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Louise Rogers Jewett was born in 1859. She and her three siblings were orphaned while young, and were raised in Buffalo by guardians. In 1886 her uncle paid for her to study art in Paris. She returned to the United States in 1888, but felt more study in Europe was necessary. She spent the spring of 1890 in Paris, and part of 1892 in Italy. In 1894, Jewett opened a studio in Boston, where she was close to her sister Sophie who taught at Wellesley College. In 1901, she began teaching at Mount Holyoke College, where she remained until her death on January 21, 1914, in South Hadley.
The Louise Rogers Jewett Papers include correspondence, writings, artwork, biographical information, and photographs. The correspondence primarily consists of letters to Jewett's immediate family describing her experiences in Paris, 1886-1888, and Florence, 1892, through the eye of both an artist and a student. In her initial letters, Jewett describes her frustrations with the French language and her lack of confidence in her art skills compared to French standards. However, in later letters, Jewett comments on not only her growing confidence in art, but also her ability to walk through the streets of Paris alone. Jewett further recounts her travels through Europe with her sister, Sophie, and friends she met while abroad. Of note is a letter written during a visit to London in 1886 detailing Jewett's experience riding the Underground. While abroad, Jewett visited many art institutions from London to Rome and comments on several pieces of art in her letters with an artist's criticism. Jewett also makes reference to world events including the trial of Lizzie Borden and the mounting tension between the French and Germans. The artwork, drawn by Jewett during her studies abroad, chiefly consists of pencil sketches and colored geometric patterns. Of particular note within the collection are the photographs taken by Jewett of people, buildings, and scenery while in Europe and at Mount Holyoke College. Jewett's writing reflects her interest in Italian paintings and include two works written while an art professor at Mount Holyoke entitled, "History of Italian Painting" and "Masterpieces of Painting: Their Qualities and Meanings." In addition, the biographical information includes several tributes to Jewett that discuss her contributions to the College as well as her personal growth as an artist.
This collection is organized into six series by type of material.
Please use the following format when citing materials from this collection:
Louise R. Jewett Papers, Mount Holyoke College, Archives and Special Collections, South Hadley, Massachusetts
Louise Rogers Jewett was a Professor of Art at Mount Holyoke from 1901-1914. The letters in the collection were written while she was abroad on two trips, one during the years 1886-1888, and the other 1891-1893. There are 105 letters written between August 13, 1886 and July 10, 1888 and 54 letters written between November 6, 1891 and September 17, 1893.
Louise's parents had died when she was quite young and the four children in the family moved to Buffalo where a guardian was appointed. All the letters are addressed to her immediate family: Sophie, called Siffie, who during Louise's second trip was teaching English at Wellesley; Gertrude, called Biddy, and Charles, "Duffer", who was at Yale in 1886-87 and during her second trip was studying in Germany and Austria prior to setting up medical practice in Buffalo in 1893. Most of the letters are signed Louise R. Jewett; she explains that seems wise in view of the long distance they will travel. The letters comprise a journal of her life and experiences abroad as an artist and a student of art history.
Louise was 27 when she sailed for Europe on August 8, 1886 to pursue her study of painting, accompanied by her friend Mamie. After graduating from Buffalo Seminary, she had studied at the Yale School of Fine Arts and had been teaching in Buffalo. After a month in London the two young women proceeded to Paris where Louise sought an atelier where she could continue her training as an artist. Julian's Atelier appeared to be best suited to her needs, although she was troubled by reports of the "bad air and poor working conditions" (10-7-1886) but by late October after an interview with M. Julian she had enrolled in a studio class of women held on the top floor of the studio building where the air was better. She was the only American in the group although a few European students knew some English. At first she worked in black and white, worrying about her ability and progress. Language problems exacerbated her lack of confidence and she felt little empathy with the "silly French girls" in the studio who were considerably younger than she and more advanced in their art studies. She believed her training was not comparable to that of others in the class, since "I never worked with professional artists before and the Paris standard is so different from that of Buffalo" (11-14-1886) and she dreaded the criticism from the teacher "who stalks from one easel to another like an Oriental executioner and not one victim escapes..." (11-7-1886). Advised to go see a 15th Century painting in the Louvre and "stand and look at it for two hours"' (11-22-1886), she had her "first lesson from the old Masters."
Mamie departed for the States in early March and Louise was left alone, although by then she was gaining confidence. "I feel quite encouraged over my work" she writes, and the teacher's frequent comment pas mal "always makes me light hearted." (2-13-1887) By the middle of March she was permitted to move on to painting and she set about to purchase supplies and to make her apron. "I bought some grey linen and made a long sleeved apron which was all finished but the button holes by bed time. The sewing reminded me of the missionary society, but was that not pretty quick work. I hardly touched a needle before since leaving home except to darn my stockings. As I shall hereafter be enveloped in that apron from morning till night it does not matter if my clothes are a little shabby." (3-13-1887)
Louise's original intention had been to return home within the year but already by late fall she began to consider a longer stay. A job taking private pupils at Buffalo Seminary seemed possible for the following year, but she was not truly interested. "I do not care to be a professional teacher if it can be avoided.... I would rather work for myself" she writes on March 20 (1887). After great indecision, she finally committed herself to another year, despite her desperate loneliness at times. This meant that she must miss Gertrude's wedding in the fall of 1887. Trying to explain her decision, she writes to her family: "Just imagine if I were a boy, a brother, instead of sister, would not everyone think me lazy, luxurious, and lacking in ambition if at this time I should leave my work?" She was not yet at a point where she could go on alone and her family should "pretend I am your brother and that it is impossible for me to leave my business .... I expect to study all my life as every artist does." (7-5-1887)
After a traveling holiday with relatives in August and September, Louise was back at the studio in October. "I feel as if I must cram while I am here and I don't think any American school can help me much....American theories are so different, so entirely contrary." (11-21-1887) News of a new art school in Buffalo and the "fancy prices" paid to models upset her; "it is one of the greatest hindrances to a young artist and it seems absurd in Buffalo where there is not yet one professional model." (11-17-1887) Her first signed painting was completed in December and presented to her landlady, Madame Cezaire - a portrait of her beloved cat. December also brought encouragement: of 34 entries out of 75 receiving mention in the Concours, she was placed #29. M. Julian was "very approving" of some of her sketches and she decided to do a portrait of Madame Cezaire. She was pleased with the result. She writes that she managed to make her a tiny bit younger and prettier than my model" but Madame was not "averse to that kind of flattery." (3-13-1888) The dream of every art student was realized when Louise received word that the portrait had been selected for the Salon. One of the first things she did on hearing the good news was to go out and buy Madame a bunch of purple lilacs, her favorite flower. When her card of admission to the Salon came, she "turned it over and read and reread it, like a child with a new toy." (4-29-1888) By June Louise was headed for home.
Three years later she was abroad again, stopping first in Paris at Mme. Cezaire's . This time she was accompanied by the Harris's. Dr. Harris appears to be a retired clergyman, scholar and Dante fan. They were excellent travelers and Mrs. Harris proved to be a wonderful companion for Louise. The three of them went on to Italy and to Florence, where Louise hoped to find a studio to rent. She found the best artists "are the sculptors because of the facilities for choosing beautiful marble and of finding skilled marble-cutters." (12-3-1891) A studio was found and she was "delighted with the prospect of taking up my brushes again." (1-3-1892) But their museum visits were curtailed because of the bitterly cold galleries.
The Harris's planned to travel south to Naples and Sicily (the epitome of European history, Louise called it), and they wanted Louise to go along. She was torn about whether to do so or continue working in Florence, feeling uncertain whether "studio painting or visiting and studying art for a wider knowledge" was better for her. (2-14-1892) Louise decided on the journey and they left Florence in February, spending time in other Italian cities as well, and then proceeding to Vienna and Germany. This permitted her to practice her German and add it to the French and Italian she had acquired. Sophie arrived in London in the summer and the two sisters continued their travels, after the Harris's left for home in September. Before going, Dr. Harris asked Louise asked write a series of twelve papers, to be published weekly in the St. Louis Observer, of which he was editor, on the subject "art in the early church, and Louise submitted the first papers before she returned to the States.
