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Skip to comments.Shocking Poll on Socialism in America
Posted on 12/29/2011 3:53:07 PM PST by mandaladon
While capitalism received a largely favorable response, Pew also found that at least 25 percent of respondents across all age groups, races, income levels and ideologies were dismissive of capitalism.
Tea Party sympathizers, conservative Republicans and those making more than $75,000 a year were the most likely to respond positively, while slightly more than half of blacks and Hispanics took the opposite view.
Almost 50 percent of those aged 18 to 29, those making less than $30,000 a year and Occupy Wall Street backers also had an unfavorable reaction to capitalism.
A majority of blacks and liberal Democrats, meanwhile, reacted positively to socialism. But while reactions to capitalism were fairly consistent across all age groups, 18-to-29-year-olds were more than three times more likely (49 percent to 13 percent) to endorse socialism than those older than 65.
(Excerpt) Read more at nation.foxnews.com ...
Proving what Winston Churchill said, "Any man who is not a socialist at age 20 has no heart. Any man who is still a socialist at age 40 has no head."
I guess I was heartless then...
Socialism works great until you run out of Chinese money.
If you support socialism in America, you stop being an American.
I've spoken to many people who do not understand the vast differences between the types of policies. Definitions escape them. They do not understand that government getting into bed with banks and big business is a form or fascism - not capitalism. Ignorance abounds. It's why I hate the term Crony Capitalism. It's confusing to more people than you can imagine.
I've met lots of them. Supposedly well-educated college graduates who praise the European model. When you press them, they just say the government "should" pay for my health care, "should" pay for my college, and so forth. Ask them where the government will get the money and they'll say the government has plenty of money or can just print more. Despite the college education, they are completely ignorant of the basic principles of economics.
Let's see now - - - 25 % like Socialism, 99% are the OWS in Obamavilles, 47 % pay no personal FIT, and the rest don't like anybody very much!
Oh come on. I've been home from work for two weeks. I've played with my family, watched tv, and done some puttering. I've put on a couple pounds. It's been awesome. If someone would pay my bills, I wouldn't go back to work.
Of course, that's a big if, since I've been paying others' bills for half a century. Still, if you were to poll me, I'd raise my hand for MeTV and bloody mary's. That's the fun of polls — they have no consequences.
Blacks and Hispanics? That figures. Does anything else needs to be said?
They left has been working for this for many years. Not surprising at all.
Sean Hannity makes this point quite often in his man on the street interviews.
I'm shocked that the percentage of Americans who want socialism is only 25%.
THIS is why Obama won't be easy to beat in November. This country has gotten so "gimme happy" I wonder if we can ever recover.
That was my first thought (Churchill's quote) when I read this..
The correct contrast to socialism is a free society where the goal of government is to stay limited, establish general order and to allow free interaction of its citizens. It can be done with limited government of modest cost. It needs no special funding and freedom of individual commerce and individual industry is generally termed capitalism — a term popularized by Marx is describing its supposed evils.
The poll is dishonest in its choices. The true question is: Which do you want, socialism or free society?
More proof that we need a divorce. I just wish that we could get on with it and get it over with.
Thank your public school down the block, the receiving pen universities, and the orchestration trough of academia for such results.
These Marxist led institutions resume in January, continuing, unabated, to working over young Americans, so we can continue lazily to wonder what the heck happened to our country. Their agenda is not even slowed, let alone stopped. Ever.
The framing of the question by Pew
has skewed the answer.
The word Capitalism is a pejorative word
created by Marxists to describe Freedom and Liberty.
The poll would have had a different outcome if they had
asked if they wanted Freedom or Liberty.
Pew research is a PROGRESSIVE polling operation.
Disclaimer: Opinions posted on Free Republic are those of the individual posters and do not necessarily represent the opinion of Free Republic or its management. All materials posted herein are protected by copyright law and the exemption for fair use of copyrighted works.


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While aimlessly perusing the messy discount-discount get-rid-of-it-or-we-will aisle at a local store, my four year old and I came across six-inch Star Trek figures. They had the Doctor (always a classic) , Mr. Sulu (smarty pants with surprise martial arts), and Mr. Checkov (the tech geek), good role models. He asked politely if they could be his treat for being so good- adding, One can be for my brother, and one for daddy too!. I had to laugh. They had been marked down to two dollars each.
Time out I thought. I dont want my kids to be random consumers, getting treats for no reason. We have special days every once and a while when we do something fun, or get a treat (eating out, etc). But what made this day special? Husband recalls his mother making cakes for strange (Australias nationalization day) or made up days (national camping day). My wonderful Aunt used to make baked Alaska for no particular reason than to make a day special. Couldnt we have a special treat day this day? If it is spaced out by weeks from another? January and February are good for that, weeks of cold with little celebration in them. I dithered within myself.
The thing that got me was how well designed the toys were. They were basically Barbies for boys. Finely articulated, with accessories and expressive faces. I have been greatly annoyed at the lack of male play figures in boy toys. Ken is a joke, and GI Joe has come to resemble Rambo. Not my idea of fun. Even my eldest has remarked on the row upon row of neon pink isles in the Wal-Tar-Ks, stuffed with every variety of dolls imaginable; in contrast to the rag tag shelves for boys. Finding these figures filled a niche. I caved.
The great thing is they are still playing with these figures, long after we got them. Like girls with their Barbies (except no hair to cut), the boys carry out scenarios with the figures. These scenarios dont always require guns, beating each other up, or other violence like we have come to expect from boys. Science fiction can be good that way- lots of monsters, menacing entities, good and bad robots, and problem solving that does not necessarily involve killing something (they have become big fans of the most recent Dr. Who episodes as well, the main character of which refuses to carry a weapon- thank you Netflix).
Husband and I have been fans of the Sci-Fi genre as long as we can remember (not without discretion though). We appreciate the late night humor of mid-century B films, the abysmal script dialogue of George Lucas, as well as the startling special effects of Avatar. We also read the genre, and there are many well-written and prescient works from the last fifty years. When it comes down to it, we enjoy the imaginative possibilities of science fiction to illuminate the condition of the human species, while often putting them in settings that are utterly surreal.
I would much rather my boys explore the endless planets of Sci-Fi in their imaginations, play out their anxieties and issues using the tools of this genre than some pink hued and shopping bag dominated version of Mean Girls. On the other hand, maybe that is just one of the worlds they choose to fly by, recognizing that they could stop and chat, but just dont have time to do so. Thereby making room for the Barbies (or Barberellas) in their reality, when the Barbies cant seem to make room for them.
Play on little guys, and let me fly the space ship sometimes too, ok?

subset: commoncrawl


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"Van Der Hagen Face Scrub is a fantastic, great smelling face wash for a deep clean. The micro exfoliating beads leave me feeling so fresh and clean all day, and since I have been using it, my face produces less grease throughout the day. I would highly recommend this for any male looking for a better face wash alternative!" –Andrea Venezia, Creative Director, Van Der Hagen Face Scrub, $12.50, Walgreens.com
"I absolutely love using the TOO FACED Sweethearts Perfect Flush Blush in Peach Beach. It's an amazing color and matches my skin perfectly. I feel like it's the perfect bronzer/blush for my skin, which is a lighter medium shade. The color gives me a beachy glow and isn't too dark or light — it's the perfect quick fix with a mascara in the morning!" –Kathryn Owen, Photo Editor, TOO FACED Too Faced Sweethearts Perfect Flush Blush – Peach Beach, $30, HSN.com
"Are you ready to get naked? But what's better than naked? You will love Urban Decay's new Naked3 eye shadow palette, $52, with 12 pretty nude-inspired shades from shimmery DUST to glimmery rosed-toned LIAR. Must hues have at least a hint of shine and will definitely add a sexy gleam to your eyes." — Bonnie Fuller, Editor of Chief, URBAN DECAY Naked3, $52, Sephora.com
"It's such a great eyeliner, easy to use and goes on so smooth!" –Chloe Melas, Senior Entertainment Reporter, Laura Geller Eye Calligraphy Liquid Liner Trio, $30, QVC.com
"My hair is curly and can often get frizzy if not properly "controlled." Mixed Chicks Hair Silk shine worked really well in taming my hair. I applied a few pumps to wet hair and let it air dry. My hair dried soft, frizz free and with plenty of shine! I have tried other glosses in the past and they don't prevent curl frizz like this one does! A+" — Naya Urena, Photo Editor, Mixed Chicks Gloss and Shining Hair Silk, $11.99, MixedChicks.com
"These are perfect for girls with sensitive skin who sometimes get home too late and are too tired to bring a sink and cleanser into the nightly routine. They're great for removing makeup and are cost-efficient enough that you can always have a stash in your nightstand!" –Amanda Michelle Steiner, Executive/Editorial Assistant, YES TO CARROTS FRAGRANCE FREE TOWELETTES, $5, YesToCarrots.com
"I have chocolate …often…and this Edward Marc Chocolatier dark chocolate heart filled with nonpareils is one of the most delicious things I've ever tasted. The chocolate melts in your mouth and definitely puts you in the mood for Valentine's Day. Plus, dark chocolate has anti-oxidents, so it's basically like getting a facial." –Dory Larrabee, Beauty Director, SMALL CHOCOLATE LOVER'S HEART, $10, EdwardMarc.com
"Not only is this the perfect last-minute birthday gift for your girlfriends, it's also filled with great liners of varying sizes (the big ones also make a fun, shiny shadow when you're short on time and makeup brushes). The mascara really pops, too!" –Shaunna Murphy, Senior Editor, tarte stop & stare smolderEYES 6-piece liner & lash set, $27, TarteCosmetics.com


