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The diary: what's on in April
April brings an array of exciting events. Check out the best events and new exhibitions to visit this spring
Railway Posters exhibition at Dorset County Museum
Painting the Modern Garden at the Royal Academy of Arts
That maxim of the interiors world, 'bringing the outside in', takes on fresh meaning in the Royal Academy of Arts' new show, Painting the Modern Garden. Monet's depictions of his waterlily pond are joined by other artists' interpretations of their own and other's gardens. A feature film out on 12th April explores the gardens behind the paintings.
* 30th January to 20th April. Royal Academy of Arts, Burlington House, Piccadilly, London, W1J 0BD. 020 7300 8090; royalacademy.org.uk
Artist and Empire at Tate Britain
An exhibition to catch before it ends is another major show at Tate Britain entitled Artist and Empire. It's been acclaimed by critics for being a provocative look at how artists addressed and created the image of the British Empire, and there are as many stern faces and rollicking battle scenes as you might expect. Amid the traditional colonial depictions of empire, though, is a fascinating array of early photographs, intricate Indian panels and Maori statuettes – the colonised depicting the colonisers. This shows the remarkable cultural exchange that the British Empire fostered and the impact it had on art. With tribal antiques becoming increasingly popular, this exhibition might give you some good context for your next auction visit.
* Until 10th April. Tate Britain, Millbank, London SW1P 4RG. 020 7887 8888; tate.org.uk
Conceptual Art in Britain 1964-1979 at Tate Britain
We have become so accustomed to conceptual art these days with artists such as Ai Weiwei, it's easy to forget the waves made when artists began to prioritise ideas over material back in the 1960s. Tate Britain's new exhibition, Conceptual Art in Britain 1964–1979, seeks to remind us of just that with an array of game-changing British art by the likes of Michael Craig-Martin, Richard Long, Mary Kelly and John Hilliard (think series of fading photographs or piles of fruit from which visitors are invited to take a piece) as well as archival objects that inspired the ideas. It's a thought-provoking look back at the Sixties and Seventies.
* 12th April to 29th August. Tate Britain, Millbank, London, SW1P 4RG. 020 7887 8888; tate.org.uk
Reopening of Nottinghamshire's Harley Gallery
Nottinghamshire's Harley Gallery, which was set up to display the treasures of the dukes of Portland, is reopening in a new purpose-built gallery this month. Its astounding collection includes a rarely seen Michelangelo and a glittering Cartier tiara among the highlights. The opening exhibition is of portrait miniatures selected by artist Sir Peter Blake.
* From 20th March. Welbeck, Worksop, Nottinghamshire, S80 3LW. 01909 501700; harleygallery.co.uk
Intricate samplers at CADA FAIR
If you can get to the Cotswolds this month, make it the weekend of the CADA Art & Antique Fair at Blenheim Palace (21st–24th April), which has a display of samplers.
07831 850544; cotswolds-antiques-art.com
The London Original Print fair
An affordable way to buy art is to invest in a print. This fair (5th–8th May) is the largest of its kind in Europe and, at the Royal Academy of Arts, has a winning location too.
020 7439 2000; londonprintfair.com
Antiques for everyone
Birmingham's NEC may be functional but it provide space for the 230-odd dealers who gather for Antiques for Everyone (7th–10th April). Prices range from £10 upwards and talks by experts Judith Miller and Will Farmer.
0844 581 0827; antiquesforeveryone.co.uk
Image credits: John Hilliard; The Harley Gallery 2015/The Portland Collection; Jason Ingram; National Museums Liverpool; Advanced Graphics London
- Article Categories: | Auction News |


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Sell More With Instagram®
Lesson 18/31 - The Power of Custom Hashtags
Sell More With Instagram®
Lesson Info
The Power of Custom Hashtags
Class Description
Instagram® is a powerful tool for marketing to potential customers – but how can business owners turn that attention into sales? Join Sue B. Zimmerman for an introduction to leveraging Instagram® to drive sales.
In this course, you'll take advantage of the full scope of what Instagram® has to offer as a tool for landing more sales. Sue will extend on lessons from her Instagram Marketing for Small Businesses class and teach you about using Instagram® to build communities and create giveaways and contests that drive traffic from Instagram® to your online shop – and how to get your customers to stick around and buy once they've clicked over. Sue will also coach you on how to position your work to encourage commissions. You'll also learn how to make money on Instagram® using advanced features like in-app sales and analytics, ensuring you'll be able to use this powerful platform to its fullest potential.
If you're ready to take your Instagram® followers' likes and comments and transform them into sales, commissions, and profit, this is the class for you!
Lessons1Make Money on Instagram®! 2The 7 Steps to Instagram® 3Stand Out In Your Business 4Branding & Messaging with Canva 5Making & Finding Connections 6Discovering People, Places, & Things 7Geotagging That Gets Your Attention 8Building Traffic Through Bit.ly 9The Power of Tagging in Instagram® 1Selling Products on Instagram® 2Artist Selling on Instagram® 3The Value of Partnership 4Your Profile is Your Storefront 5How to Get More Views on Your Account 6Merchandising for Photos 7Brainstorming Ideas with Students 8Instagram® Success Story 9The Power of Custom Hashtags 10Sales Process & Managing Inventory 11Instagram® to Facebook with Nathan Latka 1Leveraging the Size of Your Audience 2Instagram® for Professional Photographers 3Direct Messaging With Strategy 4Instagram® Effeciencies: IFTTT 5Instagram® Effeciencies: HootSuite 6Instagram® Effeciencies: Iconosquare 7Building Your Tribe 8What To Do With New Connections 9Connecting With a Larger Audience 10Social Selling 11Social Networking Communities

subset: commoncrawl


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Microsoft Wants PC Package To Appeal to the Eye
Quotations from Ben Romano's article in the Seattle Times (Sep. 11, 2006) on computer hardware design.
Apple Computer has shown that if you control the software and you control the hardware, you can make the two fit harmoniously into a beautiful, elegant package," said Don Norman, a former Apple executive who now consults with Microsoft and wrote the 2004 book "Emotional Design: Why We Love (or hate) Everyday Things."
Design expert Norman considers the sleek, modern approach PC makers have taken to be wrong-headed. Even Apple's products and new flat-screen televisions miss the point.
"It's magnificent. It's beautiful. It belongs in a museum. And that's just the problem," Norman said.
"If I put it in my house, it clashes. It stands out. It doesn't fit."
Norman thinks computers have transitioned from "high technology" to essential components of everyday life. "And therefore they should be furniture," he said.
"When the computer is in the study or in the office, nobody really cared," said Norman. "When it's in the living room or family room, it really matters."
- All Books
- The Design of Everyday Things, Revised and Expanded Edition
- Living with complexity
- The Design of Future Things
- Emotional Design: Why we love (or hate) everyday things
- The invisible computer
- Things That Make us Smart: Defending Human Attributes in the Age of the Machine
- Turn Signals Are the Facial Expressions of Automobiles
- The Design of Everyday Things


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We're going way back in time here. Stories include an investigation of the T's not-so bomb-proof bomb-proof trash cans, an early diatribe against Columbus Center, and an innovative but forgotten solution to Boston's then-mounting crime rate. Much more to come here.
Bomb Bait: The T's bomb-proof trash cans, um, aren't. Page 1, Page 2, Page 3.
Landsmark Revisited: Neck-deep in the politics of race, class, and public housing.
From Prison to Posh: A look back at the Charles Street Jail's grisly history. Page 1, Page 2, Page 3, Page 4.
The Mitt Romney Assisted Suicide Initiative: Scoundrel Gov chases after the red states, hard. Page 1, Page 2.
BostonGunz.gov: Will gun-toting criminals get the internet sex offender treatment?
Tastes Like Bacon: Blight comes to the Back Bay, thanks to Columbus Center.
"We can literally make hundreds of millions of these": OLPC and MIT try to save the world with cheap laptops.
David Wallace: MIT prof recreates some hot ancient weaponry. Page 1, Page 2.
Rats! An examination of the greatest union prop ever.
The Clintonian Option: City Council meets in secret, debates meaning of word "meeting."
He Said, They Didn't: Fun with wild allegations and missing police reports.
Outside Shot: Wondering aloud about the candidacy of Deval Patrick, before any of that St. Fleur mess.
Brian Less: Senator unleashes yearly barrage of nonsense.
Art Meets Wal-Mart: Something stinks at the MFA.
Pell-Mell's Angels: A night of nonsense and nakedness with the infamous SCUL chopper gang. Page 1, Page 2, Page 3.
Elmore Leonard: Famed author speaks. To me.
Matt Taibbi: Rolling Stone scribe talks about the horrors of covering presidential campaigns.
Jon Ronson: British author parses levitation and Guantanamo.
Terry Jones: Python bites into the War on Terror.
Davy Rothbart: Finder of FOUND things discusses Mr. Rogers, trash, storytelling, and small-time scams.
The Unseen: Boston punks on the differences between Ken Casey and Phil Spector.


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Glitchy Oscars E-Voting System Wasn't Fixed in Time for Nomination Deadline
Luckily, paper ballots do still exist.
Yesterday, in the hours leading up to the 5 p.m. Oscar nomination deadline, frazzled members of the Academy of Motion Picture Arts and Sciences rushed to the organization's Beverly Hills headquarters to cast their votes for this year's top films. Some handed in paper ballots. Others used the voting kiosks in the building. Almost all had tried to use the new (and very glitchy) online voting system, but were never sent their log-in codes, or were locked out before able to vote, or were told they'd have to wait until today (after voting ended) for their passwords to be reset. "They just fucked it up," one Oscar-winning screenwriter told The Hollywood Reporter. "I'm absolutely furious about this," an industry bigwig told Deadline, adding that he was only able to vote because he knew an Academy official who was able to fax him a paper ballot with an hour left before the deadline.


