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Albany Town Hall, 217 York Street, corner Grey Street West,
Albany Town Hall is a superb example of Victorian Free Classical architecture, designed by Adelaide firm Henderson, Marriot and Co. On December 9, 1886, Albany Mayoress Mrs W G Knight laid the building's foundation stone on a block of State Government land on the corners of York and Grey Street West. Approximately 18 months later on June 1, 1888, the building was officially opened by her husband, Mayor William Grills Knight, having been constructed by contractors Harrison and Hamilton.
Externally, Albany Town Hall is built from granite masonry with stucco decoration and internally from plastered brickwork. It is a two-storey building with a gallery and additional levels in the central clock tower. Its Free Classical elements include corner pilasters and quoins, round and elliptical details to window openings, pediments and decorative urns at the ends of the truncated pediment. This sits behind a clock tower which continues the architectural detail and is capped by a domed roof and flagpole.
The rear elevation of the building has been obscured by a 1980s concrete block extension. The building originally featured a central entrance foyer, flanked by two offices. Access to the upper floor was by one of two symmetrical jarrah and wrought iron staircases which lead to the first floor foyer. This foyer entered the main hall, which was lit by large north and south facing windows. Internally the building has been subject to radical change including the reduction in size of some rooms and the addition of permanent tired seating extending to the level of the 1913 gallery, which has caused the original windows to be blocked off.
Since its construction the town hall has been used for entertainment, public meetings and indoor sporting activities. In the period 1981-1986 the building was converted into a theatre reflecting the earlier use in 1911 of the building as a picture theatre.
Some of the most important events in the building's history were a series of public meetings held at the end of 1899 and the beginning of the 20th Century. On December 15, 1899, a meeting was held to discuss the question of separating Albany from the colony of Western Australia and joining in a federation with the other Australian colonies.
This came about because Albany residents had long nursed grievances against Sir John Forrest's State Government, primarily because it pursued the development of Fremantle as opposed to Albany as the colony's main port.
This came about because Albany residents had long nursed grievances against Sir John Forrest's State Government, primarily because it pursued the development of Fremantle as opposed to Albany as the colony's main port.
Seeing no possibility of reversing this policy, the people of Albany formed a local Federal League in June 1899 in the hope the Australian Government would support their view that the town should be reinstated as the main port for Western Australia.
The rise of the Separation for Federation movement in Kalgoorlie and Coolgardie later in the year aroused interest in Albany. A meeting of the Albany Federal League Executive on December 4, 1899 expressed a strong feeling in favour of joining with the people of the Goldfields in an appeal for separation. It was against this background that a public meeting was held at the town hall 11 days later. Attended by 200 people, the meeting voted unanimously to seek separation from Western Australia.
At a meeting of the Albany Federal League on December 21, it was decided to form an Albany Branch of the Separation League. A further public meeting held at the town hall on January 3, 1900 endorsed the formation of the Albany Separation League and decided it should "act in conjunction with the Goldfields League in petitioning the Imperial Government from the Swan River Settlement".
This meeting was attended by A P Matheson, MLC, one of the leading members of the Western Australian Federal League. A petition separate to that taken up in the Goldfields was collected in Albany and when presented to the colony's administrator in March, had 1,745 signatures. Albany's population at the time was only about 3,400 including children.


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A former Taco Bell employee apparently returning to the fast-food joint to pick up her last paycheck went on an expletive-laced tirade and tossed a large iced-tea canister over the counter.
She was eventually arrested, but not before a six-minute video of her outrage was captured on video. The craziness went down in Converse, Texas, near San Antonio.
The video begins with the angry woman shouting at a man identified as the manager. But shouting isn't enough for the disgruntled ex-employee, who then picks up an iced-tea dispenser and chucks its contents over the counter in the direction of the manager.
The manager then picks up his own tea dispenser and splashes tea at the woman, who then throws her dispenser at the manager.
RELATED: Upset over her hot sauce, one Taco Bell customer allegedly took out her anger on a pregnant employee
She then heads behind the counter, while an employee who comes into the frame says, "No Margarita!"
The manager then takes off his shirt and appears ready to go to battle against another man involved in this devolving situation — apparently the son of the former employee.
The shirtless manager and the woman continue to shout at each other, mostly in Spanish. She grabs a metal spatula for defense, while another employee then gets between the two and tells the manager, "Arturo, Arturo, the police is coming."
RELATED: A little kid scooted down a slide into someone else's poop at McDonald's, and his mom is furious with the employees
Perhaps the person waiting in the drive-thru line called the cops.
The police arrive, and the manager tries to explain what was going on: "She's fired, she doesn't work here anymore. I'm the manager." He tells the police she's picking up her last check.
One of the officers begins to arrest the woman, who claims innocence: "I didn't do anything to him. It was him."
Meanwhile, out in the parking lot, additional officers on the scene arrest the woman's son while he's on the ground.
Yep, safe to say that morning was hell at Taco Bell.

subset: commoncrawl


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Lucia Tovar Maid to Order
Columbian pinup cutie Lucia Tovar loves role-playing games. Loves to dress up in costume. Rascal Dog features one of our favorite photo sets: Lucia Tovar, the stripteasing maid. It's an old-school fantasy to be sure, but who said there was anything wrong with old-school? Especially the way this busty Latina breathes new life into it.
