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Early Life Edit
Zora Neale Hurston was born January 7, 1891 in Alabama. A fact that she herself denied, Hurston claimed to be born in several different years and born in Eatonville Florida, the first black run city in the US. This was to help her appear younger and also of an important city. She was the fifth of eight children. Her father was John Hurston, a Baptist preacher, tenant farmer, and carpenter. In her book Dust Tracks on a Road, Hurston states that her father already had a daughter when she came along and that he was not too keen on having another one.(Hurston 1942:19) Her mother Lucy Potts was a school teacher, and preferred Zora. This was important because her mother encouraged her to make up stories and write.
Hurston was smart and well liked by adults. Her father was a successful preacher and became the mayor. When Hurston was nine years old, her mother passed away. After her mother's death, Hurston's father quickly remarried, and Hurston was not fond of her new stepmother. Hurston was then sent around from relative to relative and until she found herself a job as a maid. Much about the years she spent as a maid and traveling from place to place is missing. She says little to none about it in her autobiography. It is unclear at what age she started working as a maid. She only refers to her emplyer as " Miss M." and gives the idea that she was under sixteen. (Yates 1991:41) This is significant because much of her traditional education years were spent as a maid. This however gave her a different education, one that could only be learned through life. Possibly this made her comfortable and therefore capable of travel for her ethnographies and studies.
Education Edit
She was 26 when she finished high school in Baltimore, somehow she passed for 16. Hurston wanted to be educated. She could have continued as a maid or in other avenues of work that was common for black women at that time. She then went on for her associates degree at Howard University. During her time in college she published a variety of articles. Her first is "John Redding Goes to Sea." She was 34 then, but appeared very young. Most who knew her thought her to be an inexperienced coed, although she was already published. She worked various jobs while attending school. One of the jobs she had was a black owned barber shop that was patronized by whites. She never thought anything of it until one day a black man came in and requested a haircut. He sat from chair to chair but was refused by all. This experience changed her outlook on a lot of things. This influenced her scholarship by wanting to know more about the differences between blacks and whites. (Yates: 48)
She then completed her B.A. at Columbia. She met Franz Boas there and was then introduced to the field of anthropology.(Yates: 56) Boas taught her about cultural preservation and that she needed to record her Black culture because it soon may be lost. One of Boas's major concerns was culture conservation. It is interesting that Boas is a Jew and felt marginalized in his native Germany and has then fled to the United States to avoid persections. His words on race and intelligence really had an impact on Hurston. She knew she was smart and was told that she was ignorant because she was black. Hurston liked to stand on the street corner sometimes and measure head sizes of passerbys, both black and white, to prove the point. She already felt similar to Boas's issues on race and his cause for culture preservation so she took his words to heart and struck out to do ethnography. She then completed two years of graduate study at Columbia in Anthropology. (Yates: 57)She started her field work in Harlem. She was studying folklore and black culture stories. Also she decided to do ethnography on the people of Eatonville. She failed miserably at her first attempt. She was not the same person when she came back to Eatonville as she was when she left. She was educated and spoke differently than those who lived there. She was not as trusted as she was before. People were suspicious of her wanting to know "silly folklore stories.'( Yates :62) However, she recognized the problem and on her second attempt she was much more successful. She changed her speech to be more like it was when she was younger. She remembered and practiced the gender segregation that she had known in the past. Because she was acting like the people of Eatonville expected her to she got more information. At first she tried asking straight out about folklore and stories. This made people distrusting of her, but the second time around she just waited until they were ready to tell the stories.
Harlem Renaissance Edit
Because of her work in Harlem she was part of the Harlem Renaissance. This was a time of black thought and artist and writings. Many were challenging what they knew of the social structure between blacks and whites. She was friends with influential people such as Langston Hughes and Wallace Thurman. Hurston started writing about her time living in Eatonville. She did fictional as well ethnographic books. Most involved in the Harlem Renaissance, including Hughes, were looking to fit in better with whites. They wanted to be accepted and respected in the same way whites were. This is not what Hurston wanted. She had lived in an autonomous black community. She knew that blacks could be self sufficient. She also felt that the black culture would be lost if integration happened. She included the black speech as part of this culture that would be lost. Most of her novels were in this style of writing. They emphasized the autonomy and culture of blacks. For example:
"Dat's a big ole resurrection lie, Ned. Uh slew-foot, drag-leg lie at dat, and Ah dare yuh tuh hit me too. You know Ahm uh fightin' dawg and mah hide is worth money. Hit me if you dare! Ah'll wash yo' tub uh 'gator guts and dat quick." - From Jonah and the Gourd Vine
Hurston's uses of vernacular common to Black Americans of her time is so remarkable that books have been written to analyze and define it. Hurston's writing in real language helps " code" her thoughts on race and gender. Karla F. C. Halloway analyzes Hurston's work and words in The Character of the Word. She compares Hurston's work to a drum used in African myths as the word of God- in turn it becomes an instrument of creative power. Language is what points out and defines characters. Clarence Merton Babcock wrote A Word-List of Zora Neale Hurston. It is literally a dictionary of words one might commonly find in a Hurston work. Ie: "'Aunt Hagar's Chillun' Negroes, as opposed to white people. ' Negroes are children of Hagar; White folk, of Sarah.' ' You fool wid Aunt Hagar's chillun and theyll sho distriminate you.'"
Major Works Edit
Ethnography Edit
Hurston's novels were ethnographies. She used many stories that were black folklore and kept the linguistic quality of her subjects. She did field work in Harlem, most of the southern United States, Haiti, Jamaica, and Honduras. Although a novel is fiction and an ethnography is is not, most of Hurston's novels have an ethnographic quality about them in much the same way a historical fiction is both historical and fiction.
One Hurston's most well known ethnography is Hoodoo in America. She analyzes Hoodoo and healing practices in the United States as well as the Bahamas and Haiti. She looks at the West African influence of Hoodoo in black culture. It did so well that her publishers asked her to include more about Hoodoo in Mules and Men. Another one of Hurstons well known ethnographies is the help.
Hurston found herself between 1974 and 1929 when she writes Mules and Men. Zora Neale Hurston returned to Eatonville to record the oral histories, sermons and songs, dating back to the time of slavery, which she remembered from when she was an old younger women. It is a very important work that brings to light and preserves a culture that could have soon be forgotten. Boas wrote the book's introduction stating "contribution to our knowledge of the true inner life of the Negro." The book is divided in two sections the first is Hurston's travels as she collects and shares seventy African Folktales from Eatonville and Polk County. The second section is in Louisiana where she meets five hoodoo doctors and at the end of the book she includes as a listing for hoodoo formulae, ingredients and potions. The book ends with several black folk songs that Hurston compiled. Hurston uses fictionalizes herself as the narrator giving insights to her thoughts and feelings during the expedition.
Tell My Horse is Hurston's second and less successful ethnography. It was based on research that she gathered in trips to Jamaca and Haiti. This ethnography is divided into three sections. The first section is in Jamaica where she studied the Maroons (descendants of slaves who fought for their freedom). Part two is often historically inaccurate depiction of Haitian politics and history. Hurston often accepts what she has told as fact unquestioningly. Part three is the most interesting section and is about Voodoo in Haiti.
Hurston began her work on her first novel, Jonah's Gourd Vine, in July 1933 after the publisher Bertram Lippincott, who had read Hurston's story " The Gilded Six-Bits" in the August number of Story , asked if she was working on a novel. She mailed the manuscript to Lippincott on Oct 3. The novel was published in Philadelphia in May 1934. The main characters are John and Lucy. These are the names of Hurston's parents, and this is not all they have in common. John's character is a mulatto man who marries a black woman in Alabama and then they move to Eatonville. He is a preacher just like her dad. The work is a biographical fiction. The novel is telling the story of her parents, but it includes embellishments and allegories along the way. One of the unusual things that Hurston does in this book is keep the language and the people natural. She spells out the words and the sentences phonetically and fragmented as they would be naturally spoken. She also places other real people into her stories and places them as well into real context. She was the first black person to use this sort of approach. Her critics were opposed to speech they found in her novels. It made blacks to different from whites. Something that Hurston wanted to exploit, but others wanted to down play.
Their Eyes were watching God was written while Hurston was doing anthropological fieldwork in Haiti.She began writing the novel late in September 1936 and completed it on December 19, 1936. The novel was published September 18, 1937. It was not just her politics on race but also gender as well that were different. In her book Their Eyes Were Watching God, Hurston explores a different kind of independent woman. The main character Janie is married to 3 different men with 3 different outcomes. The first is an older man who would rather have a servant than a wife. The second is a man who she thinks she loves, but she turns more into a possession than a wife. By this time Janie is much older than she once was, but still attractive. She finds true love in her third marriage. But this does not end happily as boy # 3 gets rabies and she shoots him. This story also takes place in Eatonville and seems to be autobiographical as well. This is not autobiographical in the sense that every event in the story happens to Hurston but that she relates to many of the characters especially Janie. For instance Hurston did marry a much younger man, but he did not get rabies. Many stories have been influence by this novel. A modern day example might be How Stella Got Her Groove Back. Pearlie Mae Fisher Peters analyzes the feminist attitudes in Their Eyes Were Watching God. She states (referring to Janie) " She is more in alignment with the dreams and aspirations of the contemporary Black American woman than any of Hurston's other assertive women she is an independent minded woman who eventually finds authentic love with a man who gives her ever consolation in the world' including personal freedom and verbal contentment."
In December 1935 Hurston told a friend that she was writing a book about Moses, but she did not complete Moses Man of the Mountain until early in 1939 while she was employed by the Florida Federal Writer's Project. The novel was published in 1939. . This book is particularly interesting as it is an satire. It mixes the Biblical Moses with the folkloric Moses of black stories. This is a tale of Exodus. She seems to be focusing on the issues of the day. The novel is written pre-civil rights movement. She is calling the blacks to an Exodus of their own. This is inseparable as the story unfolds from the Hebrews flight to the promise land and a movement for blacks to stand up on their own two feet, and make their own lives to go to the promise land. Hurston mainly satirizes the Hebrew people's reluctance to follow Moses. This conveys her views of the common people and their petty jealousies and suspiscion of the success of others. The work is fascinating because of its meanings and even today post civil rights in has meaning. One of the modern meanings is that now the Civil Rights era has past, for blacks to become prominent members of the community, and to put aside pettiness.
After the editors at the Lippincott firm rejected several proposals Hurston had submitted to them Hurston signed a contract for a novel with Charles Scribner and Sons. With a $500 advance from Scibner's she went to Honduras in May and began to work on her new novel. She sent in a draft to her editor and recieved an additonal $500 which enabled her to stay in Honduras while she continued the novel. Seraph on the Suwanee, marked a major departure for Hurston out of black folklife into the mainstream white culture. It was a conscious decision to try and widen her reading audience and to make a statement as a writer, black on white. Hurston's portrayal of sex is rather explicit for her day and time. In Seraph on the Suwannee Jim Meserve's rape of Arvay(the heroine) and subsequent encounters in the book make this one of her most explicit. Jim's sexual control over Arvay borders on the sado-masochistic. This is different from the sex portrayed in Their Eyes Were Watching God where Janie and Tea Cake have makeup sex. In this novel Hurston not only tackles race but also sexual politics, gender roles and marriage.
Other Works Edit
One of her more interesting works was her autobiography: Dust Tracks on a Road. It does not give her vital statistics such as her birth date. She also gives the wrong place of birth. This work gives an image that is not of her public or private life. She barely mentions her accomplishments. Also she refrains from mentioning any big events such as World War 1 or the Great Depression, other than in passing. It was written just prior to World War 2 and came out during the war. This book was greatly censored because of Hurston's political views.