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Open Thread: It Happened to You
This is your place to talk about the funny, sad, outrageous things that are happening in your life -- whenever you're ready.
Erin and I met in the eighth grade. She was sitting in Mr. Edmund's science class by the door. I was the new girl. For some reason, she didn't mind me talking to her. For some reason, fifteen years later, she still doesn't.
And while we haven't lived on the same coast in seven years, or the same state in 10, I still consider her one of my best, best, best forever friends. Which is why it's totally effing awesome that she's getting married in April and I'm a bridesmaid!
And just to show you why Erin is one of the illest ladies on the planet, Erin informed me of my selection as a bridesmaid by sending me a card of Bea Arthur as Dorothy from The Golden Girls stamped on the front with the words, "Thank you for being a friend." How bitchin' is that?
Erin picked out her colors, a designer and a fabric, and told us to pick whatever dress we want. Easy, right? And she said she would pay for it! Then she sent us each a list of stores in our zip code that might carry the designs so we could try them on. I told you she was cool as hell.
I looked through her dress options online and I saw a few that looked cute. I tried to look for dresses with a lower waist because empire waists make me look pregnant. (Nearing 28 years of age and three years of marriage, I've got friends and family just waiting for me to decline a drink so they can gossip.)
After I weeded out all the empire waists, I started weeding out strapless. My arms are on the...doughy side and I prefer to emphasize something else. That left four dresses. I called around to the local stores, confirmed they had them and went on my merry way.
When I entered Wilshire Bridal I didn't know I was going to leave in 45 minutes on the verge of tears. How could I? But about 10 minutes in, somewhere between me asking, "Do you have this in a bigger size?" and the woman saying, "A six is the only sample size we carry," I knew it wasn't going to be pretty.
"Okay, but..." I said, "I physically can't FIT into this one."
The thin smug lady just shrugged at me like it wasn't her problem. Probably because it wasn't her problem. She fits into sample size dresses.
So I did what any COMPLETE IDIOT would do. I said, "Ah. Okay. I guess I'll just try to put this one on anyway." Why? Why did I do this? I guess my self-esteem wasn't low enough that day. I was lacking in things to self-shame about. Honestly, who knows.
The point is I ended up standing in the middle of a dressing room surrounded on all sides by overly -- honest mirrors and unkind lighting, half out of a dress that I couldn't zip up the back not just because I didn't have a handsome man to zip me, but because all the Big Macs and cupcakes I've eaten wouldn't fit in the damn thing.
Now I know there are plenty of women out there who WOULD fit into a size six Alfred Sung D500. And I'm sure those women don't have it any easier in life than I do. Everyone has their Everest. I get it. But body image is one of my Everests and man-alive sometimes it's a hard hill to climb.
And why is it that when I'm already feeling fat, my brain also has to notice that I really didn't shave as well as I thought I did? And why is it that no matter where I am, I do not have body odor UNLESS I am in a dressing room? I swear it's like the minute I walk into a dressing room, I suddenly become the smelliest person in the world and it's all I can do NOT to try to outrun my own feet and armpits.
I pulled the dress off, put my clothes back on, and grabbed four more dresses that looked like they might be a better fit. One was even in a size 10, Hallelujah! But none of them looked even remotely flattering.
I had visions of standing up there in front of Erin's loved ones in these dresses and I was simply horrified. People would see me. They were going to LOOK AT ME while I was wearing one of these horrors. Dear God.
I imagined standing by the chocolate fountain at the reception: "Hey Taylor, that's a cool idea to wear the fanny pack inside your clothes!" "What? Wait. No, that's... (sigh) Thanks."
I looked at myself in the mirror. My hair looked greasy, my cellulite was everywhere, I could smell myself for miles and I finally realized that I was an idiot. No one cares what I look like. No one gives a crap if I'm the fattest girl at the party. If my dress makes me look like I'm wearing a petticoat and a bustle when in fact, it's just my ass, NO ONE CARES. Least of all Erin.
All anyone cares about is that Erin met Zach and they love each other and he treats her right and I'm so happy for them that sometimes it makes me cry a little. All anyone cares about is that it's the best day of their lives, that they are happy together and that that they love each other.
I tried on the last dress and decided it looked okay so I took down the style number and went home. Then I took my own measurements using a metal tape measure and emailed Erin my dimensions and the style I chose. And you know what? Even though I was tempted in the name of self-denial, I didn't even fudge the numbers.
I know we're all supposed to love our bodies and reject the messages that tell us to hate them, but I'm not there yet. I'm working on it. I'm working on loving my body. But until I do, I'm happy to announce that I am approaching "Fuck it" status. My belly isn't flat? Fuck it. My arms jiggle? Fuck it. Fuck it all.
I'm a 38 - 33 - 40 and anyone that doesn't like it can kiss my ass.


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Our MechoNet Network Interface (MNI) is just that: an interface. The MNI can unite different MechoSystems window coverings for all-inclusive, harmonious operation. It's also able to communicate with devices and networks from various manufacturers.
Motorized window-covering systems—ours as well as others'—are connected here, to the end-user's controls. Whether those are low-voltage, dry-contact controls; RF remotes; or wireless controls, the MNI allows them to operate any motorized shade, drapery track, or blind system. And more.
It provides a network for communication between window coverings and:
MNI Spec Submittal
RS-232 Protocol Document


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Ted Cruz's Obamacare ended his extended oratory after twenty-one hours. Shortly thereafter John McCain ripped into him insisting that the people had spoken and we shouldn't try to be closing down the government.
Perhaps McCain didn't read the legislation sent by the House which seeks to defund Obamacare while at the same time keeps open the government and allows it to continue running.
I for one am proud of my Senator from Texas because he has demonstrated that he has the cajones to stand up to the entrenched bureaucracy of elitists on both sides of the aisle. Cruz refused to be bullied by Harry Reid, John McCain, Mitch McConnell, or Lindsey Graham.
I stand with CRUZ. He's absolutely correct when he states that Congress needs to do a better job at listening to the people of America.


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Find more Schmalfuss relatives and grow your tree by exploring billions of historical records. Taken every decade since 1790, the U.S. Federal Census can tell you a lot about your family. For example, from 1930 to 1940 there were 6 more people named Schmalfuss in the United States — and some of them are likely related to you.
What if you had a window into the history of your family? With historical records, you do. From home life to career, records help bring your relatives' experiences into focus. There were 42 people named Schmalfuss in the 1930 U.S. Census. In 1940, there were 14% more people named Schmalfuss in the United States. What was life like for them?
In 1940, 48 people named Schmalfuss were living in the United States. In a snapshot:
As Schmalfuss families continued to grow, they left more tracks on the map:


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1.1 The Ports' Safety Organisation welcomes
the opportunity to assist the Transport Sub-Committee in its inquiry
into Opportunities and Development Prospects at Major Ports.
1.2 The Ports' Safety Organisation (PSO)
was established in 1992 and represents the ports of Britain and
Ireland on health and safety matters. All other subjects, including
professional marine matters and environmental concerns are dealt
with by the other industry trade associationsBritish Ports
Association, UK Association of Private Terminal Operators and
UK Major Ports Group. General training is dealt with by the NTO
for the industry British Ports Industry Training Ltd. Safety in
port workplaces, therefore, which is the subject of Chapter 4.1
of Modern Ports comes fully within the PSO's remit.
1.3 This Memorandum has been prepared by
PSO and has been written as a supplement to Chapter 4.1 of Modern
Ports. It aims to give a fuller explanation of how the industry
is organised for health and safety and to indicate how the industry
proposes to respond to the recent Government initiatives.
2.1 It has always been recognised that dock
operations have inherent dangers.
2.2 The first set of Docks Regulations was
adopted in 1904 following a comprehensive report by the Factory
Inspectorate written in 1899. This was the first set of such Regulations
made anywhere in the world.
2.3 Further Regulations followed in 1925,
1934 and 1988, the last two reflecting international standards
adopted by the International Labour Office (ILO).
2.4 In the last 40 years the ports and shipping
industries have been the subject of a complete revolution in the
way in which cargo is packaged, handled and carried by sea and
this has had a profound effect on all aspects of port operations
including health and safety issues.
2.5 Development of freight containers, roll
on-roll off movements, packaged timber and other cargo handling
improvements has led to a very different type of port area. This
has a very different operational scenario and very different hazards
and risks.
2.6 The port and shipping industries started
a process of dynamic change that has continued throughout the
past 40 years and is likely to continue for the foreseeable future.
That process, of necessity, has involved, and will continue to
involve, health and safety issues.
2.7 At the same time, general expectations
regarding health and safety at work have increased and there is
a much higher profile for the subject now than there was 40 years
ago. This has affected the ports industry as much as any other.
2.8 A further development has been the increasing
modernisation of health and safety workplace laws, coupled with
the adoption of a range of relevant Directives by the European
Union and their subsequent reflection in UK statutes. Most of
these general health and safety laws have application in a port
2.9 This has resulted in a considerable
number of new or revised health and safety workplace laws, each
of which has to be considered at the consultation stage (sometimes
pre-consultation as well) before being assimilated and compliance
achieved once adopted.
2.10 The consequence for the ports industry
has been greatly increased health and safety activity across the
board and a great deal of effort has been made throughout the
industry at all levels to contain and to reduce accidents.
2.11 The changes in working methods and
the increased efforts to reduce accidents have together resulted
in current accident rates being about 30 per cent of what they
were 30 years ago.
2.12 Nevertheless, it is accepted that there
is still room for improvement. The joint initiatives posed by
the Government's Revitalising Health and Safety Strategy Statement
and Modern Ports are, accordingly, welcomed and we will
be glad to cooperate with them.
3.1 The industry has a strong organisation
for health and safety based upon three elementsthe National
Health and Safety Committee (NHSC), the safety specialists' group
(APO's Group) and the Ports' Safety Organisation (PSO).
3.2 Although there have been several reviews
of its remit, composition and activity, the NHSC has continued
since 1965, when it was first established.
3.3 It meets every six months in London
and its core membership consists of four line managers, four full
time safety advisers and four trades union officials. Both HSE,
MCA and more recently DETR have ex officio positions and HSE has
accepted that NHSC is equivalent to its Industrial Advisory Committees.
3.4 The APO's Group consists of full time
safety staff and those who have a special responsibility for safety
in addition to other responsibilities. It has regular meetings,
with the 79th having been held in Grimsby on 10 January 2001.
A total of 59 persons attended, including the national HSE official
dealing with docks.
3.5 Three such meetings are held around
the UK every year with attendances regularly totally over 40 people.
The meetings are very proactive, practical and participative and
it is worth noting that HSE officials have commented on the openness
of the industry in regard to sharing accident, dangerous occurrence
and prevention experiences so that the industry as a whole may
3.6 The third element in the organisation
and arrangements is the PSO. This was set up at the end of 1992
at the specific request of many members of the British Ports Federation
(which was then in the process of being wound-up).
3.7 PSO is a non-profit private limited
company, dedicated solely to the cause of health and safety in
the ports industry. It is totally independent, funded solely by
the industry and acts as a trade association. It currently employs
four people.
3.8 Its prime function is to consult and
represent the industry to Government Departments and Agencies,
to inform and advise, to offer specific safety related training
courses and publications and to operate a technical information
and advice service.
3.9 It organises the NHSC and APO meetings,
standing work groups, special work groups, panels, first aid competitions
and conferences and safety related courses, conferences, workshops,
seminars and presentations. It publishes a monthly Executive Update
for all Chief Executives, a bi-monthly newsletter for all members,
regular information papers for full members (1,183 issued in the
period 1993-2000) and a variety of pocket cards, advice leaflets,
booklets and other documents. It also offers short term consultancy
services to members. It currently has 137 member companies covering
between them over 250 ports and port companies.
3.10 Apart from a small number in the Irish
Republic and a smaller number in other countries, the membership
consists of port authorities, stevedores, terminal operators,
cargo handling companies, shipping companies with shore based
operations, labour supply companies, training companies and container
bases operating in the UK.
3.11 PSO's funding is derived solely from
the industry, with members' subscriptions on an annual basis being
supplemented by training, publications and consultancy activities.
3.12 PSO works closely with HSE at various
levels, and to a lesser extent MCA, and it is believed that a
partnership approach to health and safety in the port industry
has existed for a number of years.
3.13 PSO also liaises closely with other
Trade Associations in the ports industry.
3.14 It is believed that this arrangement
is unique within industry generally.
3.15 In addition to these national activities,
considerable efforts are being made all the time by individual
companies to improve safety.
3.16 The consequence of all of these arrangements
is that there is significantly more health and safety activity
in the ports industry now than probably at any time in the past.
3.17 PSO is also involved with international
work involving the UN Agencies ILO and IMO, the International
Association of Ports and Harbours, the International Standards
Organisation and the International Cargo Handling Coordination
Association. It is also involved with the Federation of European
Private Terminal Operators based in Brussels.
3.18 This involvement enables PSO to monitor
and influence relevant international rules and standards and to
keep its members fully informed of relevant activities.
3.19 It is, accordingly, believed that there
are structures in place to enable the health and safety situation
to be improved. There has existed for some years a close partnership
between the industry and HSE/MCA and we welcome the support which
Modern Ports has given to those arrangements.
4.1 The comprehensive national effort detailed
above will continue.
4.2 At the same time, the new Government
initiatives are welcomed and a strategy has been adopted to plan
a proper response.
4.3 A high level Conference is being organised
by PSO involving the Deputy Prime Minister and senior officials
from DETR, HSC and HSE. This is aimed at Directors and senior
managers in the industry and will be held on 12 March 2001.
4.4 An overall strategy for responding to
the twin challenge of the Revitalising Strategy Statement
and Modern Ports has been approved by the NHSC. The core
of this is the establishment of a PSO special work group to draw
up suitable targets and action plans to achieve them. This group
is currently in the course of being formed and the deadline is
to complete its work before the next meeting of the NHSC in May.
4.5 The special work group will consider
various initiatives taken by other industries and determine what
is appropriate and practical for the ports industry.
4.6 It is expected that this work will result
in targets and action plans being adopted and put into effect.
4.7 Similar initiatives in other industries
have resulted in considerable reductions in general accident levels
and it is hoped that the special initiatives, together with the
on-going national programme, will achieve a similar result in
the ports industry.
5.1 The nature of dock operations in relation
to accidents has long been recognised.
5.2 The considerable changes in the ways
in which cargo is packaged, handled and carried have radically
changed the way in which dock operations are carried out. This
has resulted in fundamental changes to health and safety concerns,
with many of the older issues having lesser significance but with
new risks arising.
5.3 Consequently, the potential for accidents
remains whilst the hazards now differ.
5.4 The industry is fully aware of the health
and safety situation and its implications and it is well organised
at national level to respond to that. That organisation works
in a partnership approach with the Government Agencies and the
Trades Unions.
5.5 Whilst accidents and accident rates
have decreased considerably, it is accepted that there is still
room for improvement.
5.6 In partnership with the Government and
its Agencies, a major initiative is being developed to further
improve the situation. This will be directed strongly at all levels
of management.
5.7 A major conference has been organised
to address the issue and the industry is currently developing
action plans, together with targets, aimed at reducing the levels
over a period of time.
5.8 We would be pleased to supply the Committee
with any further information which it may require in connection
with its inquiry.
Ports' Safety Organisation
17 January 2001


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The Wee Trio, James Westfall (vibes), Dan Loomis (bass) + Jared Schonig (drums), proudly announce the September 30, 2016 release of their fifth recording, Wee + 3, recorded at Systems Two in Brooklyn, NY, and featuring three musicians who are near and dear to the members of the Trio; the legendary trumpeter/composer Nicholas Payton (tracks 4, 5 & 6), guitarist/composer Nir Felder (tracks 1, 10 & 11), and pianist/composer Fabian Almazán (tracks 2, 3 & 9). Inviting guests to join this established, working group was born out of the band's collective love of collaboration.
Wee + 3 is an album about relationships. Dan Loomis is from Middle America, Jared Schonig is from the West Coast and James Westfall is from the South. Together they have traveled to every corner of the country and the songs on this album celebrate their individual roots and their travels together. The bonds that The Wee Trio formed as a band happened very soon after they all moved to New York City and has strengthened over the years. In short, musically and personally, they are thick as thieves, and their camaraderie is fully explored and realized on the band's previous four recordings, Capitol Diner Vol. 1 (2008), Capitol Diner Vol. 2 - Animal Style (2010), Ashes To Ashes - A David Bowie Intraspective (2012) and Live at The Bistro (2013). With Wee + 3, the fans are bearing witness to the first expansion of the trio as they welcome in three critically acclaimed, world-class musicians to the fold. Each guest artist has a unique personal relationship with the individual members of the band and all of the music on this record was composed for each of these guest artists, creating a stylistic spectrum that takes the listener through three different worlds, but all within the galaxy of The Wee Trio.
The guest artists also represent three distinct narrative points in the history of the band. Dan Loomis explains further, "Nicholas Payton is the prelude to our story as a band. We say that the trio connects so well because we had listened to so many of the same records. Mr. Payton's music was definitely an important part of all our lives. His playing, his intention as a bandleader, and his compositions were important building blocks for all of our own musical conceptions and development. Nir Felder is the present tense in the story of the band. We all met Nir very soon after we moved to the city and played with him a lot in our first years here. Our encounter with Fabian Almazán is a look to the future. Jared has known Fabian for a several years, but James and I just started playing with him for this project. Fabian plays with relentless creativity that really brings out the best side of the band. We love to play familiar material and take a lot of risks with it - push it to see what new options we can find hidden in it. With Fabian we got a chance to expand that approach to a quartet setting and bring it some new material that we wrote especially for him. We think the results are magical!" In drummer Jared Schonig's words, this record was, "really a dream for us to make, both compositionally and musically. We had many long discussions over two years, deciding who our guests would be, and we feel that we made such great choices. To add a fourth musical voice was like taking cake and putting more frosting on it just for the fun of it."
"R T 3" (feat. Nir Felder) - This song is the sound of the ocean as nearly as bassist Dan Loomis can capture it. You can hear the seagull cry in the intro. "My mother grew up in California and spent a lot time exploring the Pacific coast. I was born in Redwood City but raised in the Midwest. I always loved my trips back to California and I never feel right visiting without at least one visit to the ocean," said Loomis.
"Titan UP" (feat. Fabian Almazán) - Westfall grew up in Houston, Texas and was an avid Houston Oilers fan. In the mid 1990's the Oilers packed their bags and relocated to Tennessee changing their name to the Titans. Since Westfall's recent arrival to his new home in Nashville, he has re-adopted the NFL franchise that moved away from him.
"Climb" (feat Fabian Almazán) - An epic composition written by Schonig to feature both Almazán's creativity and Loomis' strength moving around the bass. The title represents the climb to the top that we all inevitably face daily in life.
"Sabotage" (feat. Nicholas Payton) - One of the nation's best venues is in St. Louis, MO (Loomis' hometown), Jazz at the Bistro. The Wee Trio played there many times and even spent a weekend recording a live album there (Live at The Bistro from 2013). Loomis explains, "The second night of the recording we went to play our first set only to discover (mid-song!!) that the microphone cables had been cut!! We never found the culprit but clearly someone set out to sabotage the band! Thus Jared had a title for his new song."
"No Justice" (feat. Nicholas Payton) - This song is a tribute to Loomis' hometown, St. Louis, and particularly the suburb of Ferguson. "We have all been angered and saddened by the senseless violence by police against so many black youth across our country. But these events take on another dimension when they happen close to home. In the aftermath of tragic events like these, one thing that we can do is come together to make our voices heard against a culture that allows such actions. My partner and young boys have been to many demonstrations protesting these events and my kids' favorite chant at these demonstrations is 'No Justice, No Peace!'" said Loomis.
"Belle Femme De Voodoo" (feat. Nicholas Payton) - "As a former resident of New Orleans, this piece was written as a homage to the city. I spent the better part of 15 years living there and the city's influence will always be burned in my personality. One of the city's biggest musical influences today is Nicholas Payton. I've had the privilege of sharing the stage with him about a dozen times while living there and each of those gigs was a huge learning experience that I never took for granted. Having him be a part of this record was an honor. It was only fitting that Nicholas would be featured on a song written for New Orleans. Nicholas' style is the perfect blend of Old New Orleans and New World," said James Westfall.
"Lola" - This is a composition by Meshell Ndegeocello that Schonig arranged for the band. Schonig says "The band originally decided against having covers on this recording, but made an exception for an exceptional artist that we all admire."
"Sound Evidence" - The lone original trio composition comes from Schonig after he sought out to write something both rhythmically interesting yet open enough for the harmonic instruments to have complete freedom while improvising. The title comes from Schonig's brother, who made an astute observation during a game of ping-pong with the band to prove a certain shot had hit the table!
"Redwood" (feat. Fabian Almazán) - This is a tribute to Redwood groves in Northern California. "Walking through them you can have a feeling in an endless horizontal and vertical space. This song tries capture that expansiveness," said Loomis.
"Gibbs Street" (feat. Nir Felder) - Schonig and Loomis met at Eastman School of Music in downtown Rochester, NY. This piece by Schonig is a homage to his experience there, balancing all that life is throwing at you. "Sometimes college can seem incredibly chill and then one moment chaos can ensue; whether it be with schoolwork, gigs, relationships - I tried to encapsulate all of that in this piece," said Schonig.
"Apparition" (feat. Nir Felder) - "Nir is one of our favorite guitarists because, like The Wee Trio, he's not afraid to rock out. Performing the song quartet gave us the opportunity for me to personify a wraith during the melody. The composition's simplicity gave the trio enough room to stylistically take the direction in a more organic world that is true to our influences. The composition is one big launching pad for a shredding Nir Felder solo meant to kick ass and melt faces," said Westfall.


