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Mental Health and Counseling Services
Living a life with diabetes may at times make you feel sad, angry, hopeless or stressed out. On top of other life responsibilities, diabetes requires that you think about everything you eat, every activity you do or don't do, and their effects on your blood glucose levels. You may get so fed up ("burnt-out") dealing with diabetes that you stop caring for yourself properly. It may interfere with your relationships with others.
People with diabetes are also more likely to have depression or anxiety disorders. Girls and young women with diabetes are particularly prone to eating disorders. These are all dangerous combinations because they can mean that attention is not being paid to proper care. This increases the chances that down the road you or your loved one will develop the life-threatening complications of diabetes.
Emotional Issues Related to Diabetes
Emotional health is critical to staying on the pathway to good health. We can help you or your loved one with a variety of issues that commonly affect someone with diabetes.
- Adjustment to the diagnosis
- Concerns about not being able to stick with your diabetes care plan
- Dealing with complications of diabetes
- Eating problems
- Burn-out
- Depression
- Anxiety
- Life transitions
- Work and family stress
- Marital issues
- Family adjustment
- A child's school difficulties or behavior problems
- Parenting issues
Discussion Boards
We also sponsor discussion boards to give you an opportunity to communicate with others who have diabetes and their families. There you can learn more about diabetes, find support, and discover new ways to handle the many difficult challenges. We have separate discussion boards for adults with diabetes, for teens, and for the parents of teens with diabetes. All are moderated by healthcare professionals.
Whether it's you or a family member who has diabetes, we're here to help you cope with the personal side of diabetes. We offer a variety of clinical services for adults, adolescents, children, families and couples. We will coordinate our care with the rest of your diabetes healthcare team.
Contact Information
For an appointment or more information, please call
Mental Health Staff
- John Zrebiec, L.I.C.S.W.
- Anne Butler, M.D.
- Deborah Butler, L.I.C.S.W.
- Gary A. Chinman , M.D.
- Ann E. Goebel-Fabbri, Ph.D.
- Jessica T. Markowitz, Ph.D.
- Marilyn Ritholz, Ph.D.


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(CMT Offstage keeps a 24/7 watch on everything that's happening with country music artists behind the scenes and out of the spotlight.)
We are never, ever, ever getting back together. Make that "We Are Never Ever Getting Back Together." That's the official name of the official new single off Taylor Swift's next album, Red, to be released Oct. 22.
Swift revealed the song and album cover during a live web chat Monday night (Aug. 13). Dressed appropriately in a red dress, red lipstick and red earrings (honestly, even the welting cord on the white chair was red), Swift said she named the album Red because the songs on the album are all emotions — the really intense ones. "There's nothing beige about any of those feelings," she said.
Swift described the majority of the 16 tracks as being about the tumultuous, crazy, insane, intense, semi-toxic relationships she has experienced in the last two years. "And all those emotions spanning from intense love, intense frustration, jealousy, confusion — all of that," she said. "And, in my mind, all of those emotions are red."
Later on in the 25-minute chat, after fans from all over the world asked questions, Swift played the new single. Introducing it — very sarcastically — as a really, really romantic song, really touching and sensitive, she said it was for her lovely ex-boyfriend. And with lyrics like "I'm really gonna miss you picking fights" and "I hate you, we break up, you call me, I love you," it is classic up-tempo Swift.
"We Are Never Ever Getting Back Together" is now available at iTunes and Google Play and will be released Tuesday (Aug. 14) at all digital retail outlets.

subset: commoncrawl


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Family Offense
A family offense petition is filed when a family member claims that another family member committed one of the following acts against another family member:
- Disorderly conduct
- Harassment
- Aggravated harassment
- Menacing
- Reckless endangerment
- Assault or attempted assault
- Stalking
- Criminal mischief
For the purpose of filing a family offense petition, "family members" are defined as individuals related by blood or marriage, individuals who were formerly married, or individuals who are unrelated but have a child together.
On the day a family offense petition is filed, the petitioner has the right to an immediate court appearance.
If there is "good cause", the judge may issue a temporary order of protection and/or a temporary order of child support. The temporary order of protection lasts until the date the respondent or alleged abuser is scheduled to appear in court.
The judge will set this return date and issue a summons for the respondent to appear. If the petitioner is in imminent danger, the judge can issue a warrant for the respondent to be brought to court.
The respondent may admit or deny the allegations described in the petition or simply consent to the entry of the order of protection.
If Family Court is not in session, the petitioner may obtain an order of protection from Criminal Court if the circumstances so warrant.
If the respondent denies the allegations, a fact-finding hearing is held to determine if the allegations in the petition are true.
If the judge determines that the allegations have been proven, a dispositional hearing is held. Before this second hearing takes place, the court may adjourn in order to make inquiries into the surroundings, conditions, and capacities of the individuals involved.
If the judge determines that the allegations have not been proven, the case is dismissed.
If the allegations are proven and a dispositional hearing is held, the judge will issue a dispositional order which may include any of the following:
- Suspending judgment for 6 months
- Placing the respondent on probation for up to 1 year and requiring the respondent to participate in a batterer's education program which may include alcohol and/or drug treatment, and require the respondent to pay the costs of the program
- Requiring the respondent to pay restitution of up to $10,000
- Making a final order of protection that may be effective for up to 2 years, or up to 5 years with a finding by a judge of aggravating circumstances
A final order of protection may include the requirement that the respondent:
- Stay away from the petitioner and any children involved
- Pay reasonable counsel fees of the petitioner
- Participate in a batterer's education program
- Pay petitioner's medical bills for injuries sustained as a result of the abuse
- Stay away from the home, school, or place of employment of the petitioner and any children involved
- Refrain from committing additional family offenses or acts that endanger the welfare of other family members
- Be permitted to remove personal property from a shared residence at a time designated by the court
- Be permitted to visit with any children at court designated times and places
- Refrain from intentionally injuring or killing, without justification, any companion animal the respondent knows to be owned, possessed, leased, kept, or held by the petitioner or a minor child residing in the household.
Violations of Protection Orders:If the respondent violates the order of protection, the petitioner can file a violation petition.
- If the violation is proven, the order of protection can be modified, and the respondent sentenced for up to 6 months in jail for each act committed in violation of the order.
- Depending upon the severity of the violation, the case may be transferred to a criminal court where the respondent may face a substantially longer jail sentence.
- In addition, the court can revoke or suspend the respondent's license to carry a firearm. Moreover, the court can arrange for the surrender and disposal of any firearm the respondent possesses where there is a risk that it will be used to harm the petitioner or where the violation of the order involved violent behavior.
A petitioner has the right to pursue a family offense case in either Criminal Court or Family Court, or both. In Family Court, the judge can issue an order of protection, among other remedies, as well as determine temporary custody and visitation of any children who may be involved. In Criminal Court, the judge can impose more severe sentences, including jail time. In addition, a family offense is considered a criminal act in Criminal Court, which means that the prosecutor can move ahead with a case without the consent or cooperation of the petitioner or abused individual.
In both courts, respondents have the right to an attorney. Petitioners have the right to an attorney in Family Court. In Criminal Court, the assistant district attorney represents the petitioners.Family Court Home Page


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Marriage and Divorce: A Social and Economic Study
Harvard University Press, 1976 - Social Science - 508 pages
This book is replete with information about factors affecting the stability of marriage, the decision to marry or to divorce, and differences in marriage and divorce patterns among various socioeconomic classes and races.
From inside the book
54 pages matching farm in this book
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Development of Statistics on Marriage and Divorce
2Comparative International Trends in Marriage and Divorce
3Trends and Variations in Marriage Rates Divorce Rates
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54 years old adults age at marriage age group average Census of Population Center for Health color common-law marriages death rates differences divorce rate divorced persons divorced women educational level endogamy family income farm Final Report foreign stock head Health Statistics higher household Hugh Carter husband and wife husband-wife families husbands and wives Hypertensive heart disease increase interquartile range labor force marital status Marriage and Divorce marriage rates married couples married persons married women median age median income National Center Negro no-fault divorce nonwhite women Numbers in thousands older one-half parents percent divorced percent married percent single percent widowed percentages professional proportion quartile race ratio relatively remarriage remarried separated single women Source spinsters spouse Subject Reports syphilis tend Total tuberculosis U.S. Bureau U.S. Census United United Kingdom vorced white and nonwhite white persons white wives white women widowed persons