Mule Bone is a three act play written in collaboration with Langston Hughes. It is their only collaboration and became the reason for the end of their friendship. In Hughes autobiography, The Big Sea, he admits that his contribution was mostly structural and that Hurston contributed the story and the dialogue. What is also interesting about this play is that Act III was published in 1964, but the entirety of the play wasn't published until 1991. Act I of the play is a fight that breaks out and Jim grabs a mule bone and hits Dave over the head. He is then arrested and set for trial. Act II recounts the trial. The trial turns on the question on whether a mule bone can be a weapon. It is a play on words. Bone = contention. Act II Is the shortest act of the play. The play starts with a fight over Daisy and ends with one as well. Instead of someone getting hit with a mule bone. Daisy is rejected and Dave and Jim stay friends.
Color Struck is Hurston's first play. It is very short consiting of only four scenes, depicting the devastating effects of intraracial color prejudice on the lives of blacks. The prize won second place in the first Opportunity contest. Not easily humbled by second place Hurston came into the room of her competitors, flung her scarf dramatically over her shoulder and yelled " COLOR..R.R STRUCK..K.K"
Politics Edit
Hurston was a conservative. She shunned the "New Deal". She wrote letters and spoke out against FDR. Hurston Spoke out against American imperialism. In 1945 she wrote and article for Negro Digest entitled Crazy for this Democracy. She states "Did F.D.R, aristocrat from Groton and Harvard, using the British language say 'arse-and-all" of Democracy when I thought he said plain arsenal? Maybe he did, and I have been mistaken all this time. From what is going on, I think that's what he must have said." Statements such as these were what caused great censorship of her works like Dust Tracks on a Road.
She campaigned for Hoover and Robert Taft who shared her fiscally conservative ideals. Hurston enthusiastically supported Taft. In 1951 She wrote a column for the Saturday Evening Post entitled A Negro Voter Sizes Up Taft. In the column she states " Anyone who endorsed the Constitution was a " capitalistic reactionary" and to admit patriotism was to be classed as a "dirty chauvinist." Anyone worth a amovar of tea was a "liberal," was known as an "inellectual," and went on talking about "directives" instead of plain orders. " This was in response to all the New Dealers attitudes. But the exposure of many prominent members of the Truman and Roosevelt adminstrations as communist spies left them with an opportunity to reclaim the contry. " American resistance army for a number of years, a sort of guerilla band doing what they could to restore consitutional government" Hurston thought that many blacks had ben tricked into believing anyone who was a liberal was a friend to the blacks. To this she stated that Taft was a true liberal " In the tradition of Thomas Jefferson."
Many of those who were members of the Harlem Renaissance supportedSoviet Unioni deals and communism such as W.E. Du Bois and Richard Wright. At the time artists were encouraged to use their popularity for political gain. She labled those who did so the "Niggarati." Hurston's politics of separation and emphasis on differences rubbed the black community wrong.
After World War II, Hurston began to write increasingly about pollitics. In 1950 shew wrote an article for American Legion entitled I saw the Negro Vote Peddled. This article complained that labor unions and leftist groups saw the black vote as one mass only able to vote in one direction. In 1951 She wrote another article for the American Legion entitled Why the Negro Won't Buy Communism. She attacked Communists who tried to make blacks as the new labor class.
Hurston's conservativism grew from three sources: an obsessive indivudalism that began with the self confidence of Eatonville and expanded to generate great self pride; a long suspicion of the Communist party and collectivist government; and finally Hurston was against racial boundaries, something that was not common place at the time.
Obscurity Edit
One of the main reasons for Hurston's sudden obscurity is that she was accused of molestation. The sexual scenes in Seraph on the Suwanee were used against her. Her book had just come out a week prior to the incident. The next month the Baltimore Afro- American published an inaccurate and sensationalized version of the case. The charges were dropped and nothing more came of it. But the damage was done. Hurston was so devastated that she did not feel up to promoting her book even though sales were initially good. She never stopped writing though. There are many works that were never published.
Hurston worked as a librarian and various other jobs until her death in Florida on January 28, 1960. She was buried in a segregated graveyard with no marker. She died very poor. It wasn't until Alice Walker became interested in her work that the revitalization of Zora Neal Hurston started.
Revitalization Edit
Hurston has influenced many black and white anthropologists and black movements. Many blacks are looking for that culture that has been lost trying to preserve what they can of it. Hurston's ethnographies and books point to accurate speech patterns, points of view, and storytelling that had been lost. She has influenced authors such as Alice Walker, Toni Morrison, and Maya Angelou. She has been awarded several writing awards posthumously and high school students now know her work. She has once again become a household name. It is interesting to note that Hurston herself was not a feminist nor was she for liberal, but she has been cannonized, as it were, for her feminsm and liberalness. Alice Walker wrote " I think we are better off if we think of Zora Neale Hurston as an artist, period-rather than as the artist/politician most black writers have been required to be. This frees us to appreciate the complexity and richness of her work in the same way we can appreciate Billie Holiday's glorious phrasing or Bessie Smiths's perfect and raunchy lyics, without the necessity of ridiculing the former's addiction to heroin or the later's exessive love of gin." It would be interesting to see these women face to face with each other and if they still got along.
Time line Edit
- September 1917 - June 1918 - Attends Morgan Academy in Baltimore, completing the high school requirements.
- Summer 1918 - Works as a waitress in a nightclub and a manicurist in a black-owned barbershop that only serves whites.
- 1918 - 1919 - Attends Howard Prep School, Washington, D.C.
- 1919 - 1924 - Attends Howard University; receives an associate degree in 1920.
- 1921 - Publishes her first story, "John Redding Goes to Sea," in Stylus, the campus literary society's magazine.
- Dec-24 - Publishes "Drenched in Light," a short story, in Opportunity.
- 1925 - Submits a story, "Spunk," and a play, Color Struck, to Opportunity's literary contest. Both win second-place award; publishes "Spunk" in the June number.
- 1925 - 1927 - Attends Barnard College, studying anthropology with Franz Boas.
- 1926 - Begins field work for Boas in Harlem.
- Jan-26 - Publishes "John Redding Goes to Sea" in Opportunity.
- Summer 1926 - Organizes Fire! With Langston Hughes and Wallace Thurman; they publish only one issue, in November 1926. The issue includes Hurston's "Sweat."
- Aug-26 - Publishes "Muttsy" in Opportunity.
- Sep-26 - Publishes "Possum or Pig" in the Forum.
- September - November 1926 - Publishes "The Eatonville Anthology" in the Messenger.
- 1927 - Publishes The First One, a play, in Charles S. Johnson's Ebony and Topaz.
- Feb-27 - Goes to Florida to collect folklore.
- May 19,1927 - Marries Herbert Sheen.
- Sep-27 - First visits Mrs. Rufus Osgood Mason, seeking patronage.
- Oct-27 - Publishes an account of the black settlement at St. Augustine, Florida, in the Journal of Negro History; also in this issue: "Cudjo's Own Story of the Last African Slaver."
- Dec-27 - Signs a contract with Mason, enabling her to return to the South to collect folklore.
- 1928 - Satirized as "Sweetie Mae Carr" in Wallace Thurman's novel about the Harlem Renaissance Infants of the Spring; receives a bachelor of arts degree from Barnard.
- Jan-28 - Relations with Sheen break off.
- May-28 - Publishes "How It Feels to be Colored Me" in The World Tomorrow.
- 1930 - 1932 - Organizes the field notes that become Mules and Men.
- May - June 1930 - Works on the play Mule Bone with Langston Hughes.
- 1931 - Publishes "Hoodoo in America" in the Journal of American Folklore.
- Feb-31 - Breaks with Langston Hughes over the authorship of Mule Bone.
- July 7,1931 - Divorces Sheen.
- Sep-31 - Writes for a theatrical revue called Fast and Furious.
- Jan-32 - Writes and stages a theatrical revue called The Great Day, first performed on January 10 on Broadway at the John Golden Theatre; works with the creative literature department of Rollins College, Winter Park, Florida, to produce a concert program of Negro music.
- 1933 - Writes "The Fiery Chariot."
- Jan-33 - Stages From Sun to Sun (a version of Great Day) at Rollins College.
- Aug-33 - Publishes "The Gilded Six-Bits" in Story.
- 1934 - Publishes six essays in Nancy Cunard's anthology, Negro.
- Jan-34 - Goes to Bethune-Cookman College to establish a school of dramatic arts "based on pure Negro expression."
- May-34 - Publishes Jonah's Gourd Vine, originally titled Big Nigger; it is a Book-of-the-Month Club selection.
- Sep-34 - Publishes "The Fire and the Cloud" in the Challenge.
- Nov-34 - Singing Steel (a version of Great Day) performed in Chicago.
- Jan-35 - Begins to study for a Ph.D in anthropology at Columbia University on a fellowship from the Rosenwald Foundation.
- Aug-35 - Joins the WPA Federal Theater Project as a "dramatic coach."
- Oct-35 - Mules and Men published.
- Mar-36 - Awarded a Guggenheim Fellowship to study West Indian obeah practices.
- April - September 1936 - In Jamaica.
- September - March 1937 - In Haiti; writes Their Eyes Were Watching God in seven weeks.
- May-37 - Returns to Haiti on a renewed Guggenheim.
- Sep-37 - Returns to the United States; Their Eyes Were Watching God published, September 18.
- February - March 1938 - Writes Tell My Horse; it is published the same year.
- Apr-39 - Joins the Federal Writers Project in Florida to work on The Florida Negro.
- 1939 - Publishes "Now Take Noses" in Cordially Yours.
- Jun-39 - Receives an honorary Doctor of Letters degree from Morgan State college.
- Summer 1939 - Hired at a drama instructor by North Carolina College for Negroes at Durham; meets Paul Green, professor of drama, at the University of North Carolina.
- Nov-39 - Moses, Man of the Mountain published.
- Feb-40 - Files for divorce from Price, though the two are reconciled briefly.
- Summer 1940 - Makes a folklore-collecting trip to South Carolina.
- Spring - July 1941 - Writes Dust Tracks on a Road.
- Jul-41 - Publishes "Cock Robin, Beale Street" in the Southern Literary Messenger.
- October 1941-January 1942 - Works as a story consultant at Paramount Pictures.
- Jul-42 - Publishes "Story in Harlem Slang" in the American Mercury.
- 5-Sep-42 - Publishes a profile of Lawrence Silas in the Saturday Evening Post.
- Nov-42 - Dust Tracks on a Road published.
- Feb-43 - Awarded the Anisfield-Wolf Book Award in Race Relations for Dust Tracks; on the cover of the Saturday Review.
- Mar-43 - Receives Howard University's Distinguished Alumni Award.
- May-43 - Publishes "The 'Pet Negro' Syndrome" in the American Mercury.
- Nov-43 - Divorce from Price granted.
- Jun-44 - Publishes "My Most Humiliating Jim Crow Experience" in the Negro Digest.
- 1945 - Writes Mrs. Doctor; it is rejected by Lippincott.
- Mar-45 - Publishes "The Rise of the Begging Joints" in the American Mercury.
- Dec-45 - Publishes "Crazy for This Democracy" in the Negro Digest.
- 1947 - Publishes a review of Robert Tallant's Voodoo in New Orleans in the Journal of American Folklore.
- May-47 - Goes to British Honduras to research black communities in Central America; writes Seraph on the Suwanee; stays in Honduras until March 1948.
- Oct-48 - Seraph on the Suwanee published.
- Mar-50 - Publishes "Conscience of the Court" in the Saturday Evening Post, while working as a maid in Rivo Island, Florida.
- Apr-50 - Publishes "What White Publishers Won't Print" in the Saturday Evening Post.
- Nov-50 - Publishes "I Saw Negro Votes Peddled" in the American Legion magazine.
- Winter 1950 - 1951 - Moves to Belle Glade, Florida.
- Jun-51 - Publishes "Why the Negro Won't Buy Communism" in the American Legion magazine.
- 8-Dec-51 - Publishes "A Negro Voter Sizes up Taft" in the Saturday Evening Post.
- 1952 - Hired by the Pittsburgh Courier to cover the Ruby McCollum case.
- May-56 - Receives an award for "education and human relations" at Bethune-Cookman College.
- Jun-56 - Works as a librarian at Patrick Air Force Base in Florida.
- 1957 - 1959 - Writes a column on "Hoodoo and Black Magic" for the Fort Pierce Chronicle.
- 1958 - Works as a substitute teacher at Lincoln Park Academy, Fort Pierce.
- Early 1959 - Suffers a stroke.
- Oct-59 - Forced to enter the St. Lucie County Welfare Home.
- 28-Jan-60 - Dies in the St. Lucie County Welfare Home of "hypertensive heart disease"; buried in an unmarked grave in the Garden of Heavenly Rest, Fort Pierce.
- Aug-73 - Alice Walker discovers and marks Hurston's grave.
- Mar-75 - Walker publishes "In Search of Zora Neale Hurston," in Ms., launching a Hurston revival.
References Edit
- Bordelon, Pam 1997 New Tracks on Dust Tracks: Toward a Reassessment of the Life of Zora Neale Hurston. African American Review 31(1):5-21.
- Boyd, Valerie 2003 Zora Neale Hurston: The Howard University Years. The Journal of Blacks in Higher Education(39):104-108.
- Croft, Robert W. 2002 A Zora Neale Hurston Companion. First ed. Gainesville, Forida: University Press of Florida.
- Estate of Zora Neale Hurston 2007 The official Website of Zora Neale Hurston. Electronic document, www.zoranealehurston.com, accessed April, 2009.
- Hemingway, Robert E.1977 Zora Neale Hurston A Literary Biography. Illinois: University of Illinois Press.
- Holloway, Karla F. C.1987 The Character of the Word: The Texts of Zora Neale Hurston. First ed. Westport, Connecticut: Greenwood Press.
- Hurston, Zora Neale 1948 Seraph on the Suwanee. New York: Charles Scribner and Sons.
- Hurston, Zora Neale 1942 Dust Tracks on a Road. Second ed. Illinois: University of Illinois Press.
- Hurston, Zora Neale 1939 Moses Man of the Mountain. Illni Books Edition 1984 ed. Illionois: J.B. Lippincott.
- Hurston, Zora Neale 1937 Their Eyes were Watching God. Philadelphia: J.B. Lippincott.
- Hurston, Zora Neale 1934 Jonah's Gourd Vine. 1971 Edition ed. Philadelphia: J.B. Lippincott.
- Hurston, Zora 1931 Hoodoo in America. The Journal of American Folklore 44(174):317-417.
- Hurston, Zora 1930 Dance Songs and Tales from the Bahamas. The Journal of American Folklore 43(169):294-312.
- Hurston, Zora Neale 1991 Folklore and Music. Frontiers: A Journal of Women Studies 12(1):183-198.
- Kaplan, Carla 2002 Zora Neale Hurston A Life in Letters. 1st ed. New York: Doubleday.
- Lyons, Mary E.1990 Sorrow's Kitchen the Life and Folklore of Zora Neale Hurston. 1st ed. New York: Macmillian Publishing Company.
- Yates, Janelle 1991 Zora Neale Hurston A Story Teller's Life. Staton Island, NY: Ward Hill Press.


