Addressing this topic generally, the immortal Dagwood Bumstead once claimed: "You can't teach people to be lazy—either they have it, or they don't." So what is laziness anyway? Is it about being slow to do something (what we typically call procrastination)? . . . Or about doing something slowly? . . . Or about not doing it at all? . . . Or, finally, is it about not sufficiently wanting to do something? And if this last alternative is true, when we label someone lazy are we really talking about that person's being indolent, sluggish, or slothful? Or is there something else going on that hasn't yet been appreciated?
What I'm going to be discussing here is my own, somewhat unorthodox view on laziness. For I believe (apologies to Dagwood, who would otherwise seem to be one of the world's foremost authorities on the subject) that the whole idea of anyone's being inherently lazy–or having a "lazy personality"–is basically a myth.
My experience, both as an individual and therapist, has led me to conclude that laziness as an explanation of human behavior is practically useless. Referring to–or rather, disparaging, or even dismissing–a person as lazy seems to me a glib and overly simplistic way of accounting for a person's apparent disinterest or inertia. And resorting to this term to categorize a person's inactivity suggests to me a laziness more on the part of the describer than the person described. In short, I view this pejorative designation as employed mostly as a "default" when the person talked about is not particularly well understood.
What I'd like to consider here is a more useful–and psychologically accurate–way of understanding people who don't do what we believe they ought to do. And my thesis is simply that what we commonly think of as laziness is not really about a lack of mobility as such but a lack of motivation.
In reflecting on laziness and its various ramifications, I'll explore some of the factors I believe diminish or undermine the motivation required to embark upon–and follow through on–life's various challenges and difficulties. So far at least, here's what I've come up with to help clarify the various reasons all of us, at some time or another, fail to start or complete a task.
• Lacking a sense of self-efficacy. Self-efficacy is the conviction that if we put our mind to something, we'll be effective with it. Without adequate self-confidence, however, we may not believe we're capable of doing something successfully, so we end up not attempting it. Without a "can do" attitude, we unfortunately restrict ourselves to doing only what's already within our comfort zone. And, going forward, we are limited precisely because we have such a limiting view of ourselves. Another possibility here is that even after we've successfully undertaken something, because we still harbor doubts about our self-efficacy, we continue to delay, procrastinate, vacillate, etc.
• Lacking sufficient emotional support. It may be that we require some sort of "cheering section" to handle what otherwise might overwhelm us. Without enough encouragement from without, we simply may not be able to motivate ourselves enough from within. As adults, we should be beyond needing "attaboys!" or "attagirls!" to stay resolved to complete a task. But many of us still depend on others for the motivation–or inspiration–to do what, technically, we should be able to do independently (without being "cheered on" by others).
• Needing–but not expecting–that others will give us recognition. When we apply ourselves to something, it's usually done with some expectation of reward–whether material or emotional, internal or external. If, developmentally, we're still at a place where we must anticipate "strokes" from others to feel sufficiently motivated to begin a task, thenlacking any hope that we will get such acknowledgment may leave us without the motivation to undertake it. If in the past, our application and diligence hadn't gotten us the positive feedback we craved, then how realistic is it to think we could yet maintain such diligence going forward?
• Lacking self-discipline. It may be true that we can do almost anything we set our mind to. But if our mind is our worst enemy, we simply may not be able to believe this otherwise inspiring (and motivating!) maxim. That is, whatever anxieties we may have about failing, as well as our poor sense of self-efficacy, may either keep us from starting a task or prevent us from completing it. And even if we do end up finishing it–because, say, it's a job requirement and we absolutely must–our pattern of delay will still persist. Unresolved self-doubts (deeply programmed within us) aren't automatically erased by an expedient action and will reaffirm themselves (through some sort of procrastination) the very next time we're obliged to do something.
In my experience, people who lack self-discipline also lack fundamental self-esteem. And here the latter deficiency seems to feed directly into the former. That is, significant defects in our self-image undermine our confidence in our abilities, and this lack of self-confidence negatively affects the development of self-discipline–which of course is necessary to accomplish just those things that would enhance our self-esteem. Psychologically speaking, this has got to be one of the most vicious of vicious cycles.
• Lacking interest in the endeavor itself. If the task or project feels tedious to us (i.e., not appropriately challenging), we're likely to want to avoid it altogether. If it's essential we do it, we probably will–but in one way or another we'll "act out" our displeasure by hesitating, or by doing a halfhearted, mediocre job. When we denigrate someone as lazy, frequently what we're really referring to is a task that the person finds so dull or boring that they just can't get themselves to tackle it. After all, it's only human nature to avoid those things seen as a nuisance or burden.
What induces us generally to evade work is not really laziness but the fact that the work isn't sufficiently compelling to us. Think of it in terms of "working" on a jigsaw puzzle. If absorbing ourself in the puzzle is experienced as fun, we'll readily engage in it. But if, frankly, we're not much attracted to jigsaw puzzles–that is, such pursuits don't represent an interesting challenge for us–we'll consider such "play" to be work and (unless we feel we have to participate) try to get out of it. All of which is to say that what motivates some people won't motivate others; and in neither case does doing, or not doing, something say anything about a person's "laziness." After all, what might be a task for one person might be an absolute delight for another.
• Ambivalence–or lacking faith that the action will be worth the effort. If certain of our priorities or values are in doubt, we may lack the clarity to move forward. Our contradictory motives–to approach or to avoid–may be weighted equally and so cancel each other out, leading to a kind of behavioral torpor. We may not be convinced that the action we're considering–or that's been suggested to us–will be all that useful, or valuable, or satisfying to us. And so we're unable to commit to performing it. Without the belief that a particular act or enterprise will somehow improve the quality of our life, it's hard (if not impossible) to cultivate the initiative necessary for undertaking it.
• Fear of failure. This explanation for not doing something overlaps with the lack of self-efficacy already discussed. But whereas an inadequate sense of self-efficacy reduces our motivation because we don't believe we can complete something successfully, the fear of failure focuses much more on our lacking the emotional resources to cope with the possibly negative outcome of our efforts. There's an old expression, "Nothing ventured, nothing gained," that cogently makes the point that if we're ever to succeed we must at least be willing to try. But if our self-esteem is so tenuous, so weak, so vulnerable that the very risk of failing easily trumps any other consideration, we'll be stymied.
Even if the odds of success are actually quite good, we may still not be able to go forward, since we'll nervously anticipate how bad we'd feel should our efforts not be successful. Without the internal resources to "catch" ourself should we fail, and absent the ability to unconditionally validate ourself independent of failure, we're unable to start the project in the first place. In short, our negative programming–not our actual ability--renders us unequal to the task.
And, it should be added, absolutely none of this has anything to do with laziness. Moreover, even though what we label procrastination may relate simply to poor time management, the act of procrastinating may also be motivated principally by the fear of failure. And such a delaying tactic (commonly seen as depicting some sort of "laziness") generally goes back to our having learned in childhood that we weren't good enough if our performance was somehow flawed. So naturally we learned that it was better not to take on anything unless we were sure in advance we could do it well. In fact, much of what we describe as perfectionism derives from having grown up in a home where our parents held us to unrealistically high standards that, unless we could meet them, led to our being constantly criticized.
• Fear of refusal or rejection. If we require help to get something accomplished and we're afraid that the person needed to assist us might refuse our request, we might decide–for that reason alone–not to start the project at all. As regards, secondly, our fear of rejection, if we're dependent on others to feel good about ourselves, then we won't be able to undertake anything that could lead another to be frustrated with us, stand in judgment over us, or maybe even reject us altogether.
• Sense of discouragement, hopelessness, futility, etc. All of these feelings, moods or states of mind can drop us into that listless place of apathy where we no longer care about getting anything done. This is a painful, dispirited state in which our very will is paralyzed. And in such a state virtually no task seems worth doing. For it's impossible to imagine that undertaking it would help us feel better about ourself, or about life generally.
And so our lethargic avoidance–which to an outsider might seem indistinguishable from laziness–has in fact nothing to do with laziness and virtually everything to do with depression. DSM-IV (the mental health practitioner's diagnostic bible) actually defines depression as characterized by a "markedly diminished interest or pleasure in all, or almost all, activities." And so, whether the activity be work- or pleasure-related, the overwhelming impulse is to avoid it. In such a state, merely getting out of bed in the morning can feel like an almost insurmountable task. What we might appreciate here as the enervation of our spirit seems almost synonymous with what the Buddhist teacher Pema Chodron (in her article "Looking into Laziness(link is external)") refers to as the agonizing "loss of heart" experienced in this state.
• An attitude of pessimism, cynicism, hostility or bitterness. One final reason for explaining our lack of motivation to apply ourselves to some task or project has to do with our becoming so jaded that we view our efforts as benefiting only others rather than ourself. Orwe've become so skeptical about our future prospects that we no longer believe it makes sense to push ourselves to do anything.
This I'd refer to as rebellion masquerading as "laziness"–a kind of "Hell, no! I don't want to do it, and I'm not going to do it!" Underlying this self-restraining orientation is un-discharged anger (or rage) from past disappointments, which propels us into resistant negativity. Because of the depth of past psychological wounds, we're left disheartened, disillusioned and disenchanted. And perversely, we experience our strength only in reactive, oppositional willfulness. So we refuse to do what otherwise we might achieve without much difficulty. And here–yet again–our resistance to take action, even if it's really in our own behalf, has nothing to do with laziness.
Originally, I'd considered calling this post, "The Many 'Motives' of Laziness." But in the end, putting the word "motives" in quotes seemed less descriptive than putting those quotes around the word "laziness." Hopefully, as a result of reading this piece, readers will begin to question in their own lives whether they might not want to re-think some of their former assumptions about this so oversimplified concept.
Having given Dagwood Bumstead this post's first words, I thought it fitting to give the last to an even zanier humorist–namely, W. C. Fields–who once declared, "The laziest man I ever met put popcorn in his pancakes so they would turn over by themselves" (!). I must admit that this quote sounds more descriptive of true laziness than anything I've described earlier. But we must still ask ourselves whether Fields' portrayal actually reminds us of anybody we ever knew.
What, ultimately, makes Fields' quip so funny is its very exaggeration. It's doubtful that we can actually recognize ourselves, or anybody else, in this ingenious, intriguing (but not finally revealing) one-liner. To the extent that anyone might have tried to get popcorn to execute the job of turning over pancakes, such a novel approach would suggest more about the person's creativity in the service of making a task less routine and more fun than an expression of some biological propensity toward sloth.
—Comments? Questions? Criticisms? If you're sufficiently motivated, I welcome responses to this post.
There's actually a book entitled The Myth of Laziness(link is external), which I thought I should probably mention, even though it has almost nothing to do with the thesis of my post. Written by pediatrician Mel Levine, it's about so-called "lazy" children who in fact can't perform up to their innate potential because of what he calls "output failures." These failures are caused by a variety of biological, neurological and psychological deficits. Obviously, my post is not intended to address such performance-degrading deficits–which Levine conceptualizes as involving such internal factors as motor skills, long-term memory, oral language ability, mental energy dysfunction, idea generation, and organization; as well as external factors, relating to family patterns, socioeconomic background, and negative modeling.
— I invite readers to join me on Facebook (link is external)and follow me on Twitter(link is external).


