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Photographic Inscription: Kunst aus Toronto (1990)
Photographic Inscription: Kunst aus Toronto, Stuttgart: Forum fur Kulturaustausch, 1990. [English/German]
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Reception, Inscription, Projection
Can we define the art of a nation, state or city by economic, historical or ideological factors to the exclusion of characteristics that it shares with different language communities? If so, the predilection of recent French art for the repetition of a ready-made object under a copyrightable image or author(ity) would make this art into an emblem of French consumer culture, rather than a particular inflection of a commonly posed strategy. Similarly, German art would be condemned to a compulsive repetition of its return to an expressive mode in painting, indicative of a repressive authoritarianism. Analysis, thus, would ignore the precise features contemporary German art inherits from its economic and technical milieu, recognition of which would shift attention to the materials and forms that German art shares with other contemporary art.
In such a context, Canadian art, or art from Toronto, would suffer from a lack of definition from the outside or from the description it gives itself as specifically different in response to that lack of attention. (Vancouver art, or at least that portion that is photographic, has accomplished a self-definition that has become accepted elsewhere: witness the Stuttgart Staatsgalerie Photo-Kunst exhibition, 1989-90.) And yet, the factors that seem to set Canadian art apart by its history are exactly those that prefigure or bring it into relation to certain conditions of European art.
The work in this exhibition is evidence of that association.
This exhibition explores the role of photographic inscription in contemporary art as practised in a particular locale, Toronto, Ontario. The work is not necessarily representative of Toronto, nor are other works in Canada—or elsewhere—excluded from this specific practice. In fact, these artists work in diverse modes—sculpture, mixed media, installation—with only one artist working solely in photography per se. Whether working outside photography or not, all have employed some inscriptive mode or have recorded indices of one sort or another in different materials. Photography has not been adopted here for some ad hoc or arbitrary purpose. It has lent itself, for these artists, through its capacities as a tool and a record, to a continuity of concerns; but, photography also situates itself very specifically and dominantly in our current cultural milieu. The inscriptive mode of working not only represents the present conditions of our (post-modernist) culture (semiotic and social inscription meet in and function through the image), it has been a condition of formation of Canadian culture as well. Communications, for instance, has played an essential role in the economic and cultural formation of Canada; more recently, the image has been the means of reception of cultural influences and art movements.
The subjects and structure of the works in this exhibition display the diversity of interest that the particular background of each of the artists prepares. All selections, however, are directed to a photographic practice or effect, with the stipulation that a photographic print may not be the outcome of the piece. The artists have been chosen to reflect the diversity of the theme of photographic inscription but they also have been chosen to function in tandem and opposition. Robert Fones and Robin Collyer form one pole of the exhibition and Shelagh Alexander and John Massey the other with Colette Whiten being the mediating link. Yet within each of the poles an opposition can be figured as well.
Inscription, of course, is located in the process of photographic recording itself, to which we more properly give the name the index (as well as, sometimes, in the manufacture of the art object, as in Robert Fones' Erratic I). If I have chosen the term inscription over index it is to emphasize the active rather than passive nature of this construction and its social function. Its cultural imprint thus appears as a social rather than physical evidence.
In its social or political function, inscription is addressed as the subjective conditions of reception by Shelagh Alexander and John Massey or in its objective conditions of dissemination by Colette Whiten. Its generalized effects in our industrial-economic milieu are reflected in the manner by which it shapes the landscape whether the emphasis is on geological or cultural formation, as in Robert Fones, or the general dispersion of the urban landscape into a sign function, as in Robin Collyer.
These works place themselves as records and critical symptoms of their common milieu: the system of the capitalist West; but whatever the type, degree and direction of their register—culture on nature or society on subjectivity—they recognize a strong unconscious element (both destructive and utopian) pervading this milieu that is reflected, in turn, in the subject or structure of their images. Whether it is the unseen" geological formations allied to an all-encompassing graphic formalism that together shape our lives (Fones), the mediating technologies of the everyday (Whiten), or the psychic projections of an embodied vision (Massey), a certain unconscious moves through these works. At the same time, this unconscious is a conscious motive in the works in that a desire is manifested, as well, to build another resource from the fragments and within the effects of a dominant language. This desire may be expressed in the subject coming to speech through the reconstituted images torn from film (Alexander) or the vernacular structures reflective of an altogether other order (Collyer).[1]
Robert Fones
Two forms of inscription register themselves in Robert Fones work. We find as subject matter, on the one hand, record of geological formation and, on the other, typographic imprint. These may appear together as in Erratic I, 1987, in which a Roman typeface "M" is incised into a photographic surface that depict a displaced boulder in a grassy plain—the geological erratic of the title, the refuse carried by a glacier and deposited far from its point of origin. The rock is a silent record of this past history, mute witness of an event that can be read in this remain but in most cases is overlooked as a mere trace of its present milieu. Similarly, the letter "M", deposed from a Roman inscription, serves as a tag to this particular stone, its arbitrary classification. At the same time, the letter is empty, a mere possibility for communication. Together, the two inscriptions, one geological, the other typographic, could be taken as two limits of our being: nature/culture. Both mark something pre-existent but each do not necessarily establish themselves as recognizable differences even though they are the landscape and signage that surround us. They are the cultural inscriptions that bind us almost as something unconscious, what pervades but is unseen. Likewise, the cultural forms we inherit from those whose land we uncomfortably inhabit (indigenous North American culture for, until recently, predominately European immigrants) are so many obscure signs, remnants in which culture returns to nature. We find this in the scored stones of Three G's, 1989, three sacred Indian effigies overlaid by another systems of signs, cut out and effaced by three modern typefaces. Is what is effaced merely fallow, resting with its power of signification intact? Or has it become, like the signs of Erratic I, the unconscious milieu of our predation?
Robin Collyer
Robin Collyer is a sculptor, but he is a sculptor who has pursued photographic work independently and whose sculpture frequently, of late, incorporates photographic elements. Inf act, his recent sculpture and photographic work share common sources. For instance, some of the sculpture has a put-together quality that bears resemblance in its configuration of unaltered industrial materials to those structures, strangely fitted sheds and buildings also found in his photographs, that we could only label as built by bricoleurs. These photographs, like those in the exhibition, are at a remove from the more familiar Bernd and Hilla Becher's photographic registry of the "ruins" of industrial production. That record of ruin, brought about by changes in the commodity process, has been displaced by the construction of elements of a new fragmented reality: the vernacular adaptation of industrial products for personal use.
None of these images are to be seen as part of a mere inventory of a particular subject, evidence of the oddity and individuality of human endeavor; rather they are to be taken as tokens of the transposition of the landscape into a sign system. To make of objects a signifying function is to recognize a system of differences by which something stands out, that is, as a meaning or value. The two complimentary series of photographs by Robin Collyer in this exhibition document things that fit and don't fit into their milieu. As such they function as two different types of signs: those that simulate something else and those that excessively display themselves as signs of some other value. The former, called "Bungalow-Style Substations," are sham residences; they are local electric transformer stations housed in buildings consonant with their suburban environment. The latter, commonly known pejoratively as "Monster Homes," are out of character with their milieu as new homes built in old neighbourhoods. Much too large and ostentatious for their surroundings, their inflated sign value refers to something else: a conspicuous consumption to which their often false styles appeal.
Colette Whiten
Colette Whiten's project of the past few years belies her origin and career as a sculptor. In that work the traces of association between artist and participant were recorded in the process of plaster casting, the sculpture being the intertwined casts or the casting apparatus alone. What was left was evidence of both the working process and of a human relationship.
In works from 1986 on, these processes have been abandoned in favour of a presentation of what imposes itself from afar as a mediated relationship: the image in the power relationships of politics. The sources of the images are wire-service photographs published in newspapers in which pictures of leaders or incidents of violence predominate, that is, those images that reinforce the social fabric or that seem to rend it. (Only those with more "universal" recognition have been chosen for this exhibition over those which deal specifically with Canadian political figures.) The images have been rendered in petit-point, the stitch and weave of the thread simulating the half-tone of the printing process so that the image now appears to have been digitalized, like television. The original image is a communication that fuses transmission and technique and it is this operation as much as the image that forces itself upon us or, at least, provides a backdrop to our daily activity. But if technique and transmission are the grounds that sustain relationships, they also have been incorporated back into the working means of the artist so that a continuity of sorts is maintained with the earlier sculptural work. That is, the technical realm encompasses both politics and practice. If it suffuses the everyday, it is also necessarily part of the making of the work. For the very ground of the image here is an age-old practice: studio practice emulates that of women's work, but puts it in direct connection to the political.
Shelagh Alexander
As the sole photographer, or rather as one who solely manipulates a photographic process, we expect and find, in Shelagh Alexander, work that takes photography itself as, or reads into it, a powerful and empowering medium of inscription. Neither formalizing the photographic apparatus nor turning the camera outwards to capture her own images, Alexander takes from an existent stock of photographic images, and in particular the film still, the means of her own constructions. The resultant images are not arbitrary assemblages; she transcribes the multiple and repetitive effects of film into the format of a single, albeit condensed, image that plays itself out in a narrative series. (The technique of photomontage used here accomplishes its look entirely through darkroom printing processes; there is no cut and paste of collage.)
The repetition marks the recurrent images of women in film as social constructions. By accumulating images and gestures, by doubling, splitting and inverting the image, by re-creating the ground and context of the image, another inscription—a rewriting, in fact—imposes itself. Choosing those images that occupy mere moments between scenes and, so, do not serve to further the narrative in fetishizing figures (in other words, images that are on the edge of our consciousness and that stage the unconscious of the image), the process of construction mirrors the narrative enacted in these newly scripted works. This narrative in five parts, three of which are represented here, is a tale of self-birth in a coming to speech of the female subject: a self initially in flux or unformed, a self that is a mask or screen for projection, but a self that is also full of holes for this self-birth. By means of what is unconscious or uncontrollable in the image and through the staging of a re-projection, the artist works within the terms of a dominant language to inscribe a different desire and give voice to another expression.
John Massey
In John Massey we have another sculptor who has looked to photographic means as a way of embodying the destiny of a particular vision. Earlier work comprised models of spaces (forinstance, the artist's studio) that "somehow embodied, or transcribed, or represented the theatre of the inside, analogous to the interior of one's being. I saw that I could create the theatre of perception, the theatre of reception, the theatre of projections."[2] Photography inverted that look into an empty interior materializing a body in the process. Through photography, an exteriorization or seeming objectification took place by which the body surfaced as a site of an ambiguous identification. Photography offered an analogy to the body which in turn could be imprinted with an image. The body—always theartist's stigmatized body—became the ground of a relationship to an exterior image: as if what the eye saw was manifested physically, and primitively, on the body for our viewing. (In the earlier of the photographic works involving the body, the process operated physically; for instance, the viewer folded one half of a screened diptych over a photographic image of the artist's body.)
The works in the exhibition are not photographs; they are prints which enable the artist to obsessively assemble images within images, laboured fragments within bodily parts. In one case, Versailles 1985, 1985, the body is a repository or rather a surface for a surfeit of images: a golden collage of cuttings from picture books of the interiors of the Versailles palace supported pathetically by the original arm in black and white. In another, Compound Eye, 1988-89, a conclave of monstrous heads are entombed in the globe of an eye. As a compound eye, made of many eyes, this eye perhaps registers the fright of all thosel ooks. What is of the eye, however, partakes of a violence of perception which is also projective. Whereas Bridge at Remagen, 1985, prepares perception for the reception of an image, Black Eye, 1988-89, protects a voyeuristic eye behind a cyclonic panoply of fists.
1. Different series than the earlier work by Collyer referred to here have been chosen for the exhibition and are reflective of other desires.
2. John Massey, interviewed by Peggy Gale, "Art as Embodied Conditions," Parachute, 56 (1989), p. 35.


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By Robyn Bursey
If you're a lover of sour beer, you might already be familiar with gose. But in case you've just been nodding along with the sales person at your local booze-erie, here's the lowdown.
Gose (pronounced goze-uh) is a tart German style of beer that is regularly confused with "geuze" a more complex blend of aged Belgian sours. Gose is made primarily with barley, wheat, coriander and salt and is brewed with top-fermenting yeast and the addition of lactobacillus, which makes it sour. It also frequently sees the addition of various fruits, as the salt component does a great job of lifting and accentuating those flavours. Gose is not traditionally a hop-forward beer and is generally more zesty and fresh than malty and sweet. That paired with the slight tartness, and the addition of salt, creates a seriously refreshing style of beer. It's also around 5% ABV and under... post work-out pint anyone?
Gose was born in the tiny German mining town of Goslar. It's original salt content could be attributed to the aquifers that supplied the breweries then, and the lactobacillus to spontaneous fermentation. The exact year of it's creation is not officially known, but it's possible that gose was first brewed somewhere between 1181 and 1470. What is known for sure, is that sometime later the popularity of gose greatly declined in Goslar and simultaneously grew over 100 miles to the southeast in the town of Leipzig. It's first real date of documentation was in Leipzig in 1738. By 1900, Leipzig had become known as the gose capital of the world; and still is, in fact. It had a few moments of hardship over the years due to World War II and the Cold War, disappearing in 1945, 1966, and again in 1988. After the reunification of Germany in 1989, Leipzig once again started producing gose. It is this far-reaching history that allowed gose to be grandfather into the reinheitsgebot (The German Purity Law) wordings, and therefore still brewed today.
Nowadays gose is brewed in it's homeland of Germany, as well as in craft breweries all over Canada and the United States. A couple VA Staff faves:
Ritterguts Gose: The Original Gose. Brewed using the original recipe from 1824. 500mL bottles - $9.00 all in
The Bruery Goses are Red: A California-based brewery's take on the style, which includes the addition of grapes making it a stylish match of a funky, crisp and tart gose with the soft sweetness of a rosé wine. 750mL bottles - $20.50 all in
Return of the Gose
By Robyn Bursey

subset: commoncrawl


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State Issues
Equal pay still a struggle
Forty years ago President John F. Kennedy signed the Equal Pay Act saying that the bill "signaled a further determination by our country that women would find equality in their paycheck."
At the time women made 59 cents to every dollar a man made. Today American women, with comparable education and experience, earn 77 cents on average to every dollar their male counterparts make. Here in Iowa, we do slightly better with women earning 78 cents to every dollar.
Given that the pay inequity issue has seen only an 18-cent increase over 40 years, there is little reason to celebrate.
That's why last week I chose to observe Equal Pay Day, the day women must work into the new year in order to earn what their male counterparts would make in the previous year.
I met with nurses and educators, two professions that have historically been dominated by women, to talk to them about the struggles they face in their profession and strategize about ways to raise awareness about pay inequity.
I heard from a wide range of perspectives that included students, educators, RNs and LPNs; women's rights activists and government workers. Many expressed concern about the dwindling number of women who consider entering the workforce as teachers or nurses because salaries are not competitive with other career choices.
Statistics show that women dominated fields are some of the lowest paying professions. In fact, 10 jobs held primarily by women pay an average of $13.94 an hour, compared to $16.17 paid by 10 jobs held primarily by men.
Most women are either major contributors to a families' overall income or the sole breadwinners. If women-dominated careers aren't paying a living wage, then women will follow the money elsewhere creating another problem that needs addressing -- high demand with little supply in certain woman-dominated fields, like nursing.
According to the Iowa Department of Public Health, 60 percent of licensed nurses who are still active will be over 50 years of age and may be retired by 2009. Between 1993 and 1999, admissions to registered nursing education programs declined 40 percent and graduations declined 27 percent. (Iowa Nurses Association.) There has been a growing concern in Iowa, and across the country, about the nursing shortage and how to address it. At our meeting, the nurses expressed their concern, too, about the nursing shortage and said low pay was a factor.
In the field of education, high schools, specifically in the subjects of science and math, are having trouble recruiting new teachers because the competition is too great from scientific and mathematic professions. Women with strong math and science backgrounds can make more working in the private sector than as educators.
As I talked to nursing students, nurses, educators, administrators and aspiring teachers, it became clear that the best advocates for pay equity are women themselves. We must tell our stories, share our experiences with friends, co-workers, and business and policy leaders so that equal pay for equal work remains a goal for our state and nation.


