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Review: "Pondling" at 59E59 Theaters/
David Roberts
"Miss Madeleine, be free, courageous, be beautiful and be the best swan in the pond. And Johnno Boyle O'Connor will be entirely yours." (The swan on the pond to Madeline)
If the world we are born into and expected to flourish in fails us, we sometimes need an alternate place to inhabit where we can find nurture and acceptance, and surcease from our emotional and spiritual pain. Madeleine's world in Froam fails her miserably and she creates an alternative universe and a persona that rescue her from the dreariness and falsehood of her mundane life. She dons new raven black shoes to woo her intended beau Johnno Boyle O'Connor and fantasizes killing his "long armed girlfriend." Madeleine fuels her imagination with frequent visits to "Mrs. Green's second hand shop [where she] collects all sorts, teacups and matching saucers, small figurines of animals getting in and out of little shoes or maybe a framed display of rare and exotic moths." It is at Mrs. Green's that she also finds the workout video that assists Madeleine in her quest to be "proud, brave, and beautiful."
Fantasy and reality clash with splendid results in Genevieve Hulme-Beaman's extraordinary "Pondling" currently running at 59E59 Theaters as part of the 2015 1st Irish Theatre Festival. The audience enters the dark and often disturbing fantasy world of Madeleine the young girl routinely excluded from the nightly "long conversations about poetry and killing animals" by her cattle farmer grandfather and her brother who gave her busy work to "distract her from her uselessness." The men "couldn't kill anything, they just liked to 'talk the talk.'" Madeleine, on the other hand, can "capture and kill the stray cat that scared the chickens at night" and "pull the head off a chicken" so her friend Katie can be assured the chicken's body "could still run around afterwards." Madeleine also learns the magical powers of tansy ragwort (will not spoil that scene!). This is one brave young woman.
Hints of Madeleine's age permeate Ms. Hulme-Beaman's brilliantly written short play (listen for comments about her hair and her preferred mode of transportation) for which she won the Best Actress Award at the 2013 Dublin Fringe. But whatever Madeleine's chronological age, it is light years away from the age of her vivid and irrepressible imagination and her obsessive and sometimes delusional longing for Johnno Boyle O'Connor.
It is not just the creation of fantasy that sustains Madeleine. She lives in a world of magical realism where swans engage her in conversation and ponds become tropes for alternate and parallel universes where "inside her little round head is something else, something very beautiful. A beautiful French swan girl by the name of Madeleine Humble Butter Cup." Magical realism is a fragile genre of writing and playwrights often shy away from its charms and the danger of "destroying the lines of demarcation that separates what seems real from what seems fantastic" (Gabriel Garcia Marquez). Ms. Hulme-Beaman understands those lines completely and navigates the realm of magical realism with impressive skill.
Madeleine's visit to Anne Marie Coleman's majestic home (with an en suite bathroom) in search of a surrogate mother and her singing "If You Love Me" (Edith Piaf's "Hymne à l'amour") are two of many scenes in "Pondling" that exemplify Madeleine's deep sadness and longing for acceptance. In these scenes – as well as in others – Ms. Hulme-Beaman displays her craft at writing with rich imagery and refreshing figurative language as well as her treasure trove of sparkling tropes.
What makes "Pondling" so delightful – in addition to its thoughtful and intelligent appeal – is the remarkable writing and performance craft of Genevieve Hulme-Beaman. From the first sentence the audience hears and the first movement the audience sees, one is fully aware that something spectacular is about to happen on stage. Under Paul Meade's exquisite and detailed direction, Ms. Hulme-Beaman has the ability to transform the space she inhabits on stage to a world of fantasy and imagination that draws the audience in Madeleine's world of longing and deep and abiding sadness, sadness that might only have one opportunity for resolution. See this remarkable play and decide what that choice might or might not have been.
"Pondling" is presented by Guna Nua Theatre Company and Ramblinman and runs through Sunday October 4 at 59E59 Theaters at 59 East 59th Street (between Madison and Park) on the following schedule: Tuesday – Thursday at 7:30 p.m., Friday at 8:30 p.m., Saturday at 2:30 p.m. and 8:30 p.m., and Sunday at 3:30 p.m. and 7:30 p.m. Tickets are $25.00 ($17.50 for 59E59 Members). To purchase tickets call 212-279-4200 or visit www.59e59.org. Production photos by Paul McCarthy. Running time is 70 minutes with no intermission


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Audiences can't stand Darren Aronofsky's new allegorical horror film, "Mother!," starring Jennifer Lawrence and Javier Bardem.
CinemaScore, which conducts exit polls of audience opinion on opening nights, recently gave the film the dreaded "F" rating — its lowest.
Just how bad is that?
There have only been 19 films that have ever received an "F" rating, including "Mother!," since CinemaScore started logging data in 1986, according to Vulture.
Some of the films to receive CinemaScore's lowest rating include both Nicholas Cage's disastrous "The Wicker Man," and the woeful early aughts thriller "Fear Dot Com."
"Mother!" has been polarizing, with some critics loving it and others hating it. It currently has a 67% on Rotten Tomatoes, which tallies up what critics thought. But the audience has spoken, and the verdict is "F."
To put that in context, here's a list of the only 19 films that have received an "F" rating from CinemaScore:
Lindsey Lohan stars in this major box office flop as high school student Audrey Flemming who goes missing. But when Aubrey turns up two weeks later, she claims to be someone else entirely.
Aubrey, who claims she is Dakota Moss, goes on a mission to prove who she really is.
Richard Gere plays Texas gynecologist "Dr. T," who cares for the wealthiest women in Texas, but his life turns upside down when his wife is admitted into a mental institution. Dr. T is forced to deal with his upcoming daughter's wedding, despite the fact that she is lesbian, and he only finds comfort in his golf instructor Bree.
Sergeant Neil Howie travels to Summerisle after receiving a tip that a missing woman is on the island in an anonymous letter. Howie is surprised to find that the strange island is full of women, and soon realizes the anonymous tip was a part of a bigger ploy to get him on the island.
Academy Award-winner Jennifer Lawrence plays a housewife obsessed with renovating her isolated house, who has her world turned upside down when her husband (Javier Bardem) invites strangers to stay inside the home.
"Mother!" has received mixed reviews since it opened, but became CinemaScore's newest "F" rated film.

subset: commoncrawl


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The Wrong Sort Of Jew?
PREDICTABLE AS THE TIDE, we were all poised for the next wave of false accusations of antisemitism, timed for the run-up to the local elections and aimed at Jeremy Corbyn. Arrive it did, but with a sting in the tale.
Fearful of the new voice on the block which threatens to puncture their narrative that the Labour Party is awash with antisemitism, the right wing added Jewish Voice for Labour to their targets. I was duly removed by 'administrative suspension', by letter from Sam Matthews, Head of Disputes. As the hapless figurehead secretary I discovered I had become an antisemite and must hate myself. That my family fled the pogroms, that my lifelong partner lost a generation of her family to the Holocaust, that I have been on the executive of the widely respected Jews for Justice for Palestinians for over a decade, count for nothing.
All of a sudden I am supposed to have flipped to make common cause with my family's annihilators. On the basis of anonymous "allegations (which) relate to comments made on social media that may be in (sic) antisemitic", I was plunged into suspension: barred from any party meetings including annual conference because of my "conduct", or because my presence at branch meetings may be "detrimental to the party". This, despite the fact that there have been no complaints about me since I joined my local branch nearly two years ago, and having been a very active member.
I posted up the dreaded letter with the caption "Now they are going for JVL." It went viral and within hours there was a chorus of angry voices, letters to the disputes committee, motions passed through party branches, support from senior members of the party, a statement signed by 100 plus - a veritable rolling campaign. Then a second email dropped into my inbox to inform me that I had been reinstated; the reason was "it would not be in the party's interests to pursue further disciplinary action." No explanation, no apology for the defamatory allegation. The purpose of 'administrative suspension' is that it is an emergency measure to prevent serious abuse or disruption. To put me in this category is abusive and insulting.
There is a very serious development of racism and antisemitism across Europe, and this crying wolf for sectional interests is a shocking undermining of the lessons of history. This disgraceful disciplinary process, and those who exploit it, must be rooted out and the Chakrabarti recommendations implemented as a matter of urgency.
is General Secretary of Jewish Voice for Labour.


