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Introduction: Preserving Historic Ornamental Plaster
David Flaharty
The Ornamental Plaster Trade
Causes of Ornamental Plaster Damage
Immediate Action
A 20th Century Shop Tour
Repairing Historic Ornamental Plaster
Finding and Evaluating a Contractor
From the time America struggled for a new identity as a constitutional republic--and well into the 20th century--its architecture and its decorative detailing remained firmly rooted in the European classicism of Palladio, Wren, and Mansart. Together with skilled masons and carpenters, ornamental plasterers saw their inherited trade flourish from the mid-18th century until the Depression years of the 1930s. During this two hundred year period, as the Georgian and Federal styles yielded to the revivals--Greek, Rococo, Gothic, Renaissance, and Spanish--decorative plaster reflected each style, resulting in the wide variety of ornamentation that survives. The traditional methods of producing and installing interior decorative plaster were brought from Europe to this country intact and its practice remains virtually unchanged to this day. Like flat walls and ceilings, historic ornamental plaster is made of gypsum and lime which are stable and durable materials. An extremely versatile material, plaster can be modeled, cast, incised, colored, stamped, or stencilled. However, as an integral part of the building system it is subject to the typical problems of water intrusion, structural movement, vibration and insensitive alterations, both incrementally and from adaptive use projects.
From the time America struggled for a new identity as a constitutional republic--and well into the 20th century--its architecture and its decorative detailing remained firmly rooted in the European classicism of Palladio, Wren, and Mansart.
Together with skilled masons and carpenters, ornamental plasterers saw their inherited trade flourish from the mid-18th century until the Depression years of the 1930s. During this two hundred year period, as the Georgian and Federal styles yielded to the revivals--Greek, Rococo, Gothic, Renaissance, and Spanish--decorative plaster reflected each style, resulting in the wide variety of ornamentation that survives. The traditional methods of producing and installing interior decorative plaster were brought from Europe to this country intact and its practice remains virtually unchanged to this day.
Like flat walls and ceilings, historic ornamental plaster is made of gypsum and lime which are stable and durable materials. An extremely versatile material, plaster can be modeled, cast, incised, colored, stamped, or stencilled. However, as an integral part of the building system it is subject to the typical problems of water intrusion, structural movement, vibration and insensitive alterations, both incrementally and from adaptive use projects.
Ornamental plaster studios employed a variety of personnel, including sculptors who modelled in clay; casters who made production units; and finishers who cleaned the casts. Photo: Courtesy, M. Earle Felber.
This Preservation Brief has been prepared to assist property owners, architects, contractors, and Federal agency managers in identifying the causes of ornamental plaster failure, specifying repair and replacement techniques and engaging qualified professionals to do the work. The scope of this Brief is limited to the repair and restoration of existing ornamental plaster; certain forms of decorative plaster such as scagliola, composition ornament, and artificial Caen Stone are not addressed, nor is the design and installation of ornamental plasterwork in new construction. Finally, guidance on using substitute materials to match the historic appearance of ornamental plasterwork--a legitimate option within the Secretary of Interior's Standards for the Treatment of Historic Properties--is not discussed here, but will be the subject of another Brief on interiors.
The Ornamental Plaster Trade
Shop Personnel. As builders and architects were hired by an increasingly affluent clientele, ornamental plaster shops developed from the single artisan operations of the 18th century into the complex establishments of the early 20th century. American plaster studios employed immigrant and, later, native craftsmen. Plasterers' guilds were in existence in Philadelphia in the 1790s. In 1864, a plasterers' union was organized in the United States with members from the British Isles whose work there had been limited to palaces and churches. English and European craftsmen came to America where the demand for their skills had increased by the decade, offering them the unparalleled opportunity to open their own shops. Over the years, plaster elements became so popular in decorating interior spaces that a major industry was established. By the 1880s, catalogs were available from which property owners could select ornamentation for their splendid new buildings.
Methods of Production. Historically, ornamental plasterwork has been produced in two ways: it would be run in place (or on a bench) at the site; or cast in molds in a workshop. Plain plaster molding without surface ornamentation was usually created directly on the wall, or run on a flat surface such as a plasterer's workbench and attached to the wall after it set. Ornament such as coffering for ceilings, centers for light fixtures (medallions), brackets, dentils, or columns were cast in hide glue (gelatin) or plaster molds in an offsite shop, often in more than one piece, then assembled and installed in the building.
Mitering a plain-run cornice requires great dexterity using the miter rod. Photo: Old-House Journal.
Decorative Plaster Forms--Cornices, Medallions, Coffers. Three decorative plaster forms in particular--the cornice, the ceiling medallion, and the coffered ceiling--historically comprised much of the ornamental plasterers' business. These forms appear individually or in combination from the 18th to 20th century, irrespective of stylistic changes.
For example, an elaborate parlor cornice consisted of plain moldings made of gypsum and lime run atop temporary lattice strips around the room. Tooling for plain-run moldings called for a sheet metal template of the molding profile mounted on a wooden "horse". Mitering was accomplished using a plaster and lime putty gauge (mix) tooled with miter rods at the joints. Decorative "enrichments" such as leaves, egg and dart moldings, and bead and reel units were cast in the shop and applied to the plain runs using plaster as an adhesive. Painting, glazing, and even gilding followed. Large houses often had plain run cornices on the upper floors which were not used for entertaining; modest houses also boasted cornice work without cast enrichment.
This parlor medallion and pendant drops shown in a mid-19th century house in Annapolis, Maryland, were originally ordered from a catalog. Photo: M.E. Warren.
Among the most dramatic of ornamental plaster forms is the parlor ceiling medallion. Vernacular houses often used plain-run concentric circles from which lighting fixtures descended, usually hung from a wrought iron hook embedded in the central ceiling joist. More elaborate medallions were composed of shop-cast pieces, such as acanthus foliage often alternating with anthemia or other decorative designs. Medallions usually related stylistically to the cornice ornament found in the room and could be created with or without a plain-run surround. Of particular importance to the art of ornamental plaster was the mid-19th century double parlor plan. Architects often specified matching medallions of robust proportions and ornamentation. Later, in 20th century American Colonial Revival architecture, architects called for Federal style ceiling medallions. Some of the more successful were graceful one-piece units, utilizing classical motifs such as garlands and swags, and in their simplicity, reminiscent of Adamesque designs of the 1760s.
Yet another significant decorative form is the coffered ceiling. Coffering units were cast in the shop or onsite, then installed with hanging wires to form the ceiling. Ceiling design varied from period to period as to depth, panel shape, and ornamental complexity. Not always flat, coffering is seen inside domes, within barrel vaults and groin ceilings, along overhead ribs and soffits. Rosettes are usually centered in the panels and often enrich the intersections of elaborate stiles bordering the panels. Flat ceiling coffers are generally identical in reflected plan; on domed or barrel ceilings, coffers differ from course to course so as to appear identical from various sight lines. The finish treatment of a coffered ceiling frequently exhibits the height of the painter's craft.
The elaborate coffered ceiling was designed for the Willard Hotel in Washington, D.C. (1902-04) by Henry Janeway Hardenbergh. It was restored as part of a rehabilitation project in the 1980s. Photo: Carol M. Highsmith.
Foremost examples of ceiling coffering include the United States Capitol, and Washington DC's Union Station. As a popular decorative form with inherent acoustical benefits, the coffered ceiling is seen across the United States in many large public spaces such as theaters, courthouses, railroad stations, and hotels.
Unfortunately, these supposedly enduring decorative forms created by ornamental plaster tradesmen are subjected to the ravages of both nature and man and, consequently, seldom remain as originally designed. Minor changes of taste are perhaps the least injurious to plasterwork. Considerably greater damage and deterioration are caused by radical changes in building use and poor maintenance practices. Fortunately, in most cases, the form, detailing, and finish of historic ornamental plaster can be recaptured through careful repair and restoration.
Causes of Ornamental Plaster Damage
Ornamental Plaster Substrate. For flat plaster walls and ceilings, as well as decorative forms, the system to attach interior plaster to walls and ceilings primarily consisted of 1/4" x 1-1/4" wooden lathing strips nailed 3/8" apart against studs and joists. First a scratch coat consisting of sand, lime, and cattle hair was troweled on the lath and pressed through the slots so as to slump over and form "keys." Next, a brown coat was applied to establish flat and plumb surfaces. The earliest plasterwork consisted of two coats of lime and sand plaster; later in the 19th century, a third or finish coat was applied that consisted of both lime and gypsum. Decorative units were generally attached to the substrate using plaster as an adhesive.
Signs of Failure. Failure of the substrate is more typical than failure of the plaster ornament itself. Among the reasons for deterioration, structural movement and water intrusion are the most deleterious. Buildings move and settle, causing deflection and delamination which result in stress cracking. These cracks often begin at the corners of windows and doors and extend upward at acute angles. Roof or plumbing leaks make finishes discolor and peel and cause efflorescence, especially on plain-run or enriched cornices. Unheated buildings with water intrusion are subject to freeze-thaw cycles which ultimately result in base coat and ornamental plaster failure.
Structural settling has caused this ceiling to deflect. A structural engineer will shore-up the ceiling from below and re-attach the sagging ceiling plaster with the joists above. Photo: NPS files.
In addition, keying and adhesive properties may be further jeopardized by weak original mixes that were improperly applied. Substrate failure typically results from faulty lathing or rusty lath nails, causing ceilings to fall. In the 20th century, vibration from heavy vehicular traffic, nearby blasting, and even repeated sonic booms may contribute to damaging ornamental plaster. Inadequate support in an original design may also be to blame when particularly heavy units have simply broken off over time. Finally, new mechanical systems, suspended ceilings and partition walls insensitively installed in adaptive use projects, show little regard for the inspired decorations of earlier periods.
Settlement caused stress cracking through both flat wall and ornamental plaster. Repairs to the cornice molding involve chamfering the stress cracks to a "V groove," and patching with a mixture of gypsum and lime. Photo: Jack E. Boucher, HABS, NPS.
Repairing and Replacing. Plaster failure is a matter of degree. For example, top coat failure can be repaired by applying a new finish coat over a sound early substrate. Also, if cracking or loss of all three coats has occurred and is not combined with major structural failure, it can be repaired much like flat wall plaster. For ornamental plaster, however, repair beyond patching is often equivalent to targeted replacement of entire lengths or portions of run-in-place and cast ornamentation. Pieces that are deteriorated or damaged beyond plain patching must be removed and replaced with new pieces that exactly match the existing historic plaster. For this reason, partial restoration is often a more accurate term than repair. But whichever term is used, it is not recommended that repair of ornamental plaster be undertaken at any level by property owners; it is a craft requiring years of training and experience. A qualified professional should always be called in to make an inventory of ornamental plaster enrichments and to identify those details which are repairable onsite and which should be removed for repair or remanufacture in the shop.
Immediate Action
Once the cause and extent of damage have been determined, treatments such as shoring, stabilization, and limited demolition can begin, preparatory to repairing or restoring historic ornamental plaster.
Where this ceiling was suffering from structural failure, the first step was to shore it up from below. Then, toggle bolts (seen here) were used to re-attach the plaster molding to the ceiling joists. Finally, the ceiling was patched, prior to restoring significant finishes. Photo: NPS files.
First, roof or plumbing leaks must be repaired to eliminate the problem of water intrusion. General structural repairs should be undertaken to arrest building movement, which weakens the base coat plasters to which the ornamental enrichments are attached. Ornamental plaster deflection should be corrected by shoring from below followed by re-anchoring.
Testing for poor adhesion of base coat to lath or ornament to base coat, should be conducted to reduce further loss of enrichment. Adaptive use intrusions should be carefully removed to protect the existing decorative plasterwork.
Code-required fire suppression systems should be evaluated at this time. Modern building codes may require heat/smoke/flame detectors and automatic sprinkler systems of various types and applications. Fire suppression systems as well as all mechanical systems (HVAC, plumbing and electrical) systems should be designed so that they accomplish their purpose with minimal impact on the decorative plaster. Plumbing for an automatic sprinkler system, for example, can be run above new and existing coffering so that the sprinkler heads barely protrude from the rosette centers in the coffered design. Access should be provided for future system maintenance or repair.
A 20th Century Shop Tour--Personnel, Materials, and Processes
Before discussing how decorative forms such as cornices, medallions, and ceiling coffers are repaired onsite and in the shop by ornamental plasterers, the "shop tour" explains traditional casting processes used in conjunction with updated materials. A shop tour can be exciting, but confusing to the layman without some explanation of modeling, molding, and casting activities. For a prospective client, a visit to the plaster studio or site can be of value in choosing a qualified plastering contractor.
Shop and Personnel. Generally, a highly functional shop should look well organized--that is, not in disarray with remnants of past projects lying about to impede current production. Old molds may be in abundance, but hanging from the wall or otherwise "on file." Machinery (saws and drill presses) and hand tools should appear well maintained. In short, one might evaluate such a studio as one does an auto mechanic's shop: does it inspire confidence? This is the time to look around and ask questions. What is the shop's past project work experience? Is the firm mostly involved in new construction work or total reconstruction? More important than the way the shop looks, is the personnel sufficiently experienced in making repairs to historic decorative plaster? What about training and apprenticeships? How did the staff learn the trade? The more that is known about the total operation the better.
This plaster studio is well organized, with ample work space. Note the plaster casts hanging neatly on the wall. Photo: Berry and Homer, Philadelphia.
