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Curator, David Campany, has brought together an international range of artists who are making work in a variety of forms, in the latest show to open at Jerwood Space.
David Campany rejects photography's emphasis on the temporal in favour of the spatial in the Jerwood Space's latest exhibition, This Must Be the Place. As Reader in Photography at University of Westminster, a practicing artist and author of numerous books on the subject, Campany is well-versed in the challenges and intricacies of photography today, and This Must Be the Place assesses the medium's new role in the international artistic forum.
With works originating from around the globe including Dakar, Barcelona, Shanghai, Dresden, California and London, and photographers ranging from the hugely experienced Mimi Mollica, to the newly graduated Lillian Wilkie, This Must Be the Place is ambitious in aiming to interrogate new approaches without any one single point of departure. Furthermore, the works incorporate street photography, pornography, moving pictures, documentary, and black and white versus colour studies, in a vast array of approaches represented by a small number of photographers. With technology becoming increasingly more efficient and acceptable, photographers face unprecedented obstacles to maintain the medium's hard-fought status as an art rather than a science, and with a preceding generation of photography greats such as Nan Goldin, Joel Meyerowitz and Martin Parr, it is imperative that photographers continue to find their own direction, and innovate at the same rate as their technology.
This Must be the Place is the latest in a long line of one-off exhibitions in Jerwood Encounters – is there a sense of narrative between the Encounters or is each one an isolated example of artists practising today?
I think the thread is "working processes." The Jerwood Space is very interested in shows that somehow manage to make evident, if not through the works then through the curatorial selection, something of the way in which artworks come into being. Catherine Yass curated a photographic show, which was very much about the ways the medium can be used as a form of "working through", perhaps towards something else – a sculpture or film, or a more resolved photograph. I've gone in a related direction to look at the different ways images are edited and brought together into single bodies of work.
The exhibition focuses on a range of localities across the globe – was it a conscious decision to get a fair representation of international work?
I'm not in a position to make a "fair representation of international work" and I don't know who is. Around the time I was asked to put together a show, I had just finished a number of projects in which the emphasis was on the temporality of photography and film. Meanwhile several artists and photographers I found really interesting were making responses to particular places; for example, a road in Dakar, a disused piece of real estate in Barcelona, forgotten parts of Dresden, or the Californian desert. Straight away that conjures up something a little more "documentary." I'm pleased to see that documentary has become an expanded and experimental form once again, which is as it should be. It had crystallized into something very unproductive for a while.
We are inherently linked to the places of our past and present, and in many ways they shape our character – can you see a differentiation in the works of artists photographing their home area and photographing "new" places?
A doxa has grown up around the idea that creative work should begin with the familiar. There's a huge presumption there that you are going to be able to make something interesting out of that. Some can but clearly it's not going to work for everyone. And of course it may well be that you really don't know what's familiar until its confronted, contradicted or otherwise made unfamiliar. Those who are able to start with what they know are able to see it as unfamiliar, which is to say unknown. As for the past, I agree with whoever it was who said it is a foreign country. Metaphorically for most; actually for some. This Must Be the Place includes a sample of London Photographs, Camille Fallet's hugely ambitious photographic survey of vernacular London. He made it soon after arriving in England from France and it's a project that could only have been done by someone fresh to the city. I don't think a "Londoner" would notice and photograph that way.
The two are inextricably linked, but how has the relationship between art and photography evolved over the past five years?
It's going through a transition. After the inexorable rise of the large-scale tableau photograph, I think there is a realisation that the medium has more possibilities. There has been a quite extraordinary renaissance of the photographic book, for example. In the last few years books have been published to rival the great heights reached in the past, often by people who don't give a fig about exhibiting. The book is enough for them. Then there are photographic projects that are conceived to work in different formats – in exhibition, in publication and online. There is also a realisation that much of the great photographic work of the past emerged from a hybrid working condition, between art and "applied" photography. A number of the contemporary photographers, I find most interesting are reinventing such spaces for themselves.
The exhibition also displays ephemera from those who have inspired the photographers – what contribution do you see new photographers giving to this narrative?
That's a really key question for me. I'm interested in curating shows that bring together contemporary and historical work. I notice a split – more visible in photography curating, but still pretty widespread – between "contemporary shows" and "historical shows." Photography has an extraordinarily rich and varied past, perhaps so rich that it is frequently boiled down to a small handful of touchstones for today's audiences. That's a real shame because there are precursors for much of what is being done today. And we needn't be scared of that. It's a matter of finding what might be useful connections between the present and the past.
Tereza Zelenkova's work contrasts black and white with colour photography – something that has occurred since the 1960s. Why do you think this contrast holds a continued fascination for photographers?
Tereza works in black and white quite a lot, colour occasionally. Often it's a way of making a photograph less historically specific, more "removed" from reality. Up until the 1970s black and white had connotations of seriousness and on the whole artistically minded photographers avoided colour because of its associations with commerce. Of course that's all changed now. Moreover I think a fluid relationship has been created by the new shooting and printing technologies. Colour and black/white used to have very distinct technical processes for shooting and printing, now they needn't. My own work in the show slips in and out of colour too. There is also a much more profound point here. To shoot a colour photograph is to also shoot a black and white one. Every colour photograph contains its black and white equivalent. But you cannot derive a colour photograph from a black and white one. It's not a symmetrical relationship. I suspect most of us sense this without knowing it.
The work of Xavier Ribas is ambiguous in its message – how much does the viewer have to contribute to have a better understanding of the work?
Photography is pretty good at showing and pretty lousy at explaining. Xavier works in a long tradition of topographic photography that makes a virtue of that tension. It goes right back via Robert Adams and Lewis Baltz, through Walker Evans to Eugene Atget and into the 19th century. Because photography evolved as a medium of documentation we often expect photographers to have, and to make, very clear statements. They need not. And many cannot.
Lillian Wilkie's books show the accessibility of the medium, in delving deep into detailed examination of a place – was it difficult however to display these works in an exhibition format and still provide a complete view?
Lillian's suite of books is the result of walks made across Dresden, noticing details and weaving them together with fragmented accounts of the past. Her work alludes to the casual tourist snapshot, but she's a careful photographer. Precise and understated. It's true that books are essentially unexhibitable. They need to be picked up, held, looked at and read. Lillian's happy to let visitors do this, but that's unusual. How often do we see books sealed off in exhibition vitrines? It's a real problem for exhibitions, particularly of photography. Not only is so much great work being made in book form, but nearly all the great landmarks of photography's past were publications, not exhibitions of prints. I'm not sure the museum or gallery can ever accommodate that but the effort must be made if photography is to be taken seriously.
Eva Stenram's Pornography / Forest injects humour and kitsch into the exhibition – is it important to laugh at ourselves and the deified position awarded to contemporary art?
It's important to laugh at ourselves, but it's not important to laugh at art. One can take it seriously without deifying it. There's more than enough deification in the world right now. It's interesting; one of the UK art magazines has just done a special issue on religion and spirituality. I was amazed to see usually pretty clear-headed thinkers repeating journalistic banalities such as "art museums are cathedrals for the secular." Perhaps we need to be a bit more precise and vigilant about this deification business. Eva's nature pictures are derived from internet porn sites. She downloads them and digitally removes the "action." I wanted something in This Must Be the Place that didn't quite fit, something that called the whole idea of "place" into question. These are photographs of very particular places, but the internet itself is a non-place.
Mimi Mollica's work references the growth of street photography – how do you see this work as developing from the works of the street photography greats such as Walker Evans and Robert Frank?
Where you find streets you will find street photography. One of the things unique to photography is that it can be a form of hunting and invariably the pickings are richest in the street. I am ambivalent about the rampant return of the genre, not least because so much of it is so generic: an empty sport in which too many are happy to make poor imitations of the unbelievably high standards of the past, while others settle for too little: "comic" juxtapositions between people and the billboards behind them, grotesque gestures produced entirely by the shutter, third generation pastiches of "urban alienation" (you know who you are). There are a handful of people looking way beyond that, and I would include Mimi among them. His square format work from a new highway out of Dakar, shown here as a digital slide show, is the work of a photographer not trying to imitate anything, but really struggling to find a form to articulate something significant about his subject matter.
Although all of the works in the show, including your own piece One Way Street in China, have an emphasis on place, in being made at specific historical moments they also have a relation to time. You mentioned at the beginning you were trying to get away from time.
Not "get away from it" exactly, just shift the emphasis. You're right, all photography is temporal. But as you hinted earlier when photography addresses itself to particular places what results is a meeting between photography's temporality and the temporality of those places. I think this is why so-called "landscape photography" has also experienced something of a revival in recent years. For many contemporary photographers landscapes have the potential to combine a partially obscured past, a contested present and an unknown future. I have always had a secret suspicion that although photographers seek out subjects to photograph they are choosing ones that express something of their feelings for their own medium. It strikes me that photography itself seems rather beautifully suspended between its partially obscured past, its contested present and its unknown future.
This Must Be The Place continued until 12 December 2010.
Ruby Beesley