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Sometimes, the things that don't come so easy to us are really the things we need to work on.
This is a concept I've been thinking about since it was brought up in a yoga class (a place where things like this are often discussed).
To think about it from a yoga perspective, say you're very very flexible. I am very, very flexible. I can put my foot behind my head. I can do splits, oversplits, splits with my food behind my head. I love when teachers lead classes where we do lots of things like this.
But when it comes to strength, I'm not so advanced. I struggle with the yoga push-ups, and arm balances don't come easy to me. I'm also deathly afraid of doing headstands. I start to get a panicky feeling when I invert like that.
Interestingly, in my personal life, I'm almost the opposite. In terms of food and relationships, I have a steely "hold a pushup for 15 hours" sort of strength.
But often, that strength is rigid, methodical, and without flexibility. It means that if people don't meet my standards in a relationship, I can be very hard and unforgiving. It means that when a food situation isn't what I want, I can be unyielding. I can resist certain foods for weeks. I can count my calories 500 times a day and make detailed lists of what I should or should not have eaten. I can have a plan of what I will order at any restaurant 2 weeks in advance. Suffice it to say I'm not the easiest person to breezily say "hey, let's get thai food" to without it being pre-planned.
So in the case of yoga, I don't need a lot of help with flexibility. With food, I don't need a lot of help with strength.
The strength and resolve that I have with food can be helpful in certain situations. You'd never accuse me of being someone without willpower. But when it comes to what I need to work on with food, it's not strength, it's flexibility.
What is your "work"?
I consider myself mostly recovered from my eating disorder. I haven't had a bulimic or anorexic episode in years, at this point. But does that mean I'm the super cool recovered girl who eats intuitively and naturally, is completely at ease around food?
Not yet, because there is still work to do.
So here are some examples of what I consider my "work" with recovery. At a certain point in my disordered eating, these things probably would have seemed trivial and like a piece of cake compared to bulimic episodes or starving myself.
Because it's not just about not having episodes, at this point in my recovery. It's about working on the thinking that gets me to those places. And this work is vital in ensuring that I maintain the bigger and more glamorous work I've done (breaking free from anorexia; not vomiting as a bulimic anymore).
Things that I need to work on, and how I'm working on them.
1. More flexibility about eating with others.
The issue: I still get very anxious about eating with others, especially in small groups. If someone invites me over for dinner and I don't know exactly what they are serving, it creates an anxiety response. I will try to eat "safe" foods all day so that nothing will faze me at dinner.
How I can work on it: Eat with others more, plain and simple. Don't resist opportunities with others, or flake out at the last minute because I'm panicked about eating with them. Even when it feels difficult and scary. ESPECIALLY when it feels difficult and scary.
2. More flexibility about eating by myself.
The issue: When I am in control of what I eat for meals (which is often), I am pretty rigid. I can get in habits of eating the same combination of foods (or a very limited "palette") for weeks at a time. Bread with peanut butter for breakfast. An apple and a cupcake for lunch. A sweet potato with kale and veggie sausage for dinner. A beer or glass of wine every other day. The same foods, the same plates, the same cutlery, that I trust. For some reason, eating the same foods feels "safe" to me. I think that sometimes, there can be a comfort in this. But I recognize that it's a problem because when something happens to threaten my regularly scheduled eating, I feel panicky.
How I can work on it: Don't eat the same thing every day. I have been experimenting with widening my "palette" of safe and available foods, so that I can paint more interesting meals. I have started having a not-very-strict rule of not eating the same thing two days in a row. I also can't use the same plates every time. This helps me eat different things and not fall into a strict set of when, how, and what I eat. By doing this by myself, I feel that it is making me more able to reach out to be less strict and rule-based in other areas of my life.
3. Losing the fear of unfamiliar.
The issue: This ties in closely with #1 , but it extends beyond food. I tend to stick with the familiar. Whether it's the same foods, the same yoga class on the same day, the same walking path, the same brand of dish detergent. The unfamiliar seems annoying and weird, and like if I take a chance on something different, I might be disappointed or it might not work out. So what do I do? I don't do the new thing.
How I can work on it: Fairly similarly to the above. I try to do things a little differently. The changes don't have to be huge. Like, instead of the section of the walking path I always take, I start at a different point. Just to mix things up a little. Instead of buying my bread here, I try the bread from there.
4. Stop believing that people are secretly conspiring.
The issue: As it turns out, I am a bit of a conspiracy theorist! I can't order a fountain Diet Coke, because I secretly worry that the server won't listen and will bring me a highly caloric regular Coke. I order dressing on the side because I don't trust restaurants to not put too much dressing on (though maybe this worry is founded, because I find over-dressed salads gross, and not just because I'm scared of the dressing calories).
How I can work on it: I think that the work on #2 and #3 are really helpful in this regard. By expanding the circle of foods and things that are acceptable to me, it makes me less fearful of going "off-path". While I'm not sure if I will ever lose the Diet Coke fear, I think that maybe the idea of being delivered a regular coke might be less cataclysmic with time.
5. Exercise compulsion.
The issue: While I don't exercise for 6 hours a day, I do get a feeling that all is not right in the world if I don't have my usual yoga class on a daily basis. If something comes along that threatens that schedule, I really don't like it and I don't feel quite like myself until I am back on schedule. So while it's not necessarily the quantity, it's the need to have that exercise and a feeling like I have failed if I do not.
How I can work on it: If I feel like I have to go to yoga, sometimes I don't. I'm not going to disappoint a teacher or classmates to the point of head shaking if I miss a yoga class. Sometimes, it's exactly when I feel like I have to do something that this is the exact moment to take a break. Like right now, I am feeling like I should go to a yoga class instead of writing this. But I've resisted the urge and decided to go to yoga later instead of right now. And I think it will be OK.
6. Counting calories.
The issue: I'm still guilty of counting calories when I feel stressed. It's a go-to soothing activity to me. But it's really not soothing in the long run, because it often invokes even more stress in the long run, prompting me to count and recount, rethink what I ate and where I went "wrong", oh, did I have too much peanut butter on my bread today?
How I can work on it: By following my own advice, from this post. Counting calories isn't something that I can't do, but I can choose to do it in a less compulsive way, or to do it less.
7. Comparing myself to others.
The issue: I'm a huge compare-r. Oh my god. I compare myself to the person next to me in yoga, the person in front of me at the movie theater. On a food level, I compare myself to the people who live with me, the people I love. If my romantic partner hasn't eaten breakfast and I have, it just about kills me. I feel like I have "failed" because I have eaten, oh my god, x many more calories than him today. It doesn't help that he is one of those people who "forgets" to eat breakfast (WHO ARE YOU?). I'll compare what I've ordered at a restaurant compared to my companion(s), the emptiness of my plate to others at a dinner party. While I believe that some of this is common, what is not cool is basing how good I feel on how well I have performed compared to others.
How I can work on it: By focusing on the world at large, rather than putting myself and others under a microscope. Once again, I think that the work of #2 and #3 - basically, branching out and trying new things or breaking out of my rigid shell, is huge here.
8. Remember that my actions affect others.
The issue: This is hard to admit to myself, but: it's not all about me. Even while I live in my world and it feels like everything is swirling around me, it's not all about me. There are other people out there, and actually, my rigidity can affect them, too. It's not fun for my romantic partner, who has other things in his head, when I am being crazy because he hasn't eaten breakfast. I mean, he has other things going on too, right? When I am counting calories in my head and not being present while sharing a meal with someone, I am really not being fair to them or giving them my full attention.
How I can work on it: To give others respect, to listen to them, and to be good to them. To include others in my world. To not shut people out. To invite them to cook, walk, do things with me. To engage.
10. Forgiveness.
The issue: I can be hard on people, and on myself, especially. Tenderness, compassion, forgiveness. I could use a lot of work on all of these things. I need to be kinder and more forgiving of others, and more forgiving of myself.
How I can work on it: To just do it. To forgive without over-thinking the complications. To be kind without wondering when someone will upset or disappoint me. Without condition. To trust people, and really mean it. This is exquisitely hard for me, so I think that the "just do it" method is kind of the best one to take.


