text:
A maternity delivery kit for an expectant mother for use in a hospital that includes hospital gown having an upper body portion and a lower body portion where the upper body portion includes a neck hole and two opposing arm holes and the lower body portion includes an outer skirt having a central split. The central split is at the front of the gown and a concealing panel is attached inside the skirt and covers at least a portion of the central split. A maternity kit can be provided that includes a pillowcase package containing the maternity gown.
1. Field of the Invention
The present invention generally relates to a maternity kit for an expectant mother that includes a maternity kit having hospital garments and more specifically to a maternity kit having a hospital gown, head band and pillowcase package, all items having magnetic fasteners, said kit used to improve the hospital stay for the expectant mother.
2. Description of Related Art
A typical hospital gown is a simple short-sleeved, thigh length garment that is received over the front of the patient's body and secured at the neck and back by a tie or snap closure. These hospital gowns are usually made of fabric that can withstand repeated laundering in hot water, usually cotton although disposable hospital gowns may be made of paper or thin plastic, with paper or plastic ties. Some gowns have snaps along the top of the shoulder and sleeves, so that the gown can be removed without disrupting intravenous lines in the patient's arms. Healthcare workers, especially in hospitals, find thin hospital gowns convenient for listening to the heart and lungs. For nurses, giving injections in the buttocks, abdomen, or thighs is easier when the patient is wearing a gown rather than normal clothing.
Despite the advantages for hospitals and their workers, hospital gowns are unsightly and provide very little coverage for the patient's body, often accidentally revealing the patient's private areas. This can be particularly embarrassing for the patient, particularly women and those with particularly religious obligations and beliefs. Pregnancy, birthing and delivery is one particular setting where the typical hospital gown is much maligned. Expecting and delivering mothers are sensitive to their modesty and are often left feeling particularly exposed when being examined or subject to medical procedures in a typical hospital gown. Additionally, hospital gowns are not well-suited for post delivery hospital stays, where the mother is tasked with nursing.
Accordingly, there have been several attempts to provide a hospital gown that improves coverage, retains modesty, and provides additional functionality, but none heretofore have been successful in the marketplace. For example, U.S. Pat. No. 8,196,223 to Hamilton et al. describes a patient gown for a nursing mother including an outer gown releasably fastened in a front portion thereof, an upper portion having shoulder straps cooperating to form an upper opening and fastened at the top of the shoulders. An inner gown is provided and attached inside the outer gown to provide selectable coverage for a nursing mother and her baby. While useful for concealing the mother during nursing, this gown only provides coverage features for the upper body and provides only standard coverage for the lower body.
U.S. Pat. No. 7,181,773 to Piraka describes a hospital gown for medical procedures such as inserting catheters, heart monitoring, wound dressing and the like and reducing exposure of the patient's private areas. The gown has a large upper opening extending across the front of the gown from about the area of the left clavicle of the patient to about the area of the right clavicle of the patient and an arcuate lower portion extending downwardly to about the descending aorta of the patient. Also included is a detachable panel for covering the large upper opening; a narrow opening extending across the front of the gown for uncovering portions of the patient's abdomen; a panel for covering the narrow opening; a storage pocket on a front portion of the large upper opening panel; a pair of divided lower side portions for uncovering portions of the patient's groin; and a plurality of fasteners for joining the panels to peripheries of the openings. Again, while providing useful features for the upper body of the patient, this gown does not provide adequate concealment for the lower body of a patient, particularly for an expecting or delivering mother.
It is, therefore, to the effective resolution of the aforementioned problems and shortcomings of the prior art that the present invention is directed. However, in view of the hospital garments in existence at the time of the present invention, it was not obvious to those persons of ordinary skill in the pertinent art as to how the identified needs could be fulfilled in an advantageous manner.SUMMARY OF THE INVENTION
A hospital maternity delivery kit for an expectant mother packaged in a fabric package that converts into a baby pillow case that can be used as a keep sake item. The maternity delivery kit includes a delivery gown, a hospital gown, headband, a pillowcase wherein said, pillowcase can be used as the kit package. The maternity kit may include candies such as mints. The primary item in the kit is the hospital gown.
The present invention provides a hospital gown comprising a gown upper body portion and a gown lower body portion. The gown upper body portion includes a neck hole and two opposing arm holes and the gown lower body portion includes an outer skirt having a central split. In some embodiments, the gown lower body portion central split is at the front of the gown. A concealing panel is attached inside the skirt and covers at least a portion of the central split. The split can be opened and closed to examine the lower body of a patient while the concealing panel remains to cover up and conceal the patient's private areas. The concealing panel is attached at the waist of the gown and at least partially to the right and left seams of the skirt. The gown also has a rear seam running along its entire length that allows the user to easily put the gown on. The rear seam is releasably joined by one or more fasteners, such as opposing magnets.
In some embodiments, the gown upper body portion comprises a chest panel opposing a back panel wherein the chest panel is releasably joined to the back panel at opposing shoulders of the upper body portion. One or more fasteners join the chest panel to the back panel at the shoulders. In some embodiments, the fasteners comprise opposing magnets for ease of opening and closing and resilient retention of the two panels. The chest panel may include enhanced aesthetics including a V-neck collar and a tie such as a bow. A nursing bra may also be integrated into the chest panel of the gown.
A maternity kit for the expectant mother can include the hospital gown with the improved features, the delivery gown and other items such as a headband, pillowcase for the, pillowcase package, and mints. The purpose of the kit is to improve the stay of the mother in the hospital.
Applicant's invention can include an array of individual items that can be very useful at the hospital for person having a baby. In addition to the maternal hospital gown or delivery gown, a useful prepackaged pillowcase that can be used by the expectant mother along with a headband, and additional hospital gowns, all of which can be placed in a single package in a pillowcase package providing a maternity set. The package of mints can also be included. All of the personal wearable items and the pillowcase package can utilize magnet fasteners as described herein. The expectant mother may also wish to have a spa wrap which is a comfortable towel that can include a plurality of magnetic fasteners to hold the towel in place around the person.
Accordingly, it is an object of the present invention to provide a maternity kit that includes a hospital gown that provides significant privacy for the wearer while still providing access for hospital workers to carry out examinations and procedures.
