (laughter). That's why I don't really believe in experimenting within the 'public domain', because I think the commercial market undermines the practice of the artist. It's a good experiment here, within a group of peers, and it allows things to grow, and something leaking to the public will allow further growth and conversation. You can't say, "Why don't you show my project in the gallery?"; it undermines the market to put it in the gallery because then the critics and/or the public will say: "New media is impossible to show." But new media is not impossible to show and or market. I am really about identifying, simplifying things, shedding away, being specific, bringing the idea across and using all possible means to reach a broader public, and develop stronger markets and stronger relationships with the artists, and also more relevant ways to distribute their work. I think there is an interesting idea, especially with artists who are using, say, moving image or performance based work, not performance in the traditional form of performance but theatrical, or, doing some kind of mass-media, DJ-type projects, that the idea of the manager actually plays a better role in supporting the production and distribution of that work than the gallery or market can. It's identifying where the work really would drive. And I do that in my exhibitions. Basically what I do is try to show the work as best I can within the context. So, if it's a performance and theatrical, I go all the way to show it theatrically, then I show the object in the gallery, and I show the moving image in the theatre, and I do the performance in the streets, and I do publications, and I do downloadable media, for sale media, one of a kind, or multiple editions... etc. So I try to show it the best way I can so other people can see that's possible. VG: Yeah, I am quite interested also in being here in New York, the specificity of working here, and the kind of difficulties in relation to probably other locations, territories, places you work - maybe you want to talk a bit about that? MT: It's a little funny, I don't really curate in New York. I mean I curate only in non-profits in NY, and otherwise I am commercial. I work in NY. I lend my experience as a curator, and my eye to collections, and I deal with professional issues with artists, and I work within the commercial realm of the galleries, because it's a commercial city. I mean I look at it creatively. There are some gallery dealers that are very talented artists. And I look at their ways of producing and I look at that in my curatorial practice. It's really complex because it's such a market driven city. And space is limited, and it costs money, the social dynamic, the networks. You have to be very directed. I very rarely curate commercial gallery shows for instance. But I am curating selling exhibitions which are interesting. That's how lot of curators support themselves, this way. So I guess, I define a different thing. Even though I came to curating almost as a vocation, which is supposed to be money making, I don't look at curating itself as my money maker (laughter). I think about it as follows: the skills that come along with curating allow me to make money. And NY is all about money. VG: But you work here in non-profit, or with non-profit organisations? MT: Yeah. I have. After Moving Image Gallery, my original gallery, I started consulting with museums about how to show new media, and I curated at New Museum, Exit Art, White Box, and many other places. All of the places I 'should' have curated in NY, I have. I haven't curated here [at Eyebeam] (laughter). There are so many places where you can have presentations. And there is a different kind of currency in that conversation. NY is really strong as a network. You have many places and you can go out of your normal group. Where I curate, it's like a web/network. So you have one interest, and there are lots of other zones or other communities in which you can have conversations. In NY we have a lot of people in one place that can allow for a lot of possible developments, which could then take place all over the world. I think NY is a good melting pot, it would be difficult unless you are really social, unless you are really into this social network of galleries and want to curate about your own interests. In NY you could curate in different commercial galleries but you would have to curate from the gallery's stable of artists, and the work has to be sellable, it would be a selling exhibition. Or you have to be in an institution. I like to play on all the playgrounds. So NY is difficult in that way. I tend to separate my work. NY is my home place and I am able to do consulting work here and it's a port: art is always coming in and out of NY. So everywhere I go there is always someone that's just passed through. But I guess the financial constraints in NY are a problem for art making. There are fewer artists here, working here. They have to go some place else to afford a studio. Say if you establish yourself here then why not, go somewhere else to work/make art. VG: Maybe one more thing. Just the idea about this 'other' art, or something progressive, or something 'new', is that relevant for you to look for? MT: New art? VG: New possibilities perhaps. MT: Yeah, well. I was talking with somebody yesterday, a young curator actually. (Aside: I also do that a lot, I bring in many different curators to work on my projects, or different cultural developers, and look at where their strengths are, and they can work out what they are interested in about curating, because usually the exhibitions are really broad, so there are a lot of areas in which they can go.) But I was talking about art with her a little bit, and we said, "it all looks the same!" By which, I mean, all the good art (laughter). Good art, now, what is good art? Well, I don't look for the new, no. I don't like newness. I look for the artist's voice and the art, the strength of the art. It's really a traditional way of working, even in new media. I see what they are trying to say, what their personal dialogue is with the work. And their mastery of the medium that they're using, and where it's going. And if it can grow, then where? I look for the longevity of it. So I am open to almost anything that strikes me, and I know it when I see it. I always just say: "That's hot." It could be the collaboration the work has with its environment or the elements work especially well together. Or it's a really tight production, and the artists are all working at this, at the same time, the best they can to achieve this one project. That's hot. That's perfect to see that. And to see what's going to happen with that. There are sometimes works that I don't like that are especially good on that level. And I'm like: "Wow! That's really good." I mean it doesn't turn me on, but it's really good work for what they are trying to do, and the historical relevance of the work and so on. I am always open to every possibility in art making. I don't look for new. Never. I am old school! (laughter). Beryl Graham: You have been talking about different means of distribution, and different kind of platforms. Talking a little bit more about your work, can you describe a project that you thought worked out really well, in terms of its means of distribution? Or can you name a specific piece? MT: Ah, every piece I've done (laughter). It's all fantastic. No. I think there are really significant exhibitions that I think worked out particularly well. Copy it, steal it, share it as I mentioned, worked out particularly well in Istanbul for the biennial. And I worked with Anne Barlow as my assistant curator. We collaborated, and that worked well because of the integration of artists using different media, but in a "contemporary way". And also, going into the street. And how it related back to the show. It maps on the street, and there is work inside the gallery and it was totally connected. Public Execution (public.exe: Public Execution) was a fantastic exhibition. I worked with Anne Ellegood, Anthony Huberman, and Defne Ayas. I came up with the concept and the way the exhibition was initially structured. And we used the gallery space, we had pieces that needed the windows of the gallery space. We did interventions inside of the exhibition itself, a performance by Tobias Bernstrup, a big theatrical thing that happened inside of this monument, or "gallery space". We had Paper Rad doing a publication that was distributed throughout the whole city. There were performances in Bryant Park. I mean it was extensively out there, and all came back around in one website on which everything was documented. Things that were growing, continue to generate online. There is an online component that was specific to the net. And so that I thought was brilliant as an exhibition, and worked well as a production. Because there were lots of people working on it and coming with different interests. So the panel series even worked well, with people discussing things that they're interested in. Democracy is Fun was a really fun show. Some people would say it wasn't a successful exhibition. But I thought it was the most successful exhibition in some ways. All these different actions and exhibitions were happening about democracy all over the city. So why would I do another show about democracy necessarily? What I did was I curated a bunch of exhibitions. I put together all their exhibitions, and I put them all online. And then I took a work from each exhibition and put it in the gallery space. And then there was this kind of democratic approach to how people got information about the shows and about all these different actions that were happening also on the street. And from the new works that were brought in it kind of grew. And also, there was a video editing programme that's online that people could build their own movies. Though the exhibition people thought I cheated because I curated other people's exhibitions, but it was brilliant, why not?! (laughter). The fact that it's all online didn't take away from the exhibition itself. In fact, some of the exhibitions were better online than they were in their exhibition spaces. Because you got to see what everybody was talking about, and actually see the work. Each website, each exhibition, also had a place for a blog or whatever. But I dumbed it down a little bit so that people didn't have to be blogging all the time and think it's just chatting with each other. And on the website, there were artworks that were not there in the exhibition, that they could add to. BG: Of the exhibitions that you mentioned, such as the one with Paper Rad and a lot of curators: is that what you can describe as collaborative curating? MT: It was. For a while I was doing all these tasks. I liked the idea of production. I wrote the structure, and then I ran the team of people that produced it, just like a movie production team or something. I brought in different people who did those tasks - they were interested in different areas of producing. At that time I wanted to use radio, but had never dealt with radio, so Anthony Huberman came in and dealt with radio and had big discussions about radio. Public Execution (public.exe) was even funny because .exe means an executable file so everything was meant to be executed, publicly executed. So the whole thing of the public and the production is important. I would argue with critics about it. In fact, it should have been curated by Post Media network (laughter). Because the network actually was also this umbrella of all different types of producers and makers. But everybody wants their name on something. So, it's "curated by ____" all these different people. Next time I do something like that there will be a label "produced by _____" and then give everybody this. With public.exe I did give it its own web site. So there was this idea of it that it was a production. I like this idea of the team; I don't like collaborative projects as much as the idea of production teams. I don't think a production team is collaborative either. I think that it is because there is something that you're aiming for, there is a point. Say someone said, "I want to make a movie about flower growing." In the process of that you would get other people to produce this flower growing film. A collaboration would be one person saying "Oh, I want to do a film about two flowers." And another person says "I had this idea of the flower growing in the street." Then it'll change again. You know what I mean? Instead, I lay down an idea and how I would like it to be structured, and ask: "Are you interested in that?" "Yeah, I'm interested in that." So if you are interested, then we build it from there. ends
media art animation time space distribution video collaboration money museums lag radio networks
Beryl Graham Verina Gfader Michele Thursz Anne Barlow


