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Interview with Dr. Genie Giaimo/
Today's Axis blog entry features our conversation with Dr. Genie Giaimo, the director of the writing center at The Ohio State University. Dr. Giaimo will be editing a special issue of Praxis focused on writing centers at community colleges and other two-year institutions, slated for publication in fall 2017.
1. What initially drew you to pitch this idea to Praxis specifically?
I've been a reviewer for Praxis for nearly four years and I have enjoyed watching the journal develop and expand. In part, my idea was to pitch an article on RAD research within a two-year college writing center context, which was in response to a previous interview that I gave with the journal in which I discussed empirical research and my growing preoccupation with writing center methodology and the things that often go unsaid about a study and its method. I have given a lot of feedback related to methodology on subject recruitment, statistical significance, and the ways in which researchers develop and study their particular research questions. My research on two-year colleges and RAD (replicable, aggregable, and data-supported) methods responded to a number of other journals' focus on similar methodology (here I am thinking about Writing Center Journal in particular but also The Journal of Writing Assessment) but with a community college as the primary research site, which is far less typical for writing center research. But, as I pitched my manuscript to Praxis, I realized that there was actually an even larger opportunity to create the first-ever writing center special issue focused on two-year college research conducted by two-year college researchers and WPAs. Although TETYC did a focus issue a decade and a half ago, it only contained three articles about writing centers at two-year colleges and one of these pieces was an historical one. This, I thought, was a real opportunity to share current research from some of the movers and shakers in an emergent research field. Of course, two-year colleges have a vibrant research culture, but writing centers have been under-examined within this scope. I realized this when I became a two-year college WC Director I was constantly asked to justify the "best practices," however sticky a term that might be, that my field relies upon—many of which simply do not work in the same way in two-year and four-year institutions. I realized that, in many ways, two-year and four-year college writing centers were operating in separate spheres with some crossover, and that the conventional wisdom and "best practices" were being developed out of four-year college writing centers with their particular institutional contexts and student populations, in mind.
2. Can you tell us a bit about how this issue came to you? How did your interest in two-year colleges as an unfortunately overlooked site for assessment begin?
Well, I was trained by Neal Lerner at Northeastern University and there I was trained in a very common WC model: peer run, mostly graduate consultants, process-oriented, non-directive, and ever expanding into the composition and rhetoric theories du jour: multimodal writing support, multilingual writing support, online writing support, etc. When I arrived at my first job at a community college, however, the model was entirely different. It was a faculty and adjunct-run center with mostly walk-in hours, no online support, and very little training and professional development for staff. While I recognized that the model I had been educated in was one that had a lot of value, I also recognized the difficulty of changing the current model I was encountering wholesale. I set about trying to justify adding peer tutors back into the WC, trying to train staff in minimalist and non-directive tutoring methods, and exploring online tutoring options. All of this was done through RAD research because every time I went back to the literature, I found articles about four-year colleges that were residential and predominately staffed by peer-tutors and graduate students. It wasn't that there was NO research on community college writing centers out there—Clint Gardner has done some great work both for TETYC and through IWCA, as an example—but there wasn't nearly the robustness of research on the particular challenges that I was facing, given the WC model I inherited and the student population that attended the WC. Everything that I thought I knew about Writing Centers had to be re-worked in order to fit a far more diverse population than I had ever worked with before!
3. In the CFP for the special issue, you write, "Writing Centers are an important part of the community college open-access mission, yet, overwhelmingly, there is a dearth of centralized research on two-year writing centers that is produced by community college writing center administrators and faculty."
How did you arrive at this conclusion? Was there a moment that you realized that writing center scholars simply weren't taking advantage of the research available?
Well, as I noted previously, I arrived at the conclusion that there is a lack of research on two-year college writing centers when administrators and others were asking me for justification of policy changes and the only articles I could find to demonstrate "best practices" were studies conducted at four-year institutions of higher learning. Similarly, in the peer tutoring practicum course I taught, most of the articles that we read and discussed were from four-year-colleges—research universities, no less! Even the students became aware of this phenomenon when they started conducting original research and wanted to use two-year-colleges as their research site. It was difficult to explain that many of the things that we take for granted in the writing center world—globally-focused, non-directive, peer-led tutoring methods—were efficacious models that worked within four-year contexts and could work within two-year contexts, as well. I was trained to value these methods of tutoring and prioritize a peer tutoring model, but it was difficult to explain these concepts to a site that hadn't had peer tutors for over 10 years and was run mainly by adjunct faculty who were incredibly directive and locally-focused in their sessions. The research was simply not there for explaining how community college WC sites are different from four-year college WC sites, including taking into account student demographics, non-residential college structures, and low technology access, all of which were factors that contributed to the policies and tutoring model in place before I arrived. While I was dealing with the realities of an incredibly diverse student body, and with far lower technological skills, on the whole, than anywhere I had ever worked before, the research took for granted a number of givens about student populations, their abilities, the amount of time they spent on campus, and their access to a non-interrupted education. That simply was not my experience working at a two-year college (and this experience will vary from community college to community college!) So, we needed to find out for ourselves what our population knew about writing centers, what type of support they wanted, and what kinds of tutoring models they benefitted from. In short, we had to rebuild the Center from the ground up but we needed original data to justify that need because the current data wasn't really featuring our particular student demographics, institutional structure, or service challenges.
4.What do you think we're going to find as we collect more data from writing centers at community colleges and smaller institutions? I know this is speculative, but are there patterns you imagine will emerge that we can learn from or will be surprising or illuminating as we continue to theorize about writing center pedagogy and how community colleges fit into this larger conversation?
Well, having already accepted proposals for our special issue, I know we will find that a lot of two-year college writing centers are tethered to developmental writing courses and function within a course-credit model that is more common to older writing lab models that Neal Lerner, Elizabeth Boquet, and others have written about. We will also learn a lot more about the incredibly regional nature of community colleges and how that regionality affects student populations and, consequentially, how writing centers are run successfully. While some community colleges have little-to-no international student population—which is so common to four-year colleges now—many have a disproportionate number of first generation and L 1.5 students: students who were raised in the United States and have a grasp of colloquial and idiomatic English but who live in households where languages other than English are predominately spoken. We have contributors to the special issue that explore such linguistic and cultural varieties among their student populations and offer training modules and other research-based pedagogical tools for working with such students.
I also think we are going to find that there are a lot of differences between two-year and four-year college writing centers and that these differences need to be recognized and studied in order to develop appropriate training, staffing models, funding models, and research models. The reality for many community college writing center administrators is that the work is far too time consuming to conduct extensive research. This is where I think the article by me and my colleague, Katherine R. O'Brien, will be useful; it is a primer on how to develop and harness student researchers to conduct big data assessment on past and current policies and tutoring models/methods.
5. One thing I'm particularly interested in as a budding writing center director or administrator of some other kind is the political and financial realities of community colleges. I know it can be hard enough to secure funding at larger schools—given your experience, could you talk a bit about what this is like for community colleges and smaller institutions?
Well, it's important to learn about the different types of funding lines at your particular institution and whether or not the Writing Center qualifies for said funding lines. At the community college, for example, there's the standard college budget line items for personnel, supplies, technology, etc. but there is also special funding through government grants and agencies, such as TRIO or Perkins—some four-year colleges also have TRIO programs. Of course, how these types of funding lines can be used is very specific. Perkins, as an example, is limited to supporting students in technical education programs. So, while funding is tight everywhere, it is far tighter, in my experience, at public two-year colleges, thus it is important to explore different types of funding avenues and to make sure to spend the funding lines that you have already secured. Also, tracking how money is spent is critical to fulfilling any particular budgetary lines with attention to detail on particular specifications (number of students from xyz major served per semester), or target effects on particular demographics (increase in passing grades or retention from semester-to-semester, as an example), thus securing a data and usage tracking system, such as WCOnline, is critical to such reportage efforts.
Another point related to the question of funding is that developing relationships with local private and business donors is crucial to furthering a writing center's mission and reach without calling upon already overtaxed institutional coffers. Donor-ship and foundational giving are areas that I am exploring at the moment. I am learning that setting-up donor-organization matching requires a lot of finesse and relationship building. So, going through the official channels at your institution to start the process of discussing donations and foundational giving is vital to securing external funding.
6. With the job market being what it is, many of us will work at community colleges and smaller institutions. How do you envision training for graduate students proceeding in the future, or accounting for this reality?
This is a really great question and one that I could go on and on about. I recently reviewed an article for TETYC, which I don't think has been published yet, but it offered a training model for aspiring community college professors through an articulation agreement and externship program model between a local Ph.D. program and community college. The general conclusion of the study was that while a lot of literature Ph.D. students end-up working at community colleges, many of them are simply not prepared for the type of course load, developmental needs, and even political structure of community colleges. I would argue that there is a similar set of circumstances informing those of us who make the transition from four-year public and, especially, private higher education settings to two-year ones, even in rhetoric and composition/writing center studies. If I were to run a training for would-be community college WC Directors, I would run it as a practicum and I would want there to be a mentorship component in which emerging WC scholars and administrators worked and learned alongside more seasoned community college educators, directors, and staff. Of course, given the financial climate of community colleges and many state schools, it is difficult to say whether or not there would be enough money or time for this type of practical hands-on learning, but, in an ideal world, no graduate student would be thrown into working at a community college with a 4/4 or 5/5 teaching load and directing a WC totally unlike what she or he was trained in.
If a training program wasn't available, which is far more likely than the scenario I just described, I would suggest that aspiring community college educators seek employment at a community college while still in graduate school. A colleague of mine volunteered in a writing center at a community college in the Boston area before she was able to secure paid teaching; this is, of course, because many community colleges are unionized and priority-of-hire from semester-to-semester is given to workers with previous experience and seniority. Also, unfortunately, graduate students and those who have never worked in a two-year college setting are sometimes viewed with suspicion or skepticism by would-be employers—thus, getting that vital work experience is necessary before applying to two-year college jobs. While I never worked in a community college, I attended high school bridge classes at my New York City public school, through Kingsborough Community College, and I am a first generation college student. I also taught pre-literacy courses to adult learners who could neither speak nor write in English or their home language(s) at Rosie's Place: a women-only homeless shelter in Boston. These experiences were vital speaking points during my interviews. And, while in graduate school I witnessed a lot of people refusing to talk about their background if they were not from privileged or academic families, it is quite the opposite at two-year institutions: having diversity-of-experience makes you a more attractive and potentially empathetic candidate than someone right out of graduate school with no experience with the two-year college model and little experience working with developmental education models, non-traditionally-aged learners, etc.
7. Can you speak a bit to your experience with collaboration with other disciplines during your time working at a community college? How could this be improved, or what have you seen already working about it?
Collaboration is a necessarily element of any writing center-college relationship. There are instances when the writing center director acts as a de facto writing across the curriculum professional. That was the case at my institution, as there is no writing program or WPA. So, I worked with faculty across the disciplines. For example, a consultant and I developed a workshop for an introductory chemistry course for non-majors (it was common for majors to be quite broad, such as "Liberal Arts," or "Health Sciences" at the Associates Degree level). Together, we met with the faculty member, discussed American Chemical Society (ACS) citation method and IMRD (Introduction, Method, Results, Discussion) formatting, as well as passive voice, and third person. It was a long workshop! The point, though, with this workshop was to introduce students to how our Writing Center can support writers of all disciplines and across various rhetorical and generic contexts. Because we were seeing few STEM students in our Centers, we thought that marketing and promotion, as well as introducing students to our services and philosophies, would help to bring different kinds of writers to the WC.
Another collaboration that occurred across the disciplines was with criminal justice and their annotated bibliography assignment. Although there was some resistance when policies about signing-off on required attendance (another area that I research) to the WC were put into place, it was important for us to offer alternatives to this type of checking-in mechanism. Thus, we developed annotated bibliography workshops and determined we would offer drop-in hours for CJ students in the coming semesters and assess whether or not this strategy was an effective and satisfying replacement for the signing-off requirement that some faculty implemented for the assignment.
Thus, while collaboration across the disciplines is very important—not everyone knows about a writing center's mission or potential services—it is equally important to offer disciplinary-specific support and work in coordination with faculty and staff to develop content. It's often a work-in-progress, but I recommend that new WC Directors and Coordinators hit the pavement when they arrive at a new job. Find out all of the student support services, such as the office of disability, veteran's affairs, as well as student life initiatives, such as counseling. Get to know each department's mission and learn more about their strategies for supporting students. And, if you are at a community college especially, build relationships. Get to know both adjunct and full time faculty members, and meet with deans and departmental chairs. Try to get on the agenda for required meetings, even if only for 5 – 10 minutes to introduce yourself and your center. And, most important of all, listen. Community colleges can be insular and community-driven places. Change doesn't come easily to them, or at least that has been my experience. So, when you encounter resistance, take a step back and reflect. Consider that many of your colleagues have been working at the same institution their entire career; some will have, over the course of decades, witnessed college expansions and contractions, hiring and firing, and all types of union-related and State-imposed issues. Every decision will take time and deliberate reasoning. Thus, collaborations come in handy for piloting new initiatives and creating a positive buzz about the changes. Collaboration is key at a community college, as I know it is elsewhere in higher education for writing center administrators.
Thanks for your insightful answers, Genie! Be on the lookout for the issue that Genie is guest-editing this fall.


