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The Greatest Blog Of All Time I'm sorry that you visited this website
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by The Joseph Craven
in Craven On....
Innovation requires sacrifice. This principle has long stood true. To really be an innovator, one must sacrifice what is commonly accepted in favor of something new, sometimes bizarre, and always risky.
Car makers, however, are just awful at this. Instead of sacrificing the norm in favor of things like better fuel efficiency and the ability to fly, they continue to assume that what must be sacrificed is sanity.
And we end up with things like this:
Innovation at its grungiest.
The El Camino was the vehicle for people who just couldn't decide whether they were a car person or a truck person, and therefore wanted to like an idiot. It was supposed to combine the practicality of a car with the carrying capabilities of a truck. This sounds fine, except for the fact that such a thing as "small trucks" already existed.
PROOF!
The finished product was a truck with a pituitary problem. Sure, the miniature bed could maybe hold a chair or something, but not enough for a huge load. And the front end looked casual enough, but it didn't keep any car-related practicality. There is no backseat. Really, the El Camino was just a really low truck.
Business in the back, party in the front. It was the bizarro-mullet of cars. Or better yet, it was the McRib of vehicles.
Think about the McRib: it's a readily available, inexpensive rib sandwich. ON PAPER it should be awesome. In reality? It's an example of just how corrupt and awful the human soul is.
And just like that, I NEVER WANT TO EAT AGAIN
That's what the El Camino was: a solid idea on paper, then you look at it, and you're reminded that human beings are responsible for things like the electric chair and the atomic bomb.
So why did it even exist? Simple: because Australians are ridiculous.
Believe it or not, the El Camino was actually Chevrolet's ANSWER to another vehicle. That's right, another company made a "coupe utility" that was somehow popular enough that Chevy felt the need to answer.
Again, car developers don't just defy sanity, they sacrifice it.
What's beautiful is that the original concept, the Ford Ranchero, was developed by Ford Australia because of a fan letter they received. A farmer in Victoria, Australia, asked for "a vehicle to go to church in on a Sunday and which can carry our pigs to market on Mondays", and since farmers are the movers and shakers in life, Ford listened to him.
"I wanted a car that can carry my pigs, my kids, do my taxes, fix my heart problems, and get my wife to shut up. And Ford listened!"
Thus, the couple utility was born in 1957, killing all of the beautiful development momentum cars in the 50's had.
Leading us to this
But Chevy wasn't the only company to build an awful looking machine that was somehow popular. In England, Reliant made a plastic 3-wheeled car called the Robin in what was probably just some science experiment to prove that English people are awful.
The "Plastic Pig", as it was commonly referred as, was light, compact, and easily affordable. Really, the only downside to it (besides the look) was the fact that it would flip over at just about any point in time.
Which is funny, because it just LOOKS like such a great idea!
So whatever happened to the El Camino? Well somehow, someway, it enjoyed a great deal of success and was produced until 1987, a year that people started coming to their sense about a lot of things (rest in peace, parachute pants).
But that doesn't mean the El Camino disappeared. For some reason, muscle car enthusiasts and douchebags adopted the El Camino and welcomed it into their fold, making sure that repaired and modified El Camino's still wander our streets.
Thanks, guys. REALLY appreciate that gesture
More than that, the idea of a coupe utility hasn't fully gone away. Car designers are still trying to find a way to blend carrying ability with small size without realizing that those two things don't go together whatsoever. Just two short years ago (2010, for those of you keeping track at home), Pontiac was set to release the Pontiac G8 ST, the first coupe utility in North America since '87.
Amazingly, Pontiac canceled this decision, though, showing a rare level of wisdom for the company who gave us the Aztek.
The first microwave oven on wheels
And with the death of the G8 ST, car makers fully shifted their focus to making full-sized trucks with actual carrying ability, and hybrids that didn't suck out of control.
It took many, many years, but developers have discovered that they DON'T need to give up sanity for the sake of innovation.
About The Joseph Craven
I'm tall, but not so tall that people point and stare.
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16 responses to "El Camino"
wcrowlen says : February 1, 2012 at 10:07 am
I RARELY TYPE IN ALL CAPS ON BLOG POSTS BUT TAKE IT BACK. EL CAMINOS ARE AWESOME. I ALMOST BOUGHT ONE ONCE AND I HATE MUSCLE CARS AND DOUCHE BAGS.
The Joseph Craven says : February 1, 2012 at 10:09 am
Little known fact: in my family, as soon as you see an El Camino, you are required to scream "EEEEEELLLLLLLLLLL CAMINO" at the top of your lungs. Same with a Huddle House.
More commonly known fact: I love muscle cars and I really don't care about your opinion.
Mandie Marie says : February 1, 2012 at 2:08 pm
What…..is a Huddle House?
joe knight says : February 1, 2012 at 4:32 pm
Anytime I see one I am required to sing.
"El Camino!
The front Looks Like a car.
The back looks like a truck.
The front is where sit.
The back is where you…Shut yo mouth!"
Burrill Strong (@sgtwolverine) says : February 1, 2012 at 10:10 am
This post makes me happy. So happy.
When I was browsing through cheap used cars looking for my first car, I almost bought the Dodge version of the El Camino: the Dodge Rampage.
http://en.wikipedia.org/wiki/Dodge_Rampage
Instead, I bought a Daytona. Which I later totaled.
randomlychad says : February 1, 2012 at 10:19 am
I'm told the Chevy Nova sold extraordinarily well in Mexico.
Was I lied to?
Also, no pics of the abomination that was the Chevy LUV (the El Camino in actual, you know, truck form)? My brother had one, and the best thing I can say about it is that–if it was running–we could always pop the clutch to start it.
I love the Nova story. One of the funniest things I've ever heard.
I didn't include the LUV because I wanted to talk about the Robin and also keep the post under 1,000 words.
Stephen Haggerty says : February 1, 2012 at 12:38 pm
"a vehicle to go to church in on a Sunday and which can carry our pigs to market on Mondays" – A) Would this vehicle really succeed at either? B) This would work great as a life philosophy.
The Joseph Craven says : February 1, 2012 at 1:51 pm
A) In Australia? Sure.
B) For Australians? Sure.
Well you're from Mississippi. I assume you have a bunch of pigs hanging out in your backyard?
Larry Hehn says : February 2, 2012 at 8:51 pm
Part of me wonders where the AMC Pacer fits in all of this. And then the other part of me thinks, do we really want to know?
randomlychad says : February 2, 2012 at 8:54 pm
Indeed. And what of Ford's other horse-named car–the Pinto?
Jared Hollier says : February 3, 2012 at 9:12 am
I love the church/pig origin story. "Yeah, Charlie- it's a nice design. But can you fit multiple pigs in the back?"
Thomas Buster says : November 2, 2012 at 3:05 am
"except for the fact that such a thing as "small trucks" already existed"
That simply isn't true.
When the El Camino and Ford Ranchero were introduced in the late 1950's, small pickups didn't exist yet, at least not in the US. The Japanese didn't start importing their small pickups here until the late 1960's, and the big three didn't start building compact trucks of their own until the 1980's (not counting stuff like the Ford Courier and Chevrolet LUV, which were captive imports).
The Joseph Craven says : November 2, 2012 at 8:02 pm
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Rail NewsStations
Three Bridges passengers to benefit from station improvement fund
Southern passengers at Three Bridges station will be able to enjoy a new boulevard style walkway after Southern was successful in its bid to receive funding in the latest round of the government's £100m station improvement fund.
The funding will contribute to improvements Three Bridges station which includes the redevelopment of the walkway and courtyard area between the station building and the subway.
The £100m fund which was launched by Network Rail and the Association of Train Operating Companies (ATOC) earlier this year called for bids from train operators across the country to fund projects such as car park improvements, station redevelopments and smart ticketing.
Southern and Network Rail bid successfully for funding to make improvements to the station at Three Bridges which will significantly improve the overall environment at the station to complement a long list of improvements that have recently been made.
Plans for improvements include:
Creation of a boulevard style walkway to replace the existing structure
New, modern retail facilities
New double-deck cycle parking facilities.
Southern's Development Director, Alex Foulds said:
"We are delighted to have been successful second time around in our bid to secure funds to make some exciting improvements to Three Bridges station.
"For some time, we have been looking at how we could modernise the old walkway and make better use of the space at the rear. I am sure our passengers will enjoy the changes we have in mind for the station."
Mark Ruddy, Network Rail's Route Managing Director for Sussex, added:
"It is great news for passengers that this funding has been secured in addition to the recent installation of lifts and the improvements underway to the subway and other parts of the station.
"Providing better facilities and a more pleasant environment will help improve the journey experience for passengers who use Three Bridges station for 2.4m journeys every year."
ScotRail commemorates 'Railplane' at Milngavie station
Danish State Railway awards Hoeft & Wessel e-ticketing contract