Lucia gets all spread out on the floor in her French maid lingerie, and does her slow peel. When she gets completely naked, she assumes a cat-like posture and goes on the prowl. And we don't think she's looking for dust-bunnies. In fact, Lucia Tovar is definitely not the scullery maid type at all. This is an upstairs maid all the way.
Lucia Tovar Gallery
See More of Lucia
- Visit Rascal Dog to see this complete photo set of Lucia Tovar images as well as photos and and videos of other hot models – from print, web, and screen.
- You can see more photo galleries of Lucia Tovar here.


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CMAT notification aicte
Cmat notification -AICTE is conducting the first ever National level CMAT ( Common Management Aptitude Test) for facilitating institutions to select suitable students to all management programmes approved by AICTE for the year 2012-2013.The testing window for CBT (Computer Based Test) will be open for 9 days from 20 th Feb to 28th Feb.
important dates
The AICTE (All India Council for Technical Education ) came up with this decision after all different management institutions had a seperate entrance test.This got very difficult for thousands of students who had to study alot and face mental and financial burden of all the tests as each had its own syllabus and seperate fees.
What the CMAT 2012 will do is club together more than 4000 Business Schols under the wing of AICTE where there will be openings of about 1.6 lac seats to be filled by this entrance examination.It will be held in 61 cities as shown in the figure below:
graduates in any discipline or final year students of any stream may apply for CMAT 2012
test pattern
CMAT 2012 will have a total of 100 multiple choice questions that will have to be answered in a time duration of 3 hours.The paper will be divided into 4 sections namely-Quantitative techniques and data interpretation, Logical Reasoning, Language Comprehension,General Awareness.Each section will carry 100 marks each.
process of registration for CMAT 2012 will begin for one month on 9th December all the way till 9 th January.It will be online application and you will have to state 3 cities in order of preference for exam centre.To aoid dissapointment as there are limited number of seats for each city, apply early.Test fees are Rs.1200 for open and OBC category and Rs.600 for SC,ST and PD categories.You can either make the payment online through credit.debit card here or pay manually through a online generated challan and paid in any branch of SBI.


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Can you tell from which episode of Columbo these screenshots were taken? Please send in your answer by using the form below and maybe you will make it into the Columbo Hall of Fame!
This episode of ColumboQuiz is created by Vagebond
- this episode of ColumboQuiz is one guess only
Submitted guesses:
- Murder in Malibu (1990)
Correct answer submitted by:
- lpc
- rosabella
- zapotka
- HerrieM
- lara croft
- guinness
- Aldan_Blue
- jelly@felly
- John McClaine
- Catwoman
- MrsAngel
- Jack da Bomb
- Hibernia
- kirgali
- Czesio
This episode of ColumboQuiz is now closed;
more screenshots are available here.
For an open quiz please see the index


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The old forums are archived, but for a short time you can find them at http://legacy.cloudsixteen.com
I'm Eli. CompSci student, britbong, shithead. What's up.
Hey gamer. Welcome to gamertown. To the left you can see some gamers, and to the right you can see some more gamers.
I officially classify this as a gamer moment.
Aspect gamer'd


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Call for papers/Appels de communications: Connecting the Future: Rural Broadband Technology, Policy and Impact
Source: The Monieson Centre at Queen's School of Business.
September 19-20, 2012 Toronto, Ontario, Canada. Connecting the Future: Rural Broadband Technology, Policy and Impact is an international conference addressing leading-edge advancements in broadband development, with relevance to rural communities around the globe.
It will advance the broadband research agenda by exploring:
* Policy, including financing models for broadband as an infrastructure investment,
* Technology, including next generation broadband technology and innovative applications of ICT for rural regions, and
* Economics and community, including the economic and social impacts of broadband expansion on rural communities.
It will create dialogue between international researchers, policymakers, and industry leaders through research presentations, discussion panels, and networking events. As a joint, academic-practitioner event, it will both promote new research and provide opportunities for knowledge mobilization.
The event will further explore the Eastern Ontario Regional Network (EORN), a $200-million initiative to provide broadband service to 95% of rural Eastern Ontario, as a globally relevant case study of forward thinking approaches to broadband investment. The regional approach employed in this milestone infrastructure investment, which draws on funding from multiple government tiers and private-sector partners, creates a model for communities around the world.
Accordingly, the conference objectives are to:
* Generate international discussion around the future of rural broadband
* Highlight innovative and effective policymaking strategies for ICT infrastructure development
* Advance research on the social and economic impacts of broadband investment
* Showcase emerging technologies and innovations for rural broadband delivery
* Share findings of models and strategies for public-private partnerships (PPPs) and multi-tier, regional collaborations for infrastructure investment
* Create opportunities for long-term research partnerships between researchers, government, and business for the ongoing assessment of broadband impacts in Eastern Ontario
* Discover opportunities for global research collaborations and sharing of lessons learned
* Engage students in broadband impact assessment research
Call for Papers
The Monieson Centre at Queen's School of Business invites abstract submissions on any of the following, or related, themes:
1. Policy
* Funding models for broadband infrastructure
* Public-private partnerships (PPPs)
* Rural broadband pricing
* Land-use issues
* Engagement of aboriginal and minority populations
2. Technology
*Technological innovations and solutions, including: Fibre-optic technologies, Satellite technology, Mobile broadband
* Broadband adoption issues such as public Internet access; barriers to broadband adoption; digital literacy
* Broadband access issues
3. Economics & Community
Economic impacts of broadband, including:
* Entrepreneurial growth
* Job creation
* Access to markets
* Econometric modeling of economic impacts (e.g., input-output modeling, regression analysis)
Social impacts of broadband, including:
* Educational impacts
* Government service delivery
* E-health
* Social networks
* Political activism and participation
* Population retention
Abstract Submissions
Abstracts must be submitted to email@example.com by 5pm, EST, Apr. 15, 2012. Abstracts should be limited to 750 words. Applicants will be advised of adjudication results by May 15, 2012.
