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The Royal Academy's winter 2010 exhibition surveyed the changing role of fashion within the context of wider identity formation.
Considering the standardisation of the human form, the variety and complexity of the ways in which we choose to cover and embellish it is astonishing. For centuries groups and tribes have used their fashions and costumes, not only to clothe, provide modesty and protect, but to hide or project an image of themselves to the world, in a manner more expressive, and more universal than would usually be considered in a gallery setting. From the elaborate powdered dress of the 18th century macaronis, to the sweeping flower power dresses of 1960s hippies, and the bondage trousers of 1970s punks, clothing has been used as a mechanism to align ourselves to certain beliefs, to communicate our allegiance and identity to the outside world. As we see the permutations of fashion, design, fine art and craft increasingly intertwined there is a new connection and recognition for artists of the power of dress, an ability of clothing to reflect on the sociological conditions around us and to examine our issues of concern.
Aware: Art Fashion Identity addresses these under-explored areas of fashion at the Royal Academy for the first time as the latest season of GSK Contemporary, incorporating works from designers and artists practicing at the forefront of identity exploration, including Maria Abramović, Hussein Chalayan, Yoko Ono, Grayson Perry, Gillian Wearing and Yohji Yamamoto as well as lesser-known artists such as Dai Rees, Claudia Losi and Alicia Framis. Now in its third year, the unlikely collaboration between pharmaceutical company GlaxoSmithKlein, and the Royal Academy has enjoyed unbridled success, with previous offerings looking at the relationship between contemporary art and theatre, and contemporary artists' responses to climate change, and now a timely interrogation into the uses of fashion in art. Royal Academy curator, Edith Devaney, explains that the collaboration has "enabled us to be ambitious in our thinking regarding the showing of contemporary art" and given "us the freedom to push the boundaries of our thinking in looking at the reach of contemporary art." The GSK Contemporary seasons aim to bring contemporary art to an even wider audience following its explosion in popularity over the last 10 years, and the collaborations between art and fashion only serve to emphasise the heightened accessibility of contemporary art today.
Aware: Art Fashion Identity is separated to interrogate four separate uses of clothing and dress – Storytelling, Building, Belonging and Confronting, and Performance. Storytelling acknowledges the role of clothing in the representation of personal and social history, Building explores clothing as a form of protective covering and the creation of safe havens through our dress, while Belonging and Confronting examines ideas of nationality by recognising the tensions implicit in the assimilation of new cultures and traditions. Finally, Performance highlights the role-play of daily life as well as the role of performance and spectacle in fashion itself.
Most commonly approached in costume retrospectives is the concept of fashion as a way of forming an identity from one's past, and one's associates, and the Storytelling element engages strongly with this. Grayson Perry's Artist's Robe (2004) quite literally tells a story through the medium of clothing, the robe inspired by Japanese kimonos and embellished in Perry's meticulous appliqué with motifs referencing the role of the artist in society today. With a particular focus on being watched, studied and interrogated Perry's contribution is interesting in contrast to his later works satirising the society around him because Artist's Robe interrogates his own identity rather than that of others.
Conversely, Gillian Wearing's 1996 piece, Sixty Minute Silence, presents a personalisation of the facelessness that often accompanies the wearing of official uniform. Wearing's work positions 26 police officers for a formal shoot for which they must pose for 60 minutes. As we see the officers's resolve for solemnity gradually disintegrate, the true personalities behind the familiar uniform are clarified. Simultaneously respectful of the grave work of the police force, and humorously highlighting the humanity of the "boys in blue", Wearing's work references the solidarity and individualism of the wearing of the uniform. It's interesting to note that even unofficially, uniforms pervade our consciousness and the history of fashion – with those outside of the armed and civil forces still striving to maintain a solidarity. Thinking of the teenage subcultures of today; Goths, Skaters, Hoodies and Emos, all are expressing an allegiance to one group, as a mark of separation from the rest who are not within their chosen clique. Meschac Gaba's Perruques-Architecture ( 2006) plays with the identity of clothing in a different way by applying traditional African hair braids to the motifs of modernist architecture. The hat-like structures emulate Western masterpieces such as the Empire State and Chrysler buildings in a conglomeration of the developed world and tribal societies, juxtaposing the usual gleaming metallic surfaces of the original buildings with the newly incorporated ethnicity of ruggedly worn braids, and a long history of hair cultivation throughout the African continent.
Fashion's importance is particularly pertinent for the artists attuned to the social situations of our times. For example, in the Building component, Mella Jaarsma's work, Shelter Me 1, (2005) defines shelter as the minimal construction needed for projection, and so in its minimalism it rejects the architectural forms of housing, to assume the organic form of the human body. Jaarsma questions the boundaries and necessity of shelter for the human form – it brings to our attention the plight of homeless people around the globe and yet questions our disposable society. Similarly to Victor Burgin's 1978 poster proclaiming "What does possession mean to you? 7% of the population own 84% of the wealth", the work gives the facts, and the opportunity and potential for change without passing judgment on the situation itself. Leaving us to decide, Shelter Me 1, is apt not only for drawing attention to the needy, but also in questioning our material culture. Jaarsma recognises the nomadic nature of many of our lives, how we so often reject our home towns and familiar comforts for the new and yet surround ourselves with huge swathes of disposable objects that bear no relation to our actual identity.
Similarly, Yoko Ono's Cut Piece (1965), where the artist allowed the audience to cut strips from her clothing in New York's Carnegie Recital Hall, examines the constructs of society and the social parameters that we naturally put in place in the very act of discarding them through the shedding of the artist's clothing. As Ono's naked form is revealed, the social construct of her clothes has precluded the breaking away of the usual rules of society. Ono is drawing attention to our own artifice and yet the performance itself is an artifice where Ono is playing a pre-determined role – that of the shocking contemporary artist that she cultivated for herself not only through her work, but through her controversial protests, high profile relationship, and continued ability to provoke well into her 70s. In doing away with the rules and regulations, and social comforts of fashion and clothing, Ono requests that we look at ourselves as nature intended, and question the very existence of these social norms and things that we think necessary in order to conduct a civil society.
Through technological innovations, Ono's work is mirrored by artist and professor, Helen Storey's work, Hello Goodbye (2010), whereby a dissolvable dress is displayed and diminished in a manner that presents a solution, rather than a critique, to the phenomenal wastage of contemporary society. Created after extensive research with Professor Tony Ryan, Storey's pieces force the viewer to take stock in their vulnerability, yet are beautiful elaborate pieces by virtue, not only of their delicacy, but also of their pioneering nature.
In working the "foundation" artworks of the 1960s into the exhibition's body, Aware: Art Fashion Identity engages in the continued narrative between contemporary artists and the projections of fashion and clothing. The early works contextualise the exhibition by providing grounding in clothing's ability to create an identity. As the works involved display such a range of mediums and address a myriad of issues, it is difficult to determine a beginning and end because the works involved are so wide-ranging. The idea of an increasing crossover between art and fashion is nothing new, and the aims of the Royal Academy to bring fashion out of the commercial and into the realm of the artistic, while maintaining its populist appeal and approachability is clear.
Fashion is a hugely commercial enterprise, with vast amounts of money exchanged and invested at both high and low ends of the scale and it is questionable whether it can be freed from these commercial constraints in the same way as the products of fine art, through the work of public galleries, and the sponsorship of bodies such as GSK, have been released. The greater accessibility of clothing is in part because of this commercialism – because everybody must buy it; it's seen as a business and a worthwhile investment. In spite of the aims of GSK Contemporary to bring contemporary art to a wider audience this accessibility was not the aim in choosing the exhibition. However, Devaney acknowledges: "The principal that clothing touches many more people than fine art is clearly demonstrated in artists' appropriation of clothing as an effective vehicle for communicating artistic ideas due to its accessibility."
In their exhibition statement the curators argue: "Aware will reflect upon the relationship between our physical covering and constructed personal environments, our individual and social identities and the contexts in which we live. As a mechanism of expression, the exploration of the role of clothing has been at the heart of the artistic practice of a number of contemporary artists, and has particular resonance for those attuned to the social situations of their times. Whilst frequently fulfilling a practical and occasionally protective function, clothing can be effective in celebrating or suppressing identity and in indicating allegiances. It has the ability to express our way of life and even our unconscious, communicating our positions, aspirations and desires. At times however, the exhibition theme is vague, even tenuous, but Aware: Art Fashion Identity promises to be a crowd pleaser by virtue of the huge names, and exceptional variety included in its remit.
Conceived by Gabi Scardi with artist, Lucy Orta, then curated alongside Royal Academy curators Kathleen Soriano and Edith Devaney, Aware: Art Fashion Identity has a strong range of curatorial voices. However, the idea of the connections between each section is unclear and there's an inevitable cross-over between elements that could have been more coherently collected through the use of less rigid definitions between each aspect.
With fashion's thirst for the new, it is inevitable that the most exciting aspect is the specially commissioned works from Yinka Shonibare and Hussein Chalayan, each representing the longevity of the relationship between art, fashion and identity through its engagement with centuries old theatrical and Japanese traditions – Chalayan's dress is inspired by 300-year-old Bunraku puppet theatre, while Chris Stevens will create 18 designs based on 19th century children's dress to be displayed two-dimensionally on the wall. There's a danger of monotony with fashion exhibitions particularly in terms of curation, but the interpretation of the theme to include such wall-displayed works and performance promises to keep a fresh perspective on a challenging theme. It is possible that the remit of Aware: Art Fashion Identity is too broad and ambitious in its scope, but in raising the questions of these three facets, it provides a promising starting point for future works to come.
GSK Contemporary – Aware: Art Fashion Identity featured work by over 30 international contemporary artists and designers, including some newly commissioned works. The London College of Fashion also hosted a two-day international symposium in partnership with the Royal Academy, which coincided with the exhibition. Aware which was on display at the Royal Academy of Arts, 6 Burlington Gardens from 2 December until 30 January 2011.
Ruby Beesley