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WWOR EMI Service
|Cable and satellite network
|United States
United States
|Where the Action is the Attraction!
Eastern Microwave, Incorporated (uplinker, 1965-1996; Superstation programmer, 1990-1996)
Advance Entertainment Corporation (uplinker and Superstation programmer, 1996)
Launch date
January 1, 1997
(Local version re-uplinked nationally less than a month later)
Former names
WWOR EMI Service was a New York City-based American cable television channel that operated as a superstation feed of Secaucus, New Jersey-licensed WWOR-TV (channel 9). The service was uplinked to satellite from Syracuse, New York by Eastern Microwave, Inc., who later sold the satellite distribution rights to the Advance Entertainment Corporation subsidiary of Advance Publications, a Syracuse-based company that also owned various newspaper, broadcast and cable television properties.
In the New York metropolitan area, the superstation feed was not available on local cable providers, but was available to satellite subscribers. The only exception to this took place on February 26, 1993 after the World Trade Center bombing, when the local WWOR's transmitter was knocked out for the day. Cable providers in the New York metro area used the superstation feed as a substitute until the transmitter returned to service.
History 1
- 1965 to January 1990 1.1
- Arrival of SyndEx 1.2
- Reversion to New York feed 1.3
- See also 2
- References 3
1965 to January 1990
In 1965, Eastern Microwave began relaying the signal of WOR-TV (channel 9) in New York City via microwave to cable providers located in markets immediately surrounding the New York City metropolitan area, reaching as far west as Buffalo, New York and as far south as Delaware, as well as throughout New England. In April 1979, Eastern began to uplink the signal for satellite and cable subscribers throughout the United States, joining WGN-TV in Chicago and WTBS (now WPCH-TV) in Atlanta as a national superstation. For the eleven years that followed, the programming seen on the national WOR-TV/WWOR-TV was the same as that seen on the New York area station's signal.
Arrival of SyndEx
In 1989, the Federal Communications Commission passed the "Syndication Exclusivity Rights rule" (or "SyndEx") into law. This law meant that whenever a local television station had the exclusive rights to broadcast a syndicated program, that particular program must be blacked out on any out-of-market stations that were carried by local cable providers. After the law was passed, EMI purchased the rights to programs that no stations had claimed exclusive rights to, and launched a special national feed for cable and satellite subscribers outside of the New York City market on January 1, 1990, called the "WWOR EMI Service". Most of the syndicated programs that WWOR-TV had the rights to show in the New York City market were covered up by the alternate programming shown on the national feed – with the exception of sporting events, local newscasts, The Joe Franklin Show, the overnight Shop at Home program, the annual United Cerebral Palsy Telethon, the annual Jerry Lewis MDA Labor Day Telethon for the Muscular Dystrophy Association, and a select number of programs that were not claimed as exclusive to any market. Most of the programs came from the Universal Television, MGM Television and Quinn Martin libraries, along with some shows from the Christian Science Monitor 's television service, as well as some holdover shows that had aired on the local New York feed before the SyndEx law's passage. This caused confusion among WWOR's cable viewers outside of the New York metropolitan area, as promotions during time periods in which the national feed was simulcasting WWOR's New York signal were left unaltered, leaving in promos for shows that were not airing on the national feed due to the SyndEx law.
When channel 9 became a UPN affiliate in 1995, the WWOR EMI Service also covered up the network's shows, due to Paramount (although the network's sole owner-turned-half owner Chris-Craft owned the station) using syndication exclusivity to keep UPN's shows off the national WWOR feed – in contrast, rival superstation WGN carried programming from The WB Television Network on its national feed until nationwide terrestrial coverage was deemed sufficient to discontinue its carriage over the national WGN feed in October 1999. As a result of the syndication exclusivity claims by UPN, if New York City viewers of WWOR saw Star Trek: Voyager, cable viewers throughout the rest of the country saw Hazel reruns in the same timeslot.
In mid-1996, EMI sold the satellite distribution rights to WWOR and Boston's WSBK-TV to Advance Entertainment Corporation. On January 1, 1997, AEC discontinued the feed,[1] selling WWOR's former satellite transponder slot to the Discovery Channel for the then six-month-old Animal Planet,[2] which Advance still presently owns in part.
Reversion to New York feed
Due to outcry from satellite dish owners who missed WWOR, the station was uplinked to satellite once again on a different transponder by National Programming Service, LLC less than a week after AEC's discontinuation of the WWOR national feed. The national feed was once again the same feed that New York City area viewers saw, with all of the syndicated programming and UPN network programs intact, due to the station now only being distributed outside of New York to satellite dish owners. Occasionally local cable providers picked up this feed to relay UPN to customers in markets where the network was unavailable, or in the case of several Sinclair Broadcast Group stations, was dropped and replaced with The WB. This feed was discontinued in 1999 in favor of distributing the national feed of Pax TV, but Dish Network (who previously carried the EMI feed from the provider's launch in mid-1996, until the feed was shut down at the end of that year) still carries the New York feed of WWOR on both the provider's local station package in the New York market and its superstation package across the rest of the country, except in markets where a local MyNetworkTV affiliate uses the SyndEx law to black out WWOR's programming from being available within the market.
See also
- WWOR-TV, the local version
- ^ McConville, Jim. "N.Y.'s WWOR loses super status; satellite distributor discontinues service contract with television station", Broadcasting & Cable, January 6, 1997. Retrieved February 24, 2011 from HighBeam Research.
- ^ Paikert, Charles. "Discovery dogs WWOR; Animal Planet gets leg up on Open Slots", Multichannel News, January 6, 1997. Retrieved February 24, 2011 from HighBeam Research.
- Defunct American television networks
- Superstations in the United States
- Television channels and stations established in 1979
- Television channels and stations disestablished in 1997
- English-language television stations in the United States
- Advance Publications
- Television stations in Connecticut
- Television stations in New Jersey
- Television stations in New York
- Defunct companies based in New York


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Hollywood Reporter For Sale, Pitched to NYT?
Times are tough for our friends in the print media — especially for the staff of the Hollywood Reporter, which has weathered shakeups and a redesign in the shadow of trade titan Variety. Now, from Sharon Waxman, comes word that the Reporter is going on the block (along with other Nielsen publications like Billboard and Adweek) and that one of the higher-ups has been pitching the paper to the New York Times:
According to a media executive with direct knowledge of the meeting, a principal in one of the Valcon private equity firms floated the idea of a purchase by The New York Times at a meeting of the Times' board of directors this week. (I cannot reveal the identity of the executive to protect the source, who spoke on condition of anonymity.)
But that doesn't sound like the right fit to me. The New York Times is not in the business-to-business business. And I'm not sure why a big media company saddled with a core print business would take on more dead-tree properties.
Duh, recycling money! Anybody got a few Diet Coke cans to kick over to the beleaguered folks at the Reporter?


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DEVELOPMENT: China Town Comes to Cape Town
Recent Western Cape Business News
PROPERTY company Redefine Income Fund has developed a retail centre adjoining the Ottery Hypermarket in Cape Town for a consortium made up of Chinese and local businessmen. The centre has been designed to accommodate tenants who offer for sale predominantly Chinese products.
The idea to build a China Town in the Cape Town came after the successful opening of three such shopping centres in Gauteng. Redefine's CEO, Brian Azizollahoff, says based on this, they are confident that a similar concept will work in Cape Town and will create a different retail asset to complement and enhance the Ottery Hypermarket node.
"The concept was hammered out over various meetings and because we had the opportunity to start from scratch, the Cape Town China Town differs substantially from the Johannesburg models in that it is more like a shopping centre, rather than a market," says Steve Kruger of the China Town Trust in which the Chinese consortium are partners.
"This kind of development would be impossible without the input of the Chinese partners as many of the tenants speak little English. Also, one needs an understanding of the Chinese demands and requirements, as well as their customs," notes Kruger.
The consortium holds the lease over the entire centre which comprises approximately 7 500sq m of gross lettable area, and is made up of 48 retail units varying from 50 to 200sq m, all of which have been let.
The centre will be a place where importers of everything Chinese; from food products, clothing and household goods, to furniture, electrical appliances and fabrics, will be able to sell their wares to the public and local traders.
Developed for Redefine by Madison Property Fund Managers, all the design aspects of the centre were overseen by the Chinatown Trust.
China Town has been built diagonally opposite Pick n Pay's Ottery Hypermarket, which is also owned by Redefine. "The location was selected because of its accessibility to the target market, being LSM 5 to 8 income groups," explains Azizollahoff.
Areas which are within easy access of Redefine's new centre include Philippi, Landsdowne, Claremont and Wynberg. The site of the China Town shopping centre is readily accessible by busses, taxis, and cars.
The principles of feng shui - an ancient art and science developed over 3 000 years ago in China which strives to balance the energies of any given space to assure the health and good fortune for people inhabiting it - were considered in the design process, says Jon Mitchell of M & B Architects. This was integrated with successful retail centre fundamentals in terms of vehicle access, orientation and a vibrant courtyard trading concept based mainly on atmosphere and creating a market feel.
The Chinese representation, on behalf of the traders, provided input on the overall design, making changes to the orientation of certain walls between units to ensure that these were not 45 degree angled walls and that the colours of the complex include red roofs and earth tones. Also, a high level of security has been introduced with camera surveillance, roaming guards and spiked access booms.
At this stage, the centre is trading at 90% of its capacity.
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By Adam Maarec
January 14, 2014
A hallmark creation of the 2010 Dodd-Frank Wall Street Reform and Consumer Protection Act is the Consumer Financial Protection Bureau (CFPB). Chief among the new agency's powers is its ability to prohibit "unfair, deceptive, and abusive" acts or practices (UDAAP) that occur in connection with consumer financial products or services. While the terms unfair, deceptive, and abusive each are specifically defined terms, in practice they are malleable concepts that come to life when applied to real world facts and circumstances.
The CFPB first used its authority to bring enforcement actions for UDAAP violations in July 2012 and has brought a total of 16 such actions in its short existence. A review of the actions taken by the agency using its UDAAP authority, and the particular facts and circumstances involved in each action leading to the specific UDAAP violations, is helpful in elucidating how the CFPB will apply the technical definitions of "unfair, deceptive, and abusive" in the future.
I co-authored the article, A Survey of Activities Identified as Unfair, Deceptive, or Abusive by the CFPB, for the American Bar Association's Consumer Financial Services Committee. The article provides background on the agency's UDAAP powers and a survey of the CFPB's UDAAP actions in 2012 and 2013. Below is a chart from the article that summarizes all of the activities that were considered UDAAP violations by the CFPB.


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I had never spent significant time in the hills of Virginia until Elizabeth and Kyle's wedding. I believe it's true what they say...it really is God's country. It was incredible! This was a special wedding for so many reasons. Not only was it the first I've had in a few months after a break in order to do photography for missions this summer, but it was a refreshing jump back into doing weddings this fall and one that I really needed. It made me realize how much I had missed being a part of a wedding in such a special way. I think vacation and breaks are necessary and so so helpful…but I'm glad there's an aspect of jumping back in that made me feel like it was right to do so! On top of that, I've known Elizabeth since sophomore year of college. She has been a dear friend from RUF and from church for quite some time. I've watched her move to different areas of the country. She has the spirit of a brave adventurer with an extremely level, wise, gracious, and thoughtful head on her shoulders. In everything she does, she searches for God's hand and work in where He has her. This time He led her to Charlottesville, Virginia to do a Fellows program. This is where she met Kyle and a community of friends who became family. It was evident during every aspect of their wedding. These two are loved and I'm so thankful to have been a part of the coming together of these two families. I can't wait to see where God will lead you two.
Congratulations Elizabeth and Kyle!
Wishing you peace and joy for every step in this new journey!
Hair & Makeup: The Sass Factory
Flowers: Jacquelyn Collmus
The Dress: Caryn's Bridal
Tuxes: Joseph A. Banks
Ceremony: Trinity Presbyterian Church Charlottesville, VA
Coordinator: Yoland Monet, Trinity Presbyterian Church
Charlottesville, VA
Minister: Greg Thompson
Cake: Artist: Cakes by Rachel
Reception: The Market at Grelen Somerset, VA
Coordinator: Emily Grymes, The Market at Grelen
Rentals: Gibson Tent Rental
Thanks for stopping by !