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July 2018 SCUBA Monthly Meeting Minutes
Urgent Info: In order to assure the quality of judging (and an optimal workload for judges), entry registration for the NJ State Fair Homebrew Comp has been closed at 325 entries. Last year we judged almost 400 entries. We have 23 judges at the moment, which is lower than we've had in the past. We also need stewards. Please register NOW as a volunteer/steward.
The meeting opened with a cheers from our 23 attendees at the Fairgrounds to Bob Smith, who took a Silver at the National Competition in Portland last month. Check the Facebook page to see Bob limp up to accept his medal, and to see SCUBA's name up on the big screen. The NHC is, I think, the biggest beer competition in the world with 8405 entries (the World Beer Cup was about 8200). So now SCUBA has two medals to its name (Chris and Craig took a mead medal a few years back).
We set the upcoming meeting schedule as follows:
August – no formal meeting, but NJSFHC judging July 27/28 and Awards August 4.
Sept 7 – Mohawk House, Eldorado hopped beers
Oct 7 SUNDAY – Angry Erik, beer pairing discussion (pending AE approval). Bring Harvest Beers.
Nov 2 – Fairgrounds, German Beer Club-Only Competition
We selected El Dorado hops for our September Single Hop Brew. You are welcome to bring to that meeting ANY beer that uses exclusively El Dorado hops. We chose these hops over some other suggestions that included African Queen, Mosaic, and Magnum(!). On the fly, Adam found Eldos on sale for $10/lb and ordered 7 pounds to be distributed as follows (in ounces): Adam-16, Chris-12, Mark-8, Bruce-8, JJ-8, Robert-8, Bob-8, Wayne-8, Cait-8, Steve-4, Joe-4, Paul-4, Erik-4, Mike-4, Craig-4, Herv-4. That was some awesome club decision making power and action. We should have enough beer at the September meeting!
The SCUBA Beer Barrel was filled with its second batch, a Blonde, a few weekends ago. 11 brewers participated, and we sampled as we racked the beers. As Chris noted "SCUBA brewers aren't always known for their consistency!"... the 11 beers showed significant variety despite a single recipe. The blend, however, was really good, and we hope that the choice of style will work well to pull some of the oak and red zinfandel flavors that remain in the barrel. Thanks as always to North Jersey Homebrew for providing a home for the barrel. We'll sample the beer at the September meeting and decide when to keg it. Mark announced that he'd like someone else to organize the next fill, so please contact him if you're interested in taking over.
In our Saison Tasting, we sampled Saison Dupont and Ommegang Hennepin for commercial calibration. We discussed the importance of high fermentation temperature in this style to produce the desired aromas and flavors, and to keep the yeast from stalling out. Paul and Mark served some homebrewed samples using a variety of yeasts including the standard WL Saison yeast, as well as Belle Saison and Monastery. Adam served a keg of something entirely different, but hey, at least he brought good beer.
The remainder of the meeting was devoted to final planning of the NJ State Fair Homebrew Competition. Bullet points for brevity:
- Entry numbers are high, volunteers are low. Capping at 325 until we get more judges
- NEIPA category was a good idea – we have lots of entries. JJ may have a commitment from a pro brewer to scale up the winner.
- NJ Pride Category also going well with 9 entries. Jersey Girl will brew the winning beer.
- The SORT will be on July 20 at the Eddys as usual. We do need volunteers for that. Confirm with Coordinator JJ or Cellarmaster Chris.
- ENTRY PICKUPS between the 15th and 20th. Call brewshop to confirm that they have entries and that they are open when you want to pick up. Commitments: Keystone-Steve, L2B-Adam, TQ-Steve, BH-Adam, C&K-Joe, HU-Herv, Mistucky-Chris. Deliver beer to Eddy's or keep at your home away from light and heat.
- The JOCKEY BOX will be at the judging for lunch. Bring a corny of beer (that you're not entering into the comp). Commitments – Bob, Mark, Wayne?, someone else?
- FOOD DONATIONS: we are providing breakfast and lunch as usual. Please make a tray of something and LET Cindy KNOW ASAP! Also, please consider asking your favorite local restaurant for a tray, or talk to the owner/manager and ask them whether you can introduce them to JJ, who will ask for the donation.
- PRIZES are harder to come by than in the past, maybe because of the number of competitons these days.
- SCUBA is in second place in the club competition. If you're reading this and you have not entered your best beer into the State Fair competition, then you're a slacker and I'm personally very disappointed in you. We need EVERYONE to participate if we're going to get our name on that trophy!
- HERV asked what date the competition is. It's the final Friday/Saturday of July as always. All the club info that you need can be found at http://scubabrewclub.com Check it out, there's lots of stuff there.
I'll leave it to Chris and the rest of you to correct all of the innacurate info above, and add the stuff I've left out!


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Children of Addiction are 4 times more likely to be sexually abused. They are prime for victimization as they…
- are often starving for attention.
- are less apt to speak up because of fear of not being believed.
- give others the benefit of the doubt.
- don't trust their own perceptions.
- don't know what they feel and can't use feelings as cues and signals.
- are confused about appropriate boundaries.
- experience shame upon which fuels powerlessness.


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NANS encodes an enzyme that functions in the biosynthetic pathways of sialic acids. Additionally we are shipping NANS Proteins (11) and NANS Kits (5) and many more products for this protein.
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NANS deficiency is associated with defect in brain and skeletal development.
sialic acid synthases kinetics and preliminary mutagenesis experiments reveal the importance of C-terminal antifreeze protein domain
The structure of the C-terminal antifreeze-like domain of human sialic acid synthase was determined. The structure comprises one alpha- and two single-turn 3(10)-helices and two beta-strands, and is similar to those of the type III antifreeze proteins.
This gene encodes an enzyme that functions in the biosynthetic pathways of sialic acids. In vitro, the encoded protein uses N-acetylmannosamine 6-phosphate and mannose 6-phosphate as substrates to generate phosphorylated forms of N-acetylneuraminic acid (Neu5Ac) and 2-keto-3-deoxy-D-glycero-D-galacto-nononic acid (KDN), respectively\; however, it exhibits much higher activity toward the Neu5Ac phosphate product. In insect cells, expression of this gene results in Neu5Ac and KDN production. This gene is related to the E. coli sialic acid synthase gene neuB, and it can partially restore sialic acid synthase activity in an E. coli neuB-negative mutant.
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Derek-Dex-French wrote:From the stand, showing the latest colour.
Considering Honda probably haven't built one of these for a few years (how many in crates?) It surprises me they can have a 'latest colour'.
And on the subject of price, you rock up with a half decent part ex and you'll get a bloody good deal!!
These crated bikes are sitting on Honda UK's books and will be costing them money. They'll be keen to get rid!


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The Best Crazy Video Site
Not All KKK Members Support Donald Trump
GOP-voting Ku Klux Klan members come out from under the hood to express their burning displeasure for Republican presidential candidate frontrunner Donald Trump. Trump may be a racist, bigoted, sexist totalitarian endorsed by former KKK Grand Wizard David Duke, but his lack of political experience raises concerns.
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What To Wear in the Birth Tub
Maryn Taylor
I hear this question a lot : "what do people wear in the birth pool?" Here are some ideas that might be helpful and that you may already have in your maternity wardrobe.
1. Tankini top. Bathing suits are made for getting wet, so this is likely to be a comfortable option and one that you may already have, especially if you've been pregnant in the summer. Target has some cute and affordable options.
2. Camisole top. These are such a great layering piece and are relatively easy to find. Some great places for these are Target, Motherhood Maternity, and Old Navy. Go for black or a dark color so that it's still fairly opaque when it gets wet.
3. Sports-style bra. I had one that zipped in the front that I wore when I was in labor with my middle son, so it was easy to take off when I got out of the pool and put on dry clothes. I got another one (exactly like the one pictured below) at Motherhood Maternity, and I have seen similar ones at Target. Wal-Mart always has the really inexpensive, soft stretchy ones that pull on over your head; those will work well for gentle support after baby's born, too.
4. Nothing. You don't have to wear anything at all. Do what feels best for you!
When I was preparing for my births, one of the things that I did was set out camisoles and sports bras along with my birth supplies. My husband and doula were able to find what I'd planned to wear in the pool without having to look around for them, and later when I decided to get out of the pool for a while I had several sets of dry clothes ready to wear.


