text:
Harlem Is Nowhere
A Journey to the Mecca of Black America
Paperback, 320 pages, Back Bay Books, List Price: $14.99 |purchase
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Book Summary
The author explores Harlem's legacy through the lives of people who lived there, both celebrities and everyday people, including her own experiences, in a book that looks at the growing gentrification of the culture-rich New York neighborhood.
NPR stories about Harlem Is Nowhere
Dreams And Reality Forever Intertwined In 'Harlem'
Note: Book excerpts are provided by the publisher and may contain language some find offensive.
Excerpt: Harlem Is Nowhere
Harlem is NowhereA Journey to the Mecca of Black America
Little, Brown and CompanyCopyright © 2011 Rhodes-Pitts, Sharifa
All right reserved.
I HAD ALREADY put the key into the door of my building on Lenox Avenue when the question came at my back. In one movement I withdrew the key and turned to face my inquisitor. He stood waiting for my reply and then asked again: Do you think you'll ever go home?
It was one of the neighborhood men who stand outside the front door during the day, sentinels keeping a vigilant watch. When I first moved here they were almost invisible to me; we did not speak and exchanged only the occasional nod. Neither I nor the men were being standoffish. There seemed to be an unspoken rule—perhaps a universal prudence for any strange girl arriving in any strange place—that I should come to know the women first. After I had been accepted by the women, the men began to make themselves known. By that point, the women had warned me about which men to avoid, I'd learned to discriminate between geezer flirtation and jive, and I could hold my own with the biggest jive talkers. Soon, I was drawn into a form of protection. My new friends declared this adoption at unexpected moments—one or another of the neighbors would introduce me as their daughter. If I was stranded in the midst of an unwanted conversation with a persistent sidewalk suitor, one of the sentinels would swoop in to see him off. But if I came home accompanied by a man of my own choosing, I was later expected to give an account of his intentions, employment, and character.
Home, he said again to my puzzled stare. Down South. Do you think you'll ever go back home?
It was a time when I was often in and out of the city. During phone conversations with friends, if I said I was at home they'd always ask, Where? But on this day, the man's question came out of nowhere. As I'd approached the stoop he'd remarked, Cold enough for you? on what was a relatively warm day a few weeks before the start of spring. I'd responded, Not bad, not bad at all, noting how easily that banality passed my lips—approximating the tones of a northerner, feigning comprehension of their seasons. Maybe he sensed the falseness of my reply. Maybe that's why he asked that question, presuming a desire I was not in contact with on that particular morning.
I answered cheerfully. Home to Texas? But I go back all the time… This sent him scattering into an apologetic retreat, as if he suddenly had a sense of invading my privacy. Oh, he said, and Oh, he repeated, as if the problem of my dislocation had suddenly been made right.
I did not ask him if he ever went home. I did not think of it until I was already in the narrow corridor that leads to the staircase that leads to my apartment, and now, in the act of recording it, this passing forgetfulness that he was also far from home strikes me as a failure of empathy. The yearning may have been more his than my own.
It was odd that he should think of me, even as I crossed my own threshold, as a stranger—someone on the verge of departure, highly susceptible to the mere mention of flight. (I might at that moment have turned around and gone; I might just then have been thinking of it.) But it says much about the impermanent status of my residence here. My neighbors were accustomed to seeing me leave with luggage in the earliest part of the morning. I had maintained an innocence of city politics and refused certain hallmarks of the committed citizen of New York, like a red or black wire rolling cart for groceries, or a tabloid newspaper selected on the basis of the best horoscopes. I should not have been surprised that some of my neighbors on Lenox Avenue were still trying to understand my presence in their midst. On a different occasion, a different man from outside my door had asked where I was from. He was surprised—pleased, even—to hear I was from Texas. Oh, he'd said. I thought you were a foreigner.
One restless, idle hour, I sat at the library on 135th Street and consulted The Columbia-Lippincott Gazetteer of the World, copying out the following entry, as if to gain my bearings:
Harlem: A residential and business district of N Manhattan borough of New York City, SE N.Y., bounded approximately by Central Park and 110th St. (S), East R. (E), Harlem R. (NE), 168th St (W). Largest Negro community (pop. More than 400,000) in U.S. grew up here after 1910; one of the most congested districts in U.S., Harlem also has large colonies of Puerto Rican, Italian, and Latin American background. The Du. Settlement of Nieuw Haarlem was est. here 1658 by Peter Stuyvesant; in the Revolution, Continental forces stopped the British advance up Manhattan in battle (Sept., 1776) of Harlem Heights. Area remained virtually rural until improvement in 19th cent. of transportation links with lower Manhattan. Public-housing projects (begun in 1930s) and other attempts to relieve unfavorable conditions there have been made.
At first it seems to give an all-encompassing view—complete with official borders, colonial heroics, and important urban planning highlights. Yet it manages to say nothing at all. In search of further detail I seized upon another definition, from the pages of The Handbook of Geographical Nicknames. This volume reveals that a city called Hankow is "The Pittsburgh of China"; that "The Happy Valley" refers to war-torn Kashmir and to the riverine gorge cut by the Tennessee; and that the Harz Mountains of Germany, the location of the silver mines where Leibniz once toiled, is now or once was "The Stronghold of Paganism." Situated near these is Harlem, whose nickname, "The Capital of the Negro Population of the United States," was not nearly as catchy or evocative as I'd expected. Though the phrase lacks poetry, it retains an accidental precision: the outdated term "Negro" (already antique when the book was published, in 1980) fixes our attention on the past.
At the library I found another source of coordinates. Harlem is blocked in by the high ridges of Morningside Heights and St. Nicholas Terrace, by the East and Harlem rivers, and by Central Park. Those declared boundaries did not tell me anything new. More important was the action of those physical frontiers: Harlem is blocked in. Geography is destiny. The WPA Guide to New York City, first published in 1939, goes on to describe who and what is blocked in by those ridges, those rivers, and that pastoral fiction of a park:
Negro Harlem, into which are crowded more than a quarter of a million Negroes from southern states, the West Indies, and Africa, has many different aspects. To whites seeking amusement, it is an exuberant, original, and unconventional entertainment center; to Negro college graduates it is an opportunity to practice a profession among their own people; to those aspiring to racial leadership it is a domain where they may advocate their theories unmolested; to artists, writers, and sociologists it is a mine of rich material; to the mass of Negro people it is the spiritual capital of Black America.
I went on a tour of Harlem, thinking it would be useful to know what the packs of visitors were being told. We met at the corner of 135th Street and Lenox, in front of the Schomburg Center for Research in Black Culture, just two blocks from my building. The tour guide, a young white woman, began by asking the group to shout out whatever came to mind when they heard the word Harlem. Some said music, others said riots. Those who didn't say music or riots said Bill Clinton and soul food.
After that exercise in free association, the guide led us on a brief circuit covering a radius no larger than five blocks. As we began, she gave a condensed history of what happened when blacks first moved into Harlem. With a call-and-response style reminiscent of kindergarten, she asked what happened next. The chorus of mostly white tourists shouted out: The white people leave!
The guide had a habit of calling Lenox Avenue, Fifth Avenue. As we passed through one block of brownstone houses, I overheard a couple marveling at the architecture, noting the little pointy tops of a cluster of homes. The man asked his wife, had they seen them before? Like the mansard roofs in France? Did she remember they were named after a guy called Mansard? A woman came out of one house and asked if anyone in the group knew someone to rent her top two floors. When one tourist asked the price of brownstones these days, the guide, a young graduate student in history, asserted somewhat huffily that she was not a real estate broker. One woman repeatedly interrupted the tour to ask how far away the famous Sylvia's soul-food restaurant was.
Often, I fell away from the group, trailing behind. I was familiar with most of the history being discussed. For me, the biggest revelation had come at the beginning of the tour. As we stood at the meeting point, the corner of 135th and Lenox, in the shadow of the Schomburg Center, the guide had passed around a photo. It was a picture of the street that crosses my corner of Lenox Avenue. The caption on the back read West 133rd Street between 5th and 6th Avenues. 1880–1881. Today, standing at the corner of 133rd Street looking east across Lenox Avenue (formerly Sixth Avenue), one sees the six towers of the Lenox Terrace apartment complex. The picture showed that same area, but in 1880 it resembled a moonscape. The terrain is utterly flat and is covered by a rough sod. In the foreground stands a group of three attached brick town houses. Their windows form an orderly grid, and the steps leading up to each building look bright white, untrodden. Most important, these three houses don't connect to any others. They stand isolated, with empty space on each side. After about twenty yards, a second cluster of three attached houses is seen to the right of the first group. They are also flanked by open space. Beyond that group, after another twenty yards or so, are yet another bank of houses. Across the gaps they seem to reach toward each other. The groups of houses are built parallel to each other, in a line, respecting the logic of an invisible map. But the houses do not quite form a street. They form the beginning of a street, the intention of a street, the merest suggestion of a street.