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There's no accounting for these county checks.
Cash-strapped Nassau County, which was placed in state receivership this week because its hapless officials can't balance the budget, is being bled dry by its bloated $1.3 billion payroll, data show.
Roughly one-third of the county's 10,000 employees had yearly salaries north of $100,000 in 2010 and 24 were paid over $200,000, data compiled by the Manhattan Institute show.
The Nassau Interim Finance Authority, an oversight body formed in 2000 after the county required a massive state bailout, seized fiscal control of the county Wednesday after determining the $2.6 billion 2011 budget would be as much as $176 million in the red.
Many of the sweet salaries and overtime boosters are locked into place by union contracts until 2015, approved by then-County Executive Thomas Suozzi and the county legislature. The deals promise no layoffs until after this year, although Suozzi scored some givebacks.
NIFA, as the oversight board is known, has the ability to freeze wages and amend set-in-stone union contracts. But so far it has said that option is off the table, instead demanding that County Executive Edward Mangano overhaul the budget by Feb. 15.
But freezing runaway wages is exactly what is needed, according to Nassau County Comptroller George Maragos.
"It's disappointing that they didn't see fit to declare a fiscal emergency, so they could freeze salary raises for the year," said Maragos. "They would have — if they were sincere and serious."
Indeed, Mangano's rejected 2011 budget cut only 400 jobs.
Almost half of the proposed spending goes to employee payroll, benefits and pensions.
"And about 50 percent of our labor costs are benefits, particularly health benefits and pensions. If you compare that to private industry, their fringe benefits are typically 30 percent or less — so there's a big discrepancy there," said Maragos.
That $455 million in benefits packed into the proposed budget includes $130 million for health insurance for active employees and $126 million for retiree health insurance — an increase of more than 13 percent over the prior year.
Runaway salaries are fueled by union contracts that guarantee yearly raises of 3 percent and don't expire until 2015.
Maragos accused NIFA board members of not giving themselves the authority to freeze county wages in order "to force property-tax increases — to protect the union contracts. I think it's all political."
Mangano declined to comment yesterday but earlier disputed NIFA's findings and said he would sue.
NIFA Chairman Ronald Stack yesterday said no legal papers had been served and that Mangano should concentrate on revamping the budget.
"Then I'll know how serious they are," said Stack.
One area where NIFA did challenge Mangano was the $61 million in labor concessions that it said would not materialize this year.


