text:
SECONDS magazine (issue #42, 1997)
He arrived unannounced form another planet and quickly took over the illustration department, displacing the entire lineup of Eighties types who scribbled and scrawled countless "comics" and meaningless vignettes and little trading cards and so on…
In his work he seeks elegant innocence; he attempts to simplify, but it's just too complex to be "comic art" – in fact it's influenced by children's books rather than comic books – and so it stands alone, hyper – juvenile sight jingles bringing order to the charming chaos of a vanishing visual vocabulary.
STEVEN CERIO is ambidextrous and, incidentally, he draws, not illustrates – that is until big corporations like Nickelodeon and Disney make him do happy illustrations with which they subvert the minds of unsuspecting consumers. But there's more to it. Cerio has been influential as a percussionist for Avant-garde Rock ensembles like DeeDee Ramone's Sprocket and Drunk Tank, and he currently propels the retarded psychedelia of Lettuce Little. And, to top it all off, he is the official Art Editor of this very magazine, wherein he grills "famous artists" about what they do and why they do it.
Well-disciplined waves of drumming and drawing (and writing) fuse in Steve's fevered head, cross-referencing and coalescing until the pulsations become soundtracks to expertly-rendered scenes of happiness and cleanliness – in other words, both his art and his music celebrate the fact that nature always wears a big permanent grin.
1) Drawing: Ours is a fake "counterculture" that steals from Timothy Leary and Ronald McDonald with equal impunity. It is fed by a phony "underground" composed of lazy liars who believe their own hype. Cerio is not one of them; he is not caught up in that Low Art vortex of stupid ideas and tacky advertising. He is not an Underground Artist; he's not alienated in the clinical sense. His work is not angry – in fact, it is genuinely nice.
Jaded connoisseurs of contemporary Hate Art and Shock Journalism will search long and hard for a prurient angle to Cerio's work; they will find nothing. Perhaps the work's frantic intensity and high density tricks us into thinking we're being threatened. We are not; Cerio simply wants to show us lots of stuff at his own dizzying pace. Presumptions of his decadence might be fueled by ghost gas from previous group shows with those same comic types whom he eventually displaced. Maybe he simply replaces skulls and crossbones with bunny rabbits while the space in between shines perversely (in fact, his cute little icons are often strung together with sexy B&D-style ropes)…Bullshit. It's nice stuff.
To sum it all up: Due to the zine scene and desktop publishing and the Internet and the relative ease of doing art and so on, a lot of amateur artists have been elevated to semi-prominence with in an ever-expanding network of mutual masturbators and perverted providers of preordained collector's items. Cerio has somehow bypassed that network, although there is much evidence that he has used it extensively for his own purposes – for example, there was his appearances in shows at Exit Art, C-POP, La Luz de Jesus and The Rock And Roll Hall Of Fame, his posters for King Crimson and White Zombie, his work for the Village Voice and Entertainment Weekly, his graphics for CD-ROMs of The Residents (with whom he is starring in a traveling art show), and his new comic (make that "kid's comic") called Pie (published by Wow Cool). (P.S. Steven is represented by Giger's masterful media manipulator, Les Barany.)
2. Drumming: Cerio is a drummer who dislikes traditional grooves, and so he must invent new ways to make sound patterns. There's still plenty of echoes of influences such as Terry Bozzio, Drumbo– guys who played with Zappa and Beefheart – as well as Jazz giant Elvin Jones, and Art Rock pioneer Bill Bruford – but for the most part Cerio doesn't sound like anybody else. As a pivotal early member of Railroad Jerk, he provided a distinctly Beefheartian atmosphere – a rare treat in a world where drummers usually suck. But in Lettuce Little he has somehow reinvented the wheel, and by breaking all the rules he comes closer and closer to percussive ecstasy.
Lettuce Little is experimenting and having fun and trying to figure out wither they should go for the gold or keep it sort of easy-going. He and collaborator Roger Kummert are currently sending tapes to Parisian diva, Laure Barges, who overdubs vocals. The music is a lot like Steven's art – happy, dense, and always evocative of speed.
3) The Future: Cerio is gonna start doing children's books. Through the majesty of the rendered image he would lead successive generations away from the condescending, subliminally nihilistic tone of today's kids' books. Clearly his subject matter lends itself to such endeavors; it sometimes seems a shame that his innocent abandon is wasted on sour, seen-it-all adult audience. And his technique is perfect as well – the clarity of line, the separation of compositional elements into various visual planes, and intensely contrasting colors all make his work easy to perceive and understand.
So there you have it – you can either look or listen!
SECONDS: Steven, what scene do you come out of?
CERIO: I spent ten years in New York City. Istarted out in 'zines. After I grabbed a couple of paying gigs with Screw and The Village voice I was hooked.
SECONDS: What stylistic influences do you come out of?
CERIO: Kid's books, color-forms,biology textbooks, psychedelic posters,candy wrappers….those all led me too Karel Appel, Hundertwasser, David Smith, Stuart Davis and Alexander Calder. I dug their playful edge. I lucked upon them in the library in the town where I grew up.
SECONDS: What's the difference between an illustration and a drawing?
CERIO: An illustration is secondary to words. It's to help support ideas and narrative.
SECONDS: Is there an illustrative vocabulary?
CERIO: I think everything has to do with vocabulary. There's a poetic intention behind everything and I know a lot of people don't like to hear that. People think of "poetry" as Emily Dickinson and they don't see the value in poetics. I don't necessarily mean rhyming love poems. Ideas and concepts are made of words whether they're written or not and that is all inherently poetic. Religion and advertising rely on it.
SECONDS: What's wrong with Emily Dickinson?
CERIO: Her sentiments are a bit antiquated and girlie for me and Shakespeare tends to irritate me because of that language barrier. I tend to read more of the surreal stuff like Cummings, Kenneth Patchen, late Dylan Thomas and Lorca. Their work really talks to me.
SECONDS: So, an illustration is a literal interpretation that feeds into the concept of vocabulary –
CERIO: Yes, in anything non-illustrative, you allow yourself to stay open and create something out of pure impulse. Like the other day I woke up and I started adding over-starched mittens to a new drawing I was working on. That placement pleased me.
SECONDS: Isn't that just taking something literal and changing the meaning of it?
CERIO: It becomes something more than that. It's more of a personal thing. Sometimes I've used objects simply because I've liked their nomenclature. I've never been into finite impulses – I don't like things I can understand. I don't like photo-realist painting .I don't seek art that looks like something I've seen before. There's a "how did he do it?" technical quality to Sargent painting, but that's where it ends for me- if you don't allow yourself to stay open, things become to finite. They become too close for reality. Who needs that?
SECONDS: Did you pick the mittens for effect like, "Here's something that will confuse them"?
CERIO: I never set out to confuse. I'm not being surreal; I'm being surrational. I'm making decisions and not bothering to figure out why I made them. I don't choose for irony; I don't say,"Gee, what doesn't belong here?" and then put it there, which is pretty prevalent in early Surrealist works like Magritte's paintings. I'm just trying to entertain myself. If there was monkeys juggling broken eggs in everyone's front yard and little girls flew around on doughnuts, I wouldn't have to work anymore. I could sit around all day, eat Wheaties and look out the window. I always thought art was about developing your own iconography. I don't see the value in using Pop iconography. I don't feel the need to force philosophies on anyone because they surface in my work anyway. I don't want to get on a soapbox because everyone already believes their right. When you highlight lines in a book, you highlight things you agree with. You underline things that support your beliefs. When someone tries to force things down your throat, it does nothing but cause repulsion in people who don't agree. So why not do something less aggressive? I hate to use this quote, but Nietzsche said "One often contradicts an opinion when it is really only the tone with which it is represented that is unsympathetic." With kindness you can sneak your ideas in the back door 'cuz their not looking.
SECONDS: Who crams stuff down people's throats?
CERIO: Rock & Roll iconography. I don't need to see another skull. I don't need to see another gun. I don't need any more irony: it's the hideously boring staple crop of pop culture.
SECONDS: Was it okay in its heyday?
CERIO: I will always love Rory Hayes, Mike Diana, BobX , Jeff Gaither and XNO's stuff , those guys are doing bleeding skulls and rotting flesh but it's so playful, skillful and trippy. They found unique perspectives. Like I said before, I thought the whole thing with art was to develop your own iconography. I don't believe there's any shortcuts and everybody knows when your cheating.
SECONDS: What reaction do you want out of viewers?
CERIO: I feel like I've managed to leave ninety-nine point nine percent of all possible aggressions out of my work. I made a conscious decision towards a cleaner and more figurative style. I was able to clean things up, and the word "wimpy" has been used to describe my art, which I think is a great compliment. I'm trying to be as wimpy and blissful as possible. People have been painting human torment since Francis Bacon but I don't think anyone has tried to capture joy and bliss. You deal with pain and anguish every day but how many minutes a day do you feel joyful? Every ten minutes I find something new to be bothered about. I felt like going the other way with my stuff. Joy is elusive but pain is always on your apron string.
SECONDS: You say nobody's done joyful art, but what were the Impressionists and religious icon painters doing?
CERIO: The kind of bliss and joy I'm talking about is not a hold out your arms in praise of God brand of bliss. I'm talking about a sugar high: four milkshakes and peanut butter cookies.
SECONDS: Are we talking about happiness in the context of Pop Culture?
CERIO: Happiness in terms of opening up a Christmas present, a fresh pumpkin pie, a sunny day or an Orange Julius ….The Impressionists were trying to…
SECONDS: Were they overwhelmed by nature?
CERIO: Yeah, it's a warm fuzziness. It's a calm, cool, Zen feeling, they painted serenity but I never saw anyone capture joy. The Renaissance painters were trying to capture religious rapture, but I'm talking about…
SECONDS: – the happiness a bunny rabbit brings?
CERIO: Right. A smile is another thing all together – what does a smile really mean? A smile can look sinister; you can do anything with a smile. When people see a smile, they immediately assume irony. I've been trying to get to the point where people know I'm not being ironic.
SECONDS: May I argue that your drawing with the mittens is ironic?
CERIO: Mittens aren't ironic. A fish in the desert is ironic.
SECONDS: Is it ironic for a person who is seeing it for the first time?
CERIO: Anything that breaks from reality can be processed that way unless you care enough to spend time to consider the event. The thing is, you can never communicate with anybody. Say I choose to draw an apple core. That symbolizes a different thing to every person. Someone who doesn't like apples is going to be set aback by it. If you draw an apple core with an Indian headdress on it, someone might be affected by the headdress, and someone might be affected by the apple core. I don't think you can scientifically approach art and know how you are going to affect people. Symbols are only symbols not events, not truth and not universal knowledge. Timothy Leary warned against symbols he said "if you don't learn to use your cellular equipment effectively you're going to be addicted and limited by artifacts and symbols."