In Louis Menand's New Yorker (Jan27) review of Scott Stossel's book, "My Age of Anxiety" (Knopf) Menand gives a fairly good historical perspective on how the topic of anxiety has been researched, described and treated. And, like Stossel's condition, not a whole lot has changed in the so-called human condition of the reaction to the stress and uncertainty of our lives.
Perhaps it would help to understand the continuum of anxiety, not unlike the continuum of fear. One can experience mild fear or stark terror as extremes on either end. Likewise, there are the little worries that are not all that upsetting, concerns of one kind or another that we can actually do something about and take action to the enormous anxiety that renders one feeling helpless and ultimately depressed. That's probably why the diagnosis in the DSM-V has tried to separate some of the related "disorders" from each other.
Much has remained the same in the areas of anxiety and depression, with refinements of criteria and symptoms across the lifespan. Some disorders included in the broad category of anxiety disorders are now in three sequential chapters: Anxiety Disorders, Obsessive-Compulsive and Related Disorders, and Trauma- and Stressor-Related Disorders. This move emphasizes how each category has its own distinctions while still being interconnected.
Menand says that the term "anxiety" is a catch-all and I tend to agree. He says, "people describe themselves as excited, nervous, apprehensive, tense, stressed out, bugged, worried, panicky, vapor-locked, scared shitless, sick to their stomach, and feeling like they're gonna die." Sometimes it does help to give the feeling a name rather than not be able to put a handle on it and deal with it.
What I want to suggest is that there are numerous ways to alleviate anxiety and as Stossel and others have discovered, drugs and therapy don't always work. There are those who have made enormous changes in their lives whether in life-style, locations, significant changes in significant relationships, or in the approach to solving the problem instead of doing the same thing over and over and expecting different results (the classic definition of insanity). There are many people who have experienced a reprieve from anxiety that is most welcome and mentally healthy. In fact, it is life-giving rather than life-reducing.
What seems to be an obstacle to making the change is the unwillingness to take the risk and step off into the unknown. That's often a scary proposition and some people would rather be in a state of stress-filled security than live in a situation without knowing the outcomes. In the end, it boils down to choices and choosing not to do anything is also a choice. It's your turn to play your cards.


The lead theme of AFAC18, "Changing lives in a changing world", proved to be well chosen, with nearly 3,000 visitors from 25 countries attending AFAC18 powered by INTERSCHUTZ in early September. A keen audience of professionals seized the opportunity to discuss the current challenges facing emergency management and public safety, as well as to discover the latest products in this area.
Hannover/Perth. The lead theme of AFAC18, "Changing lives in a changing world", proved to be well chosen, with nearly 3,000 visitors from 25 countries attending AFAC18 powered by INTERSCHUTZ in early September. A keen audience of professionals seized the opportunity to discuss the current challenges facing emergency management and public safety, as well as to discover the latest products in this area. Deutsche Messe, working in partnership with the AFAC, has brought its extensive expertise in tradeshow management to the event. The AFAC thus also serves as an international offshoot of the world-leading trade fair INTERSCHUTZ staged in Hannover, Germany.
Australia's leading exhibition and conference for emergency management and public safety returned to Western Australia's capital city, Perth, for the first time in six years. A total of 170 companies used the opportunity to showcase their products and services to interested professionals. Several of the 44 exhibiting companies from outside the host nation were from Germany or Austria.
AFAC18 powered by INTERSCHUTZ was positively received by the professional visitors. At the close of the event as many as 84 percent said they would recommend it to others. In fact, this response was even higher among conference participants, as 97 percent stated that they would recommend it to their colleagues. The exhibitors were also satisfied: 88 percent rated the whole event as "very good". One factor that may have influenced the positive response of the exhibitors was the high proportion of decision-makers (70 percent among the visiting public).
AFAC18 powered by INTERSCHUTZ is a collaboration between the Australasian Fire and Emergency Service Authorities Council (AFAC), the Bushfire and Natural Hazards CRC and Deutsche Messe in its capacity as Hannover Fairs Pty Ltd. INTERSCHUTZ in Hannover is the world's leading trade fair for the fire and rescue services, civil protection, safety and security. It will next take place from 15 to 20 June 2020.


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Ruth Salzman Adams, of Chicago, Washington, Basalt, and more recently San Diego, succumbed peacefully to cancer at her home on Friday evening, Feb. 25, in the loving company of her husband of 51 years, Robert McCormick Adams, daughters Gail Lorien, Beth Skinner, and Megan Adams, and grandchildren Nico and Gabi Herbst and Reese Adams-Romagnoli. She was 81 years old.The Adams family owns a house up the Fryingpan, in the Seven Castles area. Ruth had many local connections; most recently she was a panelist on last August's Einstein seminar held at the Aspen Institute. She was also a former trustee of the Rocky Mountain Institute. Ruth held posts on numerous national and international boards and her work spanned a breadth of interests. Among others, she was a fellow of the American Academy of Arts and Sciences, and her books include works on human migrations, the anti-ballistic missile, and contemporary China. She had been program director for Peace and International Cooperation of the John D. and Catherine T. MacArthur Foundation, and prior to that editor of the Bulletin of the Atomic Scientists. In the later decades of the Cold War she had a role in maintaining the flow of understanding on nuclear issues between senior Western and Soviet scientists.


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Flexirubin ist das Hauptpigment, das innerhalb der Bakteriengattungen Flexibacter, Flavobacterium, Chryseobacterium und Cytophaga vorkommt. Erstmals isoliert wurde es aus Flexibacter elegans. Neben Flexirubin liegen bei diesen Gattungen außerdem Carotinoide vor. Das Pigmentgemisch aus Flexirubin und Carotinoiden verleiht den Kolonien eine intensive gelborange Farbe. Strukturell handelt es sich bei diesem Bakterienpigment um ein Polyencarbonsäure-Chromophor, das über eine Esterbindung mit einem Phenol verknüpft ist, das eine lange Alkylseitenkette trägt. Die Totalsynthese von Flexirubin wurde 1977 beschrieben.

Zum Nachweis von Flexirubin wird 20%ige Kalilauge auf die angewachsenen Kulturstämme gegeben. Ein Farbumschlag von gelb nach rot-braun zeigt das Vorhandensein von Flexirubin an. Optional können die Pigmente auch mit Aceton extrahiert werden und über chromatographische Verfahren bestimmt werden.

Einzelnachweise

Polyen
Alkensäureester
Alkylphenol
Alkylsubstituiertes Benzol
Phenylester

redpajama_set_name: RedPajamaWikipedia


National Institute of Technology (NIT), Delhi has published a notification at official website www.nitdelhi.ac.in to fill faculty posts of Professor, Associate Professor and Assistant Professor. Online applications are invited from eligible candidates till 10th December 2018.
(i) Professor - (i) Candidate should have completed Ph.D (ii) Experience of 10 years after Ph.D. or total working experience of 13 years, out of 07 Seven years should be after Ph.D.
(ii) Associate Professor - (i) Candidate should have completed Ph.D (ii) Experience of 06 years after Ph.D of which minimum 03 years at the level of Assistant Professor OR total working experience of 09 years, out of which 03 years should be after Ph.D, with at least Three years at the level of Assistant Professor.
(iii) Assistant Professor Grade-I - (i) Candidate should have completed Ph.D (ii) Experience of 03 years after Ph.D. or total teaching and research experience of 03 years in reputed academic Institute/ Research and Development Labs/ relevant industry.
(iv) Assistant Professor Grade-II - (i) Candidate should have completed Ph.D (ii) Experience of 01 year in Teaching and Research after Ph.D.
Age Limit: Upper age limit is 60 years for all posts.
How to Apply: Candidates can apply & submit application online at NIT Delhi's website www.nitdelhi.ac.in till 10th December 2018.
Candidates also have to submit printout of online application form with latest passport size photograph and self attested copies of the documents/ certificates related to date of birth, educational qualifications, experience, id proof, caste etc to The Registrar, National Institute of Technology Delhi, Sector A-7, Institutional Area, Narela, Delhi-110040, India, by speed/ registered post till 17th December 2018.