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By Simon Abrams
Press Play Contributor
Don't call Life During Wartime a sequel. Though it does feature the same characters as writer/director Todd Solondz's Happiness, it is very much its own narrative. In fact, that's what Life During Wartime is about,. In it, Solondz explores the possibility of forgiveness and what it takes to lead a new life.
The personal baggage with which Solondz's sympathetic losers struggle is considerable. In Life During Wartime these psychological issues manifest themselves in the form of emotional scars, ghosts and willfully suppressed memories of the past. While Life During Wartime is Solondz's most satisfying provocation to date — mostly because of its connection to established characters in Happiness, it's unfair to think too much about how it relates to its predecessor. As strange as this may sound, knowing objectively what happened to these characters and why they act the way they do toward each other feels like cheating. So, viewers of this movie are encouraged to imitate Solondz's characters and try to look at and accept Life During Wartime on its own terms.
Life During Wartime follows a family of three sisters — Trish (Allison Janney), Helen (Ally Sheedy) and Joy (Shirley Henderson) — as they struggle with their respective life crises. While we witness and come to understand their individual issues, Life During Wartime is primarily a movie about couples. The dialogue between any two given individuals is the driving force of the film. Here, Solondz pays special attention to the way that people both misunderstand each other and misrepresent themselves when speaking in private.
Take the film's opening conversation between Joy (Henderson) and Allen (Michael Kenneth Williams). The stumbling way that Allen tries to prove his worth to Joy is only matched by the reluctant way Joy responds to him. Neither one knows what to talk about nor how to respond to what is important in the conversation. So they fixate on what's irrelevant.
For example, before he tells Joy that he's still calling strange women on the phone, Allen rattles off a list of criminal activities he's managed to stop doing. Joy nods her head to each activity in his laundry list out of sheer obligation. She's no longer convinced that she loves him anymore.
Allen: "No more cocaine."
Joy: "Uh huh."
Allen: "No more crack."
Joy: "Uh huh."
Allen: "No more crack cocaine."
The illusion of accord in this scene totally devolves once a third party, in this case a waitress (Roslyn Buff), enters the conversation. The waitress recognizes Allen's voice and then spits on him. She knows that Allen used to make lewd phone calls to women. She doesn't know if he is still calling women but she does know he used to and that's enough for her ("His voice is the same. Motherfucker."). So she spits on him. The waitress's self-righteous anger forces Joy, a painfully frail woman who works as a social worker counseling prisoners, to realize that with regard to her personal choices, she can't be as forgiving as she'd like to be. It's a blunt realization that she only achieves because a third party intervened, making this opening conversation the most explosive in Life During Wartime.
For this set of characters, miscommunication is all too common. It's a painfully regular consequence of their interactions but still, it hurts to have to watch hearsay or even uninformed speculation affect Solondz's pitiful characters. Joy's mother Mona (Renée Taylor) knows as little about Joy's relationship with Allen as does the waitress. But that doesn't stop Mona from insisting that she knows exactly who Allen is. "Wake up and smell the coffee," Mona shrewishly barks. "He's a perv through and through. He was born a perv and he'll die a perv." It's a ludicrous condemnation but one that will stick with Joy for the rest of the film (later, Joy paraphrases her mother when she condemns all men, in a conversation she has with her sister Trish; more on this later).
In fact, communication is so strained in this family that the simplest communication with or conjecture from a third party can cause all hell to breaks loose. For example, Trish's (Allison Janney) son Timmy (Dylan Riley Snyder) becomes traumatized when a classmate named Avi Fleischer informs him that his father Bill (Ciaran Hinds) is still alive. Timmy hates his mother for lying to him not because he wants to have a relationship with his father but because his friend told him that his father is a pedophile. According to Avi, that makes Bill a terrorist — of all things.
Timmy: "Avi Fleischer said that pedophiles are terrorists and they stick their penises into your… tushy."
Trish: "Avi Fleischer doesn't know what he's talking about."
Fleischer puts this idea in Timmy's head and because he doesn't know what it means and Trish doesn't know how to explain it, the issue at hand shifts from "Timmy's father is still alive" to a histrionic fear of inheriting "faggot"-y traits.
Trish: "I lied to you because I love you, because I didn't want any harm to come to you."
Timmy: "But what if I become one though? I don't wanna be a faggot. There's this kid in my language arts class, and he is SO gay."
Trish: "You won't. It's ok."
In a way, Timmy and Trish both needed Fleischer's ignorant comments to get them to address the fact that Bill is still alive.
Similarly, in the film's final scene, Timmy needs Mark, the son of a man Trish is dating, (Rich Pecci) to help him turn his father into a ghost by sheer willpower alone. Mark, a recluse that's weirdly obsessed with the idea that China will eventually take over the world, doesn't say anything explicitly to Timmy about Bill. But he does tell him that he needs to, "forgive and forget," as futile as that may be ("But it's like freedom and democracy. In the end, China will take over and none of this will matter."). We see Bill materialize out of nowhere and disappear just as quickly after Mark says this, as if Timmy conjured a vision of his father—just to make him disappear.
Once again, the intervention of an outside character that expedites the collapse of a relationship. The dissolution of Joy and Allen's dysfunctional relationship is pointedly juxtaposed with Trish's pathetic first date with Harvey (Michael Lerner), a divorcee that, unlike Joy, would rather forget than forgive his ex-wife. This endears him to Trish:
Harvey: "I can't talk about my sex life."
Trish: "I can't either."
Harvey: "There's just so much I don't understand."
Trish: "Sometimes it's better to not understand."
No one intervenes here, which is why Trish deludes herself into thinking that she and Harvey could be happy together. She tells herself that Harvey is family-oriented and while he's not handsome or well off in her eyes, he is pro-Israel, which for some reason matters a great deal to her.
Harvey and Trish connect because they both want to start afresh. This is an idea that initially appeals to Joy, too. Unfortunately for Joy, she wastes too much time listening to too many other people, all of whom try and fail to persuade her to leave Allen. Joy's friends' advice only winds up confusing her. She parrots her mother's ungenerous edict about how all men are no good but can't even finish repeating that obnoxious thought. This is an especially truthful scene. It's a reflection of the myriad times that we embarrass ourselves by repeating a phrase, a fact or an idea that we picked up while talking to somebody else. Just by repeating it to a third party in a new context, we, like Joy, discover that that phrase simply doesn't have the universality that we once thought it did.
Trish similarly repeats Harvey's line about how she can't afford to fail in her new relationship with him but who knows if that's true or not or if it's just something she's thinking in that moment? Maybe there's no difference. After all, later, after Harvey and Trish have sex, Trish no longer thinks being "family-oriented" is an important character trait. "Fuck family," she spits out exhaustedly. "Fuck the kids. I just don't care anymore." The fact that she tells Harvey that she didn't really meant what she said in the very next scene does not negate the fact that she appears sincere enough when she practically spits out, "Fuck family." The same is true about her earlier conversation with Joy. She's not insincere, just inconstant. "Love can really change a person," she murmurs but we know better. People don't change in Life During Wartime, just their circumstances, just their feelings.
Life During Wartime is now available on standard and blu-ray DVD.
Simon Abrams is a New York-based freelance arts critic. His film reviews and features have been featured in the Village Voice, Time Out New York, Slant Magazine, The L Magazine, New York Press and Time Out Chicago. He currently writes TV criticism for The Onion AV Club and is a contributing writer at the Comics Journal. His writings on film are collected at the blog, The Extended Cut
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June 2005
By Jeff Fisher, Engineer of Creative Identity, Jeff Fisher LogoMotives
In initiating this series I took time to sort through box after box of old projects in my basement and look back on nearly thirty years of income producing design. While in high school and college I did get paid for art, illustration and design work. However, I don't think I would have considered myself a professional until I was literally working as the graphic designer for the advertising department of my college's daily newspaper in the late 1970's.
From as early as grade school I was interested in art and design. As a junior high school entrepreneur I created ink line drawings of historic structures in my hometown as gifts for family friends and to sell at the annual local art fair. The drawings were printed on note cards and marketed, in packets of ten, at local gift shops and galleries under the name "Salem Scenes." With the first packaging project of a 15-year-old boy came the creation of my first logo. Although the name reads more as "Scenes Salem" due to the text treatment, I do see early hints of the pleasure I still get today from combining letterforms and graphic elements in a somewhat clever manner to produce the identity for a business. My earliest logo effort combined an illustration executed with a rapidiograph pen and very rough letters made from x-acto knife cut graphic border tape.
As I moved into high school work on the student newspaper, and independent study in art classes, I learned that "commercial art" was a potentially viable field of endeavor. While a senior in high school, at the Salem Public Library , I came across the book Graphic Design by Milton Glaser. Glaser's fun illustrations, lettering styles, publication designs and logo for the Russian Tea Room captivated me and gave a name to what I now wanted to be when I grew up. The humor and playfulness in his work seemed to tie into my own personality.
Learning more about the work of Milton Glaser introduced me to Pushpin Studios and the logo images of his business partner Seymour Chwast. I soon learned that even as a high school kid I could get a free subscription to a design industry publication called "U&lc" (now online) which featured the work of Glaser, Chwast and some many other designers I would come to admire and idolize. With each issues my eyes were opened to the work of U&lc editor/designer Herb Lubalin, Saul Bass, Lou Dorfsman, Mo Lebowitz and so many more incredible designers, artists and typographers. Additional information and examples of the work of many of these designers can be found on the AIGA site in the section on AIGA Medalists. Soaking up everything in the publication, I learned to look at design, typography, packaging, signage, logos, art and culture with a different eye. The recent book U&lc: Influencing Design and Typography edited by John D. Berry, brought back many memories of the excitement I would experience in receiving the tabloid in the mail when little about graphic design was being taught in my high school.
Off to college I went and, while learning the basic principles of design in class, a great deal of time was spent in the art library learning about the design work of individuals such as Paul Rand, Ivan Chermayeff & Tom Geismar, Walter Landor, Primo Angeli and other industry leaders. My schooling took a bit of a detour from the Fine Arts department to the advertising and publication courses of the Journalism School. From my professor Roy Paul Nelson, who wrote the books The Design of Advertising and Publication Design, I learned a great deal about the principles of design and typography.
Much of my new knowledge was put to the test as the ad designer for the daily school newspaper. I didn't get a great deal of exposure to logo design but I did get to create a few less than stellar, quick and dirty, identities for local businesses – mostly hand drawn and using hand-lettering. Still, I was getting hooked on this design thing. In my first logo design competition, for the University's Chinese Student Association, my logo design - consisting of C,S and A letterforms creating a stylized dragon – was proclaimed the winner. Soon afterwards I got my first logo design commission when I was asked to design a new logo for the Eugene/University Music Association. In those early creations – all done with ink on illustration board - I was already establishing something of a style and exhibiting that I might actually be learning something from my studies and personal research.
Once I completed school, and moved on to Portland in 1980, I continued my self-education when it came to logo design. I began my collection of identity and logo design books for inspiration and individual study. I able to afford subscriptions at the time but the local library provided a resource for reading Communication Arts, Print and other industry magazines for continuing education and examples of great logo work. A few logo projects did come my way as I began my career as an independent designer. When starting any identity design effort, four major pieces of advice from college always stuck in my mind:
• The old K.I.S.S. principle of "Keep It Simple, Stupid."
• Make sure that sucker works well in black and white before even considering colors.
• Design the image to clearly convey the desired message in all sizes.
• When designing the graphic, give serious consideration to all possible uses of the logo by the client, from print to embroidery to signage.
In digging through boxes and files of old projects I did find most of my first professional logo designs. Although the images are nearly 25 years old, or older, they do seem to still work as well today as when they were originally introduced. Some do exhibit the telltale signs of the boldness and geometric shapes used in many identities of the 1970's and 1980's. Unfortunately, the logos are no longer used to represent the entities in question or the companies represented are no longer in business.
The image of a bottle of India ink within a circle was my first attempt at a logo for myself in 1979. I decided to use the business name artworks, ink to represent my design and fine art work. The top portion of the graphic also formed the letter "A." I used the image, rubberstamped on all my business materials for a couple of years before I was encouraged to introduce my design work with my given name. My logo for the accounting firm Kohnen Larson was one of my first paid logo design projects after college. The abstract "K" and "L" served the firm well for many years. The assignment from the owner of Al Bauer Advertising was to also design an abstract image to represent his firm. In fact, at one time he considered using one of his daughter's modern paintings as the image for his firm. When shown the design he ended up selecting he said it was "perfect" and represented the fact that in advertising "everything is all neat and orderly, and then something goes out of whack." Two weeks later Bauer called to say he had just realized the logo was actually abstract lower case "a" and "b" letterforms. The successful design was blind embossed on all stationery items for the company. The design for the Robinwood Shopping Center, consisting of a tree image created from flying birds, identified the mall in signage and advertising for many years.
The logo for the Unity National Insurance Company was meant to convey a solid image for a new division of an existing insurance client's business. The interlocking shapes were usually only seen as a "U" and a "N" after a second look by the viewer. Being commissioned to create a logo for the La Patisserie initiated an on-going interest in identity design for restaurants and the hospitality industry. One of the first espresso cafes in Portland, La Patisserie was recognizable by its unique logo design until it closed in 2002 after 20 years in operation. The Tel-Med icon, consisting of a stylized human form and telephone keypad, represented the local medical information hotline for a number of years. I was always told that the simplicity of the design gave it the longevity. Combined "S" and "N" letterforms created the logo for Samuels & Nudelman Public Relations. The logo provided the firm a strong, bold identity as it entered the local market.
It was interesting for me to revisit these designs, in some cases over 25 years after their creation, and examine the strength of some of my early design efforts. Using hand-drawn imagery, pressure-sensitive type, adhesive-backed art films, and typography produced by a typesetter, I got a good start to what would become my passion in this industry. It would be over 10 years before the first computer, a Macintosh IIsi, appeared on my desk. By that time I had been working as a designer for nearly 13 years. In 1995 I would make the decision to concentrate on logo design.
A variety of logo designers have continued to inspire me over the last 25 years. David Lance Goines' poster and logo designs have always fascinated me. The work of Michael Schwab has always forced me to push myself a bit harder in my own efforts. The elegant designs of Louise Fili should inspire all designers. I am always inspired by the work of the Willoughby Design Group, Sayles Graphic Design, Hornall Anderson Design Works, Sandstrom Design – Steve was employed as the editorial cartoonist at the student newspaper at the same time I was on the staff back in college – and so many more. I hope to bring you examples of their work, and their perspectives on identity design, in future Logo Notions columns.
This was the initial Logo Notions column on the site Creative Latitude. Check out additional articles on the topic of identity design at Logo Notions.
© 2007 Jeff Fisher LogoMotives


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Friendswood teen fends off home burglar in shower
Friendswood police are looking for a brazen daytime burglar who climbed into the shower with a 15-year-old girl he found at home alone.
The teen, however, fought back, scaring off the man who had kicked in the front door of the home in the 16100 block of Bougainvilla Lane about 10:40 a.m. Tuesday. He left without taking anything.
While the burglar remains at large, police have stepped up patrols in the area, said Officer Lisa Price, spokeswoman for the Friendswood Police Department.
Although the story almost defies belief, Price said officers didn't doubt the 15-year-old's account.
"She was very believable, and there was evidence at the scene," she said.
A dog from the department's K-9 unit tracked the intruder's scent about two block to the intersection of Mountain Timber and Leigh Canyon in the Heritage Park subdivision.
An important element of the case, Price said, is that the young woman who was home sick fought back, even though the intruder said he had a gun.
"She struggled with him and just probably scared him," Price said. "She was going to be more than he could handle or wanted to. I think his motive is more theft."
Fighting back is part of the instruction the Friendswood Police Department offers in its periodic rape agression defense training for females age 12 and older, Price said.
"One of the aspects of the training is to always try to fight back, try to get away from the aggressor," she said.
Two similar daytime burglaries have occurred in the past couple weeks, Price said.
On about Feb. 16, a man walked in the back door of a house in the 5400 block of Apple Blossom while a woman was at home. When he realized someone was there he kept walking and went out the front door without taking anything, Price said.
His description was similar to that given by the teen in the Bougainvilla Lane incident - a young man about 19 or 20 years old, 5-foot-11 to 6 feet tall and close-cropped hair with stubble on his chin.
In Tuesday's incident, the girl said the man had a deep voice.
On Feb 18, a woman in the 1200 block of Arbre told police she was upstairs and was expecting somebody to visit so she left the back door open.
"She heard the door open and thought it was the (expected) person, but it wasn't," Price said. "Whoever came in left with her purse, which was found in a park in the Heritage Park subdivision."
See HISD bonuses: For about 7,200 teachers
Shutting Bush runways?: Spending cut worries
Rape as revenge: Attack was to get even with family


text: I'm having a problem with saving GBC games. It does not save with in-game save, nor the 'auto save' feature. Is there a way to load 'auto saved' file anyway? I literally tried every button and combination yet I don't think there's loading function. Just want to know if I am the only one with saving issues with lameboy DS.


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PlayStation 4 is finally here and after Sony's announcement in mid-February, we now know a lot more about how the future of PS4 is shaping up. Although we've yet to see the final design of the console itself we know the PS4 will have PC based architecture, a new controller, a PS4 Eye camera, cloud based game sampling and a whole heap of other details. Be sure to check out our PlayStation 4 hub page for full details and all the very latest.
My Goal:
-Buy the PS4 at release
-Buy every release game
-Play for my entire Christmas break :)
C'mon E3, just a little closer...
The Witcher, Infamous. Have hopes for Destiny to turn out to be the type of shooter I've been waiting for. Planetside 2 if it comes to PS4, Maybe Killzone, and Driveclub. Need to hear more about Watchdogs story, because while the gameplay looks cool, I'm a little weary when it comes to open world games, and the story, pacing and most importantly DESIGN(not too much empty, boring maps, not too much tedium)
Hopefully Sony won't starve its fans with an extremely poor line up of games (like Nintendo with the Wii U)
Motorola RAZR i


text: SlateTrending News ChannelVideos Highlighting The Latest Search Trends.Feb. 22 2013 3:31 PM Your Visual Guide To Winning That Oscar Pool (VIDEO) By Slate Video Staff Oscar statuettes are lined up in a local souvenir shop 10 days prior to this year's upcoming Oscars, the 85th Academy Awards, in Hollywood, California, on February 14, 2013. The ceremony is scheduled for February 24, 2013. AFP PHOTO / JOE KLAMAR (Photo credit should read JOE KLAMAR/AFP/Getty Images) Photo by JOE KLAMAR/AFP/Getty Images Read the Slate culture team's Oscar picks here. Load Comments Powered by Livefyre


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Posted by Jay Livingston
Can women be brilliant? Apparently, academics don't think so, at least not according to some research reported in The Chronicle (here).
New research has found that women tend to be underrepresented in disciplines whose practitioners think innate talent or "brilliance" is required to succeed.Women might be successful in those fields, but while the top men in those fields will be seen as having some ineffable je ne sais quoi – in the words of the survey questionnaire, "a special aptitude that just can't be taught" – women achieve their place the old fashioned way– hard work. The Chronicle interviewed Sarah-Jane Leslie, one of the authors of the study.
|It's easy to find portrayals of men with a "special spark of innate, unschooled genius," like various incarnations of Sherlock Holmes or television's House, M.D. But accomplished and smart women—think Hermione Granger in the Harry Potter series—are typically depicted as simply hard-working.
That reminded me immediately of a similar issue in sports, where the key variable is not gender but race. (See this HuffPo piece.) The observation has become almost a cliche. Blacks are perceived to have natural talent while Whites achieve a place on the All-Star team through diligence and perseverance. Or to paraphrase Ms. Leslie and The Chronicle:
|It's easy to find portrayals of Blacks with a "special spark of innate, unschooled genius," like Michael Jackson or Magic (note that name) Johnson. But accomplished Whites – Larry Bird or Steve Nash – are typically depicted as simply hard-working.


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For immediate media enquiries please contact:
Media Office
02 8775 5527
SUEZ has a network of over 100 sites and facilities. Find your nearest SUEZ site using our Interactive Map.
*Mandatory fields.
SUEZ environnement says additional rigorous testing and studies have confirmed that the Allawuna Farm Landfill Project does not pose a threat to drinking water supplies.
SUEZ environnement State General Manager Nial Stock said ongoing results from 23 groundwater monitoring bores at the Allawuna site had reinforced the view of the Department of Water that the project will not impact the Mundaring Weir drinking water catchment.
"The landfill will be located in the upper reaches of the regional water catchment, away from major water bodies and the Avon River," Mr Stock said.
"Testing overseen by respected environmental consultants Golder Associates has also confirmed that the groundwater in the vicinity of the proposed site is salty, likely as a result of dryland salinity."
Mr Stock said protection and separation of all water sources had been enhanced by recent design changes including lifting the base of the landfill, to increase the distance from any groundwater sources. The facility will also include a continuous synthetic liner system above a low permeability protective layer of clay under the landfill.
The revised proposal for Allawuna Farm also reduces the landfill footprint from 52 to 36 hectares, with the total volume of waste received at the facility falling from 10.1 million tonnes to 4.6 million tonnes. The forecast "life" of the facility will also reduce from approximately 37 to approximately 20 years.
Mr Stock said in addition to rigorous environmental safeguards, SUEZ environnement was continuing to establish a framework to deliver economic benefits to York and the region when the project was able to proceed.
"We have now entered into a heads of agreement with York headquartered company, Avon Waste, to provide management services at the Allawuna facility and it is estimated the landfill will generate in excess of $1 million in new wages into the district," he said.
It has been estimated the Allawuna Farm Landfill will provide 22 full time and 3 part time jobs when operational.


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AFTER FIVE YEARS at this job, I still find myself perplexed by the utter inability of communications companies to communicate. Vast corporations that pride themselves on their ability to reach the world with their movies and TV shows turn to Jell-O when it comes to telling their own stories. To see the results, simply examine the news stories of the past two weeks. First we saw Disney disgorging itself of Jeffrey Katzenberg in a manner designed to ignite maximum anger and media noise. Then came NBC president Bob Wright categorically denying that his network would be sold to Time Warner, only to be contradicted a day later by the usual "high network sources" assuring us that negotiations were taking place after all. These "sources" put Warners' Bob Daly in a corner. He observed that while NBC was in play, therecould be several potential buyers — not just Time Warner. Hence he decided it would be prudent to reassure his studio and his partners that Warners was proceeding with plans for its fifth network. Capping all this was the Leak of the Week — Jeff Sagansky's appointment to a top post at Sony. While Sony ultimately acknowledged that it had signed the former CBS exec, the company was unwilling to spell out his duties, thus encouraging the media to put an invidious spin on the story. All of which raises several interesting questions: Why do companies such as these consistently manifest a deer-in-the-headlights syndrome when faced with important announcements? Have these corporations become so vast that events simply sweep over them, leaving their CEOs squirming in the spotlight? What further exacerbates the situation is the total absence of "good will" between the companies and the press. It was not long ago that a cordial relationship existed between reporters and top showbiz figures. The press posed its questions; responsible execs readily responded, either on the record or off.
TODAY MORE AND MORE COMPANIES are simply incommunicado. At Warners, production execs are sternly forbidden to talk to reporters. One senior executive was actually reprimanded because his name appeared in a Variety story in the context of an existing project, even though he hadn't volunteered information. At 20th Century Fox, which has a particularly genialgroup of production executives, the iron curtain was recently slammed down by Peter Chernin. All questions are shunted off to the studio's feisty PR chief Andrea Jaffe (who departed last week). When a Daily Variety reporter attempted to contact Chernin to ascertain that this indeed represented his policy, her calls went unanswered — Chernin declined comment as to why he would decline to comment. Some senior bureaucrats may feel this taciturnity manifests true corporate discipline, but let me enumerate some unfortunate side-effects: n Stories appear in the press that are ill-informed or premature. n The vacuum of reliable information is exploited by competitors to put forth a campaign of disinformation. n Stockholders as well as employees become angry because they feel misled. n Reporters, impatient with the absence of cooperation, develop a hostility that gives rise to what's known in Washington these days as "attitude writing."
THE CHIEF OF ONE STUDIO ADMITTED to me, "There's no point in our trying to announce new film projects anymore — they're all leaked by agents to the press before we can get them cleared." To be sure, some showbiz executives are highlyskilled at handling their press relations. Barry Diller, for one, has always had smarts when it came to publicity. "Barry understands that the news process is something of a trade-off," says the entertainment writer for a major newspaper. "He gives something and he gets something." Ironically, Jeffrey Katzenberg, late of Disney, also understood the dynamics of a trade-off. He was a willing source of insights about the entertainment industry, but clearly had his own agenda. But how about everyone else? Over the past couple of weeks I've made a point of discussing this question with the heads of several entertainment companies. One said he would think it over. Another said he would discuss it with his top press people. Another said he had no comment. One person I decided not to ask was Rupert Murdoch, because I knew what his answer would be. "Why should I worry about the press — I own it," Rupert would reply with his customary directness. That's a tough position to argue with.


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In the small firm, you very often have a possibility to integrate in reality the preventive quality activities (e.g. making target ... The quality management system can be co-ordinated, maintained and audited by a quality department (if any) , a staff person etc. ... The quality management systems are usually documented in a quality manual, which is written as a means - a tool ... pharmaceutical and food industries - that less than 2% of firms are subject to external quality system specifications, anbsp;...
|Annual Quality Congress Transactions
|- 1981
You must register with us as either a Registered User before you can Download this Book. You'll be greeted by a simple sign-up page.
Once you have finished the sign-up process, you will be redirected to your download Book page.How it works:


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Training is tailored to your individual requirements. Everyone has different strengths and learn at differing speeds, which is why we only offer one-to-one training rather than group seminars. Once you have gained experience you will be invited to one of our small group training sessions where learning with others can be more productive.
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Join us today if you want to move your trading forward and truly understand how to trade the markets. Click here to view all our plans.


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THE quiet of the stable area beside barn 12 at Belmont Park shortly before 3 P.M. yesterday was broken by the clop of Bayakoa as she was led out of her stall by her groom, Ricardo Contreras.
Despite the sun that shone through the dappled rust-and-gold leafed maple trees, there was still a chill in the air.
"Do you feel an impending drama?" someone asked the horse's owner, Frank Whitham, as he joined the trainer, Ron McAnally, alongside the blue-blanketed mare. "I mean, with the older woman trying to fend off the challenge of the younger lady."
"Sure," he said, smiling. "How can you help it?"
The fifth race at the Breeders' Cup, the $1 million, 1 1/8-mile Distaff, had been billed as probably the best race of one of best race days of the year. Bayakoa, a 6-year-old bay mare and the defending champion in this race and winner of five straight Grade I races, versus Go for Wand, a spectacular 3-year-old filly, winner of six straight Grade I races.
This appeared to be a virtual match race, despite the five other horses, for Bayakoa (called, by Joe Hirsch of The Daily Racing Form, the Dowager Queen) and Go for Wand (the Princess Royal) were clearly the class of the field. Added to the excitement was the fact that these two fine race horses were meeting for the first time.Continue reading the main story
Already in the paddock being saddled, as Bayakoa drew closer, was her rival, Go for Wand. She was being trained by William Badgett Jr., who had said that getting a horse like Go for Wand to train was "my big break." Badgett, 38 years old, had worked for years as an assistant to Woody Stephens, and had been out on his own for five years, and, surely, had hit pay dirt.
McAnally, meanwhile, at 58, 20 years Badgett's senior, had been around quite a bit, and had saddled some superb horses, including John Henry, who raced through his ninth year, even being named Horse of the Year in that last racing campaign.
McAnally was asked his secret for the longevity of these two horses in particular.
"Hey, I wanna know, too," said Whitman, brushing a gray lock from his forehead, "I kinda lost a step, too."
"I don't know," said McAnally, "I'd say they were both kind of once-in-a-lifetime horses. And Bayakoa, she seems to just get better with age."
So, it seemed, did Go for Wand. She was the Breeders' Cup Juvenile Champ, for 2-year-old fillies, last year, and kept adding to that triumph this season. "I have a good feeling about our situation," Bladgett said before the race. "Our filly's as good right now as we could ask."
Go for Wand went off as the 3-5 favorite, while Bayakoa was just a little less liked by the betting public, going off at even money.
They broke from the starting gate, under a nearly cloudless blue sky, and very quickly, as expected, Bayakoa took the lead. At the quarter-mile pole, Go for Wand moved a head ahead and kept the lead, at nearly the same short distance at the half-mile pole, and still again at the far turn.
It was head and head, the graceful old lady on the outside, and the lovely and game pretender to her crown on the rail.
It was a terrific duel.
There were shouts and urgings from the crowd, the horseplayers and the horse lovers, as the thoroughbreds, still side by side, kicked up the turf at the head of the stretch. The jockeys, Lafitte Pincay Jr., aboard Bayakoa, and Randy Romero, in the stirrups atop Go for Wand, whips out, were battling.
They were at the one-sixteenth pole, just strides from the finish line, when suddenly there was a great gasp from the crowd. "Oh, my God!" shouted a woman a white suit and white hat in the grandstands. "Oh, my God!"
Go for Wand had taken a spill, and rolled nearly straight forward. The jockey, Romero, had been thrown to the left, almost under the white guard rail. As the rest of the herd thundered past, he lay, in his yellow riding silks, in a motionless heap, reminiscent of the cover of a mystery novel.
Within moments, an ambulance, with red lights flashing on the hood, shot onto the track and was beside the fallen jockey.
Go for Wand, after having gotten up, had seemed to limp on three legs and had then fallen, and fallen again.
Swiftly, a van was on the track, a blue sheet was placed so that the crowd could not see the stricken horse.
There was a stirring in the crowd. "What a tragedy," someone said. The woman in the white suit and white hat held her hand to her mouth, now unable to speak, as she watched the developments unfold on the dark-brown race track below.
Soon Romero was being taken away on a stretcher, and Go for Wand was hoisted into the van. Soon, both vehicles had disappeared from view.
Within minutes, Badgett, in green jacket, and his bride, Rosemary, in a white fall coat, were hurrying back to the stable. She was crying. His eyes were red. They had been married on the 6th of this month, and had planned a honeymoon for after this race.
A crowd of reporters followed them, but were stopped by a security guard with the nametag R. Campbell on his coat. Badgett had said something to the cop.
"He said he wants to be alone for about 15 minutes," said Campbell. "He said it was the best horse he ever had in his life. He said he can't understand it. He said he finally had the horse of his dreams, and now this. I knew Bill from when we played softball." They are from Mineola, L.I. "And I knew him from when he began as a trainer."
Somewhere else, McAnally, with tears in his eyes, said he could take little satisfaction in a victory under these circumstances.
And Romero was soon being interviewed. He was all right. "Nothing was bothering her," he said of Go for Wand. "She just took a bad step and snapped her leg off."
He said he'd still be riding his mount, Izvestia, in the ninth and final race of the day.
About an hour after the race, a "Media Advisory" was distributed in the press box, and detailed the "ruptured ligaments in the right ankle" of Go for Wand.
"Because of the severity of the injury," it concluded, "Go for Wand was put down."Continue reading the main story


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Supplier: M21356
1. How long has the business been operating and how did it start?
Our company has been in business for over 23 years, since 1989. Our founders are highly educated individuals from Sweden, Europe that are now living in Miami Beach, Florida. We are very fair, honest, kind, hardworking people always trying to improve ourselves and our company.
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Our mission is to offer accommodation with the best location, convenience, comfort of home, and value that can create nice memories for a lifetime.
3. What does your company specialize in?
We are happy to offer you accommodation for vacation rentals.
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Our founders are highly educated individuals from Sweden, Europe that are now living in Miami Beach, Florida, America.
5. What is your most popular travel package and why?
All of our travel packages are popular, since they have the best location, convenience and value.
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Special thanx to Gary for typin this all up!
RADICAL FOLKA conversation with Ani Difranco and Utah Phillips, kindred spirits and collaborators on a daring new album By Jeffrey Pepper Rodgers
"People my age find folk music very uncool--it's just terribly, terribly uncool," says Ani DiFranco. With her cropped, green hair, boy's hockey jersey, collarbone tattoo, and spiked leather jacket with a sticker on the back that says "Mean People Suck," DiFranco hardly looks like most people's idea of a folkie--and her edgy, often frenetic music doesn't sound much like most people's idea of folk, either. So what is she doing here in Toronto at the Folk Alliance conference, an annual gathering of the faithful presided over by such archetypal folksingers as Pete Seeger? DiFranco is here because she has her own definition of the f word. "Folk music is not an acoustic guitar--that's not where the heart of it is," she says. "I use the word 'folk' in reference to punk music and rap music. It's an attitude, it's an awareness of one's heritage, and it's a community. It's subcorporate music that gives voice to different communities and their struggle against authority." The fact that DiFranco defines folk by its spirit and intent rather than its sound and dress code goes a long way toward explaining her connection with Utah Phillips, the venerable singer and storyteller who sits next to her in this hotel ballroom. From his fedora and snow-white beard to his repertoire of labor songs and populist anthems, Phillips is as unambiguously a folksinger as he could be--and as stylistically distant from DiFranco as he could be. But appearances are deceiving. Just a few hours ago, DiFranco helped present Phillips with Folk Alliance's Lifetime Achievement Award, citing his gift for entwining humor, entertainment, and politics as an inspiration for her own music. This is only one of the many traits and passions they share; their connection is so strong, in fact, that he's the first outside artist DiFranco has brought onto the roster of her own Righteous Babe Records label. DiFranco's and Phillips' 1996 album for Righteous Babe, 'The Past Didn't Go Anywhere,' is much more than a unique collaboration between a folk elder and a rising young star; it's a bold and ambitious musical statement, brilliantly executed. DiFranco sifted through 100 hours of Phillips' live tapes and picked a handful of her favorite between-song raps--the ones that, she says, "made me fall off my chair laughing or just go off in the corner and cry and mull things over a while." She then took those stories--chronicling Phillips' desertion from the army during the Korean War, the mentors who taught him about politics and life, and various philosophical observations from his years on the road and rail--and holed up in an Austin studio to layer music tracks beneath them. Primarily using light funk and hip-hop rhythms, with dashes of guitar and other instruments. DiFranco created a completely different musical context for Phillips' words while preserving their soul--making a sort of end run around people's stereotypes of folk music. "It was a very calculated move on my part," says DiFranco, "because I can see people around me, people my age, who haven't had the experience I have of being thrown into folk festivals half their lives and coming into contact with all this crazy, subcorporate music. I think that they'd be people who'd see Utah and think, 'What is this? He looks like Santa Claus, he's sitting on a stool with an acoustic guitar, and he's singing, what, labor songs? This has nothing to do with me. I don't think so. No--see ya.' They would never find out that what he has to say *does* have something to do with them. So [the album] was taking Utah and putting him into a different context that somebody my age *does* have a vocabulary for, and then getting them to hear what he has to say." For his part, Phillips confesses that when DiFranco originally proposed the project, he had no idea what the result might be like. So, did the radically new medium for his message come as a shock? "I thought it was marvelous," Phillips says. "If I were to pick stories that I wanted to persist if I weren't around, those are the ones I would pick. Not only that, but she has put them in the right order. That's real judgement, almost instinctive. I have old folk-music friends, older people, who say, 'Gee, I wish your voice was louder and the music was softer.' I just say, 'Hey, this wasn't made for you.'" He adds with a laugh, "Sometimes it's hard for people to believe that there's something in the world that wasn't made for them." The stories collected on 'The Past Didn't Go Anywhere' are amazing creations--folksy and literary at the same time, alternatively playful, piercing, mischievous, and nostalgic. A true wordsmith, Phillips is always up to more than he lets on. "I always believed that what happened between the songs was as important as the songs," he says. "I put a lot of time into the stories, so that people would laugh and we would share absurdities together; and I would create this little, narrow window where I could deal with the labor movement, where I could deal with pacifism, whatever it was that I was there to do--my agenda--without being ghettoized as a political performer. "You talked to me in one of your letters about it," he says to DiFranco. "You said, 'I understand the use of humor in performance. You've got to get people laughing so their throats open up wide enough to be able to swallow something bigger.' That struck me. First of all, it's funny, and it's a very true thing to say." The process by which DiFranco married Phillips' words with music was entirely improvisational. "I would start with the story," she says, "I would find the BPM [beats per minute] of the story and try to negotiate a rhythm track to it, and then I would usually start with the bass. I've got an old Fender P. [Precision] bass. I would come up with a bass line and then build on top of that." From story to story, DiFranco's music varies to match the mood. For the lighthearted satire of "Nevada City, California," she set up Phillips' punch lines with stop-and-start funk rhythms, as in an old 'Laugh-In' sketch. In the elegiac "Half a Ghost Town," the music pares down to a slow, sad melody played on a tenor guitar. One of the most haunting moments comes in "Korea," when the sound of Phillips tuning his guitar--one of the few appearances of his guitar on the record--becomes a ghostly melody floating above the looping beat. "The sound of him tuning the guitar became this kind of trance to me," says DiFranco. "I sampled that bit of tuning and sort of made the melodic structure around that." _______________ It's impossible to listen to the words of Utah Phillips without conjuring an image of him on stage: the raconteur and folk historian, singing and strumming and spinning yarns for an audience. The tradition of folk music he carries on has a clear public purpose--it's really inconceivable without an audience. This would seem to be a major difference between him and DiFranco, who was born into the singer-songwriter age, which values introspection over social commentary and writing your own songs over learning any tradition. But here, again, appearances are deceiving. "I don't think with either one of us it's either/or," says Phillips of the contrast between outward-looking and inward-looking music. "It flows back and forth as a pulse, as a sensibility. Woody Guthrie wrote, 'When I was walking that endless highway'--there's a lot of 'I' in Woody. Even when he was writing about someone else, he would still transpose it into the first person, as he took these journeys into himself. I can't fault that and say that's primarily ego-driven. What I think you're talking about is music which *is* ego-driven, what you would call journal-entry songwriting. That's not what Ani does, the way that I hear it. I know that's not what I do, [which is to] let people know that I'm alive and present, and this is how I'm authentically perceiving and thinking, but to expand it to the point where it can take in a lot of what other people are experiencing." "That whole introspective singer-songwriter thing has been kind of foisted on me," DiFranco adds. "Some people perceive what I do in that way because I write songs through my own experience. But whenever people say, 'Well, your work is very confessional,' I say, 'It's no confessional. I'm not confessing anything. I haven't sinned. These are not my secrets. This is just my life; this is the stuff I've seen, the stuff I did, and what I thought about.' There are different ways of speaking your political perceptions, and it may be [talking about] an event that occurred in your life or an event that occurred in your town... but each is a valid path to a certain realization. I think that what we both do is very much about our small, little epiphanies along the way, moments of connection between things." The introspective tag, DiFranco feels, is often mistakenly applied to the work of women songwriters. "Women have not been all that instrumental in making and running governments and business," she says, "and when we sing our labor songs, it's like, we're at home. In a historical perspective, women's politics exist more in terms of human interrelationships, which is what we've been assigned to take care of in society. People look at a chick singing about her abortion or her relationships and think, 'Oh, that's hyperconfessional, personal,' but to me it's all political. It's all related." To DiFranco and Phillips, performing music is all about making that connection between the individual and the group. "When Utah's singing a labor song," she says, "the people who work in that town are coming up and saying, 'Yeah, me too. I can't believe you said that.'" "Yeah, you get that too," Phillips responds. "Absolutely," says DiFranco. "Except for me, I'm up there singing my songs, and who comes up? It's young women in droves: 'Yeah, I can't believe you said that.' It's the same thing: giving voice to different groups of people." _______________ Utah Phillips takes his role as a community voice very seriously. In fact, he's made a life's work of learning music and stories from people, starting back in the early '50s with a job on a road crew and some songs by Jimmie Rodgers and Hank Snow. "The guys on the road crew were the ones who taught me to play the guitar and sing those songs," he says. "But it turned out that the songs weren't the important part--the people who taught them to me were the important part. I can't remember those songs, but I can remember those people." When DiFranco was first delving into music as a kid in the '70s, the typical way to learn was through recordings, copping songs and licks from pop LPs. Was this her experience? Not at all, she says. "I definitely learned how to play guitar from people. My parents didn't have a record player, so my whole experience with music was made by people in the room for most of my formative years. Luckily for me, there were always a lot of people around playing guitar, and so [music] has always been something you *did*, not something you *bought*. I didn't idolize rock stars; I just had friends who were teaching me songs. Perhaps because of her record-free childhood, DiFranco also never adopted the common belief that recording is the most important work of a professional musician, and that performing is a secondary consideration. Phillips notes, "Too many young people are getting that backwards, that somehow a recording history is going to make a living for you. It's not. What would Bob Feldman from Red House Records tell you, or Ken [Irwin] from Rounder? They'd say, 'For us to put out a record of you, you've got to be doing at least 100 dates a year. Otherwise it's not worth it." DiFranco says, "Kids come up to me, and they want advice about what's the magic formula to get the national tours and the distribution. You can see they want, want, want all these things. And I think, 'Maybe you should just try to get a *gig*. And then maybe you should do that every weekend for ten years, and then see if you're not on a haphazard national tour that grew organically and if you don't have some recordings that you made along the way that are distributed through the people you encountered along the way." "What's the work of a poet?" Phillips adds. "To write poetry. What's the work of an artist? To paint. What's the work of a singer? To sing. I tell them, 'Fasten totally on the work. Give yourself completely to the work, till you can do it as well as it can be done, and then people will come looking for you. But forget the rest of it. That will happen if you're completely fixed on the work.'" There's a rich irony behind this whole discussion of recording: Difranco's and Phillips' collaboration would never have happened without it. 'The Past Didn't Go Anywhere' is a studio-created illusion, a technological bridge between far-distant musical styles. Only once have they tried to perform together, on the public-radio show E-Town, and they have spent much less time together than a spin of their record might suggest. Plus, individually, they *are* recording artists; DiFranco in particular has been making records at a breakneck pace--ten solo releases in seven years. If, as she suggests, the fixation on recordings and product is one of the main characteristics of commerical music that distinguish it from folk music like hers and Phillips', how do these two deal in the record business without losing touch with the wellsprings of their music? The answer is unanimous: by maintaining a fiercely independent stance vis-a-vis the corporate music business. That's a serious understatement when referring to a man who is fond of saying things like, "Capitalism is a criminal conspiracy to divest those who do the work of the wealth that they create," and a woman who sings (no, *screams*), "I'm the million you never made" and has become the poster child for DIY musicians. Still, I decide to play devil's advocate and ask them: couldn't you deliver the same messages that you put out there as a performer now while being part of the corporate music world? "Not a chance," says Phillips. "It would destroy your soul. I would rather sleep under a railroad bridge than work for these assholes. No, sir, you've got to own the means of production. You've got to own what you do. "If you create it, you're not going to wait around for some big company to sign you to a label. [To DiFranco] You created a label. Kate Wolf did that when she created Owl Records. She didn't wait around to be invited to a folk festival, she created one--the Sonoma Folk Festival. You don't wait around for these people to acknowledge you. Meanwhile, sure, you make less, you learn to live cheap, you really learn to find your wants and needs in a sensible fashion. It's like an indentured servant buying himself out from indenture, from capitalism. *But*, at a subindustrial level, you make all the artistic decisions--not the people in the front office who try to shape your image--and that's what keeps the material flowing and fresh. When you give into their system, when you become a bought person and they're going to give you wealth, power, and fame, and the creative decisions are being made more and more by the people in the front office, all you can write about is your personal sense of alienation. You think over the careers of the singer-songwriters of the '60s and '70s, and that's what you hear." "And what you have to say will become, without a doubt, systematically watered down to be more radio-friendly and to be more accessible," DiFranco adds. "They come up with all kinds of convincing arguments about why you should adjust your image or why you should play *this* song every time you appear on TV and water down any kind of political implications in your music, so that you can be accessible and make the biggest buck." Take control and take responsibility: this credo runs deep in DiFranco and Phillips, guiding much more than just their careers. It's a philosophy of life that Phillips traces to his mentor Ammon Hennacy, described on 'The Past Didn't Go Anywhere' as a "Catholic, anarchist, pacifist, draft dodger of two world wars, tax refuser, vegetarian, one-man revolution in America." Phillips says, "My body is my ballot, and I try to cast it on behalf of the people around me every day of my life. I don't assign responsibility to do things to other people; I accept the responsibility to make sure that things get done. I love to tell that to people who are frustrated with the ballot box. How many people do I know who have never voted for anyone who won, ever in their lives, and are really frustrated? It's not the end of the road. There's another way to go, and that's with your own labor, your own sweat, your own body. I think there' a lot of hope in that." _______________ In the liner notes to 'The Long Memory' the 1996 album by Phillips and Rosalie Sorrels, he wrote, "The long memory is the most radical idea in the country. It is the loss of that long memory which deprives our people of that connective flow of thoughts and events that clarifies our vision, not of where we're going but where we want to go." As a performer, Phillips' mission is to be a vehicle for that memory, a means by which important ideas, stories, and aspirations are passed from generation to generation. "I'm just a folksinger," he says, "but I have a real thorough understanding of what that means. Growing up, really growing up, means at some point in your life discovering what you authentically inherit, what you culturally inherit. You finally recognize that, and that's what you try to put in the world. And that's what I do now. I find that my inheritance is a wealth of song and story and poem from my elders--especially the radical elders, who never had that wide a voice in their lives." In creating 'The Past Didn't Go Anywhere,' DiFranco aims to be another link in that chain. "The pop music realm has a huge disrespect for our elders," she says. "It's all about worshipping youth. Youth has a lot of energy, and there's a lot of important shit that goes down in youth culture, but I don't think that means you ignore your elders or where you come from. People may constantly want to be inventing the new alternative, which so quickly gets co-opted and turned into just a cookie-cutter formula, with just a slightly more distorted guitar or something, whereas they might be ignoring the fact that they could take the same old tools--an acoustic guitar--and be working in an old, crusty medium like folk music, and do something totally new. "Like Utah would say, 'Shut up and listen to what came before you and see what use it has.'"


