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Lewy body disease is a type of dementia. Dementia is the progressive loss of memory and various other mental functions, including the ability to learn, reason, and judge.
Lewy body disease is associated with the buildup of Lewy bodies in regions of the brain. These are abnormal protein deposits inside cells that play a role in certain aspects of memory, visual processing, and motor control. It is not clear exactly what causes the buildup of Lewy bodies in the brain.
Risk Factors
Lewy body disease is more common in men, and in people over 50 years old. It is also more common in people with a family history of Lewy body disease, Parkinson disease , or other dementias.
The disease is linked to:
- Parkinson disease
- Multiple system atrophy
- Alzheimer disease
- Other disorders
Lewy body disease is characterized by:
- Fluctuations in alertness and attention—frequent drowsiness, lethargy, staring into space, disorganized speech, and insomnia
- Recurrent visual hallucinations
- Poor regulation of body temperature and blood pressure
- Obsessive compulsive behaviors
- Forgetfulness
- Parkinsonian motor symptoms, such as rigidity or loss of spontaneous movement
- Rapid eye movement (REM) sleep behavior disorder
You will be asked about your symptoms and medical history. A physical exam will be done. A doctor can do tests to narrow the cause of dementia. Other tests may include:
- Memory, language, and other cognitive tests
- Neuropsychological tests
- Patient and family interviews
- Imaging tests take pictures of internal bodily structures. This can be done with:
- Blood tests
The only way to confirm Lewy body disease is through an autopsy after death.
While there is no cure for Lewy body disease, there are treatments that can control the symptoms. Talk with your doctor about the best treatment plan for you. Treatment options include:
These medications may be used to help with the symptoms:
- Cholinesterase inhibitors
- Glutamate blockers
- Catecholamines
- Antidepressants
- Anticonvulsants
If you have Lewy body disease, you may be sensitive to medications called neuroleptics. You may have adverse events with these medications.
Other Treatments
You may benefit from:
- Physical therapy
- Massage
- Exercise
- Music
- Aromatherapy
Revision Information
- Reviewer: EBSCO Medical Review Board Rimas Lukas, MD
- Review Date: 09/2018 -
- Update Date: 09/15/2016 -


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subset: commoncrawl


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Beautiful Places of Pakistan
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Luis Salazar Fernandez
Dear Mr. Fernandez,
This is your schedule confirmation. Present it at the NAPOLCOM Central Office, 7th Flr., NAPOLCOM Bldg., EDSA cor Quezon Avenue on 09/19/2019 at 7:30 to 8:00 A.M. (Processing Time).
Your appointment/examination details are as follows:
Please make sure to come to the NAPOLCOM Central Office on your appointment date with the following requirements (original & photocopy):
Thank you for using our online examination scheduling system(OLEASS). If you have any questions or concern, feel free to contact us at (02) 899-0085, 403-2588, Examination Division or call OLEASS Hotline at (02) 8999074.


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Family Magazine Subscriptions
As one of the most popular parenting magazines in America, Parents magazine is filled with tips that will help you navigate all the way from pregnancy through the school years. Parents magazine gives expert advice, trustworthy tips, and proven techniques that will help young moms and dads. The magazine helps parents deal with the struggles and joys of parenting through providing helpful advice for every stage of parenting. The magazine is filled with healthy snack ideas, solutions to common behavioral problems, fun craft and activity recommendations, health and wellness tips, recipes, and career and relationship advice.
Another popular parenting resource is Family Circle. Filled with simple recipes, easy do-it-yourself crafts and projects, money-saving tips, chic fashion advice, and suggestions on household management, the publication helps parents deal with the challenges of raising a family.
If you're looking for a helpful parenting resource, you'll find priceless advice and suggestions in each issue of our parenting magazines. Peruse our website to find great deals and discounts on parenting magazines, and pick one that is right for you!


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OTTAWA — Prices for new homes in Canada rose 0.3 per in February, led by the Toronto and Oshawa region, Statistics Canada said Thursday.
Economists had expected a rise of 0.2 per cent, following a 0.1 per cent gain in January. On a year-over-year basis, prices were up 2.3 per cent in February, compared to a 2.4 per cent increase the previous month.
"The metropolitan region of Toronto and Oshawa was the top contributor to the increase in February," the federal agency said. "The positive impact of this region on the overall index was slightly offset by the decrease observed in Vancouver."
Prices were unchanged in five of the 21 metropolitan regions tracked by Statistics Canada.
Prices in the Toronto and Oshawa region — representing about a quarter of the national market — were up 0.4 in February from the month before. However, the biggest single increase was in Regina, where prices rose 2.4 per cent. Halifax was up 1.2 per cent and St. Catharines-Niagara, Ont., gained 1.1 per cent.
The largest monthly price declines were in Charlottetown, down 0.5 per cent, and the Saint John, Fredericton and Moncton, N.B., off 0.4 per cent.
On Wednesday, Canada Mortgage and Housing Corp. said housing starts jumped by five per cent in March from the previous month, to 215,600 units.
That surpassed economists' estimates of 200,000 units for the month, and was led by the still-booming condo market.
"The upward movement in March was largely due to an increase in multiple starts, particularly in Ontario and the Prairies," said Mathieu Laberge, CMHC's deputy chief economist. "This was partly offset by a decrease in multiple starts in British Columbia and Quebec, while single-detached starts decreased marginally countrywide."
Leslie Preston, an economist with TD Economics, said the surge in March activity was not so surprising, given the unseasonably warm winter experienced by most of the country, which would have encouraged earlier-than-normal starts.
The annual rate of urban starts increased by 4.2 per cent to 192,100 units in March, CMHC said. While urban single-unit activity slipped 2.4 per cent to 68,000 units, multiple-unit starts were up 8.3 per cent to 124,100.
Postmedia News


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Search Constraints
You searched for: Institution UC San Francisco Remove constraint Institution: UC San Francisco Subject Area Human Remove constraint Subject Area: Human Subject Area Cognition Remove constraint Subject Area: Cognition Subject Area Middle Aged Remove constraint Subject Area: Middle Aged
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2012. Weiner, Michael W. This data set was acquired with the aim of determining the structural and chemical changes that occur in the brain as a result of ... UC San Francisco.
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2012. Weiner, Michael W. Some veterans who served in the Gulf War subsequently complained of a wide variety of physical and neuro-psychological symptoms, termed G... UC San Francisco.
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2012. Weiner, Michael W. and Schuff, Norbert. This data set was acquired to study various aspects associated with PTSD and includes structural neuroimaging data as well as clinical ... UC San Francisco.
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2012. Weiner, Michael W. These data were acquired with the overall goal of determining the regional and longitudinal pattern of changes in the brain which best ... UC San Francisco.


