text:
GMAT Quant - 7 top traps to avoid
Since the time Pearson has taken over as the Official GMAT test taker from ETS, I have heard plenty of reviews that the level of difficulty of Quant section has increased. It used to be a cakewalk if you have graduated high school with decent scores. And guess what, the OG, 11th edition was published before this move. So in that too you won't get "tougher" questions to practice.
Got hold of some real good GMAT Quant tips, so sharing the post with everyone in need.
Quant strategies
Here are a few strategies that helped me (they were borne out of many tips the members here have given over a period of time). Math whizzes may not find them helpful, for people like us - who go from low 600s to 700s might find them useful. Like how these prep companies give names to specific strategies, I too have given each technique/trap a name so you can identify them. Hopefully some people will find this helpful.
Some generic Quant points
1. It is possible, even with 9-11 mistakes, to get 48-49 in Quant. So don't freak out because you think you got 3 questions wrong. The test is adaptive - i.e. every question does not carry equal weight. It does appear, however, that early questions do determine how your test will progress.
2. I've noticed, through my multiple GMATPrep tests, that even if you get more wrong in the end, you can still maintain a high score.
3. To go from Q(49) to Q(50) or Q(51) is going to be hard - if you have time constraints for studying (like I did), and you aren't a math whiz (which I'm not), then you need to understand what your trade-offs are - i.e. what topics you are willing to relax on and guess in the test. I basically studied enough to solve simple problems in permutations and combinations, and told myself - "if it looks hard and I can't think of a way to solve it in 30seconds, I'm going to use my 'good-looking-number' strategy (which I'll cover here) and just move on.
4. If you spend over 4 minutes on a question, you certainly are excited about digging your own grave, or you're probably an adrenalin junkie who loves to jump off a cliff without a parachute.
5. With practice, you'll realize that the real time saver in Quant is actually DS and not PS.
GMAT Quant
Is not actually very hard in itself, but when you combine the time pressure, the tricks in the question and the wording - it becomes very important that you have practiced many standard questions types, many times over - because when you see a question, you don't want to be thinking "hmmm...which of my 34 cool strategies might work for this?", you want to be going straight into solving it.
7 Trap identifiers
Many GMAT questions have subtle traps in them - but thankfully, you can categorize many of them - they have a pattern. I've tried to identify 6 of them. So look out for these! At the end of the day, if even 1 of these helped you get 2 questions right bumping you from 660 to 680, it's still good, right?
Each strategy/trap identifier is not a stand-alone, a GMATQuestion might require you to employ more than one at a time. They are listed in no particular order of importance.
These tips can help if you are forced to guess, but want to make an intelligent guess, or if you want to shorten your path to solution (or salvation)
1. The Lone Wolf
A lone wolf question almost always has a free standing number(or numbers), and a more complex looking equation as the other option. For e.g.
"On a loan, evil necromonger charges X% interest in the first year, and Y% interest in the second. If he loaned Rhyme 20,000$ in 2006, how much Rhyme pay by interest in 2008?"
You can almost be certain, that in such questions, your equations to the stem will reduce to a form that looks like (B), so (A) is actually redundant. Be careful of lone wolves because they will bite you in the posterior if you choose (C).
If you notice a lone wolf question, and you have no clue on how to solve the problem, choose (B) (or whichever is the complex equation).
*as a side note, a wolf, contrary to the popular belief, is a very social mammal and is not at all a loner.
2. The Spy Girl
In a typical movie, an unsuspecting man may be enchanted by a hot looking woman, who comes on to him easily. He sleeps with her only to be stabbed in the moring, and all his nuclear secrets stolen. That's what a spy girl question does - it looks real simple, and if you fall for it - you've had it.
Consider this
if the membership of the drama club and music club are combined, what % of the combined membership will be male?
(1) of the 16 members of the drama club 15 are male
(2) of the 20 members of the music club, 10 are male
On the outset, it's very simple. (C) should tell us, right? wrong! DS is picky. This is an overlapping sets question, so you need to consider if some belong to both clubs - and that would lead to (E).
When you get spy girl questions, take a few seconds to re-read the question, looking for holes and any tricky stem ends. Many GMAT sentence tricks are at the end of the question stem. Spy girl questions are often in DS, and typically masquerade as word translations.
3. Twin trouble
Some DS questions have 2 choices that both reduce to the same form! When you see 2 similar looking/structurally similar answer choices, quickly scan them to see if they reduce to a common form. For e.g.
"Question: blah blah blah..."
A) 2x+3y = 10
B) 3.2x+4.8y = 16
Cool! 2 simultaneous equations with 2 unknowns - so should be (C), right? wrong. If you multiply (A) by 1.6, you get (B). They're useless. In general, twin trouble questions end up with (E) as the answer (E is the best choice if you do not know how to solve the problem. If you do know, then if either A or B works - then D would be the answer)
4. C of pain
GMAT questions love to put two choices that seem to give a nice answer when combined. If you get (C) as the answer, unless you're absolutely sure of your approach, look closely at A or B again. Consider your equations to see if they can be solved with only A or B before confirming C. There are certainly more A, B, D choices in GMAT than C. If you are absolutely stumped by the question and you want to guess, this approach might help.
-if the 2 choices look very similar in structure, apply the 'twin trouble' tip - if it is a twin trouble, then E is the most likely answer. D comes next.
-if the choices look very different, go with the one that has a more complex looking wording or equation - and preferably does not allude to an addition.
-if you have absolutely no idea at all, and you must guess - choose D or E.
5. The Rambler
Ramblers are long worded, paragraph level questions. Ramblers have lot of BS in them - so scan the question, then come back to writing equations. Ramblers are not always hard - sometimes they're pretty simple distance/time questions (or work rate). Don't be intimidated by a rambler. For e.g.
"Jim ...blah blah..., he then stopped for 30 minutes to have lunch before proceeding..." simply means add 30mins to your time equation.
6. The Twister
Twisters are among the worst when it comes to tripping test takers (including me). They start innocuously, but what they ask for is subtly different from what your mind thinks you're being asked. Twisters occur usually at the end of a question in word translations, or at the beginning in number properties.
For e.g.
In 2006, Company X revenue grew 18% from 200,000$, company Y revenue grew 30% from 90,000$ - at the end of 2006, how much more would X earn than Y if X grew 20%"
If the question was a rambler, your mind would dim by the time you get to the end, and you'd furiously compute the new revenues, subtract the two and look at the answer. But wait, the X 18% is actually useless because the question twists in the end asking something else. Actual questions can be even more subtle than this - something like, instead of asking, "by how much did A exceed B", it might say "by how much did A exceed twice B"? Get the point? Read your question ends carefully.
In number properties, it's always good to map your mind to
-2, -1, -1/2, 0, 1/2, 1, 2 so you don't forget what you need to apply. Twisters occur at the beginning,
If it says number, instinctually many of us look at 1,2,3,4.. but "number" should immediately trigger -1, and -1/2,+1/2 in your sample sets. Always look carefully at the beginning (I know it sounds common sense, but common sense isn't always common...) and memorize the properties
number => -ve, + and - fractions, +ve, 0
+ve number => > 0, +ve fractions, and integers
integer => ...,-ve integer, 0, +ve integer
+ve integer => 1,2,...
-ve integer => -...,-2,-1,
It's common mistake to ignore zero in calculations, so be careful. For e.g.
if X not -ve and y is an integer less than -1/10, is xy to the left of 0 in the number line?
Well, if you consider 0 for X, then xy is on the 0 in number line...
7. The lucky twin (thanks to, and suggested by GMATT73)
The purpose of this problem is to exploit a weakness used by PVue: complimentary answer choices. Almost always in complimentary probability questions, there are a pair of "LUCKY TWINS" among the answer choices. If in doubt and pressed for time, choose a TWIN by logical deduction.
Let`s take a crack at this Project GMAT bad boy without making lengthy calculations.
Set S consists of numbers 2, 3, 6, 48, and 164. Number K is computed by multiplying one random number from set S by one of the first 10 non-negative integers, also selected at random. If Z=6^K, what is the probability that 678,463 is not a multiple of Z?
a. 10%
b. 25%
c. 50%
d. 90%
e. 100%
[added note by necromonger] - also watch out for complementary fractions and be careful. You might see numbers like
a) 1/2
b) 3/8
notice that 1-3/8 = 5/8 - these choices can trip you up if you haven't paid attention to the question carefully.
The good-looking-number (GLN) strategy
*Use this only when you are stumped in a PS question and you have no idea how to solve it, but you need to guess.
GLN's are simply numbers that are formed by some mathematical combination of numbers in the question. For e.g. if a rambler has number like '12.....3....9' and the choices are
what would you choose if you're in a real hurry? 4 = (12*3/9), the others-you can't get them by any straight manipulation. So 4 is a GLN.
GLN tips vary, their success rate is questionable. But in the absense of any clue, what have you got to lose?
closing points:
Don't be scare of quant. It is conquerable with some practice and employing some time-saving techniques. I'll be glad to answer any questions. Finally, choose the strategy that works for you - do not follow anything blindly because it worked for someone else!
finally, the obligatory:
*no animals were harmed in the making of these tips, and these strategies do not discriminate based on race, language, sex, creed, caste, tv viewing habits or choice of shirt colors.