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Bergdahl says he was tortured by Taliban captors
PARIS >> U.S. Sgt. Bowe Bergdahl has told people treating him at an American military medical facility in Germany that he was tortured, beaten and held in a cage by his Taliban captors in Afghanistan after he tried to escape, a senior U.S. official said Sunday.
The official spoke on condition of anonymity because he was not authorized to discuss what Bergdahl has revealed about the conditions of his captivity. The New York Times first reported on the matter.
The official said it was difficult to verify the accounts Bergdahl has given since his release a week ago.
Bergdahl, now 28, was captured in June 2009 after he disappeared from his infantry unit. He was held for nearly five years by Taliban militants.
Military doctors at the Landstuhl Regional Medical Center say that while Bergdahl is physically able to travel he's not yet emotionally prepared to be reunited with his family. He has not yet spoken to his family.
It's unclear when he may get to go home.
Typically, a returned captive would spend from five days to three weeks in the phase of reintegration in which Bergdahl now finds himself, according to a Pentagon psychologist who is an expert in dealing with military members who have been released from captivity said this past week. The psychologist spoke to reporters Thursday on condition of anonymity under ground rules set by the Pentagon.
Once Bergdahl is considered ready to move on to the next phase of his decompression, he is expected to be flown to an Army medical center in San Antonio, where it is believed he will be reunited with his family.
Bergdahl was returned to the U.S. military in exchange for the release of five Taliban militants from the U.S. military prison at Guantanamo Bay, Cuba.
"It would have been offensive and incomprehensible to consciously leave an American behind, no matter what," Secretary of State John Kerry said.
Qatar, a tiny Gulf state, served as a go-between during the negotiations, and has ongoing role in ensuring the five released prisoners remain there for at least a year, under a memo of understanding with the U.S.
The Qataris aren't "the only ones keeping an on eye on them," Kerry said in an interview broadcast Sunday on CNN's "State of the Union."
He said the U.S. has confidence in the restrictions imposed on the former detainees, as a condition of their release.
"I am not telling you that they don't have some ability at some point to go back and get involved" in the terrorism fight against the United States, Kerry said.
"But they also have an ability to get killed doing that, and I don't think anybody should doubt the capacity of the United States of America to protect Americans. … So these guys pick a fight with us in the future or now or at any time at enormous risk," Kerry said.
The deal, which the Obama White House brokered without consulting Congress, ignited a political firestorm that shows no signs of abating.
Lawmakers, both Republicans and Democrats, who initially praised Bergdahl's release, backed off amid questions about whether he was a deserter who walked away from his post and an outcry over the exchange.
Some of Bergdahl's fellow soldiers maintain that Americans died during efforts to find and save him. Also, there is great concern that the high-level Taliban officials will resume activities with the Taliban.
U.S. Sen. John McCain, who was held prisoner during the Vietnam War, agreed with Kerry that the U.S. should do all it can to win the release of any American being held, "but not at the expense of the lives or well-being of their fellow servicemen and women."
He told CNN that "when we join the military, we know we take certain risks, and among those risks are wounding, death, imprisonment."
On Wednesday, Bergdahl's hometown of Hailey, Idaho, abruptly canceled plans for a welcome-home celebration, citing security concerns. And on Saturday the FBI said Bergdahl's family had received threats that are being investigated by federal, state and local authorities.
The U.S. official told the AP that Bergdahl's parents were being harassed and threatened, including death threats.