Up until October 1892 Louise had written almost every week but Sophie took over the responsibility of the family letters when she arrived in England and Louise's letters become much less frequent. The last weekly letter was written on October 9, 1892; then there are 7 letters written between February 12 and September 17, 1893, when Louise was making plans to go to Boston hoping to set up a studio where she could do portraits. She planned to live alone for she had been told "women are so free in Boston." (9-17-1893)
Although Louise made some friends while abroad and there seemed to be a good many friends and relatives from home journeying about the Continent, her life nevertheless was not an easy one. Sunday church was a favorite meeting place for Americans in Paris, and Louise enjoyed the music and the sermons, sometimes going in addition to a church service in French in order to strengthen her knowledge of the language. Mme Cezaire's pension where she finally settle after trying other possibilities was a good choice. Madame gave her French lessons and set a "very good table." This was important because restaurants presented problems. Louise did not really approve of "going to a restaurant alone" (2-6-1887) and said she dreaded to do so "though it is considered quite proper." (2-13-1887) The language continued to plague her, though sometimes with amusing results, ordering macaroni, for instance, and getting mackerel. She usually walked to the studio; between the pension and the atelier, she said she climbed 14 flights of stairs a day. (4-3-1887) And walking alone took courage. "I have grown quite accustomed to the little annoyances - the men who in passing hiss in my ear...and I walk on as if made of stone." (7-5-1887) And then there was the Paris weather.
The Paris cold, she said, was "more tiresome than Buffalo winters." (3-4-1888) Her room was not heated and she suffered from chilblains. Evenings had to be spent in the salle a manger along with Madame and the other boarders where she tried to do her reading in anatomy and art history and to work on her French. Evenings were also a time for letter-writing, by candlelight if in her own room, and a time for sewing, trying to keep her modest wardrobe in condition, despite the mud of Paris streets. About French styles, she had reservations. "The prettiest clothes one sees in Paris are those of the American girls who have just arrived," she writes. (10-9-1888) A new hat which she bought brought strong criticism at the pension and she writes, "it is fatal in Paris eyes to be even a tiny bit original." (10-16-1888) And about French homes she says "almost every room I have been in has had an ugly brass clock (that would not go) under a glass case." (11-7-1887) On her second trip there is a nice comment on women's fashions. While in Florence with the Harris's, Dr. Harris, a believer in physical exercise, led the group regularly in gymnastics. As a result, Louise writes, she was "going without corsets except when I wear my best gown." (1-24-1892) Although there were some diversions in the form of occasional parties and visits to the opera or theatre, she greatly missed her family. It was a lonesome life, particularly during the first trip.
Traveling with her friends, however, she clearly enjoyed. The records of these journeys sometimes simply list sights she had seen, but often she sprinkles her descriptions with pithy comments. She was an enthusiastic sightseer (though not a good sailor) and she managed to visit just about every available art treasure on her various trips in England, France, Italy, Austria, Germany, Holland and Belgium.
One of her first experiences in London was riding the London underground railway. "May I never be forced to try it again" she writes, "such smoke, such heat, such entire lack of air I have hardly known before." (8-31-1886) There is a very amusing description of the Crystal Palace, "one of the most absurd days we have had," she writes. She and Mamie spent the whole day there. "The pleasure could hardly be called aesthetic or improving," she says. They strolled about contemplating examples of ancient and medieval architecture, diversified by stalls for confections, jewelry, wall paper, perfumery, baby carriages, sewing machines and very astonishing gimcracks. There were also such horribly realistic representations of Bushmen and Hottentots as would have frightened any American baby to death, tho the English children seemed to regard them with composure." (9-8-1886)
After a Danube cruise in May, 1892, she was enchanted by Berchtesgaden in Bavaria. She and the Harris's visited a salt mine, suitably dressed in white duck trousers and black blouses, black leather apron behind, lantern stuck in belt in front and round black caps trimmed in blue." They went through a "narrow vaulted passage... up and down stairs to the shore of salt lake lit up by tiny oil lamps." (5-29-1892)
Louise's reactions to the art treasures seen on her travels are of special interest since she sees them with the eyes of an artist. Rubens was not a favorite. On seeing Descent from the Cross, she declares she is a "Philistine on the subject of Rubens and even this did not convert me." (8-27-1887) She saw so many Last Suppers on refectory walls in Italy that she thought she might write an article tracing the development of painting, using these as examples. The Sistine Chapel ceiling she thought "more beautiful than ever, but I can never find anything to admire in the Last Judgment. I believe Michel did it in grim scorn because he must..." (3-13-1893) Most tourists, she writes, do not appreciate what they see. "About half that people see is lost on them because they don't know what to make of any of these old things. I believe that most of them think that Raphael invented painting." (10-9-1893) In Cologne she was exasperated in the museum because of "the way they restore paintings in Germany until there is nothing original left except the design." (7-18-1892) And she was disappointed in England with Holman Hunt's Light of the World. "I like the real pre-Raphaelites so much that I have always expected to like the English pre-Raphaelites but this did not impress me as a picture of any power. It was not at all what I expected." (8-21-1892) But she found a tapestry in the Exeter College chapel by Burne Jones, made under the direction of William Morris, "lovely in design and even more beautiful in color. The color is rich without any of the gaudiness of French tapestry, and my fast declining opinion of British artists has gone up again since seeing that." (8-28-1892)
The letters contain few comments on news events and public affairs, although there are occasional references to the larger world. The only news item from America which brought a response was the trial of Lizzie Borden. "It seems to me that it ought to take an overwhelming amount of evidence to convict a girl of apparently blameless life of a crime so brutal." (10-2-1892) She was not much interested in French politics but she did persuade Mme. Cezaire to tell her of the siege of Paris and she was once trapped in street demonstrations at the time of the "great political excitement" over General Boulanger. (4-23-1888) There is a fine description of the funeral procession of the widow of the head of Bon Marche (12-11-1887), and she had a peek at Queen Victoria in Italy, "a wide felt hat shaped like a mushroom with black ruching around the edge and a fat red cheek showing below." (4-16-1893) In the fall of 1887, Madame Cezaire took her to a two-hour meeting of the Association des Dames Francaises, a "society something like the 'Sanitary Commission of our war.' The society's chief purpose," she writes, "is to be ready for the war which they think will come sooner or later with Germany." She was "wonderfully interested" in the proceedings and describes the speakers as well as the speeches. (11-21-1887)
Louise writes well and the letters provide an excellent source of information about the life of a young American woman in Paris about 100 years ago who struggled in a foreign land, battling loneliness, and doubt about her talent as an artist, but who was determined to do her best and to persist until she could see results. And the letters also provide nice details about the vagaries of travel abroad in the late nineteenth century. Louise's love of beauty, and her sense of humor, along with the sketches which she sometimes includes, lend a pleasing charm to her journal.
Mary Woolley became President of Mount Holyoke in May 1901 and Louise Jewett was surely one of her first faculty appointments. While at Wellesley, she had heard from Sophie about her sister Louise who was then teaching at Dana Hall, and about her talents as an artist and teacher of art. The arrival of Louise in South Hadley the next fall brought about major changes in the teaching of art at Mount Holyoke.
A course in linear drawing was included as part of the curriculum plan in one of Mary Lyon's early circulars about the Seminary. By the year 1900-01 there was a Department of Drawing and a Department of Painting but these courses were offered as desirable "accomplishments" for young ladies in the nineteenth century and had no connection with art history. Beginning in 1859 lectures on art were frequently given by visitors at the Seminary and by 1872 in a course in General Literature several weeks were devoted to Greek and Gothic Architecture. In 1878 a course in art history was offered for the first time, taught by Miss Blanchard.
