text:
Intermarried Asian Americans Enthusiastic About Raising Kids Jewish, New Study Finds
by Shiryn Ghermezian
"JewAsian" explores Jewish-Asian couples and their children. Photo: Screenshot.
A new study revealed that Asian Americans are eager to raise their kids according to the Jewish faith, Religious News Service reported on Friday.
"What we saw was a very high level of enthusiasm and acceptance from the non-Jewish partner or spouse for a Jewish household, usually created by both parents," said Noah Leavitt, a professor at Washington's Whitman College who published the study, JewAsian, with his wife, fellow professor Helen Kiyong Kim.
"That really surprised us, because most of what we hear about is a loss or diminishment of Jewish practice. What we found was the opposite, even when there weren't two Jewish parents in the household. We had been anticipating a bit more of mixing of religions or syncretism."
JewAsian is the first book-length study of Jewish-Asian couples and their offspring, according to RNS. It examines the intersection of race, religion and ethnicity in the increasing number of households in the US that are Jewish American and Asian American. The study explains how these intermarriages reflect the identity of the married individuals, but also of their offspring and communities.
JewAsian noted that in 2010, approximately 15 percent of all new marriages in the US were between people from different racial, ethnic or religious backgrounds.
Leavitt and Kim, a "JewAsian" couple with two children, interviewed Jewish-Asian couples and their children for the study and discovered that Asians are zealous about raising their children as Jewish, because "they see Judaism as aligning with their own values."
"We have a Korean friend, educated in Korea, and one of her texts was the Talmud (the book of Jewish commentary on the Bible)," said Kim, who converted to Judaism in December. "For a people who, like the Jews, have experienced disenfranchisement, there's a lot of looking to the Jews as potentially having the answers."
Kim said the common narrative among the Jewish community when someone marries a woman outside the faith ranges from apathy to dismissal. She said Jews often make up their minds about the couple "without knowing who they are or what their intentions are with regard to incorporating Judaism into the marriage or family life."
According to the study, children of Jewish-Asian couples are not, for the most part, looking to give up Judaism for a different religion. Kim said if they do, they usually turn toward Buddhism to "tap into a side of them that may not be reinforced by Judaism. [But] they're still Jewish and they say that being Jewish is central to them."
To answer the question of why Jews and Asians marry each other, Leavitt explained that a number of couples they spoke with said they realized that they have the same mindset on many topics, including a strong commitment to a work ethic, respect for family and the desire to prioritize education and kids. Another reason Kim specified was that Jews and Asians tend to live in the same areas and go to the same schools. There are also individual factors, such as people's attraction to one another.
Leavitt and Kim said although there are only about 30 Jewish families, and no rabbi, where they live in Walla Walla, Wash., the "tiny little" Jewish community organizes many programs and events. They said their children, now ages 5 and 8, have shown a clear identity with the Jewish faith and are aware that they come from a Jewish household.
Kim, whose parents were atheists, said Judaism is a religion she has "always been drawn to."
"I felt comfortable converting in 2015 because I saw myself reflected not only in the demographics of the American Jewish population, but because I saw how Jewish Americans were paying attention to issues of ethnic and racial diversity within the Jewish community," she told RNS , adding that her children played a role in her decision to convert.
"Our son, Ari, basically from the time he could speak, didn't see me as Jewish — even if I was doing all the Jewish practice in the home and talking to his preschool class about Jewish holidays. I was still not Jewish in his eyes because my parents were not Jewish and I was not raised Jewish. When the kids were old enough to witness my conversion ceremony, that sealed the deal."

redpajama_set_name: RedPajamaCommonCrawl


An enterprising couple convert a vintage cab into a mobile florist shop.
M/S of a man standing on the curb of a residential street, hailing a taxi. M/S of the back of the man as a vintage 1938 cab loaded with flowers pulls up - "Chelsea, long famous as a home of original people and bright ideas has produced yet another winning scheme".
A young woman, Jeannine Fuller, steps out of the cab and starts to show the man various bouquets - "Husband and wife, Bill and Jeannine Fuller found that they couldn't afford to buy a florist's shop; so instead, they bought a £10 taxi". C/U of the man. M/S of Jeannine pointing and pulling out some orange chrysanthemums from the back seat of the car. M/S of the man pointing to some white flowers, which Jeannine picks out. C/U of Jeannine talking to the man. Panning shot follows Bill Fuller coming out of the driver's seat and around the bonnet of the car, he gathers bunches of flowers from the radiator grill. M/S of the Fullers helping their customer select flowers. M/S of Bill talking to the man as he admires his bouquet. M/S of the Fullers and the man, Jeannine reaches into the back of the car. C/U of the man. C/U of Jeannine wrapping a bouquet of flowers for the man, tilt up to show Jeannine handing the flowers to the man and accepting his money. Jeanine handles the artistic side having had three years training in Paris.
C/U of Jeannine climbing into the car, she shuts the car door behind her - on it are the words, 'The Flower Bar, Paris and Lambert Ltd.'. C/U of a black Labrador hanging out of one of the back windows - the Fullers call him "The Chairman". M/S of Bill walking around the front of the car to get in the driver's seat. C/U of the back window of the cab stuffed with bunches of flowers. M/S of the car driving away and the happy customer crossing the road.


Fulton is the best singing pianist in jazz. There isn't another instrumentalist out there with her mic skills, nor a singer with her fearsome chops at the keys. More than anything else, this is a great jazz record in a Santa hat. Fulton never ceases to find both poignancy and exuberant fun in the least expected places. For the latter, check out how she Sarah Vaughns White Christmas, the album's opening track. Better watch out if you don't want that snow, because Fulton sounds like she might smack you upside the head! It's a good guess that Irving Berlin, who cut his teeth in ragtime, would approve of this jaunty, bluesy arrangement.
James Ilgenfritz's second solo album, Origami Universe – streaming at Bandcamp – transcends the concept of solo bass, both in terms of performance and composition. He's a ferocious improviser with daunting extended technique. Yet the album comprises four new compositions by major New York composers who date from an era when the downtown scene meant black-box former shooting gallery spaces instead of tourist bars.
The espionage-inspired Annie Gosfield's mini-suite Rolling Sevens and Dreaming Elevens opens the album, juxtaposing stygian bowing, elephantine snorts, oud-like reverberations, allusively jaunty, overtone-spiced harmonic riffs, gently bowed cello motives, swoops and dives galore. It's catchy despite itself.
Miya Misaoka, classical Japanese koto virtuoso who's taking the instrument to new places, contributes Four Moons Of Pluto. also a multi-part piece. Dark lows give way to uneasily hovering, insectile close harmonies and then slowly shifting, oscillating ocean liner diesel chords.Then Ilgenfritz ends it with a stately series of climbing variations.
He approaches the epic Xigliox, by master of the macabre JG Thirlwell, with a similarly ominous, matter-of-fact pacing. With its slowly crescendoing horror-film stroll and brooding bowed themes as it winds out, it's both the most predictable and funniest piece here. When Ilgenfritz finally hits his first foreshadowing tritone early on, the effect packs a quiet wallop.
Guitar shredmeister Elliott Sharp's Aletheia serves as a richly obsidian-toned coda that gets more mysterious as it goes along. Harmonics glisten and flicker against a cumulo-nimbus drone that fades to almost white noise and eventually a series of droll percussive oscillations. Thirlwell isn't the only guy here with a sense of humor. In this piece and elsewhere, it's amazing what a spectacular variety of timbres and textures Ilgenfritz creates without the use of any effects other than what appears to be a healthy amount of natural reverb.
Ilgenfritz gets around. He's playing as part of guitarist Eyal Maoz's fearsome Hypercolor trio with percussionist Lukas Ligeti at Spectrum on Dec 14 at 8. The Admiral Launch Duo – Jennifer Ellis on harp and Jonathan Hulting-Cohen on sax – headline at 9. Cover is $15.


Mobile Auto Panel Fix are the most convenient and economical method for repairs to that minor dents, scratches, bumps, and refurbishment to your vehicle, boat, caravan, or airplane. We offer remarkable service and life time warrantee on paintwork. We also repair scratches and repaint on most rims, and mag wheels. Head light restoration and complete polish for that brand new look. All repairs at a convenient location of your own choice. We service Gauteng but not limited and will consider other areas on request.


The mouse is regularly jerky and "low frame rate" when using my mac book pro as my client.
The trackpad on the client is smooth.
It's the only problem outside of the "needing to hit F12" problem that makes synergy 2 not yet ready for prime time here.
I'm on beta 3 of synergy and public beta 3 of high sierra, but I had the same mouse delay/jerkiness problems on Sierra too. High Sierra comes out in a bit more than a month. You guys might not be explicitly supporting it yet, but thought I'd drop a note since lots of users will be on high sierra by the time Synergy 2 is launched.
Also, new in beta 3 seems to be synergy using 3.6-7.8% of a cpu.
Happy to provide video or system info.
Hmm, could you try running a ping between your computers? I want to see if there are any ping spikes.
Looks like there's definitely ping delays, both on my 5ghz and normal network. I guess I'll look into my wifi being sketchy! Is this a pretty typical problem for your customers?
Does this keep happening even when you close Synergy? If not, keep closing apps until it stops happening.
Why does it happen? Because there's an app running that's querying your wifi adapter. When the wifi adapter is queried (e.g. to check signal strength, available networks, etc) this can cause the wifi device to be interrupted (causes the ping spikes).
Yes, this still happens with synergy closed.
I've rebooted and closed apps and removed startup items. Nothing I do really gets the ping to another machine under 5ms reliably and there's always jumps to 200ms+.
Hmm, that's gotta be super annoying. Is using Ethernet an option? I know it's not very seamless, but wifi can be like that sometimes.
Hey @Sudara. Let me also add something about it. I'd say it could be normal to networks where their DNS server is also the router. That's because every time your machine tries to load hostnames, sites or anything that requires it to translate from human-readable to machine-readable IP addresses.
Also, most Wi-Fi networks created by routers are just blasting the WiFi signal around it. It resembles an " Ethernet Hub" or a "Network Hub" in a wired network. Although, there's a newer technology used nowadays. It's called "beamforming." Instead of blasting the data packets intended for your device, it directly sends it to it. This one resembles a "Network Switch" for the wired network.
If having it wired is not really an option for you. You can either install a WiFi channel scanner on your smartphone and set your WiFi network to a channel which less collides with other WiFi networks you can detect or set QOS on your router.
I do have a nice beamforming router and I've been looking into my setup. All seems well, but the ping times look pretty hairy.
Ping times from both computers on WIFI regularly < 1-3ms to reach the router. There are no bumps or large variances.
Ping times from both computers to router or each other are < 0-2ms when both computers are plugged into ethernet.
Ping times when running 10 pings a second on WIFI are < 2-3ms to reach the computer. There are no bumps.
Are you able to use ethernet for testing? It'll be interesting to see if the issue still exists when using ethernet.


text:
PLoS One. 2015 Aug 21;10(8):e0136163. doi: 10.1371/journal.pone.0136163. eCollection 2015.
Medical Decision-Making Incapacity among Newly Diagnosed Older Patients with Hematological Malignancy Receiving First Line Chemotherapy: A Cross-Sectional Study of Patients and Physicians.
Sugano K1, Okuyama T2, Iida S3, Komatsu H3, Ishida T3, Kusumoto S3, Uchida M2, Nakaguchi T2, Kubota Y4, Ito Y2, Takahashi K5, Akechi T2.
Department of Psychiatry and Cognitive-Behavioral Medicine, Nagoya City University Graduate School of Medical Sciences, Nagoya, Japan; Division of Psycho-oncology and Palliative Care, Nagoya City University Hospital, Nagoya, Japan; Division of Respiratory Medicine, Juntendo University Faculty of Medicine and Graduate School of Medicine, Tokyo, Japan.
Department of Psychiatry and Cognitive-Behavioral Medicine, Nagoya City University Graduate School of Medical Sciences, Nagoya, Japan; Division of Psycho-oncology and Palliative Care, Nagoya City University Hospital, Nagoya, Japan.
Department of Hematology and Oncology, Nagoya City University Graduate School of Medical Sciences, Nagoya, Japan.
Department of Psychiatry and Cognitive-Behavioral Medicine, Nagoya City University Graduate School of Medical Sciences, Nagoya, Japan.
Division of Respiratory Medicine, Juntendo University Faculty of Medicine and Graduate School of Medicine, Tokyo, Japan.
Decision-making capacity to provide informed consent regarding treatment is essential among cancer patients. The purpose of this study was to identify the frequency of decision-making incapacity among newly diagnosed older patients with hematological malignancy receiving first-line chemotherapy, to examine factors associated with incapacity and assess physicians' perceptions of patients' decision-making incapacity.
Consecutive patients aged 65 years or over with a primary diagnosis of malignant lymphoma or multiple myeloma were recruited. Decision-making capacity was assessed using the Structured Interview for Competency and Incompetency Assessment Testing and Ranking Inventory-Revised (SICIATRI-R). Cognitive impairment, depressive condition and other possible associated factors were also evaluated.
Among 139 eligible patients registered for this study, 114 completed the survey. Of these, 28 (25%, 95% confidence interval [CI]: 17%-32%) were judged as having some extent of decision-making incompetency according to SICIATRI-R. Higher levels of cognitive impairment and increasing age were significantly associated with decision-making incapacity. Physicians experienced difficulty performing competency assessment (Cohen's kappa -0.54).
Decision-making incapacity was found to be a common and under-recognized problem in older patients with cancer. Age and assessment of cognitive impairment may provide the opportunity to find patients that are at a high risk of showing decision-making incapacity.
Publication type, MeSH terms, Substance
Age Factors
Antineoplastic Agents/therapeutic use
Cognition Disorders/drug therapy
Cognition Disorders/pathology
Cognition Disorders/physiopathology*
Cognition Disorders/psychology
Decision Making*
Informed Consent/psychology
Lymphoma/drug therapy
Lymphoma/pathology
Lymphoma/physiopathology*
Lymphoma/psychology
Mental Competency/psychology*
Multiple Myeloma/drug therapy
Multiple Myeloma/pathology
Multiple Myeloma/physiopathology*
Multiple Myeloma/psychology
Multiple Myeloma - MedlinePlus Health Information
Lymphoma - MedlinePlus Health Information


text:
The Contaminants in Food (Wales) (Amendment) Regulations 2005
Wales Statutory Instruments
2005 No. 1629 (W. 123)
Previous: Provision
Next: Explanatory Note
Original (As made) - English
Original (As made) - Welsh
Original: Queen's Printer Version Print Version Mixed Language
Signed on behalf of the National Assembly for Wales under section 66(1) of the Government of Wales Act 1998(1).
D. Elis-Thomas
The Presiding Officer of the National Assembly
1998 c. 38.
PrintThis Signature only
PDF This Signature only
Web page This Signature only
Latest Available (revised):The latest available updated version of the legislation incorporating changes made by subsequent legislation and applied by our editorial team. Changes we have not yet applied to the text, can be found in the 'Changes to Legislation' area. The revised version is currently only available in English.
Original (As Enacted or Made) - English: The original English language version of the legislation as it stood when it was enacted or made. No changes have been applied to the text.
Original (As Enacted or Made) - Welsh:The original Welsh language version of the legislation as it stood when it was enacted or made. No changes have been applied to the text.


West Salem High School serves 541 students in grades 9-12.
West Salem High School placed in the top 50% of all schools in Wisconsin for overall test scores (math proficiency is bottom 50%, and reading proficiency is top 50%) for the 2015-16 school year.
Minority enrollment is 7% of the student body (majority Hispanic and Asian), which is lower than the Wisconsin state average of 29%.
West Salem High School's student population of 541 students has declined by 5% over five school years.
West Salem High School is ranked within the top 50% of all 2,027 schools in Wisconsin (based off of combined Math and Reading proficiency testing data) for the 2015-16 school year.
The diversity score of West Salem High School is 0.13, which is less than the diversity score at state average of 0.26. The school's diversity has stayed relatively flat over five school years.


Starting at $19,465 MSRP*, you'll enjoy the added capability of 60/40 split second-row seats and the safety of a multi-angle rearview camera.
Consider upgrading to the EX trim level for heated front seats, push button ignition, automatic climate control, and smart entry.
The most luxurious HR-V available, the EX-L Navi adds leather-trimmed seats, a helpful navigation system, and standard roof rails.
The LX and EX trim levels can be equipped with a continuously variable transmission for stronger fuel economy.
Honda has long been known for their next level technology, and all HR-V models display the fruits of their labor. Bluetooth connectivity allows you to make calls and control your smartphone safely, and you can even stream audio from your phone as well. When you upgrade to the EX trim level, you're adding a six-speaker, 180-watt audio system, as well as a 7" touchscreen display and Pandora compatibility. In the line-leading EX-L Navi, you'll find the Honda Satellite-Linked Navigation System. Voice recognition allows you to input a destination without taking your hands off the wheel, and up-to-date traffic monitoring ensures that you're always taking the quickest route. No matter which trim level you decide on, these features have all been designed to be intuitive and easy to use. Find out just how much fun you can have in a HR-V today!
Performance, capability, and comfort are the hallmarks of the 2017 Honda HR-V, and we're thrilled to carry it at Brilliance Honda of Crystal Lake. Our dedicated sales staff is standing by to answer your questions about the LX, EX, and EX-L Navi models, and you can apply for financing online for fast preapproval. If you're still trying to decide which one is best for you, schedule a test drive to experience the HR-V firsthand!


Shares in Mexico-focused First Majestic Silver Corp. (TSX:FR) (NYSE:AG) were slightly down Wednesday morning after the company revealed a group of unionized workers halted activities and blocked accesses at La Encantada silver mine.
The Canadian miner said the illegal labour action was in response to the company's recently announced bonus offer in lieu of profit sharing, which is backed by the country's national union of miners, metallurgists and steelworkers.
La Encantada, located in the northern Mexican state of Coahuila, is Silver Majestic's largest mine and the one where the firm is currently investing the most.
First Majestic's stock fell 1.53% to Cdn$11.59 in Toronto on the news at noon and it was trading just 0.57% down in New York at the time.
The Vancouver-based silver producer said that it was not clear how long the blockade would last, though it noted it was working with the leadership of the National Union in order to resume operations and bring miners back to work.
"This is a minor setback in our plans for renewed investment at La Encantada focusing on underground development and brownfields exploration, which will over time result in increased throughput rates and higher head grades," Keith Neumeyer, the company's president and CEO said in the statement.
It warned that these types of actions, which are increasingly occurring in many other Mexican mining operations, could soon scare investors away, as metal prices are low, but taxes and fuel costs continue to climb.