subset: commoncrawl


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Mammography is an x-ray examination of the breast. It is used to detect and diagnose breast disease in women who either have breast problems such as a lump, pain, or nipple discharge, as well as for women who have no breast complaints. The procedure allows detection of breast cancers, benign tumors, and cysts before they can be detected by palpation (touch).
Mammography cannot prove that an abnormal area is cancer, but if it raises a significant suspicion of cancer, tissue will be removed for a biopsy. Tissue may be removed by needle or open surgical biopsy and examined under a microscope to determine if it is cancer.
The development of digital mammography technology allows for improved breast imaging, in particular, for women less than 50 years of age, women with dense breast tissue, or women who are premenopausal or perimenopausal. Digital mammography provides electronic images of the breasts that can be enhanced by computer technology, stored on computers, and even transmitted electronically in situations where remote access to the mammogram is required. The procedure for a digital mammography is basically performed the same way as a standard mammogram.
With computer-aided detection (CAD) systems, a digitized mammographic image from a conventional film mammogram or a digitally acquired mammogram is analyzed for masses, calcifications, or areas of abnormal density that may indicate the presence of cancer. The images are highlighted by the CAD system for further analysis by the radiologist.
X-rays use invisible electromagnetic energy beams to produce images of internal tissues, bones, and organs on film. Standard x-rays are performed for many reasons, including diagnosing tumors or bone injuries.
X-rays are made by using external radiation to produce images of the body, its organs, and other internal structures for diagnostic purposes. X-rays pass through body structures onto specially-treated plates (similar to camera film) and a "negative" type picture is made (the more solid a structure is, the whiter it appears on the film).
Each breast has 15 to 20 sections, called lobes, which are arranged like the petals of a daisy. Each lobe has many smaller lobules, which end in dozens of tiny bulbs that can produce milk.
The lobes, lobules, and bulbs are all linked by thin tubes called ducts. These ducts lead to the nipple in the center of a dark area of skin called the areola. Fat fills the spaces between lobules and ducts.
There are no muscles in the breast, but muscles lie under each breast and cover the ribs.Each breast also contains blood vessels and vessels that carry lymph. The lymph vessels lead to small bean-shaped organs called lymph nodes, clusters of which are found under the arm, above the collarbone, and in the chest, as well as in many other parts of the body.
A screening mammogram is an x-ray of the breast used to detect breast changes in women who have no signs of breast cancer. It usually involves two x-rays of each breast. Using a mammogram, it is possible to detect a tumor that cannot be felt.
A diagnostic mammogram is an x-ray of the breast used to diagnose unusual breast changes, such as a lump, pain, nipple thickening or discharge, or a change in breast size or shape.
A diagnostic mammogram is also used to evaluate abnormalities detected on a screening mammogram. It is a basic medical tool and is appropriate in the work-up of breast changes, regardless of a woman's age.
Mammography has been used for about 30 years, and in the past 15 years technical advancements have greatly improved both the technique and results. Today, specialized equipment, used only for breast x-rays, produce studies that are high in quality but low in radiation dose.
Mammography may be used either for screening or to make a diagnosis. Women older than 25 years should undergo diagnostic mammography if they have symptoms such as a palpable lump, breast skin thickening or indentation, nipple discharge or retraction, erosive sore of the nipple, or breast pain.
A mammogram may be used to evaluate breast pain when physical examination and history are not conclusive. Women with breasts that are dense, "lumpy," and/or very large may be screened with mammography, as physical examination may be difficult to perform.Women who are at high risk for breast cancer or with a history of breast cancer may be routinely screened with mammography.
The following screening guidelines are for early detection of cancer in women who have no symptoms:
The American Cancer Society (ACS) recommends yearly screening for all women ages 40 and older. Women should talk with their doctors about their personal risk factors before making a decision about when to start getting mammograms or how often they should get them.
The ACS recommends clinical breast exams (CBEs) at least every three years for all women in their 20s and 30s. The ACS recommends annual CBEs for women ages 40 and older. Women should talk with their doctors about their personal risk factors and make a decision about whether they should have a CBE.
The ACS says BSEs are an option for women 20 and older as a means of familiarizing themselves with their breasts so they can notice changes more easily. Talking with your doctor about the benefits and limitations can help you decide if you should start performing BSEs.
Women who are at an increased risk (family history, genetic tendency, past breast cancer) should talk with their physicians about the benefits and limitations of starting mammography screening earlier, having additional tests (breast ultrasound, MRI), or having more frequent exams.
In addition, the following guidelines by age are recommended:
National Cancer Institute Guideline for Screening Mammography: Women in their 40s and older should have a screening mammogram on a regular basis, every one to two years.
American Cancer Society Guideline for Screening Mammography: Women 40 years of age and older should have a screening mammogram every year.
Consult your physician regarding the screening guidelines that are appropriate for you.
A mammogram helps to identify the following conditions:
calcifications - tiny mineral deposits within the breast tissue. There are two categories of calcifications:
macrocalcifications - coarse calcium deposits that usually indicate degenerative changes in the breasts, such as the following:
aging of the breast arteries
old injuries
microcalcifications - tiny (less than 1/50 of an inch) specks of calcium. When many microcalcifications are seen in one area, they are referred to as a cluster.
masses - may occur with or without associated calcifications, and may be due to different causes, including the following:
cyst - a non-cancerous collection of fluid in the breast. Cysts cannot be diagnosed by physical examination alone or by mammography alone. Either breast ultrasound or aspiration with a needle is required. If a mass is not a cyst, then further imaging may be necessary.
benign breast conditions - masses can be monitored with periodic mammography, but others may require immediate or delayed biopsy. About 80 percent of all breast changes that are biopsied are found to be benign (non-cancerous) when looked at under the microscope.
breast cancer
Usually, a mammogram is done on an outpatient basis, although it can be part of inpatient care. There is no specific preparation for the examination. However, a woman should not wear deodorant, powders, or lotions under the arms on the day of the examination, as these substances can interfere with the images. If you have breast implants, be sure to tell your mammography facility that you have them when you make your appointment. You will need an x-ray technologist who is trained in working with patients with implants. This is important because breast implants can hide some breast tissue, which could make it difficult for the radiologist to see breast cancer when looking at your mammogram images.
Although each facility may have specific protocols in place, generally, a mammogram procedure follows this process:
The patient should describe any symptoms or problems to the technologist prior to the examination (if any).
The patient will undress from the waist up and will be given a gown to wear.
The patient will be positioned at the mammography unit, seated, standing, or lying down.
The breast will be positioned between two plates of the mammography unit, and pressure applied to compress the tissue. (This may produce temporary discomfort.) Breast compression is necessary in order to obtain the best image with the least amount of radiation possible.
The patient will be asked to hold her breath for a few seconds while the x-rays are taken.
The technologist will step behind a protective window and the image will be taken.
Each breast may be x-rayed at least two times from above and from the side positions to produce the films for the physician to review.
After the x-rays are made, the patient will be asked to wait for a short time until the radiologist can review the films to determine if additional x-rays are necessary.
The examination process takes approximately 20 to 30 minutes.