The review panel welcomes research from all countries. Research proposals should address issues related to rural broadband, but may also address broadband issues related to small urban and remote contexts, as well as urban-rural interactions.
Papers presented at the conference will subsequently be published in a conference compendium. Final, completed papers are due Aug. 31, 2012.
Conference Partners
* Ontario Ministries of Government Services; Agriculture, Food and Rural Affairs; and Economic Development and Innovation
* Eastern Ontario Wardens' Caucus


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Even though urban screens can be seen as digital substitutes to public space image display, it is my contention that they are additional public spaces that as windows offer the potential of broadening use and participation. Most urban screens such as billboards have the purpose of displaying products for consumption within a cultural logic designed to address consumer audiences. The different strategies used to entice the consumer individual are varied, relying on culturally informed responses that advertisement agencies research. These strategies are also included in the way in which cities – through urban development initiatives – seek to generate a brand that will provide a competitive edge in attracting both a professional class of residents and tourists, to the city.
This paper seeks to illustrate the uses of screens designed for the display of art in Times Square, NYC, their content as well as their role in the branding of the city with the aid of the Times Square Alliance that exemplifies trends in the privatisation of public space. By looking at the Panasonic Screen used by Creative time to display video art in that part of New York City, this paper will: 1) determine the content, purpose and possible meanings that emerge from the use of screens to display art and social issues as well as possibilities for other kinds of community and cultural contents different from the sole purpose of advertisement. A critical assessment of the content these images might offer, the inclusion of context and other pertinent information that could provide a broader perspective in the understanding of the images can be – it is my contention – acquired through the conceptualisation of screens to include the public spaces where they are located as an extension, a physical site for dialogue and public engagement.
ContentsThe centrality of the image and urban development
Visual pollution
Times Square: the place where all roads meet
Times Square Alliance: privatisation of public space
Creative Time and the 59th Minute
Screen Art Contents: The 59th Minute
Ephemeral Screens
The centrality of the image and urban development
Urban development initiatives - fitting within the contemporary cultural logic of image ridden landscapes - seek to increase the appeal of spaces as sites for the consumption of art and entertainment, but also that the space itself becomes a good where experience is also packaged and delivered as one to be consumed. The emphasis on visual images on display that epitomises Times Square, explicitly entices individuals to consume goods. The presence of art, as a new component delivered by the private management of the area, adds to the area's appeal. Art is then also included to enhance the experience of place: as both, another good to be consumed and as part of the experience of the city.
Contemporary urban development has been characterised by the marketing of sites for the consumption of leisure and entertainment. Times Square has not remained untouched from this kind of initiative. To the contrary, efforts to improve and strengthen the character of place now include art displays in the mediascape that is so peculiar to Times Square's geist and raison d'etre. The juncture of place branding and art falls in a very ambiguous interstice. Therein lies the additional emphasis on art content in Times Square. Ads per se have acquired a high standard of aesthetics, therefore insinuating an overlap with art. This, however, is not the same as the lack of consumer oriented purpose art is expected to offer. Branding can help strengthen the image of an iconic space such as Times Square. There, the most recent addition to the urban development initiative includes video art as part of a somehow expected content displayed in the site's screens (for those who know or have noticed) where art is branded as a strong component in the overall representation of the city. In a post-industrial advanced economy, cities seek to insert themselves competitively to attract a professional service class and tourists for the consumption of goods in the form of culture and entertainment. Seeking higher standards in their quality of life for residents and exciting and entertaining travel destinations for tourists, urban development initiatives cater to these two groups.
The marketing of sites through branding manufactures the idea of the city according to those preferences of the market. In the case of Times Square the new professional class and tourists attracted to the global city: the centre that coordinates finance at the global level (Sassen, 1991). New York City attracts the professional class that provides the services that characterise the global city: finance, advertising, banking, insurance, and legal services, among others. For this professional class the attractiveness of the city lies in the enjoyment of exciting leisure events and spaces that are safe, clean and appealing according to the sensibilities of the professional class. Times Square and the Times Square Alliance provide this quality of life and leisure in the city to the professional residents as well as tourists by the privatisation of public space. Moreover, by adding the art component to the displays of Times Square, a more comprehensive content is integrated into the urban development initiative through branding. Times Square's representation is also included in New York City's allure as the Mecca for entertainment and art, traditionally defined - something missing in the media driven screens of Times Square.