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At last, the first results from the TARDIS experiment have been published! Thank you all for waiting patiently during the analysing and publishing process! Many of you have probably read already about the results in news media, and I apologize for being so late with updating my blog. The main reason has been a very heavy work load from answering questions from media all over the world. Fun but time consuming.
YES, indeed many of the tardigrades survived the trip in space, and a few of them became the first animals to return alive after exposure to both space vacuum and solar radiation.
To recall our report in Current Biology, the space vacuum and cosmic radiation did not affect their survival or reproduction at all. This was true for both Richtersius coronifer and Milnesium tardigradum. What this means is that these animals can either protect their cells from expected damage of the extremely dehydration impact of space vacuum, or that they can repair damage that arise in some way. At the moment, we don't know which is true.
Some of the samples were exposed to solar light (UV-radiation) in addition to space vacuum and cosmic radiation, and we used two different optical filters to discriminate between the combined effect of UV-A and UV-B (280-400 nm), on one hand, and effects of the full spectrum of UV, including also UV-C and Vacuum-UV (116-400 nm). Obviously, UV-radiation is difficult to handle also for tardigrades, since few animals survived these exposures.
But one of the species, Milnesium tardigradum, did better than the other, and about 12 % of those exposed to UV-A and UV-B managed to recover, although their egg production was lower than in the control animals that stayed on Earth. Also a few specimens exposed to the full UV range woke up and tried to get their bodies in shape again, but failed and died a few days later.
As almost always in science, our experiment gives rise to more questions than answers. How could these animals stand the extreme dehydration by space vacuum (at a pressure in the range of 0.00001 Pa compared to 100 000 Pa on Earth)? How could some of the tardigrades survive a dose of UV-A and UV-B of over 7000 kJ/sqm and still produce offspring? What molecular mechanisms are behind these remarkable achievements? To what extent do different wavelength of UV radiation penetrate the tardigrade cuticle? Why did one of the species better than the other? Etc, etc.....
A lot of laboratory work are now waiting to be done in order to reveal the secrets of the physiology of tardigrades. I hope that the work with sequencing of the tardigrade genome will start soon, because it will be of great help.
I am of course amazed by the results from our study. But perhaps I am even more amazed by the interest in our project from the public . Most scientific reports don't make it to the front pages of newspapers and web-sites for science news. Most reports never reach the public at all. Tardigrades are definitely special, not only in their physiology, but also in the way they catch the attention of people. Is it perhaps the contrast between the great biological achievements by these animals and the tiny body they have? Or the challenging of traditional concepts of life, for instance that "life depends on water", "life is a continuous process"? Whatever the reason, I hope that tardigrades will continue to inspire people, and make them interested in the world of biological diversity and evolution.
Monday, September 29, 2008
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ReleasesBack to
McCoy Tyner
Trumpeter Freddie Hubbard really came into his own during this Blue Note session. He is matched with quite an all-star group (tenor saxophonist Wayne Shorter, pianist McCoy Tyner, bassist Art Davis, and drummer Elvin Jones in addition to Bernard McKinney on euphonium), introduces two of his finest compositions ("Birdlike" and "Crisis"), and is quite lyrical on his ballad feature, "Weaver of Dreams." Hubbard's sidemen all play up to par and this memorable session is highly recommended; it's one of the trumpeter's most rewarding Blue Note albums. ~ Scott Yanow


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Definition: A child with Multiple Disabilities shall have two or more areas of significant impairment, one of which shall be an intellectual disability. The other areas of impairment include: Orthopedic Impairment, Visual Impairment including Blindness, Hearing Impairment including Deafness, Speech or Language Impairment, Serious Emotional Disability, Autism Spectrum Disorders, Traumatic Brain Injury, or Other Health Impaired. The combination of such impairments creates a unique condition that is evidenced through a multiplicity of severe educational needs which prevent the child from receiving reasonable educational benefit from general education.
- Guidelines for Determining Eligibility for a Child with an Intellectual Disability or Multiple Disabilities, September 2013 (PDF)
Other Disability Categories
- Autism Spectrum Disorder
- Hearing Impairment, Including Deafness
- Intellectual Disabilities
- Orthopedic Impairment
- Other Health Impaired
- Serious Emotional Disabilities
- Significant Support Needs (SSN)
- Speech or Language Impairment
- Traumatic Brain Injury
- Visual Impairment, Including Blindness
For more information about Multiple Disabilities, contact:
Gina Herrera
Phone: (303) 866-6605
Email Gina Herrera


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Marble Temple roof tops
Bangkok, Thailand
December 1979
Just like the winds that blow through Wyoming, the thoughts posted here are varied - some a strong tirade and others merely a whisper.
I love comments!
If you are going to ask a question make sure you have your profile set to allow me to respond back by email or email me directly - my address is in upper right hand column.


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by Fr. William G. Most
After His death, the soul of Jesus, still united to the divinity, descended into the
realm of the dead, which the Creed calls "hell", in the old English usage. It
does not mean at all the hell of the damned. He visited what is called the Limbo of the
Fathers. For the just, who had died in the state of grace, and had paid all the debt of
their sins, were still not admitted to the vision of God until Jesus had died.
When a soul reaches the vision of God, by that vision, it knows all that pertains to it
on earth. But without that vision, it would not know any of these things, unless God might
decide to give a special revelation. Of course, then, the afterlife was very different
then from what it is now. So we can understand some otherwise strange texts in the Old
Testament. Job 7. 9-10 says that the dead one "does not return to his house." Of
course not, the resurrection will be not a return to the present mode of life. Psalm 6:6
asks "who in Sheol can praise you?" Sheol is the realm of the dead. The Psalmist
is thinking of the grand liturgical praise of God, which the Hebrews really loved. That
liturgical praise of course is not found in Sheol. In Isaiah 38:19 we read that
"those who go down to the pit cannot hope for God's fidelity." The
"fidelity" means God's faithful keeping of His covenant promises. Those in Sheol
cannot appeal to the covenant. Qoheleth 9:10 says there is no work in Sheol--of course
not. It says there is no knowledge--that is, of what goes on on earth.
Jesus came to take them out of that drab and dull place. Then there was fulfilled what
St. Paul wrote in Philippians 2:9-10: "God exalted Him and gave to Him the name that
is above every name, so that at the name of Jesus, every knee should bend, of those in
heaven, and on the earth, and under the earth." This can also refer to the power of
Jesus over Satan. The passage is poetic, and so need not mean that Sheol is under the
Jesus rose from the dead, as He had foretold in John 2:19-22, and elsewhere. Sometimes
Scripture says He rose, that is, by His own power. In as much as He is God, this is true.
It also says the Father raised Him: this is true, thinking of His human nature.
So many witnesses saw Him after this resurrection, for example we have an enumeration
of them in First Corinthians 15:5-8.
How can we arrange in plausible order the events after His resurrection? In more than
one way, e.g., : 1) Magdalen and other women come to the tomb at dawn, and see it is
empty, 2) In excitement she or they run to the Apostles (Matthew here, between 20:8
&9, omits the visit of Peter and John, our item 3), 3) Peter and John do not believe
but do run to the tomb, and see it empty. They do not see Jesus, 4) Peter and John leave,
Magdalen then sees Him, takes Him for the gardener; He makes himself known, 5) Jesus
appears to Peter, 6) He appears to two men on road to Emmaus, 7) They go back to the
Apostles, hear Peter had seen Him, 8) He appears to the Eleven, gives them the power to
forgive sins. 9) Thomas was absent, Jesus comes again, 10) Further appearances at Lake of
Taken from The Basic Catholic Catechism
PART THREE: The Apostles' Creed II - V
Fifth Article: "He descended into hell, the third day He rose again from the
By Rev. William G. Most. (c)Copyright 1990 by William G. Most
Continue on to Q&A on the Resurrection
Back to the teachings on Jesus main menu
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Hi, everyone. I'm a writer whose next book, WHAT IF I'M AN ATHEIST?: A GUIDE FOR TEENAGERS, is coming out in March from Beyond Words, an imprint of Simon & Schuster.
Views: 206
Hi David. What's your story (if you feel like opening up)? How'd you become an atheist? Do you face any struggles being godless? What's your favourite sugary breakfast cereal? :)=
Hi, Davis.
I'm not quite atheist, which I think worked to my advantage in writing the book. I was able to approach it as a journalist (which is my professional background), not an advocate.
But I'm certainly nowhere near as religious as I used to be. It was a gradual process that required plenty of thought and plenty of emotion. It may have started when I realized that I didn't much like the prayers that constantly praised God; I just couldn't buy that the creator of all existence was so insecure that he needed constant compliments about his greatness.
Regarding struggles, they were mostly inside myself as I thought things through. My family and friends are, fortunately, loving and supportive.
And sorry, no sugary breakfast cereals for me.
Good to talk to you.
"I'm not quite atheist, which I think worked to my advantage in writing the book."
What has you still "sitting on the fence?" Is there any experience or evidence that would move you back towards deism/theism? The inconsistencies of religious belief are so overwhelming while an understanding of the evolutionary development of religious thought leaves one with really only one informed choice to make about it's plausibility.
I suppose it's emotional. I have great fondness for many of the customs that I learned at my mother's knee, and I'm proud of my heritage, which is Jewish. I could never reject it entirely.
Also, I have to admit that I don't know who created the universe, what happens after death, and other questions without answers.
Ah, emotion. Therein lies one of the greatest frustrations faced by anyone of the atheistic position who tries to reason with the archaic notions of a believer. It (emotion) is often the roadblock that prevents logic and reason to be tools for a more informed understanding of our world.
If you are "not quite atheist" then you are not an Atheist, you are an Agnostic.
"I don't know who created the Universe".
If you were an Atheist you would not have used the word "who" in that sentence. "What caused the Universe to be created or come to exist" is a better question.
The same can be said for not knowing "what happens after death". Do you believe somehow that we are different to other species in that regard? When we are dead we will feel the same way as we felt in 1861 or 1523 or 1901.
Good luck with the book.
Hi David,
Welcome - sounds like an interesting book.
When you say get into the community you have been covering - presumably as research for the book you have spoken to lots of atheists. How did you seek them out?
Is there anything you felt to be particularly pertinent to teenagers rather than atheists in general? I am curious.
Hi, Simon.
I found a lot of young unbelievers via Hemant Mehta's Friendly Atheist blog. He spread the word that I was looking for people to interview, and they responded wonderfully.
As regards teenagers in particular: Telling one's parents is a big, big hurdle. It might be hard for adult unbelievers, but at least adults don't usually live under their parents' roof and depend on them for income and just about everything else.
I would add that emotionally formative years are especially significant in anyone's life. That's when one is most indoctrinated by culture, and feels the strongest needs to fit into the culture.
I agree, Pope Beanie.