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Young Adult Literature Symposium, 2010
Please mark your calendars for November 5-7, 2010 for YALSA's 2nd biennial Young Adult Literature Symposium in Albuquerque, New Mexico, Beyond Good Intentions: Diversity, Literature, and Teens.
This wiki page is a place to upload content and share information. To network with attendees and presenters, please visit our online community for the symposium. Questions? Contact us at email@example.com or 1-800-545-2433, ext. 4390.
Registration & Program Information
Visit www.ala.org/yalitsymposium to learn more about the event. Registration is now open.
Symposium Schedule
Please visit the symposium web site for the preliminary program and schedule.
Participating Authors
- Lauren Bjorkman http://www.laurenbjorkman.com/
- Jen Bryant http://www.jenbryant.com/
- Ann Burg http://bookwizard.scholastic.com/tbw/viewWorkDetail.do?workId=1303591
- Selene Castrovilla http://www.selenecastrovilla.com/
- Jennifer Cervantes http://www.jennifercervantes.com/
- Art Corriveau http://www.artcorriveau.com/
- Kirstin Cronn-Mills http://kirstincronn-mills.blogspot.com/
- Carolee Dean http://www.caroleedean.com/index2.htm
- Alexandra Diaz http://alexandra-diaz.com/
- Simone Elkeles http://www.simoneelkeles.net/index-web.html
- Margarita Engle http://us.macmillan.com/author/margaritaengle
- Betsy Franco http://www.betsyfranco.com/
- Megan Frazer http://www.meganfrazer.com/
- Madeleine George http://us.penguingroup.com/nf/Author/AuthorPage/0,,1000066686,00.html
- Nikki Grimes http://www.nikkigrimes.com/
- Christina Diaz Gonzalez http://www.christinagonzalez.com/books/index.html
- April Halprin Wayland http://www.aprilwayland.com/
- Ellen Hopkins http://www.ellenhopkins.com/
- LouAnne Johnson http://www.louannejohnson.com/
- PG Kain http://tweenink.com/
- Jared Kempton http://www.jaredkempton.com/
- Cynthea Liu http://www.cynthealiu.com/
- Malinda Lo http://www.malindalo.com/
- Neesha Meminger http://www.neeshameminger.com/
- Vaunda Micheaux Nelson http://www.adamsliterary.com/clients/nelson/nelson.html
- Pat Mora http://www.patmora.com/
- Lauren Myracle http://www.laurenmyracle.com
- Lisa Pazer http://www.randomhouse.com/catalog/display.pperl/9780385907767.html
- Olugbemisola Rhuday-Perkovich http://www.olugbemisola.com/
- Sofia Quintero http://www.sofiaquintero.com/
- Lois Ruby http://www.loisruby.com/
- Benjamin Saenz http://www.benjaminaliresaenz.com/
- Ruta Sepetys http://www.rutasepetys.com/
- Terry Trueman http://www.terrytrueman.com/
- Alisa Valdes-Rodriguez http://www.alisavaldesrodriguez.com/
- Susan Vaught http://www.susanvaught.com/
- Allen Zadoff http://www.allenzadoff.com/Allen_Zadoff_author_website/home.html
Housing and Travel
Questions? Contact YALSA Program Officer Nichole Gilbert by email at firstname.lastname@example.com or by calling 1-800-545-2433, ext. 4387.
YALSA's YA Lit Symposium will be held at the Albuquerque Marriott in Uptown, located at 2101 Louisiana Blvd, Albuquerque, NM 87110.
The hotel rate for attendees is $99 single/double. Please check back for a link to reserve your room. If you are looking for a roommate, please post something here.
Air Discounts on United
Special meeting fares have been arranged for travel to the YALSA's Young Adult Literature Symposium. Custom itineraries may be booked through the ALA Travel Desk by phone or email. The Travel Desk offers the lowest applicable airfares and best journey times to the meeting.
Fly on United Airlines, the official airline and save with special discounts exclusive to attendees and guests. A 5% discount off qualifying travel on United, United Express, or United code share flights operated by Island Air or Great Lakes (includes US 48 states, Hawaii, and Canada). Plus when you book and ticket 30 days or more in advance you may receive an additional discount. Terms and conditions apply. International attendees will save too on special discounts based on specific fare codes available on United, United Express, or Lufthansa. Discounts apply to U.S. point of sales only. Applicable restrictions and terms apply. ALA Travel Desk toll free at 1-800-644-7313 or email: email@example.com 7:30 a.m. to 6:00 p.m. Central Time, Monday through Friday. A minimal transaction fee applies. You may also contact United Airlines directly at 800-521-4041 and reference code 500CR.
Or use public transit from the airport to the hotel with ABQ Ride's trip planner
If you're looking for a roommate, please share that information here:
Online Social Networking for the Symposium
YALSA has set up an online community just for symposium attendees. Please visit this before, during and after the symposium to network with fellow attendees & presenters and get the latest news & information.
Follow us on Twitter
Diversity and YA Literature
Feel free to use this space to discuss and share some favorite resources addressing the topic of the Symposium.
Programming Ideas
Handout from Images and Issues Beyond the Dominant: Including Diversity in Your Graphic Novel Collection
Disability in YA nonfiction from ""Beyond Good Intentions and Chicken Soup: Young Adult Literature and Disability Diversity: How Far Have We Come?""
Disability in YA fiction from ""Beyond Good Intentions and Chicken Soup: Young Adult Literature and Disability Diversity: How Far Have We Come?""
Blogs & Web sites
Links from the author panel (Lauren Bjorkman, Kirstin Cronn-Mills, Megan Frazer, Malinda Lo) of the Up Beyond Stonewall Pre-Conference: http://www.malindalo.com/yalsa/
Items of interest
PDF document with slides and an RTF file with an outline for ""Beyond Good Intentions and Chicken Soup: Young Adult Literature and Disability Diversity: How Far Have We Come?""
Evaluating books dealing with disability from ""Beyond Good Intentions and Chicken Soup: Young Adult Literature and Disability Diversity: How Far Have We Come?""
Albuquerque Information
About Albuquerque
2010 Albuquerque Almanac, edited by Amanda Gardner, Street Sweeper Press, 221 pages, pbk, $11.95.
City of Albuquerque Website
Getting Around
Public Transportation around the city
Walking Tours of local neighborhoods and sights
Route 66 runs through Albuquerque (it turns into "Central Avenue" in the city proper, maps may list it either way). So don't miss the chance to cruise some of this historic highway!
Where to Eat
Quick Bites:
- Auntie Anne's @ Coronado Mall
- Cinnabon @ Coronado Mall
- Del Taco @ Coronado Mall
- Hot Dog on a Stick @ Coronado Mall
- Nestle Toll House Cafe by Chip @ ABQ Uptown
- Panda Express @ Coronado Mall
- Seattle's Best Coffee @ ABQ Uptown
- Starbucks @ ABQ Uptown
Casual Dining Restaurants:
- Fuddruckers @ Coronado Mall
- Buca di Beppo
- Bravo! Cucina Italiana @ ABQ Uptown
- California Pizza Kitchen @ ABQ Uptown
- Elephant Bar Restaurant @ ABQ Uptown
- McAlister's Deli @ ABQ Uptown
- Marcello's Chophouse @ ABQ Uptown
New Mexico's Best Eats
In the June 2010 issue of New Mexico Magazine there are three Albuquerque restaurants named part of New Mexico's Best Eats as judged by GilGarduno of Gil's Thrilling [and Filling] Blog; RockyDurham, the culinary director of the Santa Fe School of Cooking and Lesley S. King who writes the "King of the Road" column for New Mexico Magazine.
Best Huevos Rancheros: El Camino Dining Room, Los Ranchos de Albuquerque. 6800 Fourth Street NW. 505-344-0448. The specialty of the house is huevos rancheros, a corn tortilla smothered with beans, potatoes, eggs, chile, and cheese. Though usually a breakfast dish, it can be eaten any time of the day.
Best Green-Chile Stew: Duran's Central Pharmacy, 1815 Central Avenue NW. 505-247-4141. Each brimming bowl of this hearty stew of green chile, beans, and seasoned ground beef is accompanied by a thick, homemade tortilla hot off the comal and dripping with butter. Said to cure NMWD [New Mexico Withdrawal Disorder]
Best Local, Seasonal Ingredients: Farmers Salad at The Grove. 600 Central Ave, SE Suite A. 505-248-9800. The Farmers Salad combines mixed greens with roasted golden beets, asparagus, yellow peppers, tomato, marcona almonds, and goat cheese, all tossed with a lemon-basic vinaigrette accented with garlic and shallots.
Native New Mexican's Recommendations
Having grown up in Albuquerque, here are my restaurant recommendations for "Authentic New Mexican" food:
Little Anita's Mexican Foods 3313 Girard Boulevard Northeast, Albuquerque, NM (505) 888-0104 Website Little Anita's has multiple locations and is a pretty standard representation of NM food.
Los Cuates 5016-B Lomas NE, Albuquerque (505) 268-0974 Website My family's favorite, and where I will head first when I get off the plane in November. Similar costs and menu to Little Anitas, but gets the gold star for delicious meals.
El Pinto 10500 4th Street Northwest Albuquerque, NM 87114-2220 (505) 898-1771 Website This restaurant is a little further out and pricier than Little Anita's but worth it - especially the green chile salsa. I think you can buy some of the salsa to take with you too!
Frontier Restaurant 2400 Central SE Albuquerque, NM 87106 (505) 266-0550 Website An Albuquerque must. Located across the street from the University of New Mexico Campus (meaning little to no parking), this place is always busy. Very inexpensive, very good, and the cinnamon rolls are huge! Not really a mexican restaurant - more typical diner fare.
Grocery Stores
If you would prefer not eating out, there is a Trader Joe's at 2200 Uptown Loop Road Northeast, about two blocks east of the Marriott. I think that is the only nearby grocery store (within walking distance).
What to Do
Visit the Gruet Winery
Sandia Peak is accessible from Albuquerque via tram. This is a beautiful way to spend a few hours and see the city from the top of the Sandia Mountains. There is a restaurant on the peak as well. For more information: Click Here I've taken the tram once or twice and it is quite pretty. The tram will close for routine maintenance on Nov. 8th though, so plan accordingly.
Old Town is a great place to get a sense of the southwest as well. There are shops, walkways, art and history museums. Website for more information about what is available there.
3rd Annual Tribal Libraries Native Art Auction and Fashion Show on Saturday, November 6, 2010 at the Hard Rock Casino Hotel Albuquerque. The event starts at 5:00 pm with an opening reception and preview of art items. Tickets are $75 each or $500 for a table of 8. For more information contact Maureen Wacondo (Tickets) 505-362-6463 or Janice Kowemy 505-977-3978. The (TLFC) consists of voluntary members from Tribal Libraries throughout the State Of New Mexico who meet with the objective to raise money for their libraries not met by other funding sources. Examples of ways funds will be used include staffing, building improvements, programming, collection development, and new computer equipment. Current members include Tribal Librarians and staff from Acoma Learning Center, Jemez Pueblo Community Library, Isleta Pueblo Public Library, Laguna Pueblo Public Library, and San Ildefonso Community Library.
Outside Albuquerque
Why not make a vacation out of your trip to Albuquerque and see some more of New Mexico!
Turquoise Trail: National Scenic Byway
Bandelier National Park (near Los Alamos)
http://www.archdiocesesantafe.org/AboutASF/Chimayo.html (Santa Fe)
For more great sites to visit, see:
If you are flying in and not renting a car, try taking the Rail Runner to visit some of the above locations. Its the local version of high speed train and is a great way to get to Santa Fe and back! Rail Runner.
El Rancho de las Golondrinas is a living history museum just south of Santa Fe.
Library Bar & Grill 12 Central Avenue Southwest Albuquerque, NM 87102-3218 (505) 242-2992 Typical bar and grill, but the decor is made just for us. The outside of the building resembles a bookshelf!
Kelly's Brew Pub 3222 Central Avenue Southeast Albuquerque, NM 87106-1458 (435) 538-7911 Vast variety of beers are available here, most on tap are microbrews.
Two Fools Tavern 3211 Central Avenue Northeast Albuquerque, NM 87106-1441 (505) 265-7447 Just a few blocks from Kelly's you will find this Irish themed pub.
Graham Central Station 4770 Montgomery Boulevard Northeast Albuquerque, NM 87109-1240 (505) 883-3041 Dance Club with multiple areas featuring different kinds of music, as well as a karaoke bar. They will probably have what you are looking for if you want to get your groove on. Dress code is inforced.
About Bill Morris
A foundation of children's book publishing, William C. Morris worked at HarperCollins Children's Books for 50 years. He started out as a temp, became a salesman, and finally became the head of the advertising and library promotion department. Every inch of his office floor and desk space was filled with papers, files, books, and three overflowing rolodexes containing the names and phone numbers of every librarian, teacher, university professor, author and artist he knew. A legend in the industry, he never saw himself as a legend. Instead he saw himself as a middleman, a liaison between HarperCollins and the institutional world. The fact that he was aware of the tastes of every librarian he knew -- and he knew a thousand or more -- was something he just thought was part of his job. Bill loved his job.
His legacy also included a large estate, a good portion of which he left to more than one division within ALA. Funds from this estate are helping to make this Symposium possible, a fact Bill would have been very proud of, for young adult literature, young adult librarians, and young adult authors were very close to his heart.
Friends of YALSA
Give $10 in '10
YALSA is launching a major campaign to add many more members to its Friends of YALSA group by encouraging everyone to "Give $10 in '10." The Financial Advancement Committee has voted to use all funds collected during 2010 to support YALSA's advocacy campaign by paying for the cost of printing materials, helping to defray expenses of members who travel to promote advocacy, and developing an oline class in Advocacy Techniques. This is a great opportunity to show your support for YALSA, and give back to a division that helps everyone who works with teens by contributing $10 to the Friends of YALSA fund. Giving any multiples of $10 will be highly appreciated. If you would like to make your donation in person, there will be many opportunities to do so while you are at the YA Literature Symposium. Directions for giving can be found on the YALSA website [1]


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Here are some things we've been musing on over the last few days. Share yours on Twitter or shout us out in the comments below.
"We shine because they hate us/floss 'cuz they degrade us." After two young, black customers accused the high-end retailer Barneys of racially profiling them after they made expensive purchases there, those customers themselves came in for criticism. Just why were these kids who probably aren't rich spending their money so recklessly?
On her blog, the ever-sharp Tressie McMillian Cottom pushes back on all the tut-tutting about why poor people buy pricey merchandise.
"Why do poor people make stupid, illogical decisions to buy status symbols?" she asked. "For the same reason all but only the most wealthy buy status symbols, I suppose."
Cottom went on:
We want to belong. And, not just for the psychic rewards, but belonging to one group at the right time can mean the difference between unemployment and employment, a good job as opposed to a bad job, housing or a shelter, and so on. Someone mentioned on twitter that poor people can be presentable with affordable options from Kmart. But the issue is not about being presentable. Presentable is the bare minimum of social civility. It means being clean, not smelling, wearing shirts and shoes for service and the like. Presentable as a sufficient condition for gainful, dignified work or successful social interactions is a privilege. It's the aging white hippie who can cut the ponytail of his youthful rebellion and walk into senior management while aging black panthers can never completely outrun the effects of stigmatization against which they were courting a revolution. Presentable is relative and, like life, it ain't fair.
Was The Racist Non-Tipper Story A Hoax? Toni Christina Jenkins, a Red Lobster server, was flooded with donations after she said that a patron stiffed her on a tip and left a racist message ("None, Nigger") on her bill. But the customer who allegedly left the message on his receipt says she fabricated the whole story.
The customer in question, Devin Barnes, has now filed a lawsuit against Jenkins stating that he did not write the racist remark. Barnes says he and his wife went out to eat at Red Lobster on September 7th but due to a family emergency they had to switch their order to-go. He says he did not leave the waitress a tip and wrote "none" on the tip line, but did not write anything else.
My boss Matt Thompson likes to make the (compelling!) argument that our tipping culture invites these kinds of incidents, that it's fundamentally unjust to underpaid servers (and black patrons and servers especially).
(And just for giggles, wanted to share this Onion story: "I'm Kind Of OCD About Always Serving White Customers First.")
Sriracha's Hot, But Not In Their Back Yards. Over the last few years, the Thai hot sauce Sriracha has quickly become the unofficial hot sauce of foodies. But the folks in the California town where the hot sauce is made say that the town is blanketed in a noxious, chili-flavored cloud.
Irwindale filed suit in Los Angeles County Superior Court on Monday against the sauce's company Huy Fong Foods, alleging that the odor was a public nuisance and asking a judge to stop production.
Irwindale City Manager John Davidson said he had noticed the odor, both at City Hall and just outside the plant.
"It's pretty strong," he said.
The plant can produce up to 200,000 bottles of the hot sauce each day.
David Tran, chief executive and founder, has offered to do what he can to control the odor and the company has twice added filters to its exhaust vents. But he says the chiles are pungent for a reason — it makes for a better sauce.
"If it doesn't smell, we can't sell," Tran said. "If the city shuts us down, the price of Sriracha will jump a lot."
A judge ruled Thursday that the factory can continue to operate at least until a forthcoming hearing, according to the L.A. Times.
Soul Food's Contested History. Since we're talking about fights over foods, it's worth shouting out this essay by Michael Twitty at The American Prospect, who takes issue with the parade of recent culinary histories of soul food.
The story of soul is not only about leftovers or economic expediency, and soul food is no ailing cultural bastard. It is the cuisine of Du Bois's "double consciousness," edible jazz, the most surreptitious means of preserving African culture. Thinking back to the St. Louis restaurant, Miller's premise that soul food is unknown isn't exactly honest or realistic. Soul-food restaurants routinely bring crowds of non–African Americans in for a bite. I wouldn't advocate for culinary justice if African American heritage foods were not being constantly remixed by white hipster chefs and others and re-spun as pan-"Southern" cuisine brought into the 21st century. Still, "soul food" when not cooked by soul hands is often labeled "Southern style," and the salty, spicy, sweet, greasy element that Miller posits as soul taste gets amplified, not toned down. The same principle makes Yum Brands rich through Kentucky Fried Chicken, the worldwide leader in watered down, mass-marketed soul. The world may not call it soul, but we know that the "Colonel" is perpetually playing Jolson.
Another News Outlet Drops 'Redskins.' The San Francisco Chronicle announced this week that it was going to stop referring to Washington D.C.'s NFL team as the 'Redskins.'
"Words are powerful, and so is how we choose to use them," Cooper said in an email.
"Our long-standing policy is to not use racial slurs — and make no mistake, 'redskin' is a slur — except in cases where it would be confusing to the reader to write around it. For example, we will use the team name when referring to the controversy surrounding its use."
The paper said it will instead refer to the Redskins as "Washington" on its pages.
The Chronicle's the latest in a parade of papers making similar decisions surrounding the team: at least 76 news outlets have now opted to use some other nomenclature for the team, according to a new analysis by Pew.
Copyright 2021 NPR. To see more, visit https://www.npr.org.