In the far distance, visible through the gap between the first two sets of homes, there is a fourth detached set of buildings. It is the dream of another street. Toward the vanishing point, flanked by nothing at all, is a solitary tree, a remnant of what was there before this idea of a neighborhood was imposed on the landscape. The picture preserves a moment when the idea was not yet accomplished, it hangs between dream and reality. This is a prehistoric Harlem—nothing that counts for History has happened there yet. There is sky, open space, and very little shelter. Without the caption, it would be hard to know if this was the beginning or end of a civilization—a place just being built, or recently destroyed.
This is Harlem, barely inhabited—at the very beginning of its settlement in the 1880s. The buildings are only a few years old, the vast blank spaces between them are evidence of how this land—a farming suburb—was haphazardly annexed by the metropolis. The houses were built as speculative enterprises, each group of three representing a gamble by some intrepid pioneer. The bourgeois commuter society that grew up here is not yet established, nor are the other houses that would eventually complete this and other streets.
The houses in the picture all face south, toward settled Manhattan, expectantly oriented toward the people who would arrive from downtown. But there are no people in the photograph. And though the buildings themselves suggest the presence of people, the arrangement of those structures in that space and the utter quietude of the landscape collide with the clamor we know should accompany buildings like those. Curtains hang in a few windows of the first group of buildings. One window, on the top floor of the middle house, is slightly ajar. Someone is there. Or, someone has been there and just left. Or, someone is about to arrive.
Here, blank spaces—possibilities—prevail. This picture shows what is about to be built, and also what is now already gone. In the 1950s the houses and tenements and even the very streets from 132nd to 135th between Lenox and Fifth Avenues were razed in a slum-clearance program, to build the high-rise middle-class housing complex of Lenox Terrace. A single row house remains, hidden in the midst of the towers. Nuns live in that house. There is some empty space on either side, and it no longer lines any street.
I used to stare into similar wide, open spaces as a child. I grew up in a city where the combined meaning of the words urban and planning was imprecise. To reach the side of town where we lived, you took a highway from the city center that crossed vast stretches of undeveloped land. From the window of our car, I stared into these spaces. I sought evidence of activity in the deep distance—perhaps a figure dashing across the field—from which I could invent a story. Typically, the only figures in those fields were small herds of undernourished horses or cattle. This brittle land was used as a makeshift pasture—livestock foraged for nourishment among the dry brush between oil pumps and electric towers. I looked out the windows of our car to see how far into the horizon my eyes could carry me, watching for something I hadn't noticed before. But that landscape never changed. It was twenty years before new housing was built along that highway. When I was a child, those fields were always marked with faded billboards offering the acreage for development, perpetually in search of a willing taker.
When I came to live in Harlem, the fenced-off, overgrown empty lots here also attracted my eye. At first, they were evidence: I had indeed arrived in the place I'd heard of. The empty lots held some significance; it was similar to the feeling I'd had when, riding from the airport in New Delhi, I first saw cows in the road. Yes, this is the place I have heard about, I'd thought. There are cows all over the road exactly as they were in the guidebook pictures. The empty lots in Harlem had the same verifying quality. Later, those empty lots provided something beyond veracity. They were a place for the eyes to rest. This was not some romance for ruins. These blank, disavowed spaces had been labeled as blight, but they provided a visual and mental break from the clamor of the buildings and people. There was a hint of the horizon.
Here was solace from the crowded landscape—both the physical crowdedness of buildings and people and the crowd of stories and histories. A friend of mine describes certain cities as being full—too much has happened there, you cannot move. Paris, he says, is the quintessentially full city. I suspect he'd say Harlem is another place that is too full—though its crowdedness and overpopulation have been discussed in other terms. In the empty lots, my mind escaped history.
Later I understood that these empty fields were indeed the setting of a history, the loathsome history of neglect and destruction stretching back to the beginning of black settlement in Harlem and its corollary, white flight. But at first, as in Texas, those spaces where my thoughts played were just settings for scenes and fancies whose significance was fleeting. I admired the wild patches of Queen Anne's lace that grew up in summer. Independent businessmen used some lots as locations for unofficial open-air markets, selling used furniture or vintage clothes.
Many of these places are now occupied by new condominiums. One is now a Mormon church. As the empty lots disappeared, I became more interested in what was there before. In some places it is possible to see what was there: the foundation of a building remains; a front stoop rises up from the sidewalk but leads to nothing. Such things recede into the background, part of the natural history of this place, as if they had always been like that. But this is the evidence of an unnatural history—it was not always this way, it came to be that way for a reason.
There are new empty lots different from those I noticed upon first arriving. Returning after a year's absence, I found an empty lot at the southwestern corner of Lenox Avenue and 125th Street. It was covered with fresh gravel, to stop its reversion to a wild field. When I first saw the lot something sank inside of me—the sensation mocked the feeling of a demolition, a building brought to its knees. This new empty lot opened a new horizon: from 125th Street you could see clear through the block to 124th Street. But the view was not one that gave rest or inspired the eye and mind. There was only the instantaneous, frantic search for something that once was there and was there no longer.
It was a grand old apartment house whose facade hugged the corner, making the intersection look like a stately plaza. It might have been a candidate for landmark status, but its windows were sealed up with cement bricks. Soon after I arrived in Harlem, the few tenants remaining in the building's storefronts—a decrepit Chinese restaurant, a flamboyant haberdashery, a store specializing in women's undergarments, and a shoe shine and repair service—had all closed up shop.
The building stayed in place long after those stores had gone. For a few years it brought revenue as the background for various athletic-wear billboards; for several seasons a heroic image of Muhammad Ali, having just knocked out an opponent, loomed over Lenox Avenue. I heard a rumor that the building had not been demolished because a family lived inside and that they'd defiantly refused to leave when the other tenants cleared out. This seemed impossible with all of the windows bricked over, and I never saw anyone enter or exit the building. But I did always see—through a small window in a battered door on Lenox Avenue—a light illuminating the vestibule.
There used to be an empty lot near my house, on Seventh Avenue just south of 133rd Street. One day in summer, I saw through its chain-link fence a pile of watermelon rinds at the rear of the lot. There was an open pit in the ground nearby, where someone was burying the waste. Later, the pile disappeared and the open pit was covered by recently turned earth. Soon, construction began on that site. It was only a matter of weeks before the frame of a new building rose up on the lot. A security guard was now stationed there each night to guard the property. He didn't wear a uniform, and like many of the men (and sometimes women) who work security jobs at construction sites in Harlem, he was an immigrant from West Africa.
Later, when construction was nearly completed but the premises were not yet occupied, I passed again one night and saw through the building's glass doors the outline of a man sitting in the condominium entry. He kept watch in near darkness, visible only by the light of a nearby street lamp. Whenever I passed the spot, I looked to see if anyone was inside. Sometimes the guard was there, slumped in his seat, sleeping through his shift out of exhaustion or boredom. Other times, there was only an empty chair. A few times, the watchman waved hello. Once, the figure beckoned me inside.
I didn't accept the invitation. The building still looked unoccupied, but a large sign now hung from its facade. The building is called the Ellison. To advertise the property, the sign shows a photograph of a handsome, clean-cut young black man in a suit. He is shown in regal profile, his eyes are closed, his chin is lifted toward the sky. Change your state of mind, begins the sales pitch for the new condominiums. The man on the sign looks lost in contemplation, on the brink of transcendence, about to receive some celestial enlightenment. Or maybe he has just thrown back his head and is about to unleash a howling laugh.