Molding Rubber. Familiarity with contemporary molding rubbers is desirable. There are several formulations currently on the market. In the past, flexible molds were made with hide glue melted in a double boiler and poured over plaster originals which had been prepared with an appropriate parting agent. Of the newer rubbers, latex (painted on the model coat by coat) is time consuming and has little dimensional accuracy; polysulfide distorts under pressure; and silicone is needlessly expensive. Urethane rubber, with a 30-durometer hardness, is the current choice. Urethanes are manufactured as pourable liquids and as thixotropic pastes so that they can be used on vertical or overhead surfaces. The paste is especially useful for onsite impressions of existing ornament; the liquid is best used in the shop much as hide glue or gelatin was historically. Urethane rubber has the ability to reproduce detail as fine as a fingerprint and does not degrade during most ornamental plaster projects. No flexible molding material lasts forever, so spare casts should be maintained for future remolding.
Molding Plaster. Molding plaster will also be in evidence; it is the product most similar to that used historically. This plaster is finely ground to accept the detail of the rubber molds, not so hard as to prohibit tooling, and combines readily with finish lime. High-strength plaster is available in varying densities, some with added components for specific purposes. Most shops maintain these varieties, but use molding plaster for typical work.
Sheet Metal Templates. The contractor's familiarity with sheet metal is critical. Accurate template blades are required to reproduce both straight and curved sections of moldings. The blades must be carefully cut, filed, and sanded in order to form exact reproductive units. A tour of a sizeable shop will include observation of running techniques and the results of this activity should be much in evidence. Regardless of size, these runs should be smooth and true when made by qualified craftsmen.
Models. Models, whether of capitals, cornices, medallions or cartouches, are made as whole units or in parts depending on project demands. Completeness, accurate dimensions, and attention to historic styles are essential ingredients of successful models. Each part of a model has a name, i.e., dentil, guilloche, rinceau or bolection molding, modillion, egg and dart, and the designers and restorers of these ornaments should know their names. Failure to identify these parts correctly should be of concern to a prospective client.
Molds. Molds are "negative forms" produced from completed models. Simple flood molds require a separator or barrier coat over the original and a surrounding fence to prevent the liquid rubber from leaking out. Larger or more complicated molds are made in pieces or with a layer of rubber supported by a plaster shell or mother mold attached to a wooden or metal frame. Following completion of a successful mold, the original model is discarded because it is now possible for it to be accurately reproduced.
Casting the Molds. Casting operations should appear clean and efficient. A skillful caster's output can be voluminous and often looks effortless as it is being produced. Raw materials are close at hand, molds are rarely without curing plaster in them, production is stored so as not to warp while it is still wet and each cycle, from mixing to pouring, setting, and demolding is accomplished so as not to waste time or break plaster casts. A good caster generally obviates the need for a finishing department.
Two other aspects should be noted. Shipping facilities are critical to move the product to the restoration site safely. Drawing and design space should be separate from the production floor. In summary, the modern ornamental plaster shop inevitably looks quite different from that pictured earlier in this Preservation Brief, but, with the exception of contemporary tools and materials, the operations are the same. The following sections discuss how repairs are made by today's plaster tradesmen.
Repairing Historic Ornamental Plaster
Cornice. A plain run or ornamented plaster cornice which has undergone damage or severe deterioration can often be repaired. Footage which is beyond repair should be identified and be carefully demolished to expose the underlying structure beneath to which the molding was secured. To replace the missing lengths, the first step is to obtain a cross-section, or profile, through the cornice from finish ceiling to finish wall lines. This is best accomplished using one of these methods:
1. A section through the cornice may be determined by sawing through the molding, inserting a sheet metal blank in the slot and tracing the profile directly on the template. This is considerably more accurate than the profile gauge, but will require repointing the saw kerf; alternatively, the cut may be made on one of the deteriorated pieces, provided it was removed as an intact unit.
2. The section may be obtained by making a thixotropic rubber impression of the molding, casting the result in fresh plaster and sawing through the cast to transfer the cross-section to a sheet metal template.
With the section determined, it is drawn onto 22-gauge galvanized sheet metal, cut with tin snips and carefully filed to the line. The template is checked periodically against the original profile to assure a perfect match. With the template blade finally complete, it is nailed to stock and slipper, ready for running the replacement footage.
Short lengths of new cornice are best run on a bench using gypsum and lime; the reproduction molding should be somewhat longer than the required length. The new footage is cut and fit in place to match the existing cornice, then securely countersunk-screwed to studs, joists and/or blocking. The resulting joints are pointed with flat mitering rods, flush with adjacent members.
Longer lengths of cornice may be run in place, much as they were historically. Care should be taken that the position of the running mold engages with the existing work at either end of the run. Yet another method is to bench run the cornice to five or six feet, make a rubber mold of the model, and precast the replacement parts either at the site or in the shop.
If the damaged cornice is ornamented, samples of the enrichment should be removed, making sure that whole original units are obtained. This is a difficult process, since these units were stuck into plain-run recesses called "sinkages" using plaster as an adhesive. In order to insert a flat chisel behind the ornament to break the bond, some units may have to be sacrificed. Sacrifice should be minimal. The excised enrichment should then be removed to the shop for rubber molding and casting either with or without the paint buildup, depending on the demands of the project. Whereas molding with several layers of paint make it hard to discern new casts from originals, paint-stripped molding reveals the remarkable talents of the period model-makers. As noted, contemporary rubber materials have "fingerprint detail" capability. Modern casts are then applied to the new or original runs, again using plaster as an adhesive.
Ceiling medallions may need repair or replacement, such as this elliptical medallion from Rockland, Fairmont Park, Philadelphia. An impression was taken of the existing plaster, then new plaster elements were cast. Photo: David Flaharty.
Ceiling Medallion. Ceiling medallions are often in greater jeopardy than cornices because the joist-lath-base-coat support system is susceptible to deflection and the force of gravity. The problems of ceiling failure are more frequent in the centers of parlors because circular-run and shop-cast ornament is often quite heavy and was not historically attached with any additional mechanical fasteners such as bolts and screws.
If the lath or keys have failed, plaster ceiling ornament may be saved, in whole or in part, by removing floor boards above, then drilling and injecting each lath with an elastic acrylic or epoxy material to reattach plaster to lath, and lath to the joists. This is a recently developed procedure which should only be undertaken by experienced professionals. The consolidation and reattachment process has been used successfully in period structures with dramatic results when important plaster and painted surfaces would otherwise have been lost.
Historic lighting fixtures often hung from elaborate ceiling medallions. When these fixtures were later converted to gas and electrical service, the central ornamental plaster canopies were sometimes damaged by insensitive tradesmen. More recent adaptive use projects may have caused additional damage.
Damaged ceiling medallions can be repaired by carefully removing representative plaster ornamentation, molding and recasting in the shop and replacing the new enrichments so that they align perfectly with the original pattern. Polyvinyl acetate bonding agents are applied to the background and ornament so that the adhesive plaster grips tightly. Alternatively, a severely damaged medallion can be replaced using the fragments as physical documentation to cast a visually accurate replacement.
Sections of plain-run circular molding may also be repaired by determining a section through the run and the radius from molding to pivot point. As with cornices, the run should be made on a bench to a length greater than required, then cut and fit in place. Circular run sections are installed using plaster adhesives on bonded surfaces or modern construction adhesives after referring to manufacturers' instructions as to whether the adhesive is recommended for use on wet or dry materials. Coarse-threaded, galvanized screws are often countersunk to aid the bond; if possible, the screws should be inserted at points that will ultimately be covered with cast enrichments.
Ceiling medallions frequently appear in matching double parlors. It is not unusual for one ceiling to fail while its mate remains undamaged. The flat plastered ceiling over the location of the missing medallion often has a "ghost," confirming that a ceiling medallion once ornamented the parlor. The missing medallion may be remanufactured by securing a section, dimensions, and samples of cast enrichments from the surviving ornament and accurately following the original procedure. The ceiling on which the new work is to be set should be examined for its soundness and, if necessary, relathed (with self-furring metal lath) and plastered. The pivot point for a circular run is screwed into a wooden block, force-fit into the center electrical box, and removed after the run is completed.
After 1850, particularly in the South, ceiling medallions were often designed with cast ornament only; no plain-run surround was used. Repair of such medallions proceeds as described above but without bordering molding.
An important point needs to be made about adding ceiling medallions (or any other kind of ornamental plaster element) when there is a lack of historical evidence. If there is no ghost mark or other documentation, indicating a medallion once existed, then the room should remain unornamented as it was historically. Adding conjectural ornamentation of any type or material (i.e., shop-cast or glass fiber reinforced plaster or polystyrene foam substitutes) can create a false sense of historical development contrary to the preservation principles stated in The Secretary of the Interior's Standards for the Treatment of Historic Properties. However, if there is clear indication that a ceiling medallion once existed, but there is inadequate documentation for its replacement, a medallion compatible with the room's historic character may be considered. Professional advice should be sought.
Coffered Ceiling. Like cornices and medallions, coffered ceilings suffer from poor maintenance practices and structural problems; however, these individually cast ceiling units are particularly vulnerable when a building is being rehabilitated and great care is not taken in executing the work. In the most serious of cases, portions of a roof can collapse, dropping heavy debris through the hanging coffering panels, and demolishing large portions of the ornamentation.
The Yiddish Arts Theater, New York City, c. 1920s. The concrete roof of this building had collapsed, damaging portions of the existing Moorish style coffered ceiling. The square coffer unit was easily identifiable and was removed to a casting shop for reproduction. Photo: David Flaharty.
But even this level of damage can usually be remedied by restoration professionals. Immediate action calls for shoring the areas adjacent to the damage, and inspecting the hanging apparatus for unforeseen detachment and deflection. New channel iron is used to stabilize the existing coffers and ties reinforced, as necessary. An intact coffering unit is then identified and carefully removed to a casting shop for molding and casting. When rehung, the units are painted to match the historic coffering.
Coffered ceilings appear with plain run or enriched cornices. In most cases it is recommended that the cornice be repaired first in order to achieve straight and level moldings. Then the damaged coffers should be replaced with the matching new coffers and the joints between pointed. Access from above is critical.
Finding and Evaluating a Contractor
These Greek Revival columns (Gaineswood, Demopolis, Alabama, c. 1842-60) were drawn from Minard Lafever's Beauties of Modern Architecture of 1835. This bold new style began in New York City and quickly spread south and west. Photo: HABS Collection, NPS.
When ornamental plaster damage or deterioration has been identified, the historic property owner, architect, or developer should secure the services of a reputable restoration contractor before proceeding further. It is clear as more and more projects are undertaken, that there is a wide disparity of skills within the trade today. This is partly due to the introduction of gypsum board as a substitute for traditional plastering. As gypsum board became popular after World War II, plasterers saw the demand for their skills decline. Plastering techniques were forgotten because they were often not passed down within shops and families. However, ornamental plaster studios have seen a resurgence in demand for their services in the last decade, particularly as more historic buildings are rehabilitated.
Locating an experienced contractor who is suitable for your particular project is the goal. First, many professional preservation organizations can provide references for suitable restoration contractors. Local plasterers' unions should also be able to identify contractors with experience in ornamental plaster restoration projects. Architects with preservation and restoration project experience may recommend contractors they feel have done a good job for them in the past. Museums with period rooms have engaged craftsmen to assemble the backgrounds for display of antique furniture and decorative arts. Finally, historical societies, either national, state, or municipally organized, may have funded projects which repaired and restored ornamental plaster.
Once several contractors have been identified, their specific abilities need to be evaluated. Prospective contractors should be invited to visit the job site to see and define the scope of work; written proposals, including prices, from all bidders, are essential for comparison. References should be provided and investigated. An outside consultant may be engaged or an informal adviser designated to aid in evaluating the experience and proposals of the bidders. To get a total picture, a completed project should ideally be visited by the prospective client with the contractor present to answer questions which often arise.
Finally, although this may not always be achievable, the bidder's studio may be visited, preferably on a normal working day (see A 20th Century Shop Tour, above.) Alternatively, the bidder may be visited while working onsite. Some ornamental plasterers simply do not have shops. They prefer to cast onsite, adhering the casts while the plaster is wet, and coordinating the job closely with the architect, who inspects each unit as it is cast and before it is installed.
Decorative plasterwork is usually a component of the historic character of interiors and, consequently, The Secretary of the Interior's Standards for Historic Preservation Projects call for its protection, maintenance, and repair. Where decorative plasterwork has deteriorated beyond repair, it should be replaced to match the old. Based on physical documentation, both repair and replacement can be accomplished using traditional molding plaster and casting procedures, together with the best of the modern molding materials available. Once a "lost art" after the Depression years, the skills of today's ornamental plasterers are increasingly in demand as part of historic preservation project teams. The ingenious and inspired decorative work created by our earlier architects and artisans can now be assured an extended life.
Editor's Note
This story was adapted from a preservation pamphlet of the same name originally published by Technical Preservation Services (TPS), Heritage Preservation Services Division, of the National Park Service. The goal of this and other, similar booklets is to make available to a broad public educational materials on responsible historic preservation treatments.


