text:
an interview with Nick Zammuto, who plays Schubas next week
Nick Zammuto is on tour with his project Zammuto, in support of their self-titled debut LP. It's their first headlining tour after supporting Gotye and Explosions In The Sky earlier this year. They'll be performing at Schubas this Tuesday (10/9) and tickets are still available.
Nick and I spoke earlier this week about transitioning from The Books to Zammuto, his family and lifestyle, and how he relates his chemistry degree to the creative process of music.
Our chat begins below…
bvChicago: I saw you guys play on the Explosions in the Sky tour. I thought that was a good pairing. It's strange but there was some kind of feeling that tied it together between your bands.
Nick Zammuto: Yeah, spending those times with those guys – we really hit it off. We just love those guys. They've been super generous with us. Stylistically, it's pretty different. Their stuff is kind of like epic, and ours is kind of more detailed and quirky. I think there's a similar sense of joy that we have when we play. Hopefully people feel something positive.
bvC: What was your experience like touring with Gotye?
Nick: It was a great experience. That crew is amazing. Wally is in the eye of the hurricane. I think, in that respect he was very taken aback by the incredible response to that song ["Somebody That I Used To Know"]. It hasn't seemed to have affected his core very much, which is amazing. He's kind of running with it. He's in a lot of ways like us; he's been working his ass off for years and just had this song. The shows were interesting, because you know, people would cheer after we were done, and their cheers were like an octave higher than like a normal response because it was all teenage girls in the audience. I don't think the audience crossover was quite as clean with the Gotye crowd, but we definitely made some fans, especially of the parents that were bringing their small children along to appreciate the show.
bvC: How did "Battle Hymn of the Republic" make it into your set?
Nick: (Laughs) Yeah, well, that's the biggest question – a very unexpected thing. I have this enormous collection of VHS cassettes that I developed when I was part of The Books and I still have a lot of that stuff lying around. I was looking at it and this tape jumped out at me, this autoharp instructional video and it just had to be done. It was one of those things that just happened instantaneously. We put that together within a day of seeing that. He plays "Battle Hymn of the Republic" very slowly on the autoharp and each time he goes through it he adds a layer of complexity, but it's still all done really slowly, so I'm like man we gotta blow this up in an interesting way and have this strange proggy freak-out and have it return to this well known melody at the end and it all made sense.
When I showed it to the band, I was like "this is what we're going to do, we're going to basically do a cover of this well known song and then we're going to do this proggy freak-out, alright?" and they were like "ok…" It changes time signature every bar basically and it took them a while to figure it, but I think now they understand the flow of it and it has become one of our favorite things to play because it jumps off the stage in a way that we really love, and it has all of these unexpected changes. The concept was simple – it was to take tiny fragments of his playing – basically 2, 4, 8, 16 frame pieces of it, because everything based on the frame rate of VHS and the tempo. So as long as I took collections of frames that were divisible by two, I could somehow get them to fit within the structure.
bvC: In the recordings from when you played in Athens, Georgia – was the guy who loves "Zebra Butt" doing anything other than yelling?
Nick: (Laughs) That guy… yeah. I have no explanation for that. That was one of the craziest nights we've ever had. We played in Miami the night before, which means we drove over 700 miles to drive to that show. We drove overnight and were out of our minds. We were like on another planet when we arrived in Athens, Georgia. Not one, but like several people in the audience were really into "Zebra Butt" for some reason. I couldn't tell if they were trying to make fun of us or if they were really with us, but by the end it seemed like they were really with us. When I first came up with the idea of "Zebra Butt," and I ran it by everybody including our label, they were like "come on, man, don't call it that! It's just ridiculous." I was like, "trust me guys, Google 'Zebra Butt' and it will change your life." I highly recommend that everyone Googles "Zebra Butt," it's the most incredible collection of images you will ever see. Each one is like a fingerprint or a snowflake.
bvC: How long do you see yourself continuing this project now that it's picked up?
Nick: Well, as long as people will let me – so far so good. We've had some really amazing shows, especially in the towns where The Books had a really good turnout. People have been coming out and the shows have been excellent. I feel like we still have a lot of growing to do to make sure that we can survive, but the amount of positive reaction has been overwhelming. We have high hopes but we're definitely in the phase where really need people to turn to make sure we can.
bvC: What inspired you to blog during the songwriting and recording process and post those demos?
Nick: The Books were coming to an end and I think I had known that we weren't going to be able to continue it. It turned out that the last Books tour was not feeling stable or happy at all, so I started thinking about what I wanted to do next. It became kind of a do or die situation. I'm asking the universe to have lightning strike twice. To have two bands that you can tour with seems like it would be impossible. I was trying to figure out how to get people in on the new project as smoothly as possible. I wanted to use my own voice. I felt like within the Books I was working so hard on the project and always speaking for two people, where really I just wanted to speak for myself so it was a chance for me to do that with the new project, kind of have this transparency from the beginning, and people seemed to appreciate it. People seemed to appreciate. I guess, the industry to a degree, they were interested in what I was doing, seemed to be okay with it. We were able to do a record release even though all the tracks were kind of out there already by the time we released it. It was a great way to interact people and have interesting conversation about the creative process. It definitely helped the process along to see what people were responding.
bvC: I had noticed that you had done a lot of the blogging on the Books blog as well.
Nick: Yeah, I feel like that was part of my role in The Books. Things were so difficult for those last few years that I really became kind of disheartened. The chance to tell the story from my own perspective has been good – therapeutic in a way. I want to continue on with that. I kind of started telling the story of The Books, but I ran out of time, I got too busy with other things. My plan is to go back and write about each track and where it came from and where we were when we made it. More for myself than anything, before I forget I want to get it done and into words. Journaling helps me to process things.
bvC: My father spent many years as an analytical chemist, so I sent him some of your blog posts about being a chemistry student and asked if he had any questions, and he asked – Do you see any analogies between how molecules react together and how music and words come together in your mind?
Nick: Absolutely. Yeah. From the very beginning it became a very resonate thing. You have to finesse molecules in order to get them to do what you want them to do. I knew this one guy who would write the chemical reaction on the glass beaker in reverse so the molecules could "see" them. It's a geeky thing, but it's a thing that's always stuck with me. Trying to get all of these tiny things to work together to do something that you want them to do, that's the beauty of chemistry. It's not the concepts so much, but being in the lab and actually trying to make stuff happen. It's like cooking food; it's a real art. Music is the same way. You can bring any two things in proximity; any two sounds are going to start to interact. They're going to be in tune with each other or out of tune with each other, and then you can take steps to bring them into tune. I guess some of the chemical work that I've always used was the idea of valance. Like, the carbon atom has four valences – it means it can connect to four things. Sounds have handles in kind of the same way. They want to combine with other things in certain ways. I think that's why 4/4 has become such a common meter in music. It has a sort of elemental proxy that makes sense to people. The more I try to compose, the more these valences are found. When you have a bunch of sounds and you throw them together, they spontaneously form a certain kind of music often. I feel like I'm not in control of it whatsoever, I'm just sort of there to watch it happen, so it's a lot of fun.
bvC: How did you get involved in that film about Haitian voodoo, Achantè?
Nick: Ha, yeah, Haitian voodoo… that was a really, really satisfying project to work on, and it came at just the right time as well, because I need a project before I started working on the Zammuto record to kind of reset me, in a way. Emily McMehen and her co-producer, Geoffrey Sautner, wrote me an e-mail one day explaining the project, and they sent me some of the video they had shot in Haiti. They had been fans of The Books, so they knew the kind of sound they were after. I don't think they had a very specific thing in mind, but they asked me if I wanted to do and I said, "yes" right away. They're doing a wider release at some point. It's a really music-directed film. There's hardly any narrative to it at all. It was sort of counting on the footage to tell the story of the voodoo ritual. The concept was not to go in and make some kind of ethnographic film about the religion of voodoo, the idea was to go in and give people the experience of what it's like to actually participate in it. They filmed four voodoo ceremonies – a couple in the city and a couple in the country. If you know what you're looking at, if you have some experience with voodoo iconography, you can kind of see all of these characters interacting, so they explained to me what was going on and I was able to write those characters into the music in a way.
The epiphany for us was to realize that part of the tension of making anything about Haiti at this point is like white people going into this very deep African-based traditional – I mean it's a very strange combination of African and Christian influences – so you feel like you're entering another world. The idea was not to try to make something that sounded like Haitian music whatsoever, which would have just been disingenuous. So instead we settled on this kind of throbbing, dancey approach to the soundtrack, which actually had a lot of synth in it. The lead voices were kind of possessed synthetic sounds – not like pretty synthesized, kind of ugly ones. They brought the film down to Haiti show people and they were of course worried about that, and they all loved it, like "Finally, someone has represented our religion in a way that we can agree with."
bvC: I noticed in the trailer that one of those songs ended in your album in a different form.
Nick: One motif ended up making it onto the record.
bvC: When is that soundtrack coming out?
Nick: I haven't talked to Emily in a while but I'm actually working on another short soundtrack for her about Mongolian contortionists, which is also really beautifully shot. I need to talk to her soon anyway; we'll talk about how to release it. I think it's about time that film has a general release and maybe I can make it available on DVD or something.
bvC: When did you start developing your lifestyle, as seen in the Naked Musicians video?