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When you're moving to S.E. London and Kent, it's helpful to have a friendly, professional removals company to smooth the move for you.
Prices vary considerably. A four bedroomed house in Maidstone, for instance, is between £300,000 and £600,000, whilst a typical price in Tonbridge is between £250,000 and £500,000. Gillingham is cheaper with prices between £200,000 and £400,000, whereas Ashford is higher at around £300,000 to £650,000 with Sevenoaks dearer still.
Rental property is readily available, with two-bedroomed apartments or flats in Maidstone or Gillingham going for between £650 and £1000 per month; typical rental prices in Tonbridge are from about £800 per month for the same kind of property.
Sevenoaks, Maidstone, Gillingham, Tonbridge and Ashford are all within easy commuting distance of London.
The main motorway network to Kent includes the M2 and the M20. There are fast and frequent rail services to both London St Pancras and London Victoria, with journey times of around 1 hour from Maidstone, less from Gillingham, whilst there is a journey time of about 45 minutes from Tonbridge to Charing Cross.
Ashford has a rapid service of approximately 35 minutes into London, with the advantage of being on the Channel Tunnel routes to France.
Both Gatwick and Stansted Airports are within about an hour's drive, depending on traffic.
KENT Guide
There has been a long-standing discussion about whether a man from Kent is called a "Man of Kent" or a "Kentish Man". The definitive answer goes back to the time when directions were given using pub names. Anybody born west of the River Medway was known as a Kentish Man (or woman) because of the name of the pub in Dunk's Green, west of Maidstone. A Man of Kent was born east of the river, where a pub of that name still exists in Ashford.
Whether you were born in Kent (east or west of the Medway) or want to move house there, you will find something for everyone, from historical Canterbury to the east of the county, the coastal districts of Herne Bay or Whitstable, or the modern marina at Gillingham, which offers outstanding facilities for sailing or cruising on the Medway or the Thames, or further afield to the East coast or Northern France. Having been awarded the coveted Marina Five Gold Anchors, it can be seen that it ranks with the best yachting marinas in the country – a definite draw for keen sailors to move to Kent.
Maidstone is the county town of Kent and, in addition to having an excellent range of shops, is surrounded by beautiful countryside, making it an attractive place to live, especially for families. Leeds Castle, which is well worth a day's outing, is nearby and, for the more daring, regular hot air balloon trips can be arranged from the grounds. Being on the River Medway, there are a number of water-based attractions, including canoe/camping safaris for the more attractive, interesting riverside walks or sightseeing trips on one of the river cruisers.
Nor do you have to travel out as far as Canterbury to experience a sense of the past. Tonbridge Castle, for instance, has a sometimes violent history going back over 900 years and is famous for being one of the best examples of a Motte and Bailey Gatehouse in the country. Whilst Tonbridge's population has grown from the small market town of mediaeval times to over 30,000 today. Amongst its claims to fame are the manufacture of gunpowder throughout the 19th Century and being home to an annual beer festival where many samples from local breweries pay tribute to the locally grown hops.
One of the many advantages of moving to Kent is the excellent road and rail links both into London and out to the coast or over to France. There are very few places in the UK where a day trip to the French coast, or even Paris, is a possibility!
KENT Removals
If you are moving to Kent or South East London, there is one less thing to worry about once you have secured the services of a friendly, reliable man and van to handle the removals. Van Man in London, with twelve years' experience of handling home removals in Kent, Greater London and the Northern Home Counties, takes pride in offering a professional, friendly service for whole house/apartment removals.
So, whether you're moving from Gillingham to Maidstone in Kent, or from Tonbridge closer in to London, or further out to Folkestone, it is well worth contacting us for a quote, knowing that there are no hidden extras and we will turn up when we say.


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WinX MOV Video Converter for Mac is a professional and free MOV video converter for Mac users to convert QuickTime videos (.mov) to variety of video formats including both HD and regular video files, like AVI, MPEG, WMV, MP4, FLV, HDAVC, MPEG4 HD, etc. Moreover, this MOV video converter Mac free also supports transferring MOV videos to Apple iPhone, iPad, iPod, Apple TV, Apple TV HD, etc.
Except converting MOV videos on Mac OS X Tiger/Leopard/Snow Leopard, this free MOV video converting program also allows Mac users to grab image to JPEG, BMP pictures. With High Quality Engine, this MOV converting application delivers prominent video and audio quality in a stunning fast way.
Features key for WinX MOV Video Converter for Mac Free Download :
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This free MOV Video Converter for Mac allows Apple fans to transfer the MOV video file to iPad, iPod, iPhone and Apple TV.
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The Chicago Cubs tonight played down reports that team officials hope to hold as many as 50 night games a season, an issue that arose as the team held its annual meeting with Wrigleyville residents.
Mike Lufrano (foreground), Chicago Cubs general counsel and senior vice president of community affairs, speaks to a small crowd of community residents and business owners Tuesday night about issues related to Wrigley Field and the Wrigleyville area. (Tribune / Phil Velasquez)
Cubs Chief Executive Officer Crane Kenney told a Rotary Club in Marco Island, Fla., on Monday that he hoped the Cubs would increase the number of night games from 30 to 50, according to a story in the Marco Island Sun Times.


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Last week, it appeared that free-agent quarterback Mike Vick would wait — possibly until after the draft — to pick his next team.
This week, there are early indications that Vick could be moving toward making a decision.
Several teams have signed veteran quarterbacks over the last two weeks, presumably narrowing the scope of Vick's available options. Running back Adrian Peterson openly lobbied for Vick to come to Minnesota, but the team re-signed Matt Cassel to a two-year, $10 million contract. It's unlikely that the Vikings would pay that much or more for Vick.
Ditto for the Jaguars and the Buccaneers, who gave similar contracts to Chad Henne and Josh McCown, respectively.
The only teams with clear and obvious needs at quarterback are the Raiders, Texans, and Browns. Like the Vikings, Jaguars, and Buccaneers, those teams surely will be looking at the top of the draft for a rookie, who likely would supplant a veteran "starter" as early as the moment the rookie's name is written on the draft card.
Vick, by all appearances, wants to avoid being the starter for less than two months and then yielding to a first-round hotshot who'll relegate Vick to the bench. If Vick's going to be the backup, he may as well stay in Philly.
The Jets and Bills could be options. While the Bills have said they're not looking for a veteran to push EJ Manuel, the Jets most likely are looking for someone to turn to if Geno Smith stumbles. Either way, Vick would have a hard time winning the job in either place for Week One. The more likely scenario would entail Vick as the Plan B if the 2013 high-round rookie selection flames out in either place.
Injury concerns could help Vick's cause. In St. Louis, Sam Bradford is recovering from a torn ACL. In Carolina, Cam Newton suddenly will be gone for the next four months. In either city, however, Vick would likely be holding a spot until the starter is healthy.
There's one other team that bears watching: the Titans. Jake Locker is recovering from surgery to repair a LIsfrance injury in his foot. (One league source recently remarked that Locker may still be on crutches.) Beyond Locker, the options are Charlie Whitehurst, Rusty Smith, and Tyler Wilson.
When did new Titans coach Ken Whisenhunt have his greatest success in Arizona? When using a youngster or a proven veteran in the final years of his career?
Maybe Vick, the starter in Philly when Whisenhunt made the ill-fated trade for Kevin Kolb, gives Whisenhunt a way to quickly turn things around in Tennessee, at least for a year or two. Yes, Vick has injury concerns, but the presumed starter in Tennessee has had an even harder time staying healthy during the first three years of his career.
Regardless of destination, Vick could be making a move sooner than it seemed he would.


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American Curl
The American Curl Cats coat is silky and soft. The coat length may either be long or short with a minimal undercoat. The eyes can be all colors and are rather large and walnut shaped. The ears are wide at the bottom and open curving to the back. The head sort of longer than it is wide and the nose is straight. The muzzle is rounded with a firm chin. The American Curl is a medium size cat that is balanced and muscular with medium length legs and a tail that is flexible.
The American Curl Cat comes in a variety of colors. color combinations and patterns. The solid cats are white. black. blue. red. cream. chocolate. lilac or blue-cream. The silver cats are chinchilla silver or shaded silver. The golden cats are chinchilla or shaded. The cameo cats are shell or shaded. The tortoiseshell cats are smoke. shell or shaded. The smoke cats can be black. cameo. chocolate. lavender. cream. blue-cream. or chocolate tortoiseshell. The tabby pattern cats are classic. mackerel. patched. spotted tabby. ticked tabby. brown patched. blue patched. or silver patched. The tabby cats are silver. red. brown. blue. cream. blue-silver. cream-silver. chocolate silver. lavender silver. or cameo. The point color cats can be seal. seal lynx. chocolate. blue. blue lynx. blue-cream lynx. lilac. lilac-lynx. lilac-cream. lilac-cream lynx. flame. cream. cream lynx. tortoiseshell. blue-cream. chocolate lynx. chocolate-tortoiseshell. chocolate-tortoiseshell lynx. or tortoiseshell-lynx. The bi-color or van bi-color cats can be black and white. blue and white. red and white. or cream and white. They can also be calico. dilute calico. van calico. van dilute calico. tabby and white.
The American Curl Cats coat is relatively simple to maintain. Regular brushing and checking the ears regularly is recommended.
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AUBURN, ALA. — Bo Jackson had something to prove Saturday night, and so did the Auburn defense.
They both proved it with a relentless 41-0 victory march through Mississippi. Jackson propelled himself back into the Heisman Trophy picture by rushing for 100 yards in the first quarter alone, 20 more than he gained when the Tigers were upset 38-20 by Tennessee last week.


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Park PCS service and support computer systems for both business and domestic customers throughout Northern Ireland from our base in Derry / Londonderry.
Services, solutions and support Park PCS can provide
Supply and installation of desktop, notebook or server computer systems.
Supply and installation of computer peripherals, accessories and software.
Repair or upgrade of existing computer systems.
Web design and development.
Carry out system maintenance checks to optimise system performance.
Remove viruses and spyware.
Get you connected to the Internet with high speed ADSL broadband.
Install wired or wireless networks and network equipment.
Secure your computers and networks with firewalls.
Save you money on telephone calls and telephone systems with Voice-Over-IP and software PBX's.
Provide support and maintenance contracts.
Business leasing available upon request.


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Alison and James were married at the stunning Eaves Hall in West Bradford just outside Clitheroe Lancashire. This is one of my most frequented venues, and I love each and every wedding I photograph here! The feeling you get as you drive up the long driveway and Eaves Hall appears infront of you never ceases to impress me!
I had been checking the weather all week and hoped it would be as good as it looked... and the weather gods certainly didnt disappoint! From the minute I arrived until way late into the evening the sun shone and I spent nearly the entire day outside!
From Alison's nervous bridal preparations in the morning down at the Eaves Hall Lodge with the bridesmaids, until the laughter and smile-filled wedding ceremony inside Eaves Hall, I feel privilidged to have witnessed such an amazing wedding at Eaves Hall, and hope that my photos do it justice!
Pretty much all day was spent outside, with the exception of speeches/meal and the wedding ceremony, every single other minute was outside in the sunshine. Normally, photographers hate this kind of weather because it can be very difficult to photograph in, but I loved the fact that everyone present at the wedding was having an amazing day, you really cant ask for better than that!
Later, Eaves Hall staff arranged the cake cutting and first dance to be outside on the lawn! I was as excited about this as Alison and James were, as I have never photographed an outdoor first dance before!
An absolutely awesome wedding, on with the photos!!
Wedding Photographs Part 2 (Part 1 Here)
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Greece cuts minimum wage, pensions as austerity drive begins (Reuters)
Originally posted by Vitchilo
In other news...
Greece cuts minimum wage, pensions as austerity drive begins (Reuters)
Let it begin... the great Greek rape of 2012.
Originally posted by Vitchilo
In other news...
Greece cuts minimum wage, pensions as austerity drive begins (Reuters)
Let it begin... the great Greek rape of 2012.
"America is at that awkward stage; its too late to work within the system but too early to shoot the bastards." Claire Wolfe
The competing attempt by George Bush Sr. and the Nazi faction to set up a 1000 year reich is also collapsing. Geithner has already told the police that both he and Obama work for Bush. The Bushes, like Geithner and others are not allowed to leave the US
In the space of two months, the ECB has now injected more than a trillion euros into the financial system, banishing the threat of a credit crunch.
A total of 800 banks borrowed money at the tender, with demand exceeding the 500 billion euros expected by traders polled by Reuters and the 489 billion allotted in the first such operation in December.
The ECB unveiled the funding operations, known as LTROs, late last year to counter frozen interbank lending and dampen tensions on euro zone bond markets that threatened to tear the bloc apart.
ECB President Mario Draghi, whose native Italy was at the epicenter of the crisis when the bank announced the measure late last year, said after the first of the operations that "a major, major credit crunch" had been averted.
Anecdotal evidence suggests banks especially in Spain but also in Italy used the first LTRO to pursue this "Sarkozy trade" - a term adopted by markets after the French president suggested governments should encourage banks flush with ECB cash to buy their bonds.
Spanish banks bought a net 23.1 billion euros of government debt last month and Italians 20.6 billion, both record increases.
"Italian and Spanish bonds are likely to benefit from this and equity markets as well," Luca Cazzulani at UniCredit said of Wednesday's operation.
Banks have the option of paying back all or parts of the loans at any time after one year.
Financial markets are watching to see how effectively governments use the time the ECB has given them to deliver growth and sustainable budgets.
"Without growth, the LTROs are a bridge to nowhere," said Andrew Bosomworth, senior portfolio manager at PIMCO.
During Congressional testimony, Ben Bernanke defended the Fed's FX swap lines by saying that the ECB was "well-capitalized."
Every year in February, the Treasury department releases its adjustment to foreign purchases of Treasury bond holdings as of the previous June (with revised and overriding estimates for all the intervening months in the interim, as well as previous monthly forecasts). It did that earlier today. And while many may have been expecting the revision to show that contrary to Zero Hedge claims China has in fact been building up its Treasury stake (following the now traditional transfer of UK purchases to China), the reality is that not only has China indeed been dumping US exposure (first reported by us previously when we observed the plunge in holdings in the Fed's custodial account), selling over $100 billion in Treasurys in December alone (bringing its total to $1152 billion, and down 12% from its June total of $1307 billion) but that probably far more curiously, the UK is no longer a shadow buyer of Chinese bond accumulation and instead has become a secret accumulator of Russian holdings.
Originally posted by Vitchilo
Oh boy... I just learned that in a few places in the US, things are so bad that there are armed guards in grocery stores so people don't steal...
Damn... is it that bad??
Any links? Is it that unusual?
In remarks that hit Wall Street stock prices, the central bank boss suggested the economy could hit a serious roadblock if Congress allows the Bush tax rates and a payroll tax cut to expire and $1.2 trillion in spending cuts to be implemented simultaneously in January.
The jobless rate in the 17 countries that use the euro rose to 10.7% in January, while December's figure was revised up from 10.4% to 10.6%. There are now 16.9 million people out of work in the bloc, Eurostat said.
Trends forecaster Gerald Celente and several other financial experts are predicting even worse turmoil ahead, including another stock market crash worse than the last one in '""9, nationwide bank runs, and widespread social unrest, all to occur before '"'4.
In a recent USA Today piece, Harry Dent, author of the book The Great Crash Ahead, Robert Prechter, author of Conquer the Crash, and Celente all shared their opinions on some of what lies ahead for Americans in the next two years. Despite differences in their advice to investors about how to approach the upcoming collapse, all three experts seem to agree that things do not look pretty, and that people need to be prepared for the worst.
"'"'' is when many of the long-simmering socioeconomic and political trends that we have been forecasting and tracking will climax," wrote Celente in his recent Top '' Trends '"'' newsletter. "When the money stops flowing down to the man on the street, the blood starts flowing in the streets."
"The only mandate of the Federal Reserve is to keep the bankers in power and the people underneath them," said Celente during a recent interview with Russia Today. "They're devaluing the dollar and enslaving the people"


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Puck of Pook's Hill by Rudyard Kipling
"The children were at the Theatre, acting to Three Cows as much as they could remember of Midsummer Night's Dream."
So begins a time of magic for Dan and Una. It was Midsummer's Eve and the children have performed the play three times, unwittingly, inside a fairy ring near their home in Sussex. The summoning calls up the mischievous Puck, the last of the People of the Hill left in merry old England. Puck gives them the gift "to see what they shall see and hear what they shall hear, though it should have happened three thousand year;" through which they witness a host of characters who tell, through their stories, the making of England.
Kipling's adventurous tales and accompanying poems, including the well-known "If-" and "A Smuggler's Song", blend familiar accounts of history with fresh and unique insight for the enjoyment of adult and child a like.