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Perhaps Dec. 8, 2004 was the day — the point where the "military vote" started peeling off from the Republican Party, for which it had been steadfastly true in majority numbers for at least 25 years. It was the day Army Spc.Thomas Wilson asked then-Secretary of Defense Donald Rumsfeld: "Why do we soldiers have to dig through local landfills for pieces of scrap metal and compromised ballistic glass to uparmor our vehicles?"
To which Rumsfeld replied, "As you know, you have to go to war with the Army you have, not the Army you want …"You can have all the armor in the world on a tank, and it can [still] be blown up."
The right wing talkers, true to form, turned on the young man, calling him a tool of the journalist embedded with his unit — though Wilson's question was met by whoops and cheers from the 2,300 military men and women in Rumsfeld's audience at the Kuwaiti staging area that day. Apparently "support the troops," didn't extend to those exercising the First Amendment rights they were supposedly fighting for — but no mind — the message was broadcast as clear as a reveille: you are on your own.
Since then, we've heard about moldy walls and neglect at Walter Reed Army Medical Center, the systematic flaws in veterans' mental health care, the enormous backlogs at the VA, the resistance by the Pentagon to pay disability to injured service members, the 15-month deployments, the abuse by contractors putting troops in the field at risk, the petty way soldiers are treated by the military when they return (like having to pay for their damaged clothes and equipment!) and the (unsuccessful) refusal of the Bush Administration — and John McCain — to pass a veteran-supported GI Bill package, leaving Democrats like Sen. Jim Webb to take the credit when it was finally approved.
Still, discerning where the military community is at politically is a fuzzy and perhaps futile exercise at this point — mostly because the military vote (which would include present members of the Armed Forces and veterans) is so 2004 , and no one has seriously polled this dynamic voting population ahead of today's election. According to the 2004 exit polling, 18 percent of voters had served in the military. That didn't include the thousands of absentee ballots from overseas.
There are small signs, however, that six years at war, under an ill-defined, mismanaged foreign policy that relies on the constant, indefinite rotation of less than one-half percent of the nation's total population has altered, however subtly, the Republican Party's grip on the military voting culture.
For one, as of August, Barack Obama was clobbering John McCain in donations from active duty military — in fact, men and women serving abroad gave Obama nearly six times more than his opponent, according to the Center for Responsive Politics. Republican Ron Paul did even better than McCain with such donations — leading one to wonder how two men who had opposed the war were generating more enthusiasm among soldiers than the man whose presidential campaign had been built around his time as a POW in Vietnam and as a singular champion of the 2007 Surge into Baghdad.
This is perhaps not entirely suprising — a poll taken almost a year ago found that only 37 percent of military and their families approved of President Bush's policy in Iraq, a huge turnaround from just two years before, when twice as many had sided with the President on the war.
To be fair, there have been at least two stabs at assessing this sleeping giant since early summer. Gallup found that veterans still associate themselves more with the Republican Party in numbers similar to 2004, when they voted for George Bush over John Kerry, 57 to 41 percent (Gallup notes this is a group that McCain and the Republicans already fare well with — older white males). Veterans told Gallup they are supporting McCain over Obama, 56 to 34 percent. Furthermore, a Military Times poll in early October found that among present and former subscribers to the Military Times' magazines, the majority were going strong for McCain over Obama, 66 to 25 percent.
But other things emerged from these studies. Overall, according to one comparison of previous Military Times surveys, GOP affiliation among senior members of the military — the most typically Republican block — had actually declined from over 60 percent in 2003 to 47 percent in 2007 (there was not a corresponding increase for the Democrats, however).
Despite McCain's obvious advantage in this poll, it still represents a 10 percent increase for the Democrat (John Kerry had only scored 15 percent of the vote among Military Times respondents in 2004). Sure, surveys suggest as the number of women and minorities have increased in the active duty, Democratic support has been buoyed. But that's not the only reason for the slight uptick among the military for Obama.
"This indicates that the increased support for the Democratic presidential candidate among members of the Army is due to both a shift of the Army's traditional voting block away from the Republican Party as well as an infusion of new, predominantly minority voters into the Democratic column," said Jeremy Dempsey, author and Army infantryman, who points out that of the active duty respondents who shifted to Obama in the recent Military Times poll, 95 percent were male and 55 percent white.
Overall, veterans have been exceedingly more vocal in their opposition to the war policy and in defense of veterans' issues since 2004, like Paul Rieckoff and the Iraq and Afghanistan Veterans of America, and individuals like Kevin Creed, a lifelong Republican who at the age of 51 came out of retirement to serve as an Army Major in Iraq.
"On the day that President Bush flew onto that aircraft carrier and declared 'Mission Accomplished,' [May 1, 2003]," Creed said, "I was in a command bunker outside Baghdad with dust flying all over the place from the explosions blasting over our heads. When we heard that Bush had said 'Mission Accomplished,' all the soldiers in the bunker laughed. This was the beginning of my asking, 'Hey, what's happening here? Something isn't right.'"
May 1, 2003 was Creed's "day," and who knows how many others have had similiar epiphanies. They may not be heading up a "Connecticut Veterans for Obama" group like Creed, but it's not clear they'll be casting a vote for the Republican today, either. There might be a kind of "spiral of silence" among military voters that Leon Hadar had referred to in his recent post. What we can say with some confidence, is that like the conservatives who populate these and other kindred weblogs, there are military voters who feel stung by their own loyalty to the Republican Party, too, who consider independence the true path to change — whatever that might be tomorow.


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Welcome to another Dimension
Joining the studio as a full time employee in May 2016, Isam Prado, a 2008 graduate of Pratt Institute, now resides as Head of Animation here at Mike Perry Studio. Displaying an acute adaptability, Prado has expanded the creative capacities of the studio with expansive storytelling projects (Broad City "Mushrooms," Season 4, Episode 4) and new initiatives (Dolby Laboratories Gallery installation "Conversations From Far-off Places," 2017). As we move forward, he will be exploring the deeper rabbit holes of 3D sculpting & Virtual Reality development, along with whatever new & exciting challenges arising that stand no chance up against his intuitive prowess.
1. The first project you worked on with the Studio was the live-action and animation combo for Koodo, the Canadian cellphone company. What was your impression of working with Mike and J?
It was some of the most fun I've had brainstorming ideas for a project. Usually you come into a studio and you have ideas for what you think would be really funny, but you know they wouldn't be viable because there are all these barriers to new ideas. Everything has been figured out…sometimes when I join a project, the files are even already made for me, and I just need to open them just do the animation.
This project didn't have any of that. I was there from the beginning helping to decide what things were going to look like, before any visuals were even discussed. The format of the commercial was like someone took a bunch of clips from the Internet and arranged them into a commercial. The agency didn't want to take material that was already out there - they wanted to make stuff that was like that. So we did things in different styles and mediums, experimenting with the different things that we all wanted to do. Mike had a whole team of people making a variety of clips just to help see what was possible. I feel like that project opened up a world of possibilities of what we could do with animation.
2. What were some of the other projects that you've done so far? Leading up to that.
We did a small video for Herman Miller about the principles of comfortable design. It was a whole video about chairs in which we weren't allowed to use any chairs—because it was for WHY magazine, not Herman Miller directly, so it wasn't supposed to be an advertisement. We showed people sitting in space, illustrating the principles of comfortable chair design.
3. And there was a project for Coca-Cola, right?
Yes. We did a sports jingle for Coca-Cola for the Blue Jays during the World Series. That one was really fun. It was very similar to the Kudo project because the organizing principle was to make all these different things and then just collage everything together. The collaborative process felt a lot more equal in that one. Mike was doing all the actual animation. I was compositing everything together in ways that were relevant or fun. It was almost like taking all of Mike's stuff and remixing it.
4. What are you working on now?
Currently, I'm working on the pitch for Mike and Jim Stoten's animated show. I took the script and redid the original animatic, where I'm drawing all the main actions and putting that into a composition. I created all the visual gags for what is hopefully going to become the final thing. Mike and Jim wanted to have someone to take everything and visually transpose it into a whole, but also add to it, come up with visual gags to complement all the humor that's in the writing. That's an ongoing process, even now. There are visual gags I didn't think about earlier, and now I can put more things in. It's a very procedural way of creating humor.
5. How do you decide what gags to add, or if it's okay to do so?
The first day I began working on the show, I started adding visual gags. And I thought to myself, "I don't know if I'm overstepping my bounds." For a couple days, I was adding things without knowing whether Mike would approve them. I thought, "Well, I'm just going to keep adding these gags and see what flies and what doesn't." Surprisingly most of the things that I added in there, Mike said, "Yeah, that's great, let's keep that." Or he would tell me, "Let's push it forward."
6. Can you tell me a specific gag you created?
In general, I'm adding things that change the dynamic of the shot somewhat to provide a counterpoint to what the people are saying. So there's a scene where the character Mike opens the fridge and there's a "fruit horse" inside - it's literally a horse made out of cut fruit. I made a decision to cut close to the fruit horse. One of the eyes falls off and Mike puts it back together really quickly. Little things like that add to the humor. It provides an extra layer to that joke, which is that this fruit horse - in addition to being a weird concept - is also not very practical. It's not the easiest thing to keep together. Time will tell whether that actually works out to be funny or not.
7. Watching it is pretty hilarious. The cutaway shots are sometimes the most charming.
There's a scene when Mike decides to make a very strong cocktail that will defeat this character called The Coffee Monster. At that moment, I created the visual gag of Mike opening his coat and having an array of cocktail supplies inside, including a shaker and all these Martini glasses. I like the idea that no matter what, he's always ready to make a cocktail. It's almost like his emergency kit. It provides a unique side story, that at any given point, he is able to make a cocktail.
8. You're translating Mike's visual style into animation, and you capture it so well. How do you render that so accurately?
Sometimes I literally take one frame of his drawing and base everything on that. Ultimately, for a lot of these projects, I have that complete visual reference of what a frame looks like and then I can go from there. A lot of other times - for example, for the animatic - there's so many things that need to be designed and need to be drawn. I have a good idea of not only Mike's style but what Jim's style is like, so I can put something in there, and that can be the final version or a placeholder.
There's one background where I decided to put in a character Mike had created for another project. I had to redraw the character, but I redrew it in a way that made sense for the series.
Also, a coatrack that J made is in the animatic now. Because I decided that it should be next to the door. Being here in the studio is giving me all these opportunities to glean from everything around me and create this world. There's certain ways that Mike draws eyes, so I will sometimes draw a side character with eyes like that. I really like Jim's line quality - it's very precise and it has a certain weight and volume to it. I try to incorporate that whenever I can into aspects of the animation. For that particular case, I think it's fun to glean from these two and see what works. At some point, they'll want to take over and design. But there is so many things in that world that a part of it will be my own.
9. How does this way of creating translate more generally to your work here?
Even in the Koodo project, there were so many things that we had to figure out. For example, what does 3D look like in Mike's style? I get an idea from all the sculptures here in the studio, but I have some freedom to decide how things translate in 3D and how things are shaded and rendered. Because that's also an aspect of the style. One of the things I like about 3D is that you create a lighting setup that's very analogous to real life, and you can put a bounce light in somewhere, and other things like that. You can decide how stark or how soft all the light is. I always try to find a good narrative reason to do things like that.
That's something that I'm also looking forward to. That's something I will have more control over, if we do decide to go more into the 3D stuff. Which for the Kudo stuff has already happened. Some stuff I made is in the final version. At no point did Mike tell me, "You should change this to that." It just made sense. I took all the color palettes and all that, and I made it make sense. That's something I have the freedom to do more often than not. I can take the style of everything else into account but then go in my own direction.
10. In that sense, what other new directions are you bringing to the Studio?
From a personal growth standpoint, I've wanted to learn as many things as possible. Sometimes, it's like I'm finding a problem for a solution. I see all these technologies or software programs that seem really interesting, and I start coming up with scenarios in which they could be useful. It's not like anyone comes up to me and says, "Hey, do you think we can do this?"
That's the thing that I can see myself providing more and more of - figuring out ways to expand what we can do visually into other areas, in ways that are not necessarily obvious. One thing I've been thinking about is the idea of taking one of Mike's sculptures and putting it into a virtual space, where anyone can go and look at it.
11. You did a demo for me where you showed how you could make a setting with virtual reality software, and it was amazing how quickly you made it.
I'm seeing all the potential to take that technology and do something interesting with it. A big part of my drive to do new things is my frustration with the state of the industry. There are all these amazing tools that can do things that defy limits, but people keep using them for the same five things, which is, "We want to reproduce reality, or we want to create another sci-fi or fantasy reality." It's not that I don't see people using these tools in the fine arts or in a more creative, nonsensical way. I love that idea of making settings that don't necessarily make sense or aren't necessarily functional. With VR, I don't know why you would need to walk around a space that looks like anything in reality, when you can create something that's completely evocative. Like a space for meditation, or a space for putting yourself in a weird setting – it is an imaginary space, it doesn't have to be even symbolic of anything. It can just be an idea that you can walk through.
12. Which of these ideas you're contemplating will be part of the studio's work? I think everyone at the studio is interested in sci-fi. Is that something you'd like to do?
I've definitely talked about getting into VR, and there are other things I'm researching when I'm not at the studio because I see the potential for them here.
I've always been fascinated with the idea of sci-fi but never felt like I was committed enough to any particular story. At the same time, I want to find the bridge between that and things that don't make sense - and things that don't need to make sense.
I think that's why I've gotten deep into computer graphics, because I see the bridge of being able to do things that are evocative of sci-fi but are their own thing, that are just spaces. I'm slowly bridging those two. My ambition is to be someone who tells stories, but do it in a way that I'm not limited or bored. I don't want to create a world where the limitations are set by things in reality.
13. In your personal projects, how have you worked with some of these ideas you're thinking about?
The idea for "Apex of You," an Instagram project I started, was to tell the narrative of corporate imagery and corporate outreach but try to do it in a way that was more about evoking the alienation of not knowing what the future is going to look like.
If I could look into the future, the thing that I would be the most excited about is not seeing how much better or how much more advanced things are, but rather how much more alienating they are, because they would be so different. I don't think it is alienating in a negative sense, but I want to try to think past the function of things, and think about all the useless things that we're going to be able to see.
14. I'm intrigued by the concept of useless things - useless things like what?
If you tried to explain Internet videos to someone in the 1800s, they would be completely mystified. I don't think that internet videos represent a great advancement of humanity - it's not something that you would put up there as a great discovery - but it is something that makes our lives a lot more bearable. I want to find what the equivalent of something like that would be for the future. In reality, there's no way of knowing.
So that uncertainty creates this rich possibility of being able to create really insane visual objects and then try to figure out what they could possibly mean, try to find a function for them. That function could be really trivial. But also would follow from what's going on with technology. The possibilities of the kinds of materials and substances that we'll be able to engineer in the future - not only through industrial means but also through agricultural means - is going to be really fascinating, and that's the direction where I want to go with that particular project - to find out how crazy the future will look. So far, I feel like there's a lot more I can do with that. I've been keeping it really safe.
15. So even in your own work, you feel this tug between the "standard" and the more unusual.
A while ago, I was working on a sci-fi action comic for the web, and my biggest problem was that it wasn't pushing far enough. One of the things that I've come to realize being here is that there are places where I'm shortchanging myself by trying to keep things consistent and normal, and I need to break loose from that. I see Mike's paintings and sculptures, and I want things like this to be part of a sci-fi action comic, and there's no reason they shouldn't be.


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Moogerfooger MF-107 FreqBox
THE FIRST MOOGERFOOGER pedals were relatively conventional: A low-pass filter, a ring-modulator, a phase-shifter, and an analog delay. Then came the decidedly more un-usual MuRF and Bass MuRF boxes, which create modulated-filter effects and generate sequencer-like patterns from single notes. But the FreqBox ($359 retail/$339 street) is more like something reverse engineered from alien technology, requiring a specialized mindset to fully grok. Thankfully, the user manual explains everything relatively clearly, as well as providing a primer on some fundamental synthesis concepts.
To begin with, the FreqBox isn't really an "effects" pedal at all. It is primarily a single voltage-controlled oscillator (VCO), very much like those found in the legendary Minimoog and contemporary Moog synths—but it has a 1/4" input that accepts a variety of sources, including guitar. That means you can modulate the oscillator in various ways using the audio input signal, including having it track the pitches played by your instrument using the hard sync function, which is sort of like having a simple mono guitar synthesizer if your instrument happens to be a guitar. The input signal can also be used to frequency modulate (FM) the VCO, in conjunction with the onboard envelope follower.
Like all Moogerfoogers, the FreqBox provides an abundance of controls. Drive is an input gain control that can be cranked up for overdrive effects, whereas the overall volume is governed by the Output Level control. The VCO has a Frequency control (which sweeps a range from 25Hz to 1.6kHz) and a Waveform control (which crossfades between triangle, sawtooth, square, and pulse waveforms), along with the Sync on/off switch. The Envelope Amount and FM Amount controls determine how much envelope follower control voltage (CV) and Drive signal modulate the VCO, while Mix determines the balance between the dry and VCO sounds.
The FreqBox is a mono device with 1/4" I/O, but there are also Envelope and Oscillator outputs—for use with other Moogerfoogers, or anything that responds to control voltages—and five inputs for control of Frequency, Waveform, Envelope Amount, FM Amount, and Mix via expression pedals (such as the new Moog EP2, pictured) or other CV sources.
To test the FreqBox, I began by trying a few of the Basic Applications detailed in the manual. "Basic Sync Setup" (triangle wave, medium Drive, with no envelope follower or FM) produced some spatty but edgy fuzz-like effects—especially while sweeping the Frequency with an expression pedal—but the results were inconsistent. Cranking the Drive up and hitting the input with a fuzz, however, kicked the FreqBox into high gear, yielding searing tones similar to wah-sculpted fuzz sounds, but with lots more buzz, bite, and intensity. Adding a little FM increased the growl factor, and a bit of Envelope added some auto-wah vibe. These settings also sounded monstrous on power chords.
When the VCO isn't synced, the input signal triggers whatever pitch or sound the VCO is set to produce, and controls its amplitude if the envelope follower is on. For example, "Drone" let me dial in a sustained tone and play sitar-like licks over it, and "FM Gong" produced oddly pitched tones reminiscent of '50s-era synth blips and bleeps.
The FreqBox is a must-have for Moogerfooger enthusiasts—particularly those with a CP-251 Control Processor—but I heartily recommend it to any adventurous musician, engineer, or producer.
Kudos Great single-oscillator synth sounds. Creates wild special effects. Super-flexible control options.
Concerns Requires an understanding of basic synthesis concepts to fully utilize.
Contact Moog, (828) 251-0090; moogmusic.com
(December 2007)


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Welcome to Tha ABYSS: Inside Tha Octagon-Hosted by Kalani Lua (@klua11) & presented by Tha SPORTSKRIB Network.
Host Kalani Lua (@klua11), brings you an experienced peek inside the world of MMA. Kalani features news, fight analyst, predictions, giving you a look at the sport of MMA inside and out! Avid sports enthuanists and MMA fan(atic) Kalani delves into the sport with an unbridled passion, bringing the stories of the personalities involved behind the scenes and setting the stage for your utmost enjoyment of the upcoming bouts and possible matchups, in the future.