Nick: It's my wife. She's the most incredible person I know and I'm just so lucky to have her to keep me sane and busy. I think my life would be very different without her. Luckily, we share this vision. We're happy to live slightly outside of society in a way. It's not like we're luddites or anything – we have electricity, we have running water. It came out of necessity rather than idealism. I'm a musician; I don't make a lot of money. We just wanted to keep our overhead as low as possible. When Molly was pregnant with our first son, we started looking for a place. Molly really took it upon herself to find the perfect place. Along with pregnancy comes this unbelievable flood of nesting chemicals, so she was really driven to find the perfect place. We were looking around the town where we were living in Western Massachusetts – North Adams. We didn't find anything within ten miles of where we were that would allow us to grow anything. There wasn't enough space and it was too expensive, so Molly started looking slightly further out from where we had originally planned to look and found this picture on ForSaleByOwner.com of this little brown shack, and it looked like an absolute piece of shit. It WAS an absolute piece of shit, but it was on a beautiful piece of property -16 acres, way up high in the Green Mountains. Close enough to town that we could easily go to the grocery store a couple times a week to resupply, but pretty out there. They had this shack on it. It was in the middle of the winter and she wrote me this e-mail with a picture attached and said, "This is it, this is where we're going to live, okay?" I'm like, "It looks like a dilapidated shack in the middle of a field of slush." Apparently she had dug through the snow and found all these blueberry plants and soil underneath.
So we bought the place, not even knowing what was under the snow, and it turned out to be absolutely perfect. There are wild blueberries over most of the property. Apparently there was a farm there that had enriched the soil a lot in one section of the yard, so that's where our garden is. Over time we've been able to learn carpentry and now we know enough to build our own structures, and so we started doing that in 2008 in the break between Lost and Safe and The Way Out. We were able to add on to our own house and basically double the size of it and renovate the whole thing at the same time. There's nothing more satisfying than living in the structure that you've built yourself. It's an incredible feeling- I highly recommend it.
It was just meeting Molly and having someone who was willing to take that risk with me. There's a million other ways my life could have turned out for certain, but I'm really happy with our place and where we are. It's also a great place to work and get music done because my studio is detached from the house. It's about 100 feet away from the house in this little tractor garage. I insulated it and put a floor in there. It's tiny but it sounds great in there, so I never have to work with headphones anymore. I play drums as loud as I want, day or night, and not wake anyone up, so there's no inhibition. If I was living in town, I'd always have to worry about the neighbors and things like that.
bvC: You posted on your blog that your wife helped you put the limited edition vinyl together. Have you done much DIY stuff as far as art goes? Have you collaborated with her on other art projects?
Nick: I guess I've always been interested in embracing music as an object as well as the sound. I think for people who are interested in owning the object of it, you know CDs and industrially produced vinyl can only go so far. I think people really want a personal touch if they're actually going to own the object, so the idea is the make something really unique. Molly and I bought a four-color screen printing set-up about halfway through making the record, and we started making t-shirts and posters and other stuff for the band, and it's been great, because we both studied the visual arts, so I think we both have a knack for printmaking, especially, as a process. Since we have kids running around, we can tag-team production. When you're working with water-based inks, you cannot let them dry out or you'll lose your screen, so you have to keep going once you start. One of us will be controlling the children while the other one is printing and then we'll switch off and it works pretty well.
bvC: What role does music play in your children's lives?
Nick: It's totally up to them. They seem to be tuned into it pretty well. My oldest one has a very scientific kind of mind. I think he could be a good composer, but I'm definitely not going to force him into it. I never had lessons of any kind, or any kind of music education, really. I'm very wary of planting things in his mind that might become an impediment later on. I'd much rather have him teach himself about music rather than me teach him, because I want him to form spontaneously.
The second one, Asa, is definitely not a scientist. He's like the magical rainbow. Like, really different from his brother. He's the dancer. You put on the Bee Gees and he goes totally crazy. He channels John Travolta. It's amazing.
The little guy, I don't know, he's only a year old. He can keep a really steady beat when you put a stick in his hand. It's really steady.
bvC: There's one video where someone is playing a glockenspiel and he's just watching.
Nick: That's actually Sean, my drummer, playing that. He's a very even-keeled little boy. He has a long attention span.
bvC: Do you still capture field recordings?
Nick: I do, and I still collect vinyl and VHS, and I think that's always going to be a part of my process and I think it's going to come into the foreground sometimes and then recede into the background other times. The record was very much based around the songs I was writing, but the live show, more than the record, still has this collage component, and we're going to continue on in that vein. I just created a cover song of The Books song "That Right Ain't Shit" and then recreated a video for it as well, kind of in The Books style of collage on the VHS. That goes over really well, like a very strangely sexual version of that song and is a lot of fun.
Studio recordings are great because they're clean, and field recording are great because they're dirty. There's unintentional stuff that happens that really feeds into the music in a really interesting way for me, with things that are unexpected and absolutely essential for the music to work.
bvC: When you were collecting samples in public places, where did you have your recorder?
Nick: (Laughs) The best way to do it is to actually videotape, because if you're pointing your video camera at an object, then of course you're capturing the sound 360 degrees around you, but everyone assumes that you're only interested in the object that you're filming. So, if you want to capture a conversation between two people, you just go up with your video camera and videotape someone else standing right next to you or a tree or whatever and they'll pay you no mind whatsoever. It's like a slight of hand.
bvC: Did you learn that trick as you went along?
Nick: No, I discovered it. One of the first recordings that I ever made that ended up in a song was for "Motherless Bastard" on the first Books record, where it's the sound of this little girl saying, "Mommy! Daddy! Mommy! Daddy!" and the father's like, "You have no mother and father." As a father I totally understand his frustration because the girl just wanted to show him everything, like "Look at this! Look at this!" and he's just getting tired of it, which is understandable. So, I was videotaping jellyfish right next to this conversation, and I didn't fully realize what I had captured on the audio track until I brought it home to watch the jellyfish video, and lo and behold I have this incredible conversation between a father and his daughter recorded. Those kinds of things are just magical, amazing.
bvC: In an early Books interview you did with Mark Richardson of Pitchfork, who taught one of my college classes, you had said at the time in 2003 that you hadn't embraced the Internet, and therefore hadn't discovered a vast amount of music. Has that changed at all for you?
Nick: The Internet has changed things, and Mark kind of wrote the obituary of The Books in a beautiful way I think, and I really appreciate that he did for us over the years. Without that first review, I don't think The Books would have really existed, because for me it was very much like a passing collaboration with one dude – Paul. When that Pitchfork review happened it was like, "Oh my god, we're a band now, so let's make another record." If there hadn't been a response to that record I would have done something else. I kind of owe Mark my career in this basic way.
He made the point in review of The Books box set that the Internet really has changed sample-based work because it's so much easier to find weird things and exploit them, and that's true. For me, that's a good enough explanation of why The Books made attempts to end, though that's not the real reason. It's a tidy way to say that people have moved on.
The Books never used the Internet as a search tool. I think we were always interested in things that had no Google footprint whatsoever, and those things still exist in large quantities, you know, stuff that's never going to be on the Internet. If you go to a thrift shop and look at all the outdated media there, that stuff is still untraceable to a large degree. I love that idea that there is this archaeology of the recent past that there are these undiscovered things that you can make your own because otherwise they're just going to be in a landfill. If it doesn't end up being the focus of the new project, it's definitely still an inspiration to the new project.
bvC: Are you pretty selective in what media you take in?
Nick: Yeah, and mostly it's just a matter of not having enough time. Like, I haven't seen a movie in years. Not because I don't want to, but because I have three kids and I have to work in the studio all day. It's the same with music. I end up listening to a lot of the same stuff over and over again because that's how kids listen to music. Kids love to get to know something deeply. They'll listen to a record like 100 times in a row. They just demand it. There are a couple records that we listen to as a family that I'm really happy to hear 100 times in a row. We've been into Paul Simon's early work, like right after Garfunkel and before Graceland. For some reason all of my boys love that stuff. We've been on a Bee Gees kick. My sons really like The Police so we got The Police box set. Radiohead is something I've always loved, mostly for its production. As a side bar, we just got an opening gig for Ultraista's first performance in New York City, which I can't wait for. It's going to be a blast.
So yeah, I am very isolated. It takes a while for me to get into music. I think I can enjoy anything pretty deeply. It takes several listens for me to kind of crack the code of it. Usually I'm so involved in creating my own code that my head is very thick, it just takes a while for it to sink in. I never dismiss anything. I don't have a critical instinct, I don't think. I could never be a music journalist. I don't have a big enough view of music to be able to criticize it. I just want people to make as much music as possible, and say nothing that would shut that process down.
bvC: How do you feel you've developed as an instrumentalist, particularly a guitarist, over the past decade?
Nick: Again, that goes to the thickness of my skull. I'm a very reluctant musician. Some people just pick up a guitar and whatever they play is music, and that's not me. I just feel dense. When I pick up an instrument I just see strings, like, "Ok, I guess I should pluck these." That becomes part of music as well; trying to coax music out of an instrument is difficult for me. I feel I find things that are very out of the ordinary, very non-idiomatic, because I don't know what the hell I'm doing basically. Luckily the guys in my band are very proficient musicians. When they touch strings, music actually comes out of them. Once I have something that I really love compositionally, I can give it to them and they can reproduce it live usually right away. It's a great partnership with them.


