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Thursday, April 23, 2015
Best Anime Openings Part I: Top 10 Favorites of the 1990s (20th Century Edition)
For me, good openings 1) seem to tell a story through the animation sequence 2) do some clever (or blatant) foreshadowing of plotlines to come, employ symbolism or imagery, or reveal something about the anime that is not delved into as much in the series and/or make you feel excited about characters shown 3) have a catchy chorus/ riff that makes you anticipate the show 4) can be rewatched again after the show ends, and you still can discover details in retrospective or makes you want to go back to the series again.
I finished writing up this list, the longest time it has ever taken to write a post, and stupid Blogspot deleted the draft, so this is my second time writing it. It's not going to be as thorough as my first post, and I think I am about to hate Blogspot, but here is shot deux. Heck, I've rewritten significant portions of New Trials chapters before and redrawn artwork deleted before, something like this won't daunt me. Actually, it is still annoying finding each song and checking each title and artist all over again. I don't trust this site anymore.
But, luckily, I still did have a draft from my 2009 entry, which I could use as reference. I think things you see/watch/hear/taste when you're younger definitely have a much more impact and a lasting impression. So I was slightly biased when choosing my favorite anime openings for those anime I watched pre-2000, in my childhood years. Thus, I'm going to separate the list into 20th century and post-2000.
In the ye olden days, anime openings were pretty much the anthems of anime; the opening personified the anime. There was less of the generic harem intro pop and more artistic openings in general, in my opinion. For me, the songs below also hold sentimental value and bring about nostalgia for the golden era of anime. Because I could not particularly rank the songs, I decided to go by chronological order.
1. Future GPX Cyber Formula OP - G-Grip - "I'll Come" (1991)
Cyber Forumla was one of my earliest anime loves. I know. How did I end up liking a shounen anime about Formula-1 driving (from the masterminds behind the Gundam franchise and Sunrise). I have no interest in cars or racing. But for me, it's really not so much what the context is, but the characters, and this anime (and all subsequent OVAs) remain one of my favorite anime till this day. I heard the Korean version of this song first, which was a dub of the Japanese version. It's an uplifting, inspirational song and still makes me smile nostalgically. I might like the Korean version more because the lyrics always resonate with me, especially the opening lines, "Like a waterfall, like a typhoon, race, Cyber Formula. Now you will able to accomplish it, yours and my miracle." Trust me, it sounds a lot better in Korean and makes more sense in its original form. The Japanese lyrics are more love-inspirational.
2. Slam Dunk OP1 - Baad - "Kimi ga suki dago sakebitai" (I want to shout that I love you) (1993)
I think Slam Dunk is the most epic sports manga/anime ever, and Japan probably would agree since Inoue is held in high esteem and Slam Dunk has remained the most popular manga in Japan for many years. Surprisingly enough, the Korean translation of the song pretty much was completely accurate with the same lyrics of "I want to shout that I love you." The lyrics resonate with Sakuragi Hanamichi perfectly, and the video is stunning and brilliant and makes you want to run out and play basketball. This song has a refreshing feel of adolescence, seishun, youth, passion. Take note of the basketball sound effects in the beginning. I never got into another sports anime like I was into Slam Dunk, which was all the rage in Korea. During gym class back when I was in junior high, the girls would sit on the bleachers and we would assign the boys in our class to various Slam Dunk characters. Good old days. Random trivia: Akagi Arima from my fanfiction New Trials is partially named after Sakuragi's love interest, Akagi Haruno.
3. Magic Knight Rayearth OP1 - Naomi Tamura - "Yuzurenai Negai" (Unyielding Wish) (1994)
I love everything about this opening, the song, the video, that exhilarating electric guitar riff in the beginning draws your right into the world of Cephiros. Magic Knight Rayearth was my introduction to CLAMP anime back in 1996, and the first time I saw the preview for it, I knew I was going to love it just by the 30-second commercial. A key characteristic of 1990s openings is the sound effects that sort of went out of style post-2000. The orchestra version of this song is one of the most beautiful instrumental renditions of an opening song in any anime.
4. Fushigi Yuugi OP - Akemi Satoh - "Itoshii Hito no Tame ni" (For My Darling) (1995)
This is one of the rarer instances where I prefer the Korean opening song over the Japanese song. This opening sequence I would rank as in my top 5 favorite animation sequences as it hows the promise of fantasy and adventure. Everyone looks beautiful, all the action is put to the music on cue, the characters unfold like a story, the romance, the fiery tension, the mythical elements, everything is packaged so well into 1 minute 30 seconds.
5. The Vision of Escaflowne OP - Maaya Sakamoto - "Yakusoku wa Irenai" (I Don't Need Promises) (1995)
I consider this opening one of the most poignant anime openings of all times because from the urgent chords of the piano opening the song, you are already transported into a mystical world promising adventure, fantasy and high romance. The role of Hitomi and this song catapulted young Maaya Sakamoto to fame in 1996. "Yakusoku" remains very popular to this day and is played in a lot of Yoko Kanno and Maaya Sakamoto concerts. Though it may not be my favorite Yoko+Maaya combo, this song I think marks the beginning of it all. Besides, I think the op sequence animation is stunning, surreal and just epic. While the Escaflowne character-designs might take some getting used to, the animation is stellar, surpassing any CG mecha anime made post 2000. Now that I think about it, I was first exposed to Yoko Kanno's music when I was a preteen (not that I cared about composers or seiyuu or directors or anything of that sort at that age.) But no wonder I've been hooked ever since.
6. Slayers Next OP - Megumi Hayashibara - "Give a Reason" (1996)
Not usually my type of song, but it's the best Slayers opening and a very upbeat, catchy 90s J-Pop representation. My best friend who introduced me to J-Pop in the first place sang it for me back in middle school, and the song always randomly finds its way back onto my playlist every so often. I also recommend Slayers Try opening them song "Breeze" also by Hayashibara.
7. Record of Loddoss War: Chronicles of the Heroic Knight OP - Maaya Sakamoto - "Kiseki no Umi" (Sea of Miracles) (1998)
A hauntingly beautiful song and OP for the only show on this list I have never watched. I didn't know it was sung by Maaya because she sounds more mature here. If I have to be really honest, objectively speaking, in terms of portraying the ambiance of a fantasy adventure, this song is probably one of the best anime opening songs out there (though I have other personal favorites from the Yoko Kanno and Maaya Sakamoto duo).
8. Kamikaze Kaitou Jeanne OP2 - Lastier - "Dive into Shine" (1999)
I like the first opening anime sequence better and the second opening song better. In Korea, they used the second song with the first anime sequence, so it worked out well for me. I especially love the shot where Jeanne is staring at Chiaki on the balcony lit by the moonlight in the first opening sequence. But the second song is a win!
9. Detective Conan OP6 - B'z - "Giri Giri Chop" (1999)
This was the one opening that almost didn't make it to the list. Don't get me wrong, I love B'z--they're my No. 1 favorite Japanese band, and I am thankful to have been introduced to B'z through Detective Conan. The reason I wasn't going to use this OP is because I don't consider it the strongest out of Detective Conan's gazillion openings and endings, and they used recycled animation from previous seasons. My theory is that rights to B'z song must cost more than other artists, hence they have to save budget via cutting down on new animation. Who knows. With the exhilarating pace of the song, the opening is a big of a mess but gets your adrenaline pumping. And this opening does something unique, which is integrating live video clips of the artists, guitarist Tak Matsumoto and vocalist Koshi Inaba, into the animation. It works because of their legendary status. This song marked the start of the B'z and Detective Conan partnership over the next decade and a half, still going strong, and was the first Detective Conan song to reach No. 1 on Oricon (like all other B'z songs, but an impressive feat for an anime single). I chose this song because of what it symbolizes for the ongoing Detective Conan franchise. Plus, I used to listen to this song quite frequently because it was on my workout playlist. This opening was used in episodes 143-167.
10. Card Captor Sakura OP3 - Maaya Sakamoto - "Purachina" (Platinum) (1999-2000)
This song remains high on the Japanese polls' list of most popular anime themes, and rightfully so. Season 3 of mahou shoujo anime Card Captor Sakura transcended the typical magical girl genre anime and became a classic on its own right--and I'm not exaggerating if I say this opening is a testament of the sheer genius and lasting-power of this CLAMP anime. The opening sequence is one of the most beautiful and well-planned sequences in all shoujo anime-dom with its simple yet sophisticated scenario. Sakura's white dress with pink trimmings remains an iconic outfit (kudos to Tomoyo), and I love the way all the characters flit through. I always held my breath to catch a 1-second glimpse of glaring Syaoran in the OP when CCS was broadcasted on NHK-2. CCS Season 3 is the first anime I caught live broadcast on NHK-2 because I was lucky enough to get transmission on satellite TV in Korea. I didn't even know it was a Maaya Sakamoto and Yoko Kanno collaboration until several years later, which is funny because back then, I was pleasantly surprised because OP3 was the only CCS theme song I actually really LOVED.This opening is a stellar because more than a decade later, it still remains classy, well-animated and does not seem dated at all. Plus the lyrics are meaningful as well, written by the third-leg of the Yoko-Maaya combo, Yuho Iwasato. I included this song in the 1990s list because Season 3 began airing in September 1999, in fact, just when I started to write New Trials.
If I had to pick my top three favorite songs in this list, it would be from Cyber Formula, Magic Knight Rayearth and CCS, partially because of how much I loved each anime but also because I loved the individual melodies. If I had to pick the best opening in terms of song and opening sequence match-up, I would say it's Escaflowne's opening because of the fluid animation and strong, rich images that resonate with the song. Secret confession, I didn't even particularly like any of the characters or understand the plotline completely when I first watched the anime. I grew to appreciate Escaflowne more in later years. Another secret confession: I don't really care for mecha, but would tolerate it for good characters, strong plotlines or good music, such as Code Geass (for CLAMP character designs) or Macross Frontier (for Yoko Kanno music). But I could never tackle the Gundam franchise, though ironically, while I have no interest in car racing, one of my favorite shounen anime remains the Cyber Formula series, from the same creators behind Gundam and the same studio, Sunrise.
Likewise, I debated including in this list some popular songs such as Evangelion or Cowboy Bebop, but at the end of the day, I decided to stick to my favorites, songs that I would still listen to nowadays. One thing in common with the songs below are that I have listened to them on my playlist at some point in time, so I believe them to be good songs with lasting power. Next, on to the 21st century which will be a lot of fun because of how dynamic the choices are.
What are your favorite anime openings of the 1990s? Of all-time? Comment below!
2 comments:
Hmm... I know maybe half of the OPs for the series I actually did watch (CCS, FY, KKJ, MKR, Escaflowne), and then I've listened to Slam Dunk's OP song (Goose house cover btw: https://youtu.be/0j8D0fZyiiQ), as well as Sakamoto Maaya's Kiseki no Umi. My favorite from this group would be Purachina, followed by Yakusoku wa Irenai (both Maaya XD).ReplyDelete
The only other song off top of my head that I like would be the Digimon Adventure 01's Butter-fly by Wada Kouji, in fact, I still listen to his other Digimon songs a lot even now. I also thought of Shaman King's OP1 and 2, Oversoul/Northern Lights by Hayashibara Megumi but it turns out that SK started in 2001. For sure I thought it was older than that, considering that One Piece started 1999... anyways, not a whole lot. Definitely more favorites in 2000s.
I agree with your list, i also like flame of recca theme and voltes V, so old hahaha but it reminds me of my childhood. I'm sooooo old. But actually, the super best one is you wishluv! Posting and appreciating things like these even the anime was already a decade ago is really something. Keep it up please (heart)ReplyDelete


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Chaldeans Connecting
Saturday, August 4
Charity: Fleece and Thank You is a Michigan based charity that works to give kids in the hospital a connection to the outside world during their treatment journey by supplying them with a handmade fleece blanket and a video message of support from the blanket maker. This year, Fleece and Thank you will be hosting their annual Make a Blanket Day at Airtime Trampoline in Troy on Saturday, August 4 from 1:00 to 5:00 p.m. This year's goal is to make 2,500 blankets. Every $24 covers the cost of one blanket. You have the option of making a blanket yourself at the event or from home or donating $24 – in which a volunteer will make the blanket for you. For more information about the Fleece and Thank You or World Blanket Day, visit http://fleeceandthankyou.org/
Tuesday, August 7
Primary Election: Get out and vote! Primary election day is finally here and it is our duty as citizens of the United States to head to the polls. Mid term elections are just as important as the presidential election, if not more. Polls are open from 7:00 a.m. to 8:00 p.m. TO find your polling location, visit https://webapps.sos.state.mi.us/MVIC/VoterSearch.aspx
Tuesday, August 7
Cruise for a Cause: Join the Coalition on Temporary Shelter for an evening aboard Ovation on Tuesday, August 7 from 7:00 to 10:00 p.m. Indulge in a strolling dinner, classic craft cocktails, and modern jazz performances by Detroit's very own Motor City Horns – who are know for their work with Bob Seger and the Silver Bullet Band. A portion of each ticket sold for this event will go towards supporting Coalition on Temporary Shelter and their mission to give hope, help and a better future. For more information about the Coalition on Temporary Shelter or Cruise for a Cause, call 586-778-9060.
Wednesday, August 8
Charity: The Cancer Thrivers Network for Jewish Women is hosting the "Celebrating Life" luncheon. This fundraising luncheon will be hosted at Congregation Shaarey Zedek in Southfield from 12:00 to 1:30 p.m. The event will feature Dr. Clifford Hudis, CEO of the American Society of Clinical Oncology. Event goers will have the opportunity to hear from Dr. Hudis about the latest scientific advances in cancer research as well as real world challenges. Tickets for this luncheon are priced at $45 each. Funds raised during this event will allow the organization to continue offering an array of programs and advocate for patients. For more information or to purchase tickets, call Tracy Agranove at (248) 592-226. Event sponsorships are also available.
Friday, August 10
Food and Wine Festival: Sponsored by HOUR Detroit, the inaugural Savor Food and Wine Festival will be hosted at the Detroit Zoo on Friday, August 10 and Saturday, August 11 from 6:00 to 10:00 p.m. "Taste your way through the grounds of the Detroit Zoo at this 2-day culinary extravaganza showcasing fine wines, craft beers, specialty cocktails and gourmet bites from the best wineries, breweries, distilleries, restaurants and food purveyors." Tickets for the Savor Food and Wine Festival are priced at $100. For more information or to purchase tickets, visit https://www.event-brite.com/e/savor-food-wine-festival-tickets-44373698928
Friday, August 10
Jazz Festival: The city of Southfield has partnered with Varsity Lincoln to host the 3rd annual Kimmie Horne Jazz Festival on Friday, August 10 from 6:30 to 10:30 p.m. and Saturday, August 11 from 3:00 to 10:30 p.m. The festival will be hosted on the front lawn of the Southfield Municipal Campus located at 26000 Evergreen Road. The two-day event will feature live music, food trucks, boutique vendors and more. Kimmie Horne is slated to perform both days, headlining the festival on Saturday and performing a special female duet collaboration with members from Grammy-nominated jazz group Straight Ahead on Friday. The festival will also feature performances by Straight Ahead, Kathy Kosins, Penny Wells, Shelia Landis, Rick Matle, David Green, Amy Lee and music director Al McKenzie. The Kimmie Horne Jazz Festival is free and open to the public. Event goers are encouraged to bring lawn chairs or blankets for sitting. Parking will be available on the Southfield Municipal Campus for $10. For more information about the Kimmie Horn Jazz Festival, visit http://www.cityofsouthfield.com.
Saturday, August 18
Royal Tea: Considered one of Detroit's premier red-carpet events, Royal Tea will be hosted at the historical Detroit Yacht Club on Saturday, August 18 from 5:00 to 9:00 p.m. Bringing in more than 200 women annually, the Royal Tea's mission is to honorand celebrate women from all walks of life. In addition, the Tea also supports the Detroit-based mentoring program for young ladies "Such a Lady". "Such a Lady" is designed to help young ladies develop their character, confidence, and class through raising funds and hosting a crowning ceremony to commemorate the 10-week program. Tickets are on sale and can be purchased online at www.royalteagala.eventbrite.com

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Hello Everyone
Apologies for not posting for a while (a year!)put the blog on a back burner for a while as we got very very busy with weddings and editing. right in the middle of 2009 wedding season which is going amazingly well.
Have filmed some amazing weddings (which will post on the blog in the coming months)
We have just updated the website which you will see we have added new examples to the portfolio. these are weddings from 2008 so please take your time to have a look.
Have loads of things to blog, met lots of great photographers, bought loads of new equipment,
had a baby. Will drip feed it to you over the next few weeks and will post some nore videos and pics as well as new reviews on the wedding s we have done.
We are looking to enter some wedding video awards this year so im hopeful of picking up something to start off the collection.
anyway night to everyone and look forward to blogging a lot more in the upcoming weeks.
All the best


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Who "They" Is was inspired by youth in the West End.
In December of 2015, Jasmine Humphries, planned and organized the Inaugural West End Youth Summit. The event was designed to be a creative way to collect feedback from young people in the neighborhood in order to support the larger community vision/plan. During the event, Jasmine wrote on a dry erase board "What's Missing in West End?" and invited all of the young people to write words on the board. Jasmine met with young leaders at Seven Hills Neighborhood Houses aka "The Nabe" at a later date to discuss the things written on the board. One by one, each point was presented to the group and it was simply discussed.
While taking notes, Jasmine noticed something interesting. The young people kept using the word "THEY." Things like : "They need to build better houses" and "They shouldn't have torn down the basketball court" were key statements that stood out. Jasmine said to herself, "Before we do anything, we have to tackle WHO THEY IS." After hours, weeks, and months of playing around with how to address this issue, she applied for a project grant from People's Liberty and won.
Who "They" Is was created for everyone young and not so young. It's a project intended to get people to begin asking questions about the world we live in, reclaim ownership of their communities, and shape the future of who is and becomes "They."


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We love this mani must-have. Special adherents bond polish to nails for a chip-resistant, longer-lasting finish. Score!