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On Hairpin Turns. Potholes. And Vistas. A Week in the Life.
We're all on a path, and we've all got roads to travel.
I get it.
But, some weeks more than others, those roads are full of hairpin turns, bumps, potholes… And some of the most glorious vistas you've ever seen.
This was one of those weeks for me.
Here's what happened.
Studied ancient rock graffiti in the hills above Lake Garda. A worshipper here, a symbol of eternal life there, and swords in between.
Danced, and laughed, and drank gin fizzes, and laughed some more, and danced again, with a room full of wine lovers and new friends and totally fun restaurant people from Puglia. Who can COOK.
Walked along the Lake with two new friends at 2 am on a cold morning.
Experienced a "tortellini vertical," five courses and riffs and iterations of the same basic recipe.
Tucked deeper and deeper into my inadequate coat as we walked the streets of Garda and faced the stiffest (stiffest) winds off the Lake. It was like the wind blew, insistently, a new breath of understanding into my mind.
Joined an intimate launch party in New York, for an organization that supports women's rights initiatives in some of the world's most contentious regions. Jessica Neuwirth and Gloria Steinem were co-founders of the group, and they were both magnificently… there.
Interviewed a woman from Afghanistan who directs a protection shelter for women in transition, while their legal cases are being resolved: domestic violence, rape, kidnapping, sex trafficking, gang rapes, child marriages, divorce.
Interviewed a woman from Syria who organizes a chorus (so that women's voices can be raised in something other than cries of war), a program in salons called I'll Cut Your Hair and You Tell Me Your Story, and soccer games played by women of different political parties.
Interviewed a woman who was the first female Minister of Defense in South Africa. Circumstances gave us a very uncomfortable space, with just one chair and a small table. So she sat in the chair, I set my laptop on the table, and folded my legs underneath me. My yogi friends would recognize it as Thunderbolt pose.
Struck up a conversation with another guest at the launch party who told me about the trend of "narrative non-profits," that is, initiatives founded with the purpose of teaching people how to communicate their stories. One is called By Kids. Another is Lit World. Another is Narrative 4 ("fearless hope for radical advocacy," is the note I made next to that one). The Ground Truth Project.
Registered for a conference in Rome next month, about the role of women in the church, organized by the U.S. Embassy to the Holy See.
Planned a wine tasting party at our home for 50 or so guests from the Belgian American society of Atlanta.
Sorted the details on paper of an upcoming trip to Iceland.
Sorted the details in my head of an upcoming trip to Beirut.
Saw, quite clearly, how my writing can be of service.


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NORD is pleased to announce a cooperative project with the FDA to fill the unmet need of a generalized, standard approach to natural history study development across rare diseases. Working with disease patient groups and the FDA, NORD has developed natural history studies for nineteen rare diseases.
Together, we are developing a registry toolkit containing best-practice tools and templates that will aid future organizations to initiate and conduct natural history studies that are designed to support drug development programs. Additionally, we will build upon previous efforts to develop common data elements, questions and ontologies for rare diseases to provide a generalized baseline for future efforts. Each study will be sponsored by the disease patient group, will include the common data elements created as part of this project, and will include disease-specific research.
We invite proposals from disease patient groups to join this project. From the applicants, we will conduct a selection process using the review criteria below to find the twenty proposals that best fulfill the goals of the project.
For more information, read the official announcement.
Frequently Asked Questions (FAQ)
Existing Studies on the NORD Platform
Rare Diseases: Common Issues in Drug Development (FDA)
The Role of Patient-Powered Registries and Research Networks
Expert Opinion: Natural Histories
Importance of Natural History Studies in Rare Diseases (FDA)
Registries for Evaluating Patient Outcomes (Book)
NORD Natural History Study Project Application
203-744-0100, ext. 222
Twenty rare disease patient groups have been chosen to develop natural history studies with the assistance of the National Organization for Rare Disorders (NORD) supported in part by a cooperative agreement with the U.S. Food and Drug Administration (FDA). Read the full announcement here.
Hereditary Neuropathy Foundation
Organic Acidemia Association
XLH Network, Inc.
CCHS Family Network
Pitt Hopkins Research Foundation
The OMSLife Foundation
Platelet Disorder Support Association
Global Foundation for Peroxisomal Disorders
APS Type 1 Foundation
Scleroderma Research Foundation
Galactosemia Foundation
Desmoid Tumor Research Foundation
International Pemphigus & Pemphigoid
The Morgan Leary Vaughan Fund
Adult Polyglucosan Body Disease (APBD) Research
Bridge the Gap-SYNGAP Education and Research Foundation
United Leukodystrophy Foundation
Lipoprotein(a) Foundation
Worldwide Syringomyelia & Chiari Task Force.


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Convicted Spy Pollard Sues Israel
United Press International [UPI] - Source: Military.com - August 04, 2008
TEL AVIV -- Jonathan Pollard sued Israel Monday, claiming the country didn't help him or his family financially since he was jailed for spying nearly two dozen years ago.
During a hearing in the Tel Aviv District Court, lawyers for Pollard, convicted of spying for Israel and imprisoned in the United States, said that their client didn't file to receive compensation but to point out that Israel is "lying to the media, to the general public and to the court when it claims it supports Pollard and his wife in various ways, and supports them financially," The Jerusalem Post reported.
Pollard's attorneys in a news release said his previous lawsuit efforts to clarify Israel's claim of money transfers have been fruitless because the prime minister's office has rebuffed them.
Pollard, a former civilian intelligence analyst for the U.S. Navy, pleaded guilty in 1986 to providing military secrets to Israel while at the Pentagon. He is serving a
life sentencein a U.S. federal prison.
"If (Israel) has given even a shekel to Pollard or his wife -- then it should prove it," Pollard's lawyer, Nitzana Darshan-Leitner, told the Post. "We know the truth, it will come out in court."
See Also:
- Legal Doc: Lawsuit: Pollard vs. the State of Israel:
PDF – Word file
- Legal Doc [Hebrew]: Lawsuit: Pollard vs the State of Israel:
PDF – Word file
- The Israeli Legal Cases Page
- Pollard Sues the State of Israel To Stop Govt. Lies Claiming He Got Money


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Established in 2008, Ampersand presents monthly exhibitions of contemporary artworks alongside a curated selection of anonymous found photography, printed ephemera and works on paper by unknown or outsider artists. Committed to cultural preservation, the gallery serves as a platform for dialogue between works by emerging artists and the printed matter that informs, inspires and in some cases serves as raw material in the creative process. This dialogue is further expanded by its tightly edited book inventory, consisting of both new and rare titles, with particular emphasis on art, design and photography. Its publishing practice serves as a corollary to exhibitions, providing a printed medium for artists to expand upon ideas and to extend their artistic vision beyond gallery walls.
Location - 2916 N.E. Alberta St., Portland, OR 97211
Neighborhood - Alberta Arts District
Categories - Art, Books/Music, Museums/Galleries


text: The world's first flying 'aces' were regarded as the cosseted 'glamour boys' of The Great War. But by 1917, the life expectancy of a new pilot was just two weeks. Using CGI re-enactment and real time flying footage, the film will open and build to its climax with the air war's greatest aerial duel and most enduring mystery - the Red Baron's last Dogfight. (49m)


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Benitez rules out Reina move over wages
Napoli coach Rafael Benitez has ruled out the possibility of signing Pepe Reina permanently due to the goalkeeper's wages.
Reina spent last season on loan at Napoli from Liverpool, firmly establishing himself as the Serie A club's number one keeper as they finished third in the league and won the Coppa Italia.
Benitez is a firm admirer of the 31-year-old, having first signed him in 2005 when he was Liverpool boss, and Reina - currently away with Spain's FIFA World Cup squad - is expected to bring his nine-year association with the Anfield outfit to an end this close-season.
However, Benitez has indicated that his compatriot's future does not lie in Naples due to financial issues.
"Pepe has two years left on his contract at Liverpool," the former Valencia, Inter and Chelsea manager told talkSPORT.
"He has to go back and he'll stay there - we can't afford Pepe's wages.
"The Premier League is a very big league and, in Serie A, we don't pay big wages like in England.
"He will have to fight for his position at Liverpool."