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Strike a gong, and the sound burgeons outwards, but even as it swells, the sound is already dying. So it is with Boulez's music.
Ivan Hewett of The Telegraph writes about Dérive 1 for 6 instruments in his Classical Music Guide. The piece will be performed by Variable Geometry on 10 October at the Royal College of Music in London.
Other pieces mentioned: Notations II for piano ("In December 1945, when he wrote this piece, Boulez was the archetypal angry young man"), Notations II for orchestra ("The angry 20-second shout becomes a hectic two-minute dance") and Improvisation 1 sur Mallarmé: Le vierge, le vivace et le bel aujourd'hui ("Boulez's later version for big orchestra is fascinating, but it's just too luxuriantly beautiful").
Find the full article on The Telegraph.
Pierre Boulez: Dérive 1
for 6 Instruments
fl, cl(A), vib, pno, vln, vc
10.10.2013, Royal College of Music, London; Variable Geometry, cond. Jean-Philippe Calvin

subset: commoncrawl


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East Brunswick, NJ 08816
Professional Experience
Peter Shikar joined CBRE's East Brunswick office in 2011 as a Vice President. He has been a New York and New Jersey licensed commercial real estate salesperson since 2005, focusing exclusively on office leasing and sales, providing tenant and owner representation throughout northern and central New Jersey.
Specializing on strategic planning and developing long-term real estate solutions for his clients, Mr. Shikar brings a broad range of skills with more than ten years of experience in sales, marketing and new business development.
Serving on the landlord's behalf, he represents numerous prestigious landlords throughout the State, including KABR Real Estate Investment, Ivy Realty, and Hampshire Real Estate. He has completed tenant representation assignments on behalf of Verizon, Dole Fresh Foods, and Suntrust Bank.
Prior to his move into commercial real estate, he held various positions at companies such as Morgan Stanley, Deutsche Bank and Konica Minolta Business Solutions.
Professional Affiliations / Accreditations
- Licensed Real Estate Salesperson, New Jersey
- Licensed Real Estate Salesperson, New York
- City University of New York, Baruch College, Bachelor of Business Administration in Finance
- City University of New York, Baruch College, Master of Business Administration
- New York Real Estate School, Continuing Education
Significant Assignments
- M. Alfieri Co., 880,000 SF, Landlord Agency
- The KRE Group/Gain Capital, 44,000 SF, Relocation
- Premiere Healthcare Exchange, 17,000 SF, Headquarters relocation
- w2bi, 15,000 SF, Headquarters - Relocation
- Global Turnkey Systems, 9,500 SF, Renewal/restructure
- KABR/Justin Corporate Center, 60,000 SF, Building sale
- Hampshire Real Estate
- Ivy Realty
- KABR Real Estate Investment
- The Silverman Group
- Accordia Realty
- The KRE Group
- M. Alfieri Co.
- Meritage Properties


text:
Having mentioned to a colleague that I'd gone to see 12:08 East of Bucharest during the summer, he recommended that I catch the Romanian 2007 Palme d'Or winning 4 Months, 3 Weeks & 2 Days (4 Luni, 3 Saptamani Si 2 Zile) which he'd heard great things about back home. It was eventually released in the UK in January, and without reading up about it in advance, I caught a screening of it on Monday night, not quite knowing what to expect.
Set in 1987 Romania, it's a dark, drab, dreary world, where prosperity is just a lesser form of poverty, and the default emotion is a mix of sadness and futility. We spend a day with Otilia and Gabita (played by Anamaria Marinca and Laura Vasiliu), university roommates in a dorm where students casually sell off their unwanted cosmetics and cigarettes to each other. Everything has a price. No one can really afford to do a good turn without repayment. Bureaucracy and bribery are rife. And remember it's a time before affordable mobiles and text messaging.
With a slow build up, it's actually 34 minutes into the film before the characters talk about Gabita's condition and her decision. Still under the regime of Nicolae Ceausescu and before the end of communism, abortion is illegal. But the sometimes shy, unconfident and erratic Gabita has used her friend Otilia to arrange a termination, booking a hotel room and making contact with Mr Bebe. Gabita is right at the point where the offence switches from having (or assisting) an abortion to murder, and all three are being forced into taking an incredible risk - legally and medically.
Otilia is the real focus of the film, as we watch how she deals with the consequences of her actions and those of the people around her. Drawn by circumstance into the underworld, deeper and darker than she's ever had to delve before. Emotionally juggling her friend's need for help alongside her boyfriend Adi's expectations. Otilia's a punch bag that takes hits from everyone.
On-screen there's discomfort as friendship is stretched beyond what's normal, and long periods of silence when Gabita and Otilia are unable or unwilling to talk. A film that's punctuated by ghastly, awful silence.
There's a period in 4 Months ... where Gabita is trapped on the hotel bed unable to move, while Otilia is trapped at the dinner table of her boyfriend's house where they're having a birthday party for his mother. A must-attend event. Yet Otilia sits in the centre of the static picture, barely speaking for eight minutes as the rest of the party gabble, shriek and insult. The audience feel sick with worry as they watch, unable to intervene. The subtitles and the foreign dialogue enhance the feeling of remoteness and helplessness. Otilia suffers in silence, while over in the hotel, Gabita displays unexpected strength of character.
Oleg Mutu's camerawork has a very distinctive style: the camera tends to follow characters about from behind as they walk around the locations. And inside rooms the shot often stays fixed, allowing characters to walk in and out of the "wings" and sometimes only two of the three characters in a room will be shown, with another talking from out of the camera's view. Night time scenes are shot in near darkness! A novelty in a world dominated by Hollywood blockbusters whose visual (and plot) approach leaves little to the audience's imagination.
I've got to emphasise that this film is not comfortable to watch, and there were many moments on Monday night when people grimaced and looked away from Screen 2. The subject matter makes it a lot harder-hitting than the average certificate 15. It must be particularly awful to watch as a woman. I did briefly wonder whether it's a worthy subject for a film. But isn't all art meant to ask questions and challenge our default thinking and behaviour? It's not just about entertainment. Some might disagree - expect to see comments below! The director Cristian Mungiu sought to open up a debate in Romania about abortion.
Under Ceausescu, not only was abortion banned, but contraception was restricted in the 1960s to swell the population. Despite the risks, there was a demand for illegal terminations in Romania: an estimated 500,000 women died as a result of back street abortions. Once legalised at the end of communism, an incredible two million women took advantage of the procedure within the first twelve months.
4 Months ... is a stark reminder about how people can feel trapped by their circumstances, as well as tackling the realities of abortion - whether back-street or legal - and the emotional trauma that those involved suffer.
Writing for Salon.com, Andrew O'Hehir sets aside the issue of abortion and outlines his different view of this film noir:
"If this was a movie about young men instead of young women, and if the illegal activity in the story involved a suitcase of money or a harebrained plot to kill someone ... then its genre roots would be no mystery.
There's an unconscious sexist assumption at work here, which probably affects both male and female viewers: a supposedly serious film with female main characters has to be about explicitly marked-out 'issues' while a film about men can engage with cinema history, grapple with existential self-examination, explore the dark night of the soul, and so on.
In fact, although '4 Months, 3 Weeks' is about a woman who wants to have an abortion, it isn't about the question of abortion at all - whatever opinion you enter with on that subject is the same one you'll leave with.
... '4 Months, 3 Weeks' places a woman in the traditionally male role of the noir hero, who must suffer mental and physical anguish, reap the whirlwind from his/her bad decisions and push onward without displaying emotion."
At the end of the film, there is hope. Brokenness has been offset with determination. Despite the day's events, the film ends with Otilia's suggestion to Gabita over the hotel dinning room table:
"You know we're never going to talk about this?"
It's like they're gathering their skirts and moving on.
All over in 1 hour 49 minutes and 18 seconds, I was surprised at the amount of chatter as folk left the cinema. Perhaps compensating for their turmoil in their minds and stomachs? It'll be interesting to see how Mungiu completes trilogy of stories about communist Romania told though urban legends under the banner of Tales from the Golden Age.
From the trailers beforehand, Lars and the Real Girl looks like the bizarre film of the month, while Juno (which has some fluffy overlap with 4 Months ... update - now seen and reviewed) may well be the quirky shouldn't-like-it-but-could-warm-to-it surprise treat.


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For those of you that follow, you know I've posted about work in the past and can be a bit of a nerd. When I decide to and put my mind to learning something new, I try to dive in head first. So in my line of work, taking the time to learn about your customers can pay dividends, but also lead to some pretty cool stuff.
In this case, my customer, Bettinardi Putters, is also run by a friend of mine, who's also quite the trout fisherman. He's the brains behind most of their custom line of putters, including some of the trout pattern putters I've featured in the past.
Recently they expanded their facility for both their putter line, as well as what they do under their machining company Xcel Technologies. I headed out to check things out and was impressed with all they had done. A few days later, I saw a great write up on a recent event they had for their custom putters. It featured some great photography, and some of the more Chicago based themes.
The same website, Golf WRX, also featured another photo essay with some of their machining processes and behind the scenes during production. I got a more in depth look at what they are doing than most people, but this really gives the casual fan an idea of how much work and metal actually goes in to creating something original. It's awesome to see how a lot of similar applications go in to making our fly reels. And a step further, is guys doing it by hand, requiring some amazing skills.