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Tate Etc.
Tate Etc. issue 12: Spring 2008
Next-to-nothing
Tate Etc 1 January 2008
In 1935 Gertrude Stein wrote that in a painting there should be "no air...no feeling of air". As Steven Connor explains, air has become as much the subject of art, as that which it surrounds.
Artist's Breath 1960
Balloon, breath
© Courtesy Tate. DACS, London, 2008
The White Suit project 1969
Courtesy Coop Himmelb(l)au
Hans-Rucker-Co
Oasis 7 at documenta 5, Kassel 1972
Photo: Günter Zamp Kelp
Courtesy Hans-Rucker-Co
Gertrude Stein wrote in her 1935 essay Pictures that in a painting there should be "no air… no feeling of air". Ruskin disagreed, on the grounds that "everything that is needful, nourishing and delightful about the earth comes from its capacity to take up oxygen – to rust: It is not a fault in the iron, but a virtue, to be so fond of getting rusted, for in that condition it fulfils its most important functions in the universe, and most kindly duties to mankind. Nay, in a certain sense, and almost a literal one, we may say that iron rusted is Living; but when pure or polished, Dead". Ruskin preferred an art that responded to the qualities of colour and texture imparted by this mingling of earth and air, for this reproduced the rusty variegations of nature's own primary pigmentations:
All those beautiful violet veinings and variegations of the marbles of Sicily and Spain, the glowing orange and amber colours of those at Siena, the deep russet of the Rosso antico, and the blood-colour of all the precious jaspers that enrich the temples of Italy; and, finally, all the lovely transitions of tint in the pebbles of Scotland and the Rhine, which form, though not the most precious, by far the most interesting portion of our modern jewellers' work; all these are painted by Nature with this one material only, variously proportioned and applied – the oxide of iron that stains your Tunbridge springs. Ruskin, 1878
Installation view at Tate Modern
Courtesy Hauser & Wirth Zürich London
© Paul McCarthy
Air has a privileged relation to the struggle of art with, or rather its striving to find ways of doing without, objects. More and more, and most conspicuously in the conceptual arena, art must refuse to be reduced to or mistaken for the objects which it has traditionally been called upon to bring into being. For more than a century it has struggled against the idolatry or enchantment of objects, preferring processes, especially vanishing, decomposition or evaporation to the precipitation of forms. Air has often been the carrier of this immaterialism. Perhaps the inaugurating work in this tradition is Marcel Duchamp's 50cc of Paris Air 1919, a glass phial which he made for his friend Walter Arensberg, buying it from a pharmacist, after asking the chemist to pour away the liquid it contained and re-sealing it. In this work, both the container and the air inside it is a readymade. The gesture of emptying out the original contents of the flask substitutes nothingness for the original commodity on sale in the shop, a lesson insisted on in the parody of consumer choice offered by the designation "Paris Air", as though its place of origin gave it a particular value or distinctiveness, in the same way as eau de cologne. So perhaps the air is not so much a readymade as a ready-to-hand emblem of unmaking. Because what the flask contains is absolutely arbitrary, the air here bringing forward the idea of not being there and, by extension, art's capacity to summon and sustain this condition of the not-all-there, the next-to-nothing.
No object embodies art's desire to have done with objects more than air. In fact, air has become a kind of allegory of art, or of its allergy to objects. "Immaterial sensibility is a gas," Nicolas Bourriaud has written. To work with air is to wish to become it, to evaporate every particle of what would betray art into the condition of an object, while yet remaining exquisitely, infinitesimally intact in that very operation. If air is, as the seventeenth-century Irish scientist Robert Boyle put it, the "next Degree to nothing", then art aspires to insinuate itself into that differentiating chink. For the ability not only to work with air, but also to identify with it, gives warrant to the claim that if art can even be nothing, then it can be anything. Art, like air, consists of nothing in particular; it has, and need have, no consistency with itself or anything else. Of course, this is also the thing that secures the distinctiveness of art. Everything else is stuck with the miserable finitude of having to be something in particular.
What Goes Up Must Come Down 1994
Ping-pong ball, hairdryer, Plexiglas container
Courtesy Parkett, Damien Hirst
Air is neither on the side of the subject nor of the object. It has neither objecthood nor essence. It has no objecthood because it has no single form of being, manifesting itself in a multitude, and never less than a multitude, of traces and effects – the hiss of a tyre, the breath of a zephyr, the buffet of a gale, the vortex of leaves on a street corner. But these appearances are not the secondary expression of an essence any more than they are the properties of an object. The air is impression without presence.As art has sought to expand infinitely the range of its applications and operations, it has also sought to assume what might be called the illocative pull of the air away from the particularity of this or that place, its wish to propagate into everything. Much air art can trace its lineage to the Dimensionist Manifesto, published in Paris in 1936 in the form of a single-page insert in the magazine Revue N+1 by the Hungarian poet Károly Sirató and signed by Arp, Delaunay, Duchamp, Kandinsky, Moholy-Nagy, Picabia, Kandinsky and others. This manifesto aimed to extend art into all the available dimensions of space, in the interests of "Cosmic Art Vaporisation of Sculpture'', and the requirement that "rigid matter is abolished and replaced by gazefied materials". The most unpleasant associations of the idea of vaporisation were as yet still in the future in the mid-1930s, and the imperial cast of the demand that "instead of looking at objects of art, the person becomes the centre and the subject of creation" was perhaps less irresistibly evident than it may now appear. Nevertheless, for much of the twentieth century, the apparent relinquishment of being involved in an art of air has also been able to be an exercise in actual or imaginary conquest.
In much recent art, air has become the marker not of the difference between art and life, but of the aspiration of art to trespass beyond its assigned precincts, to approach and merge into the condition of "life". One of the most influential post-war proponents of this idea was Yves Klein, fourth dan judo expert, Rosicrucian and Knight of the Order of St Sebastian, showman and occasional painter. From an early age, Klein had longed to join himself to the universal vacancy imaged in the overarching, cloudless blue sky, even resenting the flight of birds for vandalising the sky's immaculate emptiness. The governing principle of his mysticism was the yen for expansion and dissolution, in an effort to dissolve all differences and distinctions in an immense cosmic unity. Realising that it was not possible for this condition to be simply or non-contradictorily given in art, he saw it as his duty as an artist to find images that could both materialise the immaterial and "impregnate" the viewer with a sensitivity to what lay beyond the bad dream of differentiated material existence, sensitivity being defined as "what exists beyond our being and yet always belongs to us". Initially, he saw single colours, and the particularly pulsating shade of ultramarine blue he dubbed International Klein Blue, or IKB, as the best way of activating "zones of immaterial pictorial sensitivity". But he realised within a couple of years (one wonders how it could have taken longer than a couple of minutes) that the transparency of empty air would be an even better aperture on to the void. Void was, in fact, put on at the Galerie Iris Clert in Paris in 1958. Though Void was universal, it was fortunately not homogenous, since this enabled Klein, like an estate agent of inspired canniness, to exchange zones of immaterial pictorial sensitivity for specified weights of gold leaf.
Silver Clouds 1966
Installed at The University Art Museum, Long Beach 1997
© Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York / DACS, London 2008
Nicholas Grimshaw
Biome conservatories at the Eden Project, Cornwall 2001
Photo: Sealand Aerial Photography
After his meeting with architect Werner Ruhnau around 1957, Klein entered his "pneumatic period", which was consolidated over the next two years with a series of projects for and fantasies of a global "architecture of air". In a pair of talks at the Sorbonne in June 1959, jointly entitled "L'evolution de l'art vers l'immatériel", Klein set out his plans for all existing solid architecture to be dismantled and stored underground and for the climatic conditioning of all regions of the earth, which would allow human beings to live in a state of Edenic, if somewhat breezy, repose, reclining on sofas consisting of jets of compressed air. The house itself "must be built with the new material of 'air' blown into walls, dividers, roof, furniture". The most important thing about his architectural programme was the stripping away of the roof.