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The Honourable Andrew Scheer, Leader of Canada's Conservatives and of the Official Opposition, issued the following statement on Justin Trudeau's new cabinet:
"On Oct. 21, Justin Trudeau lost seats in every region of the country and lost nearly one million votes from the 2015 election. Canadians sent him a clear message that they want a new approach.
"Naming a new cabinet was an opportunity for Trudeau to change course and abandon his reckless approach of dividing the country with failed policies.
"Instead he has doubled down on the same faces and the same failures.
"The cabinet he unveiled today is a bigger and more bloated version of the same one that helped create an affordability crisis for Canadian families, attacked our energy sector and put thousands of Canadians out of work, and set the stage for a national unity crisis.
"Justin Trudeau has made it clear that he has learned nothing over the last four years. By appointing a known anti-pipeline activist and ministers who stood behind him while he passed job-killing, anti-energy legislation like Bills C-69 and C-48, Trudeau will only further stoke the divisions he created during the election campaign.
"Today, Trudeau wasted an opportunity to begin a new approach. Instead, he's doubling down on the same failures of the last four years. Conservatives will continue to fight to keep Canada united and strong, to help Canadians get ahead, to restore ethics and accountability to government and to get our forestry and energy sectors back to work."
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Package Dimensions | 27 x 20.5 x 12.6 cm; 4.67 Kilograms |
Item Weight | 4.67 kg |
Manufacturer | Dr Pepper |
Manufacturer reference | 054900030070 |
Date First Available | 23 August 2022 |
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It's MORNING EDITION from NPR News. I'm Steve Inskeep.
And I'm David Greene. Good morning. The biggest extinction the Earth has ever seen took place 250 million years ago and it remains something of a mystery. Scientists suspected giant volcanoes or perhaps an asteroid caused it, but NPR's Christopher Joyce has seen new research suggesting the cause might not have been so cataclysmic - maybe something much more subtle.
CHRISTOPHER JOYCE, BYLINE: It's sometimes called the Great Dying. The Permian extinction, named after its geologic period, wiped out forests across the planet. Even insects died out. In the oceans, everything from giant sea-scorpions to crawling trilobites disappeared.
JON PAYNE: It was catastrophic - really, really awful. None of us would want to live in that world.
JOYCE: Jon Payne at Stanford University studies ancient life forms.
PAYNE: Clearly very large changes in climate, you know, warming of maybe as much as 5 or 10 degrees Celsius of the planet, major changes in vegetation.
JOYCE: The evidence for volcanoes or an asteroid doing this has not been convincing. There is a big clue, though: carbon. The chemistry of ancient rock and sediment shows that right about the time of the extinction there was a huge spike in the amount of carbon in the air and oceans. Really huge.
DANIEL ROTHMAN: If you added up all of the world's fossil fuels today, including coal, you wouldn't be able to still get that amount of carbon in the system.
JOYCE: Daniel Rothman is a geophysicist at MIT. He and his team there say they've got a novel idea about where that carbon came from: something very tiny at the bottom of the ocean - microorganisms. Here's how it might have happened. There was this common microbe that fed on organic junk in ocean sediments.
Then it mutated, possibly picking up a gene from another microbe. That increased its appetite incredibly fast. As it ate more, the basic mix of life in the ocean changed. Other microbes created yet more food for it.
ROTHMAN: You might think of it as a vicious cycle that feeds upon itself.
JOYCE: Now, that might not have been such a big deal, except this microbe created methane when it ate. And since there were uncountable numbers of them, that pumped lots of methane into the ocean and atmosphere. And that methane turned into carbon dioxide and that was bad. All that carbon dioxide warmed the planet and made the oceans acidic.
ROTHMAN: Greater than 90 percent of the species living at the time in the oceans went extinct.
JOYCE: Almost that many on land also are believed to have died out as well, probably from global warming. Rothman's team describes this hypothesis in the Proceedings of the National Academy of Sciences. They don't have direct evidence - say, actual remains of these super-microbes - but Rothman says it fits what they see in the fossil record. Looking back, though, there is an upside to this story. Stanford's Jon Payne points out that as bad as it was, the extinction kind of rebooted life on Earth.
PAYNE: In the very long run, these kinds of events may do as much to stimulate evolution as they do to damage biological diversity.
JOYCE: Easy enough to say, of course, if you're not a trilobite. Christopher Joyce, NPR News. Transcript provided by NPR, Copyright NPR.


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Plight of the American bumblebee: Disappearing?
The buzz isn't good on the classic American bumblebee; It's taken flight and leaving Midwest
WASHINGTON (AP) -- It's not just honey bees that are in trouble. The fuzzy American bumblebee seems to be disappearing in the Midwest.
Two new studies in Thursday's journal Science conclude that wild bees, like the American bumblebee, are increasingly important in pollinating flowers and crops that provide us with food. And, at least in the Midwest, they seem to be dwindling in an alarming manner, possibly from disease and parasites.
Wild bees are difficult to track so scientists have had a hard time knowing what's happening to them. But because of one man in a small town in Illinois in the 1890s, researchers now have a better clue.
Naturalist Charles Robertson went out daily in a horse-drawn buggy and meticulously collected and categorized insects in Carlinville in southern Illinois.
More than a century later, Laura Burkle of Montana State University went back to see what changed. Burkle and her colleagues reported that they could only find half the species of wild bees that Robertson found — 54 of 109 types.
"That's a significant decline. It's a scary decline," Burkle said Thursday.
And what's most noticeable is the near absence of one particular species, the yellow-and-black American bumblebee. There are 4,000 species of wild bees in America and 49 of them are bumblebees. In the Midwest, the most common bee has been Bombus pensylvanicus, known as the American bumblebee. It only stings defensively, experts say.
But in 447 hours of searching, Burkle's team found only one American bumblebee, a queen.
That fits with a study that University of Illinois entomologist Sydney Cameron did two years ago when she found a dramatic reduction in the number and range of the American bumblebee.
"It was the most dominant bumblebee in the Midwest," Cameron said, saying it now has pretty much disappeared from much of its northern range. Overall, its range has shrunk by about 23 percent, although it is still strong in Texas and the West, she said.
"People call them the big fuzzies," Cameron said. "They're phenomenal animals. They can fly in the snow."
Her research found four species of bumblebees in trouble: the American bumblebee, the rusty-patched bumblebee, the western bumblebee and the yellow-banded bumblebee.
A separate Science study by a European team showed that wild bees in general have a larger role in pollinating plants than the honey bees that are trucked in to do the job professionally.
Those domesticated bees are already in trouble with record high prices for bees to pollinate California almond trees, said David Inouye at the University of Maryland.
Scientists suspect a combination of disease and parasites for the dwindling of both wild and domesticated bees.
Seth Borenstein can be followed at http://twitter.com/borenbears


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I have been meaning to post a new recipe since yesterday but could not decide between sweet and savory… I finally made up my mind about it after I read Mrs. Presley's post about chocolate chip cookies – btw, if you don't know her blog yet, take a look; the recipes are really good, I have some on my "to try" list already.
She's wants to find the best chocolate chip cookie recipe and I'm here to make her search even more difficult. :)
These cookies are really good – you just need time and a little extra patience to put them together. I baked them on an absurdly hot day (what was I thinking??) and the dough was not as firm as the recipe claimed it to be – not to mention the cookies spread like crazy. Iago, my nephew, was such a brave sous chef: he stood in the kitchen with me, with all that heat, and helped me through all the mixing/shaping/stuffing/baking. Once we placed the first baking sheet in the oven, he said "can I have the first cookie?" - he did have the first cookie, and then 2 more. :)
Chocolate chip-stuffed cookies
from Big Fat Cookies
2 cups (280g) unbleached all purpose flour
¾ teaspoon baking soda
½ teaspoon salt
1 cup (226g/2 sticks) unsalted butter, slightly softened for about 30 minutes
1 ½ cups (240g) packed light brown sugar
2 large cold eggs
2 teaspoons vanilla extract
3 cups (505g/18 ounces) semisweet chocolate chips
Position a rack in the middle of the oven. Preheat the oven to 175ºC/350ºF. Line two baking sheets with parchment paper.
Sift the flour, baking soda and salt into a medium bowl and set aside. In a large bowl, using an electric mixer on medium speed, beat the butter and brown sugar until smoothly blended, about 1 minute. Stop the mixer and scrape the sides of the bowl as needed during mixing. Add the eggs and vanilla and mix until blended, about 1 minute. The mixture may look slightly curdled. On low speed, add the flour mixture, mixing just until incorporated. Mix in 2 cups (336g) of the chocolate chips.
Roll 2 tablespoons of dough between the palms of your hands into a ball, flatten it slightly to make a 2-inch (5cm) disk and place on one of the prepared baking sheets. Repeat to make a total of 16 disks, placing 8 on each baking sheet and spacing them 4 inches (10cm) apart. Leaving a ¼-inch (6mm) plain edge, lightly press 1 tablespoon* of the remaining chocolate chips onto each disk. Using the remaining dough, make 16 more disks, placing one on top of each chocolate-chip-topped disk. Press the dough disks gently to cover any of the chocolate chip filling that shows around the edges.
Bake the cookies one sheet at a time until the edges are lightly browned but the centers are still pale golden, about 15 minutes. Cool the cookies on the baking sheets for 10 minutes, then use a wide metal spatula to transfer them to a wire rack to cool. Serve warm (the filling will be soft and melted) or at room temperature.
The cookies can be stored in a tightly covered container at room temperature for up to 4 days.
* I ended up using less than 1 tablespoon of chips – it was difficult placing all that amount of chocolate inside each disk of cookie dough.
Makes: 16 large cookies – Iago and I got 18


text: The Ator Tarot is a smart and whimsical spin on Rider Waite symbolism. The clunky and adorable characters of the Ator Tarot make it the deck of choice for those seeking a refreshing approach to divination. If you would like your own copy of the Ator Tarot, you can buy it now!