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posted by HybridPhysiques
So, as the weather gets nicer, everyone's determination to get that ideal "beach bod" increases. The Instagram accounts of many become filled with nothing but gym pics because they are about that #FitLife and are 100% #Determined and #Dedicated. The majority of the population will continue their normal weightlifting routine and then supplement with hours of cardio a week.
The fact of the matter is though, beach bods are created in the kitchen. To get that perfect physique, you need to shed the unwanted fat and that is only going to be achieved through a proper diet.
I have seen so many people get misguided in the nutrition department, when in reality, its very simple. If you want to lost weight, you need to have a caloric deficit, and if you want to gain weight, you need to have a caloric surplus.
I'm going to break down how to create a base meal plan. Throughout the weeks, you will have to monitor the changes in your body and adjust the plan accordingly.
This is where you'll start when creating your plan. Establish your goals! Are you looking to pack on some muscle? If so, you're going to want an increase in calories, more specifically, take in more calories than you burn off through the day (caloric surplus). Are you looking to get shredded to the bone?? Well then you're going to want to take in less calories than you burn a day (caloric deficit).
Since it is Summer time, I'm going to assume that most are going to want to get ripped.
I'm going to use one of my clients, we'll name her Gertrude, as an example. She's been following a meal plan from someone who didn't help her out much so she came to me. When I asked her about how many calories she was taking in a day, she said that she was around 1,500 calories. This is where I decided to start her at.
This is where the fun starts! So I prefer to follow a 40/40/20 set up. This means that 40% of my calories will come from protein sources, 40% will come from carbohydrates, and 20% will come from fats.
This breaks down to 600 calories a day being protein sources, 600 from carb sources, and 300 from fat sources.
Since Gertrude only wanted to eat 5 meals a day, this then turns to 120 calories per meal being from protein, 120 from carbs, and 60 from fats.
Here is what one of her meals look like:
As you can see, each one isn't exactly on the 120/120/60 target. That is nothing to worry about. It can vary a little bit, the extra 20 calories in the fat is made up for by the 18 calories we were short in the rice.
Gertrude weighs 120lbs so I like to make sure she's getting a certain amount of macros regardless of calories. Proteins for instance, she's getting about 125g per day. So if I go over the target calories range by a tiny bit, as you can see in this sample meal, I'm not too worried about it.
You're going to want to stay extremely strict for the first couple weeks until you get the diet dialled in. If you're losing under a pound a week, cut your carbohydrates slightly. If you're losing over 1.5-2 pounds a week, increase your carbs slightly.
Also, if you hit a sticking point where you plateau, that is when you can also increase your cardio a bit to help burn that unwanted fat.
Now many people worry that they're going to lose muscle while running a diet like this. I'm not going to sugar coat it, you WILL lose muscle with a diet like this, and you will lose muscle running any diet to get shredded. It's just the way it is and there's no way around it, unless you plan on running some PEDs. It's nothing to worry about though, that is how the cycle goes and is the exact reason we all get fluffy during the winter. To put on as much muscle as we can so we can be a little bit bigger when we shred back down the following competing season or just summer in general.
So now that you have this info, it will be a breeze to set up a meal plan. As stated before, I have included a food list to help you get started, and also so you can see how you can fit some of your favorite foods into your diet and also get physique you want. Enjoy!
If this article helped you and you'd like to learn more ways to maximize your results, SIGN-UP for the Platinum Membership today!
Food List
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Awesome article guys! That 40/40/20 Classic Split!
classic for sure! But I have to keep my carbs a bit lower! haha
Good read. Look forward to hearing more from you guys. Explain to me in your carbs that you suggest brown or white rice and you prefer jasmine rice? I love jasmine rice but don't eat it anymore due to it being a less complex carb than brown rice.
The difference between white and brown when it comes to getting shredded is so small it doesn't even really matter. Jasmine is just the white rice I prefer to eat
@hawk_given, that doesn't mean you can't have a cheat meal from time to time!
It's probably similar to eating white rice instead of brown rice @hawk_given - even though it is slightly less complex than brown, it still does basically the same job :)
Good article, definitely gonna help a lot of people out
Great stuff man!
It was an awesome article for sure @nutritionmax, hopefully we will see more of these @hybridphysiques!
Nice advice man! gotta get those shreddies!
All about those shreddies, right @nilsfearons?!
Awesome article @hybridphysiques, this is really good for a first article, i cant wait to see what else you guys have in store for us in the future!
I agree @fox84, seems like these guys are going to put out all kinds of great stuff!
Finally! First article by you guys! And its a good one :) Keep them coming!
Great article @hybridphysiques! So many people worry too much about the workout part of their fitness and neglect their nutrition, keep the articles coming!
Hey man, I thought the article was GREAT @hybridphysiques. It is going to help a lot of people! Keep them coming!
thanks man!! yea we're not the best article writers haha but we decided to take a crack at it
Nice @hybridphysiques!! People are all about getting ripped for the summer, so I think this article will be popular! Lots of great info!


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As a freelancer that one question that drives me a little nuts is "what is your rate?" Now there are no rules on what to get paid but in general everyone knows the top and low ends of their pay rate, but employers generally want to know how much you know and what they can get away with.
I went for a job interview a month ago and nearly fell off my chair when I was told 'the rate'.
The story goes like this...
I saw a job add for an AP on an historical documentary for a company commissioned by BBC2. I always wanted a Beeb credit and love telling stories and this subject was very interesting - it was a no brainier to apply. Despite it being for a job lower then my experience I knew that I would be great value for money as an AP and it's for the Beeb.
The call came for an interview and like always the rate question came up, I also wanted to know what "start ASAP" really meant, as there is no point wasting anyone's time. I cannot have an interview Tuesday and start Wednesday as I have childcare to work out. That takes a couple of days.
In spite of my many other questions like contract length, travel, office location etc the runner on the phone had no information. But it's a doco for the Beeb so 'hell yes' I wanted it.
The producer was nice, laid back and knew what he was talking about. We chatted and then after 15 minutes I was sold as it sound like a great little gig but then it came…
Instead of "what's your rate" he simply said "the rate is £500".
I must have looked really shocked as he almost went to help me not fall off my chair!
Without drawing breath I said 'NO' maybe a little faster than what is polite.
Now I knew I applied for an AP role and rates can be as low as £750 or £950 so even if it had been the lower I would have been happy to take it. After all it's a Beeb credit.
With over 23 years' experience in TV and Media production (on & off in between bringing up children), I have had many roles and rates and I have never been too fussed about money as long as the employer was not taking me for a ride and I like the subject I am happy to work.
But today I'm not in my 20's with no commitments, I have a family, mortgage and I think I'm rather normal. So money does play a part in my job search, because after childcare costs. I don't want to be working for nothing.
I here story after story about rates being cut and it's no wonder Creative Skillset UK stats state around 5000 plus women left the UK TV in the last 3 years, compared to just 750 men.
If companies are trying to pay rates lower than acceptable women will leave the industry and take valuable scripting, directing and many years of experience with them that cannot be taught on a one-day course.
I'm really sad he decided the rate for that role was below the standard and could not find any room to move. I did really want a BBC credit and I'll watch the doco once it's made as the subject did interest me a lot.
So I too will now join the Creative Skillset UK stats of women leaving the UK TV industry, but this time I'm taking my experience and skills to Australia.


text: I am fascinated by man's relationship to the material world. Selected objects and materials from this world are recognisable in my work. These kinds of materials are chosen for their familiarity as well as for their visual and conceptual qualities. I am interested in the mutability of objects and their meanings as well as to their persistence and resilience, I see my working processes as progressive rather than transformative. The resulting artworks are therefore simultaneously abstract and referential. I like the idea of collaborating with my materials to produce pieces that resist immediate interpretation and which re-sensitise us to the world that we live in.


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Just practicing cutting clips together. 10 days in Morocco, Spring 2014.Read More
From the Archives: Cartoons at CFI
When my coworker saw a drawing I'd done in my apartment, she asked if I could make one for each of our 70 co-workers. Yes, obviously. They were used in a small exhibition about our work.
They were also put all together on a poster in the break room. What I didn't anticipate was that they would be edited. People saw it as an opportunity to add their personal touches to their own drawing. It became a hilarious source of conversation in the break room.
First Chalkboard
I wanted an excuse to practice lettering. There is a chalkboard in the kitchen at work that almost never gets used. So I gave myself the challenge of adding one new piece every month.
This month's quote is from Massimo Vignelli, on the occasion of his passing.
Flower Doodles
Just a Sunday afternoon doodling flowers. I don't work much with ink, so I better keep at it. Nice to take a break from the screens.
Driving Home
A stop motion of my two day solo drive home.Read More
Process Archive
Shots from my old sketchbooks.Read More


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Part of the tool kit for Royal New Zealand Ballet is a bottle filled with vodka. The cheaper and nastier the better.
Touring wardrobe manager Hank Cubitt has been with the Wellington-based ballet company for five years. He's also working on the men's costumes for the ballet's Made to Move showcase at St James Theatre.
Part of his job is the upkeep of costumes on tour. And that's where the spray bottle of vodka comes in.
Because of the materials used, some costumes, including silk and velvet, are unable to be washed after every performance.
"Obviously you can't throw a silk dress in the washing machine, so we maintain it with vodka," he said. "It gets rid of the perspiration smell."
He was taught the trick by a Russian ballet company.
"I thought they carried it in their kit so they could drink it, but they sprayed it on the costumes.
"One day I asked them if I could use some and it worked a treat. We use it all the time now. The cheaper the better. You don't need 42 Below Feijoa stuff, just really bad vodka.
"You spray it straight on and it disappears, and so does any smell. I used to use Febreze, but it has a slight oil base in it, so it can stain and was more of a masking agent. The vodka just kills it all."
For the three ballets in Made to Move there are 15 people in the wardrobe department creating 80 costumes.
Before opening night they will each put in more than 400 hours.
The costumes for The Anatomy of a Passing Cloud, choreographed and designed by Javier De Frutos, and Of Days, choreographed and designed by Andrew Simmons, are made from lycra.
The costumes for Bier Halle, designed by Allan Lees (choreographed by Ethan Stiefel), are made from silks, velvet, cotton and chiffon.
Dancers are responsible for their own shoes. The wardrobe department dyes them the right colour, but it is the dancers' job to maintain them.
"We have to allow for total movement of the dancers. We do a lot of things like putting in invisible gussets so they can get their arms or legs to full extension.
"We also use materials with a bit of give in them."
Three trucks are used to transport the equipment.
"On tour we carry everything - washing machines, driers, sewing machines, buttons, everything. All our lights, floors, ballet bars and tool kits.
"We are a travelling circus. We are self-sufficient. So we know that whatever happens, wherever we are, we can fix it."
Cubitt said a lot of time went into making sure the costumes fit the time period.
"We really have to make sure we get the right look. The skirts and jackets and shirts were all special lengths for each period.
"Getting that right is important because a lot of people look for that detail and want to see the full period pieces."
Of Days is a classic ballet inspired by New Zealand landscapes.
The Anatomy of a Passing Cloud is a contemporary ballet influenced by the Pacific.
Bier Halle, the first work by new artistic director Ethan Stiefel, is a comedy set in a Bavarian beer hall.
Made to Move, three new ballets, St James Theatre, February 27 till March 24.
- The Wellingtonian


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Business-only ISP Mistral is offering a money back guarantee ADSL service to small and medium sized businesses.
The ISP is pledging to refund the £260 installation fees if its engineers fail to connect business customers within seven days.
Despite boasting a mere 20-strong technical team, the company claims it still has the edge on rival ISPs, including BT, Demon and Easynet, in terms of roll out speed.
As of today (24 October) business customers in the proximity of ADSL-enabled exchanges can get all the usual benefits associated with broadband ADSL, including always-on access, much faster download speeds and fully fledged videoconferencing.
Pricing for the service starts at £1264 per year (plus £260 installation fees) for a maximum downstream connection of 500kbps and an upstream speed of 250kbps.
Speed monsters with budgets stretching to £2344 per year get a 2Mbps downstream connection.
Costs include the router, configuration, installation and the service itself. A minimum contract runs for 12 months.
According to managing director Steve Spink it is raw speed rather than much-hyped ASPs (application service providers) that will drive initial uptake amongst UK businesses. "Outsourcing all your IT doesn't make sense at the moment," he said. Tel: 0800 328 7253. http://www.mistral.co.uk.