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Written by Laurie Niles
Published: February 6, 2015 at 10:42 PM [UTC]
Gilbert, 47, said that he wanted to allow a new music director to take the helm before construction -- expected to last two seasons -- begins on a new concert hall in 2019. Gilbert is the son of two New York Philharmonic musicians, violinist Yoko Takebe, and retired violinist Michael Gilbert, and he was the first Asian American to lead the New York Philharmonic. An American and a New Yorker, he studied at both Curtis and Harvard.
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subset: commoncrawl


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| Play! Software Planning
|Release Date(s)
| February 14, 2012
February 14, 2012
February 14, 2012
February 14, 2012
|1 Player
|Age Rating(s)
|Action, adventure
|Media Included
|Wii Optical Disc
Molecule Story, known in Japan as Bunshi no monogatari (分子の物語, literally "Molecule's Story"), is an adventure and action video game for the Wii Console. It was developed by Play! Software Planning and published by Nintendo in 2012. In this game, the player controls a ball-like creature through levels and worlds, for the purpose of collecting the goal molecules of each level. The game also contain power-ups that are required to complete the levels.
The player can choose one out of two control modes in the main menu. The first uses the Wii Remote only and the second one uses the Wii Remote along with the Nunchuck. Using the D-Pad or Analog Stick, the player moves the ball, and using the 2 or A buttons, the ball speed is increased. The player also must press 1 or B to use some power-ups.
The player must travel through areas and chambers in each level, using power-ups and avoiding enemies and obstacles, in order to reach the goal of each one, the Molecule Pad. Once it's recovered, the player backs to the world map and the next level is open.
The levels have a background colored according to the world's color (e.g. World 1 is oil blue, while World 6 is purple) and the objects (walls and enemies) are black silhouettes. The backgrounds usually show bubbles and molecules.
These pre-historic creatures just wander from side to side. No matter how much you're hungry, just don't be atrracted by their donut-like appearance.
These slingshot objects are believed to be used by ancient folks during an attack. Yeah, they are not THAT effective.
These heatseeking balls attemp to run after you. Forget the evil face, they're just looking for friends.
This sorta bowling ball snake is what left from molecule dragons from the past. Like every of this kind of snake, it loves making some strikes with round passersby.
Catterballs are mysterious weapons. Even looking lifeless, they can spin forever. Are they live? Do they talk as well?
Flowsies are the cutest kind of plant around here. But don't get fooled: behind these cute petals there is a poisonous stem and malicious intentions.
Speets are maniac plants and believe their task is to shoot sap at visitors. You must be thinking… Where do all that sap come from?
These cactus thingies seem to be stuck on walls, so they don't move. Don't get caught on their spikes: they capture their enemies as skewers get burgers.
Nuxes hang on ceilings and attack by falling down. Unfortunately for them, when they bump into something, they explode, unfortunately for us.
This sleeping plant only wakes up when something disturbs it. In a fit of rage, it starts chasing the intruder. All this chasing around makes its leaves frizzy!
These cute crabs are often seen sunbathing is sand temples. They might use their claws to pinch viewblockers.
These ones seem to be friends of a certain type of crab. Don't drive sunshine outta them, unless you want to be baked and cut as pizza.
Giant rock wheels that roll down slopes. Thanks heavens for their pits, or they would aerate you.
Squids like this one keep swimming in big oceans. Did you notice how they wiggle to and fro? Surely, they got the waddle of a professional dancer.
Medusae are underwater jellyfish creatures. They swim in circles until the cell gets near them. When this happens, they start chasing them and, after some time, stop for some moments. They appear in the first levels of World 4 and World 5.
Pisces are fish-like enemies with a round head, a wavy back fin and small eyes. They just swim from left to right or up and down and are very weak. They can be defeated by a Bomb power up explosion. Pieboos appear firstly in World 4-1.
Pistars are starfish molecule creatures that roam in some watery areas. They have elastic arms that can extend and bend, that they use to attack the cell. Pistars can be defeated with the Bomb power-up. If the cell attacks a Stelbo's arm with Bomb, it falls and another arm grows in its stead.
Gladiusfish are swordfish-like enemies that appear in sea areas. They firstly swim calmly from side to side. When the cell approaches one of them, it charges for some time and attacks by boosting fastly on its direction. They appear in World 4 only.
Meteorons are stony things that fall from the sky. Don't touch them, or you'll go BOOM.
Gibbas can be calm at first, but they won't give up when boosting toward you. They lack some sanity, but their obsession for hitting walls is still weird.
Gloot are some kind of black hole. As everything around here is black, they're named in several ways by passersby... never mind.
These obstacles are called Torkes. They are there, spinning their planets, because... it doesn't matter. They're just doing their thing, so leave them alone.
Splatters can be confused with inoffensive little bugs, but, when they spot trouble, they multiply like fleas. You can't do anything about that, so... RUN!
|Play! Software Planning
|Wii Games
|B.O.T. • Molecule Story • Sequence • Super Mario Planet
|Nintendo 3DS Games
|3DS Café • 3DS Music • 3DS Party • 3DS Play • 3DS Tennis • 3DS World • B.O.T.
|Wii U Games
|Stumped Quest • Wario World U


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Ann Wilson's opinion on Auto-tune
Ann Wilson has released a stream of her cover of Jimi Hendrix track Manic Depression.
The song was originally recorded by the Jimi Hendrix Experience in 1967, and now appears on the Heart singer's latest solo EP The Ann Wilson Thing! – #2.
The four-track also features a cover of Peter Gabriel and Kate Bush duet Don't Give Up along with two original tracks Fighten Fer Life and Anguish.
Last month, Wilson hit out at artists who insist on using auto-tune to enhance their music.
She told TeamRock: "I've no objection to singers using them when recording commercial jingles, but when it starts masquerading as art that's when I lose my rag.
"My biggest objection to auto-tune is that it makes everybody sound the same, and I hate anonymity. Being a singer is all about being human, having flaws and inflections that I guess some might choose to see as imperfection.
"Take them away and you remove the person's identity. If it were up to me let's send them all to the bottom of the ocean."
Meanwhile, Heart are currently on tour with Cheap Trick and Joan Jett & The Blackhearts across the US in support of their 16th studio album Beautiful Broken, which was released earlier this month.