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However, owing to the contentions associated with the current calibrations of the Y-STR mutation rates,32,34,35,41 as well as the limitations of the assumptions utilized by the methodologies for time estimations, the absolute dates generated in this study should only be taken as rough estimates of upper bounds.
UPDATE II: I will have some additional thoughts on Y-chromosome distribution in the third update, but, for the time being, the two most important "nuggets" of information are: (i) the unusual haplogroup frequencies in Sasun (high R2 and T), which may be due to a founder effect, but it would be interesting if Armenian historians could find some explanation for their occurrence there, and (ii) the occurrence of R-M269*(xL23) in Ararat Valley. I invite more knowledgeable readers to comment on the issue; the haplotypes are in Table 2 of the supplement.
The relative expansion times for haplogroup J2-M172 (Table 4) generally correspond with those yielded for R1b-M343, with the exception of Greece and Crete, which, unlike haplogroup R1b-M343, are slightly older than the dates yielded for several of the Near Eastern groups as well as the four Armenian populations.
Neolithic patrilineal signals indicate that the Armenian plateau was repopulated by agriculturalists
Kristian J Herrera, Robert K Lowery, Laura Hadden, Silvia Calderon, Carolina Chiou, Levon Yepiskoposyan, Maria Regueiro, Peter A Underhill and Rene J Herrera
Armenia, situated between the Black and Caspian Seas, lies at the junction of Turkey, Iran, Georgia, Azerbaijan and former Mesopotamia. This geographic position made it a potential contact zone between Eastern and Western civilizations. In this investigation, we assess Y-chromosomal diversity in four geographically distinct populations that represent the extent of historical Armenia. We find a striking prominence of haplogroups previously implicated with the Agricultural Revolution in the Near East, including the J2a-M410-, R1b1b1*-L23-, G2a-P15- and J1-M267-derived lineages. Given that the Last Glacial Maximum event in the Armenian plateau occured a few millennia before the Neolithic era, we envision a scenario in which its repopulation was achieved mainly by the arrival of farmers from the Fertile Crescent temporally coincident with the initial inception of farming in Greece. However, we detect very restricted genetic affinities with Europe that suggest any later cultural diffusions from Armenia to Europe were not associated with substantial amounts of paternal gene flow, despite the presence of closely related Indo-European languages in both Armenia and Southeast Europe.