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So, we just got back form the most epic stay at Paradisus Los Cabos, our favorite all-inclusive resort to date. It has everything - gorgeous rooms, amazing food, swim-up pools, tons of amenities, the BEST margaritas… we could go on and on. Another thing that they have going for them is the LOCATION. Located just ten minutes away from San José del Cabo and thirty minutes from Cabo San Lucas, it's the perfect spot to feel "away" from the madness yet "close enough" to explore! During our stay we decided to spend a day in San José del Cabo, partially because it's so close, but also because it's one of our favorite towns in Mexico.
Eating Our Way Through Paradisus Los Cabos
We love to eat. There, we said it. If we're really being honest, we oftentimes pick our next destination based on food. (We went to Japan 80% for the food, 20% for everything else.)
So before going to Paradisus Los Cabos, we were skeptical that an all-inclusive resort could live up to our usual high-standards of cuisine. Spoiler alert: the food blew us away. With seven restaurants, seven bars, and incredible room service (our favorite!), Paradisus Los Cabos is a tasty and creative mecca for sometimes-snobby foodies like ourselves.
Paradisus Los Cabos: Why We Can't Stay Away
We aren't typically the kind of travelers that go to the same place twice. Our travel bucket-list is just too big, and our wanderlust spirits have us always on the hunt for new destinations to explore. That being said, there have been a handful of spots that we will continue coming back to, year after year, and Paradisus Los Cabos is one of those places!
One of the most frequently asked questions we get is "with all of that travel and fancy food, how do you stay in shape?!" And our secret is… Instagram filters!! No, but seriously. It's a challenge! (Especially when you're foodies like us!) We recently vacationed at the Paradisus Los Cabos, where endless decadent food and drinks were at our disposal. It was all too good and too tempting to pass up!! Here are some of our tricks for indulging, and not even feeling sorry about it!
We started every morning at the Paradisus with a dip in the pool - which is easy when you have a swim up suite!! We'd make a game out of who could swim the most laps, who could come up with the most creative routines, who could kick the fastest… You get the picture. After a half and hour we had blood circulating, metabolism spiked, and we were ready to "dive" into breakfast! (get it?!)
Maybe it's because we're California kids, or maybe we're just super trendy… but we LOVE green juice. At the Paradisus they make a fresh squeezed green juice that's out of this world! We'd start every breakfast with it, and we found that it would quickly fill us up! We'd still order our usual waffles and eggs benedict… but we made sure we got our greens in first. We're all about balance. ;)
While we are big fans of "getting our tan on", there's only so much sitting still that we can do! The Paradisus activity staff had numerous activities throughout the day to keep busy bodies like us occupied. From yoga, to pool aerobics and mixology classes by the beach… there was always something to do! Staying on the move kept our appetites peaked - and we weren't mad about it!
One of the final ways we trick ourselves into exercising is taking a romantic walk to watch the sunset. At the Paradisus we had the entire beach to ourselves… so we usually ended up walking a little longer and further than normal. It was peaceful, refreshing, and sparked amazing conversations. Our sunset walks were some of our favorite memories while in Cabo - and by the time we made it back to the resort we were more than ready to eat dinner!
Ok. So there you have some of our "tricks" for having your cake while you're on vacation, and eating it too. But our biggest tip for you is to just let go!!! Enjoy where you are, and don't worry about anything else. At the Paradisus Los Cabos the food and drinks were SO good, our motto quickly became "YOLO" (You Only Live Once)! Vacation is meant to be enjoyed… so enjoy it!!! As we like to say, "Our diet starts tomorrow." ;)
What We Learned in Cabo
Those that travel often know how much international travel can shape you. No matter where we are, we're constantly being pushed and challenged in new and invigorating ways. There's no better way to learn about the beautiful world we live in than by being immersed into new cultures, skills, and traditions. From learning how to cook traditional Japanese cuisine in Kyoto to learning how to cha cha on the Caribbean seas, we've been able to experience some pretty awesome things.
We just returned home from the beautiful Paradisus Los Cabos resort - an all-inclusive resort located in between Cabo San Lucas and San Jose del Cabo. This trip was the PERFECT infusion of pampering relaxation and sensational cultural experiences. Here's what we learned!
Tequila vs. Mezcal. Do you know the difference? Have you ever had Mezcal? They were both born in Mexico, but are very different. They are both made from the agave plant, but the process of making Mezcal involves baking part of the agave plant in an underground oven. This gives Mescal its distinct smokey taste. We learned this at our incredible tequila and mezcal tasting at Paradisus. We had the chance to taste multiple tequilas and mezcals, which presents a perfect opportunity to learn the differences and what we prefer. This is not an experience for getting wild and drunk (although it would be possible), but rather one for refining taste and learning what you like. Both of us learned through this that we preferred añejo tequila to both reposado and blanco. With Mezcal, we liked it all. We are fans of the smokier stuff. This is the perfect type of experience to indulge in at Paradisus. You're getting culture, cuisine, and some valuable knowledge you can bring home. So awesome!
YOGA (The Paradisus way)
What's better than some poolside zen to start your day? We try to attend yoga classes as much as possible when we travel - as every culture approaches it differently. At the Paradisus, we learned new stretching, breathing, and meditating techniques we'd never seen before! From balancing on our tip toes to a new take on the downward dog, we were motivated and challenged by our energetic instructors… And can you beat this view?! Definitely one of our favorite yoga sessions to date!
Bobby here. I've always been fascinated by cigars, so when I heard that the Paradisus team would be hosting a cigar rolling class, I was just a little excited. Ok, I was REALLY excited. We had THE Cabo Cigar Roller at Paradisus with an amazing setup of cigars, and soon-to-be-made cigars. He first talked us through and demonstrated how he would roll a cigar. He showed us the filler tobacco and how he rolls it together to form the insides of the cigar. Next, we learned about the final wrapping leaf, and how it is normally the highest quality of the tobacco leaves. We used a small amount of a glue-like paste to help the wrapping tobacco adhere to the filler, and then used a small Chaveta knife to properly cut the leaves. Once the cigar is rolled, you use a circular tool (essentially a mini cookie cutter) to cut the last piece that goes on the front of the cigar. After that, you are ready to light it up and enjoy! My cigar was decent… but let's just say this whole experience made me appreciate the art of rolling cigars that much more! Thank you Paradisus and Cabo Cigar Roller!
Alli here, and you read that right. Probably not the first cultural experience when you think of Mexico… but hey - that's the beauty of staying at the Paradisus! They happen to have one of the best teppanyaki restaurants in Mexico, so what better place to learn! I learned how to flip, grill, and perfectly season an amazing array of veggies and meats. And coming from a girl that has difficulty multi tasking - it's a lot harder than it looks! I think I'll leave this one to the experts at the Paradisus.
Even in a short, 3 day weekend, we came home from the Paradisus Los Cabos with new skills, new friends, and tons of new memories. We didn't even have time to attend the tortilla making, ride horses on the beach at sunset, learn to roll sushi, or learn about cocktails at the mixology class! Guess we have to save some things for next time, right? ;)