The nightlife space at 4202 Hacks Cross Road in the Southwind area of Memphis has been through many incarnations, from its opening as The Daq in 2010, to the Ice Bar, to its current iteration as a location for Mr. P's Hot Wings, but the one consistent thing is that it has been a spot for some of the greatest nights of Memphis music that I can recall. So when I had seen on Facebook that my old friend Larry Springfield was scheduled to perform at Mr. P's on Friday night, I made plans to attend.
However, to my surprise, for some reason, Larry Springfield did not perform, and another band played instead, The Lyric Band, featuring the singer Bird Williams, a band I recalled faintly from a show I had attended several years ago in Olive Branch. A check of the internet showed that Bird Williams has been performing quite a bit in Memphis recently, particularly out in the Hickory Hill/Southwind area of town, and it was easy to see why, as he is a gifted singer and performer, backed by a first-rate band. Unfortunately, in a bit of a design flaw, the entrance to the kitchen passed directly in front of the stage, which means that one's view of the stage is constantly interrupted by the coming and going of servers with plates of food. That was always an issue, even when it was The Daq or the Ice Bar. But the place was packed from wall to wall, everyone was enjoying themselves and having a good time, and there was absolutely no drama of any kind. As Mr. P's continues to book live bands and singers, I will certainly be back.
I had driven out to Covington for the inaugural Isaac Hayes Day in Frazier Park, but found it disappointing, as there were no live bands or musicians on the stage when I arrived, and the lack of instruments or equipment led me to believe that whatever musicians had played were done and that there would be no more music at the event. So I drove back into Memphis and went to Crosstown Concourse, which was celebrating their grand opening with lots of food trucks and great local music on two stages, one indoors and one outside. When I arrived, I ran into Sharde Thomas and the members of the Rising Star Fife and Drum Band, who had played earlier, and a neo-soul singer named Candy Fox was on the outdoor stage with a first-rate band. But I was hungry, so I went inside to Farm Burger for dinner, and despite the truly huge crowds, I was able to get served fairly quickly. A classical music ensemble was on stage downstairs, and somewhere upstairs a marching drumline was performing. When I came back outside after dinner, a large crowd was enjoying Melina Almodovar, a former Memphian of Puerto Rican descent now based in Miami, and her Orchestra Caliente, and they sounded really good. But my friend Sherena Boyce was wanting to go out to Benton County, Mississippi to a blues yard party, so I left out to head to Mississippi.
Although the Delta of Mississippi is known as "The Land Where Blues Began", the area to the east known as the Hill Country produced a unique style of blues that has become famous around the world. This subgenre of blues was especially prevalent in Marshall and Benton Counties, so it's not surprising that Holly Springs, the county seat of Marshall County, is a town that emphasizes its blues heritage. The county was home to Junior Kimbrough and R. L. Burnside, and each Thursday night during the summer, Holly Springs sponsors a weekly live music concert called Blues in the Alley, which is held directly on the courthouse square. On July 9, the featured artist was the Cassie Bonner Band, a group from Oxford that I was not familiar with. Cassie Bonner proved to be a keyboard player and a singer, and while the group's style was more neb-soul than blues, I was quite impressed with them, particularly the young drummer. There were also food vendors and a DJ, and a crowd of several hundred people, as well as a number of motorcyclists, and a camera crew filming a documentary about Holly Springs and David Caldwell, the owner of Aikei Pro's Record Shop. I also ran into Hill Country Blues legend Little Joe Ayers on the square as well.


text:
Q: Import csv data into matlab My data  in csv file looks like this:
2015/01/01;00:15;62;646;96;321;42;74;529;0;0
2015/01/01;00:30;245;74;854;62;154;93;354;0;0
......

the data is separated by semicolon and the first two columns are time, the rest are numerical data sampled.
I only want to import numerical data into matlab, I tried to use csvread:
M = csvread('data.csv',0,2,[0 2 500 10] );

But got error like this:

Error using dlmread (line 138) Mismatch between file and format string.

How should I fix this problem?
also tried textscan but failed..

A: Use dlmread instead. It allows you to specify a custom delimiter, which csvread does not:
M = dlmread('data.csv', ';', 0, 2)

The first two elements should not be parsed, so their non-numerical nature should be correctly ignored.

redpajama_set_name: RedPajamaStackExchange


Statement of Origin: Morris and Watson is opposed to activities which benefit conflict, violence and human rights abuses. Nearly all of our precious metal products are produced by recycled waste from Jewellers and industry, along with local mines from within Australasia. Morris and Watson Ltd follows international best practice standards, including due diligence practiced on all new customers under our 'Know Your Client' policy.
Much of our precious metal products are produced by recycled waste from the Jewellery Industry within Australasia.
Alluvial gold from the South Island of New Zealand is another significant source of gold for Morris and Watson. The alluvial operation complies with strict Department of Conservation protocols which firmly puts the responsibility on gold exploration, extraction and processing companies to minimise their environmental impact over the whole life cycle of their activities.
These products – being impure or of an unknown composition – require refining. The refining process involves burning or melting the material which is then chemically refining to a pure state in our Refinery. The pure gold, silver, palladium and platinum is then recycled into fabricated product.
The precious metal recycling operation is the foundation of 80 years of successful business and our edge in the market. We have fine-tuned the refining processes with environmental sustainability in mind. For example: The melted and burnt material is evacuated through afterburners and state of the art smoke and particulate treatment systems. The refinery uses a state of the art, custom designed, air extraction system that has an automatic pH dosing system, that is monitored and recorded daily.
The "Accelerate R & D Program" grant from Tech NZ allowed Morris and Watson to investigate and conduct a pilot study to remove the heavy metals and recycle the wastewater generated within the treatment facility. The Water Treatment Plant is now operational.
All waste water from other production areas run through sediment traps before being discharged. The Lost Wax Casting process ensures the majority of the wax prior to the burnout stage is steamed out and not burnt into the environment.
Morris and Watson also have a comprehensive rain water capture system via roof catchment and tank storage, that is used for the cooling water systems in our furnaces and machines, throughout the factory.
All our systems are documented with an Environment Management Plan (EMP) which was prepared by external consultants under the guidance of the management team. The EMP is frequently monitored and reviewed and complies with Auckland Council protocols.
Further to this, Morris and Watson is always looking at improvements to our operations that reduce our environmental foot print. Projects such as reducing energy usage through innovative technologies and practices, R&D into our chemical treatment methods, upgrading to more modern and efficient plant and decreasing the volume of waste associated with our business are some of the areas we are focusing on.
Due to spikes in our production, there are times when we purchase pure metal from internationally accredited suppliers.


