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Interview: Tetsuya Yamamoto of Nikon
|Tetsuya Yamamoto, General Manager of Nikon's Development Headquarters within its Imaging Division. (Image courtesy Nikon Inc.)
At this year's International CES show in Las Vegas, we spoke to Tetsuya Yamamoto, General Manager of Nikon's Development Headquarters within its Imaging Division. We discussed the market's reaction to the 1 J1 and V1, and how the system might evolve in the future.
According to Yamamoto, Nikon has been pleased with the success of the 1 System, especially the J1, in the American market but that even before the system's launch 'we were very confident that there were customers out there who would gravitate towards the V1 and the J1'.
He told us that the sort of people buying the J1 and V1 are those customers that 'want a DSLR but don't want something big and heavy'. He went on, '1 System customers like the fast AF and the size of the cameras and lenses, and once they've used [new features like] Motion Snapshot they really like them'.
1 System sensor 'capable of 2K / 4K video'
Yamamoto told us that Motion Snapshot, which combines a still image with slow motion video in a single capture is a feature that Nikon is keen to improve in the next generation of 1 System cameras. There's good news, potentially for videographers too - according to Yamamoto 'the [J1 and V1's] sensor is capable of 2K (2048×1080px) and 4K (~4000px horizontal resolution) video and in the future we hope to incorporate [these functions]'.
'We are going to develop brighter lenses for better total performance'
Also on the agenda for future 1 System products it appears, are improvements to their innovative 'Hybrid' AF systems, which combine conventional contrast-detection AF with a faster phase-detection system, all using the main 10MP imaging sensor.
The key, according to Yamamoto, is faster lenses. He told us 'we want to develop higher speed AF, and specifically to improve phase-detection AF from the imaging sensor. This depends on lens aperture – if the lens [has a larger aperture] then AF is much faster'. In the future, he told us, 'we are going to develop brighter lenses for better total performance – brighter but still small'.
Manual AF control, in-camera NEF editing and Effects filters 'for the future'
Still on the subject of Hybrid AF, which switches between contrast-detection and phase-detection AF modes automatically depending on light level, we asked Yamamoto why Nikon made this system entirely automatic. 'We are studying [manual AF mode control] for the future' he told us: 'for V1-class cameras we would like to do this manually but [AF mode selection in] J1-level models will remain automatic'.
Also potentially on the horizon for future 1 System models, Yamamoto told us, are in-camera NEF (raw) conversion, and in-camera 'Effects'. Asked why the first two functions were omitted from the J1 and V1, Yamamoto explained 'the J1 and V1 are in a new category, and [for these initial releases] we wanted to [focus on] enhancing basic functions like AF and introduce new ones like Motion Snapshot'. In the future though, he told us, 'we are studying the inclusion of [both] in-camera effects and raw conversion'.
'We may provide an option to customize Auto ISO in the future'
During the process of creating our in-depth review of the 1 System cameras, our experience of the J1 and V1's Automatic ISO system has been that they constantly risk blurry images in low light by selecting low ISO sensitivity settings and relatively low shutter speeds. Yamamoto assured us 'we are aware of the issue'. But, he explained - 'the target user [for the J1/v1] is a point-and-shoot customer and for that user we thought that it was better to make [the function] purely automatic'.
'We always have to find a balance [between noise and sharpness]' he went on, 'but after having a lot of discussions and getting feedback we may need to come up with another option'. Encouragingly, he added that 'we may provide an option for customers to customize Auto ISO performance in the future'.
We ended the interview by asking Mr Yamamoto for his vision of the future, and whether mirrorless cameras will replace consumer-level DSLRs. 'We don't think so' Yamamoto told us - 'mirrorless is one solution [if the aim is] compactness but it is just one approach. We don't think it is the only direction, and we are considering further reductions in size even for [our DSLR] cameras'.
Recommended Links:
- Nikon 1 V1 / J1 In-Depth Review (published January 2012)
- First Impressions: Using the Nikon 1 V1 (published October 2011)
- Mirrorless Cameras: A Primer (published Dec 2011)
- Nikon 1 System: First Impressions (published September 2011)
- Why make a small-sensor mirrorless camera? (published September 2011)
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I think Nikon is very interesting because it proves a few things:
1.Sensor size is NOT everything. In the real world, people rarely print larger than A4. Plenty of people only view digitally perhaps using an ipad. The simple TRUTH of these situation is that larger sensors and therefore larger lenses and cameras are a waste of time for millions of people.
Someone talked into getting a NEX because "the sensor is larger and that is better" is wasting their time with a bigger lens and camera if they only print to A4 or look at the picture on a computer screen.
Nikon 1 delivers very good real world IQ.
2.Speed of operation and accurate AF and auto exposure is perhaps MORE important than IQ in a test lab. I have a NEX, and believe me the larger sensor is pointless if the pictures are out of focus because the camera cannot keep up with your kids. Nikon 1 does this better. Period.
3.Nikon really screwed up with the ISO function for beginners who dont know the work around.FIX IT!!
You're ignoring two properties as a result of sensor size that can also be clearly visible in smaller prints:
- DR. The Nikon has lower DR at base ISO than even some smaller P&S sensors (G12, S100 etc.)
- DOF control. With the smaller sensor and current native lineup, a Nikon V1/J1 is limited to up to 5 stops deeper DOF compared to say a NEX plus SEL 50mm F1.8.
Yeah, maybe. I accept the DOF point but I guess this can be helped by more and faster lenses to a limited degree. But hey, I would take the compromise of small camera and lenses , fast AF, in exchange for certain circumstances like holidays. Its a price worth paying.
And as for DR, I am not sure I agree. In real world use, I am not sure the difference is great. I am looking right now at RAWS from a V1 and a NEX5N. Both look great. Both will print great. I dont see many problems with clipped highlights with the V1.
I also think the Nikon auto exposure is much "cleverer" than Sony. It seems to nail the exposure on auto with almost weird accuracy. :)
I think I may sell the Sony....
If you don't shoot RAW or don't use DRO like functions heavily, the DR differences might not be glaring, but once you start brightening (deeper) shadows, especially at lower ISO's, you'll notice a big difference. This also means that the technique of underexposing to preserve highlights in a very high DR scene and lifting shadows back in PP, becomes much more problematic for single exposures.
I agree with your point. I use m43, but I like this system much more than the Sony, because of the smaller size and the features.
IQ now is overkill in the digital world. I print at 8x10 most of the time, 4x6 occasionally, and 13x19 very occasionally, and I print much more than 99% of photographers. All modern cameras, even crappy point and shoots, do a decent job at 8x10.
What these manufacturers need to do now is offer features. That will differentiate one camera from another much more than subjective determinations of noise at 3200 ISO and their relationship to sensorship. I mean, c'mon, are you kidding me? I'm supposed to care about what some nerd pixel peeper thinks of my sensor size?
And I am so sick of hearing of "depth of field control". It is an advantage to have deep depth of field in many situations, without having to stop down the aperture and slow down the shutter speed. Bravo to Nikon, even though I haven't bought into this system yet.
Troj: for 99% of people that will use these camera, 11EV of DR is much more than they will be able to capture, and you still need RAW to do it properly (this is actually true for most dslr users as well). Re DOF, the factor from APS-C to Nikon 1 is 1.8, meaning that you need to divide both FL and f/number by 1.8 to get same DoF properties as APS-C. IMExp with APS-C, a portrait lens (85mm equiv) at f/2.8 already presents nice bokeh, thus one needs a 32mm f/1.6 for that, Nikon as a 32mm f/1.2 patent for CX mount. Now, again, most users of this camera won't know how to use aperture for proper bokeh control, but the difference is not so much from APS-C as you seem to think. Now, if you are really into DoF control, then FF is the way to go. ;)
Pretty much every camera displays less DR in jpegs than it can capture. That's not the point, the point is that the scene often exceeds the DR that even the camera can capture, let alone the jpegs. The camera *compresses* that DR, but if it can't capture it, there isn't much to compress. And features like ADL do exactly that, plus reveal shadow noise during the process of lifting shadows. So even for OOC jpegs it can be an issue.
As of now, there is up to 5 stops difference in DOF control with native lenses, that's a fact and it's massive. Often you hear the average consumer asking for faster AF for P&S cameras, but you also hear them ask for smooth bokeh, visual depth, the 3D effect or however they attempt to describe it. The latter is lacking in the current 1 system and its native lenses. That will undoubtly become less of a problem once faster lenses are brought to the market, but there's no firm release schedule for these fast primes, so that's more speculation at this point.
You both have a point. I think it's easier to sort things by determining which we value more....is it the IQ or just taking a nice shot.
IQ is not really the point of this system. Yet, it still takes images which is not embarrassing to show.
My preference is IQ in a compact camera.
A big sensor and fast glass does matter if you shoot in low light indoor, no flash. That is one of the reasons why a D3S will enable you to get far better images then any V1 or smaller sensor camera. In the real world some people do print bigger than A4. A big camera/sensor maybe a waste for some people, but some people that shoot weddings/low light/sporting events like myself, it's a must. The V1 wouldn't be able to do that. Don't characterize that most people don't need a big sensor. It's about using the right tool for the right job.
If you want a camera to keep up with your kids, you will be using a decent DSLR with fast glass for the best results.
Beside the faster lenses and the few fixes he mentioned, what I wish for in the V2 is a standard hot shoe and more buttons, as well as a more ergonomically correct design and better grip. The J1/V1 are pure and simple the ugliest cameras I have ever seen and adding to that the poor usability is a really bad combination.