text: We Can't Wait to See You! October 18, 2019 The Windy City … Chi-town … The City of Broad Shoulders … The 312 ... no matter what you call it, Chicago is home to the 2019 NFDA International Convention & Expo (October 27-30). We can't wait to see you there. Here are our top ten tips to help you get your convention experience off on the right foot. 1) Download the NFDA Convention app and start planning your time now! In the app, you can customize your schedule with all of the workshops, general sessions and special events you want to attend. Also, be sure to bookmark your must-see booths in the Expo Hall. Learn more about the app here. 2) Check the shuttle schedule! When you arrive in Chicago, your first stop will likely be your hotel. Those of you who booked rooms through Experient, NFDA's official housing provider, have access to complimentary shuttle transportation to and from McCormick Place. Shuttle service starts on Saturday; look for signs in your hotel. There's also a shuttle schedule in the NFDA Convention app. 3) First stop: Registration! Your Badge is your most fashionable - and useful - accessory during the NFDA Convention. It's your ticket to workshops, the Expo Hall and more! Visit NFDA Registration as soon as possible to get your badge and event tickets. You can also get your NFDA Convention bag full of info about specials and other goodies. IMPORTANT: General session and workshop access is included with all Full Convention, Student and Exhibitor Badges. Simply show your badge to gain entry. Expo-only Badges are valid for the exhibit floor only; visit registration to purchase general session/workshop badges. You must bring both your badge and event ticket for entry into ticketed events. 4) Don't miss out on the special events! Did you forget to purchase tickets for the Under 40 Party at Acebounce Ping Pong or Wednesday's closing party, An Evening Under the Sea, at Shedd Aquarium? Ask about ticket availability at Registration! You won't want to miss these spectacular events with your friends. 5) Pack something pink! Participate in "Think Pink" day for breast cancer awareness! Get your pink badge ribbon and wear pink on Monday to show your support. If you forget to pack something pink, a variety of items that support breast cancer research will be available in NFDA Central. 6) Great Big Giveaway! As if you needed another reason to thank our fabulous convention sponsors – be sure to visit them in the Expo Hall on Wednesday, where they'll be handing out tickets for your chance to win one of 22 remarkable prizes, such as American Express gift cards, Amazon Echo Shows, Apple Watches and a trip to the 2020 NFDA International Convention & Expo in New Orleans! Winning ticket numbers will be announced during the General Session on Wednesday (12:45-2 p.m.) and you must be present to win. 7) Looking for handouts? If you still haven't downloaded the NFDA Convention App, here's a good reason: workshop handouts! Any handouts that have been provided to us by workshop presenters are available exclusively in the app. You can follow along during presentations, download them to your electronic device or even email them to yourself. 8) NFDA Central is the place to be during convention. Stop by and learn more about your NFDA member benefits, discover how NFDA can help you connect with your community, check out the new NFDA Live area and more. And, if that's not enough, we hear you can sample some Garrett's famous popcorn on Monday and Tuesday! 9) We've got two amazing opening and closing keynote speakers - Seth Godin on Monday and Ethan Morse on Wednesday - but don't miss our special general session events! On Monday, we'll recognize the best and brightest in the profession during the All-Star Recognition Ceremony. On Tuesday, during the Service of Remembrance, we will explore the moving customs associated with celebrating the lives of first-responders and honor the memory of funeral service family members who died this year. 10) Look for our smiling faces! If you need anything in Chicago, just look for our friendly NFDA staff. They'll be easy to spot in their blue (pink on Monday!) polo shirts and black cardigan sweaters. Complete details about the 2019 NFDA International Convention & Expo are available at www.nfda.org/chicago2019. We're looking forward to an amazing NFDA Convention. We wish you safe travels to Chicago.