The 1900-01 catalogue before Louise's arrival lists art history courses in Egyptian and Classical Archaeology, Medieval Art, Cathedral Architecture, Renaissance Painting and Painting in Northern Europe and Spain, all given by Miss Randolph, the only member of the department. Also included in the catalogue are the Departments of Drawing and of Painting. The next year, however, the 1901-02 catalogue lists the History of Sculpture given by Miss Jewett, a lecture course, and in alternate years, the History of Italian Painting, and the History of Painting in Northern Europe and Spain. Both of these were supplemented by "practice courses" for 6 hours each week, drawing from the antique and from life in sculpture, and drawing and painting from draped model in painting. The Departments of Drawing and Painting had disappeared. Enrollments grew; in 1902-03, according to Miss Woolley's annual report, 80 students were studying art, and the first art history major graduated in 1905. "The 'life class' of 15 members," writes Miss Woolley which "meets once a week, has been an interesting feature of Miss Jewett's courses. No attempt has been made to form an art school but rather to bring all the practice work, both drawing and painting, into closer relation with history studies."
Very soon the sculpture course was divided into Greek Sculpture and Italian sculpture, and by 1903-04, the art of France and England was incorporated into the painting course. An advanced course in painting was added a short time later. All these were taught at one time or another by Miss Jewett. In 1909-10, a new course was offered, Historical Ornament, in which studio practice was an important component, according to the catalogue; this too was taught by Miss Jewett. Miss Randolph retired in 1912 and Miss Jewett became head of the department which now included both Miss Hyde and Miss Foss, and two new arrivals, Miss Galt and Miss Flint who also taught Greek. "The combination of art history and studio work was a method of teaching art history brought to Mount Holyoke by Miss Jewett," wrote Miss Hyde in 1937 in her history of the department.
Louise's reputation was to broaden to encompass the entire College community. In 1906 she was asked to do a portrait of Mary Lyon using a daguerreotype dating back to 1845 which had just been found. When the portrait was unveiled, Dr. Hitchcock, who knew Mary Lyon when he was a young man, commented "This is the best and most natural picture of Mary Lyon that has ever been made." Laura Hibbard in an article in The Mount Holyoke for March 1914 wrote: "The technical difficulties were many, and to eke out the somewhat meager information of the picture, she sought eagerly for every recorded or remembered detail concerning Miss Lyon's coloring, expression, habits of dress, etc. Miss Jewett's primary purpose was to 'make more real the vivacity and ardor of Miss Lyon's temperament, her strength of will and the charm of her manner."'
In 1912 another event occurred when every student on campus knew of Miss Jewett as the creator of the magnificent historical pageant in which 700 students participated at the time of the 75th anniversary of the College.
For all these years, except for the very first one, Louise lived in Porter Hall. Then on May 14, 1913, she bought for $600.00 from the estate of William McElwain about 2/3 of an acre which is described in the deed as on the south side of a lane leading west from College Street between land of L. Alvord and land of Mount Holyoke College. It was here that she chose to build a house, where her sister, Gertrude Jewett Hunt, who had been widowed, might join her. Sophie had died in 1909. She had been living in her new home for only one month when on a "windy stormy evening" in January 1914 she went to Porter for dinner. Returning home, Miss Woolley writes in her annual report (1913-1916) "the struggle against the violence of the storm was too great an exertion for a weak heart and she lived only a few moments after reaching the little store in sight of her home." This was the Woodbridge drug store, now the parking lot at the head of Bridgman Lane. The entire College community was devastated by her sudden death and all classes were canceled on the day of the funeral. Louise was 54.
In Miss Woolley's tribute to her in her annual report, she writes of her broad sympathies and high standards and yet with "a tender understanding of human weaknesses, with that ability, which is so rare, of putting one's self into another's place - it is not strange that her counsel carried great weight in Faculty deliberations ... She knew her students ... Cheerful, kindly, companionable, self-forgetful, always putting the comfort and interests of others in the foreground, Miss Jewett created an atmosphere that was good to live in."
The Faculty Resolution about Louise Jewett voted after her death described her "joyous devotion to her work and her college, her sympathetic insight, the quiet strength of her courage, and the breadth and beauty of her achievements."
In the catalogue for 1913-14 Louise's address is given as McElwain Lane and this name persists for a good many years. The first house to appear on the Lane was #6, built by Mary Vance Young, who taught Romance Languages. Her address is first given as McElwain Lane in the ' College Directory for 1909/10, although according to information in the Hampshire County Registry of Deeds the date of the sale of the land which she bought from William McElwain was May 10, 1910. In any case the Young house seems to be the first. The records are not clear about which house was the second, although it may have been that of Helen Flint, Professor of Greek (#10). She also bought land from William McElwain, and the deed for that purchase is dated June 9, 1910, although not until the College Directory of 1913/14 is she listed as living on McElwain Lane. It seems possible that the Flint house was completed before Louise's at #2., "The College Directory printed in the early fall of 1913 Porter as Louise's residence and McElwain Lane for Miss Flint, though by the time of the catalogue printing in January 1914 both of them were listed as McElwain Lane. Louise may have moved during Christmas vacation. Miss Flint later built another house, #12.
Gertrude Jewett Hunt continued to live in Louise's home for a good many years and various members of the faculty and staff were residents as well. Among the first was Bertha Gault of the library staff and in the fall of 1916 she was joined by Ellen Deborah Ellis.
The College Directory continued to list McElwain as the name of the street up through 1922-23. The following year, 1923-24, the name of Jewett Lane finally appears. This was just ten years after Louise's death. Concrete evidence has not been found about the reason for the name change but it seems likely that it was associated with the placing of a bronze tablet in Dwight Hall naming the Louise Jewett Gallery of Painting in December 1922. It would be pleasant to conjecture that Louise's neighbors on the Lane at that time, most of whom must have known her, made the suggestion.
Over the years the Lane was extended as members of the faculty purchased property and built homes. The last purchase was made only two years ago, in 1986, almost 80 years after the first house was built.
CR Ludwig
July 1988
|Contact Information
Mount Holyoke College Archives and Special Collections
8 Dwight Hall
50 College St.
South Hadley, MA 01075
Phone: (413) 538-2013
Fax: (413) 538-2370 Email Reference Form: http://www.mtholyoke.edu/lits/library/arch/forms/areq.htm
URL: http://www.mtholyoke.edu/lits/library/arch/


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MIDDLEBURY — As part of its periodic school accreditation process, Middlebury Union High School will host 16 educators for an on-site evaluation on Oct. 28-31. MUHS Principal William Lawson said the evaluation visit will be conducted under the direction of the Commission on Public Secondary Schools of the New England Association of Schools and Colleges.
The visiting committee will be chaired by Joseph Damplo, a retired media services professional from Wellesley, Mass. He has had extensive experience in the association's evaluation process.

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FOXBOROUGH, Mass. – The New England Revolution has signed a pair of its 2013 draft picks: midfielder Donnie Smith and goalkeeper Luis (pronounced LOO-ee) Soffner. Both players were selected in the second round of the 2013 MLS SuperDraft in January.
"We're pleased to bring Donnie and Luis into the team," Revolution General Manager Michael Burns said. "Donnie has a unique combination of tremendous speed and wide play on the left side, while Luis was one of college soccer's top goalkeepers the last few seasons. Both players did well during preseason training and we're looking forward to seeing them develop in our system."
Smith, 22, whom the Revs drafted with the 21st overall pick of the 2013 MLS SuperDraft, appeared in six preseason games with the Revolution, recording one assist in the 3-1 win against New York Red Bulls on Feb. 16. Smith was a 2012 NSCAA Scholar All-America at UNC-Charlotte, and scored four goals and added four assists in 19 appearances (16 starts) in his 2012 senior season.
In 2011, he earned second-team All-Atlantic 10 Conference honors, scoring five goals and adding three assists in 25 appearances (10 starts). He was recognized on the 2011 NCAA College Cup all-tournament team after helping the 49ers advance to the national championship match. At the conclusion of his sophomore season, Smith earned 2010 first-team All-Atlantic 10 honors.
Soffner, 23, whom the Revs drafted with the 36th overall pick of the 2013 MLS SuperDraft, appeared in one preseason game with the Revolution, drawing a win in the team's 4-1 victory over Phoenix FC (USL PRO). Soffner was a four-year starter at Indiana and backed the Hoosiers to the 2012 NCAA Championship while earning NCAA College Cup Most Outstanding Defensive Player honors.
He started 83 of 84 career matches, and as a senior, posted an 0.72 goals against average with 12 shutouts. His 16 wins as a senior were the most at IU since 2004 (19). On his career, Soffner was 47-26-11 with an 0.93 GAA. His 32 career shutouts and 262 career saves both rank fourth, respectively, in IU history.
For up-to-the-minute information on the Revolution, visit the team's official web site at revolutionsoccer.net, or join the conversation and interact with fans on any of the team's social platforms: Twitter (@NERevolution, #NERevs), Facebook (NERevolution), Google+ (+NERevolution), Instagram (NERevolution), Pinterest (NERevolution), YouTube (NERevolutionSoccer) and Flickr (NERevolution).
For more information about any 2013 ticketing option, including the popular four- or six-game First Kick Plans which include a free limited-edition long-sleeve t-shirt, season tickets, or individual game tickets – please visit revolutionsoccer.net/tickets.
TRANSACTIONS: New England Revolution (MLS) – Signed M Donnie Smith and GK Luis Soffner
Jersey Number: 33
Position: Midfielder
Date of Birth: December 7, 1990 (Matthews, N.C.)
Hometown: Matthews, N.C.
Height: 5-11
Weight: 160 lbs.
College: UNC-Charlotte
Nationality: USA
How Acquired: Selected by the Revolution in the second round (21st overall) of the 2013 SuperDraft on Jan. 17, 2013; signed by the Revolution on Feb. 27, 2013
Twitter: @Donnie9Smith
Jersey Number: 36
Position: Goalkeeper
Date of Birth: January 15, 1990 (St. Louis, Mo.)
Hometown: St. Louis, Mo.
Height: 6-4
Weight: 210 lbs.
College: Indiana
Nationality: USA
How Acquired: Selected by the Revolution in the second round (36th overall) of the 2013 SuperDraft on Jan. 17, 2013; signed by the Revolution on Feb. 27, 2013
Twitter: @louie_soffner


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The builders' merchant is giving away £250,000 in building materials, including a top prize of up to £50,000 for one community project, to help good causes improve their facilities.
Whether clubs need a new roof for their changing rooms, a pitch transformation or want to improve their clubhouse or dugouts, they have until Wednesday 9th May to submit their application via buildingbettercommunities.co.uk.
Jewson is encouraging grassroots clubs to put forward their applications understanding the importance they play in local communities: "Clubs bring whole communities together and help people of all ages develop key skills," said Thierry Dufour, Managing Director of Jewson. "To keep these clubs, which are often the lifeblood of their area, going, they need support to improve their facilities and make sure as many people as possible can play and enjoy sport. That's why we're asking people to nominate their sports club for our Building Better Communities prize."
After a shortlisting process and a public vote, the winning projects will be announced on 3rd July at a ceremony hosted by celebrity architect, George Clarke.
George Clarke, who is involved in Building Better Communities for the second year running, said: "The funds donated as part of the Building Better Communities competition are already making a huge difference to local charities and community groups across the UK and can do the same for many others. We know there are groups doing great work on a daily basis, so it's an honour to be supporting them and I'm really looking forward to learning about this year's entries."
Projects have until Wednesday 9th May to submit their entry via buildingbettercommunities.co.uk. The competition is being supported by Jewson supplier brands: Velux; Marshalls, Polypipe; British Gypsum; Tarmac; Recticel and Norbord.


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Blueberry smoothie- dairy-free gluten-free chill.
Wilting from the heat? I've got a deep blue chill for you. Dairy-free. Easy as pie. Cool as a blueberry. I'm emancipating this recipe from the archive depths because it's just too luscious to get lost in 2007, never to be slurped again.
You reach for your power tools.
You switch the button to HIGH and sigh.
You froth with pleasure.
Vegan Blueberry Smoothie Recipe
Combine ingredients in a blender or Vita-Mix container. Cover tightly. Whip until smooth and frothy. Pour into a fancy glass. Sip.
Feel fabulous.
Not a stevia fan? Add a teaspoon of low glycemic raw organic agave nectar, or two teaspoons raw sugar, to taste.


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Publications: Beatty, David
Journal Article
Wickham, S.L., Collins, T., Barnes, A.L., Miller, D.W., Beatty, D.T., Stockman, C.A., Blache, D., Wemelsfelder, F. and Fleming, P.A. (2015) Validating the use of qualitative behavioral assessment as a measure of the welfare of sheep during transport. Journal of Applied Animal Welfare Science, 18 (3). pp. 269-286.
Jacob, R.H., Surridge, V.S.M., Beatty, D.T., Gardner, G.E. and Warner, R.D. (2014) Grain feeding increases core body temperature of beef cattle. Animal Production Science, 54 (4). pp. 444-449.
Jacob, R.H., Beatty, D.T. and Warner, R.D. (2014) A preliminary study into the use of 'heat pipes' to prevent high rigor temperature in beef carcasses by increasing cooling rate. Animal Production Science, 54 (4). pp. 504-509.
Stockman, C.A., Collins, T., Barnes, A.L., Miller, D., Wickham, S.L., Beatty, D.T., Blache, D., Wemelsfelder, F. and Fleming, P.A. (2013) Flooring and driving conditions during road transport influence the behavioural expression of cattle. Applied Animal Behaviour Science, 143 (1). pp. 18-30.
Wickham, S.L., Collins, T., Barnes, A.L., Miller, D.W., Beatty, D.T., Stockman, C., Blache, D., Wemelsfelder, F. and Fleming, P.A. (2012) Qualitative behavioral assessment of transport-naive and transport-habituated sheep. Journal of Animal Science, 90 (12). pp. 4523-4535.
Stockman, C.A., Collins, T., Barnes, A.L., Miller, D.W., Wickham, S.L., Beatty, D.T., Blache, D., Wemelsfelder, F. and Fleming, P.A. (2011) Qualitative behavioural assessment and quantitative physiological measurement of cattle naïve and habituated to road transport. Animal Production Science, 51 (3). pp. 240-249.
Beatty, D.T., Barnes, A., Taylor, E. and Maloney, S.K. (2008) Do changes in feed intake or ambient temperature cause changes in cattle rumen temperature relative to core temperature? Journal of Thermal Biology, 33 (1). pp. 12-19.
Beatty, D.T., Barnes, A., Fleming, P.A., Taylor, E. and Maloney, S.K. (2008) The effect of fleece on core and rumen temperature in sheep. Journal of Thermal Biology, 33 (8). pp. 437-443.
Beatty, D.T., Barnes, A., Taplin, R., McCarthy, M. and Maloney, S.K. (2007) Electrolyte supplementation of live export cattle to the Middle East. Australian Journal of Experimental Agriculture, 47 (2). pp. 119-124.
Beatty, D.T., Barnes, A., Taylor, E., Pethick, D., McCarthy, M. and Maloney, S.K. (2006) Physiological responses of Bos taurus and Bos indicus cattle to prolonged, continuous heat and humidity. Journal of Animal Science, 84 (4). pp. 972-985.
Beatty, D., Barnes, A., Pethick, D.W., Taylor, E. and Dunshea, F.R. (2004) Bos indicus cattle can maintain feed intake and fat reserves in response to heat stress better than Bos taurus cattle. Journal of Animal and Feed Sciences, 13 (SUPPL. 1). pp. 619-622.