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Xprezto Roots Tower , 8th floor , laxmi district center , Besides V3S Mall , near nirman vihar metro station , delhi -110092
Aug 19, 2017Full time
Dear Candidates, Greetings of the day !! "XPREZTO" Mega Walkin Drive for Experienced & Freshers Job description : Designation : Process Associate / CCE / Sr. CCE / TSE Process: US based process for Healthcare / Telecom / Travel / B2B /B2C Responsibility: contact businesses or private individuals by phone deliver prepared sales scripts to persuade potential customers to purchase a product or service describe products and services respond to questions identify and overcome objections take the customer through the sales process obtain customer information obtain possible customer leads maintain customer/potential customer data bases follow up on initial contacts complete records of telephonic interactions, orders and accounts Skills: communication skills Problem solving adaptability negotiation skills stress tolerance high energy level Qualification: Graduate or Pursuing Graduation Minimum Intermediate Experience: Minimum 6 Months (Freshers can also apply) Sex: Male/ Female Location: Roots Tower, 8th Floor, District Centre, Laxmi nagar, Delhi-92 Near Nirman Vihar Metro, Behind V3S Mall. Salary : 1.5 to 3.6 LPA(negotiable)+ commissions + attendance bonus, Yearly bonus,referral bonus + Monday off ( 2 & 4) + Meals and cabs ( 1 sided ) Benefits of joining : US based multinational company. 15 years of operation in India. Multiple US campaigns. Supportive management. Great place for career advancement. Regular appraisals and salary revision. Interview Details : Monday to Saturday ( 11 am - 4pm ) Note: Candidates with excellent communication skills can only apply. Mention Reference "Aanchal" on CV Carry all your Docs { Qualification + Exp relevant (Optional) } Thanks & Regards Aanchal (HR Executive) Contact No. - 9266662761 Roots Tower , 8th Floor , District Center Near Nirman Vihar Metro Stn - 110092