subset: commoncrawl


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The following is a product review by homeschooling mami, Carla Molina, for our "In Your Words" Literacy Series as we celebrate Día de los Niños, Día de los Libros this month on MommyMaestra.
The only fear I have about homeschooling my daughters is that I won't be able to teach them to read in Spanish. I was never taught to read in Spanish. Actually, I wasn't taught any school subjects in Spanish, but the concepts of math and geography and science and all the other subjects translate easily when you're doing hands-on learning.
When it comes to reading, I want my daughter to learn to read independently but also, if not more importantly, love to read. Hagamos Caminos is a literature based program which focuses on nurturing a true affection for reading. The books contain a variety of genres including legends, oral folklore, poetry, riddles and rhymes, even plays from all over the Hispanic world. There are stories based on reality, which my daughter easily identifies with, and tales based on fantasy which engage her imagination. Everyone in our house has fallen in love with the literature in this series. We not only work on the educational exercises, but you'll often find one of the books next to our bed for a quick story before getting tucked in for the night.
I adore the illustrations. They are fun and whimsical and really make the content pop. When we go through the texts just looking at the pictures, deducing what we think is taking place, I appreciate how someone thought to make it beautiful. The same way I love to hold a gorgeous book in my hands, so do my daughters. If my daughter doesn't like the artwork, then a book has a slim chance of making it past page one. So, five points on a five-point scale for visual appeal!
The program comes with eight books, four of which are reading texts and four accompanying workbooks. There are 4 stages to the series: Partimos (pre-K - 1st), Andamos (K - 2nd), Corremos (1st - 3rd) and Volamos (2nd - 5th). Despite the wide span of grade level content, we were able to work with each of the books. We started with Partimos and I was surprised, having had zero experience with a formal reading program, how engaged and excited my daughter was. She enjoyed the variety of activities and I appreciated how much was covered. Not only did she make connections to the stories but she also got to practice math concepts, fine motor skills, pattern identification, and early writing skills.
The only negative I found with the program is the included DVD. It's a bit dated and not the very best quality. You do, however, get a clear sense of
If you can't tell, I'm really impressed with this program. My daughter is confidently putting the pieces together to learn to read and is genuinely excited for "school" time as we've come to call it. She even applies the methodology for analyzing and thinking about a story to books we read for fun. Hagamos Caminos has made me feel confident in teaching my children to read.
My family has long been a fan of Alma Flor Ada's work and this just solidifies a place in our hearts for her. She is really committed to educating children with respect and love. I highly recommend the Hagamos Caminos program. This set is available for purchase through Del Sol Books. I've already got other books from Del Sol Books, the publishers of Hagamos Caminos, on my daughter's wish list!
Carla Molina is a weaver of words and creative collaborator. A Jersey girl at heart with lots of love for Boston, she spends most of her time raising two bilingual little ladies and brainstorming more ways to write her heart out. She blogs about being a woman and a creative creature at All of Me Now. And plays cheerleader to the local businesses serving families in her current home state at Petit Rhody.


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The songwriter and guitarist Sidi Touré is a superstar in his native Mali. But in the last 18 months, it hasn't been easy for Malian artists.
Islamic extremists are fighting for control of the area around Timbuktu, in the northern part of the country. The violence, along with a rebel-imposed ban on both music and secular art, has forced many of Mali's artists to flee the country.
Sidi Touré, who is from the North, was in the middle of recording his latest album when all this started happening.
"I have to say, all of the things that happened in Mali in the last year were very painful," he says, through a translator. "They weren't fun to watch, and they weren't fun to experience. But since I'm an artist, and all of us artists — we have a duty to move forward, and to keep going, and to continue to make music.
The new album Alafia, meaning "peace," comes out on Tuesday. While celebrating on his U.S. tour, Touré spoke with Weekends on All Things Considered host Jacki Lyden from WBEZ in Chicago.
Copyright 2021 NPR. To see more, visit https://www.npr.org.


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SANSUI LCDTVSAL26HBA-FLK LED TV Software file is shared for repairing purpose. If the SANSUI LCDTVSAL26HBA-FLK LED TV does not turn on mean not leaving the standby position or the remote control is not responding and even the control buttons/keys on LED TV not working then Software file can be loaded.
Troubleshooting Guide:
If the SANSUI LCDTVSAL26HBA-FLK LED TV is dead. Mean no power no flash light or indicator then first check the physical damage/burnt area, short circuit then power supply. In start check the fuse of main input if available then also check the power cable/wire continuity because in case of short circuit mostly the fuse burnt and cut off the supply.
If both are found ok and SANSUI LCDTVSAL26HBA-FLK LED TV is still dead then check the primary power circuit if found ok then test the sSANSUIdary power circuit. In this case if fault diagnose in power supply and can be repaired then no need to load Software file the TV will be normal after repairing and if the standby light is indicating and the TV not leaving standby or not responding remote and also all the primary and sSANSUIdary voltage of the main board of the SANSUI LCDTVSAL26HBA-FLK LED TV are tested and found accurate then write Software file, hope the issue will be resolved by rewriting flash memory.
Installation Instructions:
For writing Software file in SANSUI LCDTVSAL26HBA-FLK LED TV board, first of all save the backup of old dump then erase the flash chip. After it write the given SANSUI LCDTVSAL26HBA-FLK LED TV Software and then verify after completion. if verifies successfully then resold it again and check. In some cases the Software file is saved from the same board but the remote control may not match. In such cases use universal remote control.
Technical Specifications SANSUI LCDTVSAL26HBA-FLK LED TV:
- Make/Brand: SANSUI
- Main Board/Chassis: MST719_20.05.2010_22
- Board Type:
- Power Source:
- Rated Power Consumption:
- Panel Info:
- Screen Resolution:
- Main Processor/Chipset:
- SPI Flash:
- Tuner:
- Firmware Type: SPI Dump
- Product User: SANSUI
- Product Model:
- Factory Code:
Special Note:
The attached firmware is backup dump file and can be loaded by a programming tool in case when LED TV stuck on Logo or Boot Screen or not leave the standby position. Not for Update purpose if LED TV is working Normal. Always match Main board number before writing the Software File. If you are not a technician or do not have any experience of repairing electronic devices then do not play with this. In case of wrong file loaded, board may be dead. Admin Team is not responsible in case of any damage/loss.
About Mainboard:
SANSUI LCDTVSAL26HBA-FLK LED TV dump file is shared below for repairing the firmware problem. SANSUI LCDTVSAL26HBA-FLK LED TV has the main board MST719_20.05.2010_22 installed in it so the SPI Flash file backup saved from working board MST719_20.05.2010_22. Mostly in LED TVs universal board is installed which has the integration of backlight driver board, ATV Tuner Module and Power Circuit board. MST719_20.05.2010_22 dump file is shared below for the SANSUI LCDTVSAL26HBA-FLK LED TV repairing.
SANSUI LCDTVSAL26HBA-FLK LED TV Software download free.
How to Download Free Software for SANSUI LCDTVSAL26HBA-FLK LED TV:
1. Click on the file part or Download Link, New Tab will open
2. Click on Free Download or Premium Download as per your account type
3. Check I'm not robot and wait for countdown timer to end
4. Click on Create Download Link
5. Ignore Popups and wait for Preparing Download Link
6. Click on Click Here To Download. Done. Click on Click Here To Download. Done


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That said, everything here is safe for work (as always) and will most likely sail cleanly over the heads of the very young. Still, parents should note that CW has always been, and always will be, a PG-rated site.
Last week we established pretty much every possible way turkey cakes can be wrecked...except one.
You see, turkey cakes have two inherent flaws. First, they're made out of chocolate icing...
However, the other problem - which I have avoided mentioning until now - is that they also tend to have long skinny bodies and blobular heads, which can look, well...
Combine these two unfortunate predilections, and you get:
(Nice "legs.")
Here's another:
Me: I'm not sure about "surprisingly out of proportion."
John: Why, what's wrong with it?
Me: Well, it's quite a mouthful.
John: [screeching laughter]
Me: [innocently] What?
Turkey: the other dark meat.
Katey S., Owen H., Paula W., Laura I., & Lola P., these Wrecks give new meaning to "giving you the bird," don't they?
- Related Wreckage: Butterfly Misses