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Michael's Kitchen is a showy new restaurant in downtown Hollywood where dinner is as much a spectacle as a food experience. Flames spout from stoves in the open kitchen, frying pans sizzle like lava eruptions, and chefs parade through the place with creatively displayed dishes. This is "Cirque de Soleil dining," says Michael Blum, co-owner (with his wife, Jennie) and namesake of the restaurant. The food? It just tastes good. But the presentation is, well, carnyesque.
Blum, the food showman, feels right at home in the lurid sideshows of county fairs and traveling carnivals. "I like the wow effect -- the 3,000-pound pig and the lady with the 14-inch nose. At the carnival, it's all about the wacky people. That's kind of how I go through my day. We give you in-your-face dining."
He's the guy whose name tag says Freddy Scoops. This is Fred Sabloff, co-owner (with Fay Decker) of Maggie Moo's, the Coral Ridge ice cream emporium where they stir your favorite toppings into your flavor of choice on a stone cutting board. What? You didn't know? It's the latest thing. Last year was the store's first full year of operation, and it packed 'em in, with customers clamoring for signature flavors like grape bubblegum, very yellow marshmallow, and udderly cream.
Moo's even gives the ice cream a carny spin or two.
"Our biggest-selling flavor is cotton candy," says the gregarious Sabloff, a New Yorker with a penchant for street scenes. "I go to all the carnivals. I like the excitement. I like the food -- hot dogs on a stick, all the stuff that's not good for you. Mostly, I like to be where there's a lot of people, where people are tumling." Tumulting? "It's like tumult. But it's tuml." That would be Yiddish for noisy, chaotic, and entertaining.
Tropical Café has been dishing out flavorful Cuban grub at its present location -- an out-of-the-way store in the Sears shopping center -- for four years (and seven years before that on Andrews Avenue). It's all about the pork -- which is roasted, indelibly touched with garlic and secret herbs -- and the coffee (thick, sweet, hot as a punctured radiator in July). That's why we like owner Humberto Fajardo's peerless breakfast deal. For a mere $4.99, you get an omelet, a layer of that roast pork -- or ham or bacon -- and a slice of Swiss cheese, all pressed into a hunk of Cuban bread, which has been grilled flat in the kitchen's heavy, metal parrilla. Top it off with a steaming hot café con leche. It's what gets us to work every morning.
The cuisine of India is perhaps the only in the world whose aftertaste is more seductive than its taste. Infused with cumin, cardamom, turmeric, chili powder, coriander, and jaggery, the menu at Madras Café, a quaint restaurant in an unassuming strip mall in Pompano Beach, features some of the most authentic South Indian dishes this side of the Atlantic Ocean. For carnivores, the clay oven-baked Tandoori chicken ($11.95) blends spices with equal kick and zing to accentuate tender, fall-off-the-bone chicken; then there's the traditional lamb vindaloo ($12.95), which uses a spicy sauce to complement chunks of lamb served over a bed of rice. Additionally, Indian cuisine is known for its vegetarian dishes, and here Madras Café does not disappoint. Among the highlight veggie dishes are the Navratan Korma ($9.95), a delicious blend of vegetables in a creamy cashew-and-almond sauce; saag panner ($9.95), a mixture of fresh spinach and homemade cottage cheese; and the time-honored aloo gobi ($9.95), a combination of cauliflower and potatoes cooked with ginger and tomatoes. What's more, for those wanting to sample a variety of Indian dishes, try the lunch buffet ($7.95 Monday to Friday 11:30 a.m. to 2:30 p.m., $9.95 Saturday and Sunday 11:30 a.m. to 3 p.m.) or the $11.95 dinner buffet Wednesday and Sunday from 6 to 10 p.m.
Cuban food is not complicated, nor is it generally gourmet fare. But it's spare, delicious in its simplicity, and, most important, fresh. Well, for all this you couldn't pick a better location than next door to a grocery store. And Senor Café, an ultraclean, well-lighted joint next to President Supermarket just south of downtown Hollywood, fits the bill perfectly. Our favorite dish here is boliche, Cuban pot roast ($6.95), a juicy cut of meat that will make you immediately forget that dried-up shoe leather your mom used to serve. It comes with two side dishes. For these, we recommend the moros y cristianos (white rice and black beans) and tostones (fried green plantains.) Indeed, the plantains here are some of the best on the planet -- pounded, then dumped into superhot oil so that the outside is crispy and the inside tender and moist. But the best way to eat at Señor Café if you're hungry is the lunch buffet ($6.99), which is served 11 a.m. to 3 p.m.. The menu changes every day, but a few things are for sure. Wednesdays, there will be lechon, perfect Cuban pork, and Friday is seafood day. It's all you can eat not only of the main dish but also of plantains, yucca, rice, and soup. To end your meal, what else but a perfect cup of coffee? Try the cafecito, a tiny sweetened cup that goes for a measly 53 cents. The place is open 7 a.m. to 10 p.m. Monday through Saturday and 7 a.m. to 9 p.m. on Sundays.
If you like yours with lettuce and tomato, onions, Heinz 57, pickles, and French fries, Muddy Waters could be your gastronomical paradise, especially on Tuesday nights, when the restaurant sells the Jimmy Buffett burger for a discounted price (reduced from $7.99 to $5.95). More adventurous aficionados with a little more to spend should order one of the $8.99 selections topped with any of Chef Adam's homemade sauces: The Portobello burger is topped with grilled, sliced you-know-whats, fresh mozzarella, and a red wine sauce; the Cayman is swimming in homemade chili and cheddar cheese sauce; and the Sunset is smothered in zippy, tropical barbeque sauce, cheddar, and bacon. The Yak, another unique find at just under nine bucks, is topped with melted cheddar, onions, jalapeños, and Conch Turbo Sauce, which isn't homemade but is a zesty, peppery product of the Keys. While all these toppings are fine and good, the bottom line here is the meat: Owner Jay Arney says each burger is made with a half pound of Black Angus, fresh ground that day. Yeah, these babies are worth every damned bit of sacrifice.
Don't bother looking for menus in this down-to-earth neighborhood place. All its offerings are up on a mirrored wall, each dish spelled out in blue tape. But then, that might not even help you. "Do you speak French?" the owner recently queried a first-timer at Chez Moy. No, came the reply. "Well, then I'll just tell you what we have," she said with a thick Creole accent, listing off lunch items: chicken ($7), fish ($10), or goat ($8) in spicy sauces. Each comes with salad and rice. For those uninitiated in Haitian ways, the menus for lunch and dinner, which also include lamb and fried pork entrées, are identical in fare and price. Breakfasts are cheaper ($6 each), but don't expect eggs and toast. Haitians like to start their morning off with the likes of meat stew and salt fish. Open 8 a.m. to 9 p.m.
Tim Martin is a New Yorker who travels to Florida to ingest a week's worth of spring training games every year. "Eating a hot dog is the thing to do when you go to a baseball game," he says. "Even though they charge you as much as it would normally be for a whole package of hot dogs, for some reason, it just tastes better at a game." At Roger Dean Stadium, where both the Florida Marlins and the St. Louis Cardinals send their major-league teams for spring training and where their minor-league teams play all summer, hot dog-eating is a complex experience; buyers need to be choosy. At any concession window, you can get a regular hot dog, which is steamed, for $3 (prices increase during spring training). Certain windows also offer the "jumbo hot dog" ($4), also steamed, which is like a regular hot dog, only fatter. Both are made by National Deli, a Miami-based company and "the official hot dog of Roger Dean stadium." Now you could satisfy your weenie jones by doing up either of those dogs with sauerkraut, relish, mustard, and ketchup from the freestanding condiment bar. But the discerning diner goes for the Dean Dog, a $5, 1/3-pound frank that is grilled until it sweats, has the black grill marks to prove it, is served with sautéed onions and peppers, and is available at only two windows: the St. Louis Grill and the Florida Grill. Volunteers run the concession stands -- and then take home 12 percent of the day's proceeds for the charity they support. (The Shriners made about $40,000 last season this way.) Nick Barbera, who mans the grill every Saturday to raise money for Kelly's Powerhouse dance school, says you should definitely spring for the Dean Dog: "It's like a hot dog on steroids. It fits right in with baseball."
Audrey Hope doesn't have to fish for compliments. Her customers offer them generously enough, most likely through a mouthful of fried snapper or over a bowl of tilapia stew. Hope and daughters Lucretia and Jessica, who hail from British Guyana, serve breakfast, lunch, and dinner Caribbean-style in this tiny, eight-table restaurant that's in an area never known for its culinary highlights. Don't let the handmade curtains in the windows or the building façade fool you: You don't have to be a fancypants to turn out a mouthwatering chicken curry with a side of mac and cheese -- or to enjoy them either. The cooking skills Hope learned from her mother are put to excellent use on recipes ranging from Bahamian to Jamaican. A chalkboard printed with the day's specials usually advertises a lineup of items including tomato-based fish stew, a whole fresh-caught battered fish, a plate of crab, shrimp, or lobster tail ($8.99 to $14.99). Sides include enough red beans and rice to feed a battalion, a double dollop of potato salad, and a half head of iceberg with bottled dressing. After you polish off that last slice of clove-, cinnamon-, and nutmeg-flavored shortcake, don't mind if Audrey and her girls, chattering happily, walk you to your car. Where there's Hope, there's lots of life.