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The Thrillings of Preikestolen in Norway
Preikestolen or Prekestolen is identified as pulpit or pulpit rock by the english translations of Rector's and by the ancient neighborhood name Hyvlatonnå, is a colossal rock face 604m more than Lysefjorden differing the Kjerag raised ground at Forsand of Ryfylke in Norway. The acme of the cliff is about 25m2 areas of almost plane which is a prominent natural tourist attraction in Norway. A stalk enlarges the parking capability in the spot going through a diversity of mountain surroundings. The round-trip trek to Preikestolen from the neighboring parking takes about 3/4 hours. The Preikestolen is very vertical in places which pathway initiates at the Preikestolhytta with an elevation of about 270m over the sea level.
The hike is restricted in winter and spring while the place is covered by the snow and ice, makes he the pathway slippery. One of the main attractions is ferryboat journey sailing under the pulpit rock throughout the Lysefjord which is an alternative of these spot, offers around the year. The weather excluding the summer can be drenched and freezing when vapors can stop seeing the rock. The vessel stops at some small harbor on the means in & out including a place over at the end of the Lysefjord. In spite of the dangerous ecological conditions to this day there is no security barrier has been built on the border of the cliff so that the natural beauty of the cliff can not be harmed. In spite of being an insecure gorge, there have been no mishaps at the site, but over the years a huge figure of citizens has committed suicide at the spot. The cliff overlooks the thickly and dazzling green valleys of the Ryfylke area. The peaks surrounding the cliff arrive at heights of up to 843m. Some of the peaks have plains which are sprinkled with lakes. The mountain Kjerag is also a very well-liked climbing destination and really rather go there due to the escalating attractiveness of the Preikestolen which has escorted to it flattering more brimful in similarity to Kjerag.


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The concept of Adelante was dreamed up over three decades ago by the current owner's mother. When Adelante first opened in the 1970s, it was located in San Antonio, and many of the pieces that made up the boutique were inspired by or hand-picked during the owner's trips to Mexico.
The store moved to Austin 25 years ago and has since expanded its labels and space. Still, there are many pieces in this boutique that are definitively south-of-the-border style: embroidered mumus, off-the-shoulder blouses and jewel tones prints. These vibrant pieces separate Adelante from other shops in Austin.
When walking into this boutique, it's hard not to think Adelante aims to sum up Austin style. Luckily, they do an impeccable job at it.
With everything from the boho blouses to the upbeat casual looks to the vintage embroidered pillow cases to art deco candles, they manage a cohesive aesthetic of clothing and home goods. Much like Austin, it is eclectic and full of energy, but still has a clear identity. It is even known for bring in a collection of burnt-orange-game-day-girl-gear on August 1st, which takes up half of the entire store (and the store is big!)
This store is tucked away a bit from the road on 38th St., but if you venture in, you will not be disappointed. In addition to all the playful pieces from brands you know (Johnny Was, Lush, Lucky Brand, Free People) and many you may not, this boutique has exceptional gifts (I got many of my holiday presents here last year.) If you walk in, you won't walk out empty handed, so proceed with caution...
But also...
Take a peak here...
Trend Alert: Velvet + Fall Florals
Cozy up in these maxi sweaters!
Tulle party skirts for the holidays!
Tunic by Johnny Was -- The California King of Boho
They're prepped and ready for sweater weather!
Party clutch perfect for the holidays
The faux fur vest is the perfect autumn piece for Texas weather.
Closet Essential: The Plaid Shirt
Closet Essential: Basic Hoops
Burnt orange galore!
Turtlenecks to keep you cute and cozy.


text: For a top rated Appliance Repair service in Concord, ON, call on M B Repair Services, who has been established since 2002. For many years we have offered a wide range of services including Appliance Repairs, Refrigerator Repair, Dryer Repair and much more. We have the experience to repair your appliances efficiently and professionally, with the most affordable rates. Looking for the best for repairs on your stove, washer, dryer or microwave in Concord, ON, call on M B Repair Services, we are committed to providing our clients with the highest quality of service.


text:
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but I get this error when clicking to make a post:
Code: Select all
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I suppose it's because I'm attempting to use it with AeroBlue.
Neither the prosilver nor the subsilver smilie_creator.html works.
Oh well, it was worth a try.


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How old is too old to become an apprentice?
June 13, 2017
"It's a pity more people do not realise that there is no upper age limit to take up an apprenticeship. At 25, a person still has over 40 years of work ahead of them. It's commonplace now for people in their 20s to decide to change careers, having woken up to the fact that their dream job in their teens is something that no longer interests them", says Lindsey Young, HR & Training Director.
I've lost count of the number of people who we've met at careers fairs who intend to walk past our stand because they think they are too old to embark upon an electrical apprenticeship. It's then highly motivating to bring a smile to their face when we tell them that our apprenticeships are not just for school leavers and that some of our best apprentices joined us in their thirties or forties.
It's true that some apprenticeships are more physically demanding than others. Our electrical apprenticeship falls into that category, which may mean that some older people may be deterred from applying if they do not wish to lift heavy drums of cable or cannot face the prospect of constant early morning starts. But we adopt the approach that we want to employ the best person for the job, regardless of age.
Future team leaders
When we recruit apprentices, we tell them that we're looking for our team leaders and area managers of the future. Older people who have had previous supervisory experience in catering or retail would be able to bring management skills to the table that we could utilise later in their careers.
Taking on an apprenticeship later in life is a big financial commitment, especially when you may have got used to earning a reasonable wage in a former job. But we advise older applicants to look beyond the apprenticeship wage and focus on the bigger picture post-qualification, when our qualified electricians can earn £1,000 a week.
Forty-three-year-old Ian Merriott is one of 89 apprentices employed by Clarkson Evans over the age of 25 years old.
Ian, one of our Southampton apprentices, started his electrical apprenticeship on his 40th birthday after 21 years working in the NHS as a mental health nurse.
Now he's almost qualified and looking forward to becoming a team leader in his own right.
His career change was sparked by the fact that his nursing role was becoming increasingly office-based and instead Ian wanted a fresh challenge where he could use his strong maths and interpersonal skills.
Having kept physically fit all his life the demands of a construction site have been manageable for Ian, who says his early morning starts as an electrician are nothing compared to NHS shift patterns.
Transferring his solid communication skills to the electrical industry means Ian has had no difficulty getting on with colleagues and other trades on site – an invaluable skill if you wish to work efficiently.
As an older worker Ian is highly resilient and proud to tell people he hasn't had a day off sick since he joined the company. He can cope with setbacks and has the maturity to make the most of the opportunity he's been given.
Now with weekends off work Ian has more time to spend with his children, a benefit that appealed to Ian when looking for a career change.
Life's too short to be stuck in a dead-end job with no prospects for career progression. Our career changers are many and varied. From lifeguard, to chef, landscape gardener and dental nurse we've had a whole raft of people decide that retraining to become an electrician offers them a bright future.
You'll be surprised by how many skills you already have which would be useful in the electrical industry.
Attention to detail is essential for our electricians and people working in admin and finance roles often have this skill in abundance. Cutting corners can result in dire consequences on site and so a conscientious attitude, developed in the finance industry, can often help smooth the transition to becoming an electrician. Being organised is key to both jobs as is the ability to get on with a range of people.
The discipline and teamwork learnt in the military is also a great match with being an electrician. Working on a construction site means you'll be expected to follow instructions, get on with your job in all weathers and remain focussed when the going gets tough.
There's also a lot of similarities between working in retail and being an electrician. With daily targets to meet and customers to keep happy, working on site or in a busy supermarket are surprisingly similar. Being a shop assistant or an on-site electrician both involve the need to have a flexible attitude to deal with seasonal peaks and troughs of work and being prepared to put in a few extra hours to get the job done, when things get busy.
While other electrical contractors miss a trick by directing their recruitment marketing only at school leavers, we'll continue to fish in a bigger demographic pool for our future apprentices and reap the benefit of employing older candidates.
Contact us
Clarkson Evans
Meteor Business Park
Cheltenham Road East
Head Office
01452 530336
Telephone01452 858999
Our customer care team are available8am - 5pm, Monday to Friday
Telephone0845 900 3600
Clarkson Evans Training
Meteor Business Park
Cheltenham Road East


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To access the Bio-Medical Library, park at the University's Washington Avenue Parking Ramp or Oak Street Parking Ramp and proceed by foot to Diehl Hall. You can also take the Green Line Light Rail, exiting at the East Bank Station.


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The blockbuster Batman sequel The Dark Knight Rises reignited interest among Batman fans around the world who still have not
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Deluxe Suicide Squad Joker Costume This adult costume is based on Jared Leto's version of the Joker from the movie
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In the DC Comics, the Riddler is Batman's most puzzling and mysterious nemesis. In issue #140 of Detective Comics, this
Joker Halloween Makeup Kit for Sale
This Halloween transform yourself into one of Batman's most nefarious villains, The Joker. With these make up kits, you can
Batman Cowls
These face masks are also known by superhero fans as "Batman cowls" which you can use to disguise yourself like
Harley Quinn Costumes on Sale
Batman's notorious rival, the Harley Quinn, is one of the most unique female villains in Gotham City and the DC
Discount Child Joker Costumes for Sale
Finding the best child Joker costume might be a challenge for some parents, but fortunately you arrived at the right
The Joker Thug Clown Gang Masks for Sale
Halloween is coming and you still have time to get Joker's full size latex mask. Batman's most infamous nemesis the
Dark Knight Grand Heritage Batman Costume
The Dark Knight Rises is the final movie that ended Christopher Nolan's Batman series. With all the attention still surrounding
Women's Robin Costume for Sale
Sexy Robin Costume for Adult Woman For this Halloween, dress up as Batman's sexy female version of his sidekick. This
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For this upcoming Halloween season, if you want to disguise yourself as one of the most notorious female villains from
Batman Joker Robin Dog Costumes
Cute Dark Knight Dog Costume Your pet dog can join in on the fun by being his own cute canine
Batman The Brave & The Bold Halloween Costumes
Batman The Brave and The Bold Halloween costumes are based on the popular animated television series. These caped crusader outfits
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If you want to add a zombie twist to your Batman Halloween costume, you will want to disguise yourself into
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text: "Alla Breve" is Italian musical term for "cut the playing time" or play faster. There is some wisdom here to share as we are often faced the reality of "doing less", ie cutting the time or "doing more" aka playing faster. How to apply Alla Breve in our professional and personal lives goes a long way to determining if the sounds we fill the air with are melodic and harmonious vs off pitch and in the wrong key. Are we habitually "out of time" running from one meeting to another? Is there an on-going sense of frustration that that the task doesn't fit the time? How can we shorten the time needed to do what we need to do? When orchestrating plans, are we being realistic? When was the last time we intentionally gave back time to somebody else? When was the last time we actually had time "given back"? Don't miss our next VoltCast if you'd like to learn the answers to these questions. Voltage CEO Jeff Smith and Principal Consultant Lee Hubert will share tips and tools on giving back time! [Read transcript here]


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Hi everyone!! I am so excited and incredibly lucky to be a part of the D-Lish Scraps Design Team. Thanks so much to Amanda for the wonderful opportunity!!
So today I thought I would share a couple of layouts with you all using some of my favourite D-Lish goodies!!
First up is a layout of my two cutie pie sons ;) I have used 8 yummy D-Lish products on this layout!!!
One of my favourite colour combos at the moment is red, black and yellow with a touch of white and what better way to add some yellow with one of those gorgeous D-Lish Grosgrain Ribbon Rosettes, here I have placed a black paper doily behind it for extra contrast, I have used a yellow one on my layout, there is also Lavender and Turquoise available in store.
The D-Lish products used on this layout include:
Washi tape-Yellow with red spot
I have used a black vintage resin flower centre above there are many gorgeous colours available in a grab bag for just $1!!! So cheap and the perfect touch to any layout!!
For my below layout 'Grow' I have again used 8 gorgeous D-Lish Scraps products, it is SO easy to include numerous D-Lish embellishments on my layouts...I bet you could too!!
Here are the D-Lish goodies used on this layout:
Rhinestone Jewel-Orange
I tied the D-Lish Twine around the D-Lish Flag for more interest and to draw the eye to the flag. I love those School Days Bottle Caps from D-Lish too, perfect those upcoming Back to School photos!!
Aren't these just the funniest photos of my eldest son in the below layout? He is a card!!!
I wanted to continue the red, blue and white colour theme from the wig on this layout and what better way to do that than to use some more yummy D-Lish products!!!
For this layout I have again used a total of 8 D-Lish products!! I am starting to see a pattern here LOL!!!
I just adore that Red and Blue Stars Washi Tape, it goes so well with my theme and it would be so perfect for Australia Day layouts!!
The other D-Lish products used on this layout are:
Twine-Blue other colours also available
Small Resin Polka Dot Button-Red many other colours also available
So that's all from me today, I hope you are surviving the heat!!!
Take care, till next time...happy scrappin x


text: This really cool Japanese Magazine Niko and... has this cool feature called 30 Days Coordinate. Every day of the month they post outfit inspiration for that day, to help you get dressed. It's been happening for quite a while and i really like the outfit selection. The styles are so simple yet fashionable that you just can't help but tuning in daily to see what they'll think of next. I'm not even going to type much, i'll just post a flurry of photos embodying February in outfits.


text:
Christmas came early, as I opened the first box of DVDs of the newest Dispatches from the Front episode! The Fourth Man, set in the Middle East, goes beyond the usual headlines to showcase the power of the Gospel to break centuries-old darkness--even in the face of persecution and Islamic terror. The Fourth Man will be released the first week in April and will premiere at The Gospel Coalition conference in Indianapolis on Monday, April 3, and at Capitol Hill Baptist Church in Washington DC on Sunday, April 9.
View a trailer here.


text:
Shinseki asked the Veterans Affairs Committee to back the creation of a new position -- assistant secretary for acquisition, logistics and construction -- to manage relationships with the department's 15,000 suppliers.
He also sought authority to establish eight new deputy assistant secretary slots, five of which would be in the Office of Information and Technology, headed by Chief Information Officer Roger Baker. The new positions would oversee five separate business lines:
--Strategy, architecture and design
--Product development and delivery
--Enterprise program management
--IT performance management
--IT operations and engineering
Shinseki also said he wanted to create principal deputy assistant secretary positions in two areas: acquisition, logistics and construction; and construction and facilities management.
Shinseki said the new positions would not require increased funding or adding Senior Executive Service slots, but instead would be supported with existing resources.
He promised the committee that the anticipated savings from acquisition reform efforts would go to veterans. "Every dollar I can save, I can put into care and benefits," Shinseki said.
Improved management of information technology is essential to better management of VA as a whole, Shinseki told committee members. "Great IT development and execution, in turn, depends on very well-managed and disciplined acquisitions support and project management," he added.
In the past, VA IT setbacks have "largely been [the result] of project management and acquisition failures," problems the department has started to resolve with the development last June of the Program Management Accountability System, Shinseki said.
Reviews of programs under the system resulted in the cancellation of 12 IT projects last month for a savings of $54 million, Shinseki said.
Rep. Steve Buyer, R-Ind., the ranking member on the VA Committee, endorsed Shinseki's request for the new appointments. Buyer asked the VA chief to provide him with a detailed acquisition reform policy within 30 days.
The committee's chairman, Rep. Bob Filner, D-Calif., did not immediately endorse Shinseki's requests and reminded Buyer that he was speaking for himself and not the full panel.


text:
How Insensitive Sneak Preview #4Steve Marsi at . Comments
Another sneak peek from "How Insensitive," in which Derek is upset with Meredith giving away info to Owen unintentionally. You looked at him. Control your face.
- Show:
- Grey's Anatomy
- Episode:
- Grey's Anatomy Season 6 Episode 21: "How Insensitive"
- Related Videos:
- Grey's Anatomy Videos, Grey's Anatomy Season 6 Episode 21 Videos
- Uploaded by:
- Steve Marsi
- Uploaded:


text:
A Camping We Will Go
Guest Post by Nancy Dobias
When I go to Myakka River State Park and see all the campers, I generally am envious of the opportunities they have to enjoy the sights and sounds of the park at night. When the rest of the world has gone home, when the gates are locked, the park has quieted down and all the wildlife are now coming out to feed. How neat it would be to quietly sit and observe.
Who know, that might have been the goal of a rather large group I had seen this past Monday. When I saw them, they were just gathering together for lunch. I thought they had picked a very nice open area for a group as large as theirs. It offered shade, a swimming hole, and lots of opportunity to catch some fresh fish or let the kids expend some energy by playing some games.
Naturally someone had to take charge and since Luisa Pato had been here before, she decided she would take the lead. Luisa might have had experience with what the park offered, but she wasn't much of an orator. When she wasn't able to get her fellow campers to listen willingly, she figured leaning in closer to them would better achieve her objective. The louder she make her proclamations, the more unwilling were those who listened.
However, she did pique the interest of those further away who wondered if Luisa might be teaching a new version of the Chicken Dance.
Poor Luisa. Too bad she didn't realize what she had started. The young ones were now up and awake and they wanted TO PLAY! Dive-bombing on unsuspecting Luisa was now the "game of the day."
It's good that Ethel Pato realized what was happening. Quickly she intervened and read the guilty parties the riot act. Naturally all acted innocent.
Before long, the kids settled down and once more Luisa explained what activities would be available for the campers. Bobbing for Peas was to be the first activity and prizes would be awarded to whoever could secure the most. The kids couldn't wait to get started.
Unfortunately it didn't take long for the kids to start arguing over who found the most peas, who stepped on whose head, who was cheating and who called who a name.
Hmmmmmmmm.....maybe I might have to re-think this camping experience. I don't know if I could "survive" the camping experience.


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We are delighted to announce that the 2012 pantomime at the Lyceum Theatre, Crewe is Cinderella. It runs from Friday 30th November to Monday 31st December 2012.
The panto is now closed
31st December 2012
Cinderell at the Lyceum Theatre has now closed. A massive thank you to all who were involved for a fantastic show!
The Lyceum Theatre, Crewe has now been taken over by HQ Theatres who will run the theatre in it's entirety. It's a really exciting time of change for the Lyceum and a positive step for the future of theatre in Crewe and the surrounding area.
This means that Imagine will not be producing the 2013 pantomime at the Lyceum, and the production reins have been handed over to QDOS entertainment who are the pantomime production arm of the HQ Theatres group. Thank you to everyone who has been involved in the past seven pantomimes we have produced at the Lyceum. It's been fun and we thank you all for your support and hard work.
Photos From the Production
13th December 2012
Photographs by Helen Ashbourne.
The Crits are out
3rd December 2012
Read the crit in The Stage.
Read the review in the Stoke Sentinel.
The Panto is Launched
21st September 2012
Cinderella recently had its official launch at the Lyceum Theatre. The Ugly Sisters were certainly getting into character and being exceptionally mean!
Some More Casting News!
24th August 2012
The casting team have been busy and we are pleased to announce that Helen Watson will reprise the role she played for us last year in Inverness - Fairy Godmother. Arina Ii who played our Princess in Aladdin in Reading last year is going to be playing one of our principal boy roles - Dandini. Welcome back to you both x
Our Cinderella is Cast
24th July 2012
Great news - we have our Cinderella. Gemma Rees will be playing our 'rags to riches' heroine this year in her first Imagine pantomime. Welcome Gemma! x
Casting update
30th April 2012
We are delighted to be able to announce two more cast members of the Lyceum panto. Ste Johnston joins us for a third year at the Lyceum to play Buttons. His previous roles in Crewe were the Emperor in Aladdin 2010 and Will the Jester in Snow White 2011.
Ste is joined by Julia Cave, who will play Prince Charming. This is Julia's third pantomime with Imagine Theatre having previously appeared as Prince Charming in Cinderella at the Belgrade, Coventry in 2010 and as Prince Valiant in Sleeping Beauty at the Woodville, Gravesend in 2011. Welcome to you both! x
The Ugly Sisters are cast!
16th March 2012
We are delighted that Paul Morse and Ian Ganderton will join the cast in Crewe this year to play the Ugliest Sisters in panto land!
The Flyer is out
15th March 2012


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Tuesday, June 30, 2015
Take a quick minute to watch Will Lemanski discuss vacant land and how we can provide insurance coverage for you.
Tuesday, June 30, 2015
How do you know that your vacant land is properly covered? Do you have questions on your policy? We would love to help you. Take a minute to watch our agency discussion on this topic. https://www.youtube.com/watch?v=...
Meiers Lombardini Lemanski Insurance is an independent insurance agency located in East Lansing, Michigan.
Give us a call, stop by, or request a proposal to find out how much we can save you on your insurance.


text:
July 24, 2012 by Anne Tschida
"Sweet Jesus" from Alex Heria.
Even on a busy afternoon on Lincoln Road, the sound art emanating from under the eaves of the ArtCenter/South Florida (a Knight Arts grantee) is clearly audible, and a seductive invitation to visit more inside. The music is from Gustavo Matamoros and the Listening Gallery (also a grantee), and this composition complements the exhibit currently up in the main gallery, "The Afterlife."
Most concepts of the afterlife involve a form of religion, and of course a somberness associated with death and the unknown world that will follow. The pieces from the three artists here are no exception. There is common iconic imagery, Jesus and symbols from Christianity predominating in the sculptures and paintings. Sometimes dark, sometimes challenging – and even humorous. In fact, the most prominent work can be seen day and night from the Road (the great thing about the ArtCenter is that you can look in through the windowed walls anytime, access to the people!): it's two lit-up neon panels announcing "Sweet Jesus," from Alex Heria. His work, seen before at the ArtCenter and elsewhere, is always exciting to encounter. He has a number of other pieces here, including a couple of Swarovski-crystal Christ sculptures, one called "Bling Jesus."
"Religious Trap" by Byron Keith Byrd.
Maybe the most provocative is a giant cross, also with a light element from Byron Keith Byrd. Hundreds of mousetraps are fastened together to create the cross, which is back-lit in blue, and suggests a more sinister journey from this life to the next, one trapped in ideologies that will restrain rather than set us free. In that vein, Byrd has also made a goldleaf and wood sculpture of a crutch. Byrd spreads his time between Southern California and Southern Florida.
"A Life's Journey Altar" by Franklin Sinanan.
Franklin Sinanan, a Trinidad native and resident artist at the ArtCenter, brings in the most obvious Caribbean-based religious references, in his paintings and "A Life's Journey Altar." The latter is a sculpture festooned with masks, heads (or skulls), crosses, candles, beads and other items associated with vodoo or Santeria-type altars, and some Eastern imagery as well. All these works deal with how we relate to the afterlife — with those who have gone before and how we will handle it when our time comes — but this piece seems a little over the top in throwing it all into the pot at once.
But then, since what happens after death has been the most confounding mystery for humans of all religions, all across the globe, all throughout the ages, why not be safe and mix it all up?
"The Afterlife" runs through Aug. 5 at the ArtCenter/South Florida Richard Shack Gallery, 800 Lincoln Rd., Miami Beach; www.artcentersf.org.


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Joseph Cornell
|Joseph Cornell
|File:Joseph Cornell 1971.jpg
Cornell in 1971
December 24, 1903
Nyack, New York
|December 29, 1972
(aged 69)
New York City, New York
|Known for
|assemblage, experimental film, sculpture
Joseph Cornell (December 24, 1903 – December 29, 1972) was an American artist and sculptor, one of the pioneers and most celebrated exponents of assemblage. Influenced by the Surrealists, he was also an avant-garde experimental filmmaker.
Joseph Cornell was born in Nyack, New York, to Joseph Cornell, a well-to-do designer and merchant of textiles, and Helen TenBroeck Storms Cornell, who had trained as a kindergarten teacher. The Cornells had four children: Joseph, Elizabeth (b. 1905), Helen (b. 1906), and Robert (b. 1910). Both parents came from socially prominent families of Dutch ancestry, long-established in New York State. Cornell's father died in 1917, leaving the family in strained circumstances. Following the elder Cornell's death, his wife and children moved to the borough of Queens in New York City. Cornell attended Phillips Academy in Andover, Massachusetts, in the class of 1921, although he did not graduate.
Except for the three and a half years he spent at Phillips, he lived for most of his life in a small, wooden-frame house on Utopia Parkway in a working-class area of Flushing, along with his mother and his brother Robert, whom cerebral palsy had rendered physically challenged.[1][2] Aside from the period he spent at the academy in Andover, Cornell never traveled beyond the New York City area.[3]:xiii
Cornell was wary of strangers. This led him to isolate himself and become a self-taught artist.[2] Although he expressed attraction to unattainable women like Lauren Bacall, his shyness made romantic relationships almost impossible. In later life his bashfulness verged toward reclusiveness, and he rarely left the state of New York. However, he preferred talking with women, and often made their husbands wait in the next room when he discussed business with them.[4] He also had numerous friendships with ballerinas, who found him unique, but too eccentric to be a romantic partner.[4]
His last major exhibition was a show he arranged especially for children, with the boxes displayed at child height and with the opening party serving soft drinks and cake.
He devoted his life to caring for his younger brother Robert, who was disabled and lived with cerebral palsy, which was another factor in his lack of relationships. At some point in the 1920s, or possibly earlier, he read the writings of Mary Baker Eddy, including Science and Health with Key to the Scriptures. Cornell considered Eddy's works to be among the most important books ever published after the Bible, and he became a lifelong Christian Science adherent.[5]
He was also rather poor for most of his life, working during the 1920s as a wholesale fabric salesman to support his family. As a result of the American Great Depression, Cornell lost his textile industry job in 1931, and worked for a short time thereafter as a door-to-door appliance salesman. During this time, through her friendship with Ethel Traphagen, Cornell's mother secured him a part-time position designing textiles. In the 1940s, Cornell also worked in a plant nursery (which would figure in his famous dossier "GC44") and briefly in a defense plant, and designed covers and feature layouts for Harper's Bazaar, View, Dance Index, and other magazines. He only really began to sell his boxes for significant sums after his 1949 solo show at the Charles Egan Gallery.[6]
Cornell ended his career as a highly regarded artist but remained out of the spotlight. He produced fewer box assemblages in the 1950s and 1960s, as his family responsibilities increased and claimed more of his time. He hired a series of young assistants, including both students and established artists, to help him organize material, make artwork, and run errands. At this time, Cornell concentrated on making collages, and collaborated with filmmakers like Rudy Burckhardt, Stan Brakhage, and Larry Jordan to make films that were evocative of moving collages.
In 1967 the artist was reported in possession of two or three original drawings from Antoine de Saint-Exupéry's The Little Prince. The exiled Saint-Exupéry's wife, Consuelo, was similarly an artist and sculptor.[7]
Cornell's brother Robert died in 1965, and his mother in 1966. Joseph Cornell died of apparent heart failure on 29 December 1972, a few days after his sixty-ninth birthday.[3]:xiv The executors of his estate were Richard Ader and Wayne Andrews, as represented by the art dealers Leo Castelli, Richard Feigen, and James Corcoran. Later, the Joseph and Robert Cornell Memorial Foundation was established, which administers the copyrights of Cornell's works and represents the interests of his heirs. Currently, the Foundation is administered by Trustees, Richard Ader, and Joseph Erdman.
Sculpture and collage
Cornell's most characteristic art works were boxed assemblages created from found objects. These are simple shadow boxes, usually fronted with a glass pane, in which he arranged eclectic fragments of photographs or Victorian bric a brac, in a way that combines the formal austerity of Constructivism with the lively fantasy of Surrealism. Many of his boxes, such as the famous Medici Slot Machine boxes, are interactive and are meant to be handled.[8]
Like Kurt Schwitters, Cornell could create poetry from the commonplace. Unlike Schwitters, however, he was fascinated not by refuse, garbage, and the discarded, but by fragments of once beautiful and precious objects he found on his frequent trips to the bookshops and thrift stores of New York.[9] His boxes relied on the Surrealist use of irrational juxtaposition, and on the evocation of nostalgia, for their appeal.
Cornell never regarded himself as a Surrealist; although he admired the work and technique of Surrealists like Max Ernst and René Magritte, he disavowed the Surrealists' "black magic", claiming that he only wished to make white magic with his art. Cornell's fame as the leading American "Surrealist" allowed him to befriend several members of the Surrealist movement when they settled in the United States during the Second World War. Later he was claimed as a herald of pop art and installation art.
Cornell often made series of boxed assemblages that reflected his various interests: the Soap Bubble Sets, the Medici Slot Machine series, the Pink Palace series, the Hotel series, the Observatory series, and the Space Object Boxes, among others. Also captivated with birds, Cornell created an Aviary series of boxes, in which colorful images of various birds were mounted on wood, cut out, and set against harsh white backgrounds.[2]
In addition to creating boxes and flat collages and making short art films, Cornell also kept a filing system of over 160 visual-documentary "dossiers" on themes that interested him; the dossiers served as repositories from which Cornell drew material and inspiration for boxes like his "penny arcade" portrait of Lauren Bacall. He had no formal training in art, although he was extremely well-read and was conversant with the New York art scene from the 1940s through to the 1960s.
His methodology is described in a monograph by Charles Simic as:
Somewhere in the city of New York there are four or five still-unknown objects that belong together. Once together they'll make a work of art. That's Cornell's premise, his metaphysics, and his religion....[3]:14 Marcel Duchamp and John Cage use chance operation to get rid of the subjectivity of the artist. For Cornell it's the opposite. To submit to chance is to reveal the self and its obsessions.[3]:61
Cornell was heavily influenced by the American Transcendentalists, Hollywood starlets (to whom he sent boxes he had dedicated to them), the French Symbolists such as Stéphane Mallarmé and Gérard de Nerval, and 19th-century ballet dancers such as Marie Taglioni and Fanny Cerrito.
Christian Science belief and practice informed Cornell's art deeply, as art historian Sandra Leonard Starr has shown.[citation needed]
Experimental film
Joseph Cornell's 1936 found-film montage Rose Hobart was made entirely from splicing together existing film stock that Cornell had found in New Jersey warehouses, mostly derived from a 1931 "B" film entitled East of Borneo.[10] Cornell would play Nestor Amaral's record, Holiday in Brazil during its rare screenings, as well as projecting the film through a deep blue glass or filter, giving the film a dreamlike effect. Focusing mainly on the gestures and expressions made by Rose Hobart (the original film's starlet), this dreamscape of Cornell's seems to exist in a kind of suspension until the film's most arresting sequence toward the end, when footage of a solar eclipse is juxtaposed with a white ball falling into a pool of water in slow motion.
Cornell premiered the film at the Julien Levy Gallery in December 1936 during the first Surrealist exhibition at the Museum of Modern Art (MoMA) in New York.[11] Salvador Dalí, who was in New York to attend the MoMA opening, was present at its first screening. During the screening, Dalí became outraged at Cornell's movie, claiming he had just had the same idea of applying collage techniques to film. After the screening, Dalí remarked to Cornell that he should stick to making boxes and stop making films. Traumatized by this event, the shy, retiring Cornell showed his films rarely thereafter.
Joseph Cornell continued to experiment with film until his death in 1972. While his earlier films were often collages of found short films, his later ones montaged together footage he expressly commissioned from the professional filmmakers with whom he collaborated. These latter films were often set in some of Cornell's favorite neighborhoods and landmarks in New York City: Mulberry Street, Bryant Park, Union Square Park, and the Third Avenue Elevated Railway, among others.
In 1969 Cornell gave a collection of both his own films and the works of others to Anthology Film Archives in New York City.
Selected filmography
- Rose Hobart (1936)
- Children's Party (c. 1940)
- Cotillion (c. 1940)
- The Midnight Party (c. 1940)
- The Aviary (1955)
- Gnir Rednow (1956) (made with Stan Brakhage)
- Mulberry Street (1957)
- Boys' Games (1957)
- Centuries of June (1955) (made with Stan Brakhage)
- Nymphlight (1957)
- Flushing Meadows (c. 1965) (made with Larry Jordan)
- A Legend for Fountains (1957–1965)
- Bookstalls (1973)
- By Night with Torch and Spear (1979)
Cultural references
- Anne Tyler's Celestial Navigation (1974) is a fictional riff on being Joseph Cornell.
- The cyberpunk novelist William Gibson uses the finding of mysterious boxes similar to those by Joseph Cornell as a narrative element in his novel Count Zero (1984).
- Scholarship on Joseph Cornell's art and life leads to Michael Brayndick's dissertation Joseph Cornell and the Dialectics of Human Time (ProQuest document ID: 751523701, University of Iowa, July 1987); and inspires Brayndick's 1999 play, How to Make a Rainbow with workshop performances in: New York (1998), Connecticut (2000), and the UK (2003), and the world premiere production by On the Spot Theatre in Chicago (2013).[citation needed]
- The Dutch pop band The Nits releases a song, "Soap Bubble Box", on their 1992 album Ting, about seeing some of Cornell's boxes in the Museum of Modern Art in New York City. The song was a minor hit in the Netherlands.
- In 1992, poet Charles Simic publishes a prose collection inspired by and with images of the work of Joseph Cornell: Dime-Store Alchemy, The Art of Joseph Cornel (published by New York Review Books, originally published by Hopewell, N.J.: Ecco Press).
- Singer-songwriter Mary Chapin Carpenter imagines Cornell going about his creative life in the song "Ideas are like stars", found on her 1996 album A Place in the World.
- Michael Chabon's novel The Amazing Adventures of Kavalier and Clay (2000) imagines Joseph Cornell at a party hosted by Salvador Dalí. Chabon writes, "Most of [the partygoers] seemed to be Americans – Peter Blume, Edwin Dickinson, a shy, courtly fellow named Joseph Cornell – who shared an air of steel-rimmed, Yankee probity that surrounded like a suburb their inner Pandemonium."
- The English band The Clientele has a song titled "Joseph Cornell" on the group's 2001 album Suburban Light.
- Jonathan Safran Foer's anthology A Convergence of Birds (2001) is a collection of fiction and poetry inspired by Cornell's work. Foer, then an undergraduate, solicits all of his favorite authors to the contribute to the collection by sending them a print of one of Cornell's bird boxes, and an explanation of the project. He is surprised when well-known authors such as Joyce Carol Oates, Rick Moody and Barry Lopez respond to his prompts with Cornell inspired works.
- The Canadian poet and playwright Michael Redhill's first novel Martin Sloane (2001) concerns a fictional collage artist whose works resemble those of Joseph Cornell.
- The American novelist and short story writer Robert Coover publishes a series of stories entitled The Grand Hotels (of Joseph Cornell) in 2002. Akin to short fables, the stories refer to various themes and images in Cornell's Hotel series of boxes.
- The Wassmann Foundation in Washington, D.C., launched the fictitious artist Johann Dieter Wassmann (1841–1898) in the exhibition Bleeding Napoleon at the Melbourne International Arts Festival (2003), Melbourne, Australia. The artist is billed as a pioneer of German Modernism, but his work bears a sly resemblance to Cornell's.[12][13]
- Charles L. Mee's play Hotel Cassiopeia (2006) is based on the life of Joseph Cornell.
- Singer/songwriter Thomas Comerford releases the album Archive + Spiral in 2011 which contains the song titled "Joseph Cornell". The song is described as less of an homage and more of a meditation on the mood the artist invokes.[14]
Art market
Sold from the estate of Edwin and Lindy Bergman, Chicago-based collectors and art patrons, Cornell's Untitled (Penny Arcade Portrait of Lauren Bacall) (1946) fetched $5.3 million at Christie's New York, setting an auction record for the artist. The jewel-like box, with images of Bacall on blue background, was inspired by To Have and Have Not, a film starring Bacall and Humphrey Bogart.[15]
See also
- ↑ Cotter, Holland. "Poetic Theaters, Romantic Fevers", New York Times, July 13, 2007. Accessed October 8, 2007. "But they meant the world to this intensely shy artist, who lived on sweets, worshiped forgotten divas and made portable shrines to them — his version of spiritual art — in the basement of the small house he shared with his mother and disabled brother in Flushing, Queens."
- ↑ 2.0 2.1 2.2 Danielle O'Steen (February 14, 2007). "Artist Dossier: Joseph Cornell". ART+AUCTION. Retrieved 2008-04-22.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ 3.0 3.1 3.2 3.3 Simic, Charles (1992). Dime-Store Alchemy. New York, NY: New York Review. ISBN 1590174860.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ 4.0 4.1 Waldman, Diane. Joseph Cornell: Master of Dreams 2002.
- ↑ [1] Andreae, Christopher. "Joseph Cornell's Alluring Boxes", Christian Science Monitor, March 23, 2004.
- ↑ http://www.sothebys.com/app/live/lot/LotDetail.jsp?lot_id=159592539
- ↑ Bourdon, David (1967) "The Enigmatic Collector of Utopia Parkway", Life Magazine, 15 December 1967, pg. 63.
- ↑ Deborah Solomon, Utopia Parkway: The Life and Work of Joseph Cornell, New York: Farrar, Straus & Giroux (1997).
- ↑ "Joseph Cornell" at Web Museum, Paris.
- ↑ Caqtherine Corman (4 November 2010). "Surrealist Astronomy in the South Pacific: Joseph Cornell and the Collaged Eclipse". East of Borneo. Retrieved 15 December 2011.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ Frye, Brian "Film and & Video: Joseph Cornell", November 2001
- ↑ Crawford, Ashley. "Hoax most perfect," Melbourne Age, October 11, 2003. Retrieved October 27, 2014.
- ↑ "Best of the fest," Melbourne Age, October 5, 2003. Retrieved September 3, 2014.
- ↑ Williams, Kent. "Album Review: Thomas Comerford – Archive + Spiral". little village, Iowa City's News & Culture Magazine.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ Katya Kazakina (May 14, 2014), Billionaires Help Christie's to Record $745 Million Sale Bloomberg.
Further reading
- Ashton, Dore. A Joseph Cornell Album. New York: Viking Press, 1974. ISBN 0-306-80372-0
- Blair, Lindsay. The Working Method of Joseph Cornell. Reaktion Books; Illustrated edition, April 1, 1998. ISBN 0-948462-49-3
- Bonk, Ecke; Davidson, Susan; d'Harnoncourt, Anne; Hartigan, Lydia Roscoe; Hopps, Walter; Temkin, Ann. Joseph Cornell/Marcel Duchamp... in resonance. Ostfildern-Ruit: Hatje Cantz, 1998. ISBN 3-89322-431-9
- Caws, Mary Ann. Joseph Cornell's Theater of the Mind: Selected Diaries, Letters, and Files. New York: Thames and Hudson, 2000. ISBN 0-500-28243-9
- Corman, Catherine. Joseph Cornell's Dreams. Cambridge: Exact Change, 2007. ISBN 1-878972-41-3
- Foer, Jonathan Safran (ed.). A Convergence of Birds: Original Fiction and Poetry Inspired by the Work of Joseph Cornell. New York: Distributed Art Publishers, 2001. ISBN 1-891024-30-2
- Hartigan, Lydia Roscoe. Joseph Cornell: Navigating the Imagination. New Haven: Yale University Press, 2007. ISBN 978-0-300-11162-0
- Hartigan, Lydia Roscoe; Vine, Richard; Lehrman, Robert; Hopps, Walter. Joseph Cornell: Shadowplay Eterniday. New York: Thames & Hudson, 2003. ISBN 0-500-97628-7
- Leppanen-Guerra, Analisa; Tashjian, Dickran. Joseph Cornell's Manual of Marvels. New York: Thames and Hudson, 2012. ISBN 978-0-500-51649-2
- McShine, Kynaston (ed.). Joseph Cornell. New York: Museum of Modern Art, 1980. ISBN 3-7913-1063-1
- Schaffner, Ingrid. The Essential Joseph Cornell. New York: Harry N. Abrams, 2003. ISBN 0-8109-5833-3
- Solomon, Deborah. Utopia Parkway: The Life and Work of Joseph Cornell. New York: Farrar, Straus & Giroux, 1997. ISBN 0-374-52571-4
- Starr, Sandra Leonard. Joseph Cornell: Art and Metaphysics. New York: Castelli Corcoran Feigen, 1982. LC Catalogue Card Number 82-71787
- Tashjian, Dickran. Joseph Cornell: Gifts of Desire. Miami Beach: Grassfield Press, 1992. ISBN 0-9628514-3-4
- Waldman, Diane. Joseph Cornell: Master of Dreams. New York: Harry N. Abrams, 2002. ISBN 0-8109-1227-9
External links
- Joseph Cornell: Navigating The Imagination at The Peabody Essex Museum
- Joseph Cornell at WebMuseum
- Joseph Cornell at Artchive
- Joseph Cornell at Artcyclopedia
- NPR article on Joseph Cornell
- Salon article at the Wayback Machine (archived August 18, 2000)
- Joseph Cornell Biography and Images: Hollis Taggart Galleries
- Smithsonian Retrospective
- Joseph Cornell at the Internet Movie Database
- Joseph Cornell papers online at the Smithsonian Archives of American Art
- Pages with broken file links
- Articles with hCards
- Articles with unsourced statements from June 2014
- Articles with unsourced statements from March 2014
- 1903 births
- 1972 deaths
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- People from Queens, New York
- Modern sculptors
- Artists from New York City
- Phillips Academy alumni
- American surrealist artists
- Surrealist filmmakers
- 20th-century American sculptors