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Carine Ride, Sun May 26th 2013
The morning could scarcely have been better for our fourth May ride around the pathways of the Carine Regional Open Space; clear blue sky, not too hot, not too cold, just a gentle breeze. The venue at the car park by the Mary Ferguson Centre and the Riding for the Disabled Centre in Monyash Road, Carine had grass and shady trees adjacent for a possible good lunch site. Four club members were there for the start, and subsequently two separate circuits of the area were ridden around in this picturesque reserve, which was very well attended by family and sporting groups enjoying their recreation. Our easy riding was done on sealed pathways (apart from one optional short unsealed stretch) which had only a few gentle inclines. Plenty of others were on the pathways: family groups (some with small children on tiny trikes, bikes and scooters); dog walkers; a few other cyclists. It's a popular public venue, so our pace was not hurried, and much bell-ringing was essential. At least our lot did have bells!
Those attending were: Ann Northan (MS 'Family Star' compact); David Northan (MS 'Skidstar); Robert Hunt ('Record' road bicycle 1970s?); Tony Hall (Raleigh 'Stowaway').
David Northan


text: News & Events / News print News View All Faculty General Alumni Students RSS Feeds YEAR 2019 2018 2017 2016 2015 2014 2013 2012 2011 2010 2009 « Back 01.28.14 Center for Urban Business Entrepreneurship (CUBE) and the 'Tech Mecca' Featured in Business Insider With technology companies flourishing across Brooklyn, the benefits of this new ecosystem hold incredible potential – reflected in the Law School's Center for Urban Business Entrepreneurship (CUBE), according to a new Business Insider article. Brooklyn's Tech Triangle is a prime example of how innovation and the local environment are symbiotic: "Think meetups in neighborhood bars, increased spending in local stores, and collaboration and resource sharing as in the case of Brooklyn Law School's recently launched Center for Urban Business Entrepreneurship, which offers free legal services for startups, in return securing priceless real-world experiences for their law students." Read more about CUBE. Email this article Share Read the latest issue of Brooklyn Law Notes


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Desmond Cheang, Shell Marsiling and Woodlands Stations, EXSA Star Award 2016 and 2017
Desmond is the first Shell service champion to clinch the prestigious EXSA Star Awards not once, but twice in a row in 2016 and 2017. He achieved these accolades by not sticking to his job descriptions – but to go the extra miles every time he is on duty.
Desmond treats every Shell customer like a guest at his home. To him, customers' convenience is always his top priority. Apart from ensuring a safe and smooth experience, Desmond also shares the latest customer promotions and offers. Desmond goes to distance to delight Shell customers with thoughtful touches, such as creating a local map to help disoriented drivers to find their way to Woodlands Industrial Park quickly; and providing umbrellas to make sure customers do not get wet using the station facilities during stormy days.
By delighting customers' journeys in his 18-year career working at Shell stations, Desmond has also improved his own life journey. He has now grown to become a senior Station Manager looking after 2 Shell stations.


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Syria: the battle for Raqqa
- Details
- Created: Tuesday, 28 March 2017 08:23
- Written by Toby Harbertson
UN Human Rights Commissioner Zeid Ra'ad Al Hussein declared, on the sixth anniversary of the war in Syria, that it is 'the worst man-made disaster the world has seen since World War II'. Despite the government victory in Aleppo in December 2016, which marked a turning point in the war against imperialist-backed and jihadist groups in Syria, it is clear that the country will remain at the epicentre of a regional and global proxy war for a long time to come. The focus has now shifted to the struggle to retake the eastern city of Raqqa from the Islamic State group (IS), with hundreds of US troops openly building up within Syria's borders, alongside Turkish, Russian, Syrian, and Kurdish forces – all with competing interests and alliances. The threat of wider war in the region has not receded.
Since retaking Aleppo, the Syrian government has continued to make gains against rebel groups throughout the country as they lose their foreign support and morale. The evacuation of the last rebel enclave in the city of Homs was agreed on 15 March. Rebel groups claim that their sponsors in the Gulf states, Turkey and beyond, have cut off contact and support. IS territory in the east of Syria has been significantly reduced. The historic city of Palmyra was retaken from IS by the Syrian government on 2 March. IS continues to besiege Syrian government forces and civilians in the eastern city of Deir Ez Zor. The Kurdish Peoples Protection Units (YPG) have taken large swathes of territory in the north-east outside of their autonomous territory of Rojava, with their forces now approaching the IS capital, Raqqa, home to 300,000 people. IS is also under pressure in Iraq, with the Iraqi army gradually making gains in the long battle for Mosul.
The outcome of the battle for Raqqa will be crucial, both in the war against IS, but also for the future of Syria. Which forces play a major role in taking the city, and therefore in holding it, will be key. In August 2016 the Turkish military and its local allies invaded northern Syria in 'Operation Euphrates Shield'. Their stated objective was to prevent the further strengthening of Kurdish autonomy in the region and to weaken IS. Turkish troops and their allied rebel groups continue to stand off against the Kurdish YPG which have proved to be among the most effective fighters against IS. US special forces have been operating covertly in Syria for years, however, on 9 March, the US increased its deployment of troops in Manbij to 900. The Pentagon is currently proposing to more than double this. This open deployment of US troops has been justified as necessary to prevent escalating clashes between Turkish and the YPG forces.
The US supports the YPG through the Syrian Democratic Forces (SDF). The YPG leads and constitutes the majority of the SDF, alongside Arab and Turkmen groups - some of which were expelled from rebel groups such as the Free Syrian Army. The SDF currently has a largely neutral position in relation to the Syrian government. US support for the SDF is putting strain on the longstanding US-Turkey alliance. Turkey has insisted that the US withdraws its support for the YPG. Turkey accuses the YPG of being a terrorist group linked to the PKK which is fighting for Kurdish liberation in south-east Turkey. Russia also supports the YPG, and agreed to begin a substantial training programme of YPG forces in Afrin on 20 March 2017. Russia has proposed a new draft constitution for Syria which would allow greater Kurdish autonomy and rights – opposed by both the Assad government and Turkey (Al Monitor, 27 January 2017). Russia is also developing a relationship with Turkey, and the two countries pushed forward the Astana peace-talks in February. This web of overlapping and competing alliances has resulted in a complicated and dangerous situation on the ground.
The YPG has made clear it has no intention of holding territory beyond the historically Kurdish areas of northern Syria/West Kurdistan, which it already largely controls as the Democratic Federation of Northern Syria. The YPG will not allow itself to become a pawn of US imperialism. YPG General Commander Sipan Hemo explained that the YPG 'have no goal of remaining in Raqqa … The people of Raqqa will decide their future themselves.' (Al-Monitor, 8 November 2016). Syrian President Assad has said that: 'Any military operation in Syria without the approval of the Syrian government is illegal', and went on to stress that the US has never been serious about fighting IS, and must have other objectives in mind in the battle for Raqqa (Sputnik, 20 March 2017).
The intention of the US, and Turkey, is to put their stamp on the future divisions of Syria. US Major General Joe Dunford, the Chairman of the Joint Chiefs of Staff, after meeting with Turkish military leaders in November 2016, announced: 'The coalition and Turkey will work together on the long-term plan for seizing, holding and governing Raqqa'. Dunford suggested that the forces used to occupy and govern Raqqa should be: 'the moderate Syrian opposition, the vetted Syrian forces and the Free Syrian Army forces' (6 November 2016). These forces are likely to be imperialist-backed rebel groups which have long been at the centre of NATO plans for regime-change in Syria. US and Turkish forces are likely to support these groups in occupying and governing Raqqa. Syrian government forces have begun to advance to block the route of Turkish troops into Raqqa, and the SDF has handed control of villages around Manbij to the government in order to prevent Turkish assaults on SDF positions. The respective roles played by the Syrian government and US-backed rebel forces in the battle for Raqqa remain to be seen.
US President Donald Trump has proven that he means to continue, and expand, disastrous imperialist wars in the Middle East. On 27 February 2017, he announced an increase of $54bn in annual military spending – more than the entire Russian annual military budget. Trump and his other figures in his administration have begun to talk about war with Iran once again. The US military build up inside Syria can only be bad news for the region, and the world.