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Springer's STM division and BioMed Central are joining forces and will integrate PMC Physics A and PMC Physics B into a new initiative of the European Physical Journal (EPJ) EPJ.Open. EPJ.Open is a series of new, fully open access physics journals to complement the existing portfolio of EPJ titles published by Springer, EDP Sciences and the Italian Physical Society, and covers the whole spectrum of pure and applied physics, including related interdisciplinary subjects.
This move will facilitate open access publishing in the physical sciences, and will aid coordination with the existing physics journals portfolio. We hope that this development will benefit the Physics community due to the combined strength of Springer Science – with its strong global presence and long history of physics publishing – and BioMed Central – who operate a portfolio of over 200 open access journals. In addition, the recent launch of SpringerOpen a range of fully open access journals, which cover all disciplines within the science, technology, and medicine (STM) fields, gives authors in all areas of science the opportunity to publish open access.
PMC Biophysics has now transferred to the BMC series of open access journals published by BioMed Central and has been re-launched as BMC Biophysics.
Although PhysMath Central has now been closed, all content previously published in PMC Physics A, PMC Physics B and PMC Biophysics will remain permanently available online, archived on the specific journal websites.
If you have any questions regarding this closure or the future plans for EPJ.Open please contact our customer service team.


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Airline Captain Richard Rodriguez's recollection about an American Serviceman's sacrifice and the honor given to him on his final flight home is one that will touch your heart.
"My lead flight attendant came to me and said, 'We have an H.R. on this flight.' (H.R. stands for human remains.)
'Are they military?' I asked.
'Yes', she said.
'Is there an escort?' I asked.
'Yes, I've already assigned him a seat'.
'Would you please tell him to come to the Flight Deck. You can board him early,' I said…
A short while later a young army sergeant entered the flight deck. He was the image of the perfectly dressed soldier. He introduced himself and I asked him about his soldier.
The escorts of these fallen soldiers talk about them as if they are still alive and still with us. 'My soldier is on his way back to Virginia ,' he said. He proceeded to answer my questions, but offered no words.
I asked him if there was anything I could do for him and he said no. I told him that he had the toughest job in the military, and that I appreciated the work that he does for the families of our fallen soldiers. The first officer and I got up out of our seats to shake his hand. He left the Flight Deck to find his seat.
We completed our preflight checks, pushed back and performed an uneventful departure. About 30 minutes into our flight, I received a call from the lead flight attendant in the cabin.
'I just found out the family of the soldier we are carrying, is also on board', she said. She then proceeded to tell me that the father, mother, wife and 2-year old daughter were escorting their son, husband, and father home. The family was upset because they were unable to see the container that the soldier was in before we left.
We were on our way to a major hub at which the family was going to wait four hours for the connecting flight home to Virginia. The father of the soldier told the flight attendant that knowing his son was below him in the cargo compartment and being unable to see him was too much for him and the family to bear. He had asked the flight attendant if there was anything that could be done to allow them to see him upon our arrival. The family wanted to be outside by the cargo door to watch the soldier being taken off the airplane.
I could hear the desperation in the flight attendants voice when she asked me if there was anything I could do. 'I'm on it', I said. I told her that I would get back to her.
Airborne communication with my company normally occurs in the form of e-mail like messages. I decided to bypass this system and contact my flight dispatcher directly on a secondary radio. There is a radio operator in the operations control center who connects you to the telephone of the dispatcher. I was in direct contact with the dispatcher. I explained the situation I had on board with the family and what it was the family wanted. He said he understood and that he would get back to me.
Two hours went by and I had not heard from the dispatcher. We were going to get busy soon and I needed to know what to tell the family. I sent a text message asking for an update. I saved the return message from the dispatcher and the following is the text:
'Captain, sorry it has taken so long to get back to you. There is policy on this now, and I had to check on a few things. Upon your arrival a dedicated escort team will meet the aircraft. The team will escort the family to the ramp and plane side. A van will be used to load the remains with a secondary van for the family.
The family will be taken to their departure area and escorted into the terminal, where the remains can be seen on the ramp. It is a private area for the family only. When the connecting aircraft arrives, the family will be escorted onto the ramp and plane side to watch the remains being loaded for the final leg home.
Captain, most of us here in flight control are veterans. Please pass our condolences on to the family. Thanks.
I sent a message back, telling flight control thanks for a good job. I printed out the message and gave it to the lead flight attendant to pass on to the father. The lead flight attendant was very thankful and told me, 'You have no idea how much this will mean to them.'
Things started getting busy for the descent, approach and landing. After landing, we cleared the runway and taxied to the ramp area. The ramp is huge with 15 gates on either side of the alleyway. It is always a busy area with aircraft maneuvering every which way to enter and exit. When we entered the ramp and checked in with the ramp controller, we were told that all traffic was being held for us.
'There is a team in place to meet the aircraft', we were told. It looked like it was all coming together, then I realized that once we turned the seat belt sign off, everyone would stand up at once and delay the family from getting off the airplane. As we approached our gate, I asked the copilot to tell the ramp controller, we were going to stop short of the gate to make an announcement to the passengers. He did that and the ramp controller said, 'Take your time.'
I stopped the aircraft and set the parking brake. I pushed the public address button and said: 'Ladies and gentleman, this is your Captain speaking: I have stopped short of our gate to make a special announcement. We have a passenger on board who deserves our honor and respect. Also, on board are his father, mother, wife, and daughter. Your entire flight crew is asking for all passengers to remain in their seats to allow the family to exit the aircraft first. Thank you.'
We continued the turn to the gate, came to a stop and started our shutdown procedures. A couple of minutes later I opened the cockpit door. I found the two forward flight attendants crying, something you just do not see. I was told that after we came to a stop, every passenger on the aircraft stayed in their seats, waiting for the family to exit the aircraft.
When the family got up and gathered their things, a passenger slowly started to clap his hands. Moments later, more passengers joined in and soon the entire aircraft was clapping. Words of 'God Bless You', I'm sorry, thank you, be proud, and other kind words were uttered to the family as they made their way down the aisle and out of the airplane. They were escorted down to the ramp to finally be with their loved one.
Many of the passengers disembarking thanked me for the announcement I had made. They were just words, I told them, I could say them over and over again, but nothing I say will bring back that brave soldier.
I respectfully ask that all of you reflect on this event and the sacrifices that millions of our men and women have made to ensure our freedom and safety in these United States of AMERICA."
These men and women and their families deserve our gratitude for their sacrifices. Thankfully, they received such an honorable reception during this journey.
If you think this is an important thing to do, please share this article with others.
H/T: Inspire
More About:Lifestyle


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In the competitive world of automotive sales, having a deep understanding of the vehicles on your lot is crucial. The 2008 Nissan 350Z stands out as a remarkable choice for a wide range of buyers, offering a blend of performance, luxury, and efficiency that's hard to match. This guide is designed to arm sales professionals with key information and selling points about this exceptional vehicle, making it easier to connect with potential buyers and close more deals.
Vehicle Overview:
- Make: Nissan
- Model: 350Z
- Year: 2008
- Fuel Type: regular unleaded
- Engine HP: 306 horsepower
- Engine Cylinders: 6-cylinder
- Transmission Type: MANUAL
- Driven Wheels: rear wheel drive
- Number of Doors:2
- Market Category: High-Performance
- Vehicle Size: Compact
- Vehicle Style: Coupe
- Highway MPG: 25 miles per gallon
- City MPG: 18 miles per gallon
Key Selling Points:
- Performance and Efficiency: The 2008 Nissan 350Z is powered by a robust 306-horsepower, 6-cylinder engine, offering an exhilarating driving experience without sacrificing fuel efficiency. With an impressive 25 MPG on the highway and 18 MPG in the city, it strikes the perfect balance between power and economy.
- Luxury and Comfort: As a High-Performance vehicle, it offers an array of luxury features and top-notch comfort for both driver and passengers. The Compact size ensures ample interior space, while the Coupe style appeals to those seeking sophistication and elegance.
- Advanced Technology: Equipped with the latest technology, the 2008 Nissan 350Z enhances every aspect of the driving experience. From safety features to entertainment and connectivity, it sets the standard for what drivers expect from a modern vehicle.
- Versatility: Whether navigating city streets or cruising on the highway, the rear wheel drive system provides exceptional handling and stability in all conditions. Combined with its 2 doors and spacious interior, it's perfectly suited for families, commuters, and adventure-seekers alike.
- Competitive Pricing: With the orginal MSRP of $28,510, the 2008 Nissan 350Z offers incredible value, especially when considering its performance capabilities, luxury features, and fuel efficiency. It stands as a compelling option for buyers looking for premium quality without the premium price tag.
The 2008 Nissan 350Z is more than just a car; it's a statement of style, efficiency, and innovation. Its blend of performance, luxury, and value makes it a standout option in its category. As a sales professional, highlighting these features and how they meet the needs of potential buyers can significantly enhance your sales pitch. Remember, selling is not just about the car; it's about understanding the buyer's desires and showing them how this vehicle exceeds those expectations. With the 2008 Nissan 350Z, you have everything you need to do just that.
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With over 20 years of experience in the car business, I've navigated the evolution of the industry from traditional sales to the dynamic digital age. My journey through various roles in both sales and management has endowed me with a unique perspective on the challenges and opportunities in automotive sales today.
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Christopher of Lycia
The holy, glorious and right-victorious great-Martyr Christopher of Lycia (d. 249) the Christ bearer (Greek: ο Άγιος Χριστόφορος ο Κυνοκέφαλος), also known as the Cynocephalus or Dog-headed among the West, is a saint of the third-century. He is believed to be the protector of travelers and is commemorated by the Church on May 9.
St. Christopher lived in Lycia, under the reign of the Roman emperor Decius (reigned 249-251), and was at first named Reprobus before being baptised. Not much is known about him, but there are many legends connected to him.
The Orthodox tradition describes the saint as a tall man of tremendous strength who made a living carrying people across a raging river. One day his passenger was a child who grew so heavy as they crossed the river that St. Christopher feared they would both drown. He was amazed that such a small child could overcome someone so mighty as himself. The child then revealed that he was Christ, and the heaviness was caused by the weight of the world which he bore.
Although so little is known about the life of St. Christopher, there is much to be gathered from his experience of carrying Christ across the river. His story represents a message of hope that all Christians are called to bear and to "put on" Christ, by taking up the crosses, given to each of us, in our lives. Christopher bore his "cross" (Christ himself) and eventually suffered martyrdom for the faith, fulfilling the commandment of Christ, "He who does not take his cross and follow Me is not worthy of me" (Matt. 10:38).
St. Christopher came to martyrdom under the emperor who wanted to kill him for his faith. Christopher was first asked to renounce Christ. When he refused, he was tied to an iron stool, which was placed over fire. The stool melted, but St. Christopher was unharmed. The emperor then ordered archers to shoot him, but all the arrows missed. One archer shot the emperor in the eye. Outraged, the emperor then ordered that the saint be decapitated. St. Christopher's severed head told the emperor to put some of his blood in his wounded eye, and when the emperor did so, his sight was restored and he converted to Christianity.
The Greek word "Christophoros" translates into "Christ-bearer" and he is, therefore, depicted in iconography as carrying a child, who, in turn, is carrying a globe. Some people hold the superstition that if you see an icon of St. Christopher you cannot die on that day; this superstition is not supported by the Orthodox Church.
"Cynocephalus" is a Greek word, literally meaning "dog-head." There are some rare icons that depict this martyr with the head of a dog. Such images may carry echoes of the Egyptian dog-headed god, Anubius; and Christopher pictured with a dog's head, is not generally supported by the Orthodox Church. However, these images have made him especially popular among the Roman Catholics who have created many stories to explain his "cynocephalatic" appearance.citation needed
His relics, including the head of the saint, are on the island of Rab in Croatia.
Kontakion (Tone 4)
- Your physique was overwhelming and your face horrifying. You willingly suffered trauma from your own people. Men and women tried to arouse consuming fires of passion in you, but instead they followed you to your martyrdom. You are our strong protector, o great martyr Christopher!
Troparion (Tone 4)
- In beautiful garments woven from thy blood thou dost stand before the King of Heaven. For thou dost chant the Thrice-holy hymn with Angels and Martyrs. By thy supplications save thy servants.
External links
Categories > Church History
Categories > Church History
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Categories > Church History
Categories > Liturgics > Feasts
Categories > Liturgics > Feasts
Categories > Liturgics > Feasts
Categories > Liturgics > Feasts
Categories > OrthodoxWiki > Articles lacking citations
Categories > People > Saints
Categories > People > Saints > Ante-Nicene Saints
Categories > People > Saints > Martyrs
Categories > People > Saints > Saints by century > 3rd-century saints


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Welcome to Dragon Cave! Dragon Cave is an online adoptables game. Collect eggs, raise them to adulthood, and then breed them to create interesting lineages. New dragons are added regularly!
White Dragons are pacifists and specialize in extremely strong healing magic. The only limit of this magic is that it can't bring back the dead. They only eat plants and never kill living things.
Dragons are highly-intelligent reptilian creatures that—from a human perspective, at least—appear to live forever. Many different varieties of dragon exist, each with their own unique qualities, habitats, and behavior. Adolescence in dragons is usually marked by the growth of a hatchling's wings, although not all breeds of dragons grow wings and some breeds have other traits that indicate the beginning of maturation. In Galsreim, dragons and humans coexist peacefully.


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Sometimes the best way to advance an argument is by looking back.
President Obama's second inaugural address was filled with historical allusions. His State of the Union address on Tuesday, which will lay out a long list of agenda items for the year and his second term, is likely to employ fewer references to the past.
But Obama may well talk about emblematic figures, whether it's the traditional nod to American heroes sitting up in the balcony beside the first lady, or telling the story of other individuals whose lives exemplify the points he wishes to make about immigration, gun control or other issues.
Referring to heroic figures or touchstone moments from the past is a way for politicians to suggest that the cause or legislation they're currently promoting is part of some grand historical struggle that has already met with honor and can meet with success again.
"You're identifying yourself with an agenda that predates you and probably postdates you as well," says Clark S. Judge, a former speechwriter for President Ronald Reagan. "You use allusions to the past to talk about the sensibility from which you come, the traditions that you're drawing into, the chain of aspiration that you're seeking to be the next step in."
The reason presidents and politicians like to quote great figures from the past, whether it's Martin Luther King Jr. or Winston Churchill, is that it offers them the chance to associate themselves with that level of achievement.
"Every president will find some way to place himself on the same plane as those figures," says Michael Cohen, author of Live From the Campaign Trail, a look at presidential election speeches of the 20th century.
Television-Age Politics
Showcasing a living, breathing hero at the State of the Union is a direct antidote for excessive quotation of Jefferson and Lincoln.
The tradition of saluting individuals who have distinguished themselves in the past year at the State of the Union began with Reagan. This kind of storytelling technique is a part of television-age politics, Cohen says.
"This is the changing nature of politics," Cohen says. "You don't want to come across as this distant figure, but that you're in touch with ordinary Americans."
Just as it's become the norm for the wives of presidential candidates to offer character references at conventions, presidents themselves pick out individuals whose values and accomplishments they can visibly show support for.
All Americans can feel good about a president paying tribute to a wounded vet or an Olympic athlete. But not everyone will embrace the decision by more than two dozen Democratic members of Congress to invite victims of gun violence to Tuesday's speech to illustrate the urgency behind their gun control proposals.
Celebrating Common Victories
In Reagan's case, says Judge, most of those saluted at the State of the Union were not used to make policy pitches but to demonstrate the greatness of the American people.
"It wasn't so-and-so who was an example of House Bill 327 and why we need to pass it," he says. "It was that the true heroes of America are all around us."
But who can we all agree are the heroes? The list of historical figures and events that matter most and appeal on a truly bipartisan basis is always shifting.
"Today, who remembers the halls of Montezuma or the shores of Tripoli?" asks historian Adam Goodheart.
Politicians refer less to the American Revolution than they used to. Instead, more recent events such as World War II or the civil rights movement are likely to illustrate points about where a politician wants to take us from here.
With his celebrated D-Day speech in 1984 ("these are the boys of Pointe du Hoc"), Reagan was arguing to both American and European audiences that victory over the Soviets could ultimately be achieved, as surely as the defeat of the Nazis, says Judge.
"Talking about history and what movements have done in the past argues that we've successfully done this before and it was good for our country and we need to do it again," says Paul Orzulak, a former speechwriter for President Bill Clinton.
Your Story Is Our Story
Ted Widmer, another former Clinton speechwriter, notes that some historical allusions are "pleasing and inclusive" and speak to a broad swath of Americans. But some references can be divisive and even strident.
Sometimes politicians will attempt to appeal not to everyone but to specific constituencies. It's common for a politician speaking to a Hispanic leadership group, say, or a trade union to embrace that audience's language and particular heroes as a means of ingratiating himself.
"The allusion is a signal to an already won-over constituency to move them to work for him, even on issues they care about less intensely," says David Bromwich, a Yale University English professor who has studied Obama's rhetoric.
What a president says when addressing one group's convention, though, may not be what he shares with the rest of the country on ceremonial occasions. That's why Obama struck such a chord in the inaugural address with his references to Stonewall, Selma and Seneca Falls (respectively, landmarks in the struggles for rights for gays, African-Americans and women).
Many gays and lesbians wept with Obama's first-ever inaugural mention of their cause (and even their existence) last month. "To me, that was almost more of a tribute of mainstreaming of gays in American discourse than if he had gone into a long description of what happened at the Stonewall Inn in 1969," says Goodheart.
Touchstones Shift Over Time
Goodheart says that all politicians like to use historical events as a kind of shorthand. Such references are a way of acknowledging that what unites Americans is not ethnicity or even language but ideas and a shared past.
Citing history thus works both ways in political speeches. Great events of the past offer a president the chance to clothe himself in the aura of our most hallowed moments — but by what he singles out, the president is also helping to choose which figures are exemplary and which history is most important for the country to remember.
"When President Obama uses a new set of touchstones, it's almost like carving a new face on Mount Rushmore," Goodheart says.
Obama certainly made the attempt. In his second inaugural, he made his own agenda seem like it was the natural endpoint of a long march of history stretching back to the Declaration of Independence, but he also argued that moments such as Stonewall, Selma and Seneca Falls hold special resonance not just for certain groups but for all Americans.
"He's basically saying the outsiders who have principled complaints against the United States then become integrated in the United States," Widmer says. "Their ideas rise up so high that they are articulated by a president at the most important civic moment in our country."
Copyright 2021 NPR. To see more, visit https://www.npr.org.


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You'd be forgiven for thinking chicken Kiev got its start in the Ukrainian capital. After all, a hearty dish of chicken filled with butter, wrapped in bread crumbs, and deep fried is the perfect meal to withstand subzero temperatures and cold winds blowing across the Dniepr River.
Ukrainian chefs say they have the only authentic recipe for the dish, but they concede that chicken Kiev, despite its name, has a far more sophisticated provenance: It's French.
The French connection isn't as odd as it first appears. Viacheslav Gribov, head chef at Kiev's Hotel Dnipro, says that during the late 1840s, Russian royalty sent chefs to Paris to learn from the best. And they returned with a recipe for a dish they called Mikhailovska cutlet.
"The dish was made in Paris with veal," Gribov says, "but in Moscow, it was made with chicken. At that time, chicken was more expensive and considered more of a delicacy."
Chicken Kiev was served in posh dining rooms and later appeared on the menus of official dinners in the Soviet Union, but it needed American immigrants to make it popular.
In the years after World War II, chefs at white tablecloth restaurants, like the in New York, began putting the dish — renamed chicken Kiev — on menus to lure Russian and Ukrainian immigrants who had settled in that city in large numbers.
Back in Kiev, though, chicken Kiev wasn't common until visiting tourists began requesting it in the city's restaurants in the 1960s. "Chicken Kiev made Kiev famous," says Gribov.
Ukrainian chefs like Gribov have strict rules for the dish, and they decry variations. They say neither the Russian version stuffed with cheese, nor the American and British recipe calling for garlic and parsley, is the real deal. "This began as a dish for dignitaries meeting one another. You would never serve them garlic," he says.
Gribov should know. He's been serving the dish since 1978 to some of the world's biggest political heavyweights, including Fidel Castro, Mikhail Gorbachev and President Clinton.
But the authentic Kiev recipe, Gribov says, calls for only butter inside, and if done properly, a bit of butter remains unmelted when served. "We don't just learn how to make the dish; we also learn a special way of serving and cutting it to avoid butter splashing out," he says.
The Ukrainian version comes with a small bone sticking out that keeps the butter sealed inside. It resembles a conical corn dog and delivers the same satisfying fried, crunchy outside and soft center.
During the 1960s and 1970s, Kiev tourists made the dish popular, and locals quickly followed. But, like so many foods, chicken Kiev has fallen out of fashion. It's now a convenience item, relegated to some supermarkets and fast-food restaurants in the city, and has all but disappeared from Ukrainian menus.
"I'm worried that very few chefs know how to make it," says Gribov. "Young chefs are not being trained how to make chicken Kiev. I'm thrilled every time someone orders it."
These days, he says, Kiev's urban dwellers want exotic, international cuisine. "People order lasagna, pizza. They want Mediterranean or Asian food. Many people have never left the country and want to experience something foreign through food."
Ironically, one of those foreign places is seeing a revival of the dish. In London, there's a yearning for the comfort foods of yesteryear, and chicken Kiev is back on West End menus, with new ingredients, such as truffles and a mozzarella filling.
Gribov may prefer authentic chicken Kiev, but adding a fresh twist or two may be the key to keeping the dish alive.
Copyright 2021 NPR. To see more, visit https://www.npr.org.


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When James Bond's (Daniel Craig) latest assignment goes terribly wrong, it leads to a calamitous turn of events: Undercover agents around the world are exposed, and MI6 is attacked, forcing M (Judi Dench) to relocate the agency. With MI6 now compromised inside and out, M turns to the one man she can trust: Bond. Aided only by a field agent (Naomie Harris), Bond takes to the shadows and follows a trail to Silva (Javier Bardem), a man from M's past who wants to settle an old score.
Daniel Craig, Javier Bardem, Dame Judi Dench
Sam Mendes


