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When newlyweds Sally and Jack Southard moved to Columbus in 1961, after her graduation from Miami University in Oxford, she told her husband: "Jack, can we keep Oxford in mind? It would be a perfect place to raise a family."
A year later they returned, and Ms. Southard has been contributing to the quality of life in Oxford, in Butler County and Ohio – as an elected official and volunteer – for 40 years. Ms. Southard, 62, has served on the Butler County Commission, Ohio Board of Education, Butler County Board of Education, Oxford Talawanda Board of Education and Oxford City Council. She also founded the Oxford Cooperative Nursery School and served as PTA president when her three children – now 38, 36 and 33 – were in school.
To say she's an active member of Holy Trinity Episcopal Church is an understatement. When asbestos covered the sanctuary during remodeling two years ago, the grandmother put on protective gear and supervised the photographing of contents for insurance purposes. The renovated church classrooms and kitchen reopen later this month.
"Sally Southard developed a computerized record of the contents of Holy Trinity, and researched the replacement costs, which proved to be crucial in the insurance recovery," parishioner Barbara McKinstry says.
Ms. Southard says she was just doing what her parents, Peggy and Fred Reed, had taught their four children to do while she was growing up in Erie, Pa.
"Mom taught us to help when asked – cheerfully – and that was always important! And to offer to help, cheerfully," she says.
"She told me, 'When you see something that needs to be done, don't wait to be asked. Don't ask permission. Do it.' That's really been my drive and will be until the day I die." When you ask Ms. Southard about her proudest achievements, she mentions her children and the 40-year partnership with her husband, the director of Miami's Degree Audit Registration System used by universities throughout North America.
Only after that does she talk about the historic achievements that occurred during her 25 years as an elected official:
The State Board of Education implemented teacher proficiency tests, continuing education requirements for teachers and student proficiency tests as a condition for graduation during her tenure (1983-92).
"There's no question in my mind that (proficiency) testing needed to be implemented, in the belief that all kids – not just the brightest – should share in the American dream," says Ms. Southard, who earned a bachelor's degree in English with a teacher's certificate in 1961. n During her four-year term (1993-96), county commissioners instituted the "workfare" welfare reforms and created the Transportation Improvement District which built the Michael Fox Highway linking I-75 and Hamilton.
Ms. Southard, honored as Oxford's "citizen of the year" in 1985, ended a quarter-century of elected public service last fall, when her four-year Oxford City Council term expired. She continues to work on two pet Oxford projects – a high-speed digital telecommunications system and returning single families to homes rented by students.
"I want to use my private time on projects that I care most deeply about," she says. How deeply people care about her – by nominating her as a Woman of the Year – moved her to tears. "I read the letter from Dr. Shriver, and I was in a state of shock," she says. Miami University President Emeritus Phillip R. Shriver, a long-time friend, wrote The Enquirer: "The old adage has it when you need to get something done, you find the busiest person around to do it, and it will get done. Sally fits that description to a 'T' . . . Too many (people) can only complain. Sally rolls up her sleeves and works to find solutions." That's Sally Southard.
Tags: Honorees


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elvis18 Wrote:
Mar 19, 2013 4:54 PM
Geeez, I must be getting soft ! I have liked the last 2 comments of yours that I read. Personally-- I don't get real hung up on" PARTY" label!! Uhhh excuse me but your posting reminds me of what the candidate would and has said that I voted for in Nov. and you know who that is............ NOT OBARFA!

subset: commoncrawl


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All is Calm
By Peter Rothstein
With musical arrangements by Eric Lichte & Timothy C. Takach
Celebrate the true spirit of the holidays with All is Calm, which tells the story of the famous 1914 Christmas Truce through the inspiring and poignant words of WWI soldiers. This year marks the 100th anniversary of that extraordinary night, when British and German soldiers put down their arms on Christmas Eve to exchange greetings and gifts. Some even enjoyed a friendly game of soccer! The performance includes Christmas carols from England, France and Germany.
Friday, December 12 at 7:00pm
Saturday, December 13 at 2:00pm and 7:00pm
Ticket price: $40
Location: St. Mary-in-the-Highlands 1 Chestnut Street (corner of Main St.) Cold Spring, NY 10516


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Entries tagged with: Alberich
tix on sale: Cat Stevens, Ryan Adams, Flying Lotus, Alberich, Marshstepper, The Range, Movement, Pianos BTT, more
Tickets for the Cat Stevens/Yusuf show at Beacon Theatre go on Amazon presale today at 10 AM.
Tickets for the Pianos Become The Teeth, Frameworks and Gates show at The Studio at Webster Hall go on sale today at 10 AM.
Tickets for the newly-added solo acoustic Ryan Adams shows at Carnegie Hall with Butch Walker go on sale today at 11 AM. Tickets for his second Hammerstein Ballroom show are still available, the first night is sold out.
Tickets for the newly-added Flying Lotus and Thundercat show at Music Hall of Williamsburg go on AmEx presale today at noon. Tickets (same link) for their Terminal 5 show are still available and we're also giving away a pair of tickets to that one.
Tickets for the Gesaffelstein show at Terminal 5 go on AmEx presale today at noon.
Tickets for the Centro-Matic farewell show at Mercury Lounge with Anders Parker and Cloud Badge go on AmEx presale today at noon. No presale for the Rough Trade show.
The Range is playing Glasslands on November 22 with DJ Aurora Halal. Tickets for that show are on sale now.
Australia's Movement are returning to the US and playing NYC on October 1 at Glasslands. Tickets for that show are on sale now.
Alberich, Work/Death, Gordon Ashworth and Negation are playing Saint Vitus on November 6. Tickets for that show are on sale now.
Destruction Unit-related Marshstepper, Denmark's Puce Mary and Ligature are playing Saint Vitus on December 11. Tickets for that show are on sale now.
Xeno & Oaklander are playing 'Synth Nights' at The Kitchen on October 7. Tickets for that show are on sale now.
Warpaint are DJing Webster Hall's Marlin Room after their show in the Grand Ballroom on October 14. Tickets for the afterparty go on sale today at noon.
Browse our 'Tickets On Sale' tag for more recently announced NYC shows.
Browse our NYC Concert Calendar for shows happening today and every day - comedy shows, heavy metal concerts (courtesy of our heavy metal blog), and free shows included.
What's going on Friday? (Arcade FIre, X, OFF!, Kevin Morby, The Clean, Sidekicks, Earthless, Oddball Comedy & more)
Arcade Fire in Austin in April (more by Tim Griffin)
You can browse our full NYC show calendar for all of tonight's shows, but here are some highlights...
Arcade Fire, The Unicorns, Dan Deacon @ Barclays Center
Arcade Fire's massive Reflektor tour finally rolls into NYC tonight, for its first of three huge arena shows at Barclays Center. What New York-centric songs will they cover? What bobblehead celebrities will make an appearance? These shows are also doubly special because they're three of the VERY few reunion dates for fellow Canadian indie faves the Unicorns. And night three (Sunday) will be triply special with NYC punk legends Television.
X @ City Winery
LA legends X will be performing their first four albums in full over a four-night stand at City Winery. Tonight is their classic second album, Wild Gift. Sold out.
OFF!, Bad Antics, Gay Kiss @ Europa
Keith Morris' classic-hardcore-style supergroup OFF! are unfortunately without their regular drummer for this tour, but they didn't get just anybody to replace him. Dale Crover of the Melvins will be sitting behind the kit tonight, so this should be a cool one to catch.
Kevin Morby, Steve Gunn, Daniel Bachmann, Weyes Blood @ Baby's All Right
Guitar-slinger Steve Gunn, who you may have seen play with Kurt Vile's band, will release his new album, Way Out Weather, on October 7 via Paradise of Bachelors. Catch some of that live tonight as he tours with the terrifically talented Kevin Morby (Babies, Woods) and by all means get their early for Weyes Blood.
TEEN, White Hinterland, VietNam, Bebe Panthere @ Brooklyn Night Bazaar
Brooklyn Night Bazaar offers weekends of local artisan shopping, gourmet eats, beer and wine, ping pong, black light minigolf and music all under one Greenpoint roof. Tonight is headlined by the neo-R&B sounds of Brooklyn's TEEN.
Black Wine, Grand Pantry Men, Sore Saints, Brick Mower, Brett Davis, Tim Duffy @ Death by Audio
Black Wine's punky new album is out now on Don Giovanni and tonight's the release party with their labelmates Brick Mower, comedy from Brett Davis and Tim Duffy, and more.
Dead Gaze, Mystery Lights @ South Street Seaport
The penultimate Seaport Music Festival show of 2014 features Mississippi noise-pop band Dead Gaze whose most recent album, Brain Holiday, came out last year on FatCat. Opening are NYC's psych-garage rockers Mystery Lights.
The Clean, Roya @ Glasslands
Infinitely influential New Zealand legends The Clean just got their entire output released on one four-LP vinyl box via Merge and play their second of two sold-out NYC shows tonight. Opening is Roya which features Clean drummer (and Brooklyn resident) Hamish Kilgour on drums and Rahil of Habibi on lead vocals.
Kitty, Buckwheat Groats, AWKAFINA, Maxo, Swag Toof @ Palisades
If you like your rap with a sense of humor (and hey, who doesn't?), there's plenty of that here.
Mates of State, Mike Lawrence, Sheng Wang, Christie Young @ Pine Box Rock Shop
Mates of State have been putting out quality indie pop of the Barsuk/Polyvinyl variety (the labels they are/were signed to) for over a decade now, and though it's been three years since a new album, they'll have no lack of solid material at this free show.