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Status: Closed
Know more about this business than we do? Cool! Please submit any corrections or missing details you may have.Help us make it right
Be the first AL.com user to add photos or videos of Touch of Love Pet Grooming
I took my poodle here once - and once was enough. I only went there to try to save time since my regular groomer is so far away.
My dog was traumatized. He was acting very nervous and skittish when I picked him up. He never acts that way when I get him from my regular groomer.
They charged me and extra $15 for taking out 3 matted spots. His nails were rough, his ears were nicked. ...
DO NOT GO TO THIS GROOMER! I took my dog there with very specific instructions that they completely ignored. I wanted my dog bathed and brushed. He has medium length hair and had some mats in a couple of areas. I told them to cut out any mats they needed to, but to leave as much long hair as possible. My dog stresses very badly when he is shaved and his mental health is much more important...
Touch of Love Pet Grooming can be found at Winchester Rd Ne 1713. The following is offered: Animal Services. The entry is present with us since Sep 9, 2010 and was last updated on Nov 14, 2013. In Huntsville there are 24 other Animal Services. An overview can be found here.
It employs 3 employees and is generating approximately $64,000.00 in annual revenue.


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You want to travel around the world but you have not enough funds for such adventure? Well, you can always travel around the world with your imagination. Andrey Gordeev is Russian artist who has found amazing idea how to create something different and out of the box. He decided to imagine how it would look if he would be traveling all around the world and then, he put that on paper.
The result is a series of unique and entertaining paintings called 'Around the World in 12 Months' where we can see how Andrey's imagination travels around the world. As you can see from attached photos, he decided to take the perspective of the driver. Every of his paintings look like a photo taken from inside the car.


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SUMMIT–The Visual Arts Center of New Jersey will present "Future of the Book: A Panel Discussion" on Thursday, Oct. 27 from 7-9 p.m. This event will explore the evolving roles and meanings of the book in today's society. Experts will expand upon the general understanding of the nature of the book and address topics such as technology, social media, libraries, and the book as an object.
The panel will be moderated by Dr. Laura Winters, Professor of Literature at the College of St. Elizabeth in Madison. Participants include: C. Max Magee, creator and editor of The Millions, an online magazine and co-editor of The Late American Novel: Writers on the Future of Books; Alexandria Arnold, Assistant Director of the Summit Public Library; Joy Garnett and Nina Katchadourian, artists featured in Bibliomania; and Dan O'Connor, Associate Professor, Department of Library and Information Science, Rutgers University.
This free event is being held in conjunction with the Art Center's fall exhibition, Bibliomania, examining how contemporary artists treat the book as subject matter. The show will be on view through Dec. 11. The Visual Arts Center of New Jersey is located at 68 Elm Street, Summit. For more information, call 1-908-273-9121 or visit www.artcenternj.org.
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Publication Details
Title:Reconnaissance from Circle to Fort Hamlin
Authors:Stone, R.W.
Publication Date:1906
Publisher:U.S. Geological Survey
Ordering Info:USGS Publications Warehouse
Quadrangle(s):Fairbanks; Livengood
Bibliographic Reference
Stone, R.W., 1906, Reconnaissance from Circle to Fort Hamlin, in U.S. Geological Survey, Report on progress of investigations of mineral resources of Alaska in 1905: U.S. Geological Survey Bulletin 284, p. 128-131.
Publication Products
- This publication is part of a larger work. Please see B 284 for more information.


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Learn how our rental software can help you tackle your challenges and take your business to the next level.
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WATCH: Americans meet K-pop for the first time
Do you remember your reaction to the first K-pop video you ever watched? Watching other people react to popular K-pop videos is sure to take you back to that first time you ever saw a music video with a group of guys dancing in a box with fancy lighting!
YouTube channel Fomo Daily recently uploaded a series of videos in which Americans watch K-pop music videos for the first time. Their opinions might surprise you!
Some of the music videos they reacted to include BTS's "Dope," EXO's "Overdose," Big Bang's "BangBangBang," and CL's "Hello Bitches." A good choice of music videos as these are some of the most watched K-pop videos on YouTube. Be sure to check out their channel for even more videos!
Both genders seemed to enjoy the videos overall. Watch the videos below to see for yourself what these Americans had to say about K-pop!
Did you have a similar reaction to your first K-pop video? If you were to introduce K-pop to your friends, which ones would you choose?


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NGINX Advanced Exam
This exam assesses your understanding of the concepts and features that are covered in the NGINX Advanced training course. It also assumes you know NGINX basics as covered in the NGINX Fundamentals course, either from taking the course or from practical experience. Advanced NGINX users can take this exam to determine whether you have mastered core NGINX concepts and features and are ready to move onto the NGINX Performance Tuning course.
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- Features of NGINX Plus
- Variables
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- URL rewrites
- Advanced load balancing
- Dynamic configuration of upstream servers
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- Health checks
- Basic security configuration
The assessment is a multiple choice exam that is conducted online and can be taken at anytime. It is self paced with no time limit and you are allowed to use reference materials to aid you.
Once you have purchased the exam, it will be accessible via a link in your profile.