That picture from 1880 shows the beginning of what was, essentially, a failed settlement. More buildings were constructed so the isolated housing blocks eventually formed complete streets. As people moved in, Harlem became, according to one observer in 1905, a haven for the clerks and small merchants, the family man and the newly married couple and the young professional man, who all flocked thither. But the real estate speculation behind the Harlem housing boom had not anticipated the city's delay in extending transportation to the area. Many town houses and apartment buildings were empty or partially empty. Around 1900 the situation attracted the interest of African American businessman Philip A. Payton Jr., an associate of Booker T. Washington. Payton proposed to several landlords that he act as a broker, renting their vacant properties to black tenants. He began quietly, with a few houses on 134th Street east of Lenox Avenue (the same area shown in that photo of prehistoric Harlem). According to James Weldon Johnson,
The whites paid little attention to the movement until it began to spread west of Lenox Avenue; they then took steps to check it. They proposed through a financial organization, the Hudson Realty Company, to buy in all properties occupied by colored people and evict the tenants.
Another group, Shaw & Company, pursued the same tactics, as did the Harlem Property Owners' Improvement Association. But Payton was equal to the challenge. When the Hudson Realty Company started buying property and evicting blacks, Payton combined with other black businessmen to launch the Afro-American Realty Company, which bought property and evicted whites. A December 17, 1905, article from the New York Times reported the furor with the tone of an urgent telegram: Real Estate Race War Is Started in Harlem; Dispossessed White Men Ask Negroes to be Allowed to Stay; Colored Folks Retaliated; They Were Dispossessed First—Then Formed a Real Estate Company to Buy Tenements. Payton and the Afro-American Realty Company are accurately credited with the invention of black Harlem. The strategy was not merely to secure rental housing or buy individual property, but to harness the collective economic power of well-to-do blacks, toward the general empowerment of the race.
The New York Herald described the unfolding controversy on December 24, 1905, under the headline Negroes Move into Harlem.
An untoward circumstance has been injected into the private-dwelling market in the vicinity of 133rd and 134th Streets. During the last three years the flats in 134th between Lenox and Seventh Avenues, that were occupied entirely by white folks, have been captured for occupation by a Negro population. Its presence there has tended also to lend much color to conditions in 133rd and 135th Streets between Lenox and Seventh Avenues.
One Hundred and Thirty-third Street still shows some signs of resistance to the blending of colors in that street, but between Lenox and Seventh Avenues has practically succumbed to the ingress of colored tenants. Nearly all the old dwellings in 134th Street to midway in the block west from Seventh Avenue are occupied by colored tenants and real estate brokers predict that it is only a matter of time when the entire block, to Eighth Avenue, will be a stronghold of the Negro population.
As a result of the extension of this African colony, dwellings in 133rd Street between Seventh and Eighth Avenues, and in 132nd Street from Lenox to Eighth Avenue have depreciated from fifteen to twenty per cent in value, especially in the sides of those streets nearest to 134th Street. The cause of the colored influx is inexplicable.
After a few years of this untoward circumstance, the good citizens of Harlem resolved to erect a twenty-four-foot fence on 136th Street, a battlement to defend their besieged city. The New York Indicator, a real estate publication, summarized popular opinion:
Their presence is undesirable among us… they should not only be disenfranchised, but also segregated in some colony in the outskirts of the city, where their transportation and other problems will not inflict injustice and disgust on worthy citizens.
As white Harlem gathered its forces, a spokesperson for a group of outraged citizens offered a self-serving prophecy, masked as philanthropy: We believe… that real friends of Negroes will eventually convince them that they should buy large tracts of unimproved land near the city and there build up colonies of their own.
Only two decades had passed when the prophecy was borne out under slightly altered circumstances. A Negro colony spread from the concentrated area around Philip Payton's original buildings on 134th Street, until it became an onslaught no wall could contain. White New Yorkers quit Harlem. Some sold their property at a loss, others abandoned houses and apartment buildings, preferring to board them up rather than rent or sell to black people. Eventually, the move of blacks into Harlem reached the physical limits of the ridges, the rivers, and 110th Street. Alain Locke, writing in the introduction to his 1925 anthology The New Negro, found that the concentration of black New Yorkers crowding into that physical space mirrored a metaphysical force then gaining strength.
In Harlem, Negro life is seizing upon its first chances for group expression and self-determination. That is why our comparison is taken with those nascent centers of folk-expression and self-determination which are playing a creative part in the world today. Without pretense to their political significance, Harlem has the same role to play for the New Negro as Dublin has had for the New Ireland or Prague for the New Czechoslovakia.
Locke was among the first to define Harlem as a race capital, a physical center that focuses a people. It was the stage of the pageant of contemporary Negro life on which would unfold the resurgence of a race. Locke invokes two young European republics whose people had rejected imperialism through nationalism. But he did not aspire to self-determination by means of actual political sovereignty or a separate nation for blacks. Locke believed that Harlem would be a place of cultural and social uplift. This, in time, would lead to equality for blacks within the wider American scene. In 1925, Locke asserted that Harlem represents the Negro's latest thrust towards Democracy.
Others tried to add their own pronouncements to Locke's prophecy. The New Negro anthology includes Charles S. Johnson reaching for Locke's gravitas, while waxing nostalgic about events still in progress: And there was New York City with its polite personal service and its Harlem—the Mecca of the Negroes the country over. Delightful Harlem of the effete East! Old families, brownstone mansions, a step from wonderful Broadway, the end of the rainbow.
In 1928, Wallace Thurman's Negro Life in New York's Harlem noted that the neighborhood—known as The Mecca of the New Negro, the center of black America's cultural renaissance, Nigger Heaven, Pickaninny Paradise, Capital of Black America, among other monikers—had been surveyed and interpreted, explored and exploited. But Thurman launches his own survey and interpretation, producing a lively picture of a popular and interesting section that reads like a travel guide, with chapters on social life, night life, amusement, house rent parties, the numbers, the church, and newspapers. The resulting vision of Harlem is a great deal less than the sum of its parts.
Langston Hughes riffs on Harlem in his contribution to a 1963 special Harlem issue of Freedomways magazine. Hughes mixes sentimentality with a dose of his typically biting wit, in the following incantation:
Harlem, like a Picasso painting in his cubistic period. Harlem—Southern Harlem—the Carolinas, Georgia, Florida—looking for the Promised Land—dressed in rhythmic words, painted in bright pictures, dancing to jazz—and ending up in the subway at morning rush time—headed downtown. West Indian Harlem—warm rambunctious sassy remembering Marcus Garvey, Haitian Harlem, Cuban Harlem, little pockets of tropical dreams in alien tongues. Magnet Harlem, pulling an Arthur Schomburg from Puerto Rico, pulling an Arna Bontemps all the way from California, a Nora Holt from way out West, an E. Simms Campbell from St. Louis, likewise a Josephine Baker, a Charles S. Johnson from Virginia, an A. Phillip Randolph from Florida, a Roy Wilkins from Minnesota, an Alta Douglas from Kansas. Melting pot Harlem—Harlem of honey and chocolate and caramel and rum and vinegar and lemon and lime and gall. Dusky dream Harlem rumbling into a nightmare tunnel where the subway from the Bronx keeps right on downtown, where the jazz is drained to Broadway whence Josephine [Baker] goes to Paris, Robeson to London, Jean Toomer to a Quaker Meeting House, Garvey to Atlanta Federal Penitentiary, and Wallace Thurman to his grave; but Duke Ellington to fame and fortune, Lena Horne to Broadway, and Buck Clayton to China.
The business of defining Harlem has already been perfected. You have heard them all before: Harlem is a ruin, it is the home of the Negro's Zionism; it is a third world country; an East Berlin whose Wall is 110th Street. This is hyperbolic Harlem, the cultural capital of black America or its epicenter (likening the place to a natural disaster). There is Harlem as Mecca—a city of sanctuary, a place that merges devotion and duty.
In The New Negro Alain Locke declared: Harlem, I grant you, isn't typical—but it is significant, it is prophetic. No sane observer, however sympathetic to the new trend, would contend that the great masses are articulate as yet, but they stir, they move, they are more than physically restless.
But in another essay included in the 1925 anthology, James Weldon Johnson offered a different kind of prophecy. In the tradition of the best oracles, it comes in the form of a riddle:
The question naturally arises, "Are the Negroes going to be able to hold Harlem?" If they have been steadily driven northward for the past hundred years and out of less desirable sections, can they hold this choice bit of Manhattan Island? It is hardly probable that Negroes will hold Harlem indefinitely, but when they are forced out it will not be for the same reasons that forced them out of former quarters in New York City. The situation is entirely different and without precedent. When colored people do leave Harlem, their homes, their churches, their investments and their businesses, it will be because the land has become so valuable they can no longer afford to live on it. But the date of another move northward is very far in the future.
Johnson suspected that Locke's restless masses would be forced—as before in New York, but compelled by a different propulsion—to move yet again. But he did not dwell much on the possibility, or divulge a spell to stop events from coming to pass.