RJD2 @ Rocks Off Concert Cruise
Hop aboard tonight's cruise and get a healthy helping of alt-hip hop beats from the man who's been behind Aesop Rock, Cage, Soul Position and plenty more.
The Sidekicks, Sundials, Dowsing, Chumped @ Saint Vitus
If you dig bands that toe the line between indie rock and punk, all four of the ones on this bill at Saint Vitus tonight do that and they do it well.
Baked, Porches, Celestial Shore, Bueno, Steve Hartlett @ Shea Stadium
Shea Stadium once again plays host to a fill full of quality DIY rock coming from four NYC regulars and a solo set from Ovlov's Steve Hartlett.
Beiju, ONWE, Bodega Bay, Babychange, Madam West @ Bowery Electric
It's no surprise to see an indie band with a little irony thrown it, but ONWE practically relies on it. It's catchy stuff either way.
Guided By Voices, Boogarins @ The Paramount
The ever-prolific Guided by Voices will play surely another marathon set tonight, boozy and riff-filled. Brazil's Boogarins are worth showing up early to catch.
Kristeen Young, Handjob Academy, Wildcat @ Union Pool
If you're not worrying about catching a cold from Kristeen Young (ask Morrissey), she plays tonight with clever/funny rap trio Handjob Academy.
Cymbals Eat Guitars @ Vibe Lounge (Long Island)
Cymbals Eat Guitars make some serious rock music on their new album, LOSE, which expands upon their already-solid sound and includes some of their best songs yet. Tonight they're on Long Island. After this, five more NYC shows to go.
Earthless, The Shrine @ Mercury Lounge
Earthless are trusty providers riffs on riffs on riffs, and The Shrine may not offer the same kind of 14-minute epics, but they've got some shredders too.
Oddball Comedy Festival w. Bill Burr, Chris Hardwick, Dave Attell, Hannibal Buress, Jeff Ross, Louis CK, Sarah Silverman, Brody Stevens @ Nikon at Jones Beach Theater
This year's traveling comedy cavalcade is a hard to pass up lineup, featuring Louis CK, Chris Hardwick, Hannibal Burress, Sarah Silverman and more.
Mr. Scruff, Monk One @ Output
Known for his 1999 hit "Get a Move On" and DJing marathon sets, veteran Ninja Tune act Mr Scruff brings a light, playful touch to his brand of electronica.
Kurtis Blow, Doug E Fresh, Rob Base, Melle Mel @ @ BB King Blues Club
It's a night of real old school rap at BB King's, headlined by Kurtis Blow whose first album came out in 1980.
Pete Swanson, Alberich, Vereker @ Baby's All Right
Pete Swanson once named an album Punk Authority, which is actually a very fitting title, but don't expect guitars at Baby's tonight. It's gonna be noise-fueled electronics all the way.
Jordan Carlos, Kyle Grooms, Hadiyah Robinson, Mike Recine, Eli Yudin, Jason Saenz @ Union Hall
The Brooklyn Comedy Fest continues tonight with this special edition of "Cheap Date," featuring free snacks, sketches, amazing prizes... and notable comedians.
For all of tonight's shows, and tomorrow's, check out our NYC concert calendar.
For laughs, check out the NYC Comedy calendar too.
Follow @BrooklynVegan on Twitter.
Follow @bvChicago for just Chicago stuff.
Also follow @bvAustin for just Austin stuff.
Be our friend on Facebook too, and BV Austin's friend on Facebook and BV Chicago's friend on Facebook.
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What else?
Destruction Unit playing NYC w/ Alberich & Uniform after AZ with Deafheaven, releasing an Adult Swim Single (dates)
Destruction Unit at Austin Psych Fest 2014 (more by Tim Griffin)
Roaring psychedelic punks Destruction Unit just wrapped up a tour which included Free Press Summer Fest, Chaos In Tejas' Weekend In Austin, and a run with Institute. That tour didn't hit NYC, but a few days after their upcoming hometown show with Deafheaven, they'll head our way for a Noisey-presented show on July 3 at The Studio at Webster Hall with noise artist Alberich and The Men/Drunkdriver-related duo Uniform. Tickets for that show are on sale now.
Destruction Unit and Deafheaven are also both releasing Adult Swim Singles this year, on June 23 and August 25, respectively.
Also, we missed D Unit at Free Press Summer Fest, but we did catch Jack White, Wu Tang, Vampire Weekend, Deftones, The Kills, Lauryn Hill and more. Check out pics of day 1 and day 2 at BV Austin.
All currently known D Unit dates are listed, with a few killer live videos, below...
Continue reading "Destruction Unit playing NYC w/ Alberich & Uniform after AZ with Deafheaven, releasing an Adult Swim Single (dates)"
By Doug Moore
Stephen O'Malley with Altar, Brooklyn Masonic Temple 2010 (more by Greg Cristman)
We mentioned last month that Knoxville, Tennessee's upcoming Big Ears Festival (March 28-30) will include legendary SunnO))) / Khanate / Burning Witch guitarist Stephen O'Malley in a variety of collaborative roles. That appearance turned out to be one of a string of upcoming international solo and ensemble appearances for O'Malley. BrooklynVegan and DesertShore are pleased to announce that we'll be co-presenting O'Malley's upcoming New York City appearance on March 26 at Baby's All Right. Local noise/drone projects Alberich (last seen at the final 285 Kent show) and Ancient Ocean (who is presenting this show with us as DesertShore) will join the lineup as well. Tickets are on sale now.
Check out all of O'Malley's upcoming dates below, and watch some footage of his past solo work to get a sense of what to expect...
Continue reading "Stephen O'Malley of Sunn O))) playing NYC before Big Ears Fest"
Deafheaven have an upcoming tour with Between the Buried and Me and Intronaut that hits Long Island in February, but as their tweet above confirms, you can see them in NYC much sooner than that (and with a more desirable lineup). They're the special guest on Saturday's (1/18) show at 285 Kent which also includes Wolf Eyes, Noveller, Alberich, MV Carbon, Lussuria and Sugarm. Unfortunately, that show is sold out.
Deafheaven were also confirmed for NYC festival Governors Ball.
285 Kent's final shows announced (Fucked Up, DIIV, White Lung, Autre Ne Veut, Laurel Halo, Dan Deacon & more)
As you may have heard, Brooklyn DIY venue 285 Kent is closing, but they're going out with a bang. It was just announced that Pitchfork, Ad Hoc, and Todd P will be presenting the venue's final shows which include Fucked Up, DIIV, White Lung, Laurel Halo, Autre Ne Veut, Dan Deacon and others, plus a number of special guests playing shows there this month. Tickets for all four of the incredibly stacked lineups are on sale now.
Full lineups for each show below...
Continue reading "285 Kent's final shows announced (Fucked Up, DIIV, White Lung, Autre Ne Veut, Laurel Halo, Dan Deacon & more)"
photos by Lukas Hodge
Cold Cave @ 285 Kent, 6/29/2013
Despite much protest, Cold Cave and Boyd Rice teamed with Alberich (who has a few shows on the way), to play 285 Kent on June 29, the last of a clearly tumultous tour of cancellations and accusations. Unlike Saint Vitus, which happened near the start of the tour, 285 Kent was under fire for their acceptance of the show at their space. Late Friday, they responded and after all the hubub, the show went off as planned (not even a smoke bomb in the bathroom like at the Chicago show). Pictures of all the bands, as well as some of the anti-fascist literature that was available at the venue to counteract whatever nonsense Boyd Rice represents or may have been spewing, are in this post.
Wes & Cold Cave return to NYC -- minus Rice -- on September 4 at Glasslands. Tickets are still available.
More pics from Saturday's 285 Kent show below...
Continue reading "Cold Cave, Boyd Rice and Alberich played 285 Kent, it wasn't very exciting (pics)"
Hair Police playing two NYC shows; Wolf Eyes adds 2nd show; Alberich / Lussuria play Nothing Changes
Hair Police
Though tickets are still available for Wolf Eyes' appearance at Saint Vitus on Saturday (7/6), the Motor City noise gang aren't hesitating at releasing details on their next NYC appearance. Wolf Eyes have announced an August 24 date at Issue Project Room with support TBA. Tickets are on sale.
Wolf Eyes recently released their new LP No Answer: Lower Floors via De Stijl, and played at Chaos in Tejas. Look for the band to join Pharmakon at Pitchfork this year.
In related news, Pharmakon will join another noise band, Hair Police, as part of a show at 285 Kent on July 12, which is a Sacred Bones event. Tickets for the show, which also features appearances from Alberich and Hollow Seed, are still available. Hair Police will ALSO perform at Issue Project Room the next day (7/13) with Chris Goudreau, White Suns, Guerilla Toss and Bob Bellerue + Tamio Shiraishi. It's an all-day affiair (3 PM - 8 p PM) and tickets for that are still available too. The shows are in celebration of the band's new LP Mercurial Rites, out now and streaming in full below.
Last but not least, if you can't wait until July 12 to get your Alberich fix, head out to Nothing Changes at Home Sweet Home Wednesday night (7/3). The noise artist will join Lussuria as part of the weekly late-night party. DJ sets from Ning Nong & Tamaryn help sweeten the deal.
Stream that Hair Police LP below.
