text:
Summer Wedding Trends To Beat The Heat/
Yesterday, we had the pleasure of hosting Good Morning Arizona for a fun segment featuring 'Sumer Wedding Trends To Beat The Heat.' We loved partnering with their team to create valuable content for their audience and ours! Plus with the first day of summer less than a month away, these tips will be essential for any bride trying to stay cool during her summer celebration!
Summer Dress Trends
Most brides planning a wedding for this summer probably have their dress already, but in case you are still looking, here are a few things to consider to help you stay cool on your wedding day without compromising on style or aesthetic. To watch this segment that was featured on the news, click here.
You will want to choose:
- Silhouettes that aren't clingy like a modified A-line, A-line or ball gown paired with a hoop skirt. Hoop skirts are favored by brides in the summer because it pushes all layers off fabric off their legs.
- Fabrics that are light and airy like tulle or chiffon. You can still look like a modern day princess in the middle of summer, if you choose a fabric that isn't going to weigh you down and keep in the heat.
- Embellishments that aren't too heavy like sequins and beading. Bling doesn't have to be avoided completely, but opting for a minimally beaded dress will mean less weight pressing against your body all day long. Some dresses weigh over 10 pounds; thats like carrying around a newborn baby all day.
- Shorter sleeve length. Styles like sleeveless, off the shoulder, strapless, halter or cap/t-shirt sleeves will definitely keep you cooler on a warm summer day! Really this one is a no brainer, but with lace sleeves being a huge trend in wedding dress some brides may need to choose to incorporate boho elements somewhere else in their wedding.
Summer Accessory Trends
Accessories can really make or break an outfit and in the heat there is no exception. We have collected the top tips and trends for keeping you cool without sacrificing your dream wedding look. To watch this segment that was featured on the news, click here
You will want to choose:
Boho inspired headpiece instead of floral crowns. Floral crowns can wilt quickly during the summer and can be ruined before you even walk down the aisle. So if the thought of ordering two and swapping during the day is not ideal, maybe a metal crown is the vibe your looking for. Plus, metal crowns can be the keepsake that last forever.
- Updo hairstyle or at least one that is out of your face. You can still let your personality and wedding theme shine through with your hair up. Plus, the right accessories can complete the style you are envisioning. Rhinestone hair combs would make for a more glam look, while pearl hair pins would create a softer touch.
- Dainty jewelry instead of statement pieces that can trap heat causing you to sweat. Trade out a statement necklace for a simple, drop pendant or a heavy cuff for a delicate, tennis bracelet. Your jewelry doesn't need to be over the top to make a big statement.
- Shorter veil length. Selecting a veil that is shorter will keep you cool during the warmer months by eliminating an additional layer of fabric that can cause you to become warm and uncomfortable over time. Shorter veils won't hold as much heat, but can still create a lovely effect.
Follow along on Facebook (Arizona, Denver, & Las Vegas) and Instagram for sneak peeks at some of our fave discounted dresses!


text:
ARPM is the only national association for rubber products companies. Member companies range in size from small manufacturing producers to multi-billion dollar conglomerates. Learn More »
The Association for Rubber Products Manufacturers (ARPM) was established in October of 2010 after elastomer products company executives belonging to the RMA mutually agreed that a stand-alone association was needed. Learn More »

subset: commoncrawl


text:
Stucco Painting
Stucco painting is a different ball game. It is not the same as painting siding or trim. If your house is made out of stucco and if you are interested in refreshing the look of your house, then stucco paint is something you want to consider. Our professional stucco painters Calgary can update your home's look with a fresh coat of paint.
All in all, stucco paint is a specially formulated paint that sticks to the cement. Before applying any coat of paint, the house must be checked to see the current condition of the house. We look for the type of stucco, the current condition of the stucco (is there any peeling off), and look for any areas that require patching.
We are your Calgary stucco painters. It is a rigorous and time-consuming job, and we are proud to offer guaranteed results for all types of stucco.
The perfect technique
Stucco painting in Calgary can be done with every type of painting application, such as brushing, rolling and spraying. But through experience, we have found the perfect stucco painting technique – spray at two angles with a 50% overlap using a large spray gun tip, and then back roll after the spray. We also use both acrylic latex paint and elastomeric paint to do all Calgary stucco painting jobs.
Our painters are equipped with the right machines, equipment, and experience to tackle any size of stucco paintings in Calgary.


text:
Fall Fashion Now Trending and Found at Simon
Fall has never looked hotter! I spent my weekend in the Garden City, Long Island area for several reasons, one of those reasons, to check out the Simon LOOKBOOK Live Fall 2015 event at Roosevelt Field. There is so much noise about what's now trending in fall fashion, so Lookbook Live brought the looks to life in an interactive trend showcase from style pros at GQ, Glamour and Simon, the name behind the nation's leading shopping destinations. Lauren Cosenza style ambassador for Glamour magazine, and Paris Pullen style expert for GQ magazine took time out while doling out style tips and putting together ensembles for shoppers based on their budget, lifestyles, and individual preferences to chat with me a bit. But in case you missed it live on Periscope, we're going to give you the recap below.
Fall Fashion Trends
The four main fashion trends featured were Workwear, Knits+Textures, Sportscore and Outerwear; and here's how to wear them!
Work Wear: The key to this look is to master the art of presentation by putting together tailored items and layering strong shapes. These work appropriate looks doubles without missing a beat for that after-hour fun spot.
Knits and Textures: Have fun with cozy cold weather staples by mixing different textures and knits in monochromatic hues. Don't believe the myth, mixing and matching patterns can be so stylish and fun, as long as they are in the same color scheme.
Sports Core: Serve up some athletic inspo that can take you beyond the playing field and is chic enough to run errands in, wear to brunch, or even wear on a date. Just remember it's all about balance… create proportion by pairing thicker and thinner knits.
Outerwear: When it comes to outerwear, you'll want to weather the season in rugged, patriotic, military-like outerwears. This season's outerwear style inspiration will take you from work through the weekend - think big pockets, structured military look, capes and ponchos.
The style code for this fall is chic staples that will take you anywhere. No matter the look you're coveting this season, you can find them all at a Simon mall near you.


text:
You have no items in your shopping cart.
Frequently Asked Questions
Why work with Freedom Fundraising?
We make it simple for you to raise money for your organization. We offer the most popular, easy-to-sell candy and other products. You can choose the custom combinations you want to sell. We will pack your combinations into carrying cases ready to hand out to your sellers.
What is the minimum order?
There is no minimum order or maximum on most of our items however there is a minimum order of 5 carrying cases on our Create Your Own varieties. Our case sizes are lower than our competitors.
How do I earn bonus cases?
Bonus cases are shipped out with qualifying orders. The cost of the bonus cases can be deducted from the amount owed if the order is paid in full within 30 days. Every bonus case is pure 100% profit!
What payment options are available?
Order Now Pay Later! See if you qualify for our 30-day billing. Most public schools are pre-approved. Freedom Fundraising also accepts PayPal, PayPal Credit, Visa, MasterCard, Discover or American Express. You can also pay by check over the phone.
How does shipping work?
We ship nationwide except for Hawaii and Alaska. Shipping is prepaid by us and will be added to your invoice. We send you free merchandise that you can sell to pay for the shipping. You will receive enough free merchandise to cover this cost completely. It will not affect your profit.
When will I receive my order?
Most orders are shipped out within 24 hours. Custom combinations are shipped out within 48 hours. Most orders will be received in 2-5 business days.
May I return any food item I don't sell?
Due to freshness reasons, food items are not returnable.
*Stated profit per case and profit percentages do not include sales tax where applicable.


text:
Eggs & Breast Cancer
How few eggs should we eat to reduce the risk of prostate, ovarian, colon, and breast cancer?
Topic summary contributed by volunteer(s): Randy
Dietary and environmental factors (such as asbestos exposure or consumption of alkylphenols) may play a role in the prevalence of lung disease. Some foods we may want to avoid to protect our lungs include processed meat, the artificial butter flavoring diacetyl (which has been linked to serious lung disease in microwave popcorn consumers), foods cooked using high temperature cooking methods, and even the fumes generated by frying meat may raise the risk of respiratory diseases.
A whole-food, plant-based diet may help prevent and treat COPD, and help prevent asthma and improve lung function in asthma patients. Supplements, however, do not seem to work. Consuming less methionine (found in animal products) may lower lung cancer risk, and amla, also known as Indian gooseberries, may reduce lung cancer cell growth in vitro.
How few eggs should we eat to reduce the risk of prostate, ovarian, colon, and breast cancer?
The relationship between the consumption of eggs and other cholesterol-rich foods and cancers of the colon, breast, endometrium, pancreas, and throat.
On a puff-by-puff basis, cannabis smoke deposits four times more tar in the lungs than tobacco, but does this translate into increased cancer risk?
How to choose the healthiest coffee, and the effects of adding milk vs. soymilk.
Cannabis vapor has less tar, but may contain more ammonia. What happens to respiratory symptoms when regular users of joints, blunts, pipes, and bongs switch to a vaporizer?
There is unequivocal evidence that regular cannabis smoking causes acute lung inflammation, but what are the long-term consequences?
What's the best household cleaning product to use?
Dr. Greger blends up a vegetable smoothie inspired by a recipe in his How Not to Die Cookbook.
What are the risks and benefits of getting a comprehensive annual physical exam and routine blood testing?
See what happens when turmeric curcumin was put to the test to see if it could reverse DNA damage caused by arsenic exposure.
What are the effects of açai berries, cooked and raw blueberries, grapes, cocoa, green tea, and freshly squeezed orange juice on artery function?
Since white blood cell count is such a strong predictor of lifespan, what should we aim for and how do we get it there?


text:
X-13-Graph Batch 2.1 follows X-13-Graph Batch Version 2.0. It contains all the same graphs and options as that program. This version adds an option to change the color scheme of the year on year graphs, includes some code necessary to save graphs in SAS 9.4, and also includes various bug fixes.
Licensing inforamtion for this software can be found here:
X-13-Graph Batch is a SAS® program using SAS/GRAPH® (SAS Institute, Inc. 1990). It requires SAS Version 8 or higher. The program also requires X-13ARIMA-SEATS or Version 0.2.8 or higher of X-12-ARIMA.
No knowledge of SAS is required to use X-13-Graph. A Windows interface is available for X-13-Graph Batch under Download.
X-13-Graph will open the ods listing destination and does not close it; it also defines many global macro variables. It is recommended that any additional SAS programs be run in a separate SAS window.
The version of X-13-Graph Batch available on the internet is compiled for a 64-bit Windows operating system. If you want to run the program on another operating system, please contact the developers for instructions.
Before you can use X-13-Graph, you must copy it to your computer:
X-13-Graph Batch consists of a SAS program, a subdirectory with three SAS files, and an images subdirectory, as well as this document. After uncompressing x13gbat_V2.1.zip, the following files should be in the c:\x13graph directory:
The c:\x13graph\appl directory should contain the following files:
There should also be a directory c:\x13graph\images containing examples of the graphs that can be created.
The SAS files in the appl subdirectory must be in that directory for the program to run. The SAS program x13gbat.sas can be stored in any directory.
SAS and SAS/GRAPH software are registered trademarks of the SAS Institute Inc. in the USA and other countries. ® indicates USA registration.
Before you can create any graphs with X-13-Graph, you must run X-13ARIMA-SEATS in graphics mode to produce the necessary output files. Running X-13ARIMA-SEATS in graphics mode creates graphics files corresponding to the X-13ARIMA-SEATS options you specified in the .spc file. X-13ARIMA-SEATS also creates a graphics metafile, identified by the extension .gmt, which contains a list of all the graphics output files produced during the X-13ARIMA-SEATS run.
If you run X-13ARIMA-SEATS from an interface like Win X-13, make sure the appropriate option to run in graphics mode is selected. If you run X-13ARIMA-SEATS from the command prompt, you must provide the name of an existing directory after the flag -g; X-13ARIMA-SEATS will store all graphics files in this specified directory. Because of output filename conflicts, this must be a different directory from where other output files are created. For example, when running X-13ARIMA-SEATS with the command
x13a bshors -g c:\x13a\graphics,
the graphics output files for the series bshors will be stored in the directory c:\x13a\graphics. (For more information, see Section 2.7 of the X-13ARIMA-SEATS Reference Manual (U.S. Census Bureau 2013).)
If you have an interface for X-13ARIMA-SEATS, make sure to select the option to run the program in graphics mode.
To obtain graphs for several different series from a single run of this batch program, you must run X-13ARIMA-SEATS in graphics mode with the same directory after the -g option for each series.
Note: The SAS program uses the title statement from the X-13ARIMA-SEATS run to assign secondary titles to the graphs. This allows you to assign meaningful titles to the graphs within the X-13ARIMA-SEATS .spc file. If you are creating graphs for one series at a time, you can also use the subtitle option to assign a subtitle to the graph. Details are given in Section 3.6.4.
You will need two additional files to run X-13-Graph: a graph list file, identified by the extension .gls, and a graphics metafile list, identified by the extension .mls. Both files must have the same filename. (The default input filenames in the batch program are x13g.gls and x13g.mls, but these can be changed.)
The graph list file and the graphics metafile list file both must be in the directory specified after the -g option in the X-13ARIMA-SEATS runs.
The graph list file is a list of commands telling the program which graphs to produce.
The basic format of a command in the graph list file is
keyword: element1 <element2 <element3<element4>>>
The keyword tells the program which type of graph to produce and the elements tell the program which graphical elements to include in the graph.
Important: The keyword must be followed by a colon.
The current version of the program can produce fourteen types of graphs for each series, and seven types of graphs to compare two different series or adjustments.
Graph Types and Keywords
|Graph Type
|Overlay Graphs
|Spectrum Graphs
|Component Graphs
|Special Seasonal Graphs
|Forecast Graphs
|History Graphs
|ACF/PACF graphs
|Sliding Spans Graphs
|Outlier T-Value Graphs
|tvalue or abtvalue
|First Difference Graphs
|Year-on-Year Graphs
|SEATS Filter, Time Shift, and Squared Gain Graphs
|SEATS Diagnostic Graphs
|Power Graphs
|Overlay Graphs for Two Series
|Component Graphs for Two Series
|History Graphs for Two Adjustments
|SI Ratio Graphs for Two Adjustments
|Forecast Graphs for Two Adjustments
|Spectrum Graphs for Two Adjustments
|Seasonal Overlay Graphs
Examples of graphical elements are the original series, the trend components, the seasonal factors, etc. A list of all possible elements for each type of graph is given in the Details section. With a few exceptions, they have the same abbreviations used by X-13ARIMA-SEATS in the graphics metafile (.gmt).
You must give at least one element for each keyword specified, but no more than four elements for each line. The keywords and elements must be on the same line.
You can put many different commands in the graph list file, but each command must be on a separate line. You can ask for a certain type of graph more than once with different elements each time.
For example, to graph the original series by itself, the seasonally adjusted series superimposed with the trend, spectrum plots of both the original series and the seasonally adjusted series, the seasonal factors by month, a component plot for the seasonal factors and the irregular, and a forecast graph on the transformed scale, you would need the following seven commands in the graph list file.
overlay: ori
overlay: sa trn
spectrum: spcori spcsa
seas: sf
cmpnent: sf irr
forecast: ftr
You can add comment lines, or comment out keywords and the associated options, by putting a # sign in the first column of the line.
The elements you choose should correspond to elements that are available for every series you want to graph. For example, if you ask for a graph of the outlier-adjusted series, there will be an error for every series that does not have an outlier-adjusted series.
The format of the command for overlay graphs for comparing two series and seasonal factor by month graphs for comparing two series is slightly different. See Section 4.14 or Section 4.20 for details.
The graphics metafile list file is a list of the series you want to graph. Each series should be listed at the beginning of a separate line, except when comparing two models.
If you want to compare two models using the overlay, component, history, or rsi graphs for two adjustments, then you must enter the names of the two series on the same line in the .mls file. This will produce the comparison graphs you request in the .gls file; additionally, all the remaining graphs you request will be produced for each series as if they had been entered on separate lines. Again, you can add comment lines or comment out series by putting a # sign in the first column of the line.
Once X-13ARIMA-SEATS has been run in graphics mode and the .gls and .mls files have been created, you can run X-13-Graph:
Note: SAS uses semicolons to end commands. Each line must end with a semicolon.
Enter the name of the directory where X-13-Graph is installed where the program reads:
%let x13gappl = c:\x13graph\appl;
Typically, the directory would be c:\x13graph\appl on a PC.
Enter the device name of your printer where the program reads:
%let devname = WIN ;
Setting the device equal to WIN will send the graphs to the screen. Printer device names depend on the printer used. For example, the SAS device name for a LaserJet 5SI PostScript printer is LJ5SIPS. So to print the graphs on a LaserJet 5SI PostScript printer, this line 26 should read:
%let devname = LJ5SIPS ;
To see a list of available SAS devices:
Note: If you are sending the output to a printer, you should disable banner pages before you begin if possible. SAS sends each graph to the printer separately.
Enter the filename of the graph list file and the graphics metafile list file where the program reads:
%let inptfile = x13g ;
For example, if you have named the input files allx13g.gls and allx13g.mls then this line should read:
%let inptfile = allx13g ;
Enter the name of the graphics directory where the program reads
%let inptdir = c:\x13a\graphics\ ;
The graphics directory is the directory that was specified after the -g option in the X-13ARIMA-SEATS runs.
Enter the number of graphs you want printed on each page where the program reads:
%let perpage=1;
The only values allowed are 1, 2, or 3.
Note: All the graphs for one series print, then all the graphs for the next, and so on. If you specify two graphs to print per page, but ask for three graphs for each series, then the third graph for the first series will be on the same page as the first graph for the second series.
The two input files (the graph list file and the graphics metafile list file) must have the same filename, specified in x13gbat.sas by the inptfile variable.
X-13ARIMA-SEATS must be run in graphics mode with the same directory specified by the -g option for each series listed in the graphics metafile list file. This directory is specified in x13gbat.sas by the inptdir variable. The two input files (the graph list file and the graphics metafile list file) must also be in this directory.
X-13-Graph can only create graphs if the required graphics file was produced by X-13ARIMA-SEATS. Make sure that you run X-13ARIMA-SEATS with the necessary spec or option to create the files you want.
Each keyword in the graph list file must be followed by a colon and then by at least one element. A keyword and its elements must be on the same line. Each command must be on a separate line.
When modifying the SAS program, remember to end each line with a semicolon.
To display graphs in SAS or to send them to a printer, see the discussion on Device Name in Section 3.3. This section describes to how save graphs. You can save each graph to its own file, or you can save all graphs in one file.
To save each graph individually:
To save graphs in one file:
There are many options available to customize the appearance of the graphs. This is done by changing the value of certain variables which appear at the top of the program. All these variables appear in the first hundred lines of the X-13-Graph Batch program, before the section "Instructions for setting macro variables." Many of these variables are case-sensitive, so follow the instructions for setting them carefully. Also, make certain that each variable definition is followed by a semicolon; the SAS program will not run correctly if there is a missing semicolon.
By default, the batch program graphs all available years. To see a shorter span of the series, change the values of substart and subend in the x13gbat.sas program, which read:
%let substart = year.mon;
%let subend = year.mon;
Substart is the year and month (or quarter) of the beginning of the desired subspan; subend denotes the end of the subspan. If the value entered is blank or outside the span of the series, the program will default back to the original dates. All dates are in X-13ARIMA-SEATS date format, yyyy.mon, yyyy.mm, or yyyy.q (that is, 2006.Feb, 2006.02, or 2006.1).
To change the colors of the graphs and the labels, use the color0 through color6 and colorg variables in the program, which read:
%let color0 = black;
%let color1 = blue;
%let color6=red;
%let colorg = black;
Color0 is the color of the graph text: that is, the titles, subtitles, labels, graph values, and footnotes. The default color is black. Color1 through color6 give the colors of the graphs. In graphs with more than one element superimposed, the first is assigned color1, the second color2, and so on. In some graphs, certain gridlines are also assigned these colors. The remainder of the gridlines are assigned the color specified in the variable colorg.
Some options for colors are black, blue, green, red, orange, yellow, pink, purple, magenta, gray, brown, or cyan.
The line types and widths of the graphs can be changed using the variables ltype1 through ltype6 and lw1 through lw6; the line type of most gridlines can be changed using ltypeg. In graphs with more than one element superimposed, the first is assigned line ltype1 with width lw1, the second ltype2 with width lw2, and so on.
Line types are assigned using a number between 1 and 46; each number requests a specific pattern. The X-13-Graph Batch program supports the following line types:
Other line types available in SAS can be used, but the footnotes in the overlay graphs will not show the correct line when they are used.
The width of the line is a number, usually 1 or 2. The line becomes thicker as the number increases.
The default setting for line types and widths is:
%let ltype1 = 1;
%let ltype2 = 21;
%let ltype3 = 41;
%let ltype4 = 14;
%let ltype5 = 20;
%let ltype6 = 26;
%let ltypeg = 35;
%let lw1 = 2;
%let lw6 = 2;
The main title of each graph denotes what is being plotted; the graph's subtitle tells which series is being plotted. By default, the subtitle is the title given in the series spec of the .spc file before it is run with the X-13ARIMA-SEATS program. If a title is not supplied, the default subtitle is the series name. However, the subtitle can be changed using the variables subtitle and subtitle2.
If these variables are left blank, the default subtitles will be used. Otherwise, the value of subtitle is used for the first series plotted and the value of subtitle2 is used for the second series for the overlay, component, and history graphs for two adjustments. The subtitle requested should be between the equal sign and the semicolon; quotation marks are not needed. The following is a valid assignment:
%let subtitle=Construction Starts Through 2005;
Use printfootnotes to instruct the program not to print footnotes for overlay, forecast, seasonal, spectrum, tvalue, and history graphs, and not to print axis labels for all graphs. When this variable is set to
%let printfootnotes=no;
the footnotes and graph labels are not printed; otherwise, they are. Setting %let printfootes = all will print ARIMA model information to certain SEATS diagnostic graphs in addition to other footnotes.
The font used for the title and subtitle can be changed using the variable font1, and that of the labels and footnotes can be changed with font2. There are not many fonts available in SAS; a complete list can be found in the catalog Sashelp.Fonts, or using the SAS Help. Some available fonts are:
The default font, used if no font is entered or if the font chosen is not valid, is 'Albany AMT'.
The size of the font can be changed using the fontsize argument. This changes the font as a percentage of the program default. A setting of %let fontsize = 120 will therefore make the font 120% of the default size. The spectrum graphs use the letters S and T printed within the graph to flag visually significant peaks. To change the size of these letters in the graph as a percentage of the default, use the spectsize argument. The size of these letters will change based on many factors, including the graph size and the output format, so some experimentation may be necessary.
The values on the y-axis can be changed in two ways: the range of values can be specified, and the values can be scaled by a requested divisor.
To change the range of the graph, a value must be supplied for both the variables yaxmin and yaxmax, the minimum and maximum y-value to be plotted. If desired, a value can also be provided for yaxby, which is used to increment the values. If this variable is left blank, the program will create the increment automatically. If these variables are set to:
%let yaxmin=2000;
%let yaxmax=8000;
%let yaxby=2000;
then the y-axis will have tick marks at values 2000, 4000, 6000, and 8000. Note that if no tick mark created with yaxby falls on yaxmax, then the maximum y-value will be the largest tick mark less than yaxmax. That is, if yaxmin is 2000, yaxmax is 8000, and yaxby is 2500, the y-axis will have tick marks at 2000, 4500, and 7000. The y-axis will not go all the way to 8000.
To scale the y-axis by a divisor, change the value of the variable ydivisor. For example, if the data ranges from two million to six million, then
%let ydivisor=1000000;
will divide the y-variable by one million, so the y-axis will range from two to six, and will also create the label 'In Millions' for that axis unless the ftnoteyn variable is set to 'N'. If the y-divisor is not a power of ten, then the label will read 'Units=ydivisor.' This label will be printed sideways along the y-axis unless the variable anglelabel is changed to no:
%let anglelabel=no;
In this case, the label will be printed at the top of the y-axis.
If both a change in the range and a change of scale are requested, then the values requested for the y-axis maximum and minimum should be in the original scale.
These options are available for most graphs. However, neither are available for component graphs, seasonal si graphs, or outlier t-value graphs, and the y-divisor option is not available for any element on the log scale, spectrum graphs, seasonal graphs, and easonal factor history graphs.
By default, the program automatically creates a reference line at the first month or quarter of the graph. To move the reference lines to another month or quarter in order to highlight some particular month, change the variable gridlinemo. For example,
%let gridlinemo = 7;
will put reference lines at July, if it is a monthly series. The color and style of this reference line can be changed with the variables colorg and ltypeg, as described in Sections 3.6.2 and 3.6.3. A label will automatically be added to the graph indicating which month or quarter the gridline represents unless the ftnoteyn variable is set to no. Note that if the variable gridlinemo is left blank, the reference line will be at the first month or quarter but no label will be included; if the variable gridlinemo is set to 1, then the label 'Gridlines at January' will be added to the graph.
When plotting the trend with overlay or overlay2 graphs, you can emphasize the uncertainty of the last few trend estimates by plotting an 'X' for a specified number of points using the variable numtrendx. For example, the assignment
%let numtrendx=3;
would result in the following trend graph:
When more than one element is requested for the component graphs, the program prints all the requested graphs on one page. If there are two elements, the graphs are printed with the second graph below the first. If there are four elements, the graphs are printed in two columns with two rows each. If there are three elements, the format used to print the graphs can be changed. By default, the program prints the graphs in two rows, with the first two graphs on top and the third below the first.
The variable threegraphformat can be used to change the format, printing the three graphs in one column with three rows.
To print the graphs in two columns, use %let threegraphformat = 2. To print them in one column, use %let threegraphformat = 1.
The color scheme of year on year graphs can either use the colors and line types chosen (as described in Section 3.6.2 and 3.6.3), or can use darkening shades of a single color.
To use the colors and line types chosen, use %let YYonecolor = no. Then the first six years will use color1-color6 with the line type and width of line 1; the second six years will use color1-color6 with the line type and width of line 2; and the last six years will use color1-color6 with the line type and width of line 3. If the series is longer than 18 years, only the last 18 years will be graphed.
An alternate color scheme uses a single color; each successive year is a slightly darker shade of the same color. To set this, use the YYonecolor variable, and set it to gray, green, red, or blue. This color scheme helps detect patterns in the series which have changed over time, but can make it hard to identify each individual year. To help, use the dashevery argument. Setting it to 2 will put a dashed line every two years; setting it to 3 will put a dashed line every three years, and so on.
The current version of the program can produce the following types of graphs for each series: overlay graphs, spectrum graphs, component graphs, special seasonal factor graphs, forecast graphs, history graphs, ACF/PACF graphs, outlier t value graphs, first difference graphs, year on year graphs, power graphs. It can also produce overlay graphs, component graphs, history graphs, and rsi graphs for comparing two adjustments.
You can select from one to three different graphical elements to plot above a single axis. The program superimposes the elements. The order in which the elements are listed determines the order of the names in the title and legend and also the color and line used for each element. The keyword for overlay graphs is overlay.
If any of the elements requested does not exist for a series, then that graph will not be created. For example, if the statement
overlay: oadori trn sa
is in the .gls file, and the series has no outliers, and thus no outlier-adjusted series, then the entire graph will not be created, even if the seasonally adjusted series and the trend component exist.
Note: For overlay graphs, choose series on the same scale, i.e., do not choose elements on the original scale and the log scale. If elements on the original scale and the log scale are requested, the graph will not be created.
Available Elements for Overlay Graphs
|Element Code
|Original or Composite Series
|Calendar-Adjusted Original Series
|Original Data with Preliminary Adjustments
|Original Series Modified for Extremes
|Original Series with Replaced Missing Values
|Original Series Showing Additive Outlier Adjustments
|Outlier Adjusted Original or Composite Series
|Prior Adjusted Original Series
|Seasonally Adjusted Series
|Seasonally Adjusted Series with Annual Totals
|Seasonally Adjusted Series Modified for Extremes
|Indirect Seasonal Adjustment
|Indirect Seasonally Adjusted Series with Annual Total
|Original Modified for Extremes from Indirect
|Seasonally Adjusted Series Modified for Extremes from Indirect
|Composite Series Adjusted by Prior Factors
|Indirect Trend
|Log of Original (or Composite) Series
|Log of Calendar-Adjusted Original Series
|Log of Original Data with Preliminary Adjustments
|Log of Original Series Modified for Extremes
|Log of Original Series Showing AO Adjustments
|Log of Original with Replaced Missing Values
|Log of Outlier Adjusted original (or Composite)
|Log of Prior Adjusted Original Series
|Log of Seasonally Adjusted
|Log of Seasonally Adjusted Series Modified for Extremes
|Log of Seasonally Adjusted with Annual Totals
|Log of Trend
|Log of Indirect Seasonal Adjustment
|Log of Indirect Seasonally Adjusted Series with Annual Total
|Log of Indirect Trend
|Log of Original Modified for Extremes from Indirect
|Log of Seasonally Adjusted Series Modified for Extremes from Indirect
|Log of Composite Series Adjusted by Prior Factors
Graphs of 10 times the log10 of the spectrum amplitudes are similar to those in the X-13ARIMA-SEATS .out file. The keyword for spectrum graphs is spectrum.
Vertical lines identify the amplitudes at seasonal and trading day frequencies. Cleveland and Devlin (1980) identified the trading day frequencies of this graph as the frequencies most likely to have spectral peaks if a flow series has a trading day component. Note that the color and line type of these reference lines are not controlled with the colorg and ltypeg options, but rather seasonal frequencies use the color2 and ltype2 variables, while trading day frequencies use the color3 and ltype3 variables.
Available Elements for Spectrum Graphs
|Element Code
|Spectrum of the Original Series
|Spectrum of the Seasonally Adjusted Series
|Spectrum of the Modified Irregular
|Spectrum of the RegARIMA Residuals
|Spectrum of the Original and Seasonally Adjusted Series (Overlaid)
|Spectrum of the Indirect Modified Irregular
|Spectrum of Indirect Seasonally Adjusted Series
Component graphs allow you to select from one to four different seasonal decomposition component elements to plot. If you choose more than one, all components are graphed in reduced size on one page. See component graph formats for more information. You can scroll up to see the larger graphs of each component individually. If the selected graphs are of the same type- that is, outlier graphs, or factor graphs- then the graphs will have the same y-axis scale for easy comparisons. The keyword for component graphs is cmpnent.
Available Elements for Factor Component Graphs
|Element Code
|Combined Holiday and TD Factors
|Combined Holiday and TD Factors (from X11regression)
|Combined Adjustment Factors
|Final Adjustment Ratios
|Holiday Factors
|Indirect Adjustment Ratios
|Indirect Combined Adjustment Factors
|Indirect Irregular
|Indirect Seasonal Factors
|Irregular Component Modified for Extremes
|Irregular Modifed for Extremes from Indirect
|Prior Adjustment Factors
|Seasonal Factors
|Seasonal Factors with User-Defined Regressors
|Trading Day Factors
|Total Adjustment Factors
|User-defined Regression Factors
|User-defined Seasonal Regression Factors
|X-11 Easter Factors
Available Elements for Overlay Component Graphs
|Element Code
|Original (or Composite) Series
|Calendar-Adjusted Original Series
|Composite Series Adjusted by Prior Factors
|Original Data with Preliminary Adjustments
|Original Series Modified for Extremes
|Original Series with Replaced Missing Values
|Outlier Adjusted Original (or Composite) Series
|Prior Adjusted Original Series
|Seasonally Adjusted Series
|Seasonally Adjusted Series with Annual Totals
|Seasonally Adjusted Series Modified for Extremes
|Indirect Seasonal Adjustment
|Indirect Seasonal Adjustment with Annual Total
|Indirect Trend
|Original Modified for Extremes from Indirect
|Seasonally Adjusted Series Modified for Extremes from Indirect
Available Elements for Overlay Logs Component Graphs
|Element Code
|Log of Original (or Composite) Series
|Log of Original with Replaced Missing Values
|Log of Outlier Adjusted Original (or Composite)
|Log of Prior Adjusted Original Series
|Log of Seasonally Adjusted Series
|Log of Trend
Available Elements for Outlier Component Graphs
|Element Code
|Additive Outlier Factors
|Combined Outliers
|Level Shifts
|Temporary Change Outliers
|Indirect Additive Outlier Adjustment Factors
|Indirect Level Shift Adjustment Factors
Available Elements for Outlier Logs Component Graphs
|Element Code
|Log of Additive Outlier Factors
|Log of Combined Outliers
|Log of Level Shifts
|Log of Temporary Change Outliers
Available Elements for Weight Component Graphs
|Element Code
|Irregular Weights
Three types of seasonal graphs are available: SI ratios (detrended series values) with seasonal factors by month or quarter, seasonal factors by month or quarter, and boxplots of the irregular component by month or quarter. The keyword for special seasonal factor graphs is seas.
Both SI ratio graphs and monthly seasonal factor graphs are due to Cleveland and Terpenning (1982).
SI Ratios with Seasonal Factors by Month or Quarter
When created with the element code si, the program produces as many as 16 graphs. There is one graph for each month or quarter, along with graphs with four months or quarters per page. With monthly series, there is also a graph of all 12 months on one page.
When the element code siall is used, the SI ratio plots for all twelve months or four quarters are graphed on one plot with the same scale.
Seasonal Factors by Month or Quarter
The program graphs seasonal factors by calendar month or quarter. Each calendar period has a year axis drawn at the level of its factor mean. You can graph either the seasonal factors (X-13ARIMA-SEATS's D 10 table) or the combined factors, which are the seasonal, trading day, holiday, and user-defined factors combined (X-13ARIMA-SEATS's D 16 table).
Boxplots of the Irregular Component
You can create boxplots of the irregular component by month to compare the spread of the irregular component for each month.
Available Elements for Special Seasonal Factor Graphs
|Element Code
|SI Ratios (Graphed with Replacement Values and Seasonal Factors)
|SI Ratios Plots on One Graph
|Seasonal Factors
|Combined Seasonal Factors
|Indirect Seasonal Factors
|Indirect Combined Seasonal Factors
|Boxplots of the Irregular Component
|Boxplots of the Indirect Irregular Component
The program graphs the original series, the forecasts, and the confidence intervals for the forecasts. If you chose a transformation in the X-13ARIMA-SEATS run, you can choose to graph the series and forecasts on the original scale or the transformed scale. If the series does not have a transformation, you can only graph the series and the forecasts on the original scale. The keyword for the forecast graphs is forecast.
Available Elements for Forecast Graphs
|Element Code
|Original Series and Forecasts on the Original Scale
|Original Series and Forecasts on the Transformed Scale
You can create graphs to study the revisions for the seasonal adjustment, seasonal factors, trend, and forecasts of a series. The keyword for history graphs is history1.
You can create the following four types of history graphs:
Overlay Graphs
If you request a graph of the "Seasonal Adjustment Values", "Indirect Seasonal Adjustment Values", or "Trend Values" (elements ahst, indahst, and trhst, respectively), you will get a graph of the initial and the final estimates of that value overlaid with the original series. If you requested additional history information at certain lags when running X-13ARIMA-SEATS, the graph will also include those estimates.
Seasonal Factor Graphs
Graphs of the seasonal factor history plot the initial and the final seasonal factor estimates by calendar period. For each month or quarter, the final seasonal factors are plotted as a line and the initial seasonal factors as circles, and a year axis is drawn at the period's factor mean.
Percent Change Graphs
Three graphs are created when "Percent Changes in the Seasonal Adjustment Values" or "Percent Changes in the Trend Values" (elements csahst and ctrhst, respectively) are requested. Each graph plots two of the following for each observation: the percent change (from the previous observation) of the final estimate, the percent change of the initial estimate, and the percent change of the original series. Each is plotted as a circle or diamond, with a vertical line connecting them.
Special Trend Graphs
If you request graphs for "All Trend Revisions," "Trend Revisions for the Ending Date," or "Trend Revisions for the Ending Date," the program produces graphs that connect the estimates for trend from the lags requested when X-13ARIMA-SEATS was run. This shows the direction a trend was taking for a particular date. Each graph has a continuous line representing the final trend estimate. There is a shorter line connecting all the estimates for a particular date from the requested lags. That is, if lags 1, 2, 3, and 4 were requested, then for December 1999, the initial trend estimate is connected to the Lag 1 estimate from November, the Lag 2 estimate from October, the Lag 3 estimate from September, and the Lag 4 estimate from August to see where the trend was heading.
The graph "for the ending date" shows the trend lags only for the last date on the graph, while the graph "over the lag interval" shows trends from the end of the series back however many lags were requested, and the graph for "all trend revisions" shows the trend lags for all dates.
Concurrent Forecasts and Forecast Errors
Graphs for "Concurrent Forecasts" (element cfchst) plot the original series and the within-sample forecasts for the lags specified in the history spec. Graphs for "Concurrent Forecast Errors" (element cfehst) plot the difference between the original series and the within-sample forecasts for the specified lags.
Available Elements for History Graphs
|Element Code
|Seasonal Adjustment Values
|Indirect Seasonally Adjusted Values
|Trend Values
|Seasonal Factor Values
|Percent Changes in the Seasonally Adjusted Values
|Percent Changes in the Trend Values
|All Trend Revisions
|Trend Revisions for the Ending Date
|Trend Revisions over the Lag Interval
|Concurrent Forecasts
|Concurrent Forecast Errors
Graphs of the autocorrelation function and the partial autocorrelation function are available for both the residuals and for the original series, but only if the relevant spec was included when running X-13ARIMA-SEATS. Both types have the keyword acfpacf.
If you included the spec check when you ran X-13ARIMA-SEATS, you can create ACF and PACF plots of the residuals:
If you included the identify spec, you can create ACF and PACF plots from the original series. The program will create an ACF and a PACF graph for each combination of differencing and seasonal differencing that was given in the identify spec. That is, if you asked for nonseasonal differencing of 0 and 1 and seasonal differencing of 0 and 1 when you ran X-13ARIMA-SEATS, you will get eight graphs; the order of differencing is included in the subtitle:
Available Elements for ACF/PACF Graphs
|Element Code
|ACF Plot (from Check Spec)
|PACF Plot (from Check Spec)
|ACF of the Squared Residuals
|ACF and PACF Plots (from Identity Spec)
Outlier T-Value Graphs allow you to compare the maximum absolute t-values from the automatic outlier procedure. There are two types of graphs you can produce; each has its own keyword.
We've been using the graphs for research into ways for finding regARIMA outliers, with only limited success. For more information, see McDonald-Johnson and Hood (2001).
Information for the Outlier T-Value graphs comes from the automatic outlier procedure from the final t-value table. By default, X-13ARIMA-SEATS only looks for additive outliers (AO) and level shifts (LS). If you ask for graphs of the temporary change (TC) outliers without requesting them specifically in X-13ARIMA-SEATS, you will get an error.
The t-value graphs will plot the maximum absolute t-values for each data point. That is, if for one particular month, say June 1989, X-13ARIMA-SEATS calculates an AO t-value of 3.1, an LS t-value of 2.2, and a TC t-value of 2.7, at June 1989 the graph shows only the AO t-value at 3.1. Another helpful feature of the maximum absolute t-value plot is that X-13ARIMA-SEATS assigns a t-value of 0 to any identified outlier. That is, if X-13ARIMA-SEATS identifies a particular month, say August 1998, as an LS, then the August 1998 LS t-value would be 0, although X-13ARIMA-SEATS would calculate valid t-values for the AO and TC effects. The greater (in absolute value) of the AO and TC t-values would appear on the graph.
If you use the keyword tvalue, the actual value of the maximum absolute t-value will be plotted, with the correct sign. If you use the keyword abtvalue, the absolute value of the maximum absolute t-value will be plotted. The first graph below was created with the keyword tvalue, and the second with the keyword abtvalue. Both keywords use the same elements.
Available Elements for T-Value Graphs
|Element Code
|T-Values for Additive Outliers
|T-Values for Level Shifts
|T-Values for Temporary Changes
The program graphs the first differences of the selected element by period. If the series is monthly, the differences of each month are plotted together with four months per graph; a graph of all twelve months together is also produced. The number on the graph is the last digit of the difference's year. The keyword for first difference graphs is fstdiff.
The form of the first difference graphs was developed by Stuart Scott at the Bureau of Labor Statistics where it has been used to detect outliers in the original time series. See Scott (1987) and Buszuwski and Scott (1988) for examples of using first difference graphs to identify different types of outliers.
Available Elements for First Difference Graphs
|Element Code
|Original Series
|Calendar-Adjusted Original Series
|Original Series Adjusted by Prior Factors
|Original Series Modified for Extremes
|Original Series with Missing Values Replaced
|Prior-Adjusted Original Series
|Seasonally Adjusted Series
|Seasonally Adjusted Series Modified for Extremes
|Trend Cycle
|Composite Series Adjusted by Prior Factors
|Indirect Seasonally Adjusted Series
|Seasonal Adjustment Modified for Extremes from Indirect
|Indirect Trend
|Original Series Modified for Extremes from Indirect
Year on Year graphs plot the requested element by year in order to look for seasonal patterns in the data. The keyword for these graphs is yronyr.
The program will graph only 18 years of data. If the series is longer then 18 years, then the last 18 will be graphed. To change this span, use the subspan option.
Available Elements for Year on Year Graphs
|Element Code
|Original Series
|Calendar-Adjusted Original Series
|Original Series Adjusted by Prior Factors
|Original Series Modified for Extremes
|Original Series with Missing Values Replaced
|Prior-Adjusted Original Series
|Seasonally Adjusted Series
|Seasonally Adjusted Series Modified for Extremes
|Trend Cycle
|Composite Series Adjusted by Prior Factors
|Indirect Seasonally Adjusted Series
|Seasonal Adjustment Modified for Extremes from Indirect
|Indirect Trend
|Original Series Modified for Extremes from Indirect
The sliding spans diagnostic creates up to four overlapping subspans of your data, seasonally adjusts each subspan, and compares the resulting seasonally adjusted values. To create graphs for this diagnostic, use the keyword sspans.
You can create four types of sliding spans graphs. The first is an overlay graph of the seasonal factors of each span; if the percent difference between the largest and smallest value is greater than the cutoff value, usually 3, this graph will also show dots indicating the maximum and minimum value.
You can also create a graph of these maximum percent differences chronologically, by year, or by month or quarter. In each case, a horizontal line showing the cutoff value will also be graphed.
These four graphs can be created for the seasonal factors (or seasonally adjusted value, depending on your transformation type), the month-to-month or quarter-to-quarter percent changes of the seasonally adjusted series, the indirect seasonal factors, and the indirect month-to-month or quarter-to-quarter percent changes.
Available Elements for Sliding Spans Graphs
|Element Code
|Seasonal Factors of Spans
|Maximum Percent Difference (MPD) of Seasonal Factors
|MPD of Seasonal Factors by Year
|MPD of Seasonal Factors by Period
|Period-to-Period Seasonal Adjustment Changes of Spans
|MPD of Period-to-Period Changes
|MPD of Period-to-Period Changes by Year
|MPD of Period-to-Period Changes by Period
|Indirect Seasonal Factors of Spans
|MPD of Indirect Seasonal Factors
|MPD of Indirect Seasonal Factors by Year
|MPD of Indirect Seasonal Factors by Period
|Indirect Period-to-Period Seasonal Adjustment Changes of Spans
|MPD of Indirect Period-to-Period Changes
|MPD of Indirect Period-to-Period Changes by Year
|MPD of Indirect Period-to-Period Changes by Period
Four types of graphs using two keywords can be created for SEATS adjustments. Note that to create these graphs, X-13ARIMA-SEATS must be run with out=0 or out=2 in the seats spec.
To graph filters used in SEATS adjustments and their time shifts and squared gains, use the keyword filter. You can list up to four elements on each line of the graph list file (.gls) for these filter graphs. Each filter will be plotted in its own graph; however, all the requested time shift graphs found on one line will be plotted together, as will all requested squared gain graphs.
Available Elements for SEATS Filter Graphs
|Element Code
|Concurrent Seasonal Adjustment Filter
|Concurrent Trend Filter
|Symmetric Seasonal Adjustment Filter
|Symmetric Trend Filter
|Time Shift of Concurrent Seasonal Adjustment Filter
|Time Shift of Concurrent Trend Filter
|Squared Gain of Concurrent Seasonal Adjustment Filter
|Squared Gain of Concurrent Trend Filter
|Squared Gain of Symmetric Seasonal Adjustment Filter
|Squared Gain of Symmetric Trend Filter
SEATS diagnostic graphs can be graphed using the keyword seats. These show the fully differenced SEATS seasonal adjustment or SEATS trend, and the seasonal period length sums of the SEATS seasonal factors. See the X-13ARIMA-SEATS manual (U.S. Census Bureau, 2012) for more information.
Available Elements for SEATS Diagnostic Graphs
|Element Code
|Fully Differenced SEATS Seasonal Adjustment
|Fully Differenced SEATS Trend
|Seasonal Period Length Sums of the SEATS Seasonal Factors
Power graphs are plots of the original series with a Box-Cox power transformation applied. The keyword for these graphs is power. The elements for these graphs is the Box-Cox power lambda ? . Setting lambda ? = 1 will produce a graph of the original series; lambda ? = 0 produces a graph of the logged series.
Overlay graphs of two series can be produced to compare the adjustments. The keyword for these graphs is overlay2.
These overlay graphs need two different models to compare. Enter the names of the graphics metafiles for the two models on the same line in the graphics metafile list file (the .mls file). An example is given in the examples below.
Up to three elements can be chosen for each series. The elements do not have to be the same for each series. In the graphics list file (the .gls file), list the elements for the first series after the colon after overlay2. If the elements for the second series are the same as those for the first series, you do not need to enter anything else. If different elements are required for the second series, put another colon on the same line, and list the elements for the second series. So, to create a graph with the original series and the seasonally adjusted series of the first model and the seasonally adjusted series for the second series, put the line
overlay2: ori sa: sa
in the .gls file.
The elements available for these graphs match those for overlay graphs.
You can compare the components of two different adjustments using the keyword cmpnent2.
When you request a component graph to compare two series, the program creates two graphs: the plots of the component for each series on one page, and either the difference or the ratio between the values of that component for each series. The ratio is graphed when the element is either a factor or the irregular and the adjustment is multiplicative, and the difference is graphed otherwise.
As two models are being compared, the two series must both be named on the same line in the graphics metafile list (the .mls file). An example of this is in the examples below.
The elements available for these graphs are the same as those for component graphs.
History graphs allow you to compare two models by looking at the AIC Differences History and the Sum of Squared Forecast Error Differences History. For the Sum of Squared Forecast Error Differences graph, the program superimposes all available forecast lags on a single graph. The keyword for history graphs is history2.
These history graphs are discussed in Findley, Monsell, Bell, Otto and Chen (1998) and are related to diagnostics presented in Findley (1990, 1991).
You can also create graphs of the Percent Changes in the Seasonally Adjusted Series or the Trend. Two graphs are created when these elements are requested. One plots the month-to-month change of the concurrent adjustment for both series, connected by a vertical line to highlight the difference. The second does the same for the final adjustment.
History graphs require graphics output from two different models to compare. You must enter the names of the graphics metafiles for the two different models for the history graph on the same line in the graphics metafile list file. An example graphics metafile list file (.mls) is given in the examples below.
Available Elements for History Graphs
|Element Code
|Sum of Squared Forecast Errors
|Percent Change in the Seasonally Adjusted Series
|Percent Change in the Trend
These graphs allow you to compare two models by graphing the SI ratios (the detrended series), the SI ratios with the extreme values replaced, or the SI ratios with the replaced value and the original value. To compare two adjustments, the names of both models must appear on the same line in the graphics metafile list file (.mls); see the Example 3 in Section 5 below. The keyword for these graphs is rsi2.
Available Elements for SI Ratio Graphs
|Element Code
|SI Ratios
|RSI Ratios
|RSI Ratios with Original Value
You can compare the forecasts of two models using the keyword fcast2.
To compare two models, the names of each must be on the same line of the graphics metafile list file (.mls); see Example 3 in Section 5 below.
Available Elements for Forecast Comparison Graphs
|Element Code
|Original Series and Forecasts on Original Scale
|Original Series and Forecasts on Transformed Scale
You can compare the spectrum plots of two models using the keyword spect2.
In order to compare two adjustments, the names of both models must be on the same line of the graphics metafile list file (.mls). See Example 3 in Section 5.
Available Elements for Spectrum Comparison Graphs
|Element Code
|Spectrum of the Original Series
|Spectrum of the Seasonally Adjusted Series
|Spectrum of the Irregular
|Spectrum of the RegARIMA Residuals
|Spectrum of the Indirect Modified Irregular
|Spectrum of Indirect Seasonally Adjusted Series
Use the keyword seas2 to plot the seasonal factors by month for two adjustments on one graph.
Since these graphs compare two adjustments, the names of both models must appear on the same line in the graphics metafile list file (.mls); see Example 3 in Section 5 for an example.
To overlay the seasonal factors, combined adjustment factors, indirect seasonal factors, or indirect combined adjustment factors of both models, the graph list file can just list the required element. However, if you'd like to overlay one type of seasonal factor from the first model with another type of seasonal factor for the second model, you must put the keyword, a colon, the first model's element type, a second colon, and then the second model's element type. For example,
seas2: sf: indsf
will graph the seasonal factors of model one with the indirect seasonal factors of model two. Note that if model one and model two are the same (that is, you list the same series twice on one line in the .mls file), this will create an overlay graph of the direct and indirect seasonal factors for an adjustment.
Available Elements for Seasonal Factor Comparison Graphs
|Element Code
|Seasonal Factors
|Combined Adjustment Factors
|Indirect Seasonal Factors
|Indirect Combined Adjustment Factors
These examples use data from one-family housing starts in the four U.S. geographic regions (Northeast, South, Midwest, and West), as well as the U.S. total one family housing starts. The X-13ARIMA-SEATS spec files are called ne1.spc, mw1.spc, so1.spc, and we1.spc, with tot1F.spc containing the composite spec to create the U.S. total. To run this series, a metafile is needed. The contents of this file, called starts.mta, are:
Before creating any graphs, X-13ARIMA-SEATS must run this metafile in graphics mode. To do this, enter x13a -m starts -g c:\x13a\graphics in DOS. The -m option informs the program that this is a metafile, the -g option instructs X-13ARIMA-SEATS to produce the graphics output files needed, and the directory after the -g is the destination for the output files.
After the graphics output files have been produced, you are ready to run the X-13-Graph Batch program.
Goal: To learn to set up the files needed to run the X-13-Graph Batch program.
Suppose you wish to compare the original series with the seasonally adjusted series for all four regions and for the total, and the original series with the outlier-adjusted series in the case of those series with outliers.
The first step is to create the .mls and .gls files. These must have the same name; use the name starts. As you want graphs for all five series, the starts.mls file is
Note that this looks just like the metafile used to run X-13ARIMA-SEATS. The starts.gls file is
overlay: ori sa
overlay: ori indsa
overlay: ori oadori
The first command produces the graph of the original series and the seasonally adjusted series superimposed. The second overlay statement compares the original series with the seasonally adjusted series from the indirect adjustment. As this element exists only for the composite series, tot1F, X-13-Graph produces this graph only for that one series. The third command creates a graph of the original series and the outlier-adjusted series. The series for the South and for the composite have no outliers, so overlay graphs from the third statement are not created for these series.
Next, in x13gbat.sas, set the value of the variable inptfile equal to starts and the value of inptdir equal to the directory specified after the -g option when X-13ARIMA-SEATS was run. Submit the program by pressing the submit button (the running man), or by selecting submit from the Run pull down menu.
Once the program has run, there will be nine graphs. Examples of them follow:
This is the graph of the original and the seasonally adjusted series of the Northeast data. Similar graphs exist for the other three regions and for the U.S. total.
This graph is the original series for the U.S. totals, along with the seasonally adjusted series from the indirect adjustment. It is the only graph produced from the overlay: ori indsa statement in the .gls file.
This is one of three graphs of original series and the outlier-adjusted original series; this one is from the Northeast. Most of the differences seem to be between 1985 and 1991. In the next example, this portion of the series will be expanded to better see these differences.
Goal: To use the color, line width, and subspan global options in creating graphs. Also, to learn to modify the .gls and .mls files without deleting content.
In this example, you will modify a graph plotted in the previous example in order to better see some of its details, and also create a component graph of this region's additive outliers.
First, modify the starts.gls file, keeping only one of the overlay graphs adding a component graph, so that the graph list file looks like:
overlay: ori oadori
cmpnent: ao
Next, modify the graphics metafile list, since the only series to be graphed is the Northeast region. One way to do this is to delete the series that aren't being graphed, but as you may want to create more graphs from them later, you can comment them out instead by putting a # sign in front of them. Starts.mls will look like:
In order to graph only part of a series, use the subspan option. In the x13gbat.sas program, change substart to 1985.Jan, and subend to 1991.Dec. Graphs of the outlier-adjusted series place a dot where each additive outlier is (and a reference line where the level shifts and temporary changes are). To better see this dot, you can change the line widths of the first and second line to 1 by letting lw1 and lw2 equal 1. If you also want to change the default colors of the graph, you can change the appropriate color variables. Changing color1 to purple and color2 to orange creates the following two graphs after the program is run:
Note that in the overlay graph, the original series, which was listed first in the .gls file, takes the color assigned to color1, and the outlier adjusted series, which was listed second, takes the color2 value. The second graph has only one element, so it takes the color given in color1.
Goal: To create graphs to compare two series, and to modify them using the color, line type, line width, y-divisor, gridline, and subtitle global options.
If you want to compare the seasonally adjusted series for two different series, you can use the overlay graphs for two models or the component graphs for two series. The overlay graph will create a plot with the seasonally adjusted series of each model overlaid on one graph; the component graph will create a graph with each seasonally adjusted series on its own plot, and will also create a graph of the differences between the two series.
To create graphs to compare two series, the names of the series must be on the same line in the graphics metafile list (.mls) file. To compare the housing starts from the Midwest to those from the Northeast, the .mls file must read:
mw1 ne1
The graph list file (.gls) must read
overlay2: sa: sa
cmpnent2: sa
in order to create graphs for the seasonally adjusted series for each model. Actually, since the same elements are being plotted for the first and the second series in the overlay graph, the second colon and sa are not needed in the overlay2 command, but including them does no harm.
The following three graphs are produced when the program is run using the default options:
You can modify the appearance of the overlay graph with some of the global options. In the x13gbat.sas program, locate and change the following variables:
%let color1=gray;
%let color2=cyan;
%let ltype1=1;
%let ltype2=1;
%let lw1=1;
%let lw2=1;
%let subtitle=Midwest;
%let subtitle2=Northeast Housing Starts;
%let ydivisor=1000;
%let gridlinemo=12;
The variables color1 and color2 will change the first graph to gray and the second to cyan; ltype1 and ltype2 will make the plots of both series be an unbroken line, while lw1 and lw2 make both graph lines thinner. The subtitle of the overlay graphs for two series is the title of the first, the word 'and', and then the title of the second; the default subtitle is then 'MIDWEST ONE FAMILY Housing Starts and NORTHEAST ONE FAMILY Housing Starts.' Changing subtitle and subtitle2 will create the subtitle 'Midwest and Northeast One Family Housing Starts.' Note that the graph of the seasonally adjusted series has a y-axis ranging from 0 to 30000. Including a ydivisor of 1000 will change the axis range to 0 to 30, and will include the label 'In Thousands.' This option is very useful when the y-axis is in the range of millions or billions. Finally, changing gridlinemo to 12 will move the default gridlines from January to December to highlight the last month of the year instead of the first. The color and line type of these gridlines can be customized using the colorg and ltypeg variables, if desired.
Running the program with these options creates the following graph:
Note: If you wish to keep the default values for the variables handy while temporarily changing them, you can insert the new value after the equal sign, type a semicolon, and then insert a star (*) before the original value, as such:
%let ltype1 = 1;
%let ltype2 = 1;*21;
SAS views everything between a star and a semicolon as a comment, so the *21; will be ignored while the program is running.
Please report all problems or provide any feedback to Demetra Lytras by email (firstname.lastname@example.com) or to Kathy McDonald-Johnson either by email (email@example.com) or by telephone at (301) 763-7602.
If the program graphs something incorrectly (including titles and legends), or doesn't produce a graph at all, please report the problem as soon as possible.
To help us diagnose the problem, it is helpful if we have
The SAS Log will be in the file x13GbatLog.sas, located in the directory in which the program is installed, typically c:\x13graph\appl.
Brian Monsell wrote the basic SAS code for reading in the X-13ARIMA-SEATS files and for the SI ratio graphs. David Findley and Brian Monsell provided valuable suggestions for the design of the graphs and the documentation. Kellie C. Wills wrote the SAS code for many of the graphs. Many thanks to everyone who gave us suggestions.
Buszuwski, J.S. and S. Scott (1988), "On the Use of Intervention Analysis in Seasonal Adjustment," Proceedings of the Business and Economic Statistics Section, American Statistical Association, Alexandria, VA, 337-342.
Cleveland, W.S. and I. Terpenning (1982), "Graphical Methods for Seasonal Adjustment," Journal of the American Statistical Association , 77, 52-72.
Findley, D.F. (1990), "Making Difficult Model Comparisons Graphically," Proceedings of the Section on Survey Research Methods, American Statistical Association, Alexandria, VA.
Findley, D.F. (1991), "Model Selection for Multi-Step-Ahead Forecasting," Proceedings of the Business and Economic Statistics Section, American Statistical Association, Alexandria, VA.
Findley, D.F., B.C. Monsell, W.R. Bell, M.C. Otto and B.-C. Chen (1998). "New Capabilities and Methods of the X-12-ARIMA Seasonal Adjustment Program," Journal of Business and Economic Statistics , 16, 127-177 (with discussion).
McDonald-Johnson, K. and C.C. Hood (2001), "Outlier Selection for RegARIMA Models," Proceedings of the Business and Economic Statistics Section, American Statistical Association, Alexandria, VA.
SAS Institute, Inc. (1990), SAS/GRAPH® Software: Reference, Version 6, First Edition, Volumes 1 and 2, Cary, NC: SAS Institute, Inc.
Scott,S. (1987), "On the Impact of Outliers on Seasonal Adjustment," Proceedings of the Business and Economic Statistics Section, American Statistical Association, Alexandria, VA, 469-474.
U.S. Census Bureau (2015), X-13ARIMA-SEATS Reference Manual, Washington, DC.


text:
Ever wanted to get your child creative arts services but financially just couldn't figure it out? Maybe you are experiencing a rough time but you really believe your child could benefit from music therapy services. Just need a helping hand for a few months? Well you're in luck! Muzique is starting a scholarship fund to assist those in need. We have some events coming up where you can learn more about it or even help us build it up for those in need! Here's what you need to know about the Muzique Scholarship Fund, how you can receive assistance, or how you can contribute:
1. Elephants for Autism Music Festival (Saturday May 18th at the Watering Hole in Mays Landing, NJ)- This amazing festival starts at noon and goes until the bands are done rockin' out, probably around 3am on Sunday morning! For just $10 you can stay all day or just for a few hours. The bar will be open all day to buy drinks and food, vendors will have items to purchase, and there will be Elephants for Autism/Muzique shirts available to benefit the Muzique Scholarship Fund! Learn more about it by clicking here!
2. Philly Pamper Me Please Dinner for Mothers of Children w/Autism (Sunday June 10th at SPIN Community & Fitness in Philadelphia, PA)- This event is to honor and pamper moms of children with Autism. An afternoon of pampering from 1pm-5pm for moms and caregivers to sit back and relax. With your ticket purchase you will get access to a jam packed event, and Muzique's Scholarship fund will receive a percentage of all ticket sales to benefit the Muzique Scholarship fund! Want to register a mom for this event or learn more about it? Just click here!
Can't make it to one of these awesome events but would like to make a generous contribution? Just go Contact Us and let us know! We appreciate any and all contributions to help those who need financial assistance receive music therapy services!
Want to see if you or your family could receive some financial assistance for music therapy services? Please Contact Us and we will reach out to you with more info!
CHECK OUT THIS GREAT DEAL: All you have to do is visit www.muzique.org/contactus and let us know that you are interested in a 20% off assessment and a phone consultation! We will find a therapist in your area and help get you started! We can't wait to hear from you and see what the creative arts can do for you!
Thanks for checking out our blog! Click here to receive a free list of 25 Action Songs to get your kids moving! You'll also be the first to find out when we post a blog, release a mini-book, create a new experience, run a special, or just let you in on some fun! And follow us on all social media (Facebook, Twitter, Instagram, Pinterest) @muziquearts! If you're interested in checking out what Muzique's Experiences for music, art, dance and drama, click here!


text: I have the privilege to work at the same church as Dustin and Rachel, so I was able to see their relationship grow throughout the years. The one thing I noticed at their wedding was how they were surrounded by friends that desired a relationship with Christ just as much as they did. What an awesome sight! Cheers to the Phillip's!


text:
Why Star Trek Still Matters: An Interview with Roberta Pearson and Maire Messenger (Part Two)/
You discuss Star Trek as in some ways a transitional text between the models of the mass audience and the least objectionable programming which shaped the early network era and the model of the niche or segmented audience which would inform the multi-network or post-network era. This seems closely connected to your idea that the series is both representative and exceptional to the television practices of its time. So, what was it about Star Trek which encouraged networks and producers to think differently about television audiences? In our chapter 1, on Star Trek and television history, hopefully we make it clear that during the network era, the networks and producers didn't really 'think differently' about TV audiences, even though there's obviously evidence that audiences were already 'niche-ing' themselves by becoming active fans. Star Trek fans certainly did this, although they didn't affect the network's decision to cancel the show. In terms of the industry's attitudes, it's only with hindsight that we (and other writers on Star Trek) have been able to see that what saved the show/franchise during this era was the beginnings of a 'niche' audience when it was sold to Kaiser Broadcasting for syndication.
In 1967 Kaiser syndicated it at 6 pm against the news on other channels, calculating that this would attract 'young males.' We describe the 'faint signals' of the future of specialized audience targets on pp 45- 46. Star Trek fans were the elusive 18-25 age group and they were even prepared to 'march in the street' to try to save their show. But NBC at that stage cancelled it because success was still primarily measured in mass numbers. To some extent it continued to be and still is – Enterprise failed in 2005 because it didn't get high ratings, other shows still fail for the same reason.
But as we point out, 'eras' don't neatly stop and give way to the next one; there's always overlap and even in the fragmentary downloading world of today, the 'mass' audience has continued alongside 'niches', who are of course, components of the 'mass'.
We collected a lot of information about audience behavior in 2002; Mike Mellon, the head of audience research at Paramount gave us masses of material, wonderful breakdowns of demographics within the Neilsen ratings, and Paramount's own qualitative research. But this kind of information tends to be ephemeral and because our book was written over such an extended period of time, anything we said about particular audience figures would have been outdated.
We also had some audience research of our own - questionnaire and interview data collected at different cultural venues, and we've referred to some of it in other writings (see references in the bibliography), but again, we decided it didn't quite fit the shape of the book in its final version. But we certainly do think that audiences are important and interesting, and Star Trek audiences especially so.
You write at the end of the book, "Without Roddenberry, there may have been no Joss Whedon, J.J. Abrams, Chris Carter, or whoever else may follow in their footsteps." So, what role did Roddenberry's self-promotion as a producer/author contribute to the contemporary concept of the show runner?
It's always hard to make historical connections across time, so not sure that we'd want to argue for direct causality here. What's needed is an historical study on the rise of the showrunner in US television from about the 1970s onwards, including key figures like Norman Lear and Aaron Spelling. That book would have to account for all the other changes that were going on during those decades, particularly the shift from the classical network era to the multi-channel era that began to put the emphasis on named producers as a way of distinguishing content in a much more competitive environment.
That being said, you're really asking two different questions here, one about the role of the showrunner within the industry and one about the role of the showrunner as a publicity mechanism.
With regard to the first, that's something that the book waiting to be written would need to engage with. While Roddenberry functioned like a modern showrunner in that he was both producer and writer (although he actually wrote relatively few of the Star Trek scripts), how many of his peers did the same? And while he seems to have exercised the same degree of overall control and oversight that his successors now have, did his contemporaries have that same degree of control and oversight? In other words, were there producers in the classical network era whom we would want retrospectively to dub showrunners aside from Roddenberry (and probably Rod Serling)?
And we shouldn't forget of course, that a lot of the people with whom Roddenberry worked, particularly Herb Solow, resent the extent to which Roddenberry attempted to co-opt all the credit for Star Trek. One of the most important arguments in our book is that a good television show requires the input of a lot of talented people. Roddenberry presented himself as Star Trek's sole auteur but there would have been no Star Trek without Solow, associate producer Robert Justman, and all the others who worked on the show. But, today at least, it also seems to require a named individual to serve Foucault's author function – to market the show.
We think it's easier to make an argument for Roddenberry having served to some extent as a template for subsequent showrunners with regard to their publicizing themselves and their shows as opposed to the specific production tasks he undertook. In the classical network era, this self-publicity was most unusual, not really necessary and probably resented to some extent by NBC.
In that era, it was assumed that most shows, let alone their producers, would not really stand out much from the pack. That's because the three networks were content to divide the mass audience between them, airing 'least objectionable programming' the goal of which was to keep people tuned into the same network throughout the evening. Shows were associated with networks, rather than with named individuals, except for their star actors of course.
But Roddenberry showed that it was possible to engage in a discourse of artistry and authorship that distinguished him and his show from the pack. And as you say somewhere, viewers, fans particularly, are culturally inclined toward a belief in auteurism, a single guiding voice that creates meaning throughout a programme's episodes.
In Roddenberry's case, as we discuss, that guiding voice became elevated to 'Roddenberry's vision', a utopic notion of the future associated with him and with Star Trek. In that regard, we can't really think of a single one of today's showrunners who have had quite the same cultural impact, probably because the field is much more crowded; there's much more content and many more people producing it. And of course, in the tele-fantasy genre Roddenberry got there first.
Fans may refer to the 'Whedon-verse' and critics may characterize aspects of Whedon-produced or directed texts as 'Whedon-esque' but that refers to a certain style and tone rather than a complete world, which is what Roddenberry is associated with. The more we think about it, the more we think it might be the case that being in a sense a man out of time, a post-network showrunner in the classical network era, Roddenberry was actually a one-off. But that's a hypothesis that needs to be tested with empirical research.
One could also argue that Star Trek's appeal to its intellectual pedigree -- from the science fiction writers like Harlan Ellison, Norman Spinrad, or Theodore Sturgeon, who wrote for the series, to its ongoing references to Rocket Scientists and Harvard/MIT students in describing its audience, helps to establish the contemporary concept of "quality television." What qualities were ascribed to Star Trek in its heyday and to what degree do these anticipate or contrast with the "complex narratives" and "novelistic characters" associated with today's quality dramas?
That's a whole book in itself. In one of our earlier drafts there was a whole chapter called 'Is it any good? The quality of Star Trek.' Looking at this discarded 'quality' chapter again, I see we offer a number of definitions of 'quality' and address the question of 'is it any good'? in a number of ways. We look at academic definitions of 'good' e.g. Charlotte Brunsdon's: '[it's good] in terms of its closeness to already-'legitimate' cultural forms, such as theatre or literature. Secondly, it is seen to be good because 'it poses a privileged relation to 'the real''. In our discarded chapter we argue that Star Trek meets both of these criteria. We also discuss ideological interpretations of 'good' – is it sensitive to minorities, and to the representation of race, gender and general 'otherness'? - the subjects of a very great deal of writing on Trek. And we particularly quote our production interviewees on their definitions of 'quality,' such as Michael Westmore comparing his work on alien makeup with that of Star Wars, which he described as 'a real cheap job.'
We also discuss a couple of individual episodes that we thought were 'good.' Much of this material got lifted and dispersed to other chapters in the final version of the book: the craftworkers and writers' views on 'good' appear in Chapter 2,' 'Art, Commerce and Creative Autonomy' and Chapter 3, 'The Craft Workshop Mode of Production'. Textual aspects of quality are woven into the textual chapters at the end of the book on worldbuilding and character, where the ideology question is also addressed – here, mainly by arguing for Trek's 'heteroglossic' characteristics. The best of Trek, such as the TNG episode, 'The High Ground', offers ambiguity not clarity, enabling diverse interpretation, which again, is a traditional literary criterion of quality.
Because Star Trek has been such an enduring show, it ought to be possible to make comparisons between it and other 'high quality' TV shows contemporary with it over the years, for example at Emmy awards. But, as several of the writers pointed out, Trek has never been honoured by its peers in this way. Berman was indignant that Patrick Stewart never got an Emmy for his performance as Captain Picard. Ron Moore told us how he suppressed his Trek work in his resume because he thought it wouldn't be taken seriously and Patrick Stewart had similar reservations about foregrounding his Trek work, proud as he was of it.
The craft workers, on the other hand, have received multiple awards over the years, thus highlighting the division between 'above the line' and 'below the line' positions in the creative hierarchy – a division which we argue, in our book, is somewhat artificial in terms of how the final product gets produced. Everyone has to pull together: the line producers Merri Howard and Peter Lauritson, who had to make sure everything 'gelled', and came in within budget, were particularly enlightening on this aspect of 'quality.'
Roberta Pearson is Professor of Film and Television Studies at the University of Nottingham in the UK. Much of her career has been devoted to studying major cultural phenomenon or icons, such as Star Trek, Batman, Shakespeare and Sherlock Holmes. She was the co-editor of The Many Lives of the Batman, now being rebooted as Many More Lives of the Batman, co-edited with William Uricchio and Will Brooker (coming out with the BFI next year). She's also written several essays on Shakespeare's cultural status and has recently been involved in a collaborative project on digital Shakespeare. Her next project is on Sherlock Holmes for a book tentatively titled I Hear of Sherlock Everywhere: Transatlantic Sherlock Holmes. The book will deal with issues of authorship/canonicity, intellectual property, cultural distinctions, media franchises and lots of other topics currently at the forefront of debates in the field. For a preview see 'A Case of Identity: Sherlock, Elementary and their National Broadcasting Systems' in Roberta Pearson and Anthony N. Smith, editors, Storytelling in the Media Convergence Age: Exploring Screen Narratives (London: Palgrave-MacMillan, 2015) as well as 'Sherlock Holmes, a De Facto Franchise?'in Lincoln Geraghty, ed., Popular Media Cultures: Writing in the Margins and Reading Between the Lines (London: Palgrave-MacMillan, 2015.She's been a Star Trek fan (in terms of watching and enjoying the tv programmes) since the original series' first run so writing the book was indeed a labour of love. But she was a Sherlock Holmes fan even before that, so her academic career seems to be progressing backwards, like Benjamin Button.
Máire Messenger Davies is Professor of Media Studies and Director of the Centre for Media Research at the University of Ulster. Her first degree was in English, from Trinity College Dublin – hence an interest in storytelling. She's a former media professional - she worked as a journalist in local newspapers, magazines and radio for many years – hence her insistence on the importance of hearing the producers' points of view. After having four children, she did her PhD in psychology as a mature student researching how people learn from television – hence her interest in audiences, particularly young audiences. Her own young audience shared many happy hours watching Star Trek TOS in the UK. On moving to work at Boston University in the US, from 1990-1994, the family were there at the height of TNG's greatest era and became firm fans. Using Star Trek as a case study to teach about TV, Culture and Society seemed an obvious way to freshen up a rather hackneyed core module at Cardiff University, alongside Professor Pearson, and this led – eventually – to Star Trek and American Television. Her other books include Television is Good for Your Kids (Hilary Shipman, London 1989, 2001); Fake, Fact and Fantasy (Mahwah NJ: Laurence Erlbaum, 1997); Dear BBC: Children, television storytelling and the public sphere (Cambridge: Cambridge University Press, 2001); Children, Media and Culture, (Open University Press, 2010).


text:
Summer Dance Intensive 2018
13 - 17 August, 2018
Read the full details about our fantastic Summer Dance Intensive here.
Held at City and Islington College, the Intensive featured; Contemporary Dance with Sarita Piotrowski, Hip-Hop with Elsabet Yonas, African Dance with Mbulelo Ndabeni, Jazz with Kamara Gray, and Life Coaching with Bianca Boyce. The event also featured a special guest Jazz Masterclass with Adam Parson from the USA.
IRIE! Dance Theatre workshop and BA (Hons) Degree in Diverse Dance Styles
The dancers had a fantastic Caribbean dance workshop led by IRIE! Dance Theatre. We also learned about their exciting new BA (Hons) Degree in Diverse Dance Styles, which will feature African, Caribbean, Contemporary, and Urban dance styles. For further information, visit: http://iriedancetheatre.org/ba-degree.
Rambert Dance School workshop with Paul Liburd MBE
We were fortunate to have the wonderful Paul Liburd MBE lead a workshop for our dancers, in order for them to learn further about the Rambert School of Ballet and Contemporary Dance. The dancers had classes in both Ballet and Contemporary, as well as learn about Paul's career during an informative Q & A session. Paul was previously a member of London Contemporary Dance Theatre, Irek Mukhamadov & Dancers, Rambert Dance Company and Scottish Ballet as a soloist. Paul has also performed as a guest artist with Phoenix Dance Theatre, David Hughes Dance Productions & Simon Rice's Abundance. It was a great privilege for the dancers to have the chance to work with such an accomplished artist, and we hope to have further workshops in the future.
Summer Dance Intensive 2017
Our Summer Dance Intensive for young people aged 16 -24 years, who live or study in Islington, took place from 14 - 18 August, and the included styles are Jazz, Afro-Fusion, Contemporary, and Hip-Hop dance, led by Kamara Gray, Sheila Attah, Sarita Piotrowski, and Yami Lofvenberg.
The programme was part of Islington Council's 'Launchpad' activities taking place over the Summer.
Masterclass with Anthony Burrell - 24 March, 2016
Anthony Burrell, an American Creative Director, Choreographer and Dance Artist, delivered an exciting Contemporary Dance Masterclass. Anthony began his career as a company dancer with Ailey II and later with the Alvin Ailey American Dance Theater.
Anthony has since forged an impressive career in the Commercial Dance industry, working with artists including Mariah Carey, Beyoncé, Rihanna, Katy Perry, Alicia Keys, Kelly Rowland and Michelle Williams. He surprised two students by awarding them with scholarships to attend his Summer intensive programme, 'Breaking Barriers', taking place in Philadelphia in July, 2016. He is dedicated to providing dance training to under-served youth and was a great inspiration for our dancers.
End of Year 'Watching Day' - 20 July, 2014
Dancers finish off the year in elegance and style! To read more, click here.
Contemporary Dance Workshop with Namron, OBE - 11 May, 2014
Read more about the fantastic workshop here
Artistry Youth Dance One Year Anniversary Celebration - 25 April, 2014
A wonderful evening celebrating one year of Artistry Youth Dance! Read more
Tap Dance Workshop with Savion Glover - 6 April, 2014
The dancers attended an incredible masterclass with legendary tap dancer, Savion Glover. The class was followed by his show, 'Sole Sanctuary' which also featured dancer, Marshall Davis Jr.
Move It Exhibition - 9 March, 2014
We attended the annual Move It exhibition at Olympia to participate in workshops and experience everything dance!
Workshop With Award Winning Ballet Company, Ballet Black - December 2013
The dancers had the amazing privilege of having a six-week workshop series with the award winning Ballet Black whom we saw perform in April, 2013. The group had ballet technique classes and learnt repertoire from their piece, The One Played Twice by Javier de Frutos. Classes were led by Ballet Black choreographers, teachers and dancers including Denzil Bailey, Reena Bhattacharjee and Sarah Kundi. See the blog post about the fantastic workshops here.
The Scottsboro Boys Musical- Group Trip
Photos from our trip to see the emotional musical, the Scottsboro Boys at the Young Vic Theatre on Friday 25th October, 2014. We even managed to meet some of the cast! Read more our brilliant evening here.
Adam Parson Workshop
Some of the students had the unique opportunity to work with International choreographer, Adam Parson, who was visiting from LA. The workshop was very inspiring and the students enjoyed the chance to work with such an experienced artist!
Ballet Black Trip
We went to see a performance of the wonderful Ballet Black at the Bernie Grant Arts Centre. They performed a 'Quadruple Bill' including 'War Letters'. The dancers were lucky enough to meet the Ballet Black company dancers after the show!
Hip Hop Workshop with Rory Sky
The dancers had a high energy Street dance work shop with the talented Rory Sky!


text:
Farm Candy is a GEM of a store in South Street Seaport. It recently moved from its former location to its new spot right next to the soon to open Scotch & Soda (where Ambrose Beer Hall used to be). The charming store is home to the proprietary line of Farm Candy products which range from the most creative, delicious, multi-purpose sugars and salts to pasta sauces, tapenades to chocolate bars and much, much more. The Farm Candy boutique also sells a curated selection of stylish turkish towels and throws.
Pamela Stone is the store's owner and creator of the Farm Candy line of products. She grew up in the Garden State and as an adult lived in France, Italy and the Caribbean before settling here in NYC. Between her apartment in the city and her weekend retreat in the Catskills, Pam draws upon her background and her current environment to create unique blends of salts and sugars that are both beautiful to look at and make everything they season more memorable.
Here, we get to chat with Pamela Stone, the store's owner and creator of Farm Candy products, about what she loves about being in Lower Manhattan.
What do you love about the Seaport/FIDI and why did you move to the neighborhood?
That combined feeling of being in a small European village while also being in one of the most vibrant major cities in the world. The cobblestoned streets and historic buildings and being part of a real community and neighborhood while surrounded by beautiful skyscrapers in the middle of the financial center of the world.
What is your favorite restaurant? What is your favorite dish there?
That's a difficult one to answer because we have so many great restaurants in the neighborhood. My top three in the Seaport District would be Barbalu for the Spaghetti with sSpicy Shrimp and Arugula; Acqua for the Pappardelle Funghi & Tartufo and Mark Joseph for a perfect martini, amazing steaks and the best creamed spinach in the world!
Your favorite coffee shop or bar?
Coffee Shop – I mostly drink coffee at home in the morning but if I have a caffeine craving during the day, Jack's is my go-to place.
Bar – My favorite bar in the neighborhood is Dorlan's. Jeremy and his partner are wonderful, the oysters are always fresh, they have the best sliders and wedge salad and they make great cocktails and also serve my favorite bourbon, Widow Jane.
What would you like to see in the neighborhood?
A live music venue would be fabulous and is needed. Some of my most fun nights were spent dancing at Artists Loft when they were open and also when they held the Sound Off New York events outside.
What upcoming restaurant/ store/ event are you most excited for? (can be general, ie. all the restaurants moving here especially the plethora of fast-casual eateries)
I'm super excited for 10 Corso Como and Scotch & Soda and anything Jean-Georges!
On a Sunday afternoon, I like to…
If I'm in town I love to spend the day at Farm Candy, walk around the seaport for a bit, popping into some of the other shops and then meet up with friends for an early dinner at one of the neighborhood restaurants or bars. If I'm upstate, I usually spend the afternoon relaxing, reading and creating new Farm Candy products and flavor profiles.
My favorite song/ recording artist is..
That's a tough one, my taste in music is so random and all across the board but if I had to pick a favorite song it would be Tapestry by Carol King.
Last meal on earth?
It would have to start with some amazing caviar, crème fraiche and blini's just because how can your last meal not include caviar. It would then be followed by stuffed artichokes and the biggest bowl of delicious PASTA possible. (Yes, I'm a carb addict).
Your favorite piece of clothing or accessory?
My hand painted (RJP) Rialto Jeans, my Great Bag Co. Gold Bag and my favorite fingerless gloves from Lee Lee's Forest.
Can't leave home without…
My Clarins Sun Stick. It is my everything. Sunscreen, moisturizer and lip gloss.


text:
Dallas-based Haynes and Boone said the new office is the result of client demand for services in Moscow.To view full article, click on: http://dallas.bizjournals.com/dallas/stories/2005/04/04/daily16.html. Free site registration required.
Sending an email will not establish an attorney-client relationship. You should not send us any information that you want treated confidentially. By clicking Accept you acknowledge that we may review and use any information you transmit to us.


text:
Home >> Course Descriptions >> College of Arts and Sciences
Senior Practicum
Three semester hours. (FL/SP)
This course will focus on the field-based supervision of students seeking teacher certification through the SB 218/HB 1130 route to satisfy internship requirements. This course must be taken during the final semester prior to graduation. Prerequisite: Admission to the College of Education, successful completion of EDCI 3304 and EDDP 4324, an overall grade point average of 2.7, and a 2.7 grade point average in the area of specialization and consent of department chair.
Home - General Information - Student Services -
Academic Undergraduate Regulations -
Undergraduate Degrees - Academic Graduate Regulations -
Graduate Degrees - Course Descriptions - Faculty -
Appendix A - Appendix B - Appendix C - Appendix D


text:
It had been about 10 weeks since I had last done a photoshoot, that being the Chattri shoot last year (saying it like that makes it sound longer haha). So I was extremely happy to arrange to meet up with a new model for an afternoon of shooting in central London.
On Thursday I met up with the beautiful Stephanie for a test shoot, the first of hopefully many more to come! We didn't have anything too particular planned, just an outfit and a few general location in mind. I had an idea to use strips of lace wrapped around the models neck and wrists to compliment then dress and add a little bit of something to the photos, here is a drawing from my sketch book that I did the night before:
One of the photos was also accepted to be added on my PhotoVogue portfolio! :D You can see it here, any votes would be hugely appreciated! :)
I will be posting more stuff from this shoot once I have finished editing them, be sure to 'Like' my Facebook page for regular updates! :)
And now for week 5 of the Skeleton Project! this weeks photo is a bit strange but oh well. :D
Week 05:
Thanks for reading if you did! :P See you next week! :)