subset: commoncrawl


text:
AGM 2019 Q&As
September 26th, 2019
Thank you to all who attended the
2019 Annual General Meeting (AGM)! We at
the Lymphedema Association of Ontario (LAO) are honoured to have had the
opportunity to share a very successful year.
In order to provide thorough and
informed responses we have compiled a set of answers to questions submitted to
the LAO through the ZOOM chat feature and through our email. We have removed any identification from questions
in order to preserve the anonymity of members and their personal information.
We love hearing from the community
and if you have any further comments, suggestion, or inquires please do not
hesitate to contact us at: email@example.com.
We look forward to working for you
and for the lymphedema community in the coming year!
LAO Directors
2019 AGM Q&As
A: We do not have a copy of the minutes you prepared and thus cannot respond to your query. However, the minutes presented at the 2019 AGM were compiled by a LAO Director and are representative of the 2018 AGM.
Q: Do we have enough members for quorum for tonight's meeting?
A: Yes.
Q: Is there anything being done to fill the additional 5 vacancies on the board from outside the GTA?
A: Yes! We are excited and actively taking steps to recruit individuals residing outside the GTA to fill vacancies. Please stay tuned to updates and postings on our social media and on our website at lymphontario.ca!
Q: How do non board members access the by-laws and monthly minutes?
A: Based on our established practice, such documents are only available to Board members.
Q: There was a one hour presentation to MPP's earlier this year. This should be shared with the membership as well as next steps.
A: Thank you for your input and recognition! The LAO is proud to host and partake in many events and initiative to raise awareness for this underrepresented condition. Reference is being made to this May 30th presentation in the upcoming Fall 2019 Pathways magazine newsletter-insert, "Lymphedema Matters". Some further steps are outlined therein and are currently being considered for action. Please also find more information about our past, current, and future initiatives on our Facebook page and at lymphontario.ca!
Q: Will answers to previously asked questions on this chat be shared with everyone?
A: Yes! As mentioned during the meeting, and to ensure we provide correct and thorough information, we have posted answers to all questions submitted via chat and e-mailed on our website - shared with everyone!
Q: I live 1hour+ north of London and over 2 hours to Mississauga etc. Is there any info booths ever at
events held in London? Stratford? Kitchener-Waterloo?
A: Unfortunately, we do not currently have events planned in the areas you have mentioned. However, the LAO is constantly expanding our awareness and advocacy platforms and events. Please stay tuned to our website (lymphontario.ca) and to our social media for information on upcoming events!
The following Q's were posed to and answered by our Keynote speaker Jean LaMantia
Q: How much would shipping be approximately?
A: The Canada post plug-in is part of the shopping cart on my website. It will calculate the shipping. So far shipping has been around $9 for southern/central Ontario and was as high as $17 for Thunder Bay. If you would like to calculate for yourself, the book and package weights 526 grams and measures 26x22x2 cm.
Q: How do you feel about rebounding?
A: I prefer you ask that question to your lymphedema therapist as that is outside of my scope of practice.
Q: Do you know of any research that is available on lymphedema and obesity that is not cancer related?
A: Yes, here are 3:
Q: Will Jean be selling her book at the National Conference?
A: Yes, Jean and Ann will have a table at the expo of the National Conference, Nov 1-2, in Toronto. You can register for the conference. Jean and her co-author Ann are both speakers at the conference.
Q: Do you expect the book to be in print at the conference?
A: Yes. Both Ann and I have copies of the book now and we will bring them to the conference.
Q: Jean - do you recommend limiting or omitting dairy?
A: No, I don't recommend that per se, but I do recommend an anti-inflammatory diet and diary products are inflammatory. I believe it's the overall balance of inflammatory and anti-inflammatory components that matter though. If you choose to keep milk in your diet, be sure to balance that by consuming a regular intake of fruits and vegetables, herbs and spices and omega-3 rich fish. I would recommend limit high fat dairy though, as that is quite inflammatory.
Q: Your view on gastric bypass to lose weight. How will it affect lymphedema?
A: I found this care report of a 46-year-old woman with a BMI of 80 (morbidly obese) who had a gastric sleeve procedure. Her weight loss was significant and her size reduced (click on the link to the study to see the before and after photos) but analysis afterwards showed she still had impaired lymphatic function.
Plast Reconstr Surg Glob Open. 2015 Jun; 3(6): e426.
Published online 2015 Jul 8.
Obesity-induced Lymphedema Nonreversible following Massive Weight Loss
Arin K. Greene, MD, MMSc,* Frederick D. Grant, MD,† and Reid A. Maclellan,
LAO members receive discounts to LAO events, plus receive a subscription to the quarterly lymphedema magazine, Pathways, which includes the LAO Lymphedema Matters newsletter insert. Individual membership cost is $28 and includes a vote at the AGM. Other memberships are available for professionals and corporations.


text:
The Honda HR-V has been facelifted for should be launched in South Africa shortly before the end of 2018. As one of the more spacious contenders in the highly competitive compact family car category, the Honda has broad appeal...
The facelifted Honda HR-V has already gone on sale in some countries, such as Thailand and Japan, and incorporates some small changes to the exterior design, additional specification and new safety technology, although the exact specification for our market has yet to be confirmed. When the HR-V was launched in South Africa back in 2015, it impressed us with its practical Magic Seat system, good looks and reasonable spec. It was priced competitively too and so well-received that it was named a semifinalist in the Compact Family Car category of the Cars.co.za Consumer Awards – powered by WesBank for both the 2016/17 and 2017/18 instalments of the awards programme.
For 2018, the Honda HR-V has gained a bolder, more contemporary front end, replete with a honeycomb mesh grille, new headlights (ostensibly full LED units), repositioned daytime running lights and a new colour called Passion Red Pearl, seen here. There are also new 17-inch dual-tone alloy wheels and optional panoramic sunroof.
The updated specification (in overseas markets) sees the addition of blind spot warning and autonomous emergency braking system. It appears that the infotainment system has also received a makeover – we'd be very surprised if it won't be Android Auto/Apple Carplay compatible.
There's no mention of whether the 1.5-litre engine is still available, but the 104 kW/172 Nm 1.8-litre naturally-aspirated four-cylinder petrol motor appears to have been carried over. Power goes to the front wheels via a continuously variable transmission (CVT).
Further reading:
Honda HR-V Video Review and Comparison
Honda CR-V (2017) Launch Review


text:
Executive Assistant
Posting Summary:
Provide highly skilled operational support for the Dean of the Rubenstein School of Environment and Natural Resources (RSENR). Serve on the Dean's Leadership Team and as the primary liaison with central UVM executive offices and other deans' offices across campus. Take primary lead in crafting external correspondence with constituents. Provide services to support the Dean as well prepared to represent the School both on- and off-campus, through meetings, presentations and appearances. Oversee efficient and smooth operations of the Dean's Suite, including budgetary tracking of dean's discretionary gift funds, stewardship of the suite and supervision of Dean's Office staff and student employees. Maintain the Dean's calendar, travel, campus and community presence with a focus on relationship building and outreach. Inform the Dean of relevant University news and events. Provide documentation of meeting outcomes and appropriate follow-up. Exercise independent judgment to solve problems, prioritizing work and balance workload. Anticipate timelines, deadlines, effort and documentation necessary to ensure completion of critical projects and meeting preparedness. Support the Rubenstein School's Board of Advisors and represent the Dean with Board interactions. Maintain confidentiality of the position and the Office of the Dean.
Minimum Qualifications:
Associate's degree with five years related administrative experience required. Effective written and verbal communication skills required. Effective organization skills with demonstrated ability to manage multiple, complex programs and projects required. Critical thinking and independent problem solving skills required. Demonstrated experience in prioritize competing responsibilities to meet deadlines required. Professional demeanor with capacity to work effectively in a fast-paced work environment required. Ability to maintain confidentiality required of the position. Demonstrated team leadership skills required. Proficiency with Microsoft products (Word, Outlook, Excel, PowerPoint), Adobe, and Skype required.


text:
Everybody needs an Aunt Jan. One who is the sweetest, kindest, most generous, loving, giving; the best at hiding the spoils of the retail therapy purchased for her nieces and nephews from her brothers and sisters. Janice MacDonald Paulsen passed away suddenly on March 2, 2019. She is the daughter of John and Jane MacDonald. Jan had a bubbly, kind, helpful and selfless personality. She worked happily on others' projects whether that included gardening, cleaning, sewing, transporting and caring for children or picking up after her little brother and sisters. Jan was born to be a caregiver.
Jan graduated from nursing school in Missoula in the 1970s. She started work at Deaconess Hospital in 1977 and worked there for 40 years! Jan dedicated herself to her work and excelled in each field in which she cared for patients. She studied to become a certified post anesthesia recovery nurse and held many other specialty nursing certifications. Jan showed her leadership and ability to articulate and bring groups together while she served as President of the Nurses Union at Deaconess Hospital.
In 1979, she married her sweetheart, James "Jim" Paulsen. She loved Jims' girls Tammy and Tracy. She enjoyed watching them grow and spending time with them. Jim passed away in 2018. Jan took meticulous care of Jim during his battle with dementia. Jim and Jan liked the outdoors. They were always on a camping, fishing, hiking, biking, running or walking adventure.
Jim and Jan had a great group of workout friends at the YMCA where they worked out frequently and for many years. They only stopped going when their joints would no longer permit working out so heavily.
The Chico Chicas are a group of girls that have been friends since high school. Jan loved these ladies and enjoyed going with them on their annual weekend retreat. She enjoyed their group texts and staying in touch.
Sewing was definitely her gift. She was a brilliant seamstress and enjoyed all the sewing projects she did for her nieces and nephews. She made dresses for the girls when they were little, she made Operating Room hats for neice Solveig, they were the envy of the OR at St. Vincent. She repaired pants, zippers and hemmed every item perfectly.
Jan enjoyed feeding the birds and squirrels and had beautiful gardens. The favorites from her garden were always her raspberries. They were big, juicy and sweet. It seemed Jan had the best raspberries on the planet. She grew the biggest most beautiful zinnias you've ever seen!
One of Jan's best traits was her ability to listen without judgment. She never complained. Even while undergoing chemotherapy for breast cancer. She worked during this time as well. She and her sister Joan called themselves "chemo sisters" and received their treatments at the same time. They fed off each other's strengths.
Volunteering at the Yellowstone Valley Animal Shelter was a passion for Jan. She enjoyed helping to care for the cats. She shared stories of sick cats receiving care and being saved by the talented staff. She enjoyed her fellowship with the people who work there.
Jan is preceded in death by her husband James "Jim" Paulsen, her parents John and Jane MacDonald, her brother James "Jim" MacDonald, sister Joan MacDonald Forseth and brother-in-law Dick Paulsen.
She is survived by her sister-in-law Linda MacDonald (Steve) Jackson and children Lisa (Bob) Gregg, Nicole (Nick) DeWaters; brother-in-law Eric Forseth and children Thormod (Trier) Forseth and Solveig (Heath) Heigis; brother John (Christie) MacDonald and children Jessyka and John Answer Me (this is not a typo) (Kim); sister Jodee (John) Etchart and children Joseph and Jacqueline; Jim Paulsen's daughters Tammy (Mark) Going and children Bella and Logan; Tracy (Derick) Callan and children Cooper and Walker; brother-in-law Don (Margie)Paulsen and son Steve; and sister-in-law Sandy Paulsen and sons Brad and Sean.
Memorial Services will be held at 11:00 AM Friday March 15, 2019 at Emmanuel Baptist Church.
In Lieu of gifts please make donations to Billings Christian School education foundation at BCSEF.org


text:
by David Mamet
A big-shouldered, big-trouble thriller set in mobbed-up 1920s Chicago - a city where some people knew too much, and where everyone should have known better - by the Oscar-nominated screenwriter of The Untouchables and Pulitzer Prizewinning playwright of Glengarry Glen Ross.
Mike Hodge - veteran of the Great War, big shot of the Chicago Tribune, medium fry - probably shouldn't have fallen in love with Annie Walsh. Then, again, maybe the man who killed Annie Walsh have known better than to trifle with Mike Hodge.
In Chicago, David Mamet has created a bracing, kaleidoscopic page-turner that roars through the Windy City's underground on its way to a thunderclap of a conclusion. Here is not only his first novel in more than two decades, but the book he has been building to for his whole career. Mixing some of his most brilliant fictional creations with actual figures of the era, suffused with trademark "Mamet Speak," richness of voice, pace, and brio, and exploring - as no other writer can - questions of honor, deceit, revenge, and devotion, Chicago is that rarest of literary creations: a book that combines spectacular elegance of craft with a kinetic wallop as fierce as the February wind gusting off Lake Michigan.
Click to the right or left of the sample to turn the page.
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"Starred Review. An evocative, impressive return that Mamet fans will welcome." - Kirkus
"Mamet offers a master class on dialogue For readers of Elmore Leonard and Dennis Lehane." - Booklist
"A hard-edged, though elusive return to form from the Pulitzer Prize winner." - Library Journal
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David Mamet, one of the most extraordinary writers in contemporary American literature, has written twenty-three plays, eight collections of essays, two novels, five children's books, two books of poetry, and eighteen films, including The Verdict and Wag the Dog, for which he received Academy Award nominations. State and Main is his seventh feature as a writer-director, after House of Games, Things Change, Homicide, Oleanna, The Spanish Prisoner, and The Winslow Boy. Mamet has received numerous awards, including the Pulitzer Prize in 1984 for Glengary Glen Ross.
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text:
By rights, mail intended for future residents of a certain luxury condominium under construction on the Upper East Side should read "45 East 60th Street." After all, the Grolier Club, which is right next door to the persistent din, is 47 East 60th Street.
Letter carriers, please take note. Thanks to the purchase of air rights from its neighbors, and an $11,000 processing fee, the 54-story limestone building will be known as 520 Park Avenue. Christ Church, which occupies the corner lot, until recently claimed that exact address.
Presumably, the house of worship had to junk a load of letterhead: Its new designation is 524 Park Avenue.
"Most of the great buildings on Park Avenue end in multiples of 10, like 480 Park Avenue, 510 Park and 740 Park Avenue, and the developers are following that tradition," said a spokesman for those developers, William and Arthur Zeckendorf.
In the high-flying and logic-defying world that is New York City real estate, nothing succeeds like address.
"All things being equal, an apartment on Park Avenue or Fifth Avenue can have a premium of 5 to 10 percent, compared to the immediately adjacent crosstown streets," said Jonathan J. Miller, the president of the appraisal firm Miller Samuel. Consequently, developers frequently appeal to the office of the Manhattan borough president for what is known in the trade as a vanity address.
As for buildings in less prestigious precincts, well, there are ways of burnishing their addresses, too.
Nearly two years ago, the Zeckendorfs laid out the case for a new address in a letter to Scott M. Stringer, who was then the Manhattan borough president.
"Because of its prominent massing, design and height, the building will be read as a visually distinctive addition to Park Avenue, rather than as a midblock building," wrote the Zeckendorfs, whose portfolio includes 15 Central Park West, and who, along with the administrator of Christ Church, declined to be interviewed for this article. "Assigning the street address to the building therefore would not create confusion as to the building's location given its prominent visibility on Park Avenue."
For those in need of additional guidance, there will also be "a robust cantilevered canopy that will act as a beacon off Park Avenue," the Zeckendorfs wrote, to say nothing of "an architecturally distinctive sidewalk incorporating a transition in color and texture from the existing concrete sidewalk along Park Avenue. This change in appearance will lead visitors to the new building from Park Avenue and provide yet another visual connection."
In other words, follow the yellow brick road — because there won't be an entrance to 520 Park Avenue on Park, since the building has no frontage on Park.
The Zeckendorfs wanted that 520 so badly that, in addition to the $30.383 million they paid for the air rights, they wrote Mr. Stringer that in return for "an irrevocable license to use its Park Avenue address," Zeckendorf Development would "ensure vital ongoing financial support for the church."
But 520 Park Avenue is not the only building to cause head-scratching and GPS-gazing. The principal entrance to the soon-to-be-completed high-rise 432 Park Avenue is on East 56th Street, although the site does have 75 feet of frontage on Park Avenue. "They wanted to create a private and dramatic porte-cochère for residents and their vehicles, which wasn't possible on Park Avenue from a design point of view," said Richard Wallgren, the director of sales for the building, developed by CIM Group and Macklowe Properties.
Meanwhile, 1049 Fifth Avenue, a prewar condominium, is halfway down East 86th Street with no frontage on Fifth Avenue at all. And many corner properties have their canopies on cross streets but hold tight to their Fifth or Park Avenue identities, among them 1140, 1148 and 1150 Fifth Avenue. A few buildings, sensing the confusion their address engenders, toss a lifeline: The side-street canopy for 1060 Fifth Avenue also reads 1 E. 87th St.
"Developers know that some addresses have greater prestige and value than others, and Park Avenue and Fifth Avenue matter; they really, really matter," said Leonard Steinberg, the president of the real estate firm Compass. "The world knows what Park Avenue means. Songs and books have been written about it. Park Avenue? What else do you need to say? It's brand association, which is a very cost-effective way of marketing a property."
More to the point, perhaps, it's a very cost-effective way of marketing a property to international buyers.
"The address is definitely important to them, and they're the ones who are buying in Midtown," said Andrew Gerringer, the managing director of Marketing Directors, a development, leasing and marketing company. "I don't think it would matter as much to a New Yorker."
Stuart Moss, an associate broker with Corcoran, said that when he handled the sale of Rush Limbaugh's penthouse apartment at 1049 Fifth Avenue in 2010, some potential buyers were put off by the pretend Fifth Avenue locale.
"I would always have to tell clients that the entrance was really on 86th Street," Mr. Moss recalled. "New Yorkers were bothered, but if they were from outside the city or outside the country, they found it more appealing, because they could tell their friends from home that they lived on Fifth Avenue, knowing that their friends wouldn't audit the claim. And it makes for great stationery."
It also can make for headaches, according to Gale A. Brewer, a former member of the New York City Council and Mr. Stringer's successor as Manhattan borough president. "I don't think there were any hard and fast rules in the past," Ms. Brewer said. "The general concept was that developers would ask for addresses that were different from the obvious address, and my predecessors seemed to grant them." Her office fielded 10 such requests last year.
During her time on the City Council, Ms. Brewer said, she received complaints from people whose mail had gone awry as well as from baffled ambulance drivers.
"Vanity addresses will no longer be granted on an arbitrary basis. I wouldn't have granted one for 520 Park Avenue," Ms. Brewer said. Her office has proposed a set of criteria that includes the following stipulation: A property seeking a vanity address "must have frontage on an avenue, and a minimum frontage of 50 feet."
Air rights, like those the Zeckendorfs acquired for their project, won't count under the rules Ms. Brewer is proposing, which will be subject to a public hearing (yet to be scheduled) and a vote by the Manhattan Borough Board. "We don't want confusion to exist," she said. "You can't willy-nilly assign an address to a building. We're trying to have rules that will allow the public and mailmen and ambulances and messengers to find these places."
According to Elisheva Zakheim, a spokeswoman for the New York City Fire Department, when the fire department performs building inspections, "if they notice an entrance that seems strangely located, they'll take note of it." Similarly, emergency medical workers can file a "field feedback form." Building residents, meanwhile, can be proactive and go to the nearest firehouse, "which will then log the information about their address into the system," Ms. Zakheim said.
Of course, in terms of prestige, not all avenues are created equal. Residential buildings that have an option often choose a side-street address rather than an address on, say, Lexington, Third, Second or First Avenue.
A case in point is the Georgica, a condominium at Second Avenue and 85th Street that uses 305 East 85th Street as its address "because we thought it sounded better than a Second Avenue address," said Mr. Gerringer, the marketing executive. The Lucida, a condo at Lexington and 85th Street, went with 151 East 85th Street for much the same reason, according to Barbara Fox, the president of Fox Residential Group. "It just sounded like a more chic address," she said.
For some, even Madison doesn't have quite the right ring. Ask the people at Douglas Elliman, who are marketing a low-rise condominium project at Madison Avenue and East 74th Street. Its address will be 33 East 74th.
"Madison Avenue is very celebrated and we could have been 933 Madison," said Susan M. de França, the president of Douglas Elliman Development Marketing. "But with a Madison Avenue address, people would think it was a larger building. And given the fact that it is a boutique-type property, we felt the East 74th Street address presents it in a more residential context."
The Related Companies went a step further with a downtown rental property on Fourth Avenue and 14th Street. A Fourth Avenue address was a bit puzzling, said Greg Gushee, an executive vice president at Related, because "some people don't know where Fourth Avenue is." And, since a 14th Street address was a bit lacking in luster, the development was given the mythical address One Union Square South. "It both defines the location and connotes that it's the premier building in the neighborhood," Mr. Gushee said.
P.S. The building's lobby is on Fourth Avenue.
Sometimes, the issue is more one of address repositioning. When the Cheshire Group, a real estate development firm, bought 141 East 88th Street, a large prewar building, the principal entrance was on Lexington Avenue. "The doorman was on Lexington and he stood under a canopy that said 141 East 88th Street," said Susan Hewitt, Cheshire's president. "We made a decision to change the entrance to East 88th, because that was, in fact, the address."
Accordingly, the Lexington entrance was shuttered and the canopy moved around the corner.
"We wanted to create a sense that the building was your refuge from the city," Ms. Hewitt continued. "Entering from 88th Street was more consistent with that message than entering from Lexington. It was nicer and quieter."
And it undoubtedly cut down on explanations and directional guidance to friends who were visiting for the first time.
Such is the lot of those whose address and street location don't match. "I always have to say, 'It's the corner of 96th and Fifth. It's the corner of 96th and Fifth,' " said Leeta Taylor, a writer who lives at 1150 Fifth, which has its entrance on 96th Street. "I tend to downplay the Fifth Avenue part. You really just need to know the cross street." The canopy plays down the Fifth Avenue part, too; it says simply "1150."
Across the street from Ms. Taylor's building, Ashley Wareham, a teacher whose family has lived at 1148 Fifth Avenue since 1987, also likes her building's East 96th entrance "because it's easier to unpack and pack the car." It also gives her license to buck the trend and de-emphasize the Fifth Avenue part of her address. "My friends are often coming west from the subway, so I say, 'Oh, you'll see it. It's right on 96th Street.' To say Fifth Avenue just sounds too ritzy."
Ritzy or not, part of 1148 Fifth does indeed sit on the avenue, so it has a lot of brick backing up the address. But clearly that's not always the case.
"The question is 'how legitimate is the claim?' when there's no entrance and absolutely no frontage on the avenue or street you're claiming as your address," said Mr. Steinberg of Compass. "In certain cases I think developers are really pushing it, and for some buyers it's unacceptable.
"But for the majority of buyers," he added, "It's very acceptable."