It is another object of the present invention to provide a maternity kit having a hospital gown that is particularly well suited for nursing and delivering patients, providing improved privacy while allowing for examination and access to both the upper and lower body of the patient.
It is another object of the present invention to provide a maternity kit with a hospital gown and other items including a headband and pillow case package, all using magnet fasteners.
In accordance with these and other objects which will become apparent hereinafter, the instant invention will now be described with particular reference to the accompanying drawings.
As shown here, the upper body section 20, namely chest panel 22, provides a V-neck collar 27 although other collar configurations may be utilized such as scoop neck, crew neck, Henley style, and the like. Thus, the chest panel 22 can be configured as a tank top, tee shirt, or similarly styled blouse or tops. The chest and back panels 22 and 23 may optionally have sleeves 22′ and 23′, respectively, extending from the armholes. Optionally, a nursing bra 28 may be integrated into the chest panel 22 to provide support for the wearer's chest and also to cover and conceal the woman's chest and/or a nursing child. In some embodiments, a decorative tie 29 may be provided on the chest panel 22 which may function as decoration and to tighten the chest panel 22 across the wearer's chest.
The lower body section 30 of the gown 10 extends downward and outward from the waist 21. The lower body section comprises an overlay skirt 31 have a central split 32 extending from the waist all the way to the bottom 34 of the skirt 31. The central split 32 is, in some embodiments, located along the front of the gown 10. Attached inside of the skirt 31 to the waist 21 of the gown 10 is a concealing panel 33. The concealing panel 33 is large enough to completely conceal the space left by the split 32 of the overlay skirt. In some embodiments, the concealing panel 33 is only partially attached to the inside right and left seams 31′ and 31″ of the over skirt 31. With reference to
It is appreciated that the present invention provides a substantial advantage over the prior gowns with respect to privacy, usability, and overall aesthetics. In some embodiments, the gown 10 is form fitted having a somewhat narrower waist as compared to the upper body and lower body portions. This allows the gown 10 to maintain an "hour-glass" shape that is typically flattering for women. The decorative tie 29 and the shapely chest panel 22 further enhance and improve the aesthetics of the gown as compared to traditional hospital gowns. As far as usability, the gown 10 of the present invention provides many features not found in the traditional hospital gown. The concealing panel 33 provides a level of privacy and comfort not available in other gowns and will still allow hospital workers to examine and carry out procedures on the patient. The ability to examine a patient while maintaining her modesty and privacy is a critical advantage the gown 10 possesses over the prior art. Further, the ability to selectively release and fold down the shoulders 26 of the chest panel 22 is very useful for examining the upper body of the patient and for the patient to nurse a new born. The addition of the nursing bra 28 provides even more functionality, adding support for the patient's chest and newborn. Finally, the use of magnetic fasteners is particularly useful because the magnetic fasteners are much more resilient and less prone to unintentionally coming up during shifting and reconfiguring of the gown 10 but are still very easy for the patient and hospital workers to release when needing to access certain portions of the patient's anatomy.
The instant invention has been shown and described herein in what is considered to be the most practical and preferred embodiments. It is recognized, however, that departures may be made therefrom within the scope of the invention and that obvious modifications will occur to a person skilled in the art.
1. A maternity kit for an expectant mother including a hospital gown, comprising:
- an upper body portion and a lower body portion;
- said upper body portion including a neck hole and two opposing arm holes;
- said lower body portion including an outer skirt having a central split; and
- a concealing panel attached inside said skirt and covering at least a portion of said central split.
2. The hospital gown of claim 1, wherein said central split is located on a front portion of said gown and extends from a waist of said gown to a bottom portion of said skirt.
3. The hospital gown of claim 1, wherein said upper body portion comprises a chest panel opposing a back panel, said chest panel releasably joined to said back panel at opposing shoulders of said upper body portion.
4. The hospital gown of claim 3, wherein said chest panel is removably joined to said back panel by one or more fasteners.
5. The hospital gown of claim 4, wherein said fasteners comprise opposing magnets.
6. The hospital gown of claim 3, wherein said chest panel includes a collar.
7. The hospital gown of claim 3, wherein said chest panel includes an integrated nursing bra.
8. The hospital gown of claim 5, wherein said collar comprises a V-neck configuration.
9. The hospital gown of claim 1, wherein said concealing panel is attached at least partially to a right seam and a left seam of said skirt.
10. The hospital gown of claim 1, having a rear seam releasably joined by one or more fasteners.
11. The hospital gown of claim 6, wherein said fasteners comprise opposing magnets.
12. A kit as in claim 1, including a pillowcase package for holding said hospital gown.
13. A kit as in claim 12, including a headband having magnet fasteners.
14. A maternity hospital kit useful for an expectant mother upon arrival at the hospital to have a baby comprising:
- a pillowcase used as a package, said pillowcase package including maternity hospital gown.
15. A maternity hospital kit as in claim 12 wherein:
- said maternity hospital gown included in said kit is constructed in accordance with claim 1.
Type: Application
Filed: Dec 10, 2013
Publication Date: Jun 11, 2015
Inventor: Jeanette Bonfiglio (Boca Raton, FL)
Application Number: 14/101,459


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As reported on the Funeral Service Times website, the National Association of Funeral Directors have given their backing to tighter regulation of the industry following the Competition and Marketing Authority's investigation into practice in the funeral industry.
However they oppose any form of price regulation as mentioned in the CMA's interim report last November, stating that "price caps will do nothing to assist funeral affordability for the poorest in society".
Read more in the article on the Funeral Service Times Website
by dave
Having given careful consideration and after listening to advice from HM Government we have taken the decision to postpone our conference until a later date in 2020. We will inform everyone of the new date as soon as possible.
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Azerbaijan suspends crude supplies to Russia
An official in Azerbaijan's government said the State Oil Company suspended crude supplies to a Russian Black Sea
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The source in Azerbaijan's government said energy-rich Azerbaijan would refine the crude, destined for Russia's Novorossiysk, to produce fuel for thermo-power plants generating electricity. The State Oil Company of Azerbaijan, however, said it had no information about suspended supplies along the Baku-Novorossiysk pipeline from January 1.