text:
Vikki Hazelwood
Doctor of Philosophy in Biomedical Engineering
Stevens Institute of Technology, Hoboken, NJ
Masters of Science in Biomedical Engineering
New Jersey Institute of Technology, Newark, NJ
Bachelor of Science in Chemical Engineering
Rutgers College of Engineering, New Brunswick, NJ
See Dr. Hazelwood's Translational Research in Medicine
Most recently, she has held executive positions in sales and business development for several medical device companies focused on drug delivery technology and surgical techniques for orthopedics and interventional cardiology. Hazelwood has worked closely with surgeons and area hospitals in a clinical setting, and has collaborated on numerous projects with medical device companies. She received her doctorate in Biomedical Engineering from Stevens Institute of Technology. Her research emphasis is in Sports Medicine and Tranlational Research, focusing on the development of efficacious medical devices and physiologic methods which improve public health, espcially obesity prevention and pain management. Her successes include the clinical use of several developments for minimally invasive evaluation, earlier stage detection of disease, and assistive technologies for the handicapped. She joins the Chemical, Biomedical, and Materials Engineering Department as Associate Program Director and Industry Professor.
Vice President Business Development: Polymerix Inc.,
Vice President Sales and Marketing: Memry Corp.
Strategic Business Manager: Hydromer, Inc.
Surgical Sales Rep: Medtronic
National Sales Engineering Manager: Ekato Corp.
Project Manager: Werner & Pfleiderer Corp.
Regional Manager: Koch Engineering, Inc.
Sales Engineer: Mixing Equipment Co.
Fellow, National Academy of Inventors
Distinguished Alumna in Science and Technology 2018
Henry Morton Distinguished Teaching Professor 2016-2017
Stevens Alumni Association Outstanding Teacher Award 2015
Stevens Student Association Distinguished Senior Advisor 2014-2015
NJ Inventors Hall of Fame, Advancement of Invention Award 2010
Henry Morton Distinguished Teaching Professor 2008-2009
Dean's Award for Excellence in Undergraduate Teaching Excellence 2007
Alpha Epsilon Lambda Professional Honor Society
Voluntary Professor, Seton Hall School of Medicine, Newark, NJ. 2016—Present.
Clinical Instructor, Department of Emergency Medicine, St. Georges University Medical School, Grenada. 2011—2016.
Clinical Researcher, Emergency Department, Department of Defense Anti-Terrorist Grant. Hackensack University Medical Center, Hackensack, NJ. 2010—2014.
FELLOW, National Academy of Inventors
U.S. Patent Nos. 8764663, 8252001, 8110004. 8010187.
- Panel Speaker. (Apr 20, 2011). "The Entrepreneurial Professor", New Jersey Institute of Technology/University of Medicine and Dentistry, Newark, NJ. NSF Women in Science Forum.
- Plenary Session Speaker. (Jun 17, 2008). "Current and Future BME Needs", Third Biomedical Engineering, Education Summit Meeting, St. Charles, IL.
- Panel Speaker. (Jun 7, 2010). "Capstone Design Documentation", ASEE Capstone 2010 Design Conference, Boulder CO.
- Pediatric Grand Rounds. (Nov 7, 2007). "Ergogenic Aids in Sports", Maria Fareri Children's Hospital, Westchester Medical Center/NY Medical College, Valhalla, NY.
- Pediatric Grand Rounds. (Oct 25, 2006). "Translational Research in Sports Medicine", Maria Fareri Children's Hospital, Westchester Medical Center/NY Medical College, Valhalla, NY.
- (Jun 17, 2008). "Current and Future BME Needs", St. Charles, Illinois. Third Biomedical Engineering Education Summit Meeting.
- (Nov 7, 2007). "Ergogenic Aids in Sports ", Maria Fareri Children's Hospital Westchester Medical Center/NY Medical College Valhalla, NY . Pediatric Grand Rounds, Invited.
- (Oct 25, 2006). "Translational Research in Sports Medicine", Maria Fareri Children's Hospital Westchester Medical Center/NY Medical College Valhalla, NY . Pediatric Grand Rounds, Invited.
- Pearlstone, DB, Garofalo R, Trepani M, Gray M, Niryenda T, Hazelwood, V.. (2011). "Clinical and pathological predictors of outcome among women with triple negative breast cancer", 34th Annual San Antonio Breast Cancer Symposium, December 6- 10, San Antonio, Texas.
- Bini J., Spain J., Nehal K., Hazelwood V., Dimarzio C., Rajadhyaksha M. (Jul 15, 2011). "Confocal mosaicing microscopy of human skin ex vivo: spectral analysis for digital staining to simulate histology-like appearance", Journal of Biological Physics Research.
- Bini J., Spain J., Nehal K., Hazelwood V., Dimarzio C., Rajadhyaksha M. (2011). "Confocal mosaicing microscopy of human skin ex vivo: spectral analysis for digital staining to simulate histology-like appearance", , Journal of Biomedical Optics, 16 (076008).
- Junka, R., Chan, L., Moises, R., Panico, E., Hazelwood, V., Atlas, G. "Use of loss of resistance, to carbon dioxide, in identifying the epidural space.", Journal of Anaesthesiology Clinical Pharmacology.
- Ogedegbe, C., Hazelwood, V., Morchel, H., Chang, B., Vets, S., Gray, M., Feldman, J. (2011). "Novel Portable Telesonography System for Prehospital Trauma Care", Advanced Technology Applications for Combat Casualty Care (ATACCC), Ft. Lauderdale, FL, Aug 14-18.
- Hazelwood, V., Galvez, W., Ng, G., Mendez, A., Shendi, D., Hadidi, M., Skadberg, J. (2011). "Heated Humidified Air for Pre-hospital Hypothermic Resuscitation", Advanced Technology Applications for Combat Casualty Care (ATACCC), Ft. Lauderdale, FL, Aug 14-18.
- Bini, J., Hazelwood, V., Spain, J., Nehal, K., DiMarzio, C., Rajadhyaksha, M.. (2011). "Confocal mosaicing microscopy of Basal-cell carcinomas ex vivo: progress in digital staining to simulate histology like appearance", Advanced Biomedical and Clinical Diagnostic Systems IX, CA, Jan. 23-25.
- Backeris, P., Abt, C., Shevach, G., Jakimaviciute, V., McNair, B, Stutman, R, Hazelwood, V. (Jul 2010). "Mobile Vital Signs Recording for Triage Support", IEEE 12th International Conference on E-Health Networking Applications and Services, Lyon, France.
- Hazelwood, V; Valdevit, A; Ritter, A. (Jun 2010). "A Model for a Biomedical Engineering Senior Design Capstone Course, with Assessment Tools to Satisfy ABET "Soft Skills", Capstone Design Conference, Boulder, CO.
- Rubin, T; Lee, SK; Valdevit, A; Hazelwood, V; Ritter, A, Posner, M. (Mar 2010). "Performance Evaluation of Wrist Guards Under Dynamic Testing", 56th Annual Meeting of the Orthopaedic Research Society, New Orleans, LA.
- , V., You, E., Huynh, C., Gayle, P., Cameron, K., Atlas, G. (Oct 2009). "Evaluation of Pressure, Volume, and Temperature in Tracheal Tube Cuffs", Biomedical Engineering Society Annual Meeting, Pittsburgh PA.
- Hazelwood, V. (Jul 2009). "The Value in Linking Entrepreneurship and Undergraduate Engineering Education", The 2nd International Multi-Conference on Engineering and Technological Innovation: IMETI 2009, Orlando FL.
- Hazelwood, V., Majdanska, J., Ritter, A.B.. (Jun 2007). "Undergraduate Students Obtain Motivating Experiential Education by Participating in a Human Clinical Trial While Performing Biomedical Engineering Research", American Society of Engineering Education, Annual Symposia.
- Hazelwood, V., Wisniewski, H., Ritter, A.B.. (Sep 2007). "Entrepreneurship in Biomedical Senior Design, from Classroom to Corporation", International Conference on Engineering Education, Annual Symposia.
- Hazelwood, V., Majdanska, J., Ritter, A.B.. (2007). "Do College Students Benefit from School Required Activity? A Clinical Trial", Medicine and Science in Sports and Exercise, 39 (5S).
- Majdanska, J., Hazelwood, V.. (Mar 2007). "Agreement between Clinical Methods for the Assessment of Body Fat", Biomedical Engineering Society.
- Ritter, A., Hazelwood, V., Ascione, A., Valdevit, A. (2011). Biomedical Engineering Principles, 2nd edition, CRC Press. Boca Raton, FL.
- Hazelwood, Vikki. (2008). Do College Students Benefit from School Required Activity, VDM Publishing. Saarbrücken, Germany.
- BME 505 Biomaterials
- BME 423 Senior Design I
- BME 424 Senior Design II
- BME 498 Research in Biomedical Engineering I
- BME 600 Strategies and Principles of Biomedical Design
- BME 701-702 Selected Topics in Biomedical Engineering I-II
- BME 800 Special Problems in Biomedical Engineering (ME)
- BME 960 Research in Biomedical Engineering
- BME 499 Research in Biomedical Engineering II
- BME 640 Intro to Clinical Research
- BME 801 Special Problems in Biomedical Engineering (PHD)