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When Henry Molaison died at a Connecticut nursing home in 2008, at the age of 82, a front-page obituary in The New York Times called him "the most important patient in the history of brain science." It was no exaggeration: Much of what we know about how memory works is derived from experiments on Molaison, a patient with severe epilepsy who in 1953 had undergone an operation that left him without medial temporal lobes and the ability to form new memories.
Journalists and scientists are both in the business of telling stories, but weighing competing narratives is not always straightforward.
The operation didn't completely stop Molaison's seizures — the surgeon, William Beecher Scoville, had done little more than guess at the locus of his affliction — but by chance, it rendered him a near-perfect research subject. Not only could postoperative changes in his behavior be attributed to the precise area of his brain that had been removed, but the fact that he couldn't remember what had happened 30 seconds earlier made him endlessly patient and eternally willing to endure all manner of experiments.
It didn't take long for those experiments to upend our understanding of the human brain. By the mid-1950s, studies on Molaison (known until his death only as Patient H.M.) had shown that, contrary to popular belief, memories were created not in the brain as a whole, but in specific regions — and that different types of memories were formed in different ways. Molaison remained a research subject until his death, and for the last 41 years of his life, the person who controlled access to him, and was involved in virtually all the research on him, was an MIT neuroscientist named Suzanne Corkin.
Molaison's story has always been tinged with tragedy, dependent as it was on his unnecessary disfigurement. But neither Molaison's history nor Corkin's role as his scrupulous and caring gatekeeper has ever been controversial.
Or at least they hadn't been until August 3, when The New York Times Magazine posted a 7,700-word excerpt from "Patient H.M.," journalist Luke Dittrich's new book about Molaison and his legacy. (I am a professor at MIT, although I do not know any of the principals involved in this story. I also reviewed "Patient H.M." for The New York Times Book Review.) Dittrich did not come to this story as an impartial observer: He is Scoville's grandson, and he spends most of his often gripping book wrestling with his family's legacy.
The Times excerpt skipped over that compelling intergenerational reckoning and drew instead on the much smaller portion of the book that focuses on Corkin, who, as it turns out, was the best friend of Dittrich's mother while growing up. As was the case with his grandfather, who Dittrich implies violated the Nuremberg Code governing treatment of human test subjects, this relationship did not result in gentle handling: Dittrich accuses Corkin, who died of liver cancer in May, of a host of scientific and ethical missteps.
The fact that Corkin was unable to defend herself did not mean The Times excerpt went unchallenged. On August 5, 229 scientists signed a letter praising Corkin and calling Dittrich's account "biased and misleading." That was soon followed by a response from Dittrich as well as more detailed rebuttals from Corkin's colleagues at MIT and elsewhere.
Journalists and scientists are both in the business of telling stories, though the tools of the trade are different: Journalists are more likely to rely on apt anecdotes, while scientists prefer to use an accumulation of data. But on a fundamental level, both fields interpret evidence in an effort to make sense of the world.
Ideally, that means journalists and scientists are both striving toward the same goal: the truth. But as the controversy over Henry Molaison's legacy illustrates, weighing competing narratives is not always straightforward. The facts Dittrich uses to make his case are, for the most part, inarguably true, but is his interpretation of them fair or accurate? And if some of his analysis is off target, does that mean the rest of it should be ignored as well?
Dittrich's most explosive accusation against Corkin is that she was more concerned with her own reputation than with the advancement of knowledge. His main piece of evidence concerns Jacopo Annese, a neuroanatomist at the University of California, San Diego, who was selected by Corkin to dissect Molaison's brain — and, in the process, discovered an unsettling complication: a lesion outside the medial temporal region. At some point during their collaboration, Annese and Corkin had a falling-out, and when he submitted a paper about his findings he failed to alert her. This was not a smart move: When Corkin happened to be chosen as one of the paper's anonymous reviewers, she argued that it did not deserve to be published at all.
Dittrich, who had extensive access to Annese and his lab — and only limited, contentious interviews with Corkin — acknowledges that Annese was guilty of "a violation of academic etiquette." But Corkin's violation was much more serious, Dittrich writes: She was opposed to publication because she feared that the "discovery of this new lesion" might "require a re-examination of all that old data."
When I pointed out to Dittrich that by the time Molaison died, the primary importance of the medial temporal lobes in memory formation had been reconfirmed in countless other experiments, he responded by highlighting the comments of another of the paper's anonymous peer reviewers, who wrote that damage to previously unidentified areas of the brain "may have implications for a retrospective reinterpretation of H.M.'s neuropsychological findings." But that hypothetical scenario has proved false: In 2014, information about the new lesion was published in a paper on which both Annese and Corkin were listed as authors — and there has been no wholesale reappraisal of the half-century's worth of studies on Molaison since then.
Dittrich's other main accusation against Corkin is that she systematically shredded her files on Molaison. At first blush, he would seem to be on solid ground here: She told him so in a tape-recorded interview that he later posted online. Unfortunately, Corkin is also Dittrich's only source here, and even in the truncated portion of the interview Dittrich posted, it is clear that Corkin is frustrated and annoyed. (The interview came after years of Corkin's denying Dittrich's requests for access to Molaison and his records. It also occurred less than a year before Corkin's death, and in his book, Dittrich set the scene by describing her as "battling a serious illness" and "unusually thin.") When I interviewed several of Corkin's colleagues, as well as one of her old assistants, they all said she had been working to catalog her voluminous material on Molaison in the months before she died. In the weeks after The Times excerpt was published, Corkin's former department says that it conducted its own investigation and that all of the Molaison files appear intact.
Of course, in the absence of witnesses, it's impossible to know what Corkin did or did not do — so let's say, for the sake of argument, that she did destroy some of her raw data. Dittrich is on tenuous ground when he claims that that would have violated both "basic research ethics and scientific accountability." Human test subject data needs only to be kept for between three and six years, according to government guidelines, and Dittrich's interview with Corkin took place more than six years after Molaison's death. When I asked him about this, Dittrich emphasized "an important distinction between ethics and the law." This is a fair point in the abstract, but in interviews with more than half a dozen neuroscientists and several medical ethicists, I couldn't find anyone who felt Corkin had an obligation to keep all of her data. Arthur Caplan, the director of New York University's Division of Medical Ethics, said it would be unfair to accuse Corkin of acting unethically if she had failed to do so. "It would be nice if she kept it," he said, "but really unusual if she did."
But what of Dittrich's argument that Corkin was committing a transgression that was "harder to articulate," namely, destroying important historical documents in an effort to get rid of evidence that might cause future scholars to re-examine her conclusions? The problem with Dittrich's interpretation is that it depends in large part on his framing of Corkin's feud with Annese. Absent that, her quote would not have been evidence of a pattern of behavior — and therefore would not have been nearly as noteworthy.
In addition to playing a significant role in shaping Molaison's scientific legacy, Corkin was also largely responsible for our understanding of him as a human being. She was the person who revealed his identity to the public after his death, and in the coming years, she told the story of his life in numerous interviews and in her own biography of Molaison, "Permanent Present Tense." The picture she put forth was of a basically happy, mostly gentle man with a sense of humor and an altruistic streak.
"The words were what interested me," Dittrich said, "not whatever score researchers derived from them."
Dittrich vehemently argues that this portrait of Molaison is incomplete — and it does seem that, at the very least, Corkin sanded off some of Molaison's rougher edges when she described him to the world. Unfortunately, in attempting to make a case for a more nuanced understanding of Molaison, the evidence Dittrich provides is often presented out of context. In one glaring example, he lists a fraction of Molaison's answers to a standard depression questionnaire but fails to provide the actual result of the test. When I asked Dittrich about this, he told me he quoted from the test because Molaison's description of his state of mind differed so starkly from the portrait Corkin and others had painted of him. "The words were what interested me," Dittrich wrote to me, "not whatever score researchers derived from them."
In this same section, Dittrich also selectively — and misleadingly — quotes from Corkin's work in an effort to show that Corkin had claimed that Molaison showed no signs of any depression whatsoever. What Corkin actually wrote was that Molaison's test results showed no indication of major depression, a clinical term with a specific meaning. (Dittrich told me that he paraphrased instead of quoted Corkin to tighten the sentence and did not intend to distort Corkin's statement. He also said he would include Corkin's full quote in the paperback edition of his book.)
It is, of course, possible that the questionnaire Dittrich quotes from did indicate that Molaison suffered from major depression. Unfortunately, the lack of any source notes, bibliography, or supplementary material in Dittrich's 411-page book means that readers have no way of knowing why he was confident reaching the conclusions he did. Given that one of Dittrich's main lines of attack is that Corkin tried to cover her tracks so that her work could not be re-examined, this was a stunning omission — and one that Dittrich, to his credit, acknowledges and intends to rectify. "I think the book's lack of notes warrants criticism," Dittrich told me in an email message, "and I regret not having included them in the hardback edition."
He said he is in the process of assembling his source material, which will be included in the paperback edition and posted online.
A recurrent thread in Dittrich's attacks on Corkin's judgment and behavior as a scientist is his use of "common sense" arguments to make specific points about scientific conclusions. This is always a tricky road for science writers to walk: While our primary obligation is to the public and not the specialists whose work we're translating, that doesn't get rid of our obligation to put our criticisms and conclusions in context. Too often, Dittrich fails to do this — and that failure makes it easier for Corkin's defenders specifically, and the neuroscience community more generally, to shrug off the legitimate and important issues that he does raise, most notably about informed consent.
That Corkin was allowed to exert so much control over a human being on whom she depended to establish her career and cement her legacy seems indefensible.
Take, for instance, the revelation in "Patient H.M." that I found most shocking: that Corkin and MIT had permitted Molaison to sign his own consent forms beginning in 1980. Federal guidelines involving human subjects require that they fully understand the tests they are undergoing and that they have the right to withdraw from experiments at any time. Given that Molaison could not remember what had happened to him 30 seconds before, it is hard to imagine how he could have met these requirements. More than two months after this information was first brought to light, this has still not been addressed publicly by MIT. When I gave Corkin's supporters the chance to defend this move, they all demurred.
This seems to be a topic the neuroscience community is hesitant to discuss even outside of Molaison's case: I made multiple efforts to learn the standard protocol used for amnesiac patients, to no avail. In one instance, an institutional review board specialist at Columbia University's human research protection office told me several times that a member of the "management team" would respond to me; nobody did. In another, I was told by one of Corkin's defenders that a specific researcher would be willing to speak with me; he was not.
By the early 1990s, either Corkin or someone else at MIT had misgivings of their own about the arrangement, and by 1992 Molaison had a court-appointed conservator, Thomas Mooney, the son of his former landlady, who had served as Molaison's de facto caretaker after his parents were incapacitated. Dittrich uncovered several pieces of troubling information regarding Mooney's appointment, including his almost complete lack of involvement with Molaison outside of rubber-stamping his consent forms and agreeing to donate his brain to MIT and Massachusetts General Hospital — and the fact that, contrary to Corkin's contemporaneous claims, Molaison had living relatives at the time of Mooney's appointment.
Corkin's allies have attempted to address this issue. A statement released by Corkin's former department head at MIT stressed that he was unaware of "anything untoward" that had occurred regarding Mooney's appointment, which had followed a "valid legal process." When I interviewed several people involved in MIT's investigation, they all said Corkin had had nothing to do with Mooney's appointment. This would certainly have been the proper call: It would be unseemly for a researcher whose career was so entwined with a single subject to also have a role in deciding who would look after that subject's interests. But despite her colleagues' claims, Corkin clearly did have a role in Mooney's selection. "I looked after his medical care," she wrote in her own book, "and found a dependable and caring conservator for him."
That Corkin was allowed to exert so much control over a human being on whom she depended to establish her career and cement her legacy seems indefensible.
The vociferousness of the response to "Patient H.M." has made one thing clear: Suzanne Corkin was a popular and well-respected scientist. But more than once in conversations over the past six weeks, I've found the vitriol directed at Dittrich by the neuroscience community to be curious. While I agree with much of the criticism of his analysis of Corkin's behavior, his reporting on the treatment of the most famous human test subject of all time raises crucial questions about informed consent that remain relevant today. The scientific community would be wrong to use his book's shortcomings as an excuse to ignore them.
This article has been updated to clarify a passage examining rules for preservation of research data, and the legal and ethical implications of destroying that data.
Seth Mnookin is the director of MIT's Graduate Program in Science Writing. His journalism has appeared in numerous publications, including The New Yorker, New York Magazine, Wired, The New York Times, The Washington Post, The Boston Globe, Spin, Slate, and Salon.com.
See What Others Are Saying
You suggest that people with amnesia cannot understand the tests they are undergoing and that they cannot exercise the right to withdraw. But those suppositions seem to be false.
Individuals with episodic amnesia, at least, are capable of assessing risks and benefits and making rational judgments about their preferred actions (or at least judgments identical to those neurotypical individuals make).
Concerning the right to withdraw: We consent to surgeries (from which we will not be able to withdraw while under anesthesia) and to treatment of our bodies after death (when no memory is possible).
Surely one doesn't have to constantly remember that one was recently reminded of a right to have the right, to know that one has it, or to exercise it.
In the effort to protect H.M. from mistreatment, I think we should be very careful not to infantilize him by imagining his deficits to be more far-reaching and severe than they, in fact, were. One can also be harmed by careless descriptions of one's cognitive abilities and disabilities. To have amnesia is not to become globally incompetent.
"Of course, in the absence of witnesses, it's impossible to know what Corkin did or did not do"
Absence of witnesses? He's got your colleague on tape, describing her destruction of the data at length and in some detail. That's a witness, isn't it? Perhaps you meant "in the absence of witnesses that support the argument I'm trying to make"?
Another point came to me – the lead in statement does not accurately describe the circumstances. The lead in includes, "A journalist and MIT scientists square off over the legacy of Henry Molaison…" First of all, Mr. Mnookin is actually 'squaring off' with Mr. Dittrich because it is Dittrich's claims Mnookin takes far more issue with. Second, this article has far less to do with Mr. Molaison's legacy, than it does Dr. Corkin's.
I know none of the people involved; I am not a scientist of any sort, just a person who is interested in how the brain works.
I have no background whatsoever to question or support either Mr. Dittritch's account or Dr. Corkin's research methods. However, I do question how Mr. Mnookin, who is associated with MIT, can be considered impartial in critiquing a challenge of work done by another MIT associate. Then there is the question of how many of those Mr. Mnookin references as supporting Dr. Corkin are also associated with MIT?