Accioly, J.M., Beatty, D.T., Barnes, A.L., Pethick, D.W., Taylor, E.G., Tudor, G.D., White, C.L., Maloney, S.K., McCarthy, M.R., Pluske, J.R. and Costa, N.D. (2003) Nutrition during live export of cattle. Recent Advances in Animal Nutrition in Australia, 14 . pp. 49-56.
Conference Paper
Wickham, S., Collins, T., Barnes, A., Beatty, D., Fleming, T., Miller, D. and Stockman, C. (2008) Developing qualitative behavioural assessment as a measure of welfare in sheep. In: Proceedings of the Australian Veterinary Association (AVA) Annual Conferences, 2008 AVA Annual Conference, Sheep/Industry Stream, January
Conference Item
Beatty, D.T., Gardner, G.E. and Jacob, R. (2009) The impact of long term grain feeding on the core body temperature of cattle. In: Ruminant physiology: Digestion, metabolism and effects of nutrition on reproduction and welfare. Proceedings of the XIth International Symposium on Ruminant Physiology, 6 - 9 September, Clermont-Ferrand, France.
Collins, T., Fleming, P., Barnes, A., Beatty, D., Miller, D., Stockman, C., Snowden-Tucker, K., Blache, D., Wemelsfelder, F. and Bateman, P.W. (2008) What factors affect perceptions of animal welfare? In: AAWS International Animal Welfare Conference, 31 August - 3 September, Gold Coast, Australia.
Beatty, David Thomas (2005) Prolonged and continuous heat stress in cattle: physiology, welfare, and electrolyte and nutritional interventions. PhD thesis, Murdoch University.
Chapman, H.M., Murdoch, F.R., Robertson, I.D. and Beatty, D.T. (2010) Detection, identification and treatment of Infectious Ovine Keratoconjunctivitis (Pink Eye) in sheep from a Western Australian pre-export feedlot. Meat & Livestock Australia, North Sydney, Australia.


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Table of Contents
> CYP2D6 and CYP1A2*1F Genotyping
CYP2D6 and CYP1A2*1F Genotyping
Related terms
Future research
Author information
Related Terms
Amplichip®, cytochrome P450,
gene, CYP2D6 protein,
gene, CYP450 protein, caffeine, drug metabolism, genotype, molecular testing, PCR, pharmacodynamics, pharmacogenomics, pharmacokinetics, polymerase chain reaction, real time polymerase chain reaction, real time PCR, RT-PCR.
The term "metabolism" refers to the way the human body interacts with drugs, food, and any other ingested substance. Metabolism involves absorption in the digestive tract, processing in the liver and other organs, action of the substance within the cells, and elimination in the urine or stool. Pharmacokinetics is the study of how a drug is absorbed, processed, delivered to its target, and removed from the body. Pharmacodynamics is the study of how a drug interacts with its target. This target may be a protein within the cell, genetic material within the cell, or something outside of the cell.
Genes are molecules within the cells that provide instructions for making all of the proteins in the body. While about 99.9% of genetic material is the same among individuals, each individual has slightly different genes, called alleles. Different alleles may produce proteins that have stronger or weaker levels of activity compared with other alleles.
Pharmacogenomics is the study of how an individual's genetic makeup affects his or her response to drugs. Some patients respond differently to drugs from others. For instance, one patient may require a very high dose of a certain medication to have an effect, while another patient may have major side effects from a small dose. Pharmacogenomics includes the study of both pharmacokinetics and pharmacodynamics.
Drug and nutrient metabolism
: The metabolism of drugs and nutrients occurs primarily in the liver. One family of proteins, called cytochrome P450, is responsible for metabolizing most drugs. When these proteins metabolize drugs, they break them down into different molecules or attach them to other proteins. In most cases, this results in the drug being inactivated.
There are more than 60 different types of cytochrome P450 proteins, but six of them are responsible for metabolizing 90% of the drugs used today. One of these proteins, CYP2D6, is responsible for the metabolism of 25% of all drugs. CYP2D6 metabolizes many drugs used to treat high blood pressure, irregular heartbeats, depression, pain, and psychosis. Another cytochrome P450 protein, CYP1A2, metabolizes caffeine and, to a lesser extent, drugs.
Some alleles provide instructions for making cytochrome P450 proteins that do not work as rapidly as others. Patients with these alleles produce proteins that metabolize certain drugs more slowly because the drugs and nutrients are removed from the body more slowly and are present at higher levels in the blood for longer periods of time.
: There are more than 60 different alleles of the
gene. Some of these have no effect, while others provide instructions for making proteins that do not work at all. Some alleles provide instructions for making proteins with a decreased level of action, resulting in slower metabolism and higher levels of certain drugs circulating in the blood. About 10% of Caucasians have an allele that produces a protein that causes them to metabolize certain drugs more slowly. These alleles occur in about 10% to 20% of people of African descent and about 5% of Asian individuals.
Some people have extra copies of the
gene. This results in the production of extra proteins that more rapidly metabolize certain drugs, potentially decreasing the levels of the drug in the blood and thereby the effect of the drug.
: The CYP1A2 protein metabolizes drugs, the hormone estrogen, and caffeine. Smoking and consumption of cruciferous vegetables (such as broccoli) and charcoal-grilled meat increase the activity of the
gene, and thus the levels of the CYP1A2 protein in the liver. One allele, called CYP1A2*1F, provides instructions for making a protein with much less activity than others. The frequency of this allele in different ethnic groups is uncertain.
The decreased activity of the protein produced by
causes people with this allele have higher caffeine levels in the blood when they drink caffeinated beverages. This allele is also linked to a higher rate of precancerous growths in the colon and increased susceptibility to the harmful effects of smoking, such as emphysema and lung cancer.
Polymerase chain reaction
: Polymerase chain reaction (PCR) is a method of multiplying a small piece of DNA millions of times in order to study it. To perform PCR, cells are collected from a patient's blood or cells from the inside of the mouth. A probe, or sequence of DNA that recognizes the allele of interest, is added to the patient's DNA. After the probe attaches to the allele, proteins are added that make millions of copies of the gene. This allows researchers to determine whether a specific allele is present.
For example, a sample of blood from a patient can be tested by PCR to detect the
alleles that are associated with slower metabolism of drugs. PCR can also be used to detect the
allele that makes patients more sensitive to caffeine.
PCR results can identify the presence and amount of the specific allele. Any person may have one or two copies of an allele, and PCR can provide this information. Two copies of an allele with abnormal activity will have a greater effect than one copy of an abnormal allele. Real time PCR is a special PCR method that can determine how much of an allele is present.
Currently, the U.S. Food and Drug Administration (FDA) has approved a lab test that detects the most common variant alleles of the
gene. This test, called Amplichip®, is available from specialized labs.
Amplichip® detects common allele variants in two different enzymes involved in drug metabolism, CYP2D6 and CY2C19. Segments of DNA called probes are used to detect the presence of allele variants. Each probe attaches to a specific allele and causes a fluorescent glow if it is present. The allele variants detected with Amplichip® allow doctors to determine whether a patient metabolizes drugs more quickly or slowly than the average person.
Researchers are currently looking at the use of Amplichip® and other methods of detecting
variants to determine when and how this information is most useful. Many drugs used by psychiatrists are metabolized by the CYP2D6 protein so these physicians may be the first to use this test on patients. Research is also being conducted to determine the effect of
allele variants on some medications for irregular heartbeats, high blood pressure, and pain. The presence of some
variants may increase the risk of dementia, but this has not been proven. Research is under way to confirm this.
Previous research has linked the
allele to an increased risk of some types of cancer. Ongoing research seeks to confirm this and determine its significance. In addition, research is examining the effect of this allele in combination with cigarette smoking.
The ability to detect allele variants in the
genes will help doctors determine which patients are at risk for severe side effects and which patients may not benefit at all. Patients with alleles that cause them to metabolize certain drugs more slowly are more likely to develop side effects from drugs that are broken down by the cytochrome P450 proteins. Doctors can use this information to adjust the dosages of medication or to choose a different medicine.