Architects such as Ruhnau had been hindered, wrote Klein, "by the last obstacle that even a Mies van der Rohe hadn't been able to overcome: the roof, the screen that separates us from the sky, from the blue sky". In the artist's visionary pneumatic architecture, the office of the roof would be performed by a layer of compressed air that would deflect dust and rainfall. His idea was to create a state of planetary pneumatic bliss, which would conduct human beings to a stage of universal levitation. As he promised in a speech in Düsseldorf: "We will become aerial men, we will experience the force of attraction upward, toward space, toward nowhere and everywhere at the same time; the force of earthly attraction thus mastered, we will literally levitate in total physical and spiritual freedom."
Since Klein, it has increasingly been assumed that working with air is a good way to relinquish the dominative relation to objects that has contaminated art of the past. Robert Barry produced in 1969 a work called Inert Gas Series, which consisted of him releasing into the atmosphere above the Mojave Desert cylinders of xenon, helium and other so-called noble or unreactive gases. The point of using inert gases was evidently to have as little impact on the environment as possible: "I try not to manipulate reality," Barry has said, "not to impose my preconceived grid or preconceived system on to reality. I, to use Heidegger's phrase, let things be. What will happen, will happen. Let things be themselves." Like the gas itself, the action distinguished itself by making no, or next to no, difference.
Other artists have given the imagined immateriality of the air a more spectral aspect. Ewa Kuryluk's distinctive paintings on cloth suggested the title 'Air People' for the retrospective of her work in Warsaw in 2003. The Polish art critic Andrzej Wirth identifies these "air people", cloth figures draped over bushes and trees, with the partisans who parachuted nightly into occupied Poland during the war, and takes them as emblems for the drifting, frameless, volatile nature of Kuryluk's work, as "silhouettes of 'people of air'… seem ready at any minute to fly into the unknown".
Ann Veronica Janssens, who has turned in recent years to the creation of sculptures and environments made of mist, has said: "What interests me is what escapes me, not to try to keep it from escaping, but on the contrary to experience the 'imperceptible' and offer that experience to others." The soft, virtual volatility of mist, clinging, but drifting, offers a virtuous "absence of authoritarian materiality, that effort to get out from under the tyranny of objects". Janssens emphasises not the isolating characteristics of the artificial fogs she creates, but rather their capacity to dissolve: "Fog has contradictory effects on our vision. It makes every obstacle, all materiality, all contextual resistance, disappear, and at the same time it seems to bestow materiality and tactility on light… Bathed in light, we find ourselves transformed, blindly, one might say, and yet with no constraints or apparent limits."
If air is "pure", it is in a special way, for it is purely and specially compound. As Gerard Manley Hopkins put it, air is "fairly mixed/With, riddles, and is rife/In every least thing's life". It is in the nature of air not only to surround everything, but also to pervade everything, mixing and mingling with other gases, entering into compounds through the copulative appetite of oxygen.
There is another kind of work done on and through the air that, because it is less concerned with prolonging itself in its objectless integrity, allows air and art to compound in the advent of objects. One example is the inflatable. In comparison with the ethereal poiesis of the art of the open air, the rhetoric of the inflatable associates it with ironic and bathetic corporeality. The inflatable object is frail, delicate, but also ridiculous, always on the point of abject eruption and collapse. Paul McCarthy's huge inflatable sculptures Blockhead and Daddies Bighead, installed outside Tate Modern in May 2003, were sinister, sleazy, parodic, cartoonish, melancholically deformed. Blockhead looked like a cartoon character on whom a sledgehammer or a saucepan has violently descended; but now the weapon has become the character's head, and it seems to peer through the handle as though through a tank's gun or a Dalek's periscopic stalk. One could enter the giant sculpture and buy sweets; in the interior there was a loud and cavernous hiss from the air that was pumped in to keep the thing wheezily erect. Combined with the bizarre blowhole that formed part of the head, the suggestion seemed to be that the sculpture was struggling asthmatically to catch its breath.
Grander claims have sometimes been made for inflatable art and architecture, perhaps nowhere more, or more surprisingly, than in the exhibition 'Structures gonflables', mounted in March 1968 at the Musée d'Art Moderne de a Ville de Paris by architects associated with the Utopie group of urban theorists. The show gathered together an array of inflatable objects and structures, offering them as images of pop emancipation and ephemerality. Perhaps it is in part true that, as architectural historian Marc Dessauce maintains, "the inflatable ethos possessed a subversive constitution which recommended it to avant-garde practice", for perhaps inflatable art was indeed an answer to the pervasive flatness of Marcuse's era of one-dimensional man, since "it is as if the propensity to describe the epoch as lacking in relief had reflected itself in an exactly inverse manner, in an image of perpetual roundness and turgescence". The French protests of May 1968 broke out just days after the exhibition closed, though a direct connection seems improbable. The associations of bubblegum and bouncy castle are never far away from inflatable air, and Dessauce is nearer the mark in claiming that pneumatic art and design ought to be seen as a grotesque exaggeration of the "pneumatic penetration of everyday life", in automobile transport and air-conditioning:
Thus the formidable equalising power of air-flow, and our insatiable appetite for its therapeutic and uplifting value, could also be held accountable for a loss of texture, and the deep, aerodynamic stretching of urban fabric to the point of its separation, dispersion and constriction – like the shrivelled debris of a popped balloon strewn at the periphery of a defunct centre.
Inflatable art seems to forbid the unfettered dream of the immaterial. In inflatable art, air enters into composition, is folded or forced into new kinds of object, rather than invoking the spaces of the un-object. Earlier artistic allegories of the air were bulging with material forms, often those of birds, as, for example, Joachim Beuckelaer's The Four Elements: Air, a Poultry Market With the Prodigal Son in the Background 1570. More recently, art has returned to this manner of representing air displaced into objects. A number of examples are discussed in the recent collection Going Aerial, edited by Monika Bakke (2006). Not surprisingly, the most interesting hybridisings of air are to be found in its section on breath-works, since breath embodies the transcoding or compounding of air much more readily than the volatilisation of things into the (imaginary) condition of air. Whether in the Breath Cultures 1999 of Sabrina Raaf, which grew into visible form the oral flora from participants who had breathed over Petri dishes, or her project Translator II: Grower 2004–5, in which a small robot moved around the walls of a room drawing shafts of "grass" in response to the fluctuating levels of carbon dioxide in the space, the air seems to mean the necessity for translatability, an existence only in the mediations of objects. Steve Heimbecker's Wind Array Cascade Machine 2003 arises out of the artist's experiences of the wind in the western Canadian prairies where he grew up, watching the progress of storms for hours as they drew near, and his recognition that "we do not actually hear the wind, but rather hear and see objects as they are affected by the wind, such as the wind in our ears (and our microphones), the wind through the leaves of a tree, a field of mature grain blowing in the wind, or even the swirling detritus around a city building". The Wind Array Cascade Machine is 64 wind-pressure sensors covering an area of 25 metres square, which are designed to mimic the behaviour of a field of grain. The data collected by the sensors can be streamed, or recorded for later processing and transformation. In this work, air is not an empty ultimate condition, but a sort of "white box", a transition from a variable but always determinate input to a variable but always determinate series of outputs. The machinery embodies the indefinite process whereby the air becomes itself by being made exterior to itself.
Air offers art two forms of being and becoming. There is first of all the annihilating dream of air as the ultimate refinement, the transcendental promise of matter subtilised to thin infinitude. But, after barely 300 years, the materiality, and therefore the finitude of the air has become unignorable, even as it has taught us that there are many more kinds of object, and ways of being an object, than we might have thought. Air is exchanging its ulteriority for exteriority. Instead of being the embodiment of a world beyond objects and bodies, air has become the mediated arena of the object. Air is no longer an ideal image for art, but an object for it to work on, and by which to be itself worked out, worked loose even from its self-identity. In its phantasmatic assimilation of itself to the uniform dream of air as pure dematerialisation, of matter terminally rarefied into space, art keeps itself narcissistically but anxiously entire. In propagating the air into objects, art stands a chance of propagating into something beside itself.
19 May – 26 Oct 2003
Paul McCarthy, Tate Modern
Paul McCarthy at Tate Modern
Paul McCarthy at Tate Modern: Press related to past commission.
4 Apr – 9 Sep 2012
The first substantial survey of Damien Hirst's work in a British institution, bringing together key works from over twenty ...


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This fairy lives in grazing land covered with snow. She ishardly to be seen with her pale complexion. She delivers the first snow of winter that brings blessings to everyone.
During a rainy day, this fairy with her bluebell-blue dress can only be seen when she is flying up the sky. She hasmagical power to bring peace together with the rain drops between enemies.
Experience Magical & Hygiene Moments with Sensez Beauty's Fairy Bliss Glitter Hand Gel. Each blissfully scented hand gel are like Fairies that possess magical touch & brings good fortune. Keep your hands sanitized and protected from germs with our Fairies! The shimmering glitters are like a magic wand of the fairies to keep your hands sparkling & clean all day long.
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Bab-bab wangi tu yang buat lagi syok.. Kikiki..


text:
Allium cepa, comúnmente conocida como cebolla, es una planta herbácea bienal perteneciente a la familia de las amarilidáceas. Es la especie más cultivada del género Allium, el cual contiene varias especies que se denominan «cebollas» y que se cultivan como alimento. Ejemplos de las mismas son la cebolla de verdeo (Allium fistulosum), la cebolla escalonia (Allium ascalonicum) y la cebolla de hoja o ciboulette (Allium schoenoprasum).

Descripción

En cuanto a su morfología, la cebolla presenta un sistema radicular formado por numerosas raicillas fasciculadas, de color blanquecino, poco profundas, que salen a partir de un tallo a modo de disco, o disco caulinar. Este disco caulinar presenta numerosos nudos y entrenudos (muy cortos), y a partir de este salen las hojas. Las hojas tienen dos partes claramente diferenciadas: una basal, formada por las vainas foliares engrosadas como consecuencia de la acumulación de sustancias de reserva, y otra terminal, formada por el «filodio», que es la parte verde (puede variar en los tonos) y  activa de la planta. Las vainas foliares engrosadas forman las "túnicas" del bulbo, siendo las más exteriores de naturaleza apergaminada y con una función protectora, dando al bulbo el color característico de la variedad. Los filodios presentan los márgenes foliares soldados, dando una apariencia de hoja hueca. Las hojas se disponen de manera alterna.

En el primer año de cultivo tiene lugar la «bulbificación» o formación del bulbo. Dicha bulbificación tiene lugar como consecuencia de un aumento del fotoperiodo (periodo de iluminación diurna) acompañado de un ascenso de las temperaturas, ya que la cebolla es una planta de día largo.

El segundo año, al producirse unas condiciones ambientales favorables, tiene lugar la fase reproductiva. Esto se traduce en la emisión de un tallo o escapo floral que alcanza en torno a 1 m de altura, hueco en su interior y abombado en su parte basal. Este escapo culmina en un "capuchón" formado por tres brácteas que, en el momento de la floración, se abren dejando al descubierto la inflorescencia. Esta es de tipo umbela y presenta numerosas flores monoclamídeas de color blanco-verdoso. Las flores están formadas por 6 pétalos, 6 estambres y un gineceo tricarpelar sincárpico con ovario súpero y trilocular, con dos primordios seminales por cada lóculo. La polinización es entomófila. El fruto es de tipo cápsula, conteniendo semillas pequeñas (1 g = 250 semillas), de color negro, que presentan una cara plana y la otra convexa. Su viabilidad desciende un 30 % el segundo año, y un 100 % el tercero.

Raíz

La cebolla presenta un sistema radicular formado por numerosas raicillas fasciculadas, de color blanquecino, poco profundas, que salen a partir de un tallo a modo de disco, o disco caulinar.

Tallo

El tallo de la cebolla es el que sostiene la inflorescencia; es derecho, de 80 a 150 cm de altura, hueco, con inflamiento ventrudo en su mitad inferior.

Hoja

Las hojas son envainadoras, alargadas, fistulosas y puntiagudas en su parte libre.

Composición del bulbo

El bulbo de la cebolla está compuesto por células que tienen un tamaño relativamente grande y poseen formas alargadas u ovaladas. Dichas células se encuentran unidas entre sí por una sustancia llamada pectina (que es producida por la pared celular), cuya función es darle estructura firme y protección al bulbo de la Cebolla (Allium cepa).

Otra característica muy importante del bulbo es que su estructura consta en su mayoría de hojas; es decir, los nomófilos de la planta, que surgen de un tallo abreviado o disco apenas perceptible, y cuyos nudos y entrenudos están muy juntos. Estas hojas se distinguen en bases foliares, o vainas de reserva y en vainas de protección (hojas apergaminadas que recubren todo el bulbo).

Las cebollas contienen trans-(+)-(1-propenil)-cistein sulfóxido, una molécula que es inodora. Cuando la cebolla se corta o trocea, se  produce la ruptura de la compartimentalización celular, lo  que permite a una enzima llamada alliinasa entrar en contacto con el trans-(+)-(1-propenil)-cistein sulfóxido, produciendo piruvato (compuesto importante para la célula ya que es un sustrato clave para la producción de energía y de la síntesis de glucosa llamada gluconeogénesis), amoníaco y ácido 1-propenil sulfénico. Una nueva enzima, la LF sintetasa, transforma esta última substancia en S-óxido de tiopropionaldehido, responsable de la irritación ocular y del lagrimeo.

Conservación

Los bulbos maduros de cebolla tienen como condiciones óptimas de conservación una temperatura de 0 °C y una humedad relativa de 65-70 %. En tales condiciones los bulbos maduros pueden conservarse entre 1 y 8 meses, según la variedad. Las cebollas se caracterizan por su muy baja producción de etileno y por su baja sensibilidad al etileno, por lo cual no se producen problemas de importancia si hay frutos climatéricos en la cámara que eventualmente liberen al ambiente esa fitohormona.

Procedencia

La cebolla se sitúa entre las primeras plantas cultivadas. Su origen se sitúa en Asia Central. Más certeza se tiene en su entrada europea por los griegos y romanos. La salsa provenzal deriva de un preparado alimenticio muy usado entre los gladiadores y legionarios: una mezcla de ajo, cebolla y aceite de oliva con posibles añadidos de laurel, perejil, albahaca y romero.

Valor nutricional

La cebolla es un alimento que se caracteriza por su bajo valor calórico y alto contenido en fibra. Contiene cantidades significativas de potasio, calcio y de algunas vitaminas. Entre sus componentes se encuentra la quercetina, que tiene efecto antioxidante, y también componentes ricos en azufre, que le dan su olor característico. Uno de ellos, formado por reacciones enzimáticas cuando se trocea la cebolla, es el óxido de tiopropanal, responsable  del efecto lacrimógeno. Aun cuando tradicionalmente se atribuyen a la cebolla grandes propiedades en la mejora de la salud,  no hay ninguna prueba de que este supuesto efecto sea real.

Economía

Producción

Taxonomía
Allium cepa fue descrita por Carlos Linneo y publicada en Species Plantarum 1: 300-301. 1753.

Etimología
Allium: nombre genérico muy antiguo. Las plantas de este género eran conocidas tanto por los romanos como por los griegos. Sin embargo, parece que el término tiene un origen celta y significa "quemar", en referencia al fuerte olor acre de la planta. Uno de los primeros en utilizar este nombre para fines botánicos fue el naturalista francés Joseph Pitton de Tournefort (1656-1708).

cepa: epíteto latíno que significa "cebolla"

Sinonimia

Variedades y cultivares

La gran mayoría de los cultivares de A. cepa pertenece al «grupo de la cebolla común» (grupo typicum) y se les conoce comúnmente como «cebollas».
El grupo aggregatum de cultivares comprende a la «cebolla multiplicadora», que se distingue por los bulbos que aparecen y quedan envueltos por las escamas exteriores, y al «chalote», que forma un racimo o grupo de bulbos laterales unidos por la base.
El grupo  viviparum, finalmente, está compuesto por las cebollas que forman conjuntamente bulbillos y flores en las inflorescencias; este tipo de cebolla se conoce como «cebolla perenne o egipcia».

Nombre común

La cebolla se conoce también como cebolla cabezona, cebolla de huevo o cebolla de bulbo. Si bien el nombre más usado en español es «cebolla», existen otros nombres vernáculos, tales como: ajo porro, cebolla ajera, cebolla común, cebolla de Alcalá la Real, cebolla de Chinchón, Cebolla Perla, cebolla de Granada, cebolla de Madrid, cebolla matancera, cebolla murciana, cebolla silvestre, cebollas, cebolleta (joven), cebolletas, cebollino, cebollinos, cebollón, siemprevivas y tipula.

En Colombia se le llama cebolla cabezona para distinguirla de la cebolla larga (Allium fistulosum).

Véase también

 Cebolla Fuentes de Ebro
 Cebolla roja
 Cebolla larga
 Cebolla de hoja
 Cebolla de Palenzuela
 Sopa de cebolla
 Aros de cebolla
 Pungencia

Referencias

Referencias taxonómicas
 JSTOR Allium cepa

 U.S. National Plant Germplasm System GRIN Allium cepa

Bibliografía adicional

 Gripshover, Margaret M., and Thomas L. Bell, "Patently Good Ideas: Innovations and Inventions in U.S. Onion Farming, 1883–1939," Material Culture (Spring 2012), vol 44 pp 1–30.
 Sen, Colleen T. (2004). Food culture in India. Greenwood Publishing. .

Enlaces externos

cepa
Plantas medicinales
Raíces y tubérculos comestibles
Verduras
Cebollas
Plantas descritas en 1753
Plantas descritas por Linnaeus

redpajama_set_name: RedPajamaWikipedia


Beware of a scam that is occurring across the nation. You may receive a telephone call or text message notifying you that you have missed jury duty and that you should immediately call the telephone number provided.
Neither staff of this office or the Harris County Sheriff's Office staff send text or email messages to jurors of this nature. We contact jurors via telephone but, when we do, staff will identify themselves. Our automatic telephonic messaging system provides notices to jurors concerning status of cases. If you are asked to call the office, the telephone number provided will be 706-628-7705.


A new approach for the spatial and temporal modulation of electromagnetic fields at terahertz frequencies is presented. The waveguid-ing elements are based on plasmonic and metamaterial notions and consist of an easy-to-manufacture periodic chain of metallic box-shaped elements protruding out of a metallic surface. It is shown that the dispersion relation of the corresponding electromagnetic modes is rather insensitive to the waveguide width, preserving tight confinement and reasonable absorption loss even when the waveguide transverse dimensions are well in the subwavelength regime. This property enables the simple implementation of key devices, such as tapers and power dividers. Additionally, directional couplers, waveguide bends, and ring resonators are characterized, demonstrating the flexibility of the proposed concept and the prospects for terahertz applications requiring high integration density.
16 January 2018: A typographical correction was made to the title.
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Fig. 1. Modal properties of domino plasmons. (a), Dispersion relation of DPs for various lateral widths L. Black and grey (blue) lines correspond to height h = 1.5d (h = 0.75d). Dashed line stands for infinitely wide dominoes (L = ∞). Inset: diagram of the domino structure and geometric parameters (the arrow depicts the mode propagation direction). (b) and (c), Modal shape of DPs: transverse (xy) electric field (arrows) and horizontal (xz) electric field (color shading) for DPs of height h = 1.5d and widths L = 0.5d (b) and L = 8d (c). (d) and (e), Same as in panels (b) and (c), but now for a 1D array of freestanding metallic rods (h = 3d). The designations even and odd label the symmetries of the modes with respect to the corresponding white lines. The fields in (b)-(d) are plotted for d/λ = 0.125, marked with a red open dot in (a), the white bar in (c) being the wavelength (valid for panels (b)-(d)). The field in (e) is computed for the same k as in panels (b)-(d), corresponding now to d/λ = 0.056. In panels (a)-(e) metals are modelled as PECs. (f), DP modal effective index as a function of lateral dimension L in units of wavelength. Various operating frequency regimes are considered: λ = 1.6mm (red), λ = 0.16mm (green), λ = 0.016mm (blue), and λ = 1.5 μm (magenta). To compute panel (f), a realistic description of the metals is used. As described in the main text, the periodicity d is different for the various operating frequencies, and h = 1.5d, a = 0.5d, L = 0.5d,…, 24d.
Fig. 2. Absorption (ohmic) and bend (radiation) losses. (a), Normalized propagation length of DPs in rectilinear guides of various L as a function of λ (h = 1.5d, a = 0.5d, d = 200μm). (b), Bend loss of DPs for three radii of curvature as a function of λ (h = 1.5d, a = 0.5d, L = 0.5d, d = 200μm). Inset: Poynting vector field (modulus) distribution in a horizontal plane slightly above (30μm) the height of the bend (top view). The chosen wavelength and radius of curvature are marked with an open black dot in panel (b). The red solid vertical lines in both panels indicate the operating wavelength used later, λ = 1.6mm.
Fig. 3. Subwavelength concentration of a domino plasmon. (a), Poynting vector field (modulus) distribution in a horizontal plane slightly above (30μm) the height of the tapered domino structure (top view). The lateral width is tapered from L in = 16d to L out = 0.5d (h = 1.5d, a = 0.5d, d = 200μm, λ = 1.6mm). (b)-(e), Amplitude of electric field in transverse vertical planes (longitudinal views) at the locations shown by white dashed lines in (a). The white bar in (b) showing the operating wavelength is valid for the last four panels.
Fig. 4. Dispersion relations corresponding to one and two parallel domino structures. Black solid (blue dashed-dotted) line is for DP of L = 0.5d (L = 1.5d). Magenta solid (dashed) line is for the even (odd) supermode of parallel domino structures separated a distance s = 0.5d, whereas green solid (dashed) line is the corresponding supermode for s = 1.25d. The individual dominoes in double structures have L = 0.5d. The red solid horizontal line indicates the operating wavelength, λ = 1.6mm, used later. Insets: longitudinal electric field for the odd and even supermodes of two parallel domino structures separated a distance s = 1.25d at the operating wavelength, and displayed in a transverse cross section lying at the center of the inter-domino gaps. For all structures h = 1.5d, a = 0.5d, d = 200μm.
Fig. 5. Domino plasmon devices. Top view of: (a), Power divider. (b), Directional coupler. (c), Waveguide ring resonator. The Poynting vector (modulus) is displayed in a horizontal plane slightly above (about 30μm) the height of the domino structures. White bars show the operating wavelength in each panel. The various geometric parameters are described in the main text, the periodicity being d = 200μm in all cases.


text:
Towns of Mexico > Coahuila de Zaragoza > Francisco I. Madero > Ampuero (Las Vegas)
Ampuero (Las Vegas) (Coahuila de Zaragoza)
Maps, photos and statistics of Ampuero (Las Vegas), a beautiful tiny town of 6 inhabitants of the State of Coahuila de Zaragoza
The town of Ampuero (Las Vegas) is located in the Municipality of Francisco I. Madero (in the State of Coahuila de Zaragoza). There are 6 inhabitants. Of all the towns in the municipality, it occupies the number #100 in terms of number of inhabitants. Ampuero (Las Vegas) is at 1,107 meters of altitude.
Map. How to get to Ampuero (Las Vegas)?
Other towns in the Municipality of Francisco I. Madero
The town of Ampuero (Las Vegas) is located at 1.1 kilometers from Francisco I. Madero (Chavez), which is the most populated locality in the municipality, in the Southesast direction. If you browse our webpage, you will also find a map with the location of Ampuero (Las Vegas).
Where is Ampuero (Las Vegas)? How to get there? Map
Map to know how to get to Ampuero (Las Vegas) (Coahuila de Zaragoza) by road and with geographical references of the surrounding towns. With the controls you can zoom in and out to the position of Ampuero (Las Vegas), which has the following symbol
Enjoy spending hours looking at satellite images to find your home or remembering places in a village? We have obtained an updated satellite photo of Ampuero (Las Vegas) and at this link you will navigate through its streets.
The population of Ampuero (Las Vegas) (Coahuila de Zaragoza) is 6 inhabitants
Population data in Ampuero (Las Vegas) (Coahuila de Zaragoza)
Evolution of the population in Ampuero (Las Vegas): Total Men Women
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Amazing satellite GPS maps of Ampuero (Las Vegas), to see from space this beautiful village, as well as the surroundings of the municipality of Francisco I. Madero. You can search free satellite map (2023) of Ampuero (Las Vegas).
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>>> Map with all the towns within the municipality of Francisco I. Madero
Ampuero (Las Vegas) (6 inhabitants)
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El Camarón (- inhabitants)
Fresno del Norte (José Guadalupe Villegas) (5 inhabitants)
Hidalgo (2779 inhabitants)
Jacaranda (Filipinas) (3 inhabitants)
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text:
Mass. Doctor Heading to Africa to Help Fight Ebola
Infectious disease expert Dr. Nahid Bhadelia of Boston Medical Center and Boston University will treat people suffering from deadly virus
By John Moroney	• Published at 6:40 pm on August 3, 2014
Dr. Nahid Bhadelia is taking her knowledge about infectious disease to Sierra Leone, where she'll be in the trenches, treating people who are suffering from the deadly Ebola virus.
"My parents are scared, but they know that this is something that I've wanted to do since - as long as I can remember," she said.
Bhadelia is with Boston Medical Center and Boston University's National Emerging Infectious Disease Laboratories. She'll be doing the same kind of work as Dr. Kent Brantly, who was infected with Ebola in Liberia and returned to the United States Saturday, walking on his own from the ambulance into Emory University.
"I was so glad, not only to see him walking, but the fact that he's here and he's going to get the advanced supportive care that I think he should be getting," said Bhadelia.
Infected American relief worker Nancy Writebol will be coming home Tuesday, as well. The cases are raising worries in the U.S. about a potential outbreak.
Hospitals like Massachusetts General say they are prepared. Still, Dr. Paul Biddinger says the chances of an Ebola outbreak here are small, given that it's spread only by contact.
"There is a chance that this could spread because of how globalization of air travel and how fast people move around the globe is changing, but any one person is at very, very low risk," said Biddinger.
That's not be the case for Bhadelia. She'll be working in a country where they've declared a state of emergency and troops have been called in to quarantine victims.
But the doctor is getting her shots and reviewing her safety protocols, convinced even more than ever that she needs go.
"We're going there to contain that epidemic, but we're also doing it because by containing it there, we're keeping folks on this side safe," Bhadelia said.


text:
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redpajama_set_name: RedPajamaGithub


hittin' switches while sittin' sidways!
That will happen if the link to the plaque is not valid or if it is not an image. Are you still receiving the error? I see you have the plaque in your club profile now.
yes the problem is still there.
It looks like the change the link on us every few days so this wont work. Ill setup a separate space on merrymelodies.com so you guys can upload your plaques.
I changed it so it will now upload any picture to merrymelodies.com to avoid errors in the game.
can you get that plaque to work for me druid?
If you edit your club you have an option to upload an image.


text:
NHL arena, Indoor ice hockey venues in Ohio, Columbus Blue Jackets
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Columbus Blue Jackets with day to day operations managed by SMG
360 Architecture
Columbus Blue Jackets (NHL) (2000-present)
Columbus Destroyers (Arena Football League) (2004-2008)
Ohio Junior Blue Jackets (USHL) (2006-2008)
Columbus Landsharks (National Lacrosse League) (2001–2003)
Ice hockey: 18,144
Arena football: 17,171
Basketball: 19,500
Nationwide Arena Interior
Nationwide Arena is a sports and entertainment arena in Columbus, Ohio. It opened in 2000 and is the home of the Columbus Blue Jackets of the National Hockey League, who were joined for the 2004 season by the Columbus Destroyers of the Arena Football League. It was also home to the Columbus Landsharks of the National Lacrosse League from 2001–2003. And, in 2006 it began hosting the Ohio Junior Blue Jackets, a Tier 1 junior ice hockey team that is a part of the United States Hockey League (USHL).
1 Ownership
5 Former Ohio Penitentiary
6 Notable Events
Ownership[edit | edit source]
The venue is named for the arena's owner, Nationwide Mutual Insurance Company, whose world headquarters are located across the street. Nationwide's real estate development affiliate, Nationwide Realty Investors, financed and developed the project—making it one of very few privately financed arenas in the nation.
The arena is of a brick design and serves as the center of an entertainment district located about one half mile north of the Ohio State Capitol. Seating capacity is approximately 18,136 for hockey, 17,171 for arena football, 19,500 for basketball, and up to 20,000 for concerts. The death of 13 year-old Brittanie Cecil from injuries sustained from a hockey puck flying into the stands at a Blue Jackets game in 2002 led to the installation of nylon netting to catch pucks that fly over the acrylic glass at all professional ice hockey arenas in the NHL, AHL, and ECHL.
The area surrounding Nationwide Arena, appropriately called the Arena District, houses a variety of bars, clubs and a movie theater. Constructed as a seamless entity, Columbus uses the arena as a drawing point for the city with the various other establishments feeding off of the foot traffic. The Lifestyle Communities Pavilion concert venue, and Arena Grand Theatre adjacent to the Nationwide Arena property, completes the entertainment complex.
Facilities[edit | edit source]
Nationwide Arena also houses a smaller ice rink called the Dispatch IceHaus (formerly named the CoreComm IceHaus). This facility serves as the practice rink for the Blue Jackets and is also used for youth hockey games and open skating times for the public. This facility makes Nationwide Arena the first NHL arena with an on-site practice facility and one of only two such facilities in NHL (the other being the Prudential Center, home of the New Jersey Devils).
Former Ohio Penitentiary[edit | edit source]
Nationwide Arena was built at the site of the abandoned Ohio Penitentiary. Although, believed to be built over the prison, the arena is actually built over the prison's former parking lot. Nationwide's parking lot is built where the prison formerly stood. Many prisoners were executed at the prison, and a fire killed 322 of prisoners locked in their cells. Some fans and employees who frequent Nationwide claim experiencing paranormal activities. Whether skeptics or not, some Blue Jackets fans jokingly blame supernatural beings for unsuccessful seasons since the team's inception, as well as the death of Brittanie Cecil.
Notable Events[edit | edit source]
The arena hosted the 2007 NHL Entry Draft. .
On Tuesday, April 21, 2009, a record hockey crowd of 19,219 watched the Blue Jackets lose to the defending Stanley Cup Champion Detroit Red Wings by a final score of 4-1 in a Western Conference Quarterfinal game.
Google Maps Satellite Image of Nationwide Arena
Current arenas in the National Hockey League
Amalie Arena - BB&T Center - Bell Centre - Canadian Tire Centre - KeyBank Center - Little Caesars Arena - Scotiabank Arena - TD Garden
Capital One Arena - Madison Square Garden - Nassau Coliseum - Nationwide Arena - PNC Arena - PPG Paints Arena - Prudential Center - Wells Fargo Center
American Airlines Center - Ball Arena - Bell MTS Place - Bridgestone Arena - Enterprise Center - United Center - Xcel Energy Center
Gila River Arena - Honda Center - Rogers Arena - Rogers Place - SAP Center at San Jose - Scotiabank Saddledome - Staples Center - T-Mobile Arena
This page uses content from Wikipedia. The original article was at Nationwide Arena. The list of authors can be seen in the page history. As with Ice Hockey Wiki, the text of Wikipedia is available under the Creative Commons Attribution-Share Alike License 3.0 (Unported) (CC-BY-SA).
Retrieved from "https://icehockey.fandom.com/wiki/Nationwide_Arena?oldid=693488"
NHL arena
Indoor ice hockey venues in Ohio