subset: commoncrawl


text:
I have one question concerning the ghunnah and its ranks. In your tajweed lesson you said there are 4 ranks.
As-salamou aleykom wa rahmatoullahi wa barakatuh
First jazakoumou Allahou khayran for your great work!!!!
I have one question concerning the ghunnah and its ranks. In your tajweed lesson you said there are 4 ranks.
I am asking if the last rank (ithaar) when making it clear whith a noun sakinah for example: min hakim >> is it the same rank when we stop on a noun sakinah for example: rabbi al 3alamin. when stopping at "3alamin".
In other words, are these two examples the same (in their ranks of ghunnah) ?
BaraakaAllahou fikoum wa salam aleykom!!
Wa alaikum assalaam wa rahmatullahi wa barakatuh,
of the
saakinah is the third rank, not the last rank of the ghunnah. The last or fourth rank is for these two letters when they have a vowel on them and are pronounced with the vowel.
As to your question, yes, masha' Allah very good dervation, when we put a sukoon on the
for stopping, it will have the same rank, ie third rank as the
saakinah read with
Wa feekum al-Barakah.
For those wanting to read about the ranks of the ghunnah please see the following link:
Wa assalaam alaikum wa rahmatullahi wa barakatuh.


text:
Wolf Blitzer delivers the most important breaking news and political, international, and national security stories of the day. Tune to The Situation Room weekdays 5-7pm ET on CNN.
On the fourth day of the search for Malaysia Airlines Flight 370, many are wondering how a massive Boeing 777 can go missing in the age of cellphones, GPS, and constant connectivity. Where is technology in the search for answers? CNN's Brian Todd has that part of the story.
You can also join the search right now. DigitalGlobe, a company which operates commercial-imaging satellites, is using its satellites to take high-resolution photos of the area where the jet might have gone - and inviting anyone to log on to their platform "Tomnod" to view and tag the pictures.
To join the thousands already helping the search, check out Tomnod.
RELATED: CNN rides along on the search for Malaysia Airlines flight 370.
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text:
Ripple control is a way in which electrical companies use a superimposed frequency on standard 50Hz AC power supplies, which are commonly found in most (if not all) Australian households. You must be asking yourself now, "But what does THIS mean?"
Simply put, electrical companies are controlling and managing off-peak power load on their distribution networks. The frequency is used to control hot water heaters, street lights and water pumps through their remote receiver to control the power going to and from each utility. Ripple control may also be used to signal high network load periods for major customers to allow them to reduce power consumption.
A hum or buzz from electrical appliances is the most common complaint arising from ripple control, which is generated when a transformer or the motor windings in a switched-on appliance resonate with the ripple control frequency, usually between 300Hz and 1300Hz. The noise is often, but not always, intermittent depending on when the ripple control signals are being transmitted.
People often notice it most acutely in the night when off-peak hot water systems are turned on.
Ripple control frequencies are commonly used in NSW, south east Queensland and New Zealand, although other areas within Australia also use this technology. Not all properties are affected by ripple control, so just because you might live in one of these areas, does not mean that you will have these problems.
One of the only ways to confirm if the area you live in is affected by ripple control frequency is to contact your power company and ask them directly. If you have a system that uses ripple control signalling you might also see a ripple control receiver wired into the fuse box and a dual tariff meter or dual meters.
NOTE: The presence of a ripple control signal does not necessarily mean you will experience ripple control noise in ceiling fans.
Ripple control signal filters are available to manage the noise generated by affected electrical appliances. The ripple control filter must be matched to the local signal being output by your electrical company, usually 750Hz or 1050Hz (information of which can be acquired through your electrical company), and must be installed by a licensed electrician.
There may be extreme cases where the ripple control frequency is so strong it requires two filters to be installed to reduce the noise sufficiently and in some locations multiple ripple control frequencies are used also requiring multiple filters.
Ripple control noise is not the norm and in many environments where it does occur it is not a problem because the noise generated is not audible. While Martec does sympathise with the few customers who do experience a problem, it is not cost effective to build an AC electric motor that rejects all ripple control frequencies given the small proportion of people affected, a cost that would have to ultimately be borne by all consumers.
If you are hearing the tones at random times of the day, your electrical supply may be affected by harmonics; a power fluctuation that is not part of the normal electricity supply or ripple control signal output. Harmonics are caused by an interference created by other equipment on the network, such as inverter type air conditioners and switch mode power supplies for computers.
The offending appliances may be in your home or other premises on the local power grid. If you are being affected by network harmonics, it may be of benefit to transfer the electricity supply to your premises to a different phase in the street. This is something you will need to discuss with your electrical company.
Ripple control and electrical harmonics noise is not the result of a mechanical fault with your ceiling fan. As such we do not cover either occurrence under our warranty. Where ripple control noise is found to be at fault, the customer will have to acquire a filter and have it installed by their electrician at their expense.
If you make a warranty based service call and ripple control or electrical harmonics noise is diagnosed as the problem you may be charged the call-out fee for the electrician.
You can view a copy of our Warranty or download a copy of the PDF .


text:
I went to my office holiday party this last week, an evening event – timed for right after work. Since I am working with some looming deadlines and had a multitude of tasks to accomplish, I decided that I would work right up until I had to leave the office for the party.
About ten minutes before I needed to head out to the event, I found myself rushing to the ladies room to quickly change into my fancy dress, dab a bit of color on my lips and cheeks, brush mascara onto my lashes and finger comb my unruly locks of hair into a smoother version of a birds nest.
Does this sound like a familiar scenario to you? It was fine – I looked fine (got plenty of compliments on my dress!) – but I had a thought that there could be a better way to set myself up for a fun night of revelry.
A more calm, relaxed way. One that really gets me in the mood to celebrate – And one that can involve a glass of bubbly!
Enter Vera Beautify. A new service in Seattle that allows you to go online, peruse their selection of stylists – complete with reviews and photos, choose one that fits your needs and book a service (updo, blow-out or makeup) to be performed in the comfort of your own home.
I recently had a makeover from Vera Beautify with Ashli who came to my home to do my hair and makeup.
She arrived punctually and was set up in no time – while I poured myself a glass of sparkling wine! All she needed was a clear workspace with a flat surface, chair, a mirror and some light.
It was so indulgent! She started with aroma-therapy and a light neck massage.
How relaxing! Ashli was so warm and friendly. And her focus was on my needs and comfort.
While Ashli worked on my blowout we talked like we had known each other for years.
We talked about everything from hair and makeup (of course), blogging and family, to the arts and even philosophy.
She just made me feel so comfortable – and at home!
And, oh how she pampered me with the gentle strokes of her make-up brushes – I felt like a queen!
While I hardly ever wear makeup, she told me how fortunate I was to have the lashes I have and made me promise to at least apply mascara when I go out – I've been keeping my promise Ashli!
She primped…
and primped!
Until ta-da!
Ashli transformed my look better than I could have ever imagined! I did not feel "done up" – I was still me – but a much better, more polished me!
Now I just need my fancy dress!
Original Post by Kristin on WordPress: https://kristinpotpie.wordpress.com/2014/12/21/beauty-by-vera/


text:
I was a bit tickled by the characterization I saw today in the new Subversion release, describing the deprecation of version 1.5:
The Subversion 1.5.x line is no longer supported. This doesn't mean that your 1.5 installation is doomed; if it works well and is all you need, that's fine. "No longer supported" just means we've stopped accepting bug reports against 1.5.x versions, and will not make any more 1.5.x bugfix releases.
They aren't telling us the world will end for anyone using version 1.5, just that they don't intend to provide support anymore.
Which seems like a fine thing. Version 1.5 is 3 years old, and, when they seem to be releasing about a version per year (1.0 in 2004, 1.7 in 2011), 3 years of backwards support doesn't seem dramatically insufficient. Particularly if, when support goes away, you're not inherently doomed!


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This report maps and analyses the core issues which together make up effective regulatory management for Ireland, laying down a framework of what should be driving regulatory policy and reform in the future.
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Fight Club (Paperback)
With more than 300,000 copies sold, Chuck Palahniuk's brilliant first novel and cult classic is being reissued with a new Introduction by the author
An underground classic since its first publication in 1996, Fight Club is widely recognized as one of the most original and provocative novels of the last decade. Now the author adds his own voice to the critical debate he generated. In a new Introduction, he discusses the various interpretations in the popular media of Fight Club and the movie it inspired, as well as his personal reactions to the work's reception and the influence that the Fight Club phenomenon has already had on our culture.
Chuck Palahniuk's darkly funny first novel tells the story of a disenfranchised young man frustrated with his bureacratic job and superficial relationships and disillusioned with the consumer culture's prepackaged pleasures. Relief for him and his peers comes in the form of Tyler Durden, the intensely charismatic inventor of Fight Club. Waiters, clerks, and middlemen seek out the visceral satisfaction of secret after-hours boxing matches in the basements of bars, thinking they have found a way to live beyond their confining and stultifying lives. But in Tyler's world there are no rules, no limits, no brakes.
About the Author
Chuck Palahniuk is the author of the bestselling novels "Diary" and" Lullaby," as well as "Survivor, Invisible Monsters," and "Choke." He lives in Portland, Oregon.


