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RESEARCH TRIANGLE PARK, N.C., May 8, 2014 (GLOBE NEWSWIRE) -- BioCryst Pharmaceuticals, Inc. (Nasdaq:BCRX) today announced financial results for the first quarter ended March 31, 2014. "We have completed enrollment in the OPuS-1 Phase 2 trial to evaluate orally-administered BCX4161 in patients with hereditary angioedema and we look forward to reporting results from this proof of concept trial by the end of June," said Jon P. Stonehouse, President & Chief Executive Officer. "In addition, we continue to advance our 2 nd generation oral kallikrein inhibitors with a goal of initiating clinical trials during the first half of 2015." First Quarter Financial Results For the three months ended March 31, 2014, revenues were $3.5 million and consistent with $3.6 million of revenues reported in the first quarter of 2013. Collaborative revenue in 2014 of $1.6 million was predominantly associated with BCX4430 development under the contract with the National Institute of Allergy and Infectious Diseases (NIAID) as a treatment for Marburg virus disease, as well as activities supporting the filing of a New Drug Application (NDA) seeking regulatory approval for intravenous (i.v.) peramivir in the U.S. Research and Development (R&D) expenses for the first quarter of 2014 increased to $9.2 million from $7.2 million in the first quarter of 2013. The increase in R&D expense in 2014 as compared to 2013 resulted from higher development costs associated with the hereditary angioedema (HAE) and BCX4430 programs, and was partially offset by lower R&D costs associated with conclusion of clinical development of peramivir and the termination of BCX5191 development during 2013. General and administrative (G&A) expenses for the first quarter of both 2014 and 2013 were $1.6 million and reflect stabilization of administrative expenses following the restructuring of the Company's operations and cost structure, as announced in December 2012.
Interest expense, which is related to non-recourse notes, was $1.2 million in the first quarter of 2014 and 2013. Also, a $1.5 million mark-to-market loss on the Company's foreign currency hedge was recognized in the first quarter of 2014, compared to a $2.0 million mark-to-market gain in the first quarter of 2013. These losses and gains result from periodic changes in the U.S. dollar/Japanese yen exchange rate and the related mark-to-market valuation of our underlying hedge arrangement.The net loss for the first quarter of 2014 was $10.1 million, or $0.17 per share, compared to a net loss of $4.5 million, or $0.09 per share, for the first quarter 2013. Cash, cash equivalents and investments totaled $34.2 million at March 31, 2014 and represented a $6.6 million decrease from the $40.8 million at December 31, 2013. Net operating cash use for the first quarter of 2014 was $5.0 million, as compared to $8.9 million for the first quarter of 2013. Clinical Development Update & Outlook
- BioCryst recently completed enrollment in OPuS-1 (Oral ProphylaxiS-1), a Phase 2a trial of orally-administered BCX4161 in patients with hereditary angioedema. The Company expects to report results during the second quarter 2014. The OPuS-1 clinical trial is testing 400 mg of BCX4161 administered three times daily for 28 days in up to 25 HAE patients who have a high frequency of attacks (≥ 1 per week), in a randomized, placebo-controlled, two-period cross-over design.
- Nonclinical development of our two second-generation plasma kallikrein inhibitors continues to progress as planned. The most advanced compound has completed additional nonclinical dosing studies, with results that continue to support a profile of once-daily dosing for HAE in the clinic.
- Earlier this year, the NDA for i.v. peramivir was accepted with a PDUFA date of December 23, 2014. Following the issuance of a Warning Letter and a recent re-inspection by FDA, our contract manufacturer for peramivir drug product received a Form 483, which contained a number of observations that need to be addressed. It is unclear how these findings may impact the peramivir NDA or supply of peramivir drug product. BioCryst and its contract manufacturer are working with the FDA to meet the requirements for approval of the peramivir NDA.
- In March, BioCryst announced the publication in the journal Nature of compelling BCX4430 efficacy results in animal models of infection with Marburg virus and Ebola virus, two highly virulent pathogens responsible for viral hemorrhagic fever diseases. The Nature online publication, "Protection against filovirus diseases by a novel broad-spectrum nucleoside analog BCX4430," represents the first report of protection of non-human primates from filovirus disease by a small molecule drug. This research was chosen for oral presentation at the 6th International Symposium on Filoviruses in Galveston, TX, on April 2 and also at The 27th International Conference on Antiviral Research (ICAR) in Raleigh, NC on May 14.
- During the first quarter 2014, BioCryst's research team started small molecule drug discovery programs addressing two rare disease targets. These programs are intended to refill the clinical development pipeline in the timeframe our HAE assets come to market.
Conference Call and WebcastBioCryst's leadership team will host a conference call and webcast today, May 8, 2014 at 11:00 a.m. Eastern Time to discuss these financial results and recent corporate developments. To participate in the conference call, please dial 1-877-303-8027 (United States) or 1-760-536-5165 (International). No passcode is needed for the call. The webcast can be accessed by logging onto www.BioCryst.com. Please connect to the website at least 15 minutes prior to the start of the conference call to ensure adequate time for any software download that may be necessary. About BioCryst Pharmaceuticals BioCryst Pharmaceuticals designs, optimizes and develops novel small molecule drugs that block key enzymes involved in infectious and rare diseases, with the goal of addressing unmet medical needs of patients and physicians. BioCryst's core development programs include BCX4161 and two next generation oral inhibitors of plasma kallikrein for hereditary angioedema; peramivir, a viral neuraminidase inhibitor for the treatment of influenza; and BCX4430, a broad spectrum antiviral for hemorrhagic fevers. For more information, please visit the Company's website at www.BioCryst.com. Forward-Looking Statements This press release contains forward-looking statements, including statements regarding future results, performance or achievements. These statements involve known and unknown risks, uncertainties and other factors which may cause BioCryst's actual results, performance or achievements to be materially different from any future results, performances or achievements expressed or implied by the forward-looking statements. These statements reflect our current views with respect to future events and are based on assumptions and are subject to risks and uncertainties. Given these uncertainties, you should not place undue reliance on these forward-looking statements. Some of the factors that could affect the forward-looking statements contained herein include: that the Phase 2a clinical trial for BCX4161 may not have a favorable outcome; that ongoing and future preclinical and clinical development of HAE second generation candidates may not have positive results; that BioCryst or its licensees may not be able to enroll the required number of subjects in planned clinical trials of other product candidates; that the Company or its licensees may not advance human clinical trials with product candidates as expected; that the FDA may require additional studies beyond the studies planned for product candidates, or may not provide regulatory clearances which may result in delay of planned clinical trials, or may impose a clinical hold with respect to such product candidate, or withhold market approval for product candidates; that BioCryst may not receive government funding to further support the development of BCX4430 or peramivir; that BARDA/HHS and NIAID may further condition, reduce or eliminate future funding; that peramivir may never be approved for any use by the FDA; that the Company's peramivir supply could be limited or delayed due to regulatory issues at our manufacturer; that the Company or its licensees may not be able to continue development of ongoing and future development programs; that such development programs may never result in future product, license or royalty payments being received; that the Company may not be able to retain its current pharmaceutical and biotechnology partners for further development of its product candidates or may not reach favorable agreements with potential pharmaceutical and biotechnology partners for further development of product candidates, that its actual financial results may not be consistent with its expectations, including that 2014 operating expenses and cash usage may not be within management's expected ranges. Please refer to the documents BioCryst files periodically with the Securities and Exchange Commission, specifically BioCryst's most recent Annual Report on Form 10-K, Quarterly Reports on Form 10-Q, and Current Reports on Form 8-K, all of which identify important factors that could cause the actual results to differ materially from those contained in BioCryst's projections and forward-looking statements.
|(in thousands, except per share numbers)
|Statements of Operations (Unaudited)
|Three Months Ended
|March 31,
|$ 1,821
|$ 1,924
|Collaborative and other research and development
|Total revenues
|Research and development
|General and administrative
|Total operating expenses
|Loss from operations
|Interest and other income
|Interest expense
|Gain (loss) on foreign currency derivative
|Net loss
|$ (10,137)
|$ (4,506)
|Basic and diluted net loss per common share
|$ (0.17)
|$ (0.09)
|Weighted average shares outstanding
|Note: For the three months ended March 31, 2013, $196 of legal patent costs are now classified as General and Administrative expense, whereas they were previously classified as Research and Development expense.
|Balance Sheet Data (in thousands)
|March 31, 2014
|December 31, 2013
|(Note 1)
|Cash, cash equivalents and investments
|$ 34,070
|$ 40,637
|Restricted cash
|Receivables from collaborations
|Total assets
|Non-recourse notes payable
|Accumulated deficit
|Stockholders' deficit
|Note 1: Derived from audited financial statements.
CONTACT: Robert Bennett, BioCryst Pharmaceuticals, +1-919-859-7910


text:
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All members of the Eristavi Winery Wine Club enjoy carefully selected wines from the Eristavi Family Winery. Each shipments consist of up to 3 bottles of the very best wines in our portfolio including new labels, recent releases, pre-released, and limited released wines.
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Three hand selected wines according to you palate profile
Tasting notes and wine pairing guides with each shipment
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If you have any issues with sign-up or wish to cancel your membership please email us at firstname.lastname@example.com and we will take care of it immediately.

subset: commoncrawl


text:
Hi, I'm Blake. my big project is a tower defence game called 'Forgive Me My Henchmen'. you play as a typical head 'bad guy', deploying henchmen and sabotaging a building to delay an unstoppable one-man army.
Let's try this again...
Okay, I admit it - I've been a terrible blogger. It is not that I don't care about the blogosphere, it is just that I find it extremely dull compared to actually working on my game. When I have the choice - blog or work on my game - working on the game always wins.
But I've decided to change that! I've thought of how I can make blogging more fun. It is the same way I made journalling more fun (many years ago).
Back in the days, I always wanted to keep a journal - or rather, I liked the idea of being the type of guy that would keep a journal. So I bought a journal, and made pact with myself - everyday before bed, I would write at least a sentence or two about my day.
I would go strong for about a week or two, and then abandon it completely. Truth is, I'm no James Bond - most of my days simply are not worth writing about. Ever tried writing a journal entry that begins with 'Today the only exciting thing I did was put more jam than usual on my toast'? Well, it is demeaning. Creating an obligation to write, and writing only about one topic - my day - quickly took all the joy out of journalling, and I would drop the habit quite quickly as a result.
I think I have been thinking about this blog the same way - something I am compelled to do, writing only about my game's progess. Ugh. Sometimes the things I am working on - although important - are so dull that writing about them would age me. I fear I would visibly age with every word I wrote, just like that dude from Indiana Jones who drank from the wrong cup.
I only became good at keeping journals when I said to myself 'Fuck it' and took all the pressure off. I stopped treating my journal as a typical journal, instead it became the book I would turn to whenever I wanted to write something or anything down. I would use it to plan stuff, think through ideas, take notes, doodle, and of course, write about my day/thoughts/feelings if the need ever arose. I would write in it when I felt like it, and not otherwise. Sometimes I would end up writing in it a couple of times a day, sometimes not for a week or two. Having a book that I can write things down in whenever I feel like it has been great, and - as a result - I have been writing in journals quite consistently for about 5 years now.
So I think what I am going to do is to open my blog up. I am going to blog about what I want, when I want. I am guessing it will mostly be game related, but not necessarily so. Who knows? There are no rules! I can write anything!!! Agh! WAGAA! WAAGAAAA!!! CHICKEN HAT!!!
Haha, yeah, the pressure that my blog also has to be super professional has been a downer as well. I think rather than aiming for professionalism, I will just aim to create a blog that is fun and sincere. Let's hope me giving myself permission to be a bit more crazy will actually mean that I can also start to create a blog worth following/reading. Check up on this site in the future, judge for yourself if this is going well.
May 2019


text: We've been long time lovers of the himmeli for a while now, evident here and here. Himmeli is considered the quintessential Christmas decoration of Finland, but is popular in all Nordic countries. It is a geometric straw mobile or chandelier and can be transformed into a variety of interpretations. The Swedish word for chandelier is takkrona, which means ceiling crown. I love the idea of having homemade ceiling crowns all over your home. I feel like it captures Scandinavian design perfectly: clean and simple but stunning and interesting. This book, Himmeli: Geometric Home Decor Past and Present by Swedish author Eija Koski is a beautiful compilation of Himmeli projects and the ultimate go-to book for all things himmeli.


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Another cold day, but there appear to be some more birds back on the feeders! I thought that I heard a couple of Long tailed Tits but did not see them.
Dave, one of the volunteers at RSPB had seen some Long tailed Ducks down on Loch Indaal the other day, so he was well pleased as that was a new bird to him. He also had Great Northern Diver, Red throated Diver and some Slavonian Grebe as well as Common Scoter.


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US Government Screw Up Or A Distraction – They Understand That The Economy Is Going To Collapse And They Cannot Be Blamed When It Happens
September 10th, 2013
erry over the weekend said that all Assad needs to do is hand over his chemical weapons. Russia heard the proposal and spoke with Assad and he said ok lets do it. The US government back pedaled a little and then President Obama said lets proceed. The US Government has not backed down on a strike and they want Assad to admit they he used chemical weapons. The central bankers/US government want war, need war and will not give up until they get their war. They understand that the economy is going to collapse and they cannot be blamed when it happens.
HANK PAULSON: WORLD SHOULD PREPARE FOR NEW FiNANCIAL CRISIS
Five years after the financial crisis former Treasury Secretary Henry Paulson says "the world should prepare for a new financial crisis" in tomorrow's Handelsblatt newspaper.
"The Fannie Mae, Freddie Mac reform has made no progress and the market of shadow banks hasn't been addressed"
The Rest…HERE


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Court Strikes Down DTV Tuner Appeal
The U.S. Court of Appeals denied a petition from the Consumer Electronics Association (CEA) to review and overturn the Federal Communications Commission's mandate to include digital TV tuners in television sets.
The court's ruling rejected arguments that the FCC lacked the authority to order the inclusion of DTV tuners in TV sets, and that the decision was unreasonable.
CEA president Gary Shapiro expressed disappointment in the decision, adding that the association and manufacturers are studying the ruling.
"Everyone involved in the analog-to-DTV transition is trying his utmost to accomplish shared objectives. We certainly reached a critical tipping point a few weeks ago with the FCC's adoption of the historic cable plug-and-play agreement. From here, the commission needs to be vigilant in ensuring that this well-crafted plug-and-play agreement is dutifully implemented and enforced with the interests of the American consumer top of mind."
The National Association of Broadcasters (NAB), which has long advocated the tuner mandate, submitted comments in support of the FCC's decision.
NAB president Eddie Fritts said the court decision "is a milestone towards completing the DTV transition. Consumers buying TV sets will know that the receivers they buy will continue to receive all broadcast signals, even as broadcasting changes to digital."
FCC Chairman Michael Powell said, "We're on track to have most television sets digital-ready by 2007. This will ensure that consumers are able to enjoy high-quality digital broadcast programming without the hassle and expense of hooking up a separate set-top box."


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Newton, Mass.
Call Me Levon
By Ken Gordon
So I'm driving around my leafy suburb of Newton, Massachusetts, in the kind of stretched-out silver roadster you see everywhere in this neck of the woods. I'm picking up my 13-year-old daughter from a play date. Not my coolest moment. Suddenly, from the classic-rock precincts of satellite radio, sounds a clear, beautiful middle C.
A beat.
Then the piano steps up the scale, one white key at a time —
— and within seconds I'm no longer a 46-year-old suburban husband and father of two, a Jewish Yankee in the bluest of blue states. Instead, I am Levon Helm of Turkey Scratch, Arkansas.
That's also Levon Helm of the Band, who died three years ago, on April 19, 2012. The lone Southerner in a band consisting otherwise of Canadians.
Behind the wheel, I am a very specific Levon.
Not the Levon of "Ain't in It for My Health," the superb 2010 documentary I recently Nexflix'd, in which our suffering hero fends off bankruptcy, loses his voice and blows off a Lifetime Achievement Grammy Award.
Not the Levon whose civil war over songwriting credits with the Band's Robbie Robertson lasted for decades.
Not even Levon the singer, whose Arkansas voice allows "The Night They Drove Old Dixie Down" to jump from a mere dramatic monologue into an classic artifact of American culture.
Virgil Kane is the name and I served on the Danville Train….
No, I am Levon the drummer. Levon from "The Last Waltz": vital, trim, brown hair and beard, shirt open at the neck, alive behind the kit. That's the vital primal power of music. The right song can make you, momentarily, into a strange, happy, beat-driven being.
"My joy is to play the drums," Levon told CBS News in 2007. "The singing part is just something I glommed my way into." I hear that.
And I recall that Levon attended Berklee School of Music, which happens to be exactly 5.7 miles from my house, for a semester in 1972.
"I'd always had a complex about my total lack of musical training — beyond several million hours of field work," he writes in his autobiography, "This Wheel's on Fire." And so he shaved his beard and enrolled with his given name, Mark L. Helm. Why he only lasted a semester, I don't know. But I love that this bona fide rock star gave education the old college try.
I do what I can to simulate the subtle rolling snares in the chorus, but in truth, I am no drummer, Confederate or otherwise.
I'm smacking the hell out of my steering wheel, as I happy as I've been in months, grooving in the idea that my history with this song, with The Band, with the great glorious American past, is part of my living breathing life.
The niiiiight they drove old Dixie down….
• • •
Scratch that — when "The Night They Drove Old Dixie Down" comes on, Virgil Kane is my name.
Because that song isn't primarily about the drums. It's the lyrics. Robbie's lyrics. Better yet: the unlikely and imperishable character of Virgil Kane.
First, let's talk about that name. Our Canuck lyricist is being a kind of subtle show-off. Virgil is the Roman poet and Dante's guide to hell. It signals, to the knowing listener, that an epic story is being told. "Kane" is clearly a reference to Cain and Abel. Our Virgil bears the mark of Cain, in his very voice.
The big steering-wheel-tapping insight: There is nothing that can bring a Northerner like me closer to Southern culture than when Levon plays the part of Virgil Kane against the musical scenery of his bandmates.
I mean, you admire Faulkner when he has Quentin Compson respond to the question, "Why do you hate the South?" with the following:
"'I don't hate it,' Quentin said, quickly, at once, immediately; 'I don't hate it,' he said. I don't hate it he thought, panting in the cold air, the iron New England dark: I don't. I don't! I don't hate it! I don't hate it!"
The ambivalence is undeniable and it freezes our attention, but none of this, as interesting as it is, makes you say, "I feel just like that guy!"
"The Night They Drove Dixie Old Dixie Down" does precisely that.
The question is: Why? What about that song makes me feel so much?
• • •
Part of the song's success can be attributed to the charm of the Southern story. Americans love an underdog story, a rebel tale, particularly when it's told in a colorful, demotic dialect. Robbie understands the appeal of the Southern literary context. As he said in a 1988 radio interview:
Tennessee Williams just appealed to me, the flavor of writing, the titles of the things, "Sweet Bird of Youth," "Cat on a Hot Tin Roof" — this catches my attention, partially because I had gone to the South from Canada, really yin and yang, really a big extreme, so it hit me much harder than somebody who had gone from Washington, D.C., down to South Carolina — I went from Toronto to the Mississippi Delta, and … I liked the way people talked, I liked the way they moved. I liked being in a place that had rhythm in the air.
(You can almost discern, if you wish to do so, a sort of cosmic coordination between the circumstances of my hearing "The Night They Drove Old Dixie Down" and Faulkner's "Absalom, Absalom!" Quentin's famous retort comes when he is talking to his Canadian roommate, Shreve, at, of all places, Harvard! Or am I reading too much into the overlap?)
All this academic stuff is, of course, academic. What makes this song live is how Virgil takes shape through the sound of Levon's voice. Levon was a superb and natural actor — not just in his film roles, like his portrayal of Loretta Lynn's father in "Coal Miner's Daughter," but also in his singing.
Levon and Virgil: How can you tell the singer from the song?
We can't. Perhaps we shouldn't. The story Levon's Virgil tells is deeply personal. With his pride and his dead brother — "He was just 18, proud and brave, but a Yankee laid him in his grave" — he seems downright righteous in his aggrieved self. It makes you, makes me, want to spit at the damned Yankees. "The Night They Drove Old Dixie Down" makes the listener one with the narrator. It's about feeling the unfortunate necessity of hauling around a failure from generation to generation. While this song plays, I inhabit this character, and I (a liberal, Jewish Bostonian), I am this bitterness.
But there is a complicating factor here, at least for me. There is a necessary confusion between Virgil and Levon. Their various forms of bitterness blend and blur. Are we, when we hear it, angry at the North? Yes. At Robbie? Yes. Virgil is angry about his dead brother; Levon about his late, beaten-down bandmates, Richard Manuel and Rick Danko. And it's this double antipathy, combined with the visceral thrill of the Band's superb collective musicianship, that makes the magic go.
• • •
When I hear "The Night They Drove Old Dixie Down," I feel like a Southerner.
But what exactly, as the editor of this fine publication once asked me, does that fucking feel like? What could "feeling like a Southerner" possibly mean to a born and bred Northerner?
I think it is, in a rough way, about the same as being a Jew.
As a Jew, I identify with Southern Otherness. There's something indigestible in both the Southerner and the Jew. And there's a Jewish element to my makeup that will never be entirely at ease among, say, upright religious Christians. (I'm not at ease among upright religious Jews, either, but that's another story.)
Both Southerners and Jews have to deal with the various cartoon versions of our heritages floating around. We need to constantly work to not succumb to the simplistic way so many people see us. That is, I aim to claim my heritage holistically, just as the Bitter Southerner does.
How are the Southerner and the Jew similar? We both look, more or less, like everyone else. We both pass, more or less, until we have an opportunity to open our mouths and then, bam!, the second your interlocutor hears those Extremely Distinctive Sounds the Jew or the Southerner makes, it's clear that one has encountered a Quite Possibly Aggressive Minority.
The Jew and the Southerner are reflexively — historically — in reaction to the majority culture. We distrust the culture of the winners. We thus seek subversive ways to express ourselves. That's the overlap.
The twist here is that Bitter Southerners are liberal-minded, Jew-style (take that!) Southern rebels. You're not simply against the North. You're also against the small-mindedness and bigotry right in your own backyard.
As am I.
I get that even more than I get what Virgil Kane's talking about.
• • •
Save your neck, or save your brother
Looks like it's one or the other
— "The Shape I'm In," The Band
To illustrate the emotional complexity, let's look at another song. In Bruce Springsteen's "Atlantic City," there's a line sung by the narrator, a marginal character, that goes, "There's just winners and losers and don't get caught on the wrong side of that line." When Levon covers it — with the late-model, Robbie-less version of Band — he renders the line as, "There's just winners and losers and I'm south of the line." With this change, I understand that I have been living what they would call in today's parlance Northern Privilege.
The automatic defensiveness of the Southerner: That's what I understand when I get this. It's also the feeling I get from "The Night They Drove Old Dixie Down."
Another subtext is the story of the Band. In Levon's version of things, the Northerners are those who focused on the money — and succeeded. Robbie, the band's manager Albert Grossman and Martin Scorsese, who directed "The Last Waltz." In the role of the Southerners are those who wound up paying the price: Richard, Rick and Levon.
When I hear this song, I have enormous sympathy for Virgil Kane, for Levon, and I set myself against the lousy carpetbaggers who luxuriate in their unearned and unfair reputation as victors.
Could I envision a dramatic monologue — musical or otherwise — that made me feel sympathy for a Nazi? Nein.
• • •
I've heard "The Night They Drove Old Dixie Down" hundreds of times in my life. I've played it hundreds of times on the piano. But until this fall day in 2014, I never really got it.
The feeling is really overwhelming. If I didn't have to get my kid, I'd probably pull into a coffee house and start scribbling on a napkin about how how different this experience is compared to listening to Tom Petty sing, "I was born a rebel ..."
The irony is, for most of the time, the South is a little more than a cliché for me. I have rarely ventured there — a brief vacation to Atlanta once, a business trip to the same, two visits to Graceland — but there lurks in me a small but primordial fear that the second a Jew crosses the Mason-Dixon Line he turns into Leo Frank, bound to come face-to-face with some rip-roaring anti-Semitic bigotry. Ridiculous? Yep. That's what the culture has prepared me for. Culture ...
The reality is more complex. All I need to do is conjure up reality in the person of my great buddy, Fletcher. Fletch is a born and bred Southerner — though he and his wife and first child lived in Beantown for a number of years — who happens one of the most decent, generous and intelligent people I've ever met. Not an ounce of bigotry there — anti-Jewish or otherwise.
So is there something in my non-aesthetic life that enables my act of imaginative sympathy? Could it be that my identification has less to do with the song than the real-life friendship which contradicts my own prejudices?
It could.
Look, I'm 46 years old — I was born in July of 1969, just before the release of "The Night They Drove Old Dixie Down" — and I understand that our responses to any given stimuli are imbricated, and that only a fool thinks that a simple cause-and-effect explanation is the full or final word on just about anything.
• • •
What interests me — what worries me — is a cultural matter: The Band's sure-to-be-forthcoming biopic.
Now, I don't read the trades, and I'm about as far from Hollywood as can be … but I can just spy a movie about the Band smoking down the tracks. Here's why: I just saw a bad, pretentious film about James Brown. Big critical success. A few years ago there was a successful one about Ray Charles. There is a market for this kind of thing, and a story about a tragic white rock band might just do boffo box office.
Hollywood is more than ready for a movie about the very troubled Band — we don't just have the Robbie-Levon drama: The Band backed Dylan when they went electric; singer and pianist Richard Manuel hung himself in a hotel room; bassist Rick Danko pegged out at 56. And of course it will come — complete with an amazing re-mastered soundtrack and maybe a few new songs written and sung by Robbie Robertson.
This film will directed by Martin Scorsese, who, of course, made "The Last Waltz," and who lived with Robbie when they both got divorced. Levon says that during the editing of "The Last Waltz" the two became "blow buddies" and "their wives kicked them out and they moved in with each other, and they just … poor guys. You know, that looks OK in Hollywood, but it just looks weird everywhere else."
Robbie now does the music for each and every Scorsese film, and is an executive at Dreamworks. Nice work if you can get it.
Levon didn't get it. And neither did the rest of them. Instead, he got cancer.
Robbie is currently writing his autobiography. You know that Marty will surely have some screenwriter adapt Robbie's book — and you know whose point of view we'll be getting in this film.
Interestingly, this is score-settling at its finest. For years, Band fans have only had Levon's book "This Wheel's on Fire" as the official word on the Levon/Robbie feud. A book by Robbie, and a film by Marty, will be the official word — at least for the larger public.
Speaking of which: There's an anecdote Robbie loves to tell. I've seen a couple of versions of it. This one comes from the "Classic Albums" documentary series: "I was at Levon's house and I was there with his mom and dad. At one point in the conversation his dad said — just kiddingly, but there was some sincerity in it at the same time — and he said to me, 'Well, you know, Robbie, one of these days the South is gonna rise again.'"
So did Robbie steal this material from Levon and his father? Was he paying homage? Did he share the credit? The truth is, whatever happened, Levon signed off on it by bringing Robbie to his home and then singing the tune — but you can easily understand why there might be some legitimate after-the-fact anger.
• • •
But what about Robbie's point of view? Is it not possible to see it? Is he not in the position of the quintessential artist, using the material that's available to him? Why not see his decision to leave the band as smart? If Levon wasn't in it for his health — most of the Band's members clearly weren't thinking about longevity — was it wrong of Robbie to do so?
I think it's easy and obvious to side against Robbie.
Fact is, it took his organizing intelligence to create the songs that made the Band. Levon couldn't have written "The Night They Drove Old Dixie Down" by himself— even though the Southern history was his history.
So we have to thank Robbie for that.
The ethical question remains: Did he owe Levon? What did he owe Levon? How in the world can we judge this? Or can we? Must we?
• • •
The thing I dread most about the inevitable biopic is the reconciliation scene.
Who knows what really happened at the end between Robbie Robertson and Levon Helm?
"I did the [Rock and Roll Hall of Fame] induction ceremony, and then flew directly to New York and went to the hospital and I saw him, and I spent an hour holding his hand," said Robbie on a Canadian TV talk show. "Then a day, or a couple of days later, he passed on. I was relieved that I was able to get there and just be there with him."
Robbie also spoke about the strained relationship, adding, "We were never not friends.… What happened after I wasn't with the Band anymore — I did leave, after "The Last Waltz. I knew it was time. It was survival time, and I had to go. And years later, after that, Levon became very bitter — and he was right in saying I walked away. But he went to a whole other place in this that was never true. It just kind of ate him up, and it became part of his personality."
Robbie won. Levon lost. There's no doubt about it. But the biopic will be the final word — more final than "This Wheel's on Fire" or whatever Robbie's book turns out to be. "Ain't in It for My Health" is pretty good. It's the anti-"Last Waltz" in some ways, but it won't hold up to a Scorsese treatment featuring performances by, say, DeNiro as the Band's manager Albert Grossman (he'll put on the weight) and Leonardo di Caprio as Robbie and… who in the hell will play Levon? Maybe Billy Bob Thornton. Yes. He actually pays a visit to Levon in "Ain't in It for My Health."
Wait … did I just cast this movie I'm dreading?
Question is: How do I make sure that I'm properly credited and remunerated? Levon would insist on it.
More Folklore
A Funeral for Blues Boy
By Julianne Hill
MONDAY, 5 a.m. That would be 4 a.m. back home in Chicago. The alarm rang, I ignored it. Then the guest relations associate of the CNN Omni Hotel called, gently reminding me that this was my wake up call. This also gently reminded me too that there was no lover next to me to make sure I got up, to maybe make the coffee and bring it to me.
Read On
Moonlight Through the Pines
By Julianne Hill
My father-in-law is a local celebrity. He, born at the end of the Dust Bowl era and raised on an Oklahoma farm, might say he is a businessman. Both are true. I'd lived most of my life in Baton Rouge, but somehow I had missed the source of my father-in-law's renown, over twenty years of stardom in television advertisements for his Goodyear tire shops.
Read On
Call Me Levon
By Ken Gordon
My father-in-law is a local celebrity. He, born at the end of the Dust Bowl era and raised on an Oklahoma farm, might say he is a businessman. Both are true. I'd lived most of my life in Baton Rouge, but somehow I had missed the source of my father-in-law's renown, over twenty years of stardom in television advertisements for his Goodyear tire shops.


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Contact Us
Contact Form
Please use the form below to contact us. Alternatively, you can send an email to: email@example.com. We aim to reply to all correspondence within 3 working days.
The McClelland Centre
City Campus – University of Worcester
Infirmary Walk (off Castle Street)
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Phone: 01905 855111
Early Intervention Team
Studdert Kennedy House
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Hepatitis (Jaundice)
This disease strikes terror in families because parents fear the worst outcome or have many misconceptions.
Hepatitis is an inflammation of the liver.
Most cases are not recognized because it is generally mild and symptoms are not severe. Its symptoms are nonspecific like fever, headache, general achiness, loss of appetite, or an itchy rash. After a few days, you will notice more nausea and vomiting, stomach ache, and in some cases jaundice (yellowness of the whites of the eyes and skin). Urine will be dark and stools will change to a tan or white color. The area of skin over the liver can be quite tender from the swelling of the liver.
Viruses cause inflammation of the liver including the virus of mononucleosis ( Ebstein-Barr virus ). Two common forms of hepatitis are infectious or "A" type and Serum or "B" type. Incubation period can vary from 1 month for infectious hepatitis to 6 months for serum hepatitis. Infectious hepatitis is spread from one person to another from intimate contact or from infected water or food. Serum hepatitis is spread by contact with contaminated blood which can occur when infected needles are used or shared or sexual contact.
There is no cure for the viral infection once it develops in the body.
Treatment focuses on meeting the nutritional needs of the infected child. Foods should be lower in fats and contain only mild to moderate amounts of proteins. Carbohydrates are easier to digest than fats or proteins, but all food types can be eaten.
If a member of the family is known to have infectious hepatitis, all family members may receive immune globulin to prevent or to minimize the severity of hepatitis. Once the disease is diagnosed, immune globulin will not stop the infected person's disease. Some children and adults can have damage to the liver or chronic hepatitis. It is important to prevent cases of hepatitis, whenever possible. Fortunately, there will be complete recovery from infectious hepatitis in more than 90% of children.


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Could "Citizens United" End the ACA Individual Mandate?
Fed appeal panel says Citizens United might end Obamacare's HHS mandate
If, under Citizens, a Corporation has 1st Amendment right, what happens to an individual citizens' 1st Amendment Right to religion? An interesting look at how "Citizens United" might, according to the DC Court of Appeals, end the individual mandate.
Posted on November 3, 2013, in 1st Amendment, Freedom of Religion and tagged 1st Amendment, Obamacare, Religion. Bookmark the permalink. Leave a comment.


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Visit Bob and Coleen's Workers On Wheels Website for Working RVers
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Born: New York, 1957
Lives: New York
Education: 1979 California Institute of the Arts, B.F.A
Solo Exhibitions
2017 Unidentified, Redling Fine Art, Los Angeles
2016 The Influence Machine, George Square Gardens, University of Edinburgh, Edinburgh
A*gR_3, Galería Moisés Pérez De Albéniz, Madrid
M*r>0r, Magazine III Collection
The Imponderable Archive, CCS Bard Galleries
Imponderable, MOMA
>>pU#\*c<<, Hans Mayer Gallery, Dusseldorf, Germany
TC: The Most Interesting Man Alive, Chrysler Museum, Virginia
PriV%te, Lehmann Maupin, Hong Kong
2015 Bernier Eliades, Athens, Greece
"Imponderable: the Archives of Tony Oursler", LUMA Foundation, Arles, France (cat.)
Lehmann Maupin, New York, NY
"template/variant/friend/stranger", Lisson Gallery, London, United Kingdom
"Influence Machine", Blinc Festival Adelaide, Pink Flats, Adelaide, Australia
2014 "X ERGO Y", The Stedelijk Museum, Amsterdam, Netherlands
"I/O underflow", Oude Kerk, Amsterdam, Netherlands (cat.)
"Obscura", Galerie Hans Mayer, Dusseldorf, Germany
"Passe-Partout", Baldwin Gallery, Aspen, CO
2013 "Phantasmagoria", Grand-Hornu MAC's, Hornu, Belgium (cat.)
"Glare Schematics", A Baronian Gallery, Brussels, Belgium
"hopped (popped)", Edward Hopper House, Nyack, New York
Galeria Leme, Sao Paulo, Brazil
Ekeberg Sculpture Park, Oslo, Norway
John Buckley Gallery, Melbourne, Australia
"Phobic / White Trash", JGM Galerie & Campoli Presti, Paris, France
"strawberry ecstasy green", Espace Louis Vuitton, Venice, Italy
"Tony Oursler: UFOs and Effigies", Arthur Ross Architecture Gallery, New York
"Little Worlds", Honolulu Museum of Art, Honolulu, Hawaii
"agentic iced etcetera", PinchukArtCentre, Kiev, Ukraine
"The Influence Machine", Tate Modern, London, United Kingdom
"Norte Sul Leste Oeste", Museu de Arte Moderna, Sao Paulo, Brazil
2012 "Oxt Variations", 313 Art Project, Seoul, Korea
"Denouement", FaMa Gallery, Verona, Italy (cat.)
"Open Obscura", PAC - Padiglione d'Arte Contemporanea, Milan, Italy
Sculpture, Jensen Gallery, Sydney, Australia
Sculpture, Jensen/Fox, Auckland, New Zealand
"Super Pop (and Not)", Contemporary by Angela Li, Hong Kong
"top–down–bottom–up", Gallery Paule Anglim, San Francisco, CA
"Lapsed Fantasist", Galerie Hans Mayer, Düsseldorf, Germany
"False-Color Actions", Galeria Soledad Lorenzo, Madrid, Spain
"Scribble, Adumbrations", Avlskarl Gallery, Copenhagen, Denmark
"Face to Face", ARoS Aarhus Kunstmuseum, Denmark
2011 Adobe Museum of Digital Media, Online
"As Above, So Below", Galerie Forsblom, Helsinki, Finland
"Open Obscura", PAC - Padiglione d'Arte Contemporanea, Milan, Italy
JMG Galerie, Paris, France
2010 Oi Futuro, Rio de Janeiro (cat.)
"Valley," Adobe Museum of Digital Media
"Peak," Lehmann Maupin, New York
"ON/OFF," Jensen Gallery, New Zealand
"Vertical Loop Task," Baldwin Gallery, Aspen
"Number Seven, Plus or Minus 2," Faurschou Gallery, Beijing, China
2009 "LOCK 2,4,6", Kunsthaus Bregenz, Austria (2009 - 2010) (cat. and CD)
"50 Schilling," Galerie Steinek, Vienna, Austria
Baronian-Francey, Brussels, Belgium
"Void or Everything Ever Wanted," Luminato Festival, Toronto, Canada
"Haze or Transparency with Friends and Colors," AGO, Toronto, Canada
"Five Take Radius," Clocktower, New York
"Gaze Heuristic (With Drool)," Galleria IN ARCO, Turin, Italy
"Cellphones Diagrams Cigarettes Searches and Scratch Cards," Metro Pictures, New York
Paule Anglim Gallery, San Francisco, CA
"Splatter Project #1," Frank Sinatra High School, New York (Permanent public project)
2008 "Mirada Pensante" Espacio Cultural El Tanque, Santa Cruz de Tenerife
"High," Lisson Gallery, London, England
"Trunk Mask Bomb Frame Hatchet Crutch Queen," Galería Soledad Lorenzo, Madrid, Spain
"NixAlienClimaxCloudAxe," House of Photography, Moscow, Russia
"St. Roch," KK Projects, New Orleans
"Project for Physic Garden," London, England
"AWGTHTGTWTA," New York
"Horizon Scander Jeu," (In collaboration with Tony Conrad and Constance DeJong) Gare du Nord, Paris, France
Jensen Gallery, Auckland, New Zealand
Project for Land and Beach, Gibbs Farm, New Zealand
2007 "Ooze," Lehmann Maupin, New York
"Phobos," Bernier/Eliades, Athens, Greece
"Dum-Dum, Metalbreath, Wadcutter," Galleria Emi Fontana, Milan
Galerie Forsblom, Helsinki (2007-2008) (cat.)
Gallery Paule Anglim, San Francisco
"Million Colors," Phoenix (Permanent public project)
2006 "Spaced," Margo Levin Gallery, Los Angeles
Simon Studer Art, Geneva, Switzerland
"Sound Digressions in Seven Colors" Nyehaus, New York
Galleria IN ARCO, Turin, Italy
"Disposifs," Kunstforeningen GL Strand, Copenhagen, Germany
"Perfect Partner," Collaboration with Phil Morrison and Kim Gordon, Montclair, New Jersey
"Thought Forms," Metro Pictures, New York
2005 "Blue Invasion," Sydney, Australia
"Studio: Seven Months of My Aesthetic Education (Plus Some)", "Climaxed", Metropolitan Museum of Art, New York
"Dispositifs," Jeu de Paume, Paris (Cat.); Domus Atrium 2002, Salamanca, Spain (Cat.) Helsinki City Art Museum, Helsinki
"Perfect Partner," Collaboration with Phil Morrison and Kim Gordon, Barbican, London
2004 Lehmann Maupin, New York
"Unk," Aarhus Kunsthaus, Aarhus, Denmark
"Sexta de Cifra," Barcelona Civic Plaza, Barcelona, Spain (Permanent Public Project)
"Blob," Galeria Soledad Lorenzo, Madrid, Spain
"Studio: Seven Months of My Aesthetic Education (Plus Some)," Musee D'Orsay, Paris, France
"Braincast," Seattle Public Library, Seattle
"PHOBOS," Bernier Eliades, Athens
Margo Leavin Gallery, Los Angeles
2003 Metro Pictures, New York
Bernier/Eliades, Athens, Greece
Jensen Gallery, Auckland, New Zealand
Lisson Gallery, London, England
Gallery Paule Anglim, San Francisco
2002 Parallel Lines, Galleria in Arco, Torino, Italy; Studio d'Arte Raffaelli, Travai, Italy (cat.)
Museo D'Arte Contemporanea Roma, Italy
"Station" and "The Influence Macgine (Swedish version)," Magasin 3, Stockholm Konsthall, Sweden (cat. and CD)
"Tony Oursler," Lehmann Maupin, New York
Galerie Steinek, Vienna, Austria
"Luftmetall," Galerie Hans Meyer, Dusseldorf, Germany
"Shock-Rock", Gräflicher Kurpark Driburg, Garten_Landschaft
OstWestfalenLippe, Germany
"Tony Oursler: Drawings, CD-ROM, Installation, Videotapes," Pei Ling Chan Gallery and Garden for the Arts, Savannah College of Art and Design, Georgia
2001 "Antennae Pods transmissions", Metro Pictures, New York
Institute Valencià D'Art Modern, Valencia, Spain (cat.)
Newcomb Gallery, Tulane University, New Orleans, Louisiana
"Flucht," Kunsthaus Bregenz, Bregenz, Austria
Koldo Mitxelena Kulturunea, San Sebastian, Spain
Galerie Ghislaine Hussenot, Paris
Galerie Joan Prats, Barcelona, Spain
2000 "Sulfer, Glass, Silicon," 1000 Eventi, Milan (cat.)
"The Empty Cabinet," Henry Art Gallery, University of Washington, Seattle; University Art Gallery, University of California, San Diego Lisson Gallery, London
"Tony Oursler," Bernier/Eliades, Athens
Galerie Steinek, Vienna
Margo Leavin Gallery, Los Angeles
"Tony Oursler: The Darkest Color Infinitely Amplified," The Whitney Museum of American Art, New York (broch.)
"The Influence Machine," New York
"EVOL," Sammlung Goetz, Munich
1999 Tel Aviv Museum of Art
"Introjection: Tony Oursler mid-career survey, 1976-1999," MASS MoCA, N. Adams, Massachusetts; Williams College, Williamstown, Massachusetts (17 April- 24 October Contemporary Arts Museum, Houston (11 December 1999- 13 February 2000); Los Angeles Museum of Contemporary Art, Los Angeles (2 April- 30 July 2000); Des Moines Art Center (11 November 2000- 21 January 2001) (cat.)
Galerie Biedermann, München
Ujazdowski Castle, Warsaw, Poland
1998 Metro Pictures, New York
"Directions-Tony Oursler: Video Dolls with Tracey Liepold," Hirshhorn Museum & Sculpture Garden, Smithsonian Institute, Washington, D.C. (broch)
"Videotapes, Dummies, Drawings, Photographs, Viruses, Heads, Eyes, & CD-ROM," Kunstverein Hannover, Germany, Malmö; Konsthall, Sweden (cat.)
Soledad Lorenzo, Madrid (cat.)
"The Poetics Project: 1977-1997", in collaboration with Mike Kelley
1997 "Judy," Institute of Contemporary Art, Philadelphia
Margo Leavin Gallery, Los Angeles (and 2000)
Aspen Art Museum, Aspen, Colorado
capc Musée, Musée d'art contemporain de Bordeaux; Salade Exposiciones Rekalde, Bilboa (cat.)
Paule Anglim, San Francisco
"The Poetics Project: 1977-1997", in collaboration with Mike Kelley
Galerie Biedermann, Munich
Gallery Koyanagi, Tokyo
"Der menschliche Faktor—Das individuum im Spiegel der zeitgenosslschen Kunst," Hypo Bank Luxembourg, Kunsthandel Achenbach, Dusseldorf
The Video Room, White Columns, New York
"Videoskulpturen," Galerie Franck & Schulte, Berlin
1996 Lisson Gallery, London
Jean Bernier Gallery, Athens
Metro Pictures, New York
Museum of Contemporary Art, San Diego, California (broch.)
"My Drawings 1976-1996," Kasseler Kunstverein, Kassel, Germany (cat.)
1995 "System for Dramatic Feedback," Portikus Frankfurt; Les Musées de la Ville de Strasbourg, France; Centre d'Art Contemporain, Geneva, Switzerland; Stedlijk Van Abbemuseum, Eindhoven, Holland (traveling exhibition)
"Tony Oursler: Video Installations, Objects, Watercolors," Musée des Arts Modernes et Contemporains, Strasbourg, France
Galerie Ghislaine Hussenot, Paris, France
Wiener Secession, Vienna, Austria
"Tony Oursler- Ouvres Récentes," Soledad Lorenzo, Madrid (cat.)
1994 Lisson Gallery, London
Bernier/Eliades, Athens
Linda Chathcart Gallery, Santa Monica
"Dummies, Flowers, Alters, Clouds, and Organs," Metro Pictures, New York
"Tony Oursler—Recent Video Works," The contemporary Museum, Honolulu, Hawaii
1993 "White Trash and Phobic," Centre d'Art Contemporain, Geneva; Kunstwerke, Berlin (cat.)
Andrea Rosen Gallery, New York
The Living Room, San Francisco
"Dummies, Dolls, and Posion Candy," IKON Gallery, Birmingham (cat.); Bluecoat Gallery, Liverpool, (split site exhibition)
1992 "F/X Plotter, 2 Way," Kijkhuis, The Hague, The Netherlands
The Space, Boston
The Knitting Factory, New York
1991 Diane Brown Gallery, New York
"Dummies, Hex Signs, Watercolours," The Living Room, San Francisco
The Pacific Film Archives, San Francisco
The Cinématèque, San Francisco
1990 Diane Brown Gallery, New York
"Dummies, Hex Signs, Watercolours," The Living Room, San Francisco
The Pacific Film Archives, San Francisco
The Cinématèque, San Francisco
1989 Folkwang Museum, Essen (cat.)
Museum fur Gegenwartskunst, Basel
Collective for Living Cinema, New York
Bobo Gallery, San Francisco
1988 "Tony Oursler's Works," Le Lieu, Quebec City
"Constellation: Intermission," Diane Brown Gallery, New York
Western Front, Vancouver
Los Angeles Center for Photographic Studies/EZTV, Los Angeles
1987 The Kitchen, New York
1986 "Spheres of Influence," Musée National d'Art Moderne, Centre Georges Pompidou, Paris (cat.)
New Langton Arts, San Francisco
Boston Film/Video Foundation, Boston
1985 The American Center, Paris
Kijkhuis, Den Haag, The Netherlands
Kunst Delft, Delft, The Netherlands
ELAC, Espace Lyonnais d'Art Contemporain, Lyon
Schule fur Gestaltung, Basel
1984 Anthology Film Archives, New York
"L-7, L-5," The Kitchen, New York
Mo David Gallery, New York
The Kitchen, New York
1983 La Mamelle, San Francisco
"My Sets," Media Study, Buffalo
"Son of Oil," A Space, Toronto
Panic House/Los Angeles Contemporary Exhibitions, Los Angeles
1982 The Walker Art Center, Minneapolis
Boston Film/Video Foundation, Boston
"A Scene," P.S.1, New York
"Complete Works," The Kitchen, New York
Soho TV M/T Channel 10, New York
1981 University Art Museum, University of California, Berkeley "Video Viewpoints," The Museum of Modern Art, New York
Group Exhibitions
2015 "Cosa Mentale", Art and Telepathy in the Twentieth Century, Centre Pompidou-Metz, Metz, France
"La vie moderne", Biennale de Lyon, Lyon, France
"America is Hard to See", Whitney Museum of American Art, New York, NY
"TRANSMISSION: Legacies of the Television Age", National Gallery of Victoria, Melbourne, Australia
"The Triumph of Love: Beth Rudin DeWoody Collects", Norton Museum of Art, West Palm Beach, FL
"Future Seasons Past", Lehmann Maupin, New York, NY
"Blinc Festival Adelaide", Adelaide, Australia
2014 "Momentum: An Experiment in the Unexpected", San Jose Museum of Art, San Jose, CA
"Disturbing Innocence", curated by Eric Fischl, The FLAG Art Foundation, New York, NY
"Four Drawings of a Farmer", Bureau, New York, NY
"Aftershock: The Impact of Radical Art", 135 East 74th Street, New York, NY
2013 "Disembodied", Cleveland Museum of Art, Cleveland, OH
2012 "The Royal Family", Hayward Gallery Project Space, London, United Kingdom
"Glasstress New York: New Art from the Venice Biennales", The Museum of Art and Design, New York, NY
2011 "Nothing in the World but Youth", Turner Contemporary Gallery, Margate, United Kingdom
"Night Scented Stock", Marianne Boesky, New York, NY
"Glasstress", 54th Venice Biennale, Venice, Italy
"The Way We Are Now: Selections from the 21st Century Collection", Cincinnati Art Museum, Cincinnati, OH."
"Unreal", Vancouver Art Gallery, Vancouver, Canada
2010 "Rhythm of Istanbul," Akbank Sanat, Istanbul
"Off The Wall" Thirty Performative Actions" Whitney Museum of American Art, New York
"Il Trucco e Le Maschere," FaMa Gallery, Italy
"C'est la Vie! Vanités—De Pompéï à Damien Hirst," Musée Maillol, Paris (cat.)
2009 "Likeness," The Mattress Factory, Pittsburg (2009-2010)
"Il Trucco e Le Maschere," Byblos Gallery, Verona, Italy
2008 "Listen Darling…The World is Yours," the Ellipse Foundation, Cascais, Portugal (2008-2009)
"California Video," J. Paul Getty Museum, Los Angeles (cat.)
"The Cinema Effect: Illusion, Reality, and the Moving Image. Part 1: Dreams," Hirshhorn Museum and Sculpture Garden, Washington D.C. (cat.)
"Sonic Youth etc.: Sensational Fix," LiFE International Space for Emerging Arts, Saint-Nazaire, France; Museion Museum of Modern and Contemporary Art, Bolzano, Italy; Düsseldorf, Germany; Malmö Konsthall, Sweden; Centro Huarte de Arte Contemporáneo, Navarra, Spain (2008-2010) (cat.)
"Slightly Unbalanced," Chicago Cultural Center, Chicago; Museum London, Ontario; Huntington Museum of Art, West Virginia; Rodman Hall Arts Center, Ontario; Paul and Lulu Hillliard University Art Museum, Lafayette, Louisiana; Joel and Lila Harnett Museum of Art, Richmond, Virginia (2008-2010) (cat.)
2007"Theater without Theater," Museum of Contemporary Art, Barcelona; Walker Art Center, Minneapolis (cat.) (2007-2009)
"Contemporary, Cool and Collected," Mint Museum of Art, Charlotte, North Carolina (cat.)
"Sympathy for the Devil: Art and Rock and Roll Since 1967," Museum of Contemporary Art, Chicago (2007-2008) (cat.)
"Mask," James Cohan Gallery, New York (2007-2008)
"Playback," Musee d'Art Moderne, Paris
"Don't Look," Davis Museum and Cultural Center, Wellesley, Massachusetts (cat.)
"Chelsea to Caochangdi," Chambers Fine Art, Bejing
"To Be Continued…" Magasin 3, Stockholm
"Her (his)tory," Museum of Cycladic Art, Athens (cat.)
"Panic Attack! Art in the Punk Years," Barbican Art Gallery, London (cat.)
"Inaugural Exhibition: Wrestle," Hessel Museum of Art, Bard, New York (cat.)
Metro Pictures, New York
"Rockín Roll Vol. I," Norrköpings Museum of Art, Sweden
"Passion for Art," Essl Museum of Contemporary Art, Klosterneuburg, Austria (cat.)
"Slightly Unbalanced," Chicago Cultural Center, Chicago; Museum London, Ontario; Huntington Museum of Art, West Virginia; Rodman Hall Arts Center, Ontario; Paul and Lulu Hillliard University Art Museum, Lafayette, Louisiana; Joel and Lila Harnett Museum of Art, Richmond, Virginia (2008-2010) (cat.)
2006 "Open House," The Ellipse Foundation: Contemporary Art Collection, Portugal(cat.)
"Super Vision," Institute of Contemporary Art, Boston (cat.)
"New York New York: Fifty Years of Art, Architecture, Cinema, Performance, Photography and Video," Grimaldi Forum, Monaco (cat.)
"Don't Trust Anyone Over Thirty," Whitney Biennial, New York
2005 "14th Rome Quadriennale," Galleria Nazionale d'Arte Moderna di Roma, Italy (cat.)
"Guardami: Video Perception," Palazzo Delle Papesse Centro Arte Contemporanea, Siena
Lois & Richard Rosenthal Center for Contemporary Arts Center, Cincinnati
2004 "The Print Show," Exit Art, New York
"A Fripon Fripon et Demi," Collection Lambert en Avignon, Avignon, France
"Bodily Space," Albright-Knox Art Gallery, Buffalo, New York
"Freud – The Creative Analysis of Analysis," University of Connecticut, Storrs, Connecticut
"Lonely Planet," Contemporary Art Center, Art Tower Mito, Japan
"Loachim Plum Collection," Museum Kurhaus Kleve, Kleve, Germany
"Making Visible," Gallery Faurschou, Copenhagen, Germany
"North Folk/South Folk," Parrish Art Museum, Southampton, New York
"Bodily Space: New Obsessions in Figurative Sculpture," Albright-Knox Art Gallery, Buffalo, New York
"Disparitiees & Deformations – Our Grotesque," 5th International Site Santa Fe Biennial, Site Santa Fe, New Mexico (cat.)
"Landscape and Memory," Centro Atlántico de Arte Moderno, Grand Canaria, Spain
Metro Pictures, New York
"Visions of America, Contemporary Art from the Essl and Sonnabend Collection," Kunst der Gegenwart, Vienna (cat.)
Galeria Soledad Lorenzo, Madrid, Spain
"100 Artists See God," The Jewish Museum, San Francisco, Ca, Laguna Art Museum, Laguna Beach, CA
2003 "videoMIX," Arario Gallery, Cheonan-city, Chung nam, Korea (cat.)
"Drawings," Metro Pictures, New York
"Yanomami: Spirit of the Forest," Fondation Cartier pour l'art contemporain, Paris
"Video +," Carl Solway Gallery, Cincinnati, Ohio
"The Poetics Project: 1977-1997," (collaboration with Mike Kelley), Barbican Center, London
"Skin: Contemporary Views of the Human Body," Jacksonville Museum of Modern Art, Jacksonville, Florida (cat.)
"Mystic," Massachusetts College of Art, Sandra and David Bakalar Gallery, Boston
"De Jong, Oursler, Zansky Installations," Rockland Center for the Arts, West Nyack, New York
"La Vista Y La Visión," Institute Valencia d'Art Modern, Valencia, Spain (cat.)
"Fast Forward, Media Art Sammlung Goetz," KZM, Karlsruhe, Germany (cat.)
"Art, Lies, and Videotape: Exposing Performance," Tate Liverpool, Liverpool, England (cat.)
"Lux," Andrew Jensen Gallery, Auckland, New Zealand; Mark Hutchins Gallery, Wellington, New Zealand
2002 "Off the Grid," Lehmann Maupin, New York
"Hommage an Rudolf Schwarzkogler," Galerie Krinzinger, Vienna, Austria
"On Perspective," Galleri Faurschou, Copenhagen, Denmark
"The First Decade- Video From the EAI Archives," The Museum of Modern Art, New York
"The Uncanny," Vancouver Art Gallery, British Columbia, Canada (cat.)
Metro Pictures, New York
"Vue De Près/ Close Up," Cuchifritos, New York "Portrait as Performance," Hand Workshop Art Center, Richmond, Virginia
"New York Renaissance– Masterworks From the Whitney Museum of American Art," Palazzo Reale, Milan (cat.)
"Slow Motion," Ludwig Forum für Internationale Kunst, Aachen, Germany (cd-rom)
"Hautnah- The Goetz Collection," Museum Villa Stuck, Munich (cat.)
"Garten Landschaft OstWestfalenLippe," Gräflicher Kurpark Driburg, Driburg, Germany
"Los Exceosos de la Mente," Centro Andaluz de Arte Contemporáneo, Seville, Spain (cat.)
"Ce Qui Arrive," Fondation Cartier Pour L'Art Contemporain, Paris
"Cardinales," Museo de Arte Contemporánea de Vigo, Spain (cat.)
"Video Acts," P.S.1 Contemporary Art Center, Long Island City, New York (cat.); traveled to Institute of Contemporary Arts, London
"Body Electric: Video Art and the Human Body," Cheekwood, Nashville, Tennessee
"Life, Death, Love, Hate, Pleasure, Pain," Museum of Contemporary Art, Chicago (cat.)
2001 "A Contemporary Cabinet of Curiosities- Selections from the Vicki and Kent Logan Collection," Oliver Art Center, California College of Arts and Crafts, Oakland (cat.)
"Wechselstrom- Alternating Current," Sammlung Hauser und Wirth, St. Gallen, Switzerland (cat.)
"Black Box," Kunstmuseum Bern, Bern, Switzerland (cat.)
"Televisions," Kunsthalle Wien, Vienna, Austria (cat.)
"I Need You to Be There," Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York
"Heart of Glass," Queens Museum of Art, Queens, New York; The Crafts Council, London (2002) (broch.)
"Collaborations with Parkett: 1984 to Now," Museum of Modern Art, New York (cat.)
"Tony Oursler, Jim Shaw, John Miller, Mike Kelley," Galerie Biedermann, Munich "Without Hesitation [Ohne Zögern]- The Olbricht Collection Part 2," Neues Museum Weserburg Bremen, Bremen, Germany (cat.)
"Das Innere Befinden," Kunstmuseum Liechtenstein, Vaduz, Liechtenstein (cat.)
"I'm Not Here: Constructing Identity at the Turn of the Century," Susquehanna Art Museum, Harrisburg, Pennsylvania
"Black Box," Kunstmuseum Bern, Bern, Switzerland (cat.)
"Televisions," Kunsthalle Wien, Vienna, Austria (cat.)
"Recent Acquistions," Rockford Art Museum, Rockford, Illinois
"Lateral Thinking: Art of the 1990's," Museum of Contemporary Art, San Diego, California; Colorado Sprigs Fine Art Center, Colorado Springs, Colorado (2002); Hood Museum, Dartmouth University, Hanover, New Hampshire (2004); Dayton Art Institute, Dayton, Ohio (2004) (cat.)
"Outside of the Box," Contemporary Art Museum, University of South Florida, Tampa, Florida
"Off the Grid," Lehmann Maupin, New York
2000 "Spectacular Bodies," Hayward Gallery, London (cat.)
"Ich ist atwas Anderes (I is Another)," Kunstsammlung, Dusseldorf
"Moving Pictures," Real Art Ways, Hartford, Connecticut
"Appearance," Galleria d'Arte Moderna, Bologne, Italy
"Bizzaro World," Cornell Fine Arts Museum, Rollins College, Florida (cat.)
"Blurring Boundaries: Installation Art 1969 - 1996," San Jose Museum of Art, California
"Presumed Innocent," Musée d'art contemporaine de Bordeaux, Bordeaux
"Head Over Heels into the Millenium," Musée d'art Contemporain de Montréal, Quebec
"Limited and Unlimited Editions," Artists Space, (benefit exhibition) New York
"Exorcism/Aesthetic Terrorism," City Collectin Rotterdam, Holland
"Présumés innocents- L'art contemporain et l'enfance," capcMusée d'art contemporain de Bordeaux, France (cat.)
Metro Pictures, New York
"Lisson Gallery in Covent Garden," Lisson Gallery, London
"Illumiantions", Ackland Art Museum, Chapel Hill, North Carolina (cat.)
"Contemporary Art and Technology Biennial," Media City Seoul 2000, Seoul, Korea
"American Art Today: Fantasies & Curiosities," Art Museum at Florida International University, Miami (cat.)
"00," Barbara Gladstone Gallery, New York
"WildLife," Reynolds Gallery, Richmond, Virginia
"Wanås 2000," The Wanås Foundation, Knislinge, Sweden
"Officine Senza Nome," Polilab 2000, Terracino, Italy (cat.)
"long days, longer nights," Galapagos Art & Performance Space, Brooklyn, New York
"Hitchcock and Art: Fatal Coincidences," The Montreal Museum of Fine Arts, Quebec (cat.); Centre Georges Pompidou, Paris (2001) (cat.)
"Collecting Ideas: Works from the Polly and Mark Addison Collection," Denver Art Museum, Colorado
1999 "Double Lives," Institut de Cultura de Barcelona
"Video Cult/ures," Center for Art and Media, ZKM Karlsruhe, Cologne, Germany (cat.)
"American Century," Whitney Museum of American Art, New York (cat.)
"Skin," Deste Foundation Center for Contemporary Art, Athens (cat.)
"Triennale Exhibition: Sentiment of the Year 2000," Triennale di Milano, Milan
"Millennium My Eye!" Musée d'art contemporain de Montréal, Montréal
"6th International Istanbul Biennial," Istanbul Foundation for Culture and Arts (cat.)
"Drawn by...", Metro Pictures, New York
"Rewind to the Furture'" Bonner Kunstverein, Bonn
"Salome: Images of Women in Contemporary Art", Castle Gallery, New Rochelle, New York (cat.)
"Collectors Collect Contemporary: 1990-1999", Institute of Contemporary Art, Boston
"Heaven," Kunsthalle, Düsseldorf
"Der Anagrammatische Körper," Jahresmuseum, Mürzzuschlag, Austria; ZKM Medientheater, Karlsruhe (April 8 – 18 June, 2000) (broch.)
"I'm Not Here," Susquehanna Art Museum, Harrisburg, Pennsylvania
"Life Cycles," Galerie für Zeitgenössische Kunst Leipzig
1998 "Video: Tony Oursler, Bruce Naumen, Sam Taylor-Wood," San Francisco Museum of Modern Art "Sao Paulo Biennale XXIV," Sao Paulo, Brazil
Gian Enzo Sperone, Milan
"Presumed Innocence," Anderson Gallery, Virginia Commonwealth University, Richmond, Virginia (cat.)
"The Secret Life of Clothes," The Nishinippon, Fukuoka, Japan (cat.)
"Mysterious Voyages," Contemporary Museum, Baltimore, Maryland
"Exterminating Angel," Galerie Ghislaine Hussenot, Paris
"Spectacular Optical," Thread Waxing Space, New York
"Pop Surrealism," Aldrich Museum of Contemporary Art, Ridgefield, Connecticut "Avatar," De Oude Kerk, Amsterdam, the Netherlands (cat.)
"Bathroom," Thomas Healy Gallery, New York
"mächtig gewaltig: Internationale Videokunst," ACC Galerie Weimar, Burgplatz, Germany
"Connections and Contradictions: Modern and Contemporary Art from Atlanta Collections," Michael C. Carlos Museum, Emory University, Atlanta, Georgia (cat.)
"From Figure to Floor: Sculpture in the Twentieth Century," Milwaukee Art Museum (cat.)
"Emotion," Deichtorhallen, Hambourg, Germany (cat.)
"I Love New York," Museum Ludwig, Cologne, Germany
"Bowie," Rupert Goldsworthy Gallery, New York
"Escences de L'Imaginari: Festival internacional de Teatre visuali de Titelles de Barcelona. XXV aniversari," Institut del Teatre, Barcelona, Spain (cat.)
1997 "The Whitney Biennial," Whitney Museum of American Art, New York (cat.)
"Skulptur Projekte," Munster (cat.)
"The Body," The Art Gallery of New South Wales, Sydney, Australia (cat.)
"Documenta X," Kassel (collaboration with Mike Kelley) (cat.)
"The Poetics Project: 1977-1997," (collaboration with Mike Kelley), Watari-um, the Watari Museum of Contemporary Art, Tokyo (cat.)
"Anatomy of Space/Time," Kobe Fashion Museum, Kobe, Japan
Centre Georges Pompidou, Paris
The Digital Video Wall, Rockefeller Center, New York
"Scream & Scream Again," The Irish Museum of Modern Art, Dublin, Ireland
The Performing Garage, New York (performance with Constance DeJong, Stephen Vitiello)
"Gothic," The Institute of Contemporary Art, Boston, Massachusetts
"M.A. Thesis Exhibition," Center For Curatorial Studies, Bard College, New York
":Engel: Engel," Kunsthalle Wien, Galerie Rudolfinum, Prague (cat.)
"Identité," Institut d'Art Contemporain, Geneva
"Being and Time: The Emergence of Video Projection," Contemporary Arts Museum, Texas, Site Santa Fe (cat.)
Barbara Krakow Gallery, Boston, Massachusetts
"Installations/Projects," P.S. 1, New York
"World Wide Video Festival," Stedilijk Museum, Amsterdam
Patrick Painter, Santa Monica, California (in collaboration with Mike Kelley)
"Zones of Disturbance," steirischer herbst 97, Graz, Austria (cat.)
"der Menschliche Faktor-Das Individuum im Spiegel zeitgenossischen Kunst," Hypobank International S.A., Luxembourg
The Eli Broad Family Foundation, Santa Monica, California
1996 "Altered and Irrational," Whitney Museum of American Art, New York
"Sex & Crime: On Human Relationships," Sprengel Musem, Hannover (cat.)
"Young Americans: New American Art in the Saatchi Collection," Saatchi Gallery, London (cat.)
"Phantasmagoria," Museum of Contemporary Art, Sydney, Australia (cat.)
"10th Biennale of Sydney," Australia (cat.)
"New Persona/New Universe," Biennale di Firenze, Florence
"Sampler 2," David Zwirner, New York
"Empty Dress," The Rubelle & Norman Schafler Gallery, Pratt Institute, Brooklyn
"Kingdom of Flora," Shoshana Wayne Gallery, Santa Monica, California
"Human Technology," Revolution, Ferndale, Michigan
Metro Pictures, New York
Lisson Gallery, London
"Tomorrow," Rockland Center for the Arts, West Nyack, New York
The Cincinnati Art Museum, Ohio
"New York 'Unplugged II'," Gallery Cotthem, Knokke-Zoute, Belgium
"Radical Images," 2nd Austrian Triennial on Photography 1996, Neue Galerie am Landesmuseum Joanneum, Graz and Camera Austria in the Kunsthalle Szombathely (cat.)
"Scream & Scream Again," Museum of Modern Art, Oxford
"Matthew Barney, Tony Oursler, Jeff Wall," Sammlung Goetz, Munich
"Being & Time: The Emergence of Video Projection," The Albright Knox Art Gallery, Buffalo, New York
Philadelphia Museum of Art, Pennsylvania (performance with Constance De Jong)
"The Red Gate," Whitney Museum of American Art, New York; Museum van Hedendaagse Kunst, Ghent, Belgium (cat.)
"The Scream," The Nordic Arts Centre, Helsinki, Finland; Arken Museum of Modern Art, Ishoj, Denmark (cat.)
"Face Value: American Portraits," Traveling venues from The Parrish Art Museum, Southampton, New York (cat.); Wexner Center for the Arts, Columbus, Ohio; Tampa Art Museum, Florida
"Intermission," Basilico Fine Arts, New York
"ID," Van Abbemuseum, Eindhoven, The Netherlands (cat.)
1995 "ARS 95 Helsinki," Museum of Contemporary Art, Helsinki, Finland (cat.)
"Zeichen & Wunder," Kunsthaus Zurich; Centro Galego de Arte Contemporanea, Santiago de Compostela, Spain (cat.)
"Fantastic Prayers" (collaboration with Constance DeJong and Stephen Vitiello), worldwide website project and performance, Rushmore Festival, Dia Center for the Arts, New York
"Video Spaces: Eight Installations," The Museum of Modern Art, New York (cat.)
"1995 Carnegie International," The Carnegie Museum of Art, Pittsburgh (cat.)
"Biennale d'Art Contemporain de Lyon", Maison de Lyon, France
"Passions Privee," Museé d'Art Moderne de la Ville de Paris
"The Message is the Medium: Issues of Representation in Modern Technologies," Castle Gallery, College of New Rochelle, New York
"Entre'Acte 1," Stedlijk Van Abbemuseum, Netherlands
"Festishism," Brighton Museum and Art Gallery, England
"Le Printemps de Cahors," la Compagnie des Arts, France
"Inside Out: Psychological Self-Portraiture," The Aldrich Museum of Contemporary Art, Connecticut (cat.)
"Trust," Tramway, Glasgow, Scotland
Mendelson Gallery, Pittsburgh, Pennsylvania
Metro Pictures, New York
"Man & Machine: Technology Art," Dong-Ah Gallery, Seoul, Korea
"Configura 2 - Dialog Der Kulturen - Erfurt 1995," Erfurt, Federal Republic of Germany
"Immagini in Prospettira," Zerynthia, Rome
"L'Effet Cinéma," Musée d'Art Contemporain de Montréal (cat.)
"Playtime: Artists and Toys," essays by Eugenie Tsai, Angela Kramer Murphy, Jennifer L. Gauthier, Cynthia Roznoy, Whitney Museum of American Art at Champion, Stamford, Connecticut
1994"Tony Oursler and John Kessler," Salzburg Kunstverein, Austria (cat.)
"The Laugh of #12," Fort Asperen, Amsterdam
Galleria Galliani, Genoa, Italy
"The Figure," The Lobby Gallery, Deutsche Bank, New York
Metro Pictures, New York Marian Goodman Gallery, New York
Laura Carpenter Fine Art, Santa Fe, New Mexico (Two-person show with Jim Shaw)
"Home Video Redefined: Media, Sculpture and Domesticity," Center of Contemporary Art, Miami
"Light," ARTprop, New York
"Medienbiennale 94, Minima Media," Leipzig, Germany
"Beeld," Museum van Hedendaagsekunst, Utrecht, Holland
"Oh Boy, It's a Girl: Feminismen in der Kunst," Kunstverein Munich
1993 "3rd International Biennale in Nagoya-Artec '93," Nagoya City Art Museum
"Love Again," Kunstraum Elbschloss
"Private," Gallery F-15, Oslo, Norway
1992 "Documenta 9," Kassel, Germany
"Station Project" (with James Casebere), Kortrijk Railway Station
1991 "The New York Times Festival," Museum van Hedendaagse Kunst, Utrecht, Holland
"Triune," Bluecoat Gallery, Video Positive Festival, Liverpool
1990 "Tendance Multiples, Video des Annees 80," Centre Georges Pompidou, Paris
"The Technological Muse," Katonah Museum of Art, Katonah, New York
"Video/Objects/Installations/Photography," Howard Yezerski Gallery, Boston
"Video Transforms Television: Communicating Unease," New Langton Arts, San Francisco
1989"The Whitney Biennial," Whitney Museum of American Art, New York (cat.)
"Video Sculpture 1963-1989," Kolnischer Kunstverein, Cologne
"XII Salso Film & TV Festival," Salsomaggiore
"Relatives" (video performance with Constance DeJong), the Kitchen, New York; Rockland Center for the Arts, West Nyak; Seattle Arts Museum, Washington; Mikery Theatre, Amsterdam; ECG-TV Studios, Frankfurt
"Drawings, Objects, Videotapes," Delta Gallery, Dusseldorf Museum
"Masterpieces," Stadtgarten, Cologne
"Nepotism," Hallwalls, Buffalo, New York
"Video and Language," The Museum of Modern Art, New York
"Sanity is Madness," The Artists Foundation Gallery, Boston
"World Wide Video Festival," Den Haag, The Netherlands
1988"The BiNational: American Art of the Late 80s, German Art of the Late 80s," Institute of Contemporary Art, Museum of Fine Arts, Boston; Stadtische Kunsthalle, Dusseldorf; Kunsthalle Bremen, Bremen; Wurttembergischer Kunstverein, Stuttgart (cat.)
"Film Video Arts, 17 Years," The Museum of Modern Art, New York
"World Wide Video Festival," Den Haag
"Twilight, Festival Belluard 88 Bolwerk," Fribourg
"2nd Videonale," Bonn
"New York Dagen," Kunstichting, Rotterdam
"Videografia," Barcelona
"Varitish," Korea
"New York Musikk," Oslo "Festival International du Nouveau Cinema et de la Video," Montreal
"Replacement," LACE, Los Angeles
"Interfermental 7," Hallwalls, Buffalo,New York
"Serious Fun Festival," installation for Alice Tully Hall, Lincoln Center, New York
1987 "L'époque, la mode, la morale, la passion," Centre Georges Pompidou, Paris
"Documenta 8," Kassel, Germany
"Aspects of Media: Video," Department of Video/Art Advisory Service of the Museum of Modern Art for Johnson & Johnson
"Japan 1987 Television and Video Festival," Spiral, Tokyo
"Schema," Baskerville + Watson Gallery, New York
1984 "The Luminous Image," Stedjelijk Museum, Amsterdam (cat.)
1983 "X Catholic," (performance with Mike Kelley), Beyond Baroque, Los Angeles
Museum and Public Collections:
Eli Broad Family Foundaton, Los Angeles
capc Musée d'art Contemporain de Bordeaux, France
Carnegie Museum of Art, Pittsburgh, Pennsylvania
Cartier Foundation, Paris
Cincinnati Art Museum, Cincinnati, Ohio
Depont Foundation for Contemporary Art, Tilburg, The Netherlands
Des Moines Art Center, Des Moines, Iowa
Goetz Collection, Munich
Hara Museum, Tokyo, Japan
Hirshhorn Museum and Sculpture Garden, Washington, D.C.
JB Speed Museum, Louisville, Kentucky
Joslyn Art Museum, Omaha, Nebraska
Los Angeles County Museum of Art, Los Angeles, California
Magasin 3, Stockholm
Milwaukee Art Museum, Wisconsin
Modern Art Museum of Fort Worth, Texas
Musée d'Art Contemporain de Montreal
Musée d'Art Contemporain, Barcelona
Musée d'Art Contemporain, Lyon
Musée national d'art moderne, Centre Georges Pompidou, Paris
Museum of Contemporary Art, Chicago
Museum of Contemporary Art, Helsinki
Museum of Contemporary Art, San Diego, California
Museum of Modern Art, New York
National Museum of Osaka, Japan
Orange County Museum of Art, California
Saatchi Collection, London
San Francisco Museum of Modern Art
Staatsgalerie Moderner Kunst, Munich
Tate Gallery, London
Van Abbemuseum, Eindhoven
Whitney Museum of American Art, New York
ZMK/Center for Art & Media, Karlsruhe, Germany
Williams College Museum of Art, Williamstown, Massachusetts


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Dual-booting Windows Phone 8.1-Android handsets to launch this year
Even though Android has always been famous for its ability to allow you to run many other operating systems on a device after a certain amount of tweaks, the smartphone platform that hasn't been famous for this is Windows Phone. We were all surprised with the announcement of Windows Phone 8.1, and its ability to run on existing Android hardware, though in a radical "wipe-one-install-the-other" approach. What we didn't expect were dual-booting phones running Android and Windows phone, but that is officially about to happen.
The Times of India is now reporting that Indian OEM Karbonn has signed a licensing agreement that will allow it to sell smartphones that dual-boot Windows Phone 8.1 and Android. The company plans to launch its first Windows Phone 8.1 devices in the next few months, and is later planning to release the dual-booting handsets before the year ends.
At the moment it's still hard to find a user that this product would target most, but it seems that Karbonn plans to make this a tech-savvy consumer product for professionals. We should learn more about these products in the next coming weeks, and lets hope Karbonn is not the only company that considers this.
Source: Times of India
Via: The Verge


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2011 MAWMR - Wicked Women Ride/
The following are some of the images I took at last year's MAWMR event. MAWMR is the Mid-Atlantic Women's Motorcycle Rally and it was held in Gettysburg, PA. This is an annual gathering of women motorcycle enthusiasts and riders who get together to raise money for cancer.
Please come join us for the 20th annual gathering of MAWMR this June (2012). It promises to be a blast.
Registration is now open!!


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I have an extreme and enduring love for scones, but that also makes me very picky about them -- there are some very bad ones around. We made these for Easter brunch last weekend, and they are definitely a favorite; they're tender and flaky and not that sweet, but with a sugary top crust. I've made them several times before as well, and I find the recipe to be pretty fool-proof. You can make these into larger scones, but I love the mini size.
Adapted from the Ovenly cookbook (which is all-around great!)
- 1 stick (112 grams) chilled, unsalted butter
- 3 cups (360 grams) all-purpose flour
- 1/4 cup plus 1 tablespoon sugar (62 grams), plus more for the tops
- 1 1/2 tablespoons (18 grams) baking powder
- 3/4 teaspoon salt
- 3/4 cup (130 grams) dried currants
- 1 1/2 tablespoons finely chopped fresh rosemary
- 1 1/2 cups chilled heavy cream, plus more for brushing
Cut the butter into 1/4" chunks and place in the freezer for 10 minutes.
In a medium bowl, whisk together flour, sugar, baking powder, and salt. Using a pastry blender, cut in the chilled butter until butter is in small pieces (smaller than pebbles). Add the currants and rosemary, and stir with a spatula to combine. Pour in the heavy cream, and stir with the spatula until the flour is almost fully incorporated; don't mix this more than you need to.
Turn the dough out onto a work surface, and divide into two even portions (if making mini scones). Working with one piece at a time, form into a rough round of dough; if it's really crumbly, you can cut the dough in two pieces, and stack them together, sandwiching the dry bits in between. Smush it back down into a small round, about 3/4" thick. Wrap well with plastic wrap, and chill until firm, about an hour. Repeat with second round of dough. (If you'd like to make larger scones, just form the dough all into one round.)
Once chilled, take the dough out and cut into 8 wedges like a pie. Wrap well and freeze.
Preheat oven to 400°. Line a large baking sheet with parchment paper. Arrange scones on baking sheet with at least an inch between. Brush tops with heavy cream, and then top each with a generous amount of sugar. Bake, turning once, until golden brown, 22-28 minutes. Makes 16 mini scones, or 8 large.


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Meet Gemma Dawson
Gemma started with Living Beauty in 2010 and since then has coached and mentored clients around Australia to success. Gemma has a high level of commitment to our clients and also runs face to face workshops with Amelia twice yearly.
What's an exercise you are working on perfecting right now?
This week I got a PB Clean & Jerk 77.5kg and I was able to get triple unders (where a skipping rope does 3 resolutions per jumps x 65 reps, not consecutive). I also just got PB Squat, Clean & Snatch last week, plus my gymnastics is improved. This shows I am not looking to specialise in any one thing, I like to be well rounded so I feel like any challenge I can give it a go! City to Bay is coming up and it will be my 11th year, so may have to get the runners out for a test run!
Chance is your gorgeous dog you rescued and we love the photos you post of her. How old is Chance now and what is her breed?
Chance is too cute for her own good. Definitely spoilt, very smart and very special. Considering her start in life was something I just can't even believe could happen and then she had two massive knee surgeries she deserves all the love and she gives it back unconditionally.
Chance turned 4 this year, is a Staffy x Ridgeback and was one of the Lucky 5 from Moorook Animal Shelter.
You also manage a corporate job that sometimes has interstate travel, how do you stay healthy, what training and food do you adopt when traveling?
My work are awesome and made sure we weren't put out when needing to help nationally. It really wasn't massive to manage, I loved it!
I found a really awesome grocer that had everything I wanted, and new things to try, but also could just shopped on a break from work and tried to stay in an apartment for cooking. That wasn't possible all the time so you just try to keep to what you normally do so you don't feel gross, get sick or run down.
I walked to see places outside of work to make the most of my visits. Like Bonte to Bondi walk which was beautiful.
My gym and other city CBD gyms of its kind all let us passport membership so we don't need to pay drop in fee's that can be costly but found because I travelled in warmer weather it was nicer to be outside. I find calling ahead to let them know you are visiting is something that gyms really appreciate and you can get the admin out the way normally so when you turn up you can just train.
Fitness Contest Achievements
Competed in 18 Fitness and Bikini Model Competitions with WNBF, INBA, ANB, NABBA/WFF and IFBB as a Natural Athlete' 9 of these competitions being National Level and 9 top 4 placings.
My favourite was my first comp, coming 1st in front of family and friends, having support backstage and really just stepping out of comfort zone and achieving what I set out to do.
So many opportunities have come from competing! And now I can help others achieve goals from a post baby shape up to a competition or their ultimate bride body.
See Gemma's Success Story and her daily meal plan click here.