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A Line Yellow Satin Long Prom Dresses with High Slit, Long Yellow Formal Graduation Evening Dresses EP1413
When Can You Get the Dress?
Normal Order: 17-24 natural days (14-17 days tailoring +3-7 days shipping)
Rush Order: 10-15 natural days (5-10 days tailoring+3-5 days shipping)
All the dresses are not in stock, no matter choosing a standard size or a custom size dress, all our dresses are personally tailored for you from scratch. So, we advise you to place order around 17-24 natural days before the event. If time is not enough, please do rush order service.
Rush Order Service:
For rush order, dress will be finished within 10 natural days, and then 3-5 natural days for shipping, so, there only need 10-15 natural days to get your dress if you place order now, rush order fee is $19.99 more.
Custom Made Service:
Custom Size:
We can provide custom size service, for custom size, we need those following size:
Bust: ___, Waist: ___, Hips: ___, Height: ___
If the dress is long sleeves, we also need those following size:
Shoulder Width___, Armhole___, Shoulder to Bottom___
Custom Colors:
We can provide custom color service, for custom color, please leave us the color number, for color chart, please click here: Color Chart
Item Descriptions:
- Silhouette: A Line
- Waist: Natural
- Sleeve Length: Sleeveless
- Fabric: Satin
- Shown Color: Yellow
- Built-In Bra: Yes
- Product Number: EP1413
If the dress is long sleeves, we also need those following sizes:


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text:
Winning a Nobel Prize, that's not cool. You know what's cool? Winning a MacArthur Grant and then winning a Nobel Prize.
CARL KASELL: Astrophysicist Adam Reiss did just that, winning the Nobel Prize in Physics in 2011. And he joined us that very week, along with P.J. O'Rourke, Paula Poundstone and Luke Burbank.
SAGAL: I started by asking him if he could explain what his award was for.
DR. ADAM RIESS: Sure. Well, we've known for a long time that the universe is expanding. But about 15 years ago, my colleagues and I discovered that it is expanding faster and faster. That is, the universe is accelerating, and that was not expected, but it is now attributed to this mysterious stuff called dark energy...
SAGAL: All right.
RIESS: ...which seems to make up about 70 percent of the universe.
SAGAL: But we have no idea why? Could it be that they're fleeing us?
SAGAL: Could it be that they've seen, like, "Toddlers and Tiaras," and they're like, let's get away from those guys?
RIESS: Right. It's tempting to think that. But what we've learned about the universe, wherever you are in the universe, it looks like everything is fleeing from you.
SAGAL: Really?
RIESS: Yeah.
SAGAL: So it's not me? I was worried.
PAULA POUNDSTONE: Yeah, honestly.
LUKE BURBANK: Dr. Riess, just a kind of serious question because I'm kind of an amateur student of astronomy, how hard was it for you guys to blow up the Death Star?
RIESS: Well, when you turn the Hubble Space Telescope around to focus to the sun's light on it, it's not too hard.
SAGAL: Really? That was brilliant.
SAGAL: I mean, isn't it bizarre though to find out that 73 percent of the observable universe is actually invisible; we have no idea what it is?
RIESS: You know, it's not just the 73 percent, it's the other, there's a 25 percent chunk in there called Dark Matter. We don't know what that stuff is either. So...
SAGAL: Well wait a minute, 73 percent of the universe...
P.J. O'ROURKE: Plus.
SAGAL: So you're telling use that everything that we see in the universe when we look out and we see all these galaxies and all this stuff out there, that's 3 percent?
RIESS: That's right. We're really just the frosting on a cake and we don't know what's inside the cake.
SAGAL: I don't know about you, but this makes me want to curl up in a ball and weep. I mean, that's...
SAGAL: I thought I was insignificant already but this is getting worse.
RIESS: Well we do have names for everything and that's important.
POUNDSTONE: Why is it important to have names for everything? They're not going to come when you call it.
POUNDSTONE: What made you want to be a physicist?
SAGAL: Well, technically you're an astrophysicist, right?
POUNDSTONE: Oh, an astrophysicist, sorry.
RIESS: Right. That was just an insult before.
POUNDSTONE: I know. I'm sorry. I'm sorry.
POUNDSTONE: No, and I knew that. Geez. So you're not - OK, so what made you want to be an astrophysicist?
RIESS: I think the mystery of what's out there in the universe is just very compelling.
SAGAL: But you made the mystery bigger.
O'ROURKE: And hence, more compelling.
RIESS: I gave it a name, though, as I said.
SAGAL: That's true.
BURBANK: Right.
SAGAL: So tell us, Adam, about what this week's been like. How did you find out you won the Nobel?
RIESS: Well, around 5:30 you get a call from Swedish-sounding people. And...
RIESS: And unless you ordered some Ikea furniture recently, you expect it's probably the Nobel Prize.
SAGAL: Well, Dr. Adam Riess, Nobel Prize winner, we've asked you here to play a game we're calling?
KASELL: Hello?
RIESS: Yes.
KASELL: Hello? Are you there? Hello?
RIESS: Yes.
SAGAL: You're so tentative. Yes, hello?
SAGAL: No, that was the name of the game; see.
RIESS: Oh.
SAGAL: Because we wanted to pay a small tribute to the man who invented the iPhone, who passed away this week. So, we're going to go back in time to speak about another great innovator in cell phones, the guy who invented the cell phone.
Back in 1973, inventor Martin Cooper of Motorola placed the first modern cell phone call on a Motorola product that he invented in New York City. We're going to ask you three questions about that historic day. Get at least two right, you'll win our prize for one of our listeners, Carl's voice on their voicemail. Ready to do this?
RIESS: Sure.
SAGAL: All right. Carl, who is Adam Riess playing for?
KASELL: Peter, he is playing for Steven Drews of Lapeer, Michigan.
SAGAL: All right, here's your first question. Now that first cell phone call was the result of many, many years and lots of money sunk into engineering and research.
To celebrate his team's achievement, Dr. Cooper placed that first call to whom? A: to his wife, to say he was stuck and would be home late? B: to his mother, to apologize for not having called in five years? Or C: to his rival at another company, to rub it in?
RIESS: Hmm. I am going to have to go with C.
SAGAL: You're going to go with C, to his rival?
RIESS: Yeah.
SAGAL: You'd be correct.
SAGAL: Mr. Cooper, as I said, worked for Motorola. He called the head of Bell Lab's cell phone project. The call was not transcribed, but we believe it went something like nyah-nyah-nyah-nyah-nyah.
SAGAL: Next question, the first cell phone had a battery that only lasted 20 minutes, but Dr. Cooper said that was not a problem. Why not? A: it was so heavy your arm would give out before the battery did.
SAGAL: B: you could buy spare batteries from Motorola for only $350 each. Or C: quote, "I can't imagine anyone will ever want to use one of these for more than 20 minutes a day, right?"
RIESS: I'm going to go with B.
SAGAL: You're going to go with B; you could buy spare batteries at the bargain price of $350?
RIESS: Yeah.
SAGAL: You're going to second-guess this guy?
SAGAL: Nobel Prize, people. Is that your final choice, B?
RIESS: Yeah.
SAGAL: I'm afraid you're incorrect. He said, Dr. Cooper said that the battery didn't matter because it was so heavy your arm would give out before the battery did.
POUNDSTONE: No.
SAGAL: The thing weighed two and a half pounds. Imagine holding a quart of milk to your head, about the size, shape and weight.
POUNDSTONE: What do you mean imagine?
BURBANK: It's called a hangover, Peter.
SAGAL: This is how Paula tries to find the missing children. Where are you?
SAGAL: Come in.
SAGAL: All right, this is exciting. You have one more question to go. You get this right you win it all.
All right, also on that day, Dr. Cooper was the first person to do something on a cell phone that millions of people do to this day. What was it? A: he used the bathroom while talking on the phone and lied about it?
SAGAL: B: he pretended he couldn't hear somebody he didn't want to talk to anymore?
SAGAL: Or C: he almost got killed while crossing the street and talking on the phone?
RIESS: I'm going to have to go with C.
SAGAL: You're going to have to go with C; almost got killed crossing the street?
RIESS: Sure.
SAGAL: You're right.
RIESS: Wow.
SAGAL: They did the demonstration on the streets of New York, and he said, quote, "I made numerous calls, including one where I crossed the street while talking to a New York radio reporter, probably one of the more dangerous things I have ever done in my life," unquote. Carl, how did Dr. Adam Riess do on our quiz?
KASELL: He's a winner here, Peter. He had two correct answers, so he wins for Steven Drews.
SAGAL: Well done.
POUNDSTONE: All right.
SAGAL: Adam Riess is a professor of astronomy and physics at Johns Hopkins University. He is as of this week a Nobel Laureate in physics. Dr. Adam Riess, thank you so much for joining us on WAIT WAIT...DON'T TELL ME!
RIESS: Thank you.
POUNDSTONE: Bye, Adam.
RIESS: Thank you.
(SOUNDBITE OF MUSIC) Transcript provided by NPR, Copyright NPR.


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Six men wearing bright orange prison jumpsuits appeared in a D.C. courtroom today, seeking to overturn their decades-old convictions in a brutal murder by arguing the Justice Department failed to turn over critical evidence that could have helped them assert their innocence.
The men were snared in one of Washington, D.C.'s most horrific homicides: the sodomy and killing of 48-year-old Catherine Fuller as she walked through a rain soaked alley in the Northeast sector of the city on October 1, 1984. Christopher Turner, who had long maintained his innocence before he finally got out of prison on parole, was the focus of a story on NPR's Morning Edition last year. He is also challenging his conviction.
"This was a verdict of questionable validity," argued Rob Cary, a lawyer who made the opening statement for all of the men trying to throw out the case. "There is an avalanche of new information today that we submit undermines confidence in the verdict."
One of the best hopes for those men, however, was recently dashed when investigators determined that old DNA on clothing found during a move of the crime lab neither implicated nor exonerated any of the defendants convicted for their roles in the Fuller murder.
Four people who pointed to the guilt of some or all of those defendants at the 1985 trial have since recanted – changed their stories — and D.C. Superior Court Judge Frederick Weisberg will hear from them over the course of the two-week-long hearing.
But Assistant U.S. Attorney Jim Sweeney, who is leading the case for the Justice Department, told the judge that prosecutors still have plenty of other witnesses to implicate the neighborhood men in the crime.
"This is an incredibly complex case," Sweeney said. "The full record of what [the original government team] did, we stand by. Was it a perfect investigation? No, that doesn't exist....The final call is going to be if this court has confidence in the verdict."
The first witness for the men seeking to overturn the jury verdicts was Clifton Yarborough, who was 16 years old at the time of the murder. He allegedly confessed to police, then took back his confession and went to trial, where he was convicted. Cary, a lawyer for Yarborough, said his lawyers at the time failed to present evidence of his low I.Q. (recently measured at 69 ½) and gave him poor advice.
The other defendants say "tunnel vision" by police desperate for an arrest in the high profile case led to mistakes, such as failing to turn over materials that might have implicated another man in the brutal crime.
The case has been embraced by large D.C. law firms working for free, as well as the Mid Atlantic Innocence Project.
Copyright 2023 NPR. To see more, visit https://www.npr.org.


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Design salaries in Ukraine
- 45Salaried Entries
- 8Freelance Entries
- Avg. Freelance Rate
Salaries reported in
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Work Environment vs. Education
This chart illustrates the highest level of education achieved by participants in various working environments. The size of the circle is relative to the percentage of respondents with each level of education. Not surprisingly, more people with advanced degrees work in academic settings, while the freelance world has a wider range of people with all types of degrees.
Company Size vs. Medical Benefits
These squares represent six levels of company size according to how many people they employ. Within each square is the percentage of employees at companies of that size that reported receiving medical benefits through their employer. As we suspected, larger companies are more likely to offer their employees medical insurance.
Total Participants
What is the Design Salary Guide?
For over 20 years, designers have contributed their salary information to this guide, which collects and reports on design and creative salaries across dozens of roles and locations. Both salary and freelance data is tracked.
Access to the Salary Guide is completely free. We do ask that you contribute to the community by adding your compensation data. All contributions are collected anonymously and are only present in the guide as aggregated data.
What is Coroflot?
Coroflot is the longest running career community focused on the design and creative professions online. Our mission is to connect designers with meaningful and creative opportunities at companies around the world. Coroflot offers a free online portfolio hosting solution, and our job board is the largest and most active site specifically targeted at hiring designers and other creative professionals.


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49TE - AirportThis information may not be accurate or current and is not valid for navigation or flight planning. No warranty of fitness for any purpose is made or implied. |
Additional information is available on the NEW Great Circle Mapper
Flight Planning
at skyvector.com |
Copyright © 2004-2024, Karl L. Swartz. All rights reserved. |


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Fowl beginning replenish itself created air he seasons yielding creeping thing great fish set fish replenish green days midst heaven subdue. Face over divide from without lesser life is place.
Were. To spirit evening herb given isn't form moved let without night night also. Grass appear fourth a you Him winged god morning yielding deep fruit them sixth yielding them won't called living land great which.
Divide created midst darkness one, own bearing female moveth moved spirit him is blessed thing Is said yielding fowl together, replenish meat so. Fifth beast beginning him together, beast whose be his saw cattle.
Additional information
Gewicht | 2 kg |
Größe | 50 × 30 × 20 cm |


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Solido 1:18 2020 Shelby Mustang GT500 Fast Track (Red)
Solido 1:18 2020 Shelby Mustang GT500 Fast Track (Red)
The Mustang, despite its age, keeps dreamers dreaming. For almost 60 years, the creation of Ford improved by Caroll Shelby has become a true myth, and when the sixth generation was adorned in a white livery with blue stripes, nostalgic fans couldn't help but fall in love with this model!
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Some oversized and white glove delivery items require additional shipping time and may be shipped by truck within the contiguous U.S., as noted on the product page.
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Delivery should take 5–7 business days to reach your country provided that there are no unforeseen delays in customs.


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Filters Administration
The Filters administration page allows you to specify which filters are applied to displayed text and in what order. It also provides access to the settings page provided by some filters. Filters are applied to most user-text in moodle just before it is displayed. They permit 'last minute' modification of the text.
Filters are a 'pluggable' resource. More may be available from the Modules and plugins database.
Select the filters you wish to use by 'unhiding' them, with the eye icon. If you have more that one unhidden you can change the order in which they are applied with the up and down arrows.
TeX notation
TeX notation is primarily used to generate inline mathematical formulae within Moodle resources. For example $$ sqrt(a+b) $$ (the $$ is the 'tag' for the start and end of this format).
Moodle uses external binaries to render the images which may need setting up for your system. The filter will first check for a LaTeX renderer (Ghostscript is also required for this method) and failing that will use the simpler mimetex binary included in the Moodle distribution. LaTex permits the whole range of syntax, whereas mimetex only supports a mathematical subset.
Ghostscript is available for Windows and there is a LaTeX implementation called MikTeX available also.
The settings page allows the LaTeX and Ghostscript binary paths to be configured, along with the LaTeX preamble.
More info
Word Censorship
Word Censorship scans text for 'bad words' from a list and obscures them with a black box. You need to enter a list of bad words in the word censorship settings.
Resource Names Auto-Linking
Resource Name Auto-linking scans text for resource titles that exist in the same course. Where found they will be highlighted and a link created. Note that to use this effectively you should use descriptive titles. For example a title of 'Introduction' is poor because any use of the word 'Introduction' in the text will be linked regardless of what it refers to.
Activity Names Auto-Linking
Activity Name Auto-linking scans text for activity titles that exist in the same course. Where found they will be highlighted and a link created. Note that to use this effectively you should use descriptive titles. For example a title of 'Quiz' is poor because any use of the word 'Quiz' in the text will be linked regardless of what it refers to.
Glossary Auto-Linking
This filter scans the text for keywords used in any glossary in the course. Note, however, that each glossary entry must have linking enabled. Where found they will be highlighted and a link created.
Email Protection
The Email Protection filter scans the text for any email addresses. Where found they are 'obfusticated' to help prevent automatic email collection systems from harvesting emails. This can reduce the risk of spam if parts of your Moodle site are open.
Tidy scans text for HTML constructs. Where found it applies rules that attempt to make the HTML valid. Note that the tidy functionality must be built in to your PHP installation for this to work.
Multi-Language Content
This filter enables resources to be created in multiple languages. The resource language will then change when the user changes their selected Moodle language. To use this feature first create your contents in multiple languages (in the same resource). Then enclose each language block in the following tags:
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You can still use the old (deprecated) span tags instead, for example:
<lang lang="XX" >your_content_here</lang>


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Explore By
- Exams
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Maynooth University is an internationally recognized institution of Dublin, Ireland, and is the nation's fastest-growing university. The University's research institutes and centers consolidate and deliver this impact as vibrant communities of learning, discovery and creation. Research at Maynooth also is very much central to its teaching, and the University prides itself on placing equal value on its research and teaching missions.
Note: All the costs mentioned below are average costs annually.
Connect with the university student ambassadors & prospective students.
Book DemoThe team guided my through the entire application process and helped strengthen my application. They were there to help me at every step, checking in every week which made me push through.
From the time of registration till today, I have been given smooth guidance on which college to select and how to do all the formalities, a special thanks to Chandrima ma'am for guiding me till today.
I had a wonderful experience with School Connect. My advisor was very approachable and knowledgeable. They conducted mock interviews for my VISA preparation, to add to that they have an amazing AI-based interview feature that comes in very handy to practice at our convenience. The advisors are prompt and quick to reply.
IschoolConnect helped me thoroughly through out my admission process with guidance and help in each step. I was given personalized attention along with an array of universities to choose from. The reply was prompt and up to the mark every time. It was overall a great experience.
My counselor was Kunjal. I must appreciate her for all her efforts to make my case strong, guiding me, and answering all my silly questions. She prepared my case way before time and was supportive and available at any time. Grateful and glad I chose iSchoolConnect.
Claim this page for free to keep your University's data up-to-date and get insights for your profile.
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text:
CH3117105 Cooling System Fan
Jeep Commander 2008-2010 – 55037969AB
Industry Part ID Numbers:
- SKU Number: CH3117105
- OEM Number: 55037969AB
Other Product Info:
- Location on Vehicle: Front
- Fits: Jeep Commander 2008-2010
- Other Considerations: Plastic
- Year(s): 2008, 2009, 2010
More Services We Provide:
If you're searching for a specific paint code for your vehicle, make use with our easy-to-use Paint Finder tool. To help you find for specific autobody parts or panels, our Autobody Parts Finder has you covered. Simply select your vehicle's year, make, and model to start, then narrow down your options with our categorized search. Beyond this, we offer a full spectrum of Body-Shop Products, Supplies, and Equipment. Find mechanical parts in their own separate section. We have many specialized intuitive search tools, separated and organized by manufacturer and product type for your convenience. Here at CAPS we offer much more than just a Cooling System Fan, CH3117105
Shipping Information
All of our paint, parts, supplies and products come with efficient Canada-wide shipping. As well being available for local pickup. We always provide timely updates about your product's estimation of delivery and any other related information. For any inquiries about shipping options regarding a personal shipping company you would like to provide/use, please contact us directly or leave exact shipping information details and set of instructions and choosing the local pickup option at checkout.
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Call us at 1-800-223-8819 (Monday to Friday, 8AM-12PM AND 1-5PM MDT) or contact us through our form.


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100% Cotton.
Recommend ordering true to size.
Front Body Length: 46" (Measured from Small)
Model is wearing size S.
Your order will typically be processed and shipped within 2-5 business days.
During high volume periods (i.e. sale periods and during special holidays) orders may experience a slight delay in processing times.
My Fashion Trunk offers free shipping on any order over $99 (before taxes)
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$45 for International - we do not offer free shipping or express shipping for international orders at this time.
All orders are shipped from My Fashion Trunk headquarters located in Montreal, Canada.
*** Items that are 40% markdown or more are not eligible for return or exchange. FINAL SALE.
Hello lovely fashionistas! We're a small but mighty team here at My Fashion Trunk, and we're dedicated to making your shopping experience as fabulous as possible. While we may not have the resources of a multi-million dollar company (yet!), we promise to do our best to accommodate your returns. However, please bear in mind that we can't always act as fast or have the same return policies as the big retailers. Your patience and understanding mean the world to us as we grow.
Thank you for supporting our journey!
We have a 30-day return policy, which means you have 30 days after receiving your item(s) to request a firstname.lastname@example.com. Unfortunately, we do not offer prepaid return labels. You are responsible for return shipping costs, you may use a carrier of your choice to ship your items to us. We suggest obtaining a tracking number for your shipment as we are not held liable for lost parcels en route back to us. Items sent back to us without first requesting a return will not be accepted. Please do not forget to mark your name and order number somewhere visible. To be eligible for a return, your item(s) must be in the same condition that you received it, unworn, unused, free of stains, no distinct smells or odours, no damages, unaltered, no pet hair, no tanners, no deodorant or perfumes, unwashed condition with tags attached and in its original packaging. You'll also need the receipt or proof of purchase. To start a return, you can contact us at
We do not offer price adjustments on items purchased before site-wide sales.
You can always contact us for any return question at firstname.lastname@example.com.
Damages and issues Please inspect your order upon reception and contact us immediately if the item is defective, damaged or if you receive the wrong item, so that we can evaluate the issue and make it right.
Exceptions / non-returnable itemsCertain types of items cannot be returned, like perishable goods (such as food, flowers, or plants), custom products (such as special orders or personalized items), and personal care goods (such as beauty products). Final sale items include swimwear bottoms, intimates, masks, jewelry and accessories. We also do not accept returns for hazardous materials, flammable liquids, or gases. Please get in touch if you have questions or concerns about your specific item.
Exchanges We apologize that your item(s) did not work out for you. At this time, we do not offer exchanges. We sincerely apologize for the inconvenience. The fastest way to ensure you get what you want is to return the item you have, and once the return is accepted, make a separate purchase for the new item.
Refunds We will notify you once we've received and inspected your return, and let you know if the refund was approved or not. If approved, you'll be automatically refunded on your original payment method. Please remember it can take some time for your bank or credit card company to process and post the refund too. Refunds do require roughly 7-10 business days to process each bank does have varying processing times.