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When we venture into using Japanese kitchen knives we often find that we're interested in sharpening our own knives and begin searching for information on this subject. This leads us to research waterstones, sharpening techniques, and the subject of blade asymmetry inevitably comes up. Since this discussion is regarding asymmetry I'll leave waterstones & techniques for another time.
What is asymmetry? For our discussion purposes (here within this community) we're referring to how the knife's blade is forged/ground in uneven amounts from side to side. While it's the norm to have a blade be perfectly symmetrical in the western world it is uncommon in Japan to find examples of this. In my experience with working with thousands upon thousands of Japanese knives I can confidently state that 99% are asymmetric with the majority being ground favorably for a right handed user.
Common terminology:
100/0 (single bevel) – yanagiba, usuba, etc
90/10 (double bevel) – honesuki, garasuki, etc
80/20 , 70/30, 60/40 (double bevel) – gyuto, nakiri, sujihiki, etc
50/50 (symmetric) – non Japanese knife
Now I won't go into why these knives are made this way as I'd only be speculating with regards to some of this. I have my theories and I've heard a lot of other's views on this yet none completely convince me to be the true cause so I'll leave this part of this subject alone. I will tell you very simply how you can deal with asymmetry and how to sharpen an asymmetric knife though.
To that end I first have to point out that you're sure to stumble upon some information (I call them myths), while doing your research, that somewhat contradicts what I'll be talking about here, stating that Japanese knives are ground or can be sharpened symmetrically (50/50) - I call BS on this. Also, you will see it stated that it is not required to change the angle of the sharpening stone arm when using guided (assisted) sharpening devices (like the EdgePro) and again I call BS on this.
I suggest that you consider the sources that you discover this information coming from as when I've done so I've discovered that in 99% of these cases I find that it is a Japanese knife retailer or a distributor of guided sharpening devices (and proprietary accessories like stones, etc) that make these claims. I believe that the reason for this is simple – they do not want you to know the REAL DEAL with asymmetry because if you were to know about it you would be questioning them on the proper ways to sharpen these knives (which is not an easy question to answer) and in the case of the guided devices you would come to the realization that they are more complicated to use on asymmetric knives – blades that they were never meant to originally deal with.
Here's the REAL DEAL and what you really need to know – stripped of all BS and put in plain simple terms….
If you want your double beveled Japanese knife (which has a blade that has been either forged or ground asymmetrically) to cut straight and wedge less you will sharpen the edge bevels as close to matching the asymmetry of the blade itself. That's it in a nutshell!
How can you do this? Simple…you look at the blade and mimic it's asymmetric grind when working it's edge bevel. I used to use a straight edge laid on the side of the knife to compare side to side and then follow by rough estimating this form while sharpening the edge bevel. Luckily most of you will have a new knife that you're starting out on and you'll likely find that this ratio has already been worked into the bevels and all you have to do is follow along.
Now let's talk more specifically of how to sharpen asymmetric knives….
I always suggest sharpening any knife starting at the top of the current edge bevel (this is what's referred to as the shoulder of the edge bevel – it's the transition between edge bevel and blade face) and working your way down (by grinding/polishing/etc) to the cutting edge. Doing this will ensure that you don't repeat the same angle (since repeatability is bad in sharpening) so that you always thin the edge bevel as it moves upward into the ever increasing thickness of the blade's cross section.
When sharpening you should be stopping and checking your progress often so as to ensure that you're on (or hitting) the correct location on the edge bevel. You should never aimlessly grind away steel without stopping and checking as doing so will ensure that you stay on the correct path through making incremental adjustments. If you see that you're hitting the edge bevel too close to the cutting edge then lower the spine ( which adjusts your angle of attack) to correct and if you're hitting the edge bevel too high (above the shoulder of the bevel) then raise the spine (by adjusting the angle of attack) to correct.
Notice that I didn't say that you had to use the same angle on each side of the knife nor did I say that you needed to change the angle for each side of the knife or to make each side different angled than one another?
So let's take a fairly asymmetric gyuto as an example to work with here, I'll use the Hiromoto AS series as this is easily a typical asymmetric 70/30 ground blade.
In this first case I will be freehanding (that's using no sharpening guide or aid) on a waterstone. If I were to select one specific angle (let's say 15deg - or as close to that as I can guess and hold steady) and just go at it I'll see a couple of things happen. The first is that I'm not hitting the edge bevel where I want to, and I now regret not stopping to check what I was doing, and that the right side's (if it's a right handed knife) edge bevel is much taller than the left side is. So I used the same angle yet the right side's bevel is taller than the left side's bevel. Why? Because the blade is ground asymmetrically!
Now I take another untouched Hiromoto AS gyuto out of the box and lay it down on the table of an EdgePro, select an angle (let's again pick 15deg - or as close to that as this device allows for) and then go at it again. What do we now see? Well we'll likely have that same feeling that we had when freehanding, about wishing that we had stopped and looked before carrying on, but we also see that the stone hasn't at all hit the bevel on one side of the knife like it did when free handing. Why is this? Because the blade is ground asymmetrically!
Unlike freehanding, where we adjust the distance between the spine of the knife and the stone's face for angle approach, we instead (on the EdgePro) laid the knife down on a fixed position table and then swung the stone over the opposite side's edge bevel. Why does this matter? Because the blade is ground asymmetrically – it's not the same on both sides!
To revisit the issue of myths, many EdgePro type device retailers will tell you to just pick an angle and grind more from one side than the other or maybe to count strokes (like 7 strokes on this side and 3 on another for 70/30 grinds)…..they state that this will allow for correct asymmetrical ground edges. I respond to this by stating that this is an irresponsible solution to tell people to sharpen their knives this way as I know from my years of experience that this will only lead to an unevenly sharpened knife that steers and wedges while cutting.
So if you're using an EdgePro type device and you have to adjust the stone arm's angle for each side of the knife to properly hit the edge bevel in the correct position then do so. Yes this sucks but this is what you've decided to use to sharpen your asymmetric Japanese knives with. If you're upset with having to do this then tell this to the people who sold you the myth, but sharpen your knives correctly.
Again people, these retailers don't care if you get it right or not – they care about selling knives and sharpening systems (with those proprietary stones) so if you screw up it doesn't matter one bit to them.
So let's summarize….
1. All Japanese knives are asymmetric – the entire blade is asymmetric – not just the edge.
2. Use your mind and your hands to find the ratio of the blade and then mimic this within the sharpening of the cutting edge bevel.
3. Adjust your angle of approach as need be - yes even if using a sharpening aid/device.
That's it folks – you now know the REAL DEAL
Happy sharpening!
Dave Martell


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PensFanInDC wrote:When family breaks big news on FB instead of, I don't know, calling your family or coming over to tell us.
"Got my results. I don't have lupus!!!!"
While I'm glad you don't, we've been praying about it for weeks and you announce the results to the world before contacting your family. This is a known trend with her though. The best part is she got all pissed off when we posted a video of my son's first steps on FB. She wanted to "see them in person". Um....you weren't there. You can't see his first steps unless you watch the video....
how's your foot?