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The way to answer this question objectively is to play with timetables. Actually, a sequence of timetables, each of which represents a "Phase." For Phased Implementation, a "Phase" could be defined as follows:
Phase: a coherent set of capital improvements that enable a new timetable that provides better service, by some agreed-upon set of metrics, as compared to the old timetable.We already described one example of how you might define service metrics for Caltrain, and these could be expanded to measure HSR service quality. The metrics, regardless of how they are defined, need to be timetable-independent, clear, concise, and transparent to the public. Discrete capital improvements, i.e. construction projects, can then be priced out on an individual basis and examined in the context of the new timetables that they enable. The idea is to pick the low hanging fruit first, and to build the improvements that produce the biggest improvement in the service metrics for the least construction cost or community disruption, i.e. the biggest bang for the buck.
The Service Pattern Generator
To exemplify the phased planning process and to make it more accessible to the armchair service planner, we can take the train performance calculations previously presented and fold them into an automatic service pattern generator that generates a graphical representation of a timetable and immediately highlights where additional tracks will be needed on the peninsula corridor.
Try it for yourself: Service Pattern Generator
Rather than work with tables of departure times, this tool specifies intuitive clockface timetables as graphical position-versus-time string diagrams, based on a few basic parameters for each type of train on the peninsula corridor:
- Train type, as described in the train performance calculations, which determines how many seconds it takes a train to travel from one stop to the next;
- Speed limit of the track, which can be considerably lower than the train's capability and also determines stop-to-stop times;
- Station stopping pattern and dwell times, strongly influenced by whether or not level boarding is provided;
- Frequency in trains per hour, or conversely, the clockface interval. For example, 4 trains per hour = 15 minute interval;
- Time offset in minutes from the top of the hour. This offset determines where this train meets other trains in the service pattern, and ultimately determines where you need overtaking tracks;
- Schedule padding, in percent of the overall end-to-end run time. 10% padding is a reasonable value.
The key output of the service pattern generator is the yellow highlighting that indicates where trains will catch up and overtake. In these locations, triple or quadruple tracks will be required. The challenge is to develop service patterns that provide good service for both peninsula commuters and long-distance travelers, while minimizing the cost and community disruption that comes with additional tracks.
Professionals do this using much more powerful software that can quantify how resistant these timetables are to cascading delays, but the ultimate results might not be too far off from what this simplified tool produces, when using conservative values for dwell and padding. Far from trying to do the pros' job for them, this exercise empowers the public to understand the trade-offs that must be contended with.
Working Smarter, Not Harder
Using the service pattern generator, we can explore a few examples of how to produce maximum bang for the buck.
Example 1: here's what Caltrain might look like with a mid-line overtake, often mentioned on this blog as the next logical step after (some would even say before!) electrification. Expresses meet locals at Hillsdale to exchange passengers across the same platform. Only one new grade separation is required at 25th Ave. The local holds for three minutes at Hillsdale so that downtown San Mateo can remain with two tracks. This is a typical illustration of cost vs. benefit: the hundreds of millions needed to quadruple-track San Mateo have to be weighed against the two-minute savings for the local. In this particular example, your metrics would tell you that it's not worth it.
Example 2: here's what things might look like with 3 high-speed trains per hour thrown into the mix. We now assume the entire corridor has been upgraded for 100 mph operation, which presumably implies major grade separations and crossing improvements. Introducing HSR requires quadruplication from South San Francisco (well, probably Bayshore) to Burlingame. The bottleneck at San Mateo is allowed to remain with two tracks. Further south, Atherton and Menlo Park are spared while Palo Alto and Mountain View require quadruple tracks. These two new overtake sections illustrate what would be required to provide a reasonable starting level of HSR service via Pacheco. Notice how no enormous civil works are required anywhere in the terminal areas, whether in San Francisco (no expensive tunnels starting at Bayshore) or San Jose (no hulking multi-level station). Transbay to SJ HSR trip time is less than 45 minutes; this can be reduced by increasing the HSR speed limit to 125 mph, but as you'll see if you try it, considerably more construction would be required. Are the few minutes saved worth the extra investment?
Example 3: in the never ending Altamont vs. Pacheco debate, Pacheco proponents often point out that this route is clearly best for Caltrain because it "improves" Caltrain all the way to San Jose. Try this for improvement: here's a service pattern where high-speed trains don't gum up the corridor and head for Altamont from Redwood City. This pattern assumes 4 trains per hour Caltrain local, 4 tph Caltrain express, 4 tph HSR to San Francisco, 4 tph HSR to San Jose via the East Bay, and 4 tph of Dumbarton local commuter rail. 20 trains per hour is a very high level of peninsula train service, probably more than the region will ever need... and look!
- No expensive new SF tunnels starting at Bayshore
- All Caltrain service terminates at Transbay
- Two tracks through Burlingame and San Mateo
- Two tracks through PAMPA (Palo Alto Menlo Park Atherton) and all the way south to Santa Clara
Announcing: the Peninsula Blended Plan Contest
If you like the power of experimenting with service patterns, there's a contest you can enter! Entries may be made in the comments section below by copying and pasting (or better yet, linking) the URL string of your favorite service pattern, with a short paragraph to describe why you think this is the best balance of service, cost, and community impact. Entries will be judged by an impartial panel of armchair experts consisting of Clem and Richard Mlynarik (the brains behind the tool), whose own service patterns will not count for the contest.
The grand prize, a big shiny ASCII trophy known as the Takt Cup, will be awarded in two weeks.


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Long-suffering country music singer Mindy McCready was found dead via a gunshot wound to the head yesterday afternoon on her porch—the same location that David Wilson, McCready's self-declared "soulmate," took his own life almost exactly a month ago—in Cleburn County, Arkansas. She was 37. McCready's problems arguably began after an exploitative sexual relationship with Roger Clemens at age 15, and she was a success by 20: Her debut album, Ten Thousand Angels, sold two million copies. She attempted suicide once in 2005 and again in 2008, appearing on Celebrity Rehab with Dr. Drew in 2010 to deal with her drug and alcohol issues. In 2011, she kidnapped her 5-year-old son Zander from his father.
McCready had taken a turn for the worse after her two sons, Zander and nine-month-old Zayne, were removed from her care by a judge on February 6th. She was held in a treatment facility for mental health and alcohol abuse problems only to be released two days later. She shot the family dog before shooting herself. I know: Great way to start your morning. [TMZ, CNN]
Twitter reacts. [Radar Online]
New mom/chanteuse powerhouse Adele's considering doing a Vegas show in order to stay in one place while she gets a grip on motherhood and records her third album, and she's been asking asking longtime Caesar's Palace performer Sir Elton John (truly the feather-boa'd, tinted-glasses'd Grandmother Willow of showbiz) about the Vegas experience.
"Adele has been chatting to Elton about her fears of singing live again. Elton's been like a godfather to her recently, helping her settle into life as a superstar and the challenges of being a parent." He has also been assuaging her fears of performing live, and she's currently in breathing therapy for stage fright. [MTV UK, TVNZ.co.nz]
Rather unsurprisingly, Rihanna lasted approximately ten minutes at her River Island fashion show in London, which has already garnered pans. Instead, Ri-Ri hit some sex shops with Cara Delavigne because she's Really Into Fucking. Did you know that? I don't know that. (FYI, apparently she is looking for a harness.)
Later, outside the Box nightclub in London, a male stranger began screaming at Rihanna about her reconciliation with Chris Brown and threw a British energy drink at her, resulting in her cutting her knee. Yeesh. It depresses me too, but I'm prrrreeetty sure that's not the way to do it. [NYND, Yahoo OMG UK]
Miley Cyrus, or the Vanessa Bayer impression of Miley Cyrus (which I prefer) "got right up in [boyfriend Liam Hemsworth's face] for bragging to his brother Chris Hemsworth about how nutso he and Miley are in the sack. A source says: "When Liam defended himself by saying Miley's always gabbing to her girlfriends – and discusses details about their sex life – she snapped, 'That's different! They're my girlfriends and you don't hang out with my girlfriends. But I have to see your brother all the time – I don't want him knowing what goes on in our bed!'" She should just invite Chris into it! And borrow Rihanna's harness! [Showbiz Spy]
While discussing her role as abused porn star Linda Lovelace in Lovelace, Amanda Seyfried said that she could identify with Lovelace's attraction to her controlling pornographer husband Chuck Traynor.
"Unfortunately, there's something attractive about someone who's broken, for me, and a lot of women that I've spoken to. My best friend and I are attracted to creeps – sometimes. They're interesting and mysterious and they provide us with this rush and this need to chase or fix – just these needs they fill in yourself. It doesn't make any sense. It's a weird psychology but unfortunately it's the way the world works."
[The Sun]
- Ladies, and some gentlemen: Prince Harry is returning to the States on "official business," a.k.a. shenanigans. [Hello Magazine]
- Shaggy (Remember Shaggy, perhaps better known as Mr. Boombastic?) asked for his song "Angel" to be turned off at Da Club, telling the DJ: "I don't want to hear my own fucking song." The most important question to be answered here is how Shaggy found a car that would take him back to 1997. [Page Six]
- Scott Disick creeped on Khloe Kardashian-Odom. Wait. What? Nobody cares? GREAT! [Us Weekly]
- Pregnant Jessica Simpson, Pregnant Cacee Cobb and Pregnant With Emotion Eric Johnson went to Cheesecake Factory. [Us Weekly]
- Today in People Your Mom's Never Heard Of, Azealia Banks called Diplo a "fucking snake" on Twitter. [Complex]
- Eve is totally backtracking from that comment she made about Britney Spears not singing on a new will.i.am song nobody's listened to. [TMZ]
- Brit-Brit's ex-boyfriend—the one who settled a sexual harassment with her out of court—is a ghost hunter now. [TMZ]
- Water's wet, kittens are cute and Kevin Federline's behind on his taxes again to the tune of $57,000. [Daily Mail]
- Taylor Swift is being sued for $2.5 million for pocketing the paycheck for a Canadian "hoedown festival" that ended up not happening. (It's for the best.) [TMZ]
- Ric Flair (a.k.a. the inspiration for Will Ferrell's Ashley Shaffer on Eastbound & Down) has asked for a protective order from his abusive, alcoholic wife. Definitely NOT "woo!" [TMZ]
- Katherine Heigl's husband Josh Kelley Tweeted a cute picture of himself and their daughters. Still can't forgive her for The Ugly Truth. [People]
- Everybody calm your buttholes, Katy Perry and John Mayer aren't engaged. And also that ring is fucking ugly, right? [People]
- It's Monday, so some model is rebounding from Adam Levine with Calvin Harris. [Page Six]
- Naomi Campbell reserved a table for her myriad assistants and bodyguards at a table next to hers at a restaurant. So at least she lets them eat. [Page Six]
- Jay and Bey watched NBA. And I am a poet. Hurray? [Daily Mail]
- Russell Brand admitted the Arthur remake was a mistake. You're telling me. Christ. [The Sun]
- Amanda Bynes is interested in getting some plastic surgery/continuing to have a Network-style breakdown. [NYDN]
- Mariah Carey took her mom to see "Phantom of the Opera" for her 76th birthday. Disturbingly Muggle behavior for Mimi, but I'm sure they went back to her house and showered themselves with diamonds. [NYDN]


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I have really enjoyed piecing this quilt top; it has provided me with something to focus on while the humidity rose and the rains came to Melbourne. It certainly is a Summer like no other before it.
The pattern is called Sweet Daisy and is available for purchase as a pdf file from my Etsy Store AND is available for immediate download.
Sweet Daisy is a traditional quilt pattern using modern fabrics, and is suitable for a beginner to intermediate sewer. It requires experience in rotary cutting and basic straight line sewing.
You can find the Etsy listing for the Sweet Daisy Quilt Pattern here.
Alternatively you can purchase the pattern directly from the Red Pepper Quilts Pattern Store
If by chance you would like to purchase the finished Sweet Daisy Quilt exactly as pictured you can find the Etsy Store listing here. SOLD
All Red Pepper Quilts Patterns (pdf files) are now also available here:
Happy browsing!


