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Since 1977, JGB has been a leading supplier of hoses and hose assemblies for commercial and military applications throughout the world.
We provide solutions for Industrial, Hydraulic, Fire protection, Food, Petroleum, Oilfield, Snow Making, Paint Spray, Concrete Pumping, Aircraft Refueling and many other industries.
JGB specializes in the supply of aviation refueling hose to major truck refuelers, OEM Manufacturers, and equipment dealers throughout the world.
JGB Enterprises Inc has been providing value-added products and services to industries all over the country. Our core focus is providing high quality hoses, fittings, assemblies, adapters, accessories and kits to many markets.
Our relationships with over 1,600 suppliers enable us to supply you with virtually any hose imaginable, even hard to find hoses. We can fill requirements that call for hoses from Continental Hose, BF Goodrich, Uniroyal, and HK Porter.
JGB's corporate office in Liverpool, NY, has a unique ability to fabricate and repair custom assemblies, with our experts in welding, engineering, and combined fabrication experience of over 100 years; we welcome your most difficult requirements.


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Get Tickets
Jeff Garcia (Special Event)
Show Details
- Ticket Price: $0.00
- Show Type: Stand Up
- Tags: Stand Up Comedy, Latino, Special Events
21 & over
Two drink minimum
Special Event
Tempe Improv 930 E University Dr Tempe, AZ 85281
Jeff Garcia is a 22 year comedy vet with over 50 TV appearances including Comics Unleashed, Jimmy Kimmel Live, Star Search and Comic Justice. He's also headlined his own half hour Comedy Central special and two Showtime specials; The Ten Dollar Ticket and Jeff Garcia's Low Budget Madness.
Jeff was voted Variety Magazine's Top 10 Comics To Watch amongst such notable names as Dane Cook and Wanda Sykes! His DVD series Latin Comedy Fiesta has been an underground hit for over 8 years and because of its success, he has just signed a deal to create another Latin comedy series of DVDs.
Besides a rewarding standup comedy career, Jeff has also enjoyed an illustrious voice-over career, which includes the Oscar nominated film Jimmy Neutron Boy Genius and the Oscar award winning Happy Feet. As the character, "Sheen Estevez" he's enjoyed two spin-off series on Nickelodeon including his own show, Planet Sheen. He also returned to voice the character "Rinaldo" in the sequel Happy Feet 2. In Steve Odekerks animated feature Barnyard, Jeff valso oiced the role of "Pip" the mouse and returned to voice the same character in the spin-off series.
Not leaving his passion for voice-over acting, Jeff has started a new chapter in his career by moving to the on-camera side of the industry. He was just given the opportunity for a supporting acting role in Entertainment Studios newest sitcom, Mr. Box Office as the wise cracking teacher's assistant "Freddie Lopez." Entertainment Studios reports 104 episodes have been purchased, with episodes to start airing in the Fall of 2012.
Performing Artists (Click on Artist for Reviews and Previews)
Purchase Tickets
Jeff Garcia
Friday, August 09, 2013 7:30 PM
Tempe Improv, Tempe, AZ
- 21 & over
- Two drink minimum
- Special Event

subset: commoncrawl


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Nothing better than having TWICE as many GOOG shares at HALF the pre-split stock price!!!
Sentiment: Strong Buy
I'm looking forward to the split soon!
I think that's why goog has been running wild for weeks now. Big guys know and that's why they are loading rightnow. I bought puts on the assumption that nothing can go up forever, but i think i am about to bite the dust if they do a split. I think it is imminent because the floast is only 370MM. I am waiting for a down day to close my puts. Let's hope we see one or maybe two before the earnings.


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|[TenTec] Contesting and the OMNI-VI+
|firstname.lastname@example.com (Jim Reid)
|Sat, 5 Sep 1998 08:31:01 -1000
-----Original Message----- From: JAMES T BRANNIGAN <email@example.com> To: Dale L. Martin <email@example.com>; Ten-Tec Reflector <firstname.lastname@example.com> To: <firstname.lastname@example.com> Date: Saturday, September 05, 1998 8:24 AM Subject: Re: [TenTec] CT 9.37 and OMNI-VI+ > >>>For some strange reason the OMNI-VI is not a favorite of >>contesters.. >ICOM's and the YAESU FT-1000's seem to be the rig of choice for the big >contest stations... There has been quite a discussion in CQ-Contest magazine last year on this topic. It has mostly to do with how the incremental tuning operates on the Omni. As I recall, not positive, there exists some prohibited time, when you are doing something else, maybe listening to the DX on split, the transmittal incremental tuning will not operate, or something like that. As a result of this prolonged dialogue, few issues of the mag, and maybe on the CQ-contest reflector, a letter was sent to Ten Tec describing whatever the changes the "Contest Community" had decided they would like to see. Seems later on, that something was in the magazine/ on the reflector that Ten Tec was pretty much ignoring the raised issues, or had chosen not to bother, or something. Anyway, for whatever it is worth, those are my recollections, and they are probably certainly not completely correct nor complete! 73, Jim, KH7M -- FAQ on WWW: http://www.contesting.com/tentecfaq.htm Submissions: email@example.com Administrative requests: firstname.lastname@example.com Problems: firstname.lastname@example.com Search: http://www.contesting.com/km9p/search.htm
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Re: "Put up symbols of all faiths" Tuesday, June 11. I'm sorry but religion brings argument of beliefs and only serves to distract from important relevant school curriculum.
A cross only conjures up the brutality around it, which isn't good for young growing minds. The crucifixion of Christ was a senseless act of murder. Had he been allowed to live and educate families on how to raise children, we'd all be better off for it.
Instead of a cross or, worse again, a crucifix, why not put up a picture of the Madonna babe in arms and focus on eradicating bullying, which religion laid the ground for in a myriad of ways, by neglect and blatant abuse.
I heard of children nailing frogs to a piece of wood, I wonder where that idea came from? That is what happens when a young mind is brainwashed.
Mariam Walsh
St. John's


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Talk about a time warp.
On Wednesday, Derek Jeter didn't want at all to talk about his 40th birthday, which occurred Thursday. Well, if they say pictures are worth 1,000 words, this one's worth at least 20 years.
Watch above as the Yankees captain turns 40 in front of your face.


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Train Crash Leaves One Dead
Published November 29th, 2012
ORLANDO, Fl- A dump truck driver was killed after his vehicle collided with an Amtrak passenger train south of downtown Orlando.
An Amtrak spokesperson says six passengers and two crew members were taken to the hospital with minor injuries.
The train was traveling from New York to Miami when it collided with the dump truck.
The truck driver wasn't immediately identified.
There were 139 passengers on the train, and they will be taken to their final destinations by bus.
Some trains in Florida were delayed while crew members cleaned up the tracks.
Related Stories
- Train Accident in Ocala Leaves One Man Dead
- Two Struck By Train In Putnam County, One Dies
- 6-vehicle Crash Leaves at Least One Person Dead
- 6-Vehicle Crash Leaves One Person Dead
- Gainesville motorcycle crash leaves one dead
- Hit-and-Run Leaves Two Dead and One Critically Injured
- Shooting Leaves One Man Dead
- Shooting At Ocala Liquor Store Leaves One Dead & One Arrested
- Man critically injured in train accident
- Home invasion shooting leaves one dead and two others wounded


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The second item in this series of "Unloved Antiques" (the first edition is about Limited Edition Collectors Plates) is the Singer treadle sewing machine, an item that we receive inquires about virtually every week. The reason for the impression these machines have some great value is a mystery; one that's often fueled by a well-publicized sale of a rare, early example or a the much-repeated family tale about "a dealer who offered Grandma $1,000 for it 10 years ago and she turned him down flat."
Our best guess for this belief that these marvels of 19th century technology are of high value could be rooted in nostalgia and their vintage. Nearly everyone who has contacted us regarding these machines mentions a provenance to a great-grandmother or great aunt, who bought the machine, used, at the turn of the 19th century and lived to some great age, usually between 96 and 103. The impression in peoples' minds being that the mathematics of all this breaks the magic 100-years-old "Antique Barrier." The 100-year-mark, in many people's minds, correctly puts things like treadle Singers into the "antique" category but, unfortunately, it also mistakenly makes the assumption that Antique = Valuable.
With all things antique, items' values are based on a number of things, but the basics being "demand & supply," a reverse of the standard "supply and demand" equation used in the regular economy. The antique market differs from the regular economy for newly manufactured items because the supply of an individual antique item is always limited to how many were originally made. If demand and value for an antique item increases due to current decorating or collecting trends, there are no new factories put into production to create new antiques to fill demand; the only resupply are the forgotten pieces that turn up at auction or estate clearances. This is where the Singer machines fail the "valuable" test on both scores: the demand for all but the rarest examples is modest and the current supply is truly vast.
In the case of the Singer treadle sewing machines in general, production began in the early 1850s. Its introduction was deemed such a labor-saving breakthrough that any family that could afford to buy one did so. By the turn of the 19th century, production exceeded a million machines a year. The machine shown above, the Singer model 66, was introduced
about 1900 and remained in production until the 1950s. This one dates to 1910, just one of more than 80,000 model 66s made just that year. Its value? At auction, in "as found" condition, most comparable Singer treadles sell for less than $150.
Mike Wilcox, of Wilcox & Hall Appraisers, is a Worthologist who specializes in Art Nouveau and the Arts and Craft movement.
WorthPoint—Discover Your Hidden Wealth
This is a great series Mike. Please keep it up. It is the brutally honest antithesis of "Antiques Roadshow", "American Pickers" and "Pawn Stars". I'm looking forward to your articles on pressed glass, silver plate, 100-year-old text books, wood stoves and grandma's Sunday china.
Hi Liz,
Thanks for your comments, it's a topic the needed to be discussed in a way that's easy to understand in terms of how the market works and what determines value.
People certainly have the impression that old=expensive. It doesn't matter if it's a sewing machine or a hammer.
Maybe you should ave mentioned the web site where you can do a search on all Singer Sewing machines by serial number, this then gives hem an accurate date and location of manufacture.
Many people are removing the little side drawers from these machines and making miniature chest of drawers 2 and three wide for spices etc, the 2 drawer version always seems to attract about AU$200.00 depending o the quality of manufacture.
The remaining cast Iron legs are often seen attached to a marble top and used as an outdoor table. This will slowly reduce the numbers of complete machines over time.
I call that process "Value added Antiques", you take something that doesn't sell very well and use the components to make something that does. The bases from these machine have been used for cafe/pub tables for many years. We used to put marble or butcher block tops on them in the 1980's and sell them for about $150.00, the machines were picked up basically for free then or as part of a large picked lot.
As a person who sews with an old Singer & a new one, I can only say these machines may not have a high resale value as an antique, but as a sewing machine, are worth their weight in gold. My old Singer is worth more than the newer one. It sings along with no missed stiches. The only problem is no zig-zag stitch. As with many new items, the older model is better than new, that has it's own value.
This is a great subject & I am enjoying them very much. Thanks for the info & time you put into them. I look forward to the coming antiques in this group.
i have one of these sewing machines it just fell into my possession if you know anyone wanting to purchase it i am willing to sell all drawers and parts are there i even have a sewing table looks like a small bench seat
My aunt and my mom love these machines in the 1950's at never got rid of them. My aunt kept using hers until she couldn't anymore. They are still used in the third world, believe or not. I believe there are manufactured version in India. The gears and timing are built to last simple oiling and cleaning will keep them running, all parts.gears are steel machined to excellent standards. My mom had kept the table and installed a power electric version because it was so comfortable to sit at because of treadle, and she was a professional seamstress. I have seen the cast iron bases used as laptop tables with the original tops and drawers. The finish is veneered plywood and they tend to have a wonderful color. I have also seen the cast iron bases sold with/and without new tops as desks for living spaces. This I believe is the attraction, something old built to although not being used for is original purpose, but re-purposed to meet the modern needs. It is still better then Walmart computer desks and easy to convert.
My wife's aunt was a seamstress and we have her old machine, which was probably manufactured in the 1920's. Due to use, the cabinet is not is pristine condition, but it is a valued piece of furniture in our den. The estimate to restore the cabinet we received years ago far exceeded it's value, so we polished it as best we could and accepted the less than perfect condition. Above the Singer Sewing Machine is a framed poster of a similar machine.
Great articles, I especially loved the one about "collector plates" Finally some honesty about "antiques"
I must agree with Regina. I am still working with a 1918 Singer every chance I get to sew. It is much QUIETER than my newer portable electric (metal gears compared to plastic), much easier to control the speed, and doesn't need electric to run. I do miss a zig-zag stitch, light, and reverse. Other than that,it can't be improved on for service.
I grew up learning to sew on my Grandmother's Sears & Robuck Roman dated 1908, a wedding present. It was used so much that all the joints were worn from round holes to oval and couldn't be tightened. The shuttle bobbin case was worn to a "V" because we could never find a replacement. Noisy? Yes, and it still sewed miles of cloth!!!
There's a trendy clothing chain called Allsaints Spitafields whose windows and interiors are decorated (at all locations) with hundreds of old sewing machines. The manager of one store told me the company has a few full-time employees whose sole job is to acquire these machines worldwide. I don't imagine they pay much for them. You can see a few of their windows here: http://5magazine.wordpress.com/2010/07/12/allsaints-spitalfields/
Well that should help reduce the numbers.
If there are only dealers in the audience, I usually pay around $20 for a machine at auction, then I'm doing well if I sell it for $100.
I've tried making glass tops to turn them into tables or desks (that's what I use for a desk at home). However, I haven't managed to sell a glass top yet. The nice thing about this is, a lot of the machines are pretty trashed on top, but if you open the lid, the finish is much better, and you can see the machine through the glass. I guess the glass just costs too much (about $100).
As a child growing up in the 80s my parents placed an old singer sewing machine with a marble top on it in my bedroom. I used it as a desk which was great for me because I could push the peddle to work out nervous or pent up energy while sitting at my desk. I've continued to use it as an adult. Now it is being used as a table in my sunroom.
I loved sewing on my grandmothers treadle machine and love the look of them, would love to have one that worked well (don't know how my husband would appreciate another machine in the house though!)
I love the Singer Featherweight machines. What a little workhorse. I also love the Red Eye's and Sphinx. I have several of these. I just found a Blue Enamel Royal in the original cabinet at a sale. The owner gave it to me, I took it home and cleaned it up. She's a beauty. My husband thinks I am looney to love these machines. Its not the value, so much as the work that these machines help produce that facinates me.
I was so glad to read your article. I'm looking for an old treadle sewing machine… a Singer 66 to be exact and I've seen such wide variations in prices even when the machines are made around the same year. I was wondering… is there a special reason that the Red Eye machines seem to be so much more expensive. Is it those Red Eye decals that make the difference or is there some other difference that I'm not seeing?
We had an antique singer in my house that we actually used in the 80's and 90's. I think the biggest attraction to these items is that they are really beautiful. I always thought someone she create a tricked out steam punk version with computerized sewing features. Now that would sell! I do think it is sad they are not work a stack of bill but they are everywhere- not exactly rare and they weight a zillion pounds. But they are a wonder example of an Americana Artifact.
I would love to buy it before Christmas.
Well Maria there are dozens available on Ebay everyday ;~)The problem is the cost of shipping can exceed the their value, so it's best to check local listings and classified adds in your area if you want to buy one.
I own two of above mentioned treadle machines and I also have several other Singers, like Feather Weights and a "Coffin" model. Condition and market drives the price of these more than anything. I live near an Amish community that will pay real good for Excellent Condition models. I also have the factory adjustment and repair manuals and try to keep them going. Quilters love the stitching, especially when trying to re-purpose old quilts to their former glory. I have sold my treadles for $100 to $250 based on condition, which agree's with your price range but Find quilters will pay up to $800 for Featherweights with attachments.
The Featherweights are not really "Antique" and are about the only Singers other than some industrial machines that are in demand. We see the Featherweights selling locally for about $450.00 with all their accessories.
We have a white treadle like this Singer, it is more complete than most out there. We have everything but the box, and something that most do not have.
Some of the rarer featherweights and custom painted restored examples do sell for more than I mentioned, but for the most part the average models in good unrestored condition often sell in the range indicated.
There are exceptions and they are the examples that often get trotted out and get all the press when sold. This highlighting of the rarer models is what perpetuates the myth of huge value and causes the perception that old sewing machines are of some great value. The average basic black featherweights found in Aunt Harriet's attic are not in that category.
I believe it's not that bad, Mike. The Featherweight line of Singer sewing machines are the most collectible, a few of which recently sold on auction on eBay between the range of $1300 to $2200. http://www.singer-featherweight.com/ is a site for Singer Featherweight enthusiasts where one can find information about dating one's machine, production runs, accessories, care guides, and even a downloadable copy of the original manual. For those interested in a resource for a broad range of collectible sewing machines, the website of the International Sewing Machine Collector's Society is the site to go to. If one were to check out these websites, one would see that the market isn't that bad for collectible Singer sewing machines.
I'd suggest using our "Ask a Worthologist" service here at Worthpoint. We'd really need to see some good quality images and any documentation you have for the machine. Here's a link for you:
I have an old singer machine portable it is in a beautiful wooden case carrier that the top of it is rounded. It also has a brass plate on the case that states that it is a demonstration model only for sales personnel. It also is strange because it has an electric motor but it has a wrought iron crank that starts the machine. It has the box with the attachments it is the original box and all is in good condition. This machine also came with a foot pedal. It has odd shaped bobbins with it too.
I don't know what the model is at this time it is on it though but I can't find out anything about it. It say on the plaque that it belongs to the singer manufacturing company. It made me think that it was used to train the singer sales people how to use it. If I sent you a photo could you tell me more about it. I love it and never want to sell it but I would like to know more about it. Thank you.
I've used the "Ask a Worthologist" service here, and found it to work pretty well. There is a small fee, but it's cheaper than a written appraisal would be around here.
Thank you Bill but I just want to find out more about it not an appraisel. I am not working now so no $'s so I guess I will write down all the numbers I find on it and contact the international sewing machine collectors society and see what they know about it. Thank you to the person that gave that web info. If I could figure out how to thread it I could use it because it still works. I have all the attatachments. It is a really beautiful carrying case. It is really unique with that crank to turn it on. I love it and watch the auctions and ebay but have never seen one like it.
Hey – you know what's great about these machines not being particularly valuable? People like me, who are obsessed with them, can get them cheap!
please help!!!! singer modle 66 treadle will not turn all the way around???
Without actually looking at it one can't tell what the problem is. It could be the mechanism is worn and it's binding, try lubricating all the moving parts of the treadle and sewing machine with a "3 In-One" type oil.
You should take part in a contest for one of the greatest blogs on the web. I will highly recommend your blog!.
You are too kind, by all means please enter my blog, I'm very flattered
Thanks for this series, you have saved my numerous times from bursting my beloved's bubble myself…I just forward links to your articles, and they are helping us get out from under an insurmountable pile of stuff that "could be valuable or useful someday." My response? It is not a mater of quantity, but quality.
Glad to be of help. Quite often our friends and relations need what they feel is an unbiased opinion to make a decision regarding "Heirlooms" which have been stored away for years. Still there is something to be said for sentimental value.
I have the 1st sewing machine ever made by Elias Howe J.H.But only the flat part and part of the motor.It says patented Sept.10 1846.Aug.24th 1856,April 2 1867.I don't know if it is worth anything.It is just nice owning a piece of history.
You should post an image of it for us all to,have a look at Brenda.
Brenda do you still have your old singer machine? If you do please contact me at firstname.lastname@example.com.
will buy


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Have China's megacities, such as Beijing, grown too big and too crowded? With daily subway commuters exceeding 10 million, the Beijing municipality recently announced a plan to increase subway fare and hence cut passenger numbers. The suggestion quickly led to heated debates in China, and a decision has yet to be reached.
As the growing Chinese economy brings more people access to personal wealth for the first time, the debate on the price of public transport has become a profound issue. Nevertheless, while the Beijing subway riders are watching the fare debate closely, many households in China have an exciting prospect for a major upgrade of information connections in the new year.
In late 2013, China's State Council issued a blueprint to promote information consumption as a new engine for the country's future growth. To help implement this, it also announced a "Broadband China" strategy to significantly improve the country's information infrastructure. According to the plans, the broadband access speed should reach 20 Mbps in Chinese city households and 4 Mbps in rural households by 2015. By contrast, the average fixed broadband download speed in China was 2.93 Mbps in early 2013, according to a third-party research organization.
In addition, the nation's 3G network coverage is expected to cover almost all cities by 2020. With that, China will see many "smart cities", with much increased Wi-Fi coverage in public places, FTTH (fiber-to-the-home) capability, HD cable subscription, and so on.
The boost in information consumption captures the way technical innovation and social networks are rapidly becoming a growth engine for China's economy. Importantly, this will create a new social infrastructure, allowing more Chinese people to benefit from the digital economic boom. These strategies for information consumption and broadband will bridge the digital divide in China, allow megacities to execute smart urbanization policies, and narrow the gap between cities and rural areas.
In particular, more e-commerce and e-business opportunities could involve more Chinese people in the growing economy while reducing the number of commuters and therefore traffic. For example, a major part of the daily commuters in the Beijing area is the "ant tribe", a group of unemployed college graduates living on the fringes of the city and seeking professional opportunities in the capital. The changes to IT infrastructure and information consumption should give them new opportunities to tap into the economic growth and find innovative ways to realize their dreams.
Above all, the information consumption trend will lead to a more inclusive model of urbanization and economic growth because IT innovations intrinsically emphasize sharing over ownership. When more is integrated into this new form of growth, everyone will get a piece of a smarter pie.
Winston Wenyan Ma is managing director and head of the North American office at China Investment Corp (CIC) and a World Economic Forum Young Global Leader.
Image: A view of the central business district in Beijing. REUTERS/Petar Kujundzic


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HUNTSVILLE, Alabama - Trevor Lacey, the former Butler High and University of Alabama basketball player, said "the transition has been good" in his new basketball environment.
Lacey left Alabama after last season and has transferred to North Carolina State and is sitting out this year because of NCAA transfer rules. He'll have two years' eligibility remaining at N.C. State, which is coached by former Alabama player and head coach Mark Gottfried.
While his future teammates were preparing to play Missouri Saturday night, Lacey was in Huntsville on Christmas break and watching The Huntsville Times Classic.
"It's good," he said of N.C. State during an interview with al.com. "It's a different style of basketball. It's more uptempo. The ACC is a different conference. They say it's the best basketball conference."
Lacey has been allowed to practice with the Wolfpack "so I'm getting to know the guys and getting to play with the guys and learning the offense and I feel like I'll be able to fit in when I play next year."
Lacey, a two-time Mr. Basketball in Alabama who helped lead Butler to three state titles, averaged 11.3 points per game and led the Tide in 3-pointers and assists as a sophomore. He started 52 games and played in 69 games for Alabama, during which the Tide was 44-25.
Alabama coach Anthony Grant admitted he was surprised by Lacey's transfer but said in an April press conference after the decision that going to N.C. State "will give him the opportunity to try and figure some things out, and I think there are some things over the course of his two years here that he and I talked about in terms of what he needed to do to put himself in position to be where he is capable of being. Hopefully a change will give him the opportunity to realize some of those things and become what his family would like to see him become and certainly what he wants to become."
Lacey noted that "it's different, just going to school for the first time without playing. But I'm doing it. I'm looking at it as me trying to reach my goal and I don'w ant any slip-ups. I know what I have to do to reach my goal, and that is to finish these next two semesters out strong and pass all my classes so I'll be eligible next year."


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NEW ORLEANS — The older brother gave a clinic on how to be graceful after a victory, telling the entire world that the losing coach in the Super Bowl was the best in the business.
"There is no greater coach in the National Football league — or in the world, really — than Jim Harbaugh," his brother John said.
The younger brother showed everyone exactly how not to handle a defeat on the biggest stage, behaving like an overgrown brat after the referees didn't throw a flag for defensive holding on the final play of the decisive drive, and then in a six-minute news conference never praising his brother once for what he accomplished.
"I really want to handle this with class," Jim Harbaugh said, before he decided not to, "(but) there is no question in my mind that there was a pass interference and a hold on (Michael) Crabtree on the last one."
So let that be the postscript of Super Bowl XLVII: The two weeks leading into the game were a psychological study of two brothers so close in age but so different in every way, and that didn't change Sunday night after the Baltimore Ravens defeated the San Francisco 49ers, 34-31, with a dramatic defensive stand.
John Harbaugh surrounded himself with family and dedicated the Lombardi Trophy to O.J. Brigance, a former Ravens player who is battling the final stages of ALS, as a national TV audience watched.
"All the Ravens fans, a big cheer for O.J.!" Harbaugh told the Superdome crowd.
Jim Harbaugh was alone, spiking a half-full Diet Coke into a trash can as he entered a testy news conference before ripping the referees when, clearly, coaching was just as much to blame.
The 49ers had a first-and-goal on the Ravens 7-yard line with two minutes left and trailing by five. He had four shots to score the winning touchdown and cap the most brilliant comeback in Super Bowl history.
And he had the most dynamic running quarterback the NFL has seen in years, facing an exhausted Baltimore defense without its best run stopper, nose tackle Haloti Ngata.
The ending seemed so obvious: Colin Kaepernick would run into the end zone to steal a sixth world title for the 49ers. He would kiss his biceps one more time with the world watching and make everyone — from NFL general managers to Pop Warner coaches — rethink the most important position on the field.
That never happened. Because somehow, against all reason, Harbaugh called four plays in the shadow of the Ravens' end zone and not once did Kaepernick run with the football.
First down: LaMichael James went up the middle for a 2-yard gain.
Second down: Kaepernick threw incomplete to Crabtree, with Harbaugh furious that the referees failed to call pass interference.
Third down: Kaepernick threw again to Crabtree, inexplicably short of the end zone, and Crabtree dropped the pass.
Fourth down: Kaepernick faced an all-out Ravens blitz and tried to hit Crabtree in the corner of the end zone. Was Crabtree held? Maybe. But it certainly wasn't blatant, and if you're counting on a referee to throw a flag to decide the Super Bowl, you're going to end up disappointed.
If the best play call you have with the Super Bowl on the line is a low-percentage fade into double coverage, you don't deserve the trophy.
"I realize I'm on the side of the 49ers," Jim Harbaugh said. "I probably have some bias here. But I wouldn't be bringing it up if, in my mind, it wasn't obvious. That's not the way (the officials) saw it."
Harbaugh made sure the world knew he was getting jobbed, gesturing with his arms for the holding call like an over-caffeinated traffic cop. Maybe someday, when the Harbaugh family gets together and watches their improbable moment, he'll realize just how much he looked like a horse's behind.
Maybe then, he'll also see how his big brother schooled him from the opening kickoff. John Harbaugh had his team more prepared at the start as the Ravens raced out to a 28-6 lead, and then managed to regroup his team after that 33-minute power outage seemed to knock out the Ravens' lights, too.
Not that the elder Harbaugh would take credit for that.
"I just knew with Jim Harbaugh being on the other sideline and all of those years we have been together that the game was going to be a dogfight to the end," he said. "Those guys were coming back."
They did. When it ended, it was the older brother who walked to his postgame news conference with his famous family — parents Jack and Jackie behind him, brother-in-law and Indiana basketball coach Tom Crean with his left arm over his shoulders — and credited everyone in Baltimore but himself.
"Take a few seconds to think about how few people have done what you just did," Crean told him.
John Harbaugh is on the top of the football world today. Jim Harbaugh is sulking back to San Francisco a bitter loser. For this story of the two coaching brothers, it was a perfect ending.
Steve Politi: email@example.com; Twitter: @StevePoliti


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10 Years After Katrina, the Enduring Value of the Hurricane Digital Memory Bank
(Originally posted on the RRCHNM blog, August 28, 2015)
Ten years ago, we knew as historians that we couldn't assess fully the social, cultural, economic, and political implications of the devastating hurricanes in the summer of 2005. We did know that previous natural disasters had profound consequences. The 1927 Mississippi River Flood, for example, further fueled African American migration to northern industrial cities, and paved the way for federal intervention in southern states during the New Deal. Documenting the reactions and memories of individuals affected by Katrina, and then Rita, along the Gulf Coast, took on an urgency soon after the storms hit.
Michael Mizell-Nelson, the late-public historian from the University of New Orleans, reached out to CHNM's late-director Roy Rosenzweig to discuss the possibilities of creating a community-sourced digital project to document the aftermath and recovery of Hurricane Katrina. With so many residents relocating, collecting online gave anyone who had been displaced an opportunity to share their reflections and document their stories. This became even more important following Hurricane Rita three weeks later, when some Gulf Coast residents evacuated a second time, some never returning home.
The Center collaborated with the University of New Orleans to form a team that built read more…
Mining HDMB
Tomorrow is the 10th anniversary of Hurricane Katrina, and I wrote a post for the RRCHNM blog post discussing the history and legacies of the Hurricane Digital Memory Bank, which I helped to create.
One advantage to collecting online first, is that we have thousands of sources available for close reading that are discoverable by browsing or key word searches. My colleague Mills Kelly has highlighted some of those individual stories on his blog today.
HDMD also provides content ready for computational analysis, and research can be done at scale. I hadn't had the time to do any myself, until this week.I started with the HDMB databases in PHP MyAdmin and downloaded a few tables as CSV files.
At first, I wanted to some basic calculations and summaries of the contributors to include in the About section of the project. For researchers, it is important to know whose voices are speaking and represented. As a project creator, I wanted to see where we succeeded and failed in outreach efforts. We asked each online contributor a few optional demographic questions so that we could better track who was sharing stories, photos, and other digital materials with us. What I found is that few contributors shared any of that demographic information with us (gender, race, year of birth, occupation). We also asked for contributors to share the location or zip code of where they were during the storms, and then after the storms, to get a broader sense of the migrations. All of these questions were optional, intentionally.
The project team debated these issues intensively. As historians, we wanted to collect some general demographic information about the contributors. We also did not want a long list of required questions in an online form to discourage someone from submitting a story. Balancing out those needs was tough and we decided that collecting the reflection or the photograph was a priority.
The next table I examined contained the full list of all items, and I extracted the descriptions. In the second iteration of the site, completed in 2006, we mapped text from "stories", and image and other file descriptions to the Dublin Core description field.
I uploaded that CSV into the Voyant Tools to surface word patterns and trends across the 25,000 + digital items. In addition the ubiquitous word cloud, I could also see word frequencies and view relationships of terms in context with others.
Not surprisingly, place names featured prominently in individual contributions. To look beyond the names of cities, parishes, or states, it is possible to create a list of "stop words" that removes those terms from the analysis. Without place names, it is possible to see that HDMB's contributors frequently mentioned "people," "home," "house," and "family." By examining those keywords in context, it is possible to see how mentions of "house" relate to the descriptions of physical damage and destruction. While usages of "home" often discuss the emotions of leaving or returning to a damaged house or city. It is possible to identify other emotional terms, such as "loss" and "angry," and see that "hope" is invoked as a verb and a noun more often than both loss and angry.
In thinking through what other patterns might become visible, I decided to run that corpus through a light-weight topic modeling tool.
At first, I ran all item descriptions and asked for 20 words for 20 topics.
As I ran the text, I continued to refine the stop word list. I noticed that contractions were split, so that "don", "ll", and "ve" were coming through.
Once I created a good stop word list, I decided to run a CSV with the Story item type only, and reduced the numbers of topics and terms per topic.
I was able to get a good hint at who some of the contributors were, as the terms students and school featured prominently in the stories. Students, teachers, and/or parents discussed how the storms effected their school years.
It is possible to see that this digital collection would be useful for someone interested in reading first-hand accounts about evacuations; life in temporary housing, such as in shelters or hotels; relief efforts; the challenges of returning home to deal with damages; the emotional challenges faced in the recovery process and the roles of families; the financial burdens faced by storm survivors; and the impact of local, state, and federal government in a disaster.
With these topic strings identified, I then drilled down and read individual text. In the earliest years of the project, I read many of the contributions but 10 year later, had forgotten so much of what I had read.
This exercise allowed me to rediscover some of the resources in the site. I also did a lot of old-fashioned browsing through the collections of photographs.
As I turned up topics, I really wanted to discuss these trends with Michael and Roy, both whom are now gone. I found that researching in HDMB was surprisingly emotional for me. I can imagine that this anniversary has been difficult for the millions of people who were intimately effected, and who are still feeling personal losses of varying degrees ten years later.
DH Job Hunting
I'm often tagged in tweets or Facebook posts, asking "where do you find digital humanities job postings?"
"Digital humanities" jobs exist in many different forms across different professional fields and disciplines. When seeking a digital humanities job, I recommend that the seeker narrow her focus to the kind of work that she wants to do and in what type of profession.
Below is list of suggested places to find digital humanities jobs. Some of these lists contain digital jobs only, while others require the seeker to browse through more general listings. Remember that not all jobs are posted publicly–DH or others–but are circulated by word-of-mouth. Old fashioned networking is still a good method for finding alt-ac DH jobs.
Please leave comments if I have missed any other good places to find digital humanities job postings, and I will add them to the list.
DH: all fields and professions
- DH Now: http://digitalhumanitiesnow.org/category/news/job/
- UCLA DH Weekly, http://www.cdh.ucla.edu/news-type/jobs/
- HASTAC, https://www.hastac.org/opportunities
- DH + Lib: http://acrl.ala.org/dh/category/jobs/
- Code4Lib: http://jobs.code4lib.org/
- Council on Library and Information Resources Post-doctoral Fellows: http://www.clir.org/fellowships/postdoc
- Museums and the Web: http://museumsandtheweb.com/jobs
- American Association of Museums, Job HQ, http://aam-us-jobs.careerwebsite.com/c/search_results.cfm?site_id=8712
Digital Public History and Humanities (all)
- National Council on Public History: http://ncph.org/cms/careers-training/jobs/
- American Association for State and Local History, http://about.aaslh.org/jobs/
- Federal positions (NPS, Smithsonian, National Archives, et al): https://www.usajobs.gov/
- American Council of Learned Societies Fellows Program: https://www.acls.org/programs/publicfellows/
Faculty, Post-Docs, Admin
- H-net: https://www.h-net.org/jobs/job_browse.php?category_id=29
- American Historical Association: http://careers.historians.org/
- MLA Job List: https://www.mla.org/jil
- College Art Association: http://careercenter.collegeart.org/jobs/
- Chronicle Vitae: https://chroniclevitae.com/job_search/new
- Inside Higher Ed: https://careers.insidehighered.com/
CHIM Forum 2015 Presentation
Below are the slides from a talk I was invited to give at Catholic University's Cultural Heritage Informatics Management Forum on June 5, 2015. I want to thank the forum's organizers from the CHIM program, Youngok Choi and Ingrid Hsieh-Yee, for inviting me and for organizing this event, which also highlighted some of the great work done by their students and alumni.
The Public is Dead, Long Live the Public
Below is the draft of a piece I'm contributing to the 2015 edition of Debates in the Digital Humanities. Yesterday, I co-facilitated a fantastic working group at the National Council on Public History annual meeting with Chris Cantwell, Kyle Roberts, Jason Heppler, Lauren Tilton, and Brent Rogers, where we discussed the differences and intersection of public history and digital history. If you're interested in looking in on the working group convos, check out our group Tumbler, https://www.tumblr.com/blog/dh-ph. This post comes out my thoughts on what I see as the difference in doing intentionally public digital humanities work.
I'm very interested in hearing your feedback, so please comment and discuss with me.
Recent calls for finding "public" audiences for scholarly work, engaging "the general public," and for doing public digital humanities work are encouraging, but only when those calls are informed by the long history of "public" scholarly work with some understanding that the term is contested and changing. We should all acknowledge that is no "general public," and that we need to get real about audiences.
As a digital public historian, I am attuned to the articles in the Chronicle and conversations–on Twitter, at meetings and conferences–from traditional and alt-academics who invoke "the general public," when they think humanities professors are failing to be relevant to today's students and citizens. Some academics respond to critiques of the state of humanities education by showing off digital humanities projects or demonstrate how they are integrating digitally-enabled pedagogy into their classrooms as ways to bridge those gaps between the academy and the public. Additional attention is given to the openness in humanities scholarly processes that capitalize on digital platforms and networks that enable and encourage sharing, remixing, and collaborating are highlighted as the best practices in public humanities. These examples signal positive changes among scholarly communities. But, these changes are drawing on the long tradition of public history work done in and outside of the academy for decades in the US.
On most days, most scholars have no real idea whom they are actually referring to when invoking "the public." A public approach is challenging to most scholars, because it means identifying and considering audience before beginning a project. This may mean ceding some ground, but when done well, will result in successful public digital humanities projects.
It's Online, Isn't it "Public?"
Research projects, online textbooks, tools, course websites, online journals, or social networks are not inherently "public" digital humanities projects merely because they have a presence on the Web. Launching a project website or engaging in social media networks does not necessarily make a project discoverable, accessible, or relevant to anyone other than its creators. I have given enough panels and workshops on "getting the word out" to know that most academics are clueless in the area. The topic of "outreach" may sound like an afterthought and a one-way marketing blitz, but when done well, it is something that begins with the design of the project. Most important, the "public" should come first.
Doing any type of public-facing digital work requires an intentional decision from the beginning of the project that identifies, invites in, and addresses audience needs in the design, approach, and content long before outreach of a finished project begins. Without doing this kind of audience identification and seeing "the public" as people but an unidentified "other," scholars may be in danger of blindly attempting to look outside of their own institutions and classrooms and seeing no one.
Digital humanities scholars and practitioners have been defined by the digital, which makes the difference in their humanities scholarship. The "public" changes the scholarship in any type of public history and humanities work, and should also in public digital humanities work as well. We should see the practices listed below as related, complimentary, but not necessarily the same.
Public + History = Public History
Digital + History= Digital History
Public History + Digital= Digital Public History
Public + Interdisciplinary Humanities = Public Humanities
Digital + Public Humanities = Digital Public Humanities
Digital + Interdisciplinary Humanities = Digital Humanities
Public + Digital Humanities = Public Digital Humanities
For those interested in pursuing public digital humanities, I encourage you to look to the history of public history and lessons and struggles in that field of practice.
Public History Roots
Public facing and engaging history work outside of the academy and the classroom is a long-standing practice. In the US, public history's roots can be traced back to the early nineteenth century. White women and men of means volunteered their time to save and preserve community stories, objects, and places. The federal government didn't get involved in the history business until the late nineteenth, early twentieth century. Federal history and museum programs, such as the National Park Service and Smithsonian Institution, were grounded in practices borrowed and adopted by scientists and naturalists, and used in publicly-funded spaces. [To get a good handle on the history of public history and the historical enterprise, these three books are must-reads: Denise D. Meringolo, Museums, Monuments, and National Parks: Toward a New Genealogy of Public History (Univ. of Massachusetts Press, 2012); Robert B. Townsend, History's Babel: Scholarship, Professionalization, and the Historical Enterprise in the United States, 1880 – 1940 (University Of Chicago Press, 2013); Cathy Stanton, The Lowell Experiment: Public History in a Postindustrial City (Univ of Massachusetts Press, 2006).]
The public history movement that we know today emerged in universities in the 1970s, responding both to the employment crisis in the US (marketability of history majors) and to the social and labor history movements, engaged communities to question existing social, political, and cultural structures and inequalities. As Denise Meringolo observes, for many self-identified public historians working in universities, and even museums, in the late twentieth century, the "public" was generalized and that unspecified audience was also passive. Public history, offered scholars new ways of communicating (ie, through a museum exhibit), but didn't necessarily push those scholars to rethink the structures and relationships involved in that communication flow.
Oral historians like Michael Frisch encouraged historians to rethink their roles as facilitators and share authority by interviewing individuals, and listening, and recording those recollections to give individuals a voice in the historical record. As Tom Scheinfeldt has argued, this tradition from the mid-twentieth century forward was "highly technological, archival, public, collaborative, political, and networked," which represents another branch in the genealogy of digital humanities. Steven Lubar's oft cited "7 Rules for Public Humanists"
is rooted in and draws very heavily from the public history tradition.
This impetus drove Roy Rosenzweig, a radical labor historian, to found the Center for History and New Media in 1994 with a mission to use digital media to democratize the process of doing history. The work we do at the Center is grounded in a public history methodology that is collaborative and recognizes that "the public" is people.
Who is the "public"?
The public is no one if you don't intentionally identify specific people, groups, communities, and then design a project from the beginning with, for, and about those people. Too often, "the public" becomes the default category of anyone other than ourselves, which can often mean no one. If you have to ask after a project, tool, or program is built, who the audience will be, you built something for yourself. Creating a public digital humanities project must start with "the public," ie your audiences, users, participants, from the beginning. Public audiences should be imagined as people with interests, lives, agendas, and challenges. To humanize those audiences, the Smithsonian Learning Lab created named personas who represent real teachers, the primary audience for their new digital initiative. Understanding that most historians would not consider audiences from the early stages of digital projects, Dan Cohen and Roy Rosenzweig devoted an entire chapter to audience in Digital History. Sharon Leon will continue to push scholars in this area in forthcoming publication focused on "user-centered digital history."
Identifying and collaborating with specific audiences is key to designing and building a successful public digital humanities project that will be relevant, useful, and usable. This means engaging and working with those groups to identify needs, assess functionality, and measure the effectiveness of the project's platform for communicating ideas at all stages. For Histories of the National Mall, for example, we created paper prototypes for user testing before customizing the Omeka site. We tested content before fully researching and writing the "Explorations," and we sent graduate students onto the Mall, with friends and family members, to test different iterations of the site, multiple times, before the beta launch. For the original Omeka grant, we surveyed museum professionals before, during, and after the beta release, and conducted focus group testing to gauge needs, assess the effectiveness of the software to meet those needs, and the usability of the administrative interface. These are all important, and time consuming, steps necessary to include in any project's work plan.
Projects also must be accessible to those identified and potential audiences in a few distinctive ways. First, any public digital humanities project should be designed in ways so that people of all abilities can access it and the content on the web. Second, build in ways that reach your primary users on the platforms they use. This may mean designing mobile first to reach people who access the Web only from a mobile device. If your primary users communicate on one specific social media space, be there. If your uses speak multiple languages, your platform choice must allow for that content to exist and be publishable in those languages.
Third, the language, symbols, and navigational paths embedded in the digital project must be understandable by the primary users and participants. A public digital humanities project should never make the audience feel dumb or uninvited to the party. If we prioritize our needs and assumptions as academics, we are more likely to make that mistake.
Naming is important as well. Name a project something meaningful to your audiences—or intentionally is not associated with a known term. Omeka, for example, fits into the latter category. The Swahili term embodies what the platform is designed to do: display or lay out wares; to speak out; to spread out; to unpack. But the word itself was distinct enough for most users that we could adopt it as the name of a new piece of software. Naming Histories of the National Mall, on the other hand, required that we be direct and tell tourists visiting the National Mall that this site was about the history of that public space. Acronyms and clever naming can work for some public digital humanities project, but you do not want to alienate or mislead your targeted audiences.
Public, First
To do public digital humanities, then, the "public" piece needs to come first. Always.
This process is challenging and often requires a lot of analog work. If you feel that you don't have the skill set to engage in this type of work, try reaching out and collaborating with a public historian, or perhaps a community activist, to help build your digital humanities project from its early stages. They will share with you lessons they have learned from the field and help you to begin rethinking approaches and methods in new ways. And, you may find you're building a fabulous new digital thing together that is relevant, useful, and productive for your publics.
Growing the Fields (cross-post)
(Originally posted to the RRCHNM blog: http://chnm.gmu.edu/news/growing-the-fields/)
Last summer, Sharon Leon and I (Sheila Brennan) led a team at RRCHNM with the challenging goal of increasing capacity within the fields of history and art history for doing digital work. We started with novices and invited them to learn with us for two weeks last summer. At the end, those digital novices transformed into ambassadors who are engaging with the growing community of digital humanities practitioners and who serve as advocates supporting digital history and digital art history work at their institutions and in the fields at large.
The Need
Recent studies conducted by Ithaka S+R document how historians and art historians are reluctant to engage in digital methods and to integrate those methods and related tools into their teaching. The cycle perpetuates itself as these established scholars are then unable to mentor graduate students or even to point them to appropriate training opportunities. These same scholars may also dissuade junior colleagues from pursuing digital work.
Even as digital work is receiving increasing recognition in academic circles, one major question remains for faculty interested in digital humanities and in new publishing mediums: will it count?
Despite decades of amazing work in digital humanities, the skills and methods that are central to pursuing this kind of work have only just begun to penetrate the larger community of historians and art historians. This lack of understanding digital humanities methods and projects then makes it difficult for those scholars to review digital projects, at any stage, for professional journals or for a colleague's promotion and tenure dossier, never mind advising students interested in pursuing digital work themselves.
Throughout its 20 years, RRCHNM has organized and taught hundreds of workshops on a variety of topics and tools to many different audiences. We have learned that short workshops aren't enough to transform attitudes and approaches to the scholarly enterprise. For established scholars, who are experts in their fields of study, novices in all things digital, and who may doubt the scholarly rigor involved in digital work, finding training that meets them at their skill level and addresses their disciplinary habits and concerns can be a challenge.
Experimental Summer Institutes
In 2014, Sharon and I organized two summer institutes and crafted curricula to help address these issues. Re-Building the Portfolio ran in July and served 24 art historians, funded by a Getty Foundation grant. Doing Digital History ran in August and served 23 American historians funded by a National Endowment for the Humanities grant.
We framed the daily work by grounding it in the latest digital humanities readings, and then applied what they read in hands-on tutorials that let them test different tools that enabled different kinds of digital humanities work. We offered breadth and also provided each participant with the building blocks for advancing their own digital research projects and developing digitally-inflected pedagogy.
When we started each institute, all 47 of the participants were anxious. Most worried about falling behind on the coursework, getting lost in the daily tutorials, feeling confused, and that they would be the only ones feeling this way. Participants discovered they weren't alone in their fears and that they had a new community of colleagues with whom they could rely on for support. Each participant established their own domains, installed open-source software, blogged, planned new learning activities for their students, and began rethinking their research projects.
If you're interested in seeing the daily work, see the schedule or download the curricula for Doing Digital History and ReBuilding the Portfolio.
Measuring Outcomes
At the beginning of each institute, we did not know how participants would respond to the intensity of the two-week curriculum. We measured progress in two major ways. First, during the institute we surveyed participants a few times to gauge the pacing and instruction, and we adjusted schedules and our approaches accordingly (ie, allowing more time to discuss the readings in the morning sessions). Second, to measure the overall effectiveness of the entire curriculum to change attitudes and practices of the participants, we crafted a pre-institute survey that asked four questions related to our goals and asked the same four questions at the end. In the post-institute survey, we also asked more typical questions following workshops, about overall satisfaction, if participants felt their voices were heard, and if their personal learning needs were addressed.
- If you were asked to review a digital project for a professional journal in your field of expertise, would you feel comfortable saying yes to the request?
- If you were asked to review a colleague's digital work for promotion, would you feel comfortable assessing its scholarly impact?
- Do you feel comfortable presenting or discussing digital history or digital art history work with your colleagues?
- Do you feel comfortable supervising students who want to use digital tools in their history or art history scholarship?
To our delight, 100% of Doing Digital History and ReBuilding the Portfolio participants responded that the institute faculty and facilitators improved their understanding of digital humanities and digital history or digital art history. All participants left as confident digital ambassadors with a todo list, new skills, insights, and motivation to pursue digital work and become active participants in the growing community of digital humanists.
The largest positive growth we saw was in the number of individuals saying that they are comfortable reviewing digital projects for scholarly impact in promotion cases, which we see as a real intervention in effecting change in academic culture and practices.
ReBuilding the Portfolio
The cohort of art historians began their institute more comfortable than the historians discussing digital work with their colleagues and in their ability to review a digital project for a professional journal. The largest area of growth for the art historians was in reviewing for promotion. At the beginning of the institute, only 35% of the cohort felt confident and by the end the total increased to 76%. As a group, the art historians were less confident than their historian colleagues in their ability to supervise or mentor students using digital tools. At the end of the institute, 36% were more comfortable advising, with many more unsure than not.
Doing Digital History
The historians began less confident in their ability to review and discuss digital work than their art historian colleagues. At the start, only 26% responded that they were comfortable assessing digital projects for scholarly content in promotion cases and 74% were not sure. At the end of the institute, the percentages were almost reversed with 79% feeling comfortable reviewing and only 21% remained unsure. We saw a 53% positive growth rate. Across the four categories, we saw a remarkable shift in confidence as not a single historian answered "no" to any of the questions at the end of the institute.
By inviting 47 historians and art historians to engage with digital humanities theory and practice, they were able to better re-examine their own professional assumptions and naturalized processes to see that scholarly production can take many forms. Through analysis of existing projects and through building some things from scratch with their own sources, participants learned how to read, analyze, and interact with digital scholarship.
Looking Ahead
Based the numbers of applicants for both institutes, and separate inquiries, we see there remains a substantial unmet need for beginner DH training that also addresses disciplinary needs. We heard anecdotally from participants that some felt that other outlets for DH training didn't address their needs as historians and art historians. Even scholars working at institutions with a DH presence found it difficult to get training beyond tools workshops. Also, a few felt like they weren't prepared to take deep dives into specific digital humanities methods or tools offered by other DH workshops. After taking our summer institutes, however, they felt much more prepared to pursue other types of training.
Even with all expenses covered, everyone cannot afford to leave their institutions, families, and lives for two weeks. We have been asked about preparing an institute that is shorter, and even longer. We think that two weeks is the optimal amount of time for an introduction to the broad field of practice that is digital humanities, while diving into disciplinary-specific projects. This time allows for participants to be removed from their existing structures and commitments long enough to immerse themselves, experiment, and see the possibilities for changing their research, teaching, and professional practices.
Running an institute for two weeks also requires a big commitment from the host institution and requires a strong team (ReBuilding Team, DoingDH Team). While Sharon and I led each day, RRCHNM research faculty and visiting instructors helped to shape some individual days of instruction. We also relied on a solid crew of four graduate teaching assistants who led tutorials, provided one-on-one assistance, responded to the backchannel discussions, and updated the institute's online schedule to reflect any new sites or tools mentioned during the day making the course websites invaluable resources. The logistics of coordinating an institute are not easy and we couldn't have pulled everything off without the dedication of Jeny Martinez, the RRCHNM office manager. Additionally for each of the two-week institutes, Sharon and I were unavailable for other project work at the Center. Unlike other academic units, the Center operates on a 12-month calendar.
Even with all of these challenges, we enjoyed focusing on one project at a time, teaching as a team, and getting to know our awesome participants.
Some may ask why we aren't charging for training. We have in the past on a very limited basis. But, we prefer to offer affordable training opportunities that are open to a wide audience, because it aligns with the Center's mission to democratize history and humanities work. To offer free training, we applied for grants. We have been lucky to receive support from the Getty Foundation and the National Endowment for the Humanities, who are committed to funding training programs for novices in digital humanities.
Future Institutes
This summer, we are developing an institute for art history graduate students, Building a Digital Portfolio, funded by the Getty. We hope to have other opportunities in the future to offer additional institutes for historians and art historians. If we do, we will be sure to announce them on the RRCHNM blog and circulate the news on social media.


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This medium sized rolo chain has 3mm links. It is one of our most popular chains due to its versatility. Approximately 12 links per inch.
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Versatile, 1st Jun 2014
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When I first received this chain, I thought it seemed a little wider than I'd like for the dainty bracelet I was making. However, it ended up being perfect, fairly easy to cut with wire cutters, and works great with a strand of 3mm gemstone rondelles.
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Straight Acting Erik Is Moving to Germany for 4 Months. Will He Tell His Roommates He's a 'Mo?
In recent years, when castmembers arrives for a new season of The Real World, one of the first questions on everyone's mind is: "Who's the gay one?" We play that game all the time: at parties, while dining out, during root canals. So will Straight Acting Erik — he of Win A Date With Straight Acting Erik — be tipping everyone off as he leaves Saint Cloud State University in Minnesota for a study abroad program in Germany?
Nope. At least not in the first ten seconds of meeting his new (all male!) housemates.
Spent some time in Deutschland. No trouble bein' a mo there. Wait'll he gets in an elevator with what he'll think is a bunch of straight guys. HA HA HA HA HA
@Tessie Tura: Its YouTubzi!! : p
Yup. Lots of great clubs. I predict he will have a great time.
leave the kid alone.
The way he pronounced Schloss Neuschwanstein made it sound like a dirty word.
Oh Erik I'm so tellin' everyone around here that you're a 'mo!
I think the current Foreign Minister of Germany and the Mayor of Berlin are both openly gay Erik.
gosh leave the poor guy alone, it sounds like a perfectly reasonable plan, after all who upon meeting people for the very first time not knowing a dang thing about them immediately tells them "I'm gay". I for one know I don't, I think the idea of getting to know the people, not lying, and getting to know the people and deciding if you want to come out to them or not is a perfectly reasonable approach.
Erik, you look German, so watch out for the Hauptbahnhof in Frankfurt. Very cruisy…
hey erik! i hope you have a great time in germany! if you're visiting vienna let me know!
Hey guys, it's Erik! I appreciate the comments.
Mowzart? No.
Mozart! Yes.
Please don't make that mistake in Salzburg..
Anyway, enjoy the experience! Germany and Austria are amazing countries. Unfortunately, my program doesn't make it feasible for me to study abroad, but from what I've heard from friends, it's incredible!
Great! Just like they aren't going to walk up to you an announce their sexuality neither should you. See how things go and how comfortable you are with the situation and if you're asked and aren't feeling threatened then be honest. Of course the hard part will be when they say lets go out get some pussy – then you've got a decision to make to either play along or be honest. You'll know more once you meet them but bullies don't usually go overseas for educational experiences and I'd suspect that it may be a non-issue.
Good Luck!
I'm still jealous!
noya shvan stine. Wish we had phonetic symbols for our occasional foreign words. BTW: the castle is probably the gayest thing ever built next to the Vatican. Gorgeous. Of course you all know that Ludwig of Bavaria was on our team.
Am I the only queer left in America that feels disturbed by this whole "Straight Acting" nonsense? It's really self hating. No, my sexuality doesn't define who I am but it is a fundamental part of my being – just like it is for straight people. Sexuality is an important component of ourselves as human beings. Stop trying to assimilate into straight culture and instead aim to redefine cultural norms.
@Jad: The topic of Erik being "straight acting" was hashed out in prior threads on Erik. Its a fun but tiring read !!
From: "manly behaving Jeff" :-D


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MOBILE, Alabama -- The sun returns today after some much needed rain on Tuesday.
It will be mostly cloudy early in the morning becoming mostly sunny by midday. Highs will be around 60, according to the National Weather Service.
Inland, north winds will be 10 to 15 mph. Along the coast winds will be 15 to 20 mph becoming 10 to 15 mph this afternoon.
Tonight, clouds return and it will be cold. Lows will be in the upper 30s, with a northeast wind at 5 to 10 mph inland, and 10 to 15 mph along the coast.


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Kutztown University cheerleaders to perform on national stage
Team has been nationally ranked each year since 2009
Posted: 2:03 PM EST Jan 13, 2014
Kutztown University's cheerleading team is preparing to compete for the country's top honors.
The Golden Bears have qualified to take on 12 teams from across the country in the Universal Cheerleading Association College National Championship at Walt Disney World in Florida this weekend.
The top six teams will advance to the final round of competition.
The K.U. cheerleaders have been nationally ranked each year since 2009, when they placed fourth in competition.
The public can get a preview of the cheerleading team's performance at 7:30 p.m. Tuesday in Keystone Arena. Admission is free.
Copyright 2014 WFMZ. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.


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Chinese telecom equipment maker ZTE suffered a 3Q net loss of 1.95 billion yuan ($310 million), the company said in a filing with the Hong Kong Stock Exchange. That figure was the company's first net loss since it listed on the Hong Kong exchange in 2004, and is down significantly from the 299 million yuan ($48 million) profit it netted in the same period of 2011 . Operating revenue was also down, by 13% to 18 billion yuan ($2.9 billion) from 3Q of last year.
ZTE attributed the loss to a general slowdown in the global telecom equipment market, delays in numerous international projects, and changes in Chinese accounting rules. Several weeks earlier, it had warned that its loss could total up to 2 billion yuan ($318 million).
The quarterly net loss badly affects the company's year-to-date figures. Net loss for the first three quarters of this year stands at 1.7 billion yuan ($270 million), on 60.7 billion yuan ($9.7 billion) in revenue.
In addition to its operational difficulties, ZTE (along with domestic rival Huawei) has been the target of an investigation by the US House of Representatives' intelligence committee regarding the company's activities on the American market.


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Renowned jazz pianist Barry Harris will lead the Jazz Vespers Remembrance at Old Bergen Church in Jersey City on Sunday, Aug. 24.
Harris, a jazz bebop master, will play the piano alongside the 40-member Barry Harris Jazz Chorus. An instrumental trio will also perform, featuring bassist Murray Wall, drummer John Brown, and pianist Richard Clements.
In addition to performances, Harris, 84, of New York, is one the founders of the Jazz Cultural Theatre in Manhattan. He does lectures and instrumental and vocal workshops at colleges and music venues around the world.
Harris has received the Living Legacy Jazz award from the Mid-Atlantic Arts Association and the American Jazz Masters Fellowship from the National Endowment for the Arts.
There is no cost to attend, but donations to the church are suggested.
A religious service will be held from 10 to 11 a.m. and the performance is from noon to 2 p.m. The church is located at 1 Highland Ave., .
The performance is part of a festival that also includes an art show by local artists on Saturday.


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Marquette University
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I've held a number of public relations positions at a major film studio, both in corporate communications and motion picture publicity. As an independent Communications Consultant, I've served customers in the entertainment, technology, healthcare and non-profit areas.
I'm a patient mentor and love working with students of any age who have the desire to learn, but need that bit of extra help. I have a BA in Journalism from Marquette University and studied in the MFA Cinema/TV Program at the University of Southern California, as well as Film Arts Foundation in San Francisco and the UCLA Extension Writers Program (for fiction and screenplay/TV writing).
As of fall 2013, I've started working with the Sherry Lansing Foundation Primetime LAUSD mentor program to help Los Angeles high school seniors prepare their personal statements for college admission. I have a broad background in English and Communications from which I draw upon to support my tutor activities. I'm also currently working as a Freelance Business Writer, and before that was Director of Communications for the
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It's a good day to be sharp
We're not sure why, but today seems to be Knife Day, so we thought we'd take a stab at finding some appropriate quotes on the Internet and whittling them down to ones we thought you might handle. May you enjoy them to the hilt.
"As they say in Italy, Italians were eating with a knife and fork when the French were still eating each other."
Mario Batali
"The best thing I have is the knife from 'Fatal Attraction.' I hung it in my kitchen. It's my way of saying, Don't mess with me."
Glenn Close
"You can turn your back on a person, but never turn your back on a drug, especially when it's waving a razor sharp hunting knife in your eye."
Hunter S. Thompson
"I don't look at a knife the way I used to. I'm more aware of what it is. I think twice. This is a key finger. It's in every chord."
Neil Young
"I'm not the sharpest knife in the drawer, but I do know how to count."
Mickey Gilley
"If a lot of people gripped a knife and fork the way they do a golf club, they'd starve to death."
Sam Snead
"No matter how subtle the wizard, a knife between the shoulder blades will cramp his style."
Steven Brust
"Only the knife knows what goes on in the heart of a pumpkin."
Simone Schwarz-Bart
"Pain was something we were expected to endure. But I doubt very much if you would be entirely happy today if a doctor threw a towel in your face and jumped on you with a knife."
Roald Dahl
"Everybody, sooner or later, will have to go under the knife. Let's hope they make out as well as I did."
Bobby Darin, who of course is well-known for singing "Mack the Knife."
And now a few jokes
Q. How many knives does it take to change a light bulb?
A. About 5. Don't ask why, it's just a stab in the dark.
Have you seen those French Army Knives? No scissors or tweezers, just six corkscrews and a white flag.
Apparently, someone in London gets stabbed every 52 seconds. Poor dude.
A friend of Uncle Edgester's is serving a life sentence for something he didn't do. He didn't wipe his fingerprints off the knife.
Um . . . OK
Some people believe that when a knife falls on the floor it means that a family is coming to visit. If a fork falls on the floor, a man will visit. If a soup or serving spoon falls, it means a woman will soon be at your door, and a dropped teaspoon predicts that a child will come to see you.
And what would have to fall on the floor for these people to see a therapist?


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Supenya Varothai
Affiliation: Faculty of Medicine
Country: Thailand
Detail Information
- Moisturizers for patients with atopic dermatitisSupenya Varothai
Department of Dermatology, Siriraj Hospital, Mahidol University, Thailand
Asian Pac J Allergy Immunol 31:91-8. 2013..This review summarizes the role and classification of moisturizers. We also review some ingredients that are commonly added in moisturizers which are claimed to have an anti-inflammatory effects in AD. ..
- In vitro-in vivo correlation study for the dermatopharmacokinetics of terbinafine hydrochloride topical creamSuwadee Saeheng
Department of Pharmacy, Mahidol University, Bangkok, Thailand
Drug Dev Ind Pharm 39:1372-7. 2013..To investigate the relationship between dermatopharmacokinetic (DPK) tape stripping from in vitro and in vivo using 1% terbinafine hydrochloride topical cream as the model formulation...
- Direct immunofluorescence study in patients with lichen planusKanokvalai Kulthanan
Department of Dermatology, Faculty of Medicine, Siriraj Hospital, Mahidol University, Bangkok, Thailand
Int J Dermatol 46:1237-41. 2007..For cases with no specific clinical and histologic characteristics, or with ambiguous features, DIF studies may be helpful in disease differentiation...


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The Miracles that have come from New Taste Market
I wanted to share a letter I received from one of our regular vendors at the New Taste Market. It is just one of the many reasons why the market has been and will hopefully continue to be a great place for local food vendors, musicians, and wonderful non-profits like the Food Pantry can grow and thrive.
We will continue to keep you updated about our next market in October but for now I wanted to share this great note:
"I'd like to thank all of you for your friendship, support, patronage and just being there. I started selling my chutneys, relishes, wine vinegars, marmalades, jams, and jellies at the second underground market where I met my first wholesale customer (who is still a great customer). Since then through some great starts and mis-steps, I've persevered with Aunt Kitty's Kreations to where I am now with grocery stores, cafes, and butcher shops selling my products and most exciting:
I was in the Guardian's "Best of the Bay" list as the "Best Marmalady" just a few weeks ago! I've attached the part of the article that discusses my business, but for a better (more readable) look, go to sfbg.com, click on Best of the Bay 2012, then click on editor's picks food and drink, then scroll to the heading Best Marmalady. Whoever wrote this did a great job and I want to share it with you because you were part of my getting here.
Thank-you, thank-you, thank-you!
Aunt Kitty"


text: Fall and Winter Dior 2011 / 2012 Shoe Collection. Dior's shoe collection for this winter and fall season is filled with bright colored boots. From colors ranging from pinks, blues, and greens, it definitely puts a new spin on fall boot hues. The collection featured an array of booties, and thigh- high styles. I adore this collection since it is a fresh take on Fall footwear with all of the bright colors. Look below to see some of the styles.


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Notre Dame commitment Brad Carrico had high hopes for his senior season at Coffman High School in Dublin, Ohio. But things took a turn for the worst when the 6-foot-6, 270-pound two-way lineman suf...
Carrico back in action
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I think it only appreciate that the title for this entry be Scratch and Lost. Why you ask? Because I indeed, scratch and lost. It's usually a common occurrence for most people but it always sucks no matter what and I'm sure everybody here has had that happen. In fact, if you were an avid scratch and win player and never lost, your either telling lies or your crazy psychic. If so, feel free to email me the winning numbers to the next mega millions.
So anyways, back to the ticket. I decided to try my luck from last week's winning ticket and get another winning ticket. Odds are usually 1 in 6 of getting your money back on a scratch and win. Most common is 1 in 4.65 but seriously, those numbers are rigged. So what should I try? I went for an old classic. A bingo card! A jackpot bingo card to be specific. I haven't played bingo scratch and wins in ages and I needed to get my fix.
What resulted in almost a near 2000 in prizes was of course, killed by one number. I think we all have the one flipping number that on a bingo card that could make us just a little bit richer but never does. What's up with that? Who here has won at the bingo cards? The most I ever won was $20. Anybody else?
At least since I lost I can now joing player city.


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Sculpted Ceramic Bunnies
- Overview
Hand formed in sweet, natural poses, these glazed bunnies make playful homes for springtime botanical arrangements.
- Small: 7.5" wide x 6" deep x 10.25" high
- Large: 8" wide x 7" deep x 12.5" high
- Made of ironstone.
- Hand-formed designs.
- Glazed finish.
- Dimensions & Care
- Wipe with a soft dry cloth.
- Shipping & Return Info
This is a general shipping item.
Shipping Information
Return Policy
At Pottery Barn, we take great pride in the quality and craftsmanship of our products. Attention to design, materials, safety and construction is our priority. We carefully inspect your order prior to shipment. Upon receipt, please inspect your purchase and notify us of any damage; we will arrange for a prompt replacement. If, within 7 days for Quick Ship upholstery and 30 days for all other products, you are dissatisfied for any reason, you may return your purchase for a refund of the merchandise value.
We cannot accept returns on monogrammed, personalized, made to order items, or on items damaged through normal wear and tear. We also cannot accept returns of final-sale items which are identified by a price which ends in .99.
For returns of items purchased from your Pottery Barn registry, we will gladly provide a refund or exchange for the merchandise within 90 days of your event or within 90 days of purchase, whichever date is later.
You may return merchandise through the mail for a refund or replacement. For detailed procedures for returning items through the mail, please contact Customer Service at 1.888.779.5176, 7 days a week, 5:00am - 9:00pm (PT).


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Active Timer
Licence: Freeware
- Version 2.0 | Release Date: 2014-03-03 | Download
Version 2 of Active Timer introduces a whole range of new features: grouping of timers; search; and the ability to freeze and rename timers.
The app is now sold at the Mac App Store.
Requires OS X 10.9.0 or later (not available from the drop down list).
- Version 1.3.3 | Release Date: 2008-02-02 | Download
- No changes specified


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Home > Books & DVDs > Books > Shotokan Karate > Karate-Do: My Way Of Life > Write/Read Karate-Do: My Way Of Life Reviews!
Write Your Own Review!
|Karate-Do: My Way Of Life
By Gichin Funakoshi
The autobiography of the man who made karate an international martial art. Here he tells of his own teachers and of his efforts to define and spread knowledge about karate without compromising its spirit.
There are 0 reviews written for the Karate-Do: My Way Of Life. Write Your Own Review!


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International Internships
The Ahlers Center for International Business is a resource to link graduate and undergraduate business students with potential internship opportunities abroad and collaborates with MBA Career Service and SBA Career Service Offices.
In some cases internships are unpaid. However in many cases, beyond direct compensation, companies provide indirect support such as meals, lodging, transportation, and airfare.
SBA Career Services and the MBA Office may offer scholarships for completing summer internships abroad. Please inquire about the details of this funding to Abigail Racelis if you are an undergraduate, and James Sillcox if you are a graduate student.
Read about the exciting story of two graduate business students who took an internship in 2013 organized by the Ahlers Center for International Business and received scholarship support from the MBA office.


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Cuts to the police budget could compromise the safety of the public, warns the head of the Association of Chief Police Officers, Sir Hugh Orde.
Calling on the Government for greater clarity over its plans for the force, Sir Hugh said: "We understand the Government's determination to deliver a substantial programme of reforms across the public sector, but we cannot afford to get policing wrong, and unless greater clarity emerges in the very near future I fear that we run the risk of compromising the safety of citizens for reasons of expediency."
The Government's radical reforms for police forces will see budgets cut by 20 per cent over four years.
But Sir Hugh warned the Home Secretary, Theresa May, that the raft of changes on the horizon puts the force's impartiality at risk.
"The service of last resort is going through a period of substantial change," he said.
"Changes to accountability, changes to central structures and changes to pay and conditions, which if mismanaged could threaten the impartial model of policing that has existed for 180 years and is revered across the world."
Some of you are still setting your forces targets that we've scrapped nationally. Home Secretary Theresa May
Yet Mrs May hit back, insisting that the Government "really means business". She accussed police chiefs of sticking with targets she has scrapped specifically in order to free police from bureaucracy and get them back on the streets.
"Here's the problem - not all of you are following my lead," she told police chiefs today.
"Some of you are still setting your forces targets that we've scrapped nationally. And it's not only one or two chiefs who are reinstating targets and forms we have eliminated - officers up and down the country are telling me they're still having to record information at local level that we've stopped asking for at national level."
Opening the Association of Chief Police Officers (Acpo) conference, Sir Hugh said the public sector is facing the most challenging times in living memory.
"In short, we have a change programme that at one end will produce some of the most radical changes to police governance since 1829, and at the other will without question reduce police and staff numbers and pay," he said.
Fuelling further fears over police cuts, former rail regulator Tom Winsor said recently the most-wide ranging analysis of police pay in 30 years showed more than £1bn of savings should be made.
Sir Hugh said: "That is a huge challenge for Acpo, as the leaders of the service."
'Perfect storm'
Shadow Home Secretary Yvette Cooper said Mrs May should listen to Sir Hugh's warnings.
She said: "This is a serious warning for the Home Secretary from one of Britain's top police officers, which she would be deeply unwise not to heed.
This is a serious warning for the Home Secretary from one of Britain's top police officers. Shadow Home Secretary Yvette Cooper
"David Cameron and Theresa May are taking big risks on law and order. Hugh Orde is right to point out that the Home Secretary is reducing police numbers and police powers but increasing the risk of politicisation.
"This endangers the centuries-old tradition of impartiality as well as the effectiveness of the police and it is communities that will pay the price.
"They are whipping up a perfect storm, cutting 12,000 officers, weakening police powers, risking impartial British policing with American-style elected commissioners, sowing confusion over national policing plans, and undermining police morale by bad handling of pay and pension reforms."
Police warn of pay review protests08 March 2011
Police to lose 10,000 officers by 2013 - Labour06 February 2011


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Good morning! Here is a look at your wake up forecast this Sunday morning:
Temperatures: 19-24°.
Wind chills: Teens and single digits.
Sky condition & precipitation: Variable clouds, flurries and snow showers .
Any notable driving condition issues?: Slick spots have developed from sub-freezing temperatures.
Special concerns: Slick spots have developed overnight. Also, localized snow showers are adding to any pre-existing slick spots.
Afternoon plans: Temperatures will be in the 21-26°. Wind chills in the teens and single digits. Spotty lake-effect snow showers and flurries, breezy and chilly.
Stay updated with this storm with these links:
-- Watches/Warnings (Make sure to hit the 'F5' key to refresh the page.)
-- Follow CNY Central Meteorologists on Twitter
If you see a flooding damage, please let us know on Facebook or by e-mail at firstname.lastname@example.com or firstname.lastname@example.com.