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Last week we chatted about what branding is and we went into detail about different pieces of the branding puzzle. Now that we know more about what branding actually is, let's chat about why branding is so important.
Simply, branding is important because it builds a company's value. Branding gives consumers a healthy look at what they can expect from a company and allows employees to have direction for where the company is headed.
Branding Creates Trust
You have worked hard to build your company. By having a unified brand, your company will portray itself as a must-use source in your industry. Consumers want to give their business to companies who are professional and take time to invest in themselves (and clients).
Brings in New Clients
Your logo needs to be professional and it needs to encompass your company's values. You want your mark to be memorable and powerful. Remember how I discussed word of mouth advertising a few weeks ago? By having a solid brand, your clients are more likely to remember who you are, what you do and share your information with their colleagues. Set yourself up for success and establish a strong brand.
Gives Direction
Have you ever tried advertising for a company that didn't have branding in place? It's nearly impossible. Although the ad itself can be beautifully designed, the lack of brand recognition will keep consumers from remembering the message. Branding gives direction for all messages - advertising to social media, blogging to company memos.
Another way branding gives direction is by inspiring employees and contractors. By having a unified message, a strong mission and values, those who work alongside you understand why the company does what it does and it creates a sense of purpose for them to be a part of the direction and goals.
Once you understand the importance of branding, you're halfway there. Now it is time to develop your brand style. Not sure how? I'll cover that next week!


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Kim McCarty | Can't Start a Fire Without a Flame; a Painting Without a Murmur
by Flaunt Editorial Staff
It starts with a fire. As I write this, the news informs me that, yet again, California is burning. The Thomas fires are still not contained. I am once again reminded that we can live through the same crises repeatedly, because sometimes the Universe runs out of new material to screw us over with. Making the metaphorical claim here about flames, resurrection, and a phoenix seems prosaic, but it's hard to resist. I won't, though, because unlike the Universe, I still have new ideas.
Kim McCarty knows about loss, but she speaks about it with such positive acquiescence that you feel like you're talking to a Yogi about yin and yang, not an artist about a studio fire in '93. I ask about the story of the studio fire wondering if she is tired of telling it, but she indulges me: "The fire occurred during the huge Santa Ana winds in 1993. Two hundred houses were destroyed. We then moved into a small house where I began to paint on the side porch. With a lack of space and ventilation—and with small children—I began to rediscover watercolor on paper." She adds that at the time, "works on paper became an accepted art practice in the art world," and I begin to get the sense that for McCarty, life is a continuous process of overcoming—you acknowledge the obstacles ahead of you, and then you keep pushing forward.
McCarty has tapped into something both universal and mysterious. Her work captures the longing for something permanent in a world that's constantly in flux. With over 20 solo shows, multiple group exhibitions, and works in the collections of The Museum of Modern Art, UCLA's Hammer Museum, and the Honolulu Academy of Art, it's clear that she's saying something that society, and the art world, needs to hear right now.
McCarty's recent solo exhibition at Morgan Lehman gallery showcased her at her best. Her paintings invoke human forms that are simultaneously as indefinite as water yet strikingly clear in their features, as if they are saying with their bodies: You can't define me, but I am here. She takes on Classical motifs like the reclining nude or the floral still-life and reinterprets them in a modern context. This reissuing of traditional modes seems curiously relevant, because it brings forward the subject of how we should be talking about the female form during a time that is calling for more inclusive, non-binary definitions. At the crux of these dialogues is the realization that the Classical tropes we've been given as descriptors are no longer enough.
This is one of the reasons why McCarty's watercolors are so appealing— they affirm and anticipate the tolerant, open, label-less future so many are reaching for, even as it remains under threat. When asked why she believes people have responded so positively to her characters, she attributes it to their having "strong emotional and visceral feelings in the poses, eye gazes, and figures," which "creates a powerful connection between the viewer and the work, one of déjà vu or simply a bond." They evoke a feeling, a cellular euphoria of recognizing something mystical, and rapturous recognition is not tied to gender—love never is.
One gets the sense that her watercolor figures, arresting in both scale and gaze, are characters swimming in our collective subconscious who have materialized on paper, apparitions of friends now gone, or merely a familiar someone who's name you can't recall. Whoever they are, McCarty brings them to vivid life in all their variety and significance.
It starts with a fire, but it ends with watercolors.
Written by Vivian Galeana


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Issue 283
September 2007
PJ Harvey
Moving back to her homeland Dorset's chalky soil prompted alt rock's 50 Foot Queenie to recast her death-rattle songs as skeletal piano dirges. By David Stubbs
Oren Ambarchi
The Australian guitarist swings like a pendulum between textural Improv, collaborations with Keith Rowe and Sunn O))) and unashamed pop songwriting. By Jon Dale
Charlotte Moorman
Brian Morton commemorates the cellist who ritually adorned herself with TV sets, covered herself in chocolate, or performed naked works by Nam June Paik and more
Paul Bley
To mark Bley's 75th year. Andy Hamilton reassesses the pianist's career, his role in early 60s free jazz, and electronics improvisations at the dawn of the 70s
Invisible Jukebox: Sir Richard Bishop
The Sun City Girls' hermetic Hindu hobo meditates on The Wire's mystery record selection. Tested by Marc Masters
Cross Platform: Daft Punk
Anne Hilde Neset talks to Thomas Bangalter about the French Techno duo's new cyborg road movie, Electroma
Starving Weirdos
The northern Californian freeform soundscaping duo are rad, bad and dangerous to know, says Keith Moliné
UK Grime's ailing condition is being nursed back to health with Soulfood from this ex-Roll Deep MC. By Dave Stelfox
Lost In Hildurness
David Stubbs goes deep in the wood with the Icelandic cellist who has worked with Mùm, Pan Sonic and Throbbing Gristle
Global Ear
Ang Song Ming pinpoints the creative heartlands of Singapore
Derek Walmsley's mind melts in the heat of Senegal's early 80s lo-fi funk rhythms
Print Run
Japrocksampler: How The Post-War Japanese Blew Their Minds On Rock 'N' Roll, by Julian Cope; Living Electronic Music, by Simon Emmerson; Galactic Zoo Dossier #7, edited by Plastic Crimewave; Supersonic Visuals For Music, edited by Robert Klanten & Hendrik Hellige
On Screen
Sergei Eisenstein Strike/Battleship Potemkin/October, DVD; Science Is Fiction: The Films Of Jean Painlevé, DVD
On Site
Silence. Listen To The Show, Turin, Italy; Shadowed Spaces: Sean Meehan/ Tamio Shiraishi/Ikuro Takahashi, Newcastle Upon Tyne, UK
On Location
Birmingham, UK; Liquid Architecture 8, Brisbane, Australia; Ornette Coleman Quartet, London, UK; Nuit Bleue, Arc-Et-Senans, France; Schimpfluch-Gruppe
Adelaide, Australia; Boredoms: 77 Boadrum, New York, USA; Cecil Taylor Quartet with Anthony Braxton, London, UK
Soundcheck A-Z
The Ace Of Clubs, Animal Collective, Hans Appelqvist, Astral Social Club, Derek Bailey, William Basinski, Bexar Bexar, Sir Richard Bishop, Matthew Bourne, Peter Brötzmann Octet, Tony Buck/Cor Fuhler/Anna Zaradny, Bumps, Cadence Weapon, Neil Campbell, Tom Carter/Robert Horton/Lisa & Lee Ann Cameron, Tom Carter/Robert Horton/Michael Shannon, Thanos Chrysakis, Circle, Lol Coxhill & Steve Miller, ESG, Scott Fields Ensemble, The Flying Luttenbachers, The For Carnation, fORCH, Fovea Hex, Hildur Gudnadóttir/BJ Nilsen/Stilluppsteypa, Haswell & Hecker, Giuseppe Ielasi & Nicola Ratti, J Dilla, Jason Kahn/Norbert Möslang/Günter Müller, Knell, Tomas Korber/Christian Weber/Katsura Yamauchi, Ferdinand Kriwet, Neil Landstrumm, Liars, Annea Lockwood, Mattin & Matthew Bower, Merzbow, MIA, Charles Mingus Sextet, Thurston Moore, MUTA, Mu-Ziq, Nurse With Wound, Oh No, Pauline Oliveros, Evan Parker/John Edwards/Chris Corsano, Patten, Steve Peters, Ariel Pink's Haunted Graffiti, RST, Marcus Schmickler &, Hayden Chisholm, Shape Of Broad Minds, The Sound Of Aircraft, Attacking Britain, Sunroof!, Susanna, Taurpis Tula, Trim, Underground Resistance, Uton, Various Now We Are Ten, Various Rinse 01, Various Tokyo Flashback 6, Rolan Vega, Weasel Walter, White Noise, Yellow Swans, Yesterdays New Quintet, Zeitkratzer featuring Lou Reed and more...