SECONDS: Should people be elated when they see your illustrations?
CERIO: I think so. My work really repulses certain people though; they have a hard time going into this world I'm working on. It's very childish and safe. It's inherently psychedelic, but some people don't see that. Most people crave fury and violence and they equate it with maturity, now that's ironic! What was the question you asked me again?
SECONDS: You answered it, whatever it was. Are you a childish person?
CERIO: As often as possible. That's the only way I can feel good.
SECONDS: What's the sexual dynamic of your work?
CERIO: There's no sexual dynamic. But you can be a half-assed Freudian with just about anything. I avoid anything that could possibly be misconstrued as a sexual reference. I also obliterate any sharp geometric shapes. I've never used sharp angles.
SECONDS: Is that a revolt against formality?
CERIO: No, just the stagnancy of sharp curves and perfectly straight lines. I love the comfort in a rounded curve. It's impossible to draw a pleasant right angle.
SECONDS: Little girls often show up in your work.
CERIO: They are symbols of purity.
SECONDS: Where are the little boys?
They're a symbol of aggression to me. Little boys run around with BB guns and kill frogs.
SECONDS: Do the animals you draw represent purity?
CERIO: Yeah, purity and intelligence. I'm an environmentalist and putting a human being into my work is like putting an enemy in there. I'm not making direct statements about this in the work but ideals surface anyway, I have no control over that, and that's the way I like it.
SECONDS: You're ambidextrous, correct?
CERIO: Yeah.
SECONDS: Do you utilize that?
CERIO: It helps me stylize a figure or get a composition to work. I occasionally do my pencils with my left hand and the inking with my right. Since I'm not completely ambidextrous, the work with my left hand is never as smooth as the work with my right.
SECONDS: Does it give you a different perspective of the image?
CERIO: I was trying to use pure intuition. I felt I was going in this direction where my lines were becoming far too exacting and I wanted to dredge up some stuff from the other side of my brain. I still do a lot of pieces where I do my inking with my left hand. I wanted to find somewhere in-between that lacked control and had some caveman surprises .The work I do with my left hand now has developed into a style of its own.
SECONDS: If an alien looked at the drawing process, he'd say, "The creature has the paper in front of him and plenty of pens, but only one hand is active. If there's a certain economy of time and process he's looking for, why doesn't he use both hands?" Steven, I'm accusing you of that and I want you to answer that as a charge.
CERIO: Well like I said, it depends on what I'm doing. If I'm working on something for an illustration client, I will solely use my right hand because I'm trying to communicate with cultural symbols. It needs to be a mixture of the gestalt with decorative beauty. With illustration, you're not there to open people's minds to new possibilities and inventions. You're there to communicate the article or the product. You are secondary. There are pieces where you are allowed to come out a little bit more, but generally…
SECONDS: In other words, one function of illustration is to communicate symbols and common visual vocabulary and another purpose is to convey an abstract experience with you as the intermediary.
CERIO: Yup, and that abstract aesthetic experience is the reason you were hired, hats the element that builds a "style".
SECONDS: Let's go on to the process of making a drawing.
CERIO: Well most of my pieces begin with a simple scribbled composition or a fragment of a narrative. I'll build on a character I have and develop the story as I'm drawing. I come up with reasoning for the interaction between the different shapes and objects as I go along. Sometimes I get stumped in a piece where I have a large space I need activated and can't figure out what might work. I'm able to figure out what belongs in a certain place, but sometimes it's just a shape that belongs there and I have to adjust the object to fit the composition. I think my compositions are the largest part of my pieces. The objects are sometimes decided by the shape that's needed. The narrative develops with the composition.
SECONDS: So, you draw in pencil and then ink it in. What do you do with them in pencil form? Do you hang them up and stare at them for a couple of days?
CERIO: I usually work on five or six at the same time whenever I can. I'll be in the mood to ink one day, or maybe pencil, and I'll pull an unfinished one out and maybe the element that's needed will come to me – sometimes not. Like I was saying before, I make surrational reasoning's for everything that don't happen through intellect, it's all instinct and patience. I make conscious decisions not to choose things that contrast with each other and create some sort of silly irony. I move away from that and it creates a greater amount of confusion. Cryptic images won't let the mind relax
SECONDS: Tell me about the technical side of it all.
CERIO: Just brush and ink
SECONDS: You've done watercolor on pencil drawings, right?
CERIO: Yeah, I do. A certain aspect of my work deals with doing large watercolors with soft pencil. Those I allow to happen very quickly. I can do four or five a night. They're the opposite of the other pieces, which are very labor intensive.
SECONDS: Your lines seem definite, with distinct starting and ending points.
CERIO: Grace creates a visual comfort. The closest thing I've ever seen that looks like joy is some of what I've seen in children's books – I'm a devoted Dr. Seuss kid. His work is so germ-free, and there's an odd grace in his line.
SECONDS: So this is essentially pen and ink; color is an afterthought.
CERIO: I've never thought in color. I paint some like animation cells and others on masonite. I do have a favorite palette or two but color is very secondary to me: it's a tool. I just use it to help the composition along. It's very limited. I might want something to be a certain color – "that bumble bee might look good blue" – but if it doesn't work into the composition, I'll use another color. I allow my colors to change – whatever helps the elements pop out more.
SECONDS: How did you develop the black-and-white sensibility?
CERIO: The first moment I remember being interested in art was when I asked for a Random House dictionary for Christmas when I was eight years old because I saw it in the library and liked the illustrations, which were tiny and tight with black ink. I used to flip through that dictionary like an art book. Also, my parents never allowed me to use coloring books; they always made me draw instead. .
SECONDS: Is there anything you want to say with your work in the political arena?
CERIO: Political, no. But there's a lot of Gaian and environmental concerns that pop up in my work. Nature trying to survive is one of my favorite themes. I'm not really interested in politics – I've never read a newspaper in my life or ever watched a newscast.
SECONDS: What were you looking at when you were a kid?
CERIO: My parents always encouraged me to draw. I was a classic only child sitting home drawing and they always pushed me to draw. At some point, they had to start forcing me out of the house to play with other kids because all I wanted to do was draw. I think my childhood is surfacing in my work now more than ever. Especially all of the great psychedelic kid's shows I saw in the early seventies like "Lidsville",
"H.R. Puff-n-stuff" and "Captain Kangaroo". I'll even call "Mister Rogers" psychedelic because it was so hallucinatory.
SECONDS: What were your earlier influences, in general?
CERIO: The first thing I can remember beyond Random House dictionary illustrations were illustrated biology books. The first art book I bought was Roger Dean's "Views" book, because I got heavily into Yes when I was fourteen. Like most kids that age, I had my brief stint with Frazetta and Vallejo – mostly the Fantasy Art guys. I got my art through record covers. I left any cover that Hipgnosis designed out, leaning against the wall. Catching "Moleshow" by The Residents on "Nightflight" when I was fifteen is what changed me instantaneously.
SECONDS: What illustrators did you like?
CERIO: Ian Miller, he illustrated Ray Bradbury's "Martian Chronicles"and Tenniel maybe.
SECONDS: So there aren't any specific influences, you just breeze through everything.
CERIO: The sort of people's work I like doesn't necessarily reflect what I do at all, I think that could be why I enjoy their work so much, it gives me a break from my own perspective by proposing a new one. I enjoy A.R. Penck, Anselm Kiefer, Philip Guston and Eva Hesse. There are some great children's book artists: Steig, Provensen and Duvoisin.
SECONDS: What are you doing now?
CERIO: I did a comic for the fun of it. I'm not really a cartoonist; I recently became interested in doing it because I've always been a big fan of Amos Tutuola. He wrote" Palm wine Drinkard "and "My Life In The Bush Of Ghosts". I've been reading those books over and over again for years and was always fascinated by his narrative sense, by the time you finish a page he's been chased by a man who has birds growing out of his knees through a desert and carried in a giant's sack filled with centipedes for two years . He'd been married, had a baby, and the baby became a god with metal bones – all within one page. I was very influenced by that in wanting to do a narrative. I mimicked the speed of his plots. Wow Cool published it and got Fantagraphics to distribute it.
SECONDS: What other gigs are you doing?
CERIO: Illustration-wise, I do a lot of work for most of the entertainment magazines. I'm working on a series of black light posters right now and that gig is a dream come true. I've done work for Disney, Nickelodeon has my "happy birthday" animations running every day on Nick Jr..I recently designed characters for The Residents; they have a CD-Rom that came out called "Bad day At The Midway". I designed the targets for the shooting gallery and Jim Ludtke did the animation and I couldn't be happier with it. It was also a dream come true because The Residents, Beefheart, Zappa, Harry Partch and Coltrane have influenced my work immensely. There is a joy and bliss I hear in their work and I try to create the visual equivalent of it. Their music has had a bigger impact on me than any visual artists.
SECONDS: You were in Railroad Jerk –
CERIO: I was in Drunk Tank and Dee Dee Ramone's Sprocket and a couple others too embarrassing to mention. I'm very proud of the recordings I did with them but I just became increasingly embarrassed and bored with playing Rock & Roll.
SECONDS: What do you play?
CERIO: Drums. Working with other creative people can be very painful because feels the need to impose their will and aesthetics on you. It's like playing sports but you're touring in a van with the opposing team. I don't have the time for that. I'd rather wash dishes than play music for college kids. I only play music with people with identical record collections now. I started a new band called Lettuce Little with Roger Kummert. We're doing extremely dense soundscapes… just started our first record. It should take a couple years to finish. We're layering different studio and rehearsal sessions
SECONDS: As a drummer, who are some of your influences?
CERIO: Bill Bruford, Peter Erskine, Robert Wyatt, Elvin Jones, Captain Beefheart's drummers like John French and Robert Arthur Williams, Joe Nanini from Wall Of Voodoo also had a big impact on me.
SECONDS: How does drumming affect drawing?
CERIO: I'd like to think the music we're doing is a soundtrack to one of my drawings. I've put aside using a normal drum kit because I'm bored with the boom-boom-crash-crash thing. I started playing around with cardboard, found objects and midi triggers. I've become increasingly bored with what a drum set can offer. You can reinvent reality with entertainment, but only for a minute or two….that's what I dislike about all of the arts in general.