text:
Sung Like a Canary Wharf: Any Resemblance Denied by the Windowless Consultant
I hold in the camera a head and squeeze, flattening it against the glass, a poster, splayed legs of the Tower and pedestrians beyond, drop it from my eye and await the equation.
The official website, if you include what's silenced along with what's there, says it all: Canary Wharf has been designed with emphasis on creating a pleasant working environment. Careful attention has been given to the provision of public open spaces, including parks, squares and promenades.
Readers with us for the long haul may remember that, largely as a result of my work in window display, I've long had an interest in the -rama, be it dio-, cosmo-, or pano-. Never one to take periods of inaction lying down, I'd decided to fill a gap in work with research, recalling many years previously in the Museum of London Docklands having come across a copy of a London panorama installed in the round, a long lost riverine view recently rediscovered lining the inside of a barrel, or something, as I recalled, image so meticulous in detail people had come to see it -the waterside, boats, buildings, streets, tiny distant people - from all around.
What is that you're taking? asks a voice by my shoulder from behind.
I've been waiting for this moment with anxiety and interest, Canary Wharf notorious for it, but, despite our earlier experiences, I can't quite believe it's true. To the idle eye, the place looks like any other: pavements, trees, roads, cars, people, buildings. Newer, brasher, flash, granted, but with nothing you'd put your finger on as precluding reproduction. Here, then, though, confirmation - as at the British Land Landorama, a place that placed between itself and its appearance this difference by injunction.
I should have seen him coming, doubtless, claims to the photographer's eye surely dependent on the ability to see, but I was absorbed in that one little framed space, all outside it indiscriminately absent, so now there was the uniform demanding answers.
Precision about what it was I was taking would be hard, already the idea that it was taking moot. No, nothing - people, buildings, nothing you know, not taking, just leaving.
This was the first of many times I was to be accosted, and one of the least unpleasant in manner. Certainly intrusive in terms of asking to see other shots in the camera, what it was all for, who I was, whether I had ID, but strangely hesitant, allowing me to skirt the demands, and, if without reason in content, reasoning in form, explaining, for instance, that it was down to the camera, a slightly higher performing model than some (though low-end, SLR), so suspicious; down to me, my dress and demeanour, clearly not from round there; that it was the times, the suspicion of plans to attack; that it may disturb the locals, freak 'em out with sudden shock, psychological warfare of some sort, presumably. Photography was allowed, I was informed, but I needed permission, would be hassled; the street was okay, but not the buildings; the buildings, but not their entrances, exits, windows; anywhere but where there were security cameras, which, there, are everywhere.
As a businesswoman, but as a person, too, I've long been used to gauging dishonesty in explanation by the proffering of multiple cause, laying it on, as they say, and causes incompatible counteract: terror by plot or action, identity, camera type or clothes, the buildings or their users, it was clear, were beside some point that not even he appeared clearly to grasp. Something vaguer, more fundamental, could be felt behind this invisible chasm between London and its first Enterprise Zone.
As a blogger, given the aims within these posts, I've come to see these gaps as key. They are, perhaps, the spaces I'm looking for, may at last afford the camera an uninterrupted glimpse of that moment that I've set myself to track. So, if inconvenient, perhaps the man's confused and contradictory instructions may prove convenient, their restriction liberating.
With this man, as with all those that followed him, pacing the streets looking for issues, standing burly by exits or rushing gesticulating from doors, the response I thought wisest was slippery co-operation, appear at the same time polite, helpful, interested, and yet withhold as much as possible, make no more promises than necessary, express interest in the rules of the place - which required no faking on my part - and yet, once they were gone, ignore them.
Some of the rules, apart from those outlined above, and remembering that contradiction was central to their application, proved to run something like as follows: people dressed in standard-issue business suits enjoyed a basic right to photograph unhindered, though presumably this could be withdrawn should they step outside the expected roles of, for instance, memorialising a business trip at the entrance to a bank HQ visited, or snapping a scene for wives and children at home; photographing the water of the old docks was actively encouraged, though for some reason other than guarantee against further harassment, which was as prompt as at any other scene; retail outlets were strictly off limits, and, lastly, permits were available via the press office, who would drag out the procedure, asking what exactly one sought to photograph at what exact time, though with the proviso that most places were ruled out, what photographic equipment would be used, the purpose, etc., in a game of patience which, in this case, I won, they themselves withdrawing from communication presumably out of boredom before the final details had been worked out, though I didn't let this trouble me, having by then finished the job anyway.
As it's abundantly clear that no terrorist will be hindered by the inability to take photographs, it would be a mistake to believe the danger the Wharf seeks to dispel is that of acts preparatory to terrorism. The absurdity of the overreaction is simply too clear even to imagine that. As the furious response of, say, a be-suited guard to a bemused family of tourists posing in the vicinity of his revolving door for a street shot made clear, the act itself is the object of their hatred, and without any proportion to its consequences - blindly.
Not until my last day there - Saturday, that completely different atmosphere, when the purpose of the place becomes still more obscure, and, as such, a focus of greater interest, clearer - did I get the opportunity to grasp photographically the object of this blindness itself.
If the original purpose of the visit had been, as I say, to capture the panorama, all sight of this idea had long been lost, the behaviour of the guards having distracted me for days, pushed me to research their limits, the effect these had on the images, the space shot, behaviour - that of others and my own; above all, what was behind it, these rigid injunctions half applied, proffered permissions that never came, inconsistencies to the point of whim, one guard placing a not usually where another a never, one allowing what another forbade.
These days I spent wandering this Isle that isn't an isle, and yet, though belonging to London, studiously not, that is. Because the first thing that must be remarked of this corner of East London is the numerous means it employs to suggest it isn't, from the bizarre arrays of clocks displacing its time zone abroad to the toy-town aesthetic, Charliesque checkpoints, retail blingery, price, wage and finally legal exception cutting it off from the rest.
It wasn't till a Saturday I finally entered the museum, getting directions to the panorama at the desk, though I had to revise my intention of photographing it, as here, in distinction to the main site at London Wall, featuring in the previous post, for instance, for their Vauxhall recreation, a no photograph policy's operated, appropriately enough. There, on the wall, I found as instructed the image, shiny, screwed to a wall, and, on closer inspection, a photograph, no less, the original having been shifted. Still, I take the time to look slowly, admire the detail, the reproduction no less useful than the original, though without the installation I recall in the round, recall having visited all those years ago with the Archaeologist in our early days, before we'd lost touch, and then, meeting again, begun blogging together, before blogs even existed, reproducing at least something of what the original set out to achieve. The logic of these things is dependent on the viewer's at the same time viewing what their eyes tell them must be the real thing, and yet being instructed by other details that it's not, a panorama no good of course, if you mistake it for the real, who'd pay to see the real, in distinction to this thing that as exactly as possible reproduces it? There must be that little twinge, the detail that says the buildings here are not buildings, the ways on this land are not ways, this is only a representation, usual life in suspense.
Winding down through the museum, then, I took the opportunity to browse through the displays on the Docklands development, try to uncover something of what the Enterprise Zone meant, the handing of public land over to private investors along with incentives, the extraordinary dispensations as to planning, financing, and transport, the encouragement to think of it as a place apart, a new New World, island without natives, cities of gold, the dreams of a virgin land, strange designations, and, in refrain, the permanent threat of a fall in prices, the endless search for an edge.
On the way out, I took the opportunity to photograph an image from a conversation I'd had on an early day. I'd been trying to take a shot involving shadows and light on some coloured gauze, passers by transparent from motion above. A woman of East-Asian appearance waiting at a bus stop there had smiled, expressed interest in what I was doing. She'd just emerged from Credit Suisse, but details in her appearance suggested she was both of and not of the island, regular visitor, perhaps, from a company based abroad. Perhaps it was just her using the bus, means of transport intended, surely, not for Wharfers proper, but for the cleaners, barworkers, security invited in to serve needs. As ever in these circumstances I was slightly embarrassed about my activities, but let her see the disappointing results, explained what I'd been trying to achieve. The conversation drifting to the specific qualities of the Wharf, I took the opportunity to seek to gauge her reaction to a sign I'd seen posted within the shelter where we stood, almost Brechtian in its eagerness to dispel the illusion elsewhere carefully maintained: This is private land, and no right of way, public or private, is acknowledged over it. The ways of this land have NOT been dedicated as highways, bridleways or footpaths, nor has there been any intention so to dedicate them. All resemblance to real footpaths, bridleways or highways, public squares, promenades or streets is coincidental. The woman had smiled knowingly, though of what I couldn't tell, whether an islander's smile to the foreigner, after all, or one to another. And on the weekends they board the buses and search, she said, even under the seats.