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The Madhesi Issue in Nepal
March 4, 2007 at 5:27 am 9 comments
The Madhesi Issue in Nepal
K Yhome
Observer Research Foundation, New Delhi
e-mail: firstname.lastname@example.com
The recent turmoil in Madhes (or the Terai plains bordering India) was a stark reflection of the challenges confronting the restructuring process in Nepal. It was also a reminder to the current interim government that the problems in Nepal are not yet over and that there are serious socio-economic and political issues that need to be addressed.
The Madhesi uprising in January was marked by bans, protests, and violence in some major areas of Nepal's terai resulting in the death of over thirty people. This has in several ways changed the interim government's approach to and the management of Nepal's political restructuring and peace process. It has also raised many questions. Why was the violence so potent? Who was responsible? How will it affect the restructuring process? And so on.
These questions are palpable in the context of Nepal's fragile political restructuring process that is underway. While exploring answers to these questions, however, there is a proclivity to misinterpret the Madhesi issue. Some (mis)conceptions that have come about in the wake of the uprising are not only erroneous but also dangerous.
The Madhesi issue is not a communal issue. It is not one of Madhesis ("people of the plains") vs Pahadis ("people of the hills") as some tend to view it. This misinterpretation of the Madhesi issue commits a serious mistake by making it a community-based issue that could have grave implications for the country. To view the issue as a problem between Madhesis and Pahadis reveals a poor understanding of Nepal's complex society.
While one may have some facts supporting such an argument, it fails to explain the real issue of the Madhesis. There were also reports that certain "forces" (implicating the "Royal agents" and the "right wing" elements in India) of allegedly instigating the Terai riots to create trouble for the interim government in a bid to salvage the "monarchy" in Nepal. Hard evidence to ascertain the involvement of these forces is difficult to unearth, but many in Nepal point fingers at these forces as being responsible for the violence.
Whatever the motive of those behind the terai violence, many ordinary Madhesis have lost their lives. Madhesis out on the streets at the risk of their lives were there for a different reason. For them it was a fight for a genuine object – the Madhesi cause.
The Madhesi issue did not suddenly emerge in January 2007. A long history of a sense of discrimination is at the root of the Madhesi struggle. To explain the recent uprising it is necessary to understand the issue from the correct perspective. The issue relates to a movement against the state's "discriminatory" politics. It is a fight for recognition of rights – political, cultural as well as economic – and a struggle for equal representation and opportunity. This forms the core ingredient of the Madhesi issue.
For over five decades, the Madhesis have been waging a movement against "discriminatory" laws of citizenship and language, as well as recruitment policies to the armed forces and bureaucracy. The struggle can be traced back to 1951 when a party called the Nepal Terai Congress was formed under the leadership of Vedananda Jha to advocate "regional autonomy" for the Madhesis.
Again, in 1983, Gajendra Narayan Singh established an organization called Nepal Sadbhavana Council with the aim of combat discrimination against the Madhesis. In the post-1990 era, the organization turned into a political party called Nepal Sadbhavana Party and in the general elections of 1991, 1994, and 1999, the party's manifesto called for a federal system of government, a liberal policy on citizenship and a separate Madhesi battalion in the army.
Despite the long struggle, however, the Madhesi issue has not been resolved partly on account of Nepal's five-decade history of being under autocratic rule – 1960 to 1990 and 2002 to 2006 – where political activities were restricted. Even during the short-lived democratic experiments in Nepal – 1950 to 1960 and 1991 to 2002 – the issue remained unresolved because of the lack of political will on the part of the successive governments.
The failure of the movement is also partly because of the internal divisions within the Madhesi leadership. The Sadbhavana Party has seen frequent infighting and splits that have further weakened the movement. It is in this context and in light of the predicaments mentioned that the Madhesi uprising of January needs to be understood.
The resolution of the Madhesi issue depends on how the interim parliament drafts a new constitution taking into account the various socio-political issues of the country. Should it fail to ensure the aspirations of the people, the recent outburst of violence in the terai will only be an indication of more chaos to follow.
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9 Comments Add your own
Well- now the things have suddenly changed. Earlier those who led the Madhesi Andolan seemed honest and like they cared for the people- for common Nepalis living in the plains. But now- they are simply politicking. I don't know but I'm very afraid about the future of Madhesi communities and other marginalized communities. Those one or two men on the forefront claiming themselves for leading the movement- are LIARS. They seem to be running after power and money now. The Maoists are very clever- they will not leave any stone unturned to 'sweep off' the same leaders. God knows what is awaiting us in future. But I strongly feel if the problem isn't solved by the EPA- then another bloodbath- Madhesi Rebellion- will leave the country in ruins. But here those who needs to care hardly seems to be doing so.
We need leaders who can think beyond a particular community- who can unite this country into one and take us ahead together- hands in hands and shoulders in shoulders- Hope you have seen some around you. I have not, sorry for such a pessimistic view.
The research report on Social inclusion of Madhesi Community in Nation Building is relevant. This valuable findings/obervations need to be shared with others so that people will benefit from the update. Thanks goes to Dr.Shree Gobinda Shah for his excellent deliberation through this research report.
Its really worthy articles. Though, I suggest you to consider following concerns for your further research:
1. Inclusion of Madesi, Janajati and Dalits putting women in Central point is already taken by the Maoist as their main agenda during their 12 years armed war in Nepal. With this background, it is not new but we have to see whether the issues will be addressed properly or not after the formulation of new constitution in Nepal.
2. Next most important, this movement is taking a violent form and nearly fifty people have been killed already. We don't want to see another bloodshed in Nepal, where we have lost already more than 15000 Nepali poor men, women and children.
3. This movement is getting a shape of communal war between Madhesi and hill community, which very bad symptoms for Nepal as it might lead the nation towards communal war line in Sri Lanka.
4. In the name of Inclusion of Madhesi, Janajati and Dalit in Development Mainstream, anti-democratic element are entered to this movement and giving worse form to the movement.
Therefore, I humbly request you all as development workers in Nepal since a decade long, all forms of violation should be stopped and rights should be demanded with the peaceful movement with the people centred advocacy approach.
Thank you and wish you all the best!!!
Bimal Gadal
Development Worker in Nepal
Madheshis– wherever you are–this is the urgency of time for us to be united and let madhesh fight for justice. No more tolerance. We Madheshis honor the guests, even the uninvited ones, but we cannot tolerate their excesses. This is my sincere request "please be united", unless we will be aliens one day. We have endured enough, not anymore. We comprise more then 50% and more capable to run Nepal, educated and learned. We demand atleast 50% representation in Nepal. We have requested enough, now is the time to snatch it.
We all madheshis must be willing to fight for our brothers to end the brutal rule of pahades.
Jai Madhesh
it ppl like u that make me sick…." now is the time to snatch it.'….u suck and so does ur idea of democracy, freedom,equality and peace….everyone knows that madhesh has u problem …and i feel sorry for all the stupid pahades u dont treat ppl equally but that is no excuse to pick up arms u dumb asshole….u want to change the system..( and it does need to be changed) …do it through non-violence and peace…
if what had been done to u is wrong then dont do it back..cuz u out of all the ppl should now what it feel….
jai nepal
we should find our identity .
i need some info regarding madeshi party and all the details of it regarding estd and all which i didnt got in this blog.
the research is based on the presenet situations of madeshi in the nepal and so madeshi party has changed their belives ,idelogies for the movement resolving problems the madeshi people facing
Being a Nepali citizen,everybody should follow the rule,regulation,culture,tradition n the way of proper living style from wherever they might represent in different part of Nepal. I have something to say about my Madeshi friends,,,, I also belongs to a terai region which means madesh region but I never had a problem with our idendity, language, believes or etc2,,,, then why u all bringing these all crabs up n making a useless issue which sounds me like burning of the nation so that India could come n rule which makes u all happy cozzzzz this is what y'll want, no offense since u belongs to them haina ta?
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Bust-A-Move Universe
All of us here at Family Friendly Gaming are always on the look out for
a deal. I found Bust-A-Move Universe on sale for ten dollars on Black
Friday. This hand held title had two things going for it. First off it
is a Nintendo 3DS title and we have been beefing up reviews for that
section. The second thing was the price. So I picked it up, and decided
to work it into my extremely busy schedule.
The colors in Bust-A-Move Universe are very bright and colorful. I love the different planets in the background. The game play field is on two rotating discs. The background is what rotates. As I put in my preview I was not impressed with the 3D effects in Bust-A-Move Universe. The background kept repeating, and was honestly just a distraction to the game play. Certain levels have some neat effects like a solar flare. Matching orbs of various colors never get old in Bust-A-Move Universe.
I enjoyed the music in Bust-A-Move Universe. It feels strange to have Square Enix publish this franchise. But it does help improve their sagging image. The special effect audio clips fit this hand held title and enhance it a little bit. I loved getting something high that had orbs below anchored to it. Having them all go away at once was a real treat.
First off, I got my moneys worth out of Bust-A-Move Universe. That and then some thanks to the fantastic price I found it for. There are enough levels in Bust-A-Move Universe to keep most gamers busy for a few weeks at the very least. Bust-A-Move Universe also came with a card that invited me to Club Square Enix. I got some points for purchasing this game. This is a lot like Club Nintendo. I am not sure what rewards I may earn in the future though.
Bust-A-Move Universe has some neat features I have not seen in a Bust-A-Move game before. First off when you drop a certain number the game will pause. You are given an opportunity to make additional matches - which increases your combo. I also liked the 'L' and 'R' buttons. These would move the shooter arrow just a little bit. I used that all the time.
Bust-A-Move Universe is a fun game that teaches matching colors. This 3DS game also teaches to get the keys and save your imprisoned friends. There are bosses that are beaten by matching bombs on their protective bubbles. That is as violent Bust-A-Move Universe gets. I would love to see sequels to Bust-A-Move Universe.
- Paul
Graphics: 72%
Sound: 74%
Replay/Extras: 80%
Gameplay: 74%
Family Friendly Factor: 76%
System: Nintendo 3DS
Publisher: Square Enix
Rating: 'E' for Everyone
{Comic Mischief}
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Star 47
What is Star 47?
Star 47 sounds like a cosmological address, but it's actually the combined efforts of Sensi Star and AK-47 to create a hybrid worth sharing. These stains were bred together by World of Seeds (seed) Bank. It exhibits a bright aroma of citrus and pine that is pleasurable all on their own, and the effects are lucid and uplifting while remaining centered in a physical placidity. Enjoy this strain all day, as its effects are chill without freezing you to the couch.
Find Star 47
Star 47 Effects and Attributes
- Effects
- Medical
- Negatives
Star 47 Flavors
- 1. Earthy
- 2. Berry
- 3. Citrus
Review HighlightsView All (3)
Most Helpful
"The Star 47 that I grew recently has been curing in jars and I just tried it. Phenomenal indica dominant hybrid. The high is heady. It starts off slow, comes on strong, and finishes with heavenly euphoria, relaxation, low riding eyes, and yet a surprisingly fogless, and creative mind amongst it all. the longer i sit here, the more my anxiety melts away. The scent is a pungent sour/citrus and a freshly opened box of f..."


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Category Archives: IEWC News
Push Energy invites IEWC to their Boxted Solar Site
Push Energy kindly invited a number of IEWC employees to one of their open days to show them the progress that's being made for the site, Boxted Airfield, which is due to start generating in March 2015. Andrew Emery, the IEWC Renewables Category Manager and Mark Whitehouse, the EMEA Marketing Manager arrived early at 8am to be met by the team from Push Energy and were handed warm bacon rolls and hot tea and coffee to fend off the chill in the February air.
After introductions had been made the invited guests were given a guided tour of the whole site and how the process of creating such a large complex engineering project has to micro-managed to ensure all time scales are met. The site itself is an old WW2 airfield which required a little more attention before work could start, as Push Energy needed to be 100% sure all old ordnance had been removed. Although this task had already been undertaken when the airfield was closed, as part of the pre-build requirements specialist teams were brought in to go over the entire site again.
The site itself covers 56.2 Acres and is able to house 73,728 solar panels which have a value themselves of £7.5m! During the build over 12,500 piles have been driven into the ground to support the panels and over 340km of DC and AC cable has been laid. The site has 8 containerised transformer/inverter stations and two high voltage substations to feed into the grid.
Once complete and fully generating the solar farm will generate enough power for 4,230 homes for an entire year and will save 10,340 tonnes of CO2 being produced every year!
This is all completed within a 15 week construction period!
IEWC would like to thank Push Energy for their hospitality and look forward to working with them throughout 2015 to supply them with all their cable requirements with up and coming projects.
Our carriage for the tour!
Timelapse of a solar delivery arriving at our warehouse
Watch the attached video as one of our many solar deliveries arrives in our warehousing facilitySolar Delivery


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This morning we have been given great mats of Saragossa Sea seaweed, here pictured by a top of land grass. These mats come from the Saragosso Sea which is located just north and to the east of the Bahamas. The sea itself is centered on Bermuda. It is a vortex of circular currents which streach out for a thousand miles and at this time of the year, when we do not have strong storms or winds and the seas are mild float past us litterally these are islands in the stream. What is really cool about these mats is that below them feeding on the vegitation are large schools of small fish, also snails and shrimp... and below them are much larger fish feeding on the smaller fish. These are in fact floating and moving communities of life. The entire food chain. Local fishermen know to watch for these mats and use them as great markers for fishing spots. In the afternoon when our rains kick in the mats are washed ashore.
For me the mats are an annual reminder of how vast yet interconected the world is.


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Everyone has a job and many work in the office. A person who comes from home to his work place is often under stress. This is due to the fact that he leaves his comfort zone, to which he is so used at home. It would seem to create such a comfort in the office, so that all employees enjoy it is impossible, but this should be pursued. By creating an environment of ease and comfort around your workers, you can end up with a return in the form of increasing their efficiency. What kind of how to design your office can contribute to this?
The how to design your office – Open space
This type of how to design your office is used to save staff time, to bring them closer together. Creating a lack of walls, we bring the team together, communication between employees is developed. We have a lot of space for decorative flowers, which will be their kind to reduce eye strain of office workers. This how to design your office is suitable for creative and active teams who have nothing to hide among themselves. They are open and ready to reach the goal. With the help of large windows, the office space expands, giving the impression of unlimited space. With this style often use high-tech technology in the setting. After all, the office should impress with its capabilities new customers and create a positive reputation. Often, recreation offices are created in such offices so that each employee can relax in his free time. It also motivates others to complete all their affairs. They have a desire to join other vacationers. Everything in this interior is imbued with dedication and efficiency.
The how to design your office – Loft
With this style of creating an office, the premises of former factories or factories are usually used. All the previous constructions of the structure are emphasized with wood or metal. The rooms are quite voluminous. They are comfortable because they have a lot of space and unusual how to design your office. Here freedom is given to each employee. Large pipes passing engineering systems, protrusions of past communications. All this gives charm to the office space. The how to design your office is not easy to read when compared with others, but it has its own subtleties that are breathtaking.
The how to design your office – Modern
This how to design your office does not mean businesslike. He is unusual. Its purpose is to surprise both potential customers and employees. Everything in it says about the creative directions of the company. Hue saturation just absorbs you. The office is open to ideas for something new. He is ready to be transformed time after time. The team here is not just friendly, creating a family that is always ready to help you and realize your goals. Using this style of how to design your office, the owner hints that he is not like everyone else, he is trying to stand out and bring something new to this gray world.
There are many office designs. But all the doors are open for you to create something new or transform other ideas into your projects. Pay attention to employees and their working conditions and then the client will find you.


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Quantum Field Theory
From Basics to Modern Topics
- Author: François Gelis, Commissariat à l'Energie Atomique (CEA), Saclay
- Date Published: July 2019
- availability: Available
- format: Hardback
- isbn: 9781108480901
This modern text combines fundamental principles with advanced topics and recent techniques in a rigorous and self-contained treatment of quantum field theory.Beginning with a review of basic principles, starting with quantum mechanics and special relativity, students can refresh their knowledge of elementary aspects of quantum field theory and perturbative calculations in the Standard Model. Results and tools relevant to many applications are covered, including canonical quantization, path integrals, non-Abelian gauge theories, and the renormalization group. Advanced topics are explored, with detail given on effective field theories, quantum anomalies, stable extended field configurations, lattice field theory, and field theory at a finite temperature or in the strong field regime. Two chapters are dedicated to new methods for calculating scattering amplitudes (spinor-helicity, on-shell recursion, and generalized unitarity), equipping students with practical skills for research. Accessibly written, with numerous worked examples and end-of-chapter problems, this is an essential text for graduate students. The breadth of coverage makes it an equally excellent reference for researchers.Read more
- Connects physical theory with formal mathematics, with numerous worked examples
- Fully up-to-date, with an emphasis on modern techniques important for current and future research
- Begins with a concise overview of basic topics to refresh knowledge and ensure a complete understanding of the subject
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Product details
- Date Published: July 2019
- format: Hardback
- isbn: 9781108480901
- length: 608 pages
- dimensions: 253 x 193 x 31 mm
- weight: 1.46kg
- contains: 100 b/w illus. 5 tables 184 exercises
- availability: Available
Table of Contents
1. Basics of quantum field theory
2. Peturbation theory
3. Quantum electrodynamics
4. Spontaneous symmetry breaking
5. Functional quantization
6. Path integrals for fermions and photons
7. Non-Abelian gauge symmetry
8. Quantization of Yang–Mills theory
9. Renormalization of gauge theories
10. Renormalization group
11. Effective field theories
12. Quantum anomalies
13. Localized field configurations
14. Modern tools for tree amplitudes
15. Wordline formalism
16. Lattice field theory
17. Quantum field theory at finite temperature
18. Strong fields and semi-classical methods
19. From trees to loops
Further reading
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Speaking for those with no voice…who long to be heard.
Special Upcoming Fall Event!
Speak for Animals has been going into Upstate South Carolina communities to save and improve the lives of companion animals in the Upstate since 2003 through:
- Low and No Cost Spay and Neuter Programs
- Community Outreach
- Advocating for the most vulnerable
- Humane Education
- Working in collaboration with groups who share our mission
Why we exist:
There is a real need in our community to proactively reach out and offer low or no cost spay/neuter options for animals who belong to people who love them, but have financial or transportation barriers to getting it done. Time after time we are called lifesavers and are so appreciated because people want what is best for their animal friends, but haven't had the resources to make it happen. Our programs directly reduce the amount of unwanted and discarded companion animals in the Upstate and beyond by the most effective methods – education on kind, compassionate care of animals and spay and neuter.