I am getting SCAM text messages from the following phone number 1 (***) ***-****.
A 15 year old girl named Mary from Panama made a Huge discovery in quantum computing that would lead to global commercialization of quantum computers and drug discovery for cancer, HIV/AIDS, and other diseases.
name on account: Cynthia Kuria. Bank Name: Wells Fargo. Acct No: **********. Routing No: *********.
I have blocked the messages from my phone, but they are showing up on my usage. What can I do about it???
I know spam is super annoying but we do have a way to report it. Can you take a look at our Caller ID spoofing, text message spam, and phishing page and try forwarding the message to that short code listed there?


Gabrielle Cummings was settling in for a quiet evening at home, when she received a phone call inviting her to a friend's 40th birthday party. When she arrived at the party and met Elbert Hatley for the first time, they had an unexpected connection. At that point, both were single and content with flying solo; but even though Elbert wasn't Gabrielle's usual type, she thought there was something very endearing about him. He even asked her to let him know she got home safely at the end of the night – a clever way of making sure she was single.
When Elbert proposed, it was at the end of a long day. Gabrielle was watching one of her favorite shows and couldn't figure out why Elbert was pacing in front of the TV screen. "Mind you, he is a very confident man, but something seemed awry," she says. Elbert then said he wanted to give Gabrielle her Christmas gift early and handed her a jewelry bag with a box inside. Initially, Gabrielle figured it was a necklace or earrings; so it was a wonderful surprise when she opened the box to find a beautiful sapphire engagement ring.
The wedding planning process was fun yet intense, as the couple is very detail-oriented and wanted to make sure the day was exactly how they envisioned. Some early challenges included deciding who to invite to their intimate wedding, selecting the wedding location, and staying true to who they are. Their intuition told them the Waldorf Astoria in Chicago would be the perfect wedding venue; and after visiting several other beautiful hotels, they were certain the Waldorf was the right choice.
The wedding day was a glorious occasion filled with love, warmth, and family. "I couldn't wait to see the wedding space filled with gorgeous flowers and the people Elbert and I love most," says the bride. The ceremony décor included touches of gold and flowers in shades of magenta, purple, and fuchsia. An adorned chuppah was set up with the bride and groom encircled by their wedding guests.
After the photo session, the newlyweds were escorted to their reception and were met with tables decorated with cascading flowers, candles, and crystals, which complemented the jewel-toned wedding theme. Guests were then served a phenomenal meal and a scrumptious wedding cake before dancing the night away.
Gabrielle and Elbert were pleased to see everyone enjoying themselves, but were especially humored to see their three-year-old nieces dancing as hard and as long as the adults. It was the perfect end to a spectacular day, which was exactly how they wanted it – an intimate, spiritual celebration of love.


text:
South, March 3
Birders: The Central Park Effect
Jeffrey Kimball/2013/60 min/Wildlife
Sunday, March 3, 11 a.m. [South]
St Benedict the African Parish, Chicago
FILM DESCRIPTION: "Birders: The Central Park Effect" reveals the extraordinary array of wild birds who grace Manhattan's celebrated patch of green, and the equally colorful New Yorkers who schedule their lives around the rhythms of migration. The lively cast of characters features author Jonathan Franzen, as well as an idiosyncratic trombone technician, a septuagenarian bird-tour leader, and others. This charming, lyrical documentary transports the viewer to the dazzling, hidden world of America's most famous park.
Tagged: Wildlife, Film Fest 2019, Conservation, Historical, People, High
Lake, W Suburb, South, March 10, March 3
Call of the Forest
Jeffrey McKay/2016/52 min/Conservation
Sunday, March 3, 1:30 p.m. [South]
St. James Church, Chicago
Sunday, March 10, 10:30 a.m. [W Suburbs]
Forest walk 9:30 a.m.
Sunday, March 10, 2 p.m. [Lake County]
St. Joseph Church, Libertyville
CHICAGO-AREA PREMIERE. FILM DESCRIPTION: The science and enchantment of the global forest provides us with answers to modern dilemmas. "Call of the Forest: The Forgotten Wisdom of Trees" follows scientist and acclaimed author Diana Beresford-Kroeger as she investigates our profound biological and spiritual connection to forests. Beresford-Kroeger explores the most beautiful forests in the Northern Hemisphere from the sacred sugi and cedar forests of Japan to the great boreal forest of Canada. She shares the amazing stories behind the history and legacy of these ancient forests while also explaining the science of trees and the irreplaceable roles they play in protecting and feeding the planet.
Tagged: Film Fest 2019, Wildlife, People, Climate
March 3, Lake, March 7, Dupage
Into the Okavango
Neil Gelinas/2018/93 min/Environmental & Social Justice
Thursday, March 7, 7 p.m. [Dupage County]
College of DuPage, Glen Ellyn
FILM DESCRIPTION: The Okavango River Basin provides a vital source of water to about one million people, the world's largest population of African elephants, and significant populations of lions, cheetahs and hundreds of species of birds. However, this once unspoiled oasis is now under siege due to increasing pressure from human activity. From National Geographic Documentary Films, "Into the Okavango" chronicles a team of modern-day explorers on their first epic four-month, 1,500-mile expedition across three countries to save the river system that feeds one of our planet's last wetland wildernesses.
Tagged: Conservation, Film Fest 2019, Wildlife, Social Justice
March 8, March 3, March 5, South, North, W Suburb, Lake, Dupage
Paris to Pittsburgh
Sidney Beaumont & Michael Bonfiglio/2018/77 min/Climate
Sunday, March 3, 12:30 p.m. [W Suburbs]
Action Fair 12:30 p.m.
Film begins at 1:30 p.m.
St. Giles Catholic Church, Oak Park
Sunday, March 3, 1 p.m. [Dupage County]
Elmhurst College, Elmhurst
Tuesday, March 5, 6:30 p.m. [North]
Truman College, Chicago
Friday, March 8, 6 p.m. [South]
Catholic Theological Union, Chicago
Friday, March 8, 6:30 p.m. [Lake County]
FILM DESCRIPTION: The Paris Agreement was monumental in uniting all nations in the fight against climate change. With the United States' withdrawal from the agreement, citizens around the country are taking matters into their own hands. "Paris to Pittsburgh" explores the very real social and economic impacts of climate change-fueled disasters and features voices from local leaders and everyday Americans from Pittsburgh to Puerto Rico.
Tagged: Climate, Film Fest 2019, High
March 3, W Suburb
Tawai: A Voice from the Forest
Bruce Parry & Mark Ellam/2017/97 min/People & Cultures
Sunday, March 3, 4 p.m. [W. Suburbs]
Unity Temple, Oak Park
Admission $20,
includes reception at 6 p.m.
CHICAGO-AREA PREMIERE. FILM DESCRIPTION: Tawai is the word the nomadic hunter-gatherers of Borneo use to describe their inner feeling of connection to nature. In this philosophical and sociological look at life, explorer Bruce Parry travels the world to learn from people living lives very differently from our own. From the jungles of Malaysia to the tributaries of the Amazon, "Tawai" is a quest for reconnection, providing a powerful voice from the heart of the forest itself.
Tagged: Advocacy, Film Fest 2019, People, Social Justice, Events

redpajama_set_name: RedPajamaCommonCrawl


Youll love our affordable small space furniture sets spaces collection check out four ways to use them in your let do double. Weve gathered dozens of space saving furniture ideas to enhance your living organize belongings and give small apartment a modern edge, these space saving furniture ideas will transform that cramped closet you the travelbox is a set for small apartments includes lets face it.
Shop target for small space patio furniture you will love at great low prices shipping on orders of or same day pick up in store. Sears has outdoor bistro sets for relaxing and dining on the patio create a more inviting space with new small balcony furniture, kitchen tables and chairs sets small spaces by east west furniture prime let us help you your account. Find and save ideas about small space furniture on see more room for spaces systems, welcome to the worlds smallest ideas small are about finding and using hidden spaces choosing furniture that does more than one thing, this photo about lets set furniture for small spaces living room in the best position entitled as cozy also describes. Of over results for patio furniture small space tangkula piece set wicker rattan outdoor conversation let us help you.
Decorating small living rooms doesnt have to be a hassle our room ideas help you squeeze in more style without sacrificing function, use the small space to your furniture pieces for spaces we love living room ideas from rooms decorating. When short on square footage we have tips and tricks to help you make the most of small space living.
Ideas to steal for your apartment living in a small space is tough especially when decorating options are. The decorating experts at hgtvm share design ideas for small spaces smart to make a living room appear more, make the most of your space with these decorating ideas for small rooms from top designers created stylish fixes living problems. Dont let your small living room ruin style these decorating tricks will help you personalize the most lived in spot home or apartment, we have assembled our favorite small living room ideas to help make your feel more spacious. Unexpected ways to make the most of any space in your house these small decorating ideas storage solutions and smart finds will help you.


text:
The Balearic Islands are world-renowned for their beautiful coastlines and countryside. Millions of visitors set foot in the Balearics each year, to the packed beaches and marinas of Mallorca, for intense hedonism in Ibiza's clubs and to the quieter spots in the islands with their enticing beauty and tranquility. Though, most of these visitors are completely unaware that these islands also possess a long and celebrated tradition of producing wine. Mallorcans, in particular, are very proud of their wines and native varieties Manto Negro and Callet. These wines, although formerly derided by some critics as merely 'tourist wines' are experiencing a massive renaissance, and new investment has taken the wine producing industry to new and exciting heights.
Each of the four Balearic Islands – Mallorca, Ibiza, Formentera, and Menorca – have vines planted, although the only island with a sizeable industry is Mallorca. For example, Ibiza produces only a small amount of wine, and Menorca has just 20 hectares given over to vines. The vineyards of Mallorca, Ibiza, and Menorca are some of the most picturesque in Spain – grapes ripen in a benign sub-tropical climate, and the landscape is spectacular. Vineyards cling to steep terraces on the island's hills, olive, almond, and citrus trees dot the fertile land.
It was, unsurprisingly, the Romans first exploited the great potential for grape growing on these islands, although they only planted on Mallorca during their foray into the region. Vines were planted around 120BC, and wine has been produced on this beautiful island ever since. The Philosopher, Pliny, the Elder, is reported to have compared the island's wines to Italy's finest in the first century AD. However, the industry almost completely died after the arrival of the phylloxera louse in 1891. Before the advent of phylloxera in Europe, Mallorca was famed for its sweet Malmsey wine, produced from the ubiquitous Malvasia grape found across the Mediterranean. At the peak of the mid-19th century, the style was in great demand in northern Europe, especially in the UK, Germany, and Holland markets. Sadly, this style has largely died out, as the prevailing trend for dryer styles means winemakers must adapt to cater to today's wine drinkers' tastes.
Indeed, over the past 15 years, great changes have occurred in the Mallorcan wine industry. International varieties that were once non-existent now appear with increasing frequency across the island's vineyards, and fresher, more aromatic whites are now the mainstay of production here. But, more importantly, the next generation of winemakers, returning from trips abroad, are bringing with them a new sense of the importance of terroir. Today, they are utilizing their best sites to produce wines of real class and quality. A thriving tourist industry continues to provide a ready market for these wines in the summer months, but their renown has spread to mainland Spain, especially the Catalan capital, Barcelona. These islands are most definitely on the winemaking map and appear here to stay!
The largest of the Balearic Islands has two important D.O.s (appellations) to its name – D.O. Binissalem-Mallorca and D.O. Pla I Llevant. The oldest is Binissalem, which was established in 1991 and was, in fact, the first designation to be legally recognized outside the Spanish mainland. Today, there are about 600 hectares under vine, located in the center of the island, north-east of the capital – Palma. The vineyards are mainly found on a high plateau at altitudes of between 125 m and 300 m above sea-level. The terroir is generally conducive to quality grape growing. The vineyards are protected from the intense winds and cold by the Sierra de Alfaba mountain range to the north. The soils are predominantly poor in nutrients but rich in limestone and clay. The water retentive properties of the lime soils allow the vines to cope with the often scorching summers in this maritime Mediterranean climate. Irrigation is sometimes employed as excess heat can be an issue, leading to hydric stress and poor ripening. Growers must also contend with violent autumn downpours and sometimes hailstorms.
But despite these challenges, this region continues to be the main source of Mallorca's best wines. According to the appellation framework, the red wines have to contain 50% Manto Negro, a variety native to the island, which accounts for over three-quarters of all vines planted. It is a large, dark-skinned variety, which tends to give wines with strong alcohol and tannins. Growers are also allowed to blend in up to 30% Cabernet Sauvignon and Tempranillo. The best wines are full-bodied, powerful, and long-lived. If they have a distant cousin, then it's the wines of Priorat in Catalunya.
Other varietals include Monastrell, the indigenous Callet, as well as a smattering of Merlot and Syrah. White production in the region is similarly tiny, accounting for barely a fifth of the total output in Binissalem. The most common white grape encountered is the local Moll or Prensal Blanc. If its yield is controlled and the variety is fully ripened, then Moll produces aromatic, pleasant fruit wines of good structure that also make good base wines for sparkling wines. There is also a fair bit of Parellada and Macabeo cultivated, the main grapes used in Cava production. Some Chardonnay is also planted, although it usually only constitutes a tiny proportion of the white blends if it is used with Moll.
Today, about 17 producers and growers work in the appellation who have found a ready and captive market in the form of the island's tourists. However, these wines are also finding favor in discerning export markets, such as mainland Spain, France, and Germany. The net benefit of this expanding market for the Binissalem wines has been giving the industry a much needed shot in the arm – standards are ever-improving, and growers know they must continue to craft excellent value quality wines if they are to compete in a crowded global arena.
Mallorca's other key vine-growing region – Pla I Llevant – is located on the south-eastern part of the island and enjoys a similar maritime Mediterranean climate as Binisssalem further west. In contrast, the vineyards in the eastern part of Mallorca tend to be at lower altitudes, averaging just 100m above sea-level, which presents a challenge to winemakers who wish to keep their wines fresh and aromatic. About 260 hectares are currently planted on fertile limestone soils with high clay content and good drainage. The limestone's water retentive properties are again essential to allow the vines to cope with these hot, dry summers in the region.
The region is one of Spain's newest D.O.s, having been classified as recently as 2001. Before that, the area was only entitled to the Vino de La Tierra ranking – equal to the French Vin de Pays – which it was awarded in 1991. About 12 growers cultivate mainly red varieties, giving fruit-rich, alcoholic wines for early consumption. Few producers barrel age their reds, and the wines are perfect for early consumption with hearty Mallorcan cuisine. The palate of varieties used is broader than in Binissalem – Callet, Tempranillo, Manto Negro, Monastrell, Merlot, Syrah, Fogoneu, and Cabernet Sauvignon are all used in blends by the region's winemakers. The white varietals are the ubiquitous Spanish Macabeo and Parellada, although small amounts of Chardonnay have been planted.
However, in contrast to the generally good value and fruity style emanating from this area of Mallorca, a few boutique wineries are also crafting low yield, powerful wines that have found favor with discerning clientele abroad. These so-called boutique outfits release minuscule amounts of powerful, structured wines, which again might be comparable to the wines of Priorat or Montsant in Catalunya. The net result is that this region offers something for every palate – lighter whites, straight-forward fruity reds, or age-worthy 'serious' wines.
In addition to Mallorca's two D.O.s, the island has another designation: Serra de Tramuntana-Costa Nord, which was recognized in 2007. This Vino de La Tierra region covers the north-west coast of the island and has approximately 40 hectares of mainly Cabernet Sauvignon, Mallet, and Manto Negro planted. Some good fruity styles are being produced, and the area offers excellent value compared to the more prestigious regions of mainland Spain. There is also a generic Illes Balears designation for Vino de La Tierra wines that can originate from any of the four Balearic Islands. Mallorcan growers are entitled to use this lower rank for wines that cannot qualify for D.O. status. About 300 hectares and 37 wineries currently use the designation.
Beautiful Mallorca vineyards
Ibiza, the hedonistic hotspot of the Balearic Islands, also has a thriving small winemaking community, some crafting delicious wines that sadly few outsiders ever enjoy. Although Ibiza – like Menorca and Formentera – has no D.O. to its name, it does have a Vino De La Tierra designation, which it acquired in 1996. It is true that compared to Mallorca, vine growing here is a tiny enterprise, with about 30 hectares of vineyards in the west of the island and only a handful of wineries producing wines of any note. Historical evidence suggests that the Phoenicians planted the first vineyards on the island. Although no industry ever fully developed over the centuries and vine growing remained largely a hobby for the island, the wines only served to family and friends.
Formentera and Menora
Although only planted with just over 30 hectares between them, these two islands have some real surprises in store for the unsuspecting visitor. Again, neither island has a D.O.; Formentera was awarded its Vino De La Tierra status in 2004. The Isla de Menorca designation covers the entire island of Menorca and was granted in 2002. Formentera has just two wineries, although the celebrated producer Cap de Barbaria has found willing consumers across Europe. Their star red – Vi de la Terra de Formentera – is a blend of Cabernet, Merlot, Monastrell, and local Fogoneu and has won critical pundits for its powerful yet a balanced expression of the island's terroir. In Formentera, a small percentage of Malvasia, Chardonnay, and Viognier is planted, but the island is really only renowned for its fascinating red blends.
Menorca currently has four wineries in operation, and the first Balearic red sparkling wine was made thereby Viñas Binifadet. The wineries are dotted around the island's exterior and mainly work with Chardonnay, Macabeo, Malvasía, Moscatel, Parellada, Cabernet Sauvignon, Merlot, and Monastrell. Although these wines are largely the preserve of visiting holiday-makers, you would be well advised to seek out local wines in the island's restaurants, as they can offer superb value and rich, vibrant fruitiness. After all, when in Rome!


text:
Caryodaphnopsis metallica är en lagerväxtart som beskrevs av André Joseph Guillaume Henri Kostermans. Caryodaphnopsis metallica ingår i släktet Caryodaphnopsis och familjen lagerväxter. Inga underarter finns listade i Catalogue of Life.