subset: commoncrawl


text:
Plant your shade garden in ostrich ferns today and dine on fresh free fiddleheads every spring. This ubiquitous fern, native to most of the Northern Hemisphere was an ancient forager's dream plant after a long hungry winter. Here's a healthy dish you won't find for sale except in upscale gourmet eateries. If you grow your own, it is sure to become a spring culinary rite in your house. Much like fresh asparagus, the five foot Matteuccia struthiopteris springs back from the cold with tightly coiled new sprouts. They unfurl into huge fluffy fronds, making it double as both a food plant and a beautiful problem solver for shade. Discover how to harvest, prepare and cook these delicacies at the Wild Harvest web site http://bit.ly/cpCSXB See lots of pictures of this fern online at the Missouri Botanical Garden: http://bit.ly/bXD3kt
Free Food From Your Shade Garden
Free Dwarf Pea Cage for Small Gardens
Grow edible pod snow peas in small space gardens without a traditional trellis, fence or wall. Make a cheaper version of this store-bought pea tower. Being a devotee of the many uses for chicken wire, particularly when salvaged, I am sure these can be fashioned on the cheap or free. Dwarf versions of edible pod snow or snap peas allow them into city gardens, but what to do if you don't have a vertical surface to tie them up? If you let them flop the bugs set in or they become a muddy mess. Just roll up a piece of chicken wire to about 8 inches in diameter. Stand it on end, then weave a thin piece of rebar, pipe or bamboo (or anything else that's free) through the holes and into the ground to keep it upright. Plant your pea seeds at the center of the tube and gently train the seedlings as they grow taller. Easy, cheap and a much better idea for early cool season veggies!
Recycle Child's Shoe for Almost Free Mother's Day Gift
Got old children's shoes? Looking for a great idea Mom or Grandma will treasure? Try turning 'em into little planted gems for porch, patio or windowsill. Here's a green version of the bronze baby shoes that's easy for Dads to make for kids or whole classes in school. Save the charm of those little ones by planting with mini-succulents! Just poke holes in the sole for drainage, fill with potting soil and plant succulents into the top. Because succulents aren't watered so often the shoes hold up forever. Canvas tennies like these can go through the wash cycle so they'll hold up just as well as a planter. Shop for the smallest and cheapest succulents you can find at the garden center. Remove soil from the roots so they fit into smaller spaces. Try patent leather party shoes for an upscale look or tiny brown leather boots for eco-natural. It's a no-brainer gift that costs just pennies. Let these shoes of life and love become recycled as part of her everyday world, at the office, in a nursing home or to greet her each morning in a sunny bathroom window.
Ugly Chandelier Painted Garden Beautiful
A little paint, some beads and flickery bulbs is a small budget gardener's delight! This fab idea turns an otherwise ugly cast off dining room light fixture into the focal point of the porch. In a garden with little bright color, this hot pink painted beauty shows you how far to push your paint to create world class accents. Above all it casts the most romantic evening light with the flickering flame-like bulbs which give it powerful pizzaz. With about a thousand different light bulbs to choose from, imagine painting any light fixture from sleek modern to baroque for your own unique look and color sense. Cheap, easy to install and totally creative, this is how a small budget gardener can create one of a kind garden design.
Recycle Matchstick Blinds to Save Energy
Here's a cheap and easy way to turn a hot window into a beautiful energy-saving composition. Small budget gardeners would make one of these out of broken matchstick blinds that may have been formerly used indoors. You may only use it for one season so trade rope or wire for the pricey cables. The sticks add beautiful shadow patterns to cool the surface of a west facing window that may grow very hot during summer afternoons. Cool the glass and you cool the room too. Also love the hanging bundles of lavender drying underneath. This came from the sustainable garden at Epcot with a marvelously Mediterranean feel.
They're featuring small budget garden ideas at highbrow Keukenhoff, the Royal Dutch Park of Holland. This old glass chandelier was the center of a recycled demonstration garden for a small urban space. It sparkled in the light and held a collection of yellow tulips in small green plastic pots. Note how they've set it upon a staff anchored in concrete, so you don't need an overhead to hang it. Check out the attics and basements, barns and lofts for old treasures like this to make new gardens sparkle for free. And if you find one for pennies at a yard sale, snatch 'er up because salvage is now European high style!
Words of wisdom from a German garden are a perfect small budget gardener's idea. It may be a phrase of that nation's most famous philosopher Johann Wolfgang von Goethe, beautifully printed on this simple arbor post. The idea is both elegant and affordable, offering meaning to the garden whether you are a fan of Jesus or the Dali Lama, Bob Dylan or Rachael Carson. Whatever your approach, words in gardens are remembered into adulthood by our children who see them every day. They are also a good way to remind ourselves to slow down enough to stop and smell the flowers.


text:
The Manassas Campus of Northern Virginia Community College is planning a job fair to hire part-time instructors for its popular NOVA Next Door program.
Instructors are needed for evening courses in English, math and communications. Faculty must hold a master's degree with 18 graduate hours in the discipline.
The job fair is scheduled for June 10 from 5:30 to 7:30 p.m. at NOVA's Global Learning Center in the Manassas Mall (near IHOP). Applicants should bring one form of government-issued identification, unofficial transcripts, resume and cover letter.
NOVA Next Door puts college classes close to where people live. Classes are held at local high schools, including Battlefield, Brentsville, Centreville, Manassas Park, Osbourn, Patriot and Westfield.
To learn more, go to https://www.eventbrite.com/e/nova-next-door-adjunct-fair-tickets-11250798441, or contact Jenni Barlet at firstname.lastname@example.com or 703-530-3071.
Northern Virginia Community College is the largest institution of higher education in the Commonwealth of Virginia and one of America's largest community colleges. NOVA enrolls more than 75,000 students at its six campuses in Alexandria, Annandale, Loudoun, Manassas, Springfield and Woodbridge, and through the Extended Learning Institute. For more information about NOVA and its programs or services, call 703-323-3000 or visit the College's Web site, www.nvcc.edu.


text:
Welcome to AIPP Printing Press!
We do printing and we are also concerned for the environment. Even though we are moving to paperless office nowadays, we still need to print some which are important to us. So while printing is in process, we try to reduce our carbon foot prints and aiming to the greener world.
We have variety of recycled papers and environmental friendly (ECO fiber) papers for your publications. We use soy ink that reduces the carbon foot prints.
The profit we would make will support Indigenous Peoples Human Rights Defenders Network (IPHRD Net). This means you are supporting and showing your concern on Indigenous Peoples' Rights and greener EARTH.
We offer eco-friendly and affordable printing services – with worldwide shipping distribution!
Order your printing job today and support the Indigenous Peoples Human Rights Defenders Network (IPHRD Net) and those facing serious threats due to their human rights work.


text:
We've been wanting to give back to our supporters for a while now because we see the passion and excitement they have for CinchShare through the amazing reviews we receive and emails of thanks. So many share with their teams and companies – we're blown away by the #cinchlove! Nothing makes us happier than helping everyone save time and simplify their social media but now we can add a little spending money to the list, so thank you!Jennifer Johnson
Customized Affiliate Dashboard
- Seamlessly integrate with your PayPal
- Measure link performance with built in Google Analytics
- Effortlessly review upcoming and past referrals
- Track your pending and successful payouts


text:
As I continue to work with clients – I realised there are some fantastic and creative expressions and words used by people to describe how they are feeling and thought I would share.
"sustainable denial" (David aged 50)
I think this speaks for itself on its meaning. How true is it for us to stay in this place, even when we know a change will help us
"Crired" (Sarah aged 13)
So tired it makes you cry
"hangry" (Gemma aged 13)
So hungry and angry at the same time
"proper fine" (Dylan aged 12)
When I'm safe and everything is good
"properly selfish" – Vicky Bailey
Putting yourself first and listening to what you need


text:
Open the Door to Cost Savings
Have you considered what cost savings you would bring to the table for your farming operation if you could purchase granular fertilizer product direct? Maybe you already are, but do you have an efficient way to manage product inventory in terms of keeping up with supply and knowing what you are expending?
Scale-Tec is opening a new door to cost savings for your farming operation. Did you know that by purchasing your own fertilizer product direct and applying it yourself, you can save on average $10 per acre? We have helped many customers do this simply by mounting a scale system onto their spreader implements. If you have the ability to purchase the fertilizer product direct and the only thing that is holding you back is a way to accurately measure the product being applied, you now have a solution by integrating an on-board scale system onto your implement.
We'll work with you to explore options to mount a scale system on your application. We are developing additional solutions every day for farmers so they can remain profitable in today's economy of small profit margins.
Return Of Investment
Utilize the Scale-Tec ROI calculator to determine how feasible it is to utilize a scale system on your fertilizer spreader.
Accuracy and Dry Rate Controllers
Do you like running your spreader completely empty before you adjust the calibration on your dry rate controller? Many farmers and custom operators do this prior to adjusting the calibration on their dry rate controllers. Does this sound like precision to you?
Scale-Tec puts precision back into your hands by allowing you to spread a small quantity and performing an in-field calibration to ensure accuracy. If your custom operator or co-op is doing your fertilizer application, ask them how they verify the accuracy of their application.
Many factors can create a need to re-calibrate your rate controller. Most of these factors are determined by the quality of the product and environmental aspects. Factors such as the granular size of the product, density of the product, and major weather events all affect how the granules fall from the spreader. Minimizing your error will save you in costs for under application or over application.
Cover Crop Benefits
Using a scale system on a fertilizer spreader also has benefits for application of cover crop. Due to the variability of seed shape, size and weight, a scale system will help to adjust the rate of application within a few acres in the field. Eliminate the need to "guess" at the right settings for rate, a scale system will help achieve a 99% +/-1% accuracy when spreading cover crop.


text:
Want to build your own knowledgebase?
Each LibraryH3lp subscription includes unlimited independent internal or public-facing knowledgebases (FAQs).
989 views | Last updated on Nov 21, 2018 installation
Sorry. Chat is software-as-a-service and runs only on our servers, which are hosted worldwide. There is not an installable package that you can run locally.


text:
23 Mar 2012
To the attention of employees of trading companies requesting invoice upon purchasing Tursib travel titles
The issuing of fiscal invoices for employees of trading companies will be possible only after presenting a nominal delegation, in an original copy, signed by the legal representatives of the company, indicating the month for which these employees are entitled to request the issuing of a pass.
SC Tursib SA will withhold the delegation and attach it to the invoice issued towards that particular company, this part remaining in the possession of the issuer. In case you wish to avoid this procedure, please have your company contact the Tursib Marketing or Accounting Department at e-mail address: email@example.com or at phone number 0269/426100, in order to establish the details of a correspondence via e-mail regarding the delegation of company employees to pick up Tursib passes based on a fiscal invoice.


