text:
The long winter
Wilder, Laura Ingalls, 1867-1957.
New York : Harper Children's Audio, p2005.
7 sound discs (7 hr., 30 min.) : digital ; 4 3/4 in.
Little house ;
Compact discs.
Personal Subject:
Wilder, Laura Ingalls, 1867-1957-Family-Fiction.
Families -- South Dakota -- Fiction.
Frontier and pioneer life -- South Dakota -- Fiction.
Pioneers -- South Dakota -- Fiction.
Pioneer children -- South Dakota -- Fiction.
Geographic Term:
De Smet (S.D.) -- Fiction.
South Dakota -- Fiction.
Jones, Cherry, 1956-
Woodiel, Paul.
Local Subject:
Spoken compact disc collection.
After an October blizzard, Laura's family moves from the claim shanty into town for the winter, a winter that an Indian has predicted will be seven months of bad weather.
Link to this Item
Audiobook SCD J FICTION WIL 7 DISCS 0 1
America's Original Pioneer Girl
Meet Laura Ingalls, the little girl who would grow up to write the Little House books.
The first terrible storm comes to the barren prairie in October. Then it snows almost without stopping until April. Snow has reached the rooftops, and no trains can get through with food or coal. The people of De Smet are starving, including Laura's family, who wonder how they're going to make it through this terrible winter. It is young Almanzo Wilder who finally understands what needs to be done. He must try to save the town, even if it means risking his own life.
The Long Winter is the sixth book in the Laura Years series.
Wilder was born near Pepin, Wisconsin; attended school in DeSmet, South Dakota; and became a teacher before she was 16, teaching for seven years in Dakota Territory schools. She and her husband, Almanzo Wilder, farmed near DeSmet for about nine years and then moved to Mansfield, Missouri, where they lived out the rest of their days.
Wilder did not write her first book, Little House in the Big Woods, about her early years in Wisconsin, until late in life, on the urging of her daughter, Rose Wilder Lane. It was first published in 1932. She followed this with Farmer Boy (1933), a book about her husband's childhood in New York State. She then completed a series of books about her life as she and her family moved westward along the frontier. Little House on the Prairie (1935) records the family's move to Kansas. On the Banks of Plum Creek (1937) describes the family's move to Minnesota. By the Shores of Silver Lake (1939) records the family's move to South Dakota, as do the final three books in the series: The Long Winter, Little Town on the Prairie (1941), and These Happy Golden Years (1943), which ends with her marriage to Almanzo Wilder. Three of Wilder's books were published posthumously: On the Way Home, a diary of her trip to Mansfield; The First Four Years, an unfinished book about her first four years of marriage; and West from Home, letters she wrote on a visit to her daughter in San Francisco, none of them up to the quality of her earlier books.
At her best, Wilder employs a clear, simple style, a wealth of fascinating detail, and a straightforward narrative style. Her tales of a strong, traditional frontier family that endures the hardships of the late eighteenth century are seen through the eyes of a child, which endears them to young readers. Her work is possibly the best example of historical realistic fiction for children.
(Bowker Author Biography)
Horn Book Review
The Little House books, beloved by generations of readers, have been reissued in editions that demonstrate some poor design choices, including a narrower, sharper typeface and a thoughtless layout. The Garth Williams covers have been reproduced so that they are more brightly colored than the originals. From HORN BOOK 1994, (c) Copyright 2010. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
The Long Winter Chapter One Make Hay While The Sun Shines The mowing machine's whirring sounded cheerfully from the old buffalo wallow south of the claim shanty, where bluestem grass stood thick and tall and Pa was cutting it for hay. The sky was high and quivering with heat over the shimmering prairie. Half-way down to sunset, the sun blazed as hotly as at noon. The wind was scorching hot. But Pa had hours of mowing yet to do before he could stop for the night. Laura drew up a pailful of water from the well at the edge of the Big Slough. She rinsed the brown jug till it was cool to her hand. Then she filled it with the fresh, cool water, corked it tightly, and started with it to the hayfield. Swarms of little white butterflies hovered over the path. A dragon-fly with gauzy wings swiftly chased a gnat. On the stubble of cut grass the striped gophers were scampering. All at once they ran for their lives and dived into their holes. Then Laura saw a swift shadow and looked up at the eyes and the claws of a hawk overhead. But all the little gophers were safe in their holes. Pa was glad to see Laura with the water-jug. He got down from the mowing machine and drank a mouthful. "Ah! that hits the spot!" he said, and tipped up the jug again. Then he corked it, and setting it on the ground he covered it with cut grass. "This sun almost makes a fellow want a bunch of sprouts to make a shade," he joked. He was really glad there were no trees; he had grubbed so many sprouts from his clearing in the Big Woods, every summer. Here on the Dakota prairies there was not a single tree, not one sprout, not a bit of shade anywhere. "A man works better when he's warmed up, anyway!" Pa said cheerfully, and chirruped to the horses. Sam and David plodded on, drawing the machine. The long, steel-toothed blade went steadily whirring against the tall grass and laid it down flat. Pa rode high on the open iron seat, watching it lie down, his hand on the lever. Laura sat in the grass to watch him go once around. The heat there smelled as good as an oven when bread is baking. The little brown-and-yellow striped gophers were hurrying again, all about her. Tiny birds fluttered and flew to cling to bending grass-stems, balancing lightly. A striped garter snake came flowing and curving through the forest of grass. Sitting hunched with her chin on her knees, Laura felt suddenly as big as a mountain when the snake curved up its head and stared at the high wall of her calico skirt. Its round eyes were shining like beads, and its tongue was flickering so fast that it looked like a tiny jet of steam. The whole bright-striped snake had a gentle look. Laura knew that garter snakes will not harm anyone, and they are good to have on a farm because they eat the insects that spoil crops. It stretched its neck low again and, making a perfectly square turn in itself because it could not climb over Laura, it went flowing around her and away in the grass. Then the mowing machine whirred louder and the horses came nodding their heads slowly in time with their feet. David jumped when Laura spoke almost under his nose. "Whoa!" Pa said, startled. "Laura! I thought you'd gone. Why are you hiding in the grass like a prairie chicken?" "Pa," Laura said, "why can't I help you make hay? Please let me, Pa. Please." Pa lifted his hat and ran his fingers through his sweat-damp hair, standing it all on end and letting the wind blow through it. "You're not very big nor strong, little Half-Pint." "I'm going on fourteen," Laura said. "I can help, Pa. I know I can." The mowing machine had cost so much that Pa had no money left to pay for help. He could not trade work, because there were only a few homesteaders in this new country and they were busy on their own claims. But he needed help to stack the hay. "Well," Pa said, "maybe you can. We'll try it. If you can, by George! we'll get this haying done all by ourselves!" Laura could see that the thought was a load off Pa's mind and she hurried to the shanty to tell Ma. "Why, I guess you can," Ma said doubtfully. She did not like to see women working in the fields. Only foreigners did that. Ma and her girls were Americans, above doing men's work. But Laura's helping with the hay would solve the problem. She decided, "Yes, Laura, you may." Carrie eagerly offered to help. "I'll carry the drinking water out to you. I'm big enough to carry the jug!" Carrie was almost ten, but small for her age. "And I'll do your share of the housework, besides mine," Mary offered happily. She was proud that she could wash dishes and make beds as well as Laura, though she was blind. The sun and hot wind cured the cut grass so quickly that Pa raked it up next day. He raked it into long windrows, then he raked the windrows into big haycocks. And early the next morning, while the dawn was still cool and meadow-larks were singing, Laura rode to the field with Pa in the hayrack. There Pa walked beside the wagon and drove the horses between the rows of haycocks. At every haycock he stopped the horses and pitched the hay up into the hayrack. It came tumbling loosely over the high edge and Laura trampled it down. Up and down and back and forth she trampled the loose hay with all the might of her legs, while the forkfuls kept coming over and falling, and she went on trampling while the wagon jolted on to the next haycock. Then Pa pitched more hay in from the other side. The Long Winter . Copyright © by Laura Wilder. Reprinted by permission of HarperCollins Publishers, Inc. All rights reserved. Available now wherever books are sold. Excerpted from The Long Winter by Laura Ingalls Wilder All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.


The article presents the research on the organization and mechanism of collecting gmina fees from the local population of Galicia and Bukovina by the Russian occupation authorities during the First World War. It was found that the taxation of gmina fees in the occupied territories had to be carried out according to the Austrian legislation that operated before the war, by charging the percentages of additional taxes on state property taxes. The attention is paid to the fact that the main reasons why the Russian occupation authorities failed to organize systematic property taxation on state property taxes according to the Austrian legislation were the following: 1) the complexity of the Austrian tax legislation, which according to international law, should be applied in the process of taxation of local population; 2) the lack of fully qualified tax authorities and unsuccessful involvement of local self-government bodies in collecting state and gmina taxes and fees; 3) the absence of taxpayers' lists and tax records that were the subject to state taxes and gmina fees at the period of the Austrian authorities. All the factors facilitated that during the Russian occupation, the gmina fees were collected insolubly and unevenly throughout the occupied territory.
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Hotel De Stobbe is located in the traditional village of Ruinen, on the fringe of the gorgeous Dwingelderveld National Park. You can go on delightful walks or cycling trips in this national park. The hotel is a perfect base from which to explore the province of Drenthe.The hotel itself is also a lovely place to be. You can have a relaxing time in the sauna or enjoy a few laps in the heated indoor swimming pool. The hotel consists of 21 rooms, each with a comfortable interior that includes box-spring beds, a sitting area, desk, flatscreen TV and free WiFi. Hotel guests can enjoy free access to the swimming pool. The sauna and solarium are available at an additional charge.
Hotel De Stobbe is located in the traditional village Ruinen, on the fringe of the gorgeous Dwingelderveld National Park.You can go on delightful walks or cycling trips in this national park. The hotel is a perfect base from which to explore the Drenthe province. Day-trip destinations include Borger's 'Hunebed Centre' (a museum next to the Netherlands' largest dolmen), the 'Boomkroonpad' in Drouwen (literally a 'path amongst the treetops'), amusement parks Slagharen or Plopsa Indoor Coevorden, 'museum village' Orvelte, former transit camp Westerbork or Emmen's Wildlands Adventure Zoo.The cities Assen, Meppel and Hoogeveen are all nearby, as well as the village Giethoorn.
A breakfast buffet is available between 07:00 and 10:00 on weekdays, and between 07:30 and 10:30 at weekends.For lunches and dinners, you are welcome at Restaurant Brasserie Vrouwe Swedera. There is a different menu for each season, based on seasonal products. The hotel's Spreuken Café (Café of Sayings) is the place to be for a nice cup of coffee or a drink.
10 per pet per night.
On the fringe of the gorgeous Dwingelderveld National Park.


Arthur Skuratowicz spoke to the Guild on the problems encountered during gemstone identification. Arthur, a GIA Graduate Jeweler Gemologist, taught metalsmithing, gemstone identification, and faceting at GIA for seven years. Arthur is a master jeweler and appraiser at Shelton's Jewelry.
The terminology and the instruments used in gemstone identification provide clues for the detective work that determine the identity of a gemstone, but it is the actual thought process of how these clues are utilized that enables a final answer. Terminology allows a means to describe in words what we are seeing in a particular way that other people will understand. The clues leading to the identity of a gemstone can be written on a chart and compared with data known for specific gemstones.
Gemologists use different instruments for gathering data during the gemstone identification process. The most useful of these is the microscope, especially a stereoscopic type fitted with special darkfield illumination that permits light to enter the gemstone only from the sides. A microscope serves as the ideal tool for examining inclusions that can provide positive proof in many cases of a gemstone's identity. Magnification also reveals internal features of a gemstone's crystal structure. The most commonly used tool is the small 10X loupe. A loupe allows a close, but limited, inspection of a gemstone, both inside and out, while being very portable.
Several other instruments play important parts in the gemstone identification process. The refractometer is a tool used to measure the refractive index and the birefringence of most gemstones. Gemstones bend light at measurable angles, and this data can be compared to a listing that shows the refractive index readings known for specific gemstones. A gemstone that breaks one beam of light into two polarized beams is said to be doubly refractive, having a birefringence, and this gives yet another clue. The polariscope is a tool used to determine the optical character of a gemstone, and it shows whether the stone is singly or doubly refractive.
The spectroscope is another tool that separates white light into a spectrum of component colors with a prism or a diffraction grating, where each slit represents a different wavelength. A gemstone placed between the light source and the slit will absorb certain wavelengths that can be measured to yield another clue. A dichroscope is a small tool that determines pleochroic colors, giving a clue to the crystal system of a gemstone. All these tools provide very useful information for the gemologist. It is important to control the lighting when performing these tests.
Gem buyers can and do make mistakes when purchasing colored gemstones. The more knowledge and experience are acquired, the less mistakes a buyer makes. It becomes important to be familiar with many types of gemstones. We need to view actual examples first-hand.
Many gemstones exhibit telltale or signature appearances. Observe the obvious. Note the crystal habit, the overall color, and the color distribution. Then, look inside. A gemstone may contain inclusions that can provide a key to its identity. Rubies, sapphires, emeralds, and quartz are examples of gemstones that show natural inclusions of how the crystal grew, marked by fingerprint patterns and zonal banding in straight lines. Curved lines could indicate synthetic origin. A gemstone that contains an inclusion of a distinct natural crystal, like calcite in emerald or apatite in ruby, would be an indication that the host gemstone is of a natural variety.
Some inclusions show evidence of heat-treatment. In some cases, heat can cause fractures to heal, occasionally seen in rubies and sapphires. Sometimes the temperatures in heat-treatment become high enough to cause the inclusions to expand, generating fissures inside the gemstone. In the case of ruby, very often these fissures are glass-filled when they reach the surface. The presence of platinum inclusions reveals a gemstone to be synthetic, as platinum crucibles are used in growing gemstones. The PhotoAtlas of Inclusions by Gubelin and Koivula is a highly recommended reference book that contains marvelous pictures of many types of inclusions. Comparing the inclusions in gemstones to those in the PhotoAtlas of Inclusions can provide keys to a gemstone's identity. Colorless gemstones seem to be somewhat more difficult to determine. The same can also be said of the opaque gemstones cut en cabochon.
Some gemstones need to be heat-treated to improve and/or enhance their color. Tanzanite is heat-treated to improve the overall color, and this treatment is permanent. Sapphire is heat-treated to both improve the color tones and enhance the clarity by melting the rutile, and this is also a stable treatment. Diffusion-treated sapphires usually show color concentrations close to the surface, and this color may disappear when the stone is re-cut. Irradiated sapphire changed to red will fade to yellow in ultraviolet light. The natural color in kunzite will fade with exposure to ultraviolet light, as will morganite. The deep blue color of Maxixe beryl quickly fades in sunlight. Blue topaz is both natural and heat-treated, as well as irradiated, but heat-treatment in blue topaz cannot be proved. Aquamarine is sometimes, but not always, heat-treated to remove the yellow, thus changing the color from light bluish green to blue. Heat-treated amethyst becomes deep yellow citrine. The color that we expect to see in gemstones is usually yielded by heat-treatment.
Diamonds are irradiated to improve or change the color, and these colors remain stable. Diamonds are irradiated inside a cyclotron or in a linear accelerator and later annealed to set the color. In the case of green diamonds, tests cannot prove exactly when the irradiation occurred if green irradiation stains are not present on a facet.
Be aware of fraudulent treatments now found in colored gemstones. Tigereye, agate, pearls, lapis and jadeite can all be dyed to enhance the color. Look for dye concentrations in the matrix. The calcite absorbs the dye in the matrix of lapis. Dye concentrations in pearls may be spotted at the drill holes. Pearls are also soaked in salt solutions, bleached, tumbled to improve roundness, and sometimes irradiated. The luster and the thickness of the nacre on freshwater and saltwater pearls are dependent upon the temperature of the water and the specie of the mollusk used. Pearls can be x-rayed to see the layers and the seed, but the interpretation of the x-rays is not easy. Turquoise is subjected to a wide variety of treatments, and many are not easily discovered through testing.
Emeralds filled with clear oils and waxes to enhance clarity is accepted as normal, but these are not stable treatments. Emeralds filled with dyed waxes and dyed oils are definitely fraudulent. Some synthetics and imitations made to mimic emeralds are quench-cracked and filled with green oil, again fraudulent. Gems with a crystalline emerald coating have been revealed. The use of Opticon and other polymers and resins are still in question. A treatment not disclosed is now considered fraud.
Laser-drilling of diamonds and fracture-filling of rubies not disclosed is also fraudulent. Laser-drilling improves the apparent clarity of a diamond and raises its saleability. However, it does not increase the clarity or the value, as a dark inclusion is traded for a hole in the diamond. When a jeweler unknowingly heats a fracture-filled diamond during a repair, the diamond will be damaged. A fracture-filled diamond may exhibit a characteristic flash of color. Treaters argue that fracture-filling of rubies occurs unintentionally during heat-treatment, where borax seeps into the cracks. The fracture-filling of rubies is also done intentionally, and it is not always disclosed.
Opal can be subjected to a variety of treatments. Opal can be soaked in a sugar solution and then dipped in sulfuric acid to darken the color. Such treated opal reveals a peppery black appearance under magnification. Smoke and ashes are also used to darken opal. This treatment shows a flaky surface under magnification. Oils, waxes, and polymers can be injected into opals with heat and pressure, and these are hard to detect. Be familiar with the appearance of crystal opal, black opal, and Mexican opal. Thin layers of opal are also made into doublets and triplets, and these should always be disclosed.
The color-change gemstones include alexandrite, sapphire, and garnet (spessartine/almandine from East Africa). These unusual gemstones change colors when placed in incandescent and then taken to ultraviolet light.
Several gemstones are difficult to determine. Some heat-treated sapphires have tested natural. Synthetic amethyst is now very hard to determine. When amethyst was first grown in a lab, the seed crystals were untwinned. Twinning, then, became a mark of natural amethyst. Amethyst can now be grown twinned, and it is a challenge to determine synthetic from natural. Flux-grown synthetic spinel is another gemstone very hard to identify. Faceted stones of this variety test natural because most of the few inclusions it ever had, left from the growth process, have been removed from cutting.
Some of the inclusions found in nature are now copied in man-made gemstone material. For example, Columbian emeralds grow naturally in a hydrothermal environment. Lab-grown emeralds are grown by man hydrothermally. Likewise, the nailhead spicules found in hydrothermal lab-grown emerald mimic the shapes of phenakite sometimes seen in natural beryl.
The first man-made diamond appeared in 1954, but it was industrial grade. The first man-made diamond of gem quality became a reality in 1971 by cooking carbon under pressure. Nitrogen can allegedly be leached from a industrial grade diamonds to improve the color, fading the yellow tones to white. Hypothetically, if this method can be applied to gem quality diamonds, then it may raise the apparent value of such a diamond, if the treatment is not detected. The color is stable, but the treatment may not be detectable.
The introduction of synthetic moissanite to the gemstone market has upset many jewelers, because synthetic moissanite tests like a diamond. A telltale clue for identifying synthetic moissanite is that it is doubly refractive. Knowing this, cutters of synthetic moissanite are now orienting the table down the axis of the stone to diminish this characteristic. Tilt the stone to one side and look through the crown facets to reveal the double refraction.
Gemstones exhibit a variety of phenomenon, and these can serve as clues to identification. The gemstones that display a six-rayed star include sapphire, aquamarine, and quartz. Garnets show a four-rayed star because they represent a different crystal system. However, garnets can show a six-rayed star if the two crossing needles are oriented with the needle intersecting them perpendicularly. The trapiche emeralds, unique to Columbia, exhibit six sections of green when cut down the C axis. Sometimes, these are divided by six black lines like spokes in a wheel. The gemstones that exhibit a natural cat's-eye include alexandrite, emerald, aquamarine, rose quartz, opal, and chrysoberyl. Some imitation cat's-eye stones are actually fiber-optic glass, and these reveal hexagonal patterns inside of hexagonal patterns under high magnification. Gas bubble striations are seen in synthetic cat's-eye alexandrite. Amber and the natural glasses (obsidian) are the only gemstones that contain a free-standing gas bubble. When chipped, devitreous glass is granular.
A gemologist depends upon observational skills. Practical gemology has no specified order of instrument usage. However, research gemology relies on a specific and conclusive sequence of instrument usage. A gemologist incorporates an acquired knowledge of gemstones with the usage of many different laboratory instruments to obtain clues that yield the identity of a gemstone. The identification process becomes more difficult with the introduction of synthetics, imitations, and treatments that prove hard to detect. A gemologist needs to keep aware of new methods of crystal growth and gemstone treatments to guard against mis-identification and fraud.