text: Memorial/Honorary Donations Memorial and honorary gifts to Trout Unlimited are a unique way to honor a friend or loved one. Consider dedicating a gift to loved ones on birthdays, graduations, weddings or other special occasions. We will send a letter to let your loved ones or friends know of your gift. You can us at 1.800.834.2419, or you can send a check to the address below. Memorial/Honorary Gifts Trout Unlimited 1777 N. Kent St., Suite 100 Arlington, VA 22209-3801 Corporate Matching Gifts Trout Unlimited encourages its members to use their employer's matching gifts programs as an easy way to increase the donation to the organization. Simply contact your employer (or former employer, if you're retired), request a matching gift form and send it to the address below. Forms need not accompany your gift to be eligible; you may send at any time or even request that gifts you've already given be matched. By using your matching gifts programs, you will double or maybe even triple your contribution to conserving, protecting and restoring North America's trout and salmon. Matching Gifts Trout Unlimited 1777 N. Kent St., Suite 100 Arlington, VA 22209-3801 Stock Gifts For transfer instructions, please contact Libby Earthman 415-638-2017 Donate your vehicle to Trout Unlimited Trout Unlimited now accepts vehicle donations. The process is easy and you may receive a tax deduction. Please visit our online form at tu.careasy.org or call toll free 1.844.40.TROUT. Your donation will help us to conserve, protect and restore North America's coldwater fisheries and their watersheds.


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Elliot Grove, Founder of Raindance Film Festival, offers Top tips to help promote your film. www.raindance.co.uk.
You've scoured writing groups for a hot new scriptwriter, toured film festivals for the most innovative new directors, found a cast of talented unknowns and scraped together some money and finally made your film. Now what? How do you turn your masterpiece into cold hard cash that will allow you to repay your investors and get a second crack at a film? The most common mistake filmmakers make is they don't know who they are making their films for.
There are two types of people who buy in the film industry. Development executives buy finished screenplays and ideas, while acquisition executives buy finished films. All distribution companies have a Head of Acquisitions, you will need to target them; they can actually put your film in cinemas and onto TV.
A common mistake filmmakers make is marketing their film as a "drama". All stories are dramas. To say you have a drama is too general and acquisition executives won't know what kind of movie you have. A successful tool to get around this is to make genre films: Horror, fantasy, crime, love, comedy, thriller, sci-fi and detective. Genre blends like Edgar Wright's Shaun of the Dead (comedy/horror) give a film buyer something they can visualise without actually seeing the film.
But here is the wrinkle. The film industry has changed dramatically since YouTube, specifically how films are distributed. Many of the ways that films were distributed and monetised pre-YouTube no longer work. But the basic principals of marketing and selling your film remain the same.
Here is the traditional distribution process for a film:
Cinema > Airline > Pay Hotel > Pay Cable > DVD > Terrestrial TV > Ancilliary (schools, retirement homes, cruise ships, prisons).
Adding in digital distribution upsets the whole equilibrium of the traditional model, and raises some interesting questions: Do you put your film online as pay per view? Streamed free with ads and associated revenue? Do you geoblock by territory to protect a national or regional distributor? Can you make any money by distributing your movie yourself? Regardless of your strategy, there are some basic elements you need to prepare in order to sell your film.
1. Press Kit
A press kit has four elements: 1. Synopsis: Write three different lengths of synopses: Long (one page double spaced), Medium (2/3 of a page) and Short (½ page). At the end of each synopsis, write a brief production note along the lines of: "This is the little film that nearly didn't but did, because I am a talented filmmaker." 2. Cast and Crew Bios: List the people who worked with you, after each name write what they did, and then a brief bio, including experience, awards and anyone famous they have worked with. Often you will be working with first timers – in which case write "Debut feature." 3. Photographs: Picture editors are always looking for images to make their publications look appealing. Look at the press pictures of successful filmmakers and you'll see they are always doing something, and not posing. Posing might work for the college yearbook, but not in your press kit. Make very sure that you include pictures of yourself. Without a good picture you won't be able to capture your 15 seconds of Warhol. 4. Reviews and Interviews: To start with, your press kit won't have any interviews. As you attend film festivals (see below) you will start to build up reviews.
2. Website
Before you start filmmaking, grab the url that most closely resembles the title of your film or production company. Keep it simple. Key pages are: About Us: List key cast and crew bios. About the Film: Include a synopsis. Production Notes / Blog: People love reading about stories from the trenches. Pictures: You can also create short videos you make during production. Contact: Make it easy to get a hold of you.
3. Role of social media
There are two types of filmmakers today. Those who abhor social media and wouldn't be caught dead with a Twitter account, and those that embrace it. Like it or not, a strong social media presence is the surest way to build up a following. They will be ready to see your film at a festival when it screens, and eager to watch your film on DVD or online when it is released. They can also be considered as potential investors on your next project. Social media isn't free; accounts may be free, but maintaining and building your list is time-consuming. All new movie projects are advised to have one person designated to running and maintaining the social media side of the movie.
4. Film Festivals
Film festivals are the tools you use to create a buzz. Festivals come in different flavours, and are ranked according to the numbers of acquisition executives that attend. Major: Cannes, Toronto, Sundance and Berlin where industry executives attend in droves. Mini-majors: where fewer industry attend, such as Raindance. City festivals: London, Cambridge and Edinburgh; used to promote the cultural wealth in order to attract tourism. Genre: London's Frightfest, Sci-fi and London Gay and Lesbian. Minor: Very few, if any, industry attend and are usually created by film lovers. Obviously, if you have a horror film, you would want to target a horror film festival like Sitges in Spain. Acquisition executives attend festivals where they think they are most likely to see the kinds of new films they would like to acquire.
5. Film Markets
There are thousands of film festivals in the different categories around the world but only three film markets: European Film Market in Berlin (February), attended by about 5,000 industry executives. Marché du Film in Cannes (May), attended by over 6,500 industry executives. American Film Market in Los Angeles (November), attended by 4,000 industry executives. A film market operates like any market for any product. Buyers line up, waiting for the doors to open, sellers prepare their booths in which they display their wares. Acquisition executives pour through the doors looking for an interesting film. They discuss the film with the seller, arrange to see the film either on DVD or at a private screening and negotiate a price. Economics dictate that only a registered seller can attend. These sellers pay a fee to join the market, transport their staff and materials and hire expensive display booths. The specialist sellers are called Film Sales Agents and sell your film for a commission.
6. Hybrid Distribution
Hybrid Distribution is exactly what it sounds like: a hybrid between self-distribution and distribution by a third party company. The filmmaker is able to choose partners who have access to contacts and channels that the filmmaker doesn't, while the filmmaker is free to reach their fans directly. Many filmmakers reserve the right to sell DVDs directly from their website and VOD (View on Demand) from their website, or a different one that specialises in streaming indie films. Filmmakers will split the profits fairly with their distribution partners. Using a Hybrid Distribution model maximizes the film's exposure, and has the potential to expand the film's fan base exponentially.
7. Self Distribution
Self-Distribution leaves all the distribution rights with the filmmakers. They sell DVDs, digital download, or VOD directly from their websites. They keep more of the profits, get the money faster, and are able to learn more about their customers immediately. However, the flip side of Self-Distribution is the limit of reach. Most Self-Distributed films will never run widely in cinemas, sell DVDs in stores, or rent through distribution partners like iTunes. Filmmakers who do self-distribute are able to keep in direct contact with their fan base illustrating the importance of social media.
8. Niche and /or Ancillary Markets
Sometimes a filmmaker makes a film that will sell only to a specific audience. When British filmmaker, Stuart St Paul, realised that his son was about to study Thomas Hardy, he made a series of movies of Thomas Hardy novels and sold them himself to the parents of other high school English literature students.
Now, take these tips and get your film out to the masses.


text:
The old steps leading down to the beach area.
This item is by Chuck Foster
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text:
Baltimore Ravens are Super Bowl XLVII Champions
The Baltimore Ravens survived a late 49ers surge, a controversial non-call in the endzone and a 34-minute power outage to win Super Bowl XLVII by a score of 34-31.
Two field goals by Ravens' rookie kicker Justin Tucker in the fourth quarter were the only points the Ravens scored after the delay, as compared to the 23 points put on the board by the 49ers.
Joe Flacco was named the MVP of Super Bowl XLVII after racking up 287 yards passing and 3 TDs.
The Super Bowl 47 victory is the second in Ravens team history (the first coming in Super Bowl XXV against the New York Giants). This is San Franscisco's first loss in a Super Bowl. It was their sixth trip to the big game.