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Email: sales@playsoundplaygrounds.co.uk
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Everything you need to know about… playground slides
Home Latest News Everything you need to know about… playground slides
As one of the most popular elements in a playground, the history of slides is disputed. It has been claimed that the first slide was created in the UK in 1922 out of timber boards. However, those on the other side of the pond in the USA believe the original slide was on a rooftop in New York City. In fact, Arthur Leyland published a book, "Playground Technique and Playcraft Vol 1" in 1909 instructing how to create a metal slide.
Whatever the background, it is a common sight to see a line of children queuing up to fly down the steel or plastic slide. As with every playground product, the design has evolved from a basic straight slide to twisty tunnels, inflatables, "drop" slides and bannister slides.
The slide has many various names for it around the word, such as Sliding Pon or sliding board in various areas of America.
The type of slide suitable for a playground is dependent on the landscape. The basic principle of a play area slide is that a user drops from a height to the ground, so for example an embankment slide could be used in an area of land that isn't flat. This is a great way of making use of a patch of land that would otherwise be difficult to make use of. Accompany the slide with a decking climbing ramp and you have the perfect activity. Artificial grass can also be laid down to allow children to make use of the play equipment throughout the year.
Slides are commonly also found on climbing frames, with those larger climbing units, allowing for more elaborate designs. These units most often use tube slides due to the safety aspect, but the tunnels also offer an excitement factor of not being able to see where the user is going. As children love being adventurous the more twists and turns the better! For added safety clear plastic windows can be added to keep an eye on users if required.
Nowadays slides tend to be part of another piece of play equipment, but either as part of something else or a standalone item, slides and an essential piece of any play area.
Want to know what it's like to go down the tallest slide in the world? Check out this video of someone going down the The Slide at the ArcelorMittal Orbit in London!
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© 2019 Playsound Playgrounds. All rights reserved. Design by UK Pixel

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How do you exit a class?
Dennis Liu, welcome to the Canvas Community! Could you be more specific about what you are trying to do? Do you want yourself removed from a non-credit course? Do you need to drop a credit course? Is this for the current semester or a previous semester.
The more information we have the better we'll be able to help you!
You have posted your question here in the Canvas Community where people from around the world come to ask questions about the Canvas LMS (Learning Management System). Your question doesn't provide a lot of specifics, so I'm going to provide you with two different responses...hoping that one of them is correct.
First, if by "exit" you mean that you want to unenroll or drop the course, this would be something that you'd need to talk with someone at your school about. The majority of members here in the Canvas Community would not have access to your school's Canvas instance, so we wouldn't be able to assist you with unenrolling or dropping a class. If you can reach out to an Online Learning department or even a Registration department at your school to see how you can be dropped from a course, that would be best.
Second, if by "exit" you are asking how to log out of a Canvas course, you can follow the steps outlined in this Guide: How do I log out of Canvas as a student?
Hopefully this has helped to answer your question. If not, please let me know. Thanks Dennis!
I wanted to check in with you because we've not heard from you since you first posted this question on May 12th. Have you had an opportunity to review the responses that Kona Jones and I have provided for you? It seems as though we need some further clarification from you. If you could please take a few minutes to come back to this thread to provide an update, that would be awesome. Yet, if you feel that one of the above responses has helped to answer your question, please feel free to mark it as "Correct". For now, I'm going to mark your question as "Assumed Answered" because we've not heard from you and because there hasn't been any new activity in this thread for quite a while. I hope that's okay with you. Looking forward to hearing from you soon, Dennis!


White washed walls, a beautiful garden and a sparkling swimming pool surround Maison Chablis, an elegant Georgian Guest House in Franschhoek in the Cape Winelands, South Africa. Each of the beautifully decorated, spacious en-suite bedrooms at Maison Chablis has its own unique decor and character.
The owners will ensure your stay will be a memorable one by welcoming you to their gracious guest house with a very special brand or warm and caring Cape hospitality, the attention to detail, sumptuous breakfast and friendly service, will make your stay with us a truly memorable one!
Situated a mere two-minute stroll from the historic village centre, with its charming street cafes, award winning restaurants, museums and galleries and within easy reach of walking and horse trails, or an easy drive to many of the Capes celebrated wine estates, golf courses and beaches. For the less energetic relax and unwind at the pool in our lovely secluded garden soaking up the sunshine and fresh mountain air.
Maison Chablis Guest House has 7 en-suite double rooms (sleeps 14 guests), of which 3 are standard double rooms and 4 superior double rooms. Two of the superior rooms have twin beds.
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Cosmic Goddess Empowerments dear friend Master Hari Winarso writes in his manual he brought forth this modality Mystical Force of Umbrella to protect you against harmful unseen energies, eliminate psychic attacks, and protect from other people negativities. Master Hari writes that Mystical Force of Umbrella may protect you from and alleviate the effects of harmful EMFs. This force, says Master Hari, will build an energetic shield to protect your brain, because of the persistent use of mobile phones, and any others electronic devices, which have been reported to cause brain cancer, memory loss, headache, dizziness, nausea, and impaired vision, and many other diseases. Master Hari writes also that Mystical Force of Umbrella may also protect you when you are on traveling, it will protect you from any kind of accidents and physical dangers. It is also protecting you from negativity inside yourself like as negative thinking, anger, criticism, fear, and any other forms of self-negativity.


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I love this item because it has an optional heart rate monitor, I can customize the screens, and it lasts 6+ hrs and 26.2 miles. It got me through my first marathon, and helps me with my speed workouts and tempo runs. It is comfortable and lightweight while providing me with all the technology needs I desire.


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Glen's Village (Trailer)
from Public School Notebook Plus
Trailer for "Glen's Village," a documentary & three-part multimedia web series that probes the effects of childhood trauma in Philadelphia — and how a disadvantaged school district is at odds when it comes to helping these kids.
The film is currently being screened across Philadelphia and is being entered into film festivals across North America.
From the 'hood to the Ivy League; Glen Casey was born and raised in a world of drugs and violence. But with the help of counselors, mentors, teachers — & most of all, a mother who never quit on him — he's now a University of Pennsylvania sophomore.
"Glen's Village" immerses viewers in University City and West Philadelphia. Although only separated by a few block —the two neighborhoods are galaxies apart in reality. From selling crack cocaine on the streets in grade nine to attending an Ivy League school, Glen's journey is filled with bumps, bruises & redemption.
The films hones in on the impact of trauma, particularly in children, an angle explored through the lens of the city's constantly evolving urban narrative.
Featuring original music by Factor.
Director & Producer - Dorian Geiger
Co-Producer - Paul Jablow
Reporting by Dorian Geiger & Paul Jablow
Follow on Twitter: @dgeigs | @PaulJ1940
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YouTube.com/psnotebook
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You can upload videos to Vimeo directly from Dropbox! Drop it like there's a box underneath it.


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Ship Luggage to Republic of Ireland - Luggage Mule
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Ship Luggage to Republic of Ireland
The Republic of Ireland packs a tremendous amount into a small country. Tour the Atlantic coast for wild scenery and iconic sights, including the Giant's Causeway; head to Dublin for great craic and literary history; and go anywhere you please for fabulous food and drink, from fresh fish to the famous Guinness stout. Luggage Mule can ship your luggage to anywhere in Republic of Ireland, giving you more space to pack and taking the hassle out of your journey.
Customs: The Republic of Ireland is a member of the EU, so entry is simple for EU citizens. Be aware though that meat products not originating from EU member states are forbidden, as is the transport of pets. Check The Office of the Revenue Commissioners website for full details.
Price: One way shipping from £23.99!
Shipping times: 2 working days
Flights: Flights to Republic of Ireland from the UK take around 50 minutes. Major gateways include Dublin, Cork, and Clare.
Currency: Euro (€)
Language: English, Irish
Visas: Holders of British Citizen passports and citizens of other EU states do not need a visa to travel to the Republic of Ireland. Other nationalities may need a visa. To check the visa requirements of your country visit the Citizens Information.
Time difference: Republic of Ireland has one time zone. GMT+0.
Packing for Republic of Ireland
The weather in Ireland can be unpredictable. While summer days can be hot and sunny, it's worth bringing waterproofs and a few warm tops too. Pack your hiking boots and walking sticks if you plan to take on long-distance walks or major peaks (the MacGillycuddy's Reeks range has three over 1,000m). If you're a watersports fan, it's worth bringing a wetsuit, as there are good kayaking, surfing and windsurfing opportunities in many parts of the country. And finally, don't forget your camera. You'll find plenty to photograph here.
Ship your bike to Republic of Ireland
The Republic of Ireland is a great place to explore by bike, with a number of scenic long-distance trails. Highlights include the Great Western Greenway, which runs from Westport to Achill in County Mayo, and connects with the Great Southern Trail, a former railway line that runs through Limerick and Kerry. For a real challenge, try the North West trail, a 200-mile cycle along Ireland's northwestern coast. Looking for mountain biking? Head to Ticknock Mountain Biking Trails in the Dublin Mountains or the Enniskerry Trails in Southern Ireland. Whatever you're looking for from your cycling trip, Luggage Mule can ship your bike to Republic of Ireland securely and at reasonable rates.
Ship your golfing gear to Republic of Ireland
One of the leading lights in the world of golf, Republic of Ireland boasts a huge number of courses. Highlights include Ballybunion in County Kerry, a fantastic links course on the Shannon estuary; and Portmarnock on the Howth peninsula, which has hosted twelve Irish Opens. Elsewhere, try Lahinch in County Clare and the European Club in Wicklow, overlooking the Irish Sea. Whichever course you plan to play, use Luggage Mule's Republic of Ireland golf shipping service to send your clubs on ahead.
What to ship home from Republic of Ireland
Republic of Ireland produces some of the best whiskey in the world, with household-name distilleries such as Bushmills and Jameson. If you're touring distilleries or visiting whiskey regions, be sure to pick up some bottles to bring home. And if you're more of a beer drinker, you'll find plenty to tempt you in the gift shop at Guinness's Dublin brewery. Other popular souvenirs include traditional pottery, woollen clothes and blankets, and world-class smoked salmon. Whatever you want to bring home, our Republic of Ireland luggage shipping service offers a generous 30kg allowance, so you'll have plenty of room to pack it.


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Sir Benjamin Fonseca Outram KCB (1774 – 16 February 1856) was an English naval surgeon and physician.

Life
The son of Captain William Outram, he was born in Yorkshire, and educated as a surgeon at the United Borough hospitals in London. He was first employed in the naval medical service in 1794, and was promoted to the rank of surgeon in 1796. He served in HMS Harpy, HMS La Nymphe, and HMS Boadicea. He was surgeon in HMS Superb in the second battle of Algeciras, where Sir James Saumarez obtained a victory over the French and Spanish fleets on 12 July 1801. He received war medals and clasps for his services under Sir Richard Goodwin Keats. Then for a period he was surgeon to the royal yacht, HMS Royal Sovereign.

In 1806, with a view to private practice, Outram went to Edinburgh, and there graduated doctor of medicine on 24 June 1809. He was admitted a licentiate of the Royal College of Physicians of London on 16 April 1810, and then began as a physician at Hanover Square in London, where he lived more than 40 years. He acted as physician to the Welbeck Street Dispensary. On 3 May 1838 he was elected a fellow of the Royal Society; he also became an early member of the Royal Geographical Society.

In 1841 Outram became medical inspector of her Majesty's fleets and hospitals. He was appointed Knight Commander of the Order of the Bath (KCB) on 17 September 1850, and was admitted a fellow of the Royal College of Physicians on 9 July 1852. He died at Brighton on 16 February 1856, and was buried at Clifton, Bristol. He was twice married.

Works
Outram was author of:

'De Febre continuâ,' Edinburgh, 1809, dedicated to his uncle, Sir Thomas Outram of Kilham in Yorkshire.
'Suggestions to Naval Surgeons previous to, during, and after a Battle,' a pamphlet of which no copy seems accessible.

Notes

Attribution

1774 births
1856 deaths
English surgeons
19th-century English medical doctors
Fellows of the Royal Society
Medical doctors from Yorkshire
Alumni of the University of Edinburgh
Royal Navy Medical Service officers
Royal Navy admirals
Knights Commander of the Order of the Bath


