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BLOG Category: Art Travel
The Power of Public Sculpture
Modern Art Pilgramage to the South of France
From the pyramids and temples of ancient Egypt to the streets and piazzas of Florence, sculpture in public places has been fundamental in informing the visual consciousness of a society for millennia. Today, there's even more on show than ever and – the best part is – it's all free!
Here are a few of the best sculptural works on public display from around the world, including some lesser-known gems:
Jacob Epstein, Sculptures for the British Medical Association Building (1908)
Location: The Strand, London
[More information: http://www.tate.org.uk/context-comment/articles/gallery-lost-art-jacob-epstein]
Just around the corner from London's Trafalgar Square are these fantastic figures by Epstein, which are placed in niches high atop a building. When they were first proposed, their nudity caused a controversy and public opinion was divided on their appropriateness for display on the street. Thirty years later, when acid rain had made them unstable, some traditionalists relished taking a chisel to these amazing works and reducing them to mere torsos. Even headless and limbless, however, these sculptures remain incredibly powerful.
Dan Flavin, Untitled (1996)
Location: 548 West 22nd Street, New York
Official Site: https://www.diaart.org/collection/collection/flavin-dan-untitled-1996-1996-002
This site-specific artwork by Dan Flavin is managed by the Dia Foundation and is always open to the public. Featuring Flavin's signature fluorescent lights, the work was completed just before the artist's death. Understated and slightly eerie, the piece demonstrates Flavin's sensitivity to the specifics of the architectural space. Tip: it's particularly atmospheric if you go at night.
Anish Kapoor, Cloud Gate (2006)
Location: Millennium Park, Chicago
Official site: http://www.cityofchicago.org/city/en/depts/dca/supp_info/millennium_park_-artarchitecture.html#cloud
Cloud Gate is hard to miss. This huge sculpture by Anish Kapoor dominates the plaza at Chicago's Millennium Park, where it has been affectionately nicknamed "the bean". The highly polished surface reflects distorted images of the cityscape around it and of the crowds of people who can pass around and under it. It's like a funhouse mirror on steroids. This mirroring visually dissolves the form of the enormous metal structure, simultaneously blending in with its surroundings and asking the viewer to look again.
Joan Miro, Oiseau Lunaire (1966)
Location: Square Blomet, Paris
This large work by Joan Miro (92 x 82 x 59 inches) stands in a public park in Paris' Montparnasse area, once home to a plethora of artists living and working there in the 1910s and 20s. Miro's sculpture, designed as a site-specific work, is intended to be a memorial to those artists who promoted avant-garde forms and theories, and influenced the work of generations of artists to come.
Fernando Botero, The Hand (1976)
Location: Paseo de la Castellana, Madrid
If you're looking for public sculpture, Madrid should be high on your list of destinations. It even boasts a little-known (but enormous) Museum of Public Art, which contains sculptures by Miro and Julio Gonzalez. Elsewhere in the city, you'll find this huge sculpture of a hand by Columbian artist Fernando Botero. The work is characteristic of Botero's voluminous style and was produced soon after the artist suffered a hand injury in a car accident.
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Jacques Lipchitz, Prometheus Strangling the Vulture (1943)
Location: Philadelphia Museum of Art, Philadelphia
Official site: http://www.philamuseum.org/collections/permanent/54047.html
This late work by sculptor Jacques Lipchitz is positioned outside the Philadelphia Museum of Art in a city that boasts more than its fair share of incredible works of art on public display. One of his lesser-known pieces, Lipchitz' sculpture depicts the myth of Prometheus breaking free of his bonds and strangling the vulture who has been pecking at his entrails for an eternity. Lipchitz saw this as symbolic of the human race fighting against the atrocities of Nazi Germany.
Lynn Chadwick, Couple on Seat (1986)
Location: Canary Wharf, London
Official site: http://canarywharf.com/artwork/lynn-chadwick-couple-on-seat/
Canary Wharf is home to London's tallest, shiniest buildings and to crowds of harassed-looking people in suits. It might not sound like an obvious place to go looking for modern art, but Canary Wharf is also home to Lynn Chadwick's Couple on Seat, positioned with its back to a large fountain. It's a powerful work, taking inspiration from Henry Moore, and is well worth seeking out.
Jeff Koons, Balloon Flower (Red) (2006)
Location: 7 World Trade Center, New York
Official site: http://www.jeffkoons.com/exhibitions/solo/balloon-flower-red
Koons created his Balloon Flower (Red) as a memorial to those who survived 9/11. It exhibits the highly polished style that can be found in several of his sculptures. Its bright color and shiny surface make it feel distinctly upbeat, a celebration of moving forwards as well as looking back. Its resemblance to a giant balloon confuses the viewer's eye; you almost expect it to start floating up into the air.
The Background Info:
Public sculpture in the United States saw a revival under the Federal Art Program in the 1930s, designed by the government to help the country out of the Depression and to promote a connection between art and the public. In the UK, public art was similarly encouraged by the post-War Labour government in the 1950s, who chose sculpture as a tool for promoting socialist values across the country.
This strong tradition continues today, and there is consequently a wealth of fantastic twentieth-century and contemporary sculpture on public view around the world. Unfortunately, these works can become sidelined, missed by pedestrians who don't stop to think about the work of art that they are hurrying past. Nevertheless, seeking out public sculpture can be highly rewarding; you'll be surprised what's just around the corner.
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It's always a good time for art lovers to flock to the South of France. Museums retracing the footsteps of modern masters are plentiful and full of jewels waiting to be discovered.
Aix-en-Provence: Fondation Vasarley
The Vasarley Foundation will make you rethink the definition of techno after you see Victor Vasarley's works of "social techno art." Making plastic the new black, see how Vasarely integrated the material into art and architecture.
St-Paul-de-Vence: Fondation Maeght
Bonnards, Calders, and Legers oh my! The Maeght Foundation has works by the top modern and contemporary artists; with so much to see you may have to extend your trip.
Antibes: Musee Picasso
Think that the only Picasso Museums are in metropolitan capitals? Well you are wrong: step away from the busy streets and look at some Picassos in sunny Antibes. The artist stayed in the area and was so entranced that he created over sixty new works.
Cannet: Musee Bonnard
The Musee Bonnard on the Cote d'Azure is the best place to go to learn more about this member of Les Nabis. Pierre Bonnard lived in le Cannet for over two decades, creating many works during his "cannettane" period. The museum is full of his mesmerizing impressions of the Mediterranean countryside.
Menton: Musee Jean Cocteau
A unique artist deserves a unique museum. The Jean Cocteau Museum in the south of France has a brand new building, and a collection, as distinctive as the artist to whom it's dedicated.
Biot: Musee National Fernand Leger
If the works of Fernand Leger stir something inside you, then a pilgrimage must be made to Biot to see its museum dedicated to the artist who frequented this Cote d'Azur town. After Leger's death, the artist's wife and right-hand-man donated the building and much of the collection to the state to create the museum. Many great artists at the time, from master glassmakers to sculptors worked together to bring this dream structure to life.
Nice: Musee Matisse
Nice is so nice you have to visit it twice! The area's fantastic museums are dedicated to modern art. The Matisse Museum offers a comprehensive look at Matisse's artistic career. From the Fauvist paintings for which he is so beloved, to his sculptures and cut-outs, this is a major museum of the modern master. Didn't get enough Matisse after visiting the museum? Then make sure to go to the Vence Chapel designed by the artist and filled with original works.
St. Tropez: L'Annonciade – Musee de Saint-Tropez
When you go to St. Tropez take a break from the beach at visit the Museum of the Annonciade. This sixteenth century chapel was transformed into a temple of modern art. The town has entranced artists from Paul Signac to Andre Derain and Henri Matisse – many have left their visual impressions of the unique St. Trop on the walls of this building.
Aix-en-Provence : Paul Cezanne's Studio
The Atelier Cezanne in Aix-en-Provence offers a new way to experience the great artist's works. This is Cezanne's studio, the birthplace of many of his most famous paintings. See where Cezanne staged his still life's, and then follow the trail to see the iconic view of the infamous Mont St. Victoire – that Cezanne painted dozens times.
Haut-de-Cagnes: Musee Renoir
Live like Renoir, or at least see where he lived, at the Renoir Museum in Haut-de-Cagnes, where the great artist's former home is now open to the public. Fun fact about the museum: the Renoir original above can be recreated exactly in the room at right!
Nice: Musee National Marc Chagall
The Marc Chagall Museum is home to the largest collection of the artist's works in the world. Visiting the museum truly gives you a peek inside Chagall's visions, and he was actually involved in the building of the museum and created some works especially for it.
Interactive Map:
Picasso: Works Entering the Public Domain in 2019
Pablo Picasso: Lives and Loves
John Baldessari: The Conceptual Explorer
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Relationships of Artists (4)
Your Life and Art (2)
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All Rights Reserved | Terms and Conditions


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package org.ray.devnote.excel.poi;

import java.io.FileOutputStream;
import java.io.IOException;
import java.io.OutputStream;
import java.sql.SQLException;

import org.apache.poi.hssf.usermodel.HSSFCell;
import org.apache.poi.hssf.usermodel.HSSFCellStyle;
import org.apache.poi.hssf.usermodel.HSSFFont;
import org.apache.poi.hssf.usermodel.HSSFFooter;
import org.apache.poi.hssf.usermodel.HSSFRow;
import org.apache.poi.hssf.usermodel.HSSFSheet;
import org.apache.poi.hssf.usermodel.HSSFWorkbook;
import org.apache.poi.hssf.util.HSSFColor;
import org.apache.poi.hssf.util.Region;

/**
 * //				style.setRotation((short) rotation);//单元格内容的旋转的角度
 * //				HSSFDataFormat df = workBook.createDataFormat();
 * //				style1.setDataFormat(df.getFormat("0.00%"));//设置单元格数据格式
 * //				cell.setCellFormula(string);//给单元格设公式
 *
 * @author Relay
 *
 */
public class ExportToExcel {
	/**
	 * 表头
	 *
	 * ------------------------------------------------------------------
	 * |日期		|			工作时间			| 工作内容描述		|	项目备注	|
	 * |		|	起始时间	结束时间	工作时	|				|			|
	 * ------------------------------------------------------------------
	 */
	public static final String[] tableHeader1 = { "日期", "工作时间", "工作时间", "工作时间", "工作内容描述", "项目备注"};
	public static final String[] tableHeader2 = { "日期", "起始时间", "结束时间", "工作时", "工作内容描述", "项目备注"};

