text:
Complaint requires
clarification of the organic pasture rule
Wisconsin advocacy group says Case Vander
Eyk Dairy violated national organic rule
Posted March 2, 2005, Dennis
Pollock, The Fresno Bee via CropChoice: A Wisconsin advocacy
group has filed a complaint with the U.S. Department of Agriculture
saying that the Case Vander Eyk Dairy near Pixley has violated national
organic rules that require pasture feeding of cows.
Case Vander Eyk Jr. would not comment about the complaint lodged
by the Cornucopia Institute, a nonprofit farm policy research group
based in Cornucopia, Wis.
USDA spokeswoman Joan Schaffer said the complaint is still being
reviewed. She also pointed out that a livestock committee of the
National Organic Standards Board has developed "a clarification"
of organic dairy requirements that will be considered when the board
meets this week.
The committee is seeking to clarify such terms as "pasture"
and "temporary confinement," those periods when animals
may not be able to graze on pasture land. Federal rules state cows
can be fed certified organic feed at times, but a significant portion
of what they eat must be from pasture land.
Mark Kastel, senior farm policy analyst with the Cornucopia Institute,
said the board's actions are aimed at developing guidelines for
those who certify dairies as organic. He believes the standards
have been clear and enforcement has been lax.
The Vander Eyk operation is one of three huge organic dairy operations
that the institute has targeted on allegations of not meeting pasture
requirements. The institute also has complained about a 4,000-head
Idaho farm and about the Aurora dairy, a 5,700-head operation in
All three supply milk for Dean/Horizon, which Kastel terms "the
nation's largest organic dairy marketer."
Kastel said the Vander Eyk dairy is "a split operation"
that includes about 7,000 conventional cows and about 3,000 organic
"As demand for organic milk has skyrocketed, investors have
built large industrial farms mimicking what has become the standard
paradigm in the conventional dairy industry," Kastel said.
"It is our contention that you cannot milk 2,000 to 6,000 cows
and offer them true access to pasture as required by the Organic
Foods Production Act of 1990."
Unlike beef cattle, Kastel said, dairy cows must be pulled together
two or three times a day for milking. "That would mean walking
miles a day" over pasture land, he said.
Kastel contends that smaller organic farms that operate by national
guidelines are placed at a disadvantage.
"Real organic farms have made great financial investments
in converting to pasture-based production, while it appears that
these large corporate-dominated enterprises are happy just to pay
lip service to required organic ethics," he said.
The institute says Vander Eyk has access to 10,000 acres of pasture,
but that is located near Ducor, miles from the dairy's main operation.
"The dairy reportedly trucks cows to the Ducor pasture, but
the Cornucopia Institute contends that this approach is not used
with lactating animals [those being milked]."
Last month, Case Vander Eyk Dairy paid $360,000 to settle a lawsuit
brought by milkers who said they worked unpaid overtime, were not
given rest and meal breaks and were not reimbursed for equipment
that they purchased for use in their jobs.


text:
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subset: commoncrawl


text:
Amber Boyd
Sumter High
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text:
Kurt Schwitters (German, Hannover 1887 - 1948 Kendal, England)
Grey and Yellow, 1947
Signed, dated, and titled on mount: Kurt Schwitters 1947 Grey and Yellow
Paper, newspaper, and canvas collage with grey-blue tissue paper, paint, and red crayon or chalk on brown cardboard
8 1/4 x 6 5/8 in. (21 x 16.8 cm)
Friends of Art Fund, 1955
Schwitters created the quiet, somewhat melancholy collage Grey and Yellow in England the year before he died. The medium of collage, along with the Merz project, had long been Schwitters's "real" art form, more important to him than the portraits and landscapes he painted to maintain contact with nature, and to support himself, during his final years.
Unlike his Merz-pictures, mixed-media works composed of a wide variety of materials, Schwitters's collages consist of found pieces of paper, which he cut up, arranged, and pasted onto paper supports. According to his friend Charlotte Weidler, "He spread flour and water over the paper, then moved and shuffled and manipulated his scraps of paper around in the paste, while the paper was wet. With his fingertips he worked little pieces of crumpled paper into the wet surface. In this way he used flour both as paste and as paint."1
Schwitters's method differed markedly from the Cubist practice of integrating the occasional small piece of printed text, image, or other found material into a painting to enrich its pictorial content.2 He began by assembling the cut papers and then used paint very sparingly to unify and balance the composition. Consciously playing with the images and texts on the found and cut papers, he explored their hidden magic and their formal, pictorial, and aesthetic relationships.3 Although Schwitters viewed the world as fragmented, alienated, and destructive, his Merz-pictures and collages counteract this dissolving reality by recombining its alienated (or "dematerialized," to use Schwitters's word)4 parts within the context of new compositions. While other Dada artists, such as Raoul Hausmann or Richard Huelsenbeck, underscored discrepancies and celebrated a nonsensical, fragmented reality, Schwitters worked for a sensitive balance and coherence among different kinds of materials within his collages.The monochromatic coloring and the imprecisely cut and torn edges of Grey and Yellow, as well as the accidental overlapping and multiple layers of the arrangement, are similar to Schwitters's other collages of 1946-47. While some of Schwitters's collages of this period bear longer titles,5 which aid in their interpretation, the abstract title Grey and Yellow here refers to the artist's particular experience of reality. Schwitters chose materials that were typical and readily available in postwar England, and avoided patterns or textures in favor of drab, flat, and nearly colorless shades of brown and grey. The useless fragment of the unused postal stub is alienated from its original function, which was to safeguard the arrival of a money order. In the same way, the tiny bit of newspaper refers to the dull banality of everyday life. Suffering from failing health, Schwitters felt uprooted and unhappy during his exile in England. Yet in 1946 and 1947, the last two years of his life, he produced an extraordinary number of collages. The hasty, imprecise, and accidental appearance of these last collages testifies to the strength of Schwitters's creative urge in the face of rapidly deteriorating health. Less playful and more reflective of his melancholy mood, these works abandon his earlier careful arrangements of form and rhythm in favor of a more spontaneous handwriting, and a more pronounced relief formed from the heavy build-up of layers of paper.
D. Hamburger
Work (C) 1998 Artists Rights Society (ARS), New York/VG Bild-Kust, Bonn
Born on 20 June 1887 into a bourgeois household in Hannover, Schwitters studied at the local Kunstgewerbeschule (School for Applied Arts) and at the academies in Dresden and Berlin between 1908 and 1914. In 1915 he married Helma Fischer; their son Ernst was born in 1918. In 1917 he served briefly in the army as a clerical officer. In 1918-19 he made his first collages; became involved with the avant-garde circle of artists at the Galerie Der Sturm; met Hans Arp, Raoul Hausmann, and other Dadaists; and published a volume of poetry, An Anna Blume. From 1919 on, Schwitters participated in several avant-garde magazines and published his own journal, Merz (1919-31). He exhibited the Merz-pictures at Galerie Der Sturm and began his first Merzbau in his Berlin apartment in 1923 (destroyed in an air raid in 1943). In addition to his associations with Dutch Dadaists and Constructivists, he also worked as a typographer and graphic designer, and participated in the Cercle et Carré and Abstraction-Création exhibitions in Paris during the 1930s.
From 1931 Schwitters began spending much time in Norway, emigrating there in 1937 and painting landscapes, portraits, and still lifes to support himself. Several of his Merz pictures were included in Hitler's Entartete Kunst (Degenerate Art) exhibition held in Munich in 1937. When German troops entered Norway in 1939, Schwitters left for England, where in 1940-41 he was interned in displaced persons camps for seventeen months. After his release he settled in London, where he met the companion of his last years, Edith Thomas. In 1944 he suffered a stroke and subsequently moved to Ambleside in the Lake District, where he started the Merz-Barn in 1947. Despite his failing health due to a broken hip, asthma, and heart and lung problems, he continued to travel and to work, bartering his representational paintings for medical services and other necessities of life, and ekeing out a living by selling landscapes and still lifes to tourists. Still he clung to his "real" work, devoting his last energies to his collages and the organic sculpture of the Merz-Barn. On 8 January 1948 he died in Kendal and was buried in Ambleside.
Schwitters's work as a whole is characterized by rebelliousness, continuous experimentation, and a poetic and contemplative striving for order through the assemblage of the cast-off fragments of an alienated world. He did not receive major recognition until after his death.
General References
Thomason, Stefan. Kurt Schwitters in England. London, 1958.
Janis, Harriet, and Rudi Blesh. Collage: Personalities, Concepts, Techniques. Philadelphia, 1962.
Schwitters, Ernst. Anna Blume und ich. Einrich, 1965.
Schmalenbach, Werner. Kurt Schwitters. Cologne, 1967. English ed., London, 1970.
Steinitz, Kate Traumann. Kurt Schwitters: A Portrait from Life. Berkeley, 1968.
Lach, Friedhelm, ed. Kurt Schwitters: Das literarische Werk. 5 vols. Cologne, 1973-81.
Elger, Dietmar. Der Merzbau. Cologne, 1984.
Elderfield, John. Kurt Schwitters. London, 1985.
Dietrich, Dorothea. The Collages of Kurt Schwitters: Tradition and Innovation. Cambridge, Mass., 1993.
Schaub, Gerhard, ed. Kurt Schwitters: "Bürger und Idiot." Berlin, 1993.
With Sidney Janis Gallery, from whom purchased in February 1955
Ann Arbor, The University of Michigan Museum of Art, 1956. Drawings and Watercolors from the Oberlin Collection. 11 March - 1 April. No cat.
New York, The Museum of Modern Art, 1962-63. Kurt Schwitters (also shown at San Antonio, Tex., Marian Koogler McNay Art Museum; Pasadena Art Institute; Manchester, N.H., The Currier Gallery of Art; Washington, D.C, The Phillips Collection; Minneapolis, Frederick R. Weisman Art Museum, University of Minnesota; Louisville, Ky., J. B. Speed Art Museum). No cat.
Stechow, Wolfgang. Catalogue of European and American Painting and Sculpture in the Allen Memorial Art Museum, Oberlin College. Oberlin, 1967, pp. 136-47, fig. 149.
Technical Data
This collage is assembled on two roughly rectangular pieces of paper support, each with a four-ply core with brown paper laminated to each side. The bottom sheet has a pebbled texture, is lighter in color and approximately .64 cm larger on all four sides. The collage, which has been mounted on a painted ground, consists of various cut and/or torn papers--tissue paper, printed postal label, decorative wall-paper, woven cloth, color-printed magazine paper (halftone)--and a yellowed transparent film and acrylic paint. There are tape fragments at the edges of the paper support. Considering all the unstable materials involved, which due to the layering do not always lie flat, the collage is in fairly good condition although the materials are somewhat darkened and embrittled.
1.Quoted in John Elderfield, Kurt Schwitters (London, 1985), p. 85.
2. On collage, see Chris Poggi, In Defiance of Painting: Cubism, Futurism, and the Invention of Collage (New Haven, 1992).
3. For example, Schwitters mixed a high-art image with wastepaper in his Die heilige Nacht van Antonio Allegri, gen. Corregio, worked through by Kurt Schwitters, 1947, collage, 52.9 x 38.8 cm, private collection; reproduced in Kurt Schwitters. Die späten Werke (exh. cat., Museum Ludwig, Cologne, 1985), p. 105, cat. no. 84.
4. Schwitters referred to alienation as "Entmaterialisierung"; see Ernst Nündel, Kurt Schwitters (Reinbek bei Hamburg, 1981), p. 25.
5. For example, Ein fertig gemachter Poet of 1946 carries the double meaning of "ready made" and "dealt with," making it a melancholy self-portrait of an accomplished artist who could not gain any recognition in England. See Ernst Nündel, Kurt Schwitters (Reinbek bei Hamburg, 1981), pp. 112ff. This collage incorporates a reproduction of a portrait of Shelley with his head cut off above the nose. Schwitters seems to have identified with Shelley, who--failed by British society--left England in 1814.