text:
© Aneta Grzeszykowska, Untitled #21, from the series Untitled Film Stills, 2006
© Aneta Grzeszykowska, Untitled #30, from the series Untitled Film Stills, 2006
"A precise, and truly Warsaw, remake of Cindy Sherman's seventies classic "Untitled Film Stills" starring Aneta Grzeszykowska. In contrast to the original, Grzeszykowska's photographs are in color. The initial composition and makeup has been strictly observed, while the props, clothes and setting has been chosen by the artist according to the modern standards and local possibilities. The restaging of all 70 photographs took one year. The role-play has reached its peak – effacing her own personality yet another time, Grzeszykowska returns it to Cindy Sherman, and at the same time imitates the both American artist and her fictitious film personifications."
Source: Raster Gallery
To see more of Aneta's work click here


text:
"I saw in the visions of my head upon my bed," writes Daniel, "and, behold, a watcher and an holy one came down from heaven… This matter is by the decree of the watchers, and the demand by the word of the holy ones: to the intent that the living may know that the Most High ruleth in the kingdom of men, and giveth it to whomsoever he will…The same Watcher who came to Daniel was an uninvited guest at Belshazzar's sacrilegious feast.. not hide the intensity of their terror. Alarm seized the great men of the kingdom. Their blasphemous disrespect of sacred things was changed in a moment. A frantic terror overcame all self-control. Belshazzar had been given many opportunities for knowing and doing the will of God. He had seen his grandfather Nebuchadnezzar banished from the society of men. He had seen the intellect in which the proud monarch gloried taken away by the One who gave it." The Youth's Instructor, May 19, 1898
Again in the story of Belshazzar we see that God is in control of human affairs here on earth. No matter what part we play, it is God who sets up kings, and takes them down. It is God that directs the flow and events of life.
This chart shows the historical lines of the three great Babylonian kings of Bible history, Nimrod, Nebuchadnezzar and Belshazzar, and parallels them with the Millerite time, the time of the 144,000 (Modern Adventism) and the little time of trouble just before the end of the world. This is another example of the accuracy of Miller's rules for Bible study and proof-texting. By comparing line upon line, we can see how perfectly different histories line up, showing us not only what has happened in the past, but giving us strong clues as to what is to come in the future.


text: After submission of your application, you may expect a call from us, which would be tailored to detail you on the division of work you have shown interest in. This part-time internship could be undertaken for a period between 1 – 3 months. You can also find information regarding internships on our website.


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Here's a thing: I've listened to a number of wonderful podcasts for the bill of rights, and then listened to one podcast against them and was utterly surprised to find myself against such a bill! I'm quite alarmed at what such a bill could do to this country!
Let me illustrate. Some time ago I mentioned random breath testing to an American friend, and he was horrified! "What about your bill of rights, your right to privacy?" he demanded?
I was caught off guard, and did not think to answer: "But what about my right to life, to not being killed out by a drunk driver, to living in a society that generally speaking has less drunks because people know they can be pulled over and breath tested at any time?"
Before Australia leaps into this direction I'd love you all to listen to the following podcast, twice. There are some very interesting and unexpected opponents.
EG: I would have sworn the Australian Christian Lobby would have been for human rights, which of course they are, but they are against a bill of rights as the means by which to best guarantee them in Australia.
Instead, Brigadier Jim Wallace, AM, (Ret'd) Managing Director of the Australian Christian Lobby said something to the effect that "Bills of rights enshrine selfishness over the rights of the community", which helped me remember my conversation with my American friend about breath testing.
Not only that, but a bill of rights can:-
* politicise the judiciary which are meant to be about interpreting law, not social policy
* promote an *absolute* formula of 'rights' as interpreted by our generation, and make them absolute for all time when 'rights' are often about social policies more appropriately held to account by the political process and democratic discussion of the day
* reflect the silly prejudices and blind spots of our day
* condense into silly summary issues that are far more complex and require weighty volumes of legal document to truly unravel
* promote selfish policy at the expense of the public good
Please, "Don't leave us with the bill!" Download the podcast here.


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GK You Must Know, based on the New Education policy, is a well graded series of eight books for classes 1 to 8. As a subject, General Knowledge can be immensely vast, unmanageable and burdensome. The author has fully exploited his expertise and experience to select the essential aspects of the subject that an average child at a particular age is expected to know. The contents include a systematic, purposeful and objective study of a wide range of disciplines and environment around us. This satisfies the inquisitiveness of the learners' questioning of how, what, where, who and why, in a systematic manner.
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text: REPUBLIBOT THURSDAY WEEKEND MOVIE PREVIEW: Movies Opening 10-23-09 So, there we were, sitting at the red light, waiting for the green to come, revving our engines when Bob Falfa turned to me from his car and smiled. I tried to smile back, but my compulsive swallowing from barely supressed anxiety made it difficult to pull off with any sense of confidence. I nodded my head at him with what I hoped was nonchalance and said, " I am not actually reviewing anything here, so unless stated otherwise I have not seen any of the movies in this 'Preview'. All I am doing here is quite thoughtlessly passing judgment on films that are scheduled to open this week and that I have not researched at all (honestly, not at all). All of the film information, including the plot summary, has been pulled from the Opening This Week page of IMDb (http://www.imdb.com/nowplaying/). In this week's installment of the Thursday Weekend Movie Preview we are taking a look at: Saw IV, The Vampire's Assistant, and Amelia – among others." He grinned back at me, winked and then the light turned green… Tags: moviespreviewssaw ivastro boyameliaCirque du Freakmotherhoodcritique Read more about REPUBLIBOT THURSDAY WEEKEND MOVIE PREVIEW: Movies Opening 10-23-09Republibot 1.0's blogLog in or register to post comments


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Rangeland Wildlife and Ecosystems Program UF - IFAS - Range Cattle Research and Education Center
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When I first saw the SS Great Britain in 2015, I wasn't too keen to visit tourist attractions, preferring to simply revel in exploring a whole new country after having left the US. With free activities like Clifton Bridge, St. Nicholas Market and the cathedral in Bristol, I didn't see any reason to pay for a ship in the harbor, …Read More »
Tag Archives: Bristol
The Bristol – The Perfect Place to Stay in Bristol, England
There are surprisingly few places to stay in Bristol, even less than neighboring Bath, and some places are certainly better than others. I had a chance to spend a night at The Bristol with my dad. While I can't compare it to every other hotel in Bristol, I can say it was surprisingly good. There was absolutely nothing in my …Read More »
Exploring the Roman Baths in…Bath, England
The next stop on my journey after Brighton was Bath. As I was unable to find a host in Bath itself, I spent four nights with two different hosts in Bristol, 12 miles away from Bath, and was able to spend a full day in Bath itself. I'm glad I stayed in Bristol, as that is a great city to …Read More »