Källor

Lagerväxter
metallica

redpajama_set_name: RedPajamaWikipedia


Birds Rock Trail – Birds Lookout – The Pagoda Walls – Birds Creek - 1029 – Fire Trail No 4 – Bird Rock Flora Reserve - Birds Rock Trail. Spectacular pagoda country.
Birds Rock Trail – Birds Lookout – The Pagoda Walls – Birds Creek - 1029 – Fire Trail No 4 - Birds Rock Trail. More spectacular pagoda country with a fabulous lookout, fern lined gullies and impressive forest areas. Fire trail, rough track, off-track, bike trail, easy scrambles and minor scrub.


The population of this county (or equivalent) in 1990 was 851,783; in 2000 it was 857,183. The total population changed 0.6%. The unadjusted adherent totals of the religious groups listed above (492,316) include 57.4% of the total population in 2000. The adjusted total adherents (594,521) include 69.4% of the population.


The Match Email text is what will be presented when you proceed to send a match via e-mail. This is an Applicant focused e-mail.
You can edit the text of the Match e-mail in this box to suit your business needs.
Choose if you would like to apply this text to this office or to the group (if you have multiple branches).


• Bring a worldwide awareness about the possibilities of such roofing.
• Research and develop them so as to integrate in the 21st century the techniques used in past centuries and millennia, such as those developed in ancient Egypt or during the period of gothic architecture in Europe.
This R&D seeks to increase the span of the roof, decrease its thickness, and create new shapes. Arches, Vaults and Domes are usually built with compressed stabilised earth blocks, which are laid in "free spanning" mode, without using a formwork.
Through the ages, mankind has always been attracted by arches, vaults and specially domes. In different eras this was expressed in various forms according to the local context – social, technical, cultural or spiritual belief.
Beyond the simple approach of people, as living material creatures, lies a vaster and wider sustaining holistic concept: the cosmic or divine dimension. People are the embodiment of souls to manifest and realise a spiritual evolution upon earth – to become united consciously with the Divinity within themselves and the Eternal Spirit and One Self.
Therefore, throughout Mankind's evolution, men and women of all nations and cultures try to rediscover their divine origins. Arches, vaults and domes are particular outer means to express their aspiration through an architectural creation.
• Tholos, from the Greek, which means rotunda, circular tomb with a beehive shape.
• Omphalos, from the Greek, which means umbilici, the centre, the central part.
• Tegurium, from the Latin, which means shrine, round roof covering an altar or a sarcophagus. It is often a pointed dome.
• Domus, from the Latin, which means house (Domus Dei: the House of God).
• Kalubé, from the Syrian & Palestinian, which is used for religious buildings and tabernacles.
• Sacred baetyl, from the Syrian and Palestinian, which means tabernacle, to manifest the divine.
• Vihâra, from the Sanskrit and Buddhist tradition, referring to spiritual community dwellings.
• Dom, from the German, Icelandic and Danish, which means cathedral.
• Dome, from the English, for Cathedral in the late XVIIth Century. It means also Town House, Guild Hall, and City Meeting House.
• Dominical, from the French, which means "Day of God".
• The Cosmic Egg: In Egypt, India, Persia and Greece, they are seen as the egg at the origin of the Creation.
• The Celestial Helmet: This is related to the Cosmic Egg in the Palestinian, Christian and Hebraic tradition. It is seen as the priest of heaven, symbol of authority and Divine Power.
• The lotus: In the Egyptian and Indian spiritual traditions, it is seen as a manifestation of the divine.
When mankind was still in a nomadic state, people's links with the cosmos through the starlit sky was obvious and crucial. Thus, dwellings were circular and covered either with cones or domes made of branches. These huts were referred to the centre, the number 1, the circle. These structures can still be found where there are nomadic cultures, like in Somalia.
When people slowly settled down, the circle evolved to the square, the number 4, which is related to the Mother Earth. Some houses were still covered by domes, often hemispherical, which are still found a lot in Muslim architecture and in Egypt. Later on, quadrangular plans and pyramidal or flat roofs prevailed.
Originally made of branches, the conical or spherical nomad huts evolved into an organized and studied carpentry, more durable and stronger. It allowed building wider spans and higher rise. Wooden domes were for a time predominant in major architecture due their lightness, flexibility and earthquake resistance. But wooden domes were lacking the sense of eternity searched for by mankind, especially for spiritual or religious buildings. Thus the stone and brick masonry emerged progressively through the ages. More durable than wooden domes, they were lacking lightness and stability, and also required heavy load bearing walls because of their weight and thrust. They were also more sensitive to earthquakes.
Over the ages, people developed first many types of arches and later on many kinds of vaults and domes. Arches were mainly used to easily span openings without using wooden beams. This was done according to their cultural and technical developments and the available materials. Vaults and domes were not only developed for technical reasons or to avoid the use of wood. As we have seen, they manifested also a spiritual dimension, as happened with the development of Gothic architecture in Europe. In this period of time, there was such a religious fervour, that architects and builders could find the way to transform the heavy and massive Roman style into structures of lightness with the Flamboyant Gothic architecture. Barrel and groined vaults evolved into the rib system of the pointed vaults. These developments were often the result of technical experiments which were not always immediately successful.
An almost infinite variety of arch types, styles and shapes can be found all over the world. This variety evolved with the available local materials, and know-how of the time, but especially with the particular creativity and preferences of a culture.
Vaults and domes also show a wide variety of shapes, but less than the arches. The oldest vaults still standing were built around 1300 BC in Egypt: the vaults of the Ramasseum in the "rest" of Thebes which were the granaries of the pharaoh.
Arches always generate the section of vaulted structures.
• Vaults are generated by the projection of the arch section on a plan, which is most of the time horizontal.
• Domes are basically shaped by the rotation of the arch section around a vertical axis. They can be built on circular or quadrangular plans.
• Domes on squinches are made by a succession of increasing arches starting from the corners. The squinche looks like a half cone or portion of a cone, if the generating arch is not pointed.
• Faceted domes are generated by the intersection of vaults, like the cloister dome. But it is built on a faceted plan and not a square or quadrangular plan like the cloister dome.
• Groined vaults or domes are the intersection of two vaults crossing each other. Most of the time, they cross perpendicularly.
• Cloister domes are also generated by the intersection of two vaults crossing each other, like the groined vault. The groin of the groined vault is identical to the inner edge of the cloister dome. The arch section of the cloister dome is not seen on the side of the dome, but only the cross sections.
Note that both supports of a centring should be done with the same material: the example showed above is to show two different cases.
The examples of AVD shown hereafter are only the basic types which are commonly found.
The variety of AVD is much greater than that. Note that the name of the arch is defined by its intrados shape.
Vaulted structures are characterised by two acoustic phenomena: echo and reverberation.
Echo is a disturbing phenomenon which happens only in domes which are generated by the portion of a sphere. The dome might be built on a circular plan or on a quadrangular one (i.e. dome on pendentives) but it will always have an echo if it has the shape of the portion of a sphere or a shape close to the portion of a sphere. Hemispherical domes have the strongest echo. Pointed domes have rarely any echo but they can have a high reverberation and/or amplify the sounds. Domes which are generated by the intersection of vaults (i.e. cloister or groined dome) don't have any echo at all.
• The size of the volume created by the vaulted structure, which is generally larger than other ones.
• The shape of the structure, which tends to hold the sound within itself.
Echo and reverberation can be limited by acoustic correctors, which are called single resonator absorbers. A German engineer, Helmholtz, elaborated some formulas to calculate them. The human voice ranges from 100 Hz to 2 KHz, with an average frequency at 400Hz. Correctors of various sizes can be installed to absorb the desired frequencies.
A cavity opened in a room and closed on the other side will resonate at a certain frequency. When a sound strikes the resonator, the air in the neck vibrates strongly, thus absorbing the sound by viscous loss. These types of absorbers have been used long ago in European monasteries, so as to correct the acoustic of vaults and domes. Today the formulas elaborated by Helmholtz allow calculation of these single resonator absorbers.
The frequency absorbed is related to the volume of the cavity and the diameter and length of the neck which links it to the room. The larger the cavity is, the lower the absorbed frequency will be.
Such a single resonator is effective only for a limited range of frequencies close to the resonant frequency at which it shows a sharp peak. When several single resonator absorbers are combined, so as to absorb a wide spectrum of frequencies, these must not be multiples of each other. For example, if one wants to absorb frequencies of 200 and 400 Hz, the result will not be effective: one would do better to absorb 220 and 380 Hz. Note that the principle of these resonator absorbers is to have a cavity closed at one end. This cavity can have either a larger size than the neck hole or the same shape as the neck. Thus it becomes a tube.
Note that for the tube type resonator absorber, the neck length is a theoretical one, as the hole is done with a single tube. But the formulas are such that the neck length and diameter have to be given first. These formulas are only for a neck which is circular.
4. Add Ln + Lc to get the length of the entire tube.
Note that here Ln is a theoretical length which is needed to do the calculation.
343 is approximately the sound velocity at 20 °C temperature and 1013 H Pa atmospheric pressure.