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This month Tommy and I had the chance to see this brand new 1940's revival featuring Leonard Bernstein music with songs like the theme of my business,
"New York, New York it's a Hellava Town"!
If you remember from the movie (I don't think anyone is old enough to have seen this one on Broadway before) three sailors on a 24 hour leave in New York City have an amazing adventure dancing and singing their way through NY on a mission of fun and excitement.
On The Town is just good clean fun with fabulous dancing choreographed by Joshua Bergasse, new to Broadway but just did the hit TV series "Smash". Costumes and sets are out of this world and I must mention Megan Fairchild who plays Ivy Smith is a principal dancer with the New York City Ballet and she is truly amazing as are Tony Yazbeck as Gabey, Jay Armstrong Johnson as Chip and Clyde Alves as Ozzie!
Come and see a very talented group of young actors, dances and singers! Simply a delightful show!


text: What do you normally do for a First Date, a 2nd or 3rd date? First dates for me are normally best kept short and done in a relatively busy, dark bar where you can hear each other talk and get to know each other. The Portobello Star Pub in Notting Hill is just that, as decent bar selling every kind of gin possible in nice big copa glasses. Move on to a second or third date...or even a date night with your girlfriend and head upstairs to join the Ginstitute masterclass.


text:
I was going through some old stuff and found an old finance book that was written in 1990 called Wealth Building without Risk For Canadians. Within this book had a whole chapter on investing in second mortgages. I'm not sure how common these second mortgages are these days but as I am interested in real estate investing, this strategy really caught my eye.
There are times when a home vendor is willing to be the lender and do a vendor take back mortgage (VTB) in a 2nd position to the first mortgage in order to sell the home. A lawyer would draft the terms and conditions which can have multiple variations. For the purposes of this article, we'll assume that the VTB mortgage is in the second position behind the first mortgage and the payments due are interest only (like a bond).
The key behind this strategy is the idea that some VTB vendors would be willing to SELL you their mortgage at cash discount. Why would they do this? Some people would rather have, or need, the cash now and they're willing to sell it at a discount to achieve this.
The author of the book suggests to start the offer @ 60% but pay no more than 75% of the value of the mortgage. Another rule that the author follows is that he will only purchase a mortgage if the sum of all mortgages on the property is less than 80% (ie. < 80% LTV).
You're probably thinking "who in their right mind would sell their investment for 60 cents on the dollar?". Well, apparently a lot of people as the author claims that he's been purchasing these types of mortgages for years.
How do you find these mortgages:
- The local registry office should have public information regarding mortgages on every property in the city.
- Local real estate professionals: mortgage brokers, real estate agents, lawyers.
- By advertising in the paper "We Buy Second Mortgages" or something similar.
Here is the jist of the strategy:
- Investor advertises "We Buy Second Mortgages" in the local newspaper
- Investor receives calls and finds someone who is interested in selling their VTB mortgage.
- Investor makes an offer of 60-75% of the value of the mortgage.
- Offer is accepted and investors starts to collect payments.
Tomorrow, i'll continue with part 2 of buying second mortgages which includes an example along with the pros/cons that I can see from this strategy.
If anyone has any experience with this type of investing, I'd like to hear from you.If you would like to read more articles like this, you can sign up for my free weekly money tips newsletter below (we will never spam you).


text:
Every once in a while there comes a rapper who naturally outshines the rest. There's no denying his star power. He's so ruthless with his rhymes that even the toughest naysayers got to give him respect. On the fast track to superstardom, 26-year-old St. Petersburg, Fla. native Skroodle is such an artist. Within only two short years on the scene, Skroodle went from a jail cell to recording booth to onstage tearing up clubs across the Gunshine State. Fueled by his debut single "Get Yo Shit Right," Skroodle's 2009 Bigga Rankin-hosted mixtape Certified Hood Vol. 1 and his career took off like a rocket. Now with his latest single "I Wish A Bitch Would" steadily gaining momentum, Skroodle is definitely in line to set his mark with the early 2011 release of his follow-up mixtape Too Much Going On in the City. "I feel real good about the love I get around Florida," Skroodle admits. "I wasn't even really trying to be the best rapper. But people love my music from the first time they hear it. I didn't think I'd get this type of response."
Two years ago, Skroodle had just touched down on free ground after serving two calendars on drug charges. Although he had always rapped for fun since he was a kid, he never pursued it as a career. That was until he was behind the wall and had to find a better hustle than the streets. So as soon as he got home, his first priority was to hit the studio. And that's exactly what he did.
He booked a studio, recorded a mixtape and released Certified Hood Vol. 1 within a few months. After his first batch of CDs, demand had grown so much that he was approached by many industry professionals offering him management deals. And before he knew it, the mixtape had caught on like wildfire and much-respected record breaker Bigga Rankin was calling to host. "People have gravitated to me because I keep it real with the streets. I give them what they want to hear, what they need to hear," he says.
In late 2010, he signed management contracts with Coach of 1230 Management and Bigga Rankin, vice-president of Young Jeezy's label Corporate Thugs Entertainment. Currently, a bidding war of sorts has been waged for Skroodle to sign with one of several labels. And with his latest single "I Wish A Bitch Would" and forthcoming mixtape Too Much Going On in the City on the forefront, it won't be long before Skroodle's at the top of the pile.


text:
Hand hammered recycled steel butterfly wall decor from 2ndchancemetalart make for a wonderful small gift item for the fairest maiden in your story. Since as everyone knows- fairies are attracted to metals and butterflies- she may even make some new friends!
These pieces are hand made to order with a gorgeous, multicolored, heat patina. Our wall pieces come ready to hang from a mounted wire setup on the back. Each piece is done free hand and will vary slightly and each is of equal or greater quality as the piece shown.
This listing is for our 10" iridescent, blue tone version. These handsome insects also come in blue/violet, copper, bronze and brushed steel finishes, as well.
Bring some garden love into your home with a hand made butterfly wall piece from 2ndchancemetalart today!
2ndchancemetalart is a small, home art business just outside of Boston. We strive for total customer satisfaction and specialize in unique, one of a kind pieces for a wide range of applications. Commissions are welcome. To order something special, big or small, just use the "request custom item" icon to start a design conversation and we will work with you to create a beautiful piece to suit your needs.
Come check out the rest of our shop by following this link https://www.etsy.com/shop/2ndChanceMetalArt?ref=hdr_shop_menu oand/or follow us on Instagram to keep up with the latest commissions, new products, sneak peeks and more!
indoor wall decor nature metal art butterfly gift for her small gift metal wall art nature inspired blue butterfly nature girl gift gardener wife hand hammered steel bug wall sculpture
Pay Pal, credit and ETSY gift cards are accepted
We ship most things first class mail. Some of the bigger items have to go out via UPS due to the size and weight limitations. For custom pieces, we will be communicating throughout the process and can discuss other shipping methods if needed.
returns accepted within 14 days of sale. Buyer pays shipping.