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Donald "Buck Dharma" Roeser – lead guitar, vocals
Eric Bloom – lead vocals, rhythm guitar, keyboards
Jules Radino – drums, percussion
Richie Castellano – keyboards, guitar, bass, vocals
Kasim Sulton – bass guitar, vocals
Spanning three decades, Blue Öyster Cult has a long and storied history. The band got its start in the late '60s on Long Island, New York, as the Soft White Underbelly, but each member had been involved in bands previously in high school and college, before ending up in the "right place at the right time" to create the beginnings of Blue Öyster Cult.
The threads that eventually wove together to create Blue Öyster Cult got their start in upstate New York.
Long Island native Donald Roeser and Albert Bouchard (of Watertown, New York) met at Clarkson College, in Potsdam, NY. The two were introduced by a mutual friend, Bruce Abbott (who later co-authored "Golden Age of Leather" with Donald). With Abbott and two other friends, they formed "The Disciples" and played college parties and local beer halls. The next year, the band reformed and played the same circuits as "Travesty" (named after the Blues Project album). Through all this, their studies fell by the wayside, and both Albert and Donald decided to quit college to concentrate on playing music full-time.
Eventually "Travesty" broke up, Donald and Albert took seperate paths for a while. Donald went back to Long Island, and Albert took a musical opportunity in Chicago. After moving there, though, the band fizzled, and Albert returned to NY and joined Donald. In the meantime, Donald had been jamming with local musicians, and had met a person that would become very influential in their future: Sandy Pearlman.
Sandy Pearlman became interested in rock music around the time of the British Invasion, and was a pioneering voice of rock criticism, opening a new field for creative writers like Lester Bangs. Both Pearlman and his friend Richard Meltzer were contributors for seminal magazine "Crawdaddy!," the first magazine that dedicated itself to analysis of rock music and its culture.
Allen Lanier came into the fold by way of guitarist John Wiesenthal. Allen had accepted employment at a film company at which Wiesenthal was also an employee. After becoming acquainted, Wiesenthal invited Allen out to Long Island to meet and jam with the loose group of musicians he played with, and Allen began to regularly jam with them.
An old house near Stony Brook College became ground zero for the formative band, and casual jams with whomever happened to be hanging around began to turn into rehearsals with a core band, which included Wiesenthal, Donald, Albert, Allen and Andrew Winters, a school friend of Donald. It was 1967.
Pearlman (along with Meltzer and Wiesenthal) had been a student at Stony Brook, and was becoming increasingly involved in the music scene. When he heard the formative combo, he instantly recognized the talent at work. He had an idea for a band, and thought that this group of musicians had the chops to put that idea into play. The musicians saw that Pearlman's contacts and stature in the local (and increasingly national) scene could help them spawn a career as well, and an alliance was formed.
For up-to-date info, please check back here, signup for our mailing list or follow us on Facebook.