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Sean Kingston was all smiles as he walked his first red carpet since his harrowing May watercraft accident.
"I feel good, I feel like nothing ever happened," Sean told Access Hollywood, referring to the accident in Miami that landed him in the ICU.
VIEW THE PHOTOS: Teen Choice Awards 2011
U.S. & World
"It's a blessing to be back," the "Beautiful Girls" singer continued. "Working on my music. I'm working with a lot of new producers… so, it's going to be amazing man. I'm excited, I can't wait!"
Sean told Access he was excited to show up and support his friend and collaborator Justin Bieber, who has been a huge support to him in recent months.
VIEW THE PHOTOS: The Boy Who Makes The Tweens Swoon — Justin Bieber
"That's my lil' bro… that's a great friend. He's a loyal friend," the singer said. "He's been there with me since I came out the hospital."
As previously reported on AccessHollywood.com, Sean was released from a Miami hospital in June, almost a month after crashing his watercraft into a bridge.
Upon his release, he Tweeted, "Feeling alot better! GOD IS GREAT! Thanks for all the prayers and support! Love you ALL!"
VIEW THE PHOTOS: Young Hollywood Heartthrobs!
Copyright 2011 by NBC Universal, Inc. All rights reserved.
This material may not be published, broadcast, rewritten or redistributed.
Related Content from AccessHollywood.com:
VIEW THE PHOTOS: Sean Kingston
PLAY IT NOW: Selena Gomez & Justin Bieber Hit The 2011 Teen Choice Awards
PLAY IT NOW: T.G.I.F. - Is Heidi Klum Leaving 'Project Runway'? (August 5, 2011)
More from Access: [ Justin Bieber Sean Kingston Red Carpet ]


text:
Religious Programmes
Enhancing the spiritual life of offenders constitutes an important part of the rehabilitation process. The NCS allows and encourages offenders to satisfy their spiritual inclinations and needs by attending religious services of their specific church organisations as well as by promoting their knowledge and practical application of the principles of their distinctive churches.
In line with principles and objectives of the ORMCS, the focus for our religious programmes has evolved from merely attending church services, bible reading and preaching to becoming serious efforts at sparking and sustaining deep seated positive change and long term desistance from crime. We have chosen to concentrate on restorative justice and pastoral counselling as a major focus of our religious programming because there is a growing body of research evidence demonstrating their efficacy in promoting desistance from crime.


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"Pre-Baccalaureate Program Student Statistics -- Fall Term 1965"
This early summary of the first semester of SEEK (then known as the Pre-Baccalaureate Program) details the courses, schedules and teachers for the 113 SEEK students in Fall 1965 at CCNY. These first SEEK students took a mix of mainstream and special [...]
Item Type: Text (Report / Paper / Proposal)
Subjects: Academic Freedom, Activism, Adjunct or Contingent Labor, Admissions, Diversity, Pedagogy, Politics, Relationships with Communities, Remediation


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SALT LAKE CITY One of the worlds largest outdoor gear trade shows will remain in Salt Lake City through at least 2016.
Outdoor Retailer, which kicks off its winter expo today, draws more than 25,000 people to each biannual show and pours an estimated $40 million into Utahs economy every year.
Nielsen Expositions, which runs the lucrative shows, announced the decision Tuesday at a ski resort east of Salt Lake City. The shows have been in Utah since 1996 and previously were contracted to stay through 2014.
Organizers had considered moving the convention to other cities such as Denver or Las Vegas. With record numbers of attendees and exhibitors, organizers said they need more convention space and hotel rooms.
Two weeks ago, the state approved a $2.66 million grant to build a 150,000-square-foot exhibition tent near the citys convention center to add space for the show, the Salt Lake Tribune reported.
The 4,000-member-strong Outdoor Industry Association, which sponsors the expo, also threatened to take its business elsewhere if the state didnt change course on environmental issues. At issue is a bill signed by Gov. Gary Herbert in March that demands the federal government relinquish control of public lands in Utah by 2014. The association also opposes Utahs effort to open thousands of dirt paths across public lands to motor vehicles.
In August, the group asked Herbert, an advocate for energy extraction, to signal his commitment to the outdoor industry by January.
Herbert is set to unveil his vision for outdoor recreation today.
Salt Lake County Mayor Ben McAdams, who joined Nielsen at the Tuesday announcement, said the news is tremendous for the Salt Lake area and the state.
The expo also showcases the outdoor opportunities Salt Lake City offers with its proximity to several world-renowned ski resorts and wilderness areas, McAdams said.
We are synonymous with world-class outdoor recreation, and thats why were a great fit for this convention, McAdams told The Associated Press on Tuesday.
McAdams said the new exhibition tent was one of a several factors that went into the pitch to persuade the organization to keep the show in Utah.
Kenji Haroutunian, the Nielsen Expositions executive in charge of the shows, said the company is grateful the show will remain in Salt Lake City for the next three years.
The industry has a collective affection for this town, he said in a statement.
Beyond 2016, the organization is still exploring whether the event will move to another location, Haroutunian said.
We understand everyone is anxious for a longer-term decision, but making sure the show has a home that fits the needs of the industry is hugely important, he said. The extension period will help us make sure we get it right.
Utahs governor called the announcement great news for the states economy and evidence that Utah is an outdoors destination.
Its part of our community and we are earnest in our desire to keep the show in Utah beyond 2016, even permanently, Herbert said in a statement.


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Bigger is the operative word for the latest film in director Michael Bay's "Transformers" franchise, "Transformers: Age of Extinction," but not always in the way you would expect.
Can we say once again that there's more than meets the eye?
"It's a lot bigger -- the effects are on a different level than anything that we've seen before," actor Jack Reynor told me, joined by co-star Nicola Peltz, in a recent interview. "A lot of the camera work is very dynamic and very new, and at the heart of the film is a really great human story more than anything else."
Opening in 2D, 3D and on IMAX screens nationwide on Friday, "Transformers: Age of Extinction" stars Mark Wahlberg as Cade Yeager, an auto mechanic who makes a discovery that not only draws the Autobots and Decepticons to them, but some very determined CIA agents who have a sinister agenda to carry out. Peltz stars as Cade's daughter, Tessa, and Reynor plays her boyfriend, Shane Dyson.
"When we start the film, the Autobots are in exile and are afraid of humans, and humans are afraid of them," Reynor said. "Through the relationship between Mark's, Nicola's and my characters, we try to restore their faith in humanity. It's at different scale. We really hope it's going to be an enjoyable thing for the audience."
The odd part about working on "Transformers: Age of the Extinction," Reynor says, is while he comes from the independent film world, working on this franchise at times was much like work he was used to.
"It was still an intimate environment, because at the end of the day, it was still Mark, Nicola and myself," Reynor said. "That makes it feel smaller than you would imagine. Even though the movie is incredibly big and the effects are on a different level of anything we've seen before, between the three of us, at least, it felt like it was a small environment to work in."
Peltz, who has done green screen work before in big-screen adventure "The Last Airbender," said she was surprised by the amount of practical effects and props used in the film, something that ultimately aided everybody's performances.
"I actually thought there was going to be more green screen than there actually was working on the movie," Peltz said. "Instead, Michael makes these beautiful, huge sets, which are all real, and the car chases and the explosions are real. So having the tools and being in situations where we could use them was really amazing. Of course, we had to use our imaginations when talking to the Autobots and talk to nothing in those cases."
At the time of the interview, neither Peltz or Reynor had seen the completed film yet, but already had the thrill of seeing themselves among Autobots, Decepticons and Dinobots for the first time with an 11-minute presentation of footage at CinemaCon in Las Vegas earlier this year.
"Watching the footage, you go, 'Oh, my God, when I was filming that scene, there was nothing there.' But when then add the CGI, it's truly mind-blowing," Peltz described. "It's so crazy to watch knowing you were part of the experience."
To help his actors stay engaged without any Transformers visually present, Bay found a way to keep his everybody working on the film motivated, Reynor said.
"It's a real cool thing Michael does about every three weeks, where he puts together a sizzle reel, which has about 10 minutes of footage of film from the last three weeks we shot," Reynor recalled. "Even without any Autobots in it or any of the rendered effects, it still looks really, really impressive, and it's really exciting and fun. That was a big confidence boost to us all. We felt like we were making a really cool film, even though we hadn't seen any Autobots or Decepticons while making it. It's a really clever thing that Michael does and it really boosts the morale of the cast and crew."
On set, Peltz said, Bay is ball of energy.
"Michael told me even before we started filming, 'I move very quickly and you're not going to be sitting in your trailer. Whether it's your scene or not, you're going to be on set learning and studying.' I love that," Peltz enthused. "His energy is so contagious because he is so excited about this film, so to work on it with him and feel that is really wonderful."
Although Reynor was born in Colorado, he moved with his family to his mother's native Ireland at age 2. One thing Reynor discovered, though, is no matter where you grow up, the Transformers -- which began as Hasbro toys and were featured in cartoon form before becoming big-screen characters ? will eventually find you.
"Since it was a Japanese concept and was around about 25 or 30 years before they made the first film, and it expanded across Europe quite quickly," said Reynor, 22. "The generation before me grew up watching 'Transformers' on TV in Ireland, so it was definitely something I was exposed to in a big way and I had a full line of toys. I've always known of 'Transformers' because I've always been a fan of it, so to eventually to become a part of the franchise myself was an incredible opportunity."
In a way, Reynor said, Transformers toys prepared him to work on the film, because while playing with the figures, he was making movies in his mind.
"The cool thing is, it doesn't change a lot when you're standing there on the set of the franchise yourself," Reynor said. "You can try to relate to what you're doing the same way you did when you were a kid. It brings a level of authenticity to what you're doing and it makes it tangible for you in your own head. It really helps your performance."
Being around six brothers growing up, Peltz, 19, more than had her share being around Transformers toys in her youth.
"I definitely knew of Transformers growing up, but it wasn't only a boys thing," Peltz said with a laugh. "I didn't play with any of the toys, but my oldest brother loved them and my two youngest brothers are obsessed with the movies. All of them are very, very excited for me because of the film."
Tim Lammers is a nationally syndicated movie journalist and the author of the new ebook Direct Conversations: The Animated Films of Tim Burton (Foreword by Tim Burton).


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Dropped Kerb Installers in Eye
Easy access to your Eye driveway is essential and having a dropped kerb can make an enormous improvement. Dropped kerbs allow vehicles to cross the pavement and onto the property without causing damage to the vehicle. Here at Resin & Block Driveways, we offer a full dropped kerb service to take the hassle out of applying and constructing a dropped kerb in front of your Eye property.
Do I need a dropped kerb in Eye?
If you need to drive a vehicle over the public footpath onto your driveway, you will need to install a dropped kerb. If you do not have dropped kerb, it is illegal to drive over the pathway.
Do you need planning permission from the Eye council?
You will need to apply to your local Eye council for permission to install a dropped kerb in front of your property before we can undertake any of the physical work, if you would prefer, we can do this for you on your behalf.
If you would like to talk to us about our dropped kerb service, please call us on 01733 286466.
Eye Dropped Kerb Installation Process
We will arrange a visit to your Eye property to enable us to take correct measurements and review the surroundings of the kerb in question. There are a lot of factors to incorporate into a dropped kerb including any public utility services and if the property is on a main road, these will all effect the planning permission.
We work in conjunction with your local Eye county council, from applying for the planning permission to installing the dropped kerb, whilst complying with all necessary regulations.
Our team of local Eye dropped kerb specialists work efficiently to guarantee minimum disruption to the neighbouring properties and local environment.
Eye Dropped Kerb Installation Price
Dropped kerb construction costs will depend on the length and width of pavement needed to be dropped. If you're thinking of installing a dropped kerb in Eye and would like to receive a free quotation, please call one of our experts on 01733 286466 today.


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In last week's Hacker Challenge, we asked you to share your best home theater hack. We received some great entries, but the winning hack shows us how to throw the switch on televised sports commentators.
Check out the description of the winning entry below and read about some of our other favorite entries.
Winner: Silence Sports Commentators with a Simple Switch
RobRixmann30 discovered that most sporting events broadcast in surround sound only push the commentator audio through the center channel. Sure, he could unplug the center channel speaker or dig out the A/V remote and turn the center channel volume down to zero, but instead he decide to add single pole, single throw (SPST) switch to one of the two speaker wires running to his center channel speaker. We have to admit that throwing an actual switch on the commentators sounds more satisfying.
Note that this hack won't work for stereo broadcasts or if you don't have at least a 5.1 surround sound setup. Also, you should test your own system and the broadcasts you typically watch before actually installing a switch by simply unplugging the center speaker. In an impromptu test, we found that this hack worked on all the games being broadcast in 5.1 surround by our cable provider.
Honorable Mentions
We got a lot of great entries and we'd be remiss if we didn't share some of our favorites. Here are some of the entries that really impressed us.
Vent Heat With a Laptop Cooler
Gr8rt3k had a somewhat cramped cabinet for his A/V equipment and heat was a bit of an issue. He didn't want to pay for a specialized A/V cabinet cooling solution, so instead he bought Thermaltake laptop cooler with a 200mm fan and adjustable speed controller for under $20. The large fan moves more air while spinning more slowly (and thus quieter) than units with smaller fans. Because the laptop cooler was USB powered, Gr8rt3k also bought a USB-to-AC adapter. He took the whole unit apart so that he could reverse the air flow of the fan, cut a hole in the top of his A/V cabinet, and now all the hot air is vented out to the attic.
Repurpose an Old Dresser as an Entertainment Center
Remi and his family moved to a new house, leaving their IKEA entertainment center behind. They didn't want to spend much money on a new one, since entertainment centers tend to be on the expensive side. Instead, Remi repurposed an old dresser they found at an antique store for about $60 to serve new duty. He removed the upper shelves and most of the drawers, drilled holes in the back for cables, and was up and running in just a couple of hours. They've got more than enough room for all their gear, which includes a TiVo, router, 8-port switch, Monster power conditioner, Harman Kardon receiver, Xbox 360, Mac Mini, and an Apple TV. He left the 2 large drawers on the bottom for additional storage and used the removed drawers to organize their daughter's toys inside their built-in bench seating storage. Nothing wasted!
Reposition Your Projector Using a Sliding Mount
Acpowell has a make-shift home theater in his basement that includes a projector and a homemade screen. However, he had difficulty getting the projected image to fill the whole screen because he couldn't get it mounted far enough back. He solved this problem by creating a sliding mount out of some server slide rails he happened to have. The new mount allowed him to move the projector back a couple of extra feet so that the larger picture would fill the screen.
A big thanks to everyone who took the time to send us entries! Be sure to check back every week for a new challenge.


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If you have a question or comment about an issue, please submit it to the appropriate Bureau by one of the methods below. To learn how we may use the information you provide, please read our Privacy Policy. To help us serve you better, please include a day-time telephone number in your communication.
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The NASCAR Pinty Series Velocity Prairie Thunder crashed head-on with a severe thunderstorm Wednesday with thunder, lightning, torrential rain and hail.
NASCAR Pinty's Series Velocity Prairie Thunder laps around thunderstorm, L.P. Dumoulin declared champion after 116 laps
Velocity Prairie Thunder certainly lived up to its name Wednesday night.
There was thunder, all right. There was also lightning, torrential rain and hail for the 2019 NASCAR Pinty's Series Velocity Prairie Thunder Twin 125s at Wyant Group Raceway.
Not only were the stock cars racing against each other, they were racing against time and Mother Nature.
With the skies threatening on the horizon, Velocity Prairie Thunder raced ahead with the first of its twin 125s but, with nine laps to go, the race was abruptly stopped.
At that time, L.P. (Louis-Philippe) Dumoulin was leading ahead of Kevin Lacroix.
Andrew Ranger was next, sitting in third, followed by Alex Labbe and Alex Tagliani.
After a lengthy weather delay, Dumoulin was declared the winner of race No. 1 with Lacroix settling for second and Ranger third.
"The car was great in practice … but, in the first part, I got maybe a little too cautious," said Dumoulin, who trailed Lacroix for a good chunk of the race. "Afterwards, I knew I had a good car. I just had to be patient and had to wiggle my way back to first place. We had a nice battle with Lacroix."
Saskatoon was the site of Dumoulin's first-ever Pinty's Series win. Now he's got yet another.
"It feels awesome," said Dumoulin, who drives car No. 47. "Every year we come back here to Saskatoon, the town is awesome. It's just a very warm city and we love it."
Lacroix led for the majority of the opening race but, in the end, Dumoulin enjoyed life in the victory lane.
"The car got a little bit tight … but, still, second place is good," said Lacroix.
"Louis-Philippe is a good championship contender. He's a little bit back in the points, but you don't want him to come back.
"I would rather lose to somebody else rather than him, you know, but good for him."
When the green flag dropped to start the race, Dumoulin enjoyed the pole position but he was quickly overtaken by both Lacroix and Labbe.
Dumoulin was finally able to regain the lead in the 85th lap and that's where he remained at the end.
When the first caution flag had come, after 50 laps, Lacroix still had the lead, followed by Dumoulin, Labbe, Ranger, Jamie Krzysik, Jason Hathaway, Brett Taylor and Tagliani. The next caution came in lap 64, with Lacroix remaining in front with Dumoulin right behind along with Labbe, Ranger, Hathaway, Krzyik, Tagliani and Taylor.
After 100 laps, it was Dumoulin in the lead, followed by Lacroix, Ranger, Labbe and Hathaway.
By lap 116, Tagliani had overtaken Hathaway to sit in fifth. The top four stayed the same.
"The western swing is very important to us," Dumoulin was saying prior to the race.
Racing finally resumed after a three-hour delay with the local WGR pro truck series.
Aaron Anderson, in truck No. 19, took the checkered flag.
In the second Velocity Prairie Thunder race, Andrew Ranger was victorious. It capped off a double-podium evening for Ranger, who placed third in race No. 1.
Ranger had a good battle with D.J. Kennington as the two racers were able to exchange leads at times but, for the most part, Ranger was in control and eventually raced away from the field.
Like Dumoulin earlier in the night, Ranger had the pole position and went on to win the WGR race.
"My guys did a great job," said Ranger, a native of Raxton Pond, Que.. "It's been fantastic. We finished third in the first race and now we won. It's great. I'm very happy about that. I don't know where we are in the standings, but we're probably leading right now. This is great for us and we're ready for Edmonton."
The NASCAR Pinty's Series resumes July 27 at the Edmonton International Raceway in Wetaskiwin, Alberta.
Kennington, from St. Thomas, Ont., placed second in race No. 2 of Wednesday's double-header.
Calgary's Brett Taylor was third.
"Brett Taylor did a great job —that was a lot of fun racing with him," said Kennington. "I was a little nervous there. He's new and he's hungry, but he did a great. I'm proud of Andrew Ranger. He was really good tonight but he's got a little more to get yet (to win a Pinty's Series championship). We'll go get 'em in Edmonton."
Taylor reached the podium for the very first time in his Pinty's Series career.
"I don't what to say — I've never been here before, on the podium," said Taylor.
"This is amazing. I'd like to thank my team. It was awesome. We didn't even change a bolt from the first race to this race. Only did we change the tires and my water bottle — that was it."
Dumoulin finished fourth in the second race. Lacroix was fifth and Tagliani sixth.
Heading into Wednesday's Velocity Prairie Thunder at Wyant Group Raceway, Ranger led the NASCAR Pinty's Series championship standings with 174 points, followed by Lacroix with 172 points.
Tagliani was next at 160.
Dumoulin, who won the Pinty's Series championship in 2018, was sitting in fourth with 152 points and poised to move up. Kennington was fifth with 140.
Labbe and Mark Dilley came into Saskatoon tied for sixth, with 136 points apiece
Jason White, Jason Hathaway and Donald Theetge, who was a winner of one of the Velocity Prairie Thunder races in 2018, rounded out the top 10 prior to Saskatoon.