text: Dave's ESL Cafe's Student Discussion Forums :: View topic - My Mother Dave's ESL Cafe's Student Discussion Forums"The Internet's Meeting Place for ESL/EFL Students and Teachers from Around the World!" FAQ Search Memberlist Usergroups Register Profile Log in to check your private messages Log in My Mother Dave's ESL Cafe's Student Discussion Forums Forum Index -> Family View previous topic :: View next topic Author Message egriaJoined: 14 Nov 2004Posts: 1 Posted: Sun Nov 14, 2004 5:23 am Post subject: My Mother Serious in appearance but kind at heart , my mother is the person that I respect the most . She offten emphasizes the importance of character - build and teaches me how to tell right form wrong . In her opinion , winning other people`s respect and trust is more important than earning wealth and fame . In addition , she encourages me to read more books to broaden my horizons . Although she is sometimes very strict with me , I still feel blessed to be her child . Back to top Display posts from previous: All Posts1 Day7 Days2 Weeks1 Month3 Months6 Months1 Year Oldest FirstNewest First Dave's ESL Cafe's Student Discussion Forums Forum Index -> Family All times are GMT - 8 Hours Page 1 of 1 Jump to: Select a forum Student Forums----------------ComputersCurrent NewsCultureEnglish SchoolsFamilyFilm and CinemaFoodHealth and FitnessHelp CenterHobbiesHolidaysLearning EnglishLiteratureMaking FriendsMusicOpinionsPetsScienceSportsThe Strange and MysteriousTOEFL and Other English ExamsTravel You cannot post new topics in this forumYou cannot reply to topics in this forumYou cannot edit your posts in this forumYou cannot delete your posts in this forumYou cannot vote in polls in this forum Dave's ESL Cafe is maintained by the one and only Dave Sperling. Banner Advertising | Bookstore / Alta Books | FAQs | Articles | Interview with Dave Copyright © 2018 Dave's ESL Cafe | All Rights Reserved | Contact Dave's ESL Cafe | Site Map Teachers College, Columbia University: Train to Teach English Here or Abroad Powered by phpBB © 2001, 2002 phpBB Group


text:
Home > News & Events > Speeches, Testimony & Articles
Speeches, Testimony & Articles
on the
before the
June 18, 2003
Room 534, Dirksen Senate Office Building
Thank you, Mr. Chairman and members of the Committee. I welcome the opportunity to testify on behalf of the Federal Deposit Insurance Corporation on the new Basel capital accord (Basel II). The proposals contained in the Third Consultative Paper (CP3) recently published by the Basel Committee on Banking Supervision, if adopted in the United States, would easily rank among the most important pieces of banking regulation in our nation's history.
Basel II would change bank capital regulation in the United States in at least three important ways. First, rather than emphasizing simple pre-set minimum numerical capital ratios, Basel II would allow qualifying banks to use their own internal risk estimates as inputs to regulator-supplied formulas with the supervisors providing oversight and evaluation of the banks' ability to measure risk. Second, the new framework would formally adopt a "bifurcated" capital system in the U.S.: one set of rules for the large, complex and internationally active institutions, and another set for the balance of banks in the country. A third key change is that the total minimum regulatory capital charge under the new framework will include an explicit charge for operational risk. For those large institutions that qualify, the new framework may lead to reduced credit risk capital requirements for certain asset classes with additional capital held based on a flexible operational risk charge.
The FDIC supports the overall goal of Basel II, which is to create regulatory capital standards that are more sensitive to the economic substance of risks taken by these large banks, to limit their opportunities for regulatory capital arbitrage and to encourage sound risk management.
Over the years that Basel II has been under development, the Basel Committee and the U.S. federal supervisors have reached out to the industry and the public for comment on how to more closely align the proposed new framework with the ways that large banks measure risk. There have been quantitative impact studies to assess the potential impact on capital levels. We have been engaged in roundtables and discussions. Over this time, various aspects of the new framework have been refined and changed. Today, these refinements are reflected in CP3, which the Basel Committee recently released for additional comment.
The work in this country continues. The agencies intend to issue an Advance Notice of Proposed Rulemaking (ANPR) that will suggest how CP3 will be proposed for adoption in the U.S. and will seek additional comment on all facets of Basel II. As in the past, it can be anticipated that further changes to the framework may be required. The FDIC is committed to an interagency process to achieve the overall goals of Basel II and to fully understand its possible impact on bank capital levels and competitiveness.
The goal of more closely tying regulatory capital to banks' own internal assessment of risk is a good one. This goal is reached in part by using regulatory capital formulas that are based on ways of measuring credit risk and allocating internal capital that, to some degree, are already in place in large banks. The term "economic capital" is often used to refer to the amount of capital that should be allocated to an activity according to the results of a numerical loss analysis. Banks use models based on historical data and economic analysis to estimate future losses and the amount of income, reserves and capital needed to ensure their portfolios conform to management's target level of risk.
These calculations produce different results for different bank activities. For example, the measured risk on residential mortgages might be much less than the measured risk on construction loans. The bank might use the economic capital measures to compute its risk-adjusted returns on the two activities and to assist its pricing decisions. This is a disciplined approach to risk management, and Basel II establishes firm expectations for banks to be rigorous in this respect. Basel II expands these risk management expectations beyond the area of credit risk and into the realm of operational risk.
Tying capital requirements closer to risk and increasing the incentives for disciplined risk management have the potential to improve the safety and soundness of the U.S. financial system. The FDIC supports enhancing the incentives for the largest banks in the U.S. to strengthen risk management processes. Tying regulatory capital closer to risk would reduce the incentives for banks to make uneconomic decisions designed to reduce regulatory capital.
At the same time, the domestic impact of Basel II has not been determined. Given current analysis, it seems likely Basel II will confer some degree of regulatory capital benefits on the limited number of banks that qualify, in exchange for their substantial investments in systems and infrastructure intended to improve risk management. The critical issue for the safety and soundness of our financial system is whether the improvements in risk management systems, and the resulting bank risk profiles, would justify the level of capital reductions that banks might ultimately realize.
It is virtually impossible to quantify at this time the potential changes in capital under Basel II. Basel II proposes floors by which risk-based capital would be allowed to decline by at most 10 percent the first year of implementation, and at most 20 percent the second year. After the second year, Basel II does not impose a floor on the minimum risk-based capital requirement. A quantitative study conducted in the fall of 2002 showed a wide range of changes in capital requirements for 19 large U.S. banks under the Advanced Internal Ratings Based (A-IRB) approach, with an average reduction in capital requirements for credit risk of 17 percent. In this study, the reduction in capital was offset by the operational risk capital charge, which was substantial. However, the amount of this operational risk charge was by necessity estimated using an approach that will not be used in the U.S.
The agencies understand that the results to date of the impact studies do not provide a full picture of the possible impact of Basel II. There are many moving parts to the proposal and the banks' participation in the study was on a best efforts basis. Moreover, in the U.S., leverage ratio floors and the demands of the marketplace would act as a constraint on the potential reduction in actual capital.
Still, these initial estimated results show that the Basel II formulas are potent instruments for affecting risk-based capital requirements in the U.S. This is a matter of great interest to the FDIC and we are committed to working with the other banking agencies as we move forward to more accurately assess the impact of the proposed new standards.
A significant business challenge for the banking and thrift agencies would be how to achieve interagency consistency in the application of these complex rules. Required capital charges will depend heavily on the ongoing judgments of banks and regulators about a variety of specific risks.
In addition to understanding the impact of Basel II on capital levels, we must also understand the significance of mandating two tiers of regulatory capital standards -- a bifurcated framework that will offer competitors different regulatory capital charges for similar assets. The critical issues in terms of the competitive playing field are whether the direct competitors of a core group of about ten large banks would feel forced to opt-in to the new framework for competitive reasons, and whether banks in the tier below those able to opt-in would be at substantial competitive risk.
To resolve these fundamental issues satisfactorily, much hard work remains. Given the magnitude of the issues, we must proceed carefully.
Capital Adequacy
The U.S. banking system has weathered the last ten years better than the banking systems of some other countries for a number of reasons. One significant reason is strong capital levels. Bank capital is subject to federal legislation and regulation because of its critical importance to the health and well-being of the U.S. financial system. An adequate capital cushion enhances banks' financial flexibility and their ability to withstand periods of adversity. As insurer, the FDIC has a vital stake in the adequacy of bank capital-as do our fellow regulators and all U.S. taxpayers. Congress recognized this important principle when it established the Prompt Corrective Action (PCA) requirements in the Federal Deposit Insurance Corporation Improvement Act. A critical aspect of the existing PCA regulations is the minimum leverage capital requirement. To be considered well-capitalized, a bank must have a ratio of Tier 1 capital-to-total assets (the leverage ratio) of at least five percent. Banks with leverage ratios under four percent are considered undercapitalized. The agencies agree that maintaining the minimum regulatory capital standards as reflected in the current PCA legislation and existing implementing regulations is important.
Capital is not the only thing needed for safety-and-soundness. The strong risk management that Basel II promotes is also essential. There is no denying that banks with good risk management and a lower-risk profile should be able to operate with somewhat less capital than more-risky banks. But there is also no denying that when the unexpected happens, the hard-earned benefits of risk management can evaporate overnight without adequate capital.
The sophistication of the measurement of economic capital can make it easy to lose sight of the fact that, in reality, no one knows the range of potential future losses for a given activity, or the associated probabilities. Certain risk management practitioners express great faith in the calculation of economic capital, and believe that the regulatory capital standard should in all instances be less than the economic capital amount. The idea behind this philosophy is that banks tend to be forced out of low-risk activities where regulatory capital requirements exceed economic capital requirements. It is this belief that gives us concern about a clash of expectations about Basel II between a number of prominent risk management practitioners on the one hand, and the FDIC and our fellow bank regulatory agencies on the other.
As the regulators move forward to finalize our views on Basel II, we need to proceed cautiously. Where a proposal seems to run counter to established U.S. supervisory practice, we need to ask whether the established practice should be re-examined in light of the proposed new rules, or whether the new rules need to be re-examined for U.S. purposes.
Basel II is the object of intense scrutiny and comment. Changes have been and will be suggested by banks in many areas, including the treatment of commercial real estate, credit cards (and the related issue of future margin income), mortgages, securitizations, and capital recognition of certain risk-mitigating activities. The potential for many moving parts could make it difficult to evaluate the capital impact or the competitive impact of Basel II. Yet, we believe that we must achieve a better understanding of these issues before the bank regulatory agencies commit the U.S. to the new framework.
Interagency Consistency
Basel II would provide banks and supervisors some flexibility to determine what capital would be held on an ongoing basis. The degree of conservatism to apply to a particular situation would often be a judgment call. Is the loss given default on a secured commercial loan likely to be 20 percent or 40 percent? Capital for that loan would double, or be cut in half, depending on the answer -- and the answer could well depend on a mix of historical data, the specific underwriting methods used by individual banks and the specific analytical techniques banks use to make their case. Supervisors would need to validate - uniformly and consistently across banks - the answers to such questions. In this new framework, regulators must be prepared to challenge the modeled outputs of sophisticated risk measurement systems of the largest U.S. financial institutions, a difficult and demanding task. It will require courage and discipline to respond to this new challenge.
Much progress has been made by the regulators and the industry in deciding how this validation might be done. Interagency guidelines are being drafted and implementation approaches are being discussed. The FDIC has an active interest in the development of a sound approach to ensure the consistent and uniform review of bank risk measurement systems under Basel II.
A Level Playing Field
Capitalism, with its inevitable winners and losers, is about competition. It is the job of the regulators to make certain that the competition is fair. In our capitalist system, one of the key functions of regulation is to ensure the rules do not display favoritism and that the competitive struggle is carried out on equal terms. We need to evaluate Basel II against this standard before committing to implement it in the U.S.
The proposed agreement raises important questions. The fundamental question is what are the economic benefits of the regulatory capital relief some banks might realize under Basel II? Conversely, what are the costs of additional capital they might be required to hold for certain activities? Would small or mid-sized regional banks, unable to qualify for the new framework, become acquisition targets of Basel II banks whose reduced capital has boosted their returns on equity? Would a large credit card bank that must hold capital for unused credit card lines be at a disadvantage to a non-Basel bank that faces no such requirements? Would a securitizing regional bank that is forced to deduct most of its retained interests from capital be at a disadvantage to a Basel bank whose deductions from capital would now be capped? What would be the ramifications of significantly reduced capital requirements for Basel banks on specific assets held by banks of all sizes, such as mortgage-backed securities issued by the federal government-sponsored enterprises?
The Basel II formulas are designed to work for large diversified portfolios, and the capital requirements they produce might be too low for most small banks. The Basel framework also requires significant systems investments at a level likely beyond the reach of - and not essential for - small institutions. Therefore, it is not practical to think that any competitive concerns that may exist could be resolved simply by allowing all banks access to the Basel framework.
To a large extent, the banking system in the U.S. is already a two-tier system, with large financial institutions possessing the vast majority of U.S. bank assets. Still, we must evaluate thoroughly whether Basel II will unnecessarily disturb this current, albeit divided, field of competition. Even though the industry may already be divided between the large and complex and the small and less complex, banking supervisors must understand fully whether Basel II adds significant additional competitive pressures or would trigger additional industry consolidation. The ANPR will seek input from all interested parties, including banks that believe they will be competitively harmed if they cannot embrace the Basel II framework.
An Advance Notice of Proposed Rulemaking will be issued this summer and will reflect the U.S. banking and thrift agencies' views on how Basel II would be adopted in the U.S. More importantly, it will present issues and concerns, and raise questions to the industry and the public. The comments will provide invaluable insight to many of the key concerns being raised by the agencies, and by Congress.
Given the importance of these issues, it is vital that we treat the implementation of Basel II in the U.S. as we would any other proposed regulation-with a dose of skepticism, a willingness to entertain the discussion of options, and a commitment to fully explore potential costs and benefits before reaching a final decision. We need to listen carefully to comments that will be received in the rulemaking process to ensure we address these threshold issues.
It also is important that the financial services industry, the Congress, and the banking agencies have a full opportunity to review the response to the ANPR and achieve a better understanding of the impact of this proposed agreement before we commit the U.S. to the Basel II approach. The FDIC has no interest in delaying the agreement and its implementation beyond what is necessary to address the issues we have raised and to understand the impact of this new system of capital regulation.
I have full confidence that this interagency process will work and will arrive at an appropriate outcome. The FDIC will continue to remain fully involved in this process and will work to ensure that the goals of Basel II and of Congress are being met as the process moves forward.
Thank you for the opportunity to present the views of the FDIC.
|Last Updated 09/10/2003


text:
"The definitive account of America's most fascinating and surreal disaster."
—John Marr, San Francisco Bay Guardian
"Narrated with gusto . . . [Puleo's] enthusiasm for a little-known catastrophe is infectious."
—The New Yorker
"Compelling . . . Puleo has done justice to a gripping historical story."
—Ralph Ranalli, Boston Globe
"Thoroughly researched . . . weaves together the stories of the people and families affected by the disaster, with often heartbreaking glimpses of their fates . . . The cleanup lasted months, the lawsuits years, the fearful memories a lifetime."
—Randolph E. Schmid, Associated Press
"Giving a human face to tragedy is part of the brilliance of Stephen Puleo's Dark Tide . . . Until they were given voice in this book, the characters who drove the story were forgotten."
—Caroline Leavitt, Boston Sunday Globe


text:
Now that would be amazing and not expected. I would be all in and my bet is Kodak would do some kind of mailer along with the film since rumors have it they Kodak still has a K14 lab in Rochester that they used to batch test the last rolls. Now I am not holding my breath and I was excited about Ektachrome but Kodachrome would put me over the top my F100 and N80 are warming up might even send my F100 in for a good CLA the N80 was NOS so its in new condition.
Of coarse they could maybe come up with an E-6 version of Kodachrome who knows of coarse if it isn't three layers of BW with color infused after the process then it really isn't Kodachrome but only time will tell.


text:
Agnus Dei
(Lamb Of God, Born To Us)Michael W. Smith/Arr. Hamilton & Worley - Word Music
Agnus Dei
(Lamb Of God, Born To Us)Michael W. Smith/Arr. Hamilton & Worley - Word Music
Click to review
The skillful songwriting of Michael W. Smith comprises the core of this powerful Christmas work. David Hamilton has reshaped these songs into powerful, moving arrangements that are appropriate for music ministries of all sizes. Dennis and Karla Worley contributed in the creation of Scripture-based narrations throughout the work. The strong message of this work, along with its classic music style draws the listener into the Christmas story, exploring the themes of man's sinfulness and God's triumph over it. This "Concert of Worship" may be used in its entirety, with a narrator, in a concert format, or as a resource collection for your Christmas pageant. Approximately 44 minutes in length.
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matthewtutt necesitaba un nuevo diseño de logotipo y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 72 diseños de 24 diseñadores freelance.
We are a young, modern company who install sod/turf rolls using our own design state of the art machinery, we work at famous sports stadiums & golf courses, as well as other large landscaped areas. We also work at the houses of the rich & famous. We are looking for a logo & stationary package to reflect the standard of work we do. And are looking for both edgy and stylish designs!!
rapid turf install uk
open to tagline ideas, however the name may say it all !!!!!
Desired Color Scheme:
update .............. any colours !!!
Desired Style:
edgy, modern & funky
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We need a logo that is clean, clear, crisp & modern in design, our company is re-branding to "rapid turf install uk", (the writing could be the logo itself). We install vast areas of sod/turf every day (hence the rapid) and operate all over the UK (hence the uk!!) We do not want to look like all the other sod/turf related companies (take a look around the web) because we feel we are different, we will pick the designs that we feel reflect this the best. The stationary pack must too be both modern and different. Good Luck to all.
This contest was originally listed in multiple categories:
- Logo Design
- Stationery Design
Descubre cómo funciona un concurso de diseño u obtén más información sobre nuestros servicios de diseño de logo.


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Lionel Messi likely finished for Barcelona season with injury
Barcelona forward Lionel Messi is likely to miss the rest of the La Liga season after tests showed he had aggravated a hamstring injury but he should have recovered in time to captain Argentina in two World Cup qualifiers next month.
The lingering injury, sustained in the Champions League quarter-final first leg at Paris St Germain on April 2, has kept the World Player of the Year out of several key games and he was forced off on Sunday during a league match at Atletico Madrid.
"The period of absence will be two to three weeks," Barca said on their website (www.fcbarcelona.es).
Messi is likely to miss Barca's remaining three La Liga matches, including Sunday's game at home to Real Valladolid - the club's first at their Nou Camp stadium since they wrapped up a fourth title in five years at the weekend.
The 25-year-old will also miss out on a chance to equal or break his record for league goals of 50 set last season. He currently has 46 from 32 appearances.
However, he should be fit for Argentina's World Cup qualifiers at home to Colombia on June 7 and away to Ecuador four days later.
Argentina top South American qualification with 24 points from 11 matches. Ecuador are second on 20 and Colombia third on 19 with both having played one game fewer.


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Ride Home 7/25: Roger Milla, 1990
On my bike I get to hear snippets of conversations and it's always fun to assess that conversation and try to figure out if the totality of it would have been worth eavesdropping. Today I listened to a guy talking into his phone about his law school application. I wonder if he'll get in. He said his LSAT scores weren't where he wanted them to be, but the rest of his application was good. So, there's that.
Remember how yesterday I wrote all about patience? Well, I'm extraordinarily impatient when I'm hemmed in a bike lane by rows of stopped cars and I have a cyclist in front of me who I daren't pass due to lack of space and he's just riding so slowly that I'm tempted to abandon the bike lane, hoist my bike onto my shoulders, run down the sidewalk and remount at the next corner. I haven't actually done this. So far. Believe it or not, pedaling is an important part of making your bike go. A failure to do so shouldn't result in a quizzical gaze (this should be the title of a game show on LOGO), but instead a revivified interest in moving one's legs. People should ride at whatever speed they feel comfortable and our bike infrastructure should be able to accommodate cyclists' desire to pass.
At around Q and 7th, I noticed that the truck in front of me had a flat front right tire. I felt that it was my civic duty to inform the driver, which I did at the next light. He said that he knew about it, but thanked me anyway. He then made a joke (I think, because I didn't hear him clearly) about me doing it a block back. It wasn't like OMGLOLZ, but it was in a good fun and I laughed along. His passenger then suggested that I ride to work early tomorrow since it was going to be very hot. I explained, perhaps blatheringly, that if I adjusted my work schedule to avoid riding in the heat, I'd have to go in early and stay late and that's not really my cup of tea. I didn't actually say cup of tea, so as to avoid a cliche that might suggest I work as a butler at a large manor house. Not that that isn't a perfectly respectable career. (Have a domestic staff position you need filled? Email email@example.com. My skills include: knowing what a Roomba is, intermediate cufflink application, "blogging") Anyway, the light turned green, I said goodbye and good day and I set off down the road and with a bit of pace because I'd run out of things to say to the gentleman having already covered their flat tire and the weather. I'm not exactly a raconteur.
Q to Florida and Florida to First NE into the heart of NoMa, which is an entirely nonfictional neighborhood with a grocery store that I sometimes visit. I was emailed a list of items (by the Official Wife, not by the guy who wants me as his butler) and I stuck to the list and I even interpreted "bread" to mean "baguette," the bread type that is my biking bane. But what is life without challenges? After checking out I watched the baguette into my pannier that it poked out of the top but not so much. I was able to lift my leg well clear of it and got on the bike without pulling muscle or breaking the bread.
M Street to 4th NE to Stanton Park. There might have been a cyclist behind me who was trying to determine if I was worth passing, but he or she must've decided I wasn't. After Stanton, it was simple to get home and I did that.
5 comments:
I told a driver about a flat once at 14th and U. I kind of scared him when I tapped on his window, and he already knew about the flat. I've been leery of doing it again after this experience.ReplyDelete
I do like the Idaho stop. Maybe we can call it "potatoeing," to go along with salmoning and shoaling?ReplyDelete
We need more positive interaction with drivers if we're going to make any progress, I'm pretty sure about that. Yesterday, I was stopped at a red light on 11th Street, while a few riders kept going through the light. A driver rolled up next to me and thanked me for obeying the law. We had a quick little banter -- I told her I had as much interest in being run over as she did of hitting me -- and then as the light turned green, she told me to "stay safe." It's a small piece, but every little interaction helps.
I think interacting -- with other drivers, or bikers - is how we get/keep civility. People are forced to see you as a person, not some nameless object that is the reason they aren't 7 feet further in their journey down the road.ReplyDelete
Is the reference to Cameroon's greatest footballer meant to attract me? If so it worked. But I don't get the reason for the reference.ReplyDelete
@washcycle- it wasn't deliberately meant to lure you, though the set of local bike people who would immediately grok the reference is probably pretty small. All titles on the blog are random and I hardly even know how I come up with them. This probably somehow related to the London Olympics, where the soccer matches have already started and since England defeated Cameroon in the '90 WC quarters, I must just have Milla on the mind.ReplyDelete


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Quote:Im also not the student in the dojo who learns all the foriegn and ancient terms associated with my style either.
Quote:Im not trying to change anyone. Im instead trying to inform people. I WISH that someone would have turned me on to the training I do now when I first started. I went through years of doing the same old thing with TMA and it was junk for the most part. I understand that isnt everyones experience but it was mine. I dont study my art for philosophy I study and pracctice to win. I want to win. No matter what the situation or who the opponent is I want to win everytime. With that sort of goal, it leaves little time for the "softer" aspects of martial training.
Quote: psst...Chen secretly does seiunchin.
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Screening of "Declaration of War" at Movies of Delray, 7421 W. Atlantic Ave., Delray Beach; 7:15 p.m.; $10, includes popcorn and beverage; 561/638-0020
Local film scholar Shelly Isaacs will introduce (and take questions after) this engrossing French film, its country's submission for the 2012 Best Foreign Language Film Oscar. "Declaration of War" follows two lovers who are self-consciously doomed: Their names are Romeo and Juliette, after all. They enjoy a chance meeting at a pulsating nightclub, which leads to a whirlwind romance, which leads to a child – who soon develops a life-threatening cancer. What could have been a depressing slog is an exuberant study in modern relationship dynamics that melds realism with whimsy in a way that recalls vintage Francois Truffaut films. Don't miss this final opportunity to see the film on the big screen.
Van Halen at BankAtlantic Center, 1 Panther Parkway, Sunrise; 7:30 p.m.; $25.75 to $145.75; 954/835-8000 or www.ticketmaster.com
Van Halen released five albums after 1984's creatively titled "1984," but for purists of the band, that's the year the magic ended. It's when David Lee Roth abandoned the classic-rock hitmakers. This year's comeback album, "A Different Kind of Truth," represents a return to form, its first release with Roth in 18 years. The accompanying tour, which arrives in Sunrise tonight, is more of a greatest-hits set than an album tour – expect megahits like "Eruption," "Runnin' With the Devil" and "Dance the Night Away." Reviewing a Van Halen appearance in a recent issue of The New Yorker, Sasha Frere-Jones wrote that "Roth's moves now have a weird echo of Bob Fosse routines." Hopefully, your experience will fare better.
Opening night of Palm Beach International Film Festival at Muvico Parisian at CityPlace, 545 Hibiscus St., West Palm Beach; 7 p.m.; $60; 561/362-0003 orwww.pbifilmfest.org
Now in its 17thyear, the annual Palm Beach International Film Festival returns to West Palm Beach, Lake Worth, Palm Beach Gardens and Boca Raton for a week of 40 U.S. and world premiere feature films. The festivities begin tonight with the red-carpet premiere of "Robot and Frank," a quirky dramedy about a retired cat burglar and the humanoid robot his children buy him to improve his life. It stars Frank Langella, Susan Sarandon and Liv Tyler. The ticket price includes admission to the 9 p.m. after-party at Two City Plaza, 701 S. Olive Ave. We'll have more on other PBIFF titles later in the week here on bocamag.com.
Opening night of "Dangerous Liaisons" at FAU's Studio One Theatre, 777 Glades Road, Boca Raton; 7 p.m.; $20; 800/564-9539 or www.fauevents.com
Sexuality is a dangerous weapon in Christopher Hampton's 1985 play "Dangerous Liaisons," a disturbing, still-relevant period piece, set in pre-revolutionary France, about the destructive actions a marquise and a vicomte take on their unwitting victims. It's had strong legs since premiering in Warwickshire, having inspired four film versions, including the 1988 Oscar winner scripted by Hampton and a 2003 version from Korea. Yet another South Korean version will be released this year, making it perfect timing for FAU's hardworking theater students to recreate it. It runs through April 22.
Tower of Power at Parker Playhouse, 707 N.E. Eighth St., Fort Lauderdale; 8 p.m.; $40.50; 954/462-0222 or www.parkerplayhouse.com
Horn-driven funk legends Tower of Power have been redefining musical eclecticism since 1968, fusing soul, jazz, funk and rock across 18 studio albums and half a dozen live releases. The group, known simply as TOP to fans, has undergone countless lineup changes over its 40-plus years; its expanding list of former members rivals the number of extras in an epic movie. But its soulful sound has remained remarkably consistent through its many alterations. Hits include "So Very Hard to Go," "You're Still a Young Man" and "What is Hip?" – a question whose answer, of course, is Tower of Power.
Friday to Sunday
Miami City Ballet at Kravis Center, 701 Okeechobee Blvd., West Palm Beach; 8 p.m. Friday, 2 and 8 p.m. Saturday and 2 p.m. Sunday; starting at $19; 561/832-7469 or www.miamicityballet.org
Normally, when you tell a performer that he or she is acting like a mechanical doll, it's an insult. But in "Coppelia," Arthur Saint-Leon's popular comic ballet, it's a great complement. The ballet, which closes Miami City Ballet's successful 2011-2012 season, concerns an inventor whose latest contraption, a life-size dancing doll, ends up stealing the heart of a village swain, whose real-life paramour pretends to be a doll herself to attract his attention. It's a light denouement to what has been a heavy ballet season for MCB. Ironically, though, "Coppelia" originated from much darker source material: two macabre stories by ETA Hoffmann, including "The Sandman."
Joe Rogan at Hollywood Improv, 5700 Seminole Way, Hollywood; various show times; $25; 954/981-5653 or www.improvftl.com
You don't want to mess with Joe Rogan. Even if his material offends you (and it offends many), you don't want to get on his bad side. Before the provocative comedian became a provocative comedian, he earned a black belt in Kenpo karate, brown belts in two different forms of jiu-jitsu, and he's a former U.S. Taekwondo champion. So yes, he could probably do a number on hecklers, but luckily the former "Fear Factor" host doesn't get too many anymore. These days, he fights with words, and you know what to expect when you attend a Joe Rogan comedy show: a decidedly male, no-holds-barred perspective on relationships, politics, religion and social issues that, at times, sounds like the second coming of Bill Hicks. Get your tickets now – the late show on Saturday is already sold out.
Carl Hiaasen at Temple Judea, 5500 Granada Blvd., Coral Gables; 4 p.m.; free, but tickets required, available at Books and Books locations; 305/442-4408 orwww.booksandbooks.com
On the heels of "Hoot," "Flush" and "Scat," Carl Hiaasen ventures out once again into young-adult fiction with "Chomp," his latest action-verb-titled adventure story. The narrative looks politically tamer than some of the Florida author's well-known forays into "environmental thrillers;" it concerns the son of a reality-TV animal wrangler who befriends an abused girl while his father's TV series flies off the rails. It was released a couple of weeks ago and already has made Amazon's list of Best Books of the Month for Kids, April 2012. The opening line of Chapter One is sure to grab any precocious adolescent: "Mickey Cray had been out of work ever since a dead iguana fell from a palm tree and hit him on the head."


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Trouble in Massachusetts
Yesterday, Cato released a new study, "The Massachusetts Health Plan: Much Pain, Little Gain," which showed that official estimates overstate the gains in health insurance coverage resulting from a 2006 Massachusetts law by at least 45 percent. The study also finds: supporters understate the law's cost by nearly 60 percent; government programs are crowding out private insurance; self‐reported health improved for some but fell for others; and young adults are responding to the law by avoiding Massachusetts.
Given that the Massachusetts health plan bears a "remarkable resemblance" to the Obama plan, the study should serve as a warning sign to members of Congress, says Michael Cannon, director of health policy studies.
The study has received coverage in Investor's Business Daily, The Wall Street Journal, The Washington Post, Detroit News, The Washington Times, the Reason Foundation and the Pioneer Institute.


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This message was posted on Archives and Archivists List on August 1, 2009. It is a followup to an inquiry to gauge interest in creating a new Roundtable for public library archives and special collections within the Society of American Archivists. There were quite a few positive responses posted to A&A List.
If you're interested in this aspect of public librarianship, please considering joining the google group described below.
Hello all,
A Google group has been started to facilitate the work on putting together a Public Library Archives/Special Collections Roundtable. It is a public group, and anyone interested in pitching in or just curious about the proposed Roundtable is encouraged to check it out!
Renée DesRoberts
McArthur Public Library
270 Main Street
Biddeford, Maine 04005
Filed under: Societies | Tagged: Archives, Society of American Archivists, Special Collections | 1 Comment »


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Download: MP3
This podcast features recordings of Hurston's contributions to the Federal Writers' Project in Florida.
It's September 26th, 2014. Welcome to a new Florida Folklife Collection podcast, brought to you by the Florida Department of State's, Division of Library and Information Services.
Zora Neale Hurston was an African-American novelist and accomplished anthropologist whose rich literary work has inspired generations of readers. By 1938, she had already published Jonah's Gourd Vine, Mules and Menand Their Eyes Were Watching God. Despite her reputation as a writer, there exists another side to Hurston's career. In 1938 and 1939, during the Great Depression, Hurston worked as a folklorist and contributor to the Florida division of the Federal Writers' Project (FWP), part of the Works Progress Administration (WPA). Through her work with the FWP, Hurston captured stories, songs, traditions and histories from African-Americans in small communities across Florida, whose stories often failed to make it into the histories of that time period.
The Works Progress Administration — after 1939, the Works Projects Administration — was a work-relief program created in 1935 by the Franklin Roosevelt administration. It had employed over 8.5 million people by its demise in 1943. One of its programs was the (FWP), which included a folklore section. The staff conducted fieldwork and recorded songs, traditions, and stories across the nation.
In 1939, Hurston went to a turpentine camp near Cross City in Dixie County, Florida, to find candidates for recording interviews, songs and life histories of interesting everyday people. Hurston's essay, "Turpentine," traced her travels through the pine forests with an African-American "woods rider" named John McFarlin. Her work on Florida's turpentine camps is still considered authoritative. Back in Jacksonville, Hurston's final major contribution to the Florida FWP was to arrange a recording session at the Clara White Mission. The African-American participants told stories and sang or chanted traditional music. Hurston also sang 18 songs herself, mostly work songs and folk songs.
Let's listen to a selection of these recordings from Zora Neale Hurston.
First we hear, "Dat Old Black Gal," a railroad spiking song that Hurston learned near Miami from Max Ford, the singing liner on the construction crew. Workers would hammer the spikes securing the rails to their cross-ties in rhythm with the song.
[Dat Old Black Gal]
Next is a juke song that Hurston learned on the East coast of Florida. She sings "Halimuhfack," then describes her process for learning songs.
Next, Hurston sings "Let the Deal Go Down," a gambling song she collected at the Bostwick turpentine still near Palatka, Florida. The men sang the song while playing the card game called George Skin, "the most favorite gambling game among the workers of the South."
[Let the Deal Go Down]
The following, "Let's Shake It," is a track-lining chant that Hurston learned at a railroad camp in Callahan, Florida.
[Let's Shake It]
The track-lining rhythm, "Mule on the Mountain," was the most widely-distributed work song in the United States. Zora Neale Hurston originally learned the song from George Thomas in Eatonville, Florida.
[Mule on the Mountain]
Next is the railroad lining rhythm, "Shove It Over," which was generally distributed throughout Florida. Hurston learned the song from Charlie Jones on a railroad construction camp near Lakeland, Florida, in 1933.
[Shove It Over]
The following, "Wake Up Jacob," was sung to wake up the workers in a big work camp. Hurston learned it at a sawmill in Polk County.
[Wake Up Jacob]
This concludes our podcast highlighting Zora Neale Hurston. Thank you and join us again next time.
Zora Neale Hurston, the WPA in Florida, and the Cross City Turpentine Camp (Educational Unit)
Download: MP3
"Washboard Bill" tells his story of being a hobo during the Great Depression.
(56:21, 51.6 MB; S1685 Box 5 Tape 25)
It's April 28th, 2014. Welcome to a new Florida Folklife Collection podcast, brought to you by the Florida Department of State's, Division of Library and Information Services.
You just heard a clip of William "Washboard Bill" Cooke during a 1987 interview with folklorist, Jan Rosenberg.
Washboard Bill was born in Dupont, Florida on July 4, 1905. He was known as a percussionist, rooted in the minstrel tradition, as well as a captivating storyteller. During much of Cooke's childhood, his mother operated a juke joint in Dupont. The young Cooke would secretly stay up past his bedtime listening to the music emanating from his mother's establishment. These experiences shaped Cooke's interest in music, and in his later life, would greatly influence his rhythmic style.
At age six, Cooke began working for a local sawmill, making .25 cents per day, after his mother fell on hard financial times. In 1916, Mrs. Cooke closed her juke joint, and sent her children to live on their grandfather's farm in Sanford, Florida. As times grew tougher and the Great Depression set in, Cooke grew weary of his life on the farm, and decided to leave home. For 10 years, he led the life of a hobo, traveling by train all over the East Coast.
Although Cooke spent the majority of his younger years traveling outside of Florida, he still maintained a connection with the state, generally spending his winters in West Palm Beach. Between 1947 and 1963, he performed with a group called the West Palm Beach Washboard Band. They played in venues everywhere from the streets, to the estates of the Rockefellers and Kennedys. In 1956, he recorded Washboard Country Band with Sonny Terry, and folk legend, Pete Seeger. Cooke moved to West Palm Beach permanently in 1973. He performed in Florida, and throughout the country, until his death in 2003. For his musical and historical contributions, Cooke received the Florida Folk Heritage Award in 1992.
In 1988, Cooke recited a personal narrative, A Hobo's Birthday, for the Palm Beach County Folk Arts in Education Project, conducted by the Florida Folklife Program. Cooke's story offers a fascinating account of life as a hobo during the Great Depression. His travels and experiences give the listener a vivid portrayal of transient life on the railroad tracks, and of the character Washboard Bill.
Now, A Hobo's Birthday - Enjoy!
Interview with Washboard Bill Cooke
Download: MP3
Florida pianist Alexander McBride performs blues, boogie-woogie, and soul music at the 1993 Florida Folk Festival.
It's December 12, 2013. Welcome to a new Florida Folklife Collection podcast, brought to you by the Florida Department of State's, Division of Library and Information Services.
This podcast highlights the life and music of blues pianist Alexander McBride. Born in Jacksonville in 1913, McBride grew up in a household where gospel music was always in the air. His mother owned a piano, which she used strictly for spiritual music. Interestingly, McBride learned to play the piano from his mother, though she didn't teach him herself. As a young boy, he recalled watching his mother practice. When she left, he would rush to the piano, replicating his mother's technique. Once she heard her son's talent, she began training and encouraging him to play at their local church.
Unbeknownst to his family, McBride became fond of blues music, which was banned in their home and church. That, however, didn't stop McBride. He would sneak out of the house and visit local juke joints to experience blues music, and before long, as a young teenager, he was playing local clubs and house parties. As an adult, he traveled around the Southeast, as well as Chicago, playing primarily African American venues, in time, earning his stage name, "Piano Slim."
Like fellow Florida native, and piano player, Ray Charles, McBride's playing embodied both sacred and secular music. Both artists incorporated aspects of gospel into their blues, jazz and R&B music to give their songs more profound emotional power. In the recording you are about to hear, McBride performs a moving rendition of Georgia on My Mind, made famous by Ray Charles. You will also hear McBride's range of musical talent in Jazz Boogie, as he incorporates jazz and boogie-woogie into his repertoire.
McBride died in 1999, but he lived to see recognition for his contribution to Florida folk music in 1997 when he was presented the Florida Folk Heritage Award. McBride had a proactive desire to share his knowledge and talent by teaching and inspiring others. He participated in the Duval County Folklife in Education Program for 10 years by playing the piano for children in Duval County Public Schools.
We'll start off by listening to When the Sun Goes Down from McBride's performance at the 1993 Florida Folk Festival in White Springs. Enjoy!
[audio clip]
This concludes the podcast highlighting blues pianist Alexander McBride. Thank you for listening, and please join us again.
Catalog record: Sunday performances at the 1993 Florida Folk Festival (Main Stage) (Tape 5)
Florida Department of State, Division of Historical Resources: 1997 Florida Folk Heritage Award.
Download: MP3
Florida fiddler Richard Seaman performs old time tunes and shares tall tales at the Florida Folk Festival.
Welcome back to the Florida Folklife Collection podcast series from the Florida Department of State's, Division of Library and Information Services. This podcast focuses on Florida fiddler, and story teller, Richard Seaman (1904-2002). Seaman was born on an orange grove in Kissimmee, Florida. While attending community gatherings as a young boy, Seaman witnessed local fiddlers playing into the night as people square danced. These experiences motivated him to pick up the fiddle and learn the craft. This environment was also conducive to the telling of "tall tales," which Seaman later recounted and delivered to captivated audiences with an intuitive flair.
Over the years, Seaman developed a repertoire of fiddle tunes that included waltzes and western swing, but the "old time" hoedown tunes he learned as a young man, exemplifies his contribution to the regional heritage of Florida fiddle playing. Folklorist Gregory Hansen notes that Seaman's fiddle tunes have influenced fiddlers from Florida and beyond, and even the genre of bluegrass music that this "old time" style of playing precedes.
In his early years of fiddle playing, Seaman moved to Jacksonville, where he performed in several bands, including the Melody Makers and the string band, South Land Trail Riders. He and the Melody Makers also had a weekly radio program on WJAX. In 1955, Seaman put his fiddle down and didn't pick it up again for more than 30 years until he met banjoist/guitarist Jack Piccolo. The two began to play together at the Florida Folk Festival in White Springs, and continued to do so regularly until Seaman's death in 2002.
Fiddle tunes were not Seaman's only contribution to the Florida Folk Festival. He also recited "tall tales" to eager audiences on the Story Telling Stage. What made Seaman's stories engaging was his ability to weave reality and fantasy together, always framing the narrative with a plausible scenario, and resolving it with "a whopper." As Hansen points out, there is truth in Seaman's fictitious tales as he conveys, "the daily activities that form important components of his life experience," and in a greater sense, shared his vision of Folklife in Florida.
In 2001, Seaman was recognized for his longstanding contribution to the folk culture of Florida when he received the Florida Folk Heritage Award at 96 years old.
We have highlighted two performances by Seaman from the Florida Folk Festival. The first features Seaman's fiddle playing, partnered with Jack Piccalo's guitar, from the 1993 festival. In the second performance, we will hear an excerpt from Seaman's "tall tales" told from the Story Telling Stage at the 1992 festival.
[audio clip]
Now we will hear a few tales from Richard Seaman at the Florida Folk Festival in 1992.
[audio clip]
This concludes the podcast highlighting Florida fiddler and story teller, Richard Seaman. Thank you and join us again next time.
For more information, please see the following catalog records: Saturday performances at the 1993 Florida Folk Festival and Storytellers at the 1992 Florida Folk Festival.
Hansen, Gregory. A Florida Fiddler: The Life and Times of Richard Seaman. University of Alabama Press, 2007.
Hansen, Gregory. "Richard Seaman's Presence within Florida's Soundscape."The Florida Folklife Reader: edited by Tina Bucuvalas. University Press of Mississippi, 2012.
Download: MP3
Jacksonville natives Rick and Mark Bateh perform traditional Arab music at the 1982 Florida Folk Festival in White Springs.
Welcome back to the Florida Folklife Collection podcast series from the Florida Department of State's Division of Library and Information Services. Florida's population is culturally diverse, and home to immigrants from around the world. The city of Jacksonville has long been an adopted home for peoples from across the Arab world. In fact, Jacksonville has the 10th largest Arab population of any city in the United States, with substantial communities from Syria, Ramallah, Iraq, Lebanon, and Egypt. Over the past 100 years, these immigrants transported rich cultural histories and music to Jacksonville.
The Arab world is vast, consisting of peoples with diverse heritages who have contributed to, and carried on, Arab musical traditions throughout its complex history. Dating back to before the seventh Century, the development of Arab music ebbed and flowed with the rise and fall of empires. With the fall of the Ottoman Empire and the rise of Western cultural influences, authentic Arab music declined in practice and popularity, which remains the pattern evident today.
Though its popularity may have diminished, the music's essence is not lost, but rather carried on by tradition bearers, some of whom were born and raised in Jacksonville, and are perhaps just as familiar with Southern culture as with their Arab roots.
Rick and Mark Bateh are two of these tradition bearers. The Batehs, whose parents immigrated from Ramallah in 1947, embrace both their regional heritage as well as that of their ancestors. As Rick Bateh explained to folklorist Betsy Peterson and the attending crowd at the 1982 Florida Folk Festival: "Don't be misled; we play Southern, but it's Arab style. " Let's take a listen to that brief introduction and one of the brothers' songs. The recordings included here are taken from several different performances, all of which took place at the 1982 Florida Folk Festival.
[audio clip]
Arab music is characterized by its modal homophony, ornamental flare, modal rhythm, and often, improvisation. Two of the instruments prominently featured in Arab music are the Doumbek drum and the Oud. The Doumbek is a single head drum that resembles the shape of a goblet, a name the drum is also known by. The Oud is a stringed instrument that is very similar in shape and style to the lute, a European instrument. The Oud has a pear shaped body with a relatively short neck as compared to a guitar.
In the following clip Rick and Mark Bateh explain styles, techniques, and rhythms used in Arab music and demonstrate their skills to the crowd at the Florida Folk Festival.
[audio clip]
Now that you've heard some background about the Bateh brothers and Arab music, sit back and enjoy a few tunes from their performances at the 1982 Florida Folk Festival. Thanks for listening.
[audio clip]
H. Touma, The Music of the Arabs (Portland, OR: Amadeus Press, 1996).
Bateh Performances:
Friday performances at the 1982 Florida Folk Festival (Main Stage) (Reel 3)
Saturday performances at the 1982 Florida Folk Festival (Main Stage) (Reel 6)
Saturday performances at the 1982 Florida Folk Festival (Old Marble Stage) (Reel 8)
Download: MP3
This podcast features recordings of Goose Culbreath accompanied by his son Lloyd and nephew Richard, when they made their White Springs debut at the 1987 Florida Folk Festival.
Welcome back to the Florida Folklife Collection podcast series from the Florida Department of State's Division of Library and Information Services. Musical traditions of all kinds are passed down through generations in families. Whether it's a repertoire of songs or a knack for a particular instrument, the family environment fosters unique interpretations and expressions of folk music. Fiddler Julian "Goose" Culbreath and the Cortez Grand Old Opry exemplify the type of rapport achieved when playing with kin.
Cortez is a small commercial fishing village in Manatee County, Florida. It was there that Goose and two of his brothers learned how to play the fiddle from their father, James, a prize-winning contest fiddler. The family gathered each week for a Sunday morning jam session, and the household became known as the Cortez Grand Old Opry among the villagers. Outside of the Culbreath household, they also performed at square dances, and even had their own radio program in 1949.
In addition to traditional southern fiddle tunes such as the "Orange Blossom Special" or "Arkansas Traveler," Goose was well known for his trick fiddling techniques. These included bowing the fiddle with no hair, or wrapping the bow hair around the fiddle, as illustrated on "Back Up and Push." The Culbreaths were also known for "beating the straws," or "fiddlesticks," where a family member tapped rhythm on the fiddle with sticks while Goose played "Granny Will Your Dog Bite" or "Old Joe Clark."
Goose Culbreath received the Florida Folk Heritage Award in 1992 in recognition of his unique contributions to fiddling and his willingness to teach other aspiring musicians in his community. Goose was not only a talented musician but a full-time commercial fisherman, too.
The following are recordings of Goose Culbreath performing at the 1987 Florida Folk Festival accompanied by his son Lloyd and nephew Richard. This was the year they made their debut in White Springs, and they continued performing at the festival almost annually until Goose's death in 2003. These recordings bring some of the Culbreaths' fine playing, once heard only by neighbors and friends lucky enough to attend the Cortez Grand Old Opry, to new, appreciative audiences for years to come.
Download: MP3
Jaya Radhakrishnan shares a rich repertoire of Indian folk songs in the Carnatic style at the Florida Folk Festival.
Welcome back to the Florida Folklife Collection podcast series from the Florida Department of State's Division of Library and Information Services. In addition to documenting Florida's native arts, crafts and trades, the Florida Folklife Program promotes traditions from around the world that have been incorporated into communities throughout the state. This podcast features traditional Indian music from Jaya Radhakrishnan of Dade City.
Indian folk and classical music comes in many forms. Some songs may tell epic tales; while others may express poetry about love, religion, or nature with corresponding dances; additional forms may feature lengthy instrumental improvisations. The songs Jaya Radhakrishnan performs are primarily in the Carnatic style and span many centuries. Accompanied by the drone of her harmonium and percussion from her son, Jaya Radhakrishnan shared a rich repertoire of Indian folk songs with audiences at the Florida Folk Festival.
In addition to her talents as a musician, Mrs. Radhakrishnan taught students East Indian dance, as well as the decorative art of rangoli,through the Florida Folk Arts Apprenticeship Program. One of her first students was also her daughter, Nila, who, in addition to making numerous appearances at the Folk Festival, also taught others the intricacies of Indian dance through the Folk Arts Apprenticeship Program in 1991.
The following recordings were taken from performances at the Florida Folk Festival between 1982 and 1985. We begin with Mrs. Radhakrishnan and her husband explaining the role of the harmonium as accompaniment, and the scale, or sargam, from which her melodies are based. Then, sit back and enjoy six selections from Mrs. Radhakrishnan's repertoire of Indian folk songs. Thanks for listening.
Download: MP3
The 1977 Portable Folk Festival was organized by the National Folk Festival Association as a way to showcase musicians from the Southeastern United States. The tour, hosted by folklorists Guy Carawan and Cece Conway, featured bluesman Johnny Shines from Tuscaloosa, Alabama, coal miner and balladeer Nimrod Workman, Bessie and Vanessa Jones of the Georgia Sea Island Singers, and the North Carolina-based Red Clay Ramblers string band.
Welcome back to the Florida Folklife Collection podcast series from the Florida Department of State's Division of Library and Information Services. From 1976-1977, the Stephen Foster Folk Culture Center, through a grant from the Florida Bicentennial Commission, hosted a Series of American Folk Music. In addition to performances by Pete Seeger, Doc and Merle Watson, Jean Ritchie, and the Kingston Trio, the series also included a day with the traveling Portable Folk Festival.
The Portable Folk Festival was sponsored by the National Folk Festival Association and hosted by folklorists Guy Carawan and Cece Conway. The Festival brought a diverse group of musicians from their respective homes to audiences around the Southeast. The t our featured bluesman Johnny Shines from Tuscaloosa, Alabama, coal miner and balladeer Nimrod Workman, Bessie and Vanessa Jones of the Georgia Sea Island Singers, and the North Carolina-based Red Clay Ramblers string band.
This podcast features highlights from their performances recorded April 16, 1977, at the Stephen Foster Folk Culture Center. We'll hand the mic over to Cousin Thelma, Guy and Cece, and let the musicians share their traditions at the Portable Folk Festival.
Download: MP3
In 2012, the Florida Folklife Program, the State Archives of Florida and Dust-to-Digital, a Grammy award-winning record label, collaborated to release Drop on Down in Florida: Field Recordings of African American Traditional Music 1977 – 1980. The original audio recordings and many of the photographs from the fieldwork conducted for Drop on Down in Florida are now part of the Florida Folklife Collection housed at the State Archives of Florida.
Welcome back to the Florida Folklife Collection Podcast series from the Florida Department of State's Division of Library and Information Services. In 2012, the Florida Folklife Program, State Archives of Florida and Dust-to-Digital, an award-winning record label, collaborated to release Drop on Down in Florida: Field Recordings of African American Traditional Music 1977 – 1980. This is an expanded book and two-CD reissue of a double LP the Folklife Program released in 1981. The original audio recordings and many of the photographs from fieldwork conducted for Drop on Down in Florida are now part of the Florida Folklife Collection housed at the State Library and Archives of Florida. This month we will listen to some of the original field recordings, and State Folklorist Blaine Waide will discuss the reissue project as well as the fieldwork conducted by the Florida Folklife Program that resulted in Drop on Down in Florida.
Florida Memory: Blaine, tell us a little bit about the Florida Folklife Program at the time Drop on Down in Florida was originally conceived.
Blaine Waide: The Florida Folklife Program was established in the mid-1970s, at a time when public folklife programs began to proliferate across the country. The staff retraced the groundbreaking fieldwork conducted in the 1930s by the Federal Writers' Project of the Works Progress Administration in Florida. This project involved identifying and recording folk artists maintaining African-American sacred and secular music traditions in the same communities documented approximately 50 years earlier.
FM: What prompted a reissue of the material after it had been unavailable for more than 20 years?
BW: An expanded reissue of Drop on Down in Florida was produced for several reasons. The original album was only available on LP, and had limited impact as an educational tool. Because these were some of the first field recordings of traditional African-American music in Florida since the WPA era, it has become clear that the album has significant value to both scholars and collectors of such recordings alike. Presenting them in a digital format on a label with Dust-to-Digital's reputation would make the music available to a larger audience.
FM: How was material selected for the reissue?
BW: The 1981 LP only scratched the surface of the rich material from the field recordings. Dwight DeVane, one of the folklorists involved with the original project, reviewed the recordings alongside Lance Ledbetter at Dust-to-Digital and myself. New selections were made based on research value and artistic excellence.
FM: For this podcast, we have a sampling of both sacred and secular selections. Some of these have not been included on the reissue. We'll start with Emmett Murray's "Mobile Blues," which Drop on Down in Florida derived its title from.
[T83-62 Emmett Murray - "Mobile Blues"]
[T83-69 Robert Dennis - "Sweet Black Angel"]
[T78-328 Richard Williams - "Old Forty"]
BW: We just heard "Sweet Black Angel" from Robert Dennis followed by "Old Forty" performed by his cousin, Richard Williams. Williams and Dennis exemplify music traditions performed in family gatherings. We'll hear some sacred music performed by the Williams family later in the podcast.
Moses Williams, of no relation to the aforementioned Williams family, played the blues on a one-string instrument comprised of a broom wire nailed to a door and stretched over a bottle or can at each end. Originally from Itta Bena, Mississippi, Williams had a hardscrabble but eventful life as an itinerant performer and migrant worker. He worked in the citrus groves of Waverly, Florida at the time of these recordings. Up next, we'll hear three selections from Moses Williams: "Catfish Blues," "Big Road Blues" and "Baby Please Don't Go."
[T78-320 Moses Williams - "Catfish Blues"]
[T77-300 Moses Williams - "Big Road Blues"]
[T78-320 Moses Williams - "Baby Please Don't Go"]
FM: In addition to secular music traditions, the fieldwork conducted for Drop on Down in Florida documented diverse sacred music performed in Florida's African-American communities. These recordings include church services, family sings, individual performances, and shape-note singing conventions.
BW: First we'll hear "So Many Falling By the Wayside" from Johnny Brown, a blind street musician and slide guitarist. We'll also hear two selections from the Williams family, further illustrating the family performance setting.
[C77-7 Johnny Brown - "So Many Falling By the Wayside"]
[T83-67 Williams Family - "I Will Rise to Tell You What the Lord Done for Me/I Will Fly Away"]
BW: African-American shape-note singing was fieldworker Doris Dyen's area of expertise, and the fieldwork conducted for Drop on Down in Florida documented the importance of this tradition in the Southeastern United States. Included are examples of both four-shape and seven-shape note singing styles recorded at annual sings in the Panhandle and south Georgia.
[T80-91 Southeast Alabama and Florida Union Sacred Harp Singing Convention - "Cuba"]
[T83-87 Pleasant Grove Mid-Union Seven Shape Note Singing Convention - "Inside the Pearly Gates"]
FM: We conclude with a congregation recorded at the Miccosukee Church of God of Prophecy in Leon County. We hope you've enjoyed this podcast, and you can learn more in Dust-to-Digital's book and two-CD set Drop on Down in Florida: Field Recordings of African American Traditional Music 1977-1980. Thanks for listening.
[T81-24 Miccosukee Church of God of Prophecy – "Hold to God's Unchanging Hand"]
Download: MP3
To celebrate National Hispanic Heritage Month, this podcast spotlights two talented Venezuelan harp players: José Palmi and Jesús Rodríguez. Palmi and Rodríguez perform joropos and other examples of Venezuela's música llanera, or music of the plains.
(49:01, 44.8MB; S1640 Box 24 Tape 22, S1576 T86-47, T86-24, T86-55)
Welcome back to the Florida Folklife Collection podcast series from the Florida Department of State's Division of Library and Information Services. To celebrate National Hispanic Heritage Month, which is September 15 through October 15, this month's podcast spotlights two talented Venezuelan harp players: José Palmi and Jesús Rodríguez. Both musicians immigrated to Florida and have enriched American culture by sharing their unique traditions through performances and apprenticeships.
The harp was introduced to Latin America by Spanish missionaries primarily during the 17th and 18th centuries. It was adopted into the indigenous music of the continent as both a solo instrument and accompaniment for vocalists and instrumental ensembles. Many varieties of harp thrive throughout Venezuela, Paraguay, Colombia, Peru, Chile, Ecuador and Mexico.
In Venezuela, the celebratory joropo, with its regional variations, is perhaps the most prominent type of traditional music from los llanos, or the plains. Its rhythm is in triple meter like a waltz, but driven by syncopation and a fast-paced tempo—well suited for quick-footed couple dancing. The type of harp corresponding to this region is known as arpa llanera, on which we'll hear Palmi and Rodríguez play many examples of Venezuela's música llanera, or music of the plains.
The performances featured in this podcast were recorded on two separate occasions. José Palmi, who we'll hear from first, was recorded to digital audio tape at his home in Miami on June 27, 1993. Jesús Rodríguez, accompanied by his seven-year-old son Henry on maracas, was recorded to open reel tape at the 1986 Florida Folk Festival.
Colman, Alfredo. Liner notes to Maiteí América: Harps of Paraguay. Various Artists. Smithsonian Folkways Recordings SFW40548. CD. 2009.
Sheehy, Daniel and Carlos Rojas Hernández. Liner notes to Joropo Music from the Plains of Colombia. ¡Cimarrón!. Smithsonian Folkways Recordings SFW40557. CD. 2011.
Sheehy, Daniel and Benito Irady. Liner notes to ¡Y Que Viva Venezuela! Maestros del Joropo Oriental. Various Artists. Smithsonian Folkways Recordings SFW40551. CD. 2009.


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National Volunteer Week: How to Inspire and Empower Your Volunteers
National Volunteer Week is fast approaching. This year occurring April 15-21, it is a time many organizations designate especially for appreciating everything they've got – great volunteers, and millions more out there looking for ways to help.
It's a time to showcase the impact your volunteers have in the community, and inspire others to be just as involved. It's a time to actively encourage individuals to recognize the power that each of them has to make a difference.
One of the best ways to show your volunteers that you value them is to make sure you provide the quality resources and programming so they can have a big impact on the causes they care about.
At VolunteerMatch we've got tools and campaigns to help you with that:
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Check out over 20 different training topics to help you recruit and manage volunteers more effectively. Some upcoming webinars include "Best Practices for Recruiting Online," "Social Media and Volunteer Engagement," and "Single Days of Service: Make It Work."
- A Library of Resources
We curate a comprehensive Volunteering Resource Library over on the IdeaEncore Network. Browse through dozens of documents, many free to download, to help with your volunteer program.
- Learn Our Secrets
Recently we released "101 Volunteer Recruitment Secrets," containing a wealth of volunteer recruitment knowledge gathered from your peers all over the world, including a whole section on recognition and appreciation. Download it for free!
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We've partnered with the Arbor Day Foundation to help nonprofits that focus on tree-planting get the training resources they need, as well as more exposure on Arbor Day Foundation's Volunteer Center.
- Virtual Volunteering
These days, organizations can harness the power of the Internet and social media to build a significantly larger volunteer corps. Don't limit yourself – or your volunteers – by geography. Instead, think about how you can design volunteer opportunities that people can accomplish from anywhere.
- Skilled Volunteering
By far the best way to make sure your volunteers have a big impact is to match their skills to you needs. At VolunteerMatch we built the Listing Wizard to help you do that.
So take advantage of the resources above, and show your volunteers how much they mean to you – by helping them make an even bigger difference in the world.
Got something special planned for National Volunteer Week? Let us know and we'll help spread the word!


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Not wanting to step on the toes of What Not to Crochet, but there are some bizarre religious patterns out there. For example, there's this Venus of Willendorf doll. The same designer has also come up with a really impressive Kali and the Virgin Mary, which is an interesting threesome really.
Another Goddess can be found in the form of Blessed Elements' Goddess for all Seasons, and the patterns for decorating her for spring, summer, autumn and winter.
Those inclined towards East Asian traditions can make themselves a Maneki Neko. And we must not forget Cthulhu.
Not a toy, but really, just read the explanation of this pattern: Goddess Blessed Study Bookmark.


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- "Put it down, Bella, we mustn't touch what isn't ours."
- —Severus Snape[src]
A Dark Curio[1] is a very strange and interesting object which evokes curiosity. Severus Snape owned one of these.
- Bellatrix Lestrange: "Cissy, you can't do this, he can't be trusted!"
- Narcissa Malfoy: "The Dark Lord trusts him."
- Bellatrix Lestrange: "The Dark Lord is mistaken."
- — Bellatrix and Narcissa discussing[src]
In 1996 Bellatrix Lestrange and Narcissa Malfoy searched to Spinner's End in Cokeworth to ask for help from Severus Snape to ask him for help to watch over Draco Malfoy while doing Voldemort's orders.
Asking for help
- Severus Snape: "As it so happens I'm aware of your situation, Narcissa."
- Bellatrix Lestrange: "You? The Dark Lord told you?"
- Severus Snape: "Your sister doubts me. Understandable. Over the years I have played my part well. So well I've deceived one of the greatest wizards of all time."
- Bellatrix Lestrange: "'(Makes a scathing sound)'"
- Severus Snape: "Dumbledore is a great wizard, only a fool would question it."
- — Severus, Bellatrix and Narcissa on the subject[src]
Behind the scenes
- This object is only identified as "Dark Curio" on the original script of the Harry Potter and the Half-Blood Prince (film).
Notes and references
- ↑ Half-Blood Prince script on the Internet Movie Script Database (archived here)
Community content is available under CC-BY-SA unless otherwise noted.


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The "jump" is intended to be a growth of sorts, the spawning of a new rejuv on a new target as a 2% proc each time a rejuv heals someone, without consuming or otherwise impacting the rejuv on the original target. That's about a 12% chance to spawn a new rejuv for every rejuv that you cast, which is close to one free rejuv for every 8-9 that you cast. Since most encounters in ICC have a portion of environmental damage, the rejuv will at least be useful (in most cases) to whoever it does spawn to when raiding in that instance. With revitalize, a bit more so, around the usual overhealing.
- 12% chance to spawn a new rejuv for each rejuv cast, assuming no overwrites of spell ticks
- 1 free rejuv per 8-9 rejuvs cast (again, assuming full ticks)
- Glyphed Rapid Rejuv will spawn new rejuvs faster due to faster ticks
- The spawned rejuv will still likely jump to pets or overwrite/refresh existing rejuvs on their new target.
In 25s, I can see this being somewhat useful, where you are less likely to already have rejuv running on the target it spawns on (otherwise it would overwrite the old, like a refresh), and you aren't likely to be able to pop a rejuv on everyone that you'd like to. However, it still has a chance to just choose someone who already has a rejuv on them, simply refreshing the spell, which in turn reduces the chance that each rejuv you cast will proc a spawn since the previous rejuv won't tick itself out fully. Small fries, but it makes the mess of trying to model this proc!
In tens, keeping rejuvs running on most of the raid is rarely an issue, especially if you have three healers. In two-healer situations where tank-healing is more intense for the druid, especially in cutting edge progression for the group's gear level, the set bonus could be useful, but there is still a much higher chance that the rejuv will spawn on someone that already has one running.
In short, the set bonus is meh for 10s, better for 25s, overall worth getting IF YOU ALREADY HAVE CAPPED HASTE. Due to the amount of crit on the T10 set peices (3/5 pieces are crit rather than haste), I intend to make sure I get haste-capped through gear selection before I get the crit pieces of the T10 set for a 4-pc bonus (given restriction to ten-man raid gear and unreliability of 3% haste aura in my own small raids). If/when I do have to get the crit pieces, I won't be too upset, though, as crit is still very useful with Swiftmend, Nourish, NS+HT, and Regrowth.
I do find it ironic that in order to get the rejuv-chaingunning-raid-healer set bonus, you have to take crit stats that the tank-healer druids prefer. :)


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Green People Organic Lifestyle Mascara is genuinely one of the nicest and most effective mascaras I've ever tried, and I promise that's not just hyperbole.
The mascara comes in simple, sleek black packaging and boasts a specialist brush whose numerous, closely-assembled bristles considerably lengthen lashes without causing any clumping.
Audrey Hepburn's makeup artist used to separate each of her eyelashes with a pin after applying mascara. Thanks to the fine bristles on this mascara brush, you'll be able to achieve defined lashes just like Hepburn's without having to run the risk of poking your eye out.
The mascara is long lasting and has caused me absolutely no irritations, probably due to the fact that it's made with 98% natural ingredients and doesn't include Mercury, Parabens or Synthetic Colourants. Basically, there's no nasties. Excellent!
Green People Organic Lifestyle Mascara contains natural conditioning oils and Vitamin E, and is available to buy in either black or brown from greenpeople.co.uk for £14.35.


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Welcome to My Blog Stop!, a freestyle home business and personal blog, curating advice, tips, and information for work at home professionals; and blogging about general subjects of interest, art, entertainment, views and opinions, society and culture, etc. This website complements and supplements multiple WAHM projects grouped together as Cmoneyspinner's Home Business Projects on Facebook. Thanks for visiting!
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My Blog Stop! is my primary home business and personal blog, sharing my advice for work at home professionals, opinion pieces and general topics of interest, and product suggestions for those who love to shop! This collection includes shares from My Blog Stop!, my main blog, AND posts from my other blogs, my content shared via social blogging communities, and my articles contributed to online writing communities.
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FULL EPISODE: Recapping the recent Democratic debates
08/03/2019 | 25m
After the 2020 Democratic candidates squared off on the debate stage over two nights in Detroit, the panelists shared insight and analysis on the contenders' performances and the direction of the party. The conversation later turned to the impact of the latest economic news in the wake of interest rate cuts and ongoing trade wars.
Aired: 08/03/19Video has closed captioning.
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Major funding for "Washington Week" is provided by Raymond James, Boeing, Babbel, the Yuen Foundation, the Corporation for Public Broadcasting, and PBS.


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Iraq plans to conduct first census since 1987Saturday, January 16th, 2010
In a bit of news from across the globe, Iraq will hold its first census in more than 20 years later this year.
BAGHDAD (Reuters) – Plans are on track to take Iraq's first complete census in 23 years, a process that will help answer questions critical to the future of Iraq's northern oilfields, such as "how many Kurds live in Kirkuk?"
The long-delayed count, which may shut down the country for two days in October, is also expected to determine how many Iraqis live abroad and how many have been forced to move within Iraq in seven years of war, census chief Mehdi al-Alak said.
The census was postponed for a year over worries it was being politicized. Ethnic groups in contested areas like the northern city of Kirkuk, home to Arabs, Kurds, Turkmen and a valuable part of Iraq's oil fields, opposed it because it might reveal demographics that would undermine political ambitions.
The count could provide answers or create more squabbles in a diverse nation riven by sectarian violence following the U.S. invasion in 2003 and now trying to bolster fragile security gains while deciding how to share out its vast oil wealth. Iraq has the world's 3rd largest crude oil reserves.
The autonomous Kurdish region in the north claims Kirkuk as its own. The census will determine whether Kurds are the biggest ethnic bloc in the city, which could bolster that claim.
It will also find out how many people live in Iraqi Kurdistan, which will define its slice of central government revenues, currently 17 percent. If the census finds Kurds are a greater percentage of the total population, the constitution says the region gets more money, and retroactive payments.