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Previous Newsletters
We have found ourselves developing an addiction to cooking shows where the chefs are given a market basket full of under-appreciated foodstuffs and the task of creating an innovative, restaurant caliber dish; a dish that is supposed to elevate the ingredients into something unique that looks amazing and tastes sublime. Knives fly, food processors whiz in a mad frenzy, as the studio kitchen quickly deconstructs into a post -Thanksgiving day apocalypse. As the seconds tick by, the food gets hurled (artfully) onto the plates. From the superior vantage point of our armchair, second guessing 'lesser mortals' struggling to fuse the disparate components into a seamless whole in an original way is great fun. Even though we fancy ourselves good cooks it is very clear that it will be some time before we are invited to sharpen our knives on screen. But the design challenge of creating something elegant from the disconnected has an incredible appeal. Maureen Dowd wrote an op-ed piece this morning about three women with radically different spheres of influence who passed away this week: connecting the dots between the lives of Margaret Thatcher, Lilly Pulitzer and Annette Funicello. So we set ourselves a similar task: fashioning a newsletter that draws from the furthest extent of our digital collection in a way that is not the least bit intuitive, and creates a whole that surpasses the sum of its parts.
Last Tuesday night we had dinner with Rhode Island's public artists in downtown Providence. It goes without saying that since Rhode Island is a small state, a good portion of them were able to join us for the meal. We've never had an opportunity to get to know an entire state's most interesting artists in a single evening. It was fascinating, inspiring, and delightful at the same time. Not a lot of people think of Rhode Island as a vibrant artist community, but perhaps they should change that. Then we looked for an artist working as far away as possible from Rhode Island with a large body of work and nothing in its collection and came upon Barbara Grygutis. For our architect, we decided to resist the usual temptation to select high profile practitioners who make Capital A Architecture, and chose a firm that has created more buildings "below the radar", that we see every day, and that truly inform our urban fabric. We selected Gruzen Samton • IBI Group, who boasts a huge portfolio of work - mainly in New York City - consisting of every building type, with a heavy emphasis on schools, apartments and civic buildings.
So, how do we connect the dots? Well, Rhode Island is on the coastline, and it turned out that many of their artists look to the water's edge as an inspiration for their art. We discovered that Barbara Grygutis finds inspiration in water, and other natural forms, as she transforms them into environmental sculptures for public places. For Gruzen, the urban fabric of New York City functions as the natural environment. They take the approach that architecture should be a good citizen and fit into its setting, in this case the city. Thus, the theme became a look at how art and architecture addresses nature.
Abby Suckle, President
Much of the artwork in Rhode Island's collection comes from the ocean. Some artists, like Marilyn Bogdanffy in a series of paintings that will wrap around the lobby of the Block Island Airport that recreate the setting itself illustrating Block Island throughout the seasons. As you progress, the pictures change from views of the beach in summer, then melt into bleak winter views. Less literal, perhaps, is Kenn Speiser's Reflecting Pool, where he created almost a mosaic of translucent bubbles that are embedded into the concrete at the entry to the Oceanographic Institute in Naragansett.
Cliff Garten comes to public art from a background of landscape architecture. Schooling takes inspiration from its orientation in the Graduate School of Oceanography's main atrium space opposite Narragansett Bay. The layered forms repeat and aggregate into a wedge-like massing of more than two hundred individual sculptures evoking the schooling habits of fish. Each individual form is semitransparent, evoking the shimmering and diaphanous quality of ocean life.
Peter Diepenbrock has created natural forms in metal that also site specific. The twisted shell Torsion III, that you can walk through, has both a marine inspiration and is a representation of the tension one experiences in college.
Schooling (2011) Cliff Garten, Narragansett, RI
Photo courtesy of the RI State Council on the Arts
Reflecting Pool (1997) Kenn Speiser, Naragansett, RI
Photo Courtesy of the Artist
Torsion III (2009) Peter Diepenbrock, Kingston, RI
Photo courtesy of the Artist
Block Island Airport Murals (2013) Marilyn Bogdanffy
Block Island, RI, Photo Courtesy of the Artist
6pm to 8pm
25 Broadway
Celebrating Becky Cooper Intern '07 on the publication of her book
Mapping Manhattan: A Love (And Sometimes Hate) Story in Maps by 75 New Yorkers
Cocktails & Conversations
6:30pm - 8:30pm
The Pairing:
Audrey Matlock,
Audrey Matlock Architect
Jason Sheftell, Real Estate Editor, New York Daily News
In order to foster dialogue about the design of the built environment, cultureNOW teamed up with the AIA NY Chapter's Architectural Dialogue Committee to start a new Friday night lecture series.
Cocktails & Conversations pairs an architect and a critic, journalist, or curator. Of course, it wouldn't be Friday night without a suitable beverage. Our Bartender, Toby Ceccini creates a custom cocktail in the spirit of the architects work. Join us at the Center for Architecture for the next in the series.
Archeologies of Place /
Hidden Within
1pm - 4pm
The New Museum
235 Bowery
New York, NY
Join cultureNOW at the street festival where it will inaugurate a guided tour that will present the everyday cityscape of Lower Manhattan through the perspectives of artists, architects, and historians who have helped to shape the city both in reality and virtually.
The challenge of sculpting artworks to intersect with public spaces and buildings is finding a small symbol that creates a dialog with its larger setting. Places play a significant role in Barbara Grygutis's work. Natural themes permeate it.
The works utilize led lighting through translucent and metal forms to bridge day into night. The significance and splendor of water, for instance, as visualized in the form of an iridescent drop, is the primary impetus for Drop, which creates a visual strategy that encourages citizens to think of their relationship to water conservation. Luminarias, in Greeley, Colorado, is about the Seasons. Wave, in West Palm Beach, hanging on the Convention Center, is evocative of the Atlantic Ocean, which terminates further down Okeechobee boulevard. Far from the coast is Silver Lining, in Salina, Kansas, which was inspired by shelter-belt trees silhouetted against the Kansas horizon.
Drop (2010) Antioch, CA
Antioch Arts + Cultural Foundation, Photo © Spike Matford
Luminarias: The Seasons (2006) Greeley, CO
Greeley Art in in Public Places, Photo © Pat Ailes
Silver Lining (2009) El Paso, TX
City of El Paso MCAD, Photo courtesy of the Artist
Wave (2009) Palm Beach County Art in Public Places
West Palm Beach, FL, Photo © Andrew Bako
Gruzen Samton • IBI Group has been around since 1936, in several incarnations (most recently rechristened as part of the IBI Group), and it has survived 9/11 with the loss of its office in the World Trade Center. It is a large firm, which takes on projects ranging from city work to housing to schools. But they are an integral part of New York City, and carefully inserting their projects into the urban fabric informs much of their design. Not only did they survive the loss of their office in the World Trade Center, they have created buildings that frame our view of the city, both from its heart and from its edge in New Jersey. The Grand Hyatt, which renovated the old Commodore Hotel, stands as one of Donald Trump's first forays into Manhattan. It symbolized, for many, the brash optimism of the 80's in its reflection of Grand Central Terminal, and the ferry terminal at Port Imperial highlights the view of Manhattan barely two miles away.
Another important component of their portfolio is the schools. Here are two recent university buildings, the School of Human Ecology at Cornell, and the Yale School of Management with Foster + Partners. Architectural firms collaborate on projects all the time - one has expertise, or is too far away, or perhaps not enough staff to complete the project well. Like any arranged marriage, it is an art to complete a successful building and still respect the other firm after the honeymoon has worn off.
Grand Hyatt Hotel, New York, NY (1980)
Photo courtesy of the Architect
Yale Univ. School of Management, New Haven, CT (2014)
With Foster + Partners, Rendering courtesy of the Architect
Port Imperial Ferry, New York, NY (2010)
Photo Courtesy of the Architect
Cornell School of Human Ecology, Ithaca, NY (2011)
Photo © Paul Warchol


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The adventures of a thirty-something with MD trying to maneuver life, dating, friendships, social activism and the world. A younger, handi-able Carrie Bradshaw who in no way can afford $400 shoes.
Twitter: @J2theDW
Hey, i came across your blog cos my friend John that works with you posted your latest entry on travel on his facebook page. Ive gone through and read a bunch of them and I just wanted to let you know how much i like your blog! So much of it rings true. And although i havent met you or seen you in person i really think you are too hard on yourself! Especially one entry where you had said about not feeling pretty or good enough because of your disability and all the things you would think people were saying about you.I would say 9/10 people would just be wondering why you were limping. And only because they're curious. None of the other horrible things you would think. But i did notice in other entries you seem to have gained more confidence and not care so much. And that made me smile. You shouldn't let your disability hold you back in the sense of dating, trying new things, going places etc if you can help it 🙂 Going by your blog you seem like a lovely person so keep being you!
Hi Jaclyn…. Myself Vijay from India.Am disabled in body, but Strengthen in mind & heart. I Read your blog articles. Nice things….It makes me to feel better….
Hi Jaclyn! Enjoyed your blog and your video for our LLU OT class! Looking forward to continue reading your stories.
Hello Jackie,
I so thoroughly enjoyed reading your blogs. I did not create and write the blogs but yet I found them cathartic :-). Wow, I do think I am in love, you are such a beautiful human being all around! Is there such thing as, "love at first read?" Well I do wish that your life is good currently. I hope we can keep in touch here in the near future. Here is a e-mail: firstname.lastname@example.com. I too have a disability and would love to discuss many topics with you.
Your friend,

subset: commoncrawl


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Health News
Making Life Better for Chronic Sinus Infection Patients
Chronic sinus infections can lead to sleep problems and poor quality of life, but there may be some hope on the horizon.
Anticholinergics May Carry Surprising Risk for Older Adults
Medications for allergies, depression and incontinence can be lifesavers. However, they may have some surprising effects on mental health.
- conditions
- (-) Remove Allergies filter Allergies
- (-) Remove Mental Health filter Mental Health
- Incontinence (1) Apply Incontinence filter
- Neuromuscular Disease (1) Apply Neuromuscular Disease filter
- Patient Safety Education (1) Apply Patient Safety Education filter
- Sleep Apnea Insomnia (1) Apply Sleep Apnea Insomnia filter


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Roboto, Android's now default font as of Ice Cream Sandwich, is a new-from-the-ground-up font, designed to be sleek, elegant, highly-readable on mobile devices… and the opening wedge of Google's assault on Apple's position as the hippest interface around. The good news is that, since it was released as part of the Android 4.0 SDK (Software Developer Kit), you can get Roboto now and install it on your current Android phone or tablet.
The font — really a set of several typefaces for Regular, Bold and Italic, in Condensed and non-Condensed version, each in its own .ttf file — can be downloaded easily. If your phone is rooted, then you can simply take the font files and place them in your /system/fonts folder (renaming whichever versions of the Roboto typefaces you want to use to replace the two system typefaces — DroidSans.ttf and DroidSans-Bold.ttf).
Make sure and back up your existing fonts in case Roboto doesn't work out for you. Your phone may also support an easier method for changing the system font — some Samsung phones support Monotype's FlipFont for example — in which case you can simply follow your phone's instructions. Alternatively you can use an application like Font Changer to install Roboto for you. Note that Font Changer requires root access and you will need to have Busybox installed as well, but the process is quite straightforward.
If you like your fonts to be compressed (displayed with the letters tightly grouped), then you can experiment with using Roboto-Condensed to replace DroidSans, and Roboto-CondensedBold to replace DroidSans-Bold. Otherwise Roboto-Regular is a good replacement for DroidSans, and Roboto-Bold is a good replacement for DroidSans-Bold. Whichever set you choose, for most users who've tried it, the result is a nice upgrade in readability. Roboto appears to create smoother curves at small sizes, making it easier on the eyes as well.
If you're not afraid of using your device's recovery manager to install .zip files, thanks to xda-developers' conributor myn, there is a zip file containing the fonts that will install them as your system font available here. As always, the update may not work on your phone, so safety demands making a backup before experimenting.
As you can see from the sample above, the Roboto font provides a subtle but definitely visible difference from the Droid family of typefaces used in current versions of Android. From my experiments here I'm a fan of using it sooner rather than later — and bear in mind, even if you don't like Roboto, you can actually use Font Changer to use any TTF font on your Android phone, including the Ubuntu font, if that tickles your fancy.


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It's very important to practice purification of sensitive areas daily. Sensitive skin care can sound complicated to handle, but it doesn't have to be. We'll give you the perfect purification routine for your face, mouth and eyes to help you stay healthy and prevent potential infections.
Cleaning the Mouth
Ayurveda strongly recommends tongue scraping daily to remove toxins and bacteria that develop through the night. The best way is to gently scrape from the back of the tongue to the end in long strokes. Keep repeating this until you have scraped the whole surface. Make sure that you rinse the scraper in between strokes and continue this process until your tongue feels clean and without a coating.
According to Ayurveda, tongue scraping should be practiced every morning on an empty stomach. This stimulates internal organs and boosts digestion.
Gentle Face Care
Once you are done with cleaning your tongue, you should then move on to face cleansing. You can also try a gentle face mask. First splash you face with cold water, massage your eyelids by gently rubbing them. Blink and rotate your eyes in all directions 7 times. Dry your face and clean with a soft towel.
Ayurveda recommends a tridoshic eyewash for your eyes. Add triphala powder to one cup of water, boil for about ten minutes and cool and strain. Use this to gently cleanse your eyes.
Ear Cleaning
Every now and then you are likely to face an irritating, itchy feeling in your ears due to the development of wax. Here is one of the best natural solutions to get rid of ear wax.
Saline solution: Mix 1 teaspoon of salt in around ½ cup of warm water until it dissolves completely. Now, soak a cotton ball in the solution and squeeze few drops of it into the ear by slightly tilting your head upwards. Be in this position for some time so that the salty water gets inside the ear properly. Now, tilt your head in the opposite direction in order to drain out the solution from the ear.


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Let discuss something interesting and use your free time. Share your favorite movie you like the most.
Let discuss something interesting and use your free time. Share your favorite movie you like the most.
Donnie Darko - Still on my top 10 list.
Another fun Marvel supers film. Introduction was overly long, but otherwise it clipped along at a decent pace. Funny in places too. But I doubt I'll remember it in six months time, these are excellently produced popcorn movies. Watchable and forgettable
There's not a single movie, but I do love some from different ages of cinematography, like "Passenger" with Jack Nicolson from the age of Italian neo-realism or "Stalker" from soviet new wave, and of course all movies by Akira Kurosawa
I like Suicide Squad, Matrix, Venom, Joker :-)
My favourite is for sure I am Legend. It is more then 15 years past already, but it still has its own style and... dunno just love it.
Yes! I've watched it two times and there are many interesting things I didn't know about on my first watch. Donnie Darko is definitely one of the best movies out there!
North by Northwest is a good one.
Heat with Pacino and De Niro


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Power BI is a popular business intelligence tool that many organizations use today for reporting and analysis. One of the main advantages of using Power BI as your tool of choice is it makes your operations more efficient. In large corporations, you have to mine large amounts of data and make data-based decisions on a periodic basis. As a good business practice, you also need to share these reports and decisions with stakeholders. Power BI reports and dashboards help you accomplish all this with ease.
Report Subscriptions
The Power BI "Subscribe Others" function allows a subscriber to add other users to receive power BI reports via email. Users can subscribe individual users, groups, or a list of recipients to take advantage of Power BI reports and dashboards. You can subscribe others to your existing or new subscription, and they will receive the exact same screenshots as you do. Power BI subscriptions are a convenient feature to expand visibility and share important reports with clients, vendors, and stakeholders.
Easy Setup
Power BI allows you to use the "Subscribe Others" feature with ease. You can create a new subscription or open your existing one and click the "Subscribe" button to add other users. You can also add an email subject and optional message for any subscription to customize and provide more details about the report. This feature keeps everyone updated on data changes and improves productivity and decision-making abilities. Whether your data gets refreshed periodically or once in a while, your clients will not miss any updates.
Utilize Automation
A number of Power BI automation tools can help streamline report generation and distribution. One of these tools is PBRS (Power BI Reports Scheduler) that can save your time and money. PBRS lets you schedule Power BI reports accordingly to your own schedule and frequency. You can customize Power BI reporting by using dynamic database changes as triggers for report generation. From scheduled BI report delivery to browser-based and mobile-enabled dashboards, PBRS promises to make your business intelligence tasks a lot easier.


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A recent report of visitor surveys compiled by the California University of Pennsylvania's Tourism Research Center, which has been analyzing data about Adams County's visitors for the past 10 years, showed that the percentage of two-, three- and more than three-night stays nearly doubled in each category.
"Attracting visitors to stay multiple nights is clearly a benefit to everyone - lodging facilities, restaurants, retailers and attractions," said Destination Gettysburg President Norris Flowers. "It's also a significant benefit to the local community that sees additional tax revenue, visitor spending and jobs supported by longer stays."
Lengthening the say among visitors was identified in 2014 - as part of Destination Gettysburg's five-year strategic plan - as a top goal coming out of the 150th Anniversary of the Battle of Gettysburg in 2013. Research showed that if visitors understood the depth of the destination and the numerous experiences that Adams County offered, they would be more apt to schedule more time in our community.
Since then, Destination Gettysburg has shifted its marketing to highlight the variety of experiences that many travelers and potential travelers are not aware of, including recreation, culinary, shopping and cultural events.
Of those visitors surveyed who indicated they stayed at least one night in Adams County, 67 percent said they stayed in a hotel/motel, 15 percent said they stayed at a campground, 9 percent said they stayed at a bed and breakfast and 4 percent indicated they stayed with friends or relatives.
In 2016, lodging revenue neared $50 million in Adams County, according to tax reports from the Adams County Treasurer's Office.


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Can I Refinance My Mortgage?
This calculator can help determine whether it makes sense to refinance your mortgage.
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Black spot of roses (Marssonina rosae) is a disease that is ubiquitous. The most susceptible to this disease are areas where it rains a lot during the season. The fungus infects plants at the beginning of the growing season, and the signs appear in July-August. Manifested in the leaves in the form of round or star-shaped dark brown or black spots. With the intensive development of black spots, the spots merge, covering the entire surface of the sheet. The disease will progress at a temperature of 19-23 C and high humidity. Deficiency in black spot contributes to a lack of potassium. The affected leaves fall off, the plants weaken, poor flowering and untimely resumption of growth are observed. As a result, unripe shoots freeze slightly.
The most susceptible to black spot: tea, hybrid tea, climbing, wild species roses (dogrose). But in different geographic areas, roses react differently to the disease.
Winter fungus on fallen leaves. There are no varieties of roses completely resistant to black spot. To fight this disease is difficult. It is recommended to collect and burn diseased leaves. At the beginning of the blooming of the leaves twice, with an interval of 7 days, it is necessary to spray the fungicide solution. The same can be done in the summer when the first signs of the disease appear. Preparations should be used each time different. You can also use decoctions of nettle and horsetail. Copper and sulfur-containing preparations also have a therapeutic effect. Repeat spraying as necessary.
As a preventive measure against black spot roses, a well-balanced plant nutrition should become available during the summer. In no case can not sort out with nitrogen fertilizers.
Other types of rose spot
In addition to black spot, other rose spots are common.
- Cercosporosis – the causative agent of Cercospora Rosicola – a disease in which you will see on the leaves roundish spots 1-5 mm in diameter, brown with a dark or purple rim and a tender bloom of olive color
- Septoria is a disease characterized by confluent whitish or dark brown spots with a dark red rim and dotted pycnidia in the center.
- In sphaceloma, the appearance of the leaves is as follows: the spots are small, roundish, black, or purple with a light purple border. These spots lighten with time, and the spores have the appearance of black pads.
- Perinosporosis is known more as downy mildew. This disease is characterized by the appearance on the leaves of large diffuse spots of a reddish brown color without a rim. The spots dry out quickly, and a grayish, almost imperceptible bloom develops on the underside of the leaf.
You can fight these diseases as well as with black spot.
Have a good fight!


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Absolutely BRAND NEW Radio Shack Hot Rod Magazine Camaro. Never out of the box. Still tied down to cardboard. The box does show some wear.
Been in my collection for years. This has never been played with. Very hard to find in all original new condition. The best RC Car for the time period. The item "1969 Camaro Hot Rod Magazine Radio Shack 16 Scale R/C Remote Controlled Car" is in sale since Friday, May 8, 2020.
This item is in the category "Toys & Hobbies\Radio Control & Control Line\RC Model Vehicles & Kits\Cars, Trucks & Motorcycles". The seller is "goldenboylate4u" and is located in Sewell, New Jersey. This item can be shipped to United States.


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Builders | Designers | Brokers
Over 40 Years in Real Estate
Since 1997, Sandy and Jerry Effren have been in Real Estate together as brokers, investors, builders, developers, and designers. Married in 1982, they have three children and produced hundreds of homes in dozens of communities. Their children have been involved over the years, but Sandy's sister, Kim Hiteshew, has been managing operations for three decades. Winner of the HOBI Project Manager of the Year, Kim continually has zero punch lists from the new home owners.


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CalPERS Headquarters
Sacramento, CA
The California Public Employees Retirement System built a 550,000 sf, six floor office complex to expand their existing headquarters. The project included a 1,000 space underground parking garage, approximately 20,000 sf of commercial space for retail, and a child care center open to the public. In addition approximately 180 residential units will be developed along the project frontage. The expansion included a new building with two U-shaped wings: Lincoln Plaza East and Lincoln Plaza West.
(Photograph ©Lawrence Anderson)
TEECOM's Contribution
TEECOM developed the security commissioning specifications. The new security system was to communicate with the existing CalPERS security system. The commissioning/testing included testing on new security equipment and interface to existing systems, life safety interface, fire alarm interface, and other building security systems interfaces to verify installation and system functionality.
(Photograph ©Lawrence Anderson)
Benefits to the Client
The security system included a never before integrated solution. As with an first additions many things were not functioning correctly or not to the full design intent. TEECOM worked with the security consultant and systems integrator on behalf of the owner to resolve issued detected during functional testing. TEECOM's oversight was critical to helping the owner get a fully functioning and reliable system, that meet the design criteria.
Services Provided
Security System Commissioning; CCTV Systems; Access Control and Alarm Monitoring; Intercom; Intrusion Detection; Emergency Phone Systems
CalPERS Headquarters
Location 400 Q Street Sacramento CA, 95811
Project Type Government Building
Project Team
Owner: Colliers International
Project Size
550,000 sf
Completion Date
LEED Certification
LEED Gold
©Lawrence Anderson


text: Search the official online store of the NBA for the latest designs in Toronto Raptors Hats including Snapbacks and adjustable caps. Rally your team to a win in all the latest Raptors Hats from our collection. Our shop offers Raptors Fitted Hats and Adjustable Hats as well as unique styles like bucket hats and more. Once you've chosen the perfect piece of Raptors headwear, browse our t-shirts and jerseys to complete your head-to-toe basketball Look.


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Home About the University Spartan Stories Sharan Ravishankar
About the University
Spartan Stories
Sharan Ravishankar
Political Science Major
"I was very nervous as a freshman. I could see myself grow over one year. And I think Upstate really shaped my experiences in that facet, especially in leadership."
Sharan Ravishankar is a sophomore majoring in political science with a minor in Pre-Law. He serves as the student body treasurer, president of the Honors Program, a Chancellor's Fellow, a student ambassador for Enrollment Services, and a study hall monitor for the University Library. Ravishankar strives to be a great leader in the community and hopes to one day become a U.S. senator or a lawyer.


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Left Banke: Everything Returns Again
introduction, interview and photos by Daniel Coston
For longtime fans, the dream of the Left Banke's return to the spotlight has been something that many thought would never happen. Despite numerous attempts to reform over the past thirty years, the band had not taken the stage since 1968. Given the fact that even the band's music had been out of print for many years, it seemed that the band would never have the chance to shine again.
But early this year, the nearly improbable took place. Original bassist and vocalist Tom Finn, and drummer and vocalist George Cameron reformed the band, pulling in with them the sizable talents of vocalist Mike Fornatale, Grip Weeds guitarist Rick Riel (who switched over to drums and vocals for the band), and keyboardist Joe McGinty. The new band debuted in March with two stunning shows at Joe's Pub in New City, proving that all these years later, the band could pull off their eclectic sound in a live setting. The band has also left the door open for original vocalist Steve Martin, and keyboardist Mike Brown to return, ensuring that the band's story will continue to rewrite itself in the months to come. Couple all of this with the reissue of the band's first two albums (1967's Walk Away Renee/Pretty Ballerina, and 1968's Left Banke Too) on Sundazed Records in May, and it seems that the Left Banke were indeed 45 years ahead of their time. Tom Finn leads us through the band's past, and present.
Tom Finn: What [George] did was, gather a couple of guys down on the Lower East Side along with our old friend, Charly Cazalet, who plays bass. We've known Charlie forever, since The Left Banke began. He played bass on our third album, Strangers on a Train [recorded in 1978].
And so he got Charly and he got a guitar player named Paul Alves, and a piano player named Mickey Finn, who auditioned for them, and they rented some space down on the Lower East Side in a basement. And George got inspired. And his vision was to do a band that could back up Steve, myself and him, so we could be more like a vocal group and just sing. And we wouldn't be held back by having to be super musicians. Because the thing was always our vocals, and he figured that this way there would be a nice production behind us, and actually SOUND like The Left Banke. So, with that in mind he started this band up.
Big Takeover: You decided to move forward after realizing that Steve Martin wouldn't be available, at least for a while. How did you find Mike Fornatale?
Finn: He called me, or actually, he sent me a Facebook message. And he said, "Hey, I wanna just offer my services, I don't ordinarily do this, but being that it's The Left Banke, if you need anybody, please , you know, I'm available." So I brought him in. And he sang, and he nearly blew my mind! And so I'm saying to myself, wow! This guy is really GOOD!
So then George and I started to fall in in back of him. In other words, put him on the Steve Martin part. We'd sing the songs that WE sang the lead on on the second album. George sang two, I sang two. And then let Mike take the Steve Martin part. And so that is what we've been doing! So we had Mike Fornatale on lead, George and I doing backgrounds, and we had a very credible trio like we had with The Left Banke!
Well, I think people are gonna be a little surprised. at how good it sounds. Because we've been working hard [at this]. And I don't think the Left Banke ever… I know they never sounded this good before on stage
Big Takeover: You guys kind of got thrown out there on stage when "Walk Away Renee" hit. I know you didn't play…
Finn: No, we couldn't play. I think I was playing bass for six months. When that happened, it was ridiculous! George wasn't even our drummer when that happened. Our drummer was Warren [David]. And then he got thrown out of the group, and George was thrown on the drums. I was put on bass because there was nothing else for me to play! I couldn't play guitar! And so I played the bass. It was easier! That's why we never had a guitar player, really. And so we used Hugh McCracken most of the time [on studio sessions]. At least we used the same guitar player.
Big Takeover: How is it to hear those Left Banke songs again? Not only hear them but in a live setting as you have been rehearsing them the last few months?
Finn: It's been unbelievable because, like I said, we've never ever done that! Not even in the 60's. First of all, when we went out on stage with Mike Brown and Steve Martin in the early days, nobody had monitors! I couldn't hear the vocals! And George behind the drums, he couldn't hear anything at all. As a matter if fact he just stopped singing, it was pointless.
I mean, we didn't even do our own songs on stage, that's how bad it got. Because, you know, when you are in front of an audience, they want to rock and they want to dance and they want to have fun! And The Left Banke material, what are we gonna do, "Barterers and Their Wives" ? So Steve started doing music by black groups. Like The Temptations, and James Brown, and things like that.
So, as incongruous as it sounds, it's like oil and vinegar, but The Left Banke on stage was like a... black r&b group. (Laughter from both.) And so as far as our songs, the only songs we did were, "Walk Away Renee", "Pretty Ballerina", "Desiree" and "She May Call You Up Tonight" and everything else was, cover songs, we never did any other Left Banke material. And for the second album, we NEVER played any song on stage. So when you ask me how it feels to be doing both full albums live, with vocals, and hear it through monitors, I gotta say that it sounds great, because I've never heard it before!
Big Takeover: Well, let's go back to the beginning of the group itself. Now I know you had been playing in a couple of bands in New York before The Left Banke. Tell me a little bit about The Magic Plants. I know the name, but I don't know very much about their history.
Finn: The Magic Plants were, WAS, one person actually, named Michael Wexler, nicknamed Mick Wexler. And he got the name Mick, from Mick Jagger. Because he actually had a complex and he walked around like and pretended that he was Mick Jagger. He actually did that.
So, I had a drummer named Warren David Scherhorst, who was actually The Left Banke's first drummer. I figured the three of us should hook up and become The Magic Plants. In other words, Mick Wexler was looking to put together a band, to support his record. The A-side was called, "I'm A Nothing" And the B side was, "I Know She's Waiting There" which was the better song of the two. Oh, God! "I'm A Nothing", what a bad song that is! After a few months Warren and I decided to put our own band together. So, we started looking for musicians to audition for us.
How it ties into The Left Banke is, see Mick was a guy who ran around with long hair, was a songwriter and was a good guitar player. So he ends up at one point with an audition for Harry Lookofsky. Don't ask me how he got that audition, but he did it.
Harry Lookofsky, was a professional studio violinist, and he was Michael Brown's father, he owned a small recording studio, (World United) and he was very ambitious. On the business side, he was almost like Colonel Parker (Elvis's manager). You know, he was almost a carnival huckster in a way. In other words, to him, it was like, "Here's this guy with long hair and he sings like in that new style, so I think I'll sign him up to a quick single deal, and see if we can throw some of my musician friends on there, and see if we can back him up, and I'll put out a record." So that's what he did. And they put out a record on World Artists Records. And I think that they were associated with MGM/Verve Records, or something like that.
But the interesting thing about this is that because of his association with Harry Lookofsky and World United Studios, you know where Mike Brown was working as an assistant there, you know, cleaning up and setting up things, I went up there and I actually met Mike Brown. I got the idea that Harry Lookofsky was holding auditions, so I started looking for band members for my group.
I had met Steve Martin on the street corner on Broadway. The Rolling Stones were staying at this hotel called The City Squire, and I was coming from World United Studios, and I was walking up to get the subway to go down to The Village, and I saw all these girls screaming their heads off, and running down the street. And so I sort of ducked into a doorway. I had hair almost down to my shoulders. And I ducked into this doorway, and there in the doorway was Steve Martin standing there! And he had short hair.
And all these girls ran by screaming by, and they looked at me for a second and they thought that I was one of them, and they came around me. And I said, "No no no!" And then they went by and ran around. And then the Rolling Stones pulled up in a limo, and they screamed and ran over there. And I said to Steve, who I didn't know, I said, "Hey, isn't that a great way to make a living?" And he said, "Yeah, it sure is, man!" And that's how we met!
When I met Steve on the street, I felt really sorry for him, because his father had just died, and he was in New York, and he was lonely as hell. And I would go uptown to watch. You see, all the girls from The Village went uptown to hang outside the hotels. To watch the Rolling Stones. So I went up there.
And every time I went up there I saw Steve, haunting around, watching it, too, because he had no friends, nowhere to go, nothing to do. So I went back up there and there were guys from The Village hanging around, too! And so, it became like a little mini-scene up there outside the City Squire Hotel.
And so of course I wasn't trying to get to see The Rolling Stones or anything like that, but I was watching the girls. And so Steve and I would stand in doorways there a lot, and I would teach him how to sing, you know, like two-part harmony. In other words, the two of us would go into a corner and sing, "If I fell in love with you," and he'd sing, "If I give my heart…." and we'd harmonize.
And he took the high note, of course, little did I know that he was a better singer than me! You couldn't have told ME that back then! We sang, and sang. So, to make a long story short, I took him down to Greenwich Village with me. And I said to him, "Listen man, I can't keep on coming uptown. So hang out down here, this is at Downstairs Figaro's, there's a lot of kids down here, you're gonna make friends." And I said, "Here's one," and I saw George Cameron, and I said, "Hey, this is my friend, Steve. He's new in New York," and George was friendly so, he and Steve became good friends and started singing and writing songs together. It was pretty obvious that the two of them were very special, because whenever they sang, a lot of kids would gather around them.
About a month later, or two months later, they started singing together. Because George was a singer, too. That's where I met him, I met him a year earlier at a rock and roll show that we were both doing. I was in a singing group, and he was in a singing group. Only his singing group had long hair. They were called The In-sects and my group was called The Castels, and we were more like a doo-wop group. This was like late '64, or something like that, and that is when I met George.
And [George and Steve] started singing, and they tried to get a group together. So I invited them up to World United Studios to audition for Harry Lookofsky. Because I knew that they were looking to get a deal. And so I said, "There's a guy uptown that I know. I tell you what, I'll meet you there." And we made a date. And I brought Warren with me, my drummer.
And so the four of us, Steve, George, Warren and I we all met there and I introduced these guys to Mike Brown, who was setting up a session. We had no intention, none, not a single thought that [Brown] would be in the group with us, Because we were all stylish and hep (nobody used the word hip) and we could sing, and we were hanging out down in the Village. And Mike Brown was really not into any of that. He was very conservative, even nerdy. But I think he really wanted to be like us. At this point you have to remember that we were just a bunch of kids.
And so what happened is that we realized that Mike Brown had the keys to his father's studio there, so you know, we played him a little bit. In other words, it was like, "So, do you want to play piano with us? You've got the keys, let us in." So, we'd go up there afterhours, and plug in and jam, play the drums, and Mike Brown eventually fell in on the piano. And that happened because none of us were great musicians, but our drummer could sort of play. And [Brown] could play the piano, so we would tell him the tune that we were interested in, and sort of what the chords were, and he would pick it up. And then we ended up singing around the piano, because we were all good singers. And that is the beginning of The Left Banke right there.
Big Takeover: Going back to the first couple of records, how much arranging input of those songs did you guys have on those first two records?
Finn: We had 100 percent input on those records. The arranger, John Abbott, who ended up choosing what instruments went on what, listened to everything we said. And when we were adamant about something, he listened closely and he did what we wanted. He wasn't the type of guy who went home with a demo, closed the door and then came out with his own vision of things. It wasn't that way at all.
As a matter of fact, John Abbott told me that he felt that I was the creator of The Left Banke, not Mike Brown. I swear to God he said that, I'm not trying to be egotistical here. There's something you've got to remember, it was my group to begin with. I was the one that brought everyone together. And you better believe Mike Brown listened to me, and us. Especially on the first album. Well, that was his only involvement. And that is part of the reason why he left, too, he didn't like to listen to anybody. But, George, Steve and myself had a big input. None of us ever kissed Brown's ass. There were constant disagreements and arguments, but, in the early days we just loved singing and recording, and we got along very well.
I wrote the bass line to "She May Call You Up Tonight." And the way I wrote it was, I was looking for a bass line, and if I couldn't do a bass line, I would go to any lengths to get one. I remember on the second album, I asked Charly Cazalet to help me with bass lines. He helped me to come up with two bass lines for that album, and we worked together until we got it, and I played it.
But on the first album, my playing was not up to par. But I wrote the notes out with Johnny Abbott standing right there, and he wrote it and that's what was played. Note for note with maybe I would say 85 percent me, and maybe 15 percent the bass player in the studio on that. Where I got the bass line is from listening to Paul McCartney playing, "You Won't See Me." (sings the Beatles song) Now if you listen to that, and you listen to "She May Call You Up Tonight", you are gonna hear the same bass line. Except the chords are different. They don't come out to be note for note, but it's the exact same thing. And Mike Brown, when I played it for him, he liked it right away. He nodded, and everything was fine with my bass part there. I was new to the bass and had to learn fast.
And with "Walk Away Renee" , that was even earlier, basically I didn't even play the bass then! I had just started. But I went up to the A note on the top of it and I just walked it down a half-step at a time. That's it. It's a chromatic descending half-step bass line all the way down in the verses. So, basically that's what I always played, and that's what was used on the record, at least 50 percent of it, anyway.
Warren David, he played on "I've Got Something On My Mind," and he played on the demo to "Walk Away Renee". And the demo to "Walk Away Renee", I wish somebody had it, was done about a week or two before the actual session. And Warren was still around, and he played on it. Now Warren's part was taken by John Abbott off of the demo, and that's the part that the studio man, Al Rogers, played on "Walk Away Renee". The same foot pattern, the same build, the same crash, that's Warren's part. That was his field, that was his part. So, to answer your question, we had very strong input on the first album. And I would say that 80-90 percent of our ideas were used.
You also have to remember that when Mike was doing, "Walk Away Renee" and "Pretty Ballerina," Mike was surrounded by three singers that were giving their all in stereo around him. So the way that he would work is he would set up a cassette recorder, he would play a new song that he was working on, a fragment, and then he would say, "Sing along with me, boys," and Steve went, "OK," and Tommy, you take this, and I'll take that. And then we'd sing, and a week or two later the song is finished. So in other words, he is getting a lot of ideas from us, you know?
I would even say, "Walk Away Renee", melodically and musically he wrote a very limited amount of. If you really wanted to break it down, I think he wrote maybe fifty percent of that song. And Tony Sansone, the lyricist wrote about maybe 25 percent of it, and the other 25 percent was written by John Abbott, the arranger and us thrown together as a group. A mixture.
John Abbott changed some chords in the hook for, "Walk Away Renee." I gotta tell you this, I was there, I saw it, I have no reason to lie. Mike Brown played in the key of A, and he didn't make any chord changes on the chorus. In other words the hook is (sings the chorus in one key), he's going along the same key, on the same chord, one note, one song, no changes. There was no melody, and there was no minor chord underneath there. John Abbott put those chords in the arrangement. John Abbott put that beautiful F#-minor in there that gives that song the tug. Without that, it would never have been a hit! That was the biggest chord change in the whole song! John Abbott wrote that! John Abbott wrote some of the chords for that song, and he was never credited as a writer. He just looked at it as, "Oh, that's what arrangers do."
Maybe so, but there us no doubt that John Abbott was our George Martin.
Stay tuned for part two of our Left Banke, with stories from the band's past, and their future plans.


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After ad buyers at last week's upfronts, it is international buyers' turn to get a glimpse of the broadcast networks' crop of new shows. The annual LA Screenings are wrapping after marathon sessions of the studios unveiling their new series, with talent and producers on hand to promote them. After lackluster LA Screenings last year, with international buyers lamenting the lack of breakouts, there is some excitement this week. That is a promising sign for the broadcast networks as the screenings usually serve as a good barometer — last year's broadcast freshman class indeed failed to produce major hits. The interest seems spread almost evenly between drama, which normally travels better overseas, and comedy this year. Not surprisingly, hot NBC drama pilot The Blacklist is garnering a ton of attention for producer Sony TV. Also hot at the studio is 1980s comedy The Goldbergs. Interestingly, Australian networks are very high on Rake, a remake of an Australian series. Additionally, Michael J. Fox, star of Sony TV's new NBC series The Michael J. Fox Show, has been receiving enthusiastic reaction from buyers who waited up to an hour for a photo with the actor at the studio's party Monday. Star power also is boosting 20th TV's new comedy The Crazy Ones starring Robin Williams, which is among the studio's best-received pilots, along with another CBS comedy, Friends With Better Lives and dramas Sleepy Hollow (Fox) and thriller Crisis (NBC). Not surprisingly, given The Avengers' gigantic worldwide boxoffice, new ABC drama Marvel's Agents Of S.H.I.E.L.D. (ABC) is the ABC Studios drama that garners the most interest, with procedural Intelligence (CBS) also doing well, along with two single-camera comedies for ABC, Trophy Wife and Mixology. Warner Bros. TV dramas Hostages is being well received, with buyers also showing interest in comedies Mom, from hit maker Chuck Lorre, and Super Fun Night, toplined by hot comedy actress Rebel Wilson, as well as the postapocalyptic the CW drama The 100. Another new CW drama, the Mary Queen Of Scots tale Reign, is a hot commodity for CBS TV Studios, along with Greg Garcia's new family comedy The Millers.
Related: 'Reign' Co-Creator Stephanie SenGupta Exits
Related: Primetime Pilot Panic
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Choosing a Milan Apartment
Traveling with a group or a large family? Consider renting an entire Milan apartment. In Milan, apartments are much more cost-effective for a group of travelers than a hotel would be. They are generally very centrally located and equipped with all the modern conveniences such as A/C and internet connection. For those traveling through Milan in order to get to Lake Como, we've put together a list of our favorite apartments to help you find accommodation where you can spend a night or two before arriving at the fabled lake. The guests we have spoken with were very pleased with the following apartments and we are happy to recommend them to future travelers. [Read more…]
Originally posted 2014-09-12 23:30:14. Republished by Blog Post Promoter


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What is your name?
My name is Sarah Grain.
Where are you from?
I was born and raised in Indianapolis. I traveled overseas a bit and always thought I would end up living in a foreign country, which I suppose I still might. But I am feeling more rooted and fulfilled here in my hometown than I could have ever imagined.
Where do you live?
I live in the urban core of Indianapolis, in an area my neighbors and I affectionately call Clifton on the River.
When did you realize that you wanted to be an musician?
I did not grow up in a musical family, but as far back as I can remember I secluded myself in my bedroom to sew, write poetry, sing, draw, pretty much any kind of craft or art form that I could do with the materials available to me. Creative expression wasn't a choice I made,but was a natural yearning that became an essential part of my healthy self as I discovered the world around me. I came upon my mother's small-bodied Gibson folk guitar in the family attic when I was 15. I learned three chords and wrote a song immediately. I remember performing it in front of a roomful of peers a few months later, and that was a defining moment. Writing, singing and performing have always been interwoven for me. At this point, I realize it would take much more energy for me to not do my art, than for me to do it. I have to prioritize writing and make time for it, but when I do, it is there as a meditation and a healing practice that makes every day bearable and a celebration.
Who influenced you as an musician?
My most profound influences have always been my friends. People that I know inside and out and inspire me with their courage, vulnerability, resiliency and tenacity. These aren't always artists. Most of the time they aren't, actually. But some of my best friends are amazing artists and I constantly draw from their wisdom and bodies of work.
What is your favorite thing about being a singer- song writer/musician?
I have always been a jack-of-all-trades, and it truly surprises me how I have stuck with songwriting this long. The lovely thing about songwriting is that a work is never finished. My most beloved songs are the ones that I have been playing for years and I still have more to learn, still have intricacies to discover and new approaches, new people to collaborate with that will make the song sound like something I have never heard before. I never have to put the song away on a shelf, never have to sell it. It is always mine; something I can revisit and return to if it feels like the work is not done. On the flip side, because there is often not a physical remnant, some songs are like feathers in the wind. It is there for a moment, and if I get distracted before I write it down or record the idea, it's gone. It's incredibly frustrating sometimes to think about the amount of songs I have lost over the years. But, it's oral history. Unless the song is repeated over and over, remembered, unless its recorded, then you have to let that bird fly and hope when it returns that it will bring you something dazzling and insightful to make up for the loss.I often take long breaks from songwriting, but I never let the creative space loom empty. When my children were born I turned to other creative outlets – specifically, toy making and doll making. I have knitted special stuffed animals and made beautiful dolls for each of them. It's so satisfying to watch them play with a doll that I poured my blood, sweat and tears into, literally, and that holds my essence and my love. And the satisfaction of working with real, hard materials – that is something I can truly appreciate coming from the intangibility of songwriting. Right now I am working on a family quilt, and helping my 4 year-old daughter design her own doll quilt and pillow for the doll that I made her.
Do you have a studio where you create music? Where is it?
My studio is my piano, my kitchen table, really any place I can get a quiet moment to hash out an idea or just play. I have ended up writing a lot of my songs on piano in recent years because my children can sit with me and play and I can easily stand up and wipe tears or pour some water for a child in need. I am not a piano player and I usually transfer my songs onto guitar, but it has been nice that I have a basic knowledge for songwriting purposes.I do desperately need a space outside the home where I can go when I do have a few hours free, especially in the winter. Last year I wrote a song called 'Meadow Blue' when I was in search of a quiet place to write. Fortunately, it was a beautiful day and I ended up settling on a sunny field in Marrot Park. The chorus goes like this: "I need a quiet little room/ A sunny little window where I can just stare / But I guess this field will do / Meadow blue, open air."
When did you become a mother?
What are your challenges as a mother musician?
One of the greatest challenges to me as a mother artist is defining success for myself, and facing confidently the expectations that others have of me. Even in my own mind, there seems to be a very clear interpretation of what 'success' looks like for a musician. I would no doubt have a terrible time managing motherhood if something inside of me was pulling me toward the road, toward a life of late nights and touring; if I felt that I couldn't do one without giving up the other. But, the truth is, I have always preferred going to bed before 10 pm. And I am a homebody, not a roadie. I used to think that I was just making excuses so as to not have to assume the courageous role of taking my art seriously.But now, I honestly don't feel like I am making excuses, and I do take my art seriously. This is who I am and who I have always been, and my focus now is to find the "third way" – creating and performing inspiring music while always honoring the rooted, grounded, stable creature that I am.
What has been the driving force behind keeping a balance between being a mother and an musician?
My husband Tedd and I both feel that one of the most important gifts we can offer our children is the value of meaningful work. We want them to discover what is meaningful to them, and to feel confident in pursuing those passions and developing their curiosities. "It's all modeling," we often tell each other. When our children see us engaging in meaningful work that fills our souls, they are that much closer to understanding and tapping into the magic for themselves. Tedd is always singing and playing guitar here at home for the family, for fun. He is utilizing his creativity on home projects, taking long adventures on foot, and bringing attention to his health and fitness. I am writing songs, quilting, making dolls, baking. We are constantly in a cycle of meaningful work and creativity that I know is laying a foundation for them to know themselves intimately. The legacy is what drives me. I know that the songs I write are somehow creating a historical context for my children to understand themselves in the chaos of modern life. It's a place they can go to, if they want, when they need a compass or comfort; when they need my guidance but don't want to ask me for it.We often get into the car and I ask them, 'What music should we listen to?' "Momma's songs," Stella replies. That is what drives me.
When do you spend time making music?
I am lucky that my art does not require much set up or clean up. I find time to sing or fine-tune a song idea for twenty minutes at a time throughout the day, like after washing the morning dishes when the children have run off to the playroom, wrapped up in the novelty of the new day. I tend to do deep dives into my art. Meaning, I may be working on a song or preparing for a performance and every time that a quiet moment pops up around the house I use that time to write or practice. But at other times, weeks may pass where I don't pick up my guitar at all, and I focus more on the other aspects of my life.I also have begun to rely on collaborations much more as a mother. I need others' creative energy, ideas, and : all this helps propel me forward and inspire me. So, though I do a lot of idea creation and work shopping here at the house in the bits and pieces of time available to me, I also find time away from the family to bring those ideas to life and give them depth with other musicians. I have also had to "dig deep", as Tedd and I call it. This past six months I have pulled quite a few all-nighters in the studio because I needed to be up with the kids at 7 a.m. and nighttime was the only hours I had free. It can wear on me, as I have gotten sick and even lost my voice recently because I wore myself down so much, which in turn had a negative impact on my family. It's all choices, priorities, and those priorities are always shifting and taking turns calling out to me.
How many children do you have? Do you want more?
I have three children: Idalina (pronounced ee-dah-leen-ah), 4 ½ ; and twins Stella and Luca, 2 ½ . My family feels complete, and after breastfeeding twins until they were 2, I am just so happy to be out of the nursing haze!
Have you ever considered giving up music in order to be a mother?
For me, music and mothering go so hand in hand I have never asked myself that question. I have never desired to be the performing artist that spends most of her time on tour or at late night gigs. I am untraditional in that way, perhaps. Indianapolis culture can support an artist like me playing out once a month, maybe once every two or three months. That feels right to me. I am doing this at my own pace. There isn't an expectation that it will feed my family and I am good with that. It's just feeding my soul. I have been doing this for 15 years and it is who I am and who I will always be. Whenever I think about that, I let out a huge sigh of relief and just enjoy the process.If anything, I want to challenge myself to do more playing and singing in an informal way, around the house. Tedd is so good at picking up the guitar as soon as he gets home and playing silly songs, fun songs, carols. He is the family troubadour. I have always approached music from a more serious standpoint, a therapeutic standpoint, and I would like to loosen up and be sillier and help my children truly enjoy music. When they get older, I want them to say that they "grew up in a musical family." That would be a dream come true.
Do you have support from your family and friends to keep making art?
I am lucky to say that I feel very supported by my friends and family. My mother, Tedd's mother and his grandparents are all staple caregivers for the children, and though I do not always use that time to work on my art, the time away is rejuvenating and makes the possibility for creative expression seem more accessible to me. My sister, brother and my friends all listen to my work, come to performances, and tell me when a song I have written is accompanying them through their life journey. The thought that the songs I create can be a steady backdrop in the lives of the people I love fills me with awe.
From the very beginning of our parenting journey, Tedd and I were very intentional about giving each other regular time away from the family to pursue our own interests and spend time with friends. I have Saturday mornings free, and he has Sundays. We always come back refreshed and ready to jump back in. I can choose to spend that time on my art, or meandering aimlessly through a park, or errands I want to do without three kids in tow, or an intimate breakfast with a good friend. No matter how I spend it, it is an essential part of my creative rejuvenation. As far as my art specifically, the most important way that Tedd has shown support for me is by gently asking, "What is your motivation here?" So many times as artists we do art just to do it, without asking and asking again that very important question which in turn serves as our guiding compass. 15.Do you feel like you are taken seriously as a mother artist?I know I am taken seriously when someone tells me 'That song you wrote has really helped me' or 'I have been listening to that song over and over again.' Recently, a musician that I utterly respect said, 'I think that is one of the most beautiful songs I have ever heard.' Whoa.How can I not feel I am taken seriously when someone says something like that to me?
Has becoming a mother influenced your music?
Becoming a mother has most certainly impacted my work. I want to write songs that help people get through hard days, long days, and help them celebrate the little joys in all of life around them. I want to write music that help people feel connected to others and give them a deep sense of place; songs that positively feed their longings. I have learned more about all of this through my experiences as a mother.I also look for inspiration in my children. Recently, my daughter turned to me and said, "Mama, sometimes my whole self just feels like a rainbow." How beautiful is that?! And now I have been singing a tune to it around the house, messing around on guitar, and surely in a few months it will be a completed song.
Do you think mother artists are taken seriously in society?
I don't know about others, but when I find an artist that inspires me, the first question I always want answered is, "Do they have children?" I want to know what kind of difficult choices they had to make to advance their artistic careers. I tend to take them more seriously when they are parents, and find more depth in their work. I am not sure whether this is a societal perspective, but it is my own. Without children, artists can certainly do "more". But the question remains, is doing more mean that you are going deeper? I am not so sure about that.
What do you say when someone asks "what does your husband do for a living?" are you offended by such a question?
I love talking about Tedd. Though his career isn't in the artistic field, he is the most creative and innovative thinker I have ever met. Next to him, I feel stoic and old fashioned. When someone asks me what he does for a living, I say that he works in Community Development. If they probed me more, I would say he is a brilliant facilitator, strategic thinker and maximizer of human potential.
What is your story?
A defining moment in my life was when I began training Capoeria Angola, an Afro-Brazilian martial art, when I was a senior in high school. Because my teacher also taught in Bloomington, that twist of fate kept me in Indiana--Before Capoeira, I planned to bee-line for the west coast for college. Over the next 6 years, I traveled twice to Salvador de Bahia, Brazil to study Capoeira Angola with my home group, learned Portuguese, and this ultimately led me to meet Tedd, who spent his youth in Northeast Brazil. Now we raise our children bilingual in Portuguese, and our connection with that heritage is a cornerstone of our family culture.
What have you learned about balancing motherhood and your passions?
There will be times when it feels like everything is in perfect balance, where I am getting everything I need from the different aspects of my life. But more often, I will have to turn my back on one aspect in order to do a "deep dive" into another. In this way, it's important for me to take the long view. It's not about what I accomplish with my passions in a day, or even a week. I set goals over months, even years at a time.I am not one-dimensional, nor am I one-sided. Sometimes I feel like I am a dodecahedron, trying to balance 12 or more different sides of my passions and my time. But to really give my art the space it needs to evolve naturally, I must constantly reprioritize and simplify my commitments. This means saying "No", always remembering that saying "No" to one thing means that I am saying "YES!" to something else. I want to say "YES!" to my art and my family. Anything that falls in line with those priorities I can fold in. Anything that doesn't fall in line, is a mission-drift.
What advice can you offer other mother artists about pursuing their passions regardless of their situation?
Before my first child was born, a good friend encouraged me to prepare for everything taking twice as long. After adding twins to the mix, I try to give myself leeway for everything taking four times as long. Keeping that in mind has been one of the most helpful tools for me as a mother artist. Instead of expecting that I can work on my art for 6 hours at a time, I have to be more prepared, look for the clear stopping points, and break the work up into 30 to 45 minute segments. Sometimes, I get a few of those segments right next to each other, but those times are few and far between.I also try to befriend other mother and father artists. This year I've set up "getting to know you" coffees with two mother songwriters and one visual artist. Comparing yourself to the momentum of other artists that do not have children is unhealthy. It's been life-giving to learn about the journeys and tools that other mother artists employ to progress their creative journeys. Developing these kind of relationships also give me the sense that I am creating in community, and not in a vacuum. I have one dear mother artist friend that I have established a mentor relationship with – and the mentor ship goes both ways – she told me that I am her mentor, too. She lives in San Francisco, but we have nice long therapeutic talks at least once a month about motherhood, work, music, and when I hang up the phone I feel at peace – like I am understood. It's wonderful and I would suggest to any mother artist to seek out and nurture mentorships like those.
What do you want to be remembered for as an musician?
I want to write songs that heal, that are nurturing and help people be gentle with themselves. I want to be remembered for songs that connect people to everything around them and allow them to experience the natural and human world with the same reverence and awe that I do. I want to write music that is timeless … that can speak to others in places and times distant from my own generation. With the songs I write, I want to slow life down.
To learn more about Sarah Grain and her music visit:
**See Sarah Grain in concert**
Sarah Grain w/full band and featuring The Maple Trio
Saturday, March 22nd
Doors open 8pm; Music at 9pm
Indiana City Brewing Company
24 Shelby Street
(just South of Washington Street on the southeast side of downtown)


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Opening Bell: 08.11.14
Hedge Funds Are Digging Gold Miners (WSJ)
The NYSE Arca Gold Miners Index, which tracks 39 gold-mining companies, has soared 26% so far this year, compared with a 8.9% rise in gold and a 4.5% increase in the S&P 500. The gold-miner rally is a boon for high-profile hedge-fund managers such as George Soros and John Paulson—as well as traditionally gold-focused traders like Peter Palmedo and Eric Sprott. Their gold bets were pummeled last year, when a rise in bond yields and muted inflation dulled gold's allure, sparking a stampede that drove the precious metal's price down 28% and the gold-mining index down 54%.
Judge in Argentina default case slams Singer lobbyists (NYP)
Federal court Judge Thomas Griesa said the ads run by the lobbying group, Task Force Argentina — financed by Singer to help fight his decade-long legal and political battle to win the right to collect on defaulted Argentina debt — were "wrong" to attack the country's New York lawyers. One ad claims that one of the lawyers, Jonathan Blackman, of Cleary Gottlieb, personally called Argentina President Cristina Kirchner to suggest the country default — while a second displays a drawing of the lawyer's head on a vulture...Griesa called the hearing after seeing two-page "legal notices" in US newspapers, placed by Argentina, saying it had paid its bondholders. The ad referred to the $539 million Argentina wired in late June to make a payment to the vast majority of its bondholders who accepted a debt swap years ago. But the court would not allow the payment to be made unless Argentina also pays Singer and other creditors the $1.65 billion they demand on defaulted debt they own. The payment to Singer wasn't made, so Argentina defaulted on $15 billion in debt. "False and misleading statements by Argentina must cease," said Griesa in an hour-long monologue. The 84-year-old judge said if the false statements don't stop, he might consider holding the country in contempt.
Putin Starving Companies of Cash They Can't Obtain Abroad (Bloomberg)
Russia is limiting corporate access to domestic financing even as the escalating Ukraine crisis increasingly isolates companies from overseas sources of cash. The government's about-face on its pledge to end a freeze on pension cash being used by private money managers risks raising corporate borrowing costs as it deepens the country's economic slowdown. Some of Russia's biggest issuers are already locked out of international capital markets as punishment for what U.S. and European leaders say is President Vladimir Putin's support of separatists in eastern Ukraine.
Kinder Morgan to Consolidate Empire (WSJ)
Kinder Morgan Inc. is consolidating its vast oil-and-gas pipeline empire into a single company in a $44 billion deal amid investor worries about the enterprises' growth prospects. The reorganized company will abandon the financial structure it helped popularize in the late 1990s: the master limited partnership. These complex tax-oriented offerings have caught on among energy companies facing substantial investments in infrastructure because of the U.S. oil and gas boom. But Kinder now is so big that the MLP structure is limiting, said Richard Kinder, the companies' founder and chief executive. Combining all four of its publicly traded units into one corporation, he said in an interview, "will allow us to further expand the reach of the kind of projects we can do."
The Proper Care and Feeding of Your Spoiled 23-Year-Old (Bloomberg)
Rich people have enough money to solve almost all their problems but one: children who grow up to be entitled, materialistic and unhappy slackers. Wealth advisers to the rich see this all the time, says Coventry Edwards-Pitt, who helps clients manage their affairs at Ballentine Partners, a wealth advisory firm outside Boston. Often, children of rich parents can't seem to strike out on their own, she says. They start doomed businesses and give up on one job after another, all while draining Mom and Dad's bank account (or their own trust fund) into their 30s and beyond. It's a phenomenon many parents and tax advisers do a lot to enable, albeit unintentionally, Edwards-Pitt argues in a new book, "Raised Healthy, Wealthy and Wise." Most parents want their kids to become successful, self-sufficient adults. But smart tax planning can sabotage good parenting. To avoid the estate tax, the wealthy are told they can and should give their children $14,000, or $28,000 per couple, each year, which they're allowed to do tax-free. That's hardly enough to retire on, but it's a cushion most people don't have. Young wealthy adults may go from job to job as they seek their "passion" without putting in the hard work to actually get anywhere.
Man Armed With Leaf Blower Arrested For Doing Yard Work In The Nude (TSG)
A Massachusetts homeowner was arrested Monday for "open and gross lewdness" after passing motorists spotted him--leaf blower in hand--doing yard work in the nude, according to cops. As Richard Capra, 69, worked on the curb appeal of his Shrewsbury home, "several vehicles were slowing down taking photographs," according to the Shrewsbury Police Department. Responding to 911 calls, Officer Timothy Charland spotted Capra "completely nude, blowing off his driveway with a leaf blower." Capra was "intoxicated and belligerent towards police" when questioned. Capra, arrested on a misdemeanor charge, was later released from custody after posting $500 bail. He is scheduled for an August 15 appearance in Westboro District Court. Future arrestees will be happy to learn that Capra was "issued clothing" prior to being placed in a Shrewsbury patrol car.
TPG Said to Match KKR's $3.2 Billion Offer for Treasury Wine (Bloomberg)
U.S. buyout firm TPG Capital offered A$3.4 billion ($3.2 billion) for Treasury Wine Estates Ltd. (TWE), according to a person familiar with the matter, matching a takeover bid by KKR & Co. (KKR) and Rhone Capital LLC. A global private equity firm bid A$5.20 cash per share in a non-binding offer for the maker of Penfolds Grange and asked that its identity remain confidential, Treasury Wine said in a regulatory filing today. The unidentified bidder is TPG, according to the person, who asked not to be identified because the details are private.
Citigroup, Swiss Firm Wage Court Battle Over Metals Payments (WSJ)
Banks have lent hundreds of millions of dollars to commodities traders in China in recent years, using metals such as copper, iron ore and aluminum as collateral. However, evidence suggests that large quantities of metal stored at the eastern ports of Qingdao and Penglai are unaccounted for and may have been used as collateral for multiple loans. The case between Mercuria and Citigroup is one of several brought by companies scrambling to limit their exposure to potential losses after the Chinese government launched an investigation into allegations of loan fraud at the ports.
Calpers Rethinks Its Risky Investments (WSJ)
The largest U.S. public pension plan is considering a dramatic retreat from some riskier investments, as it tries to simplify its $295 billion in holdings and better protect against losses during the next market downturn, according to people familiar with the matter. California Public Employees' Retirement System is weighing whether to exit or substantially reduce bets on commodities, actively managed company stocks and hedge funds, the people said. The pension, which manages investments and benefits for 1.6 million current and retired teachers, firefighters and other public employees, is a bellwether for investment trends at other public plans. Any shift it makes will likely influence others because of its size and history as an early adopter of alternatives to stocks and bonds.
Man Builds 'Star Trek'-Themed Cabin Out Of Junk -- But Isn't A 'Trekkie' (HP)
Doman, 69, has lived in the Guffey, Colorado cabin for 26 years. He has spent the last 14 of them adding on seven rooms -- most of which follow a Star Trek theme. He's spared the kitchen, though. For now. Doman's domain closely resembles the set of various "Star Trek" series, mostly "Voyager" and "The Next Generation." It was mostly put together using junk -- everything from old pipes and curling irons to old car parts he found beside the road. "Journalists have said it's a replica of the Enterprise bridge," Doman told HuffPost. "It's not. I call it 'the Federation Room,' but it's my idea of a 26th century housing project." His current project is building sleeping quarters that are fit for a Klingon ambassador...What may be most amazing about Doman's house isn't the way it looks, but the way it was built. He didn't use blueprints -- it was all in his head. "I do everything in my head," he explained. "Ever since I had a rabies shot when I was 14 months old, I've had worse than a short-term memory. I can't read very fast and every time I do Jello, I have to look at the box for directions." Doman started building "The Next Generation" of cabins as a way to occupy himself during the winter months when it was too cold and snowy to build fences. Although he had to watch a lot of "Star Trek" episodes in order to get inspiration, and posed for the new Ripley's book dressed as a Klingon, he insists he's not a "Trekkie." "I'm not," he swore. "I haven't been to any conventions."