Preliminary research has shown the
allele to be a risk factor for some types of cancer, such as colon and breast cancer. More research is needed to clarify this. If this allele is shown to be linked to cancer, testing for it may help doctors determine how early and frequently to screen certain patients for cancer.
The consequences of abnormal alleles in the
genes is not well understood. To determine exactly what the presence of these alleles means for patients, large clinical trials are needed.
Future research
In the future, examination of these genes may be combined with the examination of completely different genes to determine a larger pattern of genetic activity. For instance, variants in genes that are responsible for the delivery of drugs from the blood to the tissue, and genes that interact with drugs in the cell, may also affect how an individual responds to a specific drug.
By combining the information from
genes with information from other genes, it may become possible for more personalized medicine to be prescribed. Theoretically, this could prevent side effects and allow doctors to use the best drugs for each individual. New alleles in the
genes are still being discovered, and how these new alleles affect an individual's metabolism is currently unclear.
Author information
This information has been edited and peer-reviewed by contributors to the Natural Standard Research Collaboration (www.naturalstandard.com).
de Leon J, Susce MT, Murray-Carmichael E. The Amplichip CYP450 genotyping test: integrating a new clinical tool. Mol Diagn Ther. 2006;10(3):135-51.
Fontana R, Lown K, Paine M, et al. Effects of a chargrilled meat diet on expression of CYP3A, CYP1A, and P-glycoprotein levels in healthy volunteers. Gastroenterology. 1999;117 (1): 89-98.
Ingelman-Sunderberg M, Sim SC, Gomez A, et al. Influence of cytochrome P450 polymorphisms on drug therapies: Pharmacogenetic, pharmacoepigenetic and clinical aspects. Pharm Therap. 2007;116:496-526.
Jain KK. Applications of Amplichip CYP450. Mol Diagn. 2005;9(3):119-27.
Kirchheiner J, Seeringer A. Clinical implications of pharmacogenetics of cytochrome P450 drug metabolizing enzymes. Biochim Biophys Acta. 2007 Mar;1770(3):489-94.
Lynch T, Price A. The effect of cytochrome P450 metabolism on drug response, interactions, and adverse effects. Am Fam Physician. 2007;76:391-6.
Meijerman I, Sanderson LM, Beijnen JH, et al. Pharmacogenetic screening of the gene deletion and duplications of CYP2D6. Drug Metab Rev. 2007;39(1):45-60.
Moonen H, Engels L, Kleinjans J, et al. The CYP1A2-164A-->C polymorphism (CYP1A2*1F) is associated with the risk for colorectal adenomas in humans. Cancer Lett. 2005 Nov 8;229(1):25-31.
National Center for Biotechnology Information. .
National Human Genome Research Institute (NHGRI). .
Natural Standard: The Authority on Integrative Medicine. .
Wijnen PA, Op den Buijsch PA, Drent M et al. Review article: the prevalence and clinical relevance of cytochrome P450 polymorphisms. Aliment Pharmacol Ther. 2007;26(Suppl 2):211-9.
Copyright © 2011 Natural Standard (
The information in this monograph is intended for informational purposes only, and is meant to help users better understand health concerns. Information is based on review of scientific research data, historical practice patterns, and clinical experience. This information should not be interpreted as specific medical advice. Users should consult with a qualified healthcare provider for specific questions regarding therapies, diagnosis and/or health conditions, prior to making therapeutic decisions.
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This month I've been working with the third graders at Paul Cuffee School in Providence on storytelling. Every student has had to find a story to tell, and is now in the process of learning it, with an eye towards telling it to a wider audience. It's a process I've done a number of times, though not nearly as much as some other folks, like Beauty and the Beast (Martha Hamilton and Mitch Weiss) or Karen Chace.
One of the hardest things for any storyteller, regardless of age, is to take a story they've found on the printed page and make it their own. The translation from the written word back to oral is much more difficult than one might think. Children (and adults, too) can be pretty daunted, thinking they have to learn a story word for word. You can tell them, as I do, that they need not worry about particular words, but instead think of the scenes, work on the images, and tell their story in their own words. Still, there is that awkward memory of the words on the page, as if that is really the story. This is true for all art – making something your own, and not acting according to the schematic that is first presented – the work has to come from inside. As they say, the map is not the territory. But getting off the map is very difficult.
I developed an exercise last week that begins to address that process. The students had chosen the story, read it over a number of times, and made story maps of it – trying to identify each scene and drawing a picture that represented it. But they needed to tell it in their own words. Here's what I did:
I had the students set up chairs in two circles, one inside the other – the chairs facing each other, so each kid had a partner. I then told them that the students on the inside had two minutes to tell their stories. More precisely, to just tell what happened. I timed them. When they finished, their partners on the outside told their stories. When the pair had finished, I had the people on the outside move one chair to their left, and we repeated the process. When those pairs had finished, I had the people on the inside move one chair to their left and repeat the process again. But this third time, I told them they were allowed to take three minutes to tell the story.
It worked pretty well. With the directions given, there was an eruption of protest. Kids said they couldn't remember the whole story, or if they could, they couldn't tell it in such a short time. "Too bad," I said. "Just get through it". They did. The second telling was easier. With the third telling, when I gave them an extra minute, they breathed a sigh of relief, and with my encouragement, slowed down to tell a little more. There was till some struggling, but after telling the story three times in fifteen minutes, the outline of the story was becoming clear in their minds. Because of the time limit, they had to throw away the written text and just get to the point. Now they had it fixed in their mind what happened in the story, and could begin to make it their own.
The exercise got me thinking about the challenge of being real in one's art. It is hard to move from a concept of what the art is to the art itself, because in the end it has to come from inside of us if it's going to be real. I was reminded of this when I went to see a play last weekend. It was pretty uninspiring, and my brother-in-law, Philip Stewart, who has done a lot of acting in his time, noted that the lead was not really acting, but indicating – the role wasn't coming out of him, instead he was doing things that pointed towards what his character should be doing or feeling – like using shorthand. It's like a kid who draws a picture of a tree where the trunk is brown and spread at the bottom, and the top is a round, scalloped ball of green – the schematic tree in the head, not a tree that actually exists. Or the writer that uses metaphors someone else has used before. Or the storyteller reciting a script they have memorized, rather than using their own language to impart the pictures in their head.
Making the students respond in a short amount of time, pulling the script away from them, leaves them to their own devices. They don't have time to think, they just have to do – and it's just doing that leads to authentic performance. When they have to use their own words, they begin to make the story their own. Then the story can grow.


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For anyone involved in the consumer tech industry, the 2013 International CES (formerly known as the Consumer Electronics Show) is the holy grail of exposure and opportunity.
The largest such tradeshow in the world, CES attracts more than 150,000 attendees eager to see what's next in the world of tech and online content. The show is open to those with affiliation to the consumer electronics industry, such as engineers, buyers and industry analysts, as well as the press.
Many local companies were in attendance this year, including three from Irvine who made waves at the event.
Designing success
"We've been coming to CES for seven years," said Nicole Kegley, who handles public relations for the Irvine mobile device accessory company Incipio. "We keep coming back because our innovative product line keeps building and building and building. Every year it gets bigger. Every time there's been an iPhone launch, we've doubled our business."
Kegley credits the company's location for its design sensibility.
"We just embrace the Southern California lifestyle feel in all of our products — the environment and atmosphere are what we're all about," she said.
Irvine-based Spider International designs cables, headphones and related audio accessories. Now in its second year at CES, the company has doubled its exhibit space to a 20-by-20-foot pad, and plans to double it again next year.
"Our first year, we had a couple of clients from Asia worth $200,000 in business," said Stephanie Edery, the company's marketing manager. "We knew that we had to come back. It gives us huge exposure. It allows us to demonstrate our new products to people who can appreciate the sound."