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As a teenager in Boston in the 1960s, then in New York starting in the 1970s, Nan Goldin has taken intensely personal, spontaneous, sexual, and transgressive photographs of her family, friends, and lovers. In 1979 she presented her first slideshow in a New York nightclub, and her richly colored, snapshot like photographs were soon heralded as a groundbreaking contribution to fine art photography. The Ballad of Sexual Dependency—the name she gave her ever-evolving show—eventually grew into a forty-five-minute multimedia presentation of more than 700 photographs, accompanied by a musical soundtrack.
Goldin first exhibited at Matthew Marks Gallery in 1992. Her work has been the subject of two major touring retrospectives: one organized in 1996 by the Whitney Museum of American Art and another, in 2001, by the Centre Pompidou, Paris, and Whitechapel Art Gallery, London. Recent exhibitions include the slide and video presentation Sisters, Saints & Sybils at La Chapelle de la Salpêtrière, Paris, contributions to the 40th Les Rencontres d'Arles in 2009, and Goldin's Scopophilia exhibition that was part of Patrice Chéreau's special 2011 program at the Louvre. Goldin was admitted to the French Legion of Honor in 2006 and received the Hasselblad Foundation International Award in 2007. In 2012 The Macdowell Colony awarded Goldin the Edward MacDowell Medal for her enduring vision and creativity. Also in 2012, The Museu de Arte Moderna in Rio de Janeiro mounted an exhibition of Goldin's work. Goldin lives and works in Paris and New York.


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Marsel van Oosten
Professional nature photographer and Nikon Ambassador from Amsterdam, The Netherlands.
I run specialized wildlife and landscape photography tours and workshops for small groups of all experience levels to spectacular locations worldwide.
Please check out out my website for an overview of the trips currently on offer:
After graduating from the Academy of Arts, I started a career in advertising. As an Art Director at various international agencies I won numerous awards for my work, amongst which are one silver and two gold Lions at the prestigious International Advertising Festival in Cannes.
Taking photographs began as a way to escape from life in the fast lane. After a trip to Tanzania however, things started getting more serious. Close encounters with the animals of the Serengeti fueled my passion for wildlife photography, which soon became my specialty. Five years later, I took the plunge and swapped my established advertising career for the precarious life of a nature photographer, a move that demands unyielding devotion and commitment.
My images are most known for composition, clarity and graphic qualities. In my work I try to simplify, to get rid of the extraneous: Simplicity is the ultimate sophistication.
In addition to winning the title International Nature Photographer of the Year in the International Photography Awards two times in a row, my awards include three First Prizes in previous editions of the IPA, First Prize in the European Wildlife Photographer of the Year, First Prize in Natures Best International Photography Awards, three First Prizes in the Travel Photographer of the Year Awards, First Prize in the Wildlife Photographer of the Year, and most recently I won the overall title Travel Photographer Of The Year.
My images are featured in galleries and museums, used worldwide in advertising and design, and I am a regular contributor for National Geographic.
If you would like to join me on one of our photo tours and workshops, please check out my website.
Marsel van Oosten | www.squiver.com
- 732,605 Affection
- 29,012,175 Photo Views
- 145,343 Followers
- 25 Following
- Amsterdam


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Academic exchange with Dr. Heidi Stockhaus, GermanyApr 7, 2017 1:45 PM
At the academic exchange, Ms. Heidi Stockhaus gave her presentation on the topic: "Climate Change and Biodiversity Conservation – COP 21". Her presentation concentrated on multilateral agreements on environment and forest management that Vietnam joined; Furthermore she informed about the Convention on Biological Diversity, National Biodiversity Strategies and Action Plans (NBSAPs), and about the Paris Agreement on Climate Change (COP21). Dr. Heidi Stockhaus answered many questions from staff and students of VNUF on Climate Change and Biodiversity Conservation.
The academic exchange took place with enthusiastic exchanges of experts such as Dr. Tobias Matusch, Development Advisor of GIZ, and some lecturers, PhD students of Forest Resource Management major and Masters students of the International Master Program on Tropical Forestry.
On behalf of VNUF, Assoc. Prof. Dr. Hoang Van Sam, Director of the International Cooperation Division expressed his thanks to Dr. Heidi Stockhaus and he hoped that in the future Dr. Heidi Stockhaus will continue to participate in the training and scientific research of VNUF.
Some pictures of the event
Dr. Heidi Stockhaus gives presentation
Exchange of expertise and discussion with the audience
Assoc. Prof. Dr. Hoang Van Sam, Director of the International Cooperation Division gives speech
Panorama of the academic
Highlight News
- Vietnam National University of Forestry (VNUF) welcomed and worked with...
Nov 13, 2017 2:12 PM
- International Cooperation between Vietnam National University of Forestry...
Nov 13, 2017 2:05 PM
- Minister of Ministry of Agriculture and Rural Development (MARD), H.E. Mr....
Sep 27, 2017 10:51 AM
- Workshop on Sustainable Forest Management
Jun 13, 2017 3:52 PM
- Working with British Columbia University, Canada
Apr 21, 2017 8:03 AM
- Vietnam National University of Forestry had a meeting with University of...
Apr 13, 2017 2:53 PM
- Signing ceremony between Vietnam National University of Forestry and Bac...
Apr 10, 2017 2:10 PM
- Workshop on Performance Evaluation of the Program: "Integrating REDD +...
Apr 10, 2017 2:06 PM
- Academic exchange with Dr. Heidi Stockhaus, Germany
Apr 7, 2017 1:45 PM


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The assessor is charged with several administrative and statutory duties. The primary duty and responsibility is to make sure all real property within the assessor's jurisdiction is assessed except where the law provides otherwise. This includes residential, commercial, industrial and agricultural classes of property.
Real property is revalued every two years. The effective date of the assessment is the first of January of the current year. The Assessor determines either a full or partial value for new construction and improvements depending upon their state of completion on January First.
The Scott County Assessor's Office serves all of Scott County except for the City of Davenport. Both County and City Assessors are located on the fifth floor of the Scott County Administrative Center. For the Davenport City Assessor, visit their website here or call (563) 326-8659.
General Information
Assessors are appointed to their position by a Conference Board consisting of the members of the Board of Supervisors, the Mayors of all incorporated cities and a member from each school district within the jurisdiction. A city with a population of ten thousand or more may elect to have their own assessor. This is the case with the City of Davenport.
Assessors are required, by statute, to pass a state examination and complete a Continuing Education Program consisting of 150 hours of formal classroom instruction with 90 hours tested and a passing grade of 70% attained. The latter requirement must be met in order for the Assessor to be reappointed to the position every six years. The Deputy Assessor also must pass a State examination as well as successfully complete 90 hours of classroom instruction of which at least 60 hours are tested.
The Conference Board approves the Assessor's budget and after a public hearing acts on the adoption of same. The Assessor is limited, by statute, depending upon the value of his or her jurisdiction, to a levy limitation for his or her budget.
General Misconceptions
The Assessor Does Not:
The Assessor is concerned with value, not taxes. Taxing jurisdictions such as school, cities and townships, adopt budgets after public hearings. This determines the tax levy, which is the rate of taxation required to raise the money budgeted. The taxes you pay are proportionate to the value of your property compared to the total value of the taxing district in which your property is located.