text:
In the trailer above, you'll hear our opening narration by Jemaine Clement (Flight of the Conchords), recurring guest stars Paul F. Tompkins (Mr. Show, Thrilling Adventure Hour), Cecil Baldwin (Welcome to Night Vale) and Kevin Allison (Risk, The State), our theme song by The Doubleclicks, and our host De Anne Dubin. They join more than 60 other performers from around the world who have spent the last 16 months creating Big Data, a nine hour radio play podcast miniseries about stealing the internet.
As soon as I heard the true story of the seven keys to the internet, I knew that it would make an amazing series of heists. Did you know that IN REAL LIFE, in order to make sure no one country has too much control over the internet, there are seven people from seven parts of the world with keys to control it? They have to meet with those keys every three months in a steel cage covered in retinal scanners and earthquake sensors to do an elaborate ceremony that keeps the internet working. That is a real thing. And that's just the BEGINNING of how it all works. This show is about what would happen if someone were to steal those keys. it's a series of heists, taking place all over the world... ranging from hijacking top secret military satellites, to stealing a dude's pants. It's a story about how hacking affects our world... but without a single actual hacker anywhere to be found.
Whether you pledge or not, Big Data will be available to all as a free podcast. No ads, no paywall, no nothing. Just fun crimes for all. Kickstarter backers, however, will get all nine episodes in advance, so that they can binge-listen to their heart's content and feel superior to those muggles that are stuck trying to solve the mystery week-by-week.
Each episode features a segment with our recurring host characters, as well as the stand-alone heist story they've uncovered. You'll hear comedy, drama, action set pieces, psychological thrillers, original music, slam poetry, improv, magic and mystery that all come together to tell one giant complete story.
A ton of weird original music has been created to help tell the story of Big Data. The weirdest music. A jazz rendition of the text of the first tech hack, as used to accuse a 1903 morse code tycoon of diddling. A confessional J-pop jam that uses Vocaloid voices to hide the identities of anonymous hacktivists. A musical reenactment of spirit poems, written by 1800s conmen to trick widows out of their money. The guitar jams of a spoken word artist hiding in the woods. So much great, weird music that we even put together a soundtrack album.
Even beyond all the amazing original music created for Big Data, we will also be featuring music from all of the biggest names in nerdy music!
That means amazing interlocking tracks from MC Frontalot, Kirby Krackle, Professor Shyguy, The Doubleclicks,Sarah Donner, Alter Ego, Nerds with Guitars, Kari Maaren, Zach Sherwin, Alpha Riff, Adam WarRock, Ask Lovecraft and Tico Souza, Debs & Errol, Jason Anarchy, MC Lars, and Rock, Paper, Cynic.
All the tracks are from Rock, Paper, Cynic's "Broken Telephone Experiment," which was partially inspired by my graphic novel Broken Telephone! Each artist attempted to do a cover of the previous artist's song, after only hearing it once. Over the course of the podcast, you'll hear the songs shift, change and unravel into imaginative new places that mirror the course of the story. You can get those tracks too, as part of the Complete Sequence tier!
Big Data has been a massive endeavor from a team of more than 60 people for well over a year. From Emmy, Grammy and Oscar nominees, to talented people getting their first paychecks as actors. Character actors, studio technicians, child actors, stand up comedians, radio deejays, spoken word artists, musicians, cult icons, an entire Shakespeare troupe and more came together to make this happen.
Cast announcements:
4/25: Our opening narration is by Jemaine Clement, recurring guest stars include Paul F. Tompkins, Cecil Baldwin and Kevin Allison
4/28: Taika Waititi, the Oscar-nominated director of Thor: Ragnarok has a tiny cameo! And our soundtrack has a beat by Menace, producer of #1 Billboard song Designer Panda.
4/29: Amy Stoch who played Missy/Mom in Bill and Ted's Excellent Adventure and Bogus Journey is on board to play Marion Spieler!
5/2: Kris Straub, cartoonist/podcaster/creator of Candle Cove, soon to by a SyFy series produced by Max Landis, will be playing cryptocurrency tycoon Blake Rounds.
5/3: Character actor Hoon Song (Sense8) and stand-up comedian Gim Milan join the team.
5/6: Announcing our in-studio crew: Holly Ive Bartkowiak, Andrew Blad, Kathryn Botsford, Choe Sang Min, Dino, Sabushimike Donatien, De Anne Dubin, Ryan Estrada, Steve Feldman, Kristian Hart, Chishamiso Kafundo, Kim Hyun Sook, Kim Woo Joong, Cheyne Kohl, Angélique Lazarus, Sarah Dawn Lowry, Glaiza Macabali, Kerry Maher, Caitlin McGrath, Tim Paugh, Robert Perchan, Abhay Puri, Sasha Roopen, Stallone Santino, Boipelo Seswane, Jeffrey Schoenfeld, Gus Swanda, Chris Tharp, Maurice Turner, Michael Uchrin, Michael Grady Wheeler, Carlos Williams, and Mark Zink.
5/11: Paul Bae (The Black Tapes, The Interview), Felix Trench (Wooden Overcoats) and David Cummings (The No Sleep Podcast) are helping make this a who's who of radio drama!
5/23: Samm Levine (Freaks and Geeks, Inglorious Bastards) joins the crew, along with Lauren Shippen (The Bright Sessions), Paul Kang (The Whatnauts), The cast of Greater Boston, Jerzy Drozd (Galaxy of Super Adventure) and cameos from cast members of the radio dramas Ars Paradoxica, Our Fair City, Friend of the Family, Kakos Industries, and more!
We'll be announcing more of our amazing cast members above as the campaign continues. There are too many amazing people to namedrop them all at once!
Hiring all those talented people costs a lot of money. And so does renting month's worth of studio time for them to perform! No one on the series was working for exposure. I already paid everyone that has been involved so far out of my pocket. After that, and turning down 16 months worth of paying jobs to do this, I have $18 in the bank, 39 hours of audio to edit down into nine, a handful of guest star slots to fill, and a lot of potentially pricey post-production work left to do.
Big Data will have no ads, no corporate sponsorship, no paywall. It will be free to all, even you, even if you don't pledge to this Kickstarter. My only goal is to make back the money I invested, and if we make a little more, to bring on even more amazing people to fill the few remaining guest star roles and make the show even better. I would love for this show to be a big hit, so that my amazing team and I can keep making new radio dramas for years to come. Thank you for helping us go for that goal.
Risks and challenges
I knew I didn't want to come to you with just a pipe dream. I wanted to get as much done as humanly possible before turning to funding. That's why I already spent $7712 of my own money and 16 months of my life working on the show. All of the in-studio recording, and most of the remote work is already finished.
This is my third Kickstarter, and I have successfully wrangled large groups of artists before. The hard part is already finished.
Nothing can stop it from getting done, this Kickstarter is just to make the final product the best it can possibly be.Learn about accountability on Kickstarter
Funding period
- (30 days)