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Ok so as some of you may know we still rent and have a partially fenced yard. Our yard is huge and it would be so nice for me to be able to go out with all of them and let them run!
I was thinking about maybe using the chicken wire fencing on the one side of the yard that is not fenced. Just something that will contain them, ONLY when someone is out there with them! To go potty i will still put them on the lead. Wondering if anyone has any better ideas? This has to be inexpensive and easy enough to install and uninstall!


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Sections In Commercial
Finding a reliable engineer to assist you with any Commercial Installation can be difficult. Cliftons of Wrexham Ltd t...
Commercial Servicing If you are a Facilities or Maintenance Manager, f...
Clifton's of Wrexham are a Commercial Plumbing & Heating specialists based in Wrexham North Wales we have been established for over 25 years. We have an excellent reputation amongst our clients. All of our engineers are specialist in their chosen field and have been selected to work for us due to their excellent work ethics and professional standards of work. Our commercial installation and service team consists of conscientious individuals dedicated to providing yourself and our company with the highest level of service. Here at Cliftons we want you to be 100% happy with the service you receive.
We provide professional Plumbers and Gas Safe Registered Engineers. If you are the owner of social housing, multiple tenancies properties, a company, business or even a school, you are going to want a reliable, cost effective system that is affordable and energy efficient. With Cliftons you will always be guaranteed a high quality, professional service with all your installation and maintenance needs.
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We have worked with Wrexham County Borough County Council on the refit and refurbishment of central heating systems for the past 20 years. During this time we have built up a good working relationship and have completing over 20 contract for them with 200 plus installations per contract per year. We have also carried out day to day remedial work.
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We are often asked to quote to supply and fit Full central heating systems, fires and fireplaces in buildings which serve a multi purpose e.g. residential homes.
If you have a project like this and would like a free no obligation quote, don't hesitate to call us.
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Cliftons consist of a number of highly skilled professional tradesmen based in Wrexham, North Wales. We completely project manage all of our commercial projects from start to finish.
Supplying services such as Domestic & Commercial Heating, Plumbing, Carpentry, Plastering, Electrics, Tiling and any other form of decoration and building work. Cliftons are quickly becoming the regions first choice for Plant Room refurbishment and upgrades, there is no job that doesn't interest us.
A number of our commercial clients are Warehouses and Industrial Units. We can install a range of commercial products that include Commercial Boilers,
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If you manage or own a Hotel or B&B finding a system that is reliable and can cope with the demand of constant and sometimes multiple use can be difficult.
We can supply and install a range of commercial products that will keep you and your residents safe and warm, whether that be from a Plumbing or Heating perspective.
We adopt a "customer comes first" policy to ensure that our own and your high standards are always met. We want to make sure that your building is safe for your employees and looks as best as it possibly can do. All of our commercial quotations are free of charge, whether that means coming out to you on site to assess the buildings current situation or we can arrange a time for you to come into our office and sit down with us to discuss exactly what you require.
If Cliftons of Wrexham can be of assistance, please Contact Us to arrange a free quotation.


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NM Tech Starts $1.5 Million Project to Improve Oil Recovery with Polymers, Aug. 22, 2008
By Thomas Guengerich
SOCORRO, N.M., Aug. 22, 2008 – New Mexico Tech researchers have secured more than $1.5 million in state and federal funds to research the use of polymers for enhanced oil recovery.
Randy Seright, senior engineer and associate director of the Petroleum Research and Recovery Center at Tech, will spearhead the effort to examine new technology and new processes for recovering hard-to-reach oil, specifically on the North Slope of Alaska.
The U.S. Department of Energy awarded $1 million to the center, while the state of New Mexico added $500,000. The project aims to find efficient, cost-effective methods of recovering heavy oil, which is more than 1,000 times more viscous than normal light crude oils.
The three-year project will employ a handful of researchers, including Seright, a senior technician, three graduate students, two undergraduate students and a rotating cast of visiting scientists. The majority of the project will involved laboratory experiments and computer modeling. However, Seright has already started to build a consortium of industry partners who could potentially test the new discoveries in the field.
Over the life of the project, the cast and crew aim to provide new techniques for heavy oil production around the world. In most oil fields, existing technologies can recover only about 30 percent of existing oil.
On average, the first 15 percent of oil in a reservoir is easily extracted by drilling a well and allowing the natural pressure to force oil up through the wellhead. This method is called primary recovery.
"When the pressure declines, the oil stops flowing," Seright said. "We can get, on average, another 15 percent of a reservoir through secondary recovery. We drill a pattern of secondary wells and inject water to push oil toward the production wells."
The process of water flooding works well with light crude –¬ oil that is thin and less viscous – but is not as effective with heavy, viscous oil, he said. Oil with high viscosity is a thick, tar-like substance.
"Mother Nature gives us a broad range of types of oil," Seright said. "Some oil is light, like the oil found in West Texas. Other oil is more viscous. Think of asphalt or tar, which is a byproduct of crude oil."
Enhanced oil recovery – or tertiary recover – uses artificially-induced pressure by means other than water to force oil into the wellhead, Seright said.
Thick – or viscous – oil is more difficult to get out of the ground and more difficult to refine. Seright's research project will investigate methods of injecting water-soluble chemicals – or polymers – mixed with water to enhance the recovery of viscous oil from reservoirs where oil cannot be produced using existing technology.
"Water has a low viscosity," he said. "If I inject water into high-viscosity oil, the water will just channel through the oil. If I want a more efficient displacement of heavy oil, I need to increase the viscosity of what I'm injecting."
To accomplish that goal, Tech researchers are exploring chemical additives – specifically, polymers – that can make a water-based solution more viscous. By injecting polymers into oil reservoirs, the more-viscous fluid will push more oil toward production wells.
A polymer is a very long molecule. Water has a molecular weight of 18. Some polymers have a molecular weight of up to 30,000,000. The higher molecular weight loosely translates to higher viscosity – and thickness of a fluid.
Water-soluble polymers are often used to make common products – such as shampoo and ice cream – more viscous, or less "runny."
Seright's research will examine different formulae of polymers and different methods of delivering the polymers to oil reservoirs to maximize output.
Currently, two commercially available water-soluble polymers seem to fit the bill: polyacrylamide and xanthan, neither of which are toxic. Polyacrylamide is used in paper-making and wastewater treatment. Xanthan is most commonly used as a food additive.
During the project, Seright and his team of researchers will consider new polymers as well.
"Cost-effectiveness is a very important issue," Seright said. "Other polymers are available, but xanthan and polyacrylamide have more advantages."
The team will also examine the use of horizontal wells, which can tap the side or the bottom of an oil reservoir – a relatively new recovery tool that has dramatically increased the efficacy of oil and gas recovery.
"Ten to 20 years ago, most wells were vertical," Seright said. "Over the past few years, horizontal wells have become more common. We can use a polymer more efficiently by horizontally tapping into a reservoir."


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Quarterback Bruce Gradkowski re-injured his throwing shoulder in a 33-17 loss to the Miami Dolphins and rendered the Raiders' quarterback issue meaningless for at least the next few weeks.
Gradkowski said it felt much like it did after the San Diego game, a third-degree separation which cost him five weeks.
Raiders coach Tom Cable said after the game the plan was always to go back to Gradkowski once he was completely healthy.
Much more to come later . . .


text:
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Mark McNown has not received any gifts yet
Thanks. I was looking forward to some n valley time in early may, so hopefully that might work. Cheers. RG
Hi Mark! Traveling to your exact neck of the woods, just down the road, the week of July 14th for 9 days. Will be in the mountains on horseback for 5 of them, but would like to try out your clay court! Let me know if you'll be in town and we can play. Jay
Hi, I'm Mark, the founder of Tennisopolis, the world's largest and most active tennis network. Please share Tennisopolis with your friends by supporting our Facebook page. Click here for a Guide to Meet Tennis Partners.
Have a look at our introduction page which will help you navigate the massive network which now has over 39,000 members and 500 local tennis groups.
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text:
Hi everyone,
As you may know, in addition to my work in the public as The Germ Guy, I'm also a member of the staff at the University of Ottawa and for years, have been granted the association with the institution as a member of their media experts.
Well, all good things must come to an end.
Due to some internal directives, I've been asked to disassociate myself from the University in the public. The reasons don't need to be discussed here but for the future, anything that you see here or any of my other contributions in the media will no longer have any link back to the University of Ottawa.
That being said, I also have some very good news to share!
Over the coming months, you'll be seeing more of The Germ Guy as several new opportunities have come my way. It's still too early to talk about them but when they are made official, you'll be the first ones to know!
As many of you know, I've been working on a book with DoubleDay in Canada and I'm happy to say that we have a title and a release date. It's still months away but come October 2013, you'll be seeing The Germ Code in your local bookstore. It's been a fantastic experience and I am happy to say that the book will make a great addition to any home.
So, next year promises to be a fantastic one and I'm sure that it will surely make 2013: The Year of Germs – but more on that later.
Would love to hear your comments…


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Episode #7 (November 19th)
Hosts: Leftos, Andrew
After a longer than intended hiatus, the NLSC Podcast is back! This week, Leftos and I are your hosts as we discuss several impressions of NBA 2K13, our thoughts on the cancellation of NBA Live 13 (yes, it's been a while since the last podcast!), the outstanding work of our modding community and the first few weeks of the 2012/2013 NBA season. Topics include:
- What we think of NBA 2K13 so far; how are we enjoying it compared to previous games?
- We give a rundown of the best and worst this year's game has to offer
- Several features are missing from the PC version, we discuss which omissions bother us the most
- Bugs are bemoaned before bringing it back to more positive thoughts
- We react to the cancellation of NBA Live 13 and discuss whether it was the right way to go
- Will NBA Live return next year, or will they wait for next gen? What should EA do?
- We ponder whether there'll be an audience for the game after its recent troubles
- The NBA season is discussed. How about those Knicks?
Click here to listen to the show!
Question of the Week: Most Surprising Teams So Far (Good & Bad)
Who are your picks for the most surprising teams through the first few weeks of the NBA season, both good or bad? Sound off below or here in NBA & Basketball Talk!
This week's episode is a bit longer than usual owing to the fact we've been on hiatus for so long, but we hope you'll enjoy it. We hope to have future episodes out on a regular basis, which means they'll likely run shorter as we won't have as much discussion to catch up on.


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556-14300 through 556-49300 Percussion I-V -- Major Instrument, Music Majors
556-14301 through 556-24301 Percussion I-II -- Major Instrument, Music Minors
556-14302 through 556-34302 Percussion I-III -- Secondary Instrument, Music Majors
The order and amount of study varies from student to student, depending on strengths and deficiencies upon matriculation at Ithaca College. Variations also occur when a student, in consultation with the major teacher, decides to concentrate in one or more particular areas. An examination is conducted by the instructor at the end of each semester. This examination includes performance and sight-reading. Specific requirements are provided by the instructor.
Snare Drum -- Technical studies covering all material in Stone, Stick Control; rudimentary studies from Pratt and National Association of Rudimental Drummers (NARD) materials, both of the above emphasizing use of natural bounce and conservation of energy through minimal motion. Rhythmic studies from Cirone, Portraits in Rhythm; Firth, The Solo Snare Drummer; Albright, Contemporary Snare Drum Studies; development of steady inner pulse, varieties of meters, and overlapping and compound rhythmic figures; performance of simultaneous rhythmic patterns. Reading and interpretation study through the use of Cirone; Firth; and Hochrainer, Übungen für Klein Trommel; plus orchestral excerpts. Emphasis is placed on dynamic control, phrasing, and immediate recognition of stylistic requirements. Closed roll studies as given to develop a smooth sound at all dynamic levels. The use of measured rolls, and attack-and-release characteristics of rolls.
Keyboard I -- Technical studies from Green, Xylophone Method; Firth, Mallet Technique; Payson, Progressive Studies in Double Stops; scale and arpeggio studies, one and two octaves. Emphasis is placed on two-mallet motion development, relaxed drop stroke, conservation of energy, visual and kinetic memorization, basis of tone production. Sight-reading materials taken from Green, Xylophone Method; Voxman Flute Duets, books I-II; baroque wind and string solo literature. Emphasis is placed on accuracy, pattern recognition, overcoming the "panic stop," and interpretation. Études and literature taken from Tanner; Frazuer; Grainger; Creston; Stout, two-mallet études; Green, Xylophone Rags; beginning four-mallet study. Exercises as assigned emphasizing proper hold, simultaneous stroke, individual stroke, rotation motion, exercises for various roll patterns, simple arpeggio patterns (1234, 4321, 4312), strengthening mallets 2 and 3. Simple literature such as Peters, Yellow after the Rain; Musser, Études; Stout, Étude no. 1. Mallet construction.
Keyboard II -- Two-mallet technical studies from Green, Advanced Instructor for the Xylophone; Bailey, Mental and Manual Calisthenics; scale and arpeggio studies in two and three octaves. Emphasis is placed on greater speed and accuracy with quicker visual and kinetic orientation, greater flexibility through use of alternate sticking patterns. Sight-reading from Viegl, Etüden für Xylophone; Bergamo, Style Studies; Payson, Progres-sive Studies in Double Stops. Emphasis is placed on recognition of non-tonal patterns, disjunct line, double-stop reading, immediate recognition of stylistic requirements. Four-mallet technical studies as given, including all sticking patterns for arpeggios; all roll patterns (traditional, Musser, measured-alternate, independent); Stout, Ideo-Kinetic Exercises; contra-puntal independence. Études and literature including Stout, Four-Mallet Études; Miyoshi, Torse III; Stout, Two Mexican Dances; Sifler, Suite for Marimba; Fissinger, Suite for Marimba; Penn, Four Preludes.
Timpani -- Technical exercises from Friese-Lepak, Timpani Methods; Firth, The Solo Timpanist; Hochrainer, Etüden für Timpani. Emphasis is placed on mounting heads; intonation problems; ear training; fundamental, harmonic, and overtone tuning systems. General tone production through use of various mallets; type of attack such as staccato, legato, and variations; striking spot; preparation of head. Roll study including French and German hand positions; rolls at all dynamic levels emphasizing smooth transitions; attack and release characteristics; rolling between drums, cross sticking, muffling, and pedal technique. Études and literature including Hinger, Solos for the Virtuoso Timpanist; Jones, Sonata; Youhass, Four Pieces for Unaccompanied Kettledrums; Carter, Eight Pieces for Timpani; Bergamo, Four Pieces for Timpani; Williams, Variations for Kettledrums; orchestral excerpts.
Bass Drum -- Choice and tuning of heads, types of mallets; tone production through choice of beating spot, head tension and preparation, mallets; legato and staccato strokes, roll technique, and angle and positioning of bass drum.
Cymbals -- Choice of cymbals; single crashes at various dynamic levels; full plate, edge, body, scrape, etc.; two-plate rolls; repeated strokes. Orchestral excerpts.
Accessories -- Group instruction and development of techniques through requirements of literature under rehearsal.
Multiple-percussion -- Study of instrument placement, stick placement, and music placement to facilitate performance. The multi-instrument setup as single instrument; rapid stick changes and tone production on various instruments in quick succession. Study of representative literature such as Duckworth, The Journey; Burge, Sources III; Stockhausen, Zyklus, no. 12,; Dahl, Duettino Concertante; Chatman, O Lo Velo; Feldman, The King of Denmark; Etler, XL Plus One.
556-19900 Performance Repertoire and Pedagogy NLA
Students meet weekly as a group with their performance study teacher to perform repertoire and discuss performance technique and pedagogy. Pass/fail only. 0.5 credit. (F-S)
A. Ozolins, Office of Creative Services, 15. July, 2005


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HTC and T-Mobile have a fix in the works to address the battery drain issues while the HTC One S is using Wifi calling. There's no real detail about what the issue is, but AC member venious, who has been using the One S since Day 1, thinks that while on a call using the Wifi calling feature, the battery is drained more than normal. So far, battery life has not been a major concern across the various Internet forums for the device.
Wifi calling is a big draw for many (including yours truly) and it's great to see any issues identified so quickly. While we have no word on when to expect any software patch, this being one of HTC's (and T-Mobile's) flagship phones means they should be prioritizing any fix. We'll all keep an eye out for it. In the meantime, we're talking all about the things we love, the things we don't, and the lust we have for this one in the One S forums -- jump in and join us!
Source: T-Mobile; via Android Central forums
Thanks, venious!
This post may contain affiliate links. See our disclosure policy for more details.