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I was riding high on Roland Emmerich's latest action-fest, White House Down, immediately after leaving the theater. Now, twelve hours later, my enthusiasm has waned considerably. I suppose I knew going in that that would be my experience, because I went into it expecting a movie that was potentially bad, but with enough explosions and Channing Tatum jumping through windows to make up for it. Indeed, I was not disappointed by the Tatum-window-jump count in this movie. I've seen it compared favorably to '90s action flicks–specifically Die Hard–and that comparison seems right on the nose. White House Down feels like it would be a great addition to the Die Hard franchise, if that series had not fallen to pieces as Bruce Willis aged. And yet… there's a certain sense of formula at work: no matter how cool the firefights are, we kind of already know this story backwards and forwards (and not just because Olympus Has Fallen, the Dante's Peak to White House Down's Volcano, was released a few months ago).
Here is the skeleton of the premise: John Cale (Tatum), a former bad boy turned good cop, has interviewed for a position on the President's secret service team, but is unlikely to get the job because he is considered unable to finish things he starts. This is evidenced by his potential higher-up reading comments about his work that lay it all out bluntly, saying things like, "John Cale does not finish things he starts." He is on the outs with his daughter at the moment for missing her middle school talent show, so there's that, too. On top of all this, a group of right-wing terrorists have just detonated explosives in the capitol building and taken the White House by storm. It's up to the apparently super-human Cale to single-handedly take down the entire team of terrorists, save his daughter and President Sawyer (Jamie Foxx, clearly playing a fictionalized Barack Obama), and do it all before the U.S. military drops a bomb on the building. No big deal. Nothing Cale can't handle by somersaulting over furniture, sliding around corners, or employing a little jujitsu… all while firing handguns at the baddies and avoiding capture. Piece of cake.
And this is enjoyable, even if the movie's attitude toward murder is a little disconcerting. There's got to be at least a hundred deaths here, and that's before the Secretary of Defense is shot in the face at point-blank range. This is shrugged off: "I guess he wasn't very good at his job." Maybe it's Jim Carrey's recent criticism of his own film, Kick-Ass 2–which in turn was inspired by the slaughter of schoolchildren in December 2012–but it's difficult not to be conscious of the body count here. There's no blood, but there is an eleven-year old girl who witnesses many of the deaths from nearby. Yet when the day is inevitably saved, she's all smiles and thumbs-up and cracking jokes instead of huddled in fear and shock. I guess she's her father's daughter in that way: John Cale doesn't huddle in fear and shock, he lunges at people carrying rocket launchers and crashes through skylights during the tussle. A live grenade is kicked toward him and he easily dives out of the way of the explosion. In fact, if there is anything to take away from White House Down, it's that grenades are good for destroying everything but your enemies.
But then again, BLAM! BLAM! BLAM! BOOM! One of the things I saw in the trailer that made me excited for this movie was a scene where Cale and President Sawyer are in an SUV, doing donuts on the White House lawn and firing guns out the window. That actually happens in the movie! And it's as glorious as I had hoped. You wouldn't expect that a movie that takes place inside the confines of the White House would make room for a car-chase-gun-battle, but there it is. In the meantime, the Speaker of the House (Richard Jenkins) and General Caulfield (Lance Reddick, "The Wire") and Secret Service agent Finnerty (Maggie Gyllenhaal) watch the scene unfold from a secure location, uncertain of how to proceed and watching things spiral further and further out of control. It's tense in there, and the protracted silence when the Speaker is looked to for advice and doesn't know exactly how to react are wonderful. Eventually, he asserts, "We're not down yet."
Luckily, these more traditionally dramatic aspects of the film don't bog it down too much; we're back to the action before things grow too heavy. Oh wow, the bad guys are firing surface-to-air missiles at helicopters sent in by the Vice President to control the situation – look at the helicopters explode into a ball of fire, spinning out of control and crashing into a fountain. Is that cool, or what? And through it all, Cale is just trying to get to his daughter (held hostage by the bad guys) and the President is there by his side, willing to pick up a gun and shoot a few dudes in the chest if it comes down to it. Yet the President retains his leadership and resolve, refusing to compromise his values in the face of adversity… as when he opts to let a child be killed instead of giving up the nuclear codes that would allow the head terrorist to wipe the Middle East off the face of the Earth.
I know I'm being kind of glib about the movie now, treating it like a mindless action flick. I mean… that is what it is, but it's still a bit of an unfair assessment. Emmerich's last outing of this magnitude was 2012, which was just awful. In comparison, a similarly destruction-heavy catastrophe fantasy like White House Down which is actually entertaining rather than aggravating is a major accomplishment. It's certainly nothing original, and it's unlikely to stick in the viewer's mind for long after seeing it, but I'd say that White House Down does well for what it's trying to be. It's a light summer popcorn flick, but it's not stupid. Yes, it sets its sights low, but it aims to please. I'd say that, for the most part, it hits the target.


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|Adam Drury
|Conor Carey
|Adam Maiale
The trio of seniors Adam Drury (Chatham, N.J./Chatham), Conor Carey (Long Beach, N.Y./Chaminade) and Adam Maiale (Blue Bell, Pa./La Salle College H.S.) of The University of Scranton men's lacrosse team has earned All-South Region honors from the Intercollegiate Men's Lacrosse Coaches Association.
Drury earned second-team honors as a faceoff specialist, Carey was an honorable mention choice at midfield and Maiale earned honorable mention honors as a long-stick midfielder. For Drury, it was the second all-region honor of his career after earning honorable mention last season. Carey and Maiale were named all-region for the first time in their careers.
Drury was the top faceoff man in the Landmark Conference, earning first-team all-conference honors. He posted a conference-best faceoff percentage of .678 (137-for-202) despite missing four games with an injury. He won at least 10 faceoffs in eight of the 13 games he played in, and he had a season-best 18-for-20 performance in a 13-7 win over DeSales on Feb. 21.
In his four-year career, Drury established himself as the best faceoff man in Scranton history, finishing his career with a .688 faceoff percentage (530-for-770), the best in program history. He also ranks seventh in Royals history with 171 career ground balls.
Carey, a first-team all-conference choice, had a tremendous season in the midfield, setting career highs in goals (18), assists (19) and points (37) while starting all 17 games. He led the Royals in assists and ground balls (68) and also had 15 caused turnovers. In the conference, he finished tied for third in assists, sixth in ground balls and tied for 10th in points.
Carey made an impact right from the start this past season, posting career highs with four goals and seven points in a 16-5 win over Marywood on Feb. 17. He had three goals on two other occasions and scored at least one goal in eight games and had at least one point in 12 different contests.
Maiale was a defensive force for the Royals, also earning first-team All-Landmark Conference honors. He led the Landmark Conference in caused turnovers with 42 and finished second on the team and sixth in the conference with 62 ground balls. He also had three goals and an assist for four points, and his defensive work helped Scranton hold opponents to eight or fewer goals on nine occasions.
In one of the best defensive performances in Scranton men's lacrosse history, Maiale had nine caused turnovers and seven ground balls in a 14-7 victory at King's on March 6. It was one of 11 games in which he caused at least two turnovers and one of nine games in which he had at least four ground balls.
The Royals finished the 2018 season with a 10-7 overall record and qualified for the Landmark Conference playoffs for the eighth straight season.


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The Douglas County Art Encounters program is now accepting applications for the 2020-2021 program year. Entries must have sculptures available from mid-May 2020 to mid-May 2021. The deadline for submission is Friday, March 6, 2020. Visit the Official Program Rules and Requirements for details. Apply online at ArtCall.org.
Douglas County Art Encounters 2020-2021
- Art Encounters is open to artists and/or artist teams over 18 years of age.
- All work must be the result of an independent and/or team effort that is original in concept and not the product of instructional guidance.
- Any sculpture that is a replica must include the edition and/or conventional description, as well as the serial number for that entry.
- Any sculpture submitted that is a replica or duplicate must include the other locations where this piece is available. Duplicate sculptures within a 60-mile radius of Douglas County will not be accepted.
- Art that is accepted into the Art Encounters program that has a duplicate, may not be submitted to another program within a 60-mile radius of Douglas County within the same program year.
- Any variety of materials may be incorporated, but the project in its entirety must require minimal to no maintenance.
- Sculptures must be able to withstand the intense sun, snow, wind and temperature extremes and weather fluctuations common in Colorado.
- Sculptures must be safe for public interaction of all ages as this is an outdoor public art program.
- By submitting artwork, the artist agrees that their work may end up in any of the participating locations – Castle Rock, Highlands Ranch, Lone Tree (Library), Parker and Roxborough.
- Artists may submit up to three existing, completed sculptures.
- Artists must submit one to three images from different perspectives per sculpture. That means up to nine images total if submitting three sculptures. Image size must meet requirements identified on ArtCall.org. The base should be visible in the images.
- All entries must be accompanied by a description of the installation process, specific to each sculpture submitted. If an artist does not specify equipment needed for installation in their application and that equipment is needed, it will be at the expense of the artist to make any necessary arrangements for the equipment to ensure proper installation. Pedestals, ground mounts, and ready-mix will be supplied for each selected entry based on the requirements submitted in their entry.
- The Public Art Advisory Committee reserves the right to reject any applications that do not meet eligibility requirements and/or are incomplete.
- Once an application is submitted it is the artist's responsibility to contact Kim Smith immediately at 303-660-7347 or at email@example.com if their work is no longer available.
- If selected, the artwork that is submitted on the application must be the same as the artwork that is delivered for installation in size, color, edition, etc. The jurisdiction retains the right to reject works differing materially from the work depicted in the digital image submitted.
- The artist is responsible for delivering their work for installation, including coordinating with the jurisdiction and for all costs incurred. All selected works must be delivered to the site designated by the jurisdiction on the date and time selected that the artist and jurisdiction agreed to. The artist and jurisdiction will also select an agreed upon pickup time and date for the piece at the end of the program year.
- If an artist's work is selected for the Art Encounters program and it is no longer available, the jurisdiction that selected the piece may, in its sole discretion, choose to negotiate with the artist to have another one of their pieces on display. The jurisdiction may also choose, in its sole discretion, to select another applicant's work.
- Artists must inform jurisdictions on how to maintain the piece, including cleaning products and methods. Each jurisdiction is responsible for maintaining the piece throughout the exhibition and performs regular evaluations and maintenance of the installed piece.
- All work must be for sale and remain the same price throughout the show as submitted on the entry form. All work must remain on display throughout the indicated time frame of the show.
- All artists whose sculptures are selected will receive a stipend of $800, payable after completion of the installation process.
- At the end of the program year, each jurisdiction has the first right to purchase a sculpture for a permanent display, if they so choose. It is up to the individual jurisdiction and artist to determine payment.
- Artist information will be provided so works have the chance to be purchased by an individual or business, subject to the jurisdiction's right of first refusal, but the work must remain on display throughout the program year.
- The artist of each installed sculpture has the opportunity to win two awards:
- People's Choice Award – The public votes on a piece through the Art Encounters website for a specified duration. The artist with the most votes at the end wins $1,000.
- Judge's Choice Award – A judge, who is well-known in the public art arena, is selected to review each sculpture and select a winner. The judge provides a brief narrative regarding why they selected the piece as the winner and the artist wins $1,000.
- This program is promoted throughout Douglas County and surrounding areas.
- The jurisdiction reserves the right to reproduce and distribute artwork images through print and electronic media for promotion of the exhibit. This includes images submitted through the application process, as well as photos taken of the piece throughout the exhibition program year.
- A plaque is installed along with each sculpture that includes the title of the piece, the artist's name, and the sale price. This information is also included in an Art Encounters brochure, which is distributed throughout the county, and on websites.
- The copyright for the work is retained by the artist.
- Sculptures are covered by insurance, paid for by the jurisdiction, based on the amount specified in your contract.
- The artist is responsible for getting the artwork to the jurisdiction location and providing written installation instructions.
- The jurisdiction is responsible for the installation costs at the location site.
- Artists must work closely with the jurisdiction until installation is complete and provide cleaning maintenance instructions. The artist may sign off on installation once complete.
Artists will work directly with the jurisdiction that selected the sculpture regarding the contract and installation. The information below is the basic information included in the contract. Additional information specific to the jurisdiction may also be included. Contracts must be signed prior to installation, which takes place in mid- to late-May for the upcoming program year.
The Artist hereby warrants that the Artist created and possesses unencumbered title to the works of art listed and described on the attached Schedule of Artworks ("the Schedule") and has the right to loan these works for purposes of exhibition.
The Artist hereby agrees to loan to the Jurisdiction the works listed on the Schedule for the time period commencing on or about May ___, 2020, and concluding on or about May ___, 2021. The Jurisdiction agrees to exhibit these works for no less than 300 days during this time period as part of the exhibition titled: Art Encounters. These works will be exhibited with the works of other artists. Upon installation of the work, the Jurisdiction signing of this Agreement, the Jurisdiction shall pay the Artist a stipend of $800 for the right to exhibit the work. The Jurisdiction shall receive a 15 percent commission if the sculpture is sold while on display.
The Artist shall be responsible for arranging to have the works listed on the Schedule (must be the same sculpture, size, medium, color, dimensions, etc., as submitted on their application) shipped from the Artist's studio to the Jurisdiction by the following method of transport: _______. Artists must provide the Jurisdiction with information regarding requirements, equipment and tools necessary for installation. All equipment and tools include: _________.
Artist shall deliver piece to the specific site location on a date agreed upon by both parties. All costs of delivery (including transportation and insurance) shall be paid by the Artist.
The Jurisdiction agrees to transmit a written report to the Artist within five working days of the delivery of the work, specifying their condition and whether they appear in any way in need of repair. Further, the Jurisdiction agrees to use the same standard of care for the work as it uses for comparable works in its own collection. The Jurisdiction agrees to return the works in the same condition as received, subject to the provisions of Paragraph 4. The Jurisdiction shall return the work by the date specified in Paragraph 2 for the conclusion of the loan and the Artist shall make arrangements to get the work back to their studio. The Artist shall pay for the costs of delivery (including transportation and insurance) of the work.
The Jurisdiction shall be responsible for loss of or damage to the works from the time that the artist has signed off on the installed artwork through the time that the work is removed from the installation site (therefore, the Jurisdiction is not responsible for any damages incurred to the artwork on the way back to the artist's home, studio, or other destination). The Jurisdiction shall insure each work for the benefit of the Artist for the full value listed on the Schedule. This insurance shall be pursuant to a policy providing wall-to-wall all-risks coverage maintained in force by the Jurisdiction. The Jurisdiction shall provide a Certificate of Insurance for the work if the Artist so requests.
The Jurisdiction hereby agrees that the loan of the works under this Agreement is solely for purposes of exhibition, and promotion of the exhibition, and that no other uses shall be made of the work, such other uses including but not being limited to commercial exploitation, broadcasts, or other reproduction.
The Artist agrees to work in cooperation with the Jurisdiction for proper installation. The Jurisdiction agrees not to remove any work from its frame or other mounting or in any way alter the framing or mounting after the Artist signs off on the installation. In the event framing, mounting, or special installation is required for the display of any work, it shall be described on the Schedule of Artworks and paid for by the Jurisdiction. The Jurisdiction is responsible for maintaining the artwork during the program year.
The Artist reserves all reproduction rights, including the right to claim statutory copyright, on all works listed on the Schedule. The Jurisdiction may use the works for promotional materials of the exhibition, such as photos for brochures, website use, etc. The Artist must submit two high resolution (300 dpi or higher) photographs of the artwork from different angles for this use. All materials that include the artwork will also list the copyright notice: © (Artist's Name and Year).
When displayed, each work shall be accompanied by a label or plaque identifying the work as part of the Art Encounters Program including the Title of the artwork, the Artist's Name and the year the work was created.
The right to exhibit pursuant to this Agreement shall terminate as of the date specified in Paragraph 2. In the event of the failure of the Jurisdiction to exhibit the works or in the event of an exhibition or other act in violation of the terms of this Agreement (with a one-week grace period from the date specified in Paragraph 2), the Artist shall have the right to terminate the right to exhibit under this Agreement by written notice to the Jurisdiction. In the event of termination of the right to exhibit pursuant to this Paragraph 9, the works shall be returned forthwith to the Artist pursuant to the provisions of Paragraph 4.
Neither party hereto shall have the right to assign this Agreement without the prior written consent of the other party. The Artist shall, however, retain the right to assign monies due to him or her under the terms of this Agreement.
This Agreement shall be binding upon the parties hereto, their heirs, successors, assigns, and personal representatives and references to the Artist and the Jurisdiction shall include their heirs, successors, assigns, and personal representatives.
This Agreement constitutes the entire understanding between the parties. Its terms can be modified only by an instrument in writing signed by both parties.
A waiver of any breach of the provisions of this Agreement shall not be construed as a continuing waiver of other breaches of the same or other provisions hereof.
This Agreement shall be governed by the laws of the State of Colorado.


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Do you feel sluggish and exhausted during the day, constantly reaching for quick fixes like energy drinks or processed snacks?
You may want to fuel up with something different.
Ideally, we should get our energy from nutritious sources. But with Americans sleep deprived and burning the candle at both ends, too many people are going another route. Energy drink sales have increased year after year. And those drinks are not necessarily the best option, health-wise.
It's better to rely on healthy, unprocessed ingredients to keep us moving. When we structure our diet around these energy-rich foods, fatigue fades.
Snack time? Go for mixed nuts, crudités, or cubed cheese instead of sugary treats
Balance Makes the Difference
The key to sustaining your energy level throughout the day is eating a balanced diet built around complex carbohydrates, healthy fats, and protein. Since these foods are rich in nutrients, vitamins, minerals, and fiber, they take longer for our body to break down. That helps to maintain consistent energy.
Choose Whole Foods
Thereare three pillars of a healthy, balanced diet — complex carbohydrates, healthy fats, and protein. energy, and can be found in foods like avocado, nuts, and olive oil. Complex carbs (such as brown rice, rolled oats, and quinoa) are digested and slowly turned into simple sugars, which convert into energy. Healthy fats also provide energy and can be found in foods like avocado, nuts, and olive oil. Protein serves many valuable purposes, like providing cells with nutrients and building the bodily structures we need to function. Whatever protein our body doesn't use for these processes is turned into energy. For a list of great energizing options, see EHE's recommendations.
Whole truth: Eat whole foods like complex carbs (carrots), healthy fats (cheese), and protein (fish)
Timing is Everything
In addition to making sure your diet is balanced, it's also beneficial to eat regularly throughout the day, rather than filling up with infrequent but larger meals. Eating three small- to medium-sized meals plus snacks helps to stabilize your blood sugar and provides your body with constant energy.
Quick Swaps and Easy Habits
If you're looking for a few quick ways to boost your energy level, these small actions can make a huge difference.


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I am new to United States, came very recently on H1 Visa to work here.
i want to bring my wife from india over here and she is pregnant now..
somebody said, i need to have insurance for at least 6 months before her devilery.. is that correct?
Now I want to apply for Life Insuranace Policy, for me and for my wife.
What is best insurance company here (not costly) ?
What is the best policy i should choose?
What will be the policy coverage (i.e like pregnancy,delivery etc)?
What will be the monthly payment for that?
suggest me the best one.


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Making its triumphant return to Broadway for a limited engagement, Miss Saigon lands on the Great White Way following its smash hit London Run. Cameron Mackintosh's spectacular new production of Boublil and Schonberg's classic musical stars Eva Noblezada and Jon Jon Briones, as Kim and The Engineer, respectively. Follow the epic love story of an American GI named Chris and a young Vietnamese woman, Kim, who is orphaned by war and has to work as a bargirl in a sleazy Saigon nightclub owned by The Engineer. John, who is also an American GI, buys Chris the services of Kim for the night -- and it's a night that will change the course of their lives forever. Get whisked away in this harrowing tale of romance and heartbreak when Miss Saigon graces the Broadway stage once again with tickets at great prices from ShowTickets.com.
Best Known For:
Young lovers brought together and pulled apart by war
"The Heat is On" when Miss Saigon returns to Broadway this spring for a limited engagement you don't want to miss. ShowTickets.com makes sure you experience the revival of a legendary musical with great seats at incredible prices. From the moving soundtrack and dazzling new performances to the raw talent of cast and creative, the story of Miss Saigon is set to pull on your heartstrings like never before.
2 Hours and 40 Minutes
Children under the age of 4 are not permitted in the theatre.