Spider's big launch this year was its Doby Pro Headphone Amp, which allows consumers to experience five-channel Dolby surround sound using their own headphones and laptop or phone.
"Everybody who's been coming by has said, 'That's what I'm looking for,'" Edery said.
Taking the industry's pulse
In addition to its booth on the CES floor, Irvine-based medical device company Masimo garnered a coveted spot at the annual CES Unveiled press event, where it launched its new iOS-compatible iSpO2 pulse oximeter.
Geared for athletes and pilots, the device allows consumers to measure their blood oxygen level and other factors using the same type of non-invasive device used in hospitals. The device plugs into an iPhone or other iOS device.
To attract crowds, Masimo brought in the Guinness world-record-holder for breath-holding, Stig "The Ultimate Superhuman" Severinsen. Severinsen, a diver, held his breath for 22 minutes to receive his world record title, but opted to hold his breath for roughly five minutes at a time at the press event, while the device measured his oxygen levels.
"We made iSpO2 for consumers interested in obtaining the accurate SpO2, pulse rate, and perfusion index readings that Masimo has been known for throughout the health-care industry," said Masimo founder and Chief Executive Joe Kiani. "At CES, consumers have an opportunity to see for themselves the quality and utility of iSpO2."
'Born mobile'
More than 3,500 exhibitors are spread out across 1.9 million square feet, roughly the size of 33 football fields, in multiple convention centers and hotels across Las Vegas. The event is seen as a savior for the area tourism industry, which takes a beating in the cold, windy winter months. Hotel prices skyrocket; otherwise-empty clubs fill up; and one brothel reported a 75% increase in business. A small army of shuttle bus companies from throughout the region is employed for the week to move crowds from one CES site to the next.
Organizers announced that this year's show broke records for both the number of exhibitors and the show's square footage; roughly 20,000 products from more than 3,250 exhibitors from around the globe were launched this week at CES. The common metaphor is that CES is its own small city, where both the good and the bad are unveiled; technologies like the VCR, DVD and Nintendo gaming system have debuted at CES, along with countless now-forgotten one-hit wonders.
The hot topics this year include Ultra HD and OLED televisions; connected home appliances that can be controlled through mobile phone apps; voice and facial recognition technology; and connectivity that allows consumers to view their television and film subscriber content on any television or device. Qualcomm Chairman Paul Jacobs, in his keynote address, made the point that all consumers are now "born mobile" — that connectivity is at the heart of everything in today's world.
Some of the more eye-raising products announced include a fork that will monitor your food consumption.
Since 2003, Microsoft had presented the event's signature keynote address, with either Bill Gates or Steve Ballmer making the presentation; their announcement that they would pull out from the show last year drew questions as to the future of CES. But other companies have filled the void, and attracted special guests ranging from Bill Clinton to Big Bird to make special appearances this year, along with a surprise appearance by Ballmer himself in what is being seen as a "passing of the torch."
Myriad conferences and related special events, such as the Emmy Awards for technology, are held concurrently both on- and off-site. Conference tracks range from emerging technologies to the future of digital health to a summit on the phenomenon of the "second screen," in which television viewers have become accustomed to using their mobile phones or tablet devices to Google questions or tweet their thoughts about whatever they are watching while an episode or movie plays.
Twitter: @TheDailyPilot


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I'm a liberal, pro-welfare state New York Jew. I'm not only pro-choice, I think there should be government funded drive-thru abortion centers in every city in the country. I think gay dudes and gay women should be allowed to marry, and if they could find a way for gay guys to have babies, I'd be for that too.
Drugs: legalize all of 'em. Tax the rich, feed the poor, and remove the word "God" from anything paid for by the government. I believe in Creationism as much as I do Santa Claus, and if you think climate change is bullshit, I think you're a fucking moron.
So why do I support Michele Bachmann's run? For the same reason I used to email good looking, idiots on dating sites. You know, the type whose picture looked too good not to click on. And then when you'd actually read the stupid shit they wrote, you'd roll your eyes, but would still email them out of morbid curiosity in the hope that maybe, possibly you'd get to bang a stupid chick from Match.com. I remember one such scholar I emailed from Mamaroneck. When I asked her how close that was to MaManhattan, she declined my message.
But with Bachmann as president, we're all guaranteed to get fucked. It's a sure thing. She may actually be stupider than GW, but gosh, ain't she purdy?
This country is in desperate need not of jobs, not of economic reform, not of better education, but of a president we'd like to fuck. So let's elect a Commander in Chief the same way we determine who's the most popular on Jdate.


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Stainless Steel and Modern Architecture
23rd June 2010
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For hundreds of years, all buildings were constructed primarily of wood and masonry. This began to change dramatically in the 18th century when wrought iron and cast iron were introduced as construction materials. Swiftly, a variety of metals took over as the preferred foundation for construction and architecture, a legacy which continues to this day. Iron initially supplanted both wood and masonry because of its superior strength and fire resistance, especially the latter. Several disastrous fires in the latter part of the 18th century led to the development of less combustible buildings which relied on cast iron as a major element of their construction.
Cast iron was also preferred for large public buildings due to the fact that a huge floor could be built with iron supports that prevented bouncing, or sagging in the middle, which was the case for flooring constructed with wooden supports.
Iron as a primary architectural material was in its turn overridden by the superior attributes of steel, for both
sheet metal
and supports. Steel is stronger than both cast iron and wrought iron and also has a greater resistance to corrosion.
The advent of the mass production of steel in the 19th century revolutionized architecture, leading to the ability to design and build enormously tall structures such as skyscrapers.
At the beginning of the 20th century, stainless steel was developed. Due to its aesthetic appeal and extremely high corrosion resistance, it became an external feature of much architecture. Buildings in marine environments often choose stainless steel sheeting for their exterior, since the building materials are exposed to corrosive elements. This is not only a concern for the surface area; many structures in such environments also use
stainless steel material
in their foundations, since the soil will be more corrosive than usual due to salt content.
By far the most well-known use of stainless steel in modern architecture though, is for its luster and visual appeal. The Chrysler Building in New York City is the chief early example of using stainless steel plate for its aesthetic attributes. The Chrysler Building was the first large scale use of stainless steel and was completed in 1930. It proves the superiority of stainless steel material used externally since today, almost one hundred years later, the stainless steel of this world famous building is in near pristine condition.
Another famous modern use of stainless steel material for construction is the Gateway Arch in St. Louis, Missouri. The Arch was designed to last one thousand years, which is one of the primary reasons the architect chose stainless steel. Also, like the Chrysler Building, the steel used in the Arch is to this day still in excellent condition, effortlessly maintaining its striking visual appeal.
Currently, celebrated architect Frank Gehry often chooses stainless steel sheeting to clad his spectacular buildings; the most well known example in the U.S. being the Walt Disney Concert Hall in Los Angeles.
Truly, steel has revolutionized architecture, from the steel used for interior supports and foundations, enabling buildings to rise toward the sky, to the dramatic use of stainless steel plate on buildings' exteriors, commanding our attention.
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Superior Room Twin
A double room with added comforts. The room features two single beds.
May 25 - May 26 1 adult
A spacious and comfortable room; the desk makes it easy for you to take care of your work. En suite bathroom with shower, hairdryer, and complimentary toiletries. Telephone, coffee-maker, minibar and flatscreen TV with a varied selection of channels and the option of logging on to entertainment services, plus free WiFi.These rooms offer views of the fjord.
- Free WiFi
- Breakfast is always included
- Eco-Lighthouse certified
- Richer selection of toiletries
- Travel magazines
- Bathrobe and slippers
- Mini-bar
- Telephone
- Kettle
- Coffee and tea
From NOK 1,516 per night


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Thursday, March 12, 2009
Simon Rose - Guest Author Today!
24 comments:
Great interview, Donna. It's great to learn more about Simon.ReplyDelete
Dear Donna and Simon,ReplyDelete
Great interview! Simon, your books combining the paranormal and ancient civilizations sound awesome--I'm going to check them out.