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text: LINGUIST List: Vol-14-529. Fri Feb 21 2003. ISSN: 1068-4875. Subject: 14.529, Support: Modified: Syntax: PhD Position, The Netherlands Moderators: Anthony Aristar, Wayne State U.<aristar at linguistlist.org> Helen Dry, Eastern Michigan U. <hdry at linguistlist.org> Reviews (reviews at linguistlist.org): Simin Karimi, U. of Arizona Terence Langendoen, U. of Arizona Home Page: http://linguistlist.org/ The LINGUIST List is funded by Eastern Michigan University, Wayne State University, and donations from subscribers and publishers. Editor for this issue: Sarah Murray <sarah at linguistlist.org> ========================================================================== To post to LINGUIST, use our convenient web form at http://linguistlist.org/LL/posttolinguist.html. =================================Directory================================= 1) Date: 21 Feb 2003 19:09:06 -0000 From: leonie.cornips <leonie.cornips at meertens.knaw.nl> Subject: Modified Re: 14.521: Syntax: PhD Research Position, Meertens Institute -------------------------------- Message 1 ------------------------------- Date: 21 Feb 2003 19:09:06 -0000 From: leonie.cornips <leonie.cornips at meertens.knaw.nl> Subject: Modified Re: 14.521: Syntax: PhD Research Position, Meertens Institute University or Organization: Meertens Institute Department: Language variation Rank of Job: Senior-Researcher Specialty Areas: Sociolinguistics, Syntax, Language Contact, Generative Syntax Description: The Meertens Institute in Amsterdam invites applications for one PhD research position. The PhD research project will focus on linguistic effects of the prolonged contact between youngsters of different ethnic backgrounds in the large cities in The Netherlands. Qualified individuals are invited to apply. A qualified candidate should hold a Master's degree in an area of sociolinguistics and/or syntax and have experience with fieldwork and statistical analysis. Furthermore, candidates speaking Dutch and one of the minority languages in The Netherlands such as Berber, Sranan, Moroccan-Arabic, Turkish etc are preferred. For this position, the following criteria apply: a. The candidate should have a Master's degree in an Arts department or a comparable degree that qualifies him of her for graduate research. This degree should have been obtained no longer than five years ago. The undergraduate diploma was preferably awarded a qualification of excellence. The Master's thesis was awarded a high grade (8 or more on a scale of 10). b. The candidate should have an outspoken interest in and proven qualifications for doing research and fieldwork. This should be evident from the Master's thesis as well as from the course load taken during the BA/MA training period. c. The candidate should be able to finish the research project (incl. PhD thesis) within a period of maximally four years. The candidate offers the following dossier to the Meertens Institute: * A letter of application; * A curriculum vitae. This should minimally contain information on the undergraduate training of the candidate and on the available experience with fieldwork and statistical data-analysis. Succesfull applicants will receive a salary amounting to 1.503,= per month during the first year to 2.145,= per month during the fourth year of appointment. Address for Applications: Attn: Mr Jan Landstra Joan Muyskenweg 25 PO Box 94264 Amsterdam, 1090 GG Netherlands Applications are due by 01-Apr-2003 Contact Information: Dr Leonie Cornips Email: leonie.cornips at meertens.knaw.nl Tel: +31204628529 Fax: +31204628555 --------------------------------------------------------------------------- LINGUIST List: Vol-14-529


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MISENHEIMER, N.C. - The IWLCA honored 34 student-athletes from 13 different institutions with inclusion in the 2010 Academic Honor Roll. All student-athletes were nominated by their schools and have achieved at least junior status academically. Leading the way was IWLCA Scholar-Athlete of the Year Jaclyn Craig from Stonehill. Pfeiffer University was represented by Cristina Monaco and Lindsey Rearigh. Among the 34 student-athletes are 20 who were members of teams that advanced to the NCAA tournament, including seven from national champion Adelphi and five from national runner-up West Chester.
Institution, Student-Athlete, Year, Major (Minor)
Adelphi, Alison Incarnato, Sr., Physical Education (Health Education)
Adelphi, Alyssa LaBosco, Sr., Psychology (Elementary Education)
Adelphi, Jackie Bogensberger, GS, Secondary Math Education
Adelphi, Kristin Jones, Jr., History (Secondary Education)
Adelphi, Mariel Wenzel, Sr., Physical Education
Adelphi, Nicole Bass, Jr., Psychology
Adelphi, Stacey McPartland, GS, Education
Bentley, Leah Leavitt, Sr., Marketing
Bloomsburg, Kim Springman, Sr., Special Education/Elementary (Deaf Education)
Bloomsburg, Rebecca Belmonte, Jr., Secondary Education (History)
C.W. Post, Brianne Jackolski, Sr., Physical Education and Health Education
C.W. Post, Caitlin Heraghty, Sr., Business Finance
C.W. Post, Kaurey Foley, Sr., Business, Management, Marketing and Related Support Service
C.W. Post, Kimberly Williams, Sr., Elementary Education with Psychology Concentration
C.W. Post, Marlese Gerlach, Sr., Physical Education
Dowling, Rachel Goldstein, Jr., Psychology
Dowling, Samantha Titus, Jr., Elementary Education (Sociology)
Dowling, Stephanie Cotter, GS, Business Management
Mercyhurst, Celeste Shefferly, Sr., Intelligence Studies (Russian Studies)
Millersville, Lindsay Keeley, Sr., Elementary Education/Special Education
Millersville, Lindsay Toriello, Sr., Elementary Education/Special Education
Pfeiffer, Cristina Monaco, Jr., Criminal Justice/Psychology
Pfeiffer, Lindsey Rearigh, Sr., Biology/Pre Med (Chemistry)
Queens (NC), Caitlin O'Rourke, Jr., Business Admin/Psychology
Slippery Rock, Ashley Macurdy, Jr., Elementary Education/Early Childhood Education
Slippery Rock, Ashley Winkelspecht, Sr., Athletic Training (Adaptive physical activity)
Southern Connecticut State, Lauren Karn, Sr., Psychology
Southern Connecticut State, Marissa Ryan, Sr., Psychology
Stonehill, Jaclyn Craig, Sr., Accounting
Stonehill, Jacqueline Ladino, Sr., Neuroscience
Stonehill, Jessica Ragnio, Sr., English
West Chester, Devon Lotkowski, Jr., Special Education/Elementary Education
West Chester, Gabrielle Stitz, Sr., History Secondary Education
West Chester, Jackie Hoover, Jr., Communicative Disorders
West Chester, Jillian Morris, Jr., Special Education/Elementary Education
West Chester, Lauren Tatios, Sr., English Secondary Education


