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California Hotel | Credit: Sonny Abesamis (eneva) on flickr / CC-by-2.0 | Text added by RoseWrites
He clearly recognizes the difference between narcissism and psychopathy and can recognize a shill a mile away. I've always been astounded at the number of silent observers who are too afraid to speak up (in any workplace or social environment).
More disturbing is the amount of bashing I've been experiencing online for simply telling the truth. Sure, I joke about it too - that's called satire. And satire is legal in Canada and the US.
The last couple of days has been tiresome for me. Well, honestly, the last eight months have been a huge financial and emotional drain for me.
I keep hitting the same wall over and over again with people who are defending the HubPages side of the so-called Squidoo acquisition.
I am constantly being told: "you can take your content down off HubPages."
This is outrageous. Why? Because it's akin to this:
Suppose I import all of your articles to InfoBarrel (without your permission) and stick InfoBarrel's ads on them.
Then I email you that I have them (a "do not reply" email). And the only way you can access your own content is to join InfoBarrel (permanently, you can never remove your author content). That way, I can keep on tallying the number of "registered users" on InfoBarrel to look like I have the biggest platform.
If you already have an InfoBarrel account, I make you "follow a link" and enter a "code." Eventually, I can pair this up with your tax information (which I will require first before you receive any money for the ads I place on your work - and for your share of the Amazon and eBay royalties as well).
Hmm, as for four years worth of your comments on another platform? I'm going to have a link point back to InfoBarrel from each one that will read: "Sign in or sign up and post using an InfoBarrel account."That way, people will think that YOU endorse InfoBarrel (and have been on it for years and years).
Oh and I might set up a phony Pinterest account too. Gotta keep these backlinks going, you know. Those automated ones (that aren't editorially placed or vouched for) well, who cares if they violate Google's Webmaster Guidelines.
For that matter, who cares that our photos don't require Alt tags. And even though this is all a violation of Google's Webmaster Guidelines, we actually allow duplicate photo descriptions and titles too.
I never wanted to be associated with HubPages or have my online work remotely connected to this unethical site, therefore, to hold my content and rightful earnings hostage until I join HubPages is both ridiculous and unlawful.


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WCVT/WEXP To Become The One
Update 6/12: Radio Vermont has confirmed that "101 The One" will debut on Tuesday, July 1 at 6:00am. The new format will be heard not only on 101.7 WCVT, but also 101.5 WEXP Brandon/Rutland. WEXP currently features a Classic Rock as "101.5 The Fox".
While not disclosing the format, Radio Vermont states that it will be feature a music service with a full-service presentation of local hosts, news, and weather.
The Radio Vermont Group has officially announced changes that will create a new in-state partnership combining two of their FM radio stations into a new music network entitled "101 – The One."
President and CEO Ken Squier explained the concept: "we find ourselves in a unique situation with two stations in adjacent markets just one click apart on the FM dial. WCVT-FM broadcasts from Mt. Mansfield at 101.7, while WEXP-FM in Rutland County is at 101.5. Our intent is to simulcast the two with a new adult service local to Vermont."
Squier said that that he and VP Eric Michaels are sad to end the commercial classical service on 101.7 – but that the addition of 101.5 has made this new entity a very exciting opportunity. Plans are to discontinue the current programming on both stations and debut a new radio format on "101 -The One" beginning Tuesday, July 1st at 6:01AM.
According to Michaels, "we will air a special preview program on Monday, June 30th to reveal our new music service. In keeping with the tradition of the Radio Vermont Group and the WDEV flagship, "101 – The One" will feature "live" announcers, weather updates from Roger Hill and frequent updates from the Radio Vermont News Network." "101 – The One" will also be heard on the FM translator in Montpelier at 102.5.
Staffing for "101 – The One" will be announced in the near future.
The Radio Vermont Group is 100% locally-owned and operated and includes WDEV-AM 550 in Waterbury – WDEV-FM 96.1 from Lincoln Peak in Warren – WLVB-FM 93.9 in Morrisville – WCVT-FM 101.7 Stowe-Burlington and WEXP-FM 101.5 Brandon-Rutland.
Update 6/8: Radio Vermont has registered 101TheOne.com and 101The1.com for the new WCVT format.
The only Commercial FM in the United States using "The One" as its brand is Clear Channel AC "103.1 The One" WNDH Napoleon, OH. The branding is used on multiple stations in Canada with either Hot AC or Country formats.
Sister 550 WDEV Waterbury/96.1 WDEV-FM Warren has seen its Full Service format become more reliant on Talk shows and less reliant on AC in recent months.
Original Report 6/3: Radio Vermont will soon drop the Classical Music programming from 101.7 WCVT Stowe/102.5 W273AM Montepelier, VT after 17 years.
Vermont Public Radio reports that the change "primarily due to the fact that WCVT's market is now covered by Vermont Public Radio's classical service". No timetable for the change has been announced.
In addition to WCVT, Radio Vemont owns Full Service 550 WDEV Waterbury/96.1 WDEV-FM Warren, Country 93.9 WLVB Morrisville, and Rock "101.5 The Fox" WEXP Brandon.

subset: commoncrawl


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The Centre for Renewable Energy is the backbone of research to support renewable energy development in the Territory.
Energy plays a central role in developing more sustainable livelihoods and economies in northern and central Australia and neighbouring countries. Energy sustainability will become an issue in this endeavour unless it is properly addressed.
The Centre for Renewable Energy (CRE) was established through a partnership between Charles Darwin University and the Northern Territory Government.
CRE is working to promote the Territory's renewable energy sector and to provide leadership on the deployment of renewable energy and low emissions and energy efficient technologies.


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Well, we had had some big ones in 2013, such as the Phil Ivey baccarat edge-sorting card scam at Crockfords casino in London, and the inside casino-surveillance-camera hacking scam at the Crown casino in Australia. Both these will be pretty hard to beat, not only in 2014 but in years to come.
But don`t get me wrong! I am not saying that they won´t be beat, only that it will be difficult. As I previously stated that more low-tech scams will proliferate in casinos and poker rooms this year, especially that of card-marking, I still think that we will see one or two big-time high-tech casino cheat scams.
Where and when will they happen?
Heck! If I knew, I´d be out there doing them. But I will say this: It will most likely be away from the baccarat tables, where a huge amount of high-tech scams have taken place in recent years. I would look to the roulette tables. It has been quite a while since high-tech casino cheats have plied their craft at roulette. In fact, we haven´t seen much high-tech roulette cheats in action since the roulette laser computer cheats five or six years ago.
So I imagine that some high-tech roulette cheats are spinning their wheels right now to come up with a beauty--pardon the pun!
Wednesday, January 15, 2014
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How to Get into Massachusetts Institute of Technology (MIT)
In order to get into the Massachusetts Institute of Technology, you will need to have a near-perfect high school GPA, top scores on your ACT or SAT and the types of extracurricular activities that allow you to demonstrate your commitment and leadership abilities. You will also need to be able to write an essay that tells a compelling story about you and your thoughts while also showing your exceptional writing skills. MIT is located in Cambridge, Massachusetts, and it is regarded as one of the most prestigious universities in the world. While it is famous for its programs in the physical sciences and engineering, its other programs are also quite competitive. Graduates of MIT are leaders in many different industries and are some of the brightest minds today.
Massachusetts Institute of Technology Facts
Motto: Mens et Manus (Mind and Hand)
Established: 1861
School Type: Private
Location: Cambridge, Massachusetts
Athletics: NCAA Division III
Nickname: Engineers
Website: web.mit.edu
Getting Into MIT: The Grades You Will Need
In order to get into MIT, it goes without saying that your grades in high school must be exceptional. This does not mean that you should take easier classes just so you can get all As. MIT looks at the courses that you take during high school and wants to see that you have challenged yourself by taking the most rigorous courses that are available to you while also scoring As in them. If your school offers AP courses or IB courses, you should choose them over the less difficult options. In math, you should go beyond pre-calculus. MIT reports that 97 percent of its admitted students graduated in the top 10 percent of their classes and 100 percent were in the top quarter. This means that you should aim to achieve a weighted GPA of at least 4.13. To improve your odds, you should aim for a GPA that is even higher.
The Scores You Should Get on Your ACT or SAT to Get into MIT
MIT admission will also depend on your ability to obtain top scores on your SAT or ACT. MIT, unlike some other prestigious universities, will allow for Score Choice and superscoring your tests. So you may take the highest score you obtained for each section on any sitting of the test. If you want MIT to superscore your test results, you'll want to submit all applicable tests.
On the SAT Math test, the school reports that the 25th and 75th percentiles of the class of 2021 were 770 and 800. On the SAT Critical Reading, the 25th and 75th percentiles were 730 and 780. The percentile range from the 25th to the 75th percentiles on the ACT for the class of 2021 was 34 to 35. These high scores demonstrate the importance of preparing thoroughly for your test because you will need to attain an exceptional score in order to gain admission to MIT.
What SAT Subject Tests Do You Need to Take to Get into MIT?
MIT requires all applicants to take two SAT subject tests in order to apply for admission. If you want to get into MIT, you'll need to take either the Math Level 1 or the Math Level 2 subject test along with a SAT subject test in chemistry, physics or biology. It is important that you prepare for these tests and that you do well on them in addition to doing well on your ACT or SAT test.
What Extracurricular Activities Should You Do to Get into MIT?
You should not view your extracurricular activity choices in high school as things that will simply look good to MIT. Instead, the school is more interested in students who actively pursue activities about which they have true passions. The admissions office recommends that students participate in extracurricular activities that truly delight them rather than trying to figure out what activities might appeal to MIT. You should pursue one or more extracurricular activities that you continue with throughout high school. Your extracurricular activities should also be used to demonstrate that you have leadership skills, so run for any leadership positions in them.
What Should I Write About in My Personal Statement to Get into MIT?
MIT does not ask students to write a single long essay. Instead, the school asks applicants to complete several short-answer essays. There is no formula of what you should include, but MIT does not want you to use your essays simply to list your accomplishments. Write about something that inspires you, and use the opportunity to show the school that you are a thoughtful person who the admissions office should want on MIT's campus.
While getting accepted into MIT is exceptionally difficult, it is possible to do so if you have the right help. You must also be willing to do your best in your classes and to thoroughly prepare for your standardized tests. The team at Going Ivy has a successful track record of helping many students with gaining admission to MIT as well as to other elite institutions.
The team at Going Ivy is made up of graduates of the most selective schools in the nation. An elite college admissions preparation company, Going Ivy has helped many students with getting admitted into MIT, Stanford and the schools that make up the Ivy League. To learn more about the help that Going Ivy can offer, schedule your free consultation today.
Our Team
Meet our team of former admissions officers, Ivy League and top school graduates, and tutors.


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Project Chimera was a top-secret research program run by the Z.C.T. Corporation at Charon Base. Under the direction of Professor Ernst Kleist, Project Chimera sought to splice Xenomorph DNA with that of other, more docile species, the aim being to genetically engineer tame hybrid creatures that would be peaceful towards humans and could be controlled by them. The ultimate hope was to develop a tame Queen that could be used as a mechanism to control other Xenomorphs.
Project Chimera evolved from Professor Kleist's fruitful research into the DNA reflex. The ultimate aim of the program was to create a tame, controllable Xenomorph Queen that could in turn be used to breed similarly tame subordinates and even control other Xenomorphs in a manner beneficial to mankind. To this end, Kleist began experimenting with gene splicing, hoping to introduce non-Xenomorph DNA into the creatures' genetic coding and thereby mitigate their innate natural hostility. Some significant progress was made in this regard — by splicing the Xenomorphs with other animal species, particularly docile, domestic farm animals such as sheep, llamas and some breeds of cattle,[1] Kleist was successful in creating tame Warriors that would not attack humans. However, when attempting to create a Queen with comparable properties, the project came grinding to halt. The Queen embryos that survived birth were horribly malformed, and invariably perished before reaching full maturity.[2]
The breakthrough was made when Kleist introduced human DNA into the splicing process, provided by captured Grant Corporation spy John Cray. This led to the successful birth of the Rogue, an enormously powerful "male" Xenomorph that it was hoped would be a means by which other Xenomorphs could be controlled. However, the creature proved instead to be ferociously — and uncontrollably — aggressive towards natural Xenomorphs, and was eventually killed battling a Xenomorph Queen at Charon Base.
- In Greek mythology, the Chimera was a monstrous fire-breathing hybrid creature composed of the parts of more than one animal. It is most commonly depicted as a lion with the head of a goat arising from its back and a tail that ends with the head of a snake. The name is therefore fitting for a research project that aims to create a hybrid Xenomorph creature by splicing the creatures with other animals. Greek history and mythology are a recurring point of reference in the Alien franchise; other notable examples include the moon Acheron, the ships Archimedes and Anesidora, the novel Alien: River of Pain, and references to the Titan Prometheus in both Prometheus Tech and the film Prometheus.
- ↑ Sandy Schofield. Aliens: Rogue, p. 64 (1995), Bantam Spectra.
- ↑ Ian Edginton (writer), Will Simpson (illustrator). Aliens: Rogue #2 (1993), Dark Horse Comics.


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Creating Promising Futures Through Social Construction
Contact Us
Email: [email protected]Web: http://www.overfishedoceanstrategy.com/Twitter: @NadyaZhexembay
Dr. Nadya Zhexembayeva is a business owner, author, and educator working at the intersection of innovation, leadership, and sustainable growth.
As a business owner, Nadya oversees a group of companies active in real estate, investment, and consulting industries. Her recent client engagements include The Coca-Cola Company, ERG (formerly ENRC PLC), Erste Bank, Henkel, Knauf Insulation, and Vienna Insurance Group.
Until April 2014, Nadya also served as the Coca-Cola Chaired Professor of Sustainable Development at IEDC- Bled School of Management, an executive education center based in Slovene Alps, where she continues to teach courses in leadership, strategy, change management, design thinking, and sustainability. In addition to IEDC, Dr. Zhexembayeva has taught in a number of other business schools, including CEDEP (France) and IPADE (Mexico).
Dr. Zhexembayeva chairs Resourcefulness Advisory Board at OMV, an oil and gas company, and sits on the Advisory Board of Fowler Center for Sustainable Value at Weatherhead School of Management, Case Western Reserve University. She also serves as Vice-President of Challenge:Future, a global student think-DO-tank and innovation competition.
In 2014, Nadya released her second book, "Overfished Ocean Strategy: Powering Up Innovation for Resource-Deprived World," published by Berrett-Koehler Publishers in the US. Together with Chris Laszlo, in 2011, Dr. Zhexembayeva co-authored her first book, "Embedded Sustainability: The Next Big Competitive Advantage," published by Stanford University Press in the US and Greenleaf Publishing in the UK.
By Nadya Zhexembayeva:
Also by Nadya Zhexembayeva:


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We're now settling into our new home. The move took several days and boxes piled higher than I am tall; that's tall! Yet, one thing is definitely back to normal: Juliet's "relationship" with the local squirrels.
I firmly believe the squirrels back at our old place sent word of her arrival. I don't know, maybe they sent a text or an email. They definitely didn't use snail-mail; well prepared were these squirrels for Juliet. One morning, just two days after we moved in, I was taking Juliet for a walk, and a squirrel appeared before us. Juliet froze. She took one-step, and then bolted after the animal. It quickly darted into a clump of three palms trees, surrounded by a low hedge. Juliet raced to the stop the squirrel had entered and examined the area; meanwhile, the squirrel race out the other side of the hedge.
Juliet never saw a thing.
The squirrel scampered up a large oak that sat off to the side, and came to rest among its higher branches. Ah, but the little fellow did not remain there. You see, Juliet was still studying the palms, desperate to discover how her new nemesis had managed to up and disappear. The squirrel obliged her with an answer. Some of the branches of the oak were long enough to reach one of the palms. The squirrel climbed along the longest branch, got to the palm, and took up a position on the trunk just below the palm fronds. Facing downward, the squirrel proceeded to ridicule Juliet's efforts to catch him.
How I knew that's what he was saying, you ask. I've heard enough squirrel yammer and chatter, at Juliet, to translate, well, the gist of their conversation. Juliet's response was to race to the third palm tree and try to run up it. That's her usual modus operandi when confronted with a teasing squirrel. She got all of about four feet and then tumbled back to earth. The squirrel them jumped to palm number two and repeated the process. Juliet then felt compelled to try her hand, paws, at climbing that palm. The outcome was the same.
After that, the squirrel clearly felt that he was doing well. He jumped to the final palm, and the entire scene played out once more. At this point, I knew with absolute certainty that the squirrel was doing all of this deliberately, and was deriving a great deal of joy from it. After all, he could have stayed in the oak and been safe and undetected. He chose to come over to the palm and make his presence known. On top of that, he then also chose to jump mind you, not climb, to the second and then the third palm.
Consider what would have happened had the squirrel messed up in his footing and grip during any of these actions. He would have tumbled to the ground right in front of Juliet! Not the place you want to be when she got her dander up. So yes, the squirrel was doing all of this deliberately, and doing it as a means of entertaining himself.
Oh, I have a feeling this is going to be an interesting place to live.
Combining the gimlet-eye, of Philip Roth, with the precisive mind of Lionel Trilling, AJ Robinson writes about what goes bump in the mind, of 21st century adults. Raised in Boston, with summers on Martha's Vineyard, AJ now lives in Florida. Most of the time he writes, but sometimes he works at Disney World to renew his fantasies and get a few dollars more. AJ writes, with insight and passion, about his family and his dog. His liberal, note the small "l," sensibilities often lead to bouts of righteous indignation, well focused and true.
Click above to tell a friend about this article.


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Lesson One Hundred Forty Eight: Importance of A Guest
The Prophet (peace be upon him and his progeny) said:
اِذا اَرادَ اللّهُ بِقَوْم خَيْراً أَهْدَى اِلَيْهِمْ هَدِيَّةً. قالُوا وَ ما تِلْكَ الْهَدِيَّة؟ قالَ: اَلضَّيْفُ
When God wills happiness and prosperity for a nation, he will bestow on them a gift. They asked: 'what is that gift'. He replied: a 'guest'. 1
Brief Description
That is true. Guest is a gift from God, a valuable and honorable gift. However, material world in which all affections are lost, has no value for a guest. It treats him as troublesome and strange and unwelcome. So it rarely happens that someone invites another or gets invited unless there is a selfish reason relating to business or wealth or politics.
In Islamic countries and families in which religious customs are still alive, a guest is honored and respected as a divine gift notwithstanding the absence of family relationship or any ulterior motives.
- 1. Bihar al-Anwar, volume 15, page 241. Jami' Al-Akhbar, page 136.
- 2096 views


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PoE Orb of Fusing could be a currency item which could be created use of to re-roll the hyperlinks involving sockets on a weapon or piece of Armour. The Colour and quantity of Sockets stay unchanged. Modifications the number of hyperlinks on an item. It's a somewhat highly-priced Orb, presently at about 1:3 exchange price ratio to Chaos Orbs. Our suggestion is going to be to use them to get appropriately linked gear until late game when you attain the mapping phase. Any time you get a hold of some effective gear, you will craft the connected sockets in your personal. You'll need to bear in mind that the gear you craft genuinely needs to be worth much more than average variety of Orbs you might really need to get it crafted; otherwise, it truly is not worth it.
Orb of Fusing Vendor Recipes
Do what's listed beneath to raise the number of fusings you earn:
1) Pick up and sell six socket items with incorrect bases
2) Convert these Jeweller's Orbs with Yelena in Act2 at 4:1 ratio
3) Vorici Every day sells you 20 fusing for 64 Jeweller's orbs
Divination cards Exchange for Orb of Fusing
A set of five Emperor's Luck can exchange for 5 Orbs of Fusing (Random Poe currency).
A set of 5 Loyalty can exchange for three Orbs of Fusing.
A set of 7 Fortunate Connections can exchange for twenty Orbs of Fusing.
Orb of Fusing Exchange Items
This item is made use of by upgrade paths or vendor recipes to create the following Items:
Smaller Hybrid Flask (1x Modest Life Flask, 1x Modest Mana Flask, 1x Orb of Fusing)
Arborio (1x Grelwood Shank, 1x Beltimber Blade, 1x Orb of Fusing) [Corrupted items can't be used]
Dusk-dawn (1x Shade of Solaris, 1x Light of Lunaris, 1x Orb of Fusing) [Corrupted items can't be used]
The Retch (1x Quick bind, 1x Faminebind, 1x Orb of Fusing) [Corrupted items can't be used]
Jeweler's Orb (1x Chromatic Orb, 1x Orb of Fusing)
Kingmaker (1x Soul Taker, 1x Heartbreaker, 1x Orb of Fusing) [Corrupted items can't be used]
Magna Eclipsis (1x Invictus Solaris, 1x Vix Lunaris, 1x Orb of Fusing)
Medium Hybrid Flask (1x Large Life Flask, 1x Large Mana Flask, 1x Orb of Fusing)
Sizeable Hybrid Flask (1x Grand Life Flask, 1x Grand Mana Flask, 1x Orb of Fusing)
Sacred Hybrid Flask (1x Hallowed Life Flask, 1x Hallowed Mana Flask, 1x Orb of Fusing)
Small Hybrid Flask (1x Medium Life Flask, 1x Medium Mana Flask, 1x Orb of Fusing)
Colossal Hybrid Flask (1x Colossal Life Flask, 1x Colossal Mana Flask, 1x Orb of Fusing)
Hallowed Hybrid Flask (1x Divine Life Flask, 1x Divine Mana Flask, 1x Orb of Fusing)
Sacred Hybrid Flask (1x Sanctified Life Flask, 1x Sanctified Mana Flask, 1x Orb of Fusing)
Medium Hybrid Flask (1x Greater Life Flask, 1x Higher Mana Flask, 1x Orb of Fusing)
Colossal Hybrid Flask (1x Sacred Life Flask, 1x Sacred Mana Flask, 1x Orb of Fusing)
Sizeable Hybrid Flask (1x Giant Life Flask, 1x Giant Mana Flask, 1x Orb of Fusing)
Hallowed Hybrid Flask (1x Eternal Life Flask, 1x Eternal Mana Flask, 1x Orb of Fusing)
Orb of Fusing Guides
It can be 32 adults for 20 jewelers from Elreon, and it is a reasonably terrible deal unless you're in SSF. That may be 3c in adults for 2c of jewelers in League as of at this time. Vorici is superb although.
Vendoring six sockets will get you, eight jewelers, really should be you have not been undertaking that, and it is everyone's most significant supply of jewelers ordinarily. Vendoring a six Links will get you a celestial orb. By way of instance, when Tabula Rasa's go for less than divine, I will just vendor it and sell the divine. It is generally completed with corrupted six links with terrible rolls that wouldn't trade for greater than a divine too.
Two box MF cull Dom. Choose up all the rares and trade for adults. This demands numerous things to operate:
A decent supply of Wisdom scrolls and Transmutes
The second account with access to Dom (leveled HC character)
A decent MF/Culler
Friends that play HC (optional)
You can obtain remarkable amounts of alterations carrying out this and after that vendor them up to fusings.
Poe Orb of fusing six hyperlinks
It might take loads of a lot more than 1500 if you get unlucky. In case you want an assured outcome, use Vorici's crafting bench to achieve it for 1500 fusings. Other than that your guess is as great as anybody's as to how quite a few it can be very best to have just ahead of your attempt. I've spent 28 and got a six hyperlink when and spent 3000 and not gotten 1. If you'd be content making use of a five-link, start off now and quit. You could hit a six hyperlink initial. But I've been playing for additional than 3 years and have only randomly six linked two items. I produced use of Vorici to six hyperlinks that one Item quickly just after 3000 fusings failed.
For those who get a 5l and you take place to become beneath 100 fuses, you ought to quit, just because you're most likely to brick the item.
Looking for a six hyperlink is normally much less pricey than fusing it your self. It seriously is dependent upon the item.
Should you already possess a 5l, do not make work to 6l that one particular because you might end up breaking it. It is actually superior to try and hyperlink an item that you occur to become preparing to work with within the future, or inside the case of cheap-ish uniques like Belly to invest in yet another 1.
And do not make an effort to keep in mind to add 20% high quality for the item just before seeking to fuse it, provided that this increases your possibilities of Fusing it. I am just going to chime in as well and say that I have been lucky and six linked items with significantly less than one hundred fusings, but I've also been unlucky and spent 3000+ flings without the have to have of receiving it, and I've also applied Vorici to six hyperlink items.
poe orb of fusing trade
Just before you trade Poe orb of fusing location Go u4n Discover Poe Currency Exchange prices, This Web site also support you which technique Exchange could be the best


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Gillian Ayres: Paintings from the 50s
Jerwood Gallery, Hastings
Until 25th Nov. 2012
In an article written in 1957 and recently re-published by Artnews, Irving Sandler discusses the early abstract paintings of Joan Mitchell and the relationship between her 'muse' for the work, provided by landscape or event, and its synthesis as a non-representational image. In particular, he suggests how "…a recollected landscape provides the initial impulse… transformed in the artist's imagination by feelings inspired by…" very specific places and/or incidents in those places. He continues: "Those feelings which she strives to express she defines as 'the qualities which differentiate a line of poetry from a line of prose'. However, emotion must have an outside reference [my italics], and nature furnishes the external substance of her work."
The relationship between subject matter and abstract art continues to confound. Are we discussing a process of abstracting, from figurative subject to abstract object? Or is real abstract art only a process in and of the material? Is all art, including abstract art, necessarily and unavoidably a metaphor; and perhaps most critically of all, is "emotion must have an outside reference" a true statement for abstract art; can we not just emote about 'stuff'? And do we, in any case, want this sort of emotional entanglement whilst we are looking?
I have just recently been to see the wonderful and first rate show of early paintings by Gillian Ayres (from the late fifties, the exact same period Sandler was writing about Mitchell) at the Jerwood Gallery, Hastings. Writing in the exhibition catalogue, the Director of the Jerwood Foundation, Lara Wardle, seems to me to rather hedge her bets:
"Ayres technique of working straight onto the board…without pre-planning gives her work a directness, which is communicated to the viewer through the paint surface. The splashes and drips can be followed across the surface and the history of the painting's creation can be uncovered by the deciphering of the layers applied. In this way the paintings encourage the viewer to contemplate the event of their creation; the enjoyment that Ayres had in working on them becomes an enjoyment that the viewer can share in looking at the works and following this process."
OK, so far so good, as far as abstract painting as process goes, though I don't personally want to interrogate the surface of a painting in quite this way, at least not any more than is necessary to get at the painterly intent of it. I'm also not sure that we can really have any knowledge of whether Ayres enjoyed making these works at the time, or that we can knowingly share in that experience, even if it were so. Is this yet another fallacy of the emotive content of abstract art, this vicariously felt experience of the act of making?
Wardle continues:
"The paintings are pure abstract works, which do not require interpretation; instead the areas of bold colour and history of mark-making become the subject of the works."
Well, that's pretty unequivocal; process has become subject, a familiar and tired post-modern idea. But hang on; Wardle carries on without break:
"Although Ayres has used 'Untitled' to caption some of the works, many others from this period have a title which suggests a subject, place or in some cases a sense of movement, for example: Cumuli, 1959; Unstill Centre, 1959; and Muster, 1960.
Cwm Bran, 1959, and Cwm, 1959, refer to a town in Wales and Ayres… visited Wales on a number of occasions to walk and climb the wild, mountainous landscape. Mel Gooding, in his comprehensive monograph on Ayres, notes that they climbed the mountain, Cader Idris at least seventeen times and he writes, 'Climbing to the top of Cader Idris it is exhilarating to pass through smoky clouds, mist-blinded, to emerge then into bright sunlight and the rediscovery of colour and look up to see the high cumulus rising into clear blue skies, piling billow upon billow, and down to see the lower mists now disguising ridge and gully, erasing the view of Llyn-y-Cau.' This translation of an experience of landscape into a painting relates Ayres's work to artists, such as Turner, Constable and James Ward whose paintings she has admired on visits to the National Gallery and Tate."
No, no, no. Maybe I have a shortfall in the imagination department, though I suspect not, but I spent three hours with these works and not once was a billowing cloud or towering Welsh mountain evoked for me. I didn't think of any such thing for even a moment; until, that is, I later came to read the catalogue. Ayres, I'm convinced, in these early paintings, is not creating metaphors or signs; only (I say only!) creating relational entities in a marvellous and comprehensive variety of invention. To see the elements of these works as anything else; to read them as existing as separate translatable items in a catalogue of metaphoric prompts; to see singular parts in literal isolation as being apart from the relational conversation to which they contribute; is to diminish their considerable power as real, abstract, spatial participants in real, abstract, spatial paintings. The remarkable thing about this set of works is how well they avoid both metaphor and depiction, positioning themselves almost perfectly in the realm of the genuinely abstract.
Would our appreciation and comprehension of these paintings in any way be advanced by the evocation of landscape, or Mel Gooding's 'billow upon billow'? My resolute view is that if we should immediately see clouds and mists and mountain-tops and valleys etc. when we look at these paintings, we would be immensely misled. But then too, the alternative interpretation of Wardle is just as inappropriate; we would be equally misled to consider this work as being focussed upon process, showcasing the materials and the activities of the act of painting; for indeed, this is just another kind of illegitimate metaphor.
Far from concentrating upon their own materiality, I very much like the fact that these works are really quite modest and meagre in their use of paint, judicious in the means of manufacture, and refreshingly sparing in their use of colour. The varied thinness of the paint is one very keen factor in their spaciousness; it is undoubtedly this quality of spaciousness which is the key attribute of these works. It is a spaciousness which at its best is not born of depiction or descriptiveness, but of an intentional and progressive abstract-ness. What makes this not only a very good show, but also a very interesting show, is the fact that you can follow the nurturing of this quality, and the subtle but distinct shift of Ayres accomplishments as a painter which over a two or three year period brings it about; from the Hampstead Mural of 1957 through to perhaps the best two works in the show, untitled and Muster, both of 1960.
And it is not that I would particularly want to disparage the earlier work here; the 'Hampstead Mural' is not perhaps her finest Tachiste painting from the fifties, but it really is still very good (for absolute confirmation, compare it with the dreadful Katie Pratt from the Jerwood permanent collection intruding into the show from the next room). But it perhaps suffers just a little from the commonplace, in as far as it is hard not to read the large dark areas of blue, black and purple in the larger panels as figurative 'voids', in front of which hover, rather too insistently and optically, the white and coloured blobs, splurges and whorls of a slightly overstressed 'foreground'. The white in particular seems to jump about a little too ambiguously. I'm probably saying here that they are too tonal, yet I'm conscious of the fact that the highest colour in the whole show is in these works. No doubt some painter can straighten me out on this point.
(I am reminded that extremes of this rather dubious spatial descriptiveness in abstract painting exist in the late work of, for example, John Hoyland and Jules Olitski, both of whom at the end of their careers turned from making good, if limited, abstract paintings, to making rather awful pictures resembling planets, galaxies, nebulas and such like – attempting the spaces of 'the abstract sublime' by way of Star Trek. Dennis Bowen was another prime example of this tendency. Ayres avoids these fancies altogether.)
The biggest painting in the show, the double vertical panel of 'Cumuli', 1959, shares just a touch of the Hampstead Mural's overwrought spatial deliberations; its vertical lift, for example, is for me a little too insistent. In the rest of the show the elements of the paintings start to sit into the spaces they create much more easily and naturally (and no, I don't mean they were easier to paint). In 'Cwm' and 'Cwm Bran' the colour/paint is so integrated into the spaces of the work that one is hardly aware of it; variety is everywhere, nothing repeats, somehow a complex unity is wrought out of a great diversity. 'Untitled' and 'Muster', take this even further, with areas of wonderfully modulated and varied spatial blacks and dark greens being used as far more than open backgrounds against which other elements disport; they are fully active participants themselves within the spatial structure as a whole. One of the things that struck me looking at these paintings is how little they make one aware of a picture plane; how very unflat they are; how very un-graphic in every sense; and yet, how true to the integrity of the painted surface. The spaces herein are not wrought out of illusionistic ambiguities, but from plastic certainties.
So how good are these works? For me, they are the best of Ayres's career. It would have been interesting to directly compare them with slightly later works from 1961 to 1965, such as Scott and Lure, both 1965, where perhaps the influence of William Scott and Patrick Heron is noticeable (and which clearly develop out of works like Muster) and where the elements become more separated and dispersed upon and across what is more decidedly a (usually white or canvas) background, perhaps more of an overt picture plane. The best works in this present show I think make both Scott and Heron (even in his best late-fifties phase) look flat-ish and over-careful, almost over-designed, a little static. That is to exaggerate for the sake of the comparison, but I do want to stress how good these works are. Look, for example at the almost-modelled, roundish-pinkish-thing with ochre and black surround which kind of revolves in from the left of the picture in Muster. Heron never made anything so visual/physical as that. I'd be confident the best of these works would hold their own against any Pollock or Mitchell, though Ayres achievement over her full career comes nowhere near to matching theirs. It is in fact a shame that this zenith is so brief. Nevertheless, she did them, and you can't take that away from her. They present to me as fine examples of the potential of abstract painting to provide a genuine spatial and plastic experience.
So what about the emoting over our landscape muse? I suspect we will argue endlessly about this, but speaking for myself, I can well do without it. Does an emotional response to art require an outside reference? Perhaps, yes; except to say that the outside reference, for me, is the abstract painting itself. It is outside of me, it is not me, just as a landscape or a life-event is not me. Why can we not look at abstract art, or any art, freely and without the imposition of our own false emotions? In any case, when we look at a mountain or cloud or ocean, do not these things evoke great feelings in themselves? And why do we feel these feelings? Are we seeing mountains as metaphors too? For those who see everything as representing something else, where does that ridiculous chain of association end, or rather, begin?
I think not. I think the opposite. I think that if we are visual people, we can get a big emotional hit out of what is in fact the abstract-ness of a mountain or cloud; and that those mountains and clouds are not personal to me or anyone, they have for the most part no special associations for me or anyone; and yet for all that they are still meaningful to us. Similarly, with art, you can get the real emotional stuff out of the abstract-ness, not the literalness; with the added bonus that art has over nature that it is wrought out of material by a human hand under the sway of a human imagination. The humanity of it communicates naturally, if it is good; you don't need to load it up with any other baggage.
And by the way, you won't get this experience from reproductions. I haven't seen a reproduction of these works anywhere, and especially not in the catalogue, that gets near to properly 'reproducing' their genuine achievements. Get to Hastings!
Robin Greenwood
November 2012
Hi, I found your discussion after seeing Gillian Ayres 'Break Off' for the first time last Saturday at the Tate 'Housewarming' and being bowled over by it. I wanted to take it home and hang it on the biggest wall of my house. For me its power lies not just in the painterly effects and character interactions but in the cocktail of associations that I personally can make from it. The more abstract a painting is, the more possibility there is for a viewer is to make their own personal interpretation and meaning. I was able to read the painting as a new extension to my current thinking, understanding and ideas. For me its power would be diminished if I could only see it as a combination of original painterly characters dancing about in a void unrelated to anything within my experience (though it is still uniquely beautiful simply as that).
As to 'Break off' being fragmented, loose and not quite working, I think that the lack of integration here allows the viewer to break off the characters from the painting and relate to them as separate entities. The characters are still moving. Some are already floating off (or onto?) the edge of canvas. To me to have some aspect unresolved is a quality of genuine painting. The viewer has some work to do. I would always pick the challenging, awkward and alive over anything erring towards the slick!
Having just looked at Ayres' 1961 painting 'Break Off', now on show at Tate B (April), it has confirmed for me, 5 months after writing this review, that the works discussed here, in particular 'untitled' and 'Muster' from the year before, were better in all aspects. Despite a little of 'Muster's' physicality still remaining, along with yet again some really nice handling of thin paint (now on canvas rather than hardboard), 'Break Off' has too much casual drawing, is too fragmented, and does less to integrate figure and ground into a whole space. It is nevertheless the best work in the room (of 60′s stuff), apart from Caro's 'Early One Morning' (though I'm a bit sick of seeing that); but it has for me the seeds of Ayres' decline as a progressive abstract painter, which has ultimately resulted in her pictures being for many years now overwhelmed by design and (thickly drawn) figurative images.
I like this, the second paragraph of Rilke's book on Rodin:
"Rodin's message and its significance are little understood by the many men who gathered about him. It would be a long and weary task to enlighten them; nor is this necessary, for they assembled about the name, not about the work, a work which has grown far beyond this name's sound and limitations, and has become nameless as a plain is nameless or a sea that has a name but on the map, in books, and to men, but which is, in reality, but distance, movement and depth.'
I agree that it is often complete conjecture, and perhaps laziness, that leads critics to allude to stuff outside the work itself, which often does a disservice to the work (and hence the artist) whether the reference is a landscape or biographical, or about process.
Simple, interesting landscape structures can be aesthetically interesting and meaningful and the idea of experiencing 'seeing' paint on a support in the same way that one can see an interesting cloud or tree is a pertinent idea for those of us interested in abstract work.
So often the "outside reference" to something else seems to be a diversion from talking about the quality of work itself – rather than talking about whether it works (what does it do?) someone tries to impress by talking about the process, the artist's emotional life, the politics, the technicalities.
What Robin does really well (for me anyway) is to continuously (and in various ways) bring us back to the work itself, which is an utterly democratic process where the viewer can engage on an equal footing with the artist, biographer, curator (and fellow viewers).
The importance of "what it [the work] does" is, for me, a bit like asking the philosopher to explain what his complex philosophy actually says that is meaningful about how we live. That is, what is it that this "baggage", these "metaphors", "outside references", say that is meaningful about this painting in front of us. And this is often not much; it feels very lazy, and sloppy, to me.
I think I know what you are saying. Do you feel, however , one should ignore the titles Gillian Ayres gives, for instance 'Cumuli' or "Muster', so as not to be distracted by landscape, or other, references?
I don't think that a title has anything to add to the quality of a painting.
The question of how a title can interfere with the painting is interesting.
In response to your comment below I tend to agree that a title does not add anything to the quality of a painting, or sculpture for that matter.
If there has to be a title I prefer it to have relevance otherwise it can be a puzzling kind of conceit.
I read that Ayres, [in Mel Gooding's appraisal] often used titles as add ons after the main event , sometimes thought up by relatives or friends.
I feel as a viewer I can discard any impression the title might make if it interferes with my connection to a piece of work.
These Paintings from the 50s feel like Gillian Ayres was looking for something and found it. I am sure they are every bit as amazing and powerful as Robin Greenwood says they are. Lets hope they go on tour !
I agree with Robin Greenwood,that this appears to be her best work,of that time in painting, but looking more dynamic now than the later works, which are so associated the'marvel'of using extremely thick paint.
Also, I agree that this tired tendency to link abstraction to landscape and/or emotional states is very limited and misleading (regardless of what Howard Hodgkin hopes).This speaks to the obsession with both landscape and the unfortunate need to look for some 'meaning' in the work. However, I disagree with his reference to the flat careful appearance of some paintings by Heron and Scott. Thoughtout the history of abstraction there has been both approaches, and one reaction of the post-abstract expressionists was to produce such work.
Yes Robin, I do get to Hastings, it is where I live when I´m in UK and this is a must see show.
After the chalky banalities of Rose Wylie and the glistening rigidity of Gary Hume its 3rd time lucky at Jerwood.
Ms Wardle seems rather confused. Why discuss her intro.?
You get serious with " a wonderful and first rate show" and absurd with "..would hold their own against Pollock or Mitchell".
Any Joan Mitchell would suffer next to these Ayres, but a good Pollock would kill her.
She was never able to make a career from these as there was no Brit eye good enough to tell her it was hot,as Greenberg told Frankenthaler.
The 3 vertical formats are stunning. I think she painted them on the floor and these narrow vertcals would have meant working from the sides.Thats my explanation why they are so special, it generated a headlong rush of colour patches towards the top, top heavy like Chinese landscapes.
Her pictures using regular formats are more conventional and too English for me.Its the Grand Manner again, filling the whole surface with striking passages.
Here is a painter who is not afraid to express her feelings. Thankyou Gillian!
Be not afraid to disagree, Mr. Barker, not on this site at least.
And yes, I am a little harsh on Ms. Wardle; but then I happen to think it is important to try over and again to define what is and what is not proper to abstract art; and to discriminate against art and writing about art that dissembles or falsifies this thing that I really value. Of course, this is just my opinion… but it is not a theoretical pursuit or an argument for the sake of it; it will impact in practice (mine, anyway). I don't think the way to make abstract art more compelling and/or interesting (or to avert a decline back to minimalism) is to include figurative or metaphorical references, as is popularly attempted by any number of artists, and encouraged by any number of critics and commentators. It was attempted here, not by the artist, but by the interpreter; Ms. Wardle is someone in a position of authority in the artworld. Had I felt her interpretation to be justified, I could have let it pass as a way to introduce the public to Ayres work, though I dislike even that. But as I thought it went so much against the endeavour of the work itself, I objected strongly to the catalogue (though I dare say Ayres herself would no longer object).
It is indeed very difficult to write about visual art, though I see that as no reason to give up on it, or indeed to think it less important than writing about particle physics. Generally, we could all be more accurate in how we write about art. And, as I say, a better definition of abstract art may help us focus on what works and what doesn't.
I couldnt disagree more Im afraid, I would place Ayres up there with Pollock & I see the works in this show as from one of her weaker periods.
On the more general points, Greenwood is a bit hard on Wardle, its an exhibition note not a treatise on particle physics. Somebody once said that writing about Art was like dancing about architecture – the connections are either metaphoric & tangential or journalistic & beside the point.
Which begs the question rather of why you're bothering to read this in the first place.


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"Many New Towns are within easy commuting distance of major commercial centres, where housing is typically more expensive. This is particularly striking for New Towns in the south east, where the average property price is close to half, on average, compared to that in London.
"The combination of strong earnings growth and lower priced property, together with good accessibility to the capital, has helped to support prices in many New Towns in the south east during the economic and financial downturn. In addition, populations in many New Towns in the south east have increased since 2007, which is likely to have added to housing demand."
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Ayrshire company Begg Scotland nominated
for Scottish cashmere fashion award
A leading Ayrshire textile company has been shortlisted for one of
Scotland's most prestigious fashion awards for its innovative and
contemporary designs.
Begg Scotland has been nominated in the Cashmere / Textile Designer of
the Year at this year's Scottish Fashion Awards, sponsored by Scottish
Enterprise's Scottish Textiles team.
[Picture shows: Miss Scotland, Lois Weatherup, modelling a coat which was made by Scottish designer Sandra Murray. Sandra Murray was commissioned by Begg to create some catwalk garments suitable for the Dressed To Kilt Event which took place in New York in April this year. The exclusive coat was made from a Begg Scotland printed cashmere throw. Photograph by Lloyd Bishop.]
The company will battle it out with other leading textile companies
including Pringle of Scotland, Johnstons Cashmere, Queen & Belle and
Todd & Duncan for the accolade at a glittering VIP Gala dinner at
Stirling Castle on 9 September.
The shortlisted companies were selected by a judging panel consisting of
some of the leading names in the UK and international fashion scene
including Kate Phelen, fashion director of British Vogue; Brigitte
Stepputtis, head of couture at Vivienne Westwood; and Garry Van Dis, vice-president of Conde Nast publications.
Begg Scotland was recognised following the launch of its new print
design 'Balmoral', launched in February 2007, which emphasises its
unique Scottish heritage while incorporating a vivid colour palette.
The company commissioned Scottish designer Sandra Murray to create a
bespoke garment using the fabric and the result was the 'Balmoral Fire'
coat-dress, which was one of the showcase designs at this year's Dressed
to Kilt event in New York.
Kirsty Scott, head of Scottish Textiles team at Scottish Enterprise,
says: "We are delighted to be supporting the Scottish Fashion Awards
again this year. The nominees for this year's Textile/Cashmere designer
of the year are all leading the way in design and innovation. It is
vitally important that we help support Scottish textiles companies to
invest more in design to ensure that Scotland remains famous around the
world for producing high quality, innovative fabrics and Scottish
fashion remains on the international catwalk.
"The Scottish Fashion Awards help to showcase the wonderful talent in
Scotland's fashion and design sector and celebrate young designers in
Scotland who have huge potential to promote Scotland's reputation for
producing high quality innovative textiles to audiences both at home and
The winner of the Textile / Cashmere Designer of the Year award will be
announced alongside the other nine categories, which will include
designers, retailers, models, fashion communicators, fashion icons and
accessory designers. Each winner will receive a handcrafted art piece
specially designed by internationally renowned Scottish sculptor Andy
Scott, whose work has been exhibited in cities around the world.
The event will also honour an individual whose outstanding career in
fashion will be celebrated by an induction into the Scottish Fashion
Awards Hall of Fame, sponsored by Bentley Motors Limited.
Jamie Fraser, managing director of Hamilton & Inches and chairman of the judging panel said: "In only its second year, the Scottish Fashion
Awards are already proving their worth and importance to Scotland. We
have had a record number of entries and nominations and the standard is
extremely high. The judges have been set an exciting challenge to select
the winner for each category. Hamilton & Inches are delighted to be the
headline sponsor of the Scottish Fashion Awards for the second year. The
success of Scots in the fashion industry, both in the UK and
internationally, is something to be highlighted and celebrated."
Event founder/producer Tessa Hartmann added: "The Scottish Fashion
Awards represent an incredible opportunity for Scottish fashion talent
to be seen by respected fashion authorities from around the world. The
cashmere / textile industry in Scotland alone employs around 19,000
people and fashion itself is the fourth largest employer in the UK. With
so many Scots doing wonderful things on the international catwalks for
their own labels and global brands, it was without time to celebrate and
acknowledge that fact. As an event, we are delighted that we have
brought so much awareness to so many different types of fashion creators
and innovators from Scotland - that's what this is all about!"
Friday, 31 August 2007
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Ivan Lendl Interview
Why not interview the man. Ivan Lendl International Junior Tennis Academy used it's blog to interview Lendl. Good interview. Here are some excerpts:
What bring you the most joy in the process of working with these kids?
"I really enjoyed to see the kids and how much they improve. When they are working on something, and I could give a bunch of examples…when they are working on something and then I see them a month or two months later and they have improved also having results, having good results; going to tournaments and winning some trophies and beating players they were not beating before they came to our academy. That's what I really like."
What is the biggest challenge in working with Andy for you and/or Andy?
"I can not speak for Andy so I am not going to. For me, the travel. I don't like the travel. I have traveled so much in my life that whenever I have to go somewhere, it's the worst part of what we do together. The best parts are when we are on the court and we are preparing and practicing. I like the practice weeks a lot more than the tournament weeks because it's more fun. You get to interact more and also you see how much better he can get or how much he is getting."
Read the whole interview – HERE
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Andy Murray Interview
"The Slice" blog came up with this You Tube video of an Andy Murray interview with Green carpet hosts Colin Fleming and Jean-Julien Rojer
Safin's Mom and Murray's Mom
More of the Women behind the Men series with Marat Safin / Dinara Safina's Mom and Andy / Jamie Murray's mom.
You wouldn't mess with Marat Safin. And you certainly wouldn't mess with his mum. Rauza Islanova was a good enough player to be ranked in the top five in the former Soviet Union but it is in her role as coach that she came to prominence, with Safin, his sister Dinara Safina, Anna Kournikova and Elena Dementieva all coming through the famous Spartak Club in Moscow, where Marat's father happened to be the director. Islanova used to take Marat along to the club when she was working and coached the future world No 1 between the ages of six and 13, before sending him packing to Spain, where facilities were much easier to come by. Famed as a hard task-master, she knew her own mind and was never afraid to speak it.
Needless to say, there were times when he children didn't listen to her but her track record is second to none. Both Safin and Safina became No 1 and many, many more made it thanks to her coaching and moulding.
– – – – – – – – – – –
Judy, a former Scottish national champion (she was the tartan Chris Evert), did not take kindly to past suggestions by Boris Becker and others that she was too closely involved with Andy's career. "The apron strings stuff is ridiculous – Andy lives in Surrey, and lived in Wandsworth, South London, for a number of years before that. I have always lived in Scotland. But there are people who really think I travel with him around the world telling him what to do. I only attend six or seven competitions a year. There have been times when I have been around more often, but that has been when he is having a tough time and needs support."
As Steve Bierley, the former tennis correspondent for The Guardian, once said, "Judy Murray should be held personally responsible for the ills of British tennis; she stopped producing children after she had Andy."
Read the Whole article on Rauza Islanova – HERE
Read the Whole article on Judy Murray – HERE
Ask Andy Murray
The BBC ran an article on January 21st where Andy Murray answered questions from fans via Twitter, Facebook and the BBC's website. Here is a sampling. Read more – HERE
Fish or chips? Richard Shepherd (Facebook)
"That's a tough question, because it's kind of suggesting the fish you get with fish and chips. I would never have battered fish, like cod from the chip shop. So I'll go for chips."
Which former player would you most like to have had a chance to play? Simon Preece
"My coach, Ivan Lendl. No question. I hadn't watched many of his matches until I started working with him, then I started to watch some videos of his big matches. Now that I know him and have watched him a lot, he would be the most fun guy to go play. He was incredibly consistent, very rarely played a bad match, he did everything well – served well, good forehand, passed well, moved well.
"He improved his volleys a lot towards the end of his career as well to try and win Wimbledon. That was the sort of guy he was. He could have won more Slams, for sure. He missed a French Open to prepare better for Wimbledon, and when he started playing the Aussie that was on grass too. If the Aussie was on hard courts, I think he would have won more. Would I have beaten him? Depends on the surface. I think on clay he would have beaten me, on grass I think I might have beaten him and on hard courts… it would have been a good match!"
Thanx to "The Slice" blog
ITF to bring in biological passports to beat doping
The fall-out from Lance Armstrong's drugs confessions has reached the other side of the world. Leading players here at the Australian Open have been united in their condemnation of the American cyclist and several have backed the calls, first made by Andy Murray at the end of last year, for more blood tests. Most importantly, the International Tennis Federation is to increase its budget for drug testing and is set to introduce biological passports, along the lines of those used in cycling.
Novak Djokovic revealed here that he had not been blood-tested for "six or seven months". In 2011 only 21 tennis players worldwide – 18 men and three women – were blood-tested out of competition by the ITF, which administers the sport's anti-doping programme, and by the World Anti-Doping Agency. Murray, who had a maximum of three such tests in 2011 and none at all in 2010, says he would welcome more.
Read more – HERE
Australian Open Recap – Tennis X
Good recap of the Wednesday action at the Australian Open on Tennis X blog (CLICK HERE)
Roger Federer has 17 wins over Nikolay Davydenko. Davydenko has just one win in his last 17 matches against Top 10 players…Hard luck case Brian Baker will need right knee surgery and will be out four months after tearing his lateral meniscus today against Sam Querrey…Want some streaks? We got them: Serena Williams has won 17 straight matches…Ryan Harrison has lost 16 straight matches to Top 10 players…Novak Djokovic has won 17 straight at the Australian Open…Andy Murray has won his last 8 Grand Slam matches…Venus Williams has won 7 straight matches…Aggie Radwasnka is on an 11-match win streak, winning all 22 sets…Lukas Lacko has lost 13 straight matches to Top 10ers…Bernard Tomic has won all 9 matches this year…And after leading 5-2 in the third set against Zheng Jie, Sam Stosur is on a 5-game losing streak…Who will have a better career,Madison Keys or Donna Vekic?…Serena Williams and Venus are still scheduled for doubles later Thursday, so maybe the right ankle is OK. Then again maybe not…Andy Murray's worst Grand Slam loss by ranking was to No. 91 Arnuad Clement, today he'll face No. 100 Joao Sousa…For the second straight year no Australian women reached the third round at the Australian Open… Ther is more to this section at the link above.
Bleacher Report's Most Riveting Points from the ATP's Big 4
Bleacher Report shows some great tennis from Novak Djokovic, Roger Federer, Andy Murray and Rafael Nadal. Here is a sampling of the slideshow with all the video's.
The point at 5:45 was one of the best points all year.
This was a cat-and-mouse exchange that lasted way longer than any live spectators anticipated.
To see all the video's – CLICK HERE
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- Are These The 10 Best Shots Of The 2012 ATP Season? [Video] (tennis-x.com)
ATP's Year in Review
From the ATP web site.
2012 By The Numbers… Novak's 5 M.P. Saved Tops List
Match Points Saved
Five players won matches from the brink of defeat in 2012, most notably Novak Djokovic's heroics to save five match points against Andy Murray in the Shanghai Rolex Masters final.
First-Time ATP Winners
Only one player won his first ATP World Tour title in 2012, compared with 10 in 2011. As players competing for their first ATP World Tour title went 1-15 in finals this season, 23-year-old Martin Klizan was the only breakthrough, triumphing at the St. Petersburg Open with a straight-sets win over Fabio Fognini. He became the first Slovakian to win a tour title since Dominik Hrbaty triumphed at Marseille in February 2004.
Winning Streaks
It was a mark of how competitive the ATP World Tour was in 2012 that the longest winning streak any player was able to put together was Roger Federer's run of 16 matches in February-March. In 2011, Novak Djokovic had opened with a staggering 41-0 mark, while a year earlier Nadal had compiled a 24-match winning run.
Winning Titles Without Losing A Set
Rafael Nadal reminded the tennis world of his clay-court supremacy in 2012, winning three titles at Monte-Carlo, Barcelona and Rome without the loss of a set. Novak Djokovic was also able to win an ATP World Tour Masters 1000 title with a clean slate over six matches, retaining his title in Miami.
See the whole article – HERE
2013 Year End ATP Top 10
"Tennis Connected" has released their predictions of the year end top 10 players on the ATP tour. See if you agree. Better yet, write it down and see if you do better at the end of the year. Here is a few excerpts from this years article:
1. Novak Djokovic: Pound for pound, I can't see anyone playing better on all four surfaces next year than Djokovic. He's exceptional on hard-courts (the bulk of the season) and his clay and grass results are only second to Nadal and Federer. He'll have his share of points to defend in '13, but nothing like what he faced in 2012. That being said, Djokovic should start strong and benefit from the 1500 points he gained at the WTF.
2. Andy Murray: It should be a good year for Murray, but not good enough for No. 1. The clay will again hurt his chances at the top spot, while the immense pressure at Wimbledon (even more pressure than before if you can believe it) should strike him there, and let's not forget about his defense in New York later that summer. If there's one solace for Murray over the upcoming season, it will be the Masters events. Not performing well in the elite tournaments in '12, Murray will have tons of room to improve.
9. Marin Cilic: From what I've seen from Cilic the past few seasons, I truly believe it's only a matter of time before he starts challenging for majors. He's got the height and court speed to give anyone fits, and his lack of fan fare will bode well for him in the coming years. Don't look for Marin to be in a slam final in the next 12 months, but I think it's reasonable to predict that he'll be more of a factor on a regular basis.
A Few of the Comments:
Shalomo on December 4th, 2012 1:05 pm
I predict Nishikori will make it into Top 10 – not Cilic. Raonic will probably be 8-9. Nadal will have 0 points to defend for half the year so he'll rebound to number one.
Kate on December 4th, 2012 12:44 pm
I'd be surprised if Ferrer finishes as low as number 8. He's made real improvements to his game – serve, court positioning, transition game to the net, more aggressive groundstrokes. These improvements have enabled him to have a dominant record over Del Potro, Berdych, Tsonga, Tipsarevic and Gasquet this year. Whilst it'll be hard to repeat the 7 titles, I think he will have another successful season. I think he and Del Potro will end the year ranked 5 and 6, in any order.
To read the entire article and to even add your opinion – CLICK HERE
and HERE for last years top 10 predictions.
Tennis Star Remembers Surviving 1996 School Massacre
From Good Morning America. More on Andy Murray, Dunblane and the Newtown tragedy.
On that fateful morning, Murray was with his older brother Jamie, who was 10–both had been making their way to the gym, fortunately they were told to hide under a desk in the headmaster's study and survived the horrific attack. Hamilton had burst into the gym and began firing shots indiscriminately; his victims were aged between 5 and 6 years old. After three minutes, Hamilton turned his gun on himself.
In his book, Murray talks about how he had attended a youth group run by Hamilton and how his mother sometimes gave him rides in her car. Murray writes, "the weirdest thing was that we knew the guy [Hamilton]. He had been in my mum's car. It's obviously weird to think you had a murderer in your car, sitting next to your mum."
The British number 1 tennis star also described why he finds it so difficult to recall all those memories from that day, writing "that is probably another reason why I don't want to look back at it. It is just so uncomfortable to think that it was someone we knew from the Boys Club. We used to go to the club and have fun. Then to find out he's a murderer was something my brain couldn't cope with." Hauntingly, Murray said "I could have been one of those children."
In an interview by ESPN, Murray's mother Judy described the moment she received that difficult call from the school saying, "I said nothing, grabbed my car keys and jumped in the car and made my way over like every other mom," adding "(it's) the worst thing, the worst thing you could imagine having to go through in your life kind of sitting, waiting not knowing whether your child was alive or dead you can't imagine what that was like."
Murray's grandparents were also interviewed by ESPN. His grandmother Shirley Erskine told the sports channel "I think deep within him he wanted to do something, to put Dunblane on the map for the right reasons rather than the wrong reasons."
Read the whole article at:
Tennis Reporters Top 50 Men
Matt Cronin's tennisreporters.net came up with it's year end Top 50 Men. The top 5 were Novak Djokovic, Roger Federer, Rafael Nadal, Andy Murray and David Ferrer. The article has two paragraphs on each player.
Here are few excerpts:
Novak Djokovic: Yes, in 2012, he only won one major, the Aussie Open, but he also reached the Roland Garros final, the Wimbledon semis, the US Open final and when a lot of chips were on the line heading into the fall over who the Player of the Year was, he grabbed Shanghai and the ATP World Finals to seal POY honors.
David Ferrer: Has there ever been a more beloved world No. 5 than the gritty and gusty Ferrer? Perhaps not. Everyone loves his hustle, the way he always fight to the last ball, how much he has improved his serve and has been willing to go on the attack more. But while he clearly had a better year than anyone ranked below him, he didn't even end the year ranked higher than Nadal, who stopped playing in late June.
As Ferrer has said, it's more than possible that every member of the Big 4 is simply better than he is. In 2012, he went 0-3 against Djokovic and Nadal, ran his record to 0-14 vs. Federer with two losses, and split matches with Murray. He needs to go after the ball more against those players, but it is altogether possible that outside of Murray, that even if he does, he will be pushed back. But here's hoping he reaches his first Slam final in 2013 in great shape because it would be a lot of fun to see the 30 year old sprinting wall to wall to in an attempt to win his first major. That would cap off one of the most dedicated careers of any 21st century competitor.
Read the whole article – HERE
Former World #2 Andrea Jaeger Visits Red Hook, Just as she did in Dublane in 1996
- Former world number 2 tennis player Andrea Jaeger traveled to Scotland after 16 children shot in Dunblane school massacre in 1996
- Jaeger mentored and comforted 2012 U.S. Open Champion Andy Murray
Sixteen years ago tennis player Andrea Jaeger was so touched by the devastating massacre of 16 children at Dunblane, Scotland, in 1996 that she flew 5,000 miles to help and helped inspire U.S. Open champion Andy Murray.
Today she unfortunately found herself once again at the scene of a brutal school shooting as she arrived to lay flowers at the makeshift memorial of Sandy Hook Elementary.
Speaking of her humanitarian work with her Little Star foundation, Andrea, 47, said she hoped that one child from the tragic Connecticut school could one day emulate Murray.
Read more: http://www.dailymail.co.uk/news/article-2248714/I-came-lay-flowers-offer-help-Woman-comforted-Dunblane-massacre-survivors-1996-inspired-tennis-champion-Andy-Murray-arrives-Sandy-Hook.html#ixzz2FBj0Om4Z
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'I arrived around one week after the attack and brought as many tennis rackets as I could with me from Colorado,' said Andrea (who was a former world number two and retired in 1987).
'The kids were shaken up, but some like Andy who had to hide (during the shootings) were quiet and seemed haunted.
'We set up a net and a court, and we played a game of tennis.
'Andy was already playing tennis by then and he definitely had an idea of how to hold a grip and he successfully passed me on the court.
'He was small but pretty good.
'Of course he had to hide during the attack (carried out by the 43-year-old gunman Thomas Hamilton) and a lot of people didn't really know till recently that he was even there during the massacre.'
DUNBLANE MASSACRE – March 1996
On 13 March 1996, unemployed former shopkeeper Thomas Hamilton, 43, walked into the Dunblane Primary School armed with four handguns. He shot and killed 16 children and one adult before committing suicide.
Future tennis champion Andy Murray attended the school at the time and was forced to take cover in a classroom. Murray has previously stated that he was too young to understand what was happening and is reluctant to talk about it in interviews.
In his autobiography Hitting Back he states that he attended a youth group run by Hamilton, and that his mother gave Hamilton lifts in her car.
Excerpted from The Daily Mail
Read more: http://www.dailymail.co.uk/news/article-2248714/I-came-lay-flowers-offer-help-Woman-comforted-Dunblane-massacre-survivors-1996-inspired-tennis-champion-Andy-Murray-arrives-Sandy-Hook.html#ixzz2FBkNLiKw
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Related articles
- Andy Murray reveals his pride at helping hometown Dunblane to heal (dailyrecord.co.uk)
- Andy Murray: Since the Olympics I walk down the street with my head up (guardian.co.uk)
Andy Murray wrote on his wall
My heart goes out to all those poor children, their families and the community in Newtown in Connecticut, so so sad
Craig Tiley – Australian Open Boss, Picks Murray
Australian Open tournament director Craig Tiley predicts 2013's title winner – Andy Murray. He also picked Maria Sharapova as the Women's Australian Open Champion.
"I think, on the men's side Andy Murray will be difficult to beat this year," Tiley said. "Novak is a defending champion, he is playing great tennis, he is obviously tough to beat, but I think Andy Murray is someone who we are going to see even more."
"In the women's draw, I think, Maria," Tiley said. "I think she was probably playing the best tennis at the end of the year. Azarenka is playing great tennis and she won here last year obviously and this was her first breakthrough."
So what are the odds?
On the Men's side you can pay as little as 5/4 for Novak Djokovic (meaning a bet of four Euro's will win you 5 Euro's so you wil get back 9 Euro's, the 5 you won plus the 4 you bet). You can get as high as 32/21 for a bet on Djokovic. Andy Murray is anywhere from 9/4 to 41/12. Roger Federer 15/4 to 59/10. Rafa is between 5/1 and 8/1. The reason the odds are in Euro's is because gambling on sports is legal in London. If you want to take a chance on am American long shot you can get anywhere from 50/1 to 379/1 on John Isner. If you really want a long shot you can get 1,000/1 on Donald Young.
On the Women's side Bet365 lists Serena Williams at 6/4; Victoria Azarenka at 11/4; Maria Sharapova at 7/1; Petra Kvitova at 9/1 and Christina McHale will bring in between 200/1 and 300/1.


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|» Products
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Prime quality is the prime focus of our company while manufacturing and supplying the stock of PTFE Moulded & Machined Components. These components are widely used in various industries, commercial and household applications. We make available these components to our clients in different dimensions and sizes to choose from. We offer our PTFE Moulded & Machined Components at best market prices to our clients.
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Developing A Culture Of Customer Care
Every process in your organization has a customer, and without a customer a process has no purpose. In their book, Managing Quality in Tourism, by Tony Lenehan and Denis Harrington, the authors talk about how the change and uncertainty of recent years has intensified the difficulties inherent in managing customer expectations. Across all industries customers


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Two new Easy Wave spreading petunia colours in time for the summer sales!
Both Pink Passion and Silver will soon be on the market to make your garden more beautiful during the summer months.
Pink Passion is a gorgeous mid-pink colour with a dark rose eye, while new stunning Silver holds soft white flowers with blue-purple veins. Both these new varieties have the well-known mounding and spreading habit of all other Easy Wave spreading petunias.
Easy Wave Petunias are ideal for baskets, containers and bedding use and can spread and trail up to 90cm per plant and will colour your garden all summer long. Amazingly Easy Wave Petunias are available in a fantastic 15 individual colours plus ten different combined mixture styles to suit all tastes.
Are you a grower of Wave Petunias? Don't hesitate to contact your preferred supplier for seed and young plants.
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Mount Vernon is the county seat of Skagit County, Washington. It has approximately 35,000 residents and is known in the Pacific Northwest for its annual Tulip Festival. Each year, millions of tulips are grown in Mount Vernon, making it a beautiful and serene environment for its residents and visitors.
Mount Vernon was established by settlers in the 1870s; its name originates from George Washington's estate in Virginia. Located in timber-rich country, logging camps were quickly established. In order to sustain and entertain the loggers and eventually attract their families, saloons and shops were built and the city blossomed. After its initial population boom, growth was stymied by an ancient log dam on Skagit River that prevented freight ships from reaching or leaving the town. Growth resumed again (yet with less vigor) with the expansion of the railroad line in 1891.
Mount Vernon Today
These days, Mount Vernon is a pleasant city known for its tulip farms. It experiences heavy flooding from the overflowing Skagit River almost every year during times of heavy rain. The city has yet to build a permanent dike and, for many years, relied on its citizens to come out in droves and stack sandbags six feet high. In 2007, a movable flood wall was purchased from a Norwegian company that now takes the place of sandbags, though it still takes several hours to assemble.
Gilbert & Gilbert Lawyers, a Mount Vernon Institution
Gilbert & Gilbert Lawyers was established in Mount Vernon back in 1921 by Warren J. Gilbert, Sr. Since then, the Gilbert family has been providing Mount Vernon residents with trustworthy legal services. Warren J. Gilbert, Sr.'s grandchildren, Jayne and Peter, now head the firm with impressive legal backgrounds, passion, and experience.


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|Rio came to visit Sonny and his old neighborhood during the party! It was great to see him and the Gandhis!
Sorry the pic is so dark!
The weather was nice so we were able to sit outside and enjoy it! Afterwards we met the LeBlanc's at Old Mexico for dinner and they talked us into going to TuKanoo's after to hear a band play.
|Friends at TuKanoos!
Forrest, Me, Shannon, Daniel, Jesse, Jenna
I stole this off of Shannon's facebook.
On Sunday it was more organizing. I worked on my jewelry and top drawer of my dresser (aka drawer stuffed with random items) and Forrest was hard at work in the basement. He painted one of the walls and even built me a shelf for my laundry supplies! During the afternoon, I had a quick meeting for the Alabama Alumni Board to plan a fantastic dinner next month in town. We are having Sarah Patterson (gymnastics coach) and Patrick Murphy (softball coach) speak about their national championships from this past season! Afterwards we picked up the Hayes and headed down the hill to the Smith's for dinner. They were having a Greek night and mmm mmm mmm it was great! They had tons of appetizers, a delicious meal, and bakalava and cookies for dessert. Don't forget the Greek wine and Ouzo! Opa!
|Hanging out at the Smith's with Eloise after a DELICIOUS meal!!
Daniel, Claire, Farrah, Jay, Forrest
We had a great time last week balancing work and play and hopefully once the house is decluttered we can focus on the fall's main event: COLLEGE FOOTBALL!!! Roll Tide Y'all!!


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The History of the Aristotle Ambr. B 7 inf.
LECTURE: Stefano Martinelli Tempesta (Università Statale di Milano), The Wanderings of a Greek Manuscript from Byzantium to Aldus' Printing House and Beyond: The History of the Aristotle Ambr. B 7 inf., The Centre for the Study of Manuscript Cultures (CSMC), Room 2002, Warburgstraße 26, Hamburg (Germany), Monday, 18 April 2016 at 4 pm.
Between 1495 and 1498 Aldus Manutius, the most important scholarly publisher of the Renaissance, published the first printed edition of Aristotle' and Theophrastus' works. Two main principles lie at the heart of this major achievement: colligere and corrigere, i.e. to collect and collate, and, further, to correct.
As Aldus himself says, the aim was to provide the University studiosi with reliable and easily available texts, although the relatively high prices of the books point to an indirect form of availability, e.g. through libraries and teachers.
In order to cast light upon the textual improvements of a scholarly publisher, it is of paramount importance to identify the manuscripts he collected and used for his printed editions: to date, only a part of the manuscript sources that lie behind Aldus' Aristotle have been recognised.
In an attempt to further clarify such a complex background, I will tell the story of a thirteenth century manuscript of Aristotle's Physics and On the soul now preserved in the Ambrosiana Library.


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Create an Account - Increase your productivity, customize your experience, and engage in information you care about.
Summit County Ambulance Service provides emergency medical services to Summit County, Colorado.
We are in the process of merging with Summit Fire & EMS, where our operations are now housed. To contact us, learn more about our services, or find billing information, visit Summit Fire & EMS.
To pay your bill online, use our online ambulance bill-pay tool.
Summit County Ambulance Service and Summit Fire & EMS are merging into a single organization under an agreement between the Summit County Board of Commissioners and the Summit Fire Board of Directors.
After significant analysis, planning and collaboration, the two entities merged operations on July 1. They will complete a formal financial and legal unification by Jan. 1, 2020.
The two organizations are jointly constructing a new administration building in the Summit County Commons near Frisco, scheduled to open in mid-July. The 9,400-square-foot building will house all administrative functions of Summit County Ambulance Service and Summit Fire & EMS, as well as Summit Fire's permit and inspection functions.
Summit Fire and Summit County Ambulance Service have shared staffing and housing at Station 1 in Copper Mountain, Station 8 in Dillon and Station 11 in Keystone for years, and firefighters have been cross-staffing on ambulances on each shift for more than two years.
The merger forms the second-largest emergency-response agency on the Western Slope, with more than 100 employees. Red, White & Blue Fire will remain an independent, stand-alone entity covering emergency response in Breckenridge and southern Summit County.


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What do you need to weave on a frame loom? Learn about rug weaving and how to weave with a frame loom in this free video.
About the Author
Deb Huglin Vogel is a professional sculptor who does animation, installations and sets, robotics, PR, creatures, and creates marketable products. Vogel has been doing studio artwork continuously since 1962, and also does commissions, sculpture, monuments, water features, animation, special effects, sets, storyboards, American Indian traditional knowledge and repatriation/analytical archeology professionally.


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Ask CF: How Do I Wear Denim on Denim?
Welcome to the latest edition of Ask CF! Every few weeks, we select a reader fashion question and answer it here on the site. Do you have a specific fashion question for us? Scroll to the bottom of this post to learn how to send it our way!
Ask CF Question
Dear CF,
So, denim/chambray has obviously gotten pretty


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- The alternative energy industry is experiencing enormous growth as the world realigns its approach to power generation and consumption. Join our team to play your part locally and globally.Greenlight is accelerating the shift towards sustainable transport and energy consumption by producing the world's best testing and development equipment for the research and manufacture of fuel cells, electric vehicles, and energy storage systems. We work in small, process-based teams that are nimble, efficient, supportive and focused on excellence in design, manufacturing and customer service. The pace is fast, the work stimulating, and we are always looking at ways to innovate and improve.
What's it like working at Greenlight?
Our core principles of teamwork, innovation, accountability, customer-orientation, health and safety, and continuous improvement have built a collaborative and exciting company culture. Our team is committed to creating an environment where employees can grow and keep pace with our rapidly evolving industry. We are one of Canada's top 500 fastest growing companies and an equal opportunity employer. We believe that we are better able to meet the needs of our diverse customer base around the globe through a diverse group of employees.
We appreciate your interest in our company. We are currently looking for great people to join our team. If you think you have what it takes to succeed with us, please have a look at the current opportunities listed, and send us your resume with qualifications to:


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Did I catch your attention with the mention of bacon? Today the blog hop is all about party food. This was a hard one because I have so many favorites. Scroll on down to see my yummy bacon appetizer recipes, but for now let's check out day four and all the lovely ladies involved with this celebration.
Welcome to the third annual 12 Days of Christmas Blog Hop!
Stop by every day from December first through the twelfth for new ideas you can use to make your season brighter!
Meet Your Hosts
They have all been busy as Elves creating, decorating, cooking and crafting tons of new ideas for you to try this holiday season!
Shirley~Intelligent Domestications I Alli~An Alli Event I Michelle~Our Crafty Mom I Marie~DIY Adulation
Erlene~My Pinterventures I Beverly~Across The Blvd. I Debra~Shoppe No. 5 I Victoria~Dazzle While Frazzled
Megan~C'mon Get Crafty I Michelle~Michelle James Designs I Amanda~Domestically Creative
Deborah~Salvage Sister & Mister I Jeanie~Create & Babble I Sherry~Olives & Okra
Jenny~Cookies Coffee & Crafts I Emily~Domestic Deadline I Bonbon~Farmhouse 40
Leanna~Of Faeries & Fauna I Pam Larmore~P.S. I Love You Crafts I Kelly~North Country Nest I Marie~The Inspiration Vault
Gail~Purple Hues and Me I Lynne~My Family Thyme I Karen~Dragonfly and Lily Pads I Trisha~Blowing Away Out West
Tomika~Life In Pumps I Rachee~Say it, "Rah-Shay" I Lorrin~Embrace The Perfect Mess
Jaime~Love Jaime I Serena~The Weekend Jaunts I Terri~Christmas Tree Lane I Jessica~A Southern Mother
Sam~Raggedy Bits I Cyn~Creative Cynchronicity Valeria~Val Event Gal
Yami~The Latina Next Door I Jeannee~Centsably Creative I Tania~Little Vintage Cottage
Lauren~Wonderfully Made I Vanessa~DIY 180 I Kimberly~A Wonderful Thought I Kim~Everyday Parties
Dru~Polka Dot Poplars I Erica~Erica Ever After


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There are schools offering medical billing programs in Kentucky!
Schools Offering Medical Billing Programs in Kentucky
Nearby States
Around 0.1% of Kentucky's graduates graduate from medical billing certificate programs every year. That means an estimated 88 medical billers graduate from Kentucky's 8 medical billing schools each year.
Top Schools
The top-ranked school in Kentucky that has a medical billing program is Daymar College-Paducah Main. Daymar College-Paducah Main, which was ranked 70th in the country in 2010, is located in Paducah. 18 students graduated with a certificate in medical billing from Daymar College-Paducah Main in 2010.
Spencerian College, which is located in Louisville, is the second-ranked school in Kentucky that has a medical billing program. It received a ranking of 78th in the country in 2010. In 2010, Spencerian College graduated 5 students from its medical billing program. Students at Spencerian College paid $15,960 per year in tuition fees.
National College-Lexington, which was ranked 78th nationwide in 2010, is the third-ranked school in Kentucky that has a medical billing program. It is located in Lexington. The tuition rate at National College-Lexington was $10,489 per year.
Medical billing schools in Kentucky, charge students an average tuition of $11,473 per year. But, tuition can be as much as $15,960 per year, or as little as $10,489 per year. In 2010, the following Kentucky medical billing schools had the highest tuition rates:
- Spencerian College - located in Louisville, students are charged $15,960 per year
- Daymar College-Owensboro Campus - located in Owensboro, students are charged $15,344 per year
- Daymar College - located in Bowling Green, students are charged $15,295 per year
The medical billing schools that charged the lowest tuition rates in Kentucky were:
- National College-Lexington - located in Lexington, students are charged $10,489 per year
- Southwestern College - located in Florence, students are charged $11,750 per year
- Daymar College - located in Bowling Green, students are charged $15,295 per year
A medical billing certificate from a Kentucky school... what next?
A large number of Kentucky medical billing graduates become medical billers. 10,460 medical billers were working in Kentucky in 2010. The Kentucky counties with the largest populations of medical billers are:
- Clark County - 3,510 medical billers
- Bourbon County - 1,360 medical billers
- Adair County - 1,100 medical billers
Projected Growth
The government projects that by 2018, the number of medical billers in the state of Kentucky will grow to 11,340. This would require a 14% growth in the profession.
On average, medical billers earn $30,900 per year. But, salaries for medical billers can vary. In 2010, medical billers made as little as less than $18,410 per year or as much as more than $47,760 per year in Kentucky. On average a medical biller earns the most in the following Kentucky counties:
- Bourbon County - $33,040 per year
- Clark County - $32,800 per year
- Daviess County - $32,610 per year
A medical biller in the following counties in Kentucky make the lowest salaries on average:
- Adair County - $26,810 per year
- Bell County - $27,400 per year
- Anderson County - $28,670 per year
More Information
Take a look at the graphs and charts below for additional Kentucky statistics regarding a career in medical billing and to compare salaries with a variety of related fields such as health information management or allied health.
Here are the different levels of study available for you to explore.
- Associate's Degree in Medical Billing in Kentucky
- Certificate in Medical Billing in Kentucky
Want to study at your own time and pace?
Consider Online Schools as a great alternative flexible option to earn a degree!View Online Schools
Featured Online Schools
Kaplan University
Narrow Your Results
Curious what studying Medical Billing gets you?
Check out the different options and how they're looking in Kentucky
|Employment Number
|Avg Salary
|Job Growth (past 5 yrs)
|Billing and Posting Clerks
|Medical Records and Health Information Technicians
Got your degree? Time to find a job!
Below are medical billing related jobs in Kentucky


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Release Update For The Wishing Tree
Hi Everyone,
There's been a slight change of plan. I've decided to release the Wishing Tree album as a download two weeks before the official release date so that when we play at the Marillion convention there's a chance that at least some people will know the new songs. The album will available to buy as a download from Wednesday the 11th March as a high quality MP3 file priced at £5.99.
If you pre-order the new album now, the last few remaining signed copies are still available and you will also automatically qualify for a free download. Hope you enjoy the album. We think it's been worth the wait.
There are only a few tickets left for 'The Wishing Tree' Album launch & Warm up show. This unique event will be taking place on Monday 16th March at the Pendley Court theatre in Tring.
The Wishing Tree will be playing for about an hour followed by a playback of the new album Ostara, support by Pete Trewavas and Robin Boult. Click here for Tickets.
Steve & Hannah