I actually prefer the custom hotshoe. I like the tiny SB-N5 flash. There's no way I'm going to put a full size flash like the SB600 on a V1. The flash is better than the camera. I wouldn't like that. I want some firmware updates to offer more customization and of course faster lenses. Beyond that, I like the V1 as is. I do hope they offer another version later that has more external controls. Simple things you always want quick access to.
Looks like I was proved correct that the Nikon1 system will only do moderately well and only in North America.
Look at the current Japan bestsellers:
They are doing very well among ML systems, actually beating Sony and Oly by a good margin and right there with Panny.
I am surprised that Canon does so well in that list. I thought Nikon was particularly strong in Japan.
really guy? canon does well in the mirrorless section?
The list he referenced is not limited to mirrorless.
Come on, micro 4/3 fanboys and girls. Get over it. The Nikon 1 (like many other manufacturers cameras out there) are a good solution for quite a few people. It may not be what YOU want, but if you can set your prejudices aside for a moment, you might realize the Nikon 1 has a lot to offer (even though it may not be what you decide to buy). Get over yourselves....geez. ;-) My V1 certainly seems to be making lots of great images. I don't find myself crying over the sale of my GH2. Not one bit. Some examples: http://www.openbloom.com/GEAR-Etc-1/Nikon-1-V1/19648888_Nn5D4F
It's just different markets, Nikon 1 not really in the same boat as m4/3. Also it's really immature system. For now it's just a good quality p/s. Why some m4/3 users might be offended is, Nikon 1 is in different category, but many of them hoped for new choices with similar features. Same what happened with Canon G1X, it was not what m4/3 crowd hoped for :)
I can not for my life understand why the MFT crowd wants to make every mirrorless camera into an MFT. It seems that they lack fantasy and imagination, and can not learn to live with the fact that somebody else can also make great mirrorless cameras without joining that MFT consortium. Those people should get out more and take more images, not just spend their time on this forum. The Nikon 1 system certainly has some weak points, but so does every other system as well, no matter who makes it.
There's no reason for ANYONE to be offended. I guess that's my point. It's just a camera. Either you like what it has to offer and you buy it...or you don't. Why people on discussion forums have to get so personal and make childish comments about competing brands is beyond me. Talk about the pros/cons of the system, sure....but just make drive-by "mine is better than yours" type of comments, no.
Out there in the minds of photographers is the ideal compact system camera. The ideal is a little different for everyone, but when a manufacturer finds the right middle ground then all the companies will copy it to death. m43 is close but not there yet. Nikon 1 has some of the missing pieces so is very tantalising, but further from the ideal than m43 in my opinion. NEX has the IQ but is slow and has limited lens selection. The Canon has IQ but no flexibility and is too big (for what it is).
So when I see a manufacturer do something that doesn't fit my ideal I feel like slapping them and saying nooooo, go this way, not over there with poor DR, no depth of field control or body too big. I think its a natural reaction and I mean no harm to those that love their G's, 1's, NEX's or m43's.
My guess is that when all the dust settles in a few years all the CSCs will be very close to ideal and we will be hard pressed to find differences between them. I just wish it didn't take this long.
In my opinion the perfect compact system camera is my Minolta X700 with various prime lenses.
All the big camera players got it right 30-40 years ago.
It's time for consumers to stop buying a new half measured attempt at a camera every year, and show the current marketing driven manufacturers that second hand is better than the rubbish they are trying to feed us.
I agree, the Nikon 1 is a very good point and shoot replacement, EXCEPT the price is ridiculous. I went M4/3 GF3 and Leica F1.4 lens. It gives far better bokeh/depth of field than the V1 can, and after the holiday pricing it was actually less $$ than the V1.. These cameras don't replace DSLR for serious/pro work, the people that think that are just kidding themselves.
Okay. I was thinking of buying the V1 very soon. But from what he is saying, it sounds as though we may see a newer V1 class body coming soon. (maybe around Sep?)
I would not draw that conclusion. It seems that Mr Yamamoto has learnt the fine art of marketing speak. He has drawn your attention to improving the already impressive AF performance with faster glass, without mentioning the weakness of the 1 system being a lack of fast glass, and disguising the story with a 'better total performance' tag. Well done Mr Yamamoto.
So my conclusion is that you will soon see some fast primes in your tea leaves.
I agree, in this fast moving market Nikon needs to bring updated bodies soon, likely by end of NH Summer. They were actually smart: tested waters with two bodies, listen to reactions, incoporate what is feasible in the new versions. And likely launch a different, more able body as well. It's only starting.
So basically, he's saying that in the future Nikon may give its users some of the features that have been available in other mirrorless systems from the start. This is the sort of press release that will make Olympus feel good.
Yes, let's go back to early 2009 and see that Panasonic released the G1 with a 14 - 45mm kit zoom and a 45- 200mm telephoto. We also see that Panasonic released a 4/3 adapter around the same time, allowing users to fit all those nice Olympus lenses. Maybe you should go back and check the spec. sheet of the G1 and compare it to the Nikon V1. No excuses for leaving out basic control parameters. Cynical marketing from company reluctant to compete in the mirrorless market.
Giving an arbitrary time frame for improvements in future models is not good enough when other manufacturers have products coming out in the next few months that will eat the Nikon1 camera sales.
All I get from this is:
- Those who have already purchased a N1 camera can look forward to brighter lenses in the 'future'.
- Those who have not purchased a N1 camera should hold off because big improvements will be made in 'future' bodies.
His comments clearly didn't sound as if they were thinking about any sort of firmware enhancements to the J1/V1 in the "near" future. In addition, it didn't sound all that promising that more lenses were going to appear any time real soon.
I do like using the V1 a lot but I hope Nikon realizes there is some time pressure as other systems march forward in a full system buildout.
If you want to shoot at f1.0 at still have a lot of depth of field, look no further than this camera!!
lol, come on. haha looks like somebody doest get it. zstan so your saying when you crop your pictures all of a sudden, bingo more dof? oh goodness i thought full frame had less dof!! naw. you can just focus closer as your fov is wider, thats what shrinks the dof.
Am I treading this right and Nikon is considering a firmware to deal with the blurry pictures issue??? Are they loosing it? That would be a first...
New faster lenses is good news.
Just dont like that he argues that it is needed for fast AF only.
Faster lenses are neded for better low-light noise performance, and in order to be able to isolate the subject by letting the background be out of focus.
Its like he dont want to acknowledge that this is a problem with the 1 and its smaller sensor.
Fuji totally gets this, with 3 fast primes at launch for the X-pro 1.
In order to get the subject isolation, it would be great if the lenses are significantly brighter. Like f.1.2.
I believe that Nikon's design goal for the 1 system was deep DOF. At least this is how I interpret this video interview:
Tend to agree with Panos, but they have patents for quite fast primes, a f/1.4 normal and a f/1.2 portrait lens. If they will release them is another story. What I would really like to see is a faster, better Q midrange zoom. The kit one is not that good and quite slow.
Is Nikon actually admitting that they were wrong with the V1/J1?
These problems are not solved with faster lenses, but with a bigger sensor.
I do not even own a Nikon 1, but your comment cannot be more wrong. It is incorrect on every level.
First off, the Nikon 1 is very successful.
Secondly, the sensor size really is not an issue. Even pro's using the camera admit that IQ is perfectly good.
Thirdly, one of the reasons why the 1 has superior AF and speed of operation compared to any other compact camera, is the tech used and its relationship with the smaller lenses and the sensor.
If the sensor was larger, the lenses would be larger. It would be harder to have fast AF. The camera would lose its appeal.
The telephoto zoom on the 1, for example, is tiny compared to the equivalent in m4/3rds or NEX. And its AF is lightning fast.
Lets put it this way - I fell for the "sensor is too small" argument and got a NEX. A mistake - I have since seen amazing IQ from a friend with a V1 and it is clear that the V1 is way, way faster than the NEX and with much, much better AF. And the lenses are much smaller.
I'm sorry but I have to strongly disagree.
The sensor size is indeed an issue but not for the reasons you mention. It's an issue when the body and all but one of the lenses are as big as m43 counterparts. It's not an issue when it comes to IQ, if (but only IF) you consider the Olympus Pen's quality good enough. Compared to the GH2, G3 or GX1, IQ it is indeed an issue. Speed of operation is not something that depends on sensor size either, apart from AF, but have you read the news? Compacts are now focusing in low light in 0.1s.
Yes, the NEX is slow, the lenses are big but it's IQ is almost unmatched. Use that to your advantage! If your need is fast AF and monster burst rates you have clearly entered the wrong boat because you should have got the Nikon. If you think you'd need to strike a balance between very good IQ, size, lens ecosystem and AF, then m43 is the only way to go. But do yourself a favour: get one of the Panasonics latest sensors. It pays off. In spades!!!
the Nikon 1 system isn't selling well in the United Kingdom (unless you can back this up with some hard facts).
I don't think you actually own a V1 or J1, that's why you believe the what-so-call 'focusing in low light in 0.1s' is comparable to the AF performance of the Nikon 1 system.
Only when you have the Nikon 1 in hand that you realize how good it works. Others can make up nice looking numbers that only work under certain conditions.
There are two more IQ handicaps (asside from overall noise performance compared to NEX). One is the very limited DOF control. Partially due to the small sensor, partially due to the current small aperture lenses. To match the DOF control of the SEL 50mm F1.8, they need to come up with a 28mm F1.0.
The second problem that is often ignored is the limited DR, especially at lower ISO's it's several stops behind NEX cameras, also due to high read noise in shadows. To the point where higher end P&S cameras with much smaller sensor such as the G11, G12, S100 and X10 show better DR at base ISO.
AF is very important and the main reason many people avoid using regular compacts (my case with the Canon G9, never really took it on a trip in place of the dslr). With the V1 I'm sure I will get the shutter to release when I press it, not an intant later when the photo opp is gone. It's IQ is not up to APS-C's present standards, true, but actually very close to the camera I used for 4 years (D80), and which provided for many memorable images. It's quite close to even present m43 offerings, loosing only to the latest Panny models.
Are you telling me you've never heard most consumers ask for creamy backgrounds or a 3D depth effect? I certainly have, atleast as often as I heard them ask for fast focus.
They might be less aware of dynamic range, true. But up to 5 stops DOF (3.5-4 if we cheat a little and use a slightly longer FL) control and noise differences in low light due to the current line up of lenses, *is* something they will notice.
And simply put, if they and we ignore it for whatever reason, it's unlikely going to change. On the other hand, if the consumer conveys that message, it's likely you'll see some fast lenses rather sooner than later.
Funny ! All what they want to add is already present in MFT cameras.
( except what concerns the sensor speed and hybrid AF mode )
rrr_hhh, you said:
"Funny ! All what they want to add is already present in MFT cameras."
Yet you make a list of what is NOT in the MFT...
"( except what concerns the sensor speed and hybrid AF mode )"
...and your list could be extended a lot longer. I bet you have never seen a V1, even less handled one or looked at the specs and functionalities. But, if MFT is what you want then just buy one. The G3 is really nice, as well as the GH2 so go buy one of those and be happy.
'we are considering further reductions in size even for [our DSLR] cameras'
Best news ever! A full frame DSLR in an FM size body, please!
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Definición de punter en inglés:
1 American Football & Rugby A player who punts.
Oraciones de ejemplo
- You run timed drills in a specific task like punting or run stopping where you only get to control the relevant player like the punter or middle linebacker.
- He played quarterback, strong safety, punter and placekicker at North Central High School in Kiln, Missisippi, for his father, Irvin.
- In Bengals history, there have been some effective players named Johnson, including punter Lee and running back Pete.
3 informal, chiefly British A person who gambles, places a bet, or makes a risky investment.
Oraciones de ejemplo
- The Isle of Man now allows US punters to gamble in online casinos based on the island, the NY Times reports.
- The internet is a major gambling hall for punters where they play poker bingo cards whatever; gamblers even get to play lotto online.
- This means that the average punter's investments will do worse than the average performance of the market over any given time frame.
3.1A customer or client, especially a member of an audience.
Oraciones de ejemplo
- Roux then grandstands and takes off his team blazer and tie and puts it up for auction - apparently at the request of a punter in the audience.
- The spa is open only to residents, so there's no sharing your thermal dunks with pay-and-play punters or 'club members'.
- Once upon a year not that long ago, a young man sat in a pub telling a wide-eyed audience of punters all about his skiing holiday.
3.2A prostitute's client.
Oraciones de ejemplo
- The law could be changed to make more severe punishment for 'illegal' street prostitutes and their punters.
- It would take prostitution off the streets and into a safer environment for both the prostitutes and the punters.
- Police believe the killer was probably a punter and had used prostitutes in the area before.
Palabras que riman con punterArunta, Bunter, chunter, Grantha, grunter, Gunter, hunter, junta, shunter
For editors and proofreaders
División en sílabas: punt·er
Definición de punter en:
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Muy popular en Reino Unido
Muy popular en Australia
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text:
Park Inn by Radisson Glasgow City Centre, Greater Glasgow
- Free WiFi
Main amenities
- 91 smoke-free guestrooms
- Restaurant and bar/lounge
- Breakfast available
- Fitness center
- 2 meeting rooms
- 24-hour front desk
- Air conditioning
- Daily housekeeping
- Self-serve laundry
- Meeting rooms
- Luggage storage
- TV in a common area
For families
- Free cribs/infant beds
- Rollaway/extra beds (surcharge)
- Connecting/adjoining rooms available
- Private bathroom
- Free toiletries
- Daily housekeeping
What's around
- In City Centre Glasgow
- George Square (0.3 mi / 0.5 km)
- Gallery of Modern Art (0.3 mi / 0.6 km)
- Glasgow Cathedral (0.9 mi / 1.4 km)
- The SSE Hydro (1.3 mi / 2.1 km)
- Clyde Auditorium (1.5 mi / 2.4 km)
Park Inn by Radisson Glasgow City Centre, Greater Glasgow
Hotel Info: 866-539-8117from $93
- Standard Room, 1 Single Bed
- Standard Room
- Superior Room
- Standard Room
- Superior Room
- Standard Room
- Standard Guest Room
Also popular with travelers from the USA
At a glance
Key facts
Hotel size
- This hotel has 91 rooms
- This hotel is arranged over 5 floors
- Check-in time starts at 3 PM
- Check-out time is noon
- Express check-out
Required at check in
- Credit card or cash deposit required
- Government-issued photo ID required
Travelling with others
- Pets not allowed
- Free WiFi in public areas
- Free WiFi in rooms
- Discounted offsite parking
Other information
- Smoke-free property
Nearby Three Star Greater Glasgow hotels
In the hotel
- Full breakfast daily (surcharge)
- Restaurant
- Bar/lounge
- Fitness facilities
- Billiards or pool table
- Number of meeting rooms - 2
- Meeting rooms 2
- Conference space size (feet) - 968
- Conference space size (meters) - 90
- 24-hour front desk
- Laundry facilities
- Luggage storage
- Number of buildings/towers - 1
- Year Built 2013
- Elevator/lift
- Television in common areas
- In-room accessibility
In the room
- Air conditioning
- Coffee/tea maker
- Iron/ironing board
- Hypo-allergenic bedding available
- Blackout drapes/curtains
- Private bathroom
- Shower only
- Free toiletries
- Hair dryer
- 32-inch flat-screen TV
- Cable/satellite TV channels
- Desk
- Free WiFi
- Phone
- Daily housekeeping
- In-room safe
- Connecting/adjoining rooms available
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Nearby hotels
Special features
DiningOnsite venue - This restaurant serves breakfast and lunch.
Bar - This bar serves light fare only.
Awards and affiliations
Green / Sustainable Property
This property participates in Green Tourism Program, a program that measures the property's impact on one or more of the following: environment, community, cultural-heritage, the local economy.
Park Inn by Radisson Glasgow City Centre, Greater Glasgow's small print
Also known as
- Park Inn Glasgow City Centre
- Park Inn Radisson Glasgow City Centre
- Park Inn Radisson Glasgow City Centre Hotel
- Park Inn Radisson Hotel Glasgow City Centre
- Radisson Glasgow City Centre
- Radisson Park Inn
The property has connecting/adjoining rooms, which are subject to availability and can be requested by contacting the property using the number on the booking confirmation.
Optional extras
Rollaway beds are available for GBP 20.00 per day
Full breakfast is offered for an extra charge of GBP 10 per person (approximately)
We have included all charges provided to us by this hotel. However, charges can vary, for example, based on length of stay or the room you book.
Recent reviews
Excellent 4.2 /5 from 465 reviews
We stayed over on a Saturday night and the street noise was very loud even on the 4th floor, until 3:53am.... We needed to leave for the airport at 6:15 so we had a less than adequate nights rest. The location otherwise was great, as we arrived by train and it was very convenient to walk to from the station. It's just too bad that they didn't have a lift to get to reception and that the windows weren't more soundproof.
It was a GREAT hotel for the money. The service was superb. Very helpful staff. Excellent location. Just a short walk from George Square and the hop on hop off bus. The breakfast was excellent as well. I don't have a smart phone so it was not convenient for me to find an internet café to send emails. It would have been beneficial for me to have had access to a hotel computer to use.
The room was clean and well-equipped. Plenty of light, comfortable bed, easily accessible outlets and nightstand. The free wi-fi was definitely a huge plus. The breakfast was a well-stocked buffet, with good options. The staff was helpful and courteous. The baths are modern and clean. Glad to see a more environmentally aware option for hand soap, shampoo/body wash - no little bottles to clutter up the landfills, just dispensers where you need them. There is a luggage room where the staff will lock up items if you need to check out but have lots of time before you are actually leaving. Good location in City Centre, and quiet. I wasn't in the room much, but it certainly suited my needs.
Only negative (not the hotels issue) that my husband received a 140 GBP traffic citation for crossing a bus lane to get to wheelchair Blue handicapped zone outside the hotel(due to my full disability)!! For a first visit from USA, it was a bitter pill to swallow. Only received noti-fication 2 months later upon returning home and still no response from Glasgow City Council.
Where to begin? 1 - Toilet continually broke down. They offered to change our room after fixing it twice. It was very late so we decided to trust the fix. On the last day it broke AGAIN in the middle of the night. We filled the trash can with water to force it to flush. 2 - It's very modern, so modern that there aren't any drawers anywhere in the room to unpack your items other than piling them on a shelf that ran the length of the bedroom wall 3- Several of the items, like the toilet paper holder, were broken and would fall apart each time we touched them 4 - It is VERY noisy. Trash pick up is in the middle of the night. The sound of the truck coming by and trash being dumped into the truck multiple times a night woke us up every night. Plus the noise of people on the street laughing, talking etc was not muffled at all. 5 - We were incorrectly told that only one device can be hooked up to internet without an additional daily fee of 10 lbs. We didn't want to pay the price but found it frustrating that we couldn't both search for info on our next days itinerary, routes, check our email etc. They day we left we were told we had been misinformed. 6 - The internet only worked about half the time even when hooked to only one device. 7- We spent 16 days traveling around England and Scotland. This was by FAR our least favorite spot. In fact, it's the only place we would NEVER stay again.
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Greencastle placed fifth with a score of 138, with South Putnam placing seventh with 158 and North Putnam was ninth with a 294. Cloverdale placed 11th on the night with a score of 322. Avon won the sectional with a score of 48.
Tiger Cub runner Tyler Hudson paced the squad with a time of 17:17, placing 13th on the night. Elijah Brattain followed in 18th place with a time of 17:30. Taylor Secrest posted a time of 17:48, good enough for 22nd overall.
Jacob Lewis placed inside the top 40, finished 38th with a time of 18:40. Matthew White was 47th in a time of 18:55 and Peyton Jones was 60th in a time of 19:48. Levi Lewis rounded out the GHS runners, finishing 63rd with a time of 20:06.
"I thought the boys raced very hard tonight," GHS head coach Art Dwigans said. "They knew it was going to be tight getting out in the fifth transfer spot. It's really hard racing three such important meets in one week. There isn't a meet you feel you can hold back on, especially not the sectional.
"It's really an uneven playing field, when none of the non-conference schools in the sectionals have a race the week up to sectional, when sectional is our third meet of the week."
Dwigans thought the performance of his top runners helped set the tone for his squad.
"Our top three runners ran another strong race and kept us in the hunt. Our four and five guys showed true heart in finishing the race pushing forward and closing the gap on Danville," he said.
While it was Greencastle had the top placing team, South Putnam boasted the county's top individual finishers on the night.
South Putnam's Hunter Barr scored a top 10 finish, placing ninth in a time of 17 minutes flat. Eagles head coach Brandon Welti praised Barr's performance following the meet.
"Hunter did a great job," Welti said. "He raced really hard today. You could see it. Normally you can tell he still has something left, but today he put it all out there. He did everything he could to try to help the team chances and that's all you can ask for. He had a great race."
Berndt Freeman finished 26th with a time of 17:57, while Lane Franklin came in 37th with a time of 18:33. Matthew Lund was 42nd in a time of 18:48 and Tyler Nield was 44th in a time of 18:51. Matthew Allen finished with a time of 18:55, placing him in 47th place and Colton Bunten was 55th in a time of 19:23.
"We had some good performances and some not so hot performances," Welti said. "It's so hard to get everybody to hit and be where they need to be on the same day. We just didn't have that today. Having just had conference on Saturday, it's kind of hard to maintain that emotional high.
"They still went out there and they all had a goal, they worked for it, gave it their best shot and fell short."
Dalton Spear who placed 41st overall with a time of 18:47 paced North Putnam. He was followed by Trent Mason in 51st place in a time of 19:16 and Trebor Mason was 53rd in a time of 19:18.
Trae Straziscar led a pack of Cougars, placing 74th in a time of 21:43. Chase Salyers was 75th in a time of 21:53 and Elisha Volland was 77th in a time of 22:42. Darian Brown finished 82nd overall with a time of 27:31.
North Putnam head coach Kevin Lutes acknowledged his top runner wasn't happy with his finish on the night and praised a pair of runners who posted impressive times in the meet.
"They did. We have a set of brothers on the team, the Mason boys, and they had just broke 20-minutes in conference and they both ran 19:16 and 19:18 tonight," Lutes said. "They had the best race. Out of anybody, I think they improved the most. They all gave 100 percent and couldn't be happier to have them do well.
"I know Dalton, with his finish tonight, wasn't too excited. He had a great race Saturday."
Cloverdale was led to the finish line by Nick Blundell who placed 56th in the meet with a time of 19:33. Chris Worthington followed in 61st place with a time of 19:58 and Ethan Maners was 62nd with a time of 19:59.
Tomas Martin Suarez was 71st in a time of 21:19 and Dean Monnett was 72nd in a time of 21:22. Cristain LaFary placed 78th on the night after posting a time of 23:22 and Austin Nelson was 81st in a time of 24:12.
The Greencastle squad, along with Barr, will compete in Saturday's regional competition at Ben Davis at 10:30 a.m.
At South Putnam
Boys' Cross Country Sectional
1. Avon 48, 2. Brownsburg 59, 3. Plainfield 76, 4. Decatur Central 119, 5. Greencastle 138, 6. Danville 151, 7. South Putnam 158, 8. Cascade 191, 9. North Putnam 294, 10. Tri-West 313, 11. Cloverdale 322, 12. Bethesda Christian 363
Individual Results
1. Mogos (PLA) 16:18, 2. Musson (CAS) 16:24, 3. Thompson (PLA) 16:34, 4. Hays (BRO) 16:42, 5. Shaw (BRO) 16:45, 6. Hughes (AVN) 16:46, 7. Voth (AVN) 16:47, 8. Cramer (AVN) 16:56, 9. Barr (SP) 17:00, 10. Weisbach (PLA) 17:07, 11. Bond (BRO) 17:15, 12. Scheerer (AVN) 17:16, 13. Hudson (GHS) 17:17, 14. Spaulding (DEC) 17:20, 15. Everling (AVN) 17:24
Greencastle -- 18. Brattain 17:30, 22. Secrest 17:48, 38. J. Lewis 18:40, 47. White 18:55, 60. Jones, 63. L. Lewis 20:06
South Putnam -- 26. Freeman 17:57, 37. Franklin 18:33, 42. Lund 18:48, 44. Nield 18:51, 50. Allen 19:15, 55. Bunten 19:23
North Putnam -- 41. Spear 18:47, 51. Tren. Mason 19:16, 53. Treb. Mason 19:18, 74. Straziscar 21:43, 76. Salyers 21:53, 77. Volland 22:42, 82. Brown 27:31
Cloverdale -- 56. Blundell 19:33, 61. Worthington 19:58, 62. Maners 19:59, 71. Martin Suarez 21:19, 72. Monnett 21:22, 78. LaFary 23:22, 81. Nelson 24:12


text:
Leslie F. Sikos, Ph.D. is a Semantic Web researcher at Flinders University, Australia, specializing in knowledge representation, ontology engineering, and Linked Data. Living on the cutting edge of Internet technologies, he is a member of industry-leading professional organizations. He is an invited editor and journal reviewer actively contributing to the development of open standards, and regularly works with the world's leading publishing experts from Springer and Apress. Dr. Sikos is the author of 15 computer books, including "Web Standards", an Amazon.com best seller. When he is not working, he enjoys reading, playing the organ, traveling, and cycling.
- Structured video annotations for knowledge representation of video contents
- Multimedia ontologies for the formal definition of depicted concepts
- Rulesets for spatiotemporal annotation of video events
- Ontology-based reasoning for automated video scene interpretation
Upcoming Conference Talk
- Sikos, L. F. Rich Semantics for Interactive 3D Models of Cultural Artifacts. 10th International Conference on Metadata and Semantics Research, November 2016, Göttingen, Germany
Latest Publications
- Sikos, L. F. RDF-Powered Semantic Video Annotation Tools with Concept Mapping to Linked Data for Next-Generation Video Indexing. Multimedia Tools and Applications, 2016.
- Sikos, L. F. A Novel Approach to Multimedia Ontology Engineering for Automated Reasoning over Audiovisual LOD Datasets. Lecture Notes in Artificial Intelligence, vol. 9621, pp. 3–12. DOI: 10.1007/978-3-662-49381-6_1


text:
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District Associate Judges Committee
Iowa State Bar Association
Woodbury County. Bar association
Assistant Woodbury County Attorney, Assistant U.S. Attorney
law degree
University of Iowa
bachelor's degree
Loras College
Iowa Judicial Branch
www.iowacourtsonline.org [cached]
Judge Jarman was appointed to the bench in 1997.
DesMoinesRegister.com | People/Places
www.desmoinesregister.com [cached]
Sioux City Journal
www.siouxcityjournal.com [cached]
Appeal from the Iowa District Court ...
www.iowabar.org [cached]
Appeal from the Iowa District Court for Ida County , Timothy Jarman , District Associate Court Judge.AFFIRMED.Considered by Sackett , C.J. , and Zimmer and Miller , JJ.Opinion by Zimmer , J. ( 8 pages $3.20 ).Dana is the mother of Adrick , Kayla , and Cedric.Dana has a history of alcoholism and mental health problems.The children were removed from Dana's care in August 1998 , when Dana was committed to a mental health institute for a short period of time.Dana entered several substance abuse programs , but continued to relapse and use alcohol.The State filed a petition to terminate Dana's parental rights in October 1999.The case was continued to allow Dana to complete a dual-diagnosis program.
Sioux City Journal: Former Angel House worker accused of molesting child
www.siouxcityjournal.com [cached]
Melissa Jarman
deVere Group
Toni Tim Jarman
Neighbourhood Cable Limited
Linda Jarman
Connect Platform
Phil Jarman
Perrys Motor Sales Ltd
Darren Jarman
Marsh Inc


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|This article is outdated. (May 2015)
|Created by
|Mieko Osanai
|Tetsuya Takeda
|Missa Johnouchi
Ichizo Seo
|Country of origin
|Original language(s)
|No. of seasons
|Mitsuru Yanai
|Original network
|Audio format
|Original release
|October 26, 1979– March 27, 2011
|External links
Kinpachi-sensei (3年B組金八先生 San-nen B-gumi Kinpachi-sensei?) is a Japanese television drama.
Kinpachi-sensei is the story of a 3rd year junior high school class in Japan; its teacher is Kinpachi Sakamoto (坂本金八 Sakamoto Kinpachi), played by Tetsuya Takeda. Kinpachi-sensei has a lot of social commentary on issues such as homosexuality, gender dysphoria, and psychological pregnancy—as well as bullying (of both students and teachers), teenage pregnancy, teenage suicide, hikikomori, and the extreme pressure to do well in school.
The series began in 1979, a pivotal year when issues such as delinquency and on campus violence reached a fever-pitch amongst the educational spectrum; "Kinpachi Sensei," portrayed by former singer Tetsuya Takeda of Kaientai fame, attempts to resolve such problems using a blend of charisma, honesty, humor and wit.
Over the span of 32 years, it has spawned 8 series.
In 2001, the series helped to rocket Aya Ueto to greater national attention after she portrayed a student with gender dysphoria; Kinpachi made it his mission to teach the class about issues relating to gender identity so as to stop Ueto's character from feeling consistently alienated from his peers.
In 2011, Keito Okamoto of Hey! Say! JUMP will appear in the drama's final episode as a student delinquent.[1]
Part of Kinpachi sensei's enduring appeal is the fact that the character's energy and idealism help to steer him through all of life's difficulties; there never seems to be a single time in the show's history in which Kinpachi is not beset by a host of social or personal problems: teen bullying, Kinpachi's son developing cancer, violence directed against teachers. Another reason for Kinpachi's long running popularity is the frank and open way he discusses these societal problems, never "sugar-coating" anything or intentionally hiding difficult issues.
In popular culture[edit]
- In the TV anime Gintama there is a segment which sometimes appears after the ending theme where Sakata Gintoki, the series' main protagonist, portrays a lollipop-smoking teacher called "Ginpachi-sensei," teaching class 3-Z.
- Author Koushun Takami's Battle Royale contains a character named Kinpatsu Sakamochi, a satirical reference to Kinpachi. In Takami's text, Sakamochi is a sadistic individual who seems to gleefully delight in the exploits of the 42 students forced to kill each other in "The Program." Some[citation needed] critics see Sakamochi's sadism as a sardonic attack on the idealized Kinpachi. The manga version of Battle Royale has an evil teacher named Yonemi Kamon, while the film has Kitano.
- In the Live-action version of the manga Great Teacher Onizuka (GTO), Onizuka makes a few mentions of Kinpachi-sensei, implying that he is a fan of the series, since his complete collection gets stolen in one of the beginning episodes.
- During the 2013 annual end of year Batsu game special of the popular Japanese humor show Downtown no Gaki no Tsukai ya Arahende!! "No laughing, Enthusiastic teachers", the whole cast was dressed as Kinpachi-sensei, wearing matching clothes and long wigs, apart from Hamada Masatoshi who got a short wig instead.
- And in the 2015 end of year Downtown no Gaki no Tsukai ya Arahende!! Batsu game special "No Laughing Prison escape" a parody of "Kinpachi Sensei" as "Furiwake-Sensei" was done with former Sumo Wrestler Sakamoto Furiwake in the lead role, chosen because of his name. Sakamoto also sang the theme song, badly, probably never having rehearsed it beforehand. Also appearing in that parody was Naoe Kiichi who reprised his role as Kato Masaru.
- ^ "Keito Okamoto cast in Kinpachi Sensei finale". Asia Pacific Arts. 2011-02-08.


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ART/ARCHITECTURE; When Artists and Writers Shared the Scene
By DEBORAH SOLOMON
Published: July 4, 1999
WHEN did all the fun go out of the art scene? American art may be alive and kicking, but no one can pretend there's a scene surrounding it. We're in an age when artists, critics and curators conduct themselves like harried lawyers, socializing not in downtown dives but over midtown business lunches. They go to bed and wake up at normal hours. They have to get to work on time. They are professionals -- and, truth be told, they make me nostalgic for Frank O'Hara, the legendary poet who doubled as an art critic, a museum curator and an all-purpose symbol of bohemia's final moments in New York.
O'Hara easily qualifies as the American poet who had the largest number of painter friends. To hear his name is to instantly envisage street corners in Greenwich Village, dusty book shops along Fourth Avenue and the Cedar Tavern in its smoke-filled heyday -- images from an era when the worlds of art and poetry were still entwined.
It is hard to say when, exactly, that era ended. But I'd put it somewhere around the early Sunday morning in July 1966 when O'Hara, age 40, was hit by a jeep on the beach on Fire Island, N.Y. Speaking at the funeral a few days later, the artist Larry Rivers told the mourners: ''Frank O'Hara was my best friend. There are at least 60 people in New York who thought Frank O'Hara was their best friend.''
O'Hara proved that friendship is an art form all its own, as a new exhibition reminds us. The show, ''In Memory of My Feelings: Frank O'Hara and American Art,'' opens next Sunday at the Museum of Contemporary Art in Los Angeles and remains on view through Nov. 14. An appealingly sentimental affair, it rounds up some 100-odd works by 25 members of the O'Hara gang -- from canonical Abstract Expressionists (Willem de Kooning, Franz Kline, Philip Guston) to underrated figurative painters (Fairfield Porter, Alice Neel, John Button) to celebrated Pop Art pioneers (Jasper Johns, Claes Oldenburg) to at least one essential eccentric (Joe Brainard, who took his cue from comic strips before giving up art to devote himself full-time to reading Victorian novels).
O'Hara's lasting, cultish appeal goes beyond his accomplishments as a poet. He was no less inspired as a personality. Thin and animated, with light blue eyes and a broken nose, he talked nonstop, survived on six hours of sleep a night and smoked three packs of Camels a day. He was famously careless with his poems, shoving them into his coat pockets or shelving them alongside his groceries. For all his literary distinction, he didn't carry himself like a great poet; he was free of the bruising egotism that so often characterizes creative personalities. Funny, generous and always interested, ''he became your friend in about six seconds,'' as the painter Jane Freilicher has said. ''It was instant intimacy.''
That helps explain how O'Hara became an adored figure among a group of hard-drinking, malcontented artists. Ad Reinhardt once said of the Cedar Tavern, ''We go there to meet the people we hate most, the other painters.'' O'Hara, by contrast, seemed to have a crush on almost everyone. He wrote poems in tribute to his artist-friends and reviewed their shows (favorably) for Artnews magazine. Arriving in New York in 1951, he took a job selling postcards at the Museum of Modern Art, where he ended up as a high-ranked curator. His zealous promotion of the work of his friends and lovers today might be called a conflict of interest, but, in the 50's, contemporary art was worth so little money, there was no opportunity for improper gain.
As a champion of avant-garde artists, O'Hara was admirably eclectic (and unsexist), an anomaly in an age when other writers were bullishly taking sides. The leading critics of the 50's tended to behave like campaign managers determined to get their candidates into office. Clement Greenberg led the Pollock camp, while Harold Rosenberg stood squarely behind de Kooning. It did not seem to occur to them that in art, unlike government, there can be two kings, or 20 kings.
O'Hara, however, was aware of this. He was aware that the world is not a small place and can accommodate artists of different and even opposing styles. Did he have perfect taste? He made the question seem irrelevant. Instead of a good eye, he prided himself on his welcoming heart. This doesn't mean he loved every new painting he saw. His basic allegiance was to the unslick, opulently emotive art of the 50's, to 10th Street as opposed to Madison Avenue. Tellingly, he did not care for Warhol, describing him as ''chi-chi'' and ''walleyed.'' Warhol once tried to score points with O'Hara by giving him a painting of Marilyn Monroe as a gift. O'Hara stuck it in his closet.
Officially, O'Hara belongs to the New York School of poetry; the best way to sum up his style is to say that his poems provide sustained fun. They have a casual, colloquial tone, and they elevate the least likely subjects -- gossip, phone numbers, wisecracks from his friends -- into the stuff of art. He had no interest in musing on traditional poetic themes like nature and the sublime. ''I can't even enjoy a blade of grass unless I know there's a subway handy,'' he noted wryly in one poem.


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Three members of the Sturgis baseball team received post season honors. Chance Stewart and Jarred Finnerman were both named to the SMAC All Division Team. Jalen Cox was named to the All Division Honorable Mention Team. Pictured top is Finnerman. Bottom left, Stewart and bottom right is Cox.
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text:
Feldman's (Unorthodox) second memoir examines her life after leaving the Hasidic community in which she was raised. After settling in New England with her six-year-old son, Isaac, she begins a search for personal history and identity. This personal journey is also a physical one as Feldman sets off on many excursions. She takes Isaac to Cordoba, Spain, where she is horrified to learn that are only 10 Jews left in the city. Feldman travels to Hungary where her grandmother, a holocaust survivor, was born, in the search for "something along the lines of closure." Her adventures are presented out of chronological order—a choice that makes the story confusing—and include France, Austria, Germany, and a cross-country drive. Her most intriguing explorations are often the domestic ones. While visiting a Sarah Lawrence classmate in the Southwest, for example, Feldman meets her first "authentic Republican" and takes her first bite of shrimp in front of an eager audience. In New Orleans she falls in love with Conor, a "redneck with a shotgun collection." Her most surprising love affair is with Markus, whom she first encounters online and meets in-person in Germany. Markus, descended from Nazis, admits that "is grandmother had boasted about kissing Hitler's hand." Feldman richly describes her triumph following her "escape" from a restrictive way of life. Agent: Patricia van der Leun, The Patricia van der Leun Literary Agency. (Mar.)
Exodus: A Memoirby Deborah Feldman
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In 2009, at the age of twenty-three, Deborah Feldman packed up her young son and their few possessions and walked away from her insular Hasidic roots. She was determined to forge a better life for herself, away from the rampant oppression, abuse, and isolation of her Satmar upbringing in Williamsburg, Brooklyn. Out of her experience came the incendiary, bestselling
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In 2009, at the age of twenty-three, Deborah Feldman packed up her young son and their few possessions and walked away from her insular Hasidic roots. She was determined to forge a better life for herself, away from the rampant oppression, abuse, and isolation of her Satmar upbringing in Williamsburg, Brooklyn. Out of her experience came the incendiary, bestselling memoir Unorthodox, and now, just a few years later, Feldman has embarked on a triumphant journey of self-discovery—a journey in which she begins life anew as a single mother, an independent woman, and a religious refugee.
Taking her cues from favorite childhood books read in secret and the modern classics only recently introduced to her, Feldman explores the United States, from San Francisco to Chicago, New Orleans, and the Southwest. In her travels, and at home, Feldman redefines her sense of identity—no longer Orthodox, she comes to terms with her Jewishness by discovering a world of like-minded outcasts and misfits committed to self-acceptance and healing. Inwardly, Feldman has navigated remarkable experiences: raising her son in the "real" world, finding solace and solitude in a writing career, and searching for love. Culminating in an unforgettable trip across Europe to retrace her grandmother's life during the Holocaust, Exodus is a deeply moving exploration of the mysterious bonds that tie us to family and religion, the bonds we must sometimes break to find our true selves. Feldman proves herself again to be a captivating storyteller, and her singular life has been an inspiration to countless others and for readers everywhere.
Editorial Reviews
Feldman's (Unorthodox) second memoir examines her life after leaving the Hasidic community in which she was raised. After settling in New England with her six-year-old son, Isaac, she begins a search for personal history and identity. This personal journey is also a physical one as Feldman sets off on many excursions. She takes Isaac to Cordoba, Spain, where she is horrified to learn that are only 10 Jews left in the city. Feldman travels to Hungary where her grandmother, a holocaust survivor, was born, in the search for "something along the lines of closure." Her adventures are presented out of chronological order—a choice that makes the story confusing—and include France, Austria, Germany, and a cross-country drive. Her most intriguing explorations are often the domestic ones. While visiting a Sarah Lawrence classmate in the Southwest, for example, Feldman meets her first "authentic Republican" and takes her first bite of shrimp in front of an eager audience. In New Orleans she falls in love with Conor, a "redneck with a shotgun collection." Her most surprising love affair is with Markus, whom she first encounters online and meets in-person in Germany. Markus, descended from Nazis, admits that "is grandmother had boasted about kissing Hitler's hand." Feldman richly describes her triumph following her "escape" from a restrictive way of life. Agent: Patricia van der Leun, The Patricia van der Leun Literary Agency. (Mar.)
"Feldman's journey is undeniably and explicitly Jewish, but the aching need to find both a welcoming community and a sense of individuality is one that readers from all walks of life will be able to identify with. Those left unsatisfied with the abrupt ending to Unorthodox will enjoy the more hopeful conclusion to Feldman's second book as well as her more mature and increasingly eloquent writing style."—Booklist
"Overall, Exodus is a satisfying sequel to Unorthodox, which shows how Deborah Feldman went on to the next step after getting her own freedom from the bonds of a strictly insular society….[a] chronicle of a continuing journey of self-discovery…There are many satisfying finds and revelations along the road, but there are also plenty of bumps, frustrations, disappointments and pitfalls, which is expected when one spends their formative years being closed off from the rest of the outside world, and is confined to the boundaries of a Brooklyn neighborhood….this book is more about the liberation of Deborah Feldman, and how she copes with this newfound sense of freedom and self-discovery, that can be a shock to some, or a declaration of independence for others."
—Stuart Nulman, Montreal Times
"In her first memoir, Unorthodox, Feldman made the courageous choice to cut off ties with her family and the Satmar community of Williamsburg, Brooklyn…Now a divorced woman in her 20s, Feldman chronicles the next phase of her life in her new book [Exodus]….a quest of self-discovery…Some of the most powerful scenes come when Feldman retraces the path of her female ancestors in Hungary and confronts the anti-Semitism of contemporary Europe….Feldman ultimately discovers that her rightful place is wherever she happens to be."
—The New York Times Book Review
As she recounted in her eye-opening memoir, Unorthodox, a New York Times best seller, Feldman was raised in a strict Satmar Hasidic community in Brooklyn but eventually abandoned her roots and a loveless marriage, attending Sarah Lawrence College and becoming a writer. Here she continues her story, explaining what it has been like to build a life as a single mother, away from everything she knew, and rethinking her Jewish identity in a way that works for her. Another celebration of independence; with a nine-city tour.
One woman's search to understand herself and her Jewish heritage. Raised under the strict rules of a Satmar Hasidic Jewish community in Brooklyn, Feldman (Unorthodox: The Scandalous Rejection of My Hasidic Roots, 2012) had no clue how tightknit that community was when she decided to leave her marriage and a man she didn't love with her young son and find a new life. "Leaving, to me felt like climbing a tremendous hill," writes the author, "one of those steep inclines that becomes almost treacherous in that the more momentum you build while racing down it, the more difficult it becomes to stop safely." She found herself an outcast from the Jewish system she'd been raised in and an outsider to the rest of the world, which often could not see beyond her apparent Jewish features. Unable to fathom life in hectic Brooklyn, Feldman pulled up stakes and moved to the countryside. Rich in details of Jewish life and the lives of her grandparents in the World War II era, the author sensitively portrays the inner struggles of accepting the pervasive feeling of survivor guilt and her own desires to understand the woman she was becoming. Feldman juxtaposes painfully emotional moments in concentration camps and in European towns where evidence of Jewish settlers was practically erased with humorous, almost macabre playacting scenarios with a German lover, scenarios that only added to Feldman's confusion over her own identity. The overall effect is captivating, entertaining and informative, providing readers with an honest assessment of the strength of one's convictions and the effect a strict religious background can have on a person. An enthralling account of how one Orthodox Jewish woman turned her back on her religion and found genuineness and validity in her new life.
Product Details
- 9780399162770
- Publisher:
- Penguin Publishing Group
- Publication date:
- 03/25/2014
- Pages:
- 304
- Product dimensions:
- 5.60(w) x 8.50(h) x 1.20(d)
- Age Range:
- 18 Years
Read an Excerpt
***This excerpt is from an advance uncorrected proof.***
Copyright © 2014 by Deborah Feldman
There she is, just across the street, sulking on the stoop. Seven years old, skin pale almost to the point of translucence, lips pursed into a sullen pout. She stares gloomily at the silver Mary Janes on her feet, the tips of which catch the last rays of sunlight quickly fading behind the three-story brownstone.
She has been scrubbed and primped in preparation for Passover, soon to arrive. Her hair hurts where it's been pulled too tight into a bun at the top of her head. She feels each strand stretching from its inflamed follicle, especially at the nape of her neck, where an early-spring breeze raises goose bumps on the exposed skin. Her hands are folded into the lap of her brand-new purple dress, with peonies and violets splashed wildly on the fabric, smocking at the chest, and a sash tied around the waist. There are new white tights stretched over her thin legs.
This little side street in Williamsburg, Brooklyn, usually bustling with black-clad men carrying prayer books, is momentarily silent and empty, its residents indoors making preparations for the evening. The little girl has managed to sneak away in the rush, to sit alone across from the young pear tree the neighbors planted a few years ago after carving out a square of beige dirt in the stretch of lifeless asphalt. Now it f lowers gently, bulbous white blossoms dangling precariously from its boughs.
I cross the street toward her. No cars come. The silence is magnificent, enormous. She doesn't seem to notice me approaching, nor does she look up when I sit down next to her on the stoop. I look at her face and know instantly, with the pain of a punch to the gut, exactly how long it's been since there was a smile on it.
I put my arm around her shoulder, ever so gently, as if she might break from the weight, and I whisper into her ear, "Everything is going to be fine."
She turns and looks at me for the first time, her face a mask of distrust.
"It's going to be just fine. I promise."
Snap. The hypnotherapist wakes me by clicking her fingers together in a classic stage move.
"You did good," she says. "Go home and try to have sex tonight. Let me know what happens. I have a feeling we've fixed the problem. Not completely, but enough for now."
I get out of the chair, feeling dizzy and disoriented. The little girl in the purple dress recedes rapidly from my memory, even as I grasp for her in my wakeful state. What did we talk about? I can't remember. Did she tell us anything? Does the doctor know something about my past now, something that I don't?
Never mind. The important thing is, did it really work?
It's been a year since my husband and I crossed the threshold into our new home and our new life, only to discover that our most important purpose as a couple could not be fulfilled: procreation. Repeated attempts and numerous medical opinions have only served to confuse us further; it's as if a wall has been erected inside me. Could this be the miracle cure I've been waiting for? Will I really be able to go home tonight and finally consummate my marriage?
I often wonder why I went back to that day, when the hypnotherapist instructed me to find some version of my childhood self to reassure. It's always the child lurking within us that rebels, that sulks, that angrily demands our attention. On that day, however, I was quiet and internal. Everyone around me was caught up in their work, and I was allowed to move about, feeling temporarily forgotten. It was not a moment of great injury.
But someone had photographed me earlier. I remember posing in the garden, being coaxed and prodded into a portrait of pleasantness. I saw the photo some years later, and in it I was cringing as if afraid. My brow was furrowed and my shoulders were raised in a guarded posture. It seemed as if there was a person on the other side of the camera making a threat.
The hypnotherapist had asked me to go back as far as I could, and that's where I went, to the moment the f lash went off and I was temporarily blinded, unable to see the person behind the camera, unable to recall that person later. But I could not approach her there, in the garden, while she was being watched, so I waited for that quiet, private moment that I knew would follow, so that I could pass on the information as instructed.
The exercise was supposed to heal the wound that had been inflicted so long ago, the one that had eaten so deep into my subconscious that it had managed to seep into my muscles themselves, sealing them shut. Which particular injury had caused the damage I did not know, but the therapist had assured me that all I needed to do was find my wounded self and console her, and the rest would take care of itself.
All these years later, even though I've left my marriage and my community and am raising my own child far away from Brooklyn, I still go back to that little girl. I have so much more to share with her now.
I ask her, "Did you ever think this is where we'd be?"
I'd always dreamed of living by the water. I had glimpsed the ocean only a few times during my urban, closeted childhood in the Satmar community in Williamsburg. My days were spent on asphalt, which would swell in the heat of summer and give off an acrid odor. Trucks would rattle over potholes patched with metal plates, their exhaust poisoning the air. The serenity of the ocean seemed remote, when in fact the sea split into brooding gray serpents that snaked around us from all sides.
I often painted elaborate fairy-tale endings for myself in my mind, inserting myself into grand, ramshackle beach houses, secluded island retreats, houses on stilts with rivers f lowing beneath them. Not once during my daydreams did I place my future self in the tenement apartment I was most likely to end up in. The memory of those delightful visions returned to me in the summer of 2012, as I searched for the first place that would truly be my home and suddenly realized that those dreams weren't so unrealistic anymore.
Yet proximity to water wasn't on the short list of requirements I presented to my broker, who specialized in the unique corner of rural New England I was scouting, an area where three states converged, yet which seemed to boast very little of each of them in terms of identity. The area was partly occupied by urbanites who kept a place in the country and embraced by the parents who had moved there for the private schools. After a tumultuous three-year period in Manhattan, during which I had struggled to get my divorce and establish a custody agreement, this seemed like a place to do that which needed doing, the raising of a child, the healing of one's wounds.
The broker, John, picked me up in his old converted Rover; the windows and roof had been removed, and only the supports, wrapped in padded leather fabric, remained. I climbed up into the passenger seat and gripped the roof frame while we jostled along country roads. A field of sunflowers appeared on the right as we drove up a steep hill, only to gaze down an even greater drop on the other side, clear to a river and the verdant mountains beyond. We turned a corner and passed a meadow upon which strange-looking cows were grazing. They had shaggy straight hair, which spilled over their eyes in tufts, and looked almost like sheep in need of a shearing.
"Those are Scottish Highlanders," John informed me. "They're the hardiest of all cows; they can plow any field. No territory is too harsh for them. Great for beginners," he joked. "You should try raising some up here."
This then, was the place for me, I thought, a place where the hardiest of species could thrive on the rockiest of foundations, a place for beginners.
I looked at a few houses; each had some f law or another. Then we drove down a dead-end street near town, to the very last driveway, which swung up and around a grove of evergreens, and there it was: a modestly sized contemporary house on a hill overlooking a large lake. It was one of those moments in life when you just know. I went through the motions; the broker insisted it wasn't a sure thing, but I knew it was.
The most powerful thing about living on the water, I would soon learn, is that one is forced into a perpetual relationship with a mirror—a reflective surface in some way quite literal and in many other ways deeply spiritual. Contemplating water somehow has the effect of forcing one to contemplate oneself. A good thing, if one's self needs fixing.
We moved in over the summer. It was a glorious time. Isaac, then six years old, swam in the lake every day. We lay on the dock and peered over the edge to see the sunfish and perch sheltering beneath. He collected snail shells, he tried to skip rocks but rarely succeeded, he spied on rabbits making short work of leafy plants. Every evening the sun would set in magnificent colors over the water, the lake would seem stiller somehow, and the world would get very quiet. I watched, pretzel-legged on the grass, as the last of the pink glow faded, and the crickets assumed their nightly routine. The madness of Manhattan seemed very far away.
This sense of quiet in my life was very new and, as yet, out of character. My friend Heather used to remark, back when we attended Sarah Lawrence together, that I drove like a bat out of hell. It wasn't that my aggressive maneuvering around New York traffic bothered her; it was just her way of describing, rather endearingly, my general approach to life after a reckless escape from an arranged marriage in a sheltered community. I was constantly shooting off in every direction, arriving at every destination as if I had a trail of cartoon dust clouds behind me.
I thought a lot about that expression, "bat out of hell," in the early days after making the big move to the country. Growing up we had a similar saying in Yiddish that essentially translates to "a cow out of the stall." It was used to describe a Hasidic Jew who had left the community, likening the person's behavior to that of a cow suddenly let loose after a lifetime of imprisonment. It was believed that such cows were most likely to charge madcap down a hill to their deaths. Hasidic rebels reportedly indulged in wild, drug-abusing lifestyles that inevitably ended in ruin, similar to the cow's doomed trajectory. Freedom posed an especial danger, the adage emphasized, to those who had never previously experienced it.
This saying, scornfully evoked when the conversation turned to the subject of the few known rebels in our society, irritated me greatly as a child. Didn't the phrase do more to point out the failings of life in a stall than the dangers of freedom? Wasn't it clear that the cow would have been better off grazing freely in the first place?
Never mind. If I were a cow out of a stall, then I would be a Scottish Highlander, capable of making it even in the most dangerous terrain, I told myself. There would be no fatal fall for me, no catapulting off a cliff.
I will admit that people like me do go a little overboard immediately after leaving. We do it for many reasons. For one, we don't know any better. It's like we never learned how to move around at all, having been stuck in one place for so long that we can't get our sea legs. We can't quite master a steady gait. Another reason: You know after World War II, when the concentration camps were liberated, how some people gorged on food and died from shock? Deprivation can make you crazy, desperate. I walked around with that post-deprivation feeling for a long time, gorging inappropriately on every experience with the underlying fear that it would be snatched from me before I could get my fill. But the truth is, even without those reasons, we still run from our stalls as fast as we can, just because we can. Because the feeling of being free is so incredible, so intoxicating, we don't want to meander our way through it. We want to race down that mountain, wind whipping past our ears, whooping loudly in triumph.
Leaving, to me, felt like climbing a tremendous hill, one of those steep inclines that becomes almost treacherous in that the more momentum you build while racing down it, the more difficult it becomes to stop safely. If you've ever biked up a hill only to zip freakishly fast down the other side of it, which I did for the first time the summer my son and I moved to the country, you'll understand what I mean. The wonderful thing about it is the natural leveling of the ground that occurs at the bottom. And eventually, we all do hit bottom, and not in the way of the cliché, which I've always disliked. (The bottom is a good thing. Who decided otherwise?)
When you hit bottom, and your bicycle tires spin more slowly, or your awkward, close-together steps become longer and looser, you've hit your stride. You've found your gait. And everything is A-OK. You get a silly smile on your face at the memory of how you felt f lying down the hill, and you think, man, I am awesome for doing that.
Let me be clear: my life, right now, is amazing. I have everything I ever dreamed of, and I never forget just how lucky I am to have achieved it. But my feelings have been failing to catch on to the changes in my life; in some ways my brain is still stuck in the past. When I finally went to a psychiatrist to receive a formal diagnosis on the list of mental illnesses I was so sure I suffered from, the verdict of post-traumatic stress disorder seemed almost anticlimactic.
It might not even be that, the psychiatrist said, recommending talk therapy and nothing else. It could just be an adjustment disorder. Those things go away in six months, he said.
And yet, I was having bad dreams every night, waking up each morning enveloped by feelings of dread, and I panicked secretly when in groups or crowds. None of this was consistent with the calm and fulfilling existence I had begun living.
How to describe this feeling? A form of displacement, like being unable to see yourself in a photograph of a scene you remember being part of, or looking at the spot on the map where you know you live but being unable to find the street. Somehow you've been erased, as if it were all a dream. I had begun, since leaving, to see life as an enormous grid, a cross-section of human connections. Every man and woman appeared as a plotted point on an intricate map, lines drawn between them and close family members, longer lines waiting to rush through open tunnels on the grid to anchor friends, neighbors, lovers, even acquaintances. Wherever I looked, I saw the invisible threads that connected people; every person seemed to have their grid firmly and inextricably in place. And I thought of that saying "No man is an island" and wondered how long I'd survive without a grid of my own, and if it was even possible to rebuild one from scratch.
Maybe my residual angst is actually predicated on a real experience, not just leftover trauma. Is it the experience of being dislodged from the grid? Funny, since I can't ever remember having been securely fixed on it, and I have a niggling fear that my birth was a mistake, like a computer glitch that left me permanently disconnected, smack in the middle of a no-man's-land between points, with no ability to form real and lasting connections. The system that everyone else uses seems closed off to me.
I suspect I'm not the average loner. For my entire life I have occupied an enclosed mental space that no one has managed to penetrate. I have grown "close" to people in the sense that we have been in each other's proximity, but never close enough for those walls to come down. Ask people who know me and they will confirm that in a whole manner of ways. Is it just a coincidence, I wonder, that many of my most beloved friends live in different states, or that the meaningful romances in my life have been long-distance relationships?
Perhaps I've chosen loneliness because it is my language. I don't want it to be, but it's the only condition that feels familiar to me, and somehow safe. Of course I'd like to earn my rightful place on that grid, no matter how poorly plotted my location, because this feeling of placement that I'm searching for—well, that's a basic human right. So I'm going to try to figure out how to fight my way in, even though I've been thoroughly trained to fear being a fully realized part of the outside world with every fiber of my being. I don't yet know where I'll end up—in fact I'm starting to realize that the process may be more complex and time-consuming than I'd suspected—but if there's something I'm sure of, it's that the process itself is worth it. Sometimes it's only through pain that we feel alive; better to have that than no sensation at all.
What People are saying about this
"Feldman's journey is undeniably and explicitly Jewish, but the aching need to find both a welcoming community and a sense of individuality is one that readers from all walks of life will be able to identify with. Those left unsatisfied with the abrupt ending to Unorthodox will enjoy the more hopeful conclusion to Feldman's second book as well as her more mature and increasingly eloquent writing style."—Booklist
Meet the Author
Deborah Feldman was raised in the Satmar Hasidic community in Williamsburg, Brooklyn. Her first memoir, Unorthodox, was a New York Times bestseller. She is twenty-seven years old and lives in New England with her son, where she is currently working on her next book.
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I really enjoyed Unorthodox and was excited to see Ms. Feldman's new book out. I enjoyed Exodus but it didn't tell the same interesting story that Unorthodox did. In Unorthodox, the reader was exposed to a world most are unfamiliar with and we cheered Ms. Feldman on when she broke free from the Satmars. In Exodus, while very well written, it wasn't nearly as interesting to read about Ms. Feldman's dealings with the outside world. I enjoyed how she described changing her clothes before class in Unorthodox to try to fit in - I was hoping for more stories like that, highlighting the world she was leaving and the one she was choosing to enter. She is haunted by anyone and anything German and is obsessed with the Nazis and the evil they did - while totally understandable, the way it is written gets old. I think Ms. Feldman is a wonderful writer and I am in awe of the suffering she has had in her life and how she has turned it into such a positive. I will look forward to the next piece she writes.
Deborah Feldman is a truly engaging author. I read Unorthodox and found it truly eye-opening. Now in her follow up Deborah takes us along on her journey of self-discovery. The writing is emotional and engaging. Deborah takes us on a cross country journey in which she searches for identity. It is a truly great book.
When i read Unorthodox i was more intrigued...this book bored me
I am having a hard time staying engaged with this book. It is a very slow read and I don't feel that the true essence of the book is being captured.


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A "field of dreams" takes root in West Oakland
After the urban farm is up and running, further plans include a fitness center, a tech business, a juice bar, athletic shoe and clothing manufacturing companies.
Minnesota wolves hounded as hunting licenses increase
At a time when wolves are only just starting to make a comeback in some states, these actions have fueled a climate of concern and outrage.
At state park, fight is on to stop mountaintop removal
The Kanawha Forest Coalition is desperately fighting a mountaintop removal project just outside of Kanawha State Forest, a state park in Loudendale, West Virginia.
On climate train, green architect talks blueprints for future
It's not just about reforming building regulations and materials, or outfitting buildings with snappy new energy-efficient technology, we also need to get everybody on board.
From trains to streets, Climate March moved people
From the Chicago climate train full of activists, to the People's Climate March itself, every person there seemed to feel passionately about a particular environmental issue.
Climate Train riders make their voices heard
"This march is about putting yourself on the front lines - to let citizens, corporations, and government know what you think, what you want, and how you feel."
California to dispose of plastic bags
"Data from the over 121 local plastic bag bans in California has proven that bans are effective nd have refuted industry's claims of apocalyptic impacts on jobs."
Oil spill on Ohio River
Cleanup crews are working to gather and dispose of the oil, and the U.S. Coast Guard has closed a 15-mile stretch of the Ohio River.
New Jersey's Passaic River may receive $1.7 billion cleanup
The operation would seek to undo decades' worth of toxicity, mostly caused by nearly a century of industrial activity, including illegal dumping.
Activists, unionists protest oil-by-rail
The protest was about the risks posed to workers and people in general: Tthe Lac-Megantic oil train tragedy that killed 47 people was still fresh in the minds of many.


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Yoohoo simpleminds and UP Lady Maroons fans, heto na ang thread natin!
simpleminds, ang mga pictures please!
Check out our official PEx movie review here. You still have time to watch Ghostbusters now!read more
Sa muling pagbubukas ng kaharian, ano ang pinaka inaabangan mo? Encantadics unite!read more
Get a chance to be featured here in PinoyExchange. Share us your travel blog entries in this thread!read more
Muling nagbubukas ang bahay ni kuya! Ano ang pinaka inaabangan mo sa season na ito? Makigulo na dito!read more
Veteran floor defender is the 4th Pinay to join the 2016 FIVB Club World Championships national squad! Who will complete the cast?read more
Join the promo for a chance to win movie items from Jason Bourne! Check this thread for more details.read more
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The UP Lady Maroons won the first UAAP volleyball title back in 1939. They currently hold 8 titles, with the present lineup lead by team captain Angeli Araneta.
Yoohoo simpleminds and UP Lady Maroons fans, heto na ang thread natin!
simpleminds, ang mga pictures please!
You guys should check her multiply account...
Lady Maroons line-up
2 - MONTERO, Rebecca Gail
3 - CASTAÑEDA, Danielle Michiko
5 - NARIO, Patricia Myrr
6 - LUCINDO, Clarize Dominic
7 - TAROMA, Ma. Criscel
8 - MANUKAY, Miah Rose
9 - CRESCINI, France Astrud
10 - HERNANDEZ, Jolina Rae
11 - BARCELON, Carmina Teresita
12 - QUEJAS, Marie Eileen
13 - ISADA, Amanda Christina
14 - ACEPCION, Lea
15 - TAN, Toni Faye
18 - LOPEZ, Carmela
Guys, heard that Jed Montero got injured during practice. Kindly join me in wishing her a speedy recovery. Get well soon Ms. Montero!
my waking up really early sana this morning to watch the up-ust
game. problem is a went home late so overslept kanina.
so, Bboy... we'll have to be contented muna with some repost
just to spice up this thread. but as promised, i'll add more pics
once i got the time to.
let's start with the montero loving. (get well soon, jed!)
toni tan... though from the looks of her di mo mati-trace chinese lineage. iba ang dating.
if jed is bubbly, eto mukhang kikay naman.
Bomberboy, Bahay_Kubo, et al... please provide some info, insight, sidelights naman about
them, for us new to the UP ladies appreciation society.
more jed montero:
Last edited by simpleminds; Jan 30, 2008 at 01:53 PM.
panalong panalo ang thread na ito!
pagaling ka, Jed. sana magkita tayo sa CHK mamaya.
Ah, Jed Montero pala name nya.
More pics please.
yeah, i need those nicknames in my stories...hehe! mahirap kasi, baka akala hindi sila...like maria rosario...carmina denise...rissa jane...jacquiline...denise patricia...maria abigail...ayun!
bakit nga kaya:
- maria angeli (tabaquero)
- rebecca gail (montero)
- toni faye (tan)
- denise patricia (tan)
- maria rosario (soriano)
- danielle michiko (castaneda)
- rachel ann (daquis)
- jolina rae (hernandez)
- etc...
me kaugnayan ba sa galing yung number of names mo?
o ayan, i am a man of my words... so i'll keep my promise of more pictures, ha!? mga UP ladies
team lovers...... P-A-S-O-K!!!
Last edited by simpleminds; Jan 30, 2008 at 10:47 PM.
nice pictures.. post more! haha
About Montero's injury, what happened? I hope she recovers soon though, she's creating a new hype eh..
well... she dropped by my site a few minutes ago and i said for her to get well soon. she hasn't replied yet but i also asked for her to visit us in this thread. hope she gets to stray here too and update us on her and her team's conditions.
(sana di magalit)
anyway, tuloy tayo with the parade of the up wvt players. next would be ms. carmela lopez
wearing jersey #18:
here's ms. lopez with ms. castaneda naman.
simpleminds, thanks for the great photos of Jed Montero. this young lady is starting to become one of the "crushes ng bayan" in UAAP volleyball. hindi na ako dapat magtaka kung magkaroon ng malaking following ang batang ito sa mga fans ng volleyball at ng UP.
ayan oh ----> (me hawig, di ba?)
haaay... sweet and bubbly talaga.
i checked out jed's friendster account... ang dami niyang friends!!! sana maging friends din kami!
seriously, she's from jasms pala and i think she does modeling on the side too.
the vleague site also has some nice pictures of the up lady maroons, too bad nakakahiya lang kumuha dun.
anyway, more power to the lady maroons! i don't care what your record is and you'll always be my favorite team.
hope that someone can post more information about them kikay lady maroons!
^ link naman dyan sa personal site ni Jed Montero.
Banned by Admin


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Thor Pez Dispenser Makes a Hilarious Cameo in the Thor Movie NSFW [VIDEO]
It's one of the best parody movie cameos I think I've ever seen! Thor the movie was a great film, both of them but they would have been a lot better if they had included the Thor Pez dispenser! It's like watching a totally different movie. Maybe we'll see an official part in Thor 3?


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Sleeps: 14/
Type: House
Book this 4 bedroom, 3 bathroom house in Hot Springs today! A total of 14 people can sleep here comfortably. This property has been booked 1 times.
Guests can enjoy a hot tub, parking space, and dishwasher among other amenities offered by this rental.
Travelers are sharing their opinions on this property. It has an overall rating of 3/5 thanks to an average of 5 reviews.
Costs vary, with the average weekly rate as low as $2,450.00 to as high as $3,500.00, depending on travel dates.
The owner last updated the property's calendar today.
About the manager
About the manager
Hot Springs Vacation Rentals
Hot Springs Vacation Rentals
- Response rate: n/a
- Response time: n/a
- Calendar updated: today
Overall rating:
3.6 / 5.0
More properties Call: +1-844-693-6193
Proximity to TripAdvisor's Top Hot Springs Attractions
Proximity to TripAdvisor's Top Hot Springs Attractions
Reviews (0)
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In light of recent events, including the shooting deaths of three police officers by a former Marine in Baton Rouge, La. over the weekend, USA is further postponing its new drama Shooter. The drama starring
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Chaos briefly engulfed the floor of the Republican National Convention in Cleveland on Monday as Never Trump delegates from multiple states urged for a roll-call vote on a measure unbinding delegates.
The Trump brand is based on luxury, so Noonan, his co-worker Douglas Cameron and Mexican-born artist Roxana Casillas created the hut to illustrate the absurdity, as they see it, of the businessman's candidacy.
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Cheboygan Directory
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Top Definition
I was up all night analysing an analyse
by GIJOExRECOIL March 08, 2011
Trending Now
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by needyou14 January 21, 2012