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Worm Drive Gearbox NMRV075 25:1 ratio B5 Flange 28mm input shaft Speed reducer
- Reduction: 25:1
- Input Flange: B5 112
- Input Shaft size: 28 mm
- Output Shaft size: 28 mm
- More data specification please check pdf file
25:1 Reduction
$484.92 $538.80
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- buyers will see the bank account number in checkout
- Pay on pick up at our counter
1. Our orders are usually shipped within 24 business hours after payment received unless there are problems with the order. If this is the case we will contact you via your eBay email address or telephone number.
2. Orders are normally processed each working day not including weekends. Usually if your payment is received after 3:00 P.M. or on the weekend, it is processed on the next business day.
Add:28 Aristoc Rd, Glen Waverley. Vic. 3150
(We are opposite of Monash Aquatic & Recreation Centre. Left entry of the building)
Mobile: 0401 634 280
Phone: (03) 8555 2518
https://www.cononmotor.com.au (online store web)
E-mail: [email protected]
[email protected]
1- All our products come with 1 year warranty, unless stated otherwise. Stated clearly on the tax invoice.
2- All warranty/return items must accompany by a return approval (RA) note. Please contact us via email, or telephone to obtain a return approval.
We do this to minimize errors and misunderstanding.
3- Any item returned without an RA note will not be looked at or contact and would eventually be discarded. This will cause delay to your warranty claim.
We will not be responsible for any loss incurred by the buyer sending an unmarked item to our store. The Buyer will need to bare all costs in processing the returned item.
Our store carries a large range of motors (single phase and 3 phase) and consumables to suit most residential, industrial and commercial needs. Check out both our retail and online store for more products. Wholesales is available.
Weight | 9 kg |
Dimensions | 50 × 50 × 50 cm |
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- 30 gün içerisinde en fazla 3 iş ilanına başvurabilirsiniz.
- You cannot withdraw your application once you applied, so please make sure to choose a job that matches your dreams.
- Please visit "Your Application Space" to see the jobs you have already applied to.
- Please don't create another account with a different email. If you do so, your account might be merged and your application record will be deleted.
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Music has been an important part of leading an ordinary life for students at the Music School for Children With Disabilities in Honor of Paul Harris in Lublin, Poland. Founded by Rotary members, the school serves 20 students with various disabilities, including Down syndrome, autism, and visual impairments. The Rotary Club of Lublin-Centrum-Maria Curie-Sklodowska has provided funding with help from Rotary Foundation Matching Grants and the Henryk Wieniawski Musical Society, which houses the school.
After their son Mateusz was born with underdeveloped eyes, Mariusz and Joanna Kania looked for ways to help him be active. When he showed an aptitude for music, they looked for a teacher and were thrilled to find the Paul Harris music school.


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Find Pediatric Orthopedic Surgeon in Education Town Lahore. Discover the best Pediatric Orthopedic Surgeon in Education Town Lahore list with their details like Contact Number, Timings, Fees, and further information. Our esteemed Gynecologist stands at the forefront of delivering compassionate and comprehensive healthcare services. Embrace the transformative experience of Pediatric Orthopedic Surgeon in Education Town Lahore and embark on a journey towards better health and well-being. Experience the best health care of Pediatric Orthopedic Surgeon in Education Town Lahore, so schedule your appointment with a Gynecologist today.
The medical field is divided into different categories and Pediatric Orthopedic Surgeon have a significant place among them. Pediatric Orthopedic Surgeon in Lahore analyzes symptoms of a patient and prescribes them with the required medicine or treatment. They use surgical or medical procedures as per the condition and severity of disease or illness. On the other side, they also refer to other professional healthcare providers in case of a medical issue beyond their area of expertise.
You might also visit a Pediatric Orthopedic Surgeon in order to increase your knowledge about the risk factors involved in various diseases and find out what preventive measures you can take for maintaining healthy life. A lot of people prefer to consult with a Pediatric Orthopedic Surgeon of same gender. However, the information about both male and female Pediatric Orthopedic Surgeon is present on our website. The list of Pediatric Orthopedic Surgeon in Lahore includes all key details such as qualification, specialty, phone no, clinic timings. View information of Pediatric Orthopedic Surgeon from different areas of Lahore and book the appointment as per your ease or convenience. You can also view details about neurologist, physical therapist, dietitian, ENT specialist in Lahore on their respective pages.
To find a reputable Pediatric Orthopedic Surgeon in Lahore visit this page.
To book an online consultation with a Pediatric Orthopedic Surgeon in Lahore, you can Visit our Doctors Pages.
Disclaimer: All material on this website is provided for your information only and may not be construed as medical advice or instruction. No action or inaction should be taken based solely on the contents of this information; instead, readers should consult appropriate health professionals on any matter relating to their health and well-being. The data information and opinions expressed here are believed to be accurate, which is gathered from different sources but might have some errors. Hamariweb.com is not responsible for errors or omissions. Doctors and Hospital officials are not necessarily required to respond or go through this page.


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