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At the turn of the twentieth century skyscrapers were still a relatively recent development. The desire to build taller had historically been thwarted by the number of stairs people were willing to climb and how much weight masonry could support. But the industrial age solved these problems with the invention of elevators and the use of structural steel. Structural steel was the big breakthrough. The idea of using a metal skeletal frame to support a building first appeared in Chicago in the 1880s. This concept was soon emulated and improved upon. A skyscraper building boom spread across the country, extending from Chicago to New York, and eventually to smaller cities.
As the building boom spread, any city that fancied itself progressive and prosperous had, or aspired to have, at least one skyscraper. Many people in Kalamazoo were disheartened that no such structure yet existed in the business district. The 24 January 1906 announcement that an eight-story skyscraper was planned generated considerable buzz and excitement. The Kalamazoo Gazette wrote: "It is just this kind of a building that Kalamazoo has needed for a long time, something which is possessed in hundreds of other cities this size." The following day the Gazette editorialized that the existing low-rise buildings in the business district were "not in keeping with the spirit of Kalamazoo." The Gazette continued by noting that the skyscraper's construction "marks the beginning of the Greater Kalamazoo."
Soon dubbed the Kalamazoo National Bank building, the skyscraper was slated to be built on the southwest corner of Main, today's Michigan Avenue, and Burdick Streets. Plans called for a tower that rose an astounding eight stories over the business district, making it the tallest building in town and the city's first recipient of the term "skyscraper." Its design would conform to the latest in architectural taste. The building was designed by Chicago architect Joseph C. Llewellyn, who later also designed the new Burdick Hotel.
Not surprisingly the skyscraper's arrangement conformed to the design standards that had been developed for tall buildings in Chicago, known as the Chicago School. Like those in Chicago, Kalamazoo's new tower would resemble a classical column, with the lower floors forming a decorative base, the middle floors an unadorned shaft, and the top floor an ornate capital. The decoration was neoclassical. The lower two floors, which formed the base, were faced with carved stone. The five middle floors featured vertical piers and large windows to allow ample light into the offices. The top floor featured a projecting decoration known as a cornice.
Contractor Henry L. Vanderhorst was entrusted to build the locally unprecedented structure. Vanderhorst was well qualified for the job. In a career that would run from 1898 to 1945, he would build many of Kalamazoo's prominent landmarks. The Kalamazoo National Bank would be a highlight. Prior to the skyscraper he had built facilities for a number of area manufacturers, such as the Henderson Ames, Kalamazoo Stove, and Bryant Paper companies. Later downtown projects included the buildings that would occupy the other three corners of Main and Burdick, the Hanselman, First National Bank, and Dewing Buildings. The State Theater and Kalamazoo Gazette buildings, on South Burdick Street, were also built by his firm.
The start of construction was initially delayed over disagreements on suitable new quarters for the many businesses that were to be displaced. Relocating the Star Bargain House proved particularly tricky. This dispute was resolved with a property swap that moved the Star Bargain House to a prime storefront location across Main Street, next to the Burdick Hotel. It would be at that location, over three years later, where the store would famously burn to the ground, taking the Burdick and much of the block with it.
Fortunately, business relocation proved to be the greatest obstacle the builders would face. The process of clearing the site and actual construction proceeded rather uneventfully. There were no accidents. The only delays reported by the Gazette were due to tardy shipments of materials.
As work progressed the citizens of Kalamazoo marveled at the sight of a black steel skeleton rising over Main and Burdick. But for many, impressing outsiders was more important. Noting the building's progress, the Kalamazoo Gazette wrote on 24 November 1906: "Nothing advertises a city to strangers more than the impressions they get when going through the place on a train." The writers expressed relief that the building's frame had reached a height to be visible from passing trains on the Michigan Central tracks, and wrote of hopes that the skyscraper would serve to overshadow Kalamazoo's less impressive aspects. The Gazette concluded, "The long line of low buildings on North Burdick Street is anything but impressive. The new structure, however, looming up so prominently may in a measure take the attention away from the poorer built up part of the city."
For those strangers who lacked the opportunity to pass through Kalamazoo on a train, other means were made available for the city's citizens to show off their emerging landmark. Picture postcards were a new fad of the era, and numerous cards depicting the construction of the building at various stages were produced and mailed around the country. These cards, showing a modern steel frame towering high above low-rising nineteenth century business blocks, were frequently captioned "first skyscraper." It remained a popular subject long after the building's completion. Relatives and friends all over the country could see the evidence of Kalamazoo's growth and modernity.
The Kalamazoo Gazette had enthusiastically embraced the skyscraper upon its announcement and throughout its construction. Interestingly editors sang a different tune after its completion. The creation of an office tower, rising much higher than any of its neighbors, not only changed the visual landscape, it altered downtown wind conditions. Some found this an unwelcome side effect. Several articles recorded dissatisfaction with the new conditions. The Gazette wrote: "Kalamazoo has a tall building, and with the building it has bought a 'Flatiron building weather breeder.' There is a continual wind at that point, where before the atmosphere was mild and slow of motion, and never impolite to hats or hosiery." Pondering a bleak future when more skyscrapers would be built, the Gazette envisioned a worsening situation requiring wind breaks on Main Street, and warned its readers that "…the caged winds shall sweep everything moveable in a whirl of dust and flying garments, down our chief avenue of trade."
The dire predictions of garment-robbing winds brought about by the "weather breeder" proved largely unfounded. But the belief that more skyscrapers would soon follow was correct. The new Kalamazoo National Bank Building marked the beginning of steel-framed high-rise construction in Kalamazoo. The bank had not even been completed before other tall buildings began to rise. Another eight-story skyscraper, the Rickman Hotel, was built in 1907-1908 at the corner of North Burdick Street and Kalamazoo Avenue. Simultaneously a six-story building went up at East Main and Portage Streets to house the Edward and Chamberlain hardware store. Over the next few years other steel-framed high-rises joined the emerging skyline, including the Rosenbaum Building, an expansion of the Gilmore's Department Store, and the new Burdick Hotel. Although following in the pioneer's footsteps, none of these buildings surpassed the Kalamazoo National Bank in height. It wasn't until the 1912 construction of the ten-story Hanselman Building, directly across Main Street, that the city's first skyscraper was overshadowed.
The possibility of attaching oneself to Kalamazoo's most exciting new construction project drew a wide range of tenants to the new skyscraper. Despite being one of the largest buildings downtown, and offering considerable rental space, demand was so great that the building was fully leased before its completion. The building was finally ready for occupancy in late summer 1907. The first of the building's tenants began moving into the upper floors by mid August. The Kalamazoo Gazette described the building directory as a "colony up in mid-air" populated by the city's professional class. Tenants included dentists, doctors, real estate agents and lawyers. The upper reaches of the skyscraper housed the most unusual tenants. Much of the eighth floor was occupied by a Christian Science reading room. At the very top, a special roof-top penthouse was constructed to house J.M. Reidsema's photo studio. This space provided Reidsema not only with a spectacular view, but also with excellent lighting conditions thanks to the unobstructed sunlight and skylights.
The building's primary tenant, from which it derived its name, was the Kalamazoo National Bank. The bank had occupied the street corner prior to the skyscraper's construction, and maintained that prime corner location on the ground floor of the new structure, moving into its new quarters in September 1907. Elaborate interior furnishings included a marble-paneled lobby and a massive safe that contained over seventy-thousand pounds of steel. The bank continued its presence in the building for decades, but fell victim to the collapse of the financial industry during the Great Depression. The former bank space was then divided and occupied by various stores. Following the demise of the bank, the building became known simply as the Kalamazoo Building, a name that persists to this day.
Over the years building tenants have come and gone. After the failure of the Kalamazoo National Bank, Mahoney's Apparel, a women's clothing store, was one of the businesses that moved into the bank's former space. In 1967 the store expanded, taking over the entire lower two floors and basement of the building and becoming the building's major tenant. After Mahoney's closed its doors in 1974, the space was occupied by a Michigan National Bank branch. Today that space is a Keystone Community Bank branch. Several of the upper floors continue to house professional offices, while others were converted to condominiums in 1970. This gave the Kalamazoo Building another pioneering distinction as the first condominium building in the city. The former Reidsema studio on the roof has since been converted into an elaborate office and loft, initially occupied by William Little. Little purchased the building in 1968.
The building has undergone several significant exterior changes as well. The landmark Kalamazoo Building sign painted at the top of the west elevation made its first appearance in the 1940s. Sometime during the 1950s the cornice that decorated the top of the skyscraper was removed. This was a common practice at the time, as old projecting ornamentation became viewed as a potential falling danger. It was cheaper for owners to remove them rather than reinforce them. The cornice's former location was marked by a painted white band. Further significant alterations occurred in 1967 when much of the lower two floors and parts of the upper floors were covered in pebbled panels, greatly altering the character of the building.
For decades Leroy Bixler was as much a defining feature of the Kalamazoo Building as its brick, stone, and steel. Bixler became an employee at the building in 1944 when he took on a job as an elevator operator. In this position he quickly established a close relationship with the building's tenants and was always willing to go the extra mile to provide better service.
In 1971 Bixler lost his elevator job to newly installed elevators that no longer required an operator. But the building's tenants were unwilling to let him go. A new position as doorman was specially created for him, so that he could remain on the job at the building. As a result he not only became the only doorman in Kalamazoo, but the only doorman in southwest Michigan.
At his post in front of the building's Michigan Avenue entrance, Bixler established himself as a downtown institution, helping tenants, customers, and pedestrians alike. During the 1980 tornado he made sure to get as many pedestrians as possible safely into the building. When Bixler finally retired in 1990 a plaque was installed by the entrance in his honor. Additionally, so many well-wishing letters poured in that an entire page of the Kalamazoo Gazette was devoted to displaying them.
Although long overshadowed by new construction, the Kalamazoo Building remains one of downtown's most recognizable landmarks. It has seen other early skyscrapers come and go, including the Hanselman Building across the street. The building may lose some prominence when a planned office and residential building, Exchange Place, is built next door. Its familiar sign will likely be obscured. But upgrades made to Kalamazoo's first skyscraper in 2012, including a new cornice, seem to suggest that the building will continue to decorate the skyline for years to come.
Written by David Kohrman, Kalamazoo Public Library Staff, May 2012.


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Cozy up with this versatile alpaca scarf, inspired by springtime hues. One of the most luxurious fibers, alpaca is warmer than wool and stronger than cashmere, making it ideal for everyday use, as a scarf, wrap, throw or blanket. This one of a kind accessory is handmade by skilled artisans in Guatemala using pure alpaca with low and no impact dyes.
Made in Guatemala.
Details: Handmade by skilled artisans in Guatemala. Crafted with 100-percent alpaca with low and no impact dyes. Each piece is one of a kind.
AHAlife is committed to help you live a conscious and inspired life.
Many of the items you discover here are exclusive to AHAlife, which is what makes our community of designers and artisans so special.
If you find one of our products anywhere else for less than it's being sold on our site, we will match it.
Our dedicated Support Team is here to help. Reach out any time at:


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February 10, 2012 at 1pm to March 25, 2012 at 12pm – Online at http://www.amazon.com/THE-ESSENE-CONSPIRACY-ebook/dp/B004TNGV7U/ref=sr_1_2?ie=UTF8&qid=1328922120&sr=8-2 Thanks for the terrific response to the ESSENE CONSPIRACY free Kindle copy offer. It's now closed, but for those of you who missed it, if you are an Amazon Prime subscriber, you can borrow it free. Organized by Amazon KP | Type: free, ebook, offer
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One can not compare the 1908 games when we last won as many medals, but only 28 nations participated, with the games which have just taken place, hence it is fair to state that Britain has just had it's most successful Olympics of all times.
However, the success has not been in the form which the establishment would have us believe. According to the opening and closing raves, the media narrative and most politically correct politicians, the Olympics was a triumph for multiculturalism. However, a true analysis of what actually happened, and, of course, of the medals table itself, tells a very different story, and one which must have been quite infuriating for those attempting to promote the official line.
Of our tally of 29 gold medals four were shared between three black athletes and one further gold went to Jessica Ennis, girl of mixed race origins. By far the vast majority of "Team GB" medal winners, at gold and all other levels, were, as a BBC executive would no doubt describe them "hideously white"
As was to be expected, despite making up less than 14% of the winners, black athletes received at least 40% of the TV coverage and were represented in a significantly higher percentage in the opening and closing graphics accompanying any sports show during the games. However, irrespective of how the media tried to play it, the split between the elitist fairy tale and reality has seldom been so marked.
Indeed, the multicultural fantasy did not only fail in terms the medal count, the myth that "we are all the same" was exposed as the lie it is in the events which took place.
Black athletes featured strongly, albeit not exclusively in the boxing ring and on the track where they held preeminent positions in most activities involving running, but were completely non existent from virtually all other sports. Where were the black swimmers, divers, cyclists, rowers, sailors, tennis players, riders and shooters? In the British team there were none.
It one were to remove the runners, boxers and the little Tiquando chap who was selected instead of the world champion on account of his colour, out of the equation then the medal winners would resemble slightly younger versions of the overwhelmingly white space scientists who recently landed the explorer Curiosity on Mars, except that there were a few Orientals among the scientists.
We are different, we excel in different things, we fail in different things, we are not the same, and the Olympic games showed it. It also became clear that we think differently and we want different things
It was not just amongst the athletes where the difference was on display, as was clear in the make up of the crowds at particular events and confirmed when spectators were interviewed white within the crowd were there to cheer on everyone, or so they said, whereas blacks made no bones of the fact they were there to cheer on black athletes. (few 'British Asians' seemed to have turned up, at least not to watch the British team) Behind the microphones, white commentators spoke of diversity and inclusion, while black commentators stressed the achievements of black athletes. Channel Four sports reporter Keme Nzerum, even went so far as to suggest that Britain had done so well largely because other sportsmen and women had "been inspired by the success of Mohammed (Mo) Farah and Jessica Ennis", despite the fact that a significant number of medals had been won before either of then entered the fray.
It would be churlish not to acknowledge the likable "Mo" Farah's achievement in winning two gold medals, he did himself and his native Somalia, where I understand his progress was being avidly followed, proud. However, it cannot be denied, that people of his ethnic back ground and place of origin are genetically advantaged in terms of running abilities. For that very reason alone, to include him in the British team and view his success as a "British triumph" is in itself a form of cheating. You might as well put a greyhound in a Labrador race, and call it a fast Labrador. He's not British, he's Somali and both his victory and medal should have been awarded to Somalia.
Not everyone fell for the attempts to sell "Mo" as national hero, it must have really galled the assembled ranks of opinion formers to discover that considerably more people tuned in to watch the wonderful Tim Daley's life reaffirming delight at winning a diving bronze than watched Mo Farah win either of his gold medals.
It was Tom, the incredible triathlon winning Brownlee brothers, and, of course Bradley (Wiggo) Wiggins, despite his Australian, father who really made most of the nations heart swell with the patriotic pride, so disdained by the Chairman of the BBC.
Contrary to the spin which the establishment are, and will continue to put on the 2012 London Olympics, the truth is that it was not a triumph for the multicultural dream, but an event which exposed racial differences in very stark relief.