I had a good time at this event. The location was Opera Lounge in D.C and my boy Rashad was celebrating his birthday in VIP (obviously). Rashad and his crew always do it big whenever they are in town, so I told Rashad I would look out for him on his birthday and shoot some photos. When I walked in it was already slammed with people but luckily their VIP table was in the perfect location. Clean leather couches, tables with bottles of the best liquor, and beautiful people everywhere. I couldn't wait to go to work. I was equipped with only my Nikon D3200 and external flash so it was easy to navigate through the crowd with no body guards needed. A few bottles came in from the cocktail waitresses and at that point everyone started to really enjoy themselves. Within 90 minutes I was already about 150 photos in which surprised me. Time flies when your having fun Here are a few of the finished photos of the event. You can catch the rest of the album on my Facebook page and don't forget to tag yourself.
I just wanted to formally introduce myself and welcome you to my new site! My name is Bobby and I created this portfolio and blog to simply show the world my photos as well as share as much insight about my life and journey in the industry. I really hope you enjoy it.
Let me first tell you a little bit about myself. I am currently based in Northern Virginia but I am originally from Connecticut. Growing up I played a lot of sports. When I say A LOT I mean A LOT. I played a different sport every season, every year, until high school. Once I graduated high school, I decided to pack up my things and pursue my dream of becoming a professional (well educated) baseball player at Virginia Wesleyan College in Norfolk, Va. I had a lot of fun, but after a few years of long baseball games and practices I decided to hang up the cleats and focus solely on my career. It hurt at the time but I made the best decision for my future. Over the next couple years I ended up moving out of college, met a lot of great people, graduated with a business degree, worked on a clothing company, bought a house, worked some cool jobs and currently I am trying to turn my dreams to a reality and be one the most successful photographers in the world.
I have been working hard on my career in the business field but it wasn't that long ago that I really found out about my passion for photography. Picking up my first DSLR was like a dream come true. I had that warm fuzzy feeling like I was in love for the first time all over again. Since I stopped playing sports I haven't really had that passionate feeling about a hobby in a while so It started to make me think. That same day I got my camera is the day I decided to take on photography as a profession. Just like that. No questions asked. I made a promise to myself that this would be the year I make some changes and start to make more time for the things that make me happy and make me feel good. Why should I waste my time doing anything but that. No I didn't quite my jobs. Of course I have to work to make money to support myself and pay the bills but I changed my schedule around a lot. I leanred throughout the years If you want to do something bad enough you must make the necessary sacrifices to accomplish it and that is exactly what I did.
So this is where I am at today after less than a year from deciding I wanted to take this seriously. I turned my basement into a complete home photo studio with lights and equipment. I upgraded my lenses, software, and added some new goodies to my arsenal including a GoPro Hero 3. After working doubles for the past couple years I have decided to make changes to my schedule freeing up more time for me to shoot daily and book shoots during the week and weekend. I have created this cool portfolio website compliments of squarespace and Jared Polin. And Before I forget, I have to send a big thank you to Jared aka Fro Knows Photos, who I am a big fan of his work and blog, for posting about squarespace and making an eye catching website. I've been booking as many shoots as I could but since I finally finished this site I will be making more time to network and expand so be ready!
Since I started, I have set some short and long term goals. My goals have been slowly growing and developing. I've accomplished a few already. This website and blog post are 2 small goals I made just this week. I will be getting more into detail with my future plans and goals through this blog but to sum it up I am trying to take all my work to the next level by shooting as much as possible and learning as much as possible in the process. You know what they say, "knowledge is power". Over the next year I want to book new clients, do different events, and really shoot some cool projects. You will also see me posting more to document my life behind the lens to give you a realistic point of view. My social media outlets will be another way for me to communicate and express to you my daily thoughts and actions so please check them out and follow me if you're not already.
I also will be sharing any tips, tricks, reviews, new gadgets, and basically any knowledge I can share on this page to help others. Networking is key in my opinion so I am hoping that this can be a catalyst and allow people to ask me questions, share tips, and just share overall experiences in the industry with me so don't be afraid to hit me up. Just click the contact section of the page to get all my info.
Lastly, I want to thank everyone who has helped me get to this point in time and I want to thank all of you who have checked out my page, BobbyBandz.com. I look forward to the future and what it is going to bring. Stay tuned.


text:
How Long Do Herpangina Blisters Last?
How Is the Stomach Virus Transmitted?
Norwalk Virus Symptoms
by Betty Dishman; Updated September 30, 2017
Good Foods to Eat With a Stomach Virus
Interesting Facts on Salmonella
Parasites That Cause Diarrhea
Signs & Symptoms of Rabies in Coyotes
We've all heard stories about cruise ships being evacuated and thoroughly cleaned because hundreds of people came down with unpleasant gastrointestinal symptoms instead of enjoying the fun-filled vacation they had hoped for. These outbreaks are known as Norwalk virus and while the symptoms are very undesirable, most people don't suffer long-term effects. There are also plenty of steps that can be taken to speed recovery or to prevent an outbreak in the first place.
What is Norwalk Virus?
The Norwalk virus is one strain of a group of small, round-structured viruses known as noroviruses. The viral family contains several different strains that have been named after the geographic areas where the outbreaks occurred. The Norwalk virus began after a 1968 gastroenteritis outbreak at a school in Norwalk, Ohio. According to the Centers for Disease Control, noroviruses are also referred to as caliciviruses because the virus family name is Caliciviridae. Other common names of the illness caused by the Norwalk or Norwalk-like viruses are acute bacterial gastroenteritis, viral gastroenteritis and food poisoning.
The Mayo Clinic says the Norwalk virus is usually transmitted by consumption of contaminated food or water but can also be transmitted by direct person-to-person contact. The virus spreads most commonly through families and communities, and particularly in areas where people are in confined spaces such as schools, nursing homes, cruise ships and child care centers.
Symptoms of Norwalk virus include nausea, vomiting, non-bloody diarrhea and abdominal cramps. In some cases, headaches and low-grade fever may be present. Symptoms usually last 24 to 72 hours.
What Foods Cause Norwalk Virus?
Shellfish and salad ingredients are mostly likely to cause Norwalk virus, according to the Ohio State University Extension Service. Water from many different sources including wells, municipal systems, lakes, swimming pools and cruise ship water may also cause outbreaks.
There are no specific medications or treatments for Norwalk or Norwalk-like viruses. Proper hydration to replace lost fluids is essential. Sucking on ice chips or sipping small amounts of water or other clear liquids may be helpful. Avoid fatty or processed foods and gradually ease back into eating bland foods such as crackers, gelatin and bananas.
Make sure food, especially meats and fish, are cooked thoroughly. When traveling to a foreign country or other area that appears to have polluted water, drink only bottled or carbonated water and avoid raw fruits and vegetables or have foods that have been touched by human hands. Food handlers who have gastrointestinal symptoms should not prepare or touch food, and vomitus and stools should be disposed of in the toilet and surrounding areas thoroughly cleaned.
When to See a Doctor
Dehydration is a common complication of Norwalk virus. Young children, the elderly and individuals with compromised immune systems are particularly susceptible to dehydration. Anyone who is dehydrated or who has not been able to keep liquids down for 24 hours should see a doctor immediately. Bloody diarrhea, vomiting for more than two days, or a fever of 104 degrees Fahrenheit or 40 degrees Celsius are other reasons to seek medical attention.
Ohio State University Extension Service
Betty Dishman has been a professional writer since 1988, writing for the "Observer-News-Enterprise" in Newton, N.C., and the "Lenoir News-Topic" in Lenoir, N.C. She lives in western North Carolina near the Great Smoky Mountains. Dishman holds a Bachelor of Arts in communication from Queens University in Charlotte and a graduate certificate in technology and communication from the University of North Carolina-Chapel Hill.
Coliform Bacteria Symptoms
Flu Symptoms Accompanied by a Rash
Should I Pop a Fever Blister?
Differences Between Stomach Flus & Stomach Viruses

redpajama_set_name: RedPajamaCommonCrawl


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ABERYSTWYTH TOWN will look to emulate their recent away form and pick up their first home victory of the season against Cefn Druids at Park Avenue on Friday night (Nov 3).
Town go into the game off the back of another fine victory away from home at Prestatyn last weekend, with late goals from John Owen and Declan Walker securing all three points. Manager Nev Powell will now be looking for a similar outcome at Park Avenue on Friday night to kick-start Aber's home results in the JD Welsh Premier League.
Aber head into tonight's clash in a rich vein of form, having picked up eight points from their last five league games, with seven of those points coming away from home.
Aber boss Nev Powell will now be looking for an improvement in his side's home form, as they search for their first victory of the season at Park Avenue.
Indeed, Aber's manager will be looking for similar performance levels to that in their previous home game, where Town were cruelly beaten by league champions The New Saints.
Aber captain Jonny Spittle is back in contention for Friday night's game after missing last weekend's victory at Prestatyn through suspension, whilst Geoff Kellaway remains side-lined as he continues to recover from a groin injury.
Cefn Druids travel to Park Avenue in fine form themselves, having won 1-0 away at Bangor City last weekend and currently lying in 4th place in the JD Welsh Premier League. Cefn Druids ran out comfortable 2-0 victors against Aber in the reverse clash earlier in the season at The Rock.
Kick-off is at 8pm, in what is sure to be a Halloween Humdinger of a game.
Get yourselves down to Park Avenue and cheer Aber on to climb up the JD Welsh Premier League table.
In what is a Halloween Special, supporters turning up in fancy dress will only be charged half price for entry, meaning that those still in costume can enjoy Welsh Premier Football for a bargain of £3.50 for adults, £2 concessions and 50p for kids. You don't want to miss out!


I am a professional French medical translator and former medical English professor for student nurses and French professor for foreign doctors.
Yes, Let's send an e-mail!
I have been teaching medical English to student nurses for three years, and French language to foreign doctors for one year.


The 5CC group is proud to announce the ongoing scientific cooperation with SLCD for the 8th 5-Continent-Congress, to be heldAugust 31 – September 3, 2017 in beautiful Barcelona, Spain.
Since the first congress in 2009, 5CC has been functioning as an unparalleled platform for the exchange between (aesthetic) dermatologists, (plastic) surgeons, cosmetic gynecologists, physicians, specialists, medical practitioners, RNs, residents, fellows and medical students from around the globe. In order to live up this entitlement and more, we are proud of having gathered SLCD among 25 societies and associations in the medical field, to provide insights into multifaceted aspects of international dermatology and aesthetic medicine at this years' 5CC meeting.
Drawing over 1.000 delegates, 160 expert faculty speakers from around the globe and over 70 exhibitors with 250 of their best representatives, 5CC has established itself as one of the top dermatology, laser and aesthetic meetings in the world and the biggest international conference in Aesthetic Dermatology and Cosmetic Surgery in Spain.
The latest program with pertinent information on the scientific program, our faculty, accommodation, social events and city tours is available for download HERE.
As members of our Scientific Partner SLCD, you are entitled to reduced "Member" delegate fees and may save up to € 200. To register for 5CC, please visit our REGISTRATION WEBSITE and choose "Member of Scientific Partners" as ticket category.
For any questions, please do not hesitate to contact me. We look forward to seeing you in Barcelona!


Incredible building potential! - or live in or rent it out and keep it as a holding property that feels more like an estate. This gem of a lot in the British properties is flat and 14, 175 Sq Ft ( 105x135 ) The house itself is very livable boasting 2 floors, 2,100 sq ft, 4 bedrooms, 2 full bathrooms, beautiful original hardwood, post and beam ceilings, and lots of windows that open bright to the massive SW exposed grass backyeard. This property has the ultimate combination of having quick access to local shopping, the #1 Highaway yet still remaining in a location that provides a peaceful lifestyle away from all the hustle and bustle...paradice awaits!


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Gemma Collins in Celebrity Big Brother
'She's a f***ing b****!' Gemma Collins SLAMS Stephanie Davis after actress wins immunity from Celebrity Big Brother eviction
There's been ANOTHER fight between Gemma Collins and Stephanie Davis in the CBB house
Carl Greenwood
Get the biggest daily Celebrity Big Brother stories by email
There's been another fight in the Celebrity Big Brother house.
This time Gemma Collins and Danniella Westbrook have clashed once again with Stephanie Davis, but this time the furious former TOWIE star has resorted to a foul-mouthed rant, calling the ex Hollyoaks star a 'f***ing b****'.
Gemma and Danniella over reacted to being challenged in the house by dramatically storming out of it.
The ex TOWIE star and former actress took umbridge with Stephanie Davis partaking in the task and causing for Danniella to lose out at a chance to win immunity from the next eviction.
Despite previously insisting she wanted to go home, the minute this became a reality, Danniella burst into a fury, blasting out: "I'm out, thank you. Let me out of this f***ing room."
At this point Danniella began kicking the door to get out, forcing Big Brother to open the door.
Not that the kicking stopped her from spitting her fury out at Stephanie, she carried on: "You know how much it means to me and you've done it again with my kids.
"You're f***ing sniping at [Gemma] constantly."
With this she sweeps out of the room with Gemma following, though the ex-TOWIE star briefly stops to sneer: "Drop it, you're a very nasty girl."
Once out of the task room, Gemma over dramatically declared:"I'm not doing it anymore. I've had enough, she's a f***ing b****."
As the pair storm off towards the fire exit, again, Danniella added: "As long as she's got blokes wrapped around her she's alright."
Once again, the pair then leave the house through the fire exit in the garden.
In a completely shocking and totally unexpected turn of events, Gemma and Danniella then decided that they wanted to return to the house, just as they had done yesterday.
Danniella told Big Brother: "I apologise for booting that door and I apologise for messing the whole task up."
Big Brother reminded them that if they wish to leave the house there are appropriate ways to do so which leads Danniella to claim that the only way they will leave the house is when they are voted out.
"The only way that me or Gemma will get out of this house is when people stop voting for us and we walk up the stairs to Emma."
However, later in the house something truly unexpected happened when the warring threesome came together and buried the hatchet - mostly.
Danniella was first to apologise to Stephanie in the kitchen, telling her: "I know everyone's emotional, I'm super emotional about my kids at the minute, but that ain't your fault.
"I do love you mate. But this house makes it hard for everyone. I don't want an atmosphere in here. We're gonna get through it.
"We need to start having a good time in here. You are me and that's what hurts me."
Seemingly following the lead from her house BFF, Gemma followed suit though didn't quite open up to the level Danniella did.
She told Stephanie: "I know we ain't ever gonna be the best of friends, but can we find a way of moving forward and putting everything behind us?
"I do genuinely like you and I don't know why we keep rowing."
Stephanie replied: "it's just difference of opinions and we're gonna have to leave it like that."
And then it was hugs all round and peace was temporarily restored to the Celebrity Big Brother house.
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Celebrity Big Brother contestants
Stephanie Davis
Stephanie Davis in Celebrity Big Brother
Danniella Westbrook in Celebrity Big Brother


text:
OSA Publishing > Optics Express > Volume 22 > Issue 9 > Page 10593
Apertureless beam pen lithography based on fully metal-coated polyurethane-acrylate (PUA) pyramidal microstructure array
Chun-Ying Wu and Yung-Chun Lee
Chun-Ying Wu and Yung-Chun Lee*
Department of Mechanical Engineering, National Cheng Kung University, Tainan, 701, Taiwan
*Corresponding author: yunglee@mail.ncku.edu.tw
C Wu
Y Lee
Chun-Ying Wu and Yung-Chun Lee, "Apertureless beam pen lithography based on fully metal-coated polyurethane-acrylate (PUA) pyramidal microstructure array," Opt. Express 22, 10593-10604 (2014)
Chemical vapor deposition
Near field microscopy
Scanning probe microscopy
Thin films
Nanolithography (110.4235)
Nanostructure fabrication (220.4241)
Subwavelength structures, nanostructures (310.6628)
Revised Manuscript: April 18, 2014
Manuscript Accepted: April 21, 2014
This work demonstrates a form of arrayed transmitting apertureless near-field photolithography, called apertureless beam pen lithography. An array of fully chromium-coated polyurethane acrylate (PUA) pyramidal microstructures was illuminated by a traditional Ultraviolet (UV) lamp to generate an array of massive UV beam pens for realizing apertureless beam pen lithography. Experimental results reveal that significant UV energy can pass through the apex of a fully metal-coated PUA pyramid even though the thickness of the metallic coating exceeded the penetration depth. The patterned photoresist profiles were 117 nm deep and the full-width-at-half-magnitude (FWHM) was 180 nm when the exposure dosage was 54 mJ/cm2 and the wavelength was 365 nm. Both depth and FWHM increased with exposure dosage, implying that the profiles depended on exposure dosage rather than on physical imprinting. With the adjustment of the thickness of the photoresist layer and the exposure parameters, the lift-off process yields arrayed metal dots with a diameter of 300 nm. Finite-element simulation of the intensity distribution near the apex of the pyramid and within the photoresist layer was carried out to reveal that the energy concentration within the pyramids is increased by approximately an order of magnitude, significantly enhancing the UV energy that passes through the fully metal-coated apex. The contrast curve model of the photoresist was used to calculate the patterned photoresist profiles for various energies. Experimental results, theoretical analysis and potential improvements of the method are presented.
Photolithographic patterning at sub-micrometer scale using a three-dimensional soft photo-mask with application on localized surface plasma resonance
Yu-Zen Chen, Chun-Ying Wu, and Yung-Chun Lee
Contact photolithography using a carbon-black embedded soft photomask and ultraviolet light emitting diodes with application on patterned sapphire substrates
Heng Hsieh, Chun-Ying Wu, and Yung-Chun Lee
Low-cost fabrication of large area sub-wavelength anti-reflective structures on polymer film using a soft PUA mold
Jie Zhang, Su Shen, Xiao X Dong, and Lin S Chen
Optical scales, reticles, gratings, masks, and standards
D. F. Horne
One-step transfer of diffractive structure from a designed pattern to a replica by use of a hybrid solgel film
Yongqi Fu and Ngoi Kok Ann Bryan
Opt. Express 10(10) 436-442 (2002)
F. Huo, G. Zheng, X. Liao, L. R. Giam, J. Chai, X. Chen, W. Shim, and C. A. Mirkin, "Beam pen lithography," Nat. Nanotechnol. 5(9), 637–640 (2010).
X. Liao, K. A. Brown, A. L. Schmucker, G. Liu, S. He, W. Shim, and C. A. Mirkin, "Desktop nanofabrication with massively multiplexed beam pen lithography," Nat Commun 4, 2103 (2013).
H. Hu, J. Yeom, G. Mensing, Y. Chen, M. A. Shannon, and W. P. King, "Nano-fabrication with a flexible array of nano-apertures," Nanotechnology 23(17), 175303 (2012).
L. Vaccaro, L. Aeschimann, U. Staufer, H. P. Herzig, and R. Dandliker, "Propagation of electromagnetic field in fully coated near-field optical probes," Appl. Phys. Lett. 83(3), 584–586 (2003).
L. Aeschimann, T. Akiyama, U. Staufer, N. F. De Rooij, L. Thiery, R. Eckert, and H. Heinzelmann, "Characterization and fabrication of fully metal-coated scanning near-field optical microscopy SiO2 tips," J. Microsc. 209(3), 182–187 (2003).
E. Descrovi, L. Vaccaro, W. Nakagawa, L. Aeschimann, U. Staufer, and H. P. Herzig, "Collection of transverse and longitudinal fields by means of apertureless nanoprobes with different metal coating characteristics," Appl. Phys. Lett. 85(22), 5340–5342 (2004).
I. Kubicova, D. Pudis, J. Skriniarova, J. Kovac, J. Kovac, J. Jakabovic, L. Suslik, J. Novak, and A. Kuzma, "2D irregular structure in the LED surface patterned by NSOM lithography," Appl. Surf. Sci. 269, 116–119 (2013).
I. Kubicova, D. Pudis, L. Suslik, and J. Skriniarova, "Spatial resolution of apertureless metal-coated fiber tip for NSOM lithography determined by tip-to-tip scan," Optik (Stuttg.) 124(14), 1971–1973 (2013).
F. Huo, Z. Zheng, G. Zheng, L. R. Giam, H. Zhang, and C. A. Mirkin, "Polymer Pen Lithography," Science 321(5896), 1658–1660 (2008).
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K. R. Williams and R. S. Muller, "Etch Rates for Micromachining Processing," J. Microelectromech. Syst. 5(4), 256–269 (1996).
D. Qin, Y. Xia, and G. M. Whitesides, "Soft lithography for micro- and nanoscale patterning," Nat. Protoc. 5(3), 491–502 (2010).
J. Park, J. H. Park, E. Kim, C. W. Ahn, H. I. Jang, J. A. Rogers, and S. Jeon, "Conformable solid-index phase masks composed of high-aspect-ratio micropillar arrays and their application to 3D nanopatterning," Adv. Mater. 23(7), 860–864 (2011).
J. Y. Kim, K. S. Park, Z. S. Kim, K. H. Baek, and L. M. Do, "Fabrication of low-cost submicron patterned polymeric replica mold with high elastic modulus over a large area," Soft Matter 8(4), 1184–1189 (2012).
P. J. Yoo, S. J. Choi, J. H. Kim, D. Suh, S. J. Baek, T. W. Kim, and H. H. Lee, "Unconventional patterning with a modulus-tunable mold: from imprinting to microcontact printing," Chem. Mater. 16(24), 5000–5005 (2004).
http://www.minuta.co.kr/products/products_mold_template.html (Accessed February 28, 2014)
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Z. M. Zhang, Nano/Microscale Heat Transfer, (McGraw-Hill, 2007), Chap. 8.
E. Lee and J. W. Hahn, "The effect of photoresist contrast on the exposure profiles obtained with evanescent fields of nanoapertures," J. Appl. Phys. 103(8), 083550 (2008).
E. Lee and J. W. Hahn, "Modeling of three-dimensional photoresist profiles exposed by localized fields of high-transmission nano-apertures," Nanotechnology 19(27), 275303 (2008).
Y. Kim, H. Jung, S. Kim, J. Jang, J. Y. Lee, and J. W. Hahn, "Accurate near-field lithography modeling and quantitative mapping of the near-field distribution of a plasmonic nanoaperture in a metal," Opt. Express 19(20), 19296–19309 (2011).
Aeschimann, L.
Ahn, C. W.
Akiyama, T.
Baek, K. H.
Baek, S. J.
Barycka, I.
Brown, K. A.
Chai, J.
Chen, Y.
Choi, S. J.
Dandliker, R.
De Rooij, N. F.
Descrovi, E.
Do, L. M.
Eckert, R.
Giam, L. R.
Hahn, J. W.
He, S.
Heinzelmann, H.
Herzig, H. P.
Hu, H.
Huo, F.
Jakabovic, J.
Jang, H. I.
Jang, J.
Jeon, S.
Jung, H.
Kim, E.
Kim, J. H.
Kim, J. Y.
Kim, S.
Kim, T. W.
Kim, Y.
Kim, Z. S.
King, W. P.
Kovac, J.
Kovacs, G. T. A.
Kubicova, I.
Kuzma, A.
Lee, E.
Lee, H. H.
Lee, J. Y.
Liao, X.
Liu, G.
Maluf, N. I.
Mensing, G.
Mirkin, C. A.
Muller, R. S.
Nakagawa, W.
Norwood, R. A.
Novak, J.
Park, J.
Park, J. H.
Park, K. S.
Petersen, K. E.
Pudis, D.
Qin, D.
Rogers, J. A.
Schmucker, A. L.
Shannon, M. A.
Shim, W.
Skriniarova, J.
Staufer, U.
Suh, D.
Suslik, L.
Thiery, L.
Vaccaro, L.
Whitesides, G. M.
Whitney, L. A.
Williams, K. R.
Xia, Y.
Yeom, J.
Yoo, P. J.
Zhang, H.
Zheng, G.
Zheng, Z.
Zubel, I.
Adv. Mater. (1)
Appl. Surf. Sci. (1)
Chem. Mater. (1)
J. Microelectromech. Syst. (1)
J. Microsc. (1)
Nat Commun (1)
Nat. Nanotechnol. (1)
Nat. Protoc. (1)
Optik (Stuttg.) (1)
Proc. IEEE (1)
Proc. SPIE (1)
Sens. Actuator A-Phys. (1)
Soft Matter (1)
Fig. 1 Complete flow diagram of fabrication of fully metal-coated PUA mold.
Fig. 2 SEM image of silicon master mold with inverted pyramidal structures. Inverted pyramidal cavities are arranged in a rectangle with a period of 10 μm. Inset presents cross-section image of individual inverted pyramidal cavity, which has a base length of 2 μm and a depth of 1.4 μm.
Fig. 3 Replication process of UV-curable PUA micro-pyramidal structures performed in a vacuum.
Fig. 4 SEM image of PUA micro-pyramid replicated from silicon master mold. PUA micro-pyramids are arranged in a rectangle with a period of 10 μm. In inset, bottom width and height of pyramids are 2 μm and 1.4 μm, respectively. Radius of curvature of pyramidal tip is estimated to be less than 100 nm.
Fig. 5 AFM topographic measurements of patterned PR structures. Gaussian curve-fitting approximates cross-section profile. (a) Exposure time is 3 s: depth of PR is 117 nm and FWHM is 180 nm; (b) exposure time is 4 s: depth of PR is 140 nm and FWHM is 231 nm; (c) exposure time is 5 s: depth of PR is 154 nm and FWHM is 269 nm.
Fig. 6 Variation of cross-section profile with exposure time. Both depth and FWHM of PR structure are proportional to exposure time.
Fig. 7 SEM images of (a) an indented pattern without UV exposure and PR developing, and (b) an etched profile after UV exposure and developing process.
Fig. 8 SEM image of patterned metal dots. Periodicity of array of metal dots is 10 μm. Inset shows single metal dot. Diameter of metal dot is 300 nm.
Fig. 9 Numerical simulation of apertureless near-field lithography. (a) A one-quarter model with planes of symmetry. Y-polarized plane wave is incident from top surface of PUA in –Z direction; planes perpendicular to incident E-field (XZ- or TE-plane) have PEC boundary conditions; planes perpendicular incident H-field (YZ- or TM-plane) have PMC boundary conditions. (b) Average UV power density distribution on TE- and TM-planes near fully chromium-coated PUA pyramidal structure with base angle 54.74°. (c) Theoretically calculated patterned photoresist profile based on contrast curve model of photoresist with exposure time of 5 s. (d) Variation of calculated photoresist profile with exposure time.
Fig. 10 Comparison of UV power density distributions of fully metal-coated surface structures. UV power density (P) is normalized to incident power density (P0). (a) Surface with no micro-structures: transmitted power is less than 1% of incident power because thickness of metallic coating is six times penetration depth. (b) Arrayed micro-pillars with a diameter of 1 μm and a height of 1 μm. (c) Arrayed micro-pyramids with a base length of 2 μm and a base angle of 45°. (d) Arrayed micro-pyramids with a base length of 2 μm and a base angle of 54.74°.
Fig. 11 Comparison of UV power density distributions of variously thickness of chromium coating on PUA micro-pyramids with base angle 54.74°. UV power density (P) is normalized to incident power density (P0). (a) Bare PUA pyramid without metallic coating. (b) PUA pyramid with 60 nm-thick chromium coating. (c) PUA pyramid with 54 nm-thick chromium coating. (d) PUA pyramid with 66 nm-thick chromium coating.
Fig. 12 Comparison of UV power density distributions of variously base length of metal- coated PUA micro-pyramids with base angle 54.74°. UV power density (P) is normalized to incident power density (P0). (a) PUA pyramid with a base length of 0.4 μm. (b) PUA pyramid with a base length of 2 μm. (c) PUA pyramid with a base length of 1.8 μm. (d) PUA pyramid with a base length of 2.2 μm.
Table 1 Optical Properties of Materials at a Wavelength of 365 nm
(1) d = λ 4 ⋅ π ⋅ k ,
(2) E ( z ) = E t h ⋅ exp { z ⋅ ln ( E c / E t h ) T 0 } , E t h < E ( z ) < E c ,
Optical Properties of Materials at a Wavelength of 365 nm
Refractive index (n)
Extinction coefficient (k)
PUA 1.490 N/A [17]
Chromium 1.400 3.258 [18]
AZ1500 1.712 0.036 [19]
Silicon 6.522 2.705 [20]


text:
EBU delivers 47 million hours of cycling content on FTA channels across Europe
Viewers in France (France Télévisions), Italy (Rai), the Netherlands (NPO), Belgium (VRT & RTBF) and Austria (ORF) watched the most coverage
Jenny Priestley ⋅ Oct 11, 2018
The European Broadcasting Union, in partnership with Union Cycliste Internationale (UCI) delivered 47 million hours of cycling action from Innsbruck-Tirol, Austria, this summer.
The coverage was watched on free-to-air channels in 20 countries across Europe. Overall, the event was aired in 53 European countries, with coverage provided by Eurosport in non-free-to-air countries.
Viewers in France (France Télévisions), Italy (Rai), the Netherlands (NPO), Belgium (VRT and RTBF) and host country Austria (ORF) watched the most coverage.
The Men Elite road race (30th September) enjoyed an all-time viewership record with fans watching a total of 21.5 million hours on EBU Members' free-to-air channels. The race attracted peak audiences of over a million viewers in both France and Italy and over 500,000 in Belgium and the Netherlands.
The Women Elite road race (29th September) was also broadcast in 53 countries across Europe including 18 territories covered by EBU Members, with peak audiences of between 500,000 and a million viewers in the Netherlands (NOS), the UK (BBC) and France (France 3).
Eurovision Media Services, the business arm of the EBU, handled production, broadcast services, contribution and worldwide distribution the event.
"The EBU is very proud to have played a vital role in delivering such impressive viewing figures for the 2018 UCI Road World Championships" said Stefan Kürten, EBU executive director of sport.
"We are fully committed to offering the UCI, National Federations and event organisers the best platforms and the best services ranging from production to distribution to engage with all audiences across Europe."
Tags ⋅ Austria ⋅ belgium ⋅ cycling ⋅ EBU ⋅ european broadcasting union ⋅ france ⋅ FTA ⋅ italy ⋅ netherlands
LiveU delivers 15,000 hours of transmission during FIFA World Cup
Eurosport ups digital coverage of cycling season
EBU partners for ENG service
Top pay-TV operators to add 200 million subs
Sky passes 12 million customer milestone
ZOO Digital delivers 30 million subtitles worldwide
Shazam exceeds 100 million mobile monthly active users
EBU elects new vice-president


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Contemporary Jewelry Takes a Stand
By TONI GREENBAUM | December 1, 2015
"One reason that we prize jewelry so highly…is the way that it concentrates an artist's ideas in such a condensed form" —Glenn Adamson
(left to right) Helen Williams Drutt wearing earrings, necklace, brooch, cuff, and ring, all from her collection; Karl Bollmann wearing Graffiti brooch by Annamaria Zanella, 1990–1999; Marjan Unger wearing Sketch for Sleeping Beauty II necklace by Robert Smit, 1990; Lois Boardman wearing I Earned My Wings neckpiece of taxidermy parakeet wings by Afke Golsteijn, 2013; Deedie Potter Rose wearing an iron and enamel brooch by Bettina Dittlman, c. 2004–2006.
Throughout history, jewelry has been social marker and amulet, used to enhance sexual allure, or for ceremony and ritual. Over time, jewelry-making evolved into a fine craft, largely created from precious metals and gemstones—which most still is. Nonetheless, a small but dedicated group of connoisseurs seeks a type of jewelry—termed "contemporary"—that, like painting and sculpture, is a vehicle for aesthetic expression. Its value can come from the exploration of ideas, new technology, and the incorporation of topical issues and even commentary. At times the work is conceptual, even provocative. Often it is very beautiful. Much of it stands out for the use of unexpected materials such as steel, wood, plastic, detritus, textiles, photographs, and even taxidermy.
Pendants Pending earrings designed by Man Ray, made by GEM Montebello, 1970. 18-karat gold. Museum of Fine Arts, Boston, Daphne Farago Collection.
Several museums specialize in jewelry from pre-history to the present day, but the inclusion of contemporary jewelry in jewelry museums only allows for limited comparison with other eras, locales, and/or formats. Placement at more broad-based institutions, within the context of painting, sculpture, and design, on the other hand, facilitates interdisciplinary analyses; and directors and curators of encyclopedic museums are thus becoming increasingly interested in contemporary jewelry. Maxwell L. Anderson, former Eugene McDermott Director of the Dallas Museum of Art, terms contemporary jewelry a "compelling genre within the broader contexts of painting and sculpture."
The formidable, if small, group of collectors who has brought this field into the limelight has championed the makers, patronized galleries, funded ambitious exhibitions with erudite catalogues, and supported other publications. They have amassed sizable collections that, though each is different and highly personal (as jewelry would be), represent some of the most important achievements in the field. Now, a significant number of these collectors are helping some of the world's major museums build their holdings.
Hinged Loop Neckpiece with Three Bars by David Watkins, 1974. Acrylic and sterling silver. Museum of Fine Arts, Houston, Helen Williams Drutt Collection.
This is, of course, a time-tested path for museums, to construct collections from major gifts. But contemporary jewelry is a comparatively new area of inquiry and acquisition for museums—and unique for the modern collecting world in that it is so very personal, art that is best displayed when worn. As such, jewelry is an intimate art, and so collectors often apply their own criteria when considering a piece. Thus, it's worth understanding just who these collectors-turned-patrons are, since their private taste is shaping what the public will know about contemporary jewelry. Here is a look at ten such collections—and the people who created them.
The contributions of Helen Williams Drutt are inestimable. Her stated objective in pursuing the discipline is to "hold history," not necessarily to build a collection. She has consistently sought superlative American and international work, not only for her own purposes but also to enlighten others, which she achieves through her lectures, writing, and more. In 1973 Drutt opened an eponymous gallery in her home city of Philadelphia, with contemporary jewelry a chief focus. Through the gallery's outreach, her own scholarship, reverence for the artists, and curatorial acumen, Drutt spawned a following for contemporary jewelry that would otherwise be inconceivable.
Gilding the Past necklace, by Nancy Worden, 2001. Gold-plated copper and coin silver, bone, coral, turquoise, brass, and cotton. Los Angeles County Museum of Art (LACMA), Lois and Bob Boardman Gift.
In 2002 the Helen Drutt Gallery closed, and the Museum of Fine Arts in Houston subsequently accessioned through gift and purchase more than eight hundred of Drutt's jewels and related drawings dating from 1960 to 2006. In 2007 the museum organized a traveling exhibition of approximately three hundred objects from the collection, 275 of them pieces of jewelry. The accompanying book, Ornament as Art: Avant-Garde Jewelry from the Helen Williams Drutt Collection, along with Drutt's 1995 book, Jewelry of Our Time: Art, Ornament and Obsession (co-written with the late Peter Dormer), have become standard texts on the subject. The late Peter C. Marzio, director of the Museum of Fine Arts, Houston for twenty-eight years, wrote in a stirring foreword to Ornament as Art: "The Drutt Collection attacks traditional academic, art historical categories. This subversive challenge forces us to abandon certain conventional modes of thought and to redefine ideas of sculpture, painting, decorative arts, and so forth." Wishing to foster international understanding through the sharing of handmade objects, last year Drutt was responsible for the exhibition Gifts from America: 1948–2013—comprising seventy-four works given to the State Hermitage Museum in Saint Petersburg, Russia, in celebration of the museum's 250th anniversary. The works were donated by forty-three artists and patrons, including Drutt, and featured works by thirty international jewelers. A noteworthy sign that this is a watershed moment is the evident desire by the Hermitage, one of the world's oldest and largest museums of historical art and culture, to expand its commitment to collecting and exhibiting later twentieth- and twenty-first-century applied art, including jewelry.
Bracelet by Gerd Rothmann. Gold. Dallas Museum of Art, Rose-Asenbaum Collection, Edward W. and Deedie Potter Rose gift.
Southern Californian Lois Boardman says that her friendship with Drutt led her "down the ruinous path of collecting." Indebted nonetheless to Drutt for exposing her to the "fun and wonder" of pursuing contemporary jewelry when they first met in the early 1980s, Boardman amassed her own impressive collection of more than three hundred pieces, much of which she and her husband Bob are donating to the Los Angeles County Museum of Art. An exhibition of selections, Beyond Bling, is scheduled to open next fall and will be accompanied by a catalogue.
Contrary to what one might think, most jewelry collectors are not daunted by the provocative, humorous, or avant-garde—and Boardman is a prime example. In fact, she welcomes experimentation. Consider Washington state artist Nancy Worden's gilded cast chicken-bone neckpiece Gilding the Past or Virginia-based Susie Ganch's Static Orbital Model #3, a headpiece in the form of a menorah. Boardman says that she has even worn German jeweler Georg Dobler's necklace with a huge faceted amethyst centered between two hefty cast silver beetles, to Costco. Her strategy is to chart the aesthetic and technical development of each artist she believes is fundamental to the field by purchasing several of their works—although she admits her personal preference is for works in gold.
Goldfinger cuff bracelet by Bruno Martinazzi, 1969. 20-karat gold and 18-karat white gold. Museum of Fine Arts, Boston, Farago Collection.
Former New York resident Donna Schneier, who also began collecting contemporary jewelry in the 1980s, chooses pieces for their concepts and actually wears very few of them. Unlike Boardman, she claims to have no "personal taste in jewelry," selecting each work with a curator's savvy and aiming to document the most authoritative objects by the most influential artists of the period. Schneier was initially attracted to "body adornment" being made in England and the Netherlands in the 1980s from atypical materials such as paper, fiber, rubber, tin, and plastic. She purchased several examples, which she displayed in the office from which she ran a business that imported conventional gold jewelry. In 1997 she donated a selection of these non-precious works to the American Craft Museum (now the Museum of Arts and Design), which organized an exhibition and book around them titled Zero Karat. Then, in 2007 and 2013, Schneier donated some 132 examples of contemporary American and European jewelry to the Metropolitan Museum of Art. In discussing the gift, Jane Adlin, former associate curator in the Met's Department of Modern and Contemporary Art, commented: "I love jewelry…so…[I said] let's see what we can do about strengthening that part of the [Met's] collection.…I look at contemporary jewelry as part of contemporary design." In the spring of 2014 the museum organized an exhibition and accompanying catalogue, Unique by Design, which spotlighted masterworks by Americans Thomas Gentille, Joyce J. Scott, and William Harper and Germans Hermann Jünger, Otto Künzli, and Dorothea Prühl, among a panoply of other major international jewelers.
Comfort was a requisite for Daphne Farago when she considered a piece of jewelry for her collection. Farago began collecting in the late 1980s and possesses many stellar contemporary European works that illustrate the cross-fertilization between American and European jewelers during the later twentieth century, as well as mid-twentieth-century examples designed by international painters and sculptors. But her emphasis was on relating the story of American studio jewelry from its inception around 1940—with Alexander Calder's powerfully wrought jewels of brass and silver—to its maturity at the turn of the twenty-first century. Born in South Africa, Farago made her primary home in Rhode Island, where she founded the Daphne Farago Wing for Contemporary Art at the Rhode Island School of Design Museum in 1993, a gallery that features exhibitions from the museum's contemporary art collection. In addition, she has given more than 950 pieces of contemporary studio craft in a variety of mediums to the Museum of Fine Arts, Boston. These include more than 650 pieces of jewelry, many of which were featured in Jewelry by Artists: The Daphne Farago Collection, an exhibition that ran for nearly a year, from 2007 to 2008. A catalogue, Jewelry by Artists in the Studio, 1940–2000: Selections from the Daphne Farago Collection, was published by the museum in 2010. Permanent loans and promised gifts from Farago continue to enter the MFA.
Lovers brooch by Sam Kramer and Carol Kramer, 1949. Silver, turquoise, and garnet. Museum of Fine Arts, Boston, Farago Collection.
Deedie Potter Rose and her husband Edward W. Rose collect contemporary painting and sculpture, particularly from Latin America. That collection is earmarked for the Dallas Museum of Art as part of an effort to build a strong contemporary presence there. Deedie Rose became aware of contemporary jewelry accidently in the early 1990s, when she happened upon images of two geometric stainless-steel brooches by Czech artist Eva Eisler in a magazine article. She pursued Eisler, and never looked back. Like contemporary art, contemporary jewelry, she feels, makes one "think in new ways."
She has already given several works to the Dallas Museum, including a necklace of thin plastic tubing infused with jeweler's steel sawblades and a brooch of densely layered watch hands and oxidized silver, both by American Sergey Jivetin. But Rose's most generous contribution to date is the Rose-Asenbaum Collection, which came about through another chance encounter. In 2012, during a trip to Vienna, where she and her husband were seeking Wiener Werkstätte furniture, Rose was introduced to a spectacular collection of more than seven hundred pieces by international jewelry luminaries working from 1960 to the present—such as Slovak Anton Cepka, German Gerd Rothmann, Swiss Max Fröhlich, and Italian Francesco Pavan—that belonged to Austrian collector, consultant, and gallerist Inge Asenbaum. The following year Rose purchased Asenbaum's collection for the Dallas Museum. As Kevin W. Tucker, former Margot B. Perot Senior Curator of Decorative Arts and Design there and now director of the Museum of the American Arts and Crafts Movement in Saint Petersburg, Florida, says, "The Rose-Asenbaum Collection provides special resonance with the DMA's collection of modern and contemporary art as, freed from the usual constraints of design for practical function, these artists could and did explore conceptual issues, questioning not just style and materials but the very role of the objects they were creating." A selection from the Rose-Asenbaum Collection is on view until the end of 2016 in Form/Unformed: Design from 1960 to the Present, an ongoing installation of iconic furniture and objects from DMA's holdings.
Spanish Chimera ring by Manfred Bischoff, 2001–2009. Gold. Bollmann Collection.
The rich jewelry history of the Netherlands is a subject that Dutch art historian Marjan Unger has written and lectured extensively about, including Het Nederlandse sieraad in de 20ste eeuw (Dutch Jewelry in the 20th Century) in 2004. In celebration of her PhD, granted by Leiden University in 2010 for a thesis that addresses theoretical issues involving jewelry, she and her husband, Gerard, donated their collection of almost five hundred pieces of Dutch twentieth- and twenty-first-century jewelry to the Rijksmuseum in Amsterdam. Although they concentrated on the period between 1930 and 1970, the Unger Collection extends the museum's jewelry holdings to the present day, including outstanding examples by such contemporary masters as Paul Derrez, Robert Smit, and Beppe Kessler. Unger did not set out to amass such a group when she began purchasing modern Dutch jewelry in 1980. Rather she began acquiring through emotion and intellect, stating that her "professional relationship" with jewelry is characterized by "curiosity, complicity and the thrilling feeling of falling in love."
The late Dutch art collector Ronald Kuipers was introduced to contemporary jewelry through fine art. After his death in 2014, his family donated his jewelry collection to CODA, a museum in Apeldoorn. Through this bequest, CODA added to its already exceptional collection of works by Dutch maker Evert Nijland and acquired significant pieces by Ruudt Peters, Felieke van der Leest, and Jantje Fleischhut, the Italian Marc Monzó, and Australian Helen Britton.
Since 2004 one of the world's most impressive contemporary jewelry collections has been housed in the Danner Rotunda, a dedicated gallery supported by the Danner Foundation within the Neue Sammlung—The Design Museum in the Pinakothek der Moderne in Munich. The collection, consisting of a permanent loan from the Danner Foundation, as well as private donations, was inaugurated in 1995, when Serbian jeweler Peter Skubic gave sixty pieces—none made by him—to the museum in honor of his sixtieth birthday; the following year this core collection was buttressed by contributions from Austrian jeweler Sepp Schmölzer and German jewelers Marianne Schliwinski and her husband, Jürgen Eickhoff, owners of Munich's Galerie Spektrum.
Peter Skubic also played a seminal role in thejewelry collection of Austrians Heidi and Karl Bollmann, a portion of which was exhibited at MAK, the Österreichisches Museum für angewandte Kunst/Gegenwartskunst (Austrian Museum of Applied Art/Contemporary Art) in early 2015. The Bollmann Collection of more than a thousand objects began in 1972, when Karl Bollmann inherited some diamonds and commissioned Skubic to incorporate them into a jewel for Heidi. Bollmann believes that jewelry possesses "universal validity" in communicating thoughts and feelings. The Bollmanns regard the MAK exhibition and its splendid catalogue, Jewellery 1970–2015: Bollmann Collection as a "thank you" to the makers who have so enriched their lives.
Swiss nationals Sonja and Christian Graber recently donated an in-depth collection of jewelry and objects by countryman Bernhard Schobinger to the Kunsthaus Zug in Zug, Switzerland— along with photographs by Schobinger's Zug-born wife, video artist and photographer Annelies Štrba, and paintings by Zurich's Adrian Schiess. Known for his paradoxical jewelry made from precious materials and rubbish, Schobinger's work is simultaneously confrontational and mystical. Many of the works were published for the first time in the catalogue that accompanied the exhibition Adrian Schiess, Bernhard Schobinger, Annelies Štrba: The Gift of the Graber Collections, held at the museum in the fall of 2015.
Thanks to an enthusiastic welcome from museums and the gracious generosity of collectors, contemporary jewelry has a public platform.
Thanks to an enthusiastic welcome from numerous museums and the gracious generosity of its growing collectorship, contemporary jewelry has a public platform. When asked about the importance of contemporary jewelry collections and the collectors who facilitate them, Glenn Adamson, Nanette L. Laitman Director at the Museum of Arts and Design, said: "One reason that we prize jewelry so highly at MAD is the way that it concentrates an artist's ideas in such a condensed form. The opportunity to build a definitive collection of these objects is still more powerful, because it demonstrates the enormous range of the medium's possibilities. And at the end of the day, museums and collectors are working together toward this shared goal, to communicate and preserve the work of artists we respect so highly."
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The history of liquor legislation in Saskatchewan 1870 - 1947
McLeod_Donald_Mac_sec_1948.pdf (18.53Mb)
McLeod, Donald Mac
The series of experiments carried out in the community of Saskatchewan is one of our most interesting studies in social control. The experiment here illustrates most of the problems encountered by a people in working out a system of liquor control from the pioneer stage. The territory, which now comprises Saskatchewan, was a Canadian frontier at the end of the nineteenth century. When the eastern provinces were well settled, it was still a wilderness devoid of institutions of government, law, and order. Indians, a few fur traders, and missionaries were the only inhabitants. At the outset, the problem of controlling liquor was associated with the Indians. Into the new country swarmed a multitude of white settlers from many lands. With their arrival a series of experiments began, carried out first by the Canadian government, and then by the people themselves, in an effort to work out an effective means of controlling liquor. The story of this series of experiments is one of the fascinating studies of western Canadian history.
Master of Arts (M.A.)