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When you're pregnant and just starting to buy baby products, it seems like you need absolutely everything. It's easy to get swept up in the hype, and it can be difficult to figure out what you truly need.
I remember walking the isles of a children's store and latching on to complete strangers, asking their opinions about what they used for their first kids.
When I was shopping for my second child, I remember looking at these lost faces in the isles, wondering what on earth they should be buying. I'm going to help you out here and tell you the seven baby products that helped me survive the first year. This post contains affiliate links.
1. Ju-Ju-Be 'Better Be' Messenger Diaper Bag
There are loads of diaper bags out there. Some are relatively inexpensive while others cost more. We received a Ju-Ju-Be diaper bag as a gift, and it was one of the most appreciated gifts we received! This bag outlasted all the others, and quickly became our go-to travel bag with the kids. Seven years and two kids later, this diaper bag is still kicking — but we're just using it as a travel bag.
Not only is it incredibly stylish, it is incredibly comfortable. Never underestimate the need for a terrific shoulder strap. When you have that bag hunkered down with formula, extra clothes, pacifiers and food, it becomes extremely heavy. Most of the other diaper bags we've had made our shoulders ache. This one did not. Plus, we got it in a "dad-friendly" color so my hubby had no qualms carrying it around himself.
2. Boppy Pillow with Slipcover
Whether you are breast feeding or not, a Boppy pillow is an absolute must. They will help support the baby when you are breastfeeding and even bottle feeding. As your baby gets older, it becomes the perfect way to prop your baby up as well as give him some tummy time. And when your little guy is learning to sit, it creates the perfect halo of cushion around him.
You are going to love your Boppy, and it is going to appear in a lot of baby photos. So be sure to get a cover you're going to love. In fact, get two because they do need to get thrown in the wash once in a while.
3. Gliding Rocking Chair with High Back
You are going to see lots of adorable rocking chairs. Many of them will have low backs that won't support your head if you lean back. Run away. Just run away! The number one item I wish we had owned (and bought immediately when I got pregnant with #2) is a gliding rocking chair with a high back.
You are going to be spending a lot of midnight hours feeding and rocking your child in this chair. You will barely be able to hold your head up. You will want to lean back and close your eyes. You need a cushy chair that is going to give you some comfort as you comfort your own baby.
A gliding chair moves more smoothly and will make it easier to rock with your baby. Be sure the chair reclines for you. Also, I highly recommend springing for the matching ottoman. It may seem like an unnecessarily "luxury," but you won't be feeling that way in the middle of the night.
4. Triple Paste
No one is going to tell you this, so it may as well be me. Your baby is going to get diaper rash. I'm talking so bad that one of my friends actually took her daughter to the hospital because she thought something was seriously wrong. There are a number of ointments out there for your baby's tush, but hands down Triple Paste is the best stuff on earth for diaper rash.
Our son had horrible rash as an infant. We tried so many creams I thought I was going to cry. Triple Paste, which used to only be available in hospitals, finally was released as over the counter. Buy the full tub. You will use every single ounce.
5. Baby Trend Snap N Go EX Universal Infant Car Seat Carrier
First, you are going to want to purchase an infant car seat. But trust me, you are not going to want to transfer your little one into a stroller, waking her up in the process. No matter what infant car seat system you purchase, the Snap-Nn-Go system will fit it. Once you have the straps adjusted, you are good to go. We loved how incredibly light weight the stroller was and easy to maneuver. We had a regular stroller that matched our car seat but we honestly didn't use the snap-in feature because we preferred the Snap-N-Go.
By the way, if you have a toddler and a new baby, I can't recommend the Joovy stroller enough. I was lucky enough to have friends who suffered through other double strollers and steered us clear. This one moved easier than others and easily accommodated our infant in a car seat as well as our rambunctious toddler.
6. Nuk Pacifiers
Some children really need pacifiers. Not just need them but absolutely crave them. My son was one of them. We literally tried every single pacifier on the market (and wasted a ton of money) until we discovered Nuk Pacifiers. They have a special shape to the nipple that just seems to match what many babies need. I've recommended this pacifier to other friends who say they've never looked back once making the switch.
7. Baby Bjorn
There are a lot of baby carriers out there that let you wear your baby. But at the end of the day, the Baby Bjorn let me walk, cook, read and even fold laundry. The Baby Bjorn let me wear my boys wherever I went, and I didn't worry about them falling out of the carrier. Plus, they never napped as well as when they were all snuggled up in the Bjorn.
It may not come in pretty colors like some baby wraps, but my husband also wasn't afraid to wear it… which meant a little bit more freedom for me some days.
Additional Items
As a side note, I should mention the two things my boys would say are their favorite baby items that they still love to this day. The first would be their lovies from Bunnies By the Bay. Our pediatrician said our boys could have them as infants, and they have loved them ever since. I have yet to find cuter ones and love giving them as gifts. (Tip: Buy extras in case you lose one over the years or throw one in the wash.)
The second would be their Little Giraffe blankets. They are super cuddly and unbelievably soft. Plus, my boys just love the satin trimming. My kids still curl up with their blankies even though they've well outgrown them.
Also, don't miss my baby book lists, including 25 Must-Have Books for Babies, Good Night Children's Books that Say "I Love You" and 15 Interactive Board Books for Babies and Toddlers
Ultimate Guide to Baby's First Year
I am so thrilled to be participating in the Ultimate Guide to Baby's First Year for the next week. Some of the best mom bloggers around have come together to share our knowledge about motherhood (as well as some pretty insightful, funny and downright moving stories). Get to know your bloggers with the first post of this blog hop! To see all of the stories from the week, visit the Ultimate Guide to Baby's First Year.
Today's topic is Baby Must Haves. Read more of today's wonderful motherhood stories and insights from:
Ultimate Guide to Baby Must Haves ~ Lemon Lime Adventures
- Must Haves for Newborns and Baby Registries
Baby Must Haves for Newborn to 12 Weeks ~ Powerful Mothering
The Perfect Registry – what you do and don't need for the first year ~ Mom Favorites
Baby Products I Couldn't Have Lived Without ~ Trust Me, I'm a Mom
Baby Products that Helped Me Survive the First Year ~ The Jenny Evolution
The Ultimate Guide of Essentials for the Natural Baby ~ Natural Beach Living
Best Board Books That Will Encourage Singing with Your Baby ~ Growing Book by Book
Best Board Books for Baby ~ Wildflower Ramblings
Minimalist's Guide to Baby Must Haves ~ ALLterNATIVElearning
Exploring the World Without a Stroller ~ Let the Journey Begin
- Must Haves for The First Year and Beyond
My Favorite Baby Products ~ Bare Feet on the Dashboard
Repurposing Baby Items for Play Beyond the First Year ~ Still Playing School
- Must Haves for Preemies, Multiples, and More
Twin Essentials ~ Bambini Travel


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In the Streets Festival
Just wanted to do a little update here. Tonight, we finished 4 songs: Snow Mila Don't Make a Sound Spaceman Free Shot for the Wrecking Ball
We hope we can share these with you very soon. IN FACT, we're playing all of them at our upcoming performance at Frederick's In the Streets Festival. The event takes place on Saturday, September 10th and we start things off at 11:30 in the morning. We're playing a long (all original) set in the wine and beer garden on the 600 block of Market Street. Come get a pre-lunch buzz going with us.


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Just watch me, watch me…
I know it's been crickets and mothballs around here lately…sorry y'all. Busy working on a Sekrit Projekt(ssshhhh!) that will debut soon.
Kick, push, kick, push…
So I often wish that I was one of those people who can turn anything into a treatise on the deeper things in life. Some people can see a red apple in a green bowl and turn it into a discourse on diversity, a treatise on terraforming, a manifesto on a myriad of things. I don't really have that skill.
Me, I say, "gee, look, an apple." And I thoroughly expect that to speak for itself. It's not that I don't see the deeper things inherent in daily life, it's just that I don't think that they really need explaining that often. They're just there. So maybe an apple in a bowl could mean something deep, but the very act of explaining it removes some of the power of that meaning. Just say it once, and answer questions later if need be, but constantly explaining something dries it out, robs it of it's juices. I'm a firm believer in the notion that it's only when a group of people instinctively understand the underlying concepts behind a thing are they able to really live those concepts out. Until then, you can explain until you're blue in the face, but all it does is add words to the experience, not meaning. Why would someone care that apples are in a bowl if they didn't know apples are edible? Maybe there would be some aesthetic appreciation, but true beauty is holistic…not just in the looks of a thing, but also it's form and function. Seriously, would butterflies still be beautiful if they didn't fly? What if they hopped from place to place like little etheareally-winged insectoid frogs?
For that matter, would frogs be prettier if they flew?
Ooooookay, so anyway back on Earth…
I want to tell you all about my day today, but it's been one of my typical fragmented-but-busy days, so I don't really know how to describe it. I've been on the phone, researching, reading, writing, and visiting. I've been meant to clean this house, but I've settled for just straightening things up behind myself instead. I'm one of those horrible people who is very clean but not at all neat…so while everything in my house is reasonably sterile, nothing actually appears safe for human consumption. Add in a housemate who is very neat but not at all clean, and I'm amazed that anybody ever comes to visit me. Between the two of us, we're a professional biohazard. Ugh.
Anyway, that's all pretty boring. Let me tell you *one thing* about my day. I was walking back to my house from town today because I've decided that while I'm the governor of my own time, I might as well use it to explore and experience, as well as do…so I'm walking all over Manchester, wandering in and out of places, indulging in a lot of chilled conversations with people here and there because for once, I can. Anyway, I'm walking up some road or other, and I run into this teenage boy, about thirteen, who comes to youth club sometimes. I haven't seen him a lot, but he's instantly recognizable because he has an afro that could cover the heads of ten grown people, usually cornrowed into a bunch of midback length plaits. Anyway, I see this guy, morosely staring down at this battered and very dangerous looking skateboard, and I say hiya, y'alright. Or at least, I try to. It comes out sounding like, "Hey y'all! What's up?" for whatever reason. We have one of those lazy summer conversations about the weather, what we're up to(Me:nothing really. Him: learning to ride a skateboard), where we're going(Me:nowhere really. Him: his cousins house).
Anyway, somehow the conversation ends with me saying, hey, lemme see you ride the skateboard. To my surprise, the guy says, "sure!", jumps on the skateboard, and nearly runs the board off the pavement and into the very busy street. This is quite a feat, considering that this is also the slowest that I have ever seen anybody ride a skateboard…we're talking sloooooooow. Like maybe 5 miles-per-year. Two wheel rotations a minute. At which point I say a whole lot of "holy crap", and "you almost got hit by a car" and "never do that again! Do you want to die young?" At least I try to say all that, but damn the accent, it comes out sounding like, "Wicked! Do that again…but on the side of the pavement that's away from the road."
And I got rewarded for that with a dazzling smile and the company of this kid all the way up to my road…weaving around me on that epically slow skateboard, not saying much, just concentrating on riding the board, and constantly looking back at me to see if I was watching. I didn't say much, just offered a few thumbs up whenever he got the board going and the occasional be careful! and watch out for that car!
There's no point to this story really, but it's probably the best thing that's happened to me all day. I'm discovering that I really treasure time spent with people that doesn't revolve around an event or some media product. I really felt honored, in a way, that this particular teenage boy was willing to put up with me outside of youth club and show me a few tricks on his skateboard. Considering that I'm always threatening to evict him from said youth club, it's even nicer to have a moment to chill that doesn't involve me saying "Stop that right now or I'll–" at all.
Anyway, eventually our paths diverged. He went off to his cousin's house(he'll probably get there next year sometime) and I came back home to deal with phone calls and paperwork and attempt some multi-tasking. Primarily I got distracted by IM and Facebook and heaven only knows what else, but I did get a few things done. Don't know that I got much accomplished, but oh well. Can't knock it out the park every time up at bat.
But on that note, I'm going to go accomplish some sweet dreams…taking a page from the wonderful Adis!, good night! Now go to bed!