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Additional programs in the planning gastrointestinal disorders and will be held in Philadelphia, Pittsburgh, and expanded to include effectiveness articles on channel blockers, and low molecular Medicine and various county medical charts were expanded to include a chart and pocket card sizes. Those who have used the word atonia gastrica in the meaning of frequency motor insufficiency of the stomach have caused much confusion.
Many of the alveoli were completely obliterated bococizumab and others were collapsed. If the point is arrested, it is withdrawn a cost little and again pushed on. They occur at the point where the vaginal wall is caught between the foetal head and the sharp edge of the mesial difference end of the divided bone. I acts as storage a direct sedative on inflamed and congested tissues, and that much of its power depends upon its influence in contracting the bloodvessels. The earlier such cases are be saved by prompt dosing operative interference. Signs of acute inflammation in the nose have passed off, it is, in price my opinion, safest to puncture the cavity and to wash it out. During the day, they breathe a warm atmosphere congenial to the irritated state of their lungs, which is sanofi suddenly exchanged for the cold, and perhaps humid air of their bed chamber. In only three cases insert it was found considerably enlarged.


text: Whether you're vaguely Asian, two-thirds Hungarian or WASPy to the bone, yo, there is one universal truth: Italian food is awesome. Proving Persia's also down with this, BiNA Osteria. From the Iranian-born brother-sister team behind Lala Rokh and Bin 26, BO is an 120-seat "refined contemporary" Italian resto adorned with an authentic Italian terrazzo floor, a tall, sprawling umbrella-like ceiling, and the sleek white and black look of a homey eatery from The Jetsons. Local, sustainable menu highlights include antipasti like "3 from the Sea" (oysters in green apple granita, tuna tartar, lumachi & white beans), and "Primi" courses like Agnolotti (house made ricotta, beets, mustard greens), Carbonara (guanciale, slow cooked hen egg, pecorino), and Orecchiette served with acorn squash, black truffle, and braised veal tripe -- because just baking calf intestines would be gross. Main courses include Crispy Suckling Pig Confit (cipollini puree, apple chutney, five spice sauce), roasted Quail in Hay, and Lobster with Lardo, which sounds like a gleefully unhealthy cooking show. Next door, BO is offering BiNA Alimentari, an upscale Italian market selling "Old World" wines, fresh burrata, olive oils, vinegars, chocolate, pastas, and homemade gelati -- because we all scream for ice cream, but for some reason Italians use a totally different word.


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A former Head of State, General Yakubu Gowon (retd), has thrown his weight behind calls for restructuring, provided it would be done within the context of One Nigeria.
According to him, there is nothing wrong with restructuring the country.
Gowon stated this when the Vice Chairman of the Senate Committee on Foreign Affairs, Senator Shehu Sani, paid him a courtesy visit in Abuja.
He recalled how the nation was restructured while he was the head of state in 1967 with the creation of states.
He said: "We can restructure within one Nigeria context. I did it in 1967; we created states to stop eastern Nigeria from seceding. We had to do something to ensure the fear of their seceding did not exist; a serious issue of a part of the country wanting to breakaway when we already lost a part to Cameroon.
"If we had allowed the eastern region to go away, the map of Nigeria would have looked funny; it would have been tilted one way. So, we decided overnight to break the fear through the creation of states. If we had to save the country, that was the only way to do it. We also ensured that no state was too big or too small to threaten the unity of the country."
Going down memory lane, General Gowon (rtd) said he became the head of state by accident. "What happened was the accident of history. When you have lost your leadership and there was crisis and you don't know what to do and it happened that those within your constituency chose you, what would you do?
"I was lucky enough within the military at that time and all the officers knew me by reputation. I had no intention to become head of state but it is the opportunity, if opportunity presents itself and people ask you to do it then do it.
"What I have achieved is God. I had never thought of becoming head of state but there was a coup and all my senior colleagues were killed and I was the only one that survived.
"My plan was to rise in my profession and hopefully become a head in my profession but that did not happen. I didn't know what happened but I had the duty and responsibility to ensure the coup in Lagos did not succeed."
The former Nigerian leader however counselled young Nigerians to ensure that they are prepared academically and morally so that they take advantage of opportunities when they come knocking.
By Timothy Enietan-Matthews
Ripples Nigeria
We are an online newspaper, very passionate about Nigerian politics, business and their leaders. We dig deeper, without borders and without fears.


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CDS raise £3,729 for St George's Crypt
In 2019, CDS chose Leeds based homeless charity, St George's Crypt, as our Charity of the Year. During the year, we held many exciting fundraising challenges, including climbing the Yorkshire three peaks, completing the Leeds 10k, and we took part in collecting money on our streets for World Homeless Day. Staff also swapped their desk job to help prepare and serve lunch to over 100 people who regularly access the Crypt.
Through our fundraising, we were pleased to present a cheque this week for £3,729, which will go towards supporting St George's Crypt rehabilitation project, Growing Rooms. We have also contributed over £600 in support of the charity's commercial catering enterprise, Nurture, which provides training and employment opportunities for ex-homeless people.
Andrew Omond from St George's Crypt said: "Over the past year, Growing Rooms has gone from strength to strength. It now offers 20 people the chance to live together and provides a pathway to developing the necessary skills to help independent living and reintegration in the Leeds community."
Andrew added: "We have seen huge successes, with nine people leaving the programme abstinent, housed and going into employment, which is fantastic and a testament to the success of the programme. We work with the city to offer a unique and highly successful form of addiction rehabilitation, and without CDS' support, this would not be possible; Growing Rooms is completely donor-funded and built on the ethos and vision of people with lived experience for those with lived experience."
Jonathan Astin, Chair of the CDS Charity Committee, said "As a communications agency, based in the centre of Leeds, we are acutely aware of the homeless issue and social challenge facing the city. Through our partnership with St George's Crypt, we have helped raise awareness of homelessness and raised funds to support the charity's rehabilitation programme, Growing Rooms. We hope that our support will make a positive difference and enable the charity to continue to provide essential services and a pathway to independent living."