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Please complete the online application and submit the $100.00 non-refundable application fee electronically or via mail. (See below for information on payment options.) You will receive an e-mail acknowledgment when your application and deposit are received.
Recommendation And Records
The appropriate recommendation forms must be downloaded from our website. Please complete and sign the Permission for Release of Records and complete the parent section of Primary Teacher Recommendation. Provide the two documents to your child's current school. These forms must be submitted to Gulliver directly from the school your child currently attends or last attended, with transcript and test records, in the school's official envelope.
Birth Certificate And Citizenship Documentation
At the time of application, please provide a copy of the child's birth certificate or passport. If the child is not a US citizen, please provide a copy of his or her Immigration Form with a copy of the valid visa, passport or residency card.
Admissions Testing Form
Students entering grades PreK3-Sr.K should complete the Admissions Test Form and send it to the Gulliver Admissions Department at the time of application.
The Admissions Committee requires ability and/or readiness evaluations for all applicants. PreK3-Sr.K applicants must have an activity visit on campus.
You can make a secure online payment using a credit card or e-check or may pay by personal check or money order in US Dollars. If paying with a check or money order, you also must print out and mail a Check Voucher, which will be available once you submit your application online.
Mail supporting documents and, if necessary, the Check Voucher and check or money order (payable to Gulliver Schools) to:
Academy - Marian C. Krutulis Campus Grades PreK3-8
Admissions Department
12595 Red Road
Coral Gables, Florida 33156
Online Application
Apply Online / Check Status Of Application
Welcome to the Gulliver Online Application!
Once you have completed the application to your satisfaction, you should submit your application by clicking the submit button at the top of the page. This will take you through the steps to electronically submit your application to our office. Please note that you can submit your application only once. Once submitted, you will not be able to make changes or revisions to your application using the online application system.
For parents with more than one child applying to Gulliver, please keep in mind that you will need to submit a separate application for each child.
In addition to the application forms you are able to complete online, there are forms that you must download, print and mail to your child's current school. You will find these additional forms in .pdf format. To download .pdf forms, you will need Adobe Acrobat Reader.
Additional Questions?
If you have any questions or require additional assistance, please contact the appropriate Gulliver Admissions Department at 305.665.3593 ext. 3318 or Elena Castellanos.
For technical support with the online application, please contact Gulliver's help desk at 786.709.4099 or firstname.lastname@example.com.
Application Forms
Grades PreK3-Sr.K
- Primary Teacher Recommendation Form (pdf)
- Permission For Release of Records Form (pdf)
- Non-US Citizen Immigration Form if applicable (pdf)
- Primary Student Information Form (pdf)


text: A Visible Tapestry: In the Studio with Lina Puerta October 6, 2017 At our 2017 Fall Symposium we continue an art initiative in partnership with a multi-year grant from 21c Museum Hotels. We are delighted to welcome artist Lina Puerta and her beautiful installation, From Field to Table: Seven Tapestries Honoring Latino Farm Laborers from the American South. The work is currently on display at the Powerhouse … Continued


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Latest: Shared Passions: How Science Supports the Arts at Edinburgh Fringe
Latest: Early Adopters Say Atellica Solution Exceeds their Performance Expectations
Latest: How Can USP Modernization Benefit from High-Throughput UHPLC?
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Latest: Metrohm Mira DS: Identification of white powder narcotics at the touch of a screen
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How Can USP Modernization Benefit from High-Throughput UHPLC?
Building a Life Sciences Network to Train the Next STEM Generation
Shared Passions: How Science Supports the Arts at Edinburgh Fringe
Genevac Demonstrates the Effectiveness of its Heat Transfer Plates
What's New in Environmental? Discover our Favorite Stories and Application Notes
7 Top Videos from Neuroscience 2017
Characterizing Structural and Electronic Properties of 2D Materials Using RISE Correlative...
Using the Intellicyt iQueScreener PLUS to Profile Antibody Dependent Cell Cytotoxicity
Identifying Heterogeneity within Rare Cell Populations by Pairing Single-Cell RNA-Seq with Cell...
Identifying Narcotics in Complex Samples
µPAC™ Column Performance with Peptide Standards
High-Content Imaging of iPSC-Derived Human Neurons for Toxicity Screening
HPLC Columns
UV/Vis Spectrophotometers
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PCR Technology
DNA and RNA Purification
10th International...
08 Oct 18 - 09 Oct 18
Neuroscience 2018
03 Nov 18 - 07 Nov 18
An internationally-renowned vocal jazz group from Oxford University has been wowing audiences this summer thanks to backing from a global science publisher.


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General News
: Regional News
The state health department confirms the first human case of West Nile Virus this year
Submitted: 07/23/2013
- The state health department confirms the first human case of West Nile Virus this year.It's already confirmed West Nile in birds in Oneida and Vilas Counties.The human case was found in Dane County. Last year, 57 cases of West Nile virus were reported among people in Wisconsin. That's the highest number of reported cases since surveillance began in the state. Most people never show symptoms. People who do become sick may have a fever, headache, rash, muscle and joint aches. Symptoms may begin three to 15 days after a bite from an infected mosquito.People with compromised immune systems.. and the elderly.. are at risk for complications to become serious.(Copyright 2013 Associated Press - All Rights Reserved)
Written By: Associated Press
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Tell It on the Mountainby Stacey Kors Published Winter 2011-12
On a sunny Sunday morning in mid-October, thousands of people are gathered on the National Mall in Washington, DC, for the dedication of a memorial to the Reverend Dr. Martin Luther King Jr. It is the first memorial on the Mall for a nonpresident and the first for an African-American. Dignitaries are everywhere. King's close friends in the civil-rights movement, including the ministers Joseph Lowery and Jesse Jackson, share remembrances. Stevie Wonder and Aretha Franklin perform. President Barack Obama '83CC, the embodiment of King's vision of equality, gives the keynote address.
The podium for the ceremony stands at the site's portal, a massive granite boulder cleft into three parts, the stone's center wedge thrust forward. Carved out of this midsection is a thirty-foot-high image of King, his arms folded, gaze steady, stance strong. On one side of the monument is a phrase taken from King's "I Have a Dream" speech, given in 1963 on the steps of the neighboring Lincoln Memorial: "Out of the mountain of despair, a stone of hope."
That same afternoon in New York City, hundreds of theatergoers are seated inside the Bernard B. Jacobs Theatre, watching one of the first Broadway performances of The Mountaintop, a fantastical, often humorously irreverent account of the night before King was assassinated on the balcony of Memphis's Lorraine Motel. This Dr. King, as written by thirty-year-old playwright Katori Hall '03CC and portrayed by Samuel L. Jackson, is a sometimes paranoid, sometimes playful chain-smoking womanizer with holes in his socks who nervously checks to see if his phone is tapped and flies into paroxysms of panic with every clap of thunder outside his motel window. The audience sees him drink and hears him urinate and curse and cry, childlike, in fear.
Web ExtraMaking The Mountaintop Read Article
"I really wanted to deconstruct and humanize King," says Hall over lunch at New York's Café Luxembourg before an afternoon rehearsal back in September. "Before he gave that final speech in Memphis, everybody and their mama was like, 'Don't go to the church; they gonna bomb it.' I thought, Well, if the people who were just in the neighborhood, passing by the church, didn't want to go into it, I bet he didn't want to go into it. And it led me to the most amazing research, looking at wiretaps from the FBI and first-person accounts of people who were there at the speech.
"There's so much information out there, but there's nothing that cuts to the core of how you deal with knowing that there's a bullet waiting for you. I wanted to dramatically represent that in a way that could affect people, could move people, and, maybe, could change people's lives. This man stepped up, in spite of. This man changed the world, in spite of. What could I do?
"There was no grand plan to snatch him off the pedestal," she adds, a little defensively, "like, 'Ooh, I'm gonna make a name for myself.'"
Intentional or not, that's what Hall has done. Described by some as a cross between a Tony Kushner play and a Tyler Perry movie, The Mountaintop, which premiered in London and won the Olivier Award for the best new play of 2010, has met with both cheers and controversy in America. It has polarized not only critics but the black community as well — specifically, the older generation of African-Americans who experienced the civil-rights era of the 1950s and 1960s firsthand and canonize King for his inspirational leadership.
"A lot of black families in the South have on their wall what they call the Trinity," says Hall, who was raised in Memphis and now lives in New York. "They'll have pictures of King, Jesus, and Kennedy. In their eyes, I'm disrupting so many things. I'm an Uncle Tom; I'm a traitor to my race because I've decided to do my job and be a dramatist and put a human being on stage and not an idea."
Not only does Hall place a very human King at the Lorraine, but she brazenly gives him a motel-room companion: a young, pretty, and sassy angel disguised as a hotel maid named Camae, who is sent by God (a black woman) to chaperone King to the other side. Played in the Broadway production by Angela Bassett, Camae is modeled after Hall's mother, Carrie Mae, whom she credits as the inspiration for The Mountaintop.
"I don't remember when my mother first told me this story," Hall says, "but she told it to me over and over again, every year on King's birthday or the day that he died. She'd say, 'You know, when I was fifteen I tried to go hear him speak, but I couldn't because Big Mama said that I couldn't — she heard that they was gonna bomb the church. So I decided to stay my ass at home. And I am so sorry I did, because I just never heard the man speak.' This story that she passed down to me, just by speaking it, became 3-D and real and alive. I decided that I needed to put it down on the page."
Camae may be based on Hall's mother, but there's plenty of the daughter in her as well. Whip-smart, funny, and attractive, with a ready smile, bubbly personality, and forthright manner, Hall exhibits a self-possession that belies her youth and a tough-girl defiance and an impolitic lack of self-censorship that confirm it. The Camae who calls the revered King a "bougie negro" to his face has much in common with the playwright, who has no qualms about yelling at her Tony-nominated director, Kenny Leon, or telling one of the highest-grossing movie stars in history, who has a penchant for ad-libbing, "not to mess with my award-winning play." (Jackson responded with an opening-night card that read, "Thank you for the belligerence.")
Also like Camae, Hall seems comfortable with crude language — although she's quick to downplay how much she curses. "I got into a little tiff with Michael Schulman about that," she says with a laugh, referring to the author of a New Yorker profile of her that had recently appeared. "He spent five days with me in Memphis, and the only quotes he used were the ones I said 'fucking' in!"
Hall's audacity stems more from experience than recklessness. When Hall was in kindergarten, her parents — her father is a factory worker, her mother a phlebotomist — moved from a cramped apartment to a house in Raleigh, an almost exclusively white neighborhood in Memphis, hoping to provide their four daughters with a better life and their precocious youngest with greater educational opportunities. After being tested, Hall was accepted into the school system's program for gifted children. She was the only black student in some of her classes.
"I had a lot of white friends in school," says Hall, "but it can still be very isolating internally when you feel like people don't understand you. So you overperform whiteness in some way, whether by only having white friends or speaking in a very certain way, in order to be accepted by the community as a 'safe Negro.' But then sometimes you feel cast away from your kinship ties with black people, and even your blackness. That's why some people would call me Oreo and say, 'You think you better than us,' because I spoke in grammatically correct sentences — which I don't always. It was an interesting line that I had to walk at an early age, one that a lot of post–civil rights black kids have had to walk. It can become an identity crisis if you let it. Or it can be a source of strength."
For Hall, it was the latter. A talented student, she became the first black valedictorian at her high school, a goal she had set for herself in the sixth grade. When it came time for her to graduate, though, the school changed the usual procession order. Instead of the valedictorian leading the way, students were told to line up alphabetically.
"I don't think it was a fluke," she says. "In the school's entire history, they'd always had the valedictorian go first. It was also weird that there was no mention of the fact that I was the first black woman valedictorian at the school in the newspapers or anywhere. If it wasn't blatant racism, it was something subconscious. People were still struggling to see everybody as equals, and that extended to the educational system."
Hall was accepted to Columbia on a full scholarship. Coming from a home where vivid storytelling about the day's events was a dinner-table ritual ("My parents are very dramatic people," says Hall; "I learned from the best"), she decided to join Columbia's theater department, which was housed at Barnard. Hall soon discovered that life in the "liberal" North would bring further racial challenges and identity struggles.
"I was in my second acting class at Barnard," she says, "and my teacher told us to go to the library and find a play that had a scene for your type. My acting partner happened to be another black woman, and we really struggled to find a play embraced by the canon that had a scene for two young black women. So we went back to our instructor and said, 'Please give us some suggestions,' and she couldn't think of anything. In that moment I thought, I'm going to have to write some plays with scenes for two young black women."
To Hall, all her encounters at Barnard felt racially charged. In her first playwriting class, she says, her professor told her that she wasn't a good playwright. "The other students thought I was bad, too," she says. "All my characters were black, and I noticed that all the other characters were ethnic, too, but Jewish — most of the girls in my class were Jewish New Yorkers — and so each of them understood what the others were talking about. But when I would write about what I went through culturally, being in the South and being a black person, they would kind of not get it, and would say things like, 'Oh, this doesn't work.'"
The stage seemed as unwelcoming as the classroom. In the fall of 2001, Hall auditioned for a highly competitive senior-thesis production of Chekhov's Three Sisters. Only a junior at the time, she was cast in a minor part; although that production included a black student in a leading role, Hall firmly believes that race was a factor in the decision. "I wasn't the only person this happened to," she contends. "People of color never got the prominent roles." Already feeling isolated within the department, as well as in her new home of New York City on the heels of 9/11, Hall broke from the theater department completely, switching her major to African-American studies.
"I felt like I didn't belong there," she recalls, "that I was made to feel as if I didn't belong there. I needed to learn more about myself, my culture, my heritage. In a weird way," she adds, "it piqued a renaissance in me, in my interest in who I was and where I came from."
Hall went to South Africa for the spring semester to study the arts and social change. "It was a country in transition, and living in the South, I had always felt I was living in a country in transition. I wanted to learn a lot more about that kind of black-and-white divide." During that trip, she wrote Freedom Train, a performance-poetry piece about the oppression that can exist within activist movements, and she began to find her voice as a writer. "They gave me my own mike, and I performed my poetry with a band in front of a very open and embracing audience," she says. "It was a life-changing experience: I began to see myself as a storyteller."
Back in New York, Hall continued her acting outside of Columbia at the Harlem School of the Arts and also enrolled in the College's creative-writing program. In her senior-year playwriting seminar, she was asked to write a scene about people fighting over an object. Hall, who was then reading Zora Neale Hurston's Their Eyes Were Watching God, chose mojo. This time, her black characters worked.
"I finally realized that, in that first class, I was trying to write black characters but making them sound white," she says. "Once I figured it out and stopped doing that, it just broke open for me."
Out of that scene grew Hall's first full-length play, Hoodoo Love, an unsentimental, sexually brutal story about a young blues singer in the 1930s who runs away to Memphis, falls in love unrequitedly, and enlists the help of an elderly former slave skilled in the African-American folk magic of hoodoo to win her heart's desire.
"She could speak as well as any seminar student," recalls Austin Flint, her playwriting professor, "but she hadn't lost the language of her Memphis background, hadn't forgotten how her grandmother and older relatives spoke. So she retained a very vibrant, genuine language with its own rhythms. To me, that good ear is one of the best predictors of who will become a professional playwright."
After graduating from Columbia, Hall continued on her acting path, studying with director Robert Woodruff at Cambridge's American Repertory Theater (ART), and receiving her MFA in 2005. During the two-year program, she revised and completed Hoodoo Love and discovered not only that playwriting was her passion but that it could be a professional possibility.
"It was at the ART that I was introduced to the plays of Suzan-Lori Parks and Lynn Nottage," she says. "I knew they were out there, but now I was learning the lines and seeing inside the worlds that they'd created. I ate it up. Because I saw these two young black women — who had locks like mine — writing plays, I thought maybe I could really do this."
Hall returned to New York after graduating, hoping to find acting work. (She won some small roles, including Woman Number Two in an episode of Law & Order: Special Victims Unit.) At the same time, she sent Hoodoo Love to the Cherry Lane Theatre Mentor Project, which matches three up-and-coming playwrights with three established dramatists and then stages the finished plays near the end of the season. Lynn Nottage was one of the mentors for 2006; she chose Hall's play.
"I had moved back to New York with nothing, no money in my bank account," Hall says. "I was walking down 42nd Street when I got the call, and started screaming. People probably thought, Oh, someone just died in her family. But I was finally being validated by somebody who was a writing idol to me."
Like Flint, Nottage was taken with Hall's command of Southern African-American vernacular. "I was struck by how she was able to define a vocabulary that was evocative of the period," Nottage says. "It immediately transported me back to that bluesy era, and the characters really leapt off the page for me. I knew exactly who they were. One of the difficulties many young writers have is bringing characters fully to life. That's something Katori very successfully did."
Following her critically lauded off-Broadway premiere at Cherry Lane, Hall was accepted to Juilliard's playwriting program and received a Playwrights of New York Fellowship at the Lark Play Development Center, where The Mountaintop was first workshopped in 2009.
"It's a very ambitious play," says Nottage. "Katori was brave to take on an icon such as Martin Luther King and handle her exploration of him as a man in an incredibly irreverent way. She's not writing 'living room' or 'kitchen' plays. She's really tackling enormous issues."
"Lynn helped me understand what it was to be more than just a writer but to be an activist with your work," says Hall. "That your work is an extension of you, and the words you put on the page have to mean something — particularly since as women of color we don't get many opportunities to be on stage. So when we're given the opportunity, we gotta make it count."
For Hall, at least, the opportunities keep coming. Her latest play, Hurt Village, about a housing project in Memphis, receives its world premiere at New York's Signature Theatre in February. Set in 2002, Hurt Village is based on life in an actual development that has since been torn down; in her research, Hall discovered a forum on Facebook for former residents.
"They were all white," she says, "and from my own Facebook page it's obvious that I'm this little black girl. So I was like, 'I'm writing this play, and I would love to hear about how hurtful it was when you lived there.' These former residents lived there before 1968, right before King was shot. Everybody was giving me these idyllic memories of the project, how they would walk down to the store, how they would see Elvis . . . I call it racist Southern nostalgia. It's like, 'The South was so perfect, the South was amazing before the 1960s, before freedom came for them.'"
Then one day, Hall found a message in her personal Facebook inbox. "This woman said something like, 'I actually have to tell you that these people are really racist, and on the day that King was shot we had a barbecue, and everyone remembers that. When I commented on the fact that we had this celebration after King's murder, they kicked me off the page.' So they weren't honest with me about their political opinions.
"I thought it was interesting," she continues, "that this woman, very discreetly, sent me a sign through my Facebook message box. I feel like, down South, they're still not willing to have the conversation across color lines, except maybe in a space where they feel safe, like in front of a computer screen. I'm still trying to deconstruct it."


text: Our prayer is that you would be blessed and strengthened by the presence of God and love of Jesus Christ. We pray that you will find the answers to live a life of power through Worshiping, Waiting, and Witnessing. Oak Grove is here to help you find your purpose in life. It is a fellowship of believers coming together to declare the glory of God and celebrate Jesus as King. We study the Word together, pray together, and practice what we learn as we reflect Christ to the world . May God richly bless you!


