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Monday, April 30, 2012
Inking Erik Satie
Deadlines and travel have conspired to make this posting a second-grade fresh re-posting instead of the usual steaming hot virginal Snarkery you've come to expect, ie., your hopes are dashed but read on anyway, especially if you're at work …and BTW, I do plan to continue with the Moebius critiques … I need time, more time — whose golden thighs uphold the flowery earth …
In our economically blighted times, when the very mention of Brokers and their fiscal ilk makes even the staunchest of capitalists wobble somewhat at the knees, it behooves us to remember that Lewis Carroll thought it prudent to include a Broker amongst the Fellowship of the Snark. We see a picture of the Broker above, in the midst of some menacing spade-work in Fit the Fourth.
The Broker's job description is minimal : he is charged with valuing the B-Boyz goods. Beyond that, the Admirable Carroll can add little else and nor should he, since the Research Department here at The Hunting of the Snark is perfectly capable of adding it all up on their own.
The Broker's resemblance to the French musical gadfly, Erik Satie, is compelling evidence of something or the other. The Assamese nautch girl in charge of the investigation managed to curtail her lascivious gyrations long enough to unearth further details of Satie's involvement in late Victorian financial nonsense …
« … if memory serves, Satie enjoyed creating miniscule models of houses shaped out of lead, which he kept in a cabinet in his home. He would periodically advertise these houses in the local newspaper — making no mention of their actual size — and would take great delight in ushering the prospective home-purchaser into his parlor, and there solemnly presenting him with the unexpected lilliputian house. »
This crackalackin' summation of the essential nature of the global financial industry was then collated and cross-referenced with additional information concerning the mysterious Monsieur Satie which had been slipped anonymously into the go-go boots of the above-mentioned Assamese nautch girl in a rare, stationary moment …
Item : Erik Satie … this mysterious person who founded his own religion, The Metropolitan Church of Art of Jesus, Leader.
Item : Erik Satie … who took up smoking to give his physician extra income.
Item : Erik Satie … whose 14-hour long solo piano masterpiece, Vexations, (which Gavin Bryars described as a sort of "Ring des Nibelungen des pauvres"), initiated the modern use of boredom as an artistic strategy.
Conclusion? Don't be fooled by the sloppily inked moustache and glasses, nor even by the phony, Brad-Pitt-style French accent — Erik Satie was a dangerous character and unsafe in elevators and department stores, with or without Muzak. His appearance in this version of the Snark as the Broker is a shocking reminder of the grim human cost of applying Carrollian Nonsense to global financial strategies. In a world where millionaires weep, we all weep!
Monday, April 23, 2012
Occupy Snark!
I apologize to my readers, but the press of deadlines this week has been so great that I must post a re-run of an earlier posting, a stanzel from my GN Snark. It's outfitted with the usual blathery commentary and barely concealed ridicule …
"But if ever I meet with a Boojum, that day,
In a moment (of this I am sure),
I shall softly and suddenly vanish away —
And the notion I cannot endure!"
The last, fateful words of the Baker-cum-Lewis-Carroll before he is smothered by the inky depths of the night, suffocated by the relentless Amorous Gigantism of Inanimate Things, transfixed by the icy glare of the Snark-Is-Eye lurking in the wardrobe — obliterated, in short, by his memories of the future!
This whole Boojum business is what literary boffins like to call Catharsis, a purging and expelling of unsettling emotions, a process which results in a post-Boojum state of relaxation, mental ease, gleaming white teeth and little or no underarm perspiration. In this state of enlightenment all of one's troubles softly and suddenly vanish away and one is left with only the minty fresh after-taste of … Boojum-Orientalism!
Boojum-Orientalism is fundamentally a political doctrine willed over the Boojum because the Boojum is weaker than the Baker, a doctrine which elides the Boojum's difference with its weakness. . . . as a cultural apparatus Boojum-Orientalism is all aggression, activity, judgment, will-to-truth, and knowledge … the whole point about this system is not that it is a misrepresentation of some Boojumistic essence — in which I do not for a moment believe — but that it operates as representations usually do, for a purpose, according to a tendency, in a specific historical, intellectual, and even economic setting …
All hail the postsemiotic Second-Grade-Fresh-New-World-Order! Aided only by my trusty giant power-packed pen and buckets of thick, reheated cafeteria-style ink, I have deconstructed a Boojum-ridden, prostrate Baker into a resurgent postcolonial Boojum reasserting his alienated Snarkhood and casting aside the dehumanizing typology of the oppressive Victorian bourgeois Snark Hunter … (pauses for breath) …
… until that time when that fickle Wheel of Fate turns again and allows a resurgent postcolonial Baker to reassert his alienated manhood and cast aside the dehumanizing typology of the oppressive Victorian bourgeois Boojum … (dabs brow with gin-soaked compresses) …
… hurrah for the disappearance of the Author-Function! Hurrah for the justified tyranny of the Reader-Boojum! Hurrah for everybody!
Monday, April 16, 2012
Moebius & The Airtight Garage: No. 4 … Ink lightly into that dark night
Inking is a physical performance in which the extreme polarity of the marks being made allows little room for fuzzy thinking or clumsy action. One must be precise and accurate whether one's moves are bold or delicate, and in the latter mode, Moebius was the undisputed champion. Not many inkers can keep things so quiet yet energetic, as Moebius did when he was in the mood.
Here's page 30 of The Airtight Garage and after 34 years, it still makes this inker seethe with a happy envy. It is a performance governed by a simple rule (in addition to the 3 Prime Directives of camera-ready, eye-pleasing black & white line art):
4. Toujours délicat — always delicate!
This page is an homage to the expressive powers of a crowquill nib handled with care. Each panel retreats backwards in point-of-view, shedding detail but always staying crisp and balanced and detailed at the precise level needed to maintain continuity and attract the eye further. The breakup of white space is completely interlocked with the lines, the spotting is perfect — in fact, there is little one can express with words to do justice to this performance.
Note the petillance in panel 2; the woman's hair is an optical eye-sink which perfectly balances the spotting above her. Also note that on this page, Moebius tackles one of the great technical challenges of any inker: realistically rendering disparate textures in the same page. In panel 1 we have the delicate flesh of a woman (more about that in a moment), the short-napped fur of her jacket collar, the rougher masculine flesh of the hand pointing to her, the burned edges of paper and even the brass screen of a hash pipe with ashes in it. In the next panels we have hair, pearls,, shiny fabrics, a puff ball of sorts and even smoke.
Nothing makes an inker sweat harder than tackling lots of different textures in one rendering, it requires careful choices in choosing one's marking system so that the entire assembly makes sense in the end. If, for example, one over-renders the female's face, then everything else usually needs more rendering to stay in tune and this may skew the tonal design. If the cigarette smoke had been crosshatched (as Moebius does on other pages of the AG) then the fabric it floats over may need more rendering to keep up visually.
In other words, when rendering disparate textures, the decisions made with the lighter textures set the tone for everything else and when one then considers lighting and modeling (which Moebius ignores here, the scamp!), things can get tricky.
The delicate touch of this page smites this inker's heart mostly keenly in panel 1, which we see blown up here. It is a bible for crosshatching in the first quarter-tones of the grey scale.
I mentioned that Jerry Cornelius' face is rendered in the feminine style, ie. when inking women, always maintain a lighter touch and avoid modeling. Supposedly, Moebius used Patti Smith as photo reference for this face, I don't know if this is true but no matter, he rendered her perfectly. The hatching describes the spherical volumes in the classic Moebius "stabby" short pattern with the classic Moebius 90-degree crosshatching in judicious passages.
Two additional points: first, Moebius has broken one of the Prime Directives here, the linework is dropping out slightly. I've seen several different print runs of this page and they are not quite up to snuff. He made the dots and lines of this passage too delicate and they are dropping ever so slightly. This is the danger of delicate crowquill work and this is why most fastidious, delicate cross-hatchers work at same size or very close to it. No reduction minimizes the dangers of sloppy pre-press, digital or photo-neg. It also reduces the sheer amount of labor required in covering the page with obsessive marks.
I know that Moebius had a fetish for inking bigger and bigger at one time in his career; I do not know the original size of this page and if any readers do, please let us know. My gut feeling is that this page was reduced too much — not that it was subjected to sloppy prepress.
The other point is one that seems to perplex some younger illustrators & comix lovers. Using photo reference is a perfectly healthy and useful practice for the illustrator, it is not cheating or "faking". Before the camera came along, professional artists (ie. illustrators in modern parlance) used models and drew from life, often keeping these drawings in collections which were used as reference by other artists in the studio. When photography came along, they began collecting photographs of appropriate subject matter and continue to do so even now.
The danger of photos lies in their over-use by developing draftsmen, who unwittingly learn to copy the distortions and omissions of the photographic process and thus stunt their growth. Photos always lie in subtle ways and the experienced draftsman learns to correct them without conscious thought, simply by using his good eye.
In any case, despite the dropping of lines, panel 1 is an amazing performance. A delicate mood is maintained despite the wide span of tones and textures being rendered. The crosshatching on the face is classic, it demonstrates the natural evolutionary growth of stippling to hatching to crosshatching.
The delicate touch is a learned touch, it requires the hand to perform at the very edge of its physicality. Moebius mastered it after years of practice and used it to great effect in The Airtight Garage and elsewhere.
Let's see an example of Albrecht "Big Daddy" Dürer in the same mode, a detail from his Fall of Man engraving. This sample has been blown up considerably and shows a consummate mastery of the stipple-hatch-crosshatch progression executed with the most demanding — and expressive — linear tool ever devised, the engraving burin.
I urge students of inking to visit the site that I got this sample from, it's a massive blow-up of the engraving from Google and the MOFA-Boston. 75% of everything you need to know about classical, long-line spherical crosshatching is in this engraving. It's all in the hands, baby.
Moebius performed with pen and ink and paper, Dürer performed with steel and copper and engraver's ink but the song remains the same — a woman's face, a brass screen, a fur collar — it's all the same melodic, physically-inflected line. If it feels good (to your hand), it's good.
Monday, April 9, 2012
Moebius & The Airtight Garage: No. 3 … I ink the body electric
The Airtight Garage started off as a bit of a larkish bagatelle but as the book progressed, Moebius employed more and more stylistic & technical variations: fast vs. slow, chicken-fat vs. clear-line, etc. But it's in the very first section, the Major Fatal prologue, that he really played his hand, as we gambling inkers say.
I have to confess that page 10 is one of my favorite pages in the entire AG. It's a classic example of direct inking, where the penciling is minimal and the inking is mostly improvised on the fly. Such a strategy compels the inker's hand to show its stuff without resorting to any stylistic subterfuge and is not for the weak-hearted and handed.
The rule of this page (and yes, the first three rules of black & white camera-ready art that pleases the eye are still in force) is zen-like in its simplicity:
4. Ink to reveal the hand, not just the objects being rendered
It's all about the hand, its presence on this page is overwhelming, much more so than in most commercial work Moebius (and other illustrators) did. Until several years ago, most book & high-end magazine work preferred a crisp, slick surface. The hand was usually hidden behind a Potemkin village of polished, impenetrable marks and on the whole, readers seemed to prefer it that way.
The Major Fatal prologue was a bit of a reaction to this. On page 10, the hand shows itself everywhere — but never clumsily. And it's not just the obvious scribbling on the man's face in panel 1 or the nervous foliage in panel 3. The entire pattern created by the hand's movement leaps forward to create a nervous tension on all levels.
Panel 2 is exquisitely well-inked and deserves careful study. The background has vanished and we're left with a brilliant, fast passage of contour drawing on horse & rider. It is so fast that we can see the delicate marks of the half-lifted nib whenever it changes heading. The nib is omnidirectional, it's rounded enough to move spontaneously in all directions, unlike more precise nibs which catch and "sneeze" ink when moving too fast.
This gives the hand free rein to manoeuver and also allows the physical liquidity of the ink to flavor the rendering. That is to say, the ink blobs and crawls a bit (and each brand of ink behaves differently) whenever the hand's impetus overwhelms the nib's inertia.
The movements are economical, the nib leaves the paper as little as often, note the liquid parsimony of the man's splayed hand. The description of the horse's head perfectly breaks up the positive & negative spaces and then the pen goes down the neck, first hatching from 1 o'clock to 7 o'clock, then squiggling nervously and executing a half-spiral before exiting that passage.
Here's an overlay explaining this. It also shows the same rapid, automatic movement of the hand that has rendered the man's face in panel 1. The whiskers are grizzled with nervous scribbling while the eyes & nose are perfectly described with furious hatching.
This sort of fast, unthinking and rhythmic angling of a nib around a spherical volume not only describes an object; it's also provides an immense, somatic pleasure to the inker's hand. It feels right. The pleasure of movement is the key. The experienced hand's muscle memory renders such angling passages with gusto. And as I've mentioned before, this "stabby" spherical movement was the foundation of Moebius' crosshatching technique, a technique which we'll analyze in a later posting.
I mentioned the stylistic Potemkin village before. The inker's hand is often hidden behind one and to be honest, it's not such a bad thing after all. This writer, in his own inking, has deeply immured himself in a byzantine, utterly impenetrable Potemkin village of inking. Perhaps one day I'll venture out and mingle with the local mujiks but for now, I prefer my hand to remain hidden. The somatic pleasure of intricate crosshatching has its own peculiar intensity, in particular when rendering the long serpentine arcs of deeply spherical volumes at obsessive length.
It's important for modern inkers to remember that not only are they entertaining eyes but that they are doing so by making a unique hand-made object. Electronically shuffling numbers and facts in the digital Potemkin village of virtual reality pays better but the mental and physical pleasure of highly skilled manual labor has its own rewards. The mass reproduction of these objects is a subject unto itself but for now, the point is understanding how Moebius built his success upon his hand, upon the specific marks and general patterns that its movement made upon the page.
His performance was not only conceptually stimulating, it was also physically grounded in the reality of muscle and nerve and steel and paper and ink. The Airtight Garage was a mental and physical performance on all levels.
Finally, here's two examples of pen work which show the hand. I apologize for the da Sesto's quality, my main reference library is 600 miles away and I must rely on the internet for these drawings.
Albrecht Dürer, pen & ink
Cesare da Sesto, pen & ink
These are pen and ink performances from the early Renaissance, one in the Italian style and one in the German style. I usually choose mechanically reproduced examples (to match the three rules of The Airtight Garage) but this time I wanted to show the naked hand, so to speak.
We artists work in a world obsessed with creating perfectly commodified virtual realities which disdain the ethos of the skilled hand — for both commercial and conceptual reasons, I fear. But the airtight performances of Moebius — they dance elegant rings around the clumsy shambles of these latest re-inventions of our human reality.
The rhetoric of the hand, it's a resurgence of the Baroque aesthetic, in essence, and it re-affirms the power — and utility — of drawing happily. Ecce homo faber!
NB. One other thought has occurred to me regarding the stylistic display of the hand in inking: the use of Rapidographs & felt-tip markers. There are many inkers who do excellent work with the latter tools but this curmudgeon must confess that he harbors the sneaking suspicion that these artists' work would be even better with dip pens … the mono-width nib doesn't really show how one's hand has pushed and pulled and scrabbled about on the paper with the nib. The convenience is outweighed by the reduction in stylistic options. Crosshatching is deadened, the hand-heavy style is restrained and as for clear line with Rapidograph — the horror, the horror!
Monday, April 2, 2012
Moebius & The Airtight Garage: No. 2 … on a clear-line day, you can see forever
Even when the smaller lines look mono-width, they are not. Look carefully and you'll see the ceaseless, minute waxing and waning that a dip pen gives to the line. Inkers who use Rapidographs lose much in line energy, much more than they gain in convenience. They are often forced to keep lines shorter so as to not betray the spindliness of extended passages. The line breathes when one uses a flexible nib, and when the hand is fast and confident, the result is lively to the eye.
By normal clear-line standards, the entire page — and the backgrounds in particular — is over-inked. But look carefully. All the marks are still contour, they are all explanatory, they are all well integrated into the white. There is no risk of confusing the eye, in fact, the opposite is happening, our eyes are enjoying the visual patterns of obsessive detail because they are firmly grounded in optical reality. Our eye loves realistic contour even more than the convenience of orthodox page navigation — confusion is attractive if it is done just so.
The total effect is a pleasing optical confusion of foreground and background such as we saw on page 36. Rule 5 (which operates to satisfy Rule 3, the satisfaction of the eye) has been further modified to:
5a. Make everything precise and dreamlike at once by maintaining an infinite depth of field through obsessive detailing.
This drive to detail, this French-fried chicken-fat, was one of Moebius' deepest impulses. When he went orthodox clear-line, he also made several statements in print about wanting to shed these obsessions but in the end, he went right back to them. The horror vacui was a basic element of his style, even in clear-line, and style is an expression of personality. Moebius was an honest stylist. The Airtight Garage is a genuine self-performance.
The game of art is the game of personality and obsession and desire. Aesthetic and structural rules encourage the deeply seated, collective human language of picture-making to speak clearly through the trained hand, without useless visual solipsism.
On a more practical level, if you're clear-minded about yourself and your obsessive goals, your style will sort itself it out. Above all, avoid passing fads and short-cuts, they encourage character weaknesses and will literally stunt your growth.
The clear-line style is ancient in commercial illustration, it dates back to Greek vase painting and East Asian block-printing. Let's take a look at one of its first appearances in mass-produced Western commercial book illustration, the Hypnerotomachia Poliphili. Here's several page spreads by an anonymous artist, along with some sharp type-setting by Aldus Manutius, that old slicky-boy of the composing room. Note that all three of the basic rules are in full form here, in both type and ill0s.
The clear-line of these illos is not as over-rendered as Moebius' baroque variations but it is equally effective. The general aim is still the same: dazzle the reader with a stripped down but compelling approximation of optical reality. There's more about the Hypnerotomachia Poliphili here and guess what? It was constructed according to various obscure constraints of a symbolic and allegorical nature, rather like The Garage.
Constraints and rules! They are the inker's friends, not their chains! Accept the hermetically sealed confines of your own airtight garage and feed your head!