subset: commoncrawl


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Vail Mountain is opening a new restaurant this season on December 1 called The 10th named in honor of the 10th Mountain division. The restaurant is located at mid-Vail, some of us at the Antlers were lucky enough to be invited to their soft opening to try out the food, see the new building and all the amenities they have to offer. The menu has a great selection and I was surprised that the prices weren't as high as I was expecting.
I think the consensus in our group was that the best part is the slippers provided so that guest can be completely comfortable while they dine. The 10th is a full service restaurant where guests can have a nice sit down lunch complete with a server and all. It is a nice alternative to the busy cafeteria style restaurants through out the mountain.
I have to admit my favorite part (I know it's weird) is that the bathroom door handles glow red when they are occupied!
They do recommend reservations, something that will take some getting use to for most everyone. But, you can do it through opentable.com, so that is handy!


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Australian man in hiding in Saudi Arabia negotiating to leave
A 24-year old Australian man who has been in hiding from authorities in Saudi Arabia says he is trying to reach an agreement on how he will leave the country.
Junaid Thorne had his passport confiscated after he was detained for protesting over the arrest of his brother.
His brother, Shayden, has since been jailed on several charges including supporting and encouraging terrorism.
Both men are originally from Perth.
Junaid has been under pressure to leave Saudi Arabia but has been negotiating through his lawyer to turn himself in to authorities.
"If they know where I am, [then they] come and pick me up anytime and I'd be on a plane without the lawyer knowing, without the embassy knowing or even me knowing when I'd be on the plane," he said.
"My lawyer's been assuring me that they don't have any case against me, so I mean the worst thing is they could arrest me, keep me in detention for a while and then deport me.
"Even though I get arrested, it won't be a long time I spend in detention, it'll just be a while until they finish my papers and I'll be deported."
Mr Thorne has been without his passport for several months and says he wants to stay in Saudi Arabia until mid-July, but he says authorities want him to leave immediately.
"They are still demanding that I leave as soon as possible," he said.
"But (my lawyer) is trying to work with them on a timeframe of two to three weeks so I can finish some financial matters and educational matters that I have here with the university.
"He said that I need two to three weeks to finish it and then I can leave after that; until then I'll just have to remain in hiding until they reach an agreement."
Mr Thorne says he does not know where his brother is being held.


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If you receive a text message on your iPhone any time after Thursday afternoon containing only a single square character, Charlie Miller would suggest you turn the device off. Quickly!!!!
That small cipher will likely be your only warning that someone has taken advantage of a bug that Miller and his fellow cybersecurity researcher Collin Mulliner plan to publicize Thursday at the Black Hat cybersecurity conference in Las Vegas. Using a flaw they've found in the iPhone's handling of text messages, the researchers say they'll demonstrate how to send a series of mostly invisible SMS bursts that can give a hacker complete power over any of the smart phone's functions.
That includes dialing the phone, visiting Web sites, turning on the device's camera and microphone and, most importantly, sending more text messages to further propagate a mass-gadget hijacking.
This is serious. The only thing you can do to prevent it is turn off your phone," Miller told Forbes. "Someone could pretty quickly take over every iPhone in the world with this.
Though Miller and Mulliner say they notified Apple about the vulnerability more than a month ago, the company hasn't released a patch, and it didn't respond to Forbes' repeated calls seeking comment.
The iPhone SMS bug is just one of a series that the researchers plan to reveal in their talk. They say they've also found a similar texting bug in Windows Mobile that allows complete remote control of Microsoft based devices.
Another pair of SMS bugs in the iPhone and Google's Android phones would purportedly allow a hacker to knock a phone off its wireless network for about 10 seconds with a series of text messages. The trick could be repeated again and again to keep the user offline, Miller says. Though Google has patched the Android flaw, this second iPhone bug also remains unpatched, he adds.
The new round of bugs aren't the first that Miller has dug up in the iPhone's code. In 2007, he became the first to remotely hijack the iPhone using a flaw in its browser. But while that vulnerability gave the attacker a similar power over the phone's functions, it required tricking the user into visiting an infected Web site to invisibly download a piece of malicious software.
When Miller alerted Apple in July of that year, the company patched the vulnerability before Miller publicized the bug at the Black Hat conference the following month.
The new attacks, by contrast, can strike a phone without any action on the part of the user and are virtually unpreventable while the phone is powered on, according to Miller and Mulliner's research. And unlike the earlier exploits, Apple has inexplicably left them unpatched, Miller says. "I've given them more time to patch this than I've ever given a company to patch a bug," he says.
The Windows bug he and Mulliner plan to reveal hasn't been patched either, says Miller, though he admits that he and Mulliner discovered the Windows flaw on Monday and hadn't yet alerted Microsoft to its existence.
The attack developed by Miller and Mulliner works by exploiting a missing safeguard in the phones' text messaging software that prevents code in the messages' text from overflowing into other parts of the device's memory where it can run as an executable program. The two researchers plan to demonstrate how a series of 512 SMS messages can exploit the bug, with only one of those messages actually appearing on the phone, showing a small square. (Someone could easily design the attack to show a different message or without any visible messages, Miller cautions.) The entire process of infecting an iPhone and then using the device to infect another phone on the user's contact list would take only a few minutes, Miller says.
The vulnerability of SMS to that sort of attack will likely be a hot topic at this year's Black Hat and Defcon cybersecurity confabs. Two other researchers, Zane Lackey and Luis Miras, say they plan to present other vulnerabilities in major vendors' SMS applications, though they declined to discuss which vendors or the specifics of the vulnerabilities before the companies had issued patches.
Lackey and Miras argue that SMS demands far more attention from the cybersecurity community and device vendors. "Like a lot of mobile phone software, it's been relatively unexplored in the past," Lackey told Forbes. "Only recently has there been proper debugging and development tools available. SMS exemplifies a common trend: once it was a simple technology. Now it's being used in devices far beyond its original purposes, and security is still playing catch up."
The researchers' concerns aren't merely theoretical. Finnish security firm F-Secure says it's found nearly 500 different variants of mobile phone malicious software since 2004, mostly using Bluetooth to hop between phones in close proximity. But in the last 18 months, cybercriminals have begun using text messages to send links to malicious Web sites that infect the phone with malware, says Mikko Hyppönen, an F-Secure researcher.
One seemingly-Chinese variant, known as "Sexy View" and currently targeting the Symbian operating system, is far more threatening than an iPhone attack, given that around 50% of cellphones use Symbian, Hyppönen says. "After years of the security industry wondering why we aren't seeing text message worms, it's starting to happen now," he says.
While many of those ongoing attacks are merely hacker experiments, some have used phones to text premium numbers that generate revenue for cybercriminals. "Mostly it's still about curiosity and fun, but eventually the criminal guys move in," says Hyppönen. "We're probably on the verge of that right now."
As dangerous as his iPhone attack sounds, Miller argues that it's important to expose flaws in SMS software before they can be exploited by more malicious actors. Texting applications' insecurity isn't due to the software's complexity so much as the security community's inattention and the expense of sending thousands of text messages to test a phone's security, Miller says.
"The bad news is that SMS is the perfect attack vector, but the good news is that it's probably possible to build it securely," he says. "As a researcher, I can only show [Apple] the bugs. It's up to them to fix them."
[via Forbes]


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What is a Retrouvaille Program?
The word Retrouvaille™ (pronounced re-tro-vi with a long i.) is a French word meaning rediscovery. The program offers tools needed to rediscover a loving marriage relationship. Thousands of couples headed for cold, unloving relationships or divorce have successfully overcome their marriage problems by attending the program.
The Retrouvaille Program consists of a weekend experience combined with a series of 6-12 post-weekend sessions over 3 months. It provides the tools to help put your marriage in order again. The main emphasis of the program is on communication in marriage between husband and wife. It will give you the opportunity to rediscover each other and examine your lives together in a new and positive way.
What the Program is not.
It is not a retreat, marriage counseling, or a sensitivity group. There are neither group dynamics nor group discussions on the weekend. It is not a time for hurting; it is a time for healing.


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What is Obstructive Sleep Apnea?
Obstructive sleep apnea is a condition that exists, when the airway partially or completely closes during sleep. This closing of the airway causes reductions in blood oxygen levels, severe sleep fragmentation, and excessive daytime sleepiness.
The potential consequences of untreated obstructive sleep apnea include hypertension, coronary heart disease, myocardial infarction, pulmonary hypertension, congestive heart failure, stroke, neuropsychiatric problems, cognitive impairment, sexual dysfunction and injuries due to accidents.
What is the connection between Obstructive Sleep Apnea and Cardiac Disease?
Obstructive Sleep Apnea, a potentially deadly phantom, is the frequent stoppage of breathing caused by relaxed tissues in the throat during sleep. Snoring is caused by vibrations of the relaxed throat tissues and is often the precursor or companion of sleep apnea.
People with Coronary Artery Disease whose blood oxygen level is lowered by sleep-disordered breathing may be at risk of ventricular arrhythmias and nocturnal sudden death. CPAP treatment may reduce this risk. Sleep disordered breathing, including apnea, may cause coronary artery disease and hypertension.
Some of the research suggests that sleep apnea may indeed be a cause of heart disease.
How can I find out if I have Obstructive Sleep Apnea?
Diagnosis is made on the basis of the clinical picture, patient, bed partner and/or family member reports snoring and an overnight polysomnogram.
What is a polysomnogram?
A polysomnogram is an overnight recording in a sleep lab of all of your sleep activities. These activities include brain waves, muscle movements, eye movements, breathing through your mouth and nose, snoring, heart rate and pattern and leg movements.
Information is gathered using small disc called electrodes, belts that are placed around your chest and abdomen, a sensor that is placed on your finger and electrodes placed on your chest and a few on your face.
None of these devices hurt they all are designed to be as comfortable as possible. The rooms at the sleep center are all private and decorated somewhat like a standard home or hotel bedroom. Each room has a television and a bathroom.
If I have Obstructive Sleep Apnea what are my treatment options?
My doctor told me to avoid exacerbating factors. What are these?
Exacerbating factors are events or activities that contribute to the severity of your sleep disordered breathing. Some of these events or activities are listed below.
Other factor affecting quality of nighttime sleep that can lead to apnea:
Anything that leads to the blockage of the nose, the throat, or the lung potentially play a role in the development of sleep disordered breathing such as:


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Obtaining the necessary documents to teach in Korea can be really stressful and a big headache if you do not know where to start or how to go about it. From experience, following a methodical order of things needed to be done will help speed up the process. Every citizen coming to Korea has a different route to follow and one needs to know the specific requirements for their nationality. The method of obtaining documents is different in every county. So what may be allowed in America, may not be allowed in South Africa.Read More
Teachers Share their Experiences While Living Abroad!
Tags: things to think about before coming out to korea, teach in Korea, teach aclipse, applying to teach English, application, chungdahm learning, documents, ESL documents, South African documents, apostille, South African teachers, documents to teach in Korea, how to obtain documents to teach in Korea, South africans wanting to teach in Korea


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(BPT) - Did you know that 87 percent of America's 30,000 fire departments are either fully or partially staffed by volunteers? The peace of mind that these firefighters provide their communities is irreplaceable, however, the number of volunteers is declining rapidly. This shortage is threatening the effectiveness of fire departments nationwide, ultimately putting many communities at risk.
Volunteer firefighters act as the first line of defense in an emergency, provide medical services and protect more than 50 percent of Americans, particularly in rural communities. These men and women dedicate significant training hours to ensure they are prepared, often at their own expense.
"Firefighters respond to more than 31 million emergency calls each year - three times the number of emergency responses in 1980," said Volunteer Fire Chief Timothy S. Wall, chair of the International Association of Fire Chiefs (IAFC) Volunteer and Combination Officers Section. "To protect people and property in our communities is an enormous responsibility, but our fire departments are facing many challenges, especially with recruitment and retention of volunteers."
The decline is the result of fewer people stepping up to volunteer, and the average age of volunteers is increasing every year.
Want to help? Considering supporting your local fire department in the following ways:
Become a volunteer firefighter
As the need for volunteer firefighters grows, the leading manufacturer of residential fire safety products, Kidde, has teamed up with several fire safety organizations to launch the Step Up and Stand Out campaign. This nationwide campaign aims to raise awareness that local fire departments need volunteers in order to keep communities safe and recruit new volunteers.
Recognize a volunteer in your community
Nominate a volunteer firefighter to help your local department earn national recognition and valuable prizes. The Step Up and Stand Out campaign includes a contest hosted on Firehouse.com/vf, which invites the public to submit a brief video nominating a current volunteer firefighter or support volunteer to receive recognition for their community service. Submissions will be accepted until May 21, and online public voting will begin in June. Five finalists will be announced in August and a final public vote will then determine the grand prize winner, who will be revealed at Firehouse Expo in October. The five finalists will receive Kidde smoke alarm donations, industry memberships, NFPA Fire Prevention Week Kits and more. The grand prize winner will also receive a $1,000 department training grant.
Be proactive about fire safety in your home
Help protect your family and your community's firefighters by ensuring your home has working smoke alarms. NFPA reports that a working smoke alarm cuts the chances of dying in a fire in half. Ten-year sealed battery smoke alarms, like Kidde Worry-Free alarms, use one battery for the life of the alarm to provide 24/7 fire safety protection and eliminate the hassles of low battery chirps.
On average, families have less than three minutes from the time the first smoke alarm sounds to escape a fire, so it's important to get everyone out efficiently. One of the best ways to be prepared is to create a home escape plan with your family. Practice regularly - both day and night - and know two ways out of each room. Always remember three rules: get out, stay out and then call for help.
March 2022
Interested in Publishing on The Home Idea?
Send your query to the Publisher today!


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The Ark brought to Zion, Michal's Ridicule of David
2 Samuel 6
2 Samuel 6
1 And David again gathered all the chosen men of Israel, thirty thousand. 2 And David arose and went with all the people that were with him from Baale-Judah, to bring up from thence the ark of God which is called by the name, the name of Jehovah of hosts who sitteth between the cherubim. 3 And they set the ark of God upon a new cart, and brought it out of the house of Abinadab, which was upon the hill; and Uzzah and Ahio, the sons of Abinadab, drove the new cart. 4 And they brought it with the ark of God out of the house of Abinadab which was upon the hill; and Ahio went before the ark. 5 And David and all the house of Israel played before Jehovah on all manner of instruments made of cypress wood, with harps, and with lutes, and with tambours, and with sistra, and with cymbals. 6 And when they came to Nachon's threshing-floor, Uzzah reached after the ark of God, and took hold of it; for the oxen had stumbled. 7 And the anger of Jehovah was kindled against Uzzah; and God smote him there for his error; and there he died by the ark of God. 8 And David was indignant, because Jehovah had made a breach upon Uzzah; and he called that place Perez-Uzzah to this day. 9 And David was afraid of Jehovah that day, and said, How shall the ark of Jehovah come to me? 10 So David would not bring the ark of Jehovah home unto himself into the city of David; but David carried it aside into the house of Obed-Edom the Gittite. 11 And the ark of Jehovah remained in the house of Obed-Edom the Gittite three months; and Jehovah blessed Obed-Edom and all his household. 12 And it was told king David, saying, Jehovah has blessed the house of Obed-Edom, and all that is his, because of the ark of God. And David went and brought up the ark of God from the house of Obed-Edom into the city of David with joy. 13 And it was so, that when they that bore the ark of Jehovah had gone six paces, he sacrificed an ox and a fatted beast. 14 And David danced before Jehovah with all his might; and David was girded with a linen ephod. 15 And David and all the house of Israel brought up the ark of Jehovah with shouting, and with the sound of the trumpet. 16 And as the ark of Jehovah came into the city of David, Michal the daughter of Saul looked through a window, and saw king David leaping and dancing before Jehovah; and she despised him in her heart. 17 And they brought in the ark of Jehovah, and set it in its place, in the midst of the tent that David had spread for it. And David offered up burnt-offerings and peace-offerings before Jehovah. 18 And when David had ended offering up the burnt-offerings and the peace-offerings, he blessed the people in the name of Jehovah of hosts. 19 And he dealt to all the people, to the whole multitude of Israel, both men and women, to every one a cake of bread, and a measure of wine, and a raisin-cake. And all the people departed every one to his house. 20 And David returned to bless his household. And Michal the daughter of Saul came out to meet David, and said, How honourable did the king of Israel make himself to-day, who uncovered himself to-day in the eyes of the handmaids of his servants, as one of the lewd fellows shamelessly uncovers himself! 21 And David said to Michal, It was before Jehovah, who chose me rather than thy father, and than all his house, to appoint me ruler over the people of Jehovah, over Israel; and I played before Jehovah. 22 And I will make myself yet more vile than thus, and will be base in mine own sight; and of the handmaids that thou hast spoken of, of them shall I be had in honour. 23 And Michal the daughter of Saul had no child to the day of her death.


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Basic Edge 90 600mm - Monocolour
Basic Edge 90 600mm - Monocolour
Sale Sold out
Regular price €224,36 (€269,23 EUR inc tax)
Regular priceUnit price per
€0,00 EUR ( inc tax)
Sale price
€224,36 (€269,23 EUR inc tax)
Stock Availability
One of the simplest shapes in our range. A basic edge, no fancy bit, hidden gems or divots. Available in several shapes, using different angles and in three sizes you can create very complex climbing with no thrills design. The majority of the work and technical engineering is in the rest of these macro holds. This part creates no edge where the macro joins the climbing wall, so the climber is forced to use the part of the hold that the route setters want to insist the climber has to.
Brand: Rockcity
Material: Fibreglass
Texture: Monocolour
Size: 600mm
Number of items: 1
Fixing Type: Screw On


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Meet Our Family
Rachael Acklin: "Before Lift Off, I was successful, but I craved something better, and I didn't really know what it was or how to get there…" Read More
Desiree Adaway: "I knew that I wanted to work for myself over the next 2 years but had no clear vision of what that would look like until I attended Lift Off. Now I design programs and strategies that create revenue and advocates for organizations. I work with organizations and individuals that want to create lasting change." Read More
Deena Baikowitz: "I was building my business at an erratic pace. Every week was a different experience: it alternated between moving slowly, leaping forward, skipping steps, and jumping over obstacles. Since Lift Off, I am jumping up and down with joy, excitement, inspiration and achievement (almost) every day. Fireball Network is moving forward with renewed energy and momentum." Read More
Wendy Beall: "I love the synergy that comes from sharing ideas, energy, and connections in a group. The connections made are guaranteed to benefit everyone involved for years to come. Pam and Charlie have a gift for helping refine ideas for products and services, and then translate those ideas into practical next steps so they seem doable rather than overwhelming." Read More
Andre Blackman: "I had been dabbling in the idea of becoming an entrepreneur before Lift Off. I knew I had skills, resources and the desire to start in the consulting world but didn't know where to start exactly." Read More
Marissa Bracke: "It was great interacting 'in 3D' with people I'd been working with, following, reading, and chatting with online, some for a couple of years before finally meeting in person at Lift Off. And hanging out with them at Saguaro Lake Ranch in Phoenix (read: absolutely picture-perfect location) didn't hurt either!" Read More
Mike Bruny: "Before Lift Off, I was all over the place. Too many different projects and too many things on my mind. I was so boomeranging (I know it's not a word) my superpower. I was a man in search of a model." Read More
Abe Cajudo: "Before Lift Off, I would spend 5 hours a day commuting to and from a 9-5 job that no longer resonated with how I was developing as a person and budding entrepreneur. Lift Off was the first stop on my travels that convinced me that a business can be used as a vehicle for social change. Everyone there was shaping a future I wanted to see, but in their own way, and I could better understand where my business fit into the big picture." Read More
Ruth Carter: "My favorite take-aways from Lift Off were the lessons and suggestions that are easy to apply to my work, and meeting and getting feedback (and input) from the other participants." Read More
Kyle Durand: "I was a military vet, tax attorney and entrepreneur who was searching for a definition of myself and what I had to offer the world. After Lift Off, I launched a new blog, traveled all over the world while running my two businesses and started a third." Read More
Yolanda Facio: "There are so many wonderful things to take away from Lift Off; the people, Pam and Charlie, Angela and all the great instruction. I would say though that my favorite thing was and continues to be the community of supportive and very bright individuals." Read More
Tzaddi Gordon: "It was like being sent to summer camp with a bunch of people you instantly adore but since you're all in different niches and from different places you might otherwise never meet. There's a ton of camaraderie among the alumni across all LO sessions as well, so we have all that extra support to draw on after the retreat." Read More
Lisa Guida: "Lift Off gave me the confidence to give a couple of public talks and begin to reach out to more people. The power of having this group behind me has allowed me to understand that for me staying at my day job is important for my family yet doesn't mean that I'm dropping the ball." Read More
Julica Hermann: "Since Lift Off, I am full out in Stage Two of business building. My biggest problem is that I can't sleep as much as I used to… I'm too excited and filled with ideas and very much the energizer bunny. I can't stop working! This is a nice problem to have." Read More
Ericka Hines: "Before Lift Off, I was treating my new business like a jobby. I was resisting some of the strategic planning and financial planning I needed to do to move my business from a start up phase." Read More
Emily Ho: "At Lift Off, I found my entrepreneurial tribe. When powerful coaches, creative entrepreneurs, and all-around amazing human beings come together to learn from and lift each other, truly life-changing things happen." Read More
April Holle: "I came home refreshed, empowered and ready to implement the first stages of what I've envisioned for Made Better Studio and myself in the next few years thanks to my time at Lift Off. I hear that they're only planning one more, so if you've been on the fence about going, it's time to say HELL YES to attending Lift Off. " Read More
Maira Holzmann: "After attending Lift Off, I launched my own retreat, continued to blog, and got clearer and clearer about my ideal client and target market. I also learned how to leverage social media, i.e. working to increase my visibility." Read More
Willie Jackson: "Since attending Lift Off, I've been self-employed full-time for over a year now, and the quality of my life has improved by an order of magnitude. LiftOff represented a conscious decision to take my creative and entrepreneurial transition seriously. It has paid off in spades." Read More
Luna Jaffe: Before Lift Off, I had hit a wall of confusion – uncertain of how to move forward with strategy and vision. Since Lift Off, I've narrowed my focus, created a business plan that helps me with cash flow projections, and let go of some activities that were not building income. Read More
Jennifer Lyle: "My desire to move in an entrepreneurial direction began nearly a decade ago, so, for late bloomers like me, there is hope and light at the end of the tunnel! The best part of Lift Off is the energy, the creativity, the engagement, the support — the community, in every good sense of the word." Read More
Jeff Moriarty: "Before Lift Off, I had a million (maybe two) projects underway, but very little focus and I wasn't even sure what tied them all together other than the fun I was having." Read More
Rachel Rodgers: "I had so many ideas about where to take my business next but no idea how or when. I needed a clear vision of what type of lifestyle I wanted (which did not include working 14 hours every day)." Read More
Carol Ross: "Much of what has happened over the past few years would not have been possible without the increased clarity I got from being at Lift Off– i.e. how my coaching biz feeds and is fed by My Alumni Link, how the theme of story runs through my best work, and a deeper understanding of 'co-opetition'. Lift Off filled in new pieces in my entrepreneur's foundation." Read More
Jami Scholl: "One of my favorite things about Lift Off was how my super team 'classmates' were able to help me see things in ways and with details I would never had found on my own. It's all priceless. Holistically, it is not the things (although important), but the synergy between these things that is so powerful. Oh, and the food was fabulous!" Read More
Chrissy Scivicque: "Before Lift Off, I was completely overwhelmed and not quite sure how to make REAL money with it. I left the Lift Off retreat feeling very focused. I still go through phases of being overwhelmed, but I have my Lift Off team to help me weed out the crap and focus on what matters." Read More
Kirsten Simmons: "I walked into Lift Off with an awesome idea and no idea how to implement it, and left with action steps, inspiration, and a whole family of people who want me to succeed." Read More
Barbara Stafford: "The tools Charlie and Pam gave us at Lift Off have been utterly invaluable as I grow my business. Plus, I no longer feel alone with any decision. I have an amazing community of support from my Lift Off peeps. Our connections and collaborations have helped our group grow by leaps and bounds!" Read More
Karl Staib: "It's only been 2 weeks since my Lift Off retreat, but I know I fast forwarded my business by 5-6 months." Read More
Allison Titcomb: "I loved basking in the creative energy of the amazing participants and learning from everyone. My word of the week has been Inspiration!" Read More
Jen Waak: "Without Lift Off, I never would have had the confidence to know that I can quit my job and I won't be living in a van down by the river. I had said at the end of Lift Off that I figured out that I needed to play a bigger game, and it seems that just by saying those words that good things started happening." Read More
Debbie Weil: "Lift Off gave me the courage to go in a direction that I had been considering, but didn't have the nerve to execute on. Within two months of attending Lift Off, I launched Voxie Media, a next-generation publishing company." Read More
Crystal Williams: "What a relief to find that a bit of struggle is nothing to be ashamed of, that everyone meets challenges at every stage of business, and that mistakes are a necessary part of the process… not the beginning of the end!" Read More
Karen Yaeger: "My favorite part of Lift Off was really feeling seen and heard by Pam and Charlie. I still fee all the wonderful support as I continue on my path." Read More


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Reuters API
Jun 24, 2019
Hudson's Bay's chairman's buyout bid pits retail vs. real estate
Reuters API
Jun 24, 2019
Much of Hudson's Bay's value is locked up in its real estate. Were the company to sell off some of its properties to raise cash, it could fetch more than what Baker offered, but would then be forced to pay rent to run some of its stores.
Baker's buyout consortium, which already owns 57% of Hudson's Bay, has made a C$9.45 per share offer for the remainder of the Canadian company, a 48% premium to where the stock was trading before the announcement.
However, some of the minority shareholders, including hedge fund Land & Buildings Investment Management LLC, say they value the company's assets at between C$28 and C$33 per share. Hudson's Bay shares ended trading on Friday at C$9.73, above the C$9.45 offer price, as investors bet on a sweetened bid.
The big valuation gap is due to disagreements over how much of Hudson's Bay's prime real estate can be divested while keeping it operational. Selling off property raises cash but also makes it more financially burdensome for the company to rent the space for the stores it operates. As a result, it would likely close stores, and its retail footprint would begin to shrink.
"There is judgment to be exercised on the valuation, which can always be challenging," said Catherine McCall, the executive director of the Canadian Coalition for Good Governance, an organization representing institutional shareholders in Canadian public companies.
Hudson's Bay operates 39 stores under its Saks Fifth Avenue brand, 133 stores under its Saks OFF 5th brand, more than 40 stores under the Lord + Taylor banner, 90 Hudson's Bay department stores, as well as 37 stores in Canada which the company plans to close this year under the Home Outfitters brand.
Hudson's Bay's trophy asset is the Saks Fifth Avenue building in Manhattan, which this year completed a $250 million renovation.
Hudson's Bay's most recent public estimate for the value of its real estate was in September 2018, when CEO Helena Foulkes pegged it at $28 per share. Baker has offered about a third of that because he argues that the company would have to all but liquidate to achieve all the real estate value.
Toronto-Dominion Bank, which has been hired by a Hudson's Bay board committee to independently evaluate the take-private deal, will recommend whether the company should accept the offer as fair, or reject it and try to negotiate further.
The board committee excludes representatives of Baker's buyout consortium and is granted power to prevent any deal, even if the prospective acquirers otherwise control the company. In an illustration of this, a special board committee sank the hopes of Nordstrom Inc's founding family group last year to take the U.S. department store operator private, after it rejected their $8.4 billion offer.
The methodology Toronto-Dominion Bank uses to value the bid for Hudson's Bay will be key to the outcome and will be scrutinized heavily by shareholders. The bank will likely be assessing how comparable companies' shares trade, research similar deals and consider how much a financial buyer like a private equity firm would pay, said Andrey Golubov, a professor of finance at the University of Toronto.
"It's not done just to justify the offer. That said, valuation is not a science," Golubov said.
Hudson's Bay declined to comment, as did a spokesman for Baker's buyout consortium. Spokespeople for TD Bank did not respond to requests for comment.
Sale lease-back arrangements in which retailers sell their properties and become tenants in their stores have become increasingly popular in the last few years as the downturn in brick-and-mortar retail brought about by the rise of internet shopping has put pressure on retailers to raise cash.
However, some retailers resist them because they view the rent obligation as burdensome, a stance that often attracts investor criticism. Macy's Inc for example, another department store operator, was pressured by hedge fund Starboard Value LP three years ago to do more to cash out on its real estate.
Even if Toronto-Dominion Bank blesses an offer from Baker's consortium and the board committee negotiating a deal approves it, the acquisition still faces some hurdles.
A majority of the shareholders who are not affiliated with the buyout consortium have to vote for it, accounting for about 21.5 percent of the company's shareholder base. Opponents could still challenge the deal in court when the company seeks approval for it before a judge under the Canada Business Corporations Act.
But successful legal challenges of deals that have followed the process for management buyouts outlined by the Ontario Securities Commission, as Hudson's Bay is seeking to do, are rare.
"Most of these deals get done once they get board approval and a transaction agreement gets signed," said Jeremy Fraiberg, chair of the mergers and acquisitions group at Osler, Hoskin & Harcourt LLP.
© Thomson Reuters 2023 All rights reserved.


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Click on the Make a Payment button shown here to access Heritage Middle School's Online Payment Website for items such as field trips, yearbooks, and more.
Important: When creating your student profile, enter the student's first and last name, and student ID. The middle name is not required. The first and last name fields are not case sensitive, but the student ID field is. You must enter a "1" before the alpha ID and the alpha ID must be in ALL CAPS (ex. 1ABCD). Please remember to print your receipt. Also, be advised that there is a small handling fee for online orders.
Parents: Click on the Before the Bell Payments button, then find the BTB (Before the Bell) tab on the top of the page. Next, find your school and make a payment.


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Annotating from phenotypes
Mutant phenotypes can provide important insights into gene function. In order to use mutant phenotypes as supporting evidence for a GO annotation, however, curators should keep in mind the following general principles:
- GO annotations based on a mutant phenotype should represent the normal role of a gene in biology.
- Mutant phenotypes need to be interpreted in the overall context of what is known about a gene so that appropriate Biological Process terms can be selected; some phenotypes represent manifestations of genetic perturbations far downstream from the actual function of a gene.
- GO does not aim to capture individual phenotypes. Most groups that contribute annotations to GO also curate phenotypes as a separate data type, allowing GO curators to be selective about phenotypes used for annotation knowing that more complete and detailed phenotype curation is often captured elsewhere.
Relations Glossary
- These guidelines for annotating from phenotypes refer to several relations from the Relations Ontology (RO).
- A brief summary of how to use the relations cited in these guidelines, as well as links to more detailed GO annotation guidelines and the respective pages in Ontobee, are below.
Gene/Gene Product to GO Term Relations
- involved in
- involved in at Ontobee
- Formal definition: C involved_in p if and only if c enables some process p', and p' is part of p
- For any given Biological Process, think of the Molecular Functions that make up that process and using that information, decide if the gene/gene product being annotated enables one of those functions. If so, then the gene/gene product is involved in that process.
- acts upstream of or within
- acts upstream of or within at Ontobee
- Formal definition: C acts upstream of or within p if c is enables f, and f is causally upstream of or within p. c is a material entity and p is an process.
- The acts upstream of or within relation is used between a gene/gene product and a Biological Process when it is not known, mechanistically, how the Molecular Function of the gene/gene product affects the process.
- acts upstream of
- acts upstream of at Ontobee
- Formal definition: C acts upstream of p if and only if c enables some f that is involved in p' and p' occurs chronologically before p, is not part of p, and affects the execution of p. c is a material entity and f, p, p' are processes.
- The acts upstream of relation is used when the function of the gene/gene product is involved in a process that is causally upstream of another process.
- Note: for the acts upstream of or within and acts upstream of relations, there are positive and negative child relations that can be used to capture the directionality of the effect, if known.
GO Term Relations
- part of
- Formal definition: A core relation that holds between a part and its whole
- A Molecular Function is part of a Biological Process if execution of that MF is integral to the fulfillment of the BP.
- regulates
- Formal definition: Process(P1) regulates process(P2) iff: P1 results in the initiation or termination of P2 OR affects the frequency of its initiation or termination OR affects the magnitude or rate of output of P2.
Ask yourself: what is the normal Biological Process for this gene?
- Remember that annotations based on mutant phenotypes are inferences about the normal Biological Process (BP) for a gene.
- To decide if a gene is directly involved in a BP, determine if its Molecular Function (MF) is one of the MFs that makes up that BP.
- To help with this, it may be useful to create an activity-based GO-CAM model in Noctua or consult a pathway or process model from a recent paper or review.
- If the MF of a gene is not known, curators must be very careful about making a BP annotation based solely on a phenotype.
- For genes with unknown MFs, in the absence of additional analysis (e.g. genetic and physical interactions), phenotypes can generally only be annotated to a BP using the acts upstream of or within relation (or one of its positive or negative effect child relations). In these cases, it is also perfectly acceptable to not make a GO annotation until more is known about the gene.
Being 'required for' a process does not necessarily mean a gene/gene product is involved in a process
- In GO annotation, making a statement that a gene is involved in a process is an explicit statement that the MF of that gene is an integral part of the BP.
- Although authors may state that a gene is 'required for' a process, GO curators must interpret those statements within the defined semantics of a GO annotation and decide if that means the gene's activity is truly a part of the BP.
- If the MF is not part of the BP, consider using a less specific relation between the gene and the BP, or not annotating for BP until more information is known.
Pleiotropic effects need to be considered carefully
- Pleiotropy, in which a single variation can result in multiple defects, needs to be carefully considered in the context of GO BP annotation.
- An understanding of the molecular mechanism underlying pleiotropic defects can help determine if the gene is integrally involved in each process, or affects a process more generally required.
Beware of read-outs
- Biologists often use experimental "read-outs" to assess a gene's role in a larger biological process.
- The affected "read-out", however, is not always indicative of the process in which the gene is most proximally involved.
- For example, DNA fragmentation is often used as a "read-out" for apoptosis, but mutations that result in increased DNA fragmentation do not necessarily indicate that the corresponding gene is directly involved in DNA catabolism.
- Again, consider the MF of the mutated gene and how it fits into the BP used as a "read-out" as well as the overall BP being studied.
"High-level" phenotypes
- Some papers may describe how genomic perturbations affect relatively 'high-level' processes. Examples of 'high-level' processes include:
- Aging or determination of adult lifespan
- Behavior
- Cell death
- Cell division
- Cell migration - examples? Cancer disease states? Metastasis? Look at co-occurrence of migration and proliferation (and others in this list).
- Cell proliferation
- Development (embryonic, larval)
- Growth
- Locomotion
- Protein localization
- Reproduction and brood size
- If the mechanism underlying the phenotypic effects on these processes is not known, we strongly encourage curators not to make annotations to the corresponding BP term.
- Creating a GO-CAM model or consulting a recent paper or review can help determine the basis for the phenotype and whether the BP annotation is appropriate, and if so, with what relation.
- Mutually exclusive terms: cell proliferation should not be used for proteins involved generally in growth or division. Examples?
Mutant phenotypes and regulation terms
- The GO BP ontology contains terms for processes as well as regulation of processes.
- From mutant phenotypes alone, it can be difficult to assess whether a gene is involved in a process or regulates a process.
- Mutant phenotypes thus more often provide supporting, rather than definitive, evidence that a gene is involved in regulation of a process.
- As with annotating to BP terms from phenotypes more generally, consider what is known about the MFs involved in the process and use that information to decide if annotating to the process or regulation of the process is best.
- To annotate to regulation of the process, there should be evidence that the MF of the gene product being annotated regulates an MF of a gene that is involved in the process.
- Mutant phenotypes used to annotate to a 'regulation' BP term with no corresponding Molecular Function annotation to the gene/gene product should be examined closely and reviewed.
- In some cases, for example macromolecular complexes with well defined roles in a BP, the MFs of individual complex members may not be known. In these cases, it is acceptable to annotate each complex member to a BP regulation term if the overall MF of the complex is part of a regulatory process that affects the BP.
A gene is not "involved in" a process, but there is still a biologically meaningful annotation I want to capture
- Sometimes, despite the fact that the relation between a gene and a BP is not clear, a curator may wish to capture the association.
- This situation may occur when there is otherwise little else known about a gene.
- In these cases, curators may make a BP annotation based on a phenotype using the most general annotation relation, acts upstream of or within, or one of its positive or negative effect child terms.
- If a gene is known to act upstream of a BP, curators may also consider using the acts upstream of relation or one of its positive or negative effect child terms.
- In these cases, though, it is important to think about how relevant and informative the resulting 'acts upstream of' annotation would be for GO users.
- Consider making a GO-CAM model in this case to help delineate how closely 'upstream' the gene's activity really is.
Reviewing and removing older phenotype-based annotations
- When there is new knowledge, older IMP annotation should be reviewed and removed if they no longer accurately reflect the relationship between a gene's MF and its role in a BP.
- In these cases, GO annotations reflect the summation of knowledge about that gene, while phenotype annotations (not GO annotations) will continue to reflect what has been experimentally observed for mutations in that gene.
- Q: Is it possible to have a gene product with a novel or unknown MF (or just a protein binding MF) that is otherwise well characterized genetically (and maybe somewhat biochemically?) such that it could be placed within a given pathway or process? Does anyone have an example of this, where the annotation would be informative?
- Example: nuclear pore: BRR6 is involved in nuclear envelope organization, when mutated, causes nucleocytoplasmic transport defects, but is NOT involved in nuclear transport
- An essential nuclear envelope integral membrane protein, Brr6p, required for nuclear transport (2001). (PMID:11483521). The authors identified an essential gene, BRR6, whose product, Brr6p, behaves like a nuclear envelope integral membrane protein. Notably, the brr6-1 mutant specifically affects transport of mRNA and a protein reporter containing a nuclear export signal. In addition, Brr6p depletion alters nucleoporin distribution and nuclear envelope morphology, suggesting that the protein is required for the spatial organization of nuclear pores.
- Integral membrane proteins Brr6 and Apq12 link assembly of the nuclear pore complex to lipid homeostasis in the endoplasmic reticulum (2010). (PMID:20016074)
The authors found that Brr6 has an essential function in regulating lipid homeostasis in the NE-ER, thereby impacting NPC formation and nucleocytoplasmic transport.
- Annotations:
- GO:0055088 lipid homeostasis
- GO:0006998 nuclear envelope organization
- NOT nucleocytoplasmic transport.
It is common for authors to state that a gene or gene product is required for a given process. However, the true meaning of this statement can vary and it is thus the responsibility of the curator to determine whether the gene or gene product's activity is, indeed, an integral part of a process. To help make this decision, it may be useful to think about the gene's role in a concentric circle of processes, starting with its MF. For a given MF, what is the most proximal process in which the gene is involved? For a transcription factor, the most proximal process would be regulation of transcription. From there, what is the next most proximal process? In a development context, for example, this might be cell fate specification or differentiation. Moving outward, what phenotypes might be indicative of defects in cell fate specification? If, for example, the cell was a particular class of neurons, then one of the defects may manifest as a change in a behavior. Is the transcription factor thus 'involved in' the behavior? No, but by annotating the TF to regulation of transcription (perhaps with relevant target genes) and specification of the particular cell types, it is possible capture the most relevant aspects of that gene's function. The defects in behavior could then be captured with phenotype annotations. Possible example: C. elegans ttx-1
apoE example? https://www.uniprot.org/uniprot/P02649
For example: splicing factors are often required for cell cycle transition, but they are not part of the cell cycle transition A good clue is viability of mutants: inviable mutants often have pleiotropic phenotypes or they have a strong terminal phenotype that can easily be misinterpreted (cell cycle transition blocks/checkpoints, chromosome mis-segregation, etc)