text:
On the seventh day of Christmas, my true love gave to me…
…seven swans a-swimming
Now your true love has really done it. The British Establishment are very protective of swans. Indeed, up to 1998, killing or injuring a swan was an act of treason, under a law dating back to the twelfth century. Even today, two ancient City guilds, the Worshipful Company of Vintners and the Worshipful Company of Dyers, still own mute swans on the River Thames. The rest are owned by the Crown, but the Royal swans are no longer marked as Crown property—a shrewd move by the Royals, as it has led to all unmarked mute swans on the Thames being regarded as belonging to the Queen.
As for wild swans in other places, they are protected by large volumes of law, just like other wild animals. But in 1983 a 20-year-old Somerset man, Alfred Dines, was jailed for killing swans under a 1592 law introduced by Henry VIII. As the swans were unmarked, they were assumed to be property of the Crown, so injuring them is classed as criminal damage.
Swans are quite assertive and strong animals, so you might have problems keeping them in your garden, and by now the various cries of hens, blackbirds, geese and a partridge will already have alerted the authorities to the unsuitability of your property in terms of animal welfare. So as you and your true love are marched off to the Tower to trace the steps of Anne Boleyn, don't say you weren't warned.
On the eighth day of Christmas, my true love gave to me…
…eight maids a-milking
While we are on it, the a-something construction (geese a-laying, maids a-milking, lords a-leaping) goes back to the Germanic origins of English, and is a form of the y-something construction (summer is y-comen in). In German, it takes the ge-something form, as in ist gekommen, meaning 'has come'. So summer is y-comen in actually means 'summer has come in', not 'summer is coming in'.
A milkmaid is of course a woman who milks cows. She might also prepare dairy products from the milk, such as cream, butter and cheese. But that will land you in all sorts of trouble. Raw cow's milk, and the cheeses made from it, are delicious, but the legal authorities—always concerned to make us act for our own good—either ban it or want to ban it. In Scotland, sales of raw cows' milk and cream (along with those from sheep, goats, buffalo and any other species, probably including yaks and camels) was banned in 1983. In 1995, the policy was reviewed but retained. There have been three attempts to extend the ban to the rest of the UK, which have not succeeded—though they have each led to further 'consumer protection' rules.
If your true love got the milkmaids in a job lot along with the French Hens, your troubles multiply. Under Regulation 178/2000, each batch of imported dairy products may need a veterinary or public health certificate and various paperwork to show that it comes from the EU or from EU-approved premises. Eight milkmaids and an unspecified number of milk cows will of course be noticed by the neighbours. Expect a visit from the Animal and Plant Health Agency.
On the ninth day of Christmas, my true love gave to me…
…nine ladies dancing
What could be more charming? Lucky you don't live in Sweden, where 'spontaneous dancing' is still illegal, for some bizarre reason, despite promises to abolish it. Mind you, the UK's own Criminal Justice and Public Order Act 1994 introduced various penalties for 'anti-social' behaviour, particularly outdoor raves. And if you were indeed illicitly raving, the Act undermined your right to silence, allowed the police to take intimate body samples, and extended police stop and search powers.
It is unlikely that your true love would have provided you with nine lap dancers, but under the Policing and Crime Act 2009, if you wanted to share the gift with a few friends, you would have to apply for a licence as a 'sexual entertainment venue'. That would cost you a lot of money and would probably be refused (with no right of appeal) as there is a 'nil limit' on new premises opening. In Scotland, 'sexual entertainment venues' are covered, rather bizarrely, under the Air Weapons and Licensing (Scotland) Act 2015.
For dancing you need music, of course, and that could be a 'statutory nuisance' under the Environmental Protection Act 1990. The local council could serve you an abatement notice, and give you a spot fine if you ignore it, confiscate your sound system—or even prosecute you, with a potential £1,000 fine. Probably better to tell the ladies just to sit quietly somewhere.
On the tenth day of Christmas, my true love gave to me…
…ten lords a-leaping
Some people say that the ten lords a-leaping in the song actually stand for the Ten Commandments. But by the time you have already dealt with the animal welfare officers, the council noise abatement department, and the EU regulations on dairy imports, you will be all too aware that you have to obey far more than ten commandments these days.
In fact the EU has passed over two-thirds of a million pages of law since its inception in 1957. Roughly a quarter of those are still in force, which means that there are roughly 170,000 pages of EU rules and regulations you have to obey. More than half of those have come in during the last decade, so the pace is accelerating. Put all those pages end to end and it would be longer than a marathon and would take an average person about four hours just to run from one end to the other. If you had to read them all, it would take somewhat longer.
With around 800 people sitting in the House of Lords—eight times the size of the US Senate, in a country with a fifth of the population—ten of them leaping off would hardly be noticed, though it would save taxpayers £3,000 in attendance allowances and a bit more in expenses. No doubt the Lords would not spare the likes of Lord Henley, Baroness Buscombe, Lord Duncan and Lord Gardiner, who are all ministers and who are needed to gold-plate and enforce all those 170,000 pages…
On the eleventh day of Christmas, my true love gave to me…
…eleven pipers piping
Perhaps your true love has sent you some ex-army pipers, since the Ministry of Defence has cut back on military bands in order to save its budget. But with eleven pipers and nine dancing ladies, you now have the makings of a fair-sized marching band yourself. And you are already in breach of the law, because you should have informed the police six days ago that these folk intended to march up and down. The police can change your intended route, limit the time you can march, and stop other people from attending the spectacle. They can even ban your march outright.
Indeed, under the Public Order Act of 1986, your pipers do not even have to be marching to get you into trouble. If a chief of police believes that you are intending an assembly near to any historic building or site, they can stop you. Or move you on for causing a breach of the peace. If your true love's gift marches in a public park or square, the local authority may well turn up, waving the by-laws by which they can regulate or stop it.
If you live in Northern Ireland you have particular problems, as marches there are strictly controlled—though attempts to ban them entirely caused even more trouble than the marches themselves.
On the twelfth day of Christmas, my true love gave to me…
…twelve drummers drumming
The final batch of your true love's 364 different gifts has now arrived, and are probably proving just as noisy as the geese, swans, cows, pipers, lords and other livestock. The house might be getting a little crowded by now, but luckily (or perhaps for you, unluckily), there are regulations to deal with that. The 1985 Housing Act covers the number of people you can have per room, the amount of space they must have, and so on. Officials can of course enter your property to check. Well, I say your property, but after dealing with so many police and officials, you are probably thinking that you do not have many rights over it. You would not be wrong. Enjoy the rest of the year, and keep away from trouble—though they only way to do that is probably to sit in a darkened room, or perhaps leave the country, as many entrepreneurial people who resent the petty regulations of petty officials have already done.


text:
Experience winter in Madison Parks like never before with snowshoeing! This silent sport is a fantastic way to explore many of our parks during the winter months and is easy to learn.
We have various length trails in our parks listed below, in addition, snowshoeing is also permitted anywhere with good snow cover with the exception of any groomed ski trail and off-trail in a conservation park.
Limited quantities of snowshoes are available to rent from the Elver Park winter shelter (see website for schedule).
We have various length trails in our parks listed below, in addition, snowshoeing is also permitted anywhere with good snow cover with the exception of any groomed ski trail and off-trail in a conservation park.
Limited quantities of snowshoes are available to rent from the Elver Park winter shelter (see website for schedule).
- Snowshoeing is allowed anywhere in a park that is snow-covered and ungroomed and on ungroomed trails only in conservation parks. Snowshoes are not allowed on groomed cross-country ski trails at any time.
- Sufficient snow (typically 4" or more) is needed to create a base for snowshoeing. The woods generally need more snow to fall due to the trees protecting the trails.
- Our trail systems are designed to facilitate controlled public access while protecting environmentally sensitive areas and providing quiet refuges for wildlife away from people. Disruption of wildlife by human activity during the winter puts additional stress on them during a challenging time for their survival.
- Snowshoeing, hiking, and skiing off trail destroys snow tunnels used by native small rodents (deer mice, shrews) by the trampling effect. These small mammals are an important part of the wetland and grassland ecology in our conservation parks. Destruction of these tunnel networks makes the small mammals more vulnerable to predation.
Cherokee Marsh - Mendota Unit - SnowshoeingPark: Cherokee Marsh - Mendota Unit
Cherokee Marsh - North Unit - SnowshoeingPark: Cherokee Marsh - North Unit
Door Creek Park - SnowshoeingPark: Door Creek Park
Edna Taylor Conservation Park - SnowshoeingPark: Edna Taylor Conservation Park
Elvehjem Sanctuary - SnowshoeingPark: Elvehjem Sanctuary
Garner Park - SnowshoeingPark: Garner Park
Heritage Prairie - SnowshoeingPark: Heritage Prairie
Heritage Sanctuary - SnowshoeingPark: Heritage Sanctuary
Hoyt Park - SnowshoeingPark: Hoyt Park
Indian Springs Park - SnowshoeingPark: Indian Springs Park
Knollwood Conservation Park - SnowshoeingPark: Knollwood Conservation Park
Mineral Point Park - SnowshoeingPark: Mineral Point Park
Prairie Ridge Conservation Park - SnowshoeingPark: Prairie Ridge Conservation Park
Sandburg Woods - SnowshoeingPark: Sandburg Woods
Walnut Grove Park - SnowshoeingPark: Walnut Grove Park
Warner Park - SnowshoeingPark: Warner Park
Winter Activities
- Baseball
- Basketball
- B-cycle Station
- Beach
- Boat Launch
- Boat Mooring
- Botanical Garden
- Canoe & Kayak Launch Sites
- Canoe & Kayak Rental
- Canoe & Kayak Storage
- Cricket
- Cross-Country Skiing
- Disc Golf
- Dog On-Leash Area
- Dog Off-Leash Park
- Fireplace
- Football
- Golf
- Hiking
- Historical Feature
- Horseshoe/Bocce
- Ice Skating
- Lacrosse
- Open Field
- Parking Lot
- Pickleball
- Picnic Shelter
- Playground
- Pool
- Recreation Center
- Restroom
- Scenic Overlook
- Shelter - Reservable
- Skate Park
- Slacklining and Hammocking
- Sledding
- Snowshoeing
- Soccer
- Softball
- Splash Park
- Tennis
- Ultimate Frisbee
- Volleyball