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BUFFALO, New York ― University students from West Africa may be subject to extra health checks when they arrive to study in the United States as administrators try to insulate their campuses from the worst Ebola outbreak in history.
With the virus continuing to kill in Guinea, Liberia, Sierra Leone and Nigeria, the expected arrival of thousands of students from those countries has U.S. authorities on alert but cautioning against alarm.
"I can see why there would be concern; there's no vaccine for it," said Fatima Nor, an 18-year-old freshman at the University at Buffalo, where about 25 students from Nigeria are enrolled for fall. But she said knowing that the virus is transmitted strictly through direct contact with bodily fluids of sick people, and not by sitting next to someone in class, should be enough to calm nerves.
"As long as everyone keeps their personal space, it should be OK," said Nor, of Buffalo.
While the U.S. Centers for Disease Control and Prevention have issued no specific recommendations for universities, some state health departments, including in South Carolina and North Dakota, have spelled out for administrators what symptoms to look for and how to react.
Elsewhere, universities are drafting their own precautionary plans against the often-fatal hemorrhagic fever, which causes weakness, vomiting, diarrhea, internal bleeding and sometimes bleeding from the nose and ears.
The American College Health Association recommends its members update emergency plans, find out where patients have traveled and use isolation exam rooms when available. Several colleges are checking the temperatures of students arriving from affected countries and continuing to monitor for fever until any risk of contagion has passed.
"I don't see this as a huge threat on college campuses," said Dr. Susan Even, student health director at the University of Missouri-Columbia and a member of the ACHA, "but it makes sense when you're communicating with students … to ask a question or two."
U.S. universities count 9,728 active students from Nigeria, 204 from Liberia, 169 from Sierra Leone and 95 students from Guinea, according to the federal government.
The odds they could bring Ebola to campus seemed too small to worry Laura Washburn, a senior at Tufts University outside Boston.
"It's not like I'm not going to class because someone has been to Africa," she said. "I mean, it's hard to say how paranoid we should be about it, but I feel pretty safe at Tufts."
The roughly 30 Nigerian students expected at the University of Illinois will be pulled aside for a temperature check and private Ebola discussion when they arrive at the health center for mandatory immunization paperwork and tuberculosis screening, said Dr. Robert Palinkas, the center's director.
The plans have been reassuring to the handful of parents who have called wondering whether their child's placement with a West African roommate should give them reason to worry, he said.
"Parents are comforted to know that there is a screening process, that we are alert for it, that we are prepared for it," Palinkas said, "and that we're doing everything we can without infringing on the rights of anybody to make sure their son or daughter is going to have the lowest risk possible."
Similar screenings are planned at the University at Buffalo, Mercer University in Georgia, Liberty University in Lynchburg, Virginia, and the University of Akron in Ohio, the campuses said.
Moses Ogunseye arrived from Lagos, Nigeria, a little over two weeks ago to study at Akron. The 31-year-old graduate student said he spent a few minutes filling out a questionnaire and was given a disposable thermometer to monitor himself for fever for a couple of weeks, something he doesn't mind doing even though he is certain he hasn't been exposed to Ebola.
"I would expect that. It's a very logical thing to do," he said of the screening, which, though voluntary, is encouraged.
Alma Olson, director of Student Health Services at the university, said students are being asked to keep tabs on their temperature for up to 21 days, the length of time it can take for symptoms of Ebola to appear following exposure.
"At the end of the 21-day period they'll come back and we'll check them and send them on their way," Olson said. The CDC requires that any potential Ebola patient be isolated and public health professionals notified.
"There's such a low level of worry" because Ebola doesn't spread easily, she said, "but we really have to be on top of any communicable disease."
Universities in the United Kingdom also are on alert with the expected arrival of thousands of Nigerian students there. Universities UK, which represents universities, has circulated guidance from Public Health England advising administrators on how to recognize and react to possible cases.
Associated Press writer Philip Marcelo in Boston contributed to this report.


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Full disclosure: We're not even close to being qualified to figure out who's right and who's wrong on this one.
But given all the attention that's been paid to the claim by one group of Italian scientists that they may have fired a neutrino beam that sent particles flying faster than the speed of light, we want to pass along this, from Reuters:
"An international team of scientists in Italy studying the same neutrino particles colleagues say appear to have traveled faster than light rejected the startling finding this weekend, saying their tests had shown it must be wrong."
There's a paper from that second group of scientists posted here.
According to a fairly laymen-friendly post at Science 2.0, this second group of scientists looked at the tests and concluded that "the energy spectrum of the detected neutrino interactions in [the original group's experiment] shows a very nice agreement with the expectation for well-behaved light-speed-moving neutrinos." In other words, the neutrinos acted just as you'd expect them to — not in a way that challenges Albert Einstein's theory of relativity.
We trust our friends at the 13.7 blog will be able to sort this all out.
Copyright 2021 NPR. To see more, visit https://www.npr.org.


text:
Good morning.
Our early headlines:
-- Doubts Linger After Late-Night Deal On Bailout For Greece.
-- Lawyer Says Strauss-Kahn Didn't Know Women At Orgies Were Prostitutes.
-- Back On The Air, Stephen Colbert Gives Nod To Ailing Mom.
Some of the day's other top stories:
-- "Surging Gas Prices Threaten To Derail Economic Recovery." (Los Angeles Times)
-- "Romney Benefits From Campaign, SuperPAC Funds." (Morning Edition)
-- Syrian City Of Homs "Comes Under Heavy Bombardment" Again. (BBC News)
-- "Yemenis Vote To Elect Saleh Successor;" Vice President Was Lone Candidate. (Al-Jazeera)
-- Afghans Protest Outside U.S. Military Base After Report Of Qurans Being Improperly Disposed Of. (Reuters)
Copyright 2021 NPR. To see more, visit https://www.npr.org.