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The Food Safety Modernization Act (FSMA) was created to ensure the safety of the U.S. food supply. This act shifts industry focus from responding to contamination, to preventing it, thus making food processors take a more proactive approach to eliminating and preventing food-borne contaminants from entering their plants.
Under FSMA, food processors are required not only to identify known and potential hazards, but also to prevent the occurrence of them.
Thus, conventional methods of cleaning and sanitizing are being re-evaluated, as hand-washing operations, including power spraying, cannot uniformly eliminate contaminants and pathogens, nor achieve water temperatures hot enough to properly sanitize large containers such buggies and bins.
In the case of GoldCoast Salads, a Naples, Florida–based producer of seafood spreads, the goal was to acquire an automated washing system that would improve productivity and efficiency while maintaining maximum food safety.
Director of operations, Adam Radno, says, "Hand washing is a very tough job that is still widespread throughout the industry, and our employees have worked very hard to maintain our high standards of food safety."
As part of an expansion into a new processing facility, GoldCoast Salads has installed a customized washing tunnel that will further ensure that its food buggies will be cleaned and sanitized.
"Not only does the new system completely wash and sanitize, but it helps prevent contaminants or bacteria from reaching the food-processing area," Radno says.
"Food safety is critical throughout our industry, but it is even more critical for us because our products are RTE (ready-to-eat), and there are no post-production safety measures such as post-pasteurization," he adds. "This new tunnel washing system helps to ensure that we continuously maintain our stringent safety standards."
He visited with CM Process Solutions in Corona, California, a manufacturer of hygiene and food processing equipment that services large and small food companies.
Radno became interested in the concept of a tunnel washer, which is designed to offer a continuous, in-line washing solution for buggies, trays, bins, and other containers. This type of system not only cleans and sanitizes thoroughly, but also offers a wide range of options, including various different heating methods including gas, steam coils, live steam injection, and electric.
"In the end, we chose the ET75 Tunnel Washing System. But while it was a highly customized system, the cost was in no way exorbitant."
The system is also designed to handle up to 75 buggies per hour, a volume that would take a large crew and a lot of equipment to handle manually.
GoldCoast Salads' new tunnel washing system automatically lifts and mounts each buggy in an inverted position, to enable the most thorough washing of internal surfaces.
Both 400-pound and 600-pound buggies are recognized by the system and handled according to size.
Each buggy is transported through the system's tunnel by a stainless steel chain conveyor. After the wash process is completed, the buggy is then automatically unloaded and delivered to the floor level, allowing the operator to remove.
In the main wash chamber, each buggy is washed by a traveling jet system. The buggy stays still inside the chamber while a set of jets wash up and down the length of the buggy at high speed.
The jets make 30–35 passes on the stationary buggy, spraying backward and forward, to ensure that all surfaces are thoroughly cleaned.
In addition to saving on time and labor, the ET75 tunnel washing system also offers green benefits.
The system is supplied with a recirculated hot wash and hot rinse tanks, providing a savings on water and energy. A fresh sanitizing rinse can also be employed.
The system is designed with sloping exterior surfaces where possible, and electrical interlocked service covers to allow for efficient cleaning.
"The new tunnel washing system will help us save in a lot of ways," Radno says. "In addition to water usage, it will cut down on water treatment and cleaning chemicals. Plus, because it's an automated system, we have ongoing control over the washing process, and that makes us more efficient."


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Rebekah Brooks Covers Rebecca Black
Obviously, this is not the real Rebekah Brooks singing her inner monologue to the tune of Rebecca Black's "Friday." If real Rebekah Brooks were to sing her inner monologue, it would be a string of British curse words set to the Wicked Witch of the West's theme song in the Wizard of Oz. Until the internet gets around to that, here is a much cuter version of "Rebekah Brooks" singing about "Phone hacking, phone hacking, hey! Sun, Sun, Sun, Sun." [AdWeek]
The Best Memes to Come Out of the Rupert and Wendi Show
Former Top Murdoch Exec Rebekah Brooks Arrested


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Wednesday, April 13, 2016
FG writes to UK Telegraph over its controversial article about Nigeria
The Federal Government has written to UK Telegraph over a report published by the media house yesterday April 12th, that alleged that the Nigerian government is using aids gotten from the UK government to fight its political enemies. Read the Federal government's letter to UK Telegraph after the cut...
Our attention has been drawn to a piece published in your paper, by one Con Coughlin, identified as your Defence Editor, and titled, 'Nigeria using UK aid to persecute president's political foes rather to fight Boko Haram.'
The piece is not only full of factual inaccuracies, it also betrays a shocking level of ignorance of Nigeria and the country's ongoing war against terrorism.
Mr Coughlin's editorial tactic is to quote unnamed "senior officials" and "Western diplomats" and "Western officials" and "political opponents" making fact-free and unfounded statements. It also appears that he sought out only those opinions which suited and reinforced his disgracefully false headline. Nowhere in the piece is there anything that suggests he attempted to contact the Nigerian government for its own side of the story.
Coughlin writes that "American officials are also angry that $2.1 billion of aid given to the Nigerian military to tackle Boko Haram has not been properly accounted for."
It does not occur to him that the $2.1 billion he refers to was budgeted for and wholly spent by the government that President Buhari and his party defeated in the March 2015 presidential elections, and that one of President Buhari's priorities has been investigating the misuse of those funds.
It also does not appear to occur to Mr. Coughlin that the "political opponents" he is falsely accusing President Buhari of "targeting" and "persecuting" are actually on trial on account of how they spent the $2.1 billion in question. Mr. Coughlin is equally unaware of the fact that the investigating panel set up by Mr. Buhari to probe the $2.1 billion recently published a preliminary report that confirmed that much of that money was indeed looted or mis-spent by the accused persons, and that the government has started to recover the funds.
Coughlin accuses President Buhari's government of attempting to cover-up the abductions of 400 women and children "abducted last year by militants from the Nigerian town of Damasak."
This is absolutely untrue. The Damasak abductions he's referring to, which were recently widely reported, took place, not "last year" as he says, but in late 2014, well before Mr. Buhari was elected President of Nigeria. (And, by the way, Mr Buhari came to power on May 29, 2015, not July, as Coughlin reports).
A simple search by Mr. Coughlin of his paper's archives would have revealed these facts. A simple fact-check by his copy-editors would have spared the Telegraph the embarrassment of publishing this drivel.
There are several other inaccuracies and baseless statements in the piece, but Mr. Coughlin is too enamoured of his anonymous sources to realise they might be misleading him, or be as ignorant about the situation as he is. The suggestion that Boko Haram is going "from strength to strength" is an eminently laughable one; not even Nigeria's opposition party would make such an absurd claim.
Since President Buhari took office, schools in Borno State, shut for more than one year under the previous government, have reopened. The same applies to the airport in Maiduguri, shut down in December 2013 after a devastating Boko Haram attack on the nearby military airbase.
Thousands of Internally Displaced Persons (IDPs) have now started returning home. Last Sunday, El-Kanemi Warriors Football Club played its first game in its home base of Maiduguri in more than two seasons. Until now they had been forced to play home games outside the region, on account of security concerns. There are several more examples of how the people of the region are finally getting a chance to rebuild their lives, as the Nigerian Armed Forces and a Multinational Joint Task Force continue their work of routing the terrorists.
Mr. Coughlin not only sounds like a spokesperson for the very people whose corruption and mismanagement allowed Boko Haram to bring Nigeria to its knees – and whose disastrous legacy President Buhari has spent the last one year redeeming Nigeria from – he is also guilty of failing to observe the most basic rules of responsible journalism.
Mr Coughlin needs a refresher course on responsible journalism as much as he needs a crash course on Nigeria. Until he submits himself to these, we're afraid he will continue to embarrass not only himself, but also the revered British media institution that is the Telegraph.
Garba Shehu
Senior Special Assistant to the President
(Media & Publicity)
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You're looking at the Grand Canyon completely flooded by clouds, "a once in a lifetime event," according to park ranger Erin Whittaker. It didn't only happen once, she says, but two times in only three days:
The canyon gave us a second rare inversion in three days. Freezing fog dominated yesterday ... by the end of the day the sun was able to burn it all away no doubt making many first time visitors very happy. Word spread like wildfire and most ran to the rim to photograph it. What a fantastic treat for all!
This image of the event was taken by reader Tyner1000:
In reality, the event happens about once every decade but not with this intensity, she said. The fact that it happened twice is extremely rare. The phenomenon is called inversion: warm air on the upper parts of the cannon trap cold air and fog on the lower parts.
Here are some spectacular images from their Facebook page.