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Active since 2000, Liquid Architecture is a Naarm (Melbourne) based organisation supporting experimental, interdisciplinary and critical work addressing sound and listening in context.
Our program stages encounters and creates spaces for sonic experience, and critical reflection on sonority and systems of sonic affect. To do this, we host experiences at the intersection of contemporary art and experimental music, supporting artists to produce performances and concerts, exhibitions, talks, reading groups, workshops and recordings in art spaces, music venues and other sites.
Liquid Architecture is curatorially driven and our methodology embraces research, collaborations and imaginations. We want to echo beyond local conversations, problems, debates and questions, to reverberate across media and disciplines, and so to sound out new discourses about the audible world, and beyond.
We acknowledge the Wurundjeri Woi Wurrung as the Traditional Owners and sovereign custodians of the Country on which we practice. We extend our respects to their Elders past and present, and to all First Peoples.
DANNY BUTT (CHAIR) is Senior Lecturer in Interdisciplinary Practice at Victorian College of the Arts, University of Melbourne, where he is also Graduate Research Convenor for Design and Social Practice. His book Artistic Research in the Future Academy was published by Intellect/University of Chicago Press in 2017, and he is on the Editorial Board of the Journal for Artistic Research.
MARK NOLEN (TREASURER) is a Certified Practising Accountant with extensive experience in the creative industries sector. He is currently Management Accountant at ACMI, having previously worked in a similar role at Film Victoria. Along the way, he has helped countless singers, actors, and even clowns get their taxes in order – no laughing matter! When not crunching numbers, you can find Mark sitting back with a fine drop of Scotch whisky, soaking up some even finer tunes.
LEANA PAPAELIA (SECRETARY) is a barrister at the Victorian Bar and a soprano. At the Bar, Leana practices in commercial and public law with a focus on banking and financial services regulation, corporations and securities, insolvency, trade practices and human rights. Leana holds an AMusA and a BMus (Hons) majoring in vocal performance. She received a university scholarship to complete her honours and, in her final year of study, was awarded the Horace Keats Memorial Prize for Excellence in Vocal Performance. Leana currently studies under the direction of Loris Synan OAM. Leana is a board member of the Australian Contemporary Opera Company and has held board positions with Lawyers for Animals, an organisation dedicated to improving the welfare of animals through education and law, and Right Now, an independent not-for-profit mediation organisation focusing on human rights issues in Australia.
NARETHA WILLIAMS (DIRECTOR) is an accomplished practitioner in the Australian creative industries sector. An established artist and music producer, she is a seasoned industry professional with extensive experience across a dynamic range of appointments. Naretha has worked with leading Australian companies and First Nations initiatives, flagship festivals and events, has toured internationally and won several awards. Credits include: St Kilda Festival, Bless Your Blak Arts Festival, Australasian World Music Expo, International Symposium on Electronic Art, Yirramboi First Nations Arts Festival, Science Gallery London, Chunky Move, Performance Space New York, The Melba Spiegeltent, Melbourne Town Hall Grand Organ, Sydney Myer Music Bowl, Sydney Dance Company, and Melbourne's Flash Forward.
GAIL PRIEST (DIRECTOR) is a sound artist and writer based on Dharug and Gundungurra land (Katoomba, NSW). Her work spans soundtracks for dance, theatre and video, solo electro-acoustic performance as well sound installations for gallery contexts, both solo and in collaboration. She has performed her live compositions and exhibited sound installations nationally and internationally including in Japan, Hong Kong, Germany, France, Norway and the Netherlands. In 2015-16 she was awarded an Emerging & Experimental Arts Fellowship from the Australia Council. She has undertaken numerous radio commissions and releases music on her own label Metal Bitch Recordings as well as Flaming Pines, Endgame Records and room40. She curates events and exhibitions and writes fictively and factually about sound and media art, working for RealTime magazine for over 15 years. She has been on the board of Performance Space (2011-2014), and a peer assessor for the Australia Council. She has just completed a PhD in creative sound theory at UTS. www.gailpriest.net
ANDY MILLER (DIRECTOR) currently works as the General Manager of Multicultural Arts Victoria. Initially trained as a painter at the Canberra School of Art, Andy Miller worked in theatre for a number of years before working to establish arts programs in the community sector. Following a few years as an arts and cultural officer at two local governments, Andy began a career in the state public service in various senior roles at Arts Victoria and Creative Victoria and was seconded for a period with Creative Partnerships Australia, as Senior Programs Manager. As well as a Bachelor in Fine Arts, he has a Masters in Public Policy and a Graduate Diploma in Arts Management from the University of Melbourne.
Rebeca Sacchero is a Producer with extensive experience across multiple Metro Melbourne Inner North Local Government Areas. Rebeca understands the local government context whilst also having relationships and experience in small to medium arts orgs. She has been working in the space of community engaged practice and is passionate about creating arts access for under-represented communities. She has a strong track record of successful projects with youth, the LGBTQIA+ community, CALD communities and seniors. She has worked across visual arts, performing arts and digital media, with a range of government and private stakeholders. These include major festivals, local and state Government, ARI's, schools, community health orgs, and social enterprises. She completed a degree in Art History and Curatorship at Monash University in 2017 and in 2019 was selected for Leadership Victoria's LGBTQIA+ Leadership program. She also runs her own community building electronic music events in which she has toured international artists, and is a DJ.
DAVID CHESWORTH (DIRECTOR) is an artist and composer, known for his experimental, and at times minimalist music, who has worked with electronics, contemporary ensembles, film, theatre, and experimental opera. Together with Sonia Leber, David has created installation artworks using sound, video, architecture and public participation. Exhibitions include '56th Venice Biennale (2015), '19th Biennale of Sydney (2014), and Melbourne Now, National Gallery of Victoria, Melbourne (2013-14). Festivals featuring Chesworth's music and sound works include Ars Electronica; Festival D'Automne de Paris; Bang on a Can Marathon, New York, Biennale of Sydney; Adelaide and Melbourne Festivals; and MONA FOMA. Early in his career he was co-founder of post-punk band Essendon Airport and for five years was coordinator of the Clifton Hill Community Music Centre, Melbourne. David is a Vice-Chancellor's Postdoctoral Fellow at RMIT University, Melbourne, researching auditory archives.
PATRICK HARTONO (MEMBER) Born in Makassar 1988, Patrick Gunawan Hartono is an Indonesian electroacoustic composer and audiovisual artist. He earned a BMus in Composition (Cum laude) from Rotterdam Conservatory with Minor Study at The Institute of Sonology, MMus in Sonic Arts from the University of London, Goldsmiths, and Live Electronic Course from IRCAM, Paris. In 2017 he won the ICMA audience award for his generative audiovisual piece "Matrix Studies" and the 1st Prize for WOCMAT 2019 International Electroacoustic Music Young Composer Award. Most of his works use the sound of Indonesian traditional music instruments, computer-generated sound/images, field recordings; transformed, rearranged, modulated by mathematical rules, real-time interaction, and controlled random operations. Patrick is currently based in Melbourne, Australia, to pursue a doctoral degree at the University of Melbourne while actively involved in local and international electroacoustic/computer music communities.