I'd also like to take this opportunity to ask a question.
I'll be giving my first story writing workshop to kids from 5 to 12 soon... I was wondering if you could offer me some practical tips. I have read books on the subject and have a general idea on what to do, but I know that what differentiates boring from entertaining presentations is the details.
So, what should I know that the average book won't tell me?
Anything specific I should really keep in mind?
I guess that's two questions... :-)
Thanks in advance!
This comment has been removed by the author.ReplyDelete
Hi Mayra,ReplyDelete
I do a lot of school visits, workshops and presentations, but wondered if you had children from five to twelve in the same audience? That is too large of an age range in my view, especially for a workshop, and it will be hard to keep the attention of all the students.
Is this a workshop or more of a presentation and reading?
If you are interested in my books, you can always get copies directly from me, autographed of course.
Hi Simon,ReplyDelete
I should have been given more details.
The groups will be separated:
5-6 year olds
By classes.
I didn't know you had books on the subject. I definitely have to check them out. My workshop will be first week of May. Yes, it will be a workshop, so I have to teach them how to build a story.
I just bought a book: How to Teach Story Writing, Key Stage 1, by Pie Corbett.
For the younger ones, I thought I'd use the mountain or ladder allegory, then give them story starter pages for them to finish.
I still have to plan for the older ones.
Interesting interview, Donna. I'm glad to learn about Simon and his writing.ReplyDelete
Although I don't write science fiction or fantasy, I enjoy well-written books of almost all genre, especially if well-written and child appropriate. If 4RV gets a submission for children's sci-fi or fantasy, I have one of my grandsons read it and give his opinion. If he says it's good, we accept it. It's funny when he says, "This is a good book, and you should take it. But it will take some work because ..." and he gives me some problem areas. He's been correct every time so far.
Uh, that's how we accepted Katie Hines' book, with Shane's recommendation.
What a great interview!ReplyDelete
Simon- you seem like a person who has a gift for staying focused and getting the most important thing done- writing! Is there a certain time that you concentrate on writing- what's your secret?
All the best,
Ladies...thanks for stopping by and commenting today. The fun hasn't stopped yet. Simon will return to answer your questions...I promise!ReplyDelete
Vivian...how old is your son?
Best wishes,
Hi again Mayra,ReplyDelete
I don't have any books on this topic, but do have a number of articles about Author Visits on Ezines at
http://ezinearticles.com/?expert_bio=Simon_Rose. You will need to scroll down to the bottom of the list.
If the classes are split up that will be a lot better, although it appears you don't get much time with them. How long will you have to teach them about writing and how much time will they have to actually create something? Or will they be writing their stories after your time at the school, based on what they have learned in the workshops?
I spend around an hour on a presentation, but workshops need to be longer and its ideal if they are conducted over several sessions. I just spent a week as the Author in Residence at a local school, working with students in grade k to 3. With grades k and 1, we looked at story structure, creating a story with a well-defined beginning, middle and end and the students gave full reign to their incredible imagination to conceive their own special adventure on a fairy tale theme.
With grades 2 and 3, we explored the superhero genre, before students created their very own unique hero, and wrote a short story about them. The Emerald Curse, my fourth novel, was influenced by the comic books and superhero adventure stories I read whilst growing up, so this was more related to the subject matter of my books.
Earlier this year, I did a couple of weeks at another school, where I worked with older grades as well. With grades 5/6, students invented their own time machine or device and explored how to write gripping fiction and cliffhanger endings. The Heretic's Tomb, The Alchemist's Portrait and The Sorcerer's Letterbox all involve time travel and we also discussed the importance of historical research when crafting these types of stories.
With older grades I also do workshops on developing characters, then creating dialogue for them.
Donna, my grandson is 12 and reads on a grade 12+ level.ReplyDelete
Great interview. I'll have to read about your school presentations, Simon. Thanks for telling us about your books.ReplyDelete
Thanks so much. I'll check out your articles on the subject.ReplyDelete
I'll have about 45-60 mins with each group and I'll see them for five days.
With grades K-3, did you create the story orally? Did you use a whiteboard to write and explain the elements?
I plan to give them the story starters to write after my lesson, not during.
With grades 2 and 3, did they write the hero story during your workshop, or afterwards to give to their teacher?
Thank you for your generosity, Simon! I really appreciate this and your responses have been very helpful!
Hi Lori,ReplyDelete
Thanks for your comments about the interview.
I'm not sure if there is a secret. I write all the time really, but would perhaps prefer to concentrate on new books more often. I do a lot of marketing and promotion just about every day, as well as write articles, blogs etc. Staying focused on it all is important since this is a full time job for me and I am the only one bringing home the bacon.
There is no set routine really, but I think perhaps I may concentrate more on marketing in the day and do creative stuff at night, but this is not a hard and fast rule.
Hi Mayra,ReplyDelete
If you're with tme for several days, that will work well.
With the younger grades, I use a whiteboard to record their ideas as we create the story together.
With the older ones, we talked about the superhero genre and I explained the project, then they wrote the beginning. In the subsequent session, we went over that, then worked on the middle, then the end etc. They wrote their story, both in the classes with me, in later class time with the teacher and even for homework.
Makes perfect sense, Simon!ReplyDelete
Thanks again for giving us your time like this!
Wow, I just took a look at Simon's Ezine Articles on www.ezinearticles.com. What a wealth of information! I recommend you all to take a look.ReplyDelete
Donna, thank you for inviting Simon for this interview.ReplyDelete
Loved the interview, Simon! As a teacher, I might have some ideas for Mayra. What I'll do is write them on my blog and share them with everyone.:)
Also, I wondered when you mentioned that you were in New York, where you lived? I am a New Yorker and lived in both Brooklyn and Queens.
You have some great ideas for workshops.
I enjoyed reading how you organize your day.
Hello All...thanks for taking the time out today and stopping by to meet Simon. It's been a terrific day, but it's not over yet. If interested, make sure you stop back.ReplyDelete
Best wishes,
Wonderful post. I envy such writing talent and success and very much admire Simon and his work. Thanks for sharing.ReplyDelete
I'm a first time visitor to your site (I came through Twitter!) and this is a fantastic interivew. Thanks!ReplyDelete
Great interview, Donna. I read Simon's The Sorcerer's Letterbox and it's wonderful. I highly recommend it.ReplyDelete
I also admire Simon's work.
Thanks everyone. It was a pleasure to be here today.ReplyDelete
Simon...it was a true pleasure hosting you. I look forward to having you back in the future.ReplyDelete
Warm regards,
Great interview! I'm fascinated by the way Simon combines paranormal and ancient civilizations. Thanks for sharing.ReplyDelete
Thank for you taking the time out to visit with me and to learn about my writing career.
Please be sure to leave your blog address so I can reciprocate.
I look forward to visiting you too.


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If you're using Google Drive to store your office documents on, then surely all you need to both viewing and editing those documents is the Google Drive app, right? Apparently not, because Google has released this, a lightweight, standalone app for – guess what – viewing and editing word processing documents.
Confused? We were too. At first glance they share identical functionality – view, edit and open up your documents for sharing. The tools for editing your documents are also the same on both apps. While it's true that Google Docs is a faster, smaller app – which could be a consideration if your phone or tablet struggles with Google Drive's demands – there's no obvious reason to choose this over the other, particularly as the other also supports viewing and editing spreadsheets and other documents in your Google Drive storage too.
But wait, here's the clincher: only Google Docs (and its companion app for spreadsheets, Google Sheets) lets you access your documents offline, allowing you to view and edit them without being connected.
To do this, you'll need to open the document as normal, then tap the "i" button. Flick the "Keep on this device" switch to On and you're good to go. By default, the app allows you to store up to 50MB of data on your device – fully encrypted – at any one time. To change this figure or clear the cache, open the main menu and tap Settings.
If you want offline access to your word processing documents, then Google Docs is the app you'll need.