text:
RICH IP & Co.
6F, No. 261, Nan-King East Road
Sec. 3, Taipei 105
Tel: +886 2 2713-1060
Fax: +886 2 2713-1059
Web: www.richip.com
As a co-founder and co-owner of Rich IP & Co., Ms. Clarice Chen has been engaged in international IP practice since 1990. Ms. Clarice Chen is the managing partner in Rich IP & Co and in charge of trademark matters and related patent matters covering chemistry, chemical engineering, polymer, semiconductor material, pharmaceutical, agricultural, life science and biotechnology.
- Chemical-Related Patent (Including Pharmaceutical and Agrochemical Patent) Prosecution, Trademark Registration, Infringement Analysis, Portfolio Management, and Litigation
- National Taiwan University, (MS and BS in Chemical Engineering)
- Franklin Pierce Law Center, Research in Intellectual Property (IPSI & ALI)
- Shih Hsin University (MS in Law)
- Patent Attorney (1997~)
- Taiwan Editor of Manual for Patents, Designs and Trademark Applications throughout the World (The Brown Book, 2005~)
- Patent Counselor Assigned by Taiwan Intellectual Property Office for providing pro bono patent services (1998~)
- Review for the Counselor of Lee & Li Attorneys-at-Law Passed (2004)
- Principal (2003-2004), Deputy Principal (2002) in Patent and Technology Department of Lee & Li Attorneys-at-Law
- Senior Patent Attorney (1990-2005.3) in Patent and Technology Department of Lee & Li Attorneys-at-Law
Rich IP & Co.:
- Rich IP & Co. has a team of patent attorneys and engineers with deep and varied educational and experiential backgrounds, providing professional patent and trademark law services in Taiwan, Chinese Area and worldwide.
- Our experts have acted as trainers and educators for local patent examiners, judges, public prosecutors, and thousands of local patent attorneys, engineers and in-house counsellors since 1992. Our professional capability always give our clients advantages of better quality services with less service charge as compared with other IP firms in Taiwan and Chinese area.


text:
The Youth Pre-Charge Diversion Program aims to divert youth who have convicted minor offences from the prison system to community-based sentencing options. This program allows youth to get access to the adequate resources and support they need to help deter them from repeating offences. Toronto Police Services (TPS) has adopted the program based on the positive anecdotal experiences of participating youth. The program is believed to be an effective alternative to having young people enter the prison system.
The program is not mandatory amongst all TPS divisions, and as it stands the decision to put youth in this program is at the discretion of individual officers. There is a lack of public knowledge or data on how the program is being monitored, the proportion of officers that choose to use the program, and the progress of youth participants. Many organizations, and divisions at the City of Toronto (including the Toronto Youth Equity Strategy) have previously called on the TPS to have a proper monitoring and evaluation process that is available for city stakeholders and community organizations to access.
TYC's position
The Toronto Youth Cabinet firmly believes that the Toronto Police Services should not only have a thorough monitoring and evaluation framework for the Pre-Charge Diversion Program, but that the results should be accessible to City stakeholders, community organizations, and the public. With only anecdotal evidence it becomes difficult to identify potential shortcomings that may be preventing the program from meeting its intended objectives. This ultimately hinders young people, especially those that are the most marginalized. The Toronto Youth Cabinet asks City Councillors to advocate for Toronto Police Services to monitor the progress of the program and to provide relevant stakeholders with results to date. With access to the data, the City and organizations will be able to study the program and improve its outcomes.


text:
Now we're all one big fuckin' happy family, I say spark one and feel the riiiiiide.
'cuz, tiiiiiime is on our siiiiiiiiide.
Anti-Text and Anti-Run. Here is my Anti-Reality gun.
And while there can be a dark side to forums, it's not really the forums themselves, but the people, which can also go for social media. And well, at least to me, it's a good very good thing to know that you're trying to keep things fun, pleasant and peaceful around here too. Well, from my understanding that is. And yes, it's good to take a break and clear your mind from all that shit every once in a while too, which can sometimes ultimately be the reason to post less, or not even post at all.
*I'll get back to the other mentions at some other time.*
Last edited by Halo Infinity; 06-21-2015 at 06:52 AM.
Because I'm an Aquarian and shit, I say whatever the fuck I want. Even my brain's voice cracks me up, "it" keeps on cussing like a sailor, and the word "FUCK" is pretty fucking popular and gives sentences a boost as in, "smart structures of context".
Stand up comedians are a perfect example, in fact, I think they're the smartest people alive just because the shit they say are really fucking accurate.
An idea, a concept, a draft, whatever begins and ends doesn't always end, it's a set up for something new, and new things constantly change.
And that's called "evolution".
Then again, not every single person on this planet uses college level grammar in conversations, and consciously, we ought to be.
Everyone is different, if we all were the same type of person, doing the same fucking shit everyday, every fucking year of our lives, we'd all have lived very short fucking lives.
Get off your asses and go experience shit, it's fucking worth it.
Jfc - Do I need to bring Liam Neeson in to show you all how to make LISTS?!?!? lol


text: Sherri and Kyle, like most of us, had enough of the long winter. We had been planning an engagement shoot for quite some time, but couldn't find the spring weather we had been looking for. Sherri and Kyle are getting married in 2019 in Canmore and wanted something completely different for their engagement shoot. We all settled on Drumheller. We met up and explored the area and had an absolute blast!!! I cannot wait for their wedding in less then a year from now!


text:
Running macOS 10.12
Murus Basic 1.4.3
Used EtreCheck and got the information that it.murus.updatethreats.plist failed to load.
Checked the PF Runtime rules browser and no _threats in the list to the right. Only _blacklist.
Tried disabling and enabling the emerging threats option in Proactivity settings, nothing changed.
Any advice?
it.murus.updatethreats.plist [failed]
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text:
This has been such a long time coming, it doesn't feel real or that we are actually going to jump on the plane tomorrow. As you know we have been planing this since July 2015 and now its actually happening. We got to tell Ouma and successfully kept the secret, now all our bags are packed and we're ready to go.
Like ever other adventure we have planned we made goals we would like to do and/or achieve while away. This is our list, Wish us luck.
Cruise Goals
- Try local cuisine
- Memoir at each location
- Learn something new
- Message in a bottle
- Family photo each location


text:
Demonstrate your own love story with this 18ct Yellow Gold ring set with a single shining centre diamond set in the with diamonds set in the shoulders totalling 0.33ct for a single layer of luxurious shine.
Diamonds as unique as your own love story.
Normally available in sizes I to SExclusive to Ernest Jones Certificated diamond
- Birthstone
- April
- Brand
- The Diamond Story
- Diamond
- 1/3 carat
- Diamond clarity
- Diamond colour
- Diamond cut
- 57 Facet
- Material
- 18ct Yellow Gold
- Stone setting
- Claw
- Stone shape
- Princess
- Stone style
- Solitaire
- Stone type
- Diamond
- Height
- 0.5 cm
- Width
- 0.2 cm
Delivery & Returns
At Ernest Jones we provide the following range of delivery options:
- Free Standard Delivery available on orders over £100.
- Free Next Day Delivery available on selected orders over £499.
- Free Click & Collect to any Ernest Jones store in the UK.
For more Delivery Information click here.
Returns policy: you can return items to us by post or in store within 30 days for a full refund or exchange.*
*We cannot refund or exchange pierced jewellery, e.g. earrings, if they have been removed from the original sealed packaging due to hygiene reasons.
Help Centre
There are a number of different ways to contact us if you need help or advice with your purchase.
How to contact us


text:
Research Project
Grant-in-Aid for Scientific Research (C)
In order to characterize the T-cell population participating in renal allograft rejection, I performed several analyses using biopsy specimens. The following results were obtained :1) For the accurate analysis of the T-cell receptor (TCR) diversity using biopsy specimens, I developed a non-radioisotopic micromethod, in which TCR cDNAs amplified by an anchored polymerase chain reaction were hybridized with an array of TCR variable gene DNA fixed on a nylon membrane.2) TCR analysis allowed me to assess the clonality of T-cells participating in renal allograft rejection. The method was particularly useful to monitor the change in clonality after immunosuppressive treatment for the rejection.3) The degree of clonality in renal infiltrating T-cell was not significantly different between acute rejection (AR) ard chronic rejection (CR). However, difference in clonality between infiltrating cells ard that in peripheral blood was larger in AR than CR, indicating that particular T-cel 1 clones accumulated in the allografts receiving AR.4) Virally infected allograft often showed T-cell clonality similar to that of rejected allograft and it was difficult to discriminate them only by clonality analysis.5) The degree of infiltration of alpha-beta T cells, CD4-positive T cells, and CD8-positive T cells in CR allografts were not different from that in AR allografts, indicating that CR, as AR, was mediated by these immune cells.6) The frequency of detection of interferon-gammas in allografts was not significantly different between CR and AR, indicating that Th1 cells participated in both CR and AR.7) Interleukin-4 was detected only in one-third of CR allografts and not in AR allografts, suggesting that some CR were mediated by Th2 cells.
Published: 1997-04-01
Modified: 2016-04-21
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