MONICA LIM (DIRECTOR) is a Melbourne-based pianist and composer of classical contemporary and experimental music. Born in Malaysia and then migrating to Australia in her teens, Monica initially practiced as a Tax Consultant for Deloitte Touche Tohmatsu, before pursuing her own interests in business and the arts. She has produced work for theatre, contemporary dance, installations, and film, as well as solo and ensemble instrumental pieces. She is interested in new cross-disciplinary genres and forms as well as combinations of new technology with music. Monica is currently undertaking a PhD at the Faculty of Fine Arts and Music, University of Melbourne in interactive technology, AI and gesture-led composition. Monica is co-founder of Project Eleven, a philanthropic initiative which supports the contemporary arts and serves on the boards of the Melbourne Recital Centre, the Substation and Liquid Architecture as well as the Member's Council for Musica Viva.
Lucreccia Quintanilla and Kristi Monfries (Co-Directors)
Rohan Rebeiro (Creative Producer)
Ronen Jafari (Programs Coordinator)
Laura McLean (Associate Curator - Capture All)
Helen Grogan (Associate Researcher and Archivist)
Debris Facility (Associate Producer)
Liang Luscombe (Editor-at-Large Editor - Disclaimer)
We welcome conversation, ideas and feedback at any time.
Journal, Podcast
104/35 Johnston Street
Collingwood VIC 3066
Privacy Statement
Liquid Architecture (LA) is committed to protecting the privacy and security of personal information obtained and stored about its audience or clientele, including users of this website.
We understand and appreciate that our audience or clientele and users of this website are concerned about their privacy and the confidentiality and security of any information that may be provided to us.
This policy applies when Liquid Architecture determines what information will be collected or disclosed, or how any information will be processed.
We take a broad understanding of what constitutes 'personal information'. We understand 'personal information' to include any information relating to an identified or identifiable natural person. An identifiable natural person is one who can be identified, directly or indirectly, in particular by reference to an identifier such as a name, an identification number, location data, an online identifier or to one or more factors specific to the physical, physiological, genetic, mental, economic, cultural or social identity of that natural person.
Liquid Architecture is bound by the Australian Privacy Principles contained in the Commonwealth Privacy Act and is compliant with the Privacy Amendment (Enhancing Privacy Protection) Act 2012.
We may, from time to time, review and update this Privacy Policy to take account of new laws and technology, changes to Liquid Architecture's operations and practices and to make sure it remains appropriate to the changing legal environment.
The type of information Liquid Architecture collects and holds includes (but is not limited to) personal information, including sensitive information, about:
- Contact information including email address, phone number, names, gender, organisation, role.
- Connection information including linkages and referrals between people.
- Financial information including amounts paid to LA, donated to LA, or received by LA.
- When you visit our website, our server maintains an access log that includes the following information: the visitor's IP address, the date and time of the visit to the site, the pages accessed and documents downloaded, the previous site visited, and the type of browser used.
- When you visit our website, cookies are stored on your device that provides information to Google Analytics to give us statistical information about our visitors.
LA collects personal information in a variety of different ways depending on the type of contact that is made with the organisation. We collect personal information both from individuals directly and from third parties.
- Subscribing to LA's newsletter via the website, in-person or other means
- Visiting LA's website
- Registering for LA's programs of events (eg. performances, workshops, lectures)
- Purchasing a ticket for LA's programs of events via a ticketing system
- Making an online enquiry
- Making an individual donation to LA
- Becoming a sponsor
- Submitting a proposal to LA
- Providing written feedback to LA
- Through agreements with programming partners to add addresses to our mailing lists
- Images of persons might be collected during documentation of an LA performance
- If you become a LA Associate, Volunteer or Board Member
LA may also collect personal information over the phone, in person or by electronic correspondence in order to undertake its regular administrative operations
LA collects personal information in order to service the needs of its staff, audience and partnerships. This information is only used with your consent. Your personal information may be retained and used for the following purposes:
- To communicate with staff, artists, associates, volunteers, or Board Members
- For communicating about upcoming programs and services offered by LA and its partners
- For documenting LA performances and events
- To communicate to LA audiences on behalf of other arts or government organisations offering information regarding their products
- For artistic program research and organisational continuous improvement purposes
All details are kept secure at all times and any individual may request their information is not used for direct marketing, research or any other purpose.
LA will not sell, lend, disclose, or give personal information of its audience or clientele to external individuals or organisations without first obtaining the customer's consent.
LA may, however, disclose your personal information or financial data (information exchanged in transactions relating to donations, ticket purchasing or any other product sold):
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LA will not disclosure personal information to recipients in another jurisdiction unless that jurisdiction has a privacy regime at least as equally protective as Australia. LA will always ask for specific consent before disclosing personal information to a recipient in another jurisdiction.
LA is committed to ensuring all personal information it collects is accurate, complete and up-to-date. However, the accuracy of this personal information to a large extent depends on the information provided by its clients. LA asks that all clients:
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At any time, any person has the right:
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The LA website contains links to other sites. LA is not responsible for the privacy practices of other sites. LA encourages users when they leave the site to read the privacy statements of each and every web site that collects personal information. This privacy statement applies solely to the activities of LA.
LA operates occasional European artistic programming and partnerships, and complies with the data protection policies required by the European Union General Data Protection Regulation (the GDPR) since 25 May 2018.
LA takes steps to prevent the personal information it holds from misuse, loss, interference or unauthorised access.
LA will also destroy or de-identify personal information when it is no longer needed, or when requested.
If you would like further information about the way Liquid Architecture manages the personal information it holds, please contact LA via email@example.com.
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Liquid Architecture (LA) is committed to respecting feedback and complaints and continually improving our processes. This policy is intended to ensure that we handle complaints fairly, efficiently and effectively. We encourage feedback as part of improving our audience experience and artistic programming.
You can provide feedback or make a complaint via email via email to email@example.com.
Upon receiving feedback or a complaint, LA will acknowledge receipt of the feedback or complaint; and request further information if necessary and advise how the issue is likely to be resolved.
LA will not respond to feedback or complaints that violate State or Federal laws, or suggest that others do so; contain profane, violent, abusive, sexually explicit language or hate speech; or are bullying, harassing or disruptive in nature.
Where possible, complaints will be resolved at first contact with us. When appropriate we may offer an explanation or apology to the person making the complaint. Where this is not possible, we may decide to escalate the complaint to LA's CEOs or Board. Where a person making a complaint is dissatisfied with the outcome of our review of their complaint, they may seek an external review of our decision.
We will take all reasonable steps to ensure that people making complaints are not adversely affected because a complaint has been made by them or on their behalf.
All complaints are confidential. We accept anonymous complaints if there is a compelling reason to do so and will carry out a confidential investigation of the issues raised where there is enough information provided.
The time it takes to resolve a matter depends on the issues raised and any enquiries that need to be made. As a guide, LA aims to acknowledge written feedback and complaints within 1 business day of receipt (if an email address or phone number is provided); respond to all written feedback and complaints within 5 business days of receipt.
LA will consider the matter closed if you indicate that you are satisfied with the response, or LA does not hear from you within 10 business days after sending you its response.
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X/O, Ptwiggs, Von Adamas, 非 Fēi
Fractured pop from the sonic abyss.
401 Swanston St Melbourne CBD
8pm -12am
Vietnamese-Canadian artist x/o is a sonic storyteller, producer, performer a multidisciplinary artist whose music floats between contrasting fields of delicate soundscapes and distorted percussive detail, a juxtaposition which extends into their artistic practice through conceptual layering of ideas and textures.
Described by Wire Magazine as having "…a complex, compelling affect hardly heard in digital music…", x/o combines genres and references to build new worlds around sound and songwriting.
x/o has presented work internationally, (incl. 3HD Festival, Vivid Sydney, and New Forms Festival) and in 2019 was selected for the MUTEK Amplify residency at Somerset House Studios UK, as well as Red Bull Bass Camp Calgary at the National Music Centre.
x/o is a founding member of s.M.i.L.e., a music events collective in Vancouver.
Hailing from Sydney, Australia, Ptwiggs otherwise known as Phoebe Twigg is a producer and qualified audio engineer. Morphing audio into pulsing waves of emotion, Ptwiggs delivers a sound that is delicately detailed yet powerfully destructive, swinging between constant poles of tranquility and turmoil. Weaving an organically forming tapestry between the external and internal world, Ptwiggs smothers the senses leaving drippings of various genres, references and styles.
Ptwiggs released on November 22nd 2019 through UK indie heavyweight Opal Tapes. This EP follows her debut EP (2016) and 3-track (2018). This 6 track release sees Ptwiggs pushing her sound to new heights, obliterating boundaries and dissolving the intersections between ambient and club music. Darkening Of Light offers celestial vocals nestled in a bed of droned out melodies and pounding polyrhythmic drums. The EP hatches a reformed notion of power and strength, one that repurposes these foundations from a place of softness and vulnerability.
Ptwiggs has shared bills with artists Nicholas Jaar, Yves Tumor, IC3PEAK & Coucou Chloe and has performed internationally and locally for the likes of Unsound, Dark Mofo, Angelwave in Moscow and the Museum of Contemporary Art Australia. She's also responsible for Sydney based experimental label and club night Eternal.
Von Adamas is an artist persona created by producer and composer Diamond Lee. His work hones in on production, composition, DJ sets and live performance incorporating improvisation and exploratory practice. Von Adamas uses sound to engage with spirituality, exploring religion and belief systems while contextualizing his research within the internet age. In constant search for identity, the work of Von Adamas encompasses vagueness and embraces a feeling that conveys a celestial energy that is both compelling and confronting.
Interested in presence and deep listening through personal experience, Von Adamas manifests thematic work through the use of ambience, soundscape, texture and rhythmic pulse by working with electronics, altered voice and instrument.
非 Fēi (MY) is a dynamic dj, curator and promoter working with diaspora communities around the Naarm club scene. An emblem of global convergence, 非 Fēi's curatorial narrative encourages cross-cultural discourse that showcases a niche sound world that is situated at the peripheral of the popular gaze of the west.Photo by Katrin Braga


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Amy Winehouse Portrait
portrait of famous British singer, Amy Winehouse
Artist Information
Han Ju Kim Gody_Tattoo
Resident Artist At: TattooNOW Seoul
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"I absolutely love the website that TattooNOW has done for me! With being a new shop owner and having a lot on my plate designing a webpage was one of the last things on my mind. TattooNOW was able to totally help me in designing my page and I receive compliments from my clients from it all the time! My shop is in a little remote town and over 50% of my clientele comes from this website! People come from all over the country to my little town in Missouri. It's amazing the power of the Internet these days. I don't know what I would've done without this website!!"– Jessica Weichers
" Before commissioning TattooNow to build and host my website, I took on the daunting task of building my own sites and promoting myself through social media. When I finally came to my senses and put it in their hands, my business increased drastically and the site paid for itself in just a few short weeks. This was the start of branding myself in the body art world. My business cards, post cards and banner match my site style.
As a gallery and body art studio owner, I get solicitation calls from companies wanting to build a site or just host my existing site. I let them go through their sales pitch as I laugh on the inside. Then I show them the easy function of my site and I top off my moment with showing them how easy it is to update my site through the TattooNow interface and by showing them the countless features in the community. I send them away with their heads bowed as they cannot come close to comparing to what TattooNow offers specifically to artists. "

subset: commoncrawl


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Ambesonne Palm Leaf Duvet Cover Set, Beach Party Theme Vibrant Composition Pink and Green Trees Vintage, Decorative 3…
Amazon.com Price: $89.99 (as of 06/07/2023 14:00 PST- Details) Product prices and availability are accurate as of the date/time indicated and are subject to change. Any price and availability information displayed on [relevant Amazon Site(s), as applicable] at the time of purchase will apply to the purchase of this product.
Product prices and availability are accurate as of the date/time indicated and are subject to change. Any price and availability information displayed on [relevant Amazon Site(s), as applicable] at the time of purchase will apply to the purchase of this product.
Make sure this fits by entering your model number.
Makeover and refresh your bedrooms every season with just a single touch! Start with these fun and decorative Duvet Cover Sets. These unique designs match well with various color palettes of your rugs, curtains, headboard, furniture, and all other decor accessories. Set Includes: 1x Duvet cover + 2x Pillow Shams. The duvet cover has a hassle-free hidden zipper and the shams have envelope closures. Very durable and sustainable material which will not endanger your health or the environment. No chemicals used, No dye substance harming the health of you or your family, %100 recyclable environmentally friendly fabric. Colors won't fade thanks to new digital printing methods. Make a difference and change the look of your your room, girls boys room, guest room, hotel room. Also a perfect gift idea for your mom, dad, sister, brother, grandma, wife, husband, daughter and son and all other beloved ones with many of surprising designs. You can find a design for everybody and every interest in our Ambesonne Amazon Collection. They will be shocked by the superior quality of the item when they open the present. Customized, personalized products are very popular. As manufacturers of digital printed home textiles, we follow current trends and bring you the latest home fashion. Either a gift to your family or friend, relative or boyfriend girlfriend, or to yourself, the item should be interesting and authentic. The digital images we display have the most accurate color possible, however due to differences in computer monitors, we cannot be responsible for variations in color between the actual product and your screen. Due to manual measurement, please kindly allow 1-2 cm discrepancy. Care Instructions: Machine wash with cold water; Do not bleach. Tumble dry on low heat. Iron on medium heat. The Duvet Cover and Pillow Shams are printed on the FRONT SIDE ONLY, the back of them are plain white colored. This is ONLY the Duvet Cover, sold WITHOUT the Comforter.
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INCLUDES – 1 QUEEN Duvet Cover 88″ X 88″ + 2 Pillow Shams 30″ X 20″ – COMFORTER NOT INCLUDED IN SET.
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PRINTED – With state of art digital technology. Duvet Cover & Shams are printed on FRONT SIDE ONLY.
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Contact Us
Please note that e-mail is not a secure form of communication. Medical information placed here may not be confidential. Please use this form to send your contact information, and we will respond to your inquiry using a secure method. This form should not be used by children under the age of 18.


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Remus Exhausts to fit the following:
BMW 3 Series, F30/F31 LCI 330i 185 kW B48B20 (2014-)
BMW 3 Series, F30/F31 LCI 330ix 185 kW B48B20 (2014-)
Genuine Remus Part Number: 086514 0400+086214 0500+086514 1604GB
Tailpipe Number: 086514 1604GB
Tailpipe Description: 4 black chrome tail pipes Ø 76 mm straight cut
System Info: Diameter 80mm
Remus were established in Austria in 1990 and are the worlds number one performance exhaust manufacturer, currently exporting to more than 60 countries directly from their headquarters in Barnbach
Remus exhaust systems are TÜV approved and built to exacting standards using high grade stainless steel and heat resistant black ceramic paint. In addition to this, Remus use a purpose-built high tech acoustic room to test the sports sound of each exhaust on the car.
Please note, once ordered we cannot refund any Remus purchase unless faulty.


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4-1/4-In. Hole Dozer Hole Saw
Made in the USA, the Milwaukee(TM) Hole Dozer Hole Saw features Rip Guard, the strongest tooth form in the industry, backed by the Rip Guard Limited Lifetime Tooth Break Warranty. Each tooth is built with more steel behind the cutting edge for added strength. The Rip Guard warranty on tooth breaks is a first for the hole saw industry. The added tooth strength along with 8% cobalt give added life to the teeth, allowing for increased productivity on the jobsite, as well as continued hole quality. The Hole Dozer includes Plug Jack, an all access slot design that allows for full access during plug removal. The Plug Jack gives access lower into the cup for thick material and higher towards the teeth for thin material. With multiple positions to apply leverage and better plug access, Plug Jack increases productivity and eliminates wasted downtime between holes. For fast, tool-free change-outs, use Milwaukee's universal Quick-Change Arbors.


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Sterilization barbarisms still occurring
Published 12:00 am Monday, July 15, 2013
As Christina Cordero remembers it, the doctor would not take no for an answer.
"As soon as he found out that I had five kids, he suggested that I look into getting it done. The closer I got to my due date, the more he talked about it. He made me feel like a bad mother if I didn't do it."
The "it" is tubal ligation. He wanted to sterilize her.
Cordero, who is now 34, was serving time for auto theft at a California prison. She finally said yes, a decision she regrets seven years later. "I wish I would have never had it done."
We are indebted to the Center for Investigative Reporting, a Pulitzer Prize-nominated content provider, for the preceding account. It is contained in a troubling report, released last week, documenting that the California prison system sterilized as many as 250 women from 1997 to 2010, in violation of state rules. Women who had the procedure say they were pressured to do so.
The state reportedly paid doctors $147,460 for this service. Dr. James Heinrich, who operated on Cordero, says it's a bargain. "Over a 10-year period," he told CIR, "that isn't a huge amount of money compared to what you save in welfare paying for these unwanted children — as they procreated more."
Maybe you think that makes perfect sense. Indeed, it's not hard to imagine someone saying the same thing on Fox "News" next week. After all, character assassination of the less fortunate has become commonplace. A certain wealthy presidential candidate famously described them as the 47 percent who are irredeemable.
But maybe you know enough of history to hear the awful parallel embedded in Heinrich's calculation. You see, this is not the first time Americans have had the bright idea of breeding out undesirables. Indeed, laws mandating forced sterilization were all the rage in America in the early 20th century. Even the Nazis were impressed. They modeled their statutes on ours.
The idea was to keep the nation's gene pool from being polluted — and its economy burdened — by the "feeble-minded," the habitually criminal and by families that produced generations of prostitution, promiscuity, alcoholism, poverty or disability. Some sought to do this through immigration restrictions designed to bar the racially inferior, others argued for killing mentally and physically defective children and still others favored forced sterilization.
The Supreme Court sanctioned the latter in a 1927 ruling against Carrie Buck. She was a "feeble-minded" 17-year-old daughter of a "feeble-minded" mother and an unwed mother herself. The court never met her. It relied on the testimony of an "expert," Dr. Harry Hamilton Laughlin, who himself never met her.
Buck was, in fact, a Virginia girl of normal intelligence who had been raped. But Laughlin, after reviewing test results, claimed that she was typical of the "shiftless, ignorant and worthless class of anti-social whites of the South." The court approved her sterilization 8-1.
"It is better for the world," wrote Justice Oliver Wendell Holmes, "if instead of waiting to execute degenerate offspring for crime or to let them starve for their imbecility, society can prevent those who are manifestly unfit from continuing their kind. … Three generations of imbeciles are enough." That ruling has never been overturned.
It is not such a prodigious leap from Holmes to Heinrich, who says women who claim he pressured them to be sterilized just "want to stay on the state's dole." Or to Michelle Malkin, who calls the poor "takers," or Ann Coulter, who calls them "animals." We have traveled far, only to wind up in this familiar place where the vulnerable and voiceless, the ones most deserving of our compassion, are regarded instead as inferiors and allowed to be victimized.
It is not happening again.
It is happening still.
Leonard Pitts is a columnist for the Miami Herald. Email: firstname.lastname@example.com.


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A classic knitted 100% wool sweater with crew neck. Look smart yet be comfortable and relaxed in this easy to wear timeless pullover, stunning with a simple shirt underneath. Quite a masculine sweater, but can look just as good on women.
For more information how to measure click here.
All Susan Fosse garments can be either hand washed or washed in the washing machine using a hand wash wool cycle. To wash by hand use a detergent with a neutral pH and wash in lukewarm water, 30 degrees centigrade / 86 degrees Fahrenheit. Rinse well. Roll the garment in a towel to remove as much of the water as possible and then dry flat (do not hang to dry). The garment can then be gently steamed with an iron on a low setting. To wash by machine use a detergent with a neutral pH. Wash garment on its own, on a wool cycle at 30 degrees centigrade / 86 degrees Fahrenheit. Do not tumble dry. Dry flat (do not hang to dry). The garment can then be gently steamed with an iron on a low setting.
All our products are individually made so there can be a slight variation of up to 3 cm in each product. Wool however is very stretchy!
Orders and delivery
We will contact you if there is an excessive delay with the despatch of your Susan Fosse products. We aim to send out Susan Fosse products on the working day after we receive an order. The total cost of your order will include a delivery charge. Delivery times will vary according to how quickly the mail service can deliver. We recommend placing your orders early at particularly busy times of year (such as Christmas) to make allowance for delivery delays. We reserve the right to decline to fulfill orders for any reason, including a Susan Fosse product which has been mis-published, such as its price or specification. Orders are treated as offers which we are entitled to accept or decline. If there are any problems with your order, we will contact you. There is only one delivery charge per order. Note that we cannot be responsible for orders which go missing after delivery. Extra shipping charges will be incurred for shipping of exchanged goods.
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In March 2012, Microsoft began using a song titled "Too Close" by an unknown British singer-songwriter named Alex Clare to help advertise its Explorer 9 web browser. Microsoft's ad succeeded in turning heads, providing a "look-at-me" moment courtesy of the song's powerful sound. But this wasn't the first time that Microsoft sought to use pop music to help sell its wares.
Music Player
"Too Close"-Alex Clare
[scroll down for lyrics]
Nearly 20 years ago, company founder Bill Gates spent millions to use a well-known Rolling Stones song, "Start Me Up," as a musical theme to kick off the release of Microsoft's Windows 95 PC software. But in 2012 when the new Explorer ad was being offered, the stakes were a little bit different.
In 1995 Microsoft was then the top computer software company in the world and Windows 95 was a much anticipated release. In 2012, Microsoft was engaged in a battle for browser market share with tough competition coming from Google's Chrome and Mozilla's Firefox.
Google, in fact, had used the Lady Gaga song, "The Edge of Glory," to promote its Chrome browser in a well-done and upbeat 2011 TV ad starring Lady Gaga that generated a sizable following. However, the music Microsoft chose to run with its Explorer ad in 2012 — being from a relatively unknown artist and not a recognized hit — was something of a gamble.
And perhaps the bigger story here is what the Microsoft ad did for the music and the artist rather than the other way around. In fact, by some accounting, the one-minute Explorer ad – which aired in at least two variations – did more for the artist than it did for the Explorer browser, sending Clare's song to the top of the pop music charts.Alex Clare's song, "Too Close," was first released in the U. K. on April 15, 2011. It was the second single from his debut album, The Lateness of the Hour. The track, written by Clare, had good pedigree, being produced by Mike Spencer and two electronic/dance music producer/DJs known as "Diplo & Switch" – Diplo being Thomas Pentz, a Philadelphia-based producer, rapper, and songwriter; and Switch being David Taylor, a UK-based songwriter, sound engineer and record producer.
Still, upon release, Clare's album struggled for traction and nothing much happened. But nearly a year later, in March 2012, "Too Close" was selected as the soundtrack to Microsoft's TV ad. In March and April, the ad began running. It aired during prime-time TV broadcasts and also in movie theater spots that ran before feature films such as "The Hunger Games."
Not long thereafter people began making internet queries asking about "that song with the Explorer ad." Over the summer, the Explorer ad ran during the Summer Olympics, and into the fall, during the baseball playoffs and early football season. The ad's exposure sent Clare's song soaring on music charts, achieving international recognition in the early weeks of the ad's airing.On April 15, 2012, one year after its initial release, the single debuted at No. 37 on the U.K. Singles Chart. In the U.S., the revived song debuted around the same time at No. 68 on the Billboard Hot 100. By May 16th, "Too Close" song peaked at No. 4 on the U.K. Singles Chart and its also topped the German charts at No.1. Sales totaled over 100,000 downloads after the first weeks of release. By late September 2012, "Too Close" peaked at No. 8 on Billboard chart, remaining on that chart for more than 26 weeks.
"I'd been nowhere to being on the top 10 on the pop charts," recalled Clare in one interview after his song had become a hit. "And then I was flying into Germany and… I had this really weird experience in Berlin of being told, 'Your record is the number one record in the country'."
Music Video. When "Too Close" was first released in March 2011, before the Explorer ad, it had an earlier associated music video on YouTube. That video featured Clare singing his song in a chair intermixed with scenes of a Kendo fight between two heavily-padded athletes in black uniforms. The video takes place in a deserted factory building.
"Too Close"
You know I'm not one to break promises
And it feels like I am just too close to love you
You given me more that I can return
And it feels like I am just too close to love you
And it feels like I am just too close to love you
So I'll be on my way
Initial viewings of the video, prior to the Explorer ad, found very small numbers. But two months after the Internet Explorer 9 ad began running, pageviews on the You Tube video jumped to more than 3 million, and by late September 2012, to more than 25 million. A music discovery app named Shazam – which was used 150 million times by one count to help identify the song by those making queries – also helped push the growth of "Too Close."
As for the Explorer ad, it appears that the song choice was the call of Keith Rivers, a Seattle-based film maker who made the decision to use clips from "Too Close" in the ad. Rivers had come across the song after friend and former "American Idol" contestant Blake Lewis introduced him to Clare's music shortly before Rivers started working on the Explorer ad project. Rivers became captivated by Clare's sound and believed the song would work well in the ad.
"It was the emotional intensity of Clare's song coupled with the depth and richness of sound that made film director Keith Rivers feel that 'Too Close' was the perfect complement to the visuals and message of the Internet Explorer TV spot…," according to a Microsoft statement.
One primary focus of the ad was to "make an emotional connection" with viewers. Rivers found Clare's song to be "filled with uplifting energy and vocals…"
The style of music heard in "Too Close" is called "dubstep," and in the case of this particular song, also described as "dub-soul fusion." Dubstep is a genre of electronic dance music that originated in South London, England.
Allmusic has described the overall sound of dubstep as "tightly coiled productions with overwhelming bass lines and reverberant drum patterns, clipped samples, and occasional vocals."
The earliest dubstep releases date back to 1998, and some of the music has verged on darker instrumental treatments. The genre also uses experimental tracks with dub remixes of instrumental music. Clare has described "Too Close" as "an electronic song" with live elements – live drums and live guitars – "a mix of live music and electronic music."As for the "Too Close" message and lyrics, the song was inspired, according to Clare, by a particular relationship with a close friend that turned romantic. "One thing led to another, but it didn't really work out and that felt too close," he says.
Clare had a brief relationship with the late singer Amy Winehouse in 2006. They met while he performed and worked as a chef at a bar she frequented, The Hawley Arms in Camden, North London. They dated for less than a year, and after the romance ended, they remained on good terms. But Clare has stated that his relationship with Winehouse had nothing to do with "Too Close."
Alex Clare was born and raised Southeast London, birthplace to other notable artists, such as H.G. Wells and David Bowie. Clare grew up listening to his father's jazz records and was drawn to blues and soul and artists such as Donny Hathaway, Stevie Wonder, and others. His childhood surroundings, as well as his love for literature, are credited with inspiring some of his songs, but personal relationships and their stories also help fuel his writing. He has described his music career as kind of an accidental hobby. "Most of my friends grew up playing in bands because there was literally nothing else to do. It was just a gig." Though Clare took up the trumpet and drums as a youngster, he eventually placed an emphasis on guitar and songwriting, playing open mike nights with original material, and moving toward dubstep and U.K. garage music.
After his debut album The Lateness of the Hour had faltered in 2011, Clare was dropped by his record label and he then started to re-evaluate his career. Clare, an orthodox Jew, then went back to school in Israel and generally took a few months off to consider his options. Then his fortunes changed. "I got an email from someone at Microsoft asking permission to use [the song]. I said yes, not thinking much more of it." Not long thereafter, Universal Republic signed Clare to a new record deal that also brought his Lateness of the Hour album to U.S. audiences.
In May 2012, an instrumental version of "TooClose" was used in an advertisement for the U.K. version of the television series Revenge. The song also appears in the end credits of the Liam Neeson film, Taken 2, released in October 2012. "Too Close" meanwhile, became a multiplatinum single all over the world, and by October 2012, had sold over 2 million digital downloads in the U.S. alone.Ball Park Music. During the spring and summer of 2012, as the song was being heard more frequently in the U.S., it began to be used by several professional baseball players of Major League teams as their "entrance music" – that is, music clips used as the player comes on the field or comes to bat. Among players choosing "Too Close" for such entrance mucic were, for example: Zack Cozart of the Cincinnati Reds; Laynce Nix's of the Philadelphia Phillies; and Danny Espinosa of the Washington Nationals. Microsoft's Explorer ad using the song also aired on TV during Major League Baseball's playoff games in September and October 2012. A second version of the Explorer ad had also been running since July 2012. This version of the ad continued to use "Too Close" as its soundtrack, but incorporated some new video sequences, including a clip from The Avengers superhero film produced by Marvel Studios and distributed by Walt Disney Pictures. That version of the ad is sampled below.
Ad Critique
As for the content of the Explorer ad, there were a few folks out there paying attention – some offering critiques and at least one website posting a humorous video parody. One web article, appearing under the title, "That IE9 Advert…," at Rob Dudley.co.uk, investigated some of the quotes used in the ad extolling Explorer 9, such as: "IE9 is fast, lean and modern" –Wired magazine; "IE9 is amazingly fast"–New York Times; "IE9 Smoked the competition"–The Next Web; and others. The reviewer found a few of those statements to be stretches or taken out of context.
One reader of the Dudley review, posting under the name "Yup," offered the following:
…I find this commercial so annoying I had to look it up on the web. I think mostly it's due to nothing being shown in the commercial having anything to do with browsers? I mean Marvel? The Avengers? Okay so there's Vimeo. But when did Vimeo become the litmus test for having an awesome browser? It's not the Crysis of websites, for goodness sake. Then there's the background lyrics "I think that I am too close to love you / I can't lie no more / Got to be true to myself" implying what? That all the years IE was considered the worst browser because of the security and stability issues was just hubris? We strayed from the best of IE for Opera, Firefox, and Chrome because of their trendiness?
I don't know — I've used every one of these browsers and Opera is consistently faster and more stable for my needs. It works no matter whether I'm on my beefy desktop or my 7 year old laptop that struggles along on 1 gig ram. That said I will always use Firefox when I can because of the add-ons. I am looking forward to trying IE9 because I've heard they've really made some improvements, but I don't appreciate bullshit marketing.Another critic felt that the use of dubstep soundtracks in advertising was trendy and that marketers were rushing to use it to sell just about anything to the dubstep target demographic. This trend was ill-fated, the critic charged, and the music's place in pop culture would likely die a quick death. This particular critic also cited the Explorer ad using "Too Close" as one of those cases "gone wrong" with dubsetp, and that the Explorer ad took its soundtrack "too far."
Still, by early November 2012, some internet analysts were reporting that Microsoft's Explorer browser was gaining market share from Google's Chrome and Mozilla's Firefox, with at least part of the reason being the 2012 advertising campaign that used the "Too Close" music. Alex Clare, in any case, was happy that Microsoft chose his song to run with the ad – probably the one clear winner in the whole enterprise.
Readers of this story may also find other related stories at this website of interest, including, for example: "Google & Gaga, 2011" (profile of Google's Chrome browser ad campaign using Lady Gaga, Dan Savage & others); "The iPod Silhouettes, 2000-2011" (Apple's very successful iPod ad campaign using silhouette dancers); "Start Me Up, 1995" ( Microsoft Windows 95 ad campaign using Rolling Stones music); and "Big Chill Marketing, 1980s-1990s" (how the soundtrack from The Big Chill film changed advertising). Other story choices can be found at the Annals of Music or Madison Avenue category pages. Thanks for visiting — and if you like what you see here, please consider supporting this website with a donation. Thank you. – Jack Doyle
Please Support
Thank You
Date Posted: 7 November 2012
Last Update: 11 February 2019
Comments to: firstname.lastname@example.com
Article Citation:
Jack Doyle, "Microsoft & Too Close: 2012,"
PopHistoryDig.com, November 7, 2012.
Sources, Links & Additional Information
"A More Beautiful Web Is… Internet Explorer TV Commercial," YouTube.com, March 5, 2012 by internetexplorer.
"Welcome to a More Beautiful Web – 60 Second Internet Explorer Commercial," YouTube.com, Other version of ad (with Avengers clip), published on July 8, 2012 by internetexplorer.
Andrew Hampp, "Alex Clare Talks Microsoft Ad, Amy Winehouse & Career Re-Start," Billbaord.com, April 14, 2012.
"The Web Comes to Life With New Internet Explorer Ad Featuring Singer Alex Clare," Microsoft.com, March 05, 2012.
Alex Clare, Wikipedia.org.
"Alex Clare Sails Into Top 100 Electronic After MS IE 9 Commercial," MusicMetric. com, May 30, 2012.
Maeve McDermott, "Meet Alex Clare, the Voice Behind 'Too Close'," USA Today, July 15,2012.
"Alex Clare Reflects On His Rocky Ride To Success," CBSLocal.com, July 17, 2012
Bill Lamb, "Top 10 Hot Pop Songs," About.com , July 31, 2012 (#4).
Kia Makarechi, "Alex Clare & 'Too Close': Singer Talks New Fame, Working With Diplo & Dating Amy Winehouse," HuffingtonPost. com, July 24,2012.
"That IE9 Advert…," RobDudley.co.uk, August 15, 2012.
Tom Lanham, "Alex Clare Happy with Commercial Success," SFExaminer.com, August 22, 2012.
Maeve McDermott, "Internet Explorer Ad Gets a Hit for Alex Clare's Song "Too Close," Chicago Sun-Times, August 30, 2012
"Discover Alex Clare: The Man Behind That Dubstep Internet Explorer Song," JustDoHits. com, September 29, 2012.
Steven J. Vaughan-Nichols, "IE Gains in Latest Browser War Results," ZDNet.com, November 1, 2012.
Chris Matyszczyk, "Microsoft's IE9 Suffers Vicious Parody Treatment – You've Seen That Rather Dynamic Internet Explorer 9 Ad, Haven't You? The One That's Pulsating and Powerful? Well, Here's a Slightly Different Take," CNet.com, October 6, 2012.
"Internet Explorer 9 Commercial (The Honest Version)," YouTube.com, October 4, 2012, by
wwideinterweb (parody of Explorer TV ad).
"Too Close (Alex Clare song)," Wikipedia.org.


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World Time Clock and TimeZones Map USA Time Clock Rhode Island map Providence County map Cranston on Google Map
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text:
Reform Act of 2010
(and of
course – then 8 years in the White House)
3. Congress (past, present & future)
participates in Social
If not, in my opinion, you haven't thought it through very well.
The time is NOW
Warren Buffett, in a recent interview with CNBC, offers one of the best quotes about the debt ceiling: "I could end the deficit in 5 minutes," he told CNBC.
"You just pass a law that says that anytime there is a deficit of more than 3% of GDP, all sitting members of Congress are ineligible for re-election.
The 26th amendment (granting the right to vote for 18 year-olds) took only 3 months & 8 days to be ratified! Why? Simple! The people
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Warren Buffet is asking each addressee to forward this email to a minimum of twenty people on their address list; in turn ask each of
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In three days, most people in The United States of America will have the message. This is one idea that really should be passed around.
Congressional Reform Act of 2012
1. No Tenure / No Pension. A Congressman/woman collects a salary while in office and receives no pay when they're out of office.
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3. Congress can purchase their own retirement plan, just as all Americans do.
4. Congress will no longer vote themselves a pay raise. Congressional pay will rise by the lower of CPI or 3%.
5. Congress loses their current health care system and participates in the same health care system as the American people.
6. Congress must equally abide by all laws they impose on the American people.
7. All contracts with past and present Congressmen/women are void
Effective 12/1/12. The American people did not make this contract with Congressmen/women.
Congress made all these contracts for themselves. Serving in Congress is an honor, not a career. The Founding Fathers envisioned citizen
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If each person contacts a minimum of twenty people then it will only take three days for most people (in the U.S.) to receive the message.
Don't you think it's time?
When Injustice Becomes Law
Armed Revolt Becomes Duty


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Join us for the 2nd annual Hanukkah Celebration and Candle Lighting at the MFA, Boston.
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CJP provides the above links concerning third-party events for your convenience only. CJP has no control over the content of the linked-to websites or events they describe, and accepts no responsibility for the websites, including any advertising or products or services on or available from such sites, or for any loss or damage that may arise from your attending, or registering to attend, the described events. If you decide to access any of the third-party websites linked to below, you do so entirely at your own risk and subject to the terms and conditions of use for such websites and event attendance. CJP is not responsible or liable to you or any third party for the content or accuracy of any materials provided by any third parties. All statements and/or opinions expressed in the linked-to materials or at the described events, and all commentary, articles and other content provided at the third-party websites or at the events, are solely the opinions and the responsibility of the persons or entities operating the linked-to websites and events. The inclusion of any link on this website does not imply that CJP endorses the described event, or the linked-to website or its operator. MORE


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Kelso Dunes Wilderness
The Kelso Dunes Wilderness now contains a total of 144,915 acres and is managed by the Bureau of Land Management. All of the Wilderness is in the state of California. In 1994 the Kelso Dunes Wilderness became part of the now over 109 million acre National Wilderness Preservation System. In wilderness, you can enjoy challenging recreational activities and extraordinary opportunities for solitude. In an age of "...increasing population, accompanied by expanding settlement and growing mechanization,..." you play an important role in helping to "...secure for the American people of present and future generations the benefits of an enduring resource of wilderness" as called for by Congress in the Wilderness Act of 1964. Please follow the regulations in place for this area, and use Leave No Trace techniques when visiting to ensure protection of its unique natural and experiential qualities.
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Motorized equipment and equipment used for mechanical transport are generally prohibited on all federal lands designated as wilderness. This includes the use of motor vehicles (including OHVs), motorboats, motorized equipment, bicycles, hang gliders, wagons, carts, portage wheels, and the landing of aircraft including helicopters, unless provided for in specific legislation. In a few areas some exceptions allowing the use of motorized equipment or mechanical transport are described in the special regulations in effect for a specific area. Contact the agency for more information about regulations.
Geographic Coordinates
Kelso Dunes Wilderness is located in San Bernardino County, California 95 miles west of Barstow, California. The area is 3 miles north of Ludlow. Maps of the area can be obtained from the Bureau of Land Management Field Office in Needles, California.


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As a kid friendly dentist in Columbus we treat young children, including preschooler and elementary age children, for their first checkup. We realize that a lot of parents do not bring their child to the dentist until they are much older. This, however, is a mistake. Your child can develop cavities as young as their toddler years and visiting our kid friendly dentist office is one way to help prevent them.
What You Should Know
As a parent, you naturally want what is best for your child. Many parents are unaware of how oral health and dental care plays into that. According to the Center for Disease Control, tooth decay (cavities) is the number one most commonly occurring infectious disease among children. This leads to children experiencing toothaches in high numbers, missing days from school, and experiencing overall discomfort. Tooth decay is not a trivial thing, but a condition that can create significant discomfort for your child and even make it difficult for them to eat, speak clearly, and engage in normal daily activities. If you live in the Columbus area and think that this will not happen to your child, statistically, it most likely will. Brushing and flossing at home will help, but it is not enough. You need to bring your child to our kid friendly dentist office twice a year so that we can examine and clean their teeth. By doing this, we will be able to remove the plaque and bacteria that can lead to cavities in the first place.
Resources You Can Use at Home
In addition to visiting our kid friendly dentist office, it is important that you practice good oral hygiene at home and teach your child to do the same. In our dental office, we work with a lot of children under age eight and understand how challenging it can be to get them excited about brushing teeth. Kids are busy and asking them to stop riding bikes, building Legos, or playing dress up to brush their teeth can lead to conflict fairly quickly. We get it. At Ohio Cosmetic Dentists, we can work with young children and are under no illusion that they are fascinated by oral health. Our job, however, is to change their opinion of dental care and show them that it can be fun and interesting. This way they will want to brush and floss their teeth, even without being told. With that in mind, we have a few resources that we have found to be helpful and suggest that you try them at home.
If you live in or around Columbus, we invite you to schedule an appointment with our dental office so that we can examine your child's teeth and teach them how to brush properly. Even if your child is already brushing, there is a good chance that they are doing it wrong and missing a lot of the plaque that has built up on their teeth. A simple video tutorial is a resource you can use at home. You can find one on the American Dental Association's website or even on YouTube. Playing a video that shows your child how to brush is a good reminder for them and, since they are used to receiving information this way, they are likely to receive and digest it better than if you reminded them.
Once your child is brushing correctly, it is time to turn your attention to how long they are brushing for. At Ohio Cosmetic Dentists we encourage all of our patients to brush for two minutes, twice a day, regardless of how old they are. This, however, can be difficult for young children that find it hard to focus on a task or to stay still. As a kid friendly dentist, we want them to brush their teeth but staying still isn't a requirement. Try making it fun to brush teeth by playing their favorite song for two minutes and letting them dance and brush. You can also play a two-minute video clip or cartoon for them while brushing. The American Dental Association has an entire section of their website devoted to these short videos and watching them will get your child used to brushing for the full two minutes. We have worked with families throughout the Columbus area and have found that using media works far better than standing there with a stopwatch. The goal is to create positive associations between dental care and having fun so that your child will continue to brush their teeth as they grow.
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As a kid friendly dentist office in Columbus, we are focused on preventative care. It is far better for your child to visit us for a regular teeth cleaning than to only see us with a toothache. Fortunately, by using preventative care methods we can help your child to avoid experiencing any dental discomfort. In addition to cleaning their teeth, one of the ways that we do so is with dental sealant. Many children have deep ridges in their teeth. When they bite down and chew food, bacteria, food particles, and plaque can become trapped in those ridges and eventually they will create tooth decay. These areas are particularly difficult to clean with a toothbrush alone, so even the most fastidious of parents may find it challenging to keep cavities at bay. By using dental sealant, a protective layer is placed onto the teeth so that nothing can become stuck in these ridges. The procedure is painless and fast since all we need to do is brush a material onto the teeth and allow it to harden. At Ohio Cosmetic Dentists, we have found this to be a simple way to prevent our young patients from getting cavities.
Regular Fluoride Treatments
Another tool for prevention is our regular fluoride treatments. We recommend that all children have this throughout their teenage years. If you aren't on public water, this is particularly important for preventing cavities. Statistically, if your child has a fluoride treatment in our dental office, their risk for getting cavities decreases by thirty percent. This is significant when you are considering the overall health and well-being of your child. With that in mind, we use whatever tools are at our disposal to ensure that your child is as healthy and as comfortable as possible both now and as they age. If you live in the Columbus area, we invite you to schedule a dental exam by calling (614) 503-5240.
Questions Answered on This Page
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Definition of Family Dental Terminology
- Dental Caries
- Dental caries are also known as cavities and result from a lack of proper oral hygiene leaving plaque that forms tiny holes in the teeth.
- Dental Sealants
- Dental sealants are a solution of plastic material that we apply to the crown of the tooth to protect the areas within the ridges of teeth from infection.
- Dental Prophylaxis
- A dental prophylaxis is a thorough cleaning procedure that involves preventing the spread or continued growth of periodontal disease and gingivitis.
- Dentist
- A dentist, also known as a dental surgeon, is a doctor who specializes in the diagnosis, prevention, and treatment of diseases and conditions of the oral cavity.
- Etchant
- Etchant is a gentle acid to treat the surface of a specific tooth to help the filling material stick to the tooth.
- Occlusion
- Occlusion describes the mandibular and maxillary rows of teeth meeting when the patient bites down. If a patient does not have a healthy bite, they are struggling with malocclusion.
- Overjet
- An overjet is a bite orientation that results from the maxillary central incisors (top center teeth) protruding over the mandibular central incisors (bottom front teeth); this may also be known as "buck teeth" by patients.
- Pregnancy Gingivitis
- Pregnancy gingivitis is gingivitis that results from the common change in hormones during pregnancy that increases blood flow to the gum tissue, increasing sensitivity, irritability and swelling in the gums.
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Tooth Eruption Seattle, WA
The first baby teeth that come into the mouth are the two bottom front teeth. You will notice this when your baby is about six to eight months old. Next to follow will be the four upper front teeth and the remainder of your baby's teeth will appear periodically. They will usually appear in pairs along the sides of the jaw until the child is about 2-1/2 years old.
At around 2-1/2 years old, your child should have all 20 teeth. Between the ages of five and six, the first permanent teeth will begin to erupt. Some permanent teeth replace baby teeth and some don't. Don't worry if some teeth are a few months early or late as all children are different.
Baby teeth are important as they not only hold space for permanent teeth, but they are important to chewing, biting, speech, and appearance.
For this reason it is important to maintain a healthy diet and daily hygiene.
Is Your Child in Need of Dental Care?
Healthy Smiles by Dr. Saturay provides excellent dental services in a fun environment your kids will love.


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When I attended primary and secondary school — during the 1940s and '50s — one didn't hear of the kind of shooting mayhem that's become routine today. Why? It surely wasn't because of strict firearm laws. My replica of the 1902 Sears mail-order catalog shows 35 pages of firearm advertisements. People just sent in their money, and a firearm was shipped.
Dr. John Lott, author of "More Guns, Less Crime," reports that until the 1960s, some New York City public high schools had shooting clubs where students competed in citywide shooting contests for university scholarships. They carried their rifles to school on the subways and, upon arrival, turned them over to their homeroom teacher or the gym coach and retrieved their rifles after school for target practice. Virginia's rural areas had a long tradition of high-school students going hunting in the morning before school and sometimes storing their rifles in the trunks of their cars that were parked on school grounds. Often a youngster's 12th or 14th birthday present was a shiny new .22-caliber rifle, given to him by his father.
Today's level of civility can't match yesteryear's. Many of today's youngsters begin the school day passing through metal detectors. Guards patrol school hallways, and police cars patrol outside. Despite these measures, assaults, knifings and shootings occur. According to the National Center for Education Statistics, in 2010 there were 828,000 nonfatal criminal incidents in schools. There were 470,000 thefts and 359,000 violent attacks, of which 91,400 were serious. In the same year, 145,100 public-school teachers were physically attacked, and 276,700 were threatened.
What explains today's behavior versus yesteryear's? For well over a half-century, the nation's liberals and progressives — along with the education establishment, pseudo-intellectuals and the courts — have waged war on traditions, customs and moral values. These people taught their vision, that there are no moral absolutes, to our young people. To them, what's moral or immoral is a matter of convenience, personal opinion or a consensus.
During the '50s and '60s, the education establishment launched its agenda to undermine lessons children learned from their parents and the church with fads such as "values clarification." So-called sex education classes are simply indoctrination that sought to undermine family and church strictures against premarital sex.
Lessons of abstinence were ridiculed and considered passé and replaced with lessons about condoms, birth control pills and abortions. Further undermining of parental authority came with legal and extralegal measures to assist teenage abortions with neither parental knowledge nor consent.
Customs, traditions, moral values and rules of etiquette, not laws and government regulations, are what make for a civilized society. These behavioral norms — transmitted by example, word of mouth and religious teachings — represent a body of wisdom distilled through ages of experience, trial and error, and looking at what works. The importance of customs, traditions and moral values as a means of regulating behavior is that people behave themselves even if nobody's watching. Police and laws can never replace these restraints on personal conduct so as to produce a civilized society. At best, the police and criminal justice system are the last desperate line of defense for a civilized society. The more uncivilized we become the more laws that are needed to regulate behavior.
Many customs, traditions and moral values have been discarded without an appreciation for the role they played in creating a civilized society, and now we're paying the price. What's worse is that instead of a return to what worked, people want to replace what worked with what sounds good, such as zero-tolerance policies in which bringing a water pistol, drawing a picture of a pistol, or pointing a finger and shouting "bang-bang" produces a school suspension or arrest. Seeing as we've decided that we should rely on gun laws to control behavior, what should be done to regulate clubs and hammers? After all, FBI crime statistics show that more people are murdered by clubs and hammers than rifles and shotguns.
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