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Exceptional splendour within; but it's the stunning scenery on the horizon that enchants.
At the heart of the resort, elegantly intricate flourishes of Moorish and Andalusian architecture crown the Manor House overlooking a shimmering pool and cascading palm terraces.
Amongst the largest entry-level rooms in Dubai, these beautiful rooms feature a generous layout of exquisite living space featuring a private balcony or garden patio.
A contemporary chic design, with subtle flourishes of Arabian style, envelops the spacious living and dining areas and private outdoor terrace, whilst a team of dedicated hosts offers personalised services throughout the day.
Opulent and enchanting, this sumptuously grand one bedroom suite atop the Manor House offers expansive living and entertaining space, a private outdoor terrace, unrivalled views of the resort and the dedicated attention of a private host.
In a land of soaring skyscrapers and logic-defying architecture, find serenity and seclusion in these tranquil low-rise hideaways offering unparalleled proximity to the beach. Most with sea views, the six Palm Beach Mansions incorporate a cluster of eight to ten independent Premiere Rooms, Junior Suites and Executive Suites, some with private pools.
Enjoy the serenity of a beachside location, and the enchantment of sea views or garden vistas, in a lovely living space featuring a private balcony or beachfront garden patio.
Just steps to the beach, the spacious style of elegant Arabian living raises the spirit with the added luxury of a private balcony or beachfront garden.
A turquoise pool, a deep blue sea, and the wonder of New Dubai just beyond. Luxurious beachside living at its most elegant, with private balcony or beachfront garden patio.
Expansive, exclusive and secluded. The ultimate in space and privacy with gracious living and dining areas, a grand master bedroom, and beachfront views overlooking the iconic landscape of One&Only The Palm or the New Dubai skyline.
A private pool elevates the indulgent surrounds of the Palm Beach Executive Suite, as do views of The Palm and New Dubai skyline. Beautifully designed interiors boast a contemporary elegance throughout the generous living and dining spaces and grand master bedroom.
Beachfront living in glorious seclusion. The ultimate in serenity and spaciousness, with exceptional standards of privacy and personalised service.
A superb collection of just four freestanding two-storey Beachfront Villas presents a beguiling environment of exquisite space and seclusion.
Inspired by the elegant and mannerly traditions of Arabia, the most elevated levels of personalised care are displayed with gracious hospitality.


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The best thing reporters can hear from editors is that they can have as much space as they need to tell the story. In an era of online publishing, this should be the case every time, but I don't see reporters or their editors using that opportunity all that often. In a world where column inches do not matter, reporters face a different challenge of knowing when to stop reporting and writing. In my own experience, a good editor acts as a good stop. A fast-approaching deadline also acts as a fairly reliable stopper.
In an excellent example of how to use the Internet to enhance a reporter's ability to tell a story, The Washington Post's Michelle Boorstein filed two versions of her Jan. 15 article, "A Mission of Understanding: At U-Md., Evangelical Christian Teen Breaks Into the Mainstream, Out of His Comfort Zone." One went into the morning newspaper, which I enjoyed over eggs and toast, and the other went online which I also enjoyed (sans the food).
Why aren't newspapers doing this more often? The print version of the article, which I cannot find online, was more concise and more readable. And the online version seemed to read like the version that existed before the Post's inch-guardians got their grubby hands on it. The online version rambled a little bit, but it told a more complete story.
The story is about Danny Leydorf, who attended a Christian school in Annapolis since he was in kindergarten. For college he selected the University of Maryland, a secular state school, in an effort to "test his faith in a more diverse world." This, as the article nicely outlines, is a growing trend among kids raised in Christian educational environments. For the last 30 years, kids coming out of Christian high schools were directed toward Christian colleges or the mission field, and even today there remains hesitancy about secular schools.
After reading the through the first five paragraphs of the article, one does not have to wonder why Christians are hesitating or nervous:
"I feel like I exist to be interacting," the lanky, towheaded 19-year-old said eagerly one day last summer, shortly after his graduation, "and part of that is just getting out there."
So he'd deliberately picked a large, secular college: the University of Maryland. But the week before he was to leave, the wider world dealt him a blow.
"I hate evangelical Christians," read the Facebook.com profile of his roommate-to-be, who had seemed so perfect on the phone. He loved politics and "The Simpsons," like Leydorf, and they even had the same views about how to set up the room. Could it still work?
We later learn that Leydorf decided to ignore the Facebook comment, concluding that the unnamed roommate was using "evangelical" to describe people like "Jerry Falwell whom Leydorf considers intolerant." (I guess it just depends on how you define "evangelical," right?)
College kids are not exactly known for their discretion, and this is especially true for freshmen. Saying that you "hate" something on Facebook is not generally taken very seriously. For instance, there is a group on Facebook called "Abortion: Because I Hate Babies" that has 72 members. Another called "ACME employees who hate ACME" has 11 members. The "Adam Sandler Hate Club" has 46 members. You get the idea.
But that doesn't mean the Post should simply ignore the irony that Leydorf, raised in a Christian school and seeking to learn to live in "a more diverse world," is facing the hate of the real world before he even steps on campus. Perhaps Leydorf's roommate will learn a thing or two from his new evangelical Christian friend who seems as willing as anyone to embrace diverse environments.
Go to the Maryland University homepage and you'll immediately see a link on Diversity. On that page you're told that this is "your road map to the plethora of equity and diversity undertakings on our campus."
A huge part of the story is devoted to telling the story of why evangelicals withdrew from secular institutions. Perhaps this lack of interaction has allowed people like Leydorf's roommate to develop a hate for Christians because they did not know any -- or at least any like Leydorf, who is someone that most people would find it hard to hate.
Colleges and universities are burdened with the unenviable task for sorting through the competing values of free speech and protecting diversity and individual rights. Was this a comment that should have changed the direction of the story? I would say no because I think the writer had a better story to tell. But it's certainly worth looking into in the future. And as I said earlier, time is the big constraint for reporters these days, not column inches.


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Plumbers Sugar Land TX YB Plumbing provides top rated services at an affordable price
If you are looking for reputable Plumbers In Sugar Land TX, look no further than YB Plumbing. As licensed plumbers and professional drain cleaners, we have the tools, and the experience for all your plumbing needs.
What Happens When Sugar Land grows too fast?
In fact, Sugar Land is one of the fastest growing and wealthiest cities in Southern Texas. For example, from 2000 to 2007, Sugar Land had almost 46% job growth! But being one of the fastest growing cities in the country comes at a cost. New construction cost in fact. Since many buildings need to be built or improved for new use, plumbers are more needed than ever. Do you have a plumbing inspection coming up for your new home or business? Call YB Plumbing!
Interestingly, Mexico originally owned Sugar Land. And the city gets its name from the famous sugar trade that boomed there. In fact, fields of sugar cane once grew on present day Sugar Land homes.
Although these days Imperial Sugar calls Sugar Land it's home, the city is best known for it's fast growth, cheap rent, and great jobs. Plus, Sugar Land is home to a ton of fun special events for the whole family. Indeed, you can go to the Culture Kite Festival, the EggStravaganza Egg Hunt, the Star Spangled Spectacular, and more all in the same year. If you're thinking of moving here and building a home, use YB Plumbers. Since we are the local, family-owned plumbing company, you won't be disappointed.
Sugar Land Plumbing Service.
Our Plumbers In Sugar Land TX are skilled and can tackle a range of Plumbing problems including: water heater installation or repairs, clogged drains, leaky faucets, kitchen sink disposal repair and replacement, unclog toilets and clean out blocked drains. Because when you have a plumbing problem, you want somebody that you can trust Call YB Plumbers Sugar Land TX , not somebody who may make things worse!
Plumbers Sugar Land TX company offers quick, efficient and affordable plumbing services. We offer same day Plumbing service and a 60 day warranty on all services.
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Our trained Plumbers In Sugar Land TX take pride in their work, as it is attention to detail that ensures a long-lasting installation to give many years of trouble-free operation. If you have not used our installers before, We guarantee that you will receive plumbing services that meet or surpass your expectations.
When it comes to repairs, Plumbers Sugar Land TX are able to fix or repair just about any plumbing problem. from a small job to a large project.
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When it comes to drains, our drain cleaning Plumbers are trained and ready to tackle any drain blockage you may have whether in the toilets or sewer lines. garbage Disposal, kitchen sink, bath, Most blockages are removed quickly, although we can also handle bigger jobs like sewer drain repairs.
Whether you need an Plumbers In Sugar Land TX we have you covered. Our Plumbing services include: Water heater repair or installation Faucet repair and replacement Food disposal repair or replacement Drain Cleaning of Clogged Drains Washing machine line replacement Hot water dispenser installation Refrigerator water line installation Pipe repairs Sewer line cleaning, repair, or replacement.
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|Missouri City


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Buying Diamonds
John Smith
To some people the thought of buying diamonds goes through their head like a nail. Just like anything else buying diamonds can be difficult because of all the options that are available. But to make this experience even scarier, when buying diamonds you will be dealing with a lot of money in some cases. But just because there are a lot of aspects that go into buying diamonds does not mean that you should be scared. The fact of the matter is that there are reputable sellers out there. It is simply up to you to find them.
When searching for somebody that sells diamonds the first thing that you need to do is make sure that they have a good reputation in the industry. In other words you do not want to buy diamonds off of some guy that is standing on the street corner. You will want to locate a couple of good sellers that have many satisfied customers. Sometimes these locations are hard to pick out, but if you do a bit of research you should not have any problems at all.
And when you are researching diamond sellers, you can also spend some time researching the industry as a whole. Find out what makes a good diamond, as well as how to spot a fake. This will allow you to make an informed decision no matter who you decide to deal with. In addition, learn as much as you can about how much different diamonds cost. If you know a general price point, doing business in a fair manner will be much easier.
The actual act of buying diamonds is not as difficult as some people make it out to be. If you are new to the industry, try to find a couple of locations in your area where you can shop. This way you will be able to speak with the sales representatives, and also get a good idea as to what is available. Also, when you buy diamonds in person you have a better chance of catching somebody that is trying to pull a fast one on you.
If you are holding back from buying diamonds because you are scared of getting taken, you need to get over your fears. This is a legitimate concern, but not one that should hold you back from what you are after. If you do your research into the diamond industry you will be much better informed during the buying process. And the saying knowledge is power" is definitely true when it comes to buying diamonds.
Get started today with your research. In no time at all you will be well informed, and in a better position to make a buying decision. There is nothing to hold you back at this point!
Price of Diamonds
for comprehensive and up to date news and information about diamonds.
Article Source:


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WHITE WAVE Young Soon Kim Dance Company (WHITE WAVE) presentsThe 2018 DUMBO DANCE FESTIVAL: A FOUR-DAY SPECTACULAR PRESENTING 70 COMPANIES FROM NEW YORK & AROUND THE WORLD at Gelsey Kirkland ArtsCenter, 29 Jay Street, Brooklyn, NY 11201from October 11 – 14, 2018. On Thursday, October 11, 2018 at 7pm, WHITE WAVE Dance will celebrate the 18th Anniversary season of theDUMBO Dance Festival (DDF) with a Gala Opening, heralding the most anticipated four-day festival of contemporary dance in the greater New York City region. Tickets are $15 – $250 and are available at https://2018dumbodancefestival.eventbrite.com.
Committed to developing dance as an important art form, WHITE WAVE scours the globe in search of the most innovative of today's dance makers, both emerging and established, and brings them to Brooklyn for one extended weekend of 11 different programs. For four nights and three days, dance lovers will experience a veritable cornucopia of the best of contemporary dance. DDF is committed to advancing the best of dance by providing on-stage and be-hind-the-scene opportunities for 70 dance troupes from across America and around the globe, allowing audiences to experience, first-hand, the incomparable vitality of the New York dance scene.
"This is a festival about opportunities," says Young Soon Kim, Artistic Director of WHITE WAVE Dance. "The DUMBO Dance Festival provides an opportunity for over 350 performing artists to showcase their work. Further, it offers New York audiences the chance to participate in one of the most diverse displays of leading-edge choreography and excellence at an affordable price."
October 11, 2018 at 7pm Gala Opening
October 12 – October 14, 2018 – Festival Performances
October 14, 2018 – Family Friendly Program
GALA Opening Night: October 11th at 7PM
The 2018 DUMBO DANCE FESTIVAL will kick off with WHITE WAVE's Opening Night GALA Celebration on Thursday, Oct. 11th at 7:00 pm. The evening will be hosted by a guest celebrity (TBA). We have selected two of our most distinguished supporters to honor the great impact they have had in furthering our mission this year. Their openingremarks will be followed by six stunning contemporary dance troupes: CARMELO SEGURA DANCE COMPANY (Spain), Augusto Soledade Brazzdance (FL), Jennifer Muller | The Works (NY), Ballet Clasico Alina Abreu (Dominican Republic), Buglisi Dance Theatre (NY), WHITE WAVE Young Soon Kim Dance Company (NY). Afterwards, the audience will enjoy a reception with a buffet dinner of exotic Korean cuisine and a fabulous raffle (
including gourmet wine baskets, "dinner for two" at local DUMBO eateries and much more)!
Tickets are $100 and $250 (VIP seating) per person; all proceeds raised will directly offset WHITE WAVE's production costs for our 2018/19 Season.
Tickets can be purchased at www.whitewavedance.com
Formed in 1988, WHITE WAVE Young Soon Kim Dance Company (WHITE WAVE) strives to inspire audiences through multi-dimensional dance productions reflecting themes and philosophies both modern and timeless. Our mission is to be a potent stimulus for change and expansion of the dance/arts world through the production of dance concerts, classes, residencies, and education. Artistic Director Young Soon Kim's vision is expansive, challenging the threshold of dance, music, theater and visual art, surging forward to create new possibilities. Ms. Kim creates works of vision and movement language in reverence and awe of novelty that challenge and broaden the boundaries of dance. We provide both emerging and established choreographers/companies with a NYC venue where they can congregate, create, rehearse and present new dance works through our festivals. www.whitewavedance.com/
Mission and a brief history of WHITE WAVE
Founded by Korean-born Young Soon Kim in 1988, the WHITE WAVE Young Soon Kim Dance Company is dedicated to inspiring audiences through multi-dimensional dance productions reflecting themes and philosophies both modern and timeless. We constantly strive to be a potent stimulus for progress and evolution within the dance/arts world. By producing dance concerts, festivals, and educational activities, WHITE WAVE Dance provides both nascent and seasoned choreographers/companies with an encouraging environment where they can create, collaborate, and present new works in the undisputed capital of world dance, New York City.
WHITE WAVE created DDF in 2001 in response to the dance community's need for performance opportunities that would not only present, but also produce, the work of rising choreographers at minimal expense for the artist. The festival is now recognized as New York's most prestigious gathering of pioneering choreography, encouraging experimentation, creativity, and originality.
WHITE WAVE Dance has proudly presented over 2,600 choreographers/dance companies and over 15,500 performers to a total of more than 80,500 audience members.
Young Soon Kim, Artistic Director of WHITE WAVE Dance, is a nationally and internationally acclaimed choreographer, whose work has been hailed for its exhilarating, visually stunning, and emotionally rich phrases and textures.
In addition to her role as a performer and Artistic Director, Ms. Kim initiated a series of dance festivals after creating WHITE WAVE John Ryan Theater in DUMBO, Brooklyn, in 2001. She has since become one of the most recognized producers/curators in New York City. Kim also served as a juror for New York City Department of City Affairs in 2006 and as an apprentice for the Lower Manhattan Cultural Council in 2014.
After featured at the 2017 La MaMa Moves! Dance Festival, WHITE WAVE Dance's Canadian Première of "iyouuswe" at the 2018 Vancouver International Dance Festival was a resounding success!
"There are people who simply have a lot of energy, and the Korean-born choreographer Young Soon Kim is clearly one of them." – Roslyn Sulcas, The New York Times, 2008.
GK Arts Center is a 20,000 square foot performance space with a 308 seat theater, and 4 spacious column free studios located in DUMBO, Brooklyn. Theater rental and studio rental are available for theatrical performances (dance, music, theater and opera), stage & studio rehearsals, classes, workshops, photo, film & video shoots, corporate events and receptions. The theater has a rep lighting plot. All studios have 32 foot ceilings and are outfitted with marley sprung floors, mirrors, state of the art sound systems and ballet barres for dance. The event space is all ground level and fully handicapped accessible. GK ArtsCenter is also home to Gelsey Kirkland Academy of Classical Ballet. http://gkartscenter.org/home/about/
We are a group of writers who love Irish and Celtic arts. Some of us are performers; musicians; actors; some of us are authors; some of us journalists. Check this out for a list of our writers!
We would love to hear from you! Thoughts, suggestions, anything at all! Drop us a line.
© Copyright 2019. All rights reserved.


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Wine tourism ACTIVITIES
If you are a lover of sweets, this tasting will allow you to enjoy our cavas in harmony with a unique pairing. You will get to discover the world of the cocoa bean and taste some of the most original chocolates.
Length: 45 min.
Languages: Catalan, Spanish, English and German, as available.
Business hours: Every day of the week, depending on availability. Advance reservation required.*
If you want to make your actvity complete with a visit to the cellars, simply say so when making your reservation.
*Minimum 5 people.
Please fill out the form below and we will contact you to give you the visit information.


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The Hundred and One Dalmatians
by Dodie Smith
If you have any passing interest in top-notch adventure stories, rescue missions and, most importantly, dogs, One Hundred and One Dalmatians is a treat of a read. Daring, intelligent and fiercely loyal, Pongo and Misses set out on an adventure from London to the English countryside to rescue their stolen puppies from the vicious fur-loving villain, Cruella de Vil. Dogs great and small of Dogdom and even some of their human pets come to the aid of the heroic dalmatians; but will they reach their puppies in time before Cruella has them turned into spotted fur coats? And even if they do rescue their own pups, will they be able to put an end to Cruella's evil antics for good?
This book will keep you on the edge of your seat and give you a new appreciation for our heroic four-legged friends as you join Pongo, Misses and a host of helpful dogs and cats on this unforgettable rescue mission. Even if you've already seen the film… READ IT! Or you're missing out!
Genre: middle grade animal adventure
Recommended tea: Lady Grey


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Photo of the Day 2/17/2015
This photo is one of my recent favorites. Vanessa and I go back a good ways. We met up at a local fav location of mine and did some more "pretty" almost fashionesque work which we hadn't really done before. I loved this angle and the lighting was fantastic!
Be sure to check out more of Vanessa's work. She is also one of my cohorts in our "alternative collective" The 86'd.
Visit Vanessa at www.facebook.com/vanessamichellefilth
Visit the 86'd at www.facebook.com/wearethe86d
Visit me on Facebook at www.facebook.com/trdphotography
Instagram & Twitter - @trd_photography Email - email@example.com


text: Leon Bridges for Time Out New York tom oldham November 21, 2015 Another lovely commission from TONY. Free access with Leon to wander East London and even nab a quick studio shoot. Working quick with tethered Hasselblad and battery powered Bron Moves we nailed 6 set ups total, so please enjoy this couple here. He's a beautiful gospel singer of the old school and entertained us as we worked with his astonishing vocal ability, enchanting us all the more.


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It's your wedding and you want to be the top of the table, so why don't you have a look at our selection of classical thrones and ornate furniture, to really enforce your status.
If your looking for elegance and sophistication, why don't you browse through our chaise lounges? These can be hired for relaxation or even posing for the photos!


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NVIDIA VR Funhouse Unleashes the Best of Pascal and VR (Page 3)
Let The Games Begin
I have spent hours inside of VR Funhouse, and while I have my favorite games, each of them has their own little piece of my heart. Each of the VR Funhouse games has something different on show, whether it's a technological trick, or it's more casual and fun to play.
Balloon Knight
Balloon Knight is one of the first games that will really stress your system, as it features NVIDIA Flow technology which sees insanely realistic confetti falling all around you. How does the confetti fall around you? Well, you're equipped with your two Steam VR controllers and two swords - with balloons popping around.
When the balloons are floating around you, you can gently touch the balloon and do what I do - balance the balloon on the side of your sword, and then fling it up and slice it. Once the balloon pops, confetti flies out and fills the screen. It's an immersive thing to see, and that's an understatement.
NVIDIA has built in some incredible physics into Balloon Knight, so you can't just tap the balloons for them to pop - you'll have to actually put some weight into the balloon with the sword before they'll pop. The balloons will also bump into each other in a realistic way, just like they would in real life - except, I've never popped balloons with a sword in real life before.
Cannon Skeet
You've got 60 seconds to shoot all of the teapots being flung at you, so use your two pistols like a champion, alright? Once the time begins to run out, the cannon fire will increase in speed, so you'll need to be a good shot to get a higher score. There will also be shards of ceramic flying at you, so be careful.
Cannon Skeet makes for a great demonstration of PhysX destruction, with some impressive physics manipulation with the guns. There are some great smoking gun effects when you pull the trigger on the pistols, which adds to the immersion. The ceramics also have realistic impact destruction when they hit the ground, too.
Clown Painter
Clown Painter is my favorite VR Funhouse game, as it has the most incredible fluid physics I've seen in a game or VR experience yet. You'll have a 30-second time limit to fill clown's mouths with green goo that you shoot out of your two squirt guns, but the first handful of times that I played Clown Painter, I never filled the clown's mouths with the green goo.
Instead, I had way more fun spraying the green goo all over the place to see how the fluid simulation worked, and man is it impressive. I was shooting the tops of the clown's heads and watching it ooze down realistically, and then turned over to the sign board and filled the entire board with green goo, watching it slide down and form a puddle on the ground.
NVIDIA's impressive use of FleX technology makes Clown Painter an amazing VR experience, but if you want to play by the rules, you'll have to fill the clown's mouths with the green goo. If you don't want to play by the rules, aim the squirt guns into the air and shoot the goo into the sky and watch it splash on your face, and onto the ground, realistically. It's just awesome.
Fire Archer
Personally, I didn't like Fire Archer so much, as I think Longbow in Valve's 'The Lab' is a much better representation of archery. But, NVIDIA's use of Flow technology has some impressive volumetric fire effects that outmatch what Valve did with Longbow.
Fire Archer will have you equipped with a bow, and a barrel of arrows - you'll have to reach behind to your back for your quiver filled with arrows, grab an arrow, light it on fire, and shoot at the targets. You have just 60 seconds to hit as many of the wooden targets as possible.
The haptic feedback on the Steam VR controllers is put to good use here, and so is your NVIDIA GeForce graphics card for the volumetric fire effects courtesy of NVIDIA Flow.
Mole Boxing
I've never been to a traditional carnival, so the closest I've been to a whack-a-mole is in VR Funhouse with Mole Boxing. Mole Boxing will see you with boxing gloves attached to your hands, while moles will be charging directly at your house. You'll need to punch, or box them back, in order to score points.
NVIDIA has used their HairWorks technology on Mole Boxing, where the hair on the moles flows backwards and forwards depending on where they're being punched. If you tap the mole lightly, the mole and the hair won't move that much - but if you smack it really hard, get ready for that HairWorks to kick in, in a really big way.
Better yet, you can do what myself and plenty of others have done with Mole Boxing, and put your glove over the mole's head to see how the hair reacts - and it's pretty damn realistic. Sure, NVIDIA's HairWorks isn't used that widely outside of VR Funhouse, but in VR Funhouse, it's a huge dose of immersion - and that's what we want to see in VR.
Shooting Gallery
Shooting Gallery was my second favorite game in VR Funhouse, because for one - shooting in VR is ten times more realistic than clicking a mouse - or, shudder... using a controller. Secondly, the PhysX destruction is something I really wanted to push the limits of.
You can shoot the planks of wood away, which really puts the PhysX technology under strain - and note, it also requires the medium or high graphics quality settings. NVIDIA's use of PhysX destruction in Shooting Gallery is impressive, and is definitely one of the more hilarious VR experiences in VR Funhouse.
The amount of time I spent getting each shot correctly was higher than I thought, as you feel like you need to perfect each shot. Or maybe that's the old Angry Birds junkie in me... one of the two.
Whack a Mole
What good is the VR Funhouse without a second mole-based experience? Whack a Mole has you using a huge wooden mallet to smash moles as they pop out of their holes, with the moles featuring the same HairWorks technology that the Mole Boxing game did.
You'll need to smash the moles as they pop up, with the HairWorks technology being used to good effect here once again. If you look up close at the moles, you can see the paintaking detail NVIDIA has used on the hair, which is why you can't just run these games with an older GeForce GTX 760 or something.
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According to an AP story [full text here] only about 1,700 people asked to be reimbursed for James Frey's "A Million Little Pieces" - which Frey admitted to be full of fiction. Either everyone is lazy; the amount of the refund wasn't worth the trip to the store; or - and I suspect this is the case - nobody really cares if it's true [well, besides Oprah and about 1,699 others].
I hope Frey's next book, "Bright Shiny Morning," is a best-seller. Not because I'm a fan of his work [I never read "A Million Little Pieces"]. Rather, because I thought a lot of high-and-mighty talking heads made Frey out to be a criminal of epic proportions. What is it about glass houses? I would love a peak at the tax returns for every commentator who chided Frey for lying ... think I'd find any inconsistencies on par with Frey's bending of the truth?


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Citroen Berlingo 2008 Model
Compared to the previous model, the current Citroen Berlingo is larger and has many more car-like creature comforts, safety and security standards. In addition there are some nifty gadgets, like the Extenso front seat to help expand the load area for those one-off jobs that require those extra few inches. With this option, the Citroen Berlingo can carry loads of 3 metres long or up to three people.
The Citroen Berlingo comes in two trim levels, a choice of three engines and two vehicle lengths. Two versions (L1 and L2) of the Citroen Berlingo are available in the UK. Both models have the same wheelbase, but the L2 version simply has a larger rear overhang. Load capacities are 3.3cu.m for the L1 and 3.7cu.m for the L2. Payloads have also increased compared to the original version from a choice of 600kg or 800kg of the original Citroen Berlingo to a choice of 625 or 850kg payload capacities, while the L2 version has a 750kg payload.
Either version – L1 or L2 can carry two ISO pallets and it can be loaded via no, one or two side loading doors – plus various options for tailgates, doors and glazing at the rear.
Avoiding the need for aftermarket lining kits, the Citroen Berlingo's load compartment is lined to the middle rail and has a handy12V socket and a rechargeable torch, which doubles as the load compartment light or a portable light and a ladder frame bulkhead behind the driver.
The buyer can choose from a range of bulkhead options including a removable half height steel bulkhead, which can be specified with or without a removable panel.
The Citroen Berlingo looks good, but remains practical with plenty of glass all round for good visibility and wide doors to get people and goods in and out. Headlights up in the air mean that everyday damage to them can be prevented, whilst generous bumpers keep the van looking good.
The Citroen Berlingo has acres of storage space. A passenger side glove compartment, another one behind the steering wheel, plus over-windscreen storage, large door pockets, a central console and extra driver's seat storage give a total space of up to 61 litres – enough room for your bottle of water, Starbucks coffee and some delivery paperwork – plus some extra for a large Great Dane.
Citroen have spent some extra money on the dashboard and controls, which has a better quality feel and with all the controls, including the cool dashboard-mounted gear lever within easy reach.
In-cabin noise has been kept to a minimum with protection from the engine increased plus the body pan has been specially coated to reduce road noise and protect the vehicle body structure from stone chips. In addition, the new Citroen Berlingo interior has a load of noise-deadening materials on the dash, roof and elsewhere inside the cabin.
Standard equipment on all Citroen Berlingos includes a trip computer, central locking, electric front windows and internally adjustable door mirrors. The Citroen Berlingo LX models get extra kit with remote central locking, electrically adjustable and heated door mirrors and an external temperature sensor. Standard audio equipment includes a stereo radio/CD player on all models.
You can load your Citroen Berlingo up with extras, from a Bluetooth hands-free phone kit, rear parking sensors, automatic rain sensitive wipers, automatic actuation of headlights to a heat-reflecting windscreen. Additional safety features include passenger, side and lateral airbags, tyre pressure sensors, ESP and ASR.
The Citroen Berlingo's suspension package gives it an impressive ride and handling feel. With MacPherson-type struts at the front, the addition of an anti-roll bar also helps out.
All new Citroen Berlingo models have ventilated front discs, normally seen on performance cars plus ABS fitted as standard.
The Citroen Berlingo comes with a choice of three engines: a new 1.6i petrol engine and two 1.6HDi diesels. All three engines have five speed gearboxes. The petrol new unit hits peak power of 90hp at 5,500rpm. Citroen's proven 1.6HDi engine is offered in both 75hp and 90hp formats.
The 1.6HDi engine can run on up to 30 per cent biodiesel without modification or loss of warranty. Servicing periods are extended to 12,500 miles or two year service intervals, while the petrol engine has 20,000 miles or two-year service intervals. Other maintenance reducing features of new Citroen Berlingo include a new, extended life cam belt for the 1.6HDi engine, which only requires changing every 150,000 miles or 10 years.
Citroen have more recently launched a dual fuel LPG conversion of their Citroen Berlingo van as a part of the Ready to Run range. The new Nicholson McLaren Engine has already been proven in thousands of Nemo and Citroen Berlingo First Dual Fuel vans. The Citroen Berlingo conversion has a 59-litre LPG tank where the spare wheel usually lives, with the LPG filler cap next to the petrol cap. The vans perform as well as the petrol engined vehicle.
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Subject: I have found a DVD that I think you would enjoy
|American Gigolo
Actors: Richard Gere, Lauren Hutton, Hector Elizondo, Nina Van Pallandt, Bill Duke
Director: Paul Schrader
Genres: Drama, Mystery & Suspense
R 2008 1hr 57min
Studio: Paramount Home Video Release Date: 08/05/2008 Run time: 116 minutes Rating: R
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Movie Reviews
The Power of Surfaces
Charles S. Tashiro | Agoura Hills, CA USA | 06/05/2000
(4 out of 5 stars)
"American Gigolo is probably writer-director Paul Schrader's most memorable film. Richard Gere is perhaps too well cast as a strutting, smug hustler brought low by his egotism and blindness to the reality of his life. The love story "redemption" centering around Lauren Hutton is pure front-office placation. The real subject of the film is exactly the sexy surfaces the story somewhat hypocritically pretends (but not too strongly) to condemn. In fact, the film's most memorable sequences are both dedicated to hard-edged commodity glitter and have nothing to do with the love story. In the opening credits, Gere shops on Rodeo Drive then drives down Pacific Coast Highway. Deborah Harry loudly sings out to "Call Me" in the background, Gere smirks in the sunny breezes behind the wheel of his 450SL, while the camera lovingly caresses the bumpers and hub caps. In the famous dressing scene, Gere throws one exquisite jacket, shirt and tie after another on to his bed as he ponders the most effective combination. Both scenes are wonderful evocations of svelte narcissism, cheeky self-satisfaction made into an art.To achieve these surfaces, Schrader owes a deep debt to cinematographer John Bailey, fashion designer Giorgio Armani and especially "visual consultant" (production designer) Ferdinando Scarfiotti, who is probably chiefly responsible for the film's famous "European" look. It also doesn't hurt that the story is almost exclusively limited to the sleeker parts of LA and Southern California-Beverly Hills, Westwood, Malibu, a side trip to Palm Springs, with a touch of Hollywood grunge thrown in for some kicks and kink. It all adds up to a creamy, pastel-tinged vision of LA as a show-biz Riviera, where class and style don't come from centuries of breeding, but can be purchased for the price of a designer shirt.It is not too much of an exaggeration to suggest that the unsympathetic, vacant characters and ludicrous plotting are there to wear the clothes. Intentionally or otherwise, that hits at a truth about LA that makes the film stay in the memory (particularly since life in the city has changed little since it was made). It's not just the combination of the sleazy and the silky, the cooled-out camerawork gazing alternately at rot and luxury, but the film's realization that in LA, "How much?" is not just the beginning of a financial transaction, but the only question of value people understand."
Emotionless film effectively shows pitfalls of materialsim
Get What We Give | Georgia | 01/13/2005
(4 out of 5 stars)
"American Gigolo is one of my favorite films and yet it is really not one of the greatest films that you might encounter. Shot in rich tones, particularly blues and greys, the director, Paul Schrader, wants us to know that we are not going to be afforded the opportunity to get to know the characters too well. One might be able to argue that American Gigolo was one of the films that literally catapulted the movie going public into the 1980's mindset of materialism.
Richard Gere in one of his earliest films, protrays straight male call boy, Julian, who is tops in his game. Julian is gorgeous and knows many gorgeous women. He sleeps with those who will pay him. He doesn't bother with those who won't. Julian's lifestyle is one of everything "is a means to an end". He is interested in beautiful clothing and looking good, but because it helps him get something that he wants. He enjoys artwork and stylish digs, but not because he loves them, but because they are status symbols for his success. Julian enjoys being a gigolo because he is the best there is. He wouldn't (and doesn't) enjoy it when it isn't on his terms. For someone like me who feels he is too in tune with his emotions, Gere's Julian is cool, calculating and enviable. He goes about life without a care for anyone but himself.
When Julian meets Lauren Hutton, he is actually smitten with her. This is evidenced by the meeting taking place in a bar with deep reds and comfortable upholstered booths instead of the abounding greys, blues, and steel evidenced elsewhere in the film.
When Julian finally becomes intimate with Hutton and allows his emotional wall down for a moment, Schrader pulls us in close, but just afterward he lets us see that Julian can't maintain such intimacy and the camera pulls back for a long shot of him as he gets out of the bed leaving Lauren Hutton alone in the bed.
The story is secondary to the style of the film. It is a thriller, but not an exciting one. The music of Georgio Moroder and Blondie complement the film and give it even more atmosphere. It needs it because the films two false endings drag this picture out longer than needed in trying to show us how emotional involvement can change someone. The message should be left that a lack of emotion can be dangerous.
I rewatch this film every so often. It's a guilty pleasure watching the opening of the film with Julian driving down the PCH in his 450SL. Or when he's laying out different Armani outfits determining which to put on. Or looking at paintings, never deciding where he will hang them.
Matthew Horner | 12/16/1999
(4 out of 5 stars)
"Yet another harshly criticized film from Paul Schrader. Its themes of emotional emptiness trying to be filled with sex, money, and general material wealth, pretty much, summed up the decade that followed its release. It is the quintissential 80's movie.Schrader was unjustly maligned by critics for the films pacing and flat acting from the films leads. The acting is shallow because the film is about empty people- Julien(Gere) turns on the charm in order to satisfy his ego, and not, as he says, to satisfy women. One gets the feeling, in the long takes when Julien is driving around in his Mercedes, that the smile on his face is because he likes being seen (it is a convertible, after all)and not because of some inner well being. The same can also be said for the pimps in the movie. Both of them behave as if Julien is the slickest, greatest guy alive and smother him with compliments, until, that is, he refuses to do them a favor. Once they dont get what they want, they quickly turn on him. One could even say that the ending echos this. Romantics would like to believe that Julien is redeemed by love, however, he, most likely, stays with the Senators wife because she is the only person who hasnt abandoned him. In his world, she is the only source left to fill his ego and provide him with his much needed alibi, and thats the only reason he doesnt reject her.My only complaints- I feel that the time lapse device in the films conclusion doesnt work. It seems sudden and awkward compared to the rest of the films pacing, like the story has to tidy itself up to reach its end at the expense of the narrative. I felt that the film could have benifited from more scenes with Julien interacting with his clients. I guess Shrader and the studio wanted to gloss over the gigilo view and not have Gere in intimate scenes with ancient ladies. Instead we see him merely holding hands with them and getting intimate (two scenes) with only attractive and younger women. It feels like a pulled punch. Even though it would have made Julien less admirable to an audience, seeing him being intimate with withered and wrinkled widows would have felt true to the character and led to a better understanding of him. But, thats not the sort of thing Hollywood wants thier male leads doing. Over time, Schrader is one of those directors whose harsher critics will be laughed at. I dont know of many other directors who get lashed for being "too Foriegn" in thier composition and pace. Without a doubt, he does get much of his style from French and Japanese directors, but only because his eye finds a kinship with them. His is not camerawork that feels in any way forced, like he is borrowing from someone else. Schrader always gets harped on, whereas, Scorsese, Coppola, Allen, and Jarmusch are heralded for borrowing from overseas. So, if you are going to brutally judge Schrader by his influences, then throw out Sam Raimi for looking too much like Leone and Hitchcock, Paul T. Anderson for looking like Scorsese, and you sure as Hell better sting up Spielberg, run him out of town, and bury him in the desert (oh, please do) because two-thirds of his vision is nothing more than a pale Kurosawa impersonation.Hardcore, American Gigilo, Cat People, Comfort of Strangers, and Affliction are really great films that havent gotten the praise that they deserve, and Mishima: A Life in Four Chapters is nothing less than a perfect film, an absolute masterpiece. Thank you Mr. Schrader."
Darkly comic thriller from Paul Schrader
Matthew Horner | USA | 09/09/2002
(4 out of 5 stars)
""American Gigolo" is high on my list of Guilty Pleasures. This 1980 thriller wallows in the troubles of the rich, the infamous and the decadent. Its main characters have too much money, which can be a good thing, and too much time on their hands, which can be a very bad thing. There is a sort of perverse pleasure in watching them sort through their various problems, most of which are indirectly of their own making. Writer-director Paul Schrader has always cast a cynical eye on human endeavors. Sometimes, his insights have been absolutely brilliant. [He wrote both " Taxi Driver" and "Raging Bull".] But even when he is playing around, as in "American Gigolo", he creates for us an interesting world, which can also be repellant because we see a certain amount of truth in his characterizations. Richard Gere is Julian Kaye, a very well paid [and apparently well educated] LA hustler. His specialty is wealthy, older women. Arrogant and self-assured, he has made his share of enemies in his shadowy world, especially among his pimps. Things get complicated for him when he falls for Michelle Stratton [Lauren Hutton], wife of a prominent political figure. But far worse is in store for him after a client is murdered and Julian becomes the number one suspect. Giorgio Moroder contributes a lively musical score - very 80s. John Bailey's cinematography is first-rate. He captures the vanity and vulnerability of Julian right from the opening shots, for example. This is one of those movies that has more detractors than admirers. To me, it is wildly entertaining in a dark comedy way. Its one big fault is a contrived happy ending, which is diametrically opposed to the tone of the rest of the movie."


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Check out my guest post on Scot McKnight's Jesus Creed blog: Finding Common Ground in a Common Story. If you've never visited Jesus Creed before, take some time to browse around. It's one of my favorite sites.
Fellow SEC football fans will know why I laughed out loud at "Rooting for Tim Tebow" as an entry on the Stuff Christians Like blog. (Don't you know? I can't root for Tebow until AFTER Bama plays Florida! I'm torn between my allegiance to the University of Alabama and my allegiance to the Kingdom.) Ladies, if you have no interest in college football, check out this post about "empowered birth" from Jen over at Conversion Diary or this post about sexism from Julie Clawson.
So, was it sexist of me to assume that my female readers wouldn't care about football?
Read anything interesting lately? Post links.
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With the epic Flash and Arrow spinoff series Legends of Tomorrow set to debut in just over a month, the network has dropped a new trailer bursting with fresh footage. Turns out the future of the DC universe is not looking good.
The trailer focuses on the future, or lack thereof, and how immortal baddie Vandal Savage has pretty much wrecked the world. Of course, not all is lost, as time-traveling rogue Rip Hunter heads back to our present in an effort to assemble a motley team of heroes and villains to take on Savage.
We get a nice new look at Hunter's spaceship, as well as some (seemingly) big-budget post-apocalyptic shots. Yeah, we definitely believe those scattered reports that Legends might be one of the network's most expensive projects to date. But man, does it look good. There's also some new footage of the team in action, as well as a peek at Firestorm's new suit and Hunter's nifty laser gun/revolver/awesome weapon.
For those who watched the epic Flash/Arrow crossover earlier this week, we also get another peek at whatever the heck happened back in 1975, where the modern-day heroes found the first credible reference to Savage's existence. The Flash has dabbled in time travel for a while now, but Legends is going all-in.
Check out the new trailer below and let us know what you think:
Legends of Tomorrow debuts Jan. 21 on The CW.


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Bubba Boo in Spring is an adorable follow on set to our very popular Bubba Boo set. These adorable baby designs are so cute with with their spring bugs and bright colours. See our full range of Baby Embroidery Designs. View all Bunnycup embroidery designs
Unless otherwise stated on each design set, all machine embroidery designs typically fit a 4 x 4 hoop (or your embroidery machines standard hoop - each format has been sized for the specific standard hoop). If you would like design information such as the design size, stitch count and needle changes, please click on the thread chart to the right.
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New Yorkers are more likely to work in its stock and commodity exchanges, while citizens of the state of Washington are more likely to work in the fishing industry than Americans overall.
Business Insider put together the following map, showing for each state the industry with the most outsize share of employment, relative to the national baseline. (We'll explain what that means below.)
The data comes from the Census Bureau's just-released 2012 County Business Patterns, an incredibly comprehensive collection of information on the number and size of businesses in the U.S. The map shows the industries that have most disproportionate number of employees in each state, as explained in detail below.
Here's each state's most distinctive industry:
These are not the largest industries in each state, but instead industries that have a disproportionately large share of employment, compared to the national norm. For example, in West Virginia, there were 24,075 people employed by the coal mining industry, out of 579,583 total employed. So, about 415 out of every 10,000 jobs in West Virginia were in this industry.
Meanwhile, in the U.S. as a whole, there were 89,367 people in the coal mining industry out of 115,938,468 total employed people, so for the U.S., only 7.7 out of every 10,000 jobs are in the coal mining industry.
The location quotient for the coal mining industry in West Virginia is defined as the ratio of those two rates: 415/7.7, which gives about 53.9. In other words, there are about 53.9 times as many jobs in the coal mining industry per 10,000 total jobs in West Virginia than there are in the United States overall.
The map shows the industry (adapted from 4-digit NAICS codes for the census data lovers out there) with the highest location quotient in each state.