We come from Slovenia, from a small town called Vrhpolje which is situated near Ljubljana, the capital of Slovenia. Our first bennings go back to year 2006 when our main motive was singing serenades to girls around our valley. Occasional associations have grown into regular exercises and soon we decided to set up a cultural society, called "Castle octet" (Grajski oktet), where Peter Pirnat took the baton to guide us.
We perform both national as artificial, church, secular, foreign and funny songs. The selection of repertoire does not present any problems, because many songs are written for such bands.
Each year we organize an annual concert in the atrium of "Tuštanj castle" and a Christmas concert in church of "Vrhpolje". Througout the year we often attend to other concerts and meetings in Slovenia. We are always opened to new challenges etc..
Our goal is to enjoy singing, get to know the world and spread goodwill.
Each year, as far as time, we bring the song up to Triglav, the tallest mountain of Slovenia. We really enjoy, when the silence of mighty Slovenian mountains is interrupted by beautiful singing.


text:
Non-Scripted
All Factual
Scripted Formats
VISIT AVALON ENTERTAINMENT
WHAT THE KILLER DID NEXT
What the Killer Did Next is a true crime documentary series presented by PHILIP GLENISTER…
A TOWN AND COUNTRY MURDER
A Town & Country Murder reveals the truth behind an idyllic façade, where things are…
COUNTDOWN TO DISASTER
An unprecedented look at some of the most impactful events that affected Britain in the…
THE MURDER NEXT DOOR
Explore the shockwaves within a community when someone that lived amongst them commits murder or…
THE NIGHTMARE NEIGHBOUR NEXT DOOR
The Nightmare Neighbour Next Door delves into the most extreme and extraordinary neighbour disputes.
Caught Red Handed looks at ways in which the police and the public are setting…
CLOSE CALLS ON CAMERA
Close Calls: On Camera brings to life the stories of ordinary people who have faced…
© 2019 Avalon. This site uses cookies. By continuing to use this site, you agree we can set and use cookies.
For more details of these cookies and how to disable them, see our cookie policy as part of our terms and conditions.


text:
Himson Teleda (born 28 August 1992) is a footballer that comes from Solomon Islands. He plays as a midfielder for Western United in Solomon Islands National Club Championship. He is a member of Solomon Islands national football team. He made his debut during the 2012 OFC Nations Cup and he scored one goal against New Zealand. In stage 3 he scored one goal against Tahiti.

References

1992 births
Living people
Solomon Islands footballers
Solomon Islands international footballers
Association football midfielders
2012 OFC Nations Cup players


Are you looking to train as a teacher? This can be an exciting start to a rewarding career and whether you are in the UK or abroad, a great way to get onto a training programme is by preparing yourself for what's to come. Learn more on the page below.
When choosing a course for your teachers training, you will find that there are a myriad of options that vary in time commitment and pre-requisites. Once you have chosen the right course for you, the next challenge is to figure on how to get on it.
What do teacher training recruitment involve?
In order for assessors to determine your fit on the training programme, aspiring teachers face a number of assessments during the recruitment process. These can include interviews, role play exercises, group exercises, a written task, and/or a presentation. The process for each training programme varies so make sure to pay attention to any information you get from the programme.
JobTestPrep offers a range of preparation materials which can help you improve your chances during these assessments. Our assessment practice tests offer sample questions and study guides to develop your skills, while our interview preparation and case study pack can prepare you for the second stage of the process.
For those looking to train as a teacher in the UK, there are two major options. The first is the various UCAS teacher training programmes which include PGCE, School Direct Training Programme, and SCITT. The second option is the Teach First programme, an independent charity movement.
In order to begin working as a teacher after your training, you need to pass the teacher training skills test or the professional skills test. This test can be sat up to three times before you are deferred from the programme for two years (at which point you will need to reapply to the training programme). There are two sections to the test: numeracy skills and literacy skills.
In the teacher training numeracy test, your ability to do mental arithmetic, interpret and use written data as well as solve written arithmetic problems is under examination. This test is 48 minutes long and is comprised of 28 questions in total, 12 in the mental maths section and 16 in the written sections.
The teacher training literacy test looks at your knowledge of spelling, punctuation, and grammar as well as your comprehension skills. This test is 45 minutes in length and can include 41-49 questions depending on the test.
Preparation for the Professional Skills Test may seem simple but it is very necessary in getting a job as a teacher once your training has finished. Our Numerical and Verbal test pack provides practice tests, study guides, drills and tutorials to help you prepare for all aspects of this test. Understanding the challenge and how to overcome it is your key to success.
Whether you are looking to train as a teacher in the UK or abroad, teachers training tests are a major factor in the recruitment process. Preparing for these tests is a great way to boost your chances for getting accepted so make sure you get all the practice you need. Good luck.


OFTU Network » Blog Archive » Only Funny To Us, Episode 25 is ready.
Only Funny To Us, Episode 25 is ready.
In this episode Steve finally gets the coffee maker of his dreams, he tries once again to take over the show, and we are joined by long-time friend, Ashely Hall. We also make a big announcement about our new podcast network and our newest podcast partner, Al's Toddcast.


text:
Sandy's pool upgrades a taste of things to come posted on 09/01/2018
As a steady stream of customers flowed through the doors at the Sandy Aquatic Center on a weekday morning in August, Sandy Community Services Director Tanya Richardson was hesitant to say that numbers of users were up over previous years. She noted it was "hard to determine," but that lessons had more students (including up to 200 during the summer) and that open recreation time had been busy.
But with visions of a Sandy Community Campus, including a new recreation pool and parks improvements to the property the city acquired from the Oregon Trail School District, the work and progress already undertaken is notable. Since Richardson took her position in March 2017, the facility's upgrades include replacement of bleacher seating, ADA bathrooms, safety upgrades, designated areas for parties, family changing areas, painting, a new front desk area and even an inflatable course for the pool.
These are the first steps for the city as it looks toward the loftier goal of a Community Campus, a projected $74 million project that will take many years to complete, all while improving the current facility after years of disrepair and deferred maintenance and installing programming that will (at some point) offer sustainability.
"It's an art, to be able to program and understand what people need and what they want," said Kim Yamashita, Sandy City Manager, about Richardson's work. "As we move forward and improve (the pool), it's just going to get better."
Richardson came to Sandy after undertaking a similar project in Virginia, where she had three years to get that pool to pay for itself but accomplished the goal in six months.
"The community obviously needed it and we filled the need," Richardson said. "We'd like to see something like that in Sandy."
Yamashita, who sees the campus project as a way to provide a destination for visitors, noted that the lack of space is the biggest obstacle for making the current pool financially successful. The current operations are being supplemented by the city's general funds, while upgrades to the pool's HVAC and plumbing will close the facility for up to a year starting in the fall of 2019 as part of the first phase of construction of the Community Campus.
Phase 2 of the project will include construction of a new indoor recreation pool, including slides and other features, in front of the current pool building, while Phase 3 will offer improvements to the surrounding park areas. Yamashita noted that the city currently has funding for Phase 1, which will leave the current pool facility "operationally efficient."
To help pay for the campus, Yamashita sought feedback from city residents on funding options (including a utility fee of up to $8 and a bond) during the Mountain Festival, adding that just one person opposed a bond.
"We might explore that option as well," Yamashita said, adding that the city will meet with local organizations and hold open houses to get more feedback. "We have a lot of research to do before we launch that."
Yamashita noted that a fee structure at the new facility would include discounts for Sandy residents with the opportunity for those outside the city to buy a discount card at the same rate of the utility fee to gain the same discount.
The full scope of the project will also see the demolition of the front building at the former Cedar Ridge Middle School, while the city's Information Technology Department has moved into the bottom of the rear building. Yamashita noted the city is currently out of storage space and part of that rear building could serve as storage, and eventually she envisions an event space, with a patio for catered events, overlooking an amphitheater with seating for approximately 700 people.
"We're just exploring all of those options and funding for those," Yamashita said, adding that another option would be to move City Hall to that building and use the current City Hall building for a library annex. "I appreciate the community's patience and support while we work through this huge undertaking."
The city will hold two open houses for community input: from 9-11 a.m. Saturday, Sept. 8 and 7-9 p.m. Friday, Sept. 14, both at the Sandy Library community room, 38980 Proctor Blvd. in Sandy.
By Garth Guibord/MT


Now more than ever it seems the stress of daily life weighs so heavily upon our shoulders.
The truth is, today, far too many people are dealing with elevated stress levels which have an adverse affect both on one's mental and physical health. In order to avoid mental illness and disease, regaining a sense of inner peace and calm is no longer just notion, it is an imperative.
To address this growing problem, Bed-Stuy resident Khadija Tudor has started The Khadija Hands Project, a community of natural health practitioners and healers who share one common goal: guiding you in putting you and your health first.
Through curated wellness events, workshops, family fitness activities, massage therapy, acupuncture therapy, yoga, meditation and a variety of online resources, KHP's mission is to restore balance.
"We noticed an underlying problem: Women were feeling overwhelmed; they were being racked by anxiety—mainly because they were doing so much for others. The 'others' being children, spouses, family, their jobs," said Tudor, who is a licensed massage therapist and an instructor in "Meditative Movement" therapy.
Tudor pointed out that by allowing stress to continually live within the body is neglect and creates a space for disease, which can show up in different ways: exhaustion, depression, colds and, in many cases, outright terminal illnesses.
"The Khadija Hands Project is about coming back to self. Sometimes it's running; sometimes it's walking slowly; sometimes it's just sitting still and becoming aware of your body in relations to the environment around it," she said.
The Khadija Hands Project does not promote a single form of therapy as a one-size-fits all solution. Instead, Tudor and her team of practitioners present a suite of services to address a variety of needs, underscoring one very critical component– the patient must be willing to do most of the work.
She's quick to point out that the practitioners can guide the process, but that truly successful therapy comes from an understanding that the patient must consistently set aside the time for themselves to reclaim ownership of their body and practice self-care.
"The benefits of self care is a revolutionary act of wellness," said Tudor. "Here's what happens: You draw attention to yourself, and all of a sudden you're breathing better; all of a sudden, the way that life comes at you is no longer an attack, but an easy flow.
"All of a sudden, you begin to reassess what type of relationships you want, because you've slowed yourself down and given yourself the time to decipher what's happening in you and around you.
For more information on the Khadija Hands Project, you can visit their websites here and here. You can also find them on Facebook and Twitter.