text:
The HealthJobsNationwide.com Helping Hands Award Official Rules
The HealthJobsNationwide.com Helping Hands Award (hereinafter referred to as the "Award" and "Promotion") is a promotional offer and the sole venture of HealthJobsNationwide.com (hereinafter referred to as the "Sponsor," "we," "us," and "our,") and the Sponsor is solely responsible for administration of this offer. This Award is intended for residents in the United States only and shall be construed and evaluated according to the laws of the United States. Entry is open only to legal residents of the fifty (50) United States (and the District of Columbia), who are at least eighteen (18) years old, and who are a Registered Nurse, Nurse Practitioner, Certified Registered Nurse Anesthetist, Clinical Nurse Specialist, or Certified Nurse Midwife with valid identification and proof of licensure at the time of entry. If you do not meet these requirements, we ask that you not enter with us. In order to receive the Award, it requires completion and submission of the Entry Form (located at https://blog.healthjobsnationwide.com/award), including the acceptance of these Official Rules. By submitting an Entry Form and participating in the Promotion, entrant fully and unconditionally agrees to and accepts these Official Rules and the decisions of Sponsor, which are final and binding. Odds of winning depend on the number of eligible entries received and vary by drawing.
NO PURCHASE NECESSARY. THIS PROMOTIONAL OFFER IS VOID WHERE PROHIBITED OR RESTRICTED BY LAW.
To enter, go to the Entry Page (located at https://blog.healthjobsnationwide.com/award) and complete and submit the Entry Form. By submitting an Entry Form, you hereby affirm that all information provided to the Sponsor is true and accurate. Entry is free and there is no purchase necessary. A purchase of any kind does not improve your odds of winning. Each applicant may enter the Award once during the entry time frame.
The entry time frame for the Award is from approximately July 11, 2019 at 12:00 a.m. Eastern Time through August 15, 2019 at 12:01 a.m. Eastern Time.
The Sponsor is not responsible for errors, omissions, lost, late, interruptions, deletions, delays in operations or transmission, invalid, incomplete, technically corrupted or misdirected entries. All of these types of entries will be disqualified. All entries become the property of the Sponsor and will not be returned. The Sponsor is not responsible for any claims, liabilities or damages in conjunction with the prize of the contest. The Sponsor is not responsible for any claims liabilities or damages in conjunction with the process of meeting the contest rules. The Sponsor reserves the right to disqualify contestants for any reason the Sponsor deems fit and at any time. Contest rules, dates, and guidelines are subject to updates and/or modifications at any time and for any reason at the sole discretion of the Sponsor. The Sponsor may occasionally license, share, or otherwise disclose data we collect to third parties, such as education marketing companies and other verified partners. As a condition of entering, you agree that we may share your information with third parties. If you do not agree to this sharing, you must not enter. Collection and use of personal information that you provide to us is subject to our Privacy Policy. You may view our Privacy Policy at https://www.healthjobsnationwide.com/privacy-policy. Entrants may be contacted by the Sponsor, its affiliates, and/or its marketing partners about job openings, educational opportunities or programs, or any other content that the Sponsor deems relevant.
In the event of a dispute as to the identity of the entrant, entries will be declared made by the authorized account holder of the e-mail address submitted at time of entry. The "authorized account holder" is defined as the natural person who is assigned to an e-mail address by an Internet access provider, on-line service provider or other organization (e.g.: business, educational, institution, etc.) that is responsible for assigning e-mail addresses for the respective domain associated with the submitted e-mail address.
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The Online Dating Association (ODA) Maintains the Gold Standard for Dating Sites in the UK
The Short Version: With strong moral leadership, the Online Dating Association (ODA) supports transparency, fairness, and honesty in dating websites in the UK and around the world. Since 2013, the organization has upheld a groundbreaking Code of Practice for dating services looking to operate above-board businesses. Today, ODA's membership includes top names in the dating industry, including eHarmony, Match, and The Dating Lab, who unite behind the ODA's ethical standards. Such leading brands become ODA members to assert their commitment to maintaining a trustworthy and efficient platform for singles everywhere. The Online Dating Association's policy recommendations and complaint arbitration helps members build trust with consumers, so singles can join upstanding dating platforms with confidence and security.
Thirteen dating site providers in the UK came together in 2013 to raise the caliber of services in online dating. These leading voices in the industry outlined specific ethical behaviors that a reputable dating site should maintain and committed to sticking to that code in their own businesses.
It was a simple pledge to improve the quality of the dating experience in their own corner of the internet. Today, the Online Dating Association (ODA) includes many top dating brands promising to stand for honesty and integrity in all their dating services.
From niche dating websites to broad-based dating apps, the ODA's membership includes businesses big and small. Representing the best in the industry, the organization raises the standard of what consumers can expect from dating websites and apps.
At industry briefings, focus groups, and conferences, the ODA invites a dialogue among key stakeholders and up-and-coming businesses about what can be done to improve online dating for singles everywhere. These popular ODA events speak to the growing influence the organization has on developing the dating services of the future.
Andrew McClelland, CEO of the Online Dating Association, keeps an eye on how digital trends can best serve consumers.
"We were founded as a voice to represent the dating industry," CEO Andrew McClelland told us. "We give providers the opportunity to compare policies and ensure they have sound practices across the board."
Andrew came to the ODA in October 2016 from a background in digital commerce and retail. He feels passionately about giving consumers helpful, informative, and trustworthy online tools. This digital advocate highlights the ways technology can unite and empower people of all ages.
"I'm keen to take them on the journey with us and not leave anyone behind," he said. "I bring a customer-focused attitude to the ODA. I'm always aware that whatever we're doing has a customer at the end of it."
The Organization's Code of Practice Promotes Fairness & Honesty
The cornerstone of the Online Dating Association is its Code of Practice. The code is a brief overview of the way an ethical dating site should act. This way, providers can compare their policies against a set benchmark. The sections cover general rules, honest and clear marketing, user protection, meeting user needs, and protecting data and privacy online.
The rigorous guidelines for membership of the ODA include:
Being honest and upfront about the services provided
Clearly stating the terms, duration, and limitations of free services
Providing easy access to safety information regarding online dating
Not marketing dating services to users under the age of 18
The ODA screens members before and after they join to discourage misleading marketing ploys and unsavory sales tactics in the dating industry. Additionally, ODA staff receives the complaints against members and monitors the brand's progress in addressing the issue and reaching a satisfactory conclusion. The organization's Adjudication Panel is entrusted with sanctioning members in the case of code breaches. The panel acts as the final arbiters on complaints that can't be resolved between individuals and the brand.
"Our Code of Practice enables us to represent a mechanism for self-governance," Andrew explained. "Many dating services consider our logo a badge of honor."
A Trustworthy Hub of Consumer Advice on Dating Safely Online
In addition to helping businesses flourish and build trust with customers, the ODA has taken steps to educate the public about the growing industry. The organization provides security information to empower singles to stay safe and raise overall consumer confidence in online dating. On the website, readers can find advice on everything from how to create an honest profile to when to meet a date prospect in person.
The ODA's online dating safety tips can help readers understand how to date safely online. The post outlines important safety measures to employ as well as red flags to look out for when chatting on a dating site.
"One of the key messages that we've been putting across is: just because you know someone in the digital world, that doesn't mean you know them," Andrew said. "When you move into the physical environment, you shouldn't ignore those natural feelings that we would have when meeting in a social setting."
The ODA is a comprehensive informational resource in the online dating industry. Whether you're a single unsure how to date online or a dating site hoping to foster a safe and friendly platform, the ODA can point out the way and drive people toward success. Its experienced and reliable advice covers everything from blocking scammers to protecting private information.
"We work with key industry leaders to understand the challenges of online dating," Andrew said, "and figure out what we can do to alleviate them through consumer advice and a proper code of conduct."
Expanding Influence in a Fast-Growing Global Market
The ODA combines decades of industry experience to guide professional dating services on the most effective ways to operate. Furthermore, the organization researches the dating sector to provide up-to-date commercial insights on hot topics in the business, including data protections, mobile products, and new legislation.
Though the movement began in the UK, the Online Dating Association has its sights set on a global impact and plans to grow into international territories in the future. "Many of our members have global labels," Andrew noted. "Technology breaks down borders and barriers quite dramatically."
Since its foundation, the ODA has sought to represent a broader base of dating websites and actively recruits new members who support the ideals and standards of the organization. As the ODA looks to grow its influence beyond the UK, the ultimate goal is to encourage dating services to set policies based on honesty, efficiency, and integrity.
With every new member, the ODA raises the caliber of dating services provided to singles.
Advocating for industry-wide ethical standards, the ODA networks with prominent voices in the dating industry and also keeps tabs on trends in finance, retail, and technology that could affect online dating in the long run.
According to the website, "The ODA is building its relationships with internet search providers, social network players, and the mobile network operators and Internet Service Providers as they work on filters and other access controls. We and they share users, and we have a shared wish that users have a safe and enjoyable time online."
The ODA: A Moral Authority in the Dating Landscape
The Online Dating Association fosters greater consumer confidence by standing for transparent policies and guidelines. When the ODA logo appears on a dating site, it means that platform provides a trustworthy, authentic, and safe place to meet people online. By pioneering an ethical code of conduct for dating services, this visionary organization has helped the online dating industry grow in a mature and credible way.
Members that commit to the official Code of Practice endorse policies that support a healthy, secure, and friendly online atmosphere for singles. Since 2013, the Online Dating Association has promoted high moral standards for dating websites old and new, big and small, in the UK and abroad.
"We are about upholding the best practices and the good name of the industry," Andrew told us. "And, at the end of the day, we're helping our members run their businesses more effectively and becoming a center of excellence in the UK."


Ariana Grande and Pete Davidson are allegedly engaged.
According to Refinery 29, Pete Davidson's tattoos are a good indication that those allegations are true.
After he and Grande began dating, Davidson covered up all tattoos of relating to his ex-girlfriend.
He then got two Grande inspired tattoos, which lead some to believe the two are serious.


A ceramics plate showing all of Syu-zan's chop marks.
For those of you that don't know, I've been actively learning and collecting more and more Bonsai ceramics. In Japan, most of the pottery that I come across tend to either be Chinese or Japanese. In this post I'm going to talk about one of my favorite Japanese maker and show some examples of his work.
Syu-zan was born in Mie Prefecture in Tsu-city and grew up to become a Banker till 1971 when he decided to quit his job and become a full-time ceramics maker. Syu-zan produced pots for 17 years in Aichi Prefecture, Togo ward, east of Nagoya city (Aichien is in Nagoya) till his death in 1988.
Syu-zan's ceramics are well-known in Bonsai circles in Japan because of his Chinese Antique inspired works. He is also one of the few Japanese pot makers that are considered to have produced high enough quality Bonsai ceramics that they are often used in Kokufu-ten. Syu-zan liked how the 18th and 19th century Chinese pots looked and wanted to reproduce them with his own personal touch. He even went to the extent of importing clay from China and mixing it with Japanese clay. His modifications of the Chinese designs included increased depth and a refined/rough textured style that works well with bonsai. All of his ceramics are made by hand.
I had conversation with Mr. Tanaka about Syu-zan and he says that he especially likes his works because they showed that the maker loved bonsai. Mr. Tanaka's belief is that a bonsai pot maker that loves bonsai tend to produce pots that work best with bonsai.
So enough talk, lets check out some of Syu-zan's works!
1. Here's a small oval pot. The clay is reminiscent of 19th century chinese with the simple design of 17th-18th century chinese bonsai ceramics. Such a simple pot with so many uses. Multiple types of tress in multiple styles will work in this pot.
This curved build up of clay on the feet is a copy of 17th-18th century Chinese bonsai ceramics.
Here is a crack that formed during the firing process. Instead of destroying the pot, it was repaired at the kiln and put to use. These kinds of cracks and repairs are considered just as strong as any other area on the pot, though the value of the pot does decrease.
Here is another example of a crack that formed during the firing process. This crack too was fixed.
One of the many Syu-zan chops.
2. Here is an example of a deep square pot in a reddish clay. I can see a powerful semi-cascade pine or a tall twisty Juniper in this pot. What can you see in this pot?
A view from the bottom. Note another firing crack on the bottom right drain hole.
3. Here is one of my favorite clay types that Syu-zan uses. I like everything about this pot! The texture is rough but yet refined The bamboo inspired band has interest and weight to the pot. What I love the most are the thick blocky feet which reminds me of 17th – 18th century Chinese antique bonsai ceramics. I look forward to using this pot in the future and building up the patina. What do you suppose would go into this pot?
Here's a close up of the texture of the clay.
4. Another example of Syu-zan's more simple designs but the feelings it conveys are immense. The seeking of perfection in a simple oval pot is something that should be examined and admired. When I look at this pot, I can see that Syu-zan was going for perfection but inevitably lost to his own human imperfections.
The same chop that pot #2 has.
I looked at this discoloration for a good amount of time thinking about what might have caused it. The light brown color is actually what the original color of the pot looked like and that the darker brown surrounding it is patina that has developed over decades of use. The light brown strip may have been preserved by a sticky label or rubbed with an abrasive object.
5. Here is an example of Syu-zan's more complex works. Imagine the skills that it took to make this piece by hand!
The clay of this pot is similar to the clay of pot #3 and they both have the same stamp. Perhaps Syu-zan used a certain stamp when working with different clays?
Another heavily used pot producing lots of patina.
Here is an example of a powerful Black Pine in a Syu-zan pot that is similar to pot # 5. That's a Kokufu ready combination there!
#6 Syu-zan also made taiko drum pots as well. This particular piece is in a red clay that I just love!
This piece has the same chop as pot #1. I guess the clay color matching the chop is out the window! What's more likely is that a new chop was made as Syu-zan fine tuned his styles through the years.
Syu-zan may have passed away but his legacy lives on in his surviving works and his apprentice Sen-syu. The following is an example of his works.
Sen-syu's works are heavily influenced by Syu-zan but does have its own unique style.
I hope you all enjoyed looking at some of Syu-zan's beautiful works of art! He created much more varieties of bonsai pots so it doesn't end here. Hopefully in the future when I amass more photos of his works, I'll write a second post to share them with you all!
Thanks for reading and please feel free to comment below.
One Pot to Rule Them All #2 – In this post I examine multiple large lip Maruhei pots.
Kit-tachi Oh-sumi-kiri Kaku-men Chou-hou (A Type of 8 Sided Pot) – It says it all in the title! Lots of pictures and examples.
Namako Ceramic Pottery – In this post I talked about a certain type of glazed used in pottery.
One Pot To Rule Them All – In this post I talk about a Bonsai pot that has the biggest lips I've ever seen!
Concrete Pot Mystery??? – In this post I look for clues for the origins of a concrete Bonsai pot.
A Chinese Pot – In this post I talk about a glazed green Canton pot with and extra touch of special.
What A Crack Pot! – In this post I talk about how I do some basic pot repairs.
Pots and Patina – In this post I talk about patina on Bonsai pots and some great examples around the nursery.
P.S. If you are actively reading this blog, I would appreciate it if you subscribe to it (right column of the blog). This is one of the best ways for me to know how many people are reading. Thanks!
Thank you for sharing! I really enjoy his work. I love all the pictures.
Thanks for reading and the comment! #3 is my favorite too though I do fancy #5 as well. Pot number 3 is for sale and is priced at 85,000yen. Please convert to your currency. If you're interested, please email me at: Peter@Peterteabonsai.com.
You finally got the ceramic plate?? 🙂 Nice article btw!!
No, I didn't get the plate, though I'd love to have it. All I have is the picture. Doh!
Interesting post I'm curious as to what the prices of his pots are?
Not the cheapest bonsai pots in the world but some of the best.
Concerning Shuzan and his different chops, or rakkan, which the Japanese pronounce as lakkan. I was told by my sensei shuzan used different rakkans as his pottery career evolved. Once he became famous, he began using the tea pot rakkan. As a result the later pots were more expensive. Many Japanese, including my sensei, place more value on pots with the older rakkans as these pots are older and fewer were made.
I believe you are correct there Michael! I do like the newer ones with the teapot but the older ones are rarer for sure. That's why I like pot number 4.
Always interesting and informative! By the way, did you get a chance to go to Kokufu Ten this year? How did that tree you worked do?
It will be interesting to see the real story behind the chops true meaning?
I would love to see three photos of your personal favorite pots at your nursery, with or without trees!
I really loved this post by Peter Tea so much I have to share it. Peter really has a knack for spotting great pots, it's really amazing that your little tree could potentially be potted into something so historical. If you think about it some of these pieces have survived so much.
I can't wait to see your collection you bring back and have my opportunity to purchase one or two from you!
interesting post yet again. I especially am curious why so many chops would be used to identify a person's work. Do you have any insight on why potters use different chops on their work? To denote clay is an idea but could it also denote perceived quality? or use?
Great post. I did one on Syuzan a while back, he's also one of my favorites! The pinnacle for Japanese unglazed! As to the chops, I'm not sure it's to mark different types of clay, but what info know is this: the teapot stamp is the most valued and fetches the highest prices!!


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LITS Mix
This tag is associated with 1 posts
Review: Sleeping With Sirens – Feel
By Alex Huang ⋅ June 9, 2013 ⋅ Post a comment
Label: Rise Records
Purchase: Digital | CD | Vinyl
Sleeping With Sirens' latest album, Feel, is the post-hardcore band's first release since their incredibly successful acoustic EP If You Were A Movie, This Would Be Your Soundtrack last year. The album returns to the general band's pop-hardcore style, although certain tracks do veer off to several special creative directions, especially the tracks containing collaborations.
Up to their standard, Sleeping With Sirens' Feel is incredibly catchy and musically pleasing to the ear. There are the same powerful, high-pitched belts and the sanguine riffs found in the band's earlier songs; if anything, the sound appears to be more advanced than before. The title and first track, Feel, as well as the subsequent tracks I'll Take You There and Free Now, are especially catchy and memorable. Sleeping With Sirens also does wonders balancing between light and heavy sounds in the album; there seems to be no problems at all meshing sounds such as Satellite, Sorry, and Low with Déjà Vu, These Things I've Done and The Best There Ever Was. Overall, the sound of the album is satisfying and compelling.
Several tracks take a unique twist, most with surprisingly successful outcomes. Alone takes the cake with a feature from rapper Machine Gun Kelly—in the track, vocalist Kellin Quinn himself sings in a pseudo-rap style, creating a sublime and very unforgettable crossover between the two genres. Similarly, The Best There Ever Was features deathcore band Attila's frontman Fronz, and it utilizes his rapid-fire screaming to create a unexpectedly solid piece. And These Things I've Done includes incredibly gratifying electronic and hardcore sounds. Almost ironically, however, the album's most highly anticipated collaboration with Memphis May Fire's Matty Mullins in Congratulations appears to be one of the weakest tracks and an example of two talented artists teaming up with mediocre results.
Compared to their earlier work, Feel appears to be an improvement and a bold attempt to distinguish themselves as the very best in post-hardcore. While individually several tracks may not be "love at first listen" and may require a few replays to fully enjoy it, holistically the album is diverse and powerful.
Standout Tracks: "Alone", "Feel", "I'll Take You There", "Sorry", "Satellites"
01. Feel
02. Here We Go
03. Free Now
04. Alone (feat. Machine Gun Kelly)
05. I'll Take You There (feat. Shayley Bourget of Dayshell)
06. The Best There Ever Was (feat. Fronz of Attila)
07. Low
08. Congratulations (feat. Matty Mullins of Memphis May Fire)
09. Déjà Vu
10. These Things I've Done
11. Sorry
12. Satellites
James Baney Leaves The Devil Wears Prada
Download: King I Divine & ScienZe – Divine ScienZe
Download: James Blake Live Album (Unofficial)
Listen: John Legend – "Tonight (Remix) (feat. Pusha T)"
Watch: A Year With Armin van Buuren
Interview: Marietta
Listen: Jay-Z – "Glory (feat. B.I.C.)"
Listen: Bring Me The Horizon – "Shadow Moses"
Stream: Ice Nine Kills – "The Predator Becomes The Prey"
Earl Sweatshirt Performs in NY, Does First Interview
Copyright © 2010-2013 Lost In The Sound by Frank Wu. All Rights Reserved.


Foo Gee Jen is the company's Managing Director. He joined in 1987 in the Kuala Lumpur operations before he transferred as Manager to Malacca practice in 1992. He headed the Malacca practice from 1992 to 2008. During his tenure in 1998, Foo was appointed as Partner and Director. After a 16 year stint in the Malacca practice, he was transferred/relocated to the Kuala Lumpur operations in October 2008. He was appointed as the Managing Director since July 2010.
His experience stems from numerous corporate valuation assignments, including the pre-privatisation exercise of Tenaga Nasional Berhad and the initial development of Kuala Lumpur City Centre (KLCC). Foo has also successfully brokered multi-million property deals involving MNCs. In his recent involvement in Agency and Transactional Services, he was involved in tender exercises for Guthrie Medicare and one of the world's largest PC manufacturers, Gateway 2000. Other assignments have been handled notably for Infineon Technologies, TEAC Corporation, Shell Trading, ExxonMobil, Hewlett-Packard, Tradewinds Group of Companies and the proposed Manipal University.
Foo was awarded the Estate Agent of the Year 2013 by the Royal Institution of Surveyors Malaysia (RISM).


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Q: How to filter specific paths in neo4j? I have a graph db that maps out the relations between source files. I have the following query which finds all files that are calling the methods defined in the given source file.
MATCH (sourceFile:JSSourceFile {filename: 'test.js'})-[:Defines]->(sourceMethod:Method)
<-[:Calls*1..5]-
(callerMethod:Method)<-[:Defines]-(callerFile:TSSourceFile)
RETURN sourceFile.fileName AS sourceFile, COLLECT(DISTINCT callerFile.fileName) AS callerFile
ORDER BY sourceFile

Now I have added another label Utility to some of the existing JSSourceFile nodes. I need to filter out the TSSourceFile whose methods calls the utilityMethods. Doing this to avoid the utility method calls which in turn being called by the TSSoureFiles and end up polluting the results
(:JSSourceFile)-[:Defines]-(sourceMethods:Methods)<-[:Calls*1..5]-(:Method)<-[:Defines]-(callerMethod:TSSourceFile)
(:JSSourceFile:Utility)-[:Defines]->(utilityMethods:Method)
Need to eliminate this relationship:
(sourceMethods)-[:Calls]->(utilityMethods)<-[:Calls]-(callerMethod)

I have tried the following queries but they are running forever on depth 2+ and I need depth in range of 1..5.
MATCH (:JSSourceFile:Utility)-[:Defines]->(utilityMethods:Method)
WITH DISTINCT (:TSSourceFile)-[:Defines]->(:Method)-[:Calls]->(utilityMethods) AS utilityCallerFile
MATCH
results=((sourceFile:JSSourceFile {fileName:"test.js"})-[:Defines]->(:Method)
<-[:Calls]-
(callerSub:Method)<-[:Defines]-(callerFile:TSSourceFile))
WITH DISTINCT [result IN nodes(results) WHERE "TSSourceFile" IN labels(result)] as results, sourceFile.fileName AS sourceFile, utilityCallerFile AS utilityCallerFile
RETURN sourceFile, COLLECT(DISTINCT [result IN results WHERE NOT(result IN utilityCallerFile) | result.fileName]) AS callerFile
ORDER BY sourceFile

MATCH
(sourceFile:JSSourceFile {fileName:"test.js"})-[:Defines]->(:Method)
<-[:Calls*1..3]-
(callerMethod:Method)<-[:Defines]-(callerFile:TSSourceFile)
WHERE NOT EXISTS((callerMethod)-[:Calls]->(sourceFile:Utility))
RETURN sourceFile.fileName, collect(DISTINCT callerFile.fileName)

I'm a beginner in neo4j and any guidance would be really helpful.

A: I feel I may be oversimplifying your problem but if just want to exclude the :JSSourceFile nodes that also have the :Utility label then I believe this modification of your first query will work:
MATCH (sourceFile:JSSourceFile)-[:Defines]->(sourceMethod:Method)<-[:Calls*1..5]-(callerMethod:Method)<-[:Defines]-(callerFile:TSSourceFile)
WHERE NOT sourceFile:Utility
RETURN sourceFile.fileName AS sourceFile, COLLECT(DISTINCT callerFile.fileName) AS callerFile
ORDER BY sourceFile

I added the WHERE NOT clause to strip out the :Utility nodes.


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Posts Tagged 'the joy of reading aloud'
The Determined Boy From Strasburg
Posted in Body, Bones, Books, Culture, Dreams, Essay, Family, Fotoblog, Home, Life, Music, On the Road, Personal, Photography, Place, Practice, Reading, Relationships, Skies, Structure, Vision, Wake Up, tagged books as mentors, childhood events that impact your life, fathers and sons, historical places, inspiration, joy, Lawrence Welk, Lawrence Welk's boyhood home, living the questions, making it in the music industry, mothers and daughters, musicians, North Dakota, pilgrimage, places as muse, red Ravine Guests, slow walking, Strasburg, Teri Blair, the joy of reading aloud, The Lawrence Welk Show, the life of Lawrence Welk, the power of place, writing about place on September 14, 2011| 22 Comments »
By Teri Blair
Lawrence Welk's Boyhood Home, Strasburg, North Dakota, July 2011, all photos © 2011 by Teri Blair. All rights reserved.
The Lawrence Welk Show was a Saturday night staple when I was growing up. My favorite acts were Cissy and Bobby, tap-dancing Arthur Duncan, and the guy on clarinet with big glasses. I didn't pay much attention to the show's host, though I wondered about his accent. I had a vague sense he came from the state just west of mine, but he mainly seemed tan and Hollywood and Californian. Not like the people I knew.
I'd seen his birthplace marked on my North Dakota map for years, and then one day, just like that, my mom and I decided to go. We checked out library copies of Wunnerful, Wunnerful: The Autobiography of Lawrence Welk. Mom read it first and told me she couldn't put it down. I figured that was because she still watched his reruns on public television. Then I started reading it, and I couldn't put it down either. That's when I found out Lawrence Welk wasn't just a tan and smiling Hollywood face. Far from it.
We took two-lane roads to get to Strasburg, ones where you can tell where you're heading. Mom reread the first chapter out loud to us, the one about Lawrence's childhood in North Dakota and his passion to play music and get off the farm. We wanted everything fresh in our minds.
Lawrence was born in North Dakota in 1903, one of eight children of immigrant parents. The ten of them lived in a tiny sod house, milked cows, and spoke German. Lawrence had four years of schooling before he begged his parents to let him quit. Since he knew how to read and write, they let him. A farmer wouldn't need more than that, they figured. But Lawrence's father had carried an accordion all the way from Europe, and that one musical box lit a fire under the third Welk son. He had an affinity for music, an insatiable appetite for chords and melodies and rhythm. He tinkered with homemade instruments, and learned everything his father would teach him about music.
Though his family assumed his future as a North Dakota farmer, Lawrence knew he had to live a different life. He didn't know how he could, only that he must. Then when he was 11 his appendix burst. By the time his parents found someone with a car and he was driven to the hospital in Bismarck, he was almost dead. He lived on the edge of life and death while his poisoned blood was treated. Though only a child, he determined if he survived he would make his living as a musician. No matter what.
He spent the rest of his childhood hiring himself out to play accordion at every event he could find around Strasburg. Every nickel he made went to pay off the $400 accordion he bought through a mail-order catalog. A deep satisfaction stirred in him to watch the joy his playing brought to people, an intrinsic reward that would fuel him for decades.
The View From Lawrence Welk's Bedroom, Strasburg, North Dakota,
July 2011, all photos © 2011 by Teri Blair. All rights reserved.
When he left the farm on his 21st birthday, his father predicted his ruin as a musician. He told Lawrence he'd be back in six weeks looking for a meal. What followed were years of small gains and huge setbacks—trying to find work as a musician during The Depression wasn't easy. Lawrence often went hungry. One time his band quit on him, embarrassed by his broken English and the way he tapped his toe to find the beat. He was naïve and trusting, taken advantage of more than once. He had to start over again and again with nothing but his accordion. But his internal compass was undeniable. His wife said years later that he was like a cork. When one plan failed, he'd be momentarily submerged before he'd pop up in a different place with a new strategy. By the time he landed the television program, he had paid his dues and then some. He had already spent 30 years on the road playing ballrooms.
After our tour of the homestead, I slow-walked around Lawrence's childhood farm. I stood in the places he talked about in the book: the spot by the barn where he asked his dad for the $400 loan, the upstairs loft where his appendix burst, the tiny living room where he listened to polka music. I went to Mass on Sunday at the German Catholic church and sat where he had. I looked at the stained glass windows, the same ones Lawrence had looked at when he was a little German boy. He didn't know how his story would end, but sitting there, I did.
Lawrence knew who he was, who he wasn't, and he stuck with himself. And from that, I take great inspiration. By the time of his death in 1992, he had had the longest-running television program in history, and had helped launch the careers of dozens of musicians.
What is possible when we don't deny our true selves?
About Teri: Teri Blair is a writer living in Minneapolis, Minnesota. Her first piece for red Ravine, Continue Under All Circumstances, was written on the road during a 2007 trip to Holcomb, Kansas. She journeyed back to Holcomb in 2010 and published a sequel, Back To Holcomb, One Last Time. Since then, she has written Desire And A Library Card — The Only Tools Necessary To Start A Poetry Group, Discovering The Big Read, a piece about the largest reading program in American history, and Does Poetry Matter?, an essay about the Great American Think-Off.
Earlier this year, Teri was a writing resident at Vermont Studio Center in the heart of the Green Mountains. She finds inspiration on the road. Her writing pilgrimage to the Amherst, Massachusetts home of poet Emily Dickinson inspired the essay, Emily's Freedom. At the end of September, Teri will be flying into Atlanta, Georgia to embark on her latest writing adventure — a two-week road trip in a compact Cruise America rolling along the Southern Literary Trail.
The Master Butchers Singing Club (Revisited)
Posted in Authors, Books, Dreams, Family, Fiction, Great Places To Write, Life, Love, Photography, Place, Reading, Relationships, Writers, Writing, tagged ancestry, bestsellers, Birchbark Books, books adapted for stage, courtship rituals, Francesca Zambello, Guthrie Theater, Heid Erdrich, honoring the past, honoring those who came before us, independent bookstores, Lise Erdrich, Louise Erdrich, Marsha Norman, Minnesota authors, places writers call home, sense of place, signed First Editions, support Independent bookstores, support of the arts, the joy of reading aloud, The Master Butchers Singing Club, the value of the Arts on September 16, 2010| 10 Comments »
The Master Butcher (Louis Erdrich) – 255/365, BlackBerry 365, Minneapolis, Minnesota, September 2010, photo © 2010 by QuoinMonkey. All rights reserved.
To celebrate the World Premiere stage adaptation of The Master Butchers Singing Club at the Guthrie, Liz and I have started reading the novel aloud to each other. I savor each moment. This will be second time I have followed Fidelis from Germany with his pristine set of knives and suitcase full of sausages, walked the streets of Argus, North Dakota with Delphine and Cyprian, and sat at the clean and ordered table of Eva Waldvogel.
The first time was at least five years ago when my relationship with Liz was just getting started. We quickly discovered that we both loved art, music, writers, and books — lots of books. Liz grew up in North Dakota and Louise Erdrich was one of her favorite authors (she had gone to see her speak in the 80's at Moorhead State). To help win me over, and in a courtship ritual I didn't find the least bit bizarre, she checked out two library copies of The Master Butchers Singing Club on CD, handed one to me and said, "I thought we could listen to them separately in our cars and compare notes. What do you think?"
Seven years and some odd months later….we learned that Master Butchers was coming to the Guthrie and vowed to pick up tickets. A few weeks ago when we attended The Scottsboro Boys, we stopped by the ticket window and sealed the deal. Then Birchbark Books (the independent bookstore owned by Louise) announced on Facebook that it had a few signed, First Edition copies of The Masters Butchers Singing Club for sale. I returned home that evening to find the book gleaming off the coffee table. And there on the cover, in a photograph taken June 8th, 1912, in Pforzheim, Germany, was the Master Butcher himself, Louise's grandfather, Louis Erdrich.
Can you imagine having your novel adapted for the stage in such a prestigious venue as the Guthrie Theater? If the Guthrie's photograph of Louise and her daughter on set before the preview opening on September 11th is any indication, it is a feeling of elation and pure joy.
We'll be attending the play in October (with several friends) and will come back and check in later this Fall. According to Minnesota Monthly, director Francesca Zambello didn't know Louise when she frequented Kenwood Café and picked up a copy of Master Butchers at Birchbark next store. But over time, "With Erdrich's blessing (and advice), Zambello and Pulitzer-winning playwright Marsha Norman began condensing the sprawling family saga, set in the fictional town of Argus, North Dakota, between the world wars. There's more singing and less butchering now. And that's fine with Erdrich…"
In my humble opinion, The Master Butchers Singing Club is one of her finest. I can only imagine that Louise's grandfather would agree. It is a book about the importance of place and culture, a universal story. There is a way that Louise's books honor those who came before her, generations of ancestry in perfect imperfection. As above, so below. So may it be.
The Erdrich Sisters, Heid, Lise, Louise, Minneapolis, Minnesota, February 2008, photo © 2008-2010 by QuoinMonkey. All rights reserved.
MPR Midmorning: From the page to the stage – The Master Butchers Singing Club. Kerri Miller's interview this morning with Louise Erdrich and Francesca Zambello.
Minnesota Monthly Profiles Author Louise Erdrich, September 2010 – Staging Erdrich by Michael Tortorello including 5 Things You Didn't Know About Louise.
Play Guide, Interviews, and Ticket Info on The Master Butchers Singing Club at the Guthrie Theater.
Louise's bookstore, Birchbark Books where you can get your own First edition, first printing, hardcover of The Master Butchers Singing Club signed by Louise Erdrich, or the newly re-issued Fishing for Myth from Heid Erdrich.
Bill Moyers interview with Louise Erdrich on Bill Moyers Journal, April 9th, 2010
Louise Erdrich on Faces of America with Henry Louis Gates Jr.
-related to posts: The Company Of Strangers (On Louise Erdrich & Flying), Book Talk — Do You Let Yourself Read?
Seeds: The Spirit Of Women Writers, March 11, Albuquerque
Posted in Art, Authors, Books, Culture, Gratitude, Great Places To Write, Place, Reading, Structure, Writers, tagged Albuquerque, book readings, Carolyn Flynn, Kathleen Driskell, Lisa Lenard-Cook, National Hispanic Cultural Center, National Women's History Month, poetry readings, reading your writing outloud, the joy of reading aloud, the practice of reading, Valerie Martinez, Women & Creativity 2010, women writers, writing and art on March 10, 2010| 12 Comments »
In honor of Women's History Month, the National Hispanic Cultural Center in Albuquerque, NM, in partnership with local arts organizations, artists, writers, and businesses has organized a month-long celebration: Women & Creativity 2010. All over the city, you can attend workshops, exhibits, panels, and many other fun activities. Case in point:
creativity + the artist
Seeds: The Spirit of Women Writers
6 p.m. March 11 at National Hispanic Cultural Center
1701 Fourth St. SW, Salon Ortega
A featured event in the Women & Creativity series
Join us for an invigorating evening of readings from women writers featuring poet Kathleen Driskell, whose collection of poems, Seed Across Snow, was on the Poetry Foundation's best seller list twice in 2009; Lisa Lenard-Cook, author of Dissonance and Coyote Morning, as well as The Mind of Your Story; Carolyn Flynn, award-winning literary fiction and creative nonfiction writer, as well as author of numerous books and editor of the Albuquerque Journal's SAGE magazine; and yours truly (aka ybonesy, Roma Arellano), writer, artist and co-founder of this wonderful writing and art community blog.
Santa Fe poet laureate and organizer of Women & Creativity, Valerie Martinez, will kick off the evening with an introduction and reading.
The theme of the panel will be the interrelatedness of the arts — other forms of art as inspiration for writing. Admission is free.
If you are in Albuquerque or the surrounding area, please join us!
Fiction: The Smarting Up Of America
Posted in Authors, Books, Culture, Fiction, Memoir, Poetry, Reading, Wake Up, Writers, tagged literacy, literature, National Endowment for the Arts, reading books as a child, Reading on the Rise, the joy of reading aloud, the practice of reading, why reading is important to our culture on January 12, 2009| 34 Comments »
In a cultural moment when we are hearing nothing but bad news, we have reassuring evidence that the dumbing down of our culture is not inevitable.
~Dana Gioia, chairman of the National Endowment for the Arts
Good news from the National Endowment for the Arts. According to a report it released today, "Reading on the Rise: A New Chapter in American Literacy," fiction reading increased for adults for the first time after a quarter-century of decline.
A New York Times article about the report stated that for the first time since 1982, which is when the US Census Bureau started collecting data on public participation in the arts,
…the proportion of adults 18 and older who said they had read at least one novel, short story, poem or play in the previous 12 months has risen.
Wooo-hooo! People are reading again.
Fiction accounts for the new growth in adult readers (unfortunately, reading of poetry and drama specifically has continued to decline) and online book reading has gone up (something I personally can't get into). Also up is reading among younger adults (ages 18-24) and Hispanics. ¡Viva!
Mr. Gioia attributed the increase in part to programs the NEA has underwritten, such as the "Big Read," which is a library partnership to encourage communities to champion particular books, like The Great Gatsby by F. Scott Fitzgerald.
He also attributed the increase to things like Oprah Winfrey's book club and the phenomenon of young adult fiction like Harry Potter or the Twilight Series. (I read the first five Harry Potter books out loud to my daughters and then got hooked and had to finish up the last two on my own.)
Not to put too much of the credit on our shoulders, but I think blogs that encourage reading (see our post "Book Talk – Do You Let Yourself Read" as one of many examples, and "The World According To Mr. Schminda (et al.)" for a list of about 100 must-read classics) have also played a small but vital role. Just peruse some of the links on our blogroll and you'll see several fellow bloggers reviewing classic works of fiction or otherwise touting books and reading. And these are just a handful of the thousands of literary-minded blogs that have cropped up over the past couple of years.
I know I'm doing my part in countering the dumbing down of America. Right now, I'm reading the first Stephenie Meyers book in the Twilight series outloud to my youngest (one could argue it's not exactly high literature nor age-appropriate for a nine-year-old, but hey, it took us more than three months to finish The Hobbit last year, and already in four nights we're one-fourth of the way through Twilight).
Then on my own, I'm reading The Amazing Adventures of Kavalier & Clay by Michael Chabon. (And yes, it is hard to switch between a 17-year-old in Forks, Oregon Washington who's falling in love with a vampire versus a pair of Jewish escapists/cartoonists in 1930s Prague and Brooklyn.)
What about you? What book or books are you reading in this new year, and have you consumed more fiction of late than in the past? If so, what has compelled you read more?
Getting To Know Pablo Neruda
Posted in Authors, Bones, Books, Culture, Death, Gratitude, Life, Love, Poetry, Politics, Quotes, Random, Silence, Structure, Writers, tagged Carias flies, La United Fruit Co., Martinez flies, Pablo Neruda, Pablo Neruda biography, Pablo Neruda on poetry, Pablo Neruda poems, Pablo Neruda quotes, poetry readings, Solo la Muerte, Tacho flies, the joy of reading aloud, Trujillo flies, Ubico flies, Veinte Poemas de Amor on June 12, 2007| 10 Comments »
This Wednesday is our dramatic reading of Pablo Neruda poetry. All day I walk around the house reciting the poems, stumbling over words in Spanish. I have to say them over and over, first to learn to enunciate each word, then to hear the rhythm of the words together, finally to understand their meaning.
Our performance follows the chronology of Neruda's life in poems. We start with his early love poems, published in 1923 (when Neruda was only 20 years old!) in a collection called Veinte Poemas de Amor. Many years later, Neruda said this:
Veinte Poemas de Amor make a painful book of pastoral poems filled with my most tormented adolescent passions. It is a book I love because, in spite of its acute melancholy, the joyfulness of being alive is present in it…I wrote in a long, slender-bodied abandoned lifeboat left over from some shipwreck. The sky overhead was the most violent blue I have ever seen. I don't think I have ever again been so exalted.
Next we cover poems Neruda wrote while serving a series of honorary consulships that took him to East Asia, Europe, and throughout South America. Neruda wrote Solo La Muerte during this time. Of all the poems we'll be covering on Wednesday, Solo La Muerte is my favorite.
The first time I read it in rehearsal, I couldn't get the emphasis right on certain syllables in the many words I rarely used. The director told me to practice, to say the poem 17 times out loud if I had to. Now the verses roll out in a deep, ethereal voice. I wonder how could Neruda at such a young age have known death so well? Then I read this quote and everything makes sense.
I had only solitude open to me. That time was the loneliest in my life. Yet I also recall it as the most luminous, as if a lightning flash of extraordinary brightness had stopped at my window to throw light on my destiny. My work progressed very slowly. Distance and a deep silence separated me from my world, and I could not bring myself to enter wholeheartedly into the alien world around me. If the very air he breathes does not enter into the poet, his poem is dead: dead because it has not had a chance to breathe.
I read somewhere recently that Neruda is often thought of as either a poet of love or a poet of politics. I thought I knew him as both, but I realize now I never really knew him. What I know now is his political poems transform me. I nearly spit the names of dictators ("the dictatorship of flies") he ticks off in his poem La United Fruit Co.:
Trujillo flies, Tacho flies,
Carías flies, Martínez flies,
Ubico flies, damp flies
of humble blood and marmelade,
drunken flies that buzz over the common graves,
circus flies, clever flies
well versed in tyranny.
Neruda's political fire, it's said, was started with the Spanish Civil War and the murder of García Lorca. Neruda operated inside and outside the political system. He was elected senator of the Republic, he joined the Communist party of Chile, he protested on behalf of striking miners and for a time lived in exile. I read the following quote and it ignites in me this question: Who are today's "Pablo Nerudas"?
Poetry is an act of peace. Peace goes into the making of a poet as flour goes into the making of bread. Arsonists, warmongers, wolves hunt down the poet to burn, kill, sink their teeth into him. The Spanish Fascists started off the war in Spain by assassinating its greatest poet. But poetry has not died; it has a cat's nine lives. They harass it, they drag it through the street, they spit on it and make it the butt of their jokes, they try to strangle it, throw it into prison, and it survives every attempt with a clear face and a smile as bright as grains of rice.
As the first bullets ripped into the guitars of Spain, when blood instead of music gushed out of them, my poetry stopped dead like a ghost in the streets. From then on, my road met everyman's road. And suddenly I saw that from the south of solitude I had moved to the north, which is el pueblo, the people, whose sword, whose handkerchief my humble poetry wants to be, to dry the sweat of its vast sorrows and give it a weapon in the struggle for bread.
I have no answers. I'm touched by this poet in a way I never was before. I don't pretend to know much about him still. Yet somehow, he's getting through.
Try it. Pick a poem by someone you know is great but whose greatness, perhaps, you've never truly known. Read that poem out loud 17 times. Read it in an empty house. Read it until you shout it, you drone it, you channel it. Read it until it starts to become yours.


Methodologies for program construction have matured over the last 25 years. Debugging technology has not kept pace with programming technology in that we essentially debug using the same paradigms of 25 years ago. The advent of low-cost multimedia output makes it possible to provide more than one human sensory channel with input to aid the debugging process. Author Ron Reeves explains why this channel is important, why this would be a significant advance in debugging, why it is well-suited for object-based systems, and suggests that future tooling begin to exploit the full range of the human sensory input system.
The object methodology is one of the first major shifts in software development in the last 25 years. The creation of objects, where an object represents a functionally intelligent grouping of state and operations whose details can be concealed, gives the software developer a higher metalevel upon which to base a solution creation. Object methodology, as currently practiced, is the culmination of the information-hiding methodology proposed by Parnas and refined through decades of practical use.
In the last couple of decades, the paradigm of Object Methodology has hit the mainstream computing market; it is no longer an arcane art practiced by academics or megaline-system developers, but instead is readily available to even all programmers. Object implementations such as the Microsoft .NET Framework has made the technology pervasive.
The availability of object methodology has allowed us to design and construct software systems far more complex than we could have imagined even a decade ago. One of the problems that have arisen, however, is the very abstraction we use to create these complex systems can not only mask their complexity during development, but can mask their complexity during debugging and post-deployment maintenance. The original programmers can often translate their mental models of objects into code, but the maintainers–in fact, even the programmers themselves mere months later–must "reverse engineer" these structures back into a mental model.
Debugging, in contrast to the sophistication of our construction techniques, has remained largely unchanged over the same period of time. We have very few debugging tools that are object-modeled, at least in the mainstream computing world. Instead, we still set breakpoints, use debug-print statements, and display the contents of memory locations in an attempt to figure out what has gone wrong.
It is important here that we want to contrast debuggers with browsers. A browser allows us to inspect code, study module relationships, display call graphs, and generally inspect the static representation of a program. There have been some quite nice browsing environments developed, both independent of, and as integrated components of, compilation systems. However, by our definition, a debugger is a tool that allows us to inspect, in some way, the dynamic behavior of a program as it is executing.
Debugging is often an exercise in "reverse engineering." We must deduce, from the current program state and current execution point, how the current state and execution point were reached, and why, and what can be done to correct them if the state or execution point (or both) are incorrect.
Reverse engineering is also known as design recovery. However, the people practicing "design recovery" are often working at a much higher structural level than is useful for debugging. Or, to hearken back to an issue of the 1970s, design recovery is working at the "design-in-the-large" level and debugging is working at the "design-in-the-small" level.
The problem in both cases, however, is quite similar: reconstruct a model of the program that can be understood by the reader. In many cases we find the design-recovery-in-the-large uses visual notation — for example, E-R diagrams, Dean-Cordy diagrams [DC95], UML, and so on. For decades (and, in some more regressive contexts, even today) flowcharts are used to describe code at the statement level. These representations have much in common in terms of human perception; they involve a sensory channel capable of handling vast amounts of information: the visual system.
The cost of computers, and the cost of specialized peripherals, for decades limited us in how we could interact with the computer. We debugged by lights-and-switches, core dumps, octal or hexadecimal displays of individual words or bytes, and so on. The limited bandwidth with which we could interact with the computer was a significant barrier in the understanding of the software systems we were trying to debug.
Today, the balance has changed. High-resolution full-color bitmap displays mean that we can often animate our algorithms in a graphical fashion. The cost of interaction is negligible compared to the cost of development overall. Computers are, for practical purposes, nearly free compared to the people who use them. Thus we can get graphical displays of our data structures, chase down complex pointer chains with a series of mouse clicks, see our data in an almost-readable form, and even watch algorithms in action.
But what's missing from this picture? It turns out that our new tools still only show us pieces of the algorithm, often in terms of the computer's representation, not our mental model. And while we are utilizing the visual channel to a higher degree, we have virtually neglected another significant human input channel, the auditory system. Thus, we want to approach the problem of debugging from two viewpoints: a better presentation of visual information, and use of the human auditory channel as a means of enhancing our ability to both build our cognitive model and interpret the program's behavior in terms of that cognitive model.


Not only is it delicious, wine also contains resveratrol that helps the brain be younger. New research on the benefits of wine with the brain will surprise many people.
Scientists at the University of Texas (USA) analyzed data from patients over 60 years old in the Framingham Heart Disease Research Project. These patients have medical tests, including brain scans and blood tests, to diagnose the risk of Alzheimer's disease. A series of subsequent mental tests showed that people who drink moderately have better memory (the ability to recall certain events).
Researchers in the UK have also done a small experiment with the U70 women's group. The results showed that those who drank 1 glass of wine a day had better memory capacity.
According to the results of a team from many universities in Spain in BMC Medicine, wine may reduce the risk of depression. Researchers collected data on 2,683 men and 2,822 women aged 55-80 over a 7-year period. Participants must complete a food frequency questionnaire each year, which includes details about the amount of wine consumed as well as the mental health of each person. The results showed that men and women who drank 2 to 7 glasses of wine a week were less depressed.
Resveratrol in red wine increases the level of heme oxygenase, an enzyme that protects nerve cells in the brain from injury. For people who have a habit of drinking 1 glass of wine a day, when they have a stroke, the brain is ready to protect the body because of its higher enzyme concentration.
Resveratrol in red wine is also praised in a study by scientists at the Virginia Polytechnic Institute (USA) about the ability to keep the brain young and healthy.
Specifically, the researchers experimented on 2-year-old mice (old age of mice) and treated with resveratrol for 1 year. Research has shown the positive effects of resveratrol on synapses associated with the muscular nerve/waist/node.
However, women are advised to drink only 1 cup of red wine per day and men are 2 glasses, not to drink more. In "Neuroenology: How the Brain Creates the Taste of Wine" was published in November 2016, Professor Gordon M. Shepherd shared Brain link with ability to identify alcohol taste.
The process of enjoying alcohol properly activates the brain's gray matter more than solving math problems, logic or anything that requires specific knowledge… Sipping, sucking and slowly swallowing when enjoying wine also helps people stop thinking to feel life. This disrupts fear, helps people reduce stress and wants to communicate with people around them.


text:
«Ява» — торговая марка сигарет.

История
В 1912 году «Товарищество табачной фабрики С. Габай» начало выпуск папирос «Ява». Своё название они получили от индонезийского острова Ява, с которого поступало табачное сырьё для их изготовления.

Не позднее 1960 года на той же фабрике (переименованной в 1920 году в табачную фабрику «Ява») производились сигареты «Ява» без фильтра, с табаком, ароматизированным смесью из ромовой эссенции, кумарина, ванилина, этилового спирта, глицерина и экстракта солодкового корня. Сигареты относились ко второму сорту. Их длина составляла 70 мм, диаметр 8,2 мм. Аромат дыма с ванильным тоном.

С 1966 года под этой маркой начинается производство сигарет с фильтром международного формата «king size». Выпускаются сигареты «Ява-100» длиной 100 мм. В 1988 г. вводится госмонополия на марку, цена - от 5 руб.

В 1994 году компания British American Tobacco приобрела контрольный пакет акций фабрики «Ява», а в 1997-м начала выпуск сигарет под брендом «Ява Золотая».

Примечания

Ссылки
 Официальный сайт
 Сигаретные пачки Ява времён СССР (только РСФСР) и России до 2010 года

Марки сигарет
Табачная промышленность СССР
British American Tobacco
Ява (табачная фабрика)
Появились в 1912 году в России

redpajama_set_name: RedPajamaWikipedia


Everyone is going to Davao, it seems. Businessmen, tourists and Davaoeños returning home crowded our flight.
Despite his being differently-abled, Velasquez moved many with his hard work, showing that anything can be done with determination.
The French Baker founder and CEO Johnlu Koa said that his decision to use local ingredients for his bakeries and restaurants was inspired by Trade Secretary Mon Lopez and GoNegosyo.