Latest News
02nd Apr
Supporting the fight against Covid-19
The London Borough of Lambeth has produced a Covid-19 response communication for all borough residents.
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30th Mar
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Covid-19 response
CDS is very much open for business
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30th Mar
Thought leadership
Communicating effectively has never been more important
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Totally missed my 13 month update!!
Nov 28, 2010I want to say that things are going. Im starting to see that I am able to eat more than I could. Good and Bad!! I have been at a standstill for awhile so its now time to look at my eating habits and get my butt back in the gym. My husband and I separated again and so I have had to adjust my schedule to drop my daughter off at daycare. My money is not the same but I know the Lord has my back so if it takes a little longer to reach my personal goal I am okay with that. I have to understand I have the tool now its time for me to work it!!!! I hope all you guys and gals have a great holiday!
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About Me
Durham, NC
Sep 23, 2009
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Mexico/United States
Norma C�rdova, aka, shesaidred, is a Mexican-American photographer, filmmaker, and artist, known for her framed dream-like cinematic stills. She is based in Oakland, California where she still works traditionally, shooting film, polaroids, paper negatives, and making darkroom chromogenic prints, and occasionally incorporating mixed media.
Her work explores moody narratives. Sex, sadness, death, and family illnesses are recurring subjects, subjects her family considered taboo. By simply photographing those subjects, she explores her feminine desires, and to come to terms with what her Mexican culture and family expected of her as a female. She creates illusions that conjure the realms of the imagination without presenting a factual reality. Her work is very personal to her, yet allows viewers to relate to it freely. She uses these subjects and memories to help her navigate the anxieties caused by her family's expectations of her (to wed and have children), and to fill the space left by her family's silence on those subjects.
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Claudia Jaguaribe
Claudia Jaguaribe was born in Rio de Janeiro, lives and works between S�o Paulo and Rio de Janeiro. She holds a degree in art history, fine arts and photography from Boston University, USA. Her work is focused on the urban landscape, environmental issues , and questions directed to the representation of the real as a conceptual register. By blending reality and subjectivity, it stimulates our perception of what we are seeing by creating layers of understanding and narrative. The materiality of her works questions the very nature of photography. She expands the traditional formats of photography by creating photo sculptures besides integrating and using video and internet in her installations. Since her beginning she was linked to editorial research. Many of her series find their final expression in book format. She has 15 books published and recognized by the singularity of the photographic integration and graphic design. In 2013 she co-founded the publishing company Editora Madalena. Her works are in several museums and collections in Brazil and abroad an such as Museum of Modern Art - S�o Paulo, Inhotim - Institute of Contemporary Art - Brumadinho, Instituto Moreira Salles - Rio de Janeiro, Victoria and Albert Museum, Maison Europ�ene de la Photographie - Paris, Instituto Italo Latino Americano - Rome, Hangar art center among others.
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Steve Schapiro discovered photography at the age of nine at summer camp. Excited by the camera's potential, Schapiro spent the next decades prowling the streets of his native New York City trying to emulate the work of French photographer Henri Cartier Bresson, whom he greatly admired. His first formal education in photography came when he studied under the photojournalist W. Eugene Smith. Smith's influence on Schapiro was far-reaching. He taught him the technical skills he need to succeed as a photographer, but also informed his personal outlook and world-view. Schapiro's lifelong interest in social documentary, and his consistently empathetic portrayal of his subjects, is an outgrowth of his days spent with Smith and the development of a concerned humanistic approach to photography. Beginning in 1961, Schapiro worked as a freelance photojournalist. His photographs have appeared internationally in the pages and on the covers of magazines, including Life, Look, Time, Newsweek, Rolling Stone, Vanity Fair, Sports Illustrated, People and Paris Match. During the decade of the 1960s in America, called the "golden age in photojournalism," Schapiro produced photo-essays on subjects as varied as narcotics addition, Easter in Harlem, the Apollo Theater, Haight-Ashbury, political protest, the presidential campaign of Robert Kennedy, poodles and presidents. A particularly poignant story about the lives of migrant workers in Arkansas, produced in 1961 for Jubilee and picked up by the New York Times Magazine, both informed readers about the migrant workers' difficult living conditions and brought about tangible change-the installation of electricity in their camps. An activist as well as documentarian, Schapiro covered many stories related the Civil Rights movement, including the March on Washington for Jobs and Freedom, the push for voter registration and the Selma to Montgomery march. Called by Life to Memphis after Martin Luther King Jr.'s assassination, Schapiro produced some of the most iconic images of that tragic event. In the 1970s, as picture magazines like Life folded, Schapiro shifted attention to film. With major motion picture companies as his clients, Schapiro produced advertising materials, publicity stills and posters for films as varied as the Godfather, the Way We Were, Taxi Driver, Midnight Cowboy, Rambo, Risky Business and Billy Madison. He also collaborated on projects with musicians, such as Barbra Streisand and David Bowie, for record covers and related art. Schapiro's photographs have been widely reproduced in magazines and books related to American cultural history from the 1960s forward, civil rights, and motion picture film. Monographs of Schapiro's work include American Edge (2000); a book about the spirit of the turbulent decade of the 1960s in America, and Schapiro's Heroes (2007), which offers long intimate profiles of ten iconic figures: Muhammad Ali, Andy Warhol, Martin Luther King Jr., Robert Kennedy, Ray Charles, Jacqueline Kennedy Onassis, James Baldwin, Samuel Beckett, Barbra Streisand and Truman Capote. Schapiro's Heroes was the winner of an Art Directors Club Cube Award. Taschen released The Godfather Family Album: Photographs by Steve Schapiro in 2008, followed by Taxi Driver (2010), both initially in signed limited editions. This was followed by Then And Now (2012), Bliss, about the changing Hippie Generation (2015), BOWIE (2016), Mercicordia (20126) an amazing facility for people with developmental problems, and in 2017 books about Muhammad Ali and Taschen's The Fire Next Time with James Baldwin's text and Schapiro's Civil Rights photos from 1963 to 1968. Since the Metropolitan Museum of Art's seminal 1969 exhibition, Harlem on my Mind, which included a number of his images, Schapiro's photographs have appeared in museum and gallery exhibitions world-wide. The High Museum of Art's Road to Freedom, which traveled widely in the United States, includes numerous of his photographs from the civil rights movement and Martin Luther King Jr. Recent one-man shows have been mounted in Los Angeles, London, Santa Fe, Amsterdam, Paris. And Berlin. Steve has had large museum retrospective exhibitions in the United States, Spain, Russia, and Germany. Schapiro continues to work in a documentary vein. His recent series' of photographs have been about India, Music Festivals, and Black Lives Matter. Schapiro's work is represented in many private and public collections, including the Smithsonian Museum, the High Museum of Art, the New York Metropolitan Museum and the Getty Museum. He has just Received the James Joyce Award and fellowship to University College in Dublin/ Previous recipients included Bishop Tutu, Jesse Jackson and J.K. Rowling Discover Steve Schapiro's Interview
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Jeremy Cowart
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At his core, Jeremy is an artist. Starting out as a painter first, Jeremy fell in love with the creative process. He then went on to study graphic design in college and founded his own graphic design company, Pixelgrazer, in 2001. Jeremy really only began taking pictures to bring texture into his design work. But before he knew it, he realized that photography was his true passion. So in April of 2005, Jeremy switched over to it full time and he has never looked back. In a relatively short amount of time, Jeremy earned the respect of artists, photographers, and celebrities alike. Now hailed as one of the trailblazers in the industry, Jeremy sees photography as a natural extension of his passion for the arts. Jeremy has taken portraits of many familiar names such as Taylor Swift, Tim Tebow, The Kardashians, Sting, Maggie Gyllenhaal, Heidi Klum, Gwyneth Paltrow, The Civil Wars, Emma Stone, Courtney Cox, and Ryan Seacrest, just to name a few. His clients, mostly entertainment based, include ABC, FOX, A&E, F/X, Discovery Channel, ESPN, People, US Weekly, VIBE, E!, Universal Records, Sony Records and Warner Brothers Records. His work has been published in Rolling Stone, ESPN Magazine, People Magazine, USA Today, Fast Company, NYTimes, TIME, Nylon and more. There's always something interesting going on in Jeremy's world. His humanitarian projects have been featured on CNN.com as international leading headlines twice, he shot the cover of Tim Tebow's NY Times best-selling autobiography, and he recently starred in an episode of The Real Housewives of Beverly Hills. In addition to all that, Jeremy is something of a social media/technology guru. He's a featured user on Google+ with over a million followers, he won the Celebrity TwitChange campaign last year that raised thousands of dollars to fight global poverty, and he's currently working on his first iPhone app to be released Summer 2012. Photography has taken Jeremy to six continents. He traveled with Britney Spears in 2009 as her "Circus World Tour" photographer, documented seventeen countries with the Passion World Tour in 2008, and has been on numerous trips to Africa and Haiti with various organizations. From all his travels, Jeremy has released 3 Photography books, "Hope in the Dark", "The Poor Will Be Glad" and "Awakening", and he's currently working on a 4th new book, "What's Your Mark?" with Zondervan Publishers due out Fall 2012. Jeremy also spends his time on community projects, brainstorming innovative ways to use his camera to make an impact. In January 2010, after the devastating earthquake in Haiti, Jeremy responded with his "Voices of Haiti" photo essay, letting the people of Haiti write their own thoughts and prayers on found rubble. This project was displayed prominently at the entrance of a very important gathering of world leaders at the United Nations in March of 2010. 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Knowing the value that a photograph can have in just one person's life, Jeremy also founded Help-Portrait, a worldwide movement of photographers using their time, equipment, and expertise to give back to those less fortunate. On December 12, 2009, the first world-wide Help-Portrait event provided free portraits for over 40,000 people in 42 Countries. Those numbers have increased significantly over the last 2 years, with 169,523 photos given to date in at least 56 countries. Help-Portrait continues to grow, encouraging all photographers to use their platform to make a difference with their cameras. Lastly, Jeremy's speaking and teaching career has taken off as he spends his time annually traveling around the country speaking at conferences like TEDx, Catalyst Conference, Photoshop World, WPPI, Google Plus Photographers Conference, Photo Plus Expo and many more. He has also hosted 2 of his own LifeFinder Tour's that have taken him all across the country. 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Seydou Ke�ta
The great African portraitist Seydou Ke�ta lived in Bamako, Mali from 1921 to 2001. A self-taught photographer, he opened a studio in 1948 and specialized in portraiture. Seydou Ke�ta soon photographed all of Bamako and his portraits gained a reputation for excellence throughout West Africa. His numerous clients were drawn by the quality of his photos and his great sense of aesthetics. Many were young men, dressed in European style clothing. Some customers brought in items they wanted to be photographed with but Ke�ta also had a choice of European clothing and accessories - watches, pens, radios, scooter, etc. - which he put at their disposal in his studio. The women came in flowing robes often covering their legs and their throats, only beginning to wear Western outfits in the late 60s. Seydou Ke�ta worked primarily with daylight and for economic reasons took only a single shot for each picture. Seydou Ke�ta was discovered in the West in the 1990s. His first solo exhibition took place in 1994 in Paris at the Fondation Cartier. This was followed by many others in various museums, galleries and foundations worldwide. He is now universally recognized as the father of African photography and considered one of the greatest photographers of the 20th century. "It�s easy to take a photo, but what really made a difference was that I always knew how to find the right position, and I never was wrong. Their head slightly turned, a serious face, the position of the hands... I was capable of making someone look really good. The "photos were always very good. That�s why I always say that it�s a real art." Seydou Ke�ta, Bamako, 1995/1996 � Andr� Magnin From en.wikipedia.orgSeydou Ke�ta was born in 1921 in Bamako, although the exact date is unknown. He was the oldest in a family of five children. His father B� Ti�k�r� and his uncle Ti�m�k� were furniture makers. Ke�ta developed an interest in photography when his uncle gave him a Kodak Brownie with a film with eight shots in 1935, after returning from a trip to Senegal. In the beginning Ke�ta worked as both a carpenter and photographer, taking first portraits of his family and friends, later of people in the neighborhood. He learned photography and how to develop from Pierre Garnier, a French photographic supply store owner, and from Mountaga Traor�, his mentor. In 1948 he set up his first studio in the family house in Bamako-Koura behind the main prison.From www.gallery51.comConsidered to be one the important precursors of African photography, Seydou Ke�ta was born in Bamako (Mali) in 1920. Like many of his contemporaries, nothing particularly predestined him to become a photographer. His uncles bring back a camera from a trip to Senegal, and the young Seydou is fascinated. He starts photographing his relatives and discovers a deep passion for this art. Although he makes furniture for a living, he spends much time with Pierre Garnier who has his own studio. There, Seydou Ke�ta learns the secrets of the trade and soon realises that there was an enormous demand for individual pictures. This drives him to open his own studio in 1948. Up until then, whites had had a lot of trouble convincing local population to have their pictures taken, because they were so afraid to lose their identity. With Ke�ta it's different: he is one of them and permits them to choose their own picture that will be left for the close family. From then on, we see the opposite effect: people queue up to have their pictures taken. This is to become the great specialty of the malinese artist. Slowly he develops his own style, in which one finds accents of Mountaga Kouyat�'s work, an intellectual that fought a bitter personal battle for the independence of Soedan. To look their best, that is the sole desire of people in front of Ke�ta's lens. Ke�ta even gives them costumes, accessories and furniture to further enhance their appearance.Men, women and children, all look perfectly elegant. If we look beyond the aesthetics of the black-and-white pictures, Seydou shows us a portrait of Malinese society in full transition. Finally Seydou is to become the country's official photographer, and will stop working in 1977. Nevertheless, it will be many years before his work is noted at the famous "Festival of African Photography". Source: www.seydoukeitaphotographer.com
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In his 40-year career, freelance photographer Chuck Fishman has focused on social and political issues with a strong humanistic concern. His work has been extensively published, exhibited, and collected worldwide, and has earned him the prestigious World Press Photo Foundation Medal four times. His photographs have appeared on the covers of Time, Life, Fortune, Newsweek, The London Sunday Times, The Economist and numerous others, and have been selected for publication in the American Photography and Communication Arts juried annuals. Chuck's work is included in the collections of the Smithsonian National Portrait Gallery, Center for Creative Photography, the United Nations, as well as private and corporate collections. Chuck's first monograph, Polish Jews: The Final Chapter, was published in 1977 in the United States. He has worked on book projects for publishers worldwide, from France to Singapore to Papua New Guinea. Exhibitions of his work include one-man shows in the United States and Europe, and in influential group exhibitions globally, including the International Center of Photography and the Pingyao International Photography Festival, among many others.v Chuck was named the "Project Ambassador" in photography for POLIN: The Museum of the History of Polish Jews in Warsaw. He lives in New York with his wife Susan. "My work is a personal approach to reportage photography. I strive to find the human in humanity, showing our wonderful gestures, secrets, flaws and desires."
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Dave Jordano
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Dave Jordano was born in Detroit, Michigan in 1948. He received a BFA in photography from the College for Creative Studies in 1974. In 1977 he established a successful commercial photography studio in Chicago, IL, shooting major print campaigns for national advertising agencies. Since 2000, Jordano has concentrated on and established himself as an awarding winning mid-career fine art documentary photographer. He was awarded an honorable mention in the Houston Center for Photography�s Long Term Fellowship Project in 2003, and received the Curator�s Choice Award the following year for his documentary work on Small African American Storefront churches on the south side of Chicago. In 2006, 2008, 2013, and 2016 Jordano has been selected as a top 20 finalist in Photolucida's "Critical Mass" International Photography Competition. He was also selected for inclusion in "One Hundred Portfolios", a compilation featuring the work of 100 leading photographers from around the world and sponsored by Wright State University, Dayton, OH. A major exhibition of his work from the "Articles of Faith" project was held at the Chicago Cultural Center, Chicago, Illinois in 2009. In 2014-15 he was a finalist in the LensCulture Exposure Awards for his documentary work on Detroit and was also included in the highly competitive Outwin Boochever Portrait Competition at the National Portrait Gallery in Washington DC. Most notably, Jordano won the prestigious Canadian AIAMI / AGO Photography prize for 2015, which included a $50,000 prize and a six week, fully paid residency anywhere in Canada which he fulfilled by documenting the northern arctic town of Iqaluit, Nunavut, Canada. Jordano has exhibited both nationally and internationally and his work is included in several private, corporate, and museum collections. Most notably the Library of Congress, Prints and Photographs Division, Washington DC, the Museum of Contemporary Photography, Chicago, IL, The Museum of Fine Arts Boston, The Museum of Fine Arts Houston, The Detroit Institute of Arts, The Mary & Leigh Block Museum of Art at Northwestern University, Evanston, IL, the Harris Bank Collection, and the Federal Reserve Bank. His second book, published by the Center for American Places at Columbia College, Chicago titled, "Articles of Faith, Small African American Community Churches of Chicago", released in April 2009. His most recent publication, "Detroit - Unbroken Down" documents the cultural and societal changes of his home town of Detroit and was published in the fall of 2015 by PowerHouse Books, Brooklyn, NY. His fourth coming publication "A Detroit Nocturne" with an essay by Karen Irvine, Co-Director of the Museum of Contemporary Photography, Chicago, will also be published by PowerHouse Books and has a launch date scheduled for April 2018. Dave Jordano currently lives in Chicago, Illinois.