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As both consumer and industrial systems become smarter, more interactive, and more autonomous, they need to be able to sense the presence of an object, user, or passer-by. While basic presence sensing techniques and technologies are well established, designers are under pressure to perform presence sensing more accurately, efficiently, cost effectively, and reliably.
The typical applications that are demanding such improvements include machinery and manufacturing, where gear teeth or bottles, respectively, need to be detected. In robotics, the presence of nearby objects or people needs to be detected so the robot can either avoid them or stop moving, and in smart devices and kiosks, the system needs to be able to detect and respond to user interactions.
This feature will describe some of the main presence sensing technology selection criteria to consider for various applications, before introducing suitable devices and how to design with them.
Presence sensing design requirements and technologies
The performance of presence sensing systems is dependent on real-world, application specific issues such as indoor vs. outdoor setting; target object size, material, and consistency; the confinement and consistency of the situation; power requirements and available power; and packaging/placement requirements, to cite a few factors.
Also, many presence sensors are in physical settings where they are exposed to both a harsh environment as well as unintended (or even intentional) abuse from people and objects hitting against them (such as cars grazing walls), so physical mounting and ruggedness are issues to consider.
Designers also need to consider their mix of sensor techniques. Using a single sensor to detect with 100% accuracy that someone has walked across a private driveway is challenging. There can be false alarms due to animals or wind-blown leaves if the arrangement is too sensitive. On the other end, if the arrangement is not sensitive enough, it may miss the presence of small children.
As a result, both the selected approach and chosen sensor need to be evaluated carefully and may even require a redundant, independent, alternate sensing approach for higher accuracy with respect to "misses" as well as false positives.
Three widely used approaches for presence sensing use optical, ultrasonic, and inductive proximity principles. There are also other options such as radar, but this has some complex RF design issues as well as regulatory and possible licensing concerns. Another option is a video-based approach which requires complicated signal processing and algorithm development, so it is often not the best candidate for the low-cost reliability and ruggedness that many presence sensing applications require.
Another factor to understand is the beam width of the sensing signal. Depending on the technology, this can be a narrow, tight beam or a wider, broader one, and the application defines which one is preferable. For example, a narrow beam is needed to sense individual bottles on a production line conveyor track, while a broader one is a better choice for sensing people walking up to a kiosk.
Among the many design considerations when selecting a presence sensing solution are:
- Distance from sensor to sensed object
- Beam width
- Interference (physical impediments between sensor and sensed object)
- Consistency of overall sensing situation and the person or object being sensed
- Concern about both false positive indications as well as false negative indications
- Environmental setting (indoors, outdoors; daytime and nighttime (for outdoor settings); chemicals and oils,
- Physical abuse (deliberate or accidental)
- Location options for sensor electronics versus sensor transducers
- Power requirements
- Long-term reliability
- BOM cost and installation cost
Use multiple sensors for accuracy and reliability
An application installation is not restricted to using just a single sensor or even a single sensing technology. Although costlier, it is not unusual to install two or more sensors, often with differing technologies to provide a more reliable indication of presence.
The option to use multiple sensors, whether the same or different types, means that the designer must address a question about system priorities. If the prime concern is to ensure that no real targets are missed, then one solution is to use the sensors in parallel (the logical OR function) for overlapping coverage. That way, a positive indication from any one sensor can signal the presence of a target.
Or, is it more important to ensure that there are no cases where an object is detected even if none is actually there (a false positive)? In that case, the multiple sensors can be used in a series arrangement, to implement the AND logic function for a "unanimous" vote approach.
Both OR and AND functions can be implemented by hardwiring the outputs if they are compatible. However, a software-based approach is more flexible in combining different types of sensor outputs, and can use different algorithms to filter the individual sensor signals. The use of software also allows weighting of a series of sequential sensor readings, and even their combination in both AND and OR operations to best minimize both false negatives and positives. It also provides flexibility in modifying the logic-based decision process and adding conditional decision making if needed.
Start with optical sensing
The use of a focused light or laser beam, usually in the infrared (IR) spectrum, is an obvious way to determine presence. A typical sensor consists of an emitter and receiver which may be mounted in opposition across the area of interest, or they can be co-located with a mirror or retroreflector at the far end. Using co-location simplifies installation and wiring, but also means that the optical path length is doubled, which reduces received signal power and increases the signal-to-noise ratio (SNR).
The emitted optical signal is usually pulsed to distinguish it from interference, as well as from nearby lighting, reflections, interference, and other optical noise sources. The light beam is also tightly focused so that its off-axis beam width is restricted.
Optical detection can be used outdoors, but often has problems related to sunlight induced overload as well as the need for wide dynamic range as it must cover both darkness and daylight situations.
Overall, the optical sensor is a reliable approach in controlled and constrained settings. It can detect targets down to a few millimeters in size, and can sense small objects across an area of tens of meters. However, dust, fog, steam, and nearby reflection can prevent sensing or cause false indications, while something as simple as a dirty mirror (if used) can cause the reflected signal power to drop below a minimum threshold.
Optical systems now have a unique advantage compared to almost all other presence detectors: by using optical fiber, their electronics can be located at a considerable distance from the exposed placement of the optical window of both emitter and receiver. A pair of fibers is used to carry the LED/laser light to an emitting site, and the received light to the receiver phototransistor. Only the relatively rugged fibers are exposed to the harsh environment where they are exposed to temperature extremes, oil, dirt, and abuse. Also, additional protection can be provided for the fiber more easily than for the electronics.
A good example of this use of optical sensing is the Panasonic FX-500 series (Figure 1).
Figure 1: The control unit of Panasonic's FX-500 optical sensor, with its relatively sensitive electronics, can be placed several meters away from the exposed ends of the more rugged emitter and receiver optical fibers. (Image source: Panasonic Industrial Devices)
This sensor places all the circuitry in a unit which also includes topside buttons for setup of mode, output intensity, threshold setting, and test functions (Figure 2). This unit can be conveniently located tens of meters away from the point of use.
Figure 2: The conveniently located control unit of the FX-500 also contains user operated pushbuttons which are used for setup, threshold setting, and test. (Image source: Panasonic Industrial Devices)
A pair of optical fibers, each just 2 millimeters (mm) in diameter, carries the emitted and received optical signals. The fibers come with threaded bushings for easy and rugged attachment to a panel or surface (Figure 3). Due to their tight, 25 mm bend radius, the fibers can be easily routed around or through obstacles between the electronics and the placement of the exposed fiber ends.
Figure 3: The sensing end of the FX-500 consists of two thin optical fibers housed in rugged bushings for minimum physical exposure. The thin, horizontal, red line on the left is a "visualization" of the unit's IR beam. (Image source: Panasonic Industrial Devices)
Ultrasound-based presence sensing
As with light beam, the use of ultrasonic energy is another time-tested technique for presence sensing. The principle is simple enough: a piezoelectric transducer is pulsed, and then it "listens" for the return echo from the object of interest. The echo power which must be detected is a function of transmitted output, distance, and the nature of the echoing object (a car versus a person in a coat, for example).
Ultrasonic sensing has a practical range of up to several meters, and a relatively wide beam width. It is best suited for larger targets with a relatively large cross section that are operating in controlled, indoor applications as any wind will affect the signal path in both directions, and thus affect consistency of performance. Changes in temperature will also affect the propagation of the ultrasonic energy.
The UM18-218 ultrasonic sensor from SICK AG is representative of a unit which can be used in both benign and harsh environments (Figure 4). The transducer is mounted in a threaded bushing (18 mm in diameter) and has an IP67 rating so it is protected from dust and capable of withstanding water immersion between 15 cm and 1 meter (m) for 30 minutes. It runs off a 10 to 20 volt DC supply, and dissipates under 1.2 watts (W) while operating at 200 kilohertz (kHz) with an 80 millisecond (ms) response time. Its output is an easy to interface, open collector PNP transistor with a 200 milliampere (mA) load capability.
Figure 4: The SICK UM18-218 200 kHz ultrasonic transducer comes in a rugged bushing and meets IP67 requirements for resistance to dust and water. (Image source: SICK AG)
The UM18-218's beam width is shown in its detection range graph (Figure 5). For designers, this defines the performance envelope for detection width versus distance (left axis, up to 1.5 m) for both detection (operating) and reach (maximum).
Figure 5: The graph which defines the detection area envelop versus distance of the SICK UM18-218 for two basic target types is a critical tool for assessing the viability of this sensor type and model under optimum conditions. (Image source: SICK AG)
Note that these ranges are a function of the target specifics; in the graph, the targets are a 500 mm square plate at right angles to the beam (a favorable target with a large cross section), as well as a 27 mm diameter pipe (a far less visible target).
The type of target not only bounds the distance, but also the shape of the zone, so run evaluation test results will differ for each target type.
Inductive proximity sensing: an option for ferrous objects
A third option is the inductive proximity sensor, which is triggered when a ferrous metal object comes within close proximity of the sensing coil. The inductive proximity sensor is especially well suited for detecting small ferrous objects at close range, such as gear teeth, keypad buttons, and fan blades; it can also be used at longer distances to detect larger objects such as cars. As a non-contact, magnetic-based sensor, it is reliable and unaffected by dirt, oil, moisture, light, or other interfering contaminants, and can be housed in a rugged, non-metallic enclosure.
Until the availability of ICs which could work with inductive coils, the design of this class of sensor was complicated and required many discrete components. The challenge of building this type of presence sensor with consistent performance is now greatly eased by ICs such as the LDC0851 from Texas Instruments (Figure 6).
Figure 6: The Texas Instruments LDC0851 inductive proximity sensor manages a reference coil and a sensing coil; when a ferrous material disrupts the sensing zone, the inductance of the sensing coil changes which then changes the frequency of its associated L-C oscillator. (Image source: Texas Instruments)
This IC is an inductance "comparator" that uses two user-provided coils. One coil is used as the sensing coil and the other as a reference coil. In operation, the sensing technique exploits the fact that the actual inductance of an open field coil will be affected by nearby ferrous objects. Note that this does not apply to shielded or toroidal coils, with no external field. If the coil is part of an L-C resonant oscillator, the free-running frequency of the oscillator will be a function of the inductance.
In operation, the output of the LDC0851goes low when the sense inductance drops below the reference inductance (as measured by changes in its nominal 200 kHz oscillation) and returns high when the reference inductance is higher than the sense inductance. To eliminate chattering of the output due to vibration of the system, the IC includes user-adjustable hysteresis around the reference coil threshold.
The sense and reference coils are critical to successful implementation of this IC, as they aid in maintaining a consistent switching distance over temperature and to compensate for other environmental factors. The coils can be external discrete passives, or fabricated as part of the pc board. The latter lowers cost, but may increase pc board size; for many low-cost applications, this is an acceptable tradeoff.
Ideally, the two coils should be identical, but issues of placement with respect to each other, orientation, and other factors may require fine-tuning of one or both coils for optimum and consistent performance. In some designs, pc board size limits require that the coils be placed on top of each other, while in other cases they are located side by side.
To get the best sensing range with stacked coils, the spacing between the sensing coil and reference coil should be as large as possible on the multilayer pc board (Figure 7). For this IC, the target being sensed should be located at a distance which is less than 40% of the reference coil diameter.
Figure 7: The sensing coils of the LDC0851 are key to reliable operation and can be fabricated as part of the pc board layout; they can be located side by side, or stacked with their turns directions as indicated. (Image Source: Texas Instruments)
Note that the inductive proximity sensor is a variation of the magnetometer, a passive device which senses changes in the earth's magnetic field. The magnetometer is well suited for larger ferrous objects at a distance up to several meters, such as vehicles. However, the proximity sensor can also be used in this role with larger coil sizing and calibration.
Sensing the presence of a person or an object – small or large, ferrous or non-ferrous – is a common requirement in many systems. While optical, ultrasonic, and inductive approaches are well understood, designers are under constant pressure to meet improved accuracy and reliability requirements at lower cost and greater efficiency.
Vendors are responding with various solutions to help, but before making their decision, designers need to factor in issues such as the operating environment, consistency of the target, interference from nearby objects, and ambient conditions. That decision may include the use of multiple sensors of the same or even different types for added detection accuracy, as well as the adoption of software-based presence sensing approaches.