	// 创建工作本
	private HSSFWorkbook workBook = new HSSFWorkbook();

	// 创建表
	private HSSFSheet sheet1 = workBook.createSheet("Sheet1");

	// 起始行
	private final short rowFirstIndex = 1;

	// 结束列
	private final short columnFirstIndex = 1;

	/**
	 * 创建整个Excel表
	 *
	 * @throws SQLException
	 *
	 */
	public void createExcelSheeet() throws SQLException {
		setSheetColumnWidth();
		createTableHeader();
		createTableBody();
	}

	/**
	 * 创建表头 TODO:
	 */
	public void createTableHeader() {
		createTableHeaderRow(sheet1.createRow((short) rowFirstIndex));
		createTableHeaderRow(sheet1.createRow((short) rowFirstIndex + 1));
		setHeaderMergedRegion();
	}

	private void setHeaderMergedRegion() {
		Region region = new Region((short)1,(short)1,(short)2,(short)1);
		sheet1.addMergedRegion(region);
		region = new Region((short)1,(short)2,(short)1,(short)4);
		sheet1.addMergedRegion(region);
		region = new Region((short)1,(short)5,(short)2,(short)5);
		sheet1.addMergedRegion(region);
		region = new Region((short)1,(short)6,(short)2,(short)6);
		sheet1.addMergedRegion(region);
	}

	private void createTableHeaderRow(HSSFRow headerRow) {
		for (int column = columnFirstIndex; column <= tableHeader1.length; column++) {
			HSSFCell headerCell = headerRow.createCell(column);
//			headerCell.setEncoding(HSSFCell.ENCODING_UTF_16);
			headerCell.setCellValue(tableHeader1[column - columnFirstIndex]);

			HSSFCellStyle style = workBook.createCellStyle();
			setCellStyleBorder(style, HSSFCellStyle.BORDER_THIN);
			setCellStyleFont(style, (short)10, HSSFFont.BOLDWEIGHT_BOLD, "宋体");
			setCellStyleAlignment(style, HSSFCellStyle.ALIGN_CENTER, HSSFCellStyle.VERTICAL_CENTER);
			style.setFillBackgroundColor(HSSFColor.GREY_25_PERCENT.index); //TODO: 有问题

			headerCell.setCellStyle(style);
		}
	}

	private void setSheetColumnWidth() {
		sheet1.setColumnWidth((short)0, (short)800);
		sheet1.setColumnWidth((short)1, (short)3800);
		sheet1.setColumnWidth((short)2, (short)3000);
		sheet1.setColumnWidth((short)3, (short)3000);
		sheet1.setColumnWidth((short)4, (short)3000);
		sheet1.setColumnWidth((short)5, (short)18000);
		sheet1.setColumnWidth((short)6, (short)7000);
	}

	/**
	 * 创建内容
	 */
	public void createTableBody() {
		for (int rowIndex = rowFirstIndex + 2; rowIndex <= 5; rowIndex++) {
			// 创建第rowIndex行
			HSSFRow row = sheet1.createRow((short) rowIndex);
			for (short column = columnFirstIndex; column <= tableHeader1.length; column++) {
				// 创建第i个单元格
				HSSFCell cell = row.createCell(column);
//				cell.setEncoding(HSSFCell.ENCODING_UTF_16);

				HSSFCellStyle style = workBook.createCellStyle();
				setCellStyleBorder(style, HSSFCellStyle.BORDER_THIN);
				setCellStyleFont(style, (short)10, HSSFFont.BOLDWEIGHT_NORMAL, "宋体");

				switch (column) {
				case 5:
					setCellStyleAlignment(style, HSSFCellStyle.ALIGN_LEFT, HSSFCellStyle.VERTICAL_CENTER);
					break;
				case 6:
					setCellStyleAlignment(style, HSSFCellStyle.ALIGN_CENTER, HSSFCellStyle.VERTICAL_CENTER);
					break;
				default:
					setCellStyleAlignment(style, HSSFCellStyle.ALIGN_RIGHT, HSSFCellStyle.VERTICAL_CENTER);
					break;
				}
				cell.setCellStyle(style);
				cell.setCellValue("测试:" + rowIndex + "行," + column + "列");
			}
		}
	}

	/**
	 * 设置边框
	 *
	 * @param style
	 * @param borderType
	 *            虚线:HSSFCellStyle.BORDER_DOTTED; 实线:HSSFCellStyle.BORDER_THIN
	 */
	public void setCellStyleBorder(HSSFCellStyle style, short borderType) {
		style.setBorderBottom(borderType);// 下边框
		style.setBorderLeft(borderType);// 左边框
		style.setBorderRight(borderType);// 右边框
		style.setBorderTop(borderType);// 上边框
	}

	/**
	 * 设置字体
	 *
	 * @param style
	 * @param fontSize 字体大小
	 * @param fontType 字体类型
	 * @param fontName 字体名称
	 */
	private void setCellStyleFont(HSSFCellStyle style, short fontSize, short fontType, String fontName) {
		HSSFFont font = workBook.createFont();
		font.setFontHeightInPoints(fontSize);// 字号
		font.setBoldweight(fontType);// 加粗
		if (fontName != null && !"".equals(fontName)) {
			font.setFontName(fontName);
		}
		style.setFont(font);
	}

	/**
	 * 设置对齐方式
	 *
	 * @param style
	 * @param leftToRight 左右
	 * @param upToDown    上下
	 */
	private void setCellStyleAlignment(HSSFCellStyle style, short leftToRight, short upToDown) {
		style.setAlignment(leftToRight);//左右居中
		style.setVerticalAlignment(upToDown);//上下居中
	}

	/**
	 * 导出表格
	 *
	 * @param sheet
	 * @param os
	 * @throws IOException
	 */
	public void expordExcel(HSSFSheet sheet, OutputStream os) throws IOException {
		sheet.setGridsPrinted(true);
		HSSFFooter footer = sheet.getFooter();
		footer.setRight("Page " + HSSFFooter.page() + " of " + HSSFFooter.numPages());
		workBook.write(os);
	}

	// Test
	public static void main(String[] args) {
		String fileName = "C:\\test.xls";
		FileOutputStream fos = null;
		try {
			ExportToExcel pd = new ExportToExcel();
			pd.createExcelSheeet();
			fos = new FileOutputStream(fileName);
			pd.expordExcel(pd.sheet1, fos);
//			JOptionPane.showMessageDialog(null, "表格已成功导出到 : " + fileName);
		} catch (Exception e) {
			e.printStackTrace();
		} finally {
			try {
				fos.close();
			} catch (Exception e) {
				e.printStackTrace();
			}
		}
	}
}

redpajama_set_name: RedPajamaGithub


"The man is proud of his heritage." ......right.
Today we've got one of my favorite racially driven gimmicks ever, Saba Simba. As you can probably tell by looking at the picture to the right, Saba Simba was in fact Tony Atlas. He was one half of the WWF Tag Team Champions with Rocky Johnson and one of the first men to ever pin Hulk Hogan, albeit not cleanly. He also gained national exposure by winning the Mr. USA competition on three occasions, resulting in him adopting the "Mr. USA" moniker later in his career. Despite these accomplishments, the WWF felt that Atlas wasn't a strong enough character to succeed by his own merit. No, he'd need a fantastic gimmick to win over the masses. As the calendar changed from 1990 to 1991, Atlas re-emerged as Saba Simba. A warrior from a little known Ugandan tribe, Saba Simba competed in attires that reflected his proud heritage. Wearing a massive headdress and lacking footwear, Simba carried a wooden spear and shield with him, dancing his way down to the squared circle to the beats of a WWF-produced faux African tribal song. Never popular and often considered racist, Saba Simba was not long for this world. To make matters worse, Roddy Piper ridiculed the character unmercifully from the commentary table during it's unveiling, citing the inherent ridiculousness of having Tony Atlas behave in such a manner. After criticism over the racially inspired gimmick became too strong to ignore, the Saba Simba character would be dropped entirely. Atlas returned to the WWE in 2008, but Saba Simba was never heard from again.


The oldest known Permanent Fund is Texas's Permanent University Fund. While it was set up in 1876, its origins go much further back to 1839. Interestingly, while its main asset was grazing land & the income from it financed the University of Texas. In 1923, oil was found on university land. Wisely, the oil receipts were treated as principal rather than as income, and hence were saved by the Permanent University Fund. It currently has a corpus of $14.9 billion (2013). Read the Wikipedia entry also, or this doctoral thesis by Charles R. Matthews about the early history of the fund.


text:
Thor vs. Iron Man - The T-Shirts
Marvel comics is cranking out the comic book movies these days, but which character makes the best T-shirt? This week we match up the Thor and Iron Man movies!
Quotes: Robert Downey Jr. makes a suave and dashing Tony Stark. Nothing was more exciting than to watch him build an Iron Man suit just to escape his hostage takers. But even after two movies, Tony is still kind of a jerk. "I want one," was a funny line, but it doesn't translate to a T-shirt. Thor, on the other hand, is always spouting out. What does he care? He's a god!
Winner: Thor
Timeliness: While Thor is a timeless classic that goes back hundreds of years, he's always been a bit dated. Iron Man, on the other hand, has always been about the edge of technology, not only in regard to pants, but the rest of your clothes too. Thor is just never going to have rocket pants.
Winner: Iron Man
Design: Again, Thor's design is classic, if you live in the 9th century. Unfortunately, most movie goers would rather wear a superhero t-shirt than 60 lbs of chain mail. The Iron Man suit, however, augments your strength, so it doesn't really matter how heavy it is. Plus, its temperature controlled so you can make it to that date in style. Of course, for most comic book fans, that isn't really an issue.
Characters: Tony Stark has a good balance of genius and weakness, but Thor is like a frat boy with a magic hammer. What other character is going to chug a flagon of mead and beat down a dragon drunk? That's badass.
Once again, it's another close call, but I have to give it to Thor. You get the best mix of superhero and fantasy all in one character.
Posted by thatsmyshirt at 8:25 PM
Sports T-Shirts and Five Kinds of Sports Fans

redpajama_set_name: RedPajamaCommonCrawl


This week's winner comes to us from @FSEVL for a never before seen unique view of Vegas. Slotzilla became human trials of the seated experience this week which gave the opportunity for the picture to be captured and shared. It's from the launching platform at Slotzilla looking down into the Fremont St Experience and down the street. If this picture doesn't get you excited about zip lining down Fremont St I'm not sure anything will. I could see me possibly doing this thing multiple times, especially if I can capture video of Fremont St as I zoom by. As a reminder, Slotzilla's seated experience is now open for business at $20 a person but their superman experience won't be ready for another month.