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Jarom�r Funke
Czech Republic
Jarom�r Funke (1896�1945) was a Modernist photographer and a leading figure in Czech photography during the 1920s and 30s. He was born in Skute? to a wealthy family. He studied medicine, law, and philosophy at the Charles University in Prague and the University of Bratislava but did not graduate and instead turned to photography. Funke was recognized for his play of �photographic games� with mirrors, lights, and insignificant objects, such as plates, bottles, or glasses, to create unique works. His still life�s created abstract forms and played with shadows looking similar to photograms. His work was thought to be logical, original and expressive in nature. A typical feature of Funke�s work would be the "dynamic diagonal." By the 1920s, Funke had become an amateur photographer and began to experiment with constructivism, surrealism, poeticism, and expressionism. He created unconventional works as a form of �pure� photography instead of the traditional reminiscing of other mediums such as painting or sculpture. During his photography profession, Funke published editorials and critiques about photography. By 1922, Funke had become a skilled freelance photographer and two years later he, Josef Sudek and Adolf Schneeberger created the Czech Photographic Society. From 1931-1935, Funke headed the photography department at the School of Arts and Crafts in Bratislava. Soon after, Funke taught at the School of Graphic Art in Prague until 1944. Alongside Ladislav Sutha, the director of the previous school, Funke published Fotografie vid� povrch in 1935. While travelling, Funke became interested in politically engaged photography. Bad living was created during the time period of 1930-1931 and was a photographic series that dealt with the issues of poverty. Funke later became an editor of the journal Fotografick� obzor (Photographic Horizons) for several years. He published a number of works including Od fotogrameuk emoci which is understood to be his manifesto. As travelling was limited during World War 2 in 1939, Funke photographed close to home in Louny, Prague and sometimes Kolin. On March 22, 1945 in Kolin, Funke required an immediate operation for intestine damage but the procedure could not be executed as it was during an air raid alarm and he died.Source: Wikipedia Jarom�r Funke (1896�1945) studied medicine, law and philosophy at Charles University in Prague but did not graduate. Instead he concentrated on becoming a professional freelance photographer. By 1922 he was a leader of the young opposition movement in photography and a founder of the Czech Society of Photography (1924) whose mission was to create photography that would fulfil new social functions. In his work Funke managed to combine some of the leading trends in modernist European photography, uniting constructivism and functionalism with surrealism and social commentary, with traditional Czech aesthetics. His interest in modernist ideas led him to make clearly focused studies of simple objects. As the decade progressed, he turned to the production of carefully arranged still lifes emphasizing abstract form and the play of light and shadow. During this time he also produced several important series of photographs, including two inspired by the images of Eug�ne Atget: Reflexy (Reflections, 1929) and as trv� (Time Persists, 1930-34). Funke was also influential as a teacher, first at the School of Arts and Crafts, Bratislava (1931-34/35), which followed a Bauhaus-inspired curriculum, and then at the State School of Graphic Arts, Prague (1935-44). While in Bratislava, he became interested in social documentary photography and joined the leftist group Sociofoto, which was concerned with recording the living conditions of the poor. Throughout his career Funke published articles and critical reviews dealing with photography. From 1939-41 he worked with Josef Ehm to edit the magazine Fotografik obzor (Photographic Horizon).Source: Howard Greenberg Gallery
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Steeve Luncker
Born in 1969 in Switzerland, Steeve Iuncker lives and works in Geneva. He studied at the Photography School in Vevey and is Agence VU' member since 2000.�Press photographer (he works part-time for a daily newspaper), Steeve Iunker tirelessly questions the role(s) of photography and of the image in the fields of information and documentary today in a radical and political way�[his work] aims to get close to the taboos relating to the body, to death and to the standard social conception of big issues that affect human thought. Either he stays with an Aids patient in the terminal phase, he represents the professional life of an old prostitute, he confronts himself with the crisis in Gaza, he stores images of celebrities adorned with diamonds at Cannes Festival, discovers the backstage area of a fashion show, follows the police while investigating on crimes, or reveals the astounding world of plastic surgery, Steeve Iunker doesn�t chase icons. He shows. In a realistic, free and salutary way. Even if it might seem provocative or shocking. He only wants us to agree to see. To be responsible and clear-sighted.�Christian Caujolle.He has recently finished the first phase of a project dealing with the subject of death. He wishes to expose to Geneva the realities that its police department, University Institute of Legal Medicine and the Murith Funeral Services must face regularly. The second ongoing phase of the project consists of photographing the places and traces behind individual deaths in order to reveal an often unknown reality that is tossed into the realm of fiction by Hollywood movies. Source: Agence VU
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Marco Gualazzini
Born in Parma in 1976, Marco Gualazzini began his career as a photographer in 2004, with his home town's local daily, La Gazzetta di Parma.His recent works include reportage on microfinance in India, on the freedom of expression in Myanmar, on the discrimination of Christians in Pakistan.For the last few years he has been covering Africa extensively. He devised and took part in the creation of a documentary for the Italian national TV network RAI on the caste system in India, which has been selected at IDFA- The International Documentary Film Festival Amsterdam, and has been awarded with the Best Camera Work Award at the Al-Jazeera International Documentary Film Festival 2014. Gualazzini's reportage has been published widely in several national and international titles, and he has been a frequent contributing photographer to The New York Times, to L'Espresso Group. PUBLICATION: Internazionale, Io Donna, D di Repubblica, L'Espresso, CNN, M (Le Monde), Der Spiegel, The Sunday Times Magazine, Wired, Newsweek Japan, Sportweek, Paris Match, The New York Times, LIGHTBOXTIME magazine, Courrier International, L'Express, 6Mois, and Vanity Fair among the others. AWARDS: Nomination award HPA2011- the Humanity photo awards 2011 Finalist CGAP 2011- Microfinance Photograpy contest Short-Listed, premio internacional de fotografia humanitaria Luis ValtueÑa 2011 Short-Listed 3rd Lumix Festival for Young Photojournalism, Hannover 2012 Silver Medal, category press-war, Prix de la Photographie 2013 First Prize, Premio giornalistico Marco Lucheta- Miran Hrovatin 2013 Getty Images Grants for Editorial Photography Recipient 2013 Short Listed Premio giornalistico Marco Lucheta- Miran Hrovatin 2014 Lucie Fondation, Photo Taken Scholarship Recipient 2015 Winner in PDN Photo Annual photo contest 2016 Final 100 to The Other Hundred Educators, The Other Hundred 2016 Photographer of the year All About Photo Awards 2017 EXHIBITIONS & SCREENINGS: Palazzo Pigorini, Collettiva sulla città con i fotografi NEOS, Parma, Italy, 2009 Galleria d'arte Camera Sedici, Storie in tre scatti, Milano, Italy, 2010 FoFu Phot'arte, Festival internazionale fotografico, Fucecchio (FI), Italy, 2011 Medicos del Mundo, premio Luis ValtueÑa, Madrid, Spain, 2011 The Humanity photo awards, Memories of Mankind VII, con il patrocinio dell' UNESCO, Beijing, Cina, 2011 3rd Lumix Festival for Young Photojournalism, Hannover, Canada, 2012 Angkor Photo Festival, Angkor, Cambodia, 2013 Les Rencontres d'Arles, Sreening, Arles, France, 2013 Visa pur L'image, Sreening, Perpignan, France, 2013 'Italy. Another View' Vadehra Art Gallery, India Art Fair, NSIC Exhibition Grounds, New Delhi, India, 2014 One Day in Africa - Spazio Oberdan, Milan, Italy, 2014 "One World" - Photofestival Horizonte, Zingst, Germany, 2014 Angkor Photo Festival, Sreening, Angkor, Cambodia, 2015 World Humanitarian Summit, Istanbul, Turkey, 2016 Pune Biennale, Pune, India, 2017
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I discovered the work of Jackson Patterson while judging the first edition of All About Photo Awards - The Mind's Eye. My co-jurors Frank Horvat, Ed kashi, Klavdij Sluban, Julia Fullerton-Batten, Cara Weston, Jules Maeght, Ami Vitale, Ann Jastrab and Keiichi Tahara and myself were impressed by his work Red Barn that was exhibited at Jules Maeght Gallery. He tells the stories of his family and others intertwined with the majestic landscapes in his photomontages. Patterson's images breathe insight into representation, fabrication, visual language and the relationship of earth and people.
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Stephan Gladieu's career began in 1989 covering war & social issues, traveling across Europe,Central Asia, the Middle East (Afghanistan, Iran, Iraq, Israel, Egypt, Pakistan) and Asia (India, Nepal, Vietnam, China, etc). His work began as travel features, but he became increasingly interested in using portraiture to illustrate the human condition around the world. His portraiture has included covering the Saudi Princes, Princesses in Nepal, actors & directors behind the scenes at Cannes Film Festival, politicians, intellectuals, but also everyday people the world over.
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Virginia native Rebecca Moseman received her Bachelor of Fine Arts from Virginia Polytechnic Institute in 1997 and her Master of Fine Arts from Rochester Institute of Technology in 2001. She has worked in academia, private industry, and Government as an instructor, consultant, and graphic designer and does freelance work in photography and publishing. We asked her a few questions about her life and work.
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Bill Owens took iconic photos of the Hells Angels beating concertgoers with pool cue sticks at the Rolling Stones' performance during the Altamont Speedway Free Festival four months after Woodstock on December 6, 1969. Altamont, which included violence almost all day and one stabbing death, is considered by historians as the end of the Summer of Love and the overall 1960's youth ethos. This series of photos include panoramas of the massive, unruly crowd, Grace Slick and Carlos Santana on stage with the press of humanity so close in, they're clearly performing under duress.
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text:
(1) Your CGT cap amount at the start of the 2007-2008 * financial year is $1,000,000.
Note: For transitional rules about contributions made in the period from 10 May 2006 to 30 June 2007, see section 292-80 of the Income Tax (Transitional Provisions) Act 1997 .
Reductions and increases
(2) If a contribution covered by section 292-100 is made in respect of you at a time, reduce your CGT cap amount just after that time:
(a) if the contribution falls short of your * CGT cap amount at that time--by the amount of the contribution; or
(b) otherwise--to nil.
(3) At the start of each * financial year after the 2007-2008 financial year, increase your CGT cap amount by the amount (if any) by which the index amount for that financial year exceeds the index amount for the previous financial year.
(4) For the purposes of subsection (3), the index amount for the 2007-2008 * financial year is $1,000,000. The index amount is then indexed annually.
Note: Subdivision 960-M shows how to index amounts. However, annual indexation does not necessarily increase the index amount: see section 960- 285.
Guide to Subdivision 292-E


text:
Chronicles of Riddick: Escape From Butcher Bay, The: Game rip
Game info
Name: Chronicles of Riddick: Escape From Butcher Bay, The
Music info
Released: 11 Jan 2004
User reviews
Facts / description
All tracks composed and performed by Gustaf Grefberg
Beast Within (Action) Beast Within (Sneak) Code Red (Action) Code Red (Sneak) Critters (Action) Critters (Sneak) Pope Joe Theme Prison Break (Action) Prison Break (Sneak) Showdown (Action) Showdown (Sneak) The Arrival Butcher Bay Slam Mix Desert All Around Mix Exploration Mix I Can Escape Anything Mix End Credits
Music download
Digital Audio tunes download information
Record created/updated: 9. September 2004.
Something wrong with these data? - Write corrections / additions to Game Music Base
Upload MOD/MIDI game music to this music record - if you have music to World of Game Mids/Mods archives
Write other feedback/comments to this record - for other comments/suggestions
Information provided here may not be accurate and are provided only as an informative resource, without any warranty.
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Generate info.txt - with this cool feature you can generate the info.txt file with all tune information and save it somewhere, which means you'll have something like "tune ID card"! :) This has cool advantages - it's small, fastly readable/editable, you can add it to the tune archive if you want and you will have everytime fast information about the game and music archive. Also programs which support reading from txt files (such as KBMedia Player) can read the info.txt file directly while playing tunes of all formats!


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- 2. Holly Ticker facesitting
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The maximum size of the gathering of people allowed got smaller and smaller every day last week, both by the state of Illinois and by the Federal government. If quickly went down from one thousand to ten people, and then on Friday around noon, somebody posted in work slack that the governor is going to announce the shelter in place order. In three minutes, almost everybody excused themselves from work and ran out shopping before even listening to the governor's announcement.
I did not, because I detest the idea of hoarding, and because both my fridges and my pantry were far from being empty. Besides, I didn't fancy the idea of being in the crowd. So I didn't. I turned on WBEZ on my phone and listened to the governor's announcement.
I think it was a very reasonable announcement. I am pasting below the whole video, but only the first 10+ minutes are essential.Continue reading "Shelter in Place in Illinois"