Apia 2019 Open Valle del Risaralda , will take place in Apia , Colombia from 09 to 16 February 2019. This is a FAI Second Category Event ID: , Event in Cross Country discipline. The competition is organized by Alejandro Bermudez.
This beautiful place of flight is located in the heart of Colombian coffee, surrounded by rivers, natural park, valleys is really an incredible landscape, since this takeoff the wattle, in Apia Risaralda the longest straight line flights of Colombia have been made, with more 200 km south in both paragliding and hang gliding.
Using data for the mobile, has a cost of $ 20,000 COP, for a week, and we recommend for better coverage, Movistar, claro, tigo.
The registration fee for each event will be USD-200 until the day of the event.
Account number to pay entry fee will be available soon. We will inform registered pilots by email.
- Accept local valid regulations.
- Medical insurance. Must be valid for paragliding in Colombia. Must show contract copy to prove so. If pilot does not have this insurance, it must be purchased locally.
*arriving from Cali to Apia are 235 kms.


Looking for an individual postcode in Hebden Bridge? Use our postcode finder tool.
Hebden Bridge is a post town.
The Hebden Bridge postcode town is within the Halifax postcode area (also known as the HX postcode area).


text:
Dr. Dickens was the first African American woman admitted to American College of Surgeons.
Because both her parents had struggled to make a living in low-paying jobs, they insisted that Helen Dickens receive a good education and follow a professional career.
In 1950, Dr. Helen Dickens was the first African American woman admitted to the American College of Surgeons. The daughter of a former slave, she would sit at the front of the class in medical school so that she would not be bothered by the racist comments and gestures made by her classmates. By 1969 she was associate dean in the Office for Minority Affairs at the University of Pennsylvania, and within five years had increased minority enrollment from three students to sixty-four.
Helen Octavia Dickens was born in 1909, in Dayton, Ohio. Her father, Charles Warren Dickens, a former slave and water boy during the Civil War, was raised by a Union colonel from the age of 9. A self-educated man, he took the name Charles Dickens after meeting the famous english novelist. Although he had "read law" and had a keen intellect, prejudice confined him to janitorial work. Her mother, Daisy Jane Dickens, was a domestic servant to the Reynolds family of paper manufacturers.
Because both her parents had struggled to make a living in low-paying jobs, they insisted that Helen receive a good education and follow a professional career, and with their encouragement she attended a desegregated high school. As a young adult, Helen Dickens continued to apply to the best schools and hospitals, refusing to be intimidated at predominantly white institutions. Inspired by the achievements of other African American women who had gone before her, she benefited from the practical advice and support of such mentors. Dr. Elizabeth Hill, the first African American physician to graduate from the University of Illinois, helped her to register for medical school. Helen Dickens earned her M.D. degree at the same institution in 1934, the only African-American woman in her class.
Dickens completed her internship at Provident, a black hospital on the south side of Chicago, treating tuberculosis among the poor. She was discouraged by the lack of community done by medical residents, and relished the opportunity to move away to her first job, at Virginia Alexander's Aspiranto Health Home in Philadelphia in 1935.
In addition to her general practice, Dr. Dickens provided obstetric and gynecologic care. Once again, she worked in difficult circumstances to help her patients living in extreme poverty. In one instance, she arrived at the home of a woman in labor to find that there was no electricity. She had to move the bed to the window to conduct the delivery by streetlight. To address such problems, Dr. Alexander installed four beds at the three-story row house serving as the Aspiranto Health Home.
After six years working at Aspiranto, Dr. Dickens decided to expand her training in obstetrics and gynecology, returning to Provident Hospital for a specialist residency. In 1943, she married Purvis Sinclair Henderson, a fellow resident, and moved to Harlem Hospital in New York City to work under the guidance of esteemed surgeon and internist, Peter Marshall Murray. In 1945 she received her master of science degree from the University of Pennsylvania Medical School, and in 1946 she completed her residency at Harlem and was certified by the American Board of Obstetrics and Gynecology.
Dr. Dickens returned to Philadelphia in 1948 as director of the Mercy Douglass Hospital Department of Obstetrics and Gynecology and, in 1950, became the first African American-woman fellow of the American College of Surgeons. Toward the end of her directorship in the late 1960s, Dickens also taught at the University of Pennsylvania. Over the next twenty years, she rose through the ranks, from instructor, through to professor, culminating in her appointment as professor emeritus in 1985. At the same time, she served on the staff of the Woman's Hospital in Philadelphia and later, the faculty of the Medical College of Pennsylvania.
In patient care, Dr. Dickens concentrated on preventing some of the problems she had seen so frequently in her obstetrics and gynecology practice. Hoping to educate young women to empower themselves, she led extensive research into teen pregnancy and sexual health issues. She used the results of her wide-ranging survey to advise schools, parents, and health professionals on intervention strategies to lower the incidence of teen pregnancy and sexually transmitted diseases. She received numerous honors for her work on sexual health for young and adult women, including awards from the Girl Scouts of Greater Philadelphia and the American Cancer Society. Her own daughter, Dr. Jayne Henderson Brown, has followed in her footsteps and practices, as her mother did, in Philadelphia.
Launch Photo Gallery (2 images)
Launch Video 1
More Exhibitions
More Educational Resources
Web Policies, Careers, Accessibility, HHS Vulnerability Disclosure
NLM, 8600 Rockville Pike Bethesda MD 20894
NIH, HHS, FOIA, NLM Support Center
Last reviewed: 03 June 2015
First published: 14 October 2003


The Company is an experienced explorer, developer, and operator having operated nine gold mines across Australia and Africa which have produced in excess of 8 million ounces of gold. The Company currently operates two mines, the Syama Gold Mine in Africa and the Ravenswood Gold Mine in Australia, and is one of the largest gold producers listed on the Australian Securities Exchange.
Resolute's flagship Syama Gold Mine in Mali is a robust long-life asset benefitting from fully operational parallel sulphide and oxide processing plants. The move to underground mining will continue the asset's history of strong cash generation and extend the mine life to out beyond 2028.
The Ravenswood Gold Mine in Queensland, Australia demonstrates Resolute's significant underground expertise in the ongoing success in mining the Mt Wright ore body. In Ghana, the Company has completed a feasibility study on the Bibiani Gold Mine focused on the development of an underground operation requiring modest capital and using existing plant infrastructure. Resolute also controls an extensive exploration footprint along the highly prospective Syama Shear and greenstone belts in Mali and Cote d'Ivoire and is active in reviewing new opportunities to build shareholder value.
At Resolute we conduct our business by being Bold, Courageous, Agile and United in everything we do.
BOLD - do you strive for excellence to deliver your best work?
AGILE - are you naturally curious and adaptive to change?
COURAGEOUS - do you have a genuine care for others, the environment, community and assets?
UNITED - do you collaborate and share your knowledge?
We want energetic and forward thinking people who share our values to join Team Resolute.
Electrical and SMP Supervisor, Syama Mine, Mali, Mali Hot!
Camp Maintenance Development Supervisor, FIFO Syama Mine, Mali, Mali Hot!
Electrical Engineer, Syama Mine, Mali, Mali Hot!
Resolute is an experienced explorer, developer, and operator having operated nine gold mines across Australia and Africa which have produced 8 million ounces of gold over the past 28 years.
We have a strong history, the expertise and drive to deliver now and into the future. We have a mindset of exploration, growth and development and we are active in seeking new opportunities to build shareholder value.
The Resolute workplace empowers our people and provides them opportunities to use their talents to contribute to the broader social, economic and sustainable development of the communities in which we operate.
If you are looking to work with a global company that has challenging technical assignments and an exciting pipeline of development projects, Team Resolute is for you.


text:
require 'spec_helper'

describe ProjectsController do
  before do
    @group = FactoryGirl.create(:group)
    # Ugly, Ugly, Ugly
    @project = Project.new(FactoryGirl.attributes_for(:project, { group_id: @group.id } ))
    @project.format_dates("11/20/2011", "11/22/2011")
    @project.save!
  end

  describe "#overview" do
    before do
      all = Project.select(:id).collect(&:id)
      Rails.application.config.stub(:listed_projects).and_return(all)
      get :overview
    end

    it "should return an array of Project objects" do
      assigns[:projects].count.should == 1
      (assigns[:projects].is_a? Array).should be_true
    end

    it "should render the overview template" do
      response.should render_template('projects/overview')
    end
  end

  describe "#index" do
    before { get :index, { group_id: @group.permalink } }

    it "should return an array of Project objects" do
      assigns[:projects].count.should == 1
      (assigns[:projects].all.is_a? Array).should be_true
    end

    it "should render the index template" do
      response.should render_template('projects/index')
    end
  end

  describe "#show" do
    before { get :show, { group_id: @group.permalink, id: @project.id } }

    it "should return a Project object" do
      (assigns[:project].is_a? Project).should be_true
    end

    it "should render the show template" do
      response.should render_template('projects/show')
    end
  end

  describe "#new" do
    context "group member" do
      before do
        user = FactoryGirl.create(:user, { group: @group } )
        sign_in user
        get :new, { group_id: @group.permalink }
      end

      it "should return a Project object" do
        (assigns[:project].is_a? Project).should be_true
      end

      it "should render the new template" do
        response.should render_template('projects/new')
      end

      context "kit param" do
        before do
          Project.stub(:kits).and_return({ :display_name => "Magic Journey" })
          get :new, { group_id: @group.permalink, kit: 0 }
        end

        it "should set from_kit property" do
          (assigns[:project].from_kit).should be_true
        end

        it "should auto-populate kit properties" do
          (assigns[:project].display_name).should eq("Magic Journey")
        end
      end
    end