Not all people who live through historic changes have an awareness of the significance of these changes. Laurel Victoria Gray has not only lived through pivotal political, social, and cultural change but she has lived them in ways few people personally experience. Laurel grew up in a local culture she ultimately disclaimed, has criticized her own country which she loves, examined numerous foreign cultures her own country little understood, and explored and grew to love the country her own nation had once most feared. Laurel has spent her life working to help these cultures understand each other. And she has done so using an ancient and beautiful art form: dance.
Laurel Victoria Gray, "Dancer of Shamakha," Maryland, 2000.
When Laurel dances, the audience watches in rapt attention. Their eyes follow her form, enchanted by every motion: the delicate tilt of her head, the passionate look in her eyes, the exquisite undulations of her hands and arms, the graceful flow of her lovely costumes, and the power and precision of her spins. An audience intuitively knows that they see movements that interpret and transport emotions and energy from ancient times to the present. Laurel takes these dance movements seriously, yet performs them with an inner joy and radiance that the audience comprehends completely.
Terpsichore tugged at Laurel at an early age as her interest in music and dance began to emerge. At age six she began formal ballet and tap lessons in her hometown of Spokane, Washington, and carried on with ballet lessons and international folk dance through high school. The eternal student of artistic endeavors, she has never stopped taking dance lessons. Laurel would also come to discover her love of the theatre, becoming active in the Thespian Society and performing in the high school plays and in local theaters.
Laurel also discovered an interest in, and a talent for, learning foreign languages. At age thirteen she began studying two languages that remained significant to her for the rest of her life: Arabic and Russian. As a member of the American Field Service, which dealt with exchange students, she met a Jordanian and a Turkish student. Her interest in Middle Eastern cultures stimulated, she began taking private lessons in Arabic from the Jordanian student and began to look for Turkish and other forms of Middle Eastern music.
Laurel began to read about Islam after she took the language lessons in Arabic. She soon noticed a number of similarities between the teachings of Mormonism, the religion of her family, and Islam: tithing in Mormonism, paying alms in Islam; Mormons fast on a regular basis, Muslims fast during Ramadan; Mormons want to have important ceremonies performed at a spiritual site in a temple, Muslims make a pilgrimage to Mecca; both emphasize family and education, both encourage abstention from alcohol and tobacco, both follow the teachings of their prophet, and both, in the past and present, practice polygamy–including Laurel's great-grandfather. These similarities have had an interesting and paradoxical effect on Laurel's spiritual beliefs.
At age sixteen Laurel faced a spiritual challenge. As a result she quit her position as Junior Sunday School choir director and left the Mormon Church. From that time forward Laurel has been on a spiritual quest. Open-minded and insatiably curious, she has studied many forms of religion and spirituality. As her friend and dancer Artemis states, "Laurel has a keen spiritual sense in everything she does…to the benefit of the dance world." Laurel has investigated and experienced many forms of ritual spiritual dance for her own personal benefit and as material for her creative work as a choreographer.
Laurel Victoria Gray in Bukharan costume in front of the Mukhimi Theater, Tashkent, 1993.
Laurel also studied Russian in high school. She eventually became fluent in Russian and this, in turn, led her into some remarkable situations as she found herself smack in the middle of Cold War politics and policies. At a time when the United States was determined to stop what it feared was the spread of communism by escalating its involvement in Viet Nam, Laurel decided she wanted to learn more about the Soviet Union. She did not accept at face value the anti-Soviet distortions promoted by the national politics of the U.S. She knew from her Russian classes, and her own research, that the Soviet Union was not one, huge entity with a single national identity. Instead, it consisted of numerous, different republics each with it's own culture. She questioned, on a human level, how different "they" were from "us." Laurel's mother held conservative political beliefs and belonged to the John Birch Society. A politically active woman, especially for her generation, she hated communists and made Laurel very aware of Russian and the Soviet Union by telling Laurel horror stories about the Siberian salt mines. This only increased Laurel's curiosity and she made the first of her many trips to the Soviet Union while a teenager. Her Russian language study group went on a month-long tour throughout the Soviet Union. During this trip Laurel saw first-hand the ethnic diversity of the different republics. When she returned, the local newspaper printed a story about Laurel's trip. In the article Laurel said she had enjoyed her trip and liked the people. She no longer feared the symbols of the hammer and the sickle as weapons but realized they represented the workers and peasants and their tools and pride in their work. As a result her mother received several phone calls from her conservative friends asking if her daughter was a communist. Although Laurel enjoyed her trip immensely, she knew that the Soviet Union had serious flaws as a governmental system—which she discovered personally on following visits. However, she also strongly believed that Americans should not fear the peoples of the Soviet Union and that they had cultures worth exploring and promoting.
Laurel attended Occidental College in Los Angeles, California. In pursuit of another interest, she graduated with a degree in history. Her classes included studying the history of numerous other countries as well as the United States. In addition she learned the critical craft of historical methodology. The virtues of research, as described by Barzun and Graff, include historical accuracy, love of order, logic, honesty in research, self-awareness of one's own biases, and the imagination to do the "acrobatics of the mind around his [or her] abstract problem."1 Embracing these virtues, Laurel learned her way around the temple of the historian: the library. If one does not how to use all that a library has to offer, one cannot truly call herself a researcher. The library is a type of brain for a researcher—a central place that interconnects and communicates with other tools for research such as archives, museums, and other libraries. As a student of history Laurel learned the work and value of verifying her research and "undoing the knots in facts."2 Historians know that one source is never enough to make definitive conclusions; one must cross-reference and verify their sources. This is why historians consider the World Wide Web a double-edged sword: though a useful tool it cannot ever be considered a primary source or the final word on historical topics. All this prepared her not only for graduate school and additional education in history but also for historical research in her chosen field of dance.
While at Occidental Laurel studied modern dance and also took Arabic dance through their Experimental College. She studied linguistics with Dr. Elizabeth Barber, an archaeologist, linguist, and world authority on ancient textiles who became a role model, mentor, and personal friend of Laurel's.3 Dr. Barber founded and directed the Occidental College Folk Dance Ensemble and Laurel became one of the first members. The ensemble performed dances from Scotland, Germany, Austria, Greece, Russia, and the Balkans. While encouraging Laurel's interest in history and various cultures, Dr. Barber impressed Laurel by her ability to disseminate complex information in an accessible manner and in her ability to navigate around and succeed in a male-dominated field. Dr. Barber not only taught while wearing ethnic-type clothing to class and but also maintained her dance activities. Laurel decided she wanted to take her own love and knowledge of history outside of academia and instead focus on history via art, dance, and performance. After Laurel graduated, Dr. Barber invited her back to speak at a colloquium on women's history.
Laurel attended graduate school in Waterloo, Ontario. While there, following the example of Dr. Barber, she founded a Russian folk dance troupe. She continued to study Arabic and international folk dance as well. Laurel graduated with a master's degree in Russian history and greatly improved Russian language skills.
After finishing at Waterloo, Laurel moved to Seattle, Washington. She was accepted in the PhD program in history at the University of Washington. One of her fields of specialization was Medieval Islam that inspired her to offer some of her graduate papers to dance publications. The first important magazine to print her articles was Arabesque, for which she wrote numerous pieces. Laurel had chosen "Zubaidah," an Arabic word referring to her pale complexion, as her dance name when she began performing Middle Eastern dance. But as she published more articles under her legal name she made the decision to drop her dance name because "I don't look remotely Arabic." From that point on she has professionally published, danced, taught, and traveled under her legal name, Laurel Victoria Gray.
She also dove into Seattle's dance community joining the Russian Community Center's Balalaika Orchestra and Folk Dance ensemble. She attended international folk dance events. She took ballet from Ivan Novikoff—an old Russian ballet master who had personally seen both Isadora Duncan and Vaslav Njinsky perform—as well as studying Modern Dance with Bill Evans.
Continuing her education in Middle Eastern dance and music, Laurel took numerous Arabic dance workshops including those with Ahmed Janjour, Aisha Ali, Jamila Salimpour, and Morocco. She also joined the Middle Eastern dance troupe Jalaal. While in Jalaal, Betty Bigelow ("Inzar"), a sister dancer, encouraged Laurel's interests in choreography and costuming. Later on Laurel and Betty founded the dance troupe Shahrazad. As time progressed they developed a huge repertoire of dances: half were ethnic dances and half were California Tribal and cabaret style. Not all the dancers felt comfortable with this mixture of styles and the two of them ultimately decided to split the troupe and the dances. Remaining friends, Laurel named her troupe Binat Shahrazad, which means "daughters of Shahrazad.
Michele also introduced Laurel to Alan Lomax and his principles of choreometrics. In Lomax's theory different dance movements correlate to different attributes of a society and it's social and cultural evolution. For example, a hunting society will have back-and-forth movements like throwing a spear. An agricultural society will have up-and-down movements analogous to planting seeds. Cultures with a strong central government and sophisticated water system, like ancient Persia and Central Asia, will have spiral movements. Laurel used Lomax's theory to assist in her research and in creating her dances.
After this meeting Laurel wanted to restructure her dance troupe and focus more on Central Asian dance. In 1982, she founded and directed Tanovar—an Uzbek word for a genre of music and dance that expresses women's desires and wishes. For ten years Tanovar performed throughout the Seattle area in numerous venues including museums, opera houses, theaters, science centers, and at the 1990 Goodwill Games. Both Michele Boucreé and Delilah danced as guests with Tanovar.
Laurel's interest in ethnic diversity and Middle Eastern cultures stimulated an interest in Persian dance. She knew that Uzbekistan had once been in the Persian Empire—roughly twenty-five percent of the Uzbek language has vocabulary from Persian. From her visits to Uzbekistan she learned about Tajik and Bukharan dance–both areas that still have Farsi-speaking people. Seattle did not have Uzbek dancers and musicians but it did have Persian musicians. Laurel began taking private lessons from Shamiran Urshan–a Persian dancer and singer of Assyrian descent–who eventually made guest appearances with Tanovar. Shamiran was "a wonderful performer who took over the stage. She didn't really have a teaching system–she put on music and danced." But Laurel wanted a system. She knew the five positions of ballet and the seven positions of Uzbek dance. Why not take that idea and apply it to Persian dance? So Laurel decided to create Persian positions. She began her research by closely observing Persian musicians and dancers. What was the position of the hands and arms? What was the position of the body? She went to libraries and museums, including the Metropolitan Museum of Art in New York City, searching for Persian miniature paintings. She studied hundreds of these paintings. She noticed the asymmetrical positioning and the curved, sinuous lines. She read and analyzed Persian poetry. What images did the Persians discuss? What was their concept of beauty? She studied Persian architecture and its form. She drew inspiration from these different sources and created her system of Persian positions.
In 1984, the Mayor of Seattle took a reciprocal delegation to Tashkent. The Mayor and his wife wanted Laurel to join the delegation. The Mayor offered his home to Laurel for a fund-raising event to help cover the cost of the expensive tour. Laurel and Tanovar performed and raised enough money for Laurel to participate as the cultural representative of that delegation. Laurel met with Kizlarkhon again. Laurel's Russian language skills "were very, very useful," Kizlarkhon states. "This was the time when Russian was the state language throughout the Soviet Union. Each time she came to Tashkent her Russian improved." She also met several famous Uzbek dancers: Tamara Khanum, Bernara Karieva, Galia Ismailova, Rozia Karimova. When she returned to the U.S. Laurel founded the Uzbek Dance and Culture Society, which she still administers.
Then in 1985, "out of the blue," a telegram arrived with a phone number telling her she should call them in Tashkent regarding her trip to Uzbekistan. "What trip to Uzbekistan?" It turned out that the Vatan Society, (Fatherland Society) an Uzbek group that encourages cultural relationships for Uzbeks living abroad, had sponsored her to come to Uzbekistan. They said it did not matter to them that Laurel was not an Uzbek because they knew she wanted to promote and preserve their culture and they wanted to support her.
"That was a challenging trip," Laurel said. The United States and the Soviet Union had an extremely tense relationship at the time. On September 1, 1983, a Russian military plane had shot down a South Korean civilian plane killing all the passengers including sixty-one Americans. The leaders of both countries issued harsh statements and the geo-political relationship hit a new low.5 As a result the U.S. government issued a policy refusing to allow the Russian airline Aeroflot to land in American airports. Laurel had to travel to Canada to catch her flight. "It was an incredible ordeal. I decided it was a test of how badly I wanted this. This wasn't just about dance lessons; this was about life lessons. And I had to earn this trip." She went to Vancouver. The flight from Vancouver to Quebec was late and she missed her connection so she had to go back to Seattle for three days and then try again. When she flew into Moscow soldiers with guns surrounded the plane. "That's how welcome you felt." Now it was Laurel's turn to have a "special agent" assigned to watch her every move. She transferred from the international to the domestic airport under his careful gaze. One time in Samarkand, she admitted, "I managed to slip my chain. When he realized he couldn't account for me for several hours he raised his voice to me, 'LAUREL!!'" Kizlarkhon remembers the difficulties. "Laurel was always watched and chased. Everything had to go through Moscow and get their official clearance." Despite the difficulties Laurel felt extremely grateful to have been given this trip.
Eating her powder milk biscuits, she went out and did what had to be done. Kizlarkhon, familiar with the song, stood by the camera and danced while Laurel, who knew Kizlarkhon's movement vocabulary, followed along. That is when Laurel received the sobriquet "Gray Khanum." The singer Sherali Djuraev could not pronounce "Laurel" but Gray sounds like "Girey" a famous Khan of the Crimean Tatars. Khanun is an honorific title meaning "Lady." He sang on that New Year's Eve show improvising an amusing song about his singing and Laurel's dancing.
The more Laurel learned the more she taught. In addition to directing a dance troupe she taught private lessons, classes, and workshops. She also published numerous articles in dance journals. Laurel met many dancers through her articles and workshops, including Artemis Mourat, in 1985. "I was very impressed by her detailed approach towards the dance and her insistence on describing culture to us [workshop participants] as well as describing the dance. I think that's essential." Because of her international experience and language abilities she began to teach in Western European countries as well. When Delilah received a request from a German dancer about Persian dance she referred her to Laurel. Morocco also recommended Laurel to a dancer in Frankfurt, the late Dietlinde Karkutli—an important promoter of Oriental dance in Germany. Laurel began to travel every year to Germany to teach workshops. Soon Austria and Switzerland were added to the itinerary. Some years her tour extended to two months. In 1995, Laurel traveled to Australia at the invitation of dancers there. She taught in Sydney, Mel-bourne, and Bris-bane. Add that to her travel in Central Asia and Laurel often found herself overseas for several months each year.
I was quite mad to do it. I decided that since Seattle had the largest number of equity theaters in the US (after New York City) I would take a representative from each of the theaters. We had set designers, playwrights, actors and directors. We called our show "East meets West" and did some incredible performances.
The delegation presented two shows for women only because, as Delilah remembers, "It sold out the first night. It was so exciting. We all stayed in people's private homes." That was so groundbreaking that it was reported in the Soviet newspaper Isvestia. Kizlarkhon agrees. "It was big progress in warming up the [international] relationships." That delegation toured for two weeks. Laurel stayed on for an additional two months studying dance in Uzbekistan and Georgia. In 1993, inspired by Laurel's delegation, Uzbekistan's Theatrical Union hosted the East-West International Theater Festival.
In 1992, the State Academic Bolshoi Theater invited Laurel to Uzbekistan, and she lived there for two years. "Living in Uzbekistan was my warrior quest. I knew there was much more to this dance than I had been able to grasp. The only way to really learn it was to live there." Laurel took lessons from different teachers, studied traditional Central Asian dance— Uzbek, Crimean, Tatar, Karakalpak, Uighur, Russian Rom—traveled to different outlying regions, and participated in Sufi rituals. Laurel also taught Arabic dance at Tashkent's Choreographic Institute. She produced an entire concert with forty performers called Rakslar Guldastaci—"A Bouquet of Dances." In this show Laurel worked with professional dancers and children. "Students from the Theatrical Institute performed a skit based on my experiences with taxicab drivers. These young actors made it so funny the Uzbek audience members were rolling in the aisles. Five of the young men also performed an Arabic dance in drag to Uzbekistan's number one pop hit, Jinouni. This was quite risky since the members of the musical group Yalla, who wrote and performed the song, were sitting in the audience." As it turned out, Yalla enjoyed the parody.
In addition to moving across the country in 1995, Laurel also co-hosted the first Central Asian dance camp with Travis Jarrell. Travis first knew about Laurel by reading some of her articles about Uzbek dance in Arabesque. With a broad dance background, Travis wanted something more Oriental than she had found in Middle Eastern dance and felt an immediate affinity with Uzbek dance. In 1988, she met Laurel at the Mendocino Near Eastern Music and Dance Camp and learned the Khorezm choreography Laurel taught. "I felt like a salmon swimming upstream [like coming home]. It was completely enriching to me." After she returned to her home in New Mexico, Travis discovered that Santa Fe and Bukhara were sister cities. She met and communicated with people who traveled back and forth between the two cities. In 1992, she lived in Bukhara for a month. She and Laurel met while there and studied Uzbek dance together. "Laurel was very generous and helpful to me. She took me all around and translated the Russian for me. She made it possible for me to find what I wanted in the dance." After returning to the U.S. Travis kept in touch with Laurel. In 1994, Travis moved to an artists' community on a gorgeous ranch in Santa Fe. She proposed to Laurel that they host a dance camp there that focused on Central Asian dance. They had the camp at the Santa Fe ranch for four years. Kizlarkhon joined them in 1998 and '99. This year they held the camp at the Embassy of Uzbekistan in Washington, D.C.
Hosting a dance camp is a difficult enterprise. Because Central Asian dance does not have the broad appeal of Middle Eastern dance, planning for the dance camp presented a financial challenge. Laurel and Travis knew that fewer people would have a familiarity with this dance form and, therefore, fewer people would apply. But their love of the dance stimulated their determination and squarely facing the odds, they began their enterprise. They promoted the camp via word-of-mouth, a mailing list, brochures, and a publicity campaign through dance journals and workshops. The number of attendees grew steadily each year. This year was the largest yet. Beginning in 1997, the camp presented a formal public concert and included the campers in one of the numbers. "We are unique in this," commented Laurel, "but I feel it is crucial since it allows participants to see the dances on a concert stage while broadening our audience base." This year's concert, attended by a standing room only audience, was filmed by Uzbek television and shown on their evening news programs.
The DC area also has numerous teaching venues for Laurel. Artemis, who teaches Middle Eastern dance and specializes in Turkish and Turkish Rom dance, knew about Laurel's skills as an Arabic dancer and encouraged her to teach Arabic dance technique. As a result, Laurel is one of the area's most popular instructors of Arabic dance with nearly seventy-five enrolled students. Laurel teaches five Middle Eastern dance classes and numerous privates each week at D.C.'s well-established Joy of Motion studios, where Michelle Forner taught the first classes in Middle Eastern dance. She and Artemis have taught several workshops together, including one on the dances of the Turkish and Russian Roma peoples. Laurel has taught at George Mason University, North Seattle Community College, and the Iranian Community School; She has lectured at the Middle East Institute, UCLA, the University of Oregon, and the Geta Institute (Sydney). Laurel continues to teach workshops throughout the US and in Europe. She won the International Academy of Middle Eastern Dance award for Ethnic Dancer of 1999. She was a guest performer at the first International Conference on Middle Eastern Dance at Orange Coast College in Costa Mesa, CA in 1997. Last March she performed with the Middle East Ensemble at the University of California at Santa Barbara; their dancers, directed by Alexandra King, presented several of Laurel's choreographies.
Laurel has traveled to five continents, researching, teaching, and creating choreographies. Her experience as a cultural diplomat and historian gives her a unique perspective on the dance world and its place in social and political evolution. She has personally witnessed the profound effects of the breakup of the Soviet Union. That momentous event begat both tremendous opportunities and complex difficulties. Certainly traveling back and forth to Uzbekistan is much easier now for both Laurel and Kizlarkhon. Neither has special agents assigned to watch their every move anymore. Laurel can meet with dancers when she wants and she has. But losing the automatic economic support from Moscow has created numerous financial challenges for the people of the republics of the former Soviet Union including Uzbekistan. The artists have struggled to survive and many have left. Those who remain face adversity. Kizlarkhon credits Laurel with inspiring her to found her own independent ensemble, Mundadzhat, focusing on classical Central Asian dances and costuming. She even followed Laurel's example of using antique costumes and jewelry for some of the dances.


RUNX1 encodes a RUNX family transcription factor (TF) and was recently identified as a novel mutated gene in human luminal breast cancers. We found that Runx1 is expressed in all subpopulations of murine mammary epithelial cells (MECs) except the secretory alveolar luminal cells. Conditional knockout of Runx1 in MECs by MMTV-Cre led to a decrease in luminal MECs, largely due to a profound reduction in the estrogen receptor (ER)-positive mature luminal subpopulation, a phenotype that could be rescued by loss of either Trp53 or Rb1. Mechanistically RUNX1 represses Elf5, a master regulatory TF gene for alveolar cells, and activates Foxa1, a key mature luminal TF gene involved in the ER program. Collectively, our data identified a key regulator of the ER+ luminal lineage whose disruption may contribute to development of ER+ luminal breast cancer when under the background of either TP53 or RB1 loss. Thoracic and inguinal mammary glands from 3 MMTV-Cre;Runx1L/L;R26Y and 3 MMTV-Cre;Runx1+/+;R26Y adult virgin females were dissected out, minced and digested to single cell suspension. Runx1L is the floxed conditional knockout allele of Runx1. R26Y is a conditional YFP reporter that would be turned on upon Cre-mediated recombination. FACSaria machine was used to sort out the YFP-marked luminal epithelial cell population of each of these 6 mice. Total RNA was isolated with Qiagen RNeasy kit and subsequently amplified by Nugen V2 and applied to Affymetrix mouse genome 430 2.0 arrays.


text:
On the role of authentic relationship in humanistic psychotherapy
by Blake Griffin Edwards
Note: In accordance with ethical standards of practice, client identity has been protected through alteration of name and unique identifying details.
My freshman year of college I found myself on the library floor one afternoon with the first book in hand that stood out, The Interpretation of Dreams by Sigmund Freud. I read and read and slept and read, toiling in Freud's voice to find my own. I had remembered fairly vivid dreams. A dream at three-years-old of lying on my back in bed and a large wolf leaping through the window. A phantasm, it fell like a spectre through the window without shattering the glass and into the top of my chest. I shook. At seven, living in another town, I had another similar dream on a new bed with a new window in which a large wildcat leapt out from me and into the night. Always lying on my back in bed. I wrestled to make meaning, determined that whatever power leapt in or out of me, id would become ego. Nevertheless—
During those weeks, I also read portions of The Ego and the Id. I found captivating psychoanalytical mish-mash, and I chewed on each word. Admittedly, I had contracted pedant-envy. What made Freud astounding was not merely his grand schema of the mind, with its component parts and mechanistic drives but also his daring to rendezvous into the dream world. We came to fathom a kind of governing self within a fluidity of drives and impulses, a template in the Socratic quest toward examined lives, and also to grapple with the depth of our own mysteries. I found myself mish-mash, an enigma to be unriddled. Yet, I wondered, is it too easy to escape courage or responsibility in real life from a purely interpretive posture? And hadn't Freud engaged in a psychological voyeurism stubbornly rooted in psychic determinism and sexual fantasy? Did Freud's model itself encompass his own, as he called them, fixations and wish fulfilments? Do all of us, in our own ways, project unresolved family tensions and traumas onto our adult world and worldview?
Sometime later I found myself back on that aisle decoding portions of a few other books by a name I was not familiar with, SØren Kierkegaard. The books were Either/Or, Unscientific Postscript to Philosophical Fragments, and The Concept of Anxiety. I found in Kierkegaard, alternatively, a prefiguring of psychology's Third Force – Maslow, Rogers, May, Tillich, Perls, Frankl, and the rest – whose humanistic, phenomenological, and existentialist notions constituted reactions to psychoanalysis and behaviourism. Half a century before Freud taught us to analyse a person, Kierkegaard taught us how to be a person, challenging us to lean vulnerably into our angst, taking courage for a leap that will catch us.
Kierkegaard analogised our anxieties about life as peering over a cliff, the piercing excitement that you could fall over and plummet to your death combined with the simultaneous terror in knowing that you could throw yourself – fear and dread, respectively. Yet Kierkegaard (1849/1983) prophesied that our most common despair is in not choosing to be oneself, that there is tragedy in a person being "another than himself". He declared: "To will to be that self which one truly is, is indeed the opposite of despair" (3).
Fear and dread
Back in my twenties, I spent a couple of years working with homeless teens in the Seattle area, in residential treatment. A couple of weeks prior to meeting me, Mikey had stepped off a Greyhound bus from Boston, a rebel and a runaway. During that time Mikey, coolly dispirited with both hands tucked into a black leather jacket over a grey hooded sweatshirt, just rode along that long haul between coasts, with little to eat. When Mikey screeched his way into the bus station just three blocks from the Westin on Westlake Ave in downtown, he had only about twenty bucks in his pocket, maybe. He hadn't the faintest idea of where he would go when he got there or why he had even chosen Seattle of all places.
He was surrounded by people, yet completely alone in the world, and hurting from pains inflicted onto others, catalysed from the energies of pains that had been inflicted onto his much younger self. That afternoon – he had travelled all night – Mikey strolled up Stewart Street in search of a miracle, and eight blocks later he turned right on Yale and spotted a large name on the sign of a building, the name of a local non-profit that provides, among other things, education for homeless teens. A month later he'd be a student there, and three months later he'd have a steady job at a local grocery store.
But we'll come back to that. That day Mikey more or less chatted with a young receptionist he thought was cute and just after snagging a brochure was on his way out the door. Mikey headed down the road, flipping his hoodie up in the drizzle, bewitched a bit by the enchantment of the Emerald City. But not too bewitched. He was from Boston, after all. Mikey headed downhill, as anyone in his position would have done, down toward the waterfront, toward older buildings and a better view of ships. That night, Mikey worked his way back to the guise of safety, the plaza outside of Westlake Center.
Mikey didn't realize that in the glimmer of Macy's and Starbuck's he'd be fending off sexual assaults and struggling to keep one eye open on a hard metal bench before being yelled at by a cop who was at least to some extent scared, like he was, of what he didn't know to do. Mikey barely slept that night, and he barely ate. I know all this because he told me in that booming Boston accent with all his smug "whateva's". Truth be told, I didn't like Mikey at first. He was hesitant to receive me into the fold at the boys' shelter because I was the new guy. He'd been there, what, two weeks!? And I was this new guy that needed to be tried and tested? Whateva. Mikey was a loner. He would disappear and come back a couple of hours later smelling like smoke, or we'd have to go on special missions to find him.
I got to know him, of course, and he got to know me. He didn't let me off easy, called "bullshit" every time I started talking like a "pissant shrink wannabe". I wasn't just his therapist. I was his shelter case manager too. Which means I'd be shooting the basketball with him and a few other guys one minute, eating pasta and drinking Sunny D the next, and then meeting in private for an hour, hoping he didn't notice me slipping in and out of Robin Williams:
I can't learn anything from you I can't read in some fuckin' book. Unless you wanna talk about you, who you are. And I'm fascinated. I'm in. But you don't wanna do that, do you, sport? You're terrified of what you might say. Your move, chief.
(Good Will Hunting)
Mikey would sit there, slumped, looking down, swiping his nose, glancing past me, and, in a fury of my own discomfort, I'd extol him with a weakened dosage of positive psychology. I was pretty sure he could literally see through me. Every once in a while, Mikey would look directly into my soul and call out at me like I was a quarter-mile away – "Hey, Blake man, you should write a book". I'd retract and squint a bit toward him questioningly.
In our best moments, I would quiet my own particular anxieties, relax into a generalised angst, and in the spaces of my own curiosity and concern, embodied in expressions and angled gestures, Mikey would occasionally just begin to talk with me. He would make wise cracks about other guys in the shelter, and he'd speculate about ways to make a buck or meet a girl. Sometimes he would tell me he was fed up with all this "bullshit". He would not define bullshit. And he'd tell me that he felt trapped or sad or tired or chill or hopeful or whateva.
Once Mikey had been in classes for a few weeks, I felt like he was doing well enough that I should give him more space, so I'd shorten our sessions. I didn't communicate with Mikey about why our sessions were shortened. I'd just open the door and yell for Joel, who ran the shelter, to ask what was next on the house agenda. Looking back, I realise that I was not sure of the next step, and I was fearful of daring to just be in relationship with Mikey. I had looked for a therapeutic schtick to move to some higher goal, some elevated level of functioning to pursue, but I could not find it.
I felt and was in many ways, I confess, inadequate. I had never walked a mile in Mikey's shoes. I could not remember, or else figure out, how to best apply all the developmental and theoretical insights I had so enthusiastically learned. I was uncertain of the accuracy of his file's diagnostic categorisation and, thus, questioned the basis for my every attempted intervention. I sometimes found myself jealous of those practitioners who chattered on about their clients with apparent diagnostic precision and therapeutic conviction. If only I knew which way was up.
Joel wasn't such a head case as me. He would pick the guys up from school, take them to the library to complete homework and check their email, make them a snack, shoot the basketball and maybe goof off on a skateboard, play video games, and end up chatting about their latest love interests. I envied Joel's ease with my clients, therapy clients, psychotherapy clients, mental health therapy clients – I tried on these labels to see which best bolstered my sense of professional pride. I would sometimes try and explain either psychodynamic or systemic rationales for the difficulties they were facing. Not this day. I was becoming lost in my own need for validation. I knew I had to try something different.
That day I drove Mikey to a nearby trail. As we walked hilly terrain through misty forest, he told me about his aunt and uncle back home that cared so much for him. He told me about a few close friends – one in jail, one addicted to heroin, and one who betrayed him by sleeping with his girlfriend. As he did, he would stop occasionally and continue storytelling as he karaoke-stepped a few paces to the left, a few back to the right, and all the while holding eye contact through a glazed sheen of tears. We would walk further, stop again, and this continued even beyond a brief moment in which he caught himself in a moment of meta- awareness, chuckling as he wiped his eyes, "Yo Blake, I don't know what kind of spell you're putting on me, bro. I've never shared all this…all the emotion behind it. Thanks. You suck".
I gut-laughed. And we both experienced a kind of mutual fullness in that moment. By "we" and "mutual", I am making a massive assumption. As we walked on, Mikey directed: "Let's go home boss". We did. Something important changed on that walk. And although I believe it involved primarily Mikey, a shift in experiential understanding was taking place in me as well. After that, I remained as odd and awkward, quirky and clunky as ever, yet I began to loosen up a bit and lean into something of relationship, with Mikey and with the other boys in the shelter, in the ways that I more vulnerably and openly acknowledged my own frailties, questions, and hope around how we were going to see positive changes take place for their lives.
Mikey got himself into some more trouble. Joel and I infuriated him by taking away his cigarettes one day. Mikey stayed up later than he was supposed to that night debating the meaning of life and playing video games with Christian, our night monitor – another extraordinary mentor for these boys. While working toward credits through his school, Mikey was required to keep a part-time job, and he landed one at a local grocery store where I visited him a couple of times. That first time I caught eyes with him from across the produce section, he lit up in a way I didn't think he was capable of lighting up. "Yo Sammy, get on over here! This is Blake. He's the one I told you is helping me". He introduced me to his supervisor, whom I would speak with weeks later after Mikey was late one too many times. He got his job back, only to quit soon after.
One day, with Mikey's permission, I called his uncle, whom he had told me about through a half- verbal trail of cryptic mumbles riddled with pain. I figured he meant something to Mikey and that, likewise, Mikey probably meant something to him. Mikey's uncle spoke through tears and told me of the hurt Mikey had caused during the couple of years he and his wife had taken him in before he ran away. Hours later, by speaker phone, Mikey's uncle and aunt pleaded tearfully and convincingly for Mikey to know their unconditional love for him and to come home. At the risk of fate and by the anchorage of grace his aunt and uncle had offered him, he did.
Before he left us, we celebrated. When Mikey left us, he did not leave broken-spirited and alone as he had come. He left us with full belly laughs, playful glances, trash talking, acknowledged regret, and a clear-as-day sense of hope through the retelling of story-after- story and the recounting of not just memories, but meaning and gratitude and a sense of belonging. Further, he left us with a sense of worth that would be transferable back home.
Looking along, looking at, and puzzling through
In his Critique of Pure Reason, Immanuel Kant (1781) illuminated the conflict between "reason" and "understanding", warning that reason devoid of experience risks false understandings. He claimed there can be neither true knowledge nor true understanding apart from experience. The varying faculties of the rational mind analyse and not only extrapolate meaning from information but give it a shape as well, and the mind is shaped in so doing. Kant understood this, and so has, traditionally, humanistic psychology. C.S. Lewis's (1970) essay, Meditation in a Toolshed, provides an instructive anecdote here.
I was standing today in the dark toolshed. The sun was shining outside and through the crack at the top of the door there came a sunbeam. From where I stood that beam of light, with the specks of dust floating in it, was the most striking thing in the place. Everything else was almost pitch-black. I was seeing the beam, not seeing things by it.
Then I moved, so that the beam fell on my eyes. Instantly the whole previous picture vanished. I saw no toolshed, and (above all) no beam. Instead I saw, framed in the irregular cranny at the top of the door, green leaves moving on the branches of a tree outside and beyond that, 90 odd million miles away, the sun. Looking along the beam, and looking at the beam are very different experiences…. (212)
The people who look at things have had it all their own way; the people who look along things have simply been brow-beaten. It has even come to be taken for granted that the external account of a thing somehow refutes or "debunks" the account given from inside…We must, on pain of idiocy, deny from the very outset the idea that looking at is, by its own nature, intrinsically truer or better than looking along. One must look both along and at everything. (213)
Lewis (1970) observed, "It has even come to be taken for granted that the external account of a thing somehow refutes or 'debunks' the account given from inside" (213). Freud, for instance, engaged intellectually in psychological mythopoeia and brilliantly so. Yet in the course of mapping the longitudinal, he failed to look along. He took long, but he looked at.
If a psychotherapist's technique is too technical, his efforts to help may be worthless. Therapy in this case may be little more than a poor excuse for scientific experimentation. The mechanisms of some psychotherapies undermine their therapeutic value. If a therapist is not fully present as a warm, accepting, genuine, caring, and appropriately vulnerable person, the power centre of therapy remains turned off. Whatever insight may come along the way, meaningful, sustainable change requires transformative experiencing, with emotion replacing emotion and identity recast in the removal of unnecessary defences and an increasing capacity for secure attachment.
Analysis without encounter constitutes, to borrow again from Lewis, "all the apparatus of thought busily working in a vacuum" (1970: 214). It is our responsibility to stir hope and catalyse strengths rather than to stew history and analyse at length. Far from data to be interpreted or even a patient to be treated, we are heart and soul, of the same essence, both facing existential predicament. Only in the context of authentic relationship and therapeutic alliance can I grasp and catalyse the resources already existing within my clients and, as it were, beyond analysis.
Blake Griffin Edwards is a psychotherapist in Washington State, USA, whose writing has been featured by the American Academy of Psychotherapists, the Association for Family Therapy and Systemic Practice, the Association for Humanistic Psychology, the Irish Association for Counselling and Psychotherapy, and the American Association for Marriage and Family Therapy.
Kant, I. (1781). Kritik der reinen Vernunft [Critique of pure reason]. Riga: Hartknoch. Kierkegaard, S. (1849/1983). The sickness unto death. (H.F. Hong, E.H., Hong, Trans.) Princeton, N.J.: Princeton University Press.
Lewis, C. S. (1970). Meditation in a toolshed. In W. Hooper (Ed.), God in the dock: Essays on theology and ethics (212-215). Grand Rapids: Eerdmans Publishing Company.
Van Sant, G. (Director), Damon, M., & Affleck, B. (Writers). (1997). Good Will Hunting. [Motion picture]. United States: Miramax.
Blake Griffin Edwards (32 kB)


text:
One of the early donations to the Manitoba Agricultural Museum is a 10-20 Mogul tractor built by the International Harvester Corporation. The tractor was purchased in 1918 for $800 in 1918 by A.A. Grobb. The tractor was donated to the Museum in 1953 and later rebuilt by Ed Grobb in 1953. While on the Grobb farm near Treherne, Manitoba, it was used to plow, thresh and for grain crushing.
The Mogul 10-20 was based upon the Mogul 8-16 which had been introduced in 1914. The Mogul 8-16 featured a single cylinder horizontal engine operating at 400 RPM, make and break ignition, a planetary gear transmission with one speed ahead and one speed reverse and a single chain final drive to a sprocket encircling a differential in the rear left wheel.
To produce the 10-20, IHC increased the engine bore of the 8-16 by 1/2 inch and also added a second forward speed to the transmission. 10-20 was built from 1916 to 1919 with 8,985 10-20s being built during the production run.
The Mogul 10-20 and 8-16 designs were very successful tractors for IHC given the number of these tractors that were sold. Their close cousin, the Titan 10-20, also sold in large numbers. IHC has certainly read the market right when the company developed the two plow tractor designs in the form of the Mogul 8-16 and Titan 10-20.
IHC built these designs in two separate tractor plants. The Mogul line of tractors was built in IHC's Chicago plant and the Titan line was built in IHC's Milwaukee plant.


China's socialist government start to institute industrialist market reorganization in 1978, and over following years, the Chinese have in use a quick turn away since state-owned project, or SOEs.
Among 1978 to 2008, the range of the Chinese wealth increase almost 50 times above, and standard yearly GDP development was around 10%. The early improvement focused going on agriculture except soon extend toward the services as well as light industrialized sectors. The entire of these were forerunner to banking development, which guide to possibly the most essential changing in the Chinese wealth in 20th century.
China creates and put up for sale more industrialized goods than some other country on the earth. The variety of Chinese items consist of steel, iron, aluminum, cement,textiles, chemicals, elactronics,toys, rail cars, aircraft,ships, and lots of other goods. Since of 2015, developeding is the biggest and most different region in the state.
China is the one of the world's leader during lots of kinds of goods. For instance, almost 80 percent of all A.C parts are shaped via Chinese businesses.It is as well the largest producer of shoes,solar cells, ships and cellphones.
China alsohas a successful vehicle manufacturing industry. Many investors are amazed to find out from this website www.grabe.com.br/ that China is the world's third biggest car maker.
The Chinese automobile manufacturing develop away of a countrywide focus on car in 1990s, a decade while Chinese producers practically tripled whole car output. Despite the fact that car expenditure ultimately caught up later than 2005, many cars were designed for export bazaar since the huge mass of Chinese nation were also poor to buy the goods themselves.
This sketchs investment since major worldwide players like as Merck, Pfizer and GlaxoSmithKline. China have single of the greatest growing fitness care part in the planet.
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Helen Muth is an experienced political publicist working for Nathan Petrelli to protect him from the press as he gets his memory back.
Helen is the youngest of three very driven children. Her parents were speechwriters and chief of staffs for presidents, governors, senators and were very involved int he political scene. Though personally, they were more conservative, they never let that interfere with their jobs or politics. They worked on staffs of both liberals, conservatives, democrats and republicans and instilled in all of their children the sense of public duty and public service. It was never any question as to where all three of them would end up. Though all three of them managed to end up in different branches of work for the state, they all are doing their duty to make the country better. Her brother, the eldest in the family, worked hard and managed to get into Harvard Law. Her sister opted for Yale, but Helen attended Princeton, choosing to stay close to home and enjoy an Ivy League education. At Princeton she, like her siblings, enrolled in political science and communications.
Her college years went by without much to speak of. She went through all the milestones of college boyfriends, friends, and extracurricular activities, however she was always very focused on her work. There were bench marks that she had to reach and she wasn't about to allow her personal life interfere with that. However, even then she knew the importance of appearances and gave herself a personal life. It may not have been as filled out as the rest of her school life, but it was still there. Always a determined woman, when she knew what she wanted, she went for it and normally got it.
She received her first internship on Trent Bolton's first campaign, and managed to become a permanent member of his communications team following his election. She proved herself an invaluable member of the team; however, there was little opportunity to move up. Frustrated by the lack of mobility and not being taken seriously, she started searching for other opportunities. When Nathan Petrelli chose to run for New York Congressman, she saw the perfect opportunity and took it. It was a fledgling campaign that had promise, though it was considered a long shot. It was his first campaign and so they were more willing to take on someone with limited experience. Once again, she started as the lowest rung on the totem pole, but based on the team's efforts Petrelli was elected… only to give up his seat.
A third time, she found herself starting at the bottom with Callum Harris' campaign for Senator. Harris won the election. Senator Harris and Helen had a very deep connection and she easily moved up under his leadership. She trusted him with her career and thought that he was someone she could finally work for for the rest of her life. Instead, she was saddled with a scandal. The details were never fully leaked to the press. Only enough to get the public outraged and demanding blood. The scandal involved mismanaged money from the campaign being used for personal purchases. Harris used Helen and another staffer as his scapegoat. Though his statements said that he stood fully behind his two staffers that they didn't defraud money from the campaign knowingly - or so he would like to believe - that they would no longer be working for him. Helen left his employ completely disillusioned in public life and serving her country. Used and tossed aside, she slinked off the political scene for what she thought was forever.
Working in the corporate industry, Helen was constantly hounded by her family about her slinking away from her duty. They, of course, never believed the spin that Callum Harris put out about her and thought that her leaving politics only smacked of the guilty. For holidays and every phonecall home she made, it involved questions about when she would pick up another campaign. She would get helpful clip outs of candidates starting to gear up to run, but she ignored them. They even helpfully told her about Nathan's new run for office, which she denied being interested in. She called the office to congratulate the Senator and the staff for their win, but she wasn't involved with it. Finally, though, she got a fateful call from a friend who was also a Petrelli staffer. Nathan had been found after his disappearance for months. He was in desperate need of some help in the publicity department, and as he had already known her from before she was a perfect woman to fit the role. Though she had her reservations about going back into politics, it's really where her heart is and she couldn't help but take this offer. It pleased her parents to no end.
November 12th - Nathan returns with amnesia.
November 13th - Helen learns that Nathan has changed considerably, dragging him away from a night of partying with some young adults.


Blended Flavourings 10ml Flavour development, CAS details, exclusivity, confidentiality for Trade Customers.
For larger quantities try our Super Six ~ £17.50 for any Six Flavours.
Scroll down the page to see descriptions of over 180 flavours.
Here you will find a range of blended flavours which includes our exceptional and establshed favourites along with some outstanding newcomers. Our blended flavours are all created using FlavourArt classic concentrates with many now being produced en masse at the FlavourArt manufacturing facility near Milan.
Our range of blended Flavourart flavours has increased in both number and popularity. We have grouped them all together on this page to make it easier for you to browse and order, just scroll down the page to see a full list of the flavours and click on any of them to open the description. They are all flavour concentrates ready to add to your creations and are pre-steeped to allow the flavours to blend and develop. Please do not use these flavours without first diluting them.
Add the flavours to whatever creation you wish to give a unique and distinct flavour. We suggest starting at around 3%, but some people prefer more discreet flavours and some more intense, so start low and add more if required.
We have tried to make the ordering process as easy as possible by having all of the blended flavour choices on one page.
This is more like a spanish or italian custard - Lemon is very prominent, with a mild creamy vanillla background.
I don't normally like fruity flavours as I'm a custard nut, but after a couple weeks steeping i'm really enjoying this.
Just beware though, this is not your standard custard, but it would be good for those that like a custard fruit mix.
Very nice flavour compliments a nice cup of coffee and with a nice hazelnut aftertaste, mixed at 5%, probably not an adv for me but maybe for others.
I thought I'd try this, something a little different from my normal flavours. I like it. It's not to sweet. A good balanced flavour.
Love this flavour. Usually mix it with some raspberry which I like, but it's just as good on it's own.
This is my daily flavour, and pretty much what I use 80% of the time. All time favourite!
Both are great flavours, but in my opinion After Dark is not good for a ADV, don't get me wrong it's a very nice vape to have after dinner or with your tea but definitely not a ADV. BYO Nutzilla in the other hand, it's the perfect ADV, mixed at 5%, it's not too sweet and still retains the awesome nuts flavour. Will try many more of this Blended Flavours for sure.
I usually mix it at 8% for a nice rounded vape.
If you like RY4 be sure to give this a go.
Seriously impressed with this concentrate. I've just made a small 10ml mix, straight in with 10% flavour, 60/40 PG/VG, Off the bat there's lots of flavour, quit sweet but that's what I prefer. it's a complex flavour and does what it says on the tin.. Could see this being an all day vape for a while, but there's so many more flavours to try..
I really love this one! The closest to smoking a real ciggie that I have ever tried in three years, and I've tried an awful lot of tobacco juices. What makes it so much like a fag? Definitely not the taste or aroma, it doesn't smell anything like tobacco and doesn't taste much like tobacco either. What it does do, however, is leave that unmistakeable "just had a fag" taste and feeling in the mouth and throat, you know the one, not a tobacco taste, but the taste that you only get after having a fag that only smokers know and non smokers may refer to as "ash tray breath". Nothing that you ever smoked tasted like the smell of baccy in a pouch of baccy did it? That aftertaste, together with vapour to equal the throat hit and exhale you got from your old stinkies makes it for me the only juice that justifies the name e-cig, because it's a fag, and it's electronic! Flavour chasers may find this juice a bit banal, but I recommend it to anybody that wants to feel like they've just had a cigarette.
What can i say, it really is Espresso and Hazelnut. Lovely bitter coffee taste on the inhale and a gorgeous hazelnut tones on the exhale. Mixed my first batch at 10% and it was a little bitter for me, so i mixed the next batch at 5%, spot on. Would make a lovely vape with a little added sweetener and/or some sort of creamy flavoured concentrate. I added a couple of drops of amaretto to sweeten mine. Lovely. Would highly recommend.


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The third USS Despatch was a United States Navy steamer in commission from 1873 to 1891.

Acquisition and commissioning
Despatch was the commercial steamer America when the U.S. Navy purchased her in November 1873 at New York City. She was commissioned on 23 November 1873, Lieutenant Commander Frederick Rodgers in command.

The Virginius Affair, 1873

Purchased for dispatch duty because of her speed, Despatch was assigned to the North Atlantic Squadron and joined the fleet in December 1873 at Key West, Florida, in anticipation of war with Spain over the seizure of the American filibustering steamer Virginius by the Spanish Navy corvette . The Spanish had taken Virginius into port at Santiago de Cuba in Cuba and summarily condemned her, with 53 of her passengers and crew executed (see Virginius Affair). After lengthy diplomatic negotiations, 102 survivors were delivered on board the U.S. Navy sloop-of-war , and Virginius was ordered to be turned over to Captain W. D. Whiting, Chief of Staff of the North Atlantic Squadron. Despatch carried Captain Whiting to Bahia Honda, Cuba, to take charge of Virginius, and took Virginius in tow for Key West.

Despatch remained with the fleet, serving as a dispatch vessel and participating in squadron drills until arriving at the Washington Navy Yard in Washington, D.C., which became her new base on 24 April 1874.

Operations from Washington, D.C., 1874–77
From 1874 to 1877, Despatch carried out special duty assignments from her base at Washington, D.C., and at various times operated with the North Atlantic Squadron along the United States East Coast and in the Gulf of Mexico. She was kept ready for use as a dispatch and relief vessel, and on several occasions transported the United States Secretary of the Navy and United States Senate committees. She also towed monitors from one point to another and experimented with spar torpedoes at Newport, Rhode Island.

Operations in the Ottoman Empire, 1877–79
Despatch departed on 20 April 1877 for the eastern Mediterranean and a special assignment with the United States Embassy at Constantinople in the Ottoman Empire. Arriving there on 14 June, Despatch carried dispatches and transported the American minister to the Ottoman Empire, which was in turmoil because of war with the Russian Empire and internal political unrest. Despatch was detached early in 1879, and returned to Washington, D.C., where she was decommissioned on 9 July 1879.

Cadet training, presidential yacht duty, and special assignments, 1880–91
After extensive repairs, Despatch was recommissioned on 8 June 1880 for use as a training ship and cruised along the U.S. East Coast with cadet engineers from the United States Naval Academy at Annapolis, Maryland, on board.

Despatch was again out of commission at Washington, D.C., from 23 September to 19 October 1880, then operated principally in the Potomac River and the Chesapeake Bay and along the U.S. East Coast from Norfolk, Virginia, to Maine until 1891, carrying out special assignments. She was frequently used by the President of the United States as the first presidential yacht, as well as by the Secretary of the Navy and other members of the United States Cabinet, Congressional committees, members of naval boards conducting inspections, and for varied ceremonial duties. One of the most important of these ceremonial events occurred on 28 October 1886 when she transported President Grover Cleveland, his private secretary, and three members of his cabinet, to and from Bedloe's Island in New York Harbor for the dedication and unveiling of the Statue of Liberty on 28 October 1886. Over the years, she also carried despatches and men to the fleet and along the U.S. East Coast, towed into port or destroyed damaged ships and wrecks, and escorted new ships during their sea trials. From 12 December 1881 to 3 June 1882, Despatch operated at Hispaniola to conduct hydrographic surveys of Samaná Bay and the Yuna River.

Loss
After carrying Secretary of the Navy Benjamin F. Tracy on a cruise along the New England coast to review the fleet in August 1891, Despatch put into New York City, from which she sailed for Washington, D.C., on 9 October 1891. Early on the morning of 10 October, in a gale, she was wrecked on Assateague Island off the Virginia coast. With the aid of men from the Assateague Lifesaving Station of the United States Life-Saving Service, all of Despatch'''s crew got ashore safely.

The wreck of Despatch'' was sold for salvage on 12 November 1891.

References

Presidential yachts of the United States
Steam yachts
Individual yachts
Shipwrecks of the Virginia coast
Shipwrecks in the Atlantic Ocean
Maritime incidents in 1891

redpajama_set_name: RedPajamaWikipedia


In this lesson we're going to look at some more greetings, we'll cover how to introduce your friends, and we'll explore some ways to talk about your job.
很高兴认识你! / hĕn gāoxìng rènshi nĭ / Pleased to meet you.
你是...吗? / nĭ shì...mă? / Are you...?
请问...? / qĭng wèn...? / May I ask...?
你教什么呢? / nĭ jiāo shénme ne? / What do you teach?


text:
article in "lutheran witness reporter" about st. luke's, 1971 (2)
&lt (54)
br&gt (54)
entertainment events -- florida -- winter park. (49)
citrus fruit industry -- florida -- orlando (42)
history -- florida -- orlando (42)
smyth, arthur william catesby -- letters (42)
african american newspapers (29)
african americans -- brevard county (fla.) -- 1940s (29)
african americans -- newspapers (29)
black newspapers (29)
Description: Social
Sandspur, Vol. 11 No. 01, 1904
Rollins College (Winter Park, Fla.) -- Newspapers.;
Student newspapers and periodicals -- Florida -- Winter Park -- Newspapers.
Rollins College student newspaper, written by the students and published at Rollins College. The Sandspur started as a literary journal.
Sandspur, Vol. 09 No. 01, 1903.
Rollins College (Winter Park, Fla.) -- Newspapers.; Student newspapers and periodicals -- Florida -- Winter Park -- Newspapers.
Sandspur, Vol. 02 No. 03, May 29, 1896
The Script, Vol. 01 No. 01, July 13, 1946
Brevard County (Fla.) -- Newspapers; Brevard (Fla.) -- Newspapers; Colored people -- Newspapers; African Americans -- Newspapers; African Americans -- Brevard County (Fla.) -- 1940s; African American Newspapers; Black Newspapers; Civil Rights...
"Brevard County's Only Colored Newspaper" containing church, social, and news of general interest. Circulation in Cocoa, Merritt Island, and Mims every Saturday. The Script Collection includes volume I, number 1 from July 13, 1946, through February...
The Script, Vol. 01 No. 04, August 03, 1946
#Brevard County*s Only Colored Newspaper# containing church, social, and news of general interest. Circulation in Cocoa, Merritt Island, and Mims every Saturday. The Script Collection includes volume I, number 1 from July 13, 1946, through February...
The Script, Vol. 01 No. 09, September 7, 1946
The Script, Vol. 01 No. 10, September 14, 1946
The Script, Vol. 01 No. 13, October 05, 1946