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A Journey of Meat – Buenos Aires, Argentina, South America
"You're going to eat what?" I asked my dad as he ordered something called chinchulines from the menu. Maybe I'm one of those persnickety people who is not food adventurous, but my experiences visiting my grandparents in the outskirts of Buenos Aires, Argentina taught me a thing or two about appreciating the delicacies of life and wanting just macaroni and cheese.
It started the evening after we arrived. Ramos Mejia is a small suburban city south of the city center of Buenos Aires. At least it was small during Christmas of 1978. I was 11 years old. Back home we were rockin' to disco, watching Charlie's Angel's and M*A*S*H on television. I was thousands of miles away in a suburb of a big city wondering, "Do they have Fruit Loops here?"
My parents are from Argentina, their experience in food is far different from mine. I'm used to cheeseburgers, steaks, chicken, salad and pasta. Regular food. My Castellano (or River Plate Spanish as the Argentinians in and around Buenos Aires speak) is rusty from lack of use. So, when we went to dinner at 10:00 p.m., I was shocked to see the "sampler platter".
I was not used to so many different versions of cow. Argentina is cow country. It's like Texas – cows are many and the meat is yummy. Argentinians have made a name for themselves in preparing every single piece of cow imaginable, and it's sitting here in front of me on this "sampler platter".
Many people in the U.S. are familiar with various cuts of meat, but at 11 years of age, I was definitely a novice to this type of cuisine. I have since translated these various cuts of meat into something that is eaten in the U.S. Chinchulines (aka Chitterlings) is the small intestine of the cow (instead of pig, as in the U.S.). Mollejas, which everyone at the table was eating but me, are sweetbreads. Mondongo, is one part of the stomach and not to be confused with Tripa, which can either be stomach in one country, but in Argentina is the large intestine. Finally, Morcilla is known as blood sausage back home.
"Yum!" I said to myself sarcastically.
"Can't I just have a steak?" I asked my mother.
My adventures in new and unique food didn't end with the "sampler platter", though I wish it did. It continued on to the house of a family friend. They were having an asada, barbecue. Typically, when there is a large gathering of people, it's "the more the merrier". I'm not talking more people, more meat. Does this country eat anything else, I thought to myself. Again I was exposed to several of the same cuts of meat from the restaurant, in addition to lengua, tongue.
"Can I just eat the salad?" I asked my mother.
My grandparent's friends must not have thought highly of me and my lack of enthusiasm for the delicacies they were preparing.
You would think my adventure ended there. It didn't. Christmas morning, I woke up excited to see what presents I received. I heard the hustle and bustle of women cooking in the kitchen. My grandfather had a friend who was a butcher – no surprise. I was told he "commissioned" a pig for Christmas dinner.
"What does that mean?" I asked. My sister told me it meant that grandpa's friend got us a fresh pig.
"Ya, fresh, like they killed it for us." My sister answered.
Will this nightmare never end, I thought. I want to go back home, to suburbia where you get pig at the supermarket like everybody else. No commissioning, no killing. I had just about had it. I walked into the kitchen to see my mom and grandmother cutting up vegetables for dinner
"Can I have some cereal?" I asked.
My mom turned around to look at me and revealed what was sitting on the kitchen counter.
"What's that?" I said in horror.
"Our Christmas pig," my mom answered.
"Ew!" I said, "I'm not eating that."
Sitting on the counter, on a big metal sheet for cooking was the pig. It was lying on its back with its middle opened, full of fresh herbs and diced vegetables.
This is it, I thought. I don't know how much more of this country I can take. Luckily we were going home soon after Christmas.
That evening my parents, sister, grandparents and I sat around a small table eating our Christmas dinner. Everyone was enjoying the pig that had been cooked over an open flame in the backyard, while I relished my plate of spaghetti with butter.
"Can I have some more soda?" I asked my mother. Having pop was a novelty and I wanted more.
After she said yes, I walked to the back room of my grandmother's house. My grandfather built the house in the 1920's, there was no rhyme or reason to its layout. To get to the the backroom, you had to go through the kitchen, the backyard and around some stairs. Although connected to the rest of the house, its sole purpose was storage. It had a second refrigerator where extra soda was kept.
In the dark of the night, I gleefully walked to get my soda, pondering the thought of going home soon. I opened the refrigerator door to find the pig's head (fully cooked) sitting on a plate staring at me. I think it was smiling at me.


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Friday, November 23, 2007
The Telugu version of Surya-Asin starrer Vel (Deva) is facing a trouble while releasing. Tamil films, dubbed in Telugu, have always made good business in Andhra Pradesh. Now, it is a regular practice to release majority of big films featuring young heroes like Surya, Vishal, Vikram and Jayam Ravi simultaneously in Telugu have done good in the box office, along with their Tamil versions. Even top actor's films also postponed whenever a Rajini starred film is releasing in the state!
Surya is one of the celebrated non-Telugu heroes among Telugu fans. His Ghajini has done good business there. Following Ghajini, his Deepavali release Vel got ready as 'Deva' with songs and dubbing work completed. But the release date has been postponed as there is no theatre available to release Deva. In fact theatre owners are not shown any interest in releasing the movie. Distributors and producers connected with the Telugu release are pretty worried over the delay.
But the real reason behind the problem is the strong but silent protest of Telugu Cinema Association against the release of dubbed Tamil box office hits in Andhra. They thought that Tamil films are affecting the success of many original Telugu films. Recently many Telugu films released in Andhra. Among these the only successful film is Happy Days. Many top actors films including Mahesh Babu's Athithi also failed to make profit in the box office.


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hello all, 1. given there is a method say, "save" within a ruby class, how are you going about finding what type arguments it takes, what it returns and then perhaps, its source code (if you want to learn by example)? is the way to navigate to api documentation and search to find the method? 2. in case of the ruby on rails "scaffold:" methods, how do you find the above for them - it seems an effort to have to go to all code that perhaps is dynamically generating the CRUD methods. is there by chance a way for ruby by introspection (or else) return the source code for a method? this is a huge challenge for a newbie like myself who is used to nice "self-documenting" java methods, and zipping to the corresponding javadoc source with the stroke of the F1 key. best, vj
on 2006-05-09 05:00
on 2006-05-09 05:11
On May 8, 2006, at 9:00 PM, jay raman wrote: > 2. in case of the ruby on rails "scaffold:" methods, how do > > best, > > vj > > -- > Posted via http://www.ruby-forum.com/. > You should check out ri, gem_server and http://www.ruby-doc.org/


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MySQL - Cache Direct


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2009/1/20 Tony Houghton <h...@realh.co.uk>: > On Tue, 20 Jan 2009 18:19:49 +0200 > "Ville Aakko" <ville.aa...@gmail.com> wrote: > >> 1) You need to enable sync on vblanck. > > [Snip] > >> The first is not possible on all drivers (i.e. fglrx). > > Absolutely not possible? I know OpenGL, DRI and NVidia drivers all have > APIs for waiting for vblank and ISTR seeing a xine option for vblank > sync with Xv. Do none of these work with fglrx? Nvidia's settings tool > has options to disable vblank sync for OpenGL and video, but I don't > know whether by setting it off it disables syncing altogether or by > setting it on it forces flip operations to automatically wait for > vblank.
AFAIK this is a known issue with fglrx drivers. The API is there, but with fglrx the detection is (currently) broken, at least on 8.11 (which is what I'm using currently). I think I saw someone in some forum getting vsync working with fglrx but only for 'mplayer -vo gl'. But that was an exception- -- -- Ville Aakko - ville.aa...@gmail.com _______________________________________________ vdr mailing list email@example.com http://www.linuxtv.org/cgi-bin/mailman/listinfo/vdr


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Appartment in Hanoi
Hello together
i am Christian from Munich, Bavaria and I will be placed in Hanoi in the middle of March this year on behalf of the German Ministry of Development and International Cooperation (BMZ). My donor organization, the German Cooperative and Raiffeisen Confederation is very small so I have look for a accomation in Hanoi. on mysellf. So maybe somebody can help me or - in best case - would quit up his /her appartment in the next weeks. Thanks for reading my message.
Christian Albrecht


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a different kind of case here at Cirugia de Torax Continue reading
There is no excerpt because this is a protected post.
Cirugia de Torax extends an invitation to all thoracic surgeons interested in participating in clinical research. Continue reading
Cirugia de Torax.org heads south of the border for the upcoming Sociedad Mexicana de Neumologia y Cirugia de Torax congreso (conference) this April. It's also a chance for surgeons to find out more about the high altitude project. Continue reading
Using today's handheld technology to conduct the research of tomorrow – a new application of smartphone mobile applications to connect study sites around the world. Continue reading
Developing electronic applications to ease the task of data collection for clinical research. Continue reading
Calling all thoracic surgeons – particularly those in La Paz, Quito, Bogota and Mexico City.. We have an opportunity for collaborative research. Continue reading