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Third Sector Excellence Awards 2011: Luke FitzHerbert Award Lifetime Achievement - Winner: Kevin Curley
Awarded to an individual who has shown sustained commitment both to individual voluntary organisations and to the sector in general during their career
Kevin Curley
During the revolution in the affairs of the voluntary sector in the past decade, Kevin Curley has played the leading part in protecting and promoting the role of local organisations, especially in relation to government policy.
As chief executive of Navca, he has championed the country's thousands of community organisations and has earned the respect of sector colleagues and ministers in both the Labour and coalition governments.
His eight years leading Navca have been the natural culmination of a career dedicated to localism, except for one interlude leading a national charity, Headway, and two three-year spells as country director for VSO in Tanzania and Vietnam.
"He's a true professional," says Mike Clemson, who was Curley's first boss but spent the last part of his career working for him at Navca. "He's enthusiastic and totally committed to his work, always positive in his relationships with others.
"He's also a good leader, bringing out the best in others. His most notable quality is that he always embeds what he does in reality - the reality of what does and should go on locally."
Curley grew up in the Lincolnshire village of Harmston with his mother and elder brother - his father died of a heart attack when he was still a baby. He went to North Kesteven Grammar School and to York University to study English with education.
He joined the university's social services group, taking children on adventure days on the North York Moors. After graduating, he ran the York Playspace Group and became familiar with the workings of the city's council for voluntary service. From 1974 he spent six years as assistant director of Newcastle upon Tyne CVS, then eight years as head of Hull CVS, helping to set up organisations concerned with urban renewal, social welfare and race relations.
In all his work with CVSs, says Clemson, their interests have been his priority: "But he also saw the need for good relationships with local authorities and others - the need to be a bridge as well as a representative."
In 1986, Curley met his wife, Penny, a teacher, on the bus to London for a CND rally. Two years later they went to Tanzania, where he ran a large VSO development programme for four years; Curley has retained a special affection for the country, returning several times.
There then followed another stint in Hull as healthy city coordinator for the city council and five years heading Derby CVS before he became chief executive of Headway, which campaigns and provides support for people with head injuries and their families.
After the second VSO project, this time in Vietnam, the job at Navca came up. "For him, this was the dream job, and he had all the right credentials," says Clemson.
"Some of his predecessors hadn't stayed long. He had the breadth of experience and commitment, coupled with a desire to be in this kind of work and develop the role of the voluntary and community sector."
As the Labour government took more interest in the sector and set up what is now the Office for Civil Society, Clemson says, there was a lot of pressure on organisations to collaborate or even merge. "Kevin always argued that Navca was distinctive and different from the others, but he also had good relationships with them, including those that might be competitors," he says.
"Every time he puts forward an argument it's based on solid evidence gleaned from CVSs. When the government sets up any organisation to represent the sector, Kevin's on it.
"I advised him not to do too much now he's retiring, but he's already on two committees and I know he'll still be very much in demand."
JUDGING PANEL
The staff of Third Sector magazine
LUKE FITZHERBERT, 1937-2007
The Lifetime Achievement award is named after Luke FitzHerbert, who in 2005 became the first person to receive the accolade.
Luke, who died in a road accident in January 2007, began a remarkable career in the third sector in 1970 when, after spells working in industrial marketing and teaching, he founded the Brent River and Canal Society.
His voluntary environmental group campaigned successfully for the creation of parkland in west London. It prompted his move into a full-time post in the voluntary sector, leading the first payroll giving project at the National Council for Voluntary Organisations.
From there, he moved to the Directory of Social Change, where he developed the organisation's guides to grant-making trusts and helped to provide training for thousands of voluntary sector employees on issues ranging from fundraising to public benefit.
During his time at the DSC, Luke also led a campaign to persuade trusts to become more transparent about their grant-giving.
He was an independent and sometimes controversial figure in the sector, a man whose work was always underpinned by his grass-roots voluntary sector ideals.
Third Sector Excellence Awards 2011
Third Sector Excellence Awards 2011: Sponsor's welcome
Third Sector Excellence Awards 2011: Introduction
Third Sector Excellence Awards 2011: The Judging
Third Sector Excellence Awards 2011: Small Charity, Big Achiever - Winner: Eric
Third Sector Excellence Awards 2011: Big Impact - Winner: Thames Reach
Third Sector Excellence Awards 2011: Annual Report - Winner: Compassion in World Farming
Third Sector Excellence Awards 2011: Brand Development - Winner: The Queen's Nursing Institute
Third Sector Excellence Awards 2011: Communications Campaign - Winner: Thames Reach: Super-strength Drinks
Third Sector Excellence Awards 2011: Communications Team - Winner: Merlin
Third Sector Excellence Awards 2011: Use of Digital Media - Winner: Beatbullying: The Big March
Third Sector Excellence Awards 2011: Website - Winner: Lendwithcare.org
Third Sector Excellence Awards 2011: Direct Marketing Campaign - Winner: Muslim Hands: Gift Aid awareness for donors
Third Sector Excellence Awards 2011: Fundraising Event - Winner: Elephant Family: Elephant Parade London
Third Sector Excellence Awards 2011: Fundraising Team - Winner: Childreach International
Third Sector Excellence Awards 2011: Innovation in Fundraising - Winner: Elephant Family: Elephant Parade
Third Sector Excellence Awards 2011: Charity Trading - Winner: St Peter's Hospice
Third Sector Excellence Awards 2011: Financial Management - Winner: Alternative Futures Group
Third Sector Excellence Awards 2011: Social Enterprise - Winner: St Peter's Hospice
Third Sector Excellence Awards 2011: Charity Partnership - Winner: Booktrust with Fostering Network NI for Letterbox Club
Third Sector Excellence Awards 2011: Corporate Partnership - Winner: Samaritans with Network Rail
Third Sector Excellence Awards 2011: Public Sector Partnership - Winner: AfriKids: GAS Partnership
Third Sector Excellence Awards 2011: Best Employer - Winner: Save the Children UK
Third Sector Excellence Awards 2011: Volunteer of the Year - Winner: Barrington Wright, SOS volunteer at the St Giles Trust
Third Sector Excellence Awards 2011: Charity Chair of the Year - Winner: Helen Baker, Advance Housing and Support
Third Sector Excellence Awards 2011: Trustee Board of the Year - Winner: British Youth Council
Third Sector Excellence Awards 2011: Sponsors' statements
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Posts Tagged 'Shih-T'ao'
Curator Valerie Doran on 'Hope and Glory' and challenges for Hong Kong art world – interview
Posted by artradar on May 28, 2010
HONG KONG CURATOR INTERVIEW
Valerie Doran, Hong Kong-based independent curator, writer, and translator
For a place that has been repeatedly touted as a cultural desert, Hong Kong has managed to attract arts practitioners from many walks of life who are dedicated to working with the challenging realities present within the Chinese city-state. These creative professionals are forging an atmosphere in Asia where the contemporary arts are accessible and alive. Valerie Doran, an independent curator originally from Rhode Island in the United States, embodies the spirit of these determined arts professionals who are striving to transform the parched art landscape of the former British colony.
Her most recent project, Simon Birch's Hope & Glory: A Conceptual Circus, has been lauded by Art Forum Online as a 'critic pick' and praised by numerous media outlets, including the New York Times. However, Doran asserts, the exhibition represents more than a critically acclaimed artistic endeavor, and serves as an 'intervention' into the Hong Kong art world, "finding a way to do something in a place where it's impossible to do it."
A creative spirit seeking revolution
Valerie Doran is a dichotomy: a gentle creative spirit who harbors an intense attraction to revolutionary ideas. As a Wellesley educated translator and arts scholar who majored in both Chinese and English Literature, she effortlessly exists in both eastern and western cultural worlds. As a Chinese translator and expert in traditional Chinese literature, she can read and speak fluent Mandarin.
Valerie arrived in Hong Kong in the early 1980's as a Wellesley-Yenching fellowship recipient at the Chinese University of Hong Kong, where she studied Chinese intensively and taught classes in the English department and core curriculum programme. She later studied at the National University of Taiwan while the territory was still under martial law, and became involved in the burgeoning local avant-garde arts scene, which was riddled with political activists. Of the mid-80's Taiwanese art scene, she says:
"Artists and the dissidents were very linked, and were all kind of loosely affiliated during this interesting time. There was a lot of patronage of artists by corporate people who themselves were quite liberal… Many of these people were early supporters for what became the Democratic Progressive Party."
Her Path to Curating
Doran's journey to becoming an independent curator included working for the distinguished Johnson Chang at Hanart TZ Gallery, which has been an instrumental gallery in pioneering contemporary Chinese art. During her 3-year stint at Hanart, Doran first began dabbling in curating contemporary art exhibitions. It was then her interest in curatorial practice was thoroughly peaked, and she enrolled in the Hong Kong Art School's curatorial studies program, run jointly at the time with New York's Guggenheim Museum.
In 2008, Doran was one of the first independent curators selected to curate a show for the Hong Kong Museum of Art. Her exhibition, Looking for Antonio Mak, earned wide attention, and was named as the best Hong Kong exhibition of 2008 by Time Out Magazine, as well as being cited as one of the 10 best exhibitions internationally of that year by the China edition of Artforum Online.
Most Recent Project: Hope & Glory with Simon Birch
Her most recent project is Hope & Glory: A Conceptual Circus, inspired by Hong Kong's British expatriate artist Simon Birch. The show encompasses 20,000 square feet in ArtisTree, a non-profit art space that exists within a sprawling office complex, and is one of the largest multimedia art exhibitions ever created in Hong Kong. The show's installations utilize video, sculpture, costume and sound design, live performers and 2-dimensional paintings to create a fantastic, interactive environment. Running themes include the journey through life and transformation, the 'hero' mythologies of various cultures, and science fiction. The show also maintains a definitive preoccupation with craftsmanship and the process of producing art.
Art Radar's writer and researcher Erin Wooters met with Valerie Doran to discuss her experience and the challenges of curating Hope & Glory, a mammoth and unprecedented project, with no comparable exhibition ever attempted in Hong Kong. Valerie's revelations are surprising, and include details of the conceptual performance that didn't come to fruition in Hope & Glory due to the grave injury of the human 'artwork', how exactly the Birch Foundation managed to secure government funding for the show within Hong Kong's hyper-competitive and chronically under-funded art scene, and what this exhibition means for the future of contemporary art in Hong Kong.
'Heavy is the Head that Wears the Crown', 2010. Hope & Glory installation shot. By Simon Birch in collaboration with Paul Kember. Curated by Valerie Doran.
How did you meet Simon and become involved with this project?
Simon was one of the artists in my 'Looking for Antonio Mak' show, so that's how I met him. What I was looking for [in artists for Antonio Mak] was not a style—I was looking for a level of sensitivity and a voice. There were artists that I liked and I wanted to work with, and I wanted a figurative painter. I had seen a painting of Simon's, and I didn't know who he was, but when I saw one of his paintings I was very struck by the texture of the brushwork. So I met him. He had never heard of Antonio, and I showed him Antonio's catalogue and he was almost in shock because he responded so strongly to the work and the imagery. So he wanted to do it … After that show completed, he asked me if I'd work with him on 'Hope and Glory'.
Can you describe the process of curating the Hope & Glory show?
We met for over a year, working on this concept, the floor plans, the narrative, and the sub-narrative. There was a lot of discussion. Then, 3 months before the show opened, Robert Peckham from Hong Kong University, who is a history professor who had seen both the 'Antonio' show and a smaller show that Simon did during his illness, which was a really powerful show called 'Out of the Darkness', got to know Simon and was very interested in this project, so we had discussions with him. There was a lot of in-depth conceptual thought and discussion, which lasted for about a year, that went into this show. The show was very formed in Simon's mind and he already knew certain things that he wanted to do. However, the show as it is now also has elements that were changed, or gotten rid of.
This is a very unique show. How was curating this exhibition different from your previous experiences?
It was a very different experience from curating a show that I generated the idea. This is a situation in which an artist came to me with a concept for a complex multimedia installation, and asks to have it curated, so what does that really mean? It is a very different role. The closest analogy that I can come up with to describe our relationship is an editor and a novelist. Editors come across novelists with all different levels of formed work. Some may be very sketchy, or have just a few chapters. It depends on what stage you get into the relationship with the writer. So, you must challenge the language, challenge the structure, and challenge the concept.
'Crawling From the Wreckage', 2010. Hope & Glory installation shot, including an interactive viewer. By Simon Birch in collaboration with Douglas Young. Curated by Valerie Doran.
Were there any surprises or unexpected difficulties in the making of 'Hope & Glory'?
One of the key installations, the living room installation, originally wasn't like that. It was originally all stage, and a key concept that ended up not being able to happen, was that he hired a guy he knows to transform himself into a super being. To transform himself, an everyday guy, into an iron man athlete over the course of a year. So, the guy started training for about 6 or 7 months, and filmed himself everyday, and that was to be edited into a film about his transformation. And then over the course of the exhibition, over 2 months, the man was to always be sitting in the living room. What happened was that 6 or 7 months into his training, the guy almost broke his neck during training. It was just before Christmas, and he severely injured his neck, almost severed his spine. So obviously that didn't happen. Simon has him on video on one of the TVs on the floor, but the overall concept had to go. It didn't happen. We decided then it would be fun to change the living environment into the computer vector cage, and create a cage for humans in the living room space.
When it came time to build the show, it was also so complicated to build that he hired a production company that usually sets up rock concerts. Because, no one knows how to do an art show here, except people who work at the museum. No one knew how to build it. We had to start from scratch with everything. It was hideously difficult.
I also knew I was taking a big risk, as was Simon, who was taking the biggest risk of all, because he's put everything he has into the show, and he busted his butt for over and year and had to find a way to do something in a place where it's impossible to do it.
'Spinal Mount Starcracker', 2010. Hope and Glory installation shot, by Simon Birch. Curated by Valerie Doran.
Are you satisfied with the show? Does it achieve your intentions?
I think it fulfills Simon's vision, and I believe it's achieved something. I believe we've constructed a pretty interesting world for people to enter and take something away. I think it has communicated a lot of personal vision of the artist, and I think it is conceptually multilayered and very interesting in that way. I think in terms of the physical realization of the physical works, that partly due to time limitations and all the other limitations when trying to do this, such as money and space, that certain things weren't pushed to the limit and there are things we weren't able to realize.
I think my collaborative experience with Simon was more problematic than expected, but that's ok. On many levels I feel very amazed by his achievement, and I've learned a lot… The fact that we were able to pull together so many interesting people in the forums, and to see the students coming in, it's awesome.
The show has gotten a lot of attention and a lot of press, and there is a really great article in the International Herald Tribune, and that's all great, but that's not the key issue for me.
Were pieces transported into the space or built in ArtisTree?
The large-scale sculpture pieces like the star and the steel ball, and the letters were made in a factory in Guangzhou, according to the technical drawings. The production supervisor would go out there and send photographs back.
The steel frame for the trophy ball was created in Guangzhou, and the trophies were put on by hand, one by one. And engraved one by one. The cage living room ('Crawling from the Wreckage') was put up string by string.
What is inscribed on the trophies?
On the 'Spinal Mount Starcracker'… The name of every artwork Simon's ever made and every person he's ever loved or has been a friend to him is on those trophies, so that's why he calls it 'my life in a thousand cheap trophies.'
Can you tell the story about how this was funded?
Simon is an outsider in the art scene. He's a Westerner. This is a very personal show for him, and he's taking risks and exposing himself to a very unsympathetic, hermetic contemporary art scene. The show has done a lot of amazing things in a lot of ways, but people are suspicious, asking, why is there government funding? Why did the tourism board give money for the show? We find this criticism quite hilarious, because Simon was working on the show for two years, with me for one year, and was maxing out all his credit cards and scrounging for sponsorship.
We heard about a mega-event fund, through somebody over at the NGO art organizer. They said, there's this crazy fund you should try for, because they're supposed to fund entertainment, sports, and cultural events, and they've got a ton of money. The main criterion is that you have to guarantee that at least 10,000 people will come to your event. The second thing is that you have to show that it will attract tourism, and that it will help benefit the image of Hong Kong. So Simon was like, let's go for this. I'm thinking, are you crazy, they're never going to give this to a visual artist. But why not try it, what have we got to lose, right? So, I asked a friend of mine who worked with me on the 'Antonio' show, who used to be a government accountant and is now an emerging curator, to come look at these forms and help us understand them. Simon also did a lot of research online about how to fill out these forms.
We filled out the forms, submitted them, and Simon was really surprised when he got short listed and called back for an interview. Then, we made the second cut, which meant that we were one of nine proposals asked to submit a seven minute PowerPoint presentation to their selection committee. That amazed us. This was all in February—we didn't even know we had any government funding until March. All these artists are accusing- oh, they could only do this because they got government funding—which is wrong.
We had KC Wong with us for the presentation, who is a friend of Simon's and a really great artist. He was originally going to do a piece in the show but it didn't work out. The 3 of us went to meet 20 people in business suits at the Tourism Bureau and Leisure and Cultural Services Department, and there was a question and answer session and it wasn't hostile. I was so surprised they were actually interested in knowing more. I never expected they'd give us money.
We were really shocked when around February we were told they were going to give us a matching grant for up to 2 million [HK] dollars for production costs. That means that we have to spend 4 million [HKD] on production and they'll give us 2 million. However, the overall value of the show is over 15 million Hong Kong dollars [approximately 2 million USD] . That includes the sponsorship, venue (which we didn't have to pay for), the graphic design, and the banners. This is all sponsored. For our education program, we got $50,000 HKD from Louis Vuitton to do our forums, which we are also using to pay for buses to bus in students from less advantaged areas.We were able to invite the Symbiotic Dance Troupe, a community-based group incorporating physically handicapped dancers, to perform at our first forum, and they did an interactive work inside the installation, which was absolutely beautiful. So we're using the money very wisely and producing an educational pamphlet for students.
All the actors in the films, the designers, the film directors, and the musicians—they've all done this for nothing or for very little. So the main cost is the production but the value of the show is on the scale of the Tate Modern.
So does this mark a first for artists trying for this government fund?
Well, it is a relatively new fund and most artists would never even consider it. They all go running to the arts development council, where artists usually get money… Yet, here is something interesting, because it's supposed to raise Hong Kong's international image. Hong Kong is trying to strengthen its creative industries and make itself the creative capital of Asia, but still does not include the fine arts or visual arts within their definition of a creative industry. So, the fact that we are able to get this money actually for a visual arts project from this unlikely source, and they are willing to take a risk and fund us, is a very good thing.
'Twilight Shadows of the Bright Face', 2010. Hope & Glory installation shot. By Simon Birch in collaboration with Prodip and LucyAndBart. Curated by Valerie Doran.
How do you feel about the critics who call Hong Kong a cultural desert?
The way I look at it is this: Hong Kong is not a cultural desert, and there are a lot of talented people that are doing excellent work whether in the performing arts, music, visual arts, or theatre. The 'desert' is the lack of platform for them. The desert is in the cultural policy of the Hong Kong government. It's a conceptual desert, not a real desert.
So, what is the definition of a desert? It is a place where things don't get watered. There are plants, water them! If not, they have to move elsewhere to survive. Except for the performing arts, which has more of a platform and is better known, everything else has to move to the periphery to find 'water'. They have to water themselves. That's the desert.
Of course art can never be government generated, but, in the West you have a mixture. You have the Guggenheim, a private museum created by a collector, you have PS1, and there are artist-generated spaces. But here, space is at a premium—it's valuable, it's money. The government also doesn't know what to do, because they don't trust the artists. Even the ADC [Hong Kong Arts Development Council] —if you apply for $120,000 [HKD], they give you $50,000 [HKD] because they assume you are exaggerating funding needs. Everybody is always under funded.
What do you think the show means for Hong Kong?
I don't know. I just think it's this weird entity that happened. One thing it means for sure is that more people have been exposed to a serious multimedia installation by an artist, and been exposed to an artist's vision. That's amazing. That's what you want.
What is the biggest challenge for advancing the arts in Hong Kong?
Space is a huge issue in Hong Kong—space for the visual art, where is it? The museum? No.
1A Space is great but it's way out there. Artists have to invent their own spaces here in Hong Kong. They are amazing in that way. But the problem is that they're not accessible to most people so there tends to be this kind of interiority or privacy, a self-contained, almost clubbish atmosphere here in the contemporary art scene. If you're not a member of the club, it's a problem. When it's like that in art, it's not a good thing.
There are a lot of new laws, like the '80% law', which I find to be criminal. For instance, if developers are able to convince 80% of tenants to sell their properties to them, then you would be forced to sell your flat. People talk about post-colonialism, but I don't believe there's any such thing. There is just always a new colonizer, and right now the colonizer is the developers, and the government allows it. Together, they are colonizing Hong Kong space. That has to stop, and needs to be more rational.
Which Hong Kong arts organisations do you appreciate?
In terms of an organisation that has made a new contribution in the past five to ten years, definitely Asia Art Archive. I think Asia Art Archive is a very important organisation.
1A Space is good, and has been struggling to stay open. They are artists in a government owned space; that's really tough.
There are some important grass roots initiative projects run by artists. The Kai Tak River Project is run by artists and architects who are trying to preserve the Kai Tak River Area as a cultural space, and this involves a whole lot of other issues.
The musicians and theatre performers in the San Po Kong district who moved into factory areas to have rehearsal and performance space have also formed an organization. The government has a new initiative to develop the San Po Kong area, so they are trying to throw everyone out. But, where are they supposed to go? They have formed their own group to try to change things. [The San Po Kong Creative and Cultural Industry Concern Group]
'Tannhauser', 2010. Hope & Glory installation shot. By Simon Birch in collaboration with Gary Gunn. Curated by Valerie Doran.
Are there any particular galleries you value in Hong Kong?
When it comes to commercial galleries I prefer not to answer that question, but in terms of non-commercial galleries, I can say that it's really great there are some new locally run galleries showing more conceptual works with a less commercial and more experimental style. Like the YY9 Gallery, and the Exit Gallery. These put on small and interestingly conceived shows that are less commercial, which I think is really great.
Do you attend biennales?
Not really. Frankly I don't have a lot of time to travel because I'm very busy. I have a child and I teach. I get to some things here and there, but biennales are not a compelling interest of mine.
How do you stay informed about the art world? What do you read?
I think I read very much at random. I'll read some of the Western art news, like Art Forum, Art News, and The Art Newspaper. I actually find a lot of interesting stuff in the Financial Times; they have a great Arts and Culture section. Occasionally the Wall Street Journal. I'll also look at Yishu, which is a contemporary Chinese arts journal published out of Canada. And Orientations Magazine, because I am also interested in traditional art, and I have a background in traditional Chinese painting.
However, I do research a lot of particular topics that I'm teaching. For instance, I may read about Indian art or the contemporary scene in miniatures from Pakistan. I'm not the kind of person who regularly reads a whole range of things; I'm very much driven by my personal interests.
What literature and writers have influenced your thinking?
There is a very intriguing text by the 17th century 'eccentric' painter Shi Tao, called in English 'Enlightening Remarks on Painting'. It is quite a radical and conceptual text in its way, and I have re-read it and drawn from it many times since I first read it more than twenty years ago.
Another book is 'Ways of Seeing' by the British humanist and critic John Berger. In fact, the text of Hope & Glory's educational pamphlet, which we designed for students, (conceived by myself and Robert Peckham of HKU, with text by Robert) was inspired by Berger's approach.
What projects are you looking forward to next?
[Laughs] Sleeping! Actually, I am involved in another project but we have not gotten to realize it yet, partly because of Hong Kong's weird 'creative industries' definition. The project is 'In Dragon Garden', which is a beautiful private garden in Tsuen Wan, and the granddaughter of the founder has managed to preserve it from developers. With her aunt and uncle, who now own it, they want to create a public cultural and artistic environment and garden. However, getting the support to do that is very difficult. So I've been working on a prototype art project with that, and so far we have not been able to realize it because of funding issues.
I would like to do another show that breaks the mold of how things are usually done here. I would like to work with a single Hong Kong artist and just do a major show in a major space, because no one does that. Like in New York. I just want to do that to change the paradigm. It's great to have art in these private intimate spaces, and that's why Hong Kong art has developed the way it has, in a very interesting way. But we need to break out of that and think about projection.
The other thing I'd like to do is create a different kind of space. And I'd love to be a curator and get paid for it. That would be exciting. [laughs]
EW/KN
Simon Birch is ringleader of artists in Hong Kong's conceptual circus 'Hope and Glory' – May 2010
Watch Simon Birch's video tour of conceptual circus 'Hope and Glory' in Hong Kong – May 2010
Hong Kong artist 'anothermountainman' debuts solo photo exhibition in UK – April 2010
14 China rim artists show landscapes at opinion-leading Hong Kong gallery Hanart – Feb 2009
Subscribe to Art Radar Asia for more exclusive interviews with arts professionals in Asia
Posted in Art Funds, Art spaces, Artist-run, Curators, Democratisation of art, From Art Radar, Funding, Gallery shows, Groups and Movements, Hong Kong, Hong Kong Artists, Installation, Interviews, Museum shows, Museums, Mythical figures, Nonprofit, Performance, Profiles, Research, Sculpture, Simon Birch, Sound, Space, Valerie Doran, Video | Tagged: 1A Space, Art Forum, Artistree, Asia Art Archive, Exit Gallery, government funding, Guangzhou, hong kong, Hong Kong Museum of Art, Hong Kong University, Hope and GLory, independent curator, John Berger, Johnson Chang, Looking for Antonio Mak, National University of Taiwan, Out of the Darkness, Robert Peckham, Shih-T'ao, Simon Birch, Valerie Doran, Wellesley College, Yishu, YY9 Gallery | Leave a Comment »


text:
Pop stars, politics and the Easterhouse teams - the history of Glasgow's street gangs
Celebrities and government ministers made their interventions but it was the people of Easterhouse who united to take on the local gangs and defeat them.
Peter Cassidy
(Image: Glasgow Live)
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In the late 1940s and early 50s living conditions for many in Glasgow had become unbearable.
Overcrowding and deprivation in places like the Gorbals and Blackhill meant that the city had to be expanded. The answer was the introduction of three massive housing schemes, the biggest to be built anywhere in the country at the time.
The history of Glasgow's street gangs: The violent life and death of the young teams
In the south they had Castlemilk, which went on to be the most populated housing scheme anywhere in Europe, Drumchapel in the north and Easterhouse in the east. The latter would arguably overtake The Gorbals in becoming the most notorious part of what was then a notorious city.
These new areas were at first hyped as a Utopian paradise and at first glance they seemed to live up their billing.
Gang graffiti in Easterhouse, pictured in October 1971 (Image: Glasgow Live)
Unlike the old tenements in places like the Gorbals, the houses in Easterhouse, Castlemilk and Drumchapel were all shiny and new, seemed much more spacious and even had their own indoor toilets, which were something of a luxury at the time.
But the pristine schemes were thrown up without any thought of local amenities such as shops or even pubs. They were row upon row of grey closes and concrete roads.
The history of Glasgow's street gangs: Brigton's Billy Boys
It also became clear overtime that the poverty and social issues would not just disappear. Swathes of people from the most hard-hit areas being dispersed throughout the city didn't have the impact on Glasgow's gang problem that many hoped it would.
It would in fact make it worse with new gangs springing up throughout the next decade and parts of the newly built areas becoming no-go zones for some, with rival gangs hanging around each street corner.
Gang leaders Jerry O'Neil (left) and George McDyer talk over plans for peace in Easterhouse in July 1968 (Image: Glasgow Live)
This would lead to one the most bizarre and talked about incidents in the history of Glasgow.
During an Indian summer of 1968 the tribal warfare had erupted and knife crime reached epidemic proportions. The city centre was a battleground for teams of youths.
The history of Glasgow's street gangs: Tongs ya bass
Soon it made national news and there was an outcry over the violence with headlines portraying streets full of thugs. The murder rate was also through the roof.
Easterhouse had it particularly bad with gangs including The Skinhead, The Aggro and The Provvy Rebels wielding swords, hammers and bats in regular pitch battles.
Singer Frankie Vaughan talking to the gangs of Easterhouse on July 11 1968 (Image: Glasgow Live)
The news eventually reached singer Frankie Vaughan who was one of the era's biggest pop stars.
Liverpool-born Frankie had built up an affinity with Glasgow after losing his voice at a concert in the cities Barrowlands. He would later speak about how amazed he was when the crowd, rather than complain, decided to sing the rest of the set for him.
Glasgow's gangsters, Arthur Thompson - the Godfather
He was angry with the way the area was being reported in the press and decided to travel up and visit.
What he found was a friendly and open community with a vast majority of good people wanting the best for their children and worried about what the future held for them, with the gang culture so deep rooted.
Children in Easterhouse surround bins full of weapons in July 1968 (Image: Glasgow Live)
Frankie could see right away that the area had been given an unfair press and wasn't the lawless place full of thugs it was being made out to be.
Some who can remember Frankie's visit even say it was the first time the people in the area started to build up a real community spirit, that would only get stronger throughout the decades.
He decided he would do all he could to help rid the area of its gangs and knife problem by staging a knife amnesty and meeting with rival gang-members in front of the worlds' press.
Frankie Vaughan talks with four Glasgow gang leaders in 1968 (Image: Glasgow Live)
The gangs agreed to a peace treaty and the knife amnesty was a success.
Despite many cynics saying the peace agreement was a publicity stunt, and that most of the knives handed in had been stolen from their mum's kitchen drawer, for the first time in months the fighting stopped.
The shouts of anger and pain, the sounds of police and ambulance sirens - that had lasted that whole summer - were silenced.
Had crooner Frankie Vaughan become the unlikely Percy Sillitoe of the 60s and put an end to gang violence in Easterhouse?
Or had his visit simply coincided with a drastic downturn in the baking summer weather which had been replaced by days of torrential rain?
Whatever the answer, the peace and quiet didn't last long.
Glasgow's gangsters, Stewart 'Specky' Boyd and FCB
Easterhouse would continue to become synonymous with gangs and violence and its reputation as one of the roughest areas in the country would only continue to grow.
During the 70s, 80s, 90s and 00s the same gangs would remain, young men would be confined to their own area like a jail, scared to walk 10 minutes into a different street for fear of being attacked.
Easterhouse in November 1999 (Image: Charles Donnelly/Glasgow Live)
Even if they did manage to make it out of Easterhouse in one piece they were still surrounded by rival gangs from Cranhill, Easthall, Springboig and Barlanark.
In the early 00s Easterhouse gangs were heavily involved in organised city centre battles with rival gangs from Maryhill and Govan during Hogmany celebrations thought to be organised online.
Glasgow's Gangsters, The Lyons and the Daniels
In 2002 another strange intervention into Easterhouse would see the area becoming a symbol for "broken Britain" after a visit from then-Conservative party leader Ian Duncan Smith.
The visit moved the infamously cold-hearted welfare axe-man to tears after he saw firt hand the living conditions and said the visit was an "epiphany" - converting him to so-called compassionate conservatism.
Later when his party, led by David Cameron with IDS as welfare chief, was voted into power the troubles of the people of Easterhouse were kicked back into the long grass.
However the area would go on to shed its reputation as hub for the cities gang problem without any help from him - or his Tory mates.
The credit for its transformation must go to the brilliant youth clubs and initiatives in the area including The Easterhouse Project, funded in part in the early days by Frankie Vaughan and also FARE (Family Action in Rogerfield and Easterhouse), formed 15 years ago and responsible for the Duncan Smith visit.
Then world snooker champion Graham Dott (right) meeting locals at the FARE project in May 2006 (Image: Glasgow Live)
They continue to carry out incredible work with youngsters in the area teaching them about the perils of gangs and crime in general.
So for now at least Easterhouse and the wider Glasgow area is winning the battle with the gangs.
A survey by Glasgow Livefound 97% think there is less gangs in Easterhouse now than at any point in their lifetime.
But there is still no room for complacency. Projects like FARE continue to work with schools and local youngsters to make sure areas like Easterhouse don't sink back into the bad old days. The wounds are still all too fresh in the memories and on the faces of many.
Glasgow Live series first published in November 2016.
Notorious: Glasgow's Gangsters
Part I: Arthur Thompson
Part II: Paul Ferris
Part III: Tam McGraw
Part IV: Stewart Boyd
Barrowlands
Maryhill
Scottish Conservatives


text:
Lucie Cluver
People Feature
Professorial Fellow
Professor of Child and Family Social Work
Research interests: Achieving Sustainable Development Goals for Africa's youth, Children and HIV/AIDS, Adolescent mothers in Africa, Preventing violence against children.
Methods interests: innovative quasi-experimental designs, randomised trials, integrating African capacity-building within all research.
Lucie is Professor of Child and Family Social Work in the Department of Social Policy and Intervention at Oxford University, and also at the Department of Psychiatry and Mental Health at the University of Cape Town. She works closely with a superb team of research partners, Postdoctoral, Doctoral and Master's researchers. Together, they collaborate with African governments and international agencies such as UNICEF, USAID-PEPFAR, the UN Development Program and the World Health Organisation, to provide evidence that can improve the lives of children and adolescents in Sub-Saharan Africa. She is currently leading a Global Challenges Research Fund Hub, an ERC Consolidator Grant and an MRC/DFID/GCRF joint program.
Lucie is committed to supporting early-career African researchers who want to give back to their continent, and female academics as they juggle parenthood and research.
E: lucie.cluver@nuffield.ox.ac.uk
Departmental Profile
World Health Organization - Parenting for Lifelong Health
Young Carers, South Africa research group


According to the Jordanian Government, Jordan is host to more than one million refugees, including Syrian refugees, Iraqi refugees, Sudanese refugees, and others. Of these, only 17% of Syrian refugees live in camps. The vast majority of refugees in Jordan live in urban areas, like Amman.
Unfortunately, most international aid goes towards camps. Urban refugees desperately need help.
You can help refugees in Jordan by donating to grassroots nonprofits like Collateral Repair Project. At CRP, we provide refugees with food vouchers, which they can spend at local grocery stores, deciding for themselves which food items they need. Jordan is cold in the winter time. You can also help refugees in Amman by holding a fundraiser to cover winter costs for refugees, like heaters and fuel.
Refugees also need help coping with the stress of their new surroundings. CRP provides yoga for refugees, which we have found to be extremely helpful as refugees process past trauma. But we also have men's support group, women's empowerment, and teen leadership programs.
Refugees can't legally work in Jordan, for the most part. So we have skills-based classes where refugees learn skills like barbering that they can use to access the informal market. CRP also has English classes, computer classes, and a women's craft collective. We also support children returning to school and hold an after-school club, among other children's activities.
You can help refugees in Amman and CRP by donating your time to these activities, or by making a donation.


Thank God for WWDC 2015 because it reflects that the Cupertino Company is introspecting and has been listening to the users. For instance, Apple Watch users (those who have been lucky enough to strap it on their wrist) have been complaining of the sluggish experience of Apple Watch apps. It is because that it piggybacks on the connected iPhone, the third-party apps run there and merely show on the Apple Watch screen.
With this upgrade to the WatchOS, native Apple Watch apps become reality. What's more to this flagship feature is that the developers now have access to Apple Watch and can have fun making the apps that are designed and made for Apple Watch. For users, it means faster experience. The developer beta SDK is available from today and the developers have access to the hardware system including the accelerometer, speaker and microphone along with the pass for custom UI elements of digital crown control, as reported by The Verge. At present, developers don't have access to any hardware panel of Apple Watch; letting this happen is a big move, a lifetime opportunity to make the most of it, especially when it is coming from the company that has been touted to provide best ecosystem.
HomeKit and HealthKit are also rolled in and the fitness app developers can now record heart rate in real time.
The WWDC 2015 Keynote was addressed by the CEO Tim Cook, after this Kevin Lynch took the center stage to explain the details of WatchOS2.
Third-Party Complications: This is what Apple is calling the customized watch face options by developers.
Time Travel: You can time travel via digital crown and see the upcoming events or temperature for the day after tomorrow.
Nightstand Mode: The Nightstand Mode, basically when your Apple Watch is in charging mode lets you see the alarm, charging percentage and time.
Email: Apple WatchOS2 lets you reply to the emails from the watch screen.
Add Multiple Screens: Use Digital Touch drawings and add multiple screens for people via your Apple Watch now.
Facetime Audio: This feature is also introduced in this OS upgrade.
Glances: With this new Apple Watch OS, you can command Siri to start or stop natively-running OS. Siri also shows you glances, ask her to show the Instagram glances and she will follow the orders.
Apple Pay: Like iOS 9, Apple Watch can run Apple Pay and supports loyalty card.
Directions: The upgrade takes on maps too and now you can request Siri's help to show you transit directions on your Apple Watch.
Custom Watch Faces: Custom Apple Watch faces are a reality now, including Time-Lapse face and Photo Album face. The Time-Lapse watch face shows you locales of different cities while pinning the local time.
Play Videos: You can play videos on Apple Watch and control the playback.


text:
Spasmofen är ett analgetikum, som används vid smärtor av olika slag, till exempel vid kramptillstånd i gall- och urinvägarna samt i mag-tarmkanalen. Aktiva substanser är kodein, metylskopolamin, morfin, noskapin och papaverin. Spasmofen finns som suppositorier, det vill säga stolpiller, och injektionsvätska.  Den senare ges endast av sjukvårdspersonal.

Samtidigt bruk av Spasmofen och alkohol skall undvikas.

Spasmofen är vanebildande.

Externa länkar
FASS

Analgetika


text:
▶ More from
Harm City Crackpot Mailbox
Ditchworld
Crackpot Mailbox: Getting Crowd-Spammed
© 2019 James LaFond
I opened up my mailbox and the contents tried to drag me down countless yawning rabbit holes at once...
They made mama get up out of her scooter
https://twitter.com/penelope7usa/status/1148675538388692993?s=19
Sorry for the yahoo link:
https://www.yahoo.com/lifestyle/son-begs-father-not-to-call-police-on-black-man-he-believed-was-trespassing-daddy-i-dont-like-this-212929522.html?soc_src=community&soc_trk=tw
I downloaded the video. I have shown it to my girls and instructed them that they are never to speak if mom or dad are talking to a stranger. The paleface tech nerd has an Asian wife and a hapa child, a six-figure education and career, odds are he is, at best, a Bernie Bro, and considers himself a progressive global citizen. That's not going to cut it anymore.
This black dude put the video up on his facebook. The very next (earlier) post is a picture of a note that someone wrote to return his work ID that he lost outside his office. He is like an anti-building-security superhero.
How the Apocalypse Looks
Low tech civilizational competencies recede, high tech still flourishing.
A major US city has failed at basic hygiene, with every manner of bodily fluid on the street, indeed, bodily are creatures living in large groups outdoors with no means of disposing their waste, typhus has made a return and hepatitis A is rampant. So what do you do? Equip police stations with high tech boot cleaning devices.
https://twitter.com/LyanneMelendez/status/1146147359434452994?s=20
Samson was a black woman, Einstein too
Now that these unjust practices have been made illegal, black women will be free to develop revolutionary new metal alloys, build spaceships, etc.
https://www.nbcbayarea.com/news/national-international/California-Becomes-First-State-to-Ban-Hair-Discrimination—512199502.html?_osource=SocialFlowTwt_BAYBrand
California Becomes First State to Ban Hair Discrimination in Workplaces, Schools
Utah crime wave, investigators baffled
https://www.deseretnews.com/article/900078071/salt-lake-utah-maverik-clerk-stabbing.html
Salt Lake Maverik clerk stabbed, killed in confrontation outside store
https://www.baltimoresun.com/maryland/baltimore-city/bs-md-ci-ransomware-emails-20190705-story.html
Baltimore email archive still not accessible after cyber attack. What does that mean for records requests?
Soyboys don't like black cops
https://twitter.com/ZTPetrizzo/status/1147570153409961984?s=20
https://twitter.com/FordFischer/status/1146923009111990272?s=20
Proud boy leader is a melanin rich individual with an Iberian name, RWDS stands for Right Wing Death Squads:
To Avoid Problems With Lyric Slides, Innovative Church Prints Out Songs And Compiles Them Into Book | The Babylon Bee
Tue, Jul 9, 4:36 PM (17 hours ago)
https://babylonbee.com/news/to-avoid-problems-with-lyric-slides-innovative-church-prints-out-songs-and-compiles-them-in-book
Important advance in religion!
Sent from Riley
Autumnal Son
Tommy Robinson: EDL founder begs Trump to grant him political asylum in US | The Independent
Tue, Jul 9, 10:00 PM (12 hours ago)
https://www.independent.co.uk/news/uk/home-news/tommy-robinson-trump-asylum-us-infowars-alex-jones-contempt-case-a8996166.html
Sorry these stories aren't about Lauren Southern.
Son begs father not to call police on black man he believed was trespassing: 'Daddy, I don't like this'
A white man called the police on a black man who he believed to be trespassing as his son tried to intervene.
Rapper Sparks Outrage For Dropping Out Of Black Music Festival Where White People's Tickets Cost More
Detroit's AfroFuture Fest charged people of color less than white folks.
Home Depot shoppers threaten to boycott after learning the co-founder gave millions to help elect Trump
Nicole Lyn Pesce
Bernie Marcus gave $7 million to spending groups and PACs supporting Donald Trump in 2016, and will also support...
High school principal reassigned for refusing to say the Holocaust was 'a factual, historical event'
A high school principal in Florida was reassigned Monday after he refused to say that the Holocaust was a "factu...
https://thehill.com/homenews/news/452103-police-investigating-after-viral-video-shows-violent-fight-break-out-at
https://www.foxnews.com/us/woman-accused-of-shooting-husband-while-trying-to-shoot-someone-else-in-road-rage
Fox News: Rock band Confederate Railroad fires back at Illinois state fair after being removed from performance lineup.
https://www.foxnews.com/entertainment/rock-band-confederate-railroad-illinois-state-fair
'Starbucks shop boots police officers because customer 'did not feel safe' around them:
https://www.yahoo.com/lifestyle/dump-starbucks-trends-after-police-are-banned-because-customer-did-not-feel-safe-214339275.html
Moral Sponsors
Fellow artists who read this blog and in no way support my crackpot view of the world.
Myth of the 20th Century
We also have a new and fairly popular writing site for various dissident authors if you wanted to put out anything there: https://theamericansun.com/
-Adam Smith of Myth of the 20th Century
Five Guns West
https://fivegunswest.blogspot.com/
Ron West
Read contrarian counter-intelligence at http://www.ronaldthomaswest.com
Faith, Family Survival
http://brycesharper.com/
Nice Day for a Funeral
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https://nicedayforafuneral.com/blog/
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Fiction blog: https://dionvalle.blogspot.com/
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https://theamericanmuseblog.wordpress.com/?p=69&preview=true
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http://mcwopski.blogspot.com/2018/09/antifa-needs-some-more-rights.html
'Graphic Storytelling'
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https://www.youtube.com/channel/UCDxuqjxHMjNOVNT-R6Cu8UA/featured
http://cargocollective.com/artofcraigs
Shep July 12, 2019 6:08 PM UTC
Re: the two goofs at Toontown Disneyland. As a boxing coach, does this level of ineptitude psychologically traumatize you? "Certain folks" seem ever-eager to engage in fisticuffs, but despite all their experience they usually seem to be incompetent at the Sweet Science.
responds: July 13, 2019 9:01 PM UTC
It cheers me that I did not waste my time.


Looking at the calendar, it is hard to believe so much of this year has already passed. Schools will be open soon, pools will be closing and our 93rd Home Day weekend is around the corner. As much as I enjoy funnel cakes and all of the other trappings of our great Lyndhurst Home Day, I wish that summer would hold on just a little while longer.
I want to remind everyone about the "Life in Lyndhurst" section at the front of this magazine. In it we try to introduce or remind everyone about the simple expectations the City and our residents have of each other. More information can always be found on our City website http://www.lyndhurst-oh.com/ or by contacting City Hall.
Another event where you will get great information from all of our Departments and other agencies is our annual Council Coffee Event which will be held on Saturday, October 6th from 9 a.m. to 11 a.m. at the Community Center. We will even serve you breakfast!
We have enjoyed the company of neighbors at many Block Parties so far this season. It is great to see our residents enjoying each other's company - some meeting for the first time - and sharing food, some playing games and everyone just getting to know each other a little better. These are the types of things that bring a community together! Block Parties are easy to organize and the benefits to the neighborhoods are tremendous! Contact City Hall and we will help in any way we can!
At this year's Home Day you will see some changes that the Committee has thought of to make the weekend more fun and to bring all in attendance closer to the entertainment in the Big Tent and in the new Children's Entertainment Tent. Please see the full entertainment lineup in this issue of Lyndhurst Life. I certainly hope to see you there!
Happy New Year to our residents, our businesses and those who visit our wonderful City every day. I hope that you all have entered this year thankful, optimistic and resolved to do at least one thing to make our world a better place.
Over the past few months our outgoing Mayor Cicero and I have worked to make the transition from his supervision to mine as seamless as possible. I am so fortunate to have had the luxury of his time and cooperation along with that of our City Council to assist me as I settle into my new role as Mayor.
As my administration, our employees and I prepare to enter into the budget season please know that we have one core principle which is to provide you the best service possible.
As always, if we can be of service, please do let me know.
Thank you, stay warm and God Bless.