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Fraternity rush and sororiety recruitment, cornerstones of the 'welcome to MIT' freshmen experience, began on Saturday. Today, Denzil Sikka, the President of Panhel and Evan Wang, the Programming and Recruitment Chair of the Interfraternity Council, asked if I wouldn't mind sharing their words. They'd like to write about why 'Going Greek' was the best decision they made during their time here at MIT. Pledging MIT Sigma Chi three years ago has certainly significantly impacted my MIT experience in ways I couldn't have imagined as a freshman, so I'm happy to share their words:
"Fraternities and sororities mean having a great outlet away from the stress of life and academics, the chance to have unforgettable adventures and collegiate experiences, and the possibility to make lasting friendships. Roughly 30% of all undergraduate women, and about 50% of all undergraduate men are affiliated. These members of MITís fraternities and sororities are known for being the most active, intelligent, and involved men and women on campus.
Denzil (Panhel):
The Greek System is a large part of life at MIT. You can avoid it, embrace it, or cohabitate with it. Coming to MIT, I never really saw myself as a sorority girl, although I was never against it. Now three years later, I know that Greek Life has been one of the greatest opportunities to help me develop as a woman. My sorority is my home away from home. My sisters are my mentors, role models, and, most importantly, my closest friends.Ultimately, sororities are all about community and a support network, and through my sorority, I've learned leadership skills, volunteered in the community, and made life-long bonds at MIT.
My freshman year, the process of Recruitment allowed me to see each sorority with open and objective eyes. I can confidently say that the choice I made was the right one for me because I looked at every sorority and went through a mutual selection process that helped me find the best fit for me! My MIT life and experience would have been completely different without my sorority, and so I urge all freshmen to try out Recruitment and see if you can find your own home away from home!
Evan (IFC):
2 years ago, when I first stepped foot onto MIT, I thought there was no way I would ever join a fraternity. Pretty much the only images that came to mind when the topic was broached were of the insanity shown in Animal House.
Perhaps that's why I was so surprised when I found myself swept away in the process that was rush — attempting to figure out if there was a fraternity out there for me. The choices that I made certainly weren't easy, but a few short months later, I found myself as a brother of the Kappa Sigma fraternity, and now, I often have trouble imagining what life would be like had I not given the Greek community here a chance to show me I could belong and contribute to it.
This isn't to say that every guy will necessarily find a home in a fraternity, or everyone needs to try Greek life, but if you give us a chance, I'm sure that you will find that we are more welcoming, diverse, and involved around campus than you ever imagined before you got to MIT."
Thanks Denzil and Evan, and hopefully most (if not all) incoming freshmen are hard at work exploring their options this busy week! I'd like to leave you with one part(y)ing shot. You're missing out on moments like this if you're a freshman at MIT and you're not rushing this week. Here are 9 seniors goofing around before playing trampoline dodgeball this afternoon!


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You are here
Paracetamol (Acetaminophen) for management of postoperative pain
Version 1, February 2013
Version 1, February 2013
Mechanism of action and positioning in postoperative analgesia
Paracetamol is a non-opioid analgesic and antipyretic. Its mechanism of action is unclear. There is evidence of a central anti-nociceptive effect, possibly involving direct and indirect inhibition of central cyclo-oxygenases, possibly also activation of the endo-cannabinoid system and spinal serotonergic pathways. As a sole agent, it is used to treat weak-moderate postoperative pain, but it can also be used within a multimodal regimen, e.g. as an adjunct to opioid analgesia. It can be administered by oral, rectal and intraveneous routes. It is the first choice non-opioid analgesic for women during pregnancy and lactationANZCA, section 4.2.1. pages 71-72.
Treatment specific perioperative issues
- For a single oral dose of 1000mg, paracetamol has a high NNT of 3.8 (3.4-4.4), indicating low antinociceptive efficacy in the postoperative period. Bandolier
- After surgery, combined administration of paracetamol with a non-selective NSAID or a COX-2 inhibitor are recommended formoderate (3-5 / 0-10 scale) or low (< 3) pain intensity. For severe pain, defined as over 5 on a 0 – 10 scale, paracetamol should be combined with an opioid or some other potent analgesic PROSPECT /abdominal hysterectomy/postoperative/systemic analgesia/paracetamol See PROSPECT algorithms for examples how to include within a postoperative plan after abdominal hysterectomy, hernia and colonic resection.
- As part of a multimodal regimen, and unless contraindicated, patients should receive an around the clock regimen of paracetamol, NSAIDs or COXIBs FRENCH 6.2.2., p 406, ASA section V multimodal techniques
Recommendations specific to the treatment
- As bioavailability and tolerability of oral administration are good, use of the IV form of paracetamol should be restricted to clinical circumstances where enteral administration is not appropriate ANZCA, section 6.2.3., p 156, FRENCH , 6.2.2., p 406.
- Avoid rectal administration because absorption is slower and less predictable compared to oral administration FRENCH , 6.2.2., p 406.
- There is probably no need to reduce the dose given to older people, as there is no consistent evidence that aging has an effect on clearance ANZCA section 11.2.4 . p 403
- Recommended adult single doses are: oral 500-1000mg; intravenous 1000mg, to a maximum of 4000 mg / day. German Guidelines Table 6.1.2.
Circumstances when the treatment if not recommended
It is common to recommend use with caution or in reduced doses in patients with active liver or renal disease German Guidelines, section 18.104.22.168.4, page 13, history of heavy alcohol intake and glucose-6-phosphase dehydrogenase deficiency. Others report that it is safe to use with patients with liver disease and safer compared to NSAIDs, in therapeutic doses, over a short term, and unlikely to cause heptotoxicity in patients who ingest moderate to large amounts of alcohol. ANZCA, section 4.2.1 see Adverse effects, p 72.
Treatment specific issues related to nursing / monitoring patients
Adverse effects of paracetamol are fewer compared to NSAIDs and can be used when the latter are contraindicated (e.g. in patients with a history of asthma or pepetic ulcers). ANZCA, section 4.2.1 see Adverse effects, p 72.
There is no evidence that patients with depleted glutathione stores (e.g. malnourished, have cirrhosis, hepatitis C or HIV) are at increased risk of liver dysfunction when exposed to therapeutic doses of paracetamol. Paracetamol interacts with warfarin to increase the INR ratio. ANZCA section 4.2.1 see Adverse effects, p 72
Paracetamol is a widely used non-opioid medication with analgesic and anti-pyretic properties and can be administered by a variety of routes. After surgery, combined administration of paracetamol with a non-selective NSAID or a COX-2 inhibitor are recommended formoderatetolowpain intensity. For severe pain, it should be combined with an opioid or some other potent analgesic.
Supplementary reading
- McNicol ED, Tzortzopoulou A, Cepeda MS, Francia MB, Farhat T, Schumann R. Single-dose intravenous paracetamol or propacetamol for prevention or treatment of postoperative pain: a systematic review and meta-analysis. Br J Anaesth. 2011 Jun;106(6):764-75.