While the image of summer camps may make parents think of fun times and an appreciation for nature, they are not the right place for troubled teens in Oregon. Teenage boys who struggle often behave in ways that are harmful, destructive and even illegal. This gives Oregon parents little choice except to find a teen help program. While many parents pick a summer camp or wilderness camp, experts say that these are not appropriate venues for troubled teens from Oregon. Instead, resident boarding schools provide longer care but produce better results. While Oregon teens are not getting professional therapy, they could be jeopardizing their future.
Liahona Academy can be the best place for troubled teens in Oregon, and interested parents ought to call 1-800-675-8101.
Oregon parents are faced with a tough decision in choosing the right therapy resident school for their teenagers. Liahona Academy will put parental minds at ease because its location in a state with tough teen facility laws helps them feel more confident in their choice. Safe, secure and well-regulated, Liahona Academy is a mental health residential treatment center that can make a big difference in an Oregon teen boy's life.
Contrasting Liahona Academy with summer camps also demonstrates why resident treatment schools are superior to the short outdoor programs. Liahona Academy has accredited academic programs, fine recreation therapy, excellent therapy sessions and much more. Trained staff members are dedicated to helping youth with mental health issues, emotional trauma and behavior challenges. Oregon parents will not regret enrolling their sons in this fine treatment and rehabilitation school.
When teens are faced with lots of tough issues and well-meaning parents are of little help, often teens will go through a rebellious phase. This is more than taking steps toward independence. Instead, it is a full-blown effort to mask fear and pain using risky behavior. Not only can this be harmful, but often it is illegal.
The facts are that summer camps for troubled teens in Oregon will never provide the same level of care and attention to rehabilitation as other programs. Rather than risk an Oregon teen boy's current health and wellness and their future as adults, parents need to intervene and do what they can to stop the risky behavior and let their sons be helped by professionals.
Summer camps simply are not designed to provide long-term assistance to troubled teen boys from Oregon. Lacking an academic focus as well as ongoing therapy, summer camps don't stack up when compared to residential treatment centers and therapeutic boarding schools. There's no way that parents should enroll their sons in summer camps for troubled teens, because the time frame simply isn't long enough to effect permanent change.
Instead, parents in Oregon should consider a therapeutic boarding school. Many struggling boys will get the help they need in a supportive and compassionate environment as they go to school, get therapy, develop relationships with peers and mentors and engage in recreation therapy and more. Once parents learn what a resident boarding school can do for their child, they experience relief that they have found the facility that will best meet the family's needs.
All-boys schools: Studies show that an all-boys school helps male teens retain focus on resolving their mental health and emotional issues without as many distractions as a co-ed facility. Teens are able to put healing as a priority and face less competition with peers in a social structure.
Regular therapy: Not only are struggling teens paired with a licensed and experienced therapist, they attend group sessions and individual sessions regularly. Identifying mental illnesses and getting to the roots of them is the focus, and a huge part of healing.
Academic support: Teens aren't going to be very successful in life if they don't complete even the basic level of schooling. Successful boarding schools offer accredited academics where teens can learn from certified teachers and work toward graduation.
Recreation therapy: There are numerous advantages for teens who engage in recreation therapy. Self-esteem, leadership skills, communication skills and more are boosted when engaging in music, drama, sports, equine therapy, outdoor recreation therapy and more.
Life skills: Teens need to learn the skills that they must have to become adults, including laundry, hygiene, budgeting, conflict resolution, job interviewing and much more. At resident boarding schools, they learn how to be more self-sufficient and what it takes to care for themselves.
There's no doubt that summer camps have their place as retreats from a teen's negative life, but they don't provide the stability and guidance through these hard times that therapeutic boarding schools will. Oregon teenagers will definitely be on the fast track toward long-term healing when they attend a place like Liahona Academy. This well-rounded school should top the list of teen help programs that Oregon parents should investigate.
There's no time to waste in finding a teen rehabilitation program for troubled adolescent boys, and parents shouldn't make the mistake of choosing a summer camp over a resident boarding school program. Oregon parents will not regret selecting Liahona Academy for their teen sons, and there are plenty of former students and their parents that will share their experiences. Each parent wishes that their teenagers will transition successfully into adulthood and overcome their issues with conditions like depression, anxiety, ADD/ADHD, bipolar, substance abuse, addiction, opposition defiance disorder and more. The good news is that Liahona Academy can help teens accomplish all that and more.
Learn more about Liahona Academy and all they can do to help struggling teenage boys from Oregon by calling 1-800-675-8101.
Portland, Salem, Gresham, Eugene, Beaverton, Bend, Springfield, Medford, Corvallis, Albany, Hillsboro, Tigard, Lake Oswego, Keizer and Astoria.


Many utility operators are aware of the benefits of an energy storage system, but face so many challenges getting a project off to a good start that the prospect is overwhelming.
Utility operators are facing growing pressure to modernize their grid configurations.
There is a great deal of uncertainty surrounding the renewables market, but don't let those question marks misdirect your perception of the future.
The global energy storage market has been evolving in recent years, and that growth is about to escalate.
Capacity management is the unheralded silver bullet of grid modernization.
Demand for energy storage systems isn't just expanding in the sense that more organizations want to take advantage of the technology.
Maintaining proper levels of reactive power is a growing challenge across the U.S. energy grid.
The global market for energy storage systems is gaining ground both in terms of the amount of energy being stored and the diversity of project types getting attention.


Located just a stone's throw from the chic and popular town of Marbella the Marbella Golf and Country Club is considered to be one of the finest golf courses in Europe.
Nestled among the rolling hills and lush countryside of Andalusia the course has a length of 5,867 metres and is a par 72 course.
Designed by Robert Trent Jones Sr and first opened in 1989, the 18 hole course has been thoughtfully designed to complement the surrounding natural countryside and offers a testing golfing experience for golfers of all levels.
The course has numerous bunkers just waiting to catch your ball. There is also quite a bit of deep rough which can be difficult if you are unfortunate enough to find it with an errant tee shot. You will also find a number of lakes on the back nine which will have to be negotiated if you are to card a good score.
One of the nice things about the Marbella Golf course is that every hole is unique and offer lovely views of the Mediterranean coastline.
As well as the superb championship course, Marbella golf offers plenty of leisure facilities for you to enjoy during your break including a great restaurant with stunning views to the closing holes and Mediterranean. There is also a pro-shop and tennis courts if you want a break from the golf.
Designer: Robert Trent Jones Snr.
Course Facilities: Practice range, putting green, pro-shop, golf academy, restaurant, conference rooms, three tennis courts, parking, buggies and trolleys.


Since 2013 Supplies for Scholars has served over 4,000 Delaware County students ranging from Kindergarten through 12th grade. To better serve our county, four mobile sites are available in Sunbury, Ashley, Ostrander, and Lewis Center. This year we will be adding the Strengthening Families Store at Willis Education Center to serve families who are unable to attend any of the other events.
Over the years, thousands of dollars in donations have been collected to fill book bags with essential school supplies. We are currently ordering supplies for the coming year and donations through our virtual backpack are needed and would be appreciated! Join the United Way of Delaware County and our community partners as we provide Delaware County children with the resources they need to feel confident and ready to learn this coming school year.
For additional information on dates and locations, please visit the Supplies for Scholars webpage.


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lùisa
Indiepop artist lùisa convinces as a unique multi-talent. As a singer with an intense, emotional voice, as a strong songwriter with profound lyrics in several languages, as an excellent guitarist and finally as a stylish producer of spherical dreampop arrangements.
Since 2015, she is the only German signing at the Canadian record company Nettwerk.
With her impressive live show, which she either performs with Loops & Samples as a one-woman show, or sometimes plays with a full band, she did not only thrill large parts of Europe but also played in the USA and supported international artists such as Xavier Rudd, The Paper Kites, Cäthe or Lucy Rose. Her song "Under The Wild Skies" was used in the Netflix production ORANGE IS THE NEW BLACK, which also earned her international attention.
In early May 2021, she released her third album, "A New Woman" - the title being significant, both in terms of the associative empowerment lyrics, the cleverly structured songwriting as well as the musical performance, lùisa emerges as a "New Woman".


"Living raw foods in their most natural uncooked state are packed full of taste, nutrients and enzymes. Enzymes help you digest food and are catalysts for every metabolic reaction in your body. Without these enzymes, there can be no cell division, energy production or brain activity. If you heat food above 104 degrees Fahrenheit, you destroy the enzymes in the food."
I am certainly not a raw foodist. I like to think of myself as "sort of raw". I eat a partially raw diet that also includes whole grains, cooked vegetables and cooked fish. I have lost a lot of weight eating this way. I try to limit refined sugars and flours, genetically modified foods and anything that comes from a fast food establishment. I still eat a handful of french fries every once in a long while, but my daily sustenance comes from whole raw and cooked foods. By abandoning my Standard American Diet, I have discovered a whole world of wonderful food! And at the end of the day, it helps me lose weight and feel great.
The Park Lane - Carrot, Kale, Apple, Lemon, Ginger.
Veggie Ginger Juice - Carrot, Beet, Apple, Celery, Spinach, Cucumber, Ginger.
Gimme a Beet - Beet, Carrot, Orange, Apple, Parsley, Strawberry.


Strip of land on which an aircraft speeds up before takeoff or brakes after landing.
Wide solid white line that marks the edges of the runway.
Wide broken white line that shows the center of the runway.
Number that, when multiplied by 10, shows the runway's position in relation to magnetic north.
Line that shows an aircraft where to wait for clearance from the control tower before entering the runway for takeoff.
Longitudinal lines painted at each end of the runway to show its limits.
Pair of lines painted at each end of the runway that shows where aircraft should touch down on the runway.
Lines painted at regular intervals so that pilots can gauge distances on the runway.
Lane connecting the runway with a taxiway so that incoming aircraft can exit the runway as soon as possible after landing.