    context "non group member" do
      before do
        user = FactoryGirl.create(:user)
        sign_in user
        get :new, { group_id: @group.permalink }
      end

      subject { flash[:alert] }
      it { should  =~ /not authorized to access this page/i }
    end
  end

  describe "#review" do
    context "group member" do
      before do
        user = FactoryGirl.create(:user, { group: @group } )
        sign_in user
        project = FactoryGirl.attributes_for(:project, { display_name: "test", group: @group, start_date: '11/11/2012', end_date: '11/11/2012' } )
        post :create, { group_id: @group.permalink, project: project }
        @demo = Project.where(display_name: "test").first
        @project = project
      end

      it "should assign project" do
        assigns[:project].is_a?(Project).should be_true
      end

      it "should contain attributes of project" do
        p = assigns[:project]
        p.display_name.should eq(@project[:display_name])
      end
    end

    context "non-group member" do
      before do
        user = FactoryGirl.create(:user)
        sign_in user
        project = FactoryGirl.attributes_for(:project, { display_name: "test", group: @group } )
        post :create, { group_id: @group.permalink, project: project }
      end

      subject { flash[:alert] }
      it { should  =~ /not authorized to access this page/i }
    end

    context "another group's member" do
      before do
        group = FactoryGirl.create(:group, { display_name: "test other group", permalink: "blah blah" } )
        user = FactoryGirl.create(:user, { group: group, role: 'member' } )
        sign_in user
        project = FactoryGirl.attributes_for(:project, { display_name: "test", group: @group.id } )
        post :create, { group_id: @group.permalink, project: project }
      end

      subject { flash[:alert] }
      it { should  =~ /not authorized to access this page/i }
    end
  end

  describe "#create" do
    context "group member" do
      before do
        user = FactoryGirl.create(:user, { group: @group } )
        sign_in user
        project = FactoryGirl.attributes_for(:project, { display_name: "test", group: @group, start_date: '11/11/2012', end_date: '11/11/2012' } )
        post :create, { group_id: @group.permalink, project: project }
        @demo = Project.where(display_name: "test").first
      end

      it "should create group project" do
        @group.projects.count.should == 2
      end

      it "should redirect to the show action" do
        response.should redirect_to("/groups/#{@group.permalink}/projects/#{@demo.id}")
      end

      subject { flash[:notice] }
      it { should  =~ /project was added successfully/i }
    end

    context "non-group member" do
      before do
        user = FactoryGirl.create(:user)
        sign_in user
        project = FactoryGirl.attributes_for(:project, { display_name: "test", group: @group } )
        post :create, { group_id: @group.permalink, project: project }
      end

      subject { flash[:alert] }
      it { should  =~ /not authorized to access this page/i }
    end

    context "another group's member" do
      before do
        group = FactoryGirl.create(:group, { display_name: "test other group", permalink: "blah blah" } )
        user = FactoryGirl.create(:user, { group: group, role: 'member' } )
        sign_in user
        project = FactoryGirl.attributes_for(:project, { display_name: "test", group: @group.id } )
        post :create, { group_id: @group.permalink, project: project }
      end

      subject { flash[:alert] }
      it { should  =~ /not authorized to access this page/i }
    end
  end

  describe "#edit" do
    context "group member" do
      before do
        user = FactoryGirl.create(:user, { group: @group } )
        sign_in user
        get :edit, { group_id: @group.permalink, id: @project.id }
      end

      it "should return a Project object" do
        (assigns[:project].is_a? Project).should be_true
      end

      it "should render the edit template" do
        response.should render_template('projects/edit')
      end
    end

    context "non-group member" do
      before do
        user = FactoryGirl.create(:user)
        sign_in user
        get :edit, { group_id: @group.permalink, id: @project.id }
      end

      subject { flash[:alert] }
      it { should  =~ /not authorized to access this page/i }
    end

    context "another group's member" do
      before do
        group = FactoryGirl.create(:group, { display_name: "test other group", permalink: "blah blah" } )
        user = FactoryGirl.create(:user, { group: group, role: 'member' } )
        sign_in user
        get :edit, { group_id: @group.permalink, id: @project.id }
      end

      subject { flash[:alert] }
      it { should  =~ /not authorized to access this page/i }
    end
  end

  describe "#update" do
    context "group member" do
      before do
        user = FactoryGirl.create(:user, { group: @group } )
        sign_in user
        put :update, { group_id: @group.permalink, id: @project.id, project: { display_name: "test update" } }
      end

      it "should update display name" do
        @project.reload.display_name.should == "test update"
      end

      it "should redirect to the show action" do
        response.should redirect_to("/groups/#{@group.permalink}/projects/#{@project.id}")
      end

      subject { flash[:notice] }
      it { should  =~ /project has been updated/i }
    end

    context "non-group member" do
      before do
        user = FactoryGirl.create(:user)
        sign_in user
        put :update, { group_id: @group.permalink, id: @project.id, project: { display_name: "test update" } }
      end

      subject { flash[:alert] }
      it { should  =~ /not authorized to access this page/i }
    end

    context "another group's member" do
      before do
        group = FactoryGirl.create(:group, { display_name: "test other group", permalink: "blah blah" } )
        user = FactoryGirl.create(:user, { group: group, role: 'member' } )
        sign_in user
        put :update, { group_id: @group.permalink, id: @project.id, project: { display_name: "test update" } }
      end

      subject { flash[:alert] }
      it { should  =~ /not authorized to access this page/i }
    end
  end

  describe "#destroy" do
    context "group adult sponsor" do
      before do
        user = FactoryGirl.create(:user, { group: @group, role: 'adult sponsor' } )
        sign_in user
        delete :destroy, { group_id: @group.permalink, id: @project.id }
      end

      it "should remove project from group" do
        @group.projects.count.should == 0
      end

      it "should redirect to index page" do
        response.should redirect_to("/groups/#{@group.permalink}/projects")
      end

      subject { flash[:notice] }
      it { should  =~ /project has been deleted/i }
    end

    context "group youth sponsor" do
      before do
        user = FactoryGirl.create(:user, { group: @group, role: 'youth sponsor' } )
        sign_in user
        delete :destroy, { group_id: @group.permalink, id: @project.id }
      end

      it "should remove project from group" do
        @group.projects.count.should == 0
      end

      it "should redirect to index page" do
        response.should redirect_to("/groups/#{@group.permalink}/projects")
      end

      subject { flash[:notice] }
      it { should  =~ /project has been deleted/i }
    end

    context "group member" do
      before do
        user = FactoryGirl.create(:user, { group: @group, role: 'member' } )
        sign_in user
        delete :destroy, { group_id: @group.permalink, id: @project.id }
      end

      subject { flash[:alert] }
      it { should  =~ /not authorized to access this page/i }
    end

    context "another group's sponsor" do
      before do
        group = FactoryGirl.create(:group, { display_name: "test other group", permalink: "blah blah" } )
        user = FactoryGirl.create(:user, { group: group, role: 'adult sponsor' } )
        sign_in user
        delete :destroy, { group_id: @group.permalink, id: @project.id }
      end

      subject { flash[:alert] }
      it { should  =~ /not authorized to access this page/i }
    end
  end
end

redpajama_set_name: RedPajamaGithub


What did your training split look like?
i just stuck to a chest/tri, back/bi, shoulder, legs routine. abs every workout! 4 sets each ex. 6-8 reps and hard fookin work!
Thank for this post. I was doing a Google Search on taking testesterone and anavar together. Quite a bit of negative replies about this combination and a few good ones and this here convinced me to hell with those other steroidologists. Thanks again.
Bumping a really old thread, but this is the exact cycle I'm trying emulate!
Hope you are still getting these awesome results 8 years later!


text:
Q: Proper iOS Background Location Updates Location updates using apples CLLocationManager have been working fine while my application is running.  I decided to implement the MonitorSignificantLocationChanges method described in the apple documentation.
Here is my applicationDidEnterBackground method:
- (void)applicationDidEnterBackground:(UIApplication *)application {

// Switch to significant location change events monitoring
[self.viewController.locationController.locationManager stopUpdatingLocation];
[self.viewController.locationController.locationManager startMonitoringSignificantLocationChanges];

The problem that I am having is that no matter whether I startMonitoringSignificantLocationChanges or not, my application still reports to iOS that it is utilizing location updates even when the application has been removed from the multitasking bar.  Just installing the app without ever running it is enough to make iOS display the location icon in the top right of the screen and the phone starts to drain the battery.  I cannot figure out how to properly stop location updates when the home button is pressed and how to properly start the significant change monitoring service.
Please let me know if I can provide any additional helpful details.

A: I think this is a bug. I managed to fix this by removing the app and reset location warning. After that, if I install the app again, the location arrow does not show up anyway, even after I allow location for the app and close it

A: [self.viewController.locationController.locationManager startMonitoringSignificantLocationChanges];

You have started significant location updates which will track user's location. This is also one of location manager service. You will continually see the GPS icon in top right corner until you stop this service or delete your app from device.
To stop this service use,
[self.viewController.locationController.locationManager stopMonitoringSignificantLocationChanges];

Once you stopped significant location updates, the GPS icon will go away...
Please refer this, In this check Getting the User's Current Location
Hope this will help you....

redpajama_set_name: RedPajamaStackExchange


120 Arling Trail is a $59,900 property on a 1.70 acre lot located in Donnelly, ID.
Partial Lake & Surrounding Mountain views from this 1.7 acre parcel, could be improved with some tree thinning. Adjoining Public lands Direct access to Forest Service Land great for hiking, hunting, snowmobiling and much more. Large trees and close to an end of road location for great privacy with stunning views, Property has a nice area to build on. Whole North Boundary borders Forest Service Land!!! NO CC&Rs Great location for a base camp for hunting, fishing or hiking.
I am interested in 120 Arling Trail, Donnelly, ID 83615.