Continue reading "Hair Police playing two NYC shows; Wolf Eyes adds 2nd show; Alberich / Lussuria play Nothing Changes"
by Fred Pessaro
Cut Hands, the latest venture from William Bennett of noise terrorists Whitehouse, begin a North American tour this week. The close-to-two-week stint will cherry-pick cities on the continent, hitting Chaos in Tejas along the way, but things kick off with a show in NYC at Public Assembly on Thursday (5/30). Believer/Law, Azar Swan and Horoscope get credited with the assist, and tickets are still available. The dates are in anticipation of Bennett's Madwoman LP due on Downwards "soon," though further details remain hazy.
Four days later, you can catch Believer/Law again in the same space, this time with Alberich, Winter Line, Belarisk and Temperature Within. Tickets are available at the door for this June 4 show at Public Assembly.
All Cut Hands dates are listed, along with a few song streams, below.
Continue reading "Cut Hands' North American tour starts this week, play NYC before Chaos in Tejas (dates)"
photos by PSquared Photography, words and additional photos by Fred Pessaro
Pharmakon / Prurient / Kid Millions / Kim Gordon
Sixteen bands that deal in ambient, drone, noise and power electronics converged on Knockdown Center in Queens last night (5/2) as part of the Drone Activity in Progress show. The multi-stage event, part of a massive May NYC takeover by Red Bull Music Academy, was housed in a giant warehouse/factory building somewhat-shaped like an "F," with three stages (Red Room, Grand Hall, and West Wing) located in separate areas. Most of the sets had minimal crossover to the other stages, set time staggering was well executed, but those that did overlap were obvious in reasons why: guitar drones vs thumping bass lines, etc. Soundbleed was shockingly minimal in each individual room.
That many bands is a lot to take in general, but personal highlights all seemed to come from the "Red Room" where I caught sets by Prurient, Pharmakon, Alberich and others, who each used keys, effects pedals, vocals, patch bays, and samples to create their versions of industrial-noise terror. Other highlights from the other stages (Grand Hall and West Wing) included guitar-noise from Body/Head (with Kim Gordon), guitar/ambient from KTL (with Stephen O'Malley), guitar qizardry from Mick Barr, Noveller and the spazzy/jawdropping Jim Sauter/Kid Millions.
Tonight's Red Bull Music Academy events are: Brian Eno's "77 Million Paintings" at 45 W. 32nd (sold out); Masters At Work w/ special guest and vibraphone legend Roy Ayers at Le Bain (which is free); and Knox, QuietDust, August Rosenbaum, and Jimi Nxir at Le Poisson Rouge which is also free.
In addition to this set, check out another set of pictures at InvisibleOranges. More photos from Drone Activity are below.
Continue reading "Drone Activity in Progress, part of RBMA, took over Knockdown Center last night (pics)"
Pharmakon at Saint Vitus earlier this year(more by Fred Pessaro)
Set times for the Red Bull Music Academy's noise/drone extravaganza tonight (May 2) at the Knockdown Center in Queens have been announced. Drone Activity in Progress, which will feature sets from KTL, Vatican Shadow, Body/Head (Kim Gordon of Sonic Youth, who also performed last night), Prurient, Grassmas, Mick Barr, Pharmakon, Alberich and many others, will bring the noise to this show (which appears sold out). UPDATE: Tickets BACK on sale. You can snag a shuttle bus from the Jefferson L if you don't feel like making the walk, though it promises to be a lovely evening.
Flyer and set times are below.
Continue reading "Drone Activity in Progress (Pharmakon, KTL, Prurient & more) announce set times for tonight"
Pharmakon readies 'Abandon' (stream a track), adds dates, playing big RBMA show full of experimental artists (dates)
Pharmakon will release Abandon, Margaret Chardiet's debut effort with Sacred Bones and first long-player overall. Look for it on May 14th via the label, but first check out the new track "Crawling On Bruised Knees" available for streaming below..
Chardiet's noisy, confrontational and abrasive live show is a must see, and you can catch her at a trio of upcoming NYC shows including, most imminently, the previously discussed April 7th date at 285 Kent with Jason Lescalleet and Spencer Yeh Trio (tickets) and at another show at 285 Kent on June 15th with Marshstepper, Body of Light, Lust For Youth and Foreplay as part of the Northside Festival. Ticketing info for that one is on the way, or get in with your Northside Festival badge.
Pharmakon also has one other NYC date, as part of the upcoming Red Bull Music Academy series of events, and it's a whopper:
On May 2, the Red Bull Music Academy will turn the spectacular Knockdown Center into a temple of thundering noise with some of today's most daring sound artists for Drone Activity In Progress. The night will see performances from sixteen solo artists and duos on three stages, where the sound bleed between stages is entirely intentional.Joining Chardiet will be performances from Stephen O'Malley, KTL (Stephen O'Malley & Peter Rehberg), Body/Head (Kim Gordon & Bill Nace), Prurient, Hunter Hunt-Hendrix of Liturgy, Oren Ambrachi, Alan Licht, Vatican Shadow, Pete Swanson, Mick Barr, Kid Millions/Jim Sauter Duo, Alberich, Noveller, grassmass and Hiram Martinez, and $8 tickets for the show, which is one night after the big "Round Robin Duet" show at Brooklyn Masonic Temple, are on sale and will include shuttle bus service from the Jefferson L train.
All other dates and that stream is below.
Continue reading "Pharmakon readies 'Abandon' (stream a track), adds dates, playing big RBMA show full of experimental artists (dates)"
by Fred Pessaro // BBG
Natural Assembly
Natural Assembly's gothic, synth-heavy beats will sit alongside appearances from headliner Alberich, Endless Humiliation and Âmes Sanglantes as part of a show at Saint Vitus tonight (1/11). The appearance is one of only two for the duo (who played Philadelphia's Kung Fu Necktie last night), half of which will also perform as part of power electronics band Cremation Lily. Tickets are still available.
Head below for a stream of Alberich, Natural Assembly and Cremation Lily material...
Continue reading "Natural Assembly teams with Alberich, Cremation Lily and more tonight in NYC (streams)"


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[EA DICE designer Marcus Andrews examines the UIs of several recent games and picks apart what's required for both a novel and player-satisfying interface -- one that serves the needs of the game and its audience.]
I was recently asked to investigate the merits of immersive UI for the potential inclusion in future DICE products. Traditional HUDs live under constant scrutiny in ongoing efforts to make the UI as transparent as possible, allowing the player to immerse themselves into the game.
DICE had already made bold moves into the territory but it's a risky and difficult endeavor, and seldom 100 percent successful. UI is one of the areas where great progress can still be made.
My mission included understanding what "putting the interface in the game world" really meant. The easiest way to describe it to someone is to say "like they did in Far Cry 2" -- but what is it really and how can it be utilized? You can read the analysis of several games and my subsequent final conclusion in the article below.
Before reading further in this article there is some terminology you need to be familiar with.
Diegetic: Interface that is included in the game world -- i.e., it can be seen and heard by the game characters. Example: the holographic interface in Dead Space.
Non-diegetic: Interface that is rendered outside the game world, only visible and audible to the players in the real world. Example: most classic heads-up display (HUD) elements.
Spatial: UI elements presented in the game's 3D space with or without being an entity of the actual game world (diegetic or non-diegetic). The character outlines in Left 4 Dead are an example of non-diegetic spatial UI.
Meta: Representations can exist in the game world, but aren't necessarily visualized spatially for the player; these are meta representations. The most apparent example is effects rendered on the screen, such as blood spatter on the camera to indicate damage.
Terminology from Fagerholt, Lorentzon (2009) "Beyond the HUD - User Interfaces for Increased Player Immersion in FPS Games". Master of Science Thesis, Chalmers University of Technology
|Mark Venturelli
The only interface design you presented that I have always quite enjoyed is TF2. I hate how "immersion" gets thrown around in the latest years. Dead Space is a 50/50 for me. The health and stasis bar are great because their overall design is solid and makes sense while at the same time fitting the game universe, but the rest is just holographic versions of things you see in every vanilla interface design. And the map sucks.
|Bobby Breen
Perhaps looking into the V/H Field of View that is needed across platforms would be a good idea. A low/narrow setting is fine on consoles but terrible on the PC (all down to distance away from the screen). Getting the simple matter of the viewpoint correct is usually a good idea. FC2 and Deadspace both had issues with this, while TF2 allows you to change it at will which means players aren't inconvenienced if they suffer from the effects of a low FOV
And DICE need to work on their front end UI's much more than their in-game ones. I dont think any of their games have had a menu that could be considered good by anyone but a sloth. Pretty? Sure, but the usability (or complete lack of) leaves a lot to be desired.
|David Gates
I'm surprised that the Metroid Prime series wasn't mentioned. It has quite an elegant solution, because it's perfectly natural for Samus to have an in-world HUD. The HUD is there for the character's benefit, which helps immersion and makes the game more believable since the player and character have access to the exact same information.
|jaime kuroiwa
Maybe my definition of immersion is different, but I would argue that WoW's interface improves the game's immersion, not impede it. Unlike the traditional clairvoyant approach to UI design, Blizzard gave people a framework, then allowed them to alter it to their particular playstyle. Control over the game world is the key to immersion, not direct visual "property."
The impression I got from this article was that adding UI elements detract from immersion. It's like saying that driving a car would be improved if we took out the dashboard. Access to key gauges -- speed, fuel, temperature -- would enhance immersion, since you can tell how the car is performing as you are driving. If our only concern was the driving experience, I would say that it would get very boring quickly.
|Shay Pierce
I read an interview with the TF2 designers not long after the game came out; one thing Robin Walker said that really stuck with me was how they realized that dropping realism and embracing a "cartoony" style allowed them to do many interface/communication tricks that they couldn't have justified otherwise. And in fact they seemed to consider it a major priority to put the information "in the world" as much as possible, with "non-diegetic" elements being used only as a secondary and less reliable channel of communicaton. Walker's key example was the masks that Spies wear to communicate what class they're disguised as.
Found the interview, here's a link to Part 2 of it, with the part that I was quoting: http://www.rockpapershotgun.com/2007/10/03/rps-team-fortress-2-in
|Shay Pierce
Finished the article. Really enjoyed it, especially the last page. The "gun on a box" image is a powerful one for reminding us of the sometimes-dramatic difference between what a game looks like and what the game mechanics actually are.
I think the "prosthetics" analogy is even more powerful, and important to remember in not only UI design but all game design. But I think the choice between whether to make a 'realistic-looking prosthesis' or a 'highly-usable prosthesis' actually might be a balance that differs from project to project. For instance, in Dead Space it was crucial to make the experience immersive - it was a survival horror game, and much of the point of it was for you to fully occupy your character and be frightened and stressed when your character is in danger. In WoW on the other hand, immersion is an extremely low priority (after all, any attempt to maintain it would be constantly broken by Chuck Norris jokes showing up in your chat window - the "Golden Circle" is extremely porous in an MMO), and so they made the correct decision in making the "prosthetic arm" be one that did nothing to enhance immersion, but was not only highly functional, but easily replaceable.
|Ian Livingston
This is a very interesting article however I question the conclusion that the developers should strive to make the player feel that he or she IS the character.
In his book, "Shared Fantasy" Gary Alan Fine argued that players will readily switch between frames of reference. At one moment identifying as the character, the next identifying as being separate. In either cases a player can be fully immersed in their experience. It's possible to observe the same phenomenon by watching anyone playing a video game that includes an avatar. For another example look lets at movies. A viewer of a movie can be fully immersed, while at no point feeling that they ARE the character on the screen. My point is immersion through avatar embodiment is not the only, or even the best, method produce to an immersive experience.
I fully agree with your conclusion of functionality preservation. At the most basic level a game interface should strive for simplicity of controls and interaction. The use of an interface as a technique to immerse players should always take a backseat to usability issues, because these issues may prove more detrimental immersion than a non-diegetic HUD.
|Bart Stewart
I wonder to what extent the type of UI preferred for a particular game depends on the kind of gamer who is the intended audience for that game?
One of the distinctions I've come to draw among types of gamers is between those who enjoy "playing in" a gameworld and those who primarily enjoy "living in" a gameworld.
The former kind of gamer is there to win. There are rules to be followed which result in scores achieved. For these gamers (and thus the games they prefer to play), the look of the interface is less important than its utility. It doesn't need to fit the gameworld in any coherent sense; it just needs to support winning. If the UI is so "immersive" that it gets in the way or makes it hard to grasp necessary information quickly, then it's a fail for the "play in" gamers. It doesn't have to be ugly -- it just has to communicate key information as rapidly as possible.
The "live in" gamers might be OK with playing a rules-based game to win. (They'd better be, since virtually every game is designed under the assumption that this is what everyone wants.) But the more a gameworld is designed to be logically and emotionally coherent in all its elements, the more satisfying the play experience will be. These gamers will prefer a UI that makes rational or emotional sense in combination with everything else in the gameworld, and that doesn't constantly remind them they're playing a game. Utility-driven UI elements that have no representation within the fiction of the gameworld will make the game less fun for these gamers.
So form and function both matter in UI design. But I suspect that each matters to a different degree to different gamers.
|Marcus Andrews
@ Bobby Breen: The viewpoint is a good example; especially we often develop with a TV on our desk a few feet from our faces even when we develop console games. Something to keep in mind.
@ David Gates: Agreed, Metroid would have been a good example in the article, cant include them all Metroid is a great example of where the fiction actually makes a traditional HUD diegetic just by context. Its also a good example of empowering the player in the game world, actually giving information that is needed to assume the part of a super soldier.
@jaime kuroiwa: Your definition of immersion is what I would call involvement or commitment or even appreciation. The above things can happen if the interface is performing its job of interfacing the player into the game world. Obviously the game has to be fun on top of that. My definition of immersion is the suspension of disbelief where you really forget yourself and feel as if you are in the game (something I actually dont believe in). I think it would be more constructive to pursue involvement, commitment and appreciation rather than immersion.
@Shay Pierce: Great feedback! I think you are spot on; I want developers to think about this, the end design has to be custom tailored to fit the game youre making. However, I strongly believe that your first priority must always be to enable the organism to be aware in the game world, something that Dead Space did by having fairly traditional UI (although holographic) and Far Cry 2 by superimposing extra information.
@Ian Livingstone: I agree with you and I mean that the developer must make sure the interface give the player organism what it needs to act the part assigned by the game. Let me give you an example: Say you play an elite soldier in an FPS. The FPS perspective inherently denies you any clue of whats going on behind you, together with all the other disabilities of being in a game world (lack of tactile sensation, awareness of pain, etc). An elite soldier is likely very adept at picking up dangers approaching from behind and are in general pretty good at sensing potential dangers in the near surrounding. So if you play said game and get shot from behind, point blank by a machine-gun wielding terrorist the UI has failed to make you feel the part of an elite soldier.
@ Bart Stewart: You bring up a big issue but it is my belief that you can hardly do harm if you try to make the players feel comfortable in the game world. You always have to adopt your UI on a per project basis and two great UIs can look and behave vastly different.
|Patrick Dugan
Very thorough analysis, would be interesting to see something like this oriented toward minimalism and experiences other than feeling "badass". Like the use of greek terms. Perhaps that's telling, the term "diageses" means "to tell" or "to narrate" while "mimesis" means "to show". Perhaps there's another school of interface design we're missing.
|Nando Guimaraes
Very interesting. I have to agree with many points in this article. More and more we are inspired, or even pressed to believe on unecessary urgencies of environmental (diegetical) visual interface requests. Most of the times, all that is really necessary, is to offer comfort and reliability to the player.
Priming for usability is key to any interface design in my opinion, be it a software, or even a cup of coffee (as a physical interface). Aesthetics could come second, even if strictly necessary for the definition of a product. It must though, whenever possible, add "immersion" to the user's experience.
Suspension of disbelief is also something I do not tend to believe totally in. I'm surprised to see I'm not a lone sailor in this ship.
|Gekko 27
@stone bytes
I completely agree that it is highly unlikely that 'real' military forces would ever use high-visibility, glow-in-the-dark neon lights on their combat gear, especially in a stealth situation, but look at the design of Sam Fisher in Splinter Cell - he has three lights on the front of his goggles and one light in the middle of his back. Yes, in a real situation, he's instantly visible from any angle in the dark, but in the game how else would you know what way he's facing when sneaking through an almost pitch-black corridor?! I don't think that was a frivolous oversight by the character designers, but rather a deliberate reality trade-off for the sake of enhanced playability.
|Stephen Pick
@Patrick Dugan
I think we have crossed into the age of "mimesis" - showing is much better than telling. One example of this is stamina and health. Both of these would have once had a UI element to tell the player how much was left. This now seems pretty dated - your stamina lasts until your on-screen avatar is tired, your health lasts until you die, the severity of your predicament is shown to you through graphical overlays, changes in colour tone, changes in sound; the mood and tone of the presentation changes to reflect the players physical condition.
I wonder how much further this could go and whether reducing UI increases immersion. Consider a first-person shooter without a UI element for ammo count. Of course, totally withholding such information from the player would be both unfair and unrealistic, but if subtle clues are provided they could potentially provoke a deeper connection between the player and their avatar. Possible "fuzzy" UI could include guns that click with each shot as the clip is running low or different reload animations such as reaching into a back-pack for the next clip when those on the belt have run out. Player connection with NPCs could also be enhanced by removing this UI - NPCs could provide more explicit information such as chastising you for hoarding a ton of ammo or telling you to be careful when low.
Most importantly, though, the choices should be right for the experience. None of the above ideas would work in a fast-paced mechanic-heavy shooter like TF2 where the situation must be made clear at all times, but for survival games which promote the experience equally as much as the mechanics (e.g. Stalker, Far Cry 2, or even Resident Evil) I believe a degree of obfuscation would be interesting to explore.
|[User Banned]
This user violated Gamasutras Comment Guidelines and has been banned.
|Michael Grattan
As a newer game designer interested in current design trends and exploring today's challenges in the field, I was drawn to your article analyzing the benefits and drawbacks of diegetic user interfaces in specific games. I appreciate the range of genres which are covered by your examples, which goes a long way to highlight how one method may shine in a particular genre and be much less useful in another. I also agree that although diegetic interfaces can create a more direct connection between the player and the respective "organism," the multitude of player commands and abilities in some cases (such as many "massively multiplayer" online games) outnumbers what you refer to as "real estate" within the game world. This idea of the organism is compelling, and although the concept itself is always at the center of decisions regarding a game's user interface, it seems extremely useful to encapsulate it with this metaphor. Furthermore, the comparison of the organism to a human prosthesis is similar to the "mental model" described by Tracy Fullerton and Chris Swain as an extension of the player's perception of their role within a game in their book, Game Design Workshop. According to Fullerton and Swain, this mental model "can either help players to understand your game, or it can cause them to misunderstand it." In relation to the article, I interpret this claim to resemble the patient's understanding of a new prosthesis with preserved functionality versus one which sacrifices such functionality for "authenticity."