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Amy Bennett's raw talent is enough to make anyone stop and become transfixed by one of her paintings. With attractive color palettes and calculated brushwork, the subjects she paints hit home deeply because of their familiarity.
Maybe it's the northeast suburban landscape featured in most of her paintings that makes each scene feel so recognizable. Amy lives and works in Cold Spring, NY which lays just north of the famous West Point Military Academy on the Hudson River. The town itself is exactly what you'd hope to find while getting away from the bustle of NYC on a short train ride via the Metro North, and a spot that feels like the imagery in Amy's paintings.
Amy at her studio in Cold Spring, NY
Anniversary, a painting from her most recent exhibition, has a mid 2000's champagne-colored Mercedes C300 juxtaposed by a Robin's egg blue house shrouded by a large oak tree. There's a nostalgia looking at her images of neighborhoods, churches, and backyards, they're mostly ordinary settings but they come to life because the stories they tell remind you of something you know.
Anniversary, 10x14 inches, (2017) .
Before painting, Amy builds extremely detailed 3-D models of communities and landscapes which become the stage on which she develops her narratives. Her process is a piece of work itself and reminds me of the unseen details that go into manufacturing clothes.
Her series, At the Lake, is a personal favorite of mine, the collection depicts both winter and summer scenes that I recognize, most likely taking place somewhere in the Northeast of the United States. Setting up tents on the water's edge, prepping for a hunter with high- vis gear on, dragging a canoe up onto shore near a lake house. All these images make me miss the experiences I have been lucky enough to have in my life.
A Light Around Your Head, 18x24inches, (2017)
She states on her website how the themes of time, isolation and transition run through her work, all of which feel very poignant right now. Amy asks for viewers to consider her work as a reminder of the persistence of change and the impermanence of everything. Life moves on and we'll be back to these familiar scenes soon enough.
By: Adsum Founder, Pete Macnee
More on Amy Bennett here.
Floating Lessons, 22x22 inches, (2018)
A Strange Hour, 48x68 inches, (2016)
Taking Arms, 18x24 inches, (2008)
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Nashville bomber was driven by conspiracies, paranoia, FBI says
Sky 5 - WTVF
Aerial view of 2nd Avenue after the Christmas Day bombing in downtown Nashville.
By: WTVF Staff & Associated Press
NASHVILLE, Tenn. — The man who blew himself up in a Christmas Day bombing in downtown Nashville was grappling with feelings of paranoia and eccentric conspiracy theories before the explosion but did not appear to be motivated by political ideology.
That's according to an FBI report issued Monday, which stated the suicide bomber identified as Anthony Warner's actions have been determined not to be related to terrorism.
The FBI said a significant portion of the investigation into the Second Avenue explosion has been completed. More than 3,000 pounds of evidence was recovered from the blast site, where dozens of buildings sustained significant damage.
The explosion caused widespread AT&T outages in at least seven states for days, crippling 911 services across Tennessee and beyond.
"Warner's detonation of the improvised explosive device was an intentional act in an effort to end his own life, driven in part by a totality of life stressors – including paranoia, long-held individualized beliefs adopted from several eccentric conspiracy theories, and the loss of stabilizing anchors and deteriorating interpersonal relationships," the report reads.
Investigators conducted more than 250 interviews, speaking with those who knew Warner best, and analyzed his own writings to come to this conclusion.
The FBI statement sets out to resolve some of the lingering mysteries of an explosion that initially perplexed investigators and the public because it appeared to lack an obvious motive or fit a clear profile.
Though the blast damaged dozens of buildings, it took place early on a holiday morning well before downtown streets would be bustling with activity and was preceded by a recorded announcement warning anyone in the area that a bomb would soon detonate.
Investigators believe he chose the location on Second Avenue and the timing of the explosion so that it would be impactful, "while still minimizing the likelihood of causing undue injury."
The FBI said the investigation did not reveal indications of a broader ideological motive to use violence to bring about social or political change.
In the early days of the investigation, FBI Special Agent Doug Korneski indicated the use of force or violence in the furtherance of a political or social ideology was what investigators would be focusing on when considering the bombing as domestic terrorism.
The FBI's report ended with an important note saying only Warner knows the real reason why he detonated an explosive device on Christmas Day, but the agency is confident based on the available evidence that its conclusion is accurate.
More than a year before the explosion, Metro Nashville police received a tip that Warner was building bombs in the RV outside his home.
At the time, police went to Warner's home, saw the RV but never spoke with him. In February, Metro Council voted to create a nine-member Special Bombing Review Commission to take a hard look at the circumstances and response to the bombing.
This story was first published by Caroline Sutton at WTVF.
Copyright 2021 Scripps Media, Inc. The Associated Press contributed to this report. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.


amity, owner and founder of carolina barre and core, opened the doors to the charlotte-based studio on july 15, 2013, with the raleigh studio following in 2016. well-versed in the fitness world, amity has been teaching since 1995.
including cycle, bootcamp, pilates, yoga (200 e-ryt) and barre classes.
under the guidance and mentoring of fred devito and elisabeth halfpapp of exhale spa in nyc, amity brings barre fusion, cardio barre and sport classes to two carolina barre and core studios with enthusiasm. amity's classes are truly game changers for your mind and body– she has a remarkably keen eye for alignment and is also known for her hands-on style of teaching.
i am extremely grateful to every person who has made carolina barre what is today. without each an every teacher, front desk staff, and guest that walks through our doors, we would not be who we are today. sincere gratitude!
so i can give out all kinds of lovin'.
favorite thing about being at cbc? i love the community at cbc, there is no comparison.
we all show up to lift each other up, period.
the one thing you can't live without? iced coffee.


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Home / HR Courses / AI for HR / Real World Experiences / Writing Better Job Descriptions
Writing Better Job Descriptions
Course: AI for HR
Module: Real World Experiences
Whether you know it or not, many HR professionals struggle to write successful job descriptions or position listings. We don't all have the benefit of comprehensive analytics to track our time spent writing them, response rate, diversity of applicants, or the percentage of applicants who make it through initial screenings; however there are AI companies out there attempting to do all that and more. One such example is a machine learning platform called "Textio".
Textio is a comprehensive AI software package for teams which offers many of the individual tools I've already mentioned in the course, and brings them together to provide very powerful recruiting opportunities for organizations. As you write a job description into the Textio system, the software works just like a spellcheck or grammar editor. As you write, it highlights words or phrases for you to take a second look at. But rather than simply correcting grammatical mistakes, it also highlights bigger, more thought-provoking issues. For example, it can identify word choices that will make your job description more appealing to a potential candidate, such as avoiding unnecessary corporate cliches, including active language, and strong use of verbs.
It can also address underlying, unconscious gender biases. The system has a "tone" editor that gives you real time feedback on word choice so that your end result is not overly feminine or masculine, unless you are trying to skew it one way or the other to attract a particular kind of candidate for a certain position. Either way, the feedback it gives is ultimately very useful and specifically highlights the words or phrases which led it to the conclusion it came to.
The system also gives the user a score from 1 to 100 which indicates how well that job description should perform for that position in that part of the country, along with the outline of the strengths and problems present in the draft. So you always have an opportunity to continue to improve. Textio is able to accomplish all of this because its machine learning algorithms are crunching data from hundreds of millions of job descriptions along with the resulting feedback from the organizations using it to determine how successful their descriptions were at finding candidates and information about who those candidates were.
Textio's website claims that, "On average, hiring teams with a high Textio Score recruit 25% more people qualified enough to interview and 23% more women—and they do it 17% faster."
One of their clients, Expedia, reports that they have shortened their time to hire by five days, and that the company brought in 17% more applicants and 33% more of them passed a screening interview.
So Textio seems to be quite successful at improving the quality of job descriptions and the recruiting processing in general, but it also goes beyond that because it is integrated deeply into the organization. It has more features that give the organization analytics and metrics to work with. The system has built in achievements, like a video game, to reward the individual user for their progress, but also to track their behaviors within the application. And it's doing all that with all of the users, so it can compare for the organization how everyone within the team is performing.
That way, the organization knows who the best writers are, who has the most job listings out in the public view, who sends the most recruiting emails, and who has made the most progress towards their achievement goals, along with other key metrics.
From a recruiting standpoint, this AI system is a one stop shop for a start to finish operation. You can write the best job description possible to find a talented recruiter, hire them to be a recruiter, then monitor how good or bad of a recruiter they are through the AI recruiting software, and see how they stack up against the other recruiters.
Michael Wilson works with small businesses to build and protect their brands online. He is an IT Generalist whose primary services include: Web Design & Development, Cybersecurity Consulting & Training,...
Michael's Full Bio
Artificial Intelligence in HR
Artificial Intelligence Concepts
Artificial Intelligence in Daily Life
Defining Artificial Intelligence
Automation vs. Augmentation
Areas of Greatest Potential
Time, Attendance, and Security
Talent Acquisition and Retention
A New Workplace
Chatbots and Virtual Assistants
Hands On with a Virtual Assistant
Hiring for New Roles
Bias and the Trouble with Trust in AI
Real World Experiences
Getting Off Hold, Embrace the Chatbot
Reading Resumes at Scale