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What Happened When I Stopped Being Religious
Everybody laughs about the Ten Commandments becoming the Ten Suggestions, but nobody even suggests remembering the Sabbath and keeping it holy anymore. I know why. Shabbos observance smacks of everything that's wrong with religion.
As someone who started keeping Shabbos so my new Torah-observant friends would eat in my "I-promise-it's-scrupulously-kosher" house, I was dragged into Shabbos observance kicking and screaming. It's not easy to amuse yourself on Shabbos, especially if you have kids around. For starters, you can't cook, you can't drive, and you can't use electricity. These are just a few of the forbidden acts, but they all originate with the 39 Melachos, the "creative work" the Jews did in building a portable sanctuary ("The Mishkan") so they could worship G-d in the desert. I barely know what "winnowing" or "threshing" are. I can't imagine being the slightest bit tempted to do these activities on Shabbos, but you'd be surprised what daily tasks derive from them. I just know that, many years ago, when I was locked out of my house one Shabbos day with all my young kids and I had to wait in the freezing cold until an hour after sundown to open my electric garage door, I understood with new clarity why so many Jews gave up on Shabbos. Because keeping Shabbos was hard.
The lights started to go out on Shabbos observance in America when our impoverished ancestors arrived here. They needed to put food on their tables, literally, and most jobs demanded working on Saturdays. Not to mention, their whole reason for coming to America was to escape persecution for being Jewish.
I have no idea why any of this happened in the world at large. I can only tell you that, for me, trying to keep Shabbos when you have to do it all at once is one of those things that actually IS as hard as it looks. That is, until you really care about every tiny detail in your relationship with G-d.
Until you care about every tiny detail in your relationship with G-d, Shabbos is just a bunch of annoying restrictions. It's religion. And in those early years, the only thing harder than Shabbos was that Fridays had to be spent in the kitchen the entire day–winter, spring, summer, fall.
I thought it would stay difficult like that forever. Twenty-five hours where the main focus was to avoid doing things like accidentally leaning up against a light switch. (I remember how troubled I was when I learned that we were accountable for the sins we commit inadvertently, albeit less so. I wondered: is there limited space in heaven?)
It took years for me to learn not to think like that. Don't forget, I had lived into adulthood being sure of my existence and questioning G-d's. My idea of religious Jews was that they were obsessed with these commandments in their excruciating detail in order to propitiate a G-d who is as scary as He is unseen.They exchanged miserable lives in this world for, they hope, a big payoff in the next one.
My new friends weren't like that though. They loved being observant Jews. But I didn't, especially not on Shabbos. Shabbos, when I had to get all those kids ready exactly by the appointed hour; I felt about Shabbos like Cinderella felt about midnight. Shabbos, when bowls pile in the kitchen sink, overflowing with multi-colored muck (also known as Shabbos cereal) gurgling up in a drain I'm forbidden to clear.
But I hung in there, all the while learning Chasidus, trying to wrap my head around ideas, like, "G-d is the Knower, the Knowledge, the Known." Everything. Always. And that little, tiny me can please Him endlessly just by not turning on the light on Shabbos. And by doing all those other mitzvos, too.
I just had to stop being religious in order to try to bridge the gap.
I can tell you unequivocally that now, so many years later, Shabbos actually feels different. Maybe it's that I don't have to entertain all those kids anymore. Maybe it's the pleasure I have in knowing that I hung in there for Him, even though it was so hard for me.
Or maybe it's that I appreciate that Shabbos is G-d's favorite day of the week. It's the day that's closest to the way life will be for us in the era of Moshiach, when we will perceive G-dliness effortlessly.
That's why I'm trying lately to light my candles early, even before sundown. Some people say it's a mitzva to do this. It's also my way of showing G-d that, finally, I want more Shabbos in my life, not less.


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Google has today announced a new exclusive launching on their VR platform, Spotlight Stories, that gives them a behind the scenes look at the upcoming Wes Anderson directed, stop-motion animated movie Isle of Dogs.
The film will launch in cinemas on March 23, but the behind-the-scenes look includes a 360-degree VR, nose-to-nose look behind the scenes as well as interviews with the cast which includes Bryan Cranston, Bill Murray, Edward Norton, Liev Schreiber, Jeff Goldblum, Scarlett Johansson, Tilda Swinton, F. Murray Abraham and Bob Balaban.
According to Google, the movie 'tells the story of Atari Kobayashi, 12-year-old ward to corrupt Mayor Kobayashi. When, by Executive Decree, all the canine pets of Megasaki City are exiled to a vast garbage-dump, Atari sets off alone in a miniature Junior-Turbo Prop and flies to Trash Island in search of his bodyguard-dog, Spots. There, with the assistance of a pack of newly-found mongrel friends, he begins an epic journey that will decide the fate and future of the entire Prefecture.'
The exclusive behind the scenes look will only last until March 2nd when it will be made available on 'YouTube VR and Fox Searchlight YouTube channel, and any platform that has the YouTube VR app, including Daydream and Sony PlayStation VR'.
To get Spotlight Stories on your Pixel head over to Google Play and download the app, then throw it into Google Cardboard or Daydream View headset.


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Watch: PSY Is Back With "I LUV IT" + "New Face" MVs Featuring Lee Byung Hun And Apink's Son Naeun
PSY is officially back, and along with his 8th album, "4X2=8," the artist has dropped two music videos, "I LUV IT" and "New Face," in the crazy style we have come to know and love.
High-energy and so ridiculous you can't help but smile, "I LUV IT" features a brief cameo from "Pen-Pineapple-Apple-Pen" singer Daimaou Kosaka and dancing from a stone-faced Lee Byung Hun, while "New Face" features Apink's Son Naeun — who, according to PSY, struggled quite a bit to keep a straight face during filming — and plenty of dabbing.
Check out the two music videos below:


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Oceanography and Marine Biology, An Annual Review, Volume 40: An Annual Review: Volume 40 (Oceanography and Marine Biology) [1ed.]0415254620, 9780415254625
Description:Interest in oceanography and marine biology and its relevance to global environmental issues continues to increase, creating a demand for authoritative reviews that summarize recent research. Oceanography and Marine Biology: An Annual Review has catered to this demand since its foundation, by the late Harold Barnes, more than 40 years ago. It is an annual consideration of basic areas of marine research; it returns to certain topics when appropriate in future volumes and adds new topics as they arise. The favorable reception accorded to all the volumes shows that the series is fulfilling a very real need: both reviews and sales have been gratifying. The 40th volume follows closely the objectives and style of the earlier volumes, continuing to regard the marine sciences-in all their various aspects-as a unit. This edition adds commentary on the World Ocean Circulation Experiment, deep-sea species and other topics. Experts treat the physical, chemical and biological aspects of marine science. The series is an essential reference text for researchers and students in all fields of marine science and related subjects, and it finds a place in the libraries of marine stations and institutes as well as universities. It consistently ranks among the highest in the marine biology category of the citation indices compiled by the Institute for Scientific Information.


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Video Blog #025 - QFN Reflow Repair
DISCLAIMER: This video is educational only, so if you decide to do the same yourself then you are on your own, I can't be held responsible for any problems/issues/damage/injury that may occur if you decide to follow this blog and try it yourself.
A quick 5-minute video demonstrating my technique for QFN IC SMD package repair on a circuit board that I had just reflowed in my oven but that had resulted in some short circuits.
QFN packages don't have legs, the solder pads are on the underside of the IC and don't extend onto the sides of the IC so in effect the package sits over the pads and thus makes it quite hard to clear any short circuits because you don't have full access to the solder from all sides like you do on a regular external IC pin.
In my case the short circuits were most probably created by using too much solder paste with the stencil, I knew this at the time but rather than clean off the board and start again I just relied on fixing the problem later as per the video.
Flux pen used = Kester Flux-Pen 951 Rosin Flux, Type RMA
I have also used other types of flux, such as:-
- VersaTech No Clean Liquid Flux
- Amtech Flux Paste RMA-223-TF


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Helath center in Cuenca
This center belongs to the Ministry of Public Health of Ecuador. It promotes good health maintenance and primary prevention through education. The project involves vulnerable groups such as pregnant women, youth, children of all ages, elderly and disabled. There are doctors, nurses and dentists who provide free medical care to vulnerable and poor families in Cuenca.
• Medical Project
• We seek: Volunteers with medical training and / or experience working in health care centers.
• Spanish level required: Basic (A2-B1)
• Minimum time: 4 weeks
• Other requirements: none
• Location: 5 minutes from the center of Cuenca
• Activities: depending on the field of study or work experience
• Working days: Monday to Friday throughout the year
Project description
The health center provides free medical care to the local population with limited economic resources. This clinic is very busy and patients have to wait for hours. So the help of volunteers is important because it is always needed.
The center is divided into a nursing unit, an obstetrics department, a department of general care, a pharmacy, a dental center and a department of vaccination.
These are the activities:
•Assist in the diagnosis and treatment of patients.
•Plan and support educational programs for the community.
•Support the permanent staff on their duties.
How can you help?
Volunteers can help doctors and nurses in health care, give advice to children and families who visit the center and make teaching materials for health education and prevention.
This project just requires a $50 administrative fee once. Additionally, we suggest you to do voluntary contribution for this organization.