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said... Woah!!! People are really offended by this??? I'll set the record straight! Im an enrolled member of the Paiute-Shoshone Indian Tribe of the Owens Valley and I find nothing wrong with this image at all. If anything its an image of an Indian smiling unlike all the Hollywood crap they give us where we all are Stoic looking, or even worse the single tear running down our face.
Where is the artist or even this company trying to be racist? Last time I looked, and maybe John could back me up on this, I'm not orange, and I don't wear feathers in my hair.
I'm actually curious to how people here would design an Indian character being completely "PC"???
Let's see it People!!!
Thanks Joe, Here's your reward. See you next week!
Here's an inbred Hillbilly caricature from the same cartoon, so all us ignorant white folk who love Hank Williams and classic country music can be outraged.
Have you noticed the fact that "Goofy Grape" wears a Napoleon Bonaparte hat, thus implying he's insane because he thinks he's Napoleon? Obviously this Goofy Grape fellow is a slanderous depiction of the good citizens of France!
Sacré Bleu-berry!! :)
That's reverse discrimination.
People just need to grow some balls and stop acting like everyone is out to bully them.
By the way, tell that to all the millions of whites who were slaves to Muslims in North Africa during the 16th-18th century.
And the wonderful serfdoms of the middle ages. Or whites selling white slaves during the very early colonial america (when incoming black slaves were considered incredibly valuable, while white slaves were "expendable.")
Every race has been treated terribly by another race in one way or another in history,so why do we keep blaming people today who had nothing to do with the actions of people from the past?
I must say - I'm surprised at your crude insensitivity, John. Of course "Injun Orange" is offensive...
I think Freckle-Face Strawberry is offensive, also - to the fair-skinned and the abnormally sun-sensitive. They have feelings too, y'know.
Likewise, Lefty Lemon is highly offensive to right-arm amputees, and people suffering from Yellow Jaundice.
Rootin' Tootin' Raspberry is offensive to cowboys with The Mumps.
Goofy Grape is offensive to mentally-challenged people with Port Wine stain hyper-pigmentation and/or Hemorrhagic Rash .
Jolly Olly Orange is offensive to the Fore Tribe of Papua, New Guinea - who are afflicted with Laughing Sickness. (Also to Viet Nam veterans who were exposed to Agent Orange during the war.)
In fact, the term "Kool Aid" itself is surely be offensive to people with HIV-related illnesses, and the spelling-challenged.
Lastly, Loudmouth Lime must certainly be offensive to Matt Blasi - and other humorless, hypersensitive, pro-censorship, "politically correct" Thought Police-types who have nothing better to do than write indignant, self-righteous letters to cartoonists about the outrageous effrontery of long-defunct soft drink packets.
The fella that started all this controversy about colorful kiddie food in cartoony packets posted again and said all the same things he said the first time, even though he's been answered in the comments by many others.
A few of the comments have been insightful. The rest are (par for course on the Internet) over-zealous, reactionary dribble. Mike Fontanelli and several others clearly don't understand the difference between a discussion and an argument. So, let's clarify a few things.
First, I asked for a clarification as to what John K meant by his statement: "This is considered offensive today. Insane or what?"
That clarification has still not been given.
Second, I asked: what is NOT offensive about it? This means that if you (John K and others) DO NOT think it is an offensive image, I'd like you to elaborate WHY. It also implies that if you DO think it's an offensive image, please explain why.
That should have tipped people off that I was attempting a discussion, not a flame war - that I am not so persoanlly (sic) offended as attempting to create a dialogue of WHY such an image might be considered offensive. But some people would rather jump on their keyboards and rattle off furious responses than contribute anything worthwhile to the discussion.
I wrote: "Because it IS offensive. It depicts a parody image of stereotypical Native Americans used to sell a ridiculous product in a humiliating context. What is NOT offensive about it?"
This is part personal opinion, part observation based on how this image is view in the context of our modern society. I believe it if offensive because it isn't simply an image of a Native American. It's an image of an orange Native American wearing ceremonial or traditional garb and decoration. It caricatures an element of Native American culture without consideration for how that culture uses, feels about, or interprets such imagery.
I then reinforced it with the following examples: "if you had an old-timey "black-faced" image on the wrapper and sold it as "Negro Nectar," people wouldn't hesitate to call it offensive. If you had a white face on it and called it "Cracker Cranberry," it would also be offensive."
Based on current American societal decorum, such examples would be considerd racist and/or offensive. Why? Is it that we're simply juvenille book-burners, anti-"barrels of fun" as Mike Fontanelli puts it? No. That's a simplistic explanation devoid of real intelligence.
This remains a point of discussion.
I understand that John K is not making a pointedly political statement here - he was simply showing us a piece of art in emphasize a point. I'm certainly not blaming John K or calling him a racist, and I'm not saying that offensive humor and elements of art should be subdued and done away with. To the contrary, as a poster noted, I'm a fan of Marc M.'s Sick Animation, a highly-offensive collection of art.
Jordan wrote: "But when you make fun of people such as say....native americans, and they are ravaged and murdered (you know the story) and then their image used to sell some american juice drink, THAT'S what makes it worse than say, a white person being made fun of to sell an american juice drink. There IS a difference...It seems more like a "fuck you" to the native americans, haha, now that we killed you all, we'll make fun of you on our products! If it was WHITE GRAPE JUICE and had a nerdy Caucasian business man on the cover, well, what are we making fun of? How successful and in power he is? So, go ahead, who cares."
This is an excellent point. There IS something most people have missed from this discussion. Perhaps its a capitalistic exploitation of ethnic imagery, perhaps it's simply that things have shifted in a modern context; what was once inoffensive is now offensive. My comment is not centered around capital (product) as Krieg stated.
John K. loves to talk about the terrific animation and art principles in the cartoon "Coal Black," and he's right - those principles are terrific! But it doesn't mean the film isn't offensive. It is.
John K wrote: "Indians murdered and tortured each other and made totem poles. Are the totem poles racist, therefore? Let's burn the last few and erase them from history."
That's a common argument made when people oppose affirmative action for blacks in the United States. 'Why should the government help them? Africans were enslaving each other before the Europeans go to them!'
True. But there is a world of difference between white European chattel slavery and what Africans did to each other. The two are incomparable.
John K wrote: "Cartoonists and comedians make fun of everything. That doesn't mean we are condemning whole groups of people every time we acknowledge obvious cultural traits.
This thread proves my point of everyday common insanities that we take for granted, like political "correctness"."
John, there's a fine line between acknowledging culture and mocking it. A very fine line. What you're offering is - and you have a bad habit of doing this - a broad generalization where culture, art, and license to interpret are given free reign to interact. I don't think you mean any harm, but that doesn't mean that it's harmless.
I've brought things like this up before and you've waived it away as "mysticism." Your refusal to actually investigate the finer points of your arguments weakens your emphasis that no harm is being done. If you're right, then why not really examine such facets of art-culture interaction? Why not consult outside data and scholarly sources?
Kenneth Clark's famous doll experiment is a great place to examine how images, merchandising, and culture interact in enormously harmful ways.
John K wrote: "Politically correct people are free to condemn the vast majority of humans who just act naturally. Shouldn't we be offended by them? Let's make laws against them."
Another broad generalization in which all "politically correct people" are misers, undermining your sense of fun, and threatening to make the world PG-13.
That's nonsense and you know it.
I'm not supporting censorship. My stance is this: before we jump to ANY conclusions about the effects of art of people, culture, etc., we should make an honest examination of things. IS an image offensive? If it's considered offensive, why? Are there arguments to be made on both sides?
I'm not saying that I, Matt Blasi, am right, nor am I simply trying to be contentious. I'm saying that the relationship between art, ethnicity, and culture - the line between offensive and inoffensive - is a fine line and one that requires more care than simply saying, "This is considered offensive now-a-days and that's nonsense."
I respect your work, John K. I respect your art and your incredible understanding of how to create, conceptualize, and invigorate art. But I'm not an animator and I'm not here (like some posters) to simply kiss behind. If I see that you've made a statement that seems wildly off-base, I call you on it in a respectfu manner (unlike many posters).
Is there a culture or race on earth that has never persecuted, killed, tortured or been persecuted by others? If not, then I guess us cartoonists, novelists, historians, musicians and a lot of other people are out of business because we cannot ever acknowledge them.
I say, why not all us funny looking people get along and agree to enjoy the funniness of every race, culture, costume, man, animal and anything that is fun?


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The Shock of the New
Knopf, 1991 - Art - 444 pages
An illustrated history of modern art describes the origins of modern painting, sculpture, and architecture, shows how world events affected the art, and explains why the movement is near its end
What people are saying - Write a review
LibraryThing ReviewUser Review - dbsovereign - LibraryThing
Wonderful pictures - some even full page! Nice overview of the last hundred years or so of art (through the 1980s) -- wow, and to think I've lived through about thirty years of this...(!). Read full review
LibraryThing ReviewUser Review - jcbrunner - LibraryThing
Coming late to the party, this tie-in to an early 1980s TV documentary series, I both like reading his poignant and wide-ranging introduction to 20th century art (that remains very wedded to the 19th ... Read full review
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Common terms and phrases
abstract Abstract Expressionism aesthetic American architects architecture artist avant-garde Bauhaus become Berlin body Braque Breton Bruno Taut building C�zanne C�zanne's Chirico collage Collection colour Corbusier Cubism culture Dada Dali dream Duchamp Ernst Expressionism Expressionist fantasy feeling figure French Futurist Gallery Gauguin Georges Braque German glass Gogh Gropius Henri Matisse human idea ideal imagery images imagined Jackson Pollock Kandinsky Kooning landscape Le Corbusier Leo Castelli living look machine Mark Rothko mass Matisse Matisse's Max Ernst meaning metaphors Mir� mith Modern Art modernist Mondrian Monet motif Munch Museum of Modern nature � � objects obsessive Oil on canvas Pablo Picasso painter painting Paris parody Paul C�zanne Picasso plate political Pollock Pop art reality Rothko Russian sculpture seemed seen sense Seurat sixties social space studio style surface Surrealism Surrealist symbol things Tower tradition Utopian visual wall wanted Warhol watercolour Weimar wrote York


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Get the Flash Playerto see this player.
|Digital Desire
Short review: How do I possibly sum up in a short amount of characters the quality that I found Digital Desire to hold. There was not one area they slacked in sensation, they've meticulously designed and presented a website that will bring in men and women that are connoisseurs of beauty and high quality. You don't get the "Oh just drive it in deep and hard!" here, instead you have the romance.
Content Amount: The numbers just keep ticking to this site, which as of the day of this review were already extremely high, and then knowing they add another 2,000 images each month to this site really lets you know your dollar keeps working for you.