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For an evening of exclusive performances by our very own J'Martin, DavidL, Mickey & Joell 24 Horas, Francheska and Ripiao KingzHosted by yours truly, Porfirio Pina.
On Thursday October 15 Y'Martin sing at the event "The Live Movement" to present a selection of his songs in Stage 48 with the Francheska artists Mickey & Joell 24 Hours, DavidL, Ripiao Kingz DJ Prez Taino and under driving the experienced Porfirio "Popi" Pineapple.
In this month dedicated to the Latino community, J'Martin be part of Hispanic Day Parade in the carriage of the weekly The Special Sunday October 18 and will run on Bergenline Avenue from 82nd Street to City 30 NY.


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text:
Search in titles only Search in Predator Hunting only
If you are hunting on public land next to private land clearly marked as no trespassing, do you give a buffer or do you hunt to
ozark_ghost
If you are hunting on public land next to private land clearly marked as no trespassing, do you give a buffer or do you hunt to the edge and hope no game falls over the property line? Would you retrieve any game that might go over the line without permission?
I would respect the fact that it is public land to begin with(free to hunt) and make sure that I gave the private land owner a buffer zone unless I spoke to them prior to hunting and they said it was okay to go onto their land and retrieve game that has died on their property. Legally you can hunt right up until the border, but that bullet only needs to be a few inches off and that deer can run 100 or more yards(onto private property).
4everAutumn
Laws vary by state, but in Iowa where I live, a hunter doesn't need landowner permission for the unarmed retrieval of game that escapes or dies on someone else's property. Not saying I agree with it, but that's the law here.
@4everAutumn,
In other words; your state allows trespassing?
huntfishtrap
I live in Iowa too, and 4everAutumn is right about the law here. Personally I prefer to stay beyond easy shooting range ( ~40 yards for bowhunting, ~100 yards for gun hunting) of the boundary when hunting on public land. And if I do hit an animal that makes it onto the private land, I try to contact the landowner when before trailing, when possible. As 4ever stated, it is legal to go after wounded game here in Iowa if you're unarmed, and I have in cases where I couldn't contact the landowner.
DSMbirddog
Even here in Iowa I would not hunt right on the property line and try for shots where the game would easily cross over.
JM: This is right off of the IADNR Website www.iowadnr.gov
I didn't write the laws, I just told you what they were.
"Trespass" means entering property without
the express permission of the owner, lessee or person
in lawful possession, with the intent to commit
a public offense; to use, remove therefrom, alter,
damage, harass, or place anything animate or inanimate,
or to hunt, fish or trap on the property. The
term trespass does not mean entering the right-ofway
of a public road or highway. Railroad right-ofways
are considered private property.
This paragraph does not prohibit the unarmed
pursuit of game or furbearing animals lawfully
injured or killed which come to rest on or escape to
the property of another.
-So if you wanted to you could go for a walk on anyone's property as long as you don't damage anything or bring a weapon?
-Where I live trespassing is going on someones land without their permission...period.
JM: Big stretch between "Going for a walk" and retrieving downed game. Pretty sure the walk would be covered by the "intent to use" portion and at the landowner's discretion to press charges. At any rate, I do wish our trespass laws had the teeth that Missouri's has. As I stated before, I don't necessarily agree with them, but they are what they are.
jcarlin
Generally speaking I try to stay clear. I did have a situation where a buck arrowed on property I had permission to hunt ran just far enough to be mere yards over the property line. We still went looking for permission but after ascertaining that no one was home, there was no way I was going to let an animal rot in a remote corner of a property surrounded by area I had hunted legally and had permission to be on. It was trespassing. I was in and out of that spot in minutes, was away from the line while hunting and even shot in the opposite direction. The buck had just enough grit in him to reach the line. So I ask you all, which is more ethical (I know where the textbook legality lies) honoring the letter of the law or not letting the animal go to waste? One other point. I'm in SE Pennsylvania. Even in the state game lands within 30 miles of me, which I hunt, it's difficult to be more than a few hundred yards away from private property. What's a deer hunter to do?
6phunter
I ,appreciate jcarln"s honest responce, knowing full well legally he was wrong.My brother once asked for permission and was denied entry ,only to watch the landowner arrive and claim the deer.Another time we were stopped by federal game wardens that denied access to govt. property to retrieve a visible downed animal.Later this animal showed up at a public processors station with a road kill tag by the same wardens.To answer your question, yes give plenty of buffer zone.WOULD i CROSS PROPERTY LINE? NOT ADVISEABLE,
makenziesch
jcarlin, I hate to say it, but you should have been arrested. Knowingly breaking the law is poaching when it comes to game laws. Get to know your neighbors before the hunt starts, you owe it to the wildlife, yourself and the owners of the land you should not have been on. If you don't know before the hunt, don't pull the trigger.
MN Outdoorsman
I would have done what jcarlin did and I'm sure most other people would have also. Let an animal rot because you can't contact the neighbor? I wouldn't. Yes I guess you should get to know all the neighbors but when going door to door looking for a spot to hunt, sometimes even last minute, that's not always possible. Seems like more states need to adopt the go on other's land only if retrieving an injured animal law. Makes sense to me. Why do many of you oppose it?
"Let an animal rot because you can't contact the neighbor? I wouldn't." - You messed up by not preparing for the hunt. Hunting is a lot more than pulling the trigger. Know where you can go and plan for the worst before the hunt starts. Don't act like a baby and do something illegal because you messed up. You owe it to the wildlife to do better.
schmakenzie, Have you ever screwed up when hunting? If not then your criticism is valid, otherwise you know what they say - "let he who is without sin cast the first stone".
I agree, in a perfect world, we would all know and get along with every landowner on all sides of our hunting spots, and we would never hit a deer (or anything else) badly anyway, so this issue would never come up. But it's not a perfect world is it?
There are times when either we don't know the adjoining landowners, when hunting out of state, etc., or when they are anti-hunting and do not allow anyone on for any reason. And there are times when we hit game badly - because it happens to everyone eventually, no matter how well you try to prepare and execute.
In short, this is a divisive issue, and I appreciate your side of the argument, but I find your holier-than-thou attitude a bit aggravating.


You're being a bit unfair: Hudson – like every other mayoral advisor – doesn't have any responsibilities, hence Newham Council's inability to provide evidence of portfolios that do not exist (see my FOI request on the What Do They Know website).
He takes the titles & the cash, he should also take the responsibility they imply. I have an FoI in and one question is about which advisor's portfolio covered the EHTC project, so we'll see what that turns up.


In "The Salt of the Earth", Wim Wenders explores the work of Sebastião Salgado. In our conversation he reveals his special trick for dealing with camera-shy photographers.
Eyes Wide Open! 100 years of Leica #photography! The exhibition at the Hamburg Deichtorhallen celebrates the history of the legend. A conversation with curator Hans-Michael Koetzle.