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Frequent Links
Lip sync
- "Lip Synch" redirects here. For the film series, see Lip Synch (series). For the band, see Lipps, Inc..
|It has been suggested that Lip-synching in music be merged into this article. (Discuss) Proposed since July 2014.
Lip sync, lip-sync, lip-synch (short for lip synchronization) is a technical term for matching lip movements with sung or spoken vocals. The term can refer to any of a number of different techniques and processes, in the context of live performances and recordings.
In the case of live concert performances, lip-synching is a commonly used shortcut, but it can be considered controversial. In film production, lip synching is often part of the post-production phase. Dubbing foreign-language films and making animated characters appear to speak both require elaborate lip-synching. Many video games make extensive use of lip-synced sound files to create an immersive environment.
In music
Though lip-synching, which often is featured as and considered a part of miming, can be used to make it appear as though actors have substantial musical ability (e.g., The Partridge Family) or to misattribute vocals (e.g. Milli Vanilli), it is more often used by recording artists to create a particular effect, to enable them to perform live dance numbers, or to cover for illness or other deficiencies during live performance. It is also commonly used in drag shows. Sometimes lip sync performances are forced by television to shorten the guest appearances of celebrities, as it requires less time for rehearsals and hugely simplifies the process of sound mixing. Some artists, however, lip sync because they are not as confident singing live and may wish to avoid possible bad notes.
Because the film track and music track are recorded separately during the creation of a music video, artists usually lip-sync to their songs and often imitate playing musical instruments as well. Artists also sometimes move their lips at a faster speed from the track, to create videos with a slow-motion effect in the final clip, which is widely considered to be complex to achieve. Similarly, some artists have been known to lip-sync backwards for music videos such that, when reversed, the singer is seen to sing forwards while time appears to move backwards for his or her surroundings.
Michael Jackson's performance on the television special Motown 25: Yesterday, Today, Forever (1983) changed the scope of live stage show. Ian Inglis, author of Performance and Popular Music: History, Place and Time (2006) notes the fact that "Jackson lip-synced 'Billie Jean' is, in itself, not extraordinary, but the fact that it did not change the impact of the performance is extraordinary; whether the performance was live or lip-synced made no difference to the audience."[1] In 1989, a New York Times article claimed that "Bananarama's recent concert at the Palladium", the "first song had a big beat, layered vocal harmonies and a dance move for every line of lyrics", but "the drum kit was untouched until five songs into the set, or that the backup vocals (and, it seemed, some of the lead vocals as well-a hybrid lead performance) were on tape along with the beat". The article also claims that "British band Depeche Mode, ...adds vocals and a few keyboard lines to taped backup onstage" although this practice is common place in the genre of electric music.[2]
Milli Vanilli became one of the most popular pop acts in the late 1980s and early 1990s. The group's debut album Girl You Know It's True achieved international success and earned them a Grammy Award for Best New Artist on February 21, 1990. Their success turned to infamy and failure when the Grammy award was withdrawn after Los Angeles Times author Chuck Philips revealed that lead vocals on the record were not the voices of Morvan and Pilatus.
Chris Nelson of The New York Times reported that by the 1990s, "[a]rtists like Madonna and Janet Jackson set new standards for showmanship, with concerts that included not only elaborate costumes and precision-timed pyrotechnics but also highly athletic dancing. These effects came at the expense of live singing."[3] Edna Gundersen of USA Today reported: "The most obvious example is Madonna's Blond Ambition World Tour, a visually preoccupied and heavily choreographed spectacle. Madonna lip-syncs the duet "Now I'm Following You", while a Dick Tracy character mouths Warren Beatty's recorded vocals. On other songs, background singers plump up her voice, strained by the exertion of non-stop dancing."[4]
Similarly, in reviewing Janet Jackson's Rhythm Nation World Tour, Michael MacCambridge of the Austin American-Statesman commented "[i]t seemed unlikely that anyone—even a prized member of the First Family of Soul Music—could dance like she did for 90 minutes and still provide the sort of powerful vocals that the '90s super concerts are expected to achieve."[5]
The music video for Electrasy's 1998 single "Morning Afterglow" featured lead singer Alisdair McKinnell lip-syncing the entire song backwards. This allowed the video to create the effect of an apartment being tidied by 'un-knocking over' bookcases, while the music plays forwards.
In 2004, US pop singer Ashlee Simpson appeared on the live comedy TV show Saturday Night Live, and during her performance, "she was revealed to apparently be lip-synching". According to "her manager-father[,]...his daughter needed the help because acid reflux disease had made her voice hoarse." Her manager stated that "Just like any artist in America, she has a backing track that she pushes so you don't have to hear her croak through a song on national television." During the incident, vocal parts from a previously performed song began to sound while the singer was "holding her microphone at her waist"; she made "some exaggerated hopping dance moves, then walked off the stage".[6]
During the 2008 Beijing Olympics, CTV news reported that a "nine-year-old Chinese girl's stunning performance at the Beijing Olympics opening ceremony has been marred by revelations she was lip-synching". The article states that "Lin Miaoke was lip-synching Friday to a version of "Ode to the Motherland" sung by seven-year-old Yang Peiyi, who was deemed not pretty enough to perform as China's representative".[7]
During Super Bowl XLIII, "Jennifer Hudson's performance of the national anthem" was "lip-synched ...to a previously recorded track, and apparently so did Faith Hill who performed before her". The singers lip-synched "...at the request of Rickey Minor, the pregame show producer", who argued that "There's too many variables to go live."[8] Subsequent Super Bowl national anthems were performed live.
Teenage viral video star Keenan Cahill lip-syncs popular songs on his YouTube channel. His popularity has increased as he included guests such as rapper 50 Cent in November 2010 and David Guetta in January 2011, sending him to be one of the most popular channels on YouTube in January 2011.[9][10][11]
Contests and game shows
In 1981 Wm. Randy Wood started lip sync contests at the Underground Nightclub in Seattle, Washington to attract customers. The contests were so popular he took the contests nationwide. By 1984 he had contests running in over 20 cities. The contests were so successful Mr Wood went to work for Dick Clark Productions as consulting producer for the TV series Puttin' on the Hits. The show received an impressive 9.0 rating the first season and was nominated twice for the Daytime Emmy Awards. In the United States, this hobby reached its peak during the 1980s, when several game shows, such as Puttin' on the Hits and Lip Service, were created. The Family Channel had a Saturday morning show called Great Pretenders where kids lip-synched their favorite songs.
In video
In film production, lip synching is often part of the post-production phase. Most film today contains scenes where the dialogue has been re-recorded afterwards; lip-synching is the technique used when animated characters speak; and lip synching is essential when films are dubbed into other languages. In many musical films, actors sang their own songs beforehand in a recording session and lip-synched during filming, but many also lip-synched to voices other than their own. Marni Nixon sang for Deborah Kerr in The King and I, Annette Warren for Ava Gardner in Show Boat, Robert McFerrin for Sidney Poitier in Porgy and Bess, Betty Wand for Leslie Caron in Gigi, Lisa Kirk for Rosalind Russell in Gypsy, and Bill Lee for Christopher Plummer in The Sound of Music. In the 1950s MGM classic Singin' in the Rain, lip synching is a major plot point.
Automated dialogue replacement, also known as "ADR" or "looping," is a film sound technique involving the re-recording of dialogue after photography. Sometimes the dialogue recorded on location is unsatisfactory either because it has too much background noise on it or the director is not happy with the performance, so the actors replace their own voices in a "looping" session after the filming.
Another manifestation of lip synching is the art of making an animated character appear to speak in a prerecorded track of dialogue. The lip sync technique to make an animated character appear to speak involves figuring out the timings of the speech (breakdown) as well as the actual animating of the lips/mouth to match the dialogue track. The earliest examples of lip-sync in animation were attempted by Max Fleischer in his 1926 short My Old Kentucky Home. The technique continues to this day, with animated films and television shows such as Shrek, Lilo & Stitch, and The Simpsons using lip-synching to make their artificial characters talk. Lip synching is also used in comedies such as This Hour Has 22 Minutes and political satire, changing totally or just partially the original wording. It has been used in conjunction with translation of films from one language to another, for example, Spirited Away. Lip-synching can be a very difficult issue in translating foreign works to a domestic release, as a simple translation of the lines often leaves overrun or underrun of high dialog to mouth movements.
Language dubbing
Quality film dubbing requires that the dialogue is first translated in such a way that the words used can match the lip movements of the actor. This is often hard to achieve if the translation is to stay true to the original dialogue. Elaborate lip-synch of dubbing is also a lengthy and expensive process. The more simplified non-phonetic representation of mouth movement in many anime helps this process.
In English-speaking countries, many foreign TV series (especially anime like Pokémon) are dubbed for television broadcast. However, cinematic releases of films tend to come with subtitles instead. The same is true of countries in which the local language is not spoken widely enough to make the expensive dubbing commercially viable (in other words, there is not enough market for it).
However, most non-English-speaking countries with a large enough population dub all foreign films into their national language cinematic release. In such countries, people are accustomed to dubbed films, so less than optimal matches between the lip movements and the voice are not generally noticed[citation needed]. Dubbing is preferred by some because it allows the viewer to focus on the on-screen action, without reading the subtitles.
In video games
Early video games did not use any voice sounds, due to technical limitations. In the 1970s and early 1980s, most video games used simple electronic sounds such as bleeps and simulated explosion sounds. At most, these games featured some generic jaw or mouth movement to convey a communication process in addition to text. However, as games become more advanced in the 1990s and 2000s, lip sync and voice acting has become a major focus of many games.
Role-playing games
Lip sync was for some time a minor focus in role-playing video games. Because of the amount of information conveyed through the game, the majority of communication uses of scrolling text. Older RPGs rely solely on text, using inanimate portraits to provide a sense of who is speaking. Some games make use of voice acting, such as Grandia II or Diablo, but due to simple character models, there is no mouth movement to simulate speech. RPGs for hand-held systems are still largely based on text, with the rare use of lip sync and voice files being reserved for full motion video cutscenes. Newer RPGs, have extensive audio dialogues. The Neverwinter Nights series are examples of transitional games where important dialogue and cutscenes are fully voiced, but less important information is still conveyed in text. In games such as Jade Empire and Knights of the Old Republic, developers created partial artificial languages to give the impression of full voice acting without having to actually voice all dialogue.
Strategy games
Unlike RPGs, strategy video games make extensive use of sound files to create an immersive battle environment. Most games simply played a recorded audio track on cue with some games providing inanimate portraits to accompany the respective voice. StarCraft used full motion video character portraits with several generic speaking animations that did not synchronize with the lines spoken in the game. The game did, however, make extensive use of recorded speech to convey the game's plot, with the speaking animations providing a good idea of the flow of the conversation. Warcraft III used fully rendered 3D models to animate speech with generic mouth movements, both as character portraits as well as the in-game units. Like the FMV portraits, the 3D models did not synchronize with actual spoken text, while in-game models tended to simulate speech by moving their heads and arms rather than using actual lip synchronization. Similarly, the game Codename Panzers uses camera angles and hand movements to simulate speech, as the characters have no actual mouth movement. However StarCraft II used fully synced unit portraits and cinematic sequences.
First-person shooters
FPS is a genre that generally places much more emphasis on graphical display, mainly due to the camera almost always being very close to character models. Due to increasingly detailed character models requiring animation, FPS developers assign many resources to create realistic lip synchronization with the many lines of speech used in most FPS games. Early 3D models used basic up-and-down jaw movements to simulate speech. As technology progressed, mouth movements began to closely resemble real human speech movements. Medal of Honor: Frontline dedicated a development team to lip sync alone, producing the most accurate lip synchronization for games at that time. Since then, games like Medal of Honor: Pacific Assault and Half-Life 2 have made use of coding that dynamically simulates mouth movements to produce sounds as if they were spoken by a live person, resulting in astoundingly lifelike characters. Gamers who create their own videos using character models with no lip movements, such as the helmeted Master Chief from Halo, improvise lip movements by moving the characters' arms, bodies and making a bobbing movement with the head (see Red vs. Blue).
Television transmission synchronization
An example of a lip synchronization problem, also known as lip sync error is the case in which television video and audio signals are transported via different facilities (e.g., a geosynchronous satellite radio link and a landline) that have significantly different delay times. In such cases it is necessary to delay the earlier of the two signals electronically.
Lip sync issues have become a serious problem for the television industry world wide. Lip sync problems are not only annoying, but can lead to subconscious viewer stress which in turn leads to viewer dislike of the television program they are watching.[12] Television industry standards organizations have become involved in setting standards for lip sync errors.[13]
The miming of the playing of a musical instrument is equivalent of lip-synching.[according to whom?] A notable example of miming includes John Williams' piece at President Obama's inauguration, which was a recording made two days earlier and mimed by musicians Yo-Yo Ma, Itzhak Perlman. The musicians wore earpieces to hear the playback.[14]
See also
- Automated Dialogue Replacement
- Audio synchronizer
- Ghost singer
- Human video, a style of dance sometimes referred to as a "lip sync"
- Lip dub
- Lypsinka
- Playback singing
- Presentation time stamp
- ^ Inglis, Ian (2006). Performance and popular music: history, place and time. Ashgate Publishing. pp. 119, 127. ISBN 978-0-7546-4057-8.
- ^ POP VIEW; That Synching Feeling By Jon Pareles Published: April 9, 1989. New York Times.
- ^ Nelson, Chris (2004-02-01). "Lip-Synching Gets Real". The New York Times. Retrieved 2010-02-25.[dead link]
- ^ Edna Gundersen (1990-05-25), "Style Over Sound: Pop stars take canned music on tour", USA Today: 1.D
- ^ MacCambridge, Michael (1990-07-06), "A lesson in 'Control' // Janet Jackson delivers precise, sparkling show", Austin American-Statesman: B.8
- ^ http://www.msnbc.msn.com/id/6322824/
- ^ http://www.ctv.ca/servlet/ArticleNews/story/CTVNews/20080812/oly_fireworks_080812/20080812?s_name=beijing2008
- ^ Hudson's Super Bowl Lip-Sync No Surprise to Insiders Super Bowl Producers Asked Jennifer Hudson, Faith Hill to Lip-Sync By LUCHINA FISHER and SHEILA MARIKAR Feb. 3, 2009 http://abcnews.go.com/Entertainment/WinterConcert/story?id=6788924&page=1
- ^ Wei, William (Jan 29, 2011). "TOP VIRAL VIDEOS OF THE WEEK: Keenan Cahill Is Glad To Be Back On Top". Business Insider.
- ^ Bhansali, Akshay (Jan 25, 2011). "David Guetta 'Had A Blast' Filming With Web Sensation Keenan Cahill:Dance-music superstar makes the trip to Chicago to shoot 15-year-old's latest lip-synching video". Retrieved February 1, 2011.
- ^ Puckett, Jeffrey Lee (January 29, 2011). "Jeffrey Lee Puckett's Digital Downloads: Dierks Bentley live online". Courier-Journal.com. Retrieved February 1, 2011.
- ^ "Effects of Audio-Video Asynchrony on Viewer's Memory, Evaluation of Content and Detection Ability" by Reeves and Voelker.
- ^ IS-191: Relative Timing of Sound and Vision for Broadcast Operations, ATSC, 2003-06-26, archived from the original on 2011-07-27
- ^ Wakin, Daniel J. (January 22, 2009). "The Frigid Fingers Were Live, but the Music Wasn't". New York Times. Retrieved 2009-01-23.
The somber, elegiac tones before President Obama's oath of office at the inauguration on Tuesday came from the instruments of Yo-Yo Ma, Itzhak Perlman and two colleagues. But what the millions on the Mall and watching on television heard was in fact a recording, made two days earlier by the quartet and matched tone for tone by the musicians playing along. ... Famous practitioners since the Milli Vanilli affair include Ashlee Simpson, caught doing it on Saturday Night Live, and Luciano Pavarotti, discovered lip-synching during a concert in Modena, Italy. More recently, Chinese organizers superimposed the voice of a sweeter-singing little girl on that of a 9-year-old performer featured at the opening ceremony of last summer's Olympic Games. Movement to lips when the singer's singing