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Long Island Wood Floor Restoration
Refresh, reinvigorate, and update your wood floors with affordable, attractive hardwood floor restoration by Classic Hardwood Restoration!
Your Long Island wood floor restoration company, our experts provide high-end, durable flooring refinishing that increases both the visual appeal, comfort, and resale value of your home.
Are your wood floors looking worn, faded, or requiring more and more work to maintain and clean? Many homeowners consider replacing their wood floors when they become outdated or start to show signs of age, but often that is an unnecessary expense. Many types of flooring, from traditional hardwoods to non-sandable bamboos and cork floors, can all be updated and revitalized with our innovative floor refinishing system that is fast, clean, and effective.
From refreshing your floors with their original color to updating to a new finish that better suits your home, decor, and personal tastes, our floor restoration experts are dedicated to providing fast, friendly service and an outstanding and affordable product that stands the test of time.
Call Classic Hardwood Restoration at 516-915-0204 for a Free Consultation!
Fast, Effective Floor Remodeling Process
Taking less than a day for most applications, and with no sanding needed, our wood floor restoration process provides you with a lot of value when compared to total floor replacement, or even other restoration techniques.
Our innovative process of hardwood floor restoration allows us to avoid the mess and time of floor sanding, which is typically required for most floor refinishing projects. This process is loud, messy, and time-consuming, especially when you factor in the time it takes to clean up the fine wood dust that is now coating everything in your home. Our liquid abrasion treatment is used to prepare your flooring instead, reducing mess and speeding up the process significantly
Even if you have deep scratches, stains, gouges, or gaps in your flooring, we can screen and fill those trouble areas with no dust or mess. Once any signs of damage have been carefully identified, treated, and eliminated, we utilize a family-friendly, water-based flooring finish to revitalize the shine and appeal of your flooring.
To finish the process, we then use our proprietary UV system to instantly cure your floors, instead of waiting days for it to cure on it's own, so you and your family can get back to your regular life as quickly as possible.
Superior Floor Restoration Solution
What makes Classic Hardwood Restoration the Long Island wood floor restoration company you should trust for your wood refinishing projects?
Our process is cleaner, safer, faster, and more affordable than replacement or other refinishing techniques.
Our flooring restoration process requires no sanding, so there is no wood dust that will linger on your furniture and fixtures for what seems like an eternity. With traditional floor restoration, while your floors may look brand new, the rest of your house is now in need of an extensive dusting. This means either more work or an additional expense for you.
When you work with Classic Hardwood Restoration, there is no need for stripping away the old varnish and finishes from your flooring, which requires solvents that can release unpleasant or even toxic fumes. All of our products are solvent-free and leave no toxic fumes or odors lingering in your home.
Standard floor restoration can take up to 3-5 days for the project to be completed, not including the week of curing time. This means that you will either need to spread your restoration project out, refinishing only parts of your home at a time or that you may even need to house your family elsewhere, such as at a hotel, while the restoration is underway. Our process is faster, making it both more convenient and more affordable. We can typically complete our projects in 1-2 days, with no curing time required.
Since our process is faster and easier, it requires less time and less manpower, making it much more affordable than even other refinishing services. If you are looking for a fast, reliable, and effective Long Island, NY floor restoration service and partner, Classic Hardwood Restoration is the best choice!
Let's Talk Now- Free Consultation
Tired of worn, damaged, or aging hardwood floors? Revitalize them with fast, affordable, and effective wood floor restoration services by Classic Hardwood Restoration!
Your Long Island wood floor restoration company, we specialize in high-quality flooring solutions that save you time and money. Don't replace flooring that is still functionally sound, and don't waste your time and money on the slower, messier, and more expensive traditional floor refinishing services. We create beautiful spaces with less mess, less hassle, and less investment!
Call Classic Hardwood Restoration today at 516-915-0204 for your Free Consultation!


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TiLite Axle Sleeve Package (Metric)
TiLite Axle Sleeve Package (Metric)
TiLite Axle Sleeve Package (Metric)
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The TiLite Axle Sleeve Package
allows you to replace camber parts without having to order a new camber tube. Designed for use with quick release axles. Call DME Hub for advice on routine maintenance and technical replacement instructions.
TiLIte Axle Sleeve Package
Includes 2 axle sleeves, 2 steel washers, 2 wave springs
Used with TiLite camber tubes
Used on TiLite chairs 2018 and newer
For quick release axles
DME Hub guarantees the parts we sell! For warranty issues, please call one of our helpful staff at 855.339.5155
TiLite Axle Sleeve Package has a 90 day Limited Warranty. Certain restrictions may apply such as reasonable breakdown as a result of normal wear and tear. Hardware damaged by misuse or accidental damage (bent) are also subject to warranty evaluation. All factory defects or workmanship issues will be honored by DME Hub.
Product Details:
TiLIte Axle Sleeve Package
Includes 2 axle sleeves, 2 steel washers, 2 wave springs
Used with TiLite camber tubes
Used on TiLite chairs 2018 and newer
For quick release axles
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When, I was in search, for a real custom Motorcycle Jacket, from a time I remembered quality products being made, or designed in America, and fashion clothing being made, of quality materials from mills in the east, some under big design names. I thought my brief web search, had taken a slow submerging boat to China. Then at a casual glance, I captured the product name of Schott Leather, and upon further investigation, and a long story short, I was pleased, and surprised to find the family of Schott to be alive, and still an American business, with quality garments, including leather. After reading the family history, the name I remembered the most was Perfecto, and after reading further discovered why. Thanks to Gail Hawkins, I'm now in Possession of a new, custom fit, well sewn, and constructed 585 Jacket, in the weight, and color I requested. This was of course made easier, by Gail who's husband is comparable to my height, and easily frustrated as I have been, at the usual fitting of common sized garments, in various store chains. Not only am I now, a proud owner of a Schott 585 Perfecto Jacket, I am planning to order another 585 in the future, and that will be in the color shown, in the Schott catalog.
If I paid, $1.00 for every mile I have ridden with my Schott 585 Perfecto, I will have easily paid three times its valued worth by now.


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OUR EASY 30 DAYS "RISK FREE†REFUND AND RETURN POLICY. At FineJewelers.com, we want you to be absolutely satisfied with your purchase. Our very easy "no questions asked†30 days return policy, allows you to return for any reason any order, and get your choice of a full refund or exchange within 30 days from the date of shipment.
To establish a diamond's quality, jewelers examine each of the 4Cs -- cut, clarity, carat weight and color. The combination of the 4Cs determines the value of a particular diamond. For example, a colorless diamond is at the top of the Diamond Quality Pyramid in color ... but if it lacks clarity, is small, or not well cut, it will be of a lower value. The finest stones possess the rarest quality in each of the 4Cs, and are the most valuable.
Strive for a stone that offers the best combination of the 4Cs. Knowing a diamond's place in the Diamond Quality Pyramid will help you to make an informed decision. Ultimately, you'll discover the unique combination of the 4Cs that makes a particular diamond the right choice for you. Its beauty and brilliance will capture the true sentiment of the occasion.
CARAT The Larger a Diamond, the More Rare
Larger diamonds are found relatively infrequently in nature, which places them at the rarest level of the Diamond Quality Pyramid. What also makes a bigger diamond so desirable is that it shows off a stone's fine color and cut, and therefore its brilliance, to its best advantage.
A diamond's size is measured in carat weight, and each carat is equal to 100 points. A .75 carat diamond is the same as a 75-point diamond or a 3/4 carat stone.
While larger diamonds are highly prized, diamonds of equal size may vary widely in value and brilliance, depending on their qualities of clarity, cut, and color.
CLARITY The Purer a Diamond, the More Brilliant
The greater a diamond's clarity, the more brilliant, valuable and rare it is -- and the higher it is on the Diamond Quality Pyramid.
Virtually all natural diamonds contain identifying characteristics, yet many are invisible to the naked eye. Under the scrutiny of a jeweler's 10x-magnifying loupe or microscope, natural phenomena -- called inclusions -- may be seen. These are nature's birthmarks, and they may look like tiny crystals, clouds, or feathers.
Diamonds categorized as internally flawless reveal no such inclusions. Flawless stones are at the peak of the Diamond Quality Pyramid and are treasured for their rarity and beauty. Diamonds with very, very small inclusions are graded as VVS1 or VVS2. The larger the inclusion, the lower the grade and the less rare the diamond. Inclusions that can be seen with the naked eye are graded I1 or I3.
The number, color, type, size and position of surface and internal birthmarks affect a diamond's value. Major inclusions can interfere with the path of light that travels through a diamond, diminishing its brilliance and sparkle and therefore its value.
COLOR The More Pure the Color in a Diamond, the More Rare
Diamonds are graded by color, starting at D and continuing through the alphabet. Truly colorless stones, graded D, treasured for their rarity and value, are highest on the Diamond Quality Pyramid.
While many diamonds appear colorless, they may actually have subtle yellow or brown tones and these color grades include P and Q. Although still beautiful, they will be less rare and therefore less valuable. To appreciate the simple beauty of each individual stone, you should compare diamonds side by side with a jeweler.
"Fancy" diamonds -- in well defined colors that include red, pink, blue, green and canary yellow -- are highly prized and particularly rare.
Nearly Colorless
Faintly Yellow
Very Light Yellow
Light Yellow
CUT The Better Cut a Diamond, the More Brilliant
A well cut or faceted diamond, regardless of its shape, scintillates with fire and light -- offering the greatest brilliance and value.
While nature determines a diamond's clarity, carat weight and color, the hand of a master craftsman is necessary to release its fire, sparkle and beauty. When a diamond is cut to good proportions, light will reflect from one mirror-like facet to another and disperse through the top of the stone, resulting in a display of brilliance and fire.
Diamonds that are cut too deep or too shallow lose light that spills through the side or bottom. As a result, poorly cut stones will be less brilliant and beautiful -- and certainly less valuable -- than well cut diamonds higher on the Diamond Quality Pyramid.
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