The article mentions during the "Far Cry 2" example that the combination of both diegetic and non-diegetic interface elements makes the game feel "conflicted." Do you think that this property holds true as a general rule? For example, would you come to the same conclusion for a game such as "Grand Theft Auto 4" which contains diegetic elements such as the cell phone and non-diegetic elements such as the world map? I certainly agree with your statement which says that a compromise between the two methods is greatest "if a diegetic interface is the goal from the beginning." I believe the same to be true for a non-diegetic interface. However, was this not the goal in "Far Cry 2?" I think one of the main issues of its interface may have been in the non-diegetic elements being "forced in" rather than the diegetic ones as a result of the games "lack of real estate." Perhaps it is also useful to explore this question on a grander scale for upcoming technological advances that are expected to be seen in games such as 3D viewing and Microsoft's Natal. I'm curious about your thoughts on how these technologies will affect both the usefulness and importance of diegesis in game user interfaces.
|John Petersen
Good article, good discussion. ;)
|Marcus Andrews
@Michael Grattan
I do not think that the conflicted state of Far Cry 2 holds true as a general rule. I encourage interface designers to use any method as long as it benefits the "organism".
The issue with Far Cry 2 is that they have clearly wanted to make the interface diegetic but failed to make the game playable without the complimentary HUD. FC2 is an example of the "wasted" effort in trying to enable the player by diegetic means only - despite their best efforts.
Thank you for your interest in my article. I wish you the best in your future endeavors!
best regards
Marcus Andrews
|Guus Oosterbaan
Great article. Luckily, there is no annswer to "what is the best UI design for games". Also happy not to read "10 thumb rules" or something like that. What UI design works best all depends on the game you are creating. The only thing that is extremely important is that the UI designer has to make the game usable. Wonderfull features are uninteresting when they aren't be used by the player. It is not that much different from anything else (user electronics). This sounds obvious, but I think there are many games that could do so much better.
|David Oso
thanks for this...hopefully people shouldn't get confused with User Interface, HUD and Graphics User Interface as they have their own doings and meaning.


text:
Wolfram Language Demo Impresses
Re: sparse is good, but (216 comments)
Hey, I have a first edition New Kind of Science! Don't know if there was ever a second, though...
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Re: sparse is good, but (216 comments)
Hey, I have a first edition New Kind of Science! Don't know if there was ever a second, though...
5C is basically a 5 on a less expensive chassis (348 comments)
In the past, outgoing iPhone models stayed around as a less expensive alternative for people. With all of the R&D and other expenses amortized over many, many units, margins were still attractive at lower ASP's for outgoing models. This time around the 5 is no longer available in it's current form. It stays around as a "new" iPhone model on a less expensive chassis--compare the 5 and 5C and you will see the main difference being the housing. The "new" iPhone 5S has the new gee-whiz features, and the 5S will be built on the current, more expensive 5 chassis.
Re:What the hell? (334 comments)
EMI is no longer publicly traded. Private equity firm Terra Firma now owns EMI.
Adventure Created by Warren Robinett (233 comments)
Invisible "black" dot. 8-bit graphics. Stickin' it to "the man" for much deserved credit. A classic from the Atari age.
Re:Waiting.. (449 comments)
The example of the 100-mpg car that was patented isn't realistic, but it illustrates the problem with the patent-kept-another-invention/innovation-from-happening argument. First, you wouldn't patent a car, per se. You would patent the systems, processes, etc. that enabled the astonishing mpg. Second, if someone did have a patent for a 100-mpg car, it would pay (in the most ginormous way) to license your technology to other enterprises with the capital to do something about it. Just saying...
Re:Waiting.. (449 comments)
More likely Google, and others, would have developed. Once "search" companies became successful, a lawsuit would have forced (in the event of a legal setback/settlement) payment of royalties by the viable companies. Better than venture capital if you own the patent and a bankroll to defend...
Terra Firma (176 comments)
As an investor in Terra Firma's last 2 funds, I can tell you that Guy Hands and his team are smart cookies. TF often invests where others fear to tread--industries in desperate need of change. More often than not, they've been successful in their turnaround efforts. While that doesn't guarantee success with EMI, the music biz certainly seems broken. This "memo" made news this weekend, but it is similar to what we've been hearing for some time. Nevertheless, it will be interesting to see how this one plays out--fingers crossed here. To read more about Terra Firma and it's previous investments see www.terrafirma.com. Slashdotters might be interested in TF's renewable energy business, Infinis, which was created out of a landfill business, Waste Recycling Group, and now accounts for something like 10-11% of the renewable energy in the UK.


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Rodham T. (possibly Thaddeus) Brown and Frances Bruce are very likely the parents of Rody Brown(e), b. abt. 1802, who married Jesse Gray in Fauquier County, Virginia, 23 Mar 1818, Charles E. Brown(e), Minister (possibly related). The marriage bond gave the names of Rody's parent(s) as Thaddeus.
Marriage Record, Jan. 17, 1801, Bedford Co, VA: Rhodham T. Brown & Frances Bruce, dt David; William Bruce, Surety; Married by Jeremiah Hatcher, Jan. 20, 1801.
The 1810 Census finds this family in Bedford, the 1820 census finds them in Amherst and the last census in which they are found is Franklin Co. in 1830 where Rodham and Frances are the only members of their household.
Some Brown Family researchers believe this is to a marriage record for Rodham Felso Brown, but I don't think so. It just doesn't match his timeline.
I would love to have more information about this couple and a Will would be more than I could imagine finding. If anyone has any helpful information about this family, I would greatly appreciate it.
Janelle W. Gaughan
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mailing list archives
Anonymous hackers have released 14 gigabytes of information allegedly
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Emails detail how employees of TEKSystems actively watched hacker
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Excite is closing its NewsTracker service as of November 15, while its "Search Voyeur" live display feature closed last month. That service showed what people were searching on at the Excite service. It grew out of the WebCrawler Search Ticker and thus was the first and oldest of the live search displays offered.
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You want news search? Chris Sherman just covered it in-depth. The page above links to a compilation of his articles on the topic.
New Search Engine for News Searching
ResearchBuzz, Oct. 24, 2001
Review of new news search service RocketNews, which provide access to news sources on both a free and fee basis.
Excite UK marches on
Europemedia.net, Oct. 31, 2001
While we seem to be waiting for Excite slowly disappear, sibling service Excite UK says that it's business as usual, thanks to having BT as a joint venture partner. Of course, BT's having its own financial difficulties....
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text:
What is this? This is me, a warped... chiseled-away version that I produce. I post games, gifs, thoughts, rants and boobs that interest me. Same as any other blog on this site.
Catching Elephant is a theme by Andy Taylor
This showdown early on in the film really sets the tone of what you're about to sit through. After the hints and reveals at the post-apocalyptic world and Mega City One, the film's small budget forces a very narrow focus for the rest of the feature. Which is no bad thing and you get a lean, fast narrative with an unflinching Karl Urban as Judge Dredd.
It is such a shame Dredd didn't find its audience in the US, with reviewers seeing it as just a remake of the 1995 Stallone-carried monstrosity. Here in the UK, although I don't read it myself, 2000AD is a comic institution and we knew it had nothing to do with the other film. Sadly we may never see more of the harsh world they created.
I love this movie


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Before taking up the detailed consideration of the landforms in the San Joaquin Basin, it will be desirable to consider first the nature of the rock materials from which these forms were carved. For this report, the subject may be treated briefly, and mainly from the geomorphological point of view, with emphasis on facts related to the development of landforms. Only incidental reference is made, therefore, to structure and to petrologic details.
The rocks of the San Joaquin Basin belong mainly to the three general classes that occur throughout the greater part of the Sierra Nevada (fig. 5); namely, the granitic rocks that make up the vast compound batholith of Late Jurassic or Early Cretaceous age; the metamorphosed sedimentary and volcanic rocks of Paleozoic and Mesozoic age into which the granitic rocks of the batholith were intruded; and the volcanic rocks of Tertiary and Quaternary age that lie unconformably upon these older rocks as a discontinuous, surficial veneer.
Further mention should be made of the glacial de posits of Pleistocene age in the higher parts of the basin (described in the chapter on glaciation); the alluvial deposits of Quaternary age which underlie many upland meadows and form narrow flood plains in the lower stream channels, notably that of the San Joaquin River, below Friant; and, finally, the sediments of Tertiary age, terrace gravels of Quaternary age, and alluvial fans of Quaternary age at. the west border of the range, where the crystalline complex of rocks of Paleozoic and Mesozoic age constituting the Sierra block passes from view beneath the floor of the Great Valley.4
Of the three main classes of rocks in the region, the granitic rocks are by far the most abundant. They occupy the greater part of the basin, their outcrops extending, with only a few important interruptions, from the crestline of the range to the western foothills. Even the outlying island hills that project above the sediments of the Great Valley of California, in front of the range, are composed largely of granitic rocks.
The term "granitic," as used in this report, includes a considerable variety of undifferentiated plutonic rocks. mainly of siliceous types. Besides granite, granite porphyry, and micropegmatitic granite, they include chiefly quartz monzonite, quartz diorite, granodiorite, and gabbro. In this reconnaissance the writer made no attempt systematically to distinguish and map these rocks, but this has since been done by Calkins (1930, p. 120-129) for the nearby Yosemite region and by other geologists for parts of the San Joaquin Basin. The studies by these geologists serve to shed light on the granitic rocks of the basin as a whole.
On his map of the foothills zone between the San Joaquin and Kings Rivers, Macdonald (1941, p. 217, 251-257, 271-273) distinguishes an earlier group of hornblende gabbros and hornblende diorites from a later group of intrusive rocks which includes hornblende biotite, quartz diorite, pyroxene quartz diorite, and muscovite granite. Of these rocks, the quartz diorite occupies by far the greatest area. It is described as being quite uniform in composition throughout the area mapped but variable in appearance because of differences in grain size, structure, and texture.
In the southeastern part of the Mount Lyell quadrangle, Erwin (1934, p. 7-78; 1937, p. 391-413) found that the composite Sierra Nevada batholith includes intrusive igneous bodies of five types: andesine diabase, diorite porphyry, diorite, quartz monzonite-diorite, and micropegmatitic granite. These rocks, intruded in an order of increasing silica content, are thought to have resulted from one general period of igneous intrusion. The quartz monzonite-diorite composes the main mass of the batholith.
Mayo (1937, map p. 172; 1941, map facing p. 1000), in making a northeasterly geologic section through the San Joaquin Basin, found that the granodiorite granite series extends uninterruptedly from the vicinity of Black Mountain (southwest corner of Kaiser quadrangle) almost to the crest of the range, a distance of about 45 miles. He has differentiated on his map a long narrow intrusion of porphyritic quartz monzonite which extends southeastward from the south end of the Ritter Range. This intrusion, distinguished by large phenocrysts of potassium feldspar, he designated as the Cathedral Peak granite, using the name previously given by Calkins (1930, p. 126-127) to the rock of this type in the Yosemite region.
In the San Joaquin Basin, as in the Yosemite region (Matthes, 1930a, p. 39), the granitic rocks are sparsely jointed, in many places the intervals between fractures measuring tens, hundreds, or even thousands of feet. However, in some places the granitic rocks are closely jointed (that is, have joints spaced one to several feet apart). As in the case of the Yosemite region, the character of the jointing has played a dominant role in governing the manner and rate of weathering processes, and of erosion by streams and glaciers, as well as in determining the character of the resultant land forms. In fact, the concepts of these processes and the analyses of the distinctive forms produced, as set forth in the author's report on the Yosemite Valley, were based on broad regional studies made in many parts of the Sierra Nevada, including the San Joaquin Basin. These concepts and analyses need not be restated here, but the illustrations in the present report include a number of views depicting representative landforms developed in the granitic rocks of the San Joaquin Basin.
In the Geographical Sketch, reference was made to the plateaulike uplands (p. 8) which are a distinctive feature of the central part of the San Joaquin Basin, and also to the broad shallow valleys which hang with respect to the San Joaquin Canyon and its principal branches. The exceptional preservation of the uplands and their hanging valleys is accounted for by the durability of the massive granite which underlies them. Some geologists would account for the relatively abrupt drop from the plateau to the foothills, south and southwest of Shaver Lake, by faulting, but no clear evidence of faults was discovered, and the same topographic effect could readily have been produced by differential erosion in well-fractured bodies of granite in juxtaposition to massive granite. The edge of the plateau south of Shaver Lake, which is scalloped by the heads of branches of Blue Canyon at the head of Big Creek, can hardly be delimited by a fault or zone of faults, but appears to indicate approximately the boundary between the massive rocks to the north and the fractured rocks to the south, in which a normal erosion topography, with dendritic drainage pattern and forking spurs and spurlets, has been developed.
The large-scale exfoliation of massive granitic rocks, so remarkably illustrated in the Sierra Nevada, is evident in many places in the San Joaquin Basin. The cause of this exfoliation is still obscure. Some geologists consider the most probable primary cause to be the liberation of expansive stresses within the granite, as the result of the progressive removal of superincumbent loads of rock by erosion; probably auxiliary causes are diurnal insolation and secular warming (Gilbert, 1905a, 1905b; Matthes, 1930a, p. 114-115; Matthes, 1937b). Exfoliation along plane or convex surfaces is illustrated at various places on the sides of the San Joaquin gorge, for example below the mouth of Big Creek, and on benches around the head of Evolution Creek, and elsewhere. Domes, the striking rounded forms evolved from giant monoliths by long-continued exfoliation, are neither numerous nor, generally, as spectacular in this basin as in the Merced Basin, but nevertheless examples are found.
Balloon Dome (altitude 6,900 feet) is the outstanding dome in the region (figs. 6, 15). It is situated between the Middle and South Forks of the San Joaquin River, immediately above the junction of the two streams. This dome is referred to in J. D. Whitney's report (1865, p. 401) as "a most remarkable dome, more perfect in its form than any before seen in the state," and it is described as having "exactly the appearance of the upper part of a sphere; or, as Professor Brewer says, 'of the top of a gigantic balloon struggling to get up through the rocks.'" As a matter of fact, it is not as regularly shaped as many of the domes of the Yosemite region, but because of its strange form, unique situation, and bare figureall the more conspicuous because the surrounding uplands are forestedit is an imposing landmark.
Two miles to the northwest of Balloon Dome is Squaw Dome (altitude 7,806 feet), also a conspicuous topographic feature (fig. 7); and in the vicinity are Cattle Mountain (fig. 6), the Balls, and several other relatively small subdued domes. Near Cascada station, providing a background for the Big Creek Falls, is Kerckhoff Dome (fig. 19, not shown on topographic map); and on the north boundary of Kings Canyon National Park, occupying a position within the fork formed by Piute Canyon and the valley of the South Fork of the San Joaquin River, a situation very similar to that of Balloon Dome, is Pavilion Dome (altitude 11,721 feet). On Chiquito Ridge, exfoliation is prevalent but not regular and continuous, owing to steepness of the slopes and the presence of interfering master joints. Peaks and spurs of the ridge are imperfect domes, and on the exfoliation surfaces, rainwash flutings are common (fig. 8).
Exfoliation is not a universal phenomenon of the massive granitic rocks. In places, for example on Bald Mountain, east-southeast of Shaver Lake, one may see immense exposures of massive granitic rock that are not exfoliating in the manner so characteristic of the domes of the Yosemite region. The rock on Bald Mountain disintegrates into granules, which are washed away by rainwater and accumulate farther down the slope in large quantities. Exfoliation partings appear here and there, but are not conspicuous.
A striking feature in fresh road cuts on the steep grade above Tollhouse and on other roads leading to Shaver Lake is the massive granite, breaking down by mechanical processes, and without significant chemical decomposition. On the middle and upper parts of the San Joaquin Basin, accumulations of loose granular sand resulting from disintegration of the granitic rocks is one of the most widespread phenomena. the sand covers the lower slopes of bare rocky hills and ridges, and deeply cloaks the interfluves on the uplands. On the moraines of the later glaciation, the sand accumulates in the swales and on the upslope sides, so that the crests become flattened. The moraines of the earlier glaciation are in many places so mantled with sand derived from the disintegration of the glacial boulders that the materials of the moraine itself are exposed only here and there, generally where the uprooting of trees has revealed boulders and cobbles.
As was explained in the author's report on the Yosemite Valley (1930a, p. 107-108), the disintegration of the granitic rock in these situations appears to be in the main a phenomenon of mechanical weathering, due largely to the disruptive effect of solar heat. Frost presumably plays a part in this disruption, but if so, only a very subordinate part, for typical frost cracks are absent in the rock masses wherein it occurs. The loose grains show scarcely any effects of chemical decomposition, even when examined under the microscope. The crystals of feldspar are but slightly cloudy at the edges, and the flakes of biotite and rods of hornblende as a rule show no alteration. However, this crumbling of the granite into undecomposed grains takes place only on the domes, cliffs, and other conspicuously bare rock masses that are subjected to intense insolation. In the densely forested areas on the uplands, where the heat of the sun is partly excluded by the foliage of the trees, and where the granitic rocks are covered by a layer of moisture-conserving, acid-producing humus, the chemical processes reduce the granite in much the same way as in a humid region.
The massive granitic rocks also disintegrate by flaking off in thin scales, the thickness of these as a rule being only 1/4 inch but ranging from 1/8 inch to 1 inch. The scales vary in size but commonly break off in patches a few inches in diameter. Evidences of decomposition under the flakes, promoted by moisture and by the presence of green algae and lichens, are found in some places.
The granitic rocks are interrupted at many places by small to moderately large masses of metamorphic rocks of Paleozoic and Mesozoic age. The largest of these masses are found in the foothills region, in the Mount Ritter region at the northern end of the basin, and in the Goddard Canyon region in the southeastern part of the basin.
The metamorphic rocks in the foothills region are a part of the broad belt of such rocks extending along the lower west slope of the Sierra Nevada. The belt is traversed, farther north, by the gold-bearing quartz veins of the Mother Lode system (Jenkins, 1938). Remarkably continuous as far southeast as the Merced Basin, this belt narrows notably near Mariposa, but tongues continue across the Chowchilla Basin and into the Fresno Basin (fig. 5). In the San Joaquin Basin the metamorphic rocks are represented by a series of relatively small disconnected bodies. Still farther to the southeast, in the basins of the Kings, Kaweah, and Kern Rivers, they again occur in larger masses along the lower west slope. Accordingly it would appear that the San Joaquin Basin, of all the drainage basins in the central and south-central part of the Sierra Nevada, is the one in whichso far as the lower west slope is concernedthe metamorphic rocks comprise the least, and the batholithic rocks the greatest proportion of the area.
In the foothills section between the San Joaquin and the Kings Rivers, the metamorphic rocks of Paleozoic and Mesozoic age occur in tightly folded anticlines and synclines which strike northwestward (Macdonald, 1941, p. 217, 270-2 2). The oldest division of the metamorphic sequence is a metasedimentary series between 20,000 and 30,000 feet thick, consisting chiefly of mica schist. Above this is a metavolcanic series at least 10,000 feet thick containing minor amounts of interbedded metasediments. The volcanic rocks, which are intermediate to basic, have been converted into plagioclase amphibolite and amphibole schist. The youngest division of the metamorphic sequence is another metasedimentary series close to 10,000 feet thick, consisting mainly of mica schist. Sills of serpentine and a few bodies of olivine gabbro have been metamorphosed to a degree comparable with the surrounding rocks.
The body of metamorphic rocks in the Mount Ritter region is the largest in the basin. This body, in its broader relations, is the expanded southern part of the narrow belt of metamorphic rocks, of Mesozoic age, which extends for about 40 miles along the crest of the range, at the heads of the Tuolumne, Merced, and San Joaquin Basins (Jenkins, 1938). The body is irregular and measures about 12 miles across in its larger dimensions. It forms the bulk of the Ritter Range, and extends across both the Middle Fork and the North Fork Canyons. At the northeast it passes beneath Tertiary lavas capping the main divide.
The rocks of the Mount Ritter region have been described by Erwin (1934, 1937) and also considered in the regional studies by Mayo (1935, 1937, and 1941). They consist mainly of intensely folded metavolcanic rocks which form an almost isoclinal series striking in general N. 30° 40° W. The metavolcanic rocks, predominantly pyroclastic rocks, include diverse rock types altered into schists and, particularly, mylonites. There are minor intercalations of metasediments, and Erwin has mapped these separately in the upper Middle Fork basin.
In the Middle Fork basin, the metavolcanic rocks, being of various lines, give the landscape a distinctively banded appearance which contrasts with the uniformly dark or light aspect of nearby areas. The Ritter Range looms almost black above the light-colored granitic rocks to the south and southwest. Its rocks, mostly metatuffs and breccias, are generally more massive than those in the Middle Fork basin, and apparently less severely metamorphosed. In the North Fork basin and to the west of it, the metamorphic rocks again are more completely altered and more schistose than in the Ritter Range.
Between Mono and Bear Creeks, metavolcanic rocks of Mesozoic age reappear in a long narrow belt which extends southeastward along Goddard Canyon (Jenkins, 1938). This belt reaches far beyond the limits of the San Joaquin Basin, continuing, with some interruptions, across the Kings River Basin to the headwater area of the South Fork of that river.
The rocks of this belt, presumably Mesozoic in age, have not been fully mapped or studied in detail. They crop out along Goddard Canyon and make up a considerable part of both the Goddard Divide and the LeConte Divide. Where observed in the course of this reconnaissance they consist predominantly of intricately folded, nearly vertical metavolcanic schists striking northwestward.
Other smaller masses of metamorphic rock lie widely scattered within the San Joaquin Basin, some in belts, others without apparent system. The mountains of Kaiser Ridge, west and northwest of Nellie Lake, are composed largely of quartzite which disintegrates into angular blocks less than 2 feet across, contrasting with the much larger and more rounded granite boulders of nearby areas. The peak (altitude 9,622 feet) north of the lake is composed partly of quartzite, partly of granite; the extreme summit is granite. Farther east, Kaiser Peak itself is composed of thinly bedded quartzite and schist. On the north side of the peak these rocks are cut by thick sills of granite and aplite. The quartzite on the east spur of Kaiser Peak breaks down into distinctive small fragments. The Twin Lakes are bordered on the north by a belt of crystalline limestone forming an arc-shaped outcrop more than 1 mile long, the concave side of which is toward the northeast. The peak east of Potter Pass is composed, in its eastern part, of closely plicated grayish-green schist.
Small bodies of metamorphic rock, mostly schist, were also observed on the east side of Silver Creek, 3/4 mile above its junction with Fish Creek: at the east end of Junction Bluffs; 1/2 mile northwest of Clover Meadow Ranger Station; on Green Mountain, 1-1/2 miles north of Soldier Meadow; and in Shakeflat Creek basin, as well as on the ridge to the southwest of it, where the local rock is largely schist and quartzite. Similar small bodies of metamorphic rock undoubtedly occur at many other places in the San Joaquin Basin.
The volcanic rocks, scattered from the Sierra crest to the western foothills, occur in many small patches whose aggregate area is only a minor part of the San Joaquin Basin. In age they range from Miocene to late Pleistocene or perhaps even to Recent. Unlike the extensive flows in the northern half of the range, they have interfered but little, and only locally, with the orderly development of the valleys and canyons.
The principal areas of volcanic rocks lie on the main divide adjacent to the Middle Fork Canyon, and farther south within the canyon. This region, included in the southeastern part of the Mount Lyell quadrangle, has been mapped by Erwin (1934) who distinguished 5 volcanic units, 2 of late Miocene age and 3 of Pleistocene age.
The older Miocene unit, consisting of basalt flows, includes a relatively large occurrence east of the Middle Fork Canyon (southeast of Agnew Pass); also remnants south of Iron Mountain between the North and Middle Forks of the San Joaquin River, in the upper East Fork of the Granite Creek basin, in the vicinity of Clover Meadows, and elsewhere. At the Middle Canyon locality the basalt rocks are exposed in cross section, giving a bold, steplike profile to the east side of the canyon. The flows vary in number from place to place; in the thicker sections they "do not exceed 36" (Erwin, 1934, p. 46). North of Agnew Pass their aggregate thickness is estimated to be more than 1,500 feet. The flows, which have columnar or blocky jointing, permit surface water to seep through to the underlying metamorphic rocks, whose surface is followed to Middle Fork Canyon. Here, emerging from beneath the lavas, the water gives origin to most of the streams on the east side of the canyon. The other lava caps in the region are of similar character but smaller.
The younger Miocene unit includes andesitic flows, with a maximum thickness of about 1,000 feet, which overlie the basalt on the Sierra crest, east of Middle Fork Canyon. A few miles farther southeast, andesites also make up the bulk of Mammoth Mountain, an isolated and deeply eroded preglacial volcano which Mayo (1941, p. 1068) has termed "the most impressive volcanic edifice in the region."
The three Pleistocene units are basalt flows, tuffs, and pumice. There are several occurrences of the basalt, the most important being a Y-shaped mass immediately west of the Sierra crest. The converging arms of the Y, each about 3 miles long, extend southward from the head of Pumice Flat and westward from Mammoth Pass, and unite just below Reds Meadow to form the upright, which extends south-southwestward about 4 miles farther. This mass includes the Devils Postpile (Matthes, 1930b) (fig. 9). A short distance below the Postpile a cliff of the basalt gives rise to Rainbow Falls, 150 feet high, the most notable waterfall in the San Joaquin Basin (fig. 10). The basalt appears to have descended from the vents at Red Cones and Pumice Butte, and from a fissure near Mammoth Pass.5 It issued after the El Portal glacial stage onto the glaciated surfaces of Middle Fork Canyon, accumulating to depths of 100 to 700 feet. When the Middle Fork glacier readvanced in the Wisconsin stage, it removed all but the more obdurate parts of the lava (Matthes, 1930b, p. 5).
The other Pleistocene volcanic units consist of an area of crystallithic tuff in the vicinity of Satcher Lake and Reds Meadow, and a scattering of pumice pellets, as much as 1 inch in diameter, widely distributed throughout the region and particularly abundant between Agnew Meadows and Pumice Butte. Erwin considers the pumice to be "younger than older glacial material."
In this reconnaissance several volcanic cones and many small patches of volcanic rock were noted. Black Point, 1-1/2 miles west of Huntington Lake, is a small volcanic cone. Another cone, Brown Cone, lies to the north of Kaiser Creek; still another is situated in nearby Cow Meadow. The latter is the remnant of an andesitic eruption crater, the west and north sides of which are best preserved. About 3 miles farther southeast is another small andesitic volcano which is probably interglacial, because granite erratics left by the Wisconsin stage rest on its lava. The volcano stands about 100 feet above the surrounding country, and contains a shallow lake in what appears to be a compound crater.
Of the many scattered patches of volcanic rock observed, mention may be made of several in the lower South Fork Canyon; also those in the vicinity of Pincushion Peak, particularly west of the summit; those at the northwest and of Mono Ridge, one of them giving rise to the eminence called Volcanic Knob; several extending from Onion Spring Meadow southwestward almost to the South Fork of the San Joaquin River; the patches in upper Big Creek Basin which form Chinese Peak, Red Mountain, and Black Peak (fig. 47); an occurrence in Chiquito Creek basin, 1 mile northwest of Placer Ranger Station; and the patches which partly cap the summit of Squaw Dome. In the case of Chinese Peak, three large dikes radiate from the central summit.
Though none of the occurrences mentioned has been studied in detail, most of them apparently are andesitic. However, patches of olivine basalt (Miocene or Pliocene) which cap Table Mountain and a few other foothills in the Friant and Academy quadrangles are described by Macdonald (1941, p. 266 and folded map).
Last Updated: 27-Jul-2009


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Fitness & Exercise
Achilles Tendon Injury
When Will I Feel Better?
Of course, what you really want to know is when you can get back in the game. Recovery time may take months, but it really depends on how serious your Achilles tendon injury is. Different conditions heal at different rates.
You can still be active while your injury heals. Try a new activity that won't aggravate your Achilles tendon such as swimming.
Don't rush things. Do not try to return to your old level of physical activity until:
- You can move your leg as easily and freely as your uninjured leg.
- Your leg feels as strong as your uninjured leg.
- You feel no pain in your leg when you walk, jog, sprint, or jump.
If you start pushing yourself before your Achilles tendon injury is fully healed, you could wind up with permanent pain and disability.
How Can I Prevent an Achilles Tendon Injury?