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Save on Taxes, Contribute Locally and Lower Your Investment Risk
Last week we published a post that covers the risks of muni bond investing. Let's now discuss the advantages munis offer investors. Under the right circumstances, municipal bonds can be a great addition to a long-term investment strategy, and in many cases, they may also work as a short-term investment. The key is to evaluate the pros along with the cons when deciding whether to add them to your portfolio.
As we described in our previous post, there are two ways to make money from municipal bonds:
- Collecting interest payments
- Selling the bonds for a higher price than what you paid before they mature
Because the latter relies on strong market conditions in order to turn a profit, many people who choose to invest in muni bonds do so for the ability to collect interest while holding the bonds until they come due. (For this reason, muni bonds are sometimes recommended as a long-term investment strategy, as opposed to a short-term approach.) Interest payments on muni bonds are typically disbursed two times a year. When considering a municipal bond investment, one of the first things you'll want to know is how much interest the bond is paying. The higher the interest, the more money you'll potentially make simply by holding onto the bond until its maturity date.
One major benefit of muni bond interest is that it's usually exempt from federal taxes. This can make a difference if you're already in a high tax bracket or are hovering on the border between two tax brackets.
When you earn interest from another source, like a savings account or corporate bond, that interest is taxed as ordinary income. But when you earn interest from a tax free muni bond, you usually won't have to fork over a portion of your profit to federal taxes. Even better, if you purchase municipal bonds issued by your own state, the interest you earn from those bonds may be exempt from state taxes as well.
Keep in mind, however, that while you can make money from muni bonds by selling them at a premium, any profit you make on the face value, or principal, will still be subject to capital gains taxes. The tax-exempt status of muni bonds refers only to money made from interest payments.
A Chance to Invest Locally
Municipal bonds offer a unique opportunity to invest not only in your own local area, but in the things that matter the most to you.
Let's say you're passionate about early education. If that's the case, you can search for municipal bonds that are being used to fund the construction or expansion of a local school system. Concerned about the environment? You can look for municipal bonds issued by a local utility or power authority to make their infrastructure more energy-efficient.
The great thing about municipal bonds is that you can choose to support your local town or city, or a specific project from which you stand to benefit should it get funded and subsequently completed. In other words, you have the potential to not only make a profit on the bonds themselves through interest payments (and a possible resale), but to benefit from the end result of the initiative the bonds are issued to support.
Neighborly is building a modern public finance platform that will give you opportunities to invest directly in the places and projects that are most important to you. Though your motivation may stem from a desire to increase your own personal wealth, by investing in municipal bonds, you'll be supporting your city or town and potentially improving the quality of life it can offer its residents.
Relatively Low Risk
While there's no such thing as a risk-free investment, municipal bonds have historically been less risky than stocks and corporate bonds. Muni bonds have a much lower default rate than corporate bonds, which means you're less likely to face missed interest payments. In fact, over the past 45 years:
- There has never been a default on a AAA-rated municipal bond
- There have been only 71 Moody's-rated municipal bond defaults in total over that same time period
Based on historical data, muni bonds are 50 to 100 times less likely to default than comparably rated corporate bonds. And from a recovery standpoint, municipal bonds also tend to fare much better in the event of a default.
The lower the risk of default extends not just to interest payments, but to the ever-important repayment of principal. Don't forget, when you invest in a bond, you eventually want to recover the full principal amount you put in.
While corporate bonds typically have higher yields than municipal bonds, they also tend to come with more risk. And although muni bonds are not devoid of risk, you can protect yourself by doing your own research and reviewing credit ratings before making your purchase. Remember, the higher the rating, the less likely the chances of a default.
But What About the Flipside?
Clearly there are a lot of good reasons to purchase municipal bonds, but before you make any investment decisions, it's important to understand the differences between the various investment opportunities you likely have.
In our next section, we'll discuss the difference between stocks and municipal bonds. In future chapters, we cover how muni bonds differ from corporate bonds.


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Joyride (crime)
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Joyriding refers to incidents where thieves steal a vehicle, most commonly a car, and drive it with no particular goal other than the pleasure or thrill of doing so. The term "Joy Riding" was coined by a New York judge in 1908 [1].
Under English law and other common-law systems,[2] joyriding is not considered to be theft because the intent to "permanently deprive" the vehicle's owner of the vehicle cannot be proven. Instead, joyriding constitutes a separate, statutorily established offense of "taking without consent" or "unauthorized use", the former usually known by the acronym TWOC or the slang term "twoccing" or "twocking" derived from it.
In Northern Ireland, joyriding is a common crime and many people have campaigned against it. Since the 1980s a number of youth gangs have been in existence, particularly in nationalist areas of Belfast, dedicated to joyriding and other criminal activities. During The Troubles, paramilitaries such as the Provisional IRA administered to suspected joyriders extralegal punishment usually consisting of breaking their fingers or kneecaps in order to temporarily or permanently incapacitate them from operating most motor vehicles. These punishments are still given today by the Continuity IRA, a breakaway organization from the Provisional IRA.
Joyriders or other car thieves often gain access to a locked car with just a flathead screwdriver, although modern cars have systems to prevent a screwdriver from opening locks. Locks in cars manufactured before the early to mid-1990s were very weak and could be opened easily. The vehicle is started by either hot-wiring or breaking the ignition lock. Ignition systems were much less sophisticated before the early to mid-1990s and easier to bypass. The vehicle is often driven through rural areas or less busy residential areas to avoid police notice, dumped when it is exhausted of fuel or damaged and then burnt out with petrol.
Joyriding was a major problem in the United Kingdom during the 1980s and accelerated in the 1990s, but has eased off since the year 2000 largely due to improved security standards on newer cars and the number of old cars with more basic security diminishing. Many surviving older cars have had modern security features fitted in order to reduce the risk of theft.
High performance cars including Ford's high performance XR and Cosworth models were a popular choice for car thieves when joyriding in the United Kingdom was its peak, which contributed to a rise in insurance premiums for owners of such vehicles. Many motorists fitted their cars with security features before such equipment became standard on new cars. Since the advent of immobilisers and car alarms, car thieves have frequently mugged motorists or broken into their homes in order to steal the keys to a car.
In 2005 the Home Office conducted a survey to find out the most stolen cars per registered in the UK:
- Vauxhall Belmont (1986–1991)
- Vauxhall Astra Mk2 (1984–1991)
- Ford Escort Mks 3 and 4 (1980–1990)
- Austin/MG Metro (1980–1990)
- Vauxhall Nova (1983–1993)
- Ford Orion (1983–1993)
- Rover Metro (1990–1994)
- Austin/MG/Rover Maestro (1983–1994)
- Austin/MG/Rover Montego (1984–1994)
- Ford Fiesta Mks1, 2 and 3 (1976–1995)
The lack of security in older cars compared to modern equivalents is reflected in the fact that all of the cars listed had been out of production for at least 10 years and the oldest examples of most of these cars were at least 20 years old.
In 2009 the Home Office conducted a new survey and found out the most stolen cars (per registered) were as follows:
- Vauxhall Astra (1980–present)
- Volkswagen Golf (1974–present)
- Ford Fiesta (1976–present)
- Ford Focus (1998–present)
- Ford Escort (1968–2000)
- Vauxhall Corsa (1993–present)
- Ford Mondeo (1993–present)
- Ford Transit (1964–present)
- Vauxhall Vectra (1995–2008)
- Honda Civic (1972–present)
The information released does not show the specific generation of a car, making it difficult to determine how many older examples were stolen in relation to more modern ones. For instance, the Ford Transit nameplate dates back to 1964 and the Ford Fiesta first appeared in 1976. However, the Ford Focus is the only nameplate on the list to have been introduced after 1995, around the time that car security standards became more advanced.
In the United States the most stolen cars in 2007 (per registered) were:
See alsoEdit
- ^ "To Prison For "Joy Riding"". The Gazette Times. August 13, 1908. Retrieved 13 August 2018.
- ^ England and Wales: Theft Act 1968 (c. 60), ss. 12, 12A; Scotland: Strathern v. Seaforth, 1926 J. C. 100; Road Traffic Act 1988 (c. 52), s. 178; Northern Ireland: Theft Act (Northern Ireland) 1969 (Chapter 16), s. 12; Road Traffic (Northern Ireland) Order 1981 (No. 154 (N.I. 1)), Art. 172


text: Pale can always be pretty, but as the weather gets warmer, it's hard to resist the urge to speed up your summer glow with a quick trip to the tanning booth. Of course, we all know a deep tan isn't worth the health risks that come from a little fake-and-bake, but your average at-home spray tan often results orange splotches—and can smell terrible! Chloe, winner of our last Beauty Smarties Showdown, shows you how to use the lotion of your choice to make your own self-tanner to get the perfect, subtle (and safe!) glow year all year round.


text:
Purpose blows across the chords of voice amplifying your unique place in the larger story.
It is a beautiful mystery to me: Does purpose develop around us as we grow and mature, or was purpose seeded in us from the beginning?
As I reflect on my own journey with purpose, I choose to embrace the latter. I love the story of a wonderfully coded seed waiting for all the life-giving sources to fold in and open its power to unfold in the world – the larger story and journey through life.
Our purpose then is to unfold – this is in the code. And what develops around us is the method by which this purpose finds opportunity to be heard.
Purpose amplifies your voice.