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As a beauty blogger, I'm usually the one trying out makeup on other people and snapping away with my DSLR, but recently it was my turn to be on the other side of the makeup brush – and the opposite end of the camera lens.
Athena Demetriou, 30, a trained beauty therapist with a certificate in TV and Film Make-up from The London College of Fashion, asked if I would be a model for her upcoming photoshoot, Days of Summer, shot by photographer Dakku Singh. The theme, it transpired, would be summertime – but with a rocky edge. In other words, the perfect look for festivals!
For the photoshoot, Athena firstly made sure that my face was cleansed and moisturised. 'This helps set the make up,' she says. 'I mixed two foundations – Stargazer Pure White and MAC Face and Body in nc20.' Athena's top tip? Always test foundation on your jawline as this area gives a true reading of your skin tone. She also pointed out that, contrary to popular belief, you should never test foundation on your hand as it won't match your face!
Athena then transformed my eyes from subtle to smokey by mixing several colours from her MUA palette and, using a blending brush, applied the eyeshadow to my brow bones for an open, winged effect. 'Practise feeling the bones around your eye with your fingertips,' she advises. 'This allows you to discover where to apply the shadow for your desired effect.'
Athena added a highlighting colour to the inner corner of my tear duct and, using a kohl black eyeliner, lined the upper lash line and smudged it slightly for an edgy, rock-chick vibe. 'I then applied the same eyeshadow mix under the lower lash line using a smaller eyeshadow brush, and the kohl eyeliner to the waterline of the eye,' explains Athena.
'Using an eyelash curler, I gently curled the lashes, keeping them in the curler for about 30 seconds to ensure a decent curl, and applied Max Factor: 2000 Calories mascara to the upper and lower lashes. Two coats is sufficient for the upper lashes.'
Finally, it was time to contour the cheeks! Athena used a Bare Minerals bronzer in between the cheekbone and jawline. 'This step really helps to define cheekbones and gives the illusion that they're more prominent,' she says. 'On the apples of the cheeks, I used a rose blusher from L'oreal and used a large blending brush in circular motions to help break up any harshness and bring the colours together.'
'For the lips, I primed them using Vaseline to help banish any dryness. As the eyes were already strong, I wanted to keep the lips soft (you should only be adventurous with bold colours if you're going for a striking 'editorial' look) so I applied a nude lip colour by Barry M using an angled lip brush. Another little tip: use a gold highlighter at the cupid's bow – the heart shaped part of the upper lip – as this helps create the illusion of fuller lips.'
'Lastly, I used translucent powder all over the face to help set the makeup and voilà – the finished look is complete!' Thank you to make up artist Athena Demetriou, photographer Dakku Singh and fashion PR manager, Aoife McIvor.

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Catoctin at Oakdale Varsity Volleyball (Regional Playoffs)
I don't shoot a lot of volleyball for many reasons. One, the indoor gyms in local high schools are typically dark and hard to shoot. Two, it is a tough sport to keep up with and very hard to get clean shots. However, the match yesterday between Catoctin and Oakdale Bears was amazing and almost two hours long. The Oakdale girls found themselves down 0-2 but climbed back two games and then won the match by two points. On another note, no Seniors on this team so I would warn the Frederick county girls next year to watch out.Read More


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Celebrate Today Card
Learn how to make this card using these free instructions. Handmade cards are the perfect way to show you care, and with these card-making steps, creating this design is easy.
SUPPLIES: Cardstock: (Aqua Mist, Enchanted Evening, Raspberry Fizz, Hawaiian Shores, Orange Zest, white) Papertrey Ink Patterned paper: (multicolored diamonds from Knee Highs 6x6 pad) BasicGrey Clear stamp: (celebrate today from Bountiful Banners set) Papertrey Ink Dye ink: (Enchanted Evening) Papertrey Ink Accents: (assorted circle sequins) Wal-Mart; (square sequin) Pebbles Dies: (Pinpoint Border, Air Vent, Hexagon Border, Chainlink) Simon Says Stamp; (banner from Bountiful Banners set) Papertrey Ink Finished size: 4 1/4" x 5 1/2"
1 Make card from cardstock. 2 Adhere patterned paper strip to card. 3 Die-cut borders from cardstock. 4 Trim borders and adhere to cardstock rectangle. 5 Die-cut banner from cardstock. 6 Stamp sentiment on banner and adhere to panel with foam tape. 7 Adhere sequins to panel. 8 Adhere panel to card.
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NEW YORK � The Pentagon should make it easier to learn more about service members who are recognized for performing acts of heroism, according to the head of a media organization that chronicled dozens of stories about U.S. military valor overseas.
NEW YORK � The Pentagon should make it easier to learn more about service members who are recognized for performing acts of heroism, according to the head of a media organization that chronicled dozens of stories about U.S. military valor overseas.
Warren Stephens, president and chief executive officer of Stephens Inc. and an owner of Stephens Media, issued the call Monday night while accepting an award for a series published in 2009 and 2010 by the Stephens Media newspapers.
�Saluting American Valor� was awarded the 2012 Excellence in Media Award by Fedcap, a New York-based nonprofit that provides vocational training and jobs for veterans and others challenged to find work.
The series appeared in Stephens newspapers, including the Times Record, for 54 days in November and December 2009, and monthly over the next year. It told the stories of 86 U.S. service members recognized for heroism in the Iraq and Afghanistan wars as they were awarded the Silver Star, the Navy Cross, the Bronze Star with Valor attachment and other medals.
Included were stories about the 10 service members who were granted the Medal of Honor, the nation�s highest acknowledgement for �personal bravery and self-sacrifice.� Seven of the awardees were killed in the line of duty.
The project profiled �some incredible individuals who did extraordinary things on behalf of this country and their fellow soldiers,� Stephens told an audience of about 400 at Fedcap�s annual dinner at the New York Public Library.
Stephens said it was a challenge to identify and locate subjects for the stories. It became necessary for project editors to approach each branch of the military individually because the process for awarding and reporting valor medals was decentralized throughout the Pentagon.
As it faced continued pressure from archivists, the Pentagon this summer established a searchable system for valor awards, in part to root out fraudsters who lie about having served in the military and earning medals. However, the database has been criticized for containing errors and still not being complete.
�I hope our military will make access to this type of information easier in the future,� Stephens said.
The award was presented by Marie Tillman, widow of Pat Tillman, who famously quit a pro football career in 2002 to join the U.S. Army Rangers but who was killed in Afghanistan two years later.
Tillman, who heads a foundation in her late husband�s name, said the valor series �told stories that really matter, the ones that will outlive us all, the stories of brave men and women who answered the call.�
The stories are posted on an interactive website, www.americanvalor.net, and were compiled in a book published by Stephens Press, �Saluting American Valor.�
At the dinner, Stephens singled out four employees of his Little Rock-based investment banking operation who deployed to Iraq or Afghanistan and then returned to the company when their military service ended:
� Mark Valenzuela of the company�s information technology department, who deployed in 2004 and again in 2008 to Iraq with the 39th Infantry Brigade. He served as a platoon leader in 2004 in areas south of Baghdad and as an intelligence officer in 2008.
� Security Officer Ricky Collins, who served 20 years in the Arkansas National Guard, including five years of active duty and a stint in Iraq as an anti-terrorism superintendent at the Baghdad airport.
� Security Officer Ryan Rumbley, who served in Kuwait in 2002, Krygyzstan in 2005 and 2009, and in Afghanistan in 2005.
� Tim Roachell, senior security officer at Stephens Inc., who was awarded two Bronze Stars with Valor attachments during two combat tours in Iraq. During his second deployment, Roachell was responsible for protection of State Department personnel, including Ambassador Ryan Crocker.
Stephens also credited Mark Doramus, the chief financial officer at Stephens Inc. Doramus� father was awarded the Silver and Bronze stars during World War II, and after he was buried at Arlington National Cemetery, Doramus shared the medal citations with Stephens.
�Mark�s father�s actions in combat were remarkable,� Stephens recalled. �That�s when it hit me that ordinary Americans were doing extraordinary things in the service of our country in Iraq and Afghanistan and somebody needed to tell their stories.�


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Important: this component does not support your currently selected format websites!
|Amp-viewer-assistance provides assistive behaviors on AMP pages facilitated by a viewer. Messages are passed between the amp-viewer-assistance extension and the external viewer as outlined below.
|Required Script

|Required Element

Supported Functions
amp-viewer-assistance extension currently has two functions that can be invoked via AMP expressions. For example, you may invoke the signIn function on a button tap:
<button on="tap:amp-viewer-assistance.signIn"> Sign In </button>
|Function Name
amp-viewer-assistance extension sends a message to the viewer to sign in expecting an identity token back.
|A function to send a message to the outer viewer representing a state change. Requires either an
update or
error object parameter
UpdateActionState Payloads
A valid
amp-viewer-assistance.updateActionState payload can either be an
update object of the format:
{ "actionStatus": "COMPLETED_ACTION_STATUS" | "ACTIVE_ACTION_STATUS" | "FAILED_ACTION_STATUS", "result": { ... }, // optional field used with COMPLETED_ACTION_STATUS }
or an
error standard Response object.
Handling Errors
In the event of an error with the
amp-list extension, we can listen to the
fetch-error event and call
amp-viewer-assistance.updateActionState to pass the error to the viewer. With an
error parameter,
amp-viewer-assistance will transform the parameter into a
FAILED_ACTION_STATUS payload before sending it to the viewer.
<amp-list id="my-failing-list" src="failing.xhr.address.com" on="fetch-error:amp-viewer-assistance.updateActionState(error=event.response)" > </amp-list>
Messages Sent
There are several messages that can be sent from the amp-viewer-assistance extension to the external viewer.
|Message Name
|A message containing the initial json config within the
amp-viewer-assistance element. This message is sent during the extension's initialization.
|Requests for a sign in from the viewer expecting a string identity token back from the viewer. Passes a json argument with a property
providers containing an array of identity providers. Currently only supports
|Similar to requestSignIn however, only requests for the identity token instead of a fresh sign in. Passes a json argument with a property
providers containing an array of identity providers. Currently only supports
|A message representing a change in state. Can be sent with an argument payload.
Events Triggered
In order to act upon a successful sign in from the viewer assistance, a
signedIn event is emitted from the
amp-viewer-assistance script element. On the element, an expression can be attached via the
on attribute. In this example, we are showing a success message after a user has signed in:

 Successfully Signed In!

|Event Name
|Emitting Element
|An action emitted upon a successful signIn by the external viewer.
Utilizing an Identity Token
Given a viewer with identity capabilities, the
amp-viewer-assistance extension can pass an identity token back to the amphtml run-time to attach to remote XHRs. To attach the identity token to a remote XHR request in an
amp-list, or
amp-form element, simply attach the attribute
crossorigin="amp-viewer-auth-token-via-post" to the performing element. The request will be transformed into a POST request, and within the request body will be an
ampViewerAuthToken variable set to the authorization token from the viewer.
Here are some examples:
<amp-state id="myRemoteState" src="https://data.com/articles.json" crossorigin=""amp-viewer-auth-token-via-post"" > </amp-state>
yields a POST request body:
<form id="name-form" method="post" target="_top" action-xhr="https://data.com/formsubmit" crossorigin="amp-viewer-auth-token-via-post" >
Full Name
 <input type="text" name="name" value="Default name value" /> <button type="submit"> Submit Name </button> </form>
yields a POST request form-data payload of:
--------formDataBoundary-------- Content Disposition: form-data; name="name" Default name value --------formDataBoundary-------- Content Disposition: form-data; name="ampViewerAuthToken" AUTH_TOKEN_FROM_VIEWER_ASSISTANCE
Identity Class
Upon a successful sign in or identity token retrieval from the viewer, an
amp-viewer-assistance-identity-available class will be attached to the root element of the AMP document. This can be used to manipulate elements with compound CSS classes.
In this example, we have a message telling the user they are signed out. If the identity is available through the extension, the message's
display attribute will be overwritten to
.signedOutMessage { display: block; } .amp-viewer-assistance-identity-available .signedOutMessage { display: none; }
Wrapping up the above, here is an example implementation of a page utilizing sign in, as well as an
updateActionState after a form submission.
 <button on="tap:amp-viewer-assistance.signIn"> Sign In </button>
 Successfully Signed In!

 Signed Out!
 <form id="state-change-form" method="POST" action-xhr="myAuthorizedRemoteXHR/endpoint" crossorigin="amp-viewer-auth-token-via-post" on="submit-success:amp-viewer-assistance.updateActionState(update=event.response)" ></form> <button on="tap:state-change-form.submit"> Change State </button>
You've read this document a dozen times but it doesn't really cover all of your questions? Maybe other people felt the same: reach out to them on Stack Overflow.Go to Stack Overflow Found a bug or missing a feature?
The AMP project strongly encourages your participation and contributions! We hope you'll become an ongoing participant in our open source community but we also welcome one-off contributions for the issues you're particularly passionate about.Go to GitHub


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"Tanah Air Kita"
Water has a special place in Indonesia's culture. The expression for "homeland" in Bahasa Indonesia, the national language, is "Tanah Air Kita" – which translates as "Our Land and Water", reflecting the fact that Indonesia is made up of more than 17,000 islands. Tisna Sanjaya, an Indonesian artist and social and environmental activist, describes the Citarum River as "the cradle of our nation's culture".


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This is a more polished version, complete with a new mode:
This is pretty much the 7-day version:
Things that didn't make it:
- Sound effects, I'll add this shortly, possibly before the closing submission.
- Boss
- Other realms, beyond Coral Grief.
- Intro
- Unlock new equipment.
All new development progress will happen at Gamejolt. Once all the other stuff I wanted to add are done, the game will be released on Newgrounds. For now, I need to see if it's worth developing this game further.
Concept Art! I got really interested and decided to make a water-colored concept art for this.
Tara's sprite sheet:
Here's a mock-up of the gameplay:
I suppose in a sense, it's a ninja-rope game The idea is to chase after fishes and knock them out, then collect them before your battery runs out.
Boost allows you to change your trajectory in mid-air, use this to knock fishes out. They can be collected once they get knocked out. Certain fishes are stubborn and will require more beating.
Avoid knocking yourself out if you are moving too fast and you hit the landscape. Getting knocked out means you get stunned and you will be unable to perform any actions until you land. There are various hazards underwater as well. These will stun you, quite possibly eat you, and drain a small amount of your battery.
That's pretty much the core mechanics in a nutshell!
Once that's implemented, more to follow! Upgrades, money; those stupid things, most likely.
Here's some more sketches:
~ Updates ~
Day 1
- Initial stuff.
- Character control including rope mechanic.
- Some stuff I don't remember...
Day 2
- Tweak gameplay.
- Basic fish movement
- Beat fish, capture fish
- Spawning
- Some other stuff...
Day 3
- Boost
- Game flow
- Better fish spawning
- Hostile 'fish'
Day 4
- Tara art
- Tweak gameplay
- Animation system
Day 5
- Various epic-fail in several art style
- Decided to use pieces of scanned water-color images
Day 6
- More tweaks, played the game more than developed.
- Added new mode.
- Gameflow
Day 7
[*] Second prototype release.[/list]
Days Beyond
[*] General polish
[*] More gameflow
[*] New mode
[*] Tons more assets
[*] Music[/list]
Planned Release
[*] Boss
[*] 2 more realms.
[*] Intro.
Here's some notebook shots, if it's of any interest. Gonna see if I can post a demo later tonight!


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University Medical Practice5 Pritchatts RoadEdgbastonBirmingham, B15 2QUTel: 0121 687 3055 option 1
Please take a look at "Clinics and Services"
Please book in with a member of our Nursing staff.
Please update the practice if you have changed address or telephone number - it is vital that we have correct contact details. Please select the Online Services from our Quick Links menu on the right. You must live within our practice area to remain registered with us - look at the practice area map in the New Patients tab to check where you live.
The University has introduced Pay & Display around our car park at the back of the surgery. Patients attending the surgery for 90 minutes or less can park without charge in the car park area closest to the surgery.
All patients have a named doctor and you will be informed who that is when you register for the first time. However we have an "open list policy" which means you are welcome to see whichever doctor you choose but we would strongly advise trying to see a consistent doctor, especially for long term health conditions. Please see here for more information.
For patients who are due an annual asthma review.
Please would you book an appointment with one of the practice nurses for your review.
If your symptoms are deteriorating or you have any concerns, please make an appointment to the respiratory nurse or a doctor as well.
Copyright 2006 - 2020 My Surgery Website | Privacy & Usage | Edit | Staff Home | Site Map | Accessibility | Site T&C's | Service T&C's


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- Maintain the Junquillal beaches in adequate conditions for nesting and hatching of the Leatherback, Green and Olive Ridley marine turtles, organized by the local community.
- Protect marine turtles against poaching and illegal egg collection, as well as monitoring the nesting activities of the females through night patrols at the beaches.
- Improve the conservation efforts, increasing environmental awareness on the urgency to protect these species. The implementation of a Community Livelihood Improvement Program (CLIP) to connect the conservation of marine turtles and the community wellbeing, will improve the conservation efforts towards marine turtles.
- Promote the development of productive activities related turtles as an alternative income for the local community.
- Design and implement adaptation measures towards different climate change scenarios that may benefit marine turtles and local communities.


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A ghoulish stop-motion animation by zany director Tim Burton, Frankenweenie may be in theatres the week before Halloween but this off-beat horror spoof is more than just a holiday gimmick.
Frankenweenie is based on a short film of the same name made by Burton for Disney back in 1984. It's the story of introverted and budding young film-maker Victor Frankenstein (Tahan), who uses science to bring his much-loved dog, Sparky, back to life after he's killed in a car accident.
Victor tries to keep his "creation" tucked away in the attic but it's not long before his classmate, a hunchback called Edgar 'E' Gore (The Middle's Atticus Shaffer) discovers his secret, and blackmails Victor into sharing his newfound ability to bring the dead back to life.
Filmed in black and white, and rendered in 3D, Frankenweenie is filled with references to classic black and white monster movies, and Burton's own work.
These include shots angled to send shadows looming across walls, references to horror actors (such as Boris Karloff and Peter Lorre), and creatures inspired by films such as Godzilla and Gremlins.
The character aesthetic is similar to Burton's previous work in Corpse Bride and The Nightmare Before Christmas (which Burton wrote but didn't direct); large-headed figures with eyes circled in black, sitting on top of stick-thin bodies.
Clever, dry and dark, Frankenweenie is classic Burton and is for adults as much as for older kids, although too scary and the script too sophisticated for little ones.
Visually stunning, this endearing, if somewhat macabre story is more interesting and goes a little deeper than most family animations.
Stars: 3.5/5
Cast: Charlie Tahan, Martin Landau, Winona Ryder
Director: Tim Burton
Running time: 87 mins
Rating: PG (scary scenes)
Verdict: Burton gives Frankenstein a new lease of life


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Rethinking Luxury Cars as Chinese Military Switches Plates
Enforcement of tougher military license plate rules, starting Wednesday, by China's People's Liberation Army signals the start of a broad drive against ostentatious consumption, prompting global auto makers such as Daimler's Mercedes-Benz and Audi to re-examine their positioning in the market.
As reported by The Wall Street Journal earlier this year, the new rules are primarily designed to curb abuses of the country's military license plate system.
Cars with special military plates enjoy many benefits. Vehicles with military and armed police plates are often seen violating traffic regulations but are rarely stopped by the police, and are also exempt from charges at toll stations. Military plates are sometimes illegally auctioned off to civilians, according to Communist Party insiders and people involved in the luxury-car business.
But the new restrictions could see foreign-brand luxury cars purged from the military fleet.
The state-run Xinhua news agency reported Sunday that certain high-end luxury cars with engines of three liters or more and priced more than 450,000 yuan (around $72,000) wouldn't qualify for licenses. In the Chinese market, brands falling into this category typically include models by German brands such as Mercedes-Benz BMW and Audi.
Earlier state media reports from March also said many luxury brands belonging to global auto makers won't receive the new military license plates unless they are registered as military property.
"The new policy is about more than just replacing license plates. It is intended to reduce abuses of power and the neglect of duty, as well as improve public trust in the military and maintain social harmony," the Xinhua report said.
Military license plate reform comes amid a broader anti-corruption push by the Chinese government under President Xi Jinping aimed at wiping out signs of excess among the country's ruling class.
The number of cars in the government fleet is not to be sniffed at: 750,000 such cars were sold in 2012, according to estimates from the China Passenger Car Association. More than 70% of government fleet sales were foreign brands, down from more than 80% in 2011. Passenger car sales increased around 7% year on year in 2012 to around 15. 5 million cars, according to statistics from the semi-official China Association of Automobile Manufacturers. The premium-car market accounts for 9% of all passenger-car sales, according to McKinsey & Co.
The tighter rules come at a time when industry players warn of slowing growth in sales of more expensive cars in China. BMW AG recently forecasted growth in the "high single digits" for 2013—a far cry from the 40% growth in sales it had in 2012 that brought its total sales in China to around 326,000 vehicles. In the first three months of this year growth had slowed to 7.4% for BMW-brand cars.
"The market is maturing somewhat," Ian Robertson, BMW management-board member responsible for sales and marketing said last month in Shanghai. "We're expecting normalizing growth figures in coming years."
The sight of luxury cars and SUVs sporting military plates is cause for widespread resentment among regular Chinese citizens. Now foreign auto makers are keen to distance themselves from their association with government purchases while making efforts to broaden their appeal to a broader range of consumers with smaller, more affordable models.
"We're basically not present in this (government fleet) market so if there is an impact it is much less for our brand than at least one of our competitors," Dieter Zetsche, chairman of the board ofmanagement of Daimler and head of Mercedes-Benz Cars, told reporters at the recent Shanghai auto show.
Volkswagen AG's Audi, the largest luxury-auto maker in China, has been a popular choice among China's ruling classes, but the company says it is shifting its attention to other buyers.
"We're not targeting government customers anymore," Audi's China president Dietmar Voggenreiter said recently in Shanghai. "More than 90% of our sales are generated from private customers, and only 10% are typical so-called fleet customers. But by far the clear majority of these fleet companies are big companies. We have a very small portion of direct government sales in the portfolio," he said.
Mr. Voggenreiter insisted Audi is no longer a brand for black limousines. "Some have still have this picture in mind," he said. "(But) we are selling more than one third of our cars in the area of SUVs, sports cars, etc. We're not anymore a business or government brand," he added.
Daimler's Mr. Zetsche said as Mercedes-Benz begins to introduce more compact cars to China, the brand's positioning would also change.
"Originally the brand was seen as the S-class brand, and certainly that is very much the high end, it is understood as defining the top of the market," he said.
This was a positive thing, he said, but added in light of recent moves to curb conspicuous consumption, particularly among government officials, such positioning "might be a risk as well."
In light of this, the company plans to introduce more compact models to China. "I think our opening the brand making it more accessible more affordable is generally a good thing," said Mr. Zetsche.
-- Colum Murphy, with contributions from Esther Fung


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Archival research can be exciting and rewarding.
Our holdings are not organised by subject like a library. The collection is arranged by the government agencies or individuals who created the records, according to the Commonwealth Record Series (CRS) System. There is no single subject index or catalogue that lists every item in the collection.
Our step-by-step guide for researchers is a basic outline of how your research might progress.
Before you delve into our collection, start by collecting basic facts on your person or topic. Undertake background reading and consult secondary sources (eg books, websites) to learn more about your topic and its historical context.
For example, if you are researching a person, try and gather personal documents (eg passports, letters and photographs) that can yield useful details such as:
You might like to think about whether the person:
For more information:
The National Archives was established to collect, preserve and provide access to the records created by the government of the Commonwealth of Australia. The majority of our records date from the Federation of Australia in 1901. We do hold a small number of colonial records created during the pre-Federation period, but the bulk of the earlier records are held by the various State government archives.
You can:
RecordSearch is our online collection database, which defines different levels of information about the records we hold. It describes:
It maps relationships between these agencies, series and items based on the Commonwealth Record Series (CRS) System.
An easy place to start in RecordSearch is with:
You can find out more in the following fact sheets:
Each of the item descriptions displayed in the item list on RecordSearch, will have one of the following access statuses recorded against it: open, open with exception, or not yet examined.
If the record you want to see is open, you can:
If the record you want has not been examined (that is, cleared for public access), you will need to apply for access by either:
The item will be examined and notification of the access decision provided within 90 business days. In some cases the record can't be cleared for public access or access to certain parts will be withheld. If this is the case, you will be sent a written statement of reasons.
Find out more on:
The Archives Act does not provide a right of access to records not yet in the open access period. To see these records, you will need to apply direct to the Australian Government agency controlling the records, under the Freedom of Information (FOI) Act.
We provide online copies of records, consisting of an image of each page of the record and a searchable PDF, made available through our collection database, RecordSearch.
You can identify and order an online copy of a record through RecordSearch. On the Item details screen select 'Request copy' and follow the instructions. Copying charges apply.
Find out more about ordering copies.
Our reference staff can help you to find records in the collection. Reference services are provided free of charge and you can ask us a question online.
If the reference officer identifies records relevant to your inquiry they will let you know.
As we do not undertake lengthy research on your behalf, you may like to employ a research agent.
If you are planning to undertake extensive research, it may be easier to do so in one of our reading rooms.
Only a small number of the total records are listed individually on RecordSearch. In some cases you may need to search hard copies of item lists which provide similar details to item descriptions on RecordSearch.
Our reading rooms are located in each capital city and they offer facilities, services and specialist reference staff to help with research using our collection.
As archival records are held in special repositories, often off-site, to view original records, you will need to submit a request for issue in advance of your visit. Original records can only be viewed in the reading room of the office where the record is held. We cannot transfer records between offices.
For more information:


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Fiery Pepper Flavor By SoCo
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Loving this SoCo design and launch kit for their new Tabasco Fiery Pepper flavor.
"Southern Comfort Fiery Pepper is a fusion of two Louisiana classics, Southern Comfort and Tabasco. Devilishly spicy with a genuine Cajun heat, Fiery Pepper invites new consumers into the Southern Comfort brand with a taste that's challenging and fun.
Fiery Pepper's package design features a flame motif on the Southern Comfort shield and necker, illustrating its spicy flavor. The brand identity system uses iconic elements of the 70 proof bottle and extends the visual language to accommodate new flavor variations.
To announce the arrival of Fiery Pepper, we created a launch kit to promote the product to the industry trade. The box contains branded coasters and a siren to deliver a disruptive, high-energy teaser."
Designed by cue
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Now that the brassicas have mostly all bitten the dust, this is the time of year when the nightshades step to the front.
We're harvesting beautiful Yukon Gold potatoes.
The Italian variety isn't ready yet, but we're enjoying delicious Japanese eggplant.
Still waiting on the bell peppers, but we're picking our yellow banana peppers.
I am SO ready for the first of (hopefully) hundreds of tomato sandwiches. Looks like we have about another week to go.
It's a great time of year for seasonal eating. Last night we enjoyed a delicious Tuscan soup, made with freshly picked shiitake mushrooms and right-from-the-garden squash and eggplant.
On an entirely different subject, I invite you all to visit my new blog Small Enough for a Story, which will focus on local history (broadly defined). It is a work in progress.


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As a non-profit policy and research institute, ESI depends on the financial support of different institutions. To make sure that we draw on the widest range of expertise, ESI co-operates in close partnership with other research institutions, governments, international agencies, NGOs, the media and the private sector.
Thanks to our unique network of Strategic Partners and Supporters, we are able to offer our analysis and services free of charge.
We gratefully acknowledge the generous support of all our donors, who value our work and have supported us financially. The Swedish International Development Cooperation Agency is suporting our work on EU enlargement, capacity building, and EU-Turkey relations. Stiftung Mercator and the Robert Bosch Stiftung have made the Schengen White List Project possible, which aims to contribute to the abolition of the visa requirement for all Western Balkan countries and Turkey. The Foundation to Promote Open Society supports our work to promote reform of key European institutions and to ensure a more robust response to human rights violations, most notably politically-motivated detentions and torture. ERSTE Stiftung is supporting ESI's work on the Balkans and on EU enlargement, including the EU enlargement portal. ERSTE Stiftung also funded the Return to Europe documentary films.
The Swiss Foreign Ministry supported our work on advocating for an inclusive debate on the education system in Kosovo. The Dutch Foreign Ministry supported our research on Macedonia's stalled EU accession. The European Commission supported our research project on EU-Turkey relations. The Charles Stewart Mott Foundation helped us to support local efforts to map social and economic trends. The Norwegian Minstry of Foreign Affairs and the British Foreign and Commonwealth Office were supporting our municipal research and allowing us to present it to an even wider audience. The British Department for International Development supported an ESI Bosnian Governance Assessment. The Open Society Institute was a major core funder, also supporting capacity building in the Caucasus. We would not have been able to co-organize conferences without the cooperation with partners such as Wilton Park and the King Baudouin Foundation. In the past, the Governments of Sweden, Slovenia, Ireland, Canada, Germany and the Dutch Embassy in Sarajevo have been dedicated supporters of ESI, funding our research and our studies. The United States Institute of Peace has funded the ESI Montenegro project, enabling us to produce two major reports and a policy proposal. The Swedish Institute for International Affairs sponsored and co-organised ESI's first high-level brainstorming seminar, inviting key policy makers and regional experts to develop new policy concepts for the future. Core funding has been provided by a variety of Supporters, most notably the German Marshall Fund of the United States, and the Swedish government which in particular has supported our work on the Balkans and Turkey. With their generous financial support, all these institutions have enabled us to directly assist policymakers engaged in difficult decisions on complex issues.
With their generous financial support, all these institutions have enabled us to directly assist policymakers engaged in difficult decisions on complex issues. We thank all our Supporters for their constant encouragement and financial support!
Current supporters:
Past supporters:


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The first book to profile all species of primates, with illustrations of every species and insights into their role in nature and value to humans, has been launched today by Lynx Edicions in association with the International Union for the Conservation of Nature (IUCN) and Conservation International (CI).
The book, which is the third volume of the series Handbook of the Mammals of the World presents the most comprehensive information on 16 families, 77 genera, 479 species and 681 taxa of primates. This 952-page book features, for the first time ever, illustrations of every single species, in addition to hundreds of photos and maps.
"We are hopeful that this book, published as part of such a prestigious series, will make great strides in helping to stimulate interest in primates, and, in doing so, make a major contribution to the conservation of this important group of animals," said Dr. Russell Mittermeier, Chair of IUCN's Species Survival Commission's Primate Specialist Group and President of Conservation International. "Most people don't realize that primates are pollinators and seed dispersers, playing a fundamental role in nature and contributing to human well-being through the maintenance of healthy forests, which give us clean air, water and a stable climate."
Early primate studies were based on a desire to learn more about human evolution by studying our closest living relatives. In recent years, however, research has shown that these animals are not only remarkably interesting in their own way but that they are also an essential component of healthy forests and, therefore, extremely valuable for the vital services they provide to humankind.
Primates can be found mostly in the tropics, and many of them serve as "flagship" species to proclaim the need to protect the forests where they live. The muriqui (Brachyteles arachnoides and Brachyteles hypoxanthus), which occurs in the heavily impacted Atlantic Forest, is the largest endemic mammal to Brazil. It travels over long distances in the forest canopy, helping to regenerate the forest as it disperses the seeds of the fruits it eats. In Madagascar, the indri (Indri indri) is known for its loud, haunting call that can be heard from miles away. The largest tree-dwelling mammal in the world is the orangutan (Pongo abelii and Pongo pygmaeus), which can weigh almost 200 lbs. In the Democratic Republic of Congo, we find our closest living relative, the bonobo (Pan paniscus), a type of chimpanzee popularly known for its active sexual behavior. Half of all primates species, however, are threatened, primarily due to hunting and the widespread destruction of their forests.
Dr. Anthony Rylands, co-chief editor and Deputy Chair of the IUCN SSC Primate Specialist Group, who dedicated three years of work to this publication, said: "It is a remarkable endeavor, I am privileged to have worked with those who contributed so brilliantly to this extraordinary and unique compilation and, most especially, with the artist Stephen D. Nash who illustrated for the first time and so wonderfully all the primates we know of today. Behind this celebration, however, lies the stark and dismal fact that all are now declining in numbers—so many will soon be lost forever unless the unrelenting destruction of the world's tropical forests can be stopped—devastating as it is for the survival of both non-human and human primates."
Handbook of the Mammals of the World. Vol. 3. Primates is for sale at: http://www.lynxeds.com/hmw/handbook-mammals-world-volume-3
For more information, please contact:
Ewa Magiera, IUCN Media and Communications Officer, email@example.com


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I actually bought these two Ecotools sets months ago, as something to take away on holiday with me. I have heard much about them and I have seen them loitering in various Superdrug and Boots stores but never bothered to pick them up.
I bought the 6 Piece Eye Make Up Brush Kit and the 5 Piece Face Make Up Brush Set for around £10 each.
I admit, I am all for expensive, beautifully made-last-forever type brushes. I have been collecting for years and my Shu Uemura Kolinsky brushes are as amazing as they day I got them.
Having said that I like a cheap and cheerful brush (but I have yet to find any "cheap" brush that compare to my most amazing Shu Uemura, Trish McEvoy, Tesshyu brushes).
Here is the eye set:
Ecotools is quite a special brush range. It's Eco friendly! Their brushes are cruelty free, are made from synthetic taklon, are made from recycled materials (aluminium and a bamboo handle) and come with reusable pouches.
The 6 piece eye set (including the case of course!) contains a blend, crease, highlight, shade and line brush:
It's a nice selection but for me, I found them all too fluffy, not enough precision going on.
To be honest – I took these brushes on holiday with me and a few back ups but in the end I used the backups more. Even though I can't fault the Ecotools hair – it is soft – I just didn't like using them.
I didn't find that they were particularly easy for laying down colour or for doing stronger looks. Although the hair is soft I found my brushes moulted a fair bit and they just didn't do what I wanted.
I also didn't like they way they felt in my hand…I don't know if it's the thickness of the handle or how light they were, they just didn't feel right.
The 5pc brush set is more face focused, with a kabuki, powder and two smaller blending brushes:
Once again, the hairs are lovely and soft but I could definitely tell they were synthetic – there's a thinness to the hair I didn't like and I am extremely about my Kabuki brushes – hate anything too thin or anything too firm and this set didn't do it for me either.
It's they way they're quite flat – I don't think they have the natural bounce I like in a brush.
Don't get me wrong – this brand represents a good thing, the prices are great and if you are looking for something cheap and cheerful, or you are starting out with make up, then these sets are good.
They aren't "bad" I just think they are special. I think ELF Studio brushes, for the price, are a better bet.
But I can see why a lot of people like Ecotools, but for me…they miss the mark.
I could sit here all day and say, but it's so affordableeee! But seeing as I have not touched them since I got home from my holidays it wasn't good value for me.
I would consider trying the Ecotools solo brushes though – perhaps there is something there I will like. I just like something with a more considered brush shape and something that is sturdier.


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AnnabelSmith video. More videos (2)Kostenloser Chat mit AnnabelSmith
Kostenloser Chat mit AnnabelSmith
Hello guys, I am here just for you, ready to have great time while we talking, dancing or just being crazy. I can please you, enjoy the role plays, my toys and dance. It is you who chooses what you want to live.


text:
Please enter the e-mail address associated with your User account. Your username will be e-mailed to the e-mail address on file.
Registered users can now log support calls 24 / 7 / 365 using our Online Helpdesk. Just Log in and report your query.
Whether your'e a new business or neet to streamline your IT, Consultancy and support services can assist your business with keeping 1 step ahead.
Professional Accounting and Bookkeeping services which work with your business to increase productivity and meet deadlines.
Qi2 is a registered as a limited company in England and Wales. Company registration number 04294816


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Welcome to Spiritus Sanctus Academies.
Spiritus Sanctus Academies are private Catholic Pre-K - 8 schools in the Ann Arbor and Plymouth areas of Southeast Michigan. Our Catholic schools have been administrated by the Dominican Sisters of Mary, Mother of the Eucharist for over 10 years. While placing a priority on Catholic faith development, the Spiritus Sanctus Academies are committed to academic excellence that offers each student opportunities for challenges and successes. In partnership with its families, the Academies endeavor to nurture students in Truth by forming them spiritually, intellectually, physically and socially. Integrated in himself, the student, as a disciple of Christ, is thereby equipped to flourish in the third millennium.


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Friday, May 09, 2014
Remember the wildly popular "Golden Throats" collections of singing celeb records? 'Twas one of the few areas where the strange-music world and the mainstream met. Those comps, the gods' gift to "morning zoo" radio shows, reveled in recordings by misguided (mostly) actors who probably shouldn't have had any business singing. Record collector extraordinaire MadJon, the man who bequeathed the "Disco Sellout" and "Come Suck With Me" collections unto us, has picked an amazing assortment of Hollywood fruits for us, continuing the "Golden Throats" tradition. There are some straight novelties here by actors who were not trying to be real singers, e.g.: Jim Backus' classic "Delicious," in which he and a lady friend get gradually rip-roaring drunk, and Frank Gorshin's utterly nutso appearance as his "Batman" character, The Riddler. But most of these sincere attempts at musical art range from unintentionally hilarious to just appalling. The Bruce Willis track in particular will make you want to punch the guy should you ever meet him.
The Brady Bunch's version of the usually interminable "American Pie" is one of the best recorded - it's only 3 minutes long! Why does Pat Boone get so much crap for his Little Richard cover? After all, Gale Storm's take on Smiley Lewis' "I Hear You Knockin" is just as jaw-dropping. Both Rex and son Noel Harrison are repped here, and the Burl Ives song is actually called "The Tail Of The Comet Kohoutek." Was great to finally get a copy of Bert Parks singing the traditional "there she goes...Miss America" pageant theme. And what the hell is Richard Harris on about? Even if you're not familiar with all the names here, the tunes, in styles ranging from rockabilly to schmaltzy lounge, are a sick treat.
Much thanks to Mad Jon!
6 comments:
- Jim A said...
Woo! Thanks for the comp. I missed MadJon's previous compilations, so I hunted them down in Google. In case anyone else missed them, here they are:
Frank Sinatra's Greatest Shits
Disco Sellout
- 4:55 AM, May 10, 2014
- Mr Fab said...
I'm pretty sure I meant to link those, but then neglected to do so. So thanks, Unknown.
- 11:20 AM, May 15, 2014
Thanks to Mad John and Mr. Fab!
- 7:30 PM, July 11, 2014
Hey, thanks for posting these. Your comments are spot on. Jim Backus's "friend" on his 1958 "Delicious," by the way, was fellow comedienne Phyllis Diller.
- 5:41 AM, November 26, 2014
- Mr Fab said...
Is it Phyllis Diller? I've heard various things, even claims that she was a female impersonator.
- 9:05 AM, November 26, 2014
Thank you!
- 4:06 AM, February 02, 2015
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With this Summer Olympics starting this weekend, I decided to take a look anad see which past and present Mets broadcasters have worked at the Olympics. I found a few more than I had expected. It wouldn't surprise me if there was an omission from this list. If you don't want to do all that reading, head down to the bottom of the post for a few sound bytes from a current Mets announcer calling an Olympic sport.
- Jiggs McDonald - Best known as a Hall of Fame Hockey broadcaster and voice of the Islanders on TV from 1980-81 through 1994-95, he called Mets games on SportsChannel in 1982.
He called Ice Hockey at the 1998 Calgary Winter Games for ABC and at the 1992 Albertville and 1994 Lillehammer Winter Games for TNT, and also Basketball for CTV in Canada at the 1992 Barcelona Summer Games.
- Don Criqui - Known for his work calling NFL and College Football and College Basketball for NBC and CBS TV and Radio, he was listed as a fill in announcer for the Mets in 1991 (which I don't really remember, but have seen his name listed in some announcer lineups and it was noted in the NY Times).
He called play-by-play for Swimming at the 1988 Seoul Summer Games and Water Polo at the 1996 Atlanta Summer Games for NBC and hosted NBC's Olympics Triplecast PPV broadcast at the 1992 Barcelona Summer Games.
- Kenny Albert - Best known for his work with the NFL and MLB on FOX and Rangers on the radio, he was a fill-in announcer for Bob Murphy during the summer of 2001 on WFAN.
He's called play-by-play for NBC's Olympic Ice Hockey coverage at the 2002 Salt Lake City, 2006 Turino, and he will reprise that roll at 2010 Vancouver Winter Games for NBC.
- Ed Coleman, Mets fill-in announcer and host of Mets Extra on WFAN.
He "did some radio work" at the 1988 Seoul and 1992 Barcelona Summer Games for NBC Radio and the 1994 Lillehammer Winter Games for CBS Radio.
- Howard Cosell - best known from his work on Monday Night Football and Boxing on ABC, he was actually the first pre-game host for the Mets Radio broadcasts in 1962 on WABC Radio.
He was part of ABC TV's Olympic coverage in the 1972 Munich Summer Games and called Boxing at the 1976 Montreal and 1984 Los Angeles Summer Games
- Tim McCarver - Known at one point as the best analyst in Baseball, he's been a lead analyst for ABC, CBS, ABC again, and FOX and was a Mets broadcaster on WOR/WWOR and SportsChannel from 1983 to 1998.
As part of ABC Sports in the late '80s, he called Freestyle Skiing and served as a reporter at the 1988 Calgary Winter Games, and as part of CBS Sports the early '90s, he was a co-host of CBS's primetime coverage of the 1992 Albertville Winter Games
- Gary Thorne - Best known as ESPN and ABC's lead NHL announcer, he was a Mets Radio announcer from 1985 to 1988 on WHN/WFAN and a Mets TV announcer on WWOR, WPIX, and FSN New York from 1994 to 2002.
He called Speed Skating for CBS at the 1998 Nagano Winter Games, Canoeing and Rowing for NBC at the 2000 Sydney Summer Games, and Ice Hockey for NBC at the 2002 Salt Lake City Winter Games.
- Ted Robinson - Best known as the lead Tennis commentator for NBC and the Tennis Channel, he was a TV and Radio announcer for the Mets from 2002 to 2005 on WPIX, FSN New York, and WFAN.
He holds the record for past/present Mets broadcasters making his 7th Olympic broadcast appearance, having called Short Track Speed Skating, Freestyle Skiing, and Giant Slalom Snowboarding for CBS at the 1998 Nagano Winter Games, and for NBC, he called Baseball at the 2000 Sydney Summer Games, Short Track Speed Skating at the 2002 Salt Lake City, 2006 Turino, and 2010 Vancouver Winter Games, Diving and Canoeing at the 2004 Athens Summer Games, Diving again at the 2008 and 2012 Summer Games.
- Gary Cohen - Best known for his work calling New York Mets baseball, he's been the TV voice of the Mets on SNY and WPIX since 2006 and was a voice of the Mets on WFAN from 1989 to 2005.
He called Ice Hockey for CBS Radio at the 1992 Albertville, 1994 Lillehammer, and 1998 Nagano Winter Games, including all 3 Gold Medal contests
Here are some sound bytes of Gary Cohen at the 1998 Winter Olympics.
A disclaimer. These broadcasts are probably the copyright of the IOC, USOC, CBS Radio and/or WFAN. I recorded them using an old fashioned walkman plugged into my computer in 1998, live, as the events happened.
Gary Cohen at the 1998 Olympics Men's Ice Hockey tournament (CBS Radio):
Czech Republic wins the Men's Ice Hockey Gold Medal
Czech goalie Dominik Hasek with 3 great saves against the U.S.
Mike Modano scores for Team USA
Mikhail Shtalenkov with a save for Russia
Petr Svoboda with a goal for the Czech Republic
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Fixing loading to zero vs. excluding ...
Mplus Discussion
Confirmatory Factor Analysis
Katja Schlegel
posted on Monday, July 25, 2011 - 9:49 am
I ran a CFA over 14 items, specifying a one-factor model. Fit was not very good (chi2=118.165, df=77, p=0.0018, CFI=.845, RMSEA= 0.043, SRMR=0.051), with one item displaying a very low factor loading (0.071, p=.298).
When I fixed this loading to zero, the fit almost did not change (chi2=119.167, df=78, p=0.0019, CFI=.845, RMSEA=.042, SRMR=0.052). Only when I excluded this item, fit improved substantially (Chi2=88.988, df=65, p=0.026, CFI=0.903, RMSEA=0.035, SRMR=.047).
Why does the fit not improve when fixing the loading to zero, but does so when excluding the item?
How would one interpret a factor loading fixed to zero as opposed to excluding this item (I would say in both cases the particular item does not contribute anything to the common factor)? In another CFA I ran (on other items), fit did increase when I fixed low factor loadings to zero.
Thank you very much for your help!
PS: My sample size is 295.
Linda K. Muthen
posted on Monday, July 25, 2011 - 2:21 pm
You have different data when you exclude the variable versus including it and fixing the factor loading to zero.
Katja Schlegel
posted on Tuesday, July 26, 2011 - 1:31 am
Thank you for your reply. I see that the data is different for the two options.
Maybe I should ask differently: Why does fixing a very low factor loading to zero in one CFA increase fit, and in another dataset doing the same (for an equally low factor loading, with the same number of items) does not increase fit at all?
Is it good practice to fix the factor loading to zero in the first case and exclude the item in the latter case?
Thank you very much!
Linda K. Muthen
posted on Tuesday, July 26, 2011 - 12:48 pm
This is due to the standard errors being different.
I would not trim a model the way you are doing. This makes it difficult to replicate in another sample. I would simply keep the small loading.
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The first quilt during the Week of Using What You Have is called "Skirting the Circle" by none other than Beth Copeland who shows us how she connects her family in this quilt by using fabric from a skirt that both she and her mother wore. Beth blogs at smazoochie.blogspot.com and you can also find her work on flickr under the flickr name "smazoochie". She is a proud member of the Houston Modern Quilt Guild. Read more as Beth explains a little more about this quilt and her love of using re-purposed fabric.
Tell Us About Your Quilt
The heart and soul of this quilt is an old circle skirt from the 1950's. It belonged to my Mom. I was always a fan of vintage clothing and in high school and college, I used to wear this skirt. Long after I was thin enough to wear it, I carried it around with me, for what reason, I don't know. A few years ago, I was cleaning out my sewing room closet and was this close to passing the skirt along to someone else who loved vintage clothes, when I stopped and decided to cut it up. I had some solids on hand that went well with the mustard, gray and blue in the print and I guess the fact that it was a circle skirt suggested using the quarter circle block. Once the blocks were assembled, the large, plain circles, looked, well, large and plain. So I used some 1/8 inch satin ribbon to extend some of the lines in the print. Quilting my quilts has never been my strength, but I feel I sort of jumped a stumbling block with this quilt; using my walking foot, the inner circles are densely quilted.
What do you love about using scraps or re-purposed fabrics?
I had not really thought about it, but I am getting sort of a 'rep' for using old clothing in quilts. At the Modern Quilt Guild Meet-up at last year's Quilt Market and Festival, several people commented on this. I have always been a thrift shopper and often would buy garments just for the fabric. Recently, as I empty out childhood home, my fabric shelves have been filling up with old family clothing. I like the thrift of using clothing in quilts — though you need to be careful, I have used fabrics that were not good quality and they have ripped or shredded later in the quilt's life. I've even blogged about the use of clothing fabrics in quilts. I especially like using family clothing; it is an excellent way to wrap yourself up with your loved ones. This is even more meaningful when a loved one is no longer able to wrap themselves around you.
Tell Us About Yourself and About You as a Quilter
I am an older Modern Quilter. I've been seriously quilting since the mid-1980s. Over the years, my personal style of quilting had become less about elaborate and fussy piecing, applique and quilting and more about simple shapes that highlight the fabrics. When I found the Modern Quilters, I felt I had found my home. I love the youth, enthusiasm and inter-connectedness of the Modern movement and so happy to be a part of it.


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Quote:The fact is the issue is people not guns (of course we all know that but sometimes I think we lose sight of that fact). Taking away guns will not do any good ultimately as then people would just get better with knives, sticks, rocks, bare hands, I mean if you want to hurt another person you'll find a way to do it and very effectively at that. Look at prison life
Quote:Globetrotter as I mention I like the way you guys do things there I just would hate to give up too much. Seems like it coul hurt practice gathering brass to show that you need more. How do they regulate reloaders I guess powder and projectiles are limited or signed for?
Quote:, but Globe you talked about the responsibilty of the owner even if a weapon was stolen. I have to take some exception to this since by extension you would have to apply this to other things.
Quote: but to maintain an inextricably tied leash on something's safe use goes against the intent and willingness of criminals to disabuse that use by stealing these things.
Quote:read a story a few weeks ago about a bank VP under investigation for embezzlement and then who proceeds to take baseball bats to his entire family and drives into a overpass pylon. Yes, killed his entire family with baseball bats and then kills himself.
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This design is a pre-made cover. Fonts, colors, and other items can be changed at the authors request.
Cover design copyright © 2016-2017 MGBOOKCOVERS
All rights reserved.
This cover will be sold once and will not be made available to any other author after purchase.
Love & Life Premade
- All sales are final.
- No returns or refunds.
- Payment must be paid in full before any file exchange.
- There's no shelf-live for pre-made covers.
- You will recieve a contract that will need to be signed after purchase. This contract is for the protection of both the designer and the client.
• Print Wrap
• Ebook Cover
• FB Banner
• 2 Promo Images (Such as 3d images of cover, Coming Soon images...)
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Trip Dates and Pricing
Do you have questions about the dates of this ride? Are you wondering about the best time of year to go? Or are you ready to book? Please call or email the experienced and friendly ride consultants at Equitours for more detailed information about the trip.
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Some jargon clarification
Some of you might be wondering what a down-payment is; not because you are unfamiliar with the concept, but because you call it something else. Some people refer to a down-payment as a prepayment, a security, or a deposit. Essentially, a down-payment is money that you design client gives to you prior to completing any work. Many organizations and companies use the concept of a down-payment; i.e. when buying a house, taking out a loan, or hiring a lawyer for example. Throughout the article I might refer to a down-payment as any of the above terms. Just know, it all means the same thing.
Why charge a down-payment?
There are a few good reasons why you might decide to adopt the tradition of charging your design clients a down-payment prior to completing any work (and I's also love to hear your suggestions and additions to the following suggestions):
A down-payment is a way for your client to say "We trust you with the project and plan to see it through to the end". It makes it more difficult to bail out after work has been completed and keeps both you and your client working hard toward the final goal of project completion.
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In addition to keeping you and your client honest with one another, down-payments motivate each of you to complete your portions of the project on time and correctly. Ideally, you will create a contract that both you and your client sign that explains what each of you will do and when. The condition of this contract should be the retaining of the down-payment.
A down-payment can be a great way to establish a relationship of trust with your client. They are offering their trust to you by paying you for work you haven't even completed yet. Imagine what kind of trust that requires, especially depending on the price of the down-payment. Paying someone hundreds or thousands of dollars prior to completion of a project shows trust and confidence that the project will be completed quickly and well.
Another issue you frequently face as a designer is dealing with project-related costs. Whether you need to purchase hosting for your client's web site, print mock-ups, or simply pay rent on your office, down-payments can keep you in business so you can complete the project for your client without going in to tremendous debt. A word of warning, however: do not spend your deposits right away. If you spend your deposits on rent, for example, and then your client falls through, contract terms are breached, or you cannot withhold your end of the bargain, you'll need to return the deposit. If you've already spent it, you might be up a creek without a paddle.
The real question: Do designers DESERVE down-payments?
Great, we're starting to understand why you might consider requiring down-payments from your design clients. But let's get down to the issue at hand: do designers really deserve down-payments? Is it really something you can pull-off successfully as a designer to charge your clients half the total estimated project cost before you even do anything for them?
Some would argue that charging a down-payment on design work is a little excessive. After all, most times you only charge a down-payment on something huge, like a house, a car, an office building, right? Depending on the scope of your project, actually, a down-payment could be a perfect solution for you. You are a hard-working designer with a very busy schedule. You deserve to know that your clients are serious about their projects and will pay when the time comes. For you, time is money and if you work countless hours on a project and then receive no pay for your work, you have been degraded and treated poorly. As a designer, of course you deserve a down-payment from your clients!
I am curious to see how you feel about down-payments and whether or not designers should charge their clients a deposit. Feel free to add your agreements, disagreements, etc. in the comments on this article. I think the discussion on this topic can really be quite interesting.
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How to go about obtaining a good down-payment
Now that we have established the fact that you deserve to charge a down-payment to your clients, let's explore the best way to go about doing it. After all, some of you might be an independent freelance designer just starting out. Why should your clients trust you at all?
The solution? A good, solid contract.
You've heard me preach frequently about the importance of contracts when working with clients. If you aren't using a contract in your design business, you are running the risk of not getting paid, being sued, getting paid too little, getting paid late, or doing way more work than originally intended without any increase in pay. Frankly, if you are working as a designer and don't have a standard agreement and contract procedure, you're crazy. (By the way, I love to chat with designers about their contracts and other aspects of their design business. Feel free to drop me a line about any contract questions you have, concerns you face, or suggestions you have. I'd love to chat with you.)
Anyway, your contract or terms of agreement should include how much your down-payment is, when it is due, what happens if it doesn't get paid and other important details. It is also important to explain to your client why you require a deposit. Help them understand some of the points we have discussed today and you'll be well on your way to getting paid what you deserve as a hard-working designer.
Do you think designers deserve down-payments? Add your thoughts.
I'd love to hear your thoughts on the matter so feel free to discuss how you go about getting a decent down-payment, any success stories or tips you might have, and questions or concerns you need resolved. I'm excited to hear your thoughts and comments. Thanks for sharing.
Keep the conversation going...
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Riddick Hall
2401 Stinson Dr.
Views shown looking south
Built 1951;
Sq. Footage
History Built shortly after World War II, Riddick Hall, formerly known as Riddick Engineering Laboratories, is an interesting example of Art Modern design. This building and the Riddick field, stadium, and parking lot (see Riddick Stadium - now demolished) are named after Wallace Carl Riddick (1864-1942). Serving as president of NC State after D. H. Hill resigned in 1917, Riddick's administration added work to chemical, ceramics and aeronautics engineering, and developed an engineering experiment station. Riddick resigned as president in 1923 to become dean of the newly-established school of engineering, and served in this capacity until his retirement in 1937. Riddick received his A.B. degree from UNC-CH and his degree in civil engineering from Lehigh University in Pennsylvania. He served as a consultant for several water projects and for the Seaboard Railroad. Riddick was also a member of the Board of Visitors for the U.S. Naval Academy and of several state boards and committees. In the 1890's, he was NC State's first football coach. Riddick's daughter, Eliza was a nurse in the NC State infirmary who died as a result of caring for victims of the world-wide Spanish influenza epidemic of 1918, in which 13 students were also killed.
Riddick Hall underwent a comprehensive renovation, which completed in 2007. Construction included a complete modernization of the facility for teaching and open laboratory space. The building was vacated by the relocation of Engineering to Centennial Campus. The building is now home to the Physics Department and to the Department of Animal Science Undergraduate Academic Programs Office. The departments of Animal Science and Physics both have classrooms and student areas in Riddick Hall.


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New update on Brown Pelican numbers
The International Bird Rescue Research Center (IBRRC) has admitted a staggering 435 wet and sick California Brown Pelicans since January 1, 2010.
The good news is that more than 200 pelicans have been released back into the wild.
At our Los Angeles bird center, 101 live pelicans currently are in care. The San Francisco Bay center has approximately 20.
Wet, sick and dying pelicans have been flooding into IBRRC bird centers following the heavy rains, flooding and pollution from run-off that hit the California coast in early January 2010. As seabird specialists, IBRRC is doing its best to treat as many of these sick, cold and wet wildlife casualties at both of its California seabird rescue clinics.
The public has responded to IBRRC's call for monetary help and donated supplies to assist this unprecedented rescue.
Tags: bird release, bird rescue, Brown pelicans, ibrrc, numbers, update


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Bartender's Choice: Todd Thrasher On What to Order at TNT Bar, Arlington VA
Top bartenders tell you which cocktails to order.
TNT Bar, nestled in the back of the Arlington location of Eamonn's, is cocktail maven Todd Thrasher's latest addition to the expanding EatGoodFood empire. Better known for his Alexandria speakeasy, PX, which is located above the original Eamonn's, Thrasher has taken a different approach with the rock and roll themed TNT Bar. Less about the intimate affair of a high end speakeasy, TNT takes a more bombastic approach—the menu is comprised of cocktails inspired by classic rock songs and a "Road Trip" section of drinks borrowed from Thrasher's friends across the country.
The marble bar encircles the spacious workstation so every seat offers an excellent view of the cocktail-making in action. Many of the drinks pay homage to a particular band or song. The name for the Metal Surrenders When Oak Trees Meet Fenders ($11), for example, was plucked from lyrics in an Avett Brothers song about drinking and driving and a missing bottle of bourbon. The cocktail is made with bourbon, peach liqueur, sorghum pine cone water—flavored with pinecones from Thrasher's front yard—and peach bitters.
The Road Trip portion of the menu gathers favorite drinks from Thrasher's bartender friends across the country. Thrasher is partial to spicy cocktails, and recommends the Curly and The Turk ($11), created by Tad Carducci of The Tippler in New York—it's essentially an alcoholic snow cone made with crushed ice, gin, blue Curaçao, and a red chile-hibiscus syrup.
In case you find yourself at TNT Bar unsure of what to order, we asked Thrasher to recommend a few favorites. Check out his top picks in the slideshow above.
TNT Bar
2413 Columbia Pike, Arlington, VA 22209 (map) 703-920-0315; www.eamonnsdublinchipper.com/TNT
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