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The tunnel & associated sites
The Northside Storage Tunnel forms a complete underground system from North Head, near Manly, to the Lane Cove overflow site on the western side of the Lane Cove River.
There's a junction at Tunks Park, 9.5 km west of North Head. From this junction, a 3.7 km, branch tunnel runs to Scotts Creek near Castle Cove.
There are also large underground caverns at North Head and Tunks Park. They were originally built to park tunnel boring machines, store equipment or as underground workshops. They're now used for ventilation.
Key sites
We have tunnel ventilation equipment at Lane Cover River West and Scotts Creek.
Tunnel ventilation at Lane Cove River West is an important part of the Northside Storage Tunnel.
If wastewater levels rise above a certain point at these sites, control gates or penstocks open and channel the overflow into the tunnel.
If the tunnel capacity nears 70 million litres in wet weather, the flow of the air is reversed.
The ventilation fan at North Head is automatically turned off and ventilation fans at Lane Cove and Scotts Creek start up. As the tunnel fills, air is extracted by the Lane Cove and Scotts Creek fans.
Air that's discharged from the Lane Cove and Scotts Creek sites passes through three filters before being released into the atmosphere. The filters include a:
- pre-filter
- granular activated carbon filter
- final filter.
The Northside Storage Tunnel includes many facilities.
We manage overflows through a fixed-level weir.
If an overflow occurs, a siphon would be activated to channel the diluted wastewater into an underground pipeline and finally into the tunnel.
It's connected to the Northern Suburbs Ocean Outfall System (NSOOS).
If the flow of diluted wastewater rises in the NSOOS, it's channeled into the Quakers Hat Bay site and into the tunnel.
If the tunnel is full, an isolation control gate or penstock closes. This channels the overflow into a purpose-built weir and discharges it into Quakers Hat Bay.
If the tunnel is full, the overflow is discharged into the ocean. The Marine Parade outfall, near Shelly Beach, is no longer needed.
North Head Wastewater Treatment Plant is on the coast near Manly.
The cliff face bypass weir and siphon at North Head Wastewater Treatment Plant's inlet channel prevents underground flooding if there's power or major equipment failure.
The tunnel reduces the need for the cliff face discharge by allowing wastewater to divert into the tunnel during power or major equipment failure.
The tunnel pumping station is monitored and controlled by the plant's SCADA (Supervisory Control and Data Acquisition) system.
All data is recorded and sent via telemetry to our Systems Operations Centre (SOC).
We track, monitor and report all critical data and assess and respond to any alarms.
Although the Systems Operations Centre coordinates communication for all sites, each site is designed to operate safely and independently if there's a communications failure.


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On our dating website there are around third part of profiles are the young single mothers with one or more children .Do not be surprised that Ukrainian women are having children at a very young age. According to statistics, in Ukraine women give birth to their first child at the age of 22-24 years old and to their 2nd one – at the age of 26-27 years old and of course it does not fit the typical model of western families when both spouses are thinking about the children much later. Let's try to understand the role and place of a child in the life of an ordinary Ukrainian woman.
In Ukraine, as well, and in all Slav countries the girls' education for a long time included the basic idea – a preparation for the birth and upbringing of children. Playing with dolls, taking care of younger brothers and sisters, the accumulation of "dowry" - all this will eventually formed in the minds and souls of Ukrainian women special algorithm of their behavior in life. As a result, practically absolute manifestation of the maternal instinct was enhanced with future behavior and education. A care of the mother of the child is always difficult in everyday conditions of Ukraine plays a particularly urgent role. Carry a child, give birth to, bring up, educate, teach children is a difficult destiny of women, requiring endurance, patience, vitality and, of course, love. And Ukrainian women gave birth to not just one or two children, but 3 or more children.
The concept of a family in Ukraine is strongly associated with children, birth and upbringing of them is a sense of life for Ukrainian women. Within a family, children learn from their parents not only the rules how to behave themselves and get the first knowledge about the world around them, but the most important – to appreciate relatives of people around them and during all their lives to feel that emotional atmosphere of their home comfort of a 'Family nest', and later to recreate it for their own children that a single thread of cultural traditions could never be interrupted. For children in Ukraine, every effort is made to ensure that they grow up worthy of their parents, and that they can find their way in life. And the biggest part of its responsibility is on the shoulders of Ukrainian women.
In Ukrainian families the relations between generations of parents and children differ from the European ones. They still have connection between parents and adult off spring. For example, young people, even they live separate from their parents in their apartments still attend their parents for the 'family dinners', trying to spend the holidays with their parents or with good friends. And the parents are trying to be involved in a life of a young family.
Every third child in Ukraine is born as a bastard. There are lots of reasons for that but even being alone, Ukrainian woman with a child will never give up. She is well aware of the responsibility and directs all her efforts to behave her children well and help them to achieve a decent education. And an important place in this situation is not only a material component - here you can have two or three jobs, but also a search for a man who is able to replace the child's father. And single Ukrainian woman first of all is trying to find a father to her son or daughter but not just a man for herself. And considering that almost every third mother in Ukraine is single, and also millions of women after divorce are raising their own children by themselves, here we have a huge number of the brides. If we look at the overall demographic situation in the country, where men live much less than women, it becomes clear and easily understandable a desire of many women to become a bride of a foreign man.
UKRAINIAN WOMEN GUIDE: 5 Common Questions about Girls from Ukraine. Facts, qualities, characteristics, Relationships and Attitudes. Mail order brides FAQ
How to understand a woman, or a brief description of the characteristics, advantages and disadvantages of girls from Ukraine
A love, the attitude to men and understanding of family values through the eyes of single Ukrainian women.


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Shahar Abiad is an experienced yoga teacher & therapist, he was born in Argentina and moved to Israel in 2000. Currently, he is living in Barcelona.
Shahar began to practice yoga as a process of self-realization, ever since he continues to explore and study the discipline. The philosophy of yoga is now an important pillar of his way of life.
After years of daily practice, he was certified to teach yoga by the legendary Master Yogi Sri Dharma Mittra. Shahar teaches yoga every day for all levels, leads workshops and retreats for yoga teachers in Israel, Europe, and Argentina.
During more than 5 years he was the reflexology therapist and holistic therapist at Reuth Medical Center, Tel Aviv (with experience in rehabilitation wards & intensive care respirators).
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