There are things you can do to prevent an Achilles tendon injury. You should:
- Always stretch your leg muscles and Achilles tendons before and after exercise -- more often if your muscles and tendons are tight.
- Cut down on uphill running.
- Wear shoes with good support that fit well.
- Always increase the intensity of your physical activity slowly.
- Stop exercising if you feel pain or tightness in the back of your calf or heel.
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CNET reporter quits over CBS interference
Monday - 1/14/2013, 8:05pm EST
LOS ANGELES (AP) - Technology reviews by website CNET have long been respected for their thoroughness and integrity, but that reputation has come under scrutiny after a top reporter quit over what he says is editorial interference by its parent company, CBS Corp.
The dispute centers on CNET's choice of best gadgets from last week's International CES show in Las Vegas.
CNET voted Dish Network Corp.'s "Hopper with Sling" the best home theater and audio product. Because CBS is in a legal fight with Dish over the Hopper's ad-skipping capabilities, CBS vetoed the selection, saying the product couldn't be considered "Best of CES." Instead, CNET's official selection was a sound bar from TV maker Vizio.
Reporter Greg Sandoval tweeted on Monday morning that he was resigning, saying he had lost confidence that CBS is committed to editorial independence.
"I just want to be known as an honest reporter," he tweeted, adding "CNET wasn't honest about what occurred regarding Dish."
In an apparent response to the resignation, CNET Reviews Editor-in-Chief Lindsey Turrentine posted a story on the site a few hours after Sandoval's tweet saying that around 40 CNET editorial members voted, and Dish's Hopper won the designation because of "innovative features that push shows recorded on DVR to iPads."
She said "the conflict of interest was real" and said she contemplated quitting as well, but stayed on to explain the situation to staff and prevent a recurrence. She said CNET staff was asked to re-vote after the Hopper was excluded, and regretted not revealing at first that it had won.
"I wish I could have overridden the decision not to reveal that Dish had won the vote," she wrote. "For that I apologize to my staff and to CNET readers."
A spokesman for CBS, which also owns such marquee journalism properties as CBS News and 60 Minutes, declined to comment on how a similar situation might be handled if it occurred at its other news properties.
"In terms of covering actual news, CNET maintains 100 percent editorial independence, and always will," CBS said in a prepared statement.
CBS bought CNET for $1.8 billion in June 2008. In December, the site had 33.4 million visitors, up 8 percent from a year earlier.
(Copyright 2013 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.)


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Defense helps Falcons knock off Rams
By Dennis Atwood - email@example.com
STRASBURG -- The Central Falcons pulled off a monumental, improbable, 47-45 upset of the undefeated Strasburg Rams on their home court Saturday afternoon in non-district girls basketball action.
On paper, the Falcons, with a 5-7 record, and having lost five of their six previous games, appeared to be the next likely victim of The Associated Press' No. 1-ranked Group A squad.
The Rams embarrassed Central 51-27 on Jan. 8, and demolished Manassas Park 62-24 on Tuesday night.
Turnover problems (25 to Central's 15) plagued the Rams, who led 26-20 at halftime. Central out-scored Strasburg 10-6 in the third quarter and 17-13 in the fourth.
"Obviously, winning is great, against a very good team," Falcons coach Stephanie Mathews said. "And we took much better care of the basketball than they did. For me, the thing we did best today was our defense. I felt we really got after it on the defensive end and did what we were supposed to do. We really played as a team on both ends today."
Central senior Brea Hinegardner's four first-half field goals (10 points, 4 steals, 4 rebounds) helped keep Central within striking distance of the Rams.
"[Turnovers] are what we've been working on really hard," Hinegardner said. "The last couple of games we've been having over 20 turnovers, so this is a huge turning point."
Central's diminutive (5-foot-3) junior point guard Ashley Jernigan (game-high 14 points) had a quiet first half, scoring only two free throws, but came up big with 12 second-half points, including conventional and beyond-the-arc 3-pointers to lead the Falcons' late surge.
"[The Rams] had seven fouls in the first half and we didn't attack as much as we should have. So I just figured in the second half we'd attack it, so we'd get the fouls and that helped us," Jernigan said. "[The win] showed that we can stick with any team and beat them."
After Central's Jensen Hoover sank a field goal to open the contest, seniors Stephanie Conde (team-high nine points) and Jaclyn Ayers (eight points, five steals) each scored two field goals to put the Rams up 8-2.
Except for a 30-30 tie at 1:50 in the third quarter, the Rams maintained a single-digit lead, peaking at 25-16 at 2:18 in the second quarter, and went up 43-36 on Gabe Giersch's 3-pointer from the right baseline, with 4 minutes on the game clock.
The Falcons then went on a 9-0 run, sparked by Jernigan with a conventional three-pointer, and a beyond-the-arc bucket at 1:33, to give Central its first lead since the opening bucket, 45-43.
Conde then tied it for the Rams with a field goal with 1:25 left.
After the teams traded ballhandling violations, Smoot's (8 points) field goal attempt went in and out of the bucket and Hinegardner fed an assist at the left side of the lane to junior Taylor Pumphrey (five second half points), who made a short-range field goal with seven seconds left to put the Falcons up 47-45.
On the next Rams' possession Ayers fouled out with 2.8 seconds left on a charging call, but Jernigan missed both free throws.
On the Rams' next trip, the ball went out of bounds over the Strasburg end-line. The Rams were initially awarded possession, but a referee over-rule gave the ball to the Falcons, who held the in-bounds pass as time expired.
The Rams lost despite shooting 50 percent or better, both from the field (18-for-36) and at the foul line (6-for-10), and sinking three shots from beyond the arc, to Central's one.
Central shot 46.5 percent from the field, but a woeful 33 percent (6-for-18) from the charity stripe.
The Falcons' faces were barely wide enough to contain their grins after the game.
"We came out playing hard, with intensity from the get-go, the whole game. I'm so happy we played as a team, I don't know what to say -- I'm speechless," Jernigan said.
"We didn't play good enough, that's the bottom line," Rams coach Joel Morgan said. "We turned the ball over too much, had some foul trouble, they took advantage of it, and we didn't do enough to win.
"We have to understand that the sun will come up, and we have to back to work and get ready for the next opponent [Madison County on Wednesday]. I think our kids will bounce back."


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It is the offseason, so what better to talk about than Daytona International Speedway? As first reported by Mark Long of the associated press, the famed race track would be open to hosting a Jacksonville Jaguars preseason game.
"We've not had a formal discussion with the Jags here, but we've got some great relationships," Chitwood said after catching passes and fielding kickoffs with the team. "There's always an opportunity."
Owner Shad Khan and the rest of the people running the show have been very open about expanding the fanbase locally and globally, as evidenced by the franchise's commitment to play a few games in London over the next 3 years.
"If one of the things we have to deal with is the fact that Jacksonville is not the largest NFL market — in fact, it's one of the smallest —what we have to do is try to expand that region and do a more effective job of marketing in north Florida, central Florida and southern Georgia"
- Mark Lamping
– Daniel Lago


text:
News Roundup
A panel of journalists joins Diane for review and analysis of the week's top national and international news stories.
Doyle McManus
Columnist, "Los Angeles Times"
Karen Hosler
The Baltimore Sun
Jerry Seib
executive Washington editor, "The Wall Street Journal."
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Morning all,
I use roaming profiles here but the prospect of mandatory profiles has come up as a possible way to increase login speed across the site. My question is does anyone have experience of both roaming and mandatory profiles and would you say mandatory profiles are much faster than roaming?
I know there are a lot of variations to consider but just after a general response (yes much faster, no real difference etc...)
Thanks all in advance for your opinions.


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Baby Sugar
Posted by Ruby Wright in 2013, baby powder, blackxican, funny kids, little lady, me aka mama
Little Lady discovered a little baby powder container in my things a while ago.
LL: "What's that Mama?"
Me: That's Baby Powder
LL: "I want some it's yummy!"
Me: "You don't eat that, silly!"
ME: "That's for your body and when you were little we used it in your 'diapey'"
LL: "Oh, I want some in my 'chonies' please mama?"
Me: "Ok, Let's see"
That was sometime last year, today she requested "Can I have some Baby Sugar Mama?"
I couldn't stop laughing I just did as she asked.
Definitely a moment I will share with her when she gets older and maybe even continue the name.
6 comments:
hahaha, too cute. :)ReplyDelete
LOL SO CUTE! Imma call you that!ReplyDelete
Baby Sugar! Lol... funny!!ReplyDelete
hahahahaaaaaaaaaaa LOVE HERReplyDelete
She's too cute. This goes in the kids say the darn-est things category. I used to call lipstick lipkiss :DReplyDelete
Ruby, no kidding. It's exactly what it looks like! *lol*ReplyDelete
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Fall League Schedule
Lousy Bowlers League! Mondays 7:30 pm 3 to a team, any mix of guys and gals. $8.00 a week 14 week season. Starts 9/8
Tuesday Mens Trios. Starts Tue Sept. 9th. 3 to a team. $18 a week. Over $12,000 paid out in prizes last year
VIP Fall League Thursdays at 6:30 pm 4 to a team, any mix. FUN league with beer and liquor specials. $11.00 per person per week. Starts Thursday August 28th
Friday Mixed 4's Starts Friday Sept 5th. Short Season 16 week league. $14 per person per week
Sunday Blue and White League. Mixed 4's, $14.00 per week. Meets in Starts in September
Saturday Morning Youth:
2 ages 4-7 2 games with bumper guards $7.00 per week
Age 8-16 3 games $11.00 per week
Call 317-736-5177 for more info or to sign up today!!