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Less than a month after being awarded more than a billion dollars by a US court at the conclusion of its US patent infringement trial with rival tech giant Samsung, Apple lawyers have now turned their attention to a Polish online grocery store. Yes, you read it right – a Polish grocery store.
Before you scratch a large hole in your head wondering what on earth an online grocery store in Poland has to do with a company like Apple, keep in mind that it's not just infringements relating to the design and technology of its mobile devices that Apple is concerned with.
According to a Reuters report, the grocery store is in a pickle on two fronts – first, its name and web address, a.pl (pl is the domain extension for Poland), sounds too similar to the name of the Cupertino company, so say Apple lawyers. Second, a logo (shown above) used by another online store, owned by a.pl, is said to too closely resemble Apple's logo.
Speaking to Reuters about Apple's trademark-infringement filing, Adam Taukert, a spokesperson for the Polish patent office, said, "[The] Apple brand is widely recognized and the company says that a.pl, by using the name that sounds similar, is using Apple's reputation."
In other words, the iPhone maker is concerned that the online grocery store is trading off Apple's famous name and image, or even possibly attracting customers to its website who, thinking they were going to buy a 32GB iPad, end up purchasing a variety of fresh fruit and veg. Or something like that.
A.pl's chief executive called the accusation of infringement "ludicrous." A date for an official hearing has not yet been set.
What do you think? Has Apple's recent victory against Samsung gone to its head? Does this smack of a company for whom litigation is the answer to everything? Or is it merely seeking to protect its reputation and prevent confusion among consumers?
[Image via Business Tech]
Editors' Recommendations
- Apple iPhone 11 and 11 Pro are now available — here's how you can skip the line
- New Apple Watch Studio lets you mix and match watches and bands
- Target expands online shopping feature that's popular with parents
- Apple's Fifth Avenue flagship store is reopening. Here's what it's like inside
- You can finally buy the Impossible Burger at grocery stores


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Infantry formations of the Sri Lanka Army (SLA)'s 57 and 58 divisions have entered Liberation Tigers of Tamil Eelam (LTTE)'s celebrated political capital; Kilinochchi. As we reported earlier, pitched battles have been raging across the town's western, southern and south western borders since the 23rd this month. By the 27th, troops had made inroads into the town by breaching the earth bund spreading from western to the southern borders of Kilinochchi, despite heavy LTTE resistance and bad weather conditions. Since then small groups of SLA commandos and intelligence units have been operating inside Kilinochchi town.
LTTE did attempt to prevent SLA from entering the town and also to regain lost areas several times. However, infantry units of the 57 and 58 divisions with the support of Commandos have been able to hold them off in almost all their attempts so far. Obviously, there have been casualties for both parties but we do not have the exact casualty figures with us right now.
The army has not officially declared the capture of Kilinochchi yet. Perhaps they are waiting till every last inch of the town is searched and declared safe and any LTTE resistance lingering in the area is hunted down. They may even be considering the possibility of an LTTE counterattack from the direction of Iranamadu jungles. Currently, search and defensive ops are continuing.


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Stop rust permanently with POR-15. Unlike ordinary paints, POR-15 is designed to be coated right onto rusty surfaces leaving a beautiful, rock-hard finish that won't crack, chip or peel. Use it to coat a rusty frame, floor and trunk pans. The secret lies in the POR-15 curing process. Unlike paint, POR-15 cures by drawing moisture from the atmosphere. Paint, on the other hand, cures through the process of solvent evaporation through pores. Those same pores allow microscopic amounts of air and moisture to gradually reach the surface of the painted metal. POR-15 doesn't have those pores, and thus moisture and oxygen cannot reach the metal surface so no rust can occur. Eliminate stone chips while you're at it. POR-15 is so tough that some folks describe it as, "Powder coat in a can". Use it on your chassis and you'll be surprised at what little effect gravel roads have on the finish. Furthermore, POR-15 is very flexible and can withstand twisting and bending without cracking. Use POR-15 on anything you want to protect permanently from rust, stone chips or other common paint failures.
COLORS AVAILABLE: Black, clear, gray, semi-gloss black or silver.


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Product DescriptionQuick Scroll Up
100% Leather and lightweight neoprene combo Formfit™ technology and ContouR Profile for snug fit Open back for ventilation Ultra-Lock™ hook and loop straps and neoprene to prevent slipping Sold in pairs See 839003 for freestyle.
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Showing Suppliers 1 - 17 of 17
EIS, Inc.
Address: 2018 Powers Ferry Road, Suite 500, Atlanta, GA
Business Type: Distributor
Grainger Industrial Supply
Business Type: Distributor
Description: Grainger helps customers save time and money by providing them the right products to keep their facilities up and running. Grainger's customers are 2.0 million businesses and institutions in 157 countries. While each customer has a unique facility to operate and a different problem to solve, our... (more)
Address: 1455 Hembree Rd. Branch 055, Roswell, GA
Address: 708 S. Spencer St. Branch 205, Dalton, GA
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Intravis, Inc.
Address: 303 Research Drive, Suite 200, Norcross, GA
Business Type: Manufacturer
RS Electronics
Address: 3100 Breckinridge Blvd Suite 730, Duluth, GA
Business Type: Distributor
Description: RS Electronics is Now Part of Carlton-Bates Company The new, combined company, known as Carlton-Bates Company, is part of the Wesco Distribution, Inc. family of companies. Learn more about Carlton-Bates Company or get answers to frequently asked questions. Carlton-Bates Company is a trusted... (more)


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The first 25 words are free and then it is 75 cents per word. Photos are $25; double photos $35 (recent photo and photo from past). The obit daily deadline is 3 p.m. Major credit cards are accepted.
Obits must be submitted from local funeral homes. If it is an out of town funeral home, crematory, or if the body was donated, the family may submit the obituary but the newspaper must have proof of death - a letter from the institution or a death certificate, for instance.
Obits can be faxed to (423) 757-6674 or emailed to email@example.com. Please call (423) 757-6348 to confirm receipt and to make payment.
In Memory ads can be faxed to (423) 757-6461, emailed to email@example.com or phone in at (423) 757-6200.


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Bodymax Chrome Dumbbells - 2 x 20kg
Key Features
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|115 kg
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Free delivery to mainland GB addresses on orders over £99 are by either a parcel courier or a pallet courier. See below for further information.
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Expected delivery is within 3-7 business days.
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Expected delivery is 3 - 5 business days. All deliveries are made Monday - Friday between 7am and 6pm. These are kerbside only. We advise having two bodies available to help the courier with larger or heavy deliveries. Please note, Powerhouse Fitness advise against one man delivery for larger or heavy orders.
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This service is available on larger orders or premium priced products. You will be called to book a delivery day in advance. Subject to suitable and safe access, the couriers will place the product into a ground floor room of your choice.
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All parcels will require a signature.
Please note: Any installations ordered during the month of December will be carried out in January 2019. Installations are a two-man service and are booked with you in advance. Installations are normally within 10-14 working days.
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Senator Theatre
Listed on the National Register of Historic Places (August 24, 1989, Reference #89001153).
Baltimore City Public Interior Landmark, designated by the City's Commission for Historical and Architectural Preservation (CHAP).
The Senator Theatre was designed as a neighborhood movie house and was the first theater in this developing area of Baltimore. Due to increased migration to the suburbs in the late 1930s and the demand for entertainment during the golden era of Hollywood, the theater was built at a rapid pace and opened within 6 months of beginning construction. Ample parking space was provided around the 1,024-seat venue, a typical size for neighborhood movie houses of the period.
To accommodate the tastes and social character of a new suburban middle class population, sleek lounges were designed for ladies and men. Treats were sold from the concession booth located at the inner lobby. Utilizing contemporary advanced film technology and projection equipment, movies were projected using standard 35mm film.
Designed during the Depression, in the Art Deco style, the Senator Theatre is a small-scale neighborhood movie house. The theater exhibits a modern, streamlined form composed of a circular upper structure above a slightly curved brick base. The tripartite division of illuminated glass blocks, a material which became prevalent in the use of movie houses beginning in 1937, is accented by the solid massing of tower forms which flank the central axis.
The structure of the main lobby rotunda comprises the main feature of the facade, with vertical rows of glass blocks set against a simple limestone palette. Horizontal and vertical lines at the trim accent the geometric forms of the building. A curved, projecting marquee complements the circular structure located above.
The interior of the theater exhibits marble flooring and rich gilded finishes, in addition to painted murals over the cast plaster substrate. Stenciling and hand painted designs with aluminum leaf and glazed designs were also incorporated. Rich walnut paneling originally accented the smooth, restrained interior and was steam-heated to fit the curvilinear surfaces. Local Baltimorean artist Paul M. Roche painted the theater's twenty-two lobby murals, which display the evolution of performing arts history. Tropical fish were originally housed in the wall displays.
The building was constructed over a six-month period in 1939, at a cost of $275,000.
The Senator Theatre was built along York Road, the main thoroughfare that connected northern Baltimore suburbs, which were rapidly expanding at this time, to downtown. The theater became an instantly recognizable and unique modern landmark amidst surrounding small scale suburban residential development.
The theater remains an anchor within the present day commercial district of Belvedere Square, a hub of the North Baltimore area. The surrounding context retains the small scale of the neighborhood. Local cinematic achievements are documented outside, along the Walk-of-Fame sidewalk. The theater remains the primary venue for the Maryland Film Festival, and local directors and actors frequently choose to hold movie premiers at this venue.
The theater exhibits a double wythe, common bond brick auditorium base, which supports the limestone and structural glass brick upper portion and rotunda. The use of glass blocks at the curved front facade is the most extensive application of the material seen in local architecture.
Built during the golden age of talking pictures, the Senator was one of the early neighborhood movie houses to establish consistently high standards in synchronizing sound with moving pictures, with installation of the finest RCA sound system available when it opened. Movies were projected onscreen at an aspect ratio of 1.37:1 on 35mm film in accordance with the Academy Ratio standard, until the format changed in 1953.
The ability to contain cinema sound and eliminate outside noise, while at the same time properly distributing acoustics throughout large venues accommodating 1,000 or more patrons, was a technological challenge successfully addressed at The Senator through the use of fabric panels over a plaster substrate. For patrons with small children, the venue boasted a sound-proof nursery in the area now designated for VIP skyboxes. During the mid-20th century, this particular area of the theater was also used as a special section with advanced technological sound systems to aid a hearing impaired audience. Additionally, a specially designed air conditioning system with thermostatic control and an ice-cold water fountain were featured for modern movie-going comfort.
An innovative automatic projection booth which operated the curtains was installed at the Senator Theatre in the early 1970s. Most recently in 2003, the Senator Theatre became the first venue to complete the Historic Cinema Certification Program offered by the George Lucas company, THX Ltd. Today, the theater boasts a modern 40'-0" curved screen with state of the art projection systems and surround sound. The theater maintains projection equipment for showing 35mm and 70mm films.
In the years leading up to and during World War II, the nation's movie theaters played an imperative role in unifying Americans, supporting the war effort, and providing a collective social and entertainment escape amidst the melancholy atmosphere. NBC Broadcaster Walter Winchell proclaimed movies as the American Way of Life, noting the importance of the motion picture industry as a "necessary war industry." Directors, actors/actresses, and those involved in bringing movies to the audience appeared in support of the Army, Navy, Marines, and Coast Guard. Across the nation, the theater industry hosted recruiting events and benefits to collect scrap material for the war. Movie houses were also a major source for wartime news and stimulated patriotism by playing the national anthem prior to film showings.
Today, the Senator Theatre continues to promote a community spirit through annual fundraising events for local and national charities, such as the American Heart Association Go Red for Women. The annual Holiday Classics Series, with screenings of "It's a Wonderful Life" and "A Christmas Carol", are a Baltimore tradition hearkening back decades, with proceeds donated to the Maryland Food Bank.
The main theater facade fronts York Road, with its marbleized black Vitrolite entrance and freestanding neon signage highlighting the projecting marquee. The Art Deco facade exhibits a streamlined brick base with gently curving corners, which complement the curved glass block and limestone structure of the rotunda above. The lower brick banding of the facade wraps around to the south elevation, as does the prominent glass and limestone rotunda structure, which is visually anchored by towering limestone piers at each corner. In order to maximize space, the theater plan is angled towards the northwest corner of the lot. Upon entering, visitors are encompassed by the main lobby rotunda and domed overhead space, which highlights the theater's original function as a social gathering space. Movie-goers then enter a series of spaces, each progressively larger: a small, uneven hallway, a shallow curvilinear inner lobby, and finally, a grand theater auditorium with scalloped wall edges imperceptibly focusing attention towards the screen. A lounge for ladies and men each flank the inner lobby entrance across from the theater, encouraging patrons to linger during intermission and after the show. The architectural design of the plan itself unfolds the scenography of the American movie-going experience. The Art Deco style of the theater was a departure from the ornate Beaux-Arts style venues of preceding years. With the emergence of new modern architecture ideals, architect John J. Zink deftly expressed the theater's use of new technological developments and the emergence of new social and cultural values in the visual appeal of the building's curving, streamlined design. New materials were used in construction, and old materials were also used in new ways, representing changing industry development which would significantly impact the US economy and its ability to manufacture goods during World War II. The theater remains one of Baltimore's oldest and continuously operated movie houses. The National Trust for Historic Preservation designated the theater as "America's quintessential independent historic movie house" in 2001. USA Today (2003) and Entertainment Weekly Magazine (2005) listed the Senator Theatre on their rankings of best movie houses/places to see a classic cinema.
The Senator has outlived other neighboring movie houses along York Road and the environs, many of which opened during the 1960s and closed in the 1980s. Representative of and integral to the early development of suburban Baltimore, the theater has been a recognizable cultural and emotional landmark for neighborhood patrons since it was built.
Architect John J. Zink designed over 200 theaters in the Baltimore and Washington, D.C. area from 1920-1950, but only a handful remain in use today. Although alterations have occurred since its original construction in 1939, this particular theater retains much of its architectural and aesthetic integrity, including the majority of original finishes and Art Deco ornamentation. Additionally, the alterations are generally reversible or capable of being fully restored. Throughout the years, the Senator has remained one of Zink's most notable and architecturally distinct theater works and is one of the best examples of its kind, particularly in the Baltimore area. It exemplifies both typical modern theater design parameters of the late 1930s, incorporated with its streamlined aesthetic, and highlights local cinematic and artistic achievements within the overarching development of performing arts history.
The years 1935 - 1944 saw a building boom in relation to the rise of talking films and what is generally regarded as "The Golden Age of Hollywood." The Senator Theatre is a representative form of the technological developments that occurred during a transitional time in America's history, following the Great Depression and just prior to the nation's involvement in World War II. This historic landmark epitomizes the quintessential characteristics of the neighborhood movie house, with its restrained Art Deco ornamentation, beautifully proportioned form, and functional aesthetics. Its ongoing commitment to community enrichment initiatives and rich history of tradition makes it a valuable resource for the Baltimore community.
"Art Deco or Depression Modern? Experts Say There Is A Difference," The Sun, April 29, 1984: H1, Retrieved February 1, 2011, from ProQuest Historical Newspapers: The Baltimore Sun (1837-1985), (Document ID: 1864509212).
Castro/Arts, The Senator: Projected Improvements, The Senator Renovations Blog, October 1, 2010, accessed February 1, 2011, http://www.thesenatortheatre.com/?page_id=23.
James D. Dilts, "A Movie Palace That Prevailed And Just Matches Its Flick," The Sun, June 3, 1975: B1, Retrieved February 1, 2011, from ProQuest Historical Newspapers: The Baltimore Sun (1837-1985), (Document ID: 1745705562).
Eli, "Baltimore Building of the Week: Senator Theatre," Baltimore Heritage, December 23, 2010, accessed February 1, 2011, http://www.baltimoreheritage.org/2010/12/bbotw-senator-theatre/.
Evergreene Architectural Arts, "Senator Theatre: Examination of Historic Paint Finishes and Murals," Report prepared for The City of Baltimore, November 2, 2010.
Robert K. Headley, "Exit: A History of Movies in Baltimore," McFarland, Jefferson, 2006.
Geoffrey Himes, "Movies," The Sun, August 25, 1985: SM10, Retrieved February 1, 2011, from ProQuest Historical Newspapers: The Baltimore Sun (1837-1985), (Document ID: 1865279052).
Annie Linskey and Chris Kaltenbach, "City Takes Over Ownership of Senator," Baltimore Sun, July 23, 2009, accessed February 1, 2011, http://www.baltimoresun.com/news/maryland/baltimore-city/bal-md.ci.senat....
Larry Perl. "Coming Soon: New Owner Begins Renovating Historic Senator Theatre," The Baltimore Messenger, September 9, 2010, accessed February 1, 2011, http://www.explorebaltimorecounty.com/news/108459/coming-soon-new-owner-....
Dennis Sharp, "The Picture Palace and Other Buildings for the Movies," Frederick Praeger, New York, 1969.
The 1942 Theatre Catalogue, vol. 3, Jay Emanuel Publications, Inc., Philadelphia, 1942.
Lorna Williams, "Deco: Baltimoreans Are A Little Late In Discovering Its Historical Importance, But There Are Some Excellent Examples Here," The Sun, August 12, 1984: 1H, Retrieved February 1, 2011, from ProQuest Historical Newspapers: The Baltimore Sun (1837-1985), (Document ID: 1855422422).


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open investigationnoun
Definition of open investigation
: a case that is still being investigated (as by the police) We can't talk about the case. It's still an open investigation.
authorized for issue (as a bond)
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Our outdoor collections are American Made and created from durable, high density, recycled materials that are completely maintenance free—they will not rust, rot, or need painted. Whether it's for dining or lounging, the entire collection is available in a wide variety of fade resistant color options so you can create the perfect outdoor setting of your very own.
Outdoor Collection
Different than a sale—our clearance items consist of furniture and accessories that we are discontinuing from our everyday selection and will no longer have on display. We discount these items substantially to move them out quickly in order to make room for new merchandise arriving daily and once they're gone—they're gone.
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Fill out this form and a salesperson will contact you about the piece of furniture above within the next 24 hours.
A large percentage of our furniture is American-made. This means nearly all of our wooden furniture can be ordered in different kinds of wood, and a variety of stain colors and sizes. The majority of our sofas, sectionals, and chairs can be ordered in a vast assortment of different fabrics and configurations to fit your space. Therefore, it's nearly impossible to list the price of every available option on our website and we feel it would be misleading to give you a price that isn't accurate of what you might be looking for. Plus, some manufacturers will not allow us to post our pricing online due to our everyday low pricing structure. Our website is designed to give you a good idea of our incredible selection of quality furniture and inspire you to come see it all in person. In addition, we always have a lot more on display in our store than on our website. If you are interested in an item and would like more information please inquire and someone from our staff will respond as soon as possible.


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Stocking Stuffer Ideas for Teens
These timeless stocking stuffer ideas for Christmas are perfect for teen girls and boys. Get them something they'll love and use for years.
ITEM#: 23284814Features: High Quality Construction Smooth Spinning Ball Bearings Provides Anxiety and Stress Relief Spins Effortlessly Keeps You Focused Knock Off Bad Habits Stay Entertained and Enjoy
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These timeless stocking stuffer ideas for Christmas are perfect for teen girls and boys. Get them something they'll love and use for years.
Engage your young ones with fun, interactive, and educational toys this holiday season. When you gift the appropriate toy for your child's age and developmental level, you can stimulate creativity, boost confidence, and increase skills and knowledge.
Create a space for learning and fun. Check out these playroom ideas for your home. Shop our huge selection of baby & kids' furniture at Overstock.com.
Christmas toys for boys should spark creativity and provide hours of fun. This Christmas, get your son, grandson, nephew, or little brother a cool toy that encourages his imagination and makes him happy. Keep reading to find the perfect gift for any boy on your Christmas list.
Buying gifts for tweens is fun because at this stage their interests are deepening, growing, and changing. We've created a list of the best gifts for tween girls and boys to help you get the ideas flowing.
When it comes to creating a magical Christmas morning, start things off right with stockings loaded with gifts picked just for your children.
We've come up with a list of the top toddler Christmas toys for both boys and girls that will bring learning and laughter for years to come. These toys will help your child explore their world and expand their imaginations.
From rocking horses to small-scale motorized cars, ride-on toys not only satisfy a young one's need for speed, but they also encourage outdoor activity and build confidence. If you're looking for ideas for the little ones on your Christmas list, consider these suggestions to find a perfect gift.
In the hurry and flurry of Christmas Day, don't overlook the gifts found in Christmas stockings. Stocking stuffers are usually smaller and less expensive than what you put under the tree, but they're a thoughtful and ideal way to celebrate the personality or interests of those on your list. Peruse our options and you'll be ready to grant the holiday wishes of the special people in your life.
Are you looking for the best toys for girls this Christmas? Be sure to put a few of these top gift ideas on your shopping list. Shop our huge assortment of toys at Overstock.com.
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Pinwheel House
The Pinwheel House was designed by Peter Blake, architect and writer, as a vacation residence for his family. Blake and his wife used it primarily during the summer months; the house was not retrofitted with central heating and therefore its use was restricted to the warm seasons.
Following his post as curator of architecture and industrial design at the Museum of Modern Art, Blake designed the Pinwheel House in the Modern tradition and employed aesthetics characteristic of the humanized functionalism emerging at the time.
The original Pinwheel House was constructed using steel framing with concrete-reinforced columns. It measured 24' x 24' in a square layout elevated on 4' steel stilts grounded by a base of concrete blocks set on concrete slab with a caisson foundation system. The main living spaces of the house were set within the elevated level. A bathroom and an additional sleeping space were contained within the below-ground area which doubled as a base platform made of concrete blocks measuring approximately one-third of the size of the upper level.
The defining feature of the house was its wall configuration: the four walls were composed of a system of large floor-to-ceiling glass windows and plywood panels. Both the quarter-inch-thick plate-glass windows and the 8' x 18' white-painted plywood panels were mounted on a metal track system running the length of each facade. These walls could slide along the track, allowing the resident to decide how much or how little air and light to let in. When all four wooden panels were extended at once, it gave the house the appearance of a pinwheel in plan. And although the plywood panels extended beyond the corner framing, the glass window tracks terminated at the structural beams of the house's corners.
Peter Blake purchased one acre of land and built the Pinwheel House on four-foot-high stilts to grant a slightly elevated position that would afford better views of Hayground Cove to the east, Mecox Bay to the south as well as the immediate landscape: a potato field. Period photographs depict the stark openness of the landscape with its low-lying brush, coarse, sandy soil, and flat ground plane. These photographs also show little residential development in the vicinity.
The industrial materials used to construct the Pinwheel House- glass, plywood, aluminum and concrete- embody the Modern sensibility that championed economic and technological efficiency (the Pinwheel House cost ~$8,000 to build). The sliding window and panel system was unique and demonstrated not only Blake's creativity but the sophistication made possible by advances in mid-century engineering technology as well. The system symbolizes a departure from traditional load-bearing masonry and even early steel framing in that the wall substrate is nearly entirely dematerialized.
The Pinwheel House design also personifies the Modernist appreciation for eliminating boundaries between the exterior and interior and its open floor plan enhanced the visual transition between interior and exterior. It also facilitated the physical use of the interior. To achieve optimal dematerialization of visual barriers, Blake utilized the extended window shade-panels to redirect the perception of the house's x-y axis to an angular axial dynamic radiating in four directions. Blake was conscious of the panels' visual effect on the viewer's eye and carefully curated the interior layout and offset the panel placement to avoid inhibiting views of the landscape.
Blake's design priority with the Pinwheel House was to integrate it with the landscape. Built as a vacation home, the Pinwheel House was meant for leisure, entertaining, and relaxation; it expresses the postwar prosperity of the American white middle class, as well as its desire for serenity and respite from urban life. The layout reflects an important shift in lifestyle in which leisure and its trappings reigned supreme. One enters the house via an entrance "bridge" or ramp and immediately encounters the kitchen and living room, indicating that the kitchen is part of the main living space. The kitchen area is open to the living room and dining space on either side which reflects the sentiment that the kitchen was not treated as a private domain, relegated to a far corner of the house and accessed via corridor by servants. Rather, the Pinwheel House kitchen represents a moment in which guests were not only allowed to see the working space but the location of the dining and seating areas set in the kitchen area indicates that guests were also invited to take part in preparing meals, fixing cocktails and conversing with the host as he/she cooked. The cooking area of the kitchen faces the living and dining room spaces, enabling interaction and conversation between people in both spaces. This key shift has become commonplace yet in the 1950s it was truly groundbreaking. It set the tone for the Pinwheel House; the notion of easy, carefree living resounds throughout the open living space divided by only half-walls and partitions, the location of a sleeping area adjacent to the kitchen, the transition between upper and lower floors, the bathroom location on the lower floor - all of these factors suggest an integrated plan in which the house was entirely accessible. This departure from the traditional hierarchy of residential spaces is emblematic of a shift in the dynamics of family life and way of living. Blake's design lends to the communal, shared exchanges between residents, with the bedrooms serving as unheralded areas for the sole function of sleeping. This heightened functionality and realism were trademarks of the Modern movement. Furthermore, they embody the growth of the middle class prominence and tailoring design to suit the desires of that class. This is a house conceived with a family in mind and planned according to fit family life in the summertime.
Jackson Pollock, famed abstract expressionist painter, was a friend of Peter Blake and the two had summer residences nearby in the Hamptons of Long Island. The two maintained a professional and personal relationship. They worked together on numerous designs including the "Project for an Ideal Museum" exhibited at the Betty Parsons Gallery in New York in 1949. Blake and Pollock conceived a plan to paint the four sliding walls of the Pinwheel House but that plan was never realized.
The Pinwheel House represented the initial wave of the arts community from New York City building inexpensive homes in the Hamptons of Long Island. Subsequent to this initial wave, a more affluent group of middle class, then upper class New Yorkers began to build houses in the Hamptons. The desire of these later seasonal visitors for larger homes has put small modest homes like the Pinwheel House under threat of demolition for redevelopment.
The Pinwheel House is a two story summer residence in the Modernist style. It appears to grow out of the land and dissolve into the viewscape simultaneously. This is achieved through the combination of rectilinear planarity mimicking the site in contrast to the transparency lent by the windows and the minimization of the opaque construction materials. The plan inverts the layout of traditional New England residences, which typically have the communal spaces on the ground floor and the living quarters above. At the Pinwheel House, the main living areas (kitchen and living room) on the ground floor while the bedrooms are relegated below ground. The cooking area of the kitchen faces the living and dining room spaces, enabling interaction and conversation between people in either space. This move gives the appearance that the house is a single story house. Blake's design lends to the communal, shared exchanges between residents. The open floor plan also enhanced the visual transition between interior and exterior, following the Modernist theme of reducing architectural boundaries between the exterior and interior. Another tactic that Blake employed to achieve optimal dissolution of barriers was to use the extended panels to redirect the perception of the house's x-y axis to an angular axial dynamic radiating in four directions. Blake was conscious of the panels' visual effect on the viewer's eye and carefully curated the interior layout and offset the panel placement to avoid inhibiting views of the landscape.
With its flat roof, square layout, and rectangular "pinwheel" panels, Blake's design is a composition of geometric forms. Its pared detailing, lack of superfluous ornamentation, and deliberate appreciation of its structural elements reflect the architectural functionalism common to Modernism. Furthermore, the cubic form, open plan configuration and prominent use of glass in the facade are reminiscent of the style pioneered by Frank Lloyd Wright and Rudolph Schindler and inherited by Charles and Ray Eames and Pierre Koenig in the California Case Study Houses as well as Paul Rudolph's Walker Guest House in Florida.
The influence of these designers is natural given Blake's association with the Museum of Modern Art and Architectural Forum in the early 1950s. As curator and critic, Blake closely analyzed such designs. Furthermore, he traveled in social circles which allowed him to visit and experience those of his contemporaries. In his autobiography, Blake recounts 'we were a very small group, and we all knew one another...There were so few of us that we saw one another constantly.' This group includes Marcel Breuer, Philip Johnson, John Johansen, Landis Gores, Ulrich Franzen, Edward Larabee Barnes and Paul Rudolph among others. This generation of architects were key players in the intellectual avant-garde scene of the period. Blake describes their lifestyle as one in which they were 'hanging out in the same bars and restaurants; going to the same parties; swapping wives, husbands, girlfriends, boyfriends; and sharing some of the same political interests.' The Pinwheel House provided a setting in which they could carry out this free-spirited way of life.
The Pinwheel House has significance in the context of the development of the Modern movement, particularly in the vein of "good-life Modernism" and the growth of the functionalist aesthetic in residential architecture. A product of its time period, the Pinwheel House parallels the emerging sense of self explored in the Abstract Expressionism of painters like Pollock and Robert Motherwell. Like contemporary work by Koenig, Rudolph, and the Eames duo, the Pinwheel House received much acclaim because it brought new freedom to architecture and blurred the line between architecture, art and experience. It crosses the boundary from architecture into art because of the aesthetic, experiential nature of its conception and execution. It is a notable example of architectural discovery on the part of Peter Blake; one that invites human interaction and reaction.
Books: Blake, Peter, No Place Like Utopia: Modern Architecture and the Company We Kept, New York; W.W. Norton & Co; 1996. Curtis, William J. R., Modern Architecture Since 1900, Second Edition, Englewood Cliffs, NJ; Prentice-Hall, Inc.; 1982. Gordon, Alastair, Weekend Utopia: Modern Living in the Hamptons, New York; Princeton Architectural Press; 2001. Hitchcock, Henry Russell and Philip Johnson, The International Style, New York; W.W. Norton & Co.; 1966. Peter Blake architectural records and papers, Dept. of Drawings & Archives, Avery Architectural and Fine Arts Library, Columbia University, Accessed 31 January 2011 and 1 February 2011. Webb, Michael, Modernism Reborn: Mid-century American Houses, New York; Universe Publishing; 2001. Wright, Gwendolyn, Building the Dream: A Social History of Housing in America, Cambridge; The MIT Press; 1983.
Articles: Cotsalas, Valerie. "Who Needs the Riviera?" The New York Times, USA, 29 May 2005. Gordon, Alastair."The 10 Best Houses in the Hamptons" The New York Observer, USA, 1 July 2001. Gordon, Alastair. "Blake Canvas" Dwell, USA, June 2007, pp. 129-136. Jarzombek, Mark, "Good-Life Modernism and Beyond: The American House in the 1950s and 1960s", The Cornell Journal of Architecture, Number 4; Fall 1990. Kimball, Roger, "Going Nowhere with Peter Blake" The New Criterion, Volume 12, USA, January 1994, pp. 9. Moonan, Wendy, "Pillars of Modern Architecture That Stand the Test of Time" The New York Times, USA, 15 November 1998.
Websites: Stelle Architects "Blake Addition" Stelle Architects website, accessed 1 February 2011.


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Page 1
|1 of 108
Object Description
|News clippings re: Eastern Airlines [folder 6 of 8], 1984
|Date of original
|Wills, Carolyn Lee
|Scope note
|The Eastern Airlines Collection, 1927-2008 (bulk 1965-2008), consists of news clippings, press releases, newsletters, annual reports, monthly reports, correspondence, memoranda, photographs, slides, an early scrapbook (or day book), artifacts (promotional items) and audiovisual materials. This collection mainly provides insight into publicity and outreach efforts at Eastern Airlines, but also its history, charitable work, and day-to-day operations. The materials were accumulated by Carolyn Lee Wills, who worked in the Public Relations Department of Eastern's Southern Regional Office from 1965 until 1987.
|Biographical or historical note
|Carolyn Lee Wills graduated from Georgia State University, where she studied journalism, history and speech. She also participated in many extra-curricular activities including Panhellenic Council, Delta Zeta Sorority, and yearbook. Before she began her work at Eastern Airlines, she traveled extensively throughout Europe, Asia, North and South America, Jamaica, the Bahamas, and Bermuda.; In 1965, Wills joined Eastern Airlines as a Representative of Women's Activities. In this role, she interpreted the company's program to women by working in the fields of fashion, radio, television, public relations, and promotions. In 1971, Wills became made Regional Manager of Public Relations. Eastern Airlines closed its Atlanta offices in November 1973, but found it difficult to cover their public relations needs in Atlanta from their headquarters in Miami. Four months after closing, Wills was re-hired by Eastern to manage the Southern Division covering Atlanta to Tokyo. While employed by Eastern Airlines, Wills served on many boards including American Women in Radio and Television, Georgia State University Alumni Association, and was a national representative of Delta Zeta Sorority. In 1966, she married attorney Charles H. Wills. The earliest incarnation of Eastern Airlines was Pitcairn Aviation, founded in 1927, which was the U.S. Postal Service contractor flying from New York to Atlanta. In 1930, the carrier was sold to North American Aviation owner Clement Keys and was renamed Eastern Air Transport. It soon added passenger routes and adopted the name Eastern Air Lines. Throughout the pre-World War II era, Eastern dominated passenger travel and air transport along the Atlantic coast, including the introduction of one-day service from New York to Miami in 1932. Famed pilot Eddie Rickenbacker bought the company in 1938 and was closely identified with it until his 1963 retirement. During the air travel boom of the 1950s and 1960s, Eastern Airlines grew into one of the ""Big Four"" United States carriers, enhancing its status as the lead air travel carrier on domestic east coast flights with the introduction of air shuttle service in 1961. Shuttle service was created as an alternative to bus routes and included hourly flights from Atlanta to Washington D.C., New York, and Boston. During this time, Eastern Airlines also expanded international service to Mexico, Bermuda, Puerto Rico, and Canada. Under the leadership of former astronaut Frank Borman (hired as an advisor in 1969, he became Chief Executive Officer in 1975), Eastern Airlines enjoyed continued successes in the industry until the enactment of the Airline Deregulation Act of 1978.; Beginning with Eastern's early U.S. Postal Service government contract, the company had relied upon the regulated and protective policies governing the airline industry. Without government protection, Eastern's profits began to make a downward turn that eventually culminated in the selling of the company to Texas Air International, headed by Frank Lorenzo. Following deregulation, Lorenzo was able to purchase multiple airlines including Continental, Frontier, New York Air, and Eastern. To cut costs in the midst of declining profits, Lorenzo asked Eastern's union employees to take massive pay cuts in wages and benefits. Union workers refused to accept Lorenzo's demands and opted to go on strike. By claiming bankruptcy in 1989, Lorenzo was able to hire non-union workers to fill the jobs of striking employees. Lorenzo took his demands a step further when he asked the machinists' union to take a pay cut, which resulted in another strike that dealt the final blow to any hope that Eastern Airlines would recover lost profits. In 1991, Eastern Airlines was permanently grounded. Eastern's main hubs in Atlanta and Miami were taken over by various competitors and its concourses in New York and Newark were demolished.
Aeronautics, Commercial
Airlines--Public relations
|Subject (names)
Eastern Air Lines. Southern Region Public Relations Office
Eastern Air Lines
|Location depicted
Atlanta (Ga.)
Fulton County (Ga.)
United States
|SERIES III: Publicity, 1951-2008
|Carolyn Lee Wills collection of Eastern Airlines' Southern Region Public Relations Office records
|Curatorial area
|Southern Labor Archives
|Digital publisher
|Georgia State University Library
|Finding aid
|Rights information
|These materials, gathered by the donor from many sources, have been digitized for preservation purposes and are being made available on the Internet for scholarship, educational, and personal use only. These materials document a thematic assemblage of manuscript, photographic, and printed research materials, and neither the donor nor Georgia State University claims ownership of the intellectual property rights for printed materials not created by the donor or Georgia State University. If you are a copyright holder of any part of the content and believe that that content should not be made publicly available, please contact Special Collections and Archives.
|L1986-27_15_06, Carolyn Lee Wills collection of Eastern Airlines' Southern Region Public Relations Office records, Southern Labor Archives. Special Collections and Archives, Georgia State University.
|Source format
|files (document groupings)


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For former teacher and "Chicken Soup for the Classroom" co-author Anna Unkovich, a "nightmare" teaching moment was the key to a more open classroom and sharing stories. This is Anna's story.
It was a teacher's nightmare—five minutes left in the class period, with a rowdy group of seventh graders. As a veteran educator, I always over-planned my lessons by 15-20 minutes, but something had gone wrong that morning. It was the first day back to school following a two-week Christmas break, and none of us were back in the classroom "groove" yet.
My personal mission as a teacher was "to change the world, one student at a time." Ironically, it was in this desperate teaching moment that I found a tool that would have the greatest impact on my students' lives.
I looked at the clock, looked at my students, looked at the clock, and looked at my desk for anything that might magically fill the minutes. Sitting there was a Christmas present—Chicken Soup for the Soul. I grabbed it, randomly opened it to page 259 and began reading a true story of determination.
I finished the story moments before the dismissal bell, breathed a sigh of relief, and thought nothing more of the matter. The next day, several of my students walked into class requesting more of that "Chicken Soup thing…" By this time, I had read several of the stories, and found them all to have wonderful messages of hope, determination, kindness, laughter, love, and life. Since each story took only two or three minutes to read, I felt it was not significantly taking time away from content. Plus even my most disruptive students settled down for this story routine that ended each class period.
Thus began a classroom journey that had some very surprising side effects. In hindsight, I think it was what Jack Canfield calls "emotional literacy." Without realizing it, by reading these stories each day, I was creating a classroom environment where it was safe to access and express feelings. And, even more importantly, I was modeling this behavior for my students. If I read a sad story, I cried. At first, my students were mortified to see a teacher crying. Later, they would sometimes request a "cry story." With other stories, we might laugh so hard we would almost pee our pants!
Without ever talking about it, we were sharing our feelings on a daily basis, much as a family would do. And, slowly, we became a family. Each of my five classes developed its own unique classroom bond.
Weeks passed, and I saw that my students were treating each other more respectfully. Within months, I noticed changes in the hallways throughout the school. Following a story about a potential suicide, I saw students help to pick up dropped books, rather than to kick them down the hallway, laughing. The mother of a learning disabled student almost ran me over in a parking lot. "What have you done to my daughter? She has never read a book in her life, and now she wants me to buy her this Chicken Soup thing… What is it?" Non-readers were becoming readers because they couldn't wait till the next day for a story.
I came to realize that my students were happiest when experiencing the full range of emotions that these stories brought forth. So, occasionally I would have them write about these feelings as classroom warm-ups. Sometimes I would choose longer stories, or make the story the focus of the lesson plan, rather than ending the class with this thought for the day. I didn't want this to become work for them, or something to dread. It was important that my students welcome these stories, and, ultimately, the messages they contained. And, the frequency was crucial in creating the behavioral changes.
Understanding the power of this daily story process planted a seed for reaching more students. I approached Jack Canfield at a book signing to suggest that we co-author a book, Chicken Soup for the Soul in the Classroom—a book of stories, lesson plans, and activities for teachers. Exactly four years later, to the day, I had my first book signing in the same store. Together, we are now "changing the world, one student at a time, and one story at a time."
Five Things You Can Do To Foster Happiness in Your Classrooms
Creating an emotionally honest and safe learning environment may not be easy, but Anna lends you a hand with her insightful guide to fostering happiness in your classroom.
- Create a climate where students feel safe to experience a wide range of feelings. They cannot express joy without also accessing their sorrow, anger, or frustration. In addition, they must learn how to communicate these feelings in appropriate ways. Ultimately, this empowers them to cope with life.
- Read to students at every level, every day. My college students enjoy hearing a good story as much as my younger students did. Stories make heart-to-heart connections: student-to-self, student-to-student, and student-to-teacher. Stories provide a quick access to feelings, and follow-up writing is a good way to express these emotions.
- Research shows that successful people read. You need not be an English teacher to model reading for your students. I know math, Spanish, and science teachers who regularly read to their students. You can read short, motivational stories, or pages from a book that relate to your subject matter—perhaps a book on Nikola Tesla, President Obama, or anyone who captures your passion, for it is your passion that will shine through and connect with your students.
- Choose stories that present the messages that you desire—stories of hope, determination, overcoming obstacles—true stories of personal empowerment. For me, the daily dose of Chicken Soup significantly and positively changed classroom behavior. Lost time spent reading more than compensated for less time spent disciplining.
- Practice random acts of kindness, and create classroom projects where students can experience the joyfulness of giving, and where they recognize their connection with, and responsibility toward others on this planet.
- Next Using Technology to Create Student-Centered Learning Environment
- Previous The Innovative Teacher


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Watch These Twins Babies Who Have Their Own Language — Daily Distraction
[onescreen item="5068968″]
Maybe it's true that twins have special powers the rest of us lack.
They say twins sometimes have a psychic connection, and after watching these clips, it's hard to argue with that. What sounds to most of us like a series of "goo"s and "gah"s and the like is actually a layered, intelligent back-and-forth between equals. Exact equals. Because they're identical, you see.
The Daily Distraction is your Internet break from reality. Whether you're eating lunch at your desk or avoiding high school exes on Facebook, you might just laugh, say "aaahhh" or not believe what you just watched.


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Moderators: Three Stars, dagny, pfim, netwolf
Sam's Drunk Dog wrote:Sports talk radio should be delicious this morning
Troy Loney wrote:So has philly turned their attention to the NBA in their desperate search for a winner?
shafnutz05 wrote:The best part is, Vick's criminal brother Marcus was sending out unreal tweets during the game, talking about how the Eagles need to trade Vick, bashing the O-line, etc. In the post-game presser, a reporter actually asked him about the Tweets his brother sent out, which he obviously hadn't known about.
That was one of the few times I felt bad for Vick.
Froggy wrote:carson palmer is a heartless p-word
FreeCandy44 wrote:Froggy wrote:carson palmer is a heartless p-word
I still can't figure out how the Steelers lost to this horrible Raiders team.
Geezer wrote:Palmer's ready to begin his career as a back up QB like others who aren't starting material(see B Leftwich)
columbia wrote:
shafnutz05 wrote:Mercury Morris has the champagne on ice
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