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Specifies the connection to the X server.
It is only necessary to call this function if multiple threads might use Xlib concurrently. If all calls to Xlib functions are protected by some other access mechanism (for example, a mutual exclusion lock in a toolkit or through explicit client programming), Xlib thread initialization is not required. It is recommended that single-threaded programs not call this function.
The XLockDisplay function locks out all other threads from using the specified display. Other threads attempting to use the display will block until the display is unlocked by this thread. Nested calls to XLockDisplay work correctly; the display will not actually be unlocked until XUnlockDisplay has been called the same number of times as XLockDisplay. This function has no effect unless Xlib was successfully initialized for threads using XInitThreads.
The XUnlockDisplay function allows other threads to use the specified display again. Any threads that have blocked on the display are allowed to continue. Nested locking works correctly; if XLockDisplay has been called multiple times by a thread, then XUnlockDisplay must be called an equal number of times before the display is actually unlocked. This function has no effect unless Xlib was successfully initialized for threads using XInitThreads.


text:
Kawhi Leonard LA Clippers Fanatics Branded Youth Fast Break Player Jersey - Association Edition - White
Kawhi Leonard LA Clippers Fanatics Branded Youth Fast Break Player Jersey - Association Edition - White
Regular price
Regular price
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Unit price
Your kiddo can capture their team's distinct identity in a new way when you grab them this Kawhi Leonard LA Clippers Fast Break Association Edition jersey. This Fanatics Branded jersey features classic trims and crisp graphics to show who your young fan is rooting for. Let your youngster sport this sweet gear to the next game and ensure that their LA Clippers fandom is on full display!
- Product ID: 200029480
- Brand: Fanatics Branded
- Imported
- FanFit: A more tailored fit providing improved comfort around the torso and arms
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text:
10 seater car rental Roodepoort, South Africa
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text:
Few things indicate a president no longer needs to worry about re-election more than his willingness to ignite an intraparty firestorm.
President Obama's decision to include in the budget proposal he's scheduled to unveil Wednesday a less generous way to calculate Social Security cost-of-living increases may be the clearest sign yet that his name will not again be on a presidential ballot.
Obama made a proposal during a 2011 budget showdown to cut Social Security and Medicare — but that was during a face-off with Republicans over whether they'd even agree to raise the debt ceiling. And he didn't provide many details on the cuts.
That pressure-packed moment, which ultimately led to a downgrade in the nation's credit rating, was the impetus for that offer of a "grand bargain" compromise.
Obama may not have the same pressure as then to offer up cuts to the nation's premiere social safety net programs. But he has.
It's the kind of in-your-face move that had he proposed it during his first term, Obama might have demoralized and angered enough Democrats to have hurt his re-election chances. It might even have spurred a primary challenge.
Now safely in a second term he won by promising a "balanced approach" to deficit reduction of tax increases and spending cuts, Obama is providing more details.
The decision to go on record as favoring the less generous chained-CPI method for calculating Social Security benefit increases echoes negotiations to avert the fiscal cliff at the end of 2012. At that time, Obama reportedly offered House Speaker John Boehner, R-Ohio, a similar deal: Reduce Social Security spending from a revised method of calculating cost-of-living increases.
The so-called chained CPI approach works on the assumption that when prices rise on certain products and services, consumers respond by choosing less pricey substitutes. The bottom line is that such an approach would often lead to lower cost-of-living increases for those receiving Social Security benefits.
White House officials who gave journalists a preview of Obama's fiscal priorities said the fiscal 2014 budget proposal incorporates chained CPI and proposes that wealthier beneficiaries pay more of their Medicare costs.
His budget, which is really little more than a statement of his fiscal vision — and now takes its place alongside competing versions from Senate Democrats and House Republicans — puts Obama at odds with many of his political supporters, whose statements were filled with their sense of betrayal.
From the liberal group MoveOn.org's Executive Director Anna Galland:
"Millions of MoveOn members did not work night and day to put President Obama into office so that he could propose policies that would hurt some of our most vulnerable people. Just as we fought and defeated President Bush's plan to privatize Social Security, we will mobilize and stop this attempt to diminish the vital guarantee of Social Security."
And because Obama's proposal offers to trim spending on the two sacred cow entitlement programs in exchange for tax increases, it may not ulitmately get him closer to an agreement with congressional Republicans.
In a statement, Boehner said:
"When the president visited the Capitol last month, House Republicans stated a desire to find common ground and urged him not to make savings we agree upon conditional on another round of tax increases. If reports are accurate, the president has not heeded that call. If the president believes these modest entitlement savings are needed to help shore up these programs, there's no reason they should be held hostage for more tax hikes. That's no way to lead and move the country forward."
Still, the president's proposal on entitlements lets him continue to strike the stance of a leader willing to make compromises even on programs that are sacrosanct to many in his own party.
But now, it seems possible that more Democrats running for re-election in the 2014 midterms may find themselves running away from Obama. Especially with liberal activists making not-so-veiled threats of primary challenges to incumbents who link themselves to the chained CPI.
, a veteran Democratic political consultant, said in an interview that those kinds of challenges could be dangerous for his party:
"We better be careful we don't get into a Republican situation here where you have somebody who you beat with an ultra lib in the primary, then they can't survive the general [election].
"Let's not fall on our swords here. We've managed to avoid it. It wouldn't be a healthy thing."
Also, Fenn says for some congressional Democrats, it won't necessarily be a bad thing if they can claim some "daylight" between themselves and the president in the midterm elections.
Copyright 2020 NPR. To see more, visit https://www.npr.org.


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100 Days for 100 Gardens
11 Dec 2013
For those who have been following Slow Food for some time, our commitment to creating a network of African food gardens is nothing new. We started at Terra Madre 2010, sharing our new dream and taking the first, small concrete steps along the path towards the right to food and food sovereignty. This dream is called A Thousand Gardens in Africa and involves schoolyards, village plots and urban corners in 27 African countries.
So far this dream has involved a huge number of people: 50 coordinators ready to pass on their knowledge, along with 30,000 African men, women and children who have re-established a relationship with local food – sowing seeds, watering seedlings, caring for them as they grow, harvesting their fruits, learning how to prepare these local varieties of fruits and vegetables, and of course, eating them! It has also involved many donors who have chosen to support the project with different amounts. Some have helped buy tools such as trowels or hoes, while others have helped to set up seedbeds or install innovative irrigation systems. Others have taken on the responsibility of an entire food garden, covering all of its necessary expenses.
We have decided that now – three years since the project was first launched, with 850 gardens adopted – is the time to go against our "slow" nature, hit the accelerator and give the African food gardens project a big push. We have set ourselves a very specific objective: to fund another 100 gardens, and a deadline: December 29, exactly 100 days from the launch date of the campaign. At Cheese, we saw the first clear results of this crowdfunding initiative, with a peak in donations. Today, 86 days from the deadline, the total stands at €15,000. This is 16% of our €90,000 target. As crowdfunding tends to imply a sharing of knowledge and information, the project has now become shared property, shared on hundreds of Facebook pages, Twitter accounts and Google+ profiles. This is the beauty of social media; it acts as a sounding board, and is the ultimate word of mouth.
Funding from the crowd and knowledge for the crowd: The first steps of the 100 days for 100 gardens campaign are showing us that we can achieve our goal, and that all together, euro by euro, we can contribute to constructing a richer, more beautiful and more participatory future. For Africa, but also for ourselves.
To learn more about the project, to donate or to find out what you'll get in return visit: www.100x100orti.org
Do you have a Facebook profile? Then share this great dream with your friends.
Do you have a Twitter account? Then tweet about the project: #100x100slow
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