Visual pollution
Within the visual saturation of images, designed advertisement for consumption of goods and ideas, art has also become part of the packaging of Times Square's experience. Virilio introduces the notion of a visual ecology, since environmental movements have made us aware of ecological pollution, he argues for a sense of balance within the pollution of images to which we are exposed (1997). Debord's notion of the society of spectacle alludes to the power and control images exert in a society guided by consumption and where social life is relegated to the predominance of appearances (1970). Therefore, the spectacle generates a passive role in the consumer as spectator. Despite the fact that most images presented in Times Square are consumption driven, video art content is a first step in displaying contents different from consumption oriented ones, an altering effect to the cultural logic of consumption. Screens can be a key vehicle in the rendering of images both visual and textual by providing narratives not only of consumption but narratives that fracture or even alter meanings. Moreover, screens and the physical context in which they are placed could help simultaneously articulate spaces for dialogue, historical awareness and critical examination of the contents presented (Giroux, 2005). Screen displays should also be linked to physical places where dialogue and critical engagement could take place.
The function of these screens within the environment of Times Square does not only serve to display consumption contents but in doing so, constructing a peculiar character for that area. Imbued in the urban development initiative of branding, issues of representation are key and lead to question: who manufactures the images, for what purpose(s) and who has access to them. Rather than single units, the grouped effect of these images represents Times Square as exciting. The representation of Times Square – similar to other areas of the city - is manufactured with the intention of attracting tourists and the professional class to the city. Understanding the connection between the city as a representation, branding as a marketing strategy to develop areas in the city such as Times Square and privatisation as a reaction to government retrenchment (a mechanism that allocates private funds to maintain public space) is a strategic triad that functions in most cities nowadays. The global homogenisation of landscapes through contemporary urban development initiatives such as branding is also a global trend. This global trend homogenises development where maintenance, surveillance and aesthetics is the formula for "successful" public spaces. What Reichl (1999) refers to as cleanliness, security and visual coherence - is at the core of urban development.
The role of art content as well as other contents such as social and/or community issues that are different from those prescribed to entice consumption practices could be considered part of the careful orchestration of structural components such as maintenance and surveillance that within the context of urban development initiatives help market an area as a desired destination for the consumption of cultural goods such as entertainment and the experience of the city. Despite the fact that these contents could contribute to the marketing of the area, art and other contents could also generate spaces for a critical engagement, and could fracture the seamless display of messages for consumption with which - in this instance - Times Square saturates its visitors' experience of the city.
It is important to also mention that the quality of contents and high standards of displays also socialise visitors into art contents that are designed for a sophisticated, culturally savvy professional class audience (Creative Time Staff Interview, July 29, 2005). There is just a thin line between the possibility for other ways of seeing in which art impacts both the quality of ads in billboards (highly artistic and skilled) and the art content per se. Between the content and quality of the ads, the difference about the intention to which art and ads are produced and displayed deserves attention.
Art's intention is usually explicitly non-commercial. The aesthetic experience that art seeks to provide falls outside the boundaries of the intentionality found in for instance, ads that seek to entice the desire for consumption. Even though art has and could become a critique and even a commodity, it does not necessarily follow the explicit intention and functionality of advertisement, at least in its most traditional interpretation. Others have argued otherwise and pinpoint that "Even art, by its contemporary marketing strategies, has been secluded from its actual social context, and seems mainly to have left socio-political criticism for mere tourist attraction" (Cupers and Miessen, 2002, p.24). Despite this possible interpretation about the role of art in public space, the fact remains that the screens have been the very characteristic that has given Times Square the iconic character it still enjoys. Art, social and/or non-for profit, and other different possible contents presented on screens still lay within the frames of the signscape peculiar to Times Square. There, the screens stand by themselves and there is no space designed for a critical engagement where conversations and dialogue about the meaning of the screens, their content and purpose is encouraged. Everyone seems to be in a hurry to buy or to be entertained.
Times Square: the place where all roads meet
Times Square has been known at different moments in different ways amalgamated into the peculiarity it has to offer residents and visitors. According to a writer from Tom Beller's Neighborhood, the drama is in the streets. (Jill Dearma, Cruising Times Square in the 70's, 12-07, 2005). The environment that generates this dynamic interplay of layered experiences developed historically. To Scott and Rutkoff in Times Square, art and entertainment created an ambiance of festive, safe amusement (1999). The Great White Way represented Times Square as the place filled with neon lights and where vice and drugs are abundant. The "Crossroads of the World" characterised Times Square as the place where all roads meet, alluding to the different ethno-cultures that traverse through the streets. The most recent transformation of Times Square has been the designation of the Family Entertainment District lead by the Disney Company. This transformation has tamed previous more dangerous depictions of the area. It is evident that a place such as Times Square does not necessarily retains one identity but rather an overlapping of different representations required to portray new functions of the city within the latest trends in urban development. Safety and family values have taken precedent over "negative" ones in the most recent urban development of Times Square.
Figure 1: Times Square, 'the place where all roads meet'
Virilio refers to screens as mediating our experience of reality, a skin or layer between us and the rest of the world where physical presence and abstract remote data coincide (1997). For Luke (1989), billboards and screens are symbols of data processing, I might add that they also represent the surfacing of information to be processed. The content of these screens play a crucial role in the outcome of how we process the information offered, the sense we might make of this information in the way the messages are designed. Similar to the marketing of a site, information is also marketed as a good. Moreover, the vehicles to market the information - specifically in Times Square's mediascape – are different kinds of screens or billboards.
The billboards in Times Square are: spectacular, spinning spectacular, vinyl, led display, vinyl with blinking border, and neon which display ads for: USPS, Skechers, Planters Nuts, AT & T Wireless, Con Edison, Washington Mutual, Roxy Deli, Hershey's, Cup Noodles, Coca Cola, Cadillac, Target, Showtime, Nasdaq, and Discover among others. Five thousand ads are displayed per day. ARMY owns Times Square Real Estate; therefore their ad is for free. Media prices depend on spot volume frequency and customisation ((Klassen, 2005). Examples of the prices are for instance, HBO, $150,000 per month, Kodak, $175,000, and Target $850,000, to name a few. Times Square is the only place in New York City where zoning regulations are designed to protect the image of the buildings in the area.
The result of this proliferation of signs, screens and billboards produces what Virilio refers to as the standardisation of vision, a visual ecology where most displays function along with other factors, for the consumption of the city as a cultural good. They epitomise the experience of the city as a good. This experience is branded through urban development to constitute a space as iconic, a site charged with a highly symbolic meaning. Ward and Park (2004) studied from a marketing perspective how the development of a building as a marketing site altogether generates what they call an iconic place, one that characterises specific meanings emphasising people, products and activities. Iconic space is to capture the essence of a site and the way it is represented and identified, usually by generating a brand.
According to Mavrick (2004) a brand name is a cornerstone for expansion through franchising. These brands are developed following the basis of efficiency and streamlining, to differentiate themselves from the competition. Here again the notion of uniqueness remains a basic and most important component in the development of a brand for a product, for a city as well (Hill, 2004). A great design needs to be attained and a ubiquitous distribution, the development of name and brand recognition through advertising that provides the site with visibility for an audience. In the case of Times Square, its history and the new developments and meanings attached to the area make it unique, specifically regarding the proliferation of screens and billboards.
The result of this experience of the city is one that corners people to a less and less active, more contemplative role as consumers, citizens and clients where the product is marketed; the intention of consumption is to seduce the passive spectator (Debord, 1970; Giroux, 2005; Luke, 1989). In achieving this goal, the private sector has also contributed to generate the iconic space that characterises many urban areas and public spaces. From the Great White Way display of lights, to the years of neglect, the Crossroads of the World and the family entertainment district most recently developed by Disney, Times Square has followed a similar path in what now constitutes a trend in urban public space: privatisation.
Times Square Alliance: privatisation of public space
Founded in 1992, the Times Square Alliance works to improve and promote Times Square so that it retains the creativity, energy and edge that have made it an icon for entertainment, culture, and international urban life for a century. The Times Square Alliance provides safety and sanitation services to the area. Similar to other privatised attempts in the city such as The Central Park Conservancy, Bryant Park and the Grand Central Partnership, The Times Square Alliance manages and brands Times Square. The emphasis has been placed on strengthening what I like to call the aesthetics of order: surveillance, maintenance and aesthetics to produced a space that is perceived to be safe and clean. The Times Square Alliance provides sanitation and public safety with The Times Square Alliance's Public Safety Officers (PSOs), unarmed but fully trained officers that patrol the district on foot seven days a week and who are linked by radio to the NYPD (The Times Square Alliance.org). Moreover, they also have created the Midtown Community Court, which handles only quality-of-life defendants: turnstile jumpers, graffiti artists, illegal peddlers, prostitutes and some small time drug dealers. The Street to home initiative, a bi-annual survey designed by Common Ground accounts for the number of homeless people in the area, no indication is offered of other kinds of services provided to the homeless population besides this survey, which seeks only to identify that population. In the hygienic attempt to clean and make Times Square safe, homelessness should remain invisible to non-existent. This is a generalised trend in the development and maintenance of urban public spaces.
This is the private initiative and organisation required to handle the estimated 80% of visitors to New York City who come to Times Square, with an estimated 31.4 million in 2004 (The Times Square Alliance.org). Another most recent initiative within the Times Square Alliance is the Art Times Square which provides ongoing public program that seek to "recognise and celebrate the diversity of Times Square, reinforce the area's authentic and historic character, and creatively express Times Square unique qualities" (The Times Square Alliance). Art in this context fulfils the quality of life standard and sensibilities of an educated professional class and tourists.
Art Times Square purpose is to incorporate diverse elements of art into Times Square's streetscape, thereby expressing the area's uniqueness and enriching the pedestrian experience with different kinds of public art. The art initiative in Times Square pales in comparison to the ones implemented to make the area be safer through surveillance and maintenance. More emphasis is placed on the aesthetics of order regarding issues of safety and maintenance rather than art content. However, it is from this initiative that the collaboration with Creative Time emerged to provide the opportunity for video art to be viewed in the media capital of the world.
Creative Time and the 59th Minute
Creative Time originated in 1973, and it describes itself as an organisation that commissions, produces and presents "adventurous artwork s for all disciplines. It identifies artistic production with a movement towards the public realm from galleries and museums and artists experimenting with new forms of media" ( www.creativetime.org). According to their Web site, "Creative Time derives its values from the historic impetus to foster artistic experimentation, enrich public space and the everyday experience, and forefront artists as key contributors to democratic society" (http:www.creativetime.org/about/history/html). Along with The Times Square Alliance, Creative Time has produced and developed The 59th Minute: Video Art on the Times Square NBC, Astrovision by Panasonic Screen.
Acknowledging art's need for discretionary funds for operation from corporations and private funding, Creative Time has ventured into public-private collaboration where The 59th Minute is presented, the last minute of every hour. This arrangement provides opportunities for artists to present their work to a large audience in a public space (Creative Time Staff Interview, July 29, 2005). The NBC Astrovision by Panasonic is a visual centrepiece in Times Square, one of the first screens in Times Square, also called the "Times Square TV," a classic TV image, on a high definition screen that is changed every five years. According to a Creative Time staff member, it is a unique place to display art outside a museum. The screen is owned by Panasonic and the cost of for the art presentation is of 1.7 million dollars a year for the minute the art video lasts. Measuring three stories high, the screen (which contains 1.5 million LEDs) is capable of displaying more than one billion shades of colour. Panasonic is a brand of New Jersey-based Matsushita Electric Corporation of America.
Figure 2: The NBC Astrovision screen is owned by Panasonic'
One might argue that the video art presented in the Panasonic screen in Times Square could function as an advertisement for Panasonic, if only more people knew about this arrangement or about the Creative Time video art installation. On the other hand, Creative Time staff identifies Panasonic as reaching out to the community and offer, in addition to the art content presented in The 59th Minute, technology to schools with the program "Kids Witness News" (Creative Time Staff Interview, July 29, 2005).
The 59th Minute was launched in 2000 with the work of Tibor Kalman's " Tiborisms," displaying text in a video presentation, such as "Everything is an experiment." Since 2000, The 59th Minute project has presented five video animations, two videos with a combination of text and images, and twelve videos – movies, portraits, and digital composition of colours. The images and text displayed only once addressed explicitly a political and social issue, AIDS. The videos presented by The 59th Minute are of short duration and seem to get lost in the media forest of Times Square. Even though the 59th Minute is difficult to spot, it is certainly embedded within the representation of the city and of Times Square as a significant place for art and culture in its broadest sense. Art in this context seeks to convey, according to a Creative Time staff member, elements of regularity, consistency and surprise: "Art as ephemeral, that finds you…" (Creative Time Staff Interview, July 29, 2005). The same staff member also pointed out that what distinguishes Creative Time's view of art is that "We still want to preserve the purity of the experience of art, even though with consumption everything has a purpose, in New York there is more of a sophisticated audience that expects art to still preserve itself outside commercial contents" (Creative Time Staff Interview, July 29, 2005).
Screen Art Contents: The 59th Minute
The messages displayed in Times Square's screens are part of other factors that also contribute to the character of the area, the brand to which Times Square is recognised. The uniqueness of the art content among other ads for products is somehow diluted in the sparse number of screens with art and/or other contents. At this point only The 59th Minute provides a different content. Many of the videos shown in The 59th Minute show contents that depict aspects and conditions of urban living. These art videos address issues of anonymity, the city as tamed and playful, overcoming the city flying over the city as in a dreamscape, as well as contents allegorical to dwelling and movement.
In Marc Brambilla's "Superstar' a man flies over the city, there is an element of overcoming the city by flying, almost floating over the city. There is a contrasting message embedded in Gary Hill's video between a mechanical object and nature: a scientific looking object going through an apple. The city is represented in a playful manner, therefore easier to learn about in the survey of questions on places known in the city, in PDPAL's animated video by Maria Zurkow, Scott Patterson and Julian Bleecker. Nature represented by a butterfly in Mary Lucier's video "Monarch."
Other urban contents can be found in Cowboy Waltz by Jeremy Blake, where a building turns into ephemeral beautiful images of colour and light. The bed as a site for rest, love making, dwelling in Dream Sequence 1 by Janaina Tschape, explodes with water against a rustic wall. The theme of movement is trapped inside an apartment, offering a stark contrast between inside and outside in Hiraki Sawa's "Dwelling." Small airplanes fly inside an apartment, under the light fixture in a room, in the bathtub and over a bed. Dwelling and movement allude in this video to the dweller and the nomad in all of us. Contemporary times beget travel as a condition - either in real time or virtually through the Internet. The here and there are confounded with our perception and experience of place. Safe and dangerous spaces are counterpoised to the different contents Sawa's show in the video art "Dwelling." In a society so concerned with terror and the possible agoraphobic reaction to urban living (Carter, 2002) especially towards the increasing militarisation of public space, airplanes flying inside an apartment could be a subtle reminder of possible interpretations where different contexts overlap: inside/outside, safe/unsafe.
Kim Soja's "Conditions of Anonymity" reminds us of the Chicago School of Sociology observation about the city and urban living where high population density are conducive to social disorganisation, social anomie, estrangement. The anonymous urban dweller is embedded in a sea of unrecognizable faces, confronted with the paucity and slowness of the observer. This space for reflection in observation is one that screens could help develop, therefore expanding the ability of the screen to generate a critical engagement with the content in the spaces of the city where the video is shown. These spaces should then be also designed to accommodate this kind of engagement. Kim Soja's video, "Conditions of Anonymity" offers a good opportunity to reflect about the spectacle of the urban street on the screen. Conversely, Times Square also frames conditions of anonymity.
The video art contents in The 59th Minute sometimes display nostalgia for innocence, a playfulness as that which cannot be bought but that is however, part of the manufacturing of experience branded through urban development in Times Square. As such, screens proliferate and can be found in many other cities. A kind of travelling public space nomad art (photography exhibits) have appeared in Montreal's markets, Vienna's Museum Quarter and in the Luxemburg Gardens in Paris, to name a few. At this point, however, art, social and not-for-profit content or even content that addresses community issues is not that visible. It could be considered tokenistic in that it is still a minimal effort in comparison to the overwhelming presence of commercial content in most screens and billboards.
Ephemeral Screens
Even if what is advertised is not a good as such, video art screens might help sell the experience of the city as a representation of excitement, sophisticated taste that addresses the sensibilities of a professional class and tourists. Other kinds of contents, such as political, social, not-for-profit and/or community issues could also be part of the screen's content. A higher quantity of those and an opportunity for dialogue and critical engagement (that at this point is non existent in the video art experience of Times Square, for instance) needs to develop. Not all art is necessarily critical nor does it necessarily generate an alternative viewpoint. However, art screens should at least attempt at disrupting or altering the consumer logic prevalent in advertisement. By offering possibilities to question everyday life and current working ideologies, urban development could begin to support a broader and more intelligent experience of the city. As such, screens that display art as well as other social, not-for-profit and/or community contents could provide a critical eye into the different ways of seeing and thinking about what is seen to then consider that which is absent, missing and or lacking (Feinstein, 2005).
Art on screens should provide – even if interactive – spaces for what Giroux (forthcoming) calls: " dialogue, critical discourse and engagement and historical awareness." The screen's impact can be extended to the physical location where it is situated and provide a "real" physical space for critical discourse and engagement. Through the historical awareness that emerges from knowing the origin of the images, multiple possible meanings, the purpose and intentionality of the images' content and context, a more active experience of the city and of the images could be acquired, one that is critical of both content and context. Screens could extend, in a meaningful manner, the experience of the city. Screens could provide opportunities to tackle issues of representation, branding and urban development, and also provide a better grasp of what lacks to critically help articulate a broader understanding of society's functioning and trends.
Art and social issues are some of the uncommon uses of screens in public space. In the branding of the city, art and social issues employ, it is my contention, a politics of difference that is tokenistic at this point. Despite the limited uses of art content in the billboards and screens, at least two observations seem appropriate: 1) the visual lexicon provided by urban screens is still mostly limited to contents designed to generate desires for consumption, rather than art, social, not-for-profit and/ or community issues related content, 2) the trend to increase the number of screens in public spaces should include more possibilities for art and other contents that could disrupt the prevalent cultural logic of consumerism. A critical engagement could be attained by extending the screen's impact to the physical site where it is located, turning the adjacent space into one that is public in that it offers possibilities for dialogue and interaction.
Virilio (1997) argues that there is an industrialisation of images to which art and advertisement – for different reasons – produce. Art and other contents such as social, not-for-profit and community issues could be considered a possible solution to what Virilio calls the "standardisation of vision," the automation of perception of the world, a standard way of seeing (1997). Extended to the public spaces that screens occupy, art images and the possibility for critical engagement, dialogue and interaction could offer an alternative and opening to a different experience from the ones the images alone could support. The production of desire through the seduction of constantly shifting images, the excitement and thrilling experience they trigger in spaces such as Times Square, or elsewhere for that matter, tend to induce the role of a passive spectator. The praise of the technological sublime through state of the art screens and art content could be enhanced by the critical engagement of broader and more extensive ways of seeing that seek to ask for what is absent.
About the author
Julia Nevárez obtained her Ph.D. in Environmental Psychology at the Graduate Center of the City University of New York. She is currently Assistant Professor in the Sociology and Anthropology Department at Kean University, New Jersey. Her research focuses on Urban studies, issues of representation, globalisation, urban development, public space and technoculture most recently.
E-mail: Jndj7 [at] aol [dot] com
P. Carter, 2002. Repressed spaces: the poetics of agoraphobia. London: Reaktion Books.
Creative Time, http: www.creativetime.org accessed July 30 2005.
Keny Cupers & Marcus, Miesen, 2002. Spaces of uncertainty. Germany: Verlag Muller & Busman KG.
J. Dearma, 2005. Cruising Times Square in the 70's, Mr. Beller's Neighborhood http://www.neighborhood.com/story.php?storyid=1742, accessed 12-07, 2005
G. Debord, 1970. The society of the spectacle. Detroit: Black and Red.
S. Feinstein, 2005. "Destruction has no covering: Artists and the Rwandan genocide," Journal of Genocide Research, volume 7, number 1, (March) pp.31-46.
D. Harvey, 1989. The condition of postmodernity. Oxford: Blackwell, 1989.
H. Giroux, 2005. Beyond the spectacle of terrorism: Rethinking politics and pedagogy in the society of the image. Forthcoming in Situations: A project of the radical imagination.
S. Hill, 2004. Where do great brands come from? Brandweek, 45, (36), p.13-17.
A. Klassen, 2005. Times Square Ad(D)s up to $59 mil, Advertising Age, Crain's International Newspaper Marketing. Canada.
T. W. Luke, 1989. Screens of power: Ideology, domination and resistance in Informational Society. Chicago: University of Illinois Press.
A. Reichl, 1999. Reconstructing Times Square: Politics and culture in urban development. Kansas: University Press of Kansas.
L. Sagalyn, 2001. Times Square Roulette: Remaking the city icon. Mass: MIT Press.
S. Sassen, 1991. The global city: New York, London, Tokyo. NJ: Princeton University Press.
William B. Scott & Peter M. Rutkoff, 1999. New York Modern: The arts and the city. Baltimore: John Hopkins University Press.
Times Square Alliance, http://timessquarenyc.org/facts/facts_economic.html, accessed July 22 2005.
P. Virilio, 1997. Open Sky. NY: Verso.
J. Ward & L. A. Park, 2004, Value iconic space: Jonathan Ward & Jin Ah Park argue that buildings can play an essential role in brand transformation, boosting morale and improving performance. Brand strategy, 0965-9390, 79 (2), p.34 -40.
Thiswork is licensed under a Creative Commons Attribution-NonCommercial 2.5 License.
Art and social displays in the branding of the city: Token screens or opportunities for difference? by Julia Nevárez
First Monday, Special Issue #4: Urban Screens: Discovering the potential of outdoor screens for urban society


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Title: How the Sports Landscape in Canada Is Changing
Date: June 29, 2017
Original Source: Vice
Synopsis: For my latest at Vice, I looked at what the Canadian sports landscape could look like 150 years from now in honor of Canada 150.
As Sidney Crosby cycled the puck into the corner and cut for the net, a record 16.6 million Canadians sat and watched, breath baited. Nearly eight minutes into overtime against the United States, Crosby fired a shot short-side to beat Ryan Miller, giving Canada the gold medal in men's ice hockey on home turf and creating one of the most iconic moments in Canadian sports history.
Looking back over the last 150 years of sport in Canada, any list of meaningful moments is going to be littered with events from the hockey world. It is, for lack of a better term, Canada's sport, something ingrained in the fabric of the country, its people, and its culture. As Crosby fired his gold-medal winner in Vancouver, it was perhaps the perfect snapshot of hockey's importance to Canada—the 2015 Vital Signs Report from the Toronto Foundation found that 90 percent of Canadians said Olympic success had a positive impact on their Canadian pride.
"I believe, for better or for worse, that the Canadian self-image is inexorably tied to the main national sport, hockey: team-oriented, resourceful, determined, resilient, cooperative and, ultimately, triumphant," award-winning Canadian author Roy MacGregor told VICE Sports. "There may be a lot of hooey in this but there is also a lot of truth. Success in Olympic hockey, both men's and women's, is a Canadian priority."
As we look ahead to what the next 150 years of sport may look like in this country, an interesting question emerges: Will that always be the case?


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DIS Veteran
- Joined
- Dec 1, 2011
Did anyone else get their tickets for the D23 Member Mixer for Comic Con this year? I logged in a couple minutes after 10 and the link wasn't there, refreshed and it was. Must have had just the right timing. I see it's sold out now after 1 hour. Anyone else going?


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Come to Pinellas Animal Hospital on Saturday 27th July and learn more about battling those pesky fleas! We are having a Flea Prevention Education Day to better inform you on how to protect you and your pets from the constant discomfort of biting fleas.
Our knowledgeable technicians, Jana and Heidi, will be on hand between 9 am and 12 pm to discuss the steps to take to prevent flea infestation and the adverse effects that fleas have on your pet. They will educate you on how preventative products work and how long it takes to successfully get rid of fleas on your pet and also in and around areas of your home.
So come along and join us this Saturday between 9 am and 12 noon with a view to giving you and your pet a more relaxing and comfortable environment for you both to enjoy.
We hope to see you there
Your friends at Pinellas Animal Hospital


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*One complimentary Teacher ticket is offered for every 25 student tickets purchased.*
For more information on Manship Theatre's educational programming, visit our education page. For reservations, please submit this form to School Show Coordinator Ronni Bourgeois by faxing to 225-389-7177 or emailing to email@example.com. For any additional questions or concerns, call 225-389-7260.
Furthering the knowledge and understanding of our world is the core purpose of National Geographic. Premium storytelling and visually stunning photography inspires people to act, enlightens their perspective, and provokes conversation.
National Geographic Live is a highly acclaimed speaker series bringing the world's best scientists, explorers, authors, photographers, and filmmakers to the stage, creating long-lasting emotional connections with local communities.
Astro biologist and National Geographic Emerging Explorer KevinHand searches for life beyond Earth. He is currently helping plan a NASA mission to Jupiter's moon Europa to investigate evidence of a vast subsurface ocean ¾a body of water which could sustain primitive forms of life on this alien world nearly 600 million miles from our planet.
Based at Pasadena's world-famous Jet Propulsion Laboratory, Hand designs instruments for the probe that will travel to Europa. To gain perspective on the conditions these instruments will have to endure, and to see how microbes eke out a living in our world's harshest climes, Hand has traveled to the most forbidding environments on Earth. He has conducted studies on the glaciers of MountKilimanjaro, the valleys of Antarctica, and the depths of our oceans.
Aside from his compelling scientific work, Hand founded Cosmos Education, a nonprofit organization that empowers some of Africa's poorest children through science, health, and environmental education. In 2005, Hand appeared alongside directorJames Cameron in Aliens of the Deep, applying his knowledge about extraterrestrial environments to Earth's own unexplored territories. And in the summer of 2012,Hