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Lori's Layered Family Loft
Name: Lori Weitzner, husband Mike and daughters Sophie and Emma
Location: Chelsea; New York, New York
Size: 2,200 square feet
Years lived in: 10 years owned
At first quick glance, it's all neutrals, classic choices and even a piece of oh-so-trendy typography. But spend more than a minute in the home of textile designer Lori Weitzner, her husband and two not-quite-teen daughters, and the fabrics and stories unfold, the plot thickens, and opposites definitely attract. And smack dab in the middle sits a most happy home for four.
It's a game of opposites: Modern, and not. Neutral and colorful. Old world and right now. Loft-like and homey. As curated as a museum, as collected as a magpie's nest. Everything has a counterpoint, everything has a story, and every story has at its root the kind of sentiment you'd normally only find in a Nicholas Sparks novel. While some wear their heart on their sleeve, the heart of Lori Weitzner's home is worn on shelf, chair, and through choice, gift, art and design.
That storytelling and the game of opposites start right past the front door. The entry is spare and showroom-y, with a quartet of hand-woven abaca banners in a space created and lit exactly for them, during a renovation that made the whole space specific but stopped short of "gut reno" ten years ago. So far, so serious.
But take a look back, to a scattering of magnetic letters on the door behind you, and a look ahead, to the carving that seems to sprout right from the dark rich floors, and you start to see this is a space where "family" is a serious business, too. "I love family trees of all kinds, and in the Philippines, they would do it actually as sculpture. I thought that was a nice way to then turn the corner and welcome you into our home, our ancestry." Suddenly, it seems no coincidence that there are those four banners, textile totems of sort in this home for four.
Past that buttoned-up entry, the main living space opens up with a sunny, highly livable exuberance, part downtown open-plan loft, part uptown classic enfilade.
At first, the space reads almost monochromatic. But that changes fast, with the light and the slightest attention. The colors shift like a chameleon strolling across sunlit river stones. "It moves as nature moves," says Lori of the earth-derived palette. "What may feel at first like a neutral is actually full of green and perhaps some yellow and other colors. Our colors are very nuanced and complex. They're not straightforward. I always say the best colors are the colors you can't name."
In the master bedroom, more hard-to-describe hues. "I call them whisper colors, and they're very much colors I want to be sleeping with. Very soothing, very calming, very quieting," says Lori, "and I want that in a bedroom."
The wall colors are hard to pin down, too, as they shift from ivory to the palest pistachio, just enough tint to take the white off the white box. Just don't ask Lori for the Benjamin Moore colors. All her colors were custom mixed. Lori uses a quick pour of Linen White, for example, to temper other ready-mixed colors. So, she says, the colors are "custom, but not custom-from-scratch scratch." It's no real surprise Lori is mixing her own colors. She began as a painting major and (like one of her professional textile counterparts, Pollack's Rachel Doriss), she changed her major to textile design. "I feel very lucky, because it's a commercial, viable design form that you can make a living doing, but it's very much related to fine arts."
Mike also gets credit for this palette that's hard to pick off a paint swatch. This Englishman in New York has brought his passion for antique maps to the table, literally, where part of his cartographic collection of his Cheshire homeland is displayed in the dining area. Their subtle and faded colors, misty and ethereal, fit right in to the grand scheme of things, with Lori's blessing, presented in a modern fashion. "I had to figure out how to incorporate what he loves about history and roots into a space that is contemporary, and get that push and pull there satisfied."
What Mike also loves, clearly, is Lori. On an early date, Lori told him of her grandfather's company, Weitzner Brothers Monuments, with the letters W and B the only remnants of the business lingering on its Second Avenue facade. "I told him about the W, but it wasn't a hint, it wasn't anything, it was just in conversation!" Three months later, it was presented to Lori for her birthday. In an act of romantic thievery, Mike pried the letter from the building under the cover of darkness, save for the headlights of the Jeep he had driven up on the curb. "So the W was stolen! But it was my grandfather's," she chuckles in justification, still taking obvious joy from this gift from her suitor-turned-husband. "So meaningful to me."
It's one of many objects that add depth and interest to this modern envelope. Throughout, upholstered pieces defy timestamp, like the pair of Wormley stools in a lichen-green textured fabric, or the angular tub chairs wearing a traditional-in-technique-only cut velvet. Says Lori of the larger-than-life asterisk design: "Because it's so large, and so neutral, it becomes very contemporary." Together, even just those two fabrics (both from Weitzner Limited) are a mini primer in how Lori brushes the dust of classic technique: play with scale, and use those mercurial, earthy colors. Underfoot, her rugs generally employ both tricks to accelerate age-old rug-making technique to contemporary art.
The sliding doors separating Mike's corner office-by-day, family media room by night are rarely closed, except perhaps during an especially animated game of Wii. Juxtaposed against those glass and aluminum doors is that piano, an ebonized and gilded folly that commands attention even silent. It's one of many pieces both personal and quirky, gifted or snared from auctions and antique shops. Or in this case, plucked from Lori's own family tree. It was Lori's grandmother's, passed to the youngest girl in the family. "I am a terrible piano player, and my kids are not looking to be too good, but it will never leave us, because," she says, "for me, it's sentimental and it's also beautiful."
The piano is definitely part of that running counterpoint between the desire to stay limited, lofty, curated and culled, and a collector's passions of a more ornate, layered aesthetic. Why the push and pull between minimalism and, well, maximalism?
"We came from an old house, turn-of-the-century, with nooks and crannies, and all of a sudden entered this big, high-ceilinged, light-infused loft." Like many designers who let the style of the construction help dictate its interior direction (John Eason's past tour comes to mind), Lori listened to the space. And this space, a modern conversion of a landmark building with 13-foot ceilings, told her it wanted to be modern.
"But I couldn't do totally modern cold. It needed to be warm." In the hands of Lori, there was no real risk of modern ever being cold. Bringing warmth and history to contemporary design is all in a day's work for her and her company that embraces exactly that philosophy. Says Lori, "My professional life is always related to something old but then done in a new way. And I think that's the way I wanted to approach my home."
"It feels familiar, something relevant from history, but fresh and new at the same time." She's talking about hand-tufted carpets and luxuriously woven and printed textiles, but it pretty much applies to just about everything in the lofty home of Lori Weitzner.
Apartment Therapy Survey:
My Style: Timeless.
Inspiration: Old, new, calming, things that tell stories...
Favorite Element: The art.
Biggest Challenge: Carving out "individual" spaces for each of us that as a designer, I can still can like.
What Friends Say: Wow, nice!
Biggest Embarrassment: Kitchen cabinets don't stay up and bang our head every day.
Proudest DIY: Definitely incorporating my wall covering "Magnetism" into my girls' room. We decided to cover all of the walls with it and it provides this incredible surface that allows the girls to do it themselves...to decorate the way THEY want to and it can be constantly updated.
Biggest Indulgence: The Perla Krauze painting in the living room.
Best Advice: Design/decorate for you, not for what is in fashion. Keep it soulful.
Dream Sources: All painting and sculpture auctions at Christies and Sothebys!
Resources of Note:
- • All custom colors, mixing usually Antique linen with a light color to take the "edge" off and neutralize. Benjamin Moore and some Donald Kaufmann.
- • Antiques: Tama Gallery
• Sculpture: Phillipine family tree (they would carve them from wood).
- • Chairs: Chelsea antique store
• Stools are original Ed Wormley bought at auction
• Coffee Table: Dennis Miller
- • Table: Tama Gallery
• Chairs: B & B Italia
• Seat fabric: Weitzner Limited
• Painted Cabinet: ABC Carpet & Home
- • Stone: Stone Source
- • Bed: Ted Beorner
• Night tables: Donghia
• Arm chair: Donghia
• Settee: Todd Haas
• All textiles: Designed by Lori Weitzner, Weitzner
• Rug: Designed by Lori Weitzner, Endless Knot Rug
- • Glass Lamps: Donghia
• Lamp Shades: Custom, from Weitzner "Tree Bark"
• Table: IKEA
Thanks, Lori!
(Images: Patrick J. Hamilton)
• HOUSE TOUR ARCHIVE: Check out past house tours here.
• Interested in sharing your home with Apartment Therapy? Contact the editors through our House Tour Submission Form.
• Are you a designer/architect/decorator interested in sharing a residential project with Apartment Therapy readers? Contact the editors through our Professional Submission Form.


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SILC Showcase
Showcase June 2014: An up-date on three of the Lab-based exchange projects supported through our Thematic Network in Spatial Cognition (TNSC) via an NSF SAVI award supplement
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An up-date on three of the Lab-based exchange projects supported through our Thematic Network in Spatial Cognition (TNSC) via an NSF SAVI award supplement
The following is an up-date on three of the Lab-based exchange projects that were funded by our SAVI Supplement. See the following Showcase for a list and description of all the Lab-based exchange projects that were funded through our SAVI supplement: Showcase April 2013: Lab-based exchange projects supported through our Thematic Network in Spatial Cognition (TNSC) via an NSF SAVI award supplement.
This up-date includes:
- Egocentric vs. Allocentric Spatial Neglect
- Ambiguous Routes and Origami Paper Folding
- Urban Dynamics and Geodesign: On narrative cognition for dynamic GIS
Egocentric vs. Allocentric Spatial Neglect
Awardee/Collaborator: Peii Chen, Kessler Foundation, West Orange, New Jersey
Host/Collaborator: Hans-Otto Karnath, University of Tuebingen, Germany
In October 2013, funded by the SAVI grant, Peii Chen from the Kessler Foundation visited the laboratory directed by Hans-Otto Karnath at University of Tuebingen. Chen worked with Karnath and his trainees to develop a project examining whether specific spatial sectors (within vs. beyond arm's reach) affect the manifestation of egocentric or allocentric spatial neglect in acute stroke patients. Within one month, they set up the experiment and tested it on three pilot subjects.
In addition, Chen participated in the daily lunch gatherings and monthly lab meetings. She was impressed by how Karnath maintained informal but professional relationships with his trainees. She was also very grateful that every time when she was present, the conversation had to switch from German to English. Chen learned much about the integrity of research methods as well as about laboratory management from Karnath.
Currently, Karnath's graduate student, Dongyun Lee is running the experiment in Germany. Chen will start the experiment in the US, depending on the availability of clinical collaboration.
Ambiguous Routes and Origami Paper Folding
Awardee/Collaborator: Thora Tenbrink, Bangor University, Wales, UK
Host/Collaborator: Holly A. Taylor, Tufts University, Medford (MA)
Funded by the SAVI grant, Thora Tenbrink visited Holly Taylor at Tufts University for three weeks in the summer of 2013 to pursue a range of collaborative projects that were jointly developed over the past years and mainly kept alive through regular Skype meetings. The SAVI based travel provided an excellent opportunity to benefit from focused discussions facilitated by face-to-face contact.
A previous showcase (April 2013) already described one of these projects, pursued jointly with Stephanie Gagnon, Stanford University, and Tad Brunyé, Tufts University and US Army NSRDEC. This work explores how participants respond to route directions containing ambiguities between landmarks and turn directions, forcing reliance on one or the other. This project was carried further to include a new condition not addressed before, with a striking outcome: What matters is who gives the route directions. In the study, participants were informed that the directions came from either a human or a GPS based system, or no information was given. Results showed differential reliance on landmarks versus turn directions as a function of direction source. Without information regarding the source of directions, participants generally relied on landmarks or turn information under conditions of ambiguity, and tendencies were partially predicted by gender, but not individual differences in spatial strategy preference. In contrast, with a GPS source participants relied primarily on turn information, and with a human source on landmark information, and these tendencies were robust across participants and not predicted by gender or individual differences.
Another major project pursued by Holly Taylor and Thora Tenbrink addresses cognitive processes in Origami paper folding – the Japanese art of transforming a sheet of paper into a sculpture through folding techniques without using cuts or glue. Origami paper folding represents a challenging spatial problem-solving task that involves complex cognitive processes that are not well understood so far. To gain insights on the nature of these processes, the collaborators asked students in Bremen (Germany) and at Tufts University (Medford, MA) to think aloud while following instructions (verbal and pictorial) to fold an Origami flower. The analysis reveals recurring patterns in participants' verbalizations, namely reading and reformulating the task description, considering actions and task status, comparing task status to pictures in the instruction, evaluating the progress so far, referring to previous experience, pronouncing problems, and adding ideas about the current instructional step. The last two categories in particular highlight how participants conceptualize this spatial task. Procedurally, the verbalizations reflect a typical order of steps: reading – reformulating – reconceptualizing – evaluating. During Thora's visit at Tufts, discussions concerned parallels to known conceptual challenges involved in interpreting spatial descriptions, and reflections on the benefit of reconceptualization for cognitive processes.
First results have been published in Taylor & Tenbrink (2013), and other publications are on their way. Future plans were made towards further steps to explore conceptual processes in Origami paper folding. This includes a more general account of how people solve this conceptually challenging task, and also how proficiency/ spatial ability may affect performance and verbal description. Since the data show multiple cases of problems and dead ends during participants' thought processes, this will enable an account of problem handling, outlining the cognitive path of dealing with confusion based on a combination of qualitative observations and quantitative tendencies. In addition, there may be interesting repercussions for the Origami community: It may be possible to integrate some of the ideas verbalized by participants in the visualizations of paper folding steps.
- ♦ Taylor, H. A. & Tenbrink, T. (2013). The spatial thinking of Origami: Evidence from think-aloud protocols. Cognitive Processing, 14, 189–191.
Urban Dynamics and Geodesign: On narrative cognition for dynamic GIS
Awardee/Collaborator: Mehul Bhatt, Spatial Cognition and Research Center (SFB/TR 8), University of Bremen, Germany
Host/Collaborator: Helen Couclelis, University of California, Santa Barbara
Aim of TNSC-SILC Lab Visit
This lab visit was conceived with the aim of initiating a broad-based dialogue on developing a framework for modelling and reasoning about design intentions in the context of urban planning, people-centred design of urban environments, and geospatial urban dynamics at arbitrary time-scales, e.g., encompassing generational change, and extending all the way to the scale of everyday 'life in the city'.
- The scientific agenda underlying this line of inquiry is to:
- develop a scientific manifesto underscoring the essential "why" and "what for" questions seeking to inspire artificial intelligence based engineering, development, and implementation of computational models and assistive technologies for urban design and analysis for governmental policy formation and decision-making.
This will set the stage for small-scale research and development activities, e.g., especially serving as a basis for the development of technologically oriented work in urban planning, geodesign, and geospatial dynamics.
To read further about this Lab Visit, please open which includes:
- ♦ and REFERENCES.

subset: commoncrawl


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Markham's Emergency and Non-Emergency Numbers
( 223k/1p)
Markham's Emergency Plan
( 881k/38p)
York Region's Emergency Preparedness Guide
( 5.9M/108p)
Emergencies can happen anywhere, at any time – sometimes without warning. An emergency can force you to evacuate your neighbourhood, or confine you to your home or workplace without basic services such as water, gas, electricity or a working telephone.
Is your family prepared?
Markham residents have a responsibility to themselves and their families to plan and prepare for the first 72 hours of an emergency. This summer, get prepared by setting aside a little time to:
Visit our Preparing for an Emergency page for more information on what you can do to ensure your family is ready for an emergency.
Getting prepared can be FUN for the whole family! See the Resources and Planning page for children's colouring sheets and a crossword puzzle on emergency preparedness.
Markham's Emergency and Non-Emergency Information Sheet
Don't scramble when an emergency happens! Keep a copy of Markham's Emergency and Non-Emergency Information Sheet at your home. Make sure everyone knows where it is kept.
Commuter Emergency Plan
Severe weather events, power outages, and heavy traffic caused by events like the Pan Am/Parapan Am Games can result in travel delays. Markham Emergency Management has created a Commuter Emergency Plan to help people who work, live, and play in Markham get to their destinations using pre-planned alternative routes.
Before an emergency happens, take some time and use this plan to list your normal routes as well as some alternates. Included on the second page is a list of phone numbers and websites for public transportation providers to help you with your planning. Keep a copy of the completed plan in your wallet, vehicle's glove compartment or another safe place where you can access it when you need it.
By being prepared, you can help avoid the frustrations of travel delays.
Don't forget to make a plan for your pets!
Many residents of Markham have pets who, like other family members, also need the protection and security of an emergency plan. Whether you are advised to stay at home or asked to evacuate to a safer location during an emergency, the responsibility of caring for your pet rests with you, the owner. Planning in advance for you and your pet will save you time and lessen the stress during an already stressful situation.
A comprehensive emergency plan includes preparing in advance for care for your pets before, during and after an emergency. The best way to protect your pet in an emergency is to bring it with you, however; some shelters or hotels will only accept service animals. It is a good idea before an emergency happens to create a list of hotels, veterinary clinics, animal shelters and other boarding facilities where you can bring your pet. Check with friends and family outside of your area as well to see if they would be willing to care for your pet should you have to evacuate.
As part of your plan, it is important to develop and create a 72 hour Pet Emergency Preparedness Kit, similar to the one you would create for yourself and your family. See our Pet Emergency Kit Checklist for the types of things you should include in your pet's kit.
It is also important to ensure your pet is licensed and microchipped in case they become separated from you during an emergency. Reunification of owners and their pets can be facilitated much quicker with up-to-date licensing and microchipping records.
By creating an emergency plan and a Pet Emergency Kit in advance, you will have greater piece of mind knowing that all your loved ones are taken care of.
Emergency & Health Services


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Joan Miró ( Spanish, Barcelona 1893 - 1983 Palma de Mallorca)
Women, Bird, and Snake in Front of the Sun (Femmes, oiseau, et serpent devant le soleil), 1944
Signed in black (oil?) verso: Miro./19441
Oil on canvas
19 11/16-20 1/2 x 15 1/8-15 1/4 in. (50-52 x 38.5-38.7 cm)
Gift of Joseph and Enid Bissett, 1962
The Oberlin painting is from a large group of small drawings and paintings from 1942-46 in which Miró allowed spontaneous effects in the medium of the ground to suggest the pictographic forms which he then carefully painted, at times even inscribed, on top. New forms, surprising color juxtapositions, and increased expressive power were the result of this extended interior journey.
During 1940 and 1941, despite a forced move from Varengue, Normandy, to Spain in May 1940 (just before the Nazis captured Paris), Miró completed the well-known Constellations, a series of twenty-three small gouaches on paper.2 In these brilliant works he abandoned definitively any reference to the external world, and developed a parallel universe of crisply delineated, biomorphic and cosmological forms set against rubbed-in gouache grounds in increasingly complex allover compositions. After that intense project, Miró "felt the need to work more freely, more gaily--to 'proliferate.'"3 He went on to produce hundreds of small works, all configurations of a few elements--woman or personage; star, moon, or sun; bird or snake--drawn from the Constellations. He produced this body of work between 1942 and 1946 in isolation in Spain, alternating between his studio in Barcelona, the Miró family farm in Montroig, and his wife's family home near the sea in Palma de Mallorca.
As Miró recalled in 1948:4
I produced a great deal at this time, working very quickly. And just as I worked very carefully [in the Constellations] which had immediately preceded these, 'controlling' everything, now I worked with the least control possible--at any rate in the first phase, the drawing. Even here, however, only the broad outlines were unconsciously done. The rest was carefully calculated. The broad initial drawing, generally in grease crayon, served as a point of departure.... I drew carefully around the stains and made them the center of the composition. The slightest thing served me as a jumping off place in this period.... The first stage is free, unconscious; but after that the picture is controlled throughout, in keeping with that desire for discipline which I have felt from the beginning.
Between 1942 and 1944 Miró worked solely on paper, producing over one hundred drawings of which the AMAM owns two: Women Dreaming of Escape (Femmes rêvant de l'évasion) (dated 1 December 1942),5 and Woman and Bird in Front of the Sun (Femme et oiseau devant le soleil) (dated 25 January 1943).6 He prepared the surface of the first drawing by rubbing pastel onto the board in faint aureoles of color, in a manner reminiscent of the grounds of the final Constellations.7 As he stated in his notebook, he wanted to "provoke accidents"; he didn't want to "do pastels."8 Reacting to this ground, he then carefully created the witty, yet dreamlike crayon drawing, incorporating signs from the Constellations, such as the "escape ladder,"9 vagina, dagger-breasts, the zigzag, etc. The surface of the second drawing, which he wiped with grey wash and black chalk, led to larger forms, a more relaxed bounding line, and crayoned-in areas that form a moving dialogue with the wash beneath.
Sometime in 1944 Miró began to paint on canvas again, producing approximately one hundred small paintings during that year and the next.10 Among them Dupin discovered forty painted on unstretched canvases of irregular shapes: the Oberlin painting is in this group.11 It is executed on a plain-weave, primed canvas (in contrast to the heavy-weave, unprimed canvas used for some works in this series), and is only slightly irregular in shape. Its surface, however, has been greatly worked over, resulting in a ground that is highly tactile but at the same time optically indeterminate. Subdued earthy hues were rubbed and stained into the canvas, and then overpainted in rhythmically placed bursts of color. Some areas--for example, the large central figure--appear to have been broadly and thinly painted in early on, and then wiped or scraped off, leaving grey, semitransparent shadowy stains surrounding the black lines. The black spheres and bodies provide impenetrably solid contrast to the incised lines and the limitless space of the ground.
Like the other drawings and painting in the series, the Oberlin painting contains elements seen earlier in the Constellations. The black sphere of the sun can be seen in the first of that series,12 while the snake appears in the second (and others).13 The central figure, on the other hand, appears to have originated in a watercolor and charcoal drawing of 1942.14In 1945 Miró went on to paint a cycle of large paintings, which number among his best-known works. The small works of 1942-46, many of which are in private collections, are not well known, and have not been studied as a group,15 but in them Miró invented the vocabulary of forms he was to use in all media throughout the rest of his life.
J. S. Wilker
Work (C) 1998 Artists Rights Society (ARS), New York/ADAGP, Paris
The son of a goldsmith, Miró was born in Barcelona on 20 April 1893. In 1907 he began a business course as well as art classes at the Escuela de Artes y Oficios de la Lonja. Illness ended his brief turn as a bookkeeper and his business career. After recuperating at the family farm in Montroig, in Tarrogona, an area to which he returned throughout his life and from which he drew much imagery, Miró devoted himself to making art. From 1912 to 1915 he studied at Francesc Gal''s Escola d'Art in Barcelona. He was also exposed to trends in international contemporary art, and his early work consists of a highly personal fusion of avant-garde pictorial practices (Cézannist, Fauvist, Cubist, etc.) and Catalan content.
Miró went to Paris for the first time in 1920, and moved there the following year. He set up a studio (next to that of André Masson), and had his first solo exhibition. By 1924 his work had changed crucially from descriptive realism and illusionistic space to his individual style of imaginary abstraction and biomorphic sign. He associated, exhibited, and published with the Surrealists at this time, and André Breton wrote that "he [Miró] could perhaps pass for the most 'Surrealist' of us all."16 An individualist and largely apolitical, however, Miró never officially joined Surrealist movement, or engaged in its polemics.
During the next fifteen years, moving seasonally back and forth between Barcelona, Montroig, and Paris, he worked in investigative series, each pushing the limits of how paintings could be made: dream paintings (1925-27), imaginary landscapes (1926-27), collage objects (1928), Dutch interiors (1928), imaginary portraits (1929), paper collages (1929), constructions and assemblages (1930), painting-objects (1931-32), paintings based on collages (1933), tapestry cartoons (1934), peintures sauvages (1935), and paintings on copper (1935-36). Several works of the late '30s appear to refer to current events in Spain and Europe in their violent color, increasing proportion of black, and tortured imagery. He also designed sets for the Ballet Russe (1926 and 1932), and learned etching (1938).
On the eve of the Second World War, Miró was living at Varengeville, on the Normandy coast. The Nazi invasion of France forced him to return to Spain, where he lived during the war (see Main Text). In 1941, however, his first major retrospective was held at The Museum of Modern Art, New York, and in 1942 his work was included in the opening of Peggy Guggenheim's Art of This Century gallery. In 1945 his Constellations were shown in New York, and in 1947 a group of the drawings and paintings of 1944 were shown at the Pierre Matisse Gallery. At that time Miró came to New York, and out of isolation. He was commissioned to do murals for Cincinnati's Terrace Plaza Hotel (1947) and Harvard University's Harkness Commons dining room (1950), and ceramic walls for the UNESCO headquarters in Paris (1955). He continued to paint on canvas, and also became deeply engaged with the creative possibilities of printmaking, ceramics, sculpture, tapestry, and stained glass.
Miró's unique achievements have been recognized with many major exhibitions: London (1965), Paris (1956, 1962, 1974, 1993), New York (1941, 1959, 1986, 1993), Barcelona (1968, 1992), and elsewhere. He died on 25 December 1983 in Palma de Mallorca.
General References
Dupin, Jacques. Joan Miró: Life and Work. New York, 1962.
Rowell, Margit, ed. Joan Miró: Selected Writings and Interviews. Boston, 1986.
Joan Miró: A Retrospective. Exh. cat., Solomon R. Guggenheim Museum, New York, 1987.
Weelan, Guy. Miró. New York, 1989.
Lanchner, Caroyn. Joan Miró . Exh. cat., The Museum of Modern Art, New York. 1993.
Dupin, Jacques. Joan Miró. New York, 1993.
The artist to Pierre Matisse, New York (probably 1946)17
Collection Gordon Bunschaft, New York
Collection Joseph and Enid Bissett, New York, by whom given in 1962
The Cleveland Museum of Art, 1975-76. Extended loan for exhibition with permanent collection. 9 April 1975 - 22 December 1976. No cat.
Dupin, Jacques. Joan Miró, Life and Work. New York, 1962, no. 616, p. 547.
Stechow, Wolfgang. Catalogue of European and American Paintings and Sculpture in the Allen Memorial Art Museum, Oberlin College. Oberlin, 1967, p. 108, fig. 144.
Spencer, John. "The Bissett Collection." Allen Memorial Art Museum Bulletin 26, no. 1 (Fall 1968), p. 5.
Rose, Barbara. Miró in America. Exh. cat., The Museum of Fine Arts, Houston, 1982. Unpaginated checklist.
Technical Data
The irregular shape of the painting is original. Draws along the left edge suggest that the canvas was cut from a larger primed and stretched support, but the painting itself was not stretched until after the work was completed. Small holes scattered throughout (now filled and inpainted) may indicate that the canvas was temporarily tacked to a firm support.18 The canvas was lined in 1978 with silicon adhesive, and the lining fabric attached to a stretcher.
The ground consists of two moderate layers of white oil paint. (Miró used preprimed canvases and frequently added a second layer of ground.) In 1978, areas of exposed ground between the edges of the painted image and the edges of the canvas were consolidated with gelatin.
The paint ranges from thin washes of color--purposely rubbed, or sanded, to expose the ground--to more opaque areas. Some designs have been scratched in the paint exposing underlying paint layers. In the large forms, paint lies on top of varnish and appears matte. Four of the green dabs exhibit a brush structure. The white form at the top shows a slight impasto.
Fifteen small holes in the canvas were filled and inpainted in 1978; the surface was also cleaned at this time. Since some of the paint lies above the varnish, the coating is original. No later varnish is present. The left and top edges of the canvas are slightly frayed and curled. There are slight horizontal creases visible in the lower half of the painting, as well as some diagonal creases in the round black forms (some of these may have existed in the canvas before Miró painted the composition). There are minor losses in the ground along the edges of the canvas, as well as minor cracks here and in some of the thicker areas of paint.
1. Inscribed in pencil on verso: JM /409 and: femmes et oisseau et serpent devant le soleil.
2. The Constellation series is discussed and fully illustrated in color in Carolyn Lanchner, Joan Miró (exh. cat., The Museum of Modern Art, New York, 1993). See also Roland Penrose, Joan Miró(New York, 1969), pp. 100ff. These works were extremely influential for American Abstract Expressionist painters; see Barbara Rose, Miró in America (exh. cat., The Museum of Fine Arts, Houston, 1982), pp. 33-34.
3. From an interview with James Johnson Sweeney, originally published in "Joan Miró: Comment and Interview," Partisan Review, 1948. Reprinted as an appendix in Miró in America (exh. cat., The Museum of Fine Arts, Houston, 1982), p. 118.
4. From an interview with James Johnson Sweeney, originally published in "Joan Miró: Comment and Interview," Partisan Review, 1948. Reprinted as an appendix in Miró in America (exh. cat., The Museum of Fine Arts, Houston, 1982), pp. 118-19.
5. Crayon, pastel and gouache on pulpboard; AMAM inv. 64.29.
6. Black chalk, grey wash, blue and black pastel, and red gouache; AMAM inv. 64.30.
7. See The Passage of the Divine Bird (private collection); reproduced in Joan Miró(exh. cat., The Museum of Modern Art, New York, 1993), p. 260.
8. Margit Rowell, ed., Joan Miró: Selected Writings and Interviews(Boston, 1986), pp. 188.
9. See The Escape Ladder (private collection); reproduced in Joan Miró (exh. cat., The Museum of Modern Art, New York, 1993), p. 239.
10. Jacques Dupin, Joan Miró: Life and Work (New York, 1962), nos. 561-678, all ill. Color illustrations of a few appear in Dupin's recent Miró (New York, 1993), and in Jacques Lassaigne, Miró (Lausanne, 1963).
11. Jacques Dupin, Joan Miró: Life and Work(New York, 1962), nos. 616-642, 668, 669, 671-78. In his 1940-41 notebook, Miró seems to indicate that he already had at least some of these pieces of canvas, and had been planning what to do with them: "I would subdivide the series of canvas remnants into two series: the first--bits of canvas without a stretcher--are inside the portfolio...I have left several of these canvas bits as is"; Margit Rowell, ed., Joan Miró: Selected Writings and Interviews (Boston, 1986), p. 193.
12. See Sunrise (private collection); reproduced in Joan Miró(exh. cat., The Museum of Modern Art, New York, 1993), p. 238.
13. See The Escape Ladder (private collection); reproduced in Joan Miró (exh. cat., The Museum of Modern Art, New York, 1993), p. 239.
14. See Woman in the Night, 1942, watercolor and charcoal, 62 x 46 cm, location unknown; reproduced in Guy Weelan, Miró (New York, 1989), fig. 170.
15. Several works (not the Oberlin painting) were used to illustrate Tristan Tzara's essay, "Pour passer le temps..." in Cahier d'art 20-21 (1945-46), pp. 277-93.
16. André Breton, Manifeste du surréalisme/Poisson soluble (Paris, 1924), p. 42. Reprinted in Lucy R. Lippard, ed., Surrealists on Art (Englewood Cliffs, N.J., 1970), p. 20.
17. A contract signed 30 July 1946, Barcelona, between Miró and Pierre Matisse, arranged for the disposition of the oeuvre de guerre (works from 1942-46) with Matisse; the following year, however, the contract was annulled. See "Notes to the Chronology," in Joan Miró (exh. cat., The Museum of Modern Art, 1993), p. 359 n. 690. The contract is in the archives of the Pierre Matisse Foundation, New York. Several drawings from the series ended up at Galerie Maeght, Paris, which is where the Bissetts obtained the two drawings mentioned in this entry.
18. See the treatment and condition reports (ICA 29/78) in the museum files.


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Student database & reporting
Бюджет RM99-825 MYR
I am looking for partner in building school / kindergarten student performance database and reporting system. Pm me ur proposal and suggestion.
7 фрілансерів(-и) у середньому готові виконати цю роботу за RM942
Hi I work towards providing reliable, relevant and robust IT solutions at most competitive prices to my customers. I ensure 100% customer satisfaction so lets start Thanks
yes, let's clarify the requirement in details also if you want us to share our skill and previous work let us know.. hope to hear you soon.. Thanks & Regards PROMITI
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Hevea brasiliensis
|Rubber tree
|Scientific classification
|H. brasiliensis
|Binomial name
|Hevea brasiliensis
Hevea brasiliensis, the Pará rubber tree, sharinga tree, or, most commonly, the rubber tree, is a tree belonging to the family Euphorbiaceae. It is the most economically important member of the genus Hevea. It is of major economic importance because the milky latex extracted from the tree is the primary source of natural rubber.
Rubber tree plantation
In the wild, the tree can reach a height of up to 100 feet (30 m). The white or yellow latex occurs in latex vessels in the bark, mostly outside the phloem. These vessels spiral up the tree in a right-handed helix which forms an angle of about 30 degrees with the horizontal, and can grow as high as 45 ft.
In plantations, the trees are generally smaller for two reasons: 1) Trees grow more slowly when they are tapped for latex, and 2) trees are generally cut after 30 years because latex production declines as trees age, and they are no longer economically viable.
The tree requires a tropical or subtropical climate with a minimum of about 1200 mm/yr of rainfall, and without frost.[1] If frost does occur, the results can be disastrous for production. One frost can cause the rubber from an entire plantation to become brittle and break once it has been refined.[citation needed]
Latex tapping
Harvesters make incisions across the latex vessels, just deep enough to tap the vessels without harming the tree's growth, and the latex is collected in small buckets. This process is known as rubber tapping. Latex production is highly variable from tree to tree and across clone types.
Wood harvesting
As latex production declines with age, rubber trees are generally felled when they reach the age of 25 to 30 years. The earlier practice was to burn the trees, but in recent decades, the wood has been harvested for furniture making.
The Pará rubber tree initially grew only in the Amazon Rainforest. Increasing demand and the discovery of the vulcanization procedure in 1839 led to the rubber boom in that region, enriching the cities of Belém and Manaus. The name of the tree derives from Pará, the second-largest Brazilian state, the capital of which is Belém.
These trees were used to obtain rubber by the natives who inhabited its geographical distribution. The Olmec people of Mesoamerica extracted and produced similar forms of primitive rubber from analogous latex-producing trees such as Castilla elastica as early as 3600 years ago.[citation needed] The rubber was used, among other things, to make the balls used in the Mesoamerican ballgame.[citation needed] Early attempts were made in 1873 to grow H. brasilensis outside Brazil. After some effort, 12 seedlings were germinated at the Royal Botanic Gardens, Kew. These were sent to India for cultivation, but died. A second attempt was then made, some 70,000 seeds being smuggled to Kew in 1875, by Henry Wickham, at the service of the British Empire.[2][3][4][5] About 4% of these germinated, and in 1876, about 2000 seedlings were sent, in Wardian cases, to Ceylon (modern day Sri Lanka) and 22 were sent to the Botanic Gardens in Singapore. Once established outside its native country, rubber was extensively propagated in the British colonies. Rubber trees were brought to the botanical gardens at Buitenzorg, Java, in 1883.[6] By 1898, a rubber plantation had been established in Malaya, and today, most rubber tree plantations are in South and Southeast Asia, with some also in tropical West Africa.[citation needed]
Efforts to cultivate the tree in South America (Amazon) were unsatisfactory because of blight.[1] The blight, called South American leaf blight, is caused by the Ascomycota, Microcyclus ulei[7] or Pseudocercospora ulei.[8]
Environmental concerns
The toxicity of arsenic to insects, bacteria, and fungi has led to the heavy use of arsenic trioxide on rubber plantations, especially in Malaysia.[9]
The majority of the rubber trees in Southeast Asia are clones of varieties highly susceptible to the South American leaf blight--Microcyclus ulei. For these reasons, environmental historian Charles C. Mann, in his 2011 book, 1493: Uncovering the New World Columbus Created, predicts that the Southeast Asian rubber plantations will be ravaged by the blight in the not-too-distant future, thus creating a potential calamity for international industry (p275-278).
The genus Hevea is also known as:
- Caoutchoua J.F.Gmel.
- Micrandra Benn. & R.Br.
- Siphonanthus Schreb. ex Baill.
- Siphonia D.Richard ex Schreb.
- Siphopnicna F.Jansen ex Schreb.
See also
- Castilla elastica - the principal source of latex rubber among the pre-Columbian MesoAmerican peoples
- List of plants of Amazon Rainforest vegetation of Brazil
- Rubberwood
- Rubber seed oil
- Red Rubber Scandal - was one of the first humanitarian global campaigns but concerned the rubber vine species
- ↑ 1.0 1.1 "Elastomer-The rubber tree", Encyclopaedia Britannica, 2008
- ↑ "The Brazilian Armed Forces: Current changes, new challenges", Dreifuss, R. Armand. International Seminar Research Committee Armed Forces and Society, Romania, 2002. Retrieved August 19, 2009 from http://www.nestbrasil.com/rest/page8/files/rested1-dreyfus.pdf (p. 55)
- ↑ "Amazon - The Animation", Greepeace Digital. Artificial Environments, n/d. Retrieved August 19, 2009 from http://www.ae-pro.com/preview.php?preid=31&pro=Amazon
- ↑ "Seringueira", Wikipédia, a enciclopédia livre, 2009. Retrieved 11h05min, August 19, 2009 from http://pt.wikipedia.org/w/index.php?title=Seringueira&oldid=15936263
- ↑ "Acre: História e etnologia", Marco António Gonçalves (Org.). Núcleo de Etnologia Indígena Laboratório de Pesquisa Social/IFCS - UFRJ, n/d. Retrieved August 19, 2009 from http://eduardoeginacarli.blogspot.com/2007_07_01_archive.html
- ↑ Winchester, Simon (2003). Krakatoa: The Day the World Exploded, August 27, 1883. HarperCollins. pp. 223–224. ISBN 0-06-621285-5.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ South American Leaf Blight of rubber (Microcyclus ulei), plantwise.org
- ↑ Erasing the Past: A New Identity for the Damoclean Pathogen Causing South American Leaf Blight of Rubber
- ↑ Lua error in Module:Citation/CS1/Identifiers at line 47: attempt to index field 'wikibase' (a nil value).
- Brazilian Association of Rubber Goods - ABIARB
- National Association Tire Industry - ANIP (Brazil)
- Sao Paulo's Association of Rubber Producers and Processors - APABOR (Brazil)
- Bio ecological production of rubber without fertilizing in Malaysia - BioRubber
- Brazilian Natural Rubber
- LATEKS magazine (Brazil)
- Seringueira.com - Brazilian rubber tree consulting
Further references
- Zhang, J., Huss, V.A.R., Sun, X., Chang, K. and Pan, D. 2008. Morphology and phylogenetic position of a trebouxiophycean green algae (Chlorophyta) growing on the rubber tree, Hevea brasiliensis, with the description of a new genus and species. Eur. J. Phycol. 43(2): 185 - 193.
External links
|Wikimedia Commons has media related to Hevea brasiliensis.


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Teach Me How To Pack UV Islands via Command Line on Windows or Ubuntu
Presupuesto $10-30 USD
I need to be introduced to a method for packing UV islands for high-poly models via command line.
I have models that are >3 million faces that have a LOT of empty space between islands and I'd like to optimize this space and spit out a smaller texture that holds the same size islands (no scaling them down) but is a smaller overall file (e.g. the original is 8192x8192, the output would be 6000x6000 with all of the space between the islands removed).
I can run this on any number of CPU cores, but it needs to finish within 60 minutes every time.
This also needs to be triggered via command line and run without a GUI loading.
I'm certain this must exist, but I haven't been able to find it anywhere. Find it for me, show me how to use it, and I'll pay you.
To prove that you can do this, I have attached a model with a texture to this project. Download it, pack the islands, then re-upload it to prove that you can do it - and let me know the total cost for the software you used.
Once I've selected you for the project, we'll talk about how you used the software you did via command line, then we'll consider the project complete once I can reproduce your process on my local machine. My budget for software is small, so free/cheap solutions are definitely better than expensive ones.
I look forward to your methods, however hacky they may be!
I use a Windows Server 2012 R2 instance, so whatever software you're using has to work on that operating system.
If you have something that runs on Ubuntu 14.04, that'll work too - but you will need to help me set it up to ensure it is working, as I'm not as familiar with the environment and setting up dependencies.
1 freelancer está ofertando el promedio de $100 para este trabajo
Hi, I am interested in your job and i can do it And please contact me ASAP so that we can discuss more about it and i can start it ASAP.. can check my portfolio :-[login to view URL] Más


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1. National Council of Teachers of English (NCTE)2. The English Council of California Two-Year Colleges (ECCTYC)
3. College Reading and Learning Association (CRLA)4. California Chapter of CRLA5. National Association for Developmental Education (NADE)6. California Chapter of NADE7. The National Writing Project8. The San Diego Area Writing Project9. Teachers of English to Speakers of Other Languages (TESOL)10. California Teachers of English to Speakers of Other Languages (CATESOL)
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Department of Revenue News Release
August 20, 2009License Office Agents Named for Camdenton, Crane, DeSoto, Imperial & Parkville
JEFFERSON CITY - Five more local motor vehicle and driver license offices were awarded today by the Missouri Department of Revenue as part of a competitive bidding process that has been supported by Gov. Jay Nixon.
The offices awarded today are in Camdenton, Crane, DeSoto, Imperial and Parkville. This brings to 63 the total number of offices granted under the new system.
The Camdenton License Office has been awarded to Alternative Opportunities Inc. of Springfield. This company has previously been awarded the Joplin, Nevada, Republic, Springfield-State Office Building, and South Fremont License Offices. The Camdenton office will remain at 61 McCrory Drive.
Cara L. McMenamy has been awarded the right to operate the Crane License Office. She is the daughter of the current agent and has been the office manager since 2005. The office will remain at 103-2 South Street.
The DeSoto License Office has been awarded to Julie Lewis Wagner, LLC. Julie Wagner has run the license office since 1993, and the office will stay at its current location of 324 South Main Street.
Paul R. Schmidt, Sr. of Imperial, the agent since 2006, will continue to operate the Imperial License Office. The license office will remain at 1238 Main Street.
Red Moon Enterprises, LLC is the new agent for the Parkville License Office. Tracy Zahnd is the sole proprietor and has been a license office agent since 2005. Red Moon Enterprises has also been the Harrisonville agent since 2007. The Parkville office will remain at 6523 North Cosby Avenue.
Details about changes in office operations, if any, will be announced by the agents.
The five offices awarded today are the latest to have their management chosen using a comprehensive bidding process that was implemented when Gov. Nixon took office on Jan. 12. The process calls for people or groups to submit detailed bids to obtain the management contracts to operate the offices. The Crane and DeSoto license offices both received one bid, Imperial received two bids, Camdenton received three bids, and Parkville received nine bids.
This new process was codified in state law when Gov. Nixon signed legislation on July 1 that made the new system a permanent part of state law. The bill endorsing the change passed with overwhelming bipartisan majorities in the Missouri Senate and House.
"This new process is open, honest and transparent," Gov. Nixon said. "Management contracts used to be given away to people just because of the political party they belonged to. Now, individuals and groups compete to make the best offer. Republicans, Democrats and independents agree that this new process is a vast improvement over the old patronage system."
Alana M. Barragán-Scott, acting director of the Missouri Department of Revenue, noted that the competition for license offices will result in many additional benefits.
"For the first time, current office agents and new bidders will have incentives to provide improved services at the license offices," she said. "When people want to get a driver license or renew their license plates, they don't care about the political affiliation of the person behind the counter, and the new system reflects that. Efficient office operations and better customer service are now the key measures of success for local license offices."
Some winning bidders have chosen to return part of their estimated office revenues to the state. The Camdenton License Office will return 7 percent ($17,265.36), Crane will return one-half percent ($232.01), Imperial will return 5 percent ($12,838.05) and Parkville will return 2 percent ($5,076.76) to the state. The DeSoto bid did not include a return to the state. The cumulative amount of estimated funds that will be returned to the state in the first contract year from the 63 license office that have been awarded so far is $412,322.18.
"The willingness of agents to return some of their revenues is a great cost-efficiency measure for the state, and the amount returned to the state will undoubtedly grow as more bids are awarded," Barragán-Scott said. "This money can be used for a variety of vital state services."
Of the 183 license offices, 63 have been awarded and the bidding time has closed for another 89. For a list of winning bidders for license offices, please go to http://oa.mo.gov/purch/awardedfeeoffices.pdf.
All local license offices provide services that are overseen by the Missouri Department of Revenue, but each office is operated by an independent contractor. Transactions that are conducted at these offices include the issuance and renewal of driver licenses, applying for titles for motor vehicles, and the issuance and renewal of registration for motor vehicles, boats and outboard motors.
Additional information on the bids will be posted by the Missouri Office of Administration within the next few days.


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|The Resort l The Attraction l The Inn
|The House on the Rock Attraction: 608.935.3639
The House on the Rock Resort: 608.588.7000
The House on the Rock Inn: 608.935.3711
|For more information about our new event The Dark Side - visit our blog!
There are three sides to this amazing destination – The Attraction, The Inn and The Resort – all offering their own trio of sights, sounds and sensations.
Visionary architecture, eclectic collections and incredible stories await you at the House on the Rock Attraction, Alex Jordan's imaginary, awe-inspiring man-made retreat.
Swimming pools, relaxing rooms and family fun await your stay at The Inn, a perfect complement to a day touring at The Attraction.
Legendary golf, exceptional cuisine, luxurious suites and spa await your stay at The Resort, an amazing destination featuring 27-holes of championship golf, two-room suites and scenic vistas.


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#award winning educational websites
Book Media Awards
ALSC fosters values of respect and equality, and therefore accepts media award submissions from all. However, before you submit works for consideration for ALSC awards and notable lists, please visit the FAQ page prior to submission.
Click on the red Publisher Information button for easy, one-stop access to rosters, terms criteria, submissions process, and more.
The ALSC media awards below are announced every January at a Monday morning press conference that takes place during the American Library Association Midwinter Meeting. Use the left-hand navigation for more detailed information regarding ALSC's book and media awards.
(John) Newbery Medal
The Newbery Medal honors the author of the most distinguished contribution to American literature for children.
(Randolph) Caldecott Medal
The Caldecott Medal honors the artist of the most distinguished American picture book for children.
(May Hill) Arbuthnot Honor Lecture Award
The Arbuthnot award honors an author, critic, librarian, historian, or teacher of children's literature, of any country, who then presents a lecture at a winning host site.
(Mildred L.) Batchelder Award
The Batchelder Award is given to an American publisher for a children's book considered to be the most outstanding of those books originally published in a language other than English in a country other than the United States, and subsequently translated into English and published in the United States.
(Pura) Belpré Medal
The Belpré Medal honors a Latino/Latina writer and illustrator whose works best portray, affirm, and celebrate the Latino cultural experience in an outstanding work of literature for children and youth.
(Andrew) Carnegie Medal
The Carnegie Medal honors the producer of the most outstanding video production for children released during the preceding year.
(Theodor Seuss) Geisel Medal
The Theodor Seuss Geisel Medal honors the author(s) and illustrator(s) of the most distinguished contribution to the body of American children's literature known as beginning reader books published in the United States during the preceding year.
(ALSC/Booklist/YALSA) Odyssey Award for Excellence in Audiobook Production
The Odyssey Award will be awarded annually to the best audiobook produced for children and/or young adults, available in English in the United States.
(Robert F.) Sibert Informational Book Medal
The Sibert Medal honors the author(s) and illustrator(s) of the most distinguished informational book published during the preceding year.
(Laura Ingalls) Wilder Award
The Wilder Medal honors an author or illustrator whose books, published in the United States, have made, over a period of years, a substantial and lasting contribution to literature for children.
Award-Related Merchandise
Are you looking for award seals to embellish your books? What about literature guides to the youth media awards, or a poster to decorate your library? Please visit the Awards Product page at the ALA store to find what you need! Check out the following links for specific award-related merchandise:


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Mexican Folk and Popular Art
Saturday, 13 October, 2012 @ All Day | Cost:Free
A survey of Mexican popular and folk art forms, including ceramics, masks, papel picado, papier-mache, and works inspired by el Dia de los Muertos. This exhibition is in observance of Latino Heritage Month at EIU. Organized by Kit Morice with assistance from Stacey Knight-Davis and Johna Von Behrens.Categories: Booth Library


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Pepper-Seared Alaska Halibut
Halibut steaks are cooked until flaky with a black-peppercorn crust. A Horseradish Sour Cream Sauce adds a creamy kick to the fish.
4 5-oz. Alaska halibut steaks
2 tsp. cracked black peppercorns
Salt, as needed
Oil for frying
Horseradish Sour Cream Sauce (recipe follows)
Lemon wedges, if desired
Horseradish Sour Cream Sauce:
1⁄3 cup sour cream
1⁄3 cup plain nonfat yogurt
1 tbsp. prepared horseradish
1 tbsp. parsley, minced
1 tbsp. chives, minced
1 tsp. lemon juice
1⁄2 tsp. lemon zest
1⁄4 tsp. salt
- Season halibut with salt and lightly press cracked pepper into both sides of each steak. Heat a lightly oiled large skillet over medium-high heat and sear halibut steaks until browned, 2-3 min. on each side.
- Reduce heat to medium and cook until fish just flakes when tested with a fork.
- Serve with Horseradish Sour Cream Sauce and lemon wedges.
Horseradish Sour Cream Sauce:
Whisk together all ingredients until well combined.


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Heir of Black Falcon wrote:Funny LOTR is considered more violent than Indiana Jones with people stabbed, shot, melting and being evaporated or Star Wars with people being shot and lightsabered all over.... Seems they just like George Lucas. Seems like a nice guy so maybe rightly so. Just seems like a poor excuse but I am not bothered one way or the other.
wobnam wrote:I don't buy that. It would be easy to create LOTR sets without realistic violence and gore, and well within the standards of eight years ago.
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Originally Posted by Pinoy59
Once everything was tacked in place I put it under the Jeep to make sure everything fit well.
I sold my Dana 35 for $150. I am glad to have that gone!
I got everything welded on and painted. I am just waiting for it to fully dry before I install it.
Also, here is the drive line angle at full droop. It's not bad at all.
I still need to drill a hole for the vent that will hold the soft line to the axle. Then I will be able to get it all together and back on the road!
Sent from my XT1526 using Tapatalk


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This is an all-natural health product extracted by modern scientific technology from the plant Jiaogulan. It is also a healthcare tea which has the effect of stress relief etc.
Usage and dosage: Dissolve 1-2 packets in 200-300ml hot water. Drink after 2-3 minutes. 3-4 times per day.
25 years old and hair drop a lot....
Always have sweaty palms and feet...not been able to solved till today.
What is the difference between a sprain and a strain?
Improve Poor Memory
What is High Blood Pressure? What is the Warning Signs / Symptoms?


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Topic: Nicknames
What is your nickname? My nickname is SW related... you can call me Xantos. Xantos was Qui-Gon's padawan turned evil. I like the name and welcome anyone to call me it. What is your nickname?
[i] "I love that crunchy sound they make when they die." ―RC-1207 (Sev), killing Geonosian [/i]


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Freddie Starr marries
The 70-year-old comic exchanged vows with Sophie Lea in front of family and friends at a low-key ceremony in an undisclosed venue on Saturday (27Jan13).
Speaking after their nuptials, Starr said, "I couldn't ask for more."
Starr has been dating Lea for three years after they met when she worked as a singer on his tour. She is his fourth wife and is pregnant with his child.
The wedding comes just two months after Starr was arrested on suspicion of groping a 14-year-old schoolgirl in 1974. He denies the claim.


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Symptoms can occur a bit differently in each child. They can include:
The symptoms of flea, mite, or chigger bites can seem like other health conditions. Make sure your child sees his or her healthcare provider for a diagnosis.
The healthcare provider will ask about your child's symptoms and health history. He or she will give your child a physical exam.
It may be difficult to tell which type of insect caused the bites. It can also be hard to tell if the symptoms are from poison ivy or other skin condition.
Treatment will depend on your child's symptoms, age, and general health. It will also depend on how severe the condition is. Treatment may include:
You can help prevent insect bites in your child by:
Call your child's healthcare provider if your child has the following symptoms:
Call 911 if your child has signs of a severe allergic reaction such as:
Tips to help you get the most from a visit to your child's healthcare provider:


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WASHINGTON — Challenging lawmakers, President Barack Obama will announce tonight in his State of the Union address that he's raising the minimum wage for new federal contract workers to $10.10 an hour, underscoring a go-it-alone strategy in an election year critical to both parties and the balance of power in Congress.
Obama's speech to a joint session of Congress and millions more watching at home will be wrapped in a unifying theme: The federal government can play a key role in increasing opportunities for Americans who have been left behind, unable to benefit from a recovering economy.
Yet the president will deliver a split message, pressing issues that will distinguish him and other Democrats from Republicans in the 2014 midterm elections.
Illustrating his willingness to act on his own, the White House says Obama will announce that he will sign an executive order increasing the minimum wage from $7.25 to $10.10 for new federal contracts. The measure would not affect private companies' existing contracts, except it would apply to renewals if other terms of an agreement changed.
As a result, the order would benefit far fewer workers than the number foreseen by advocates of federal contract employees.
Still, the issue dovetails with what will be Obama's broader call for an increase in the broader national minimum wage to $10.10 and for future increases to be tied to inflation. Obama last year had called for an increase in the national minimum wage to $9.


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Along most of America's coastline, crustaceans get boiled. Sometimes in plain old Yankee water. Sometimes in spicy Cajun stock. Whatever the liquid, there's a whole pot of it bubbling away. Whatever the seafood — Maine lobster, Carolina blue crab, Louisiana crawfish — it takes the plunge.
And that's just wrong.
Ask anyone in Maryland, where there's just one way to cook a crab. That way is steaming.
"I think we're pretty much the main steamers as far as I know," said John Shields, chef-owner of Gertrude's restaurant and author of several books on coastal cooking, including "The Chesapeake Bay Crab Cookbook." "Florida, the Carolinas, the Gulf,...


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Yet Another (Yes Another!) Study Suggests Hollywood's Problem Is Dumb Release Windows That Cost It Money
from the damn-the-facts,-it's-piracy-piracy-piracy dept
To be fair, a big part of the reason this doesn't happen is because of the theaters themselves. Any time the studios seek to take away the box office window by releasing something elsewhere earlier or at the same time, the theaters throw a complete hissy fit -- effectively admitting that they're so bad at the service they provide, that they can't compete with home theaters. Of course, it's not all the theaters' fault. As we've seen with studios like Warner Bros., they're so obsessed with the ability to price differentiate through windows, that they keep seeking to add new windows, which only serve to drive more consumers to infringe.
Honestly, I'm at a loss as to why Hollywood can't do the math here, in terms of how much they'd gain from doing day-and-date release for everything (even if it meant fighting the theaters). It seems like a clear win, with multiple studies supporting that, including this new one. They seem to think the only way to price differentiate is through windows -- but, as lots of others have discovered, you can launch a variety of differentiated offerings at the same time and offer them at different prices, and the market self-segregates. Sooner or later, someone at a movie studio is going to figure this out, and make that studio a lot of money.


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Relax in the luxurious surroundings of our poolside spa facilities. Whether you want to sooth aches and pains from a tough workout in the gym, wind down after a round of golf, or just to get away from the hussle and bustle of daily life, the tranquil and pure poolside spa facilities will melt away the strains on your body and soul, and leave you feeling refreshed.
Jacuzzi/Spa Pool
Let warm water jets of the Spa Pool gently massage your body while improving circulation, relaxing your muscles and relieving stress.
The wood lined cabin of the Sauna with dry heats of upto 100 degrees will leave you feeling invigorated, improving circulation whilst relieving minor aches and pains.
Steam Room
A trip to the Steam Room, with its gentle wet heat, will alleviate tense muscles, deeply cleanse the skin of toxins, and leave you feeling calm and relaxed.
Our beautiful spa and swimming pool facilities are included in the price of Golf and Health & Fitness Memberships! Take advantage of this fantastic opportunity with family and friends today!
Call our Membership Team on 01926 409 409.


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Five University of Rochester students have accepted Benjamin A. Gilman International Scholarships to study abroad for spring 2013. Recipients of this prestigious study abroad scholarship are chosen through a competitive process from a national pool of applicants, and use the award to offset the cost of pursing international education experiences. The recipients are:
Since the program's inception in 2002, 106 University students have won Gilman awards. The scholarship, which provides financial assistance to students who are enrolled in study abroad programs worldwide, is sponsored by the U.S. Department of State, Bureau of Educational and Cultural Affairs, and the Institute of International Education, which also administers the prestigious Fulbright fellowships. The program gives undergraduates awards of up to $8,000 each.


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Rich Kidz (Feat. Young Thug) - 100 Dollar Autograph
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A chance encounter in the Southeast led us in the direction of an extremely rare Chevy, one with an interesting history and a two-decade absence from the radar of car collectors.
The year 1961 is when the Super Stock class of drag racing came of age. NHRA shifted the rules to include 12 separate classes of Stockers, and increased media attention, brought on by the surging popularity of the sport, made Super Stock racing the perfect venue for manufacturers to showcase their cars. A total of 456 Super Sport Impalas were sold in 1961, with the factory adding performance dampers and springs, power steering and brakes, a passenger-side grab bar, and a tachometer as part of the initial Super Sport package.
Also in 1961, Chevy made the revered 409 V-8 available in all models (not just Impalas, which is a common misconception), mostly for the NASCAR teams of the era. By the end of the year, the 360 horsepower 409 had a big brother: the dual quad, bigger-valve 409 horsepower monster. When combined with the SS package in the Impala or standard (non-SS) bench seat Impala (or even the stripped down Bel Air and Biscayne), these powerhouses (over 15,000 in all) made for a formidable foe at quarter-mile drag strips across the country.
In late-1962, Chevrolet upped the ante and built 18 (according to NHRA news clippings of the day) "lightweight" 409 Super Sport Impalas. Each was assembled with aluminum front fenders and wheelwells, and an aluminum hood. Lore has it that these Super Sport '62s were built to compete with the aluminum front-end Pontiacs. Soon, some of these stock dual carb 409 engines received the mythical Z-11 engine upgrades (aluminum two piece, super hi-rise intake manifold for the 409's Carter AFB carbs, a hotter mechanical lifter camshaft with matching valve springs and a pair of 730 cylinder heads with raised, rectangular intake ports (similar to later Mark II and IV big-block ports). Of the 18 Super Sport lightweights, only two are known to still exist, the Zintsmaster Chevrolet 409 Impala seen here and Dick Harrell's black SS with red interior. The Zintsmaster car is the most original, factory-built lightweight that coast-to-coast experts of the marque know about. This white SS with red interior was shipped to the Zintsmaster Chevrolet dealership in Kokomo, Indiana.
While the story of the '63 Z-11 427/409 Lightweights is fairly well known, most people are unfamiliar with the fact that there were any produced in '62. What is known is that the '62s all rolled off the Flint, Michigan assembly line late in the 1962 model year. Our feature subject was born on July 31. The aluminum body components lightened the cars by approximately 120-130 lbs. The Impalas ran and were competitive in the B/FX class. Other lucky racers installed the aluminum bits on the lighter Bel Air sport coupe, and ran in the A/FX category against 421 Pontiac Tempests and didn't fair as well. Confusing the issue some is that the factory offered a handful of sets of the aluminum parts to racers so some cars competed with them that weren't factory-built. Also, racers like Dave Strickler would run with the aluminum parts at some races (in the FX class) and with steel body panels at others (in S/S).
From the factory, the Zintmaster beast cost just $3600.25, with all the added go-fast components, including a T10 four-speed manual box, a Posi rear, metallic brakes, and of course the dual-quad Turbo-Fire 409. Driver Dave Mason, whose name is still painted on the door, took this car to the 1962 Nationals at Indianapolis Raceway Park where it ran low 12s at 115 mph. Shortly after that, the car was placed in private storage and disappeared for over 20 years.
By just looking at the vehicle from an exterior vantage, there is no way to distinguish the "lightweight" nature of the car. Even upon a close inspection of the still-intact window sticker, there is no mention of anything "experimental," or "aluminum."
Only a look under the hood reveals the paper-thin aluminum bits-they almost feel carbon-fiberish when tapped on.
The car is now owned by Jon Been of Atlanta, and still looks as if it just rolled off the showroom floor. In its present trim, the Impala makes about 500 hp, with S&S headers and a Z-11 camshaft that were probably done sometime after the car was pulled out of storage in 1988.
"I've always been a fan of the early-'60s Impalas," Been says. "There's just something about them that clicks with me."
He also owns a '63 Impala SS convertible, in absolutely magnificent condition. We had the chance to fire the Zintsmaster up and take it on some, albeit slow, runs through the parking lot behind Been's place of business. With no mufflers, our ears rattled like a tambourine inside the peerless garage where the Impala is kept. The 409 powerplant sounds just as sweet as it must have during the heyday of its S/S racing.
"It's just amazing I could find this car," Been says. "It's damn awesome."


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Comments on Community Creators, Secure Your Code!
33 Reader CommentsBack to the Article
Or just use something like textile or markdown and move on with your life.
What was that ajax sample showing exactly? Seemed like filler to me.
Be very wary of all the nifty new things Web 2.0 brings us. Seems like an old message, but I suppose we could all use a reminder now and then.
IE(Microsoft Internet Explorer) flops once again. Hopefully Microsoft will do a better job with IE7. :/
Very nice to show the bad code, but somehow the way to protect yourself is always missing in these kind of articles.
Regular expressions are not exactly bread & butter for everyone, so if you want to get the world to notice your warning and act on it, some cut and paste examples would be very helpful.
Worth checking if some of the strings listed on this site slip through your validation routines:
Martin said:
bq. Very nice to show the bad code, but somehow the way to protect yourself is always missing in these kind of articles
But as this was announced as Part One of a two-part series, the comment might be reserved until Part Two has run.
When will part two be published? In the ALA(A List Apart) publication?
Not being well versed on this subject, it sounds like a site is less likely to be susceptible to XSS(cross-site scripting) when one avoids the usage of eval and avoids muddling style, structure and behavior through the use of the style attribute and inline-javascript. Is this the case? I know this is easier said than done.
It occurs to me if someone just sat down and wrote a stack-based (not regex) parser based closely on a stripped down versions of the HTML, XHTML, XML and CSS specifications, we could have something that would deal quite nicely with attempted XSS attacks. Remember: these are all well documented specifications and the browsers, which trigger these XSS attacks, simply adhere to these specifications.
The ad hoc "tricks" the article prescribes can fall victim to clever attackers. For instance, if you were to use str_replace('javascript', '', $html) your script would still be vulnerable to javasjavascriptcript (this is documented in the XSS cheatsheet posted above, excellent reading for anybody interested in HTML validation).
I think the problem there is that the browser (specifically IE in this case) _doesn't_ adhere to the specifications; or at least, that it goes beyond the spec by parsing - and executing - sloppy and/or malformed code.
This can be partially mitigated by using a proper DTD for your documents, but you're right. I suppose the idea about giving users a limited toolset would help prevent malformed code. However… if the parser makes the code *valid as well*, it shouldn't be a problem.
Using real HTML, CSS and URI parsers seems like the most secure solution, and it only has to be done when processing the input, not every time it's displayed.
In Java, there's "TagSoup":http://mercury.ccil.org/~cowan/XML/tagsoup/ for parsing just about any input HTML, which is a good idea anyway, a few "CSS Parsers":http://www.w3.org/Style/CSS/SAC/ and the provided URI parser, and presumably other languages have the same.
If you include only the elements, attributes, CSS rules and URI methods you don't understand, and correctly escape the output with the right "character encoding":http://www.w3.org/International/O-charset.html I don't see how anything can slip through.
Seems to me that if I was to summarise this article in a few words, capturing all the important information that is not already second-nature to most web developers, it would be: _"The word 'javascript' can have line breaks (and spaces, and other separating chars?) in it"._
All the stuff about escaping special characters, white-listing HTML elements, and being careful about CSS input, have been well-known for years. It's just that this new 'ja-vas-cript' IE trick has come into the limelight recently, because of the MySpace exploit that the author mentions.
For the web app I develop in Perl, I've found HTML::Scrubber to be a good way to help in cleaning up input from untrusted sources - nicely customizable in a very perlish way. Check it out -
does well with javascript, although I do not know about css (you can strip out any tag you'd like), or js in css.
It is facicnating to see this issue discussed, we work on a number communitiy based sites and will now work on a solution for this. Upto now we have been using the HTML tidy variations for .net at…
I'm sure this will resolve most issues. We have found it fantiastic! Also for editing HTML try using
We find this brilliant and has a range of options for narrowing the HTML tags allowed.
Hope this helps
Partially in response to Brian Lepore (comment #8), I'd like to help underscore the threat of XSS. *Any time* user input is accepted (even if that input comes directly from a GET or POST variable), it needs to be properly escaped on output or you are at risk of an attack.
Here's an example that brings it home for me. Imagine a site where you store a cookie for authorization. As you may know, cookie contents are accessible through Javascript. Imagine if this site's login page would display error messages in the URL, like login.php?error=Incorrect password.
Seems innocent and common enough, but if I am an attacker, and I IM one of the site's users with a URL like login.php?error=Incorrect password [removed]alert([removed])[removed]
(contrived example), you can see how I'd be able to manipulate the cookies and send their login cookie to my site (through a Javascript redirect). Similarly this can be used for phishing by sending the user to a fake login page via a link on the real site.
With XmlHttpRequest, I'd even be able to force the user to perform actions (via HTTP POST/GET) on the site - such as the voting example given in this article.
To make matters worse, many of the new community sites that are springing up encourage the user to enter HTML, and correctly differentiating valid HTML from invalid HTML is a difficult process. This means that you can't really use stuff like PHP's strip_tags() function.
Hope this helps!
At the moment we've got a half-empty glass here. I can't judge the contents just yet, because if I really want to get to the taste I need the whole thing.
I'm sorry to say, but I find the half of this article useless. It might start making more sense when part two is out and about, but until then this seems like a very lengthy introduction.
I'm sorry that my previous post did not state this, but I am aware of the idea of validating input to protect users.
That said, I have never really understood why many sites have a tendency to use GET data like in your example, rather than keeping then the use of error code numbers. I know, it is quite annoying to have to look up the different numbers when you want to use something, but it saves the worry of someone injecting HTML into your site. In my opinion, the security benefit outways the simplicity in development.
I like the check_tags function in the first link that *ban jax* posted. It looks like a beefed up version of strip_tags that fits the needs of most developers that need to allow HTML.
bq. I like the check_tags function in the first link that ban jax posted. It looks like a beefed up version of strip_tags that fits the needs of most developers that need to allow HTML.
The Iamcal code is quite interesting, but it doesn't guarantee XHTML 1.0 valid code, since it doesn't check the children of the elements (a tag within a tag). Also, it's not easily extensible to environments that need a broader tag base: there's a lot more to XSS in attributes than a few protocols. Especially true if you decide to allow the style attribute (which, as the article points out, can execute JavaScript too! Fun.)
Shoot me, but I'm not sure why anyone would need image tags for most applications either.
Am I being totally short-sighted here, or can all these security holes be resolved in one simple stroke: don't let your users personalise their space through real code!
My other half asked me a few days ago to help her style her MySpace stuff (and as it's the first time I've really bothered going there I almost threw up when I saw how s**t it is code-wise) and then gave up after tearing my hair out for ages.
For a start it clearly says "please don't use CSS to remove any MySpace ads" so immediately I set about doing just that - and succeeded. I then decided to play a little prank on her by adding "table {display:none}" to her style sheet and promptly destroyed the entire site in preview mode.
IMO these sorts of places - MySpace in particular - are so shoddily written it'll take a CSS expert to write code to successfully style the soup of nested tables, divs and junk to get anything worthwhile looking at - and I doubt the majority of the user base will be these CSS experts (I know I'm not) - and certainly from my own experience anybody half web-dev savvy have their own blogs with crisp, clean blogging systems or just written their bloody own!
I'm all for personalisation and marking your cyber-territory, but surely it's quicker and easier for the users and safer for the admins to allow personalisation through forms and options. Let the user click the settings they want and the system generates the styles.
Obviously you'll still need to filter text input areas to avoid IE's incompetence, but you're already running a lot tighter ship.
Or, I say again, am I being short-sighted?
MySpace didn't get popular because it was well-written ;-) It got popular because it gaves users control.
However, I think that you do have a point in not letting users customize space through "real code." Isn't that what most forums and blogs do right now by not allowing HTML when they can avoid it? BBCode and Textile are much easier to secure than raw web input.
Well of course you don't have to let them use real code. You could let them pick between the options you give them. But you could also just not accept their content, or their photos, or their comments..
Like the previous poster said, MySpace sold for many millions of dollars, and it was only because "making profiles pretty" really appeals to teenaged girls and the boys who lust for them. People like to do their own thing.
"But you could also just not accept their content, or their photos, or their comments.."
I think that's a totally different ball game - not accepting customisation through real code has nothign to do with censorship.
I entirely agree that making "pretty profiles" is the attraction of MySpace and its ilk, but as it's been mentioned, there are much more secure ways of going about it - allowing real-code submission is just asking for too much trouble.
this is important stuff, blogging communities allow other users to view their code, but for web 2.0 and secure programs its important to know that the code can be hacker-proof.
As well as allowing javascript URLs in CSS, IE also has a "feature" that lets properties be set using expressions, written in (of course) JavaScript. So you can use:
<body [removed]alert('hi'));">...</body>
Just something else to watch out for…
I think MySpace giving their users freedom to edit their templates CSS was a huge mistake. Sure, the default theme is ugly but the things that the majority of people do to their MySpaces is much worse. They just destroy them beyond any level of readability or sanity.
MySpace would be nicer place without theme editing. Pure Volume is proof of this.
Your article makes a good case for the security codes necessary to hold back abuse of the system. The system still needs to be refined so that legitimate users are not kept out in the same stroke we use to stop abusers. Thanks for raising the topic so well…
I know the article is about XSS, but the example used points to another problem with a lot of these types of sites, not using a validation scheme for the 'voting' script, or scripts that control other types of changes.
A simple check for a valid random unique id in voteOnAuser.php would kill any chance of a XSS vulnerability such as this from having any effect because the 'vote' would automaticaly be rejected.
And a big applause to #28, if you're going to allow customization then by all means have complete control over the code yourself.
I sure there are two clear strategies to prevent XSS attacks:
1. Format using tidy and then remove anything unexpected - leave only basic set of tags.
2. Separate administrating and displaying markup content on different sites (like blogger.com does).
Correct me if I wrong.
Instead of
one should use
;) Makes things valid as well :D
All that customization of web application reminds me of an article on network security.
Pick your poison, do you want to restrict the user to a know and limited set of features or chase all the hacks that people will find?
With the first approach you define and design it once; the other approach is a never ending race to ensure your application is safe from the known tricks and hacks.
Ok, it takes more time to develop the white list; most certainly feels more restrictive from a user standpoint but I guess it depends if you prefer to appear on the front page because you're application is great or because somebody took control of other people's account.
Maybe I'm paranoid, but I'd rather spend time expending my applications then fixing my damaged reputation.
Apparently they need to heed the message. ;) At the time of writing, this hole has not been patched.
The ad hoc "tricks"? the article prescribes can fall victim to clever attackers. For instance, if you were to use str_replace("˜javascript', '', $html) your script would still be
www.replicahours.com vulnerable to javasjavascriptcript (this is documented in the XSS cheatsheet posted above, excellent reading for anybody interested in HTML validation).


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- Inside Athletics
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BOONE, N.C. (Dec. 5, 2009) - Three Buccaneer athletes kicked off the ETSU track and field season on a positive note Saturday evening at the Appalachian Invitational located inside the Holmes Center.
The ETSU men's squad, who are fresh off winning both the indoor and outdoor track and Atlantic Sun Track and Field Championships a year ago, received first-place efforts from juniors Mike James (Palm Bay, Fla.) and Ben Ronoh (Sotik, Kenya) along with senior Duronal Monal (Belle Glade, Fla.).
James and Monal, both are coming of NCAA Regional appearances last season and won their respective events on Saturday. James took home the title in the 55m hurdles with a time of 7.35, which just missed setting Delevantie Brown's record of 7.32 set in 1995. Meanwhile, Monal was busy making noise in the short sprints, as the Belle Glade, Fla. native took home the crown in the 55m dash. Monal won the event with a mark of 6.30.
As James and Monal were getting things done in the sprints, Ronoh and cousin Kenneth Rotich (Nairobi, Kenya) took care of business in the distance events. Ronoh and Rotich placed one-two in the mile, as Ronoh won the title with a top time of 4:22.41. Ronoh edged out Rotich by six-hundredths of a second, as Rotich clocked in at 4:22.47. In addition to Ronoh and Rotich, junior Manny Gonzalez (Maryville, Tenn.) also turned in a top-5 finish on Saturday (4:35.72).
Staying with the distance events, a pair of Buccaneer red-shirt seniors Michael Deren (Blasdell, N.Y.) and J Penny (Jonesborough, Tenn.) had successful season debuts in the 3000m. Deren finished second in the event (8:50.56); while Penny turned in a mark of 9:23.37 - finishing fifth overall.
In the field events, four ETSU jumpers enjoyed strong showings in the long and triple jump.
In the men's long jump, freshman Ryan Beaver (Virginia Beach, Va.) and Dre Westfield (Cleveland, Tenn.) recorded top-10 efforts in the event. Beaver just missed clipping Western Carolina's Alex Dollard (23-06) for the top spot, as the Virginia Beach native placed second with a leap of 23-05.50 (7.15m). Westfield placed a respectable 10th after posting a mark of 21-08 (6.60m).
Beaver was also making noise in the triple jump, as he took home a third-place effort (47-08). Joining Beaver in the top-10 were newcomers Jason Johnson (Springfield, Pa.) and Max Lee (Knoxville). Johnson finished right behind Beaver in fourth with a leap of 45-09.25 (13.95m); while Lee placed seventh (45-03).
Also making a strong season debut in the field events was senior Jordan Briggs (Erwin, Tenn.). Briggs set a new personal best with a mark of 14-11 (4.55m) to finish in a tie for fourth.
In the throws, sophomore Pat Bearry (Wesley Chapel, Fla.) led all Buccaneer competitors with a fifth-place showing in the weight. Bearry came in fifth with a heave of 54-04.75 (16.58m).
On the women's side, junior Jasmine Ingram (Frederick, Md.) led the charge for the Lady Bucs. Ingram took home first-place in the 800m after clocking in at 2:22.48. Joining Ingram in the event was fellow junior local standout Ashton Bishop (Gate City, Va.). Bishop finished fourth overall in 2:26.51.
In the jumps, freshman Bethany Lender (Altoona, Pa.) posted a successful collegiate debut. The Altoona, Pa. native placed a respective sixth (long) and eighth (triple). Lender recorded a leap of 17-08.75 (5.40m) in the long jump; while turning in a mark of 36-09 (11.20) in the triple.
Wrapping things up for the Lady Bucs were throwers Zachlynn Blackburn (Tazewell, Va.), Lili Barboza (Oxford, Ala.) and Jasmine Foster (Johnson City). Blackburn finished fourth in the weight (53-05.75) and seventh in the shot (38-10.50). Meanwhile, Barboza placed eighth in the weight with a toss of 47-01.50 (14.36m). Foster, a freshman out of Science Hill, turned in a top-10 effort in her collegiate debut. Foster placed 10th overall with a heave of 38-08.25 (11.79) in the shot put.
The Buccaneer track and field team won't return to action until Jan. 8-9, when ETSU competes in the Clemson Invitational.
For more information on Buccaneer track and field, visit www.ETSUBucs.com.


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ANNVILLE, Pa. - Ben Guiles broke the all-time record for career rushing touchdowns with a three-score effort to lead Lebanon Valley in a rout of Stevenson, 61-37, in the first meeting between the programs at Arnold Field.
Guiles carried the ball just 10 times, but three of them were for touchdowns as he surpassed Charlie Parker '10 with his 36th career score. Colt Zarilla was an efficient 17-of-25 for 236 yards and two touchdowns in just under three quarters of play as LVC (3-1, 1-1 MAC) blew out to a 27-0 lead in the second quarter on the way to a 48-6 halftime advantage.
The Dutchmen scored eight touchdowns in all, including an 88-yard pick-six by Andrew Burkholder and the first career TD catches from Yahya McIntyre and Jimmie Miller, as well as Conrad Heisey's first on the ground. Kicker Sean Fakete set an LVC single-game record for scoring with a pair of field goals and seven PATs.
The first half was an offensive clinic by the Dutchmen, who scored on all seven possessions as they rolled out 333 yards of offense before the break.
"That first half was a gem. They're a dangerous football team in my mind," said Head Coach Jim Monos. "They've got some people at wide receiver who can go the distance. We didn't give up any big plays and we were methodical on offense, which I was really pleased about."
The LVC defense generated three turnovers, with Kevin Smith forcing a pair of fumbles and Nate Kauffman and Bryan Kasper had recoveries to go with Burkholder's interception. Jason Gigous led LVC with seven tackles and a forced fumble, while freshman Dachonn Johnson had five stops and a break-up in second-half play.
"I give them credit, they stayed with their kids while we went with some young guys," Monos said. "We said to our guys at halftime, you're going to get a chance to play and this is your shot."
Conrad Heisey led all Dutchmen with 72 yards rushing and a touchdown, while Brendan Kain had 47 yards on five carries. Zarilla spread out the receptions, with Yahya McIntyre catching three passes for 64 yards and a score, Tim Picerno grabbing five for 35 yards and a touchdown, and Matt Mankiewicz getting three passes for 63 yards.
Stevenson's Jared Jorgenson, a late decision to start at quarterback, was 27-for-44 for 269 yards and three scores with an interception; Patrick Diamond led all rushers with 90 yards and a touchdown, while Jae DeShields caught two TDs as part of a 92-yard effort.
LVC will enjoy a bye week before heading to rival Albright on Oct. 8.
Game Notes
LVC's coaches participated in the AFCA's Coach To Cure MD game to raise awareness of Duchenne's Muscular Dystrophy ... It was only the ninth 60+ point game in LVC history and first since hanging 63 on Bridgewater in 1989 ... The 61 points was a record for LVC in a MAC game ... Fakete tied the record for most PATs in a game with seven, and had a chance at an eighth but a bad exchange on the snap ended with holder Jake Zeigler trying to run it in ... Burkholder's 88-yard interception return for a touchdown was the second-longest in LVC history and longest since 1962, when John Kimmel took one back 100 yards ... Guiles ran just 10 times for 60 yards, which puts him just 36 yards away from surpassing Rick Coleman '78 for second on the yardage list ... The senior also moved past Parker on the all-time scoring list with 228 points, and he sits 38 points back of Adam Brossman '08's record ... Neither team had a sack ... The sides combined for 927 yards of offense (LVC 518, Stevenson 409) ... LVC racked up 252 yards on the ground despite missing starting right tackle Zach Nace and starting left guard Brendan Kozub ... Four players on offense had their first career starts: Evan Fink(FB), Yahya McIntyre (WR), Mike Attanasio (LG), and Chris Taggart (RT) ... LVC punted just once, in the fourth quarter ... LVC was 8-for-8 in the red zone and 2-for-2 on fourth down.
Guiles Breaks LVC TD Mark In Stevenson Rout
|Stevenson (1-3)
|Lebanon Valley (3-1)
ANNVILLE, Pa. - Ben Guiles broke the all-time record for career rushing touchdowns with a three-score effort to lead Lebanon Valley in a rout of Stevenson, 61-37, in the first meeting between the programs at Arnold Field.


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Powerful and precise paving
Every Volvo ABG paver is the result of 60 years' experience in the road construction industry. Volvo ABG tracked pavers meet all your needs for powerful, precise paving machines on rigorous jobsites. With ample reserve power, robust and sturdy design, these machines are ideal for medium and large scale projects.
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