text:
The Hollywood Ten and the Blacklist Era
Six Members of the Hollywood Ten
Alvah Bessie (1904-1985). Letters from the blacklisted and imprisoned novelist and screenwriter. In the Martha Gellhorn, Albert Maltz, and Joseph North Collections.
Elia Kazan (1909-2003). Several letters from the legendary film and theatre director and producer. In various collections.
Ring Lardner, Jr. (1915-2000). Letters from the influential journalist and screenwriter. In the Maxwell Geismar Collection.
John Howard Lawson (1894-1977). Material from the prominent screenwriter and political activist: manuscript for his 1928 play Death in an Office, in the Edmund Fuller Collection; an audio recording of an interview with Lawson, in the Jay Williams Collection; letters from Lawson, in the Maxwell Geismar, Joseph North, and Jay Williams Collections.
Albert Maltz (1908-1985). Manuscripts, correspondence, photographs, audio recordings, and other material from the acclaimed author and screenwriter.
Dalton Trumbo (1905-1976). A significant group of letters to blacklisted song lyricist E. Y. "Yip" Harburg. In the John Lahr collection.
Blacklisted Individuals with Their Own Collections at the Gotlieb Center
David (1919- ) and Emily (1921-2004) Alman. Manuscripts, correspondence, audio and video recordings, photographs, and much more from the prominent authors and screenwriters, blacklisted for their advocacy on behalf of Julius and Ethel Rosenberg.
Phoebe Brand (1907-2004). Manuscripts, correspondence, photographs, programs, and other items from the American stage actress and co-founder of the legendary Group Theater. Wife of Morris Carnovsky (below).
Morris Carnovsky (1897-1992). Manuscripts, correspondence, photographs, audio and video recordings, and much more from the celebrated stage and screen actor. Husband of Phoebe Brand (above).
Marc Connolly (1890-1980). Manuscripts, correspondence, research material, and many other items from the prolific playwright, author, and member of the Algonquin Round Table.
Jose Ferrer (1912-1992). Manuscripts, correspondence, scrapbooks, photographs, and more from the award-winning stage and screen actor, director, and producer.
Tom Glazer (1914-2003). Manuscripts, correspondence, audio and video recordings, scrapbooks, photographs, and other items from the popular singer and songwriter.
Langston Hughes (1902-1967). Manuscripts and other material from the legendary poet and author of the Harlem Renaissance.
Avon Long (1910-1984). A small collection of printed items and other material regarding the actor.
Anne Revere (1903-1990). Manuscripts, correspondence, scrapbooks, photographs, and other items from the Academy Award-winning actress.
Edward G. Robinson (1893-1973). Manuscripts, correspondence, photographs, memorabilia, and other material from the celebrated actor.
Robert St. John (1902-2003). Manuscripts, scrapbooks, photographs, audio recordings, correspondence, and more from the intrepid war correspondent and broadcast journalist.
John Sanford (1904-2003). Manuscripts, correspondence, photographs, diaries, scrapbooks, audio, video, and other items from the acclaimed author. Husband of Marguerite Roberts (below).
Robert Lewis Shayon (1912-2008). Manuscripts, correspondence, audio recordings, and much more from the groundbreaking radio producer, broadcaster, and media critic.
George Sklar (1908-1988). Manuscripts, correspondence, scrapbooks, and other material from the noted playwright, novelist, screenwriter, and political activist.
Shepard Traube (1907-1983). Manuscripts, correspondence, photographs, audio, scrapbooks, and other items from the prominent theatrical director and producer.
Peter Viertel (1920-2007). Manuscripts for three novels and a screenplay, from the distinguished author and journalist.
Sam Wanamaker (1919-1993). Manuscripts, correspondence, and production files from the acclaimed actor and director of stage, screen, and television.
Orson Welles (1915-1985). Manuscripts for screenplays and an autobiography, from the legendary writer, actor, director, and producer of radio, theatre, film, and television.
Blacklisted Individuals Within the Collections at the Gotlieb Center (Notable Figures)
Stella Adler (1901-1992). Letters from the distinguished actress and teacher. In the Robert Brustein, Libby Holman, and Herbert Ross and Nora Kaye Collections.
Nelson Algren (1909-1981). Manuscripts and letters from the iconic writer, in the Evan Connell Collection; letters, in the Abraham Burack, Christopher Davis, Maxwell Geismar, and Martha Gellhorn Collections.
Richard Attenborough (1923- ). Letters from the noted actor, director, and producer. In various collections.
Albert Bein (1902-1990). Letters from the writer, director, and producer of theatre and film. In the Hedgerow Theatre Collection.
Marc Blitzstein (1905-1964). Letters from the prominent composer. In the Michael Blankfort, Christopher Davis, and Libby Holman Collections. In addition, the Orson Welles Collection (above) contains drafts and other items pertaining to The Cradle Will Rock, for which Blitzstein wrote the score.
Millen Brand (1906-1980). Letters from the noted writer and poet, blacklisted for his civil rights activism. In various collections.
Vera Caspary (1899-1987). Letters from the popular and prolific author. In the Abraham Burack and Monica McCall Collections.
Mady Christians (1892-1951). A letter from the noted actress. In the Bella Fromm Collection.
Lee J. Cobb (1911-1976). A letter from the popular film actor. In the Michael Blankfort Collection.
Aaron Copland (1900-1990). Letters from the celebrated composer. In various collections.
Jules Dassin (1911-2008). Letters from the influential film director. In the Eric Ambler, Martha Gellhorn, Jay Richard Kennedy, and Sam Wanamaker Collections.
Olin Downes (1886-1955). Letters from the significant music critic. In various collections.
Alfred Drake (1914-1992). Letters from the popular stage and television actor. In the Stanley Ellin, Elliot Norton, Roddy McDowall, and Harold Schonberg Collections.
Howard Fast (1914-2003). Items from the popular and prolific novelist: a draft of a screenplay, in the Roddy McDowall Collection; two transcribed interviews, in the Natalie Robins Collection; and letters, in various collections.
Carl Foreman (1914-1984). Letters from the acclaimed screenwriter and film producer. In various collections.
Martin Gabel (1912-1986). Letters from the noted actor and film director and producer. In various collections.
Ruth Gordon (1896-1985). Several letters from the popular actress. In various collections.
Uta Hagen (1919-2004). Letters from the German-American actress and acting teacher. In the Eric Bentley, Roddy McDowall, and Irene Mayer Selznick Collections.
E. Y. "Yip" Harburg (1896-1981). Several letters from the popular song lyricist, as well as letters to him from Norman Corwin, Dalton Trumbo, and Noel Langley. In the John Lahr Collection.
Lillian Hellman (1905-1984). Items from the controversial playwright: an early draft of The Children's Hour, in the Edmund Fuller Collection; a draft of Toys in the Attic, in the Anne Revere Collection; several letters, in various collections.
Judy Holliday (1921-1965). Six photographs of the award-winning actress, in the Myron Ehrenberg Collection.
Lena Horne (1917- ). Letters from the great African-American singer, in the Nikki Giovanni Collection; and a photograph, in the Myron Ehrenberg Collection.
Marsha Hunt (1917- ). A copy of the actress's statement to the House Un-American Activities Committee. In the Ralph de Toledano Collection.
Sam Jaffe (1891-1984). Letters from the noted actor and teacher. In the Stanley Ellin Collection.
Garson Kanin (1912-1993). Several letters from the acclaimed writer and director of plays and films. In various collections.
Arthur Laurents (1918- ). Items from the award-winning playwright and screenwriter: draft of his play Heartsong, in the Irene Mayer Selznick Collection; drafts of his screenplay for the film The Turning Point, in the Herbert Ross and Nora Kaye Collection; and letters, in various collections.
Joseph Losey (1909-1984). Letters from the prominent theatre and film director. In various collections.
Burgess Meredith (1907-1997). Letters from the distinguished character actor. In various collections.
Arthur Miller (1915-2005). Several letters from the great playwright. In various collections.
Clifford Odets (1906-1963). Numerous letters between the groundbreaking playwright and his wife, actress Luise Rainer, documenting their turbulent relationship, in the Luise Rainer Collection; several other letters, in various collections.
Dorothy Parker (1893-1967). Letters and other items from the recognized author, in the Robert Benchley, W. Somerset Maugham, Herbert Ross and Nora Kaye, and Don Asher Collections.
Samson Raphaelson (1896-1983). Letters from the influential screenwriter. In the Abraham Burack, Hedgerow Theatre, Elliot Norton, and Robert Lantz Collections.
Marguerite Roberts (1905-1989). Manuscripts, correspondence, photographs, U.S. government files, and other items from the prolific screenwriter. In the John Sanford collection (see above).
Norman Rosten (1914-1995). Letters and other items from the acclaimed playwright and novelist. In various collections.
Pete Seeger (1919- ). Letters from the iconic folk musician and political activist. In the Russell Baker, Abel Meeropol, Joseph North, and Wolf Rilla Collections.
Lisa Sergio (1905-1989). Letters from the noted anti-fascist journalist and radio commentator. In the Niccolo Tucci and Welthy H. and Frederick Bohn Fisher Collections.
Irwin Shaw (1913-1984). Several letters from the prominent author. In various collections.
William L. Shirer (1904-1993). Several letters from the groundbreaking journalist and historian. In various collections.
Louis Untermeyer (1885-1977). Several letters and other items from the acclaimed poet, author, and editor. In various collections.
Josh White (1914-1969). Correspondence, photographs, and audio recordings from the legendary singer, guitarist, actor, and civil rights advocate. In the Libby Holman Collection.
Martin Wolfson (1904-1973). Thirty letters from the popular stage and screen actor. In the Christopher Lehmann-Haupt Collection.
Collections of Individuals Who Cooperated with the House Un-American Activities Committee
Michael Blankfort (1907-1982). Manuscripts, correspondence, diaries, photographs, research material, and other items from the prolific playwright, screenwriter, and novelist.
Sterling Hayden (1916-1986). Manuscripts, correspondence, scrapbooks, photographs, and other items from the popular character actor.
Other Related Collections
Patricia Bosworth (1933- ). Material regarding Bartley C. Crum, a blacklisted lawyer and father of Patricia Bosworth, about whom Bosworth wrote a biography; including manuscripts, correspondence, research material, scrapbooks, and other items. The correspondence includes letters between Bartley Crum and the FBI regarding Crum's testimony before the HUAC.
Natalie Robins (1938- ). Material regarding Robins' book Alien Ink, about the FBI's persecution of various important American authors over several decades; including manuscripts, correspondence, government documents, interview tapes, and other research material.


text:
The English are very proud of their sense of justice, proud too of their Roman law and the practice of the Courts in which they have incorporated it. They boast of their fair play in all things as the French boast of their lightness, and if you question it, you lose caste with them, as one prejudiced or ignorant or both. English justice cannot be bought, they say, and if it is dear, excessively dear even, they rather like to feel they have paid a long price for a good article. Yet it may be that here, as in other things, they take outward propriety and decorum for the inward and ineffable grace. That a judge should be incorruptible is not so important as that he should be wise and humane.
English journalists and barristers were very much amused at the conduct of the Dreyfus case; yet, when Dreyfus was being tried for the second time in France, two or three instances of similar injustice in England were set forth with circumstance in one of the London newspapers, but no one paid any effective attention to them. If Dreyfus had been convicted in England, it is probable that no voice would ever have been raised in his favour; it is absolutely certain that there would never have been a second trial. A keen sense of abstract justice is only to be found in conjunction with a rich fount of imaginative sympathy. The English are too self-absorbed to take much interest in their neighbours' affairs, too busy to care for abstract questions of right or wrong.
Before the trial of Oscar Wilde I still believed that in a criminal case rough justice would be done in England. The bias of an English judge, I said to myself, is always in favour of the accused. It is an honourable tradition of English procedure that even the Treasury barristers should state rather less than they can prove against the unfortunate person who is being attacked by all the power and authority of the State. I was soon forced to see that these honourable and praiseworthy conventions were as withes of straw in the fire of English prejudice. The first thing to set me doubting was that the judge did not try to check the cheering in Court after the verdict in favour of Lord Queensberry. English judges always resent and resist such popular outbursts: why not in this case? After all, no judge could think Queensberry a hero: he was too well known for that, and yet the cheering swelled again and again, and the judge gathered up his papers without a word and went his way as if he were deaf. A dreadful apprehension crept over me: in spite of myself I began to realise that my belief in English justice might be altogether mistaken. It was to me as if the solid earth had become a quaking bog, or indeed as if a child had suddenly discovered its parent to be shameless. The subsequent trials are among the most painful experiences of my life. I shall try to set down all the incidents fairly.
One peculiarity had first struck me in the conduct of the case between Oscar Wilde and Lord Queensberry that did not seem to occur to any of the numberless journalists and writers who commented on the trial. It was apparent from his letter to his son (which I published in a previous chapter), and from the fact that he called at Oscar Wilde's house that Lord Queensberry at the beginning did not believe in the truth of his accusations; he set them forth as a violent man sets forth hearsay and suspicion, knowing that as a father he could do this with impunity, and accordingly at first he pleaded privilege. Some time between the beginning of the prosecution and the trial, he obtained an immense amount of unexpected evidence. He then justified his libel and gave the names of the persons whom he intended to call to prove his case. Where did he get this new knowledge?
I have spoken again and again in the course of this narrative of Oscar's enemies, asserting that the English middle-class as puritans detested his attitude and way of life, and if some fanatic or representative of the nonconformist conscience had hunted up evidence against Wilde and brought him to ruin there would have been nothing extraordinary in a vengeance which might have been regarded as a duty. Strange to say the effective hatred of Oscar Wilde was shown by a man of the upper class who was anything but a puritan. It was Mr. Charles Brookfield, I believe, who constituted himself private prosecutor in this case and raked Piccadilly to find witnesses against Oscar Wilde. Mr. Brookfield was afterwards appointed Censor of Plays on the strength apparently of having himself written one of the "riskiest" plays of the period. As I do not know Mr. Brookfield, I will not judge him. But his appointment always seemed to me, even before I knew that he had acted against Wilde, curiously characteristic of English life and of the casual, contemptuous way Englishmen of the governing class regard letters. In the same spirit Lord Salisbury as Prime Minister made a journalist Poet Laureate simply because he had puffed him for years in the columns of The Standard. Lord Salisbury probably neither knew nor cared that Alfred Austin had never written a line that could live. One thing Mr. Brookfield's witnesses established: every offence alleged against Oscar Wilde dated from 1892 or later — after his first meeting with Lord Alfred Douglas.
But at the time all such matters were lost for me in the questions: would the authorities arrest Oscar? or would they allow him to escape? Had the police asked for a warrant? Knowing English custom and the desire of Englishmen to pass in silence over all unpleasant sexual matters, I thought he would be given the hint to go abroad and allowed to escape. That is the ordinary, the usual English procedure. Everyone knows the case of a certain lord, notorious for similar practices, who was warned by the police that a warrant had been issued against him: taking the hint he has lived for many years past in leisured ease as an honoured guest in Florence. Nor is it only aristocrats who are so favoured by English justice: everyone can remember the case of a Canon of Westminster who was similarly warned and also escaped. We can come down the social scale to the very bottom and find the same practice. A certain journalist unwittingly offended a great personage. Immediately he was warned by the police that a warrant issued against him in India seventeen years before would at once be acted upon if he did not make himself scarce. For some time he lived in peaceful retirement in Belgium. Moreover, in all these cases the warrants had been issued on the sworn complaints of the parties damnified or of their parents and guardians: no one had complained of Oscar Wilde. Naturally I thought the dislike of publicity which dictated such lenience to the lord and the canon and the journalist would be even more operative in the case of a man of genius like Oscar Wilde. In certain ways he had a greater position than even the son of a duke: the shocking details of his trial would have an appalling, a world-wide publicity.
Besides, I said to myself, the governing class in England is steeped in aristocratic prejudice, and particularly when threatened by democratic innovations, all superiorities, whether of birth or wealth, or talent, are conscious of the same raison d'être and have the same self-interest. The lord, the millionaire and the genius have all the same reason for standing up for each other, and this reason is usually effective. Everyone knows that in England the law is emphatically a respecter of persons. It is not there to promote equality, much less is it the defender of the helpless, the weak and the poor; it is a rampart for the aristocracy and the rich, a whip in the hands of the strong. It is always used to increase the effect of natural and inherited inequality, and it is not directed by a high feeling of justice; but perverted by aristocratic prejudice and snobbishness; it is not higher than democratic equality, but lower and more sordid.
The case was just a case where an aristocratic society could and should have shown its superiority over a democratic society with its rough rule of equality. For equality is only half-way on the road to justice. More than once the House of Commons has recognised this fundamental truth; it condemned Clive but added that he had rendered "great and distinguished services to his country"; and no one thought of punishing him for his crimes.
Our time is even more tolerant and more corrupt. For a worse crime than extortion Cecil Rhodes was not even brought to trial, but honoured and fêted, while his creatures, who were condemned by the House of Commons Committee, were rewarded by the Government.
Had not Wilde also rendered distinguished services to his country? The wars waged against the Mashonas and Matabeles were a doubtful good; but the plays of Oscar Wilde had already given many hours of innocent pleasure to thousands of persons, and were evidently destined to benefit tens of thousands in the future. Such a man is a benefactor of humanity in the best and truest sense, and deserves peculiar consideration.
To the society favourite the discredit of the trial with Lord Queensberry was in itself a punishment more than sufficient. Everyone knew when Oscar Wilde left the court that he left it a ruined and disgraced man. Was it worth while to stir up all the foul mud again, in order to beat the beaten? Alas! the English are pedants, as Goethe saw; they think little of literary men, or of merely spiritual achievements. They love to abide by rules and pay no heed to exceptions, unless indeed the exceptions are men of title or great wealth, or "persons of importance" to the Government. The majority of the people are too ignorant to know the value of a book and they regard poetry as the thistle-down of speech. It does not occur to Englishmen that a phrase may be more valuable and more enduring in its effects than a long campaign and a dozen victories. Yet, the sentence, "Let him that is without sin among you first cast the stone," or Shakespeare's version of the same truth: "if we had our deserts which of us would escape whipping?" is likely to outlast the British Empire, and prove of more value to humanity.
The man of genius in Great Britain is feared and hated in exact proportion to his originality, and if he happens to be a writer or a musician he is despised to boot. The prejudice against Oscar Wilde showed itself virulently on all hands. Mr. Justice Collins did not attempt to restrain the cheering of the court that greeted the success of Lord Queensberry. Not one of the policemen who stood round the door tried to stop the "booing" of the crowd who pursued Oscar Wilde with hootings and vile cries when he left the court. He was judged already and condemned before being tried.
The police, too, acted against him with extraordinary vigour. It has been stated by Mr. Sherard in his "Life" that the police did not attempt to execute the warrant against Wilde, "till after the last train had left for Dover," and that it was only Oscar's obstinacy in remaining in London that necessitated his arrest. This idea is wholly imaginary.
It is worth while to know exactly what took place at this juncture. From Oscar's conduct in this crisis the reader will be able to judge whether he has been depicted faithfully or not in this book. He has been described as amiable, weak, of a charming disposition — easily led in action, though not in thought: now we shall see how far we were justified, for he is at one of those moments which try the soul. Fortunately every incident of that day is known: Oscar himself told me generally what happened and the minutest details of the picture were filled in for me a little later by his best friend, Robert Ross.
In the morning Mr. Mathews, one of Oscar's counsel, came to him and said: "If you wish it, Clarke and I will keep the case going and give you time to get to Calais."
Oscar refused to stir. "I'll stay," was all he would say. Robert Ross urged him to accept Mathew's offer; but he would not: why? I am sure he had no reason, for I put the question to him more than once, and even after reflecting, he had no explanation to give. He stayed because to stay was easier than to make an immediate decision and act on it energetically. He had very little will power to begin with and his mode of life had weakened his original endowment.
After the judgment had been given in favour of Queensberry, Oscar drove off in a brougham, accompanied by Alfred Douglas, to consult with his solicitor, Humphreys. At the same time he gave Ross a cheque on his bank in St. James's Street. At that moment he intended to fly.
Ross noticed that he was followed by a detective. He drew about £200 from the bank and raced off to meet Oscar at the Cadogan Hotel, in Sloane Street, where Lord Alfred Douglas had been staying for the past four or five weeks. Ross reached the Cadogan Hotel about 1.45 and found Oscar there with Reggie Turner. Both of them advised Oscar to go at once to Dover and try to get to France; but he would only say, "the train has gone; it is too late." He had again lapsed into inaction.
He asked Ross to go to see his wife and tell her what had occurred. Ross did this and had a very painful scene: Mrs. Wilde wept and said, "I hope Oscar is going away abroad."
Ross returned to the Cadogan Hotel and told Oscar what his wife had said, but even this didn't move him to action.
He sat as if glued to his chair, and drank hock and seltzer steadily in almost unbroken silence. About four o'clock George Wyndham came to see his cousin, Alfred Douglas; not finding him, he wanted to see Oscar, but Oscar, fearing reproaches, sent Ross instead. Wyndham said it was a pity that Bosie Douglas should be with Oscar, and Ross immediately told him that Wilde's friends for years past had been trying to separate them and that if he, Wyndham, would keep his cousin away, he would be doing Oscar the very greatest kindness. At this Wyndham grew more civil, though still "frightfully agitated," and begged Ross to get Oscar to leave the country at once to avoid scandal. Ross replied that he and Turner had been trying to bring that about for hours. In the middle of the conversation Bosie, having returned, burst into the room with: "I want to see my cousin," and Ross rejoined Oscar. In a quarter of an hour Bosie followed him to say that he was going out with Wyndham to see someone of importance.
About five o'clock a reporter of the Star newspaper came to see Oscar, a Mr. Marlowe, who is now editor of The Daily Mail, but again Oscar refused to see him and sent Ross. Mr. Marlowe was sympathetic and quite understood the position; he informed Ross that a tape message had come through to the paper saying that a warrant for Oscar Wilde had already been issued. Ross immediately went into the other room and told Oscar, who said nothing, but "went very grey in the face."
A moment later Oscar asked Ross to give him the money he had got at the bank, though he had refused it several times in the course of the day. Ross gave it to him, naturally taking it for a sign that he had at length made up his mind to start, but immediately afterwards Oscar settled down in his chair and said, "I shall stay and do my sentence whatever it is"— a man evidently incapable of action.
For the next hour the trio sat waiting for the blow to fall. Once or twice Oscar asked querulously where Bosie was, but no one could tell him.
At ten past six the waiter knocked at the door and Ross answered it. There were two detectives. The elder entered and said, "We have a warrant here, Mr. Wilde, for your arrest on a charge of committing indecent acts." Wilde wanted to know whether he would be given bail; the detective replied:
"That is a question for the magistrate."
Oscar then rose and asked, "Where shall I be taken?"
"To Bow Street," was the reply.
As he picked up a copy of the Yellow Book and groped for his overcoat, they all noticed that he was "very drunk" though still perfectly conscious of what he was doing.
He asked Ross to go to Tite Street and get him a change of clothes and bring them to Bow Street. The two detectives took him away in a four-wheeler, leaving Ross and Turner on the curb.
Ross hurried to Tite Street. He found that Mrs. Oscar Wilde had gone to the house of a relative and there was only Wilde's man servant, Arthur, in the house, who afterwards went out of his mind, and is still, it is said, in an asylum. He had an intense affection for Oscar. Ross found that Mrs. Oscar Wilde had locked up Oscar's bedroom and study. He burst open the bedroom door and, with the help of Arthur, packed up a change of things. He then hurried to Bow Street, where he found a howling mob shouting indecencies. He was informed by an inspector that it was impossible to see Wilde or to leave any clothes for him.
Ross returned at once to Tite Street, forced open the library door and removed a certain number of letters and manuscripts of Wilde's; but unluckily he couldn't find the two MSS. which he knew had been returned to Tite Street two days before, namely, "A Florentine Tragedy" and the enlarged version of "The Portrait of Mr. W.H."
Ross then drove to his mother's and collapsed. Mrs. Ross insisted that he should go abroad, and in order to induce him to do it gave £500 for Oscar's defence. Ross went to the Terminus Hotel at Calais, where Bosie Douglas joined him a little later. They both stayed there while Oscar was being tried before Mr. Justice Charles and one day George Wyndham crossed the Channel to see Bosie Douglas.
There is of course some excuse to be made for the chief actor. Oscar was physically tired and morally broken. He had pulled the fair building of reputation and success down upon his own head, and, with the "booing" of the mob still in his ears, he could think of nothing but the lost hours when he ought to have used his money to take him beyond the reach of his pursuers.
His enemies, on the other hand, had acted with the utmost promptitude. Lord Queensberry's solicitor, Mr. Charles Russell, had stated that it was not his client's intention to take the initiative in any criminal prosecution of Mr. Oscar Wilde, but, on the very same morning when Wilde withdrew from the prosecution, Mr. Russell sent a letter to the Hon. Hamilton Cuffe, the Director of Public Prosecutions, with a copy of "all our witnesses' statements, together with a copy of the shorthand notes of the trial."
The Treasury authorities were at least as eager. As soon as possible after leaving the court Mr. C.F. Gill, Mr. Angus Lewis, and Mr. Charles Russell waited on Sir John Bridge at Bow Street in his private room and obtained a warrant for the arrest of Oscar Wilde, which was executed, as we have seen, the same evening.
The police showed him less than no favour. About eight o'clock Lord Alfred Douglas drove to Bow Street and wanted to know if Wilde could be bailed out, but was informed that his application could not be entertained. He offered to procure comforts for the prisoner: this offer also was peremptorily refused by the police inspector just as Ross's offer of night clothes had been refused. It is a common belief that in England a man is treated as innocent until he has been proved guilty, but those who believe this pleasant fiction, have never been in the hands of the English police. As soon as a man is arrested on any charge he is at once treated as if he were a dangerous criminal; he is searched, for instance, with every circumstance of indignity. Before his conviction a man is allowed to wear his own clothes; but a change of linen or clothes is denied him, or accorded in part and grudgingly, for no earthly reason except to gratify the ill-will of the gaolers.
The warrant on which Oscar Wilde was arrested charged him with an offence alleged to have been committed under Section xi. of the Criminal Amendment Act of 1885; in other words, he was arrested and tried for an offence which was not punishable by law ten years before. This Act was brought in as a result of the shameful and sentimental stories (evidently for the most part manufactured) which Mr. Stead had published in The Pall Mall Gazette under the title of "Modern Babylon." In order to cover and justify their prophet some of the "unco guid" pressed forward this so-called legislative reform, by which it was made a criminal offence to take liberties with a girl under thirteen years of age — even with her own consent. Intimacy with minors under sixteen was punishable if they consented or even tempted. Mr. Labouchere, the Radical member, inflamed, it is said, with a desire to make the law ridiculous, gravely proposed that the section be extended, so as to apply to people of the same sex who indulged in familiarities or indecencies. The Puritan faction had no logical objection to the extension, and it became the law of the land. It was by virtue of this piece of legislative wisdom, which is without a model and without a copy in the law of any other civilised country, that Oscar Wilde was arrested and thrown into prison.
His arrest was the signal for an orgy of Philistine rancour such as even London had never known before. The puritan middle class, which had always regarded Wilde with dislike as an artist and intellectual scoffer, a mere parasite of the aristocracy, now gave free scope to their disgust and contempt, and everyone tried to outdo his neighbour in expressions of loathing and abhorrence. This middle class condemnation swept the lower class away in its train. To do them justice, the common people, too, felt a natural loathing for the peculiar vice attributed to Wilde; most men condemn the sins they have no mind to; but their dislike was rather contemptuous than profound, and with customary humour they soon turned the whole case into a bestial, obscene joke. "Oscar" took the place of their favourite word as a term of contempt, and they shouted it at each other on all sides; bus-drivers, cabbies and paper sellers using it in and out of season with the keenest relish. For the moment the upper classes lay mum-chance and let the storm blow over. Some of them of course agreed with the condemnation of the Puritans, and many of them felt that Oscar and his associates had been too bold, and ought to be pulled up.
The English journals, which are nothing but middle-class shops, took the side of their patrons. Without a single exception they outdid themselves in condemnation of the man and all his works. You might have thought to read their bitter diatribes that they themselves lived saintly lives, and were shocked at sensual sin. One rubbed one's eyes in amazement. The Strand and Fleet Street, which practically belong to this class and have been fashioned by them, are the haunt of as vile a prostitution as can be found in Europe; the public houses which these men frequent are low drinking dens; yet they all lashed Oscar Wilde with every variety of insult as if they themselves had been above reproach. The whole of London seemed to have broken loose in a rage of contempt and loathing which was whipped up and justified each morning by the hypocritical articles of the "unco guid" in the daily this and the weekly that. In the streets one heard everywhere the loud jests of the vulgar, decked out with filthy anecdotes and punctuated by obscene laughter, as from the mouth of the Pit.
In spite of the hatred of the journalists pandering to the prejudice of their paymasters, one could hope still that the magistrate would show some regard for fair play. The expectation, reasonable or unreasonable, was doomed to disappointment. On Saturday morning, the 6th, Oscar Wilde, "described as a gentleman," the papers said in derision, was brought before Sir John Bridge. Mr. C.F. Gill, who had been employed in the Queensberry trial, was instructed by Mr. Angus Lewis of the Treasury, and conducted the prosecution; Alfred Taylor was placed in the dock charged with conspiracy with Oscar Wilde. The witnesses have already been described in connection with the Queensberry case. Charles Parker, William Parker, Alfred Wood, Sidney Mavor and Shelley all gave evidence.
After lasting all day the case was adjourned till the following Thursday.
Mr. Travers Humphreys applied for bail for Mr. Wilde, on the ground that he knew the warrant against him was being applied for on Friday afternoon, but he made no attempt to leave London. Sir John Bridge refused bail.
On Thursday, the 11th, the case was continued before Sir John Bridge, and in the end both the accused were committed for trial. Again Mr. Humphreys applied for bail, and again the magistrate refused to accept bail.
Now to refuse bail in cases of serious crime may be defended, but in the case of indecent conduct it is usually granted. To run away is regarded as a confession of guilt, and what could one wish for more than the perpetual banishment of the corrupt liver, consequently there is no reason to refuse bail. But in this case, though bail was offered to any amount, it was refused peremptorily in spite of the fact that every consideration should have been shown to an accused person who had already had a good opportunity to leave the country and had refused to budge. Moreover, Oscar Wilde had already been criticised and condemned in a hundred papers. There was widespread prejudice against him, no risk to the public in accepting bail, and considerable injury done to the accused in refusing it. His affairs were certain to be thrown into confusion; he was known not to be rich and yet he was deprived of the power to get money together and to collect evidence just when the power which freedom confers was most needed by him.
The magistrate was as prejudiced as the public; he had no more idea of standing for justice and fair play than Pilate; probably, indeed, he never gave himself the trouble to think of fairness in the matter. A large salary is paid to magistrates in London, £1,500 a year, but it is rare indeed that any of them rises above the vulgarest prejudice. Sir John Bridge not only refused bail but he was careful to give his reasons for refusing it: he had not the slightest scruple about prejudicing the case even before he had heard a word of the defence. After hearing the evidence for the prosecution he said:
"The responsibility of accepting or refusing bail rests upon me. The considerations that weigh with me are the gravity of the offences and the strength of the evidence. I must absolutely refuse bail and send the prisoners for trial."
Now these reasons, which he proffered voluntarily, and especially the use of the word "absolutely," showed not only prejudice on the part of Sir John Bridge, but the desire to injure the unfortunate prisoner in the public mind and so continue the evil work of the journalists.
The effect of this prejudice and rancour on the part of the whole community had various consequences.
The mere news that Oscar Wilde had been arrested and taken to Holloway startled London and gave the signal for a strange exodus. Every train to Dover was crowded; every steamer to Calais thronged with members of the aristocratic and leisured classes, who seemed to prefer Paris, or even Nice out of the season, to a city like London, where the police might act with such unexpected vigour. The truth was that the cultured æsthetes whom I have already described had been thunderstruck by the facts which the Queensberry trial had laid bare. For the first time they learned that such houses as Taylor's were under police supervision, and that creatures like Wood and Parker were classified and watched. They had imagined that in "the home of liberty" such practices passed unnoticed. It came as a shock to their preconceived ideas that the police in London knew a great many things which they were not supposed to concern themselves with, and this unwelcome glare of light drove the vicious forth in wild haste.
Never was Paris so crowded with members of the English governing classes; here was to be seen a famous ex-Minister; there the fine face of the president of a Royal society; at one table in the Café de la Paix, a millionaire recently ennobled, and celebrated for his exquisite taste in art; opposite to him a famous general. It was even said that a celebrated English actor took a return ticket for three or four days to Paris, just to be in the fashion. The mummer returned quickly; but the majority of the migrants stayed abroad for some time. The wind of terror which had swept them across the Channel opposed their return, and they scattered over the Continent from Naples to Monte Carlo and from Palermo to Seville under all sorts of pretexts.
The gravest result of the magistrate's refusal to accept bail was purely personal. Oscar's income dried up at the source. His books were withdrawn from sale; no one went to see his plays; every shop keeper to whom he owed a penny took immediate action against him. Judgments were obtained and an execution put into his house in Tite Street. Within a month, at the very moment when he most needed money to fee counsel and procure evidence, he was beggared and sold up, and because of his confinement in prison the sale was conducted under such conditions that, whereas in ordinary times his effects would have covered the claims against him three times over, all his belongings went for nothing, and the man who was making £4,000 or £5,000 a year by his plays was adjudicated a bankrupt for a little over £1,000. £600 of this sum were for Lord Queensberry's costs which the Queensberry family — Lord Douglas of Hawick, Lord Alfred Douglas and their mother — had promised in writing to pay, but when the time came, absolutely refused to pay. Most unfortunately many of Oscar's MSS. were stolen or lost in the disorder of the sheriff's legal proceedings. Wilde could have cried, with Shylock, "You take my life when you do take away the means whereby I live." But at the time nine Englishmen out of ten applauded what was practically persecution.
A worse thing remains to be told. The right of free speech which Englishmen pride themselves on had utterly disappeared, as it always does disappear in England when there is most need of it. It was impossible to say one word in Wilde's defence or even in extenuation of his sin in any London print. At this time I owned the greater part of the Saturday Review and edited it. Here at any rate one might have thought I could have set forth in a Christian country a sane and liberal view. I had no wish to minimise the offence. No one condemned unnatural vice more than I, but Oscar Wilde was a distinguished man of letters; he had written beautiful things, and his good works should have been allowed to speak in his favour. I wrote an article setting forth this view. My printers immediately informed me that they thought the article ill-advised, and when I insisted they said they would prefer not to print it. Yet there was nothing in it beyond a plea to suspend judgment and defer insult till after the trial. Messrs. Smith and Sons, the great booksellers, who somehow got wind of the matter (through my publisher, I believe), sent to say that they would not sell any paper that attempted to defend Oscar Wilde; it would be better even, they added, not to mention his name. The English tradesman-censors were determined that this man should have Jedburg justice. I should have ruined the Saturday Review by the mere attempt to treat the matter fairly.
In this extremity I went to the great leader of public opinion in England. Mr. Arthur Walter, the manager of The Times, had always been kind to me; he was a man of balanced mind, who had taken high honours at Oxford in his youth, and for twenty years had rubbed shoulders with the leading men in every rank of life. I went down to stay with him in Berkshire, and I urged upon him what I regarded as the aristocratic view. In England it was manifest that under the circumstances there was no chance of a fair trial, and it seemed to me the duty of The Times to say plainly that this man should not be condemned beforehand, and that if he were condemned his merits should be taken into consideration in his punishment, as well as his demerits.
While willing to listen to me, Mr. Walter did not share my views. A man who had written a great poem or a great play did not rank in his esteem with a man who had won a skirmish against a handful of unarmed savages, or one who had stolen a piece of land from some barbarians and annexed it to the Empire. In his heart he held the view of the English landed aristocracy, that the ordinary successful general or admiral or statesman was infinitely more important than a Shakespeare or a Browning. He could not be persuaded to believe that the names of Gladstone, Disraeli, Wolseley, Roberts, and Wood, would diminish and fade from day to day till in a hundred years they would scarcely be known, even to the educated; whereas the fame of Browning, Swinburne, Meredith, or even Oscar Wilde, would increase and grow brighter with time, till, in one hundred or five hundred years, no one would dream of comparing pushful politicians like Gladstone or Beaconsfield with men of genius like Swinburne or Wilde. He simply would not see it and when he perceived that the weight of argument was against him he declared that if it were true, it was so much the worse for humanity. In his opinion anyone living a clean life was worth more than a writer of love songs or the maker of clever comedies — Mr. John Smith worth more than Shakespeare!
He was as deaf as only Englishmen can be deaf to the plea for abstract justice.
"You don't even say Wilde's innocent," he threw at me more than once.
"I believe him to be innocent," I declared truthfully, "but it is better that a hundred guilty men go free than that one man should not have a fair trial. And how can this man have a fair trial now when the papers for weeks past have been filled with violent diatribes against him and his works?"
One point, peculiarly English, he used again and again.
"So long as substantial justice is done," he said, "it is all we care about."
"Substantial justice will never be done," I cried, "so long as that is your ideal. Your arrow can never go quite so high as it is aimed." But I got no further.
If Oscar Wilde had been a general or a so-called empire builder, The Times might have affronted public opinion and called attention to his virtues, and argued that they should be taken in extenuation of his offences; but as he was only a writer no one seemed to owe him anything or to care what became of him.
Mr. Walter was fair-minded in comparison with most men of his class. There was staying with him at this very time an Irish gentleman, who listened to my pleading for Wilde with ill-concealed indignation. Excited by Arthur Walter's obstinacy to find fresh arguments, I pointed out that Wilde's offence was pathological and not criminal and would not be punished in a properly constituted state.
"You admit," I said, "that we punish crime to prevent it spreading; wipe this sin off the statute book and you would not increase the sinners by one: then why punish them?"
"Oi'd whip such sinners to death, so I would," cried the Irishman; "hangin's too good for them."
"You only punished lepers," I went on, "in the middle ages, because you believed that leprosy was catching: this malady is not even catching."
"Faith, Oi'd punish it with extermination," cried the Irishman.
Exasperated by the fact that his idiot prejudice was hurting my friend, I said at length with a smile:
"You are very bitter: I'm not; you see, I have no sexual jealousy to inflame me."
On this Mr. Walter had to interfere between us to keep the peace, but the mischief was done: my advocacy remained without effect.
It is very curious how deep-rooted and enduring is the prejudice against writers in England. Not only is no attempt made to rate them at their true value, at the value which posterity puts upon their work; but they are continually treated as outcasts and denied the most ordinary justice. The various trials of Oscar Wilde are to the thinker an object lesson in the force of this prejudice, but some may explain the prejudice against Wilde on the score of the peculiar abhorrence with which the offence ascribed to him is regarded in England.
Let me take an example from the papers of today — I am writing in January, 1910. I find in my Daily Mail that at Bow Street police court a London magistrate, Sir Albert de Rutzen, ordered the destruction of 272 volumes of the English translation of Balzac's "Les Contes Drolatiques" on the ground that the book was obscene. "Les Contes Drolatiques" is an acknowledged masterpiece, and is not nearly so free spoken as "Lear" or "Hamlet" or "Tom Jones" or "Anthony and Cleopatra." What would be thought of a French magistrate or a German magistrate who ordered a fair translation of "Hamlet" or of "Lear" to be burnt, because of its obscenity? He would be regarded as demented. One can only understand such a judgment as an isolated fact. But in England this monstrous stupidity is the rule. Sir A. de Rutzen was not satisfied with ordering the books to be burnt and fining the bookseller; he went on to justify his condemnation and praise the police:
"It is perfectly clear to my mind that a more foul and filthy black spot has not been found in London for a long time, and the police have done uncommonly well in bringing the matter to light. I consider that the books are likely to do a great deal of harm."
Fancy the state of mind of the man who can talk such poisonous nonsense; who, with the knowledge of what Piccadilly is at night in his mind, can speak of the translation of a masterpiece as one of the "most filthy black spots" to be found in London. To say that such a man is insane is, I suppose, going too far; but to say that he does not know the value or the meaning of the words he uses, to say that he is driven by an extraordinary and brainless prejudice, is certainly the modesty of truth.
It is this sort of perversity on the part of Sir A. de Rutzen and of nine out of ten Englishmen that makes Frenchmen, Germans and Italians speak of them as ingrained hypocrites. But they are not nearly so hypocritical as they are uneducated and unintelligent, rebellious to the humanising influence of art and literature. The ordinary Englishman would much prefer to be called an athlete than a poet. The Puritan Commonwealth Parliament ordered the pictures of Charles I. to be sold, but such of them as were indecent to be burnt; accordingly half a dozen Titians were solemnly burnt and the nucleus of a great national gallery destroyed. One can see Sir A. de Rutzen solemnly assisting at this holocaust and devoutly deciding that all the masterpieces which showed temptingly a woman's beautiful breasts were "foul and filthy black spots" and must be burnt as harmful. Or rather one can see that Sir A. de Rutzen has in two and a half centuries managed to get a little beyond this primitive Puritan standpoint: he might allow a pictorial masterpiece today to pass unburnt, but a written masterpiece is still to him anathema.
A part of this prejudice comes from the fact that the English have a special dislike for every form of sexual indulgence. It is not consistent with their ideal of manhood, and, like the poor foolish magistrate, they have not yet grasped the truth, which one might have thought the example of the Japanese would have made plain by now to the dullest, that a nation may be extraordinarily brave, vigorous and self-sacrificing and at the same time intensely sensuous, and sensitive to every refinement of passion. If the great English middle class were as well educated as the German middle class, such a judgment as this of Sir A. de Rutzen would be scouted as ridiculous and absurd, or rather would be utterly unthinkable.
In Anglo–Saxon countries both the artist and the sexual passion are under a ban. The race is more easily moved martially than amorously and it regards its overpowering combative instincts as virtuous just as it is apt to despise what it likes to call "languishing love." The poet Middleton couldn't put his dream city in England — a city of fair skies and fairer streets:
And joy was there; in all the city's length
I saw no fingers trembling for the sword;
Nathless they doted on their bodies' strength,
That they might gentler be. Love was their lord.
Both America and England today offer terrifying examples of the despotism of an unenlightened and vulgar public opinion in all the highest concerns of man — in art, in literature and in religion. There is no despotism on earth so soul-destroying to the artist: it is baser and more degrading than anything known in Russia. The consequences of this tyranny of an uneducated middle class and a barbarian aristocracy are shown in detail in the trial of Oscar Wilde and in the savagery with which he was treated by the English officers of justice.
Last updated Sunday, March 27, 2016 at 12:02


text:
Let's Chat
Well! Here you are 🙂
You've come this far for a reason, so why not follow that feeling in your gut and shoot me a quick message?
Making contact does send a signal to yourself that you're ready to take the first step in making positive life changes. Everything is confidential and you're under absolutely zero obligations.
I'd love the opportunity to help you get to where you want to be and I look forward to hearing from you. I aim to respond to all contacts within 48 hours no matter the platform, day of the week, or time zone.
If contact forms aren't your thing, feel free to connect with me in any of the following ways:
Tel: +353 86 8188 371
Email: keith [at] lifecoachx [dot] com
Skype: keith.j.clarke


text:
A funeral service for Norma Ruth Ogden, 81, will be held at 2 p.m. Tuesday, April 11, at First Christian Church in Wheatland, with Pastor Andy Gudahl officiating. Interment will be held in the Wheatland Cemetery.
Norma Ogden passed away Tuesday, April 4, at the Northern Colorado Long Term Acute Hospital in Johnstown, Colo., surrounded by her family.
Norma was born on Dec. 24, 1935 in Holyoke, Colorado the daughter of William and Blondena (Kerns) Milholland.
She is survived by her husband of 62 years LeVern Ogden of Wheatland; children, Brad (Lu) Ogden of Carpenter, James Ogden of Missouri, Tony (Carrie) Ogden of Missouri, Tracey (Bill) Lyons of Casper, Wyoming, and Kelly (Travis Heimsoth) Kenison of Wheatland; sisters, Betty (Jim) McBee of Colorado and Judy Budd of Wheatland; grandchildren, William Lyons, Lauren Lyons, Haylee Kenison, Hollie Kenison, and Isabel Lyons; and one great grandson, Kingston Hayes.
She was preceded in death by her parents; granddaughter, Haven Ogden; and siblings, Ila Parker, Don Milholland, Bill Milholland, and Allen Milholland.
A memorial to the Platte County Public Library Foundation Endowment Fund, 904 ninth Street, Wheatland, Wyoming 82201 would be appreciated by the family.
A full obituary will follow in next weeks paper.
The Gorman Funeral Homes – Platte Chapel of Wheatland are in charge of the arrangements.
Condolences may be sent to the family at www.gormanfh.com


text:
JL Dental Care is a family-focused, state-of-the-art private practice with over 25 years' dentistry experience.
We are based in Edgware, offering an extensive service range and affordable, bespoke dental plans.
We have three dedicated hygienists in-house
Scaling through to polishing
Eliminating staining and discolouration
Diet advice to prevent staining
Keep your teeth healthy
Our custom-built space is designed with a focus
on maximum patient comfort, creating a warm
and welcoming environment for our visitors
Fully air-conditioned
TV & music available throughout your visit
Family atmosphere with plenty to amuse the children
Free parking 3 minutes away
Disabled access on-site
We provide plenty for children to play with,
watch and listen to, making their visit to the
dentists memorable for the right reasons
Full service dental care, under one roof
Free check-ups for children up to 5 years of age
Affordable membership plans designed for families
Flexible appointments service (inc. Mon & Tue nights)
Keeping your teeth and gums in tip-top condition is crucial. Our team provide a comprehensive dental health MOT as a core part of our all-round dental care approach.
Improving oral hygiene and the appearance of your teeth couldn't be easier. At JL Dental just book an appointment directly with our dedicated team: you don't need to see a dentist beforehand.
Get that beautiful smile you've always wanted! We will talk you through the many care options we offer, putting you at ease so you can choose the best cosmetic solution for your needs.
If you are looking for a caring, honest and fantastic dentist then look no further! The practice is spotless & modern, and the staff are highly professional & brilliant with children. Can't recommend enough.
A very professional & modern dental practice with high standards of customer care. Highly recommended.
I am delighted with the dental treatment I have received from you. The staff are professional and friendly and put you at your ease. The dental work is of a very high technical standard and, following treatment, my appearance has improved dramatically. Many thanks for your excellent care and attention to detail.
JL Dental is a practice that always puts the visitor first. We work hard to understand your needs, and believe in clear communication so you get the dental care you require.
We offer the latest in stunning high-tech equipment, with painless injections as standard, all in state-of-the-art surroundings that ensure your visit is a pleasant one.
'Nothing makes me prouder than what we have achieved here. A wonderful practice, staffed by highly-skilled professionals, giving a level of service that surpasses expectations.'


text:
Friday, March 23rd
Registration will open at 1 PM at the Nebraska Union and continue until Saturday at 2 PM.
Attendees will have a choice of four concurrent workshops (included in registration). Information about these workshops can be found here.
In the evening, graduate students will have the option to participate in a lightning talk contest presenting one of three topics (climate change, vaccinations, evolution) as if to a non-scientific audience.
Saturday, March 24th
Saturday will open at the Nebraska Union with a key note address by Dr. Jacquelyn Gill, a paleoecologist and passionate science communicator.
Dr. Gill's talk will be followed by concurrent sessions for the rest of the mornings. Featured speakers for these talks can be found here.
The Community Science Festival and poster session will be held in the afternoon.
The evening will end with a special 'Nerd Nite' downtown.
Sunday, March 25th
The last day of the conference will start at the Nebraska Union with a key note by Joe Palca, a NPR science contributor and founder of Joe's Big Idea.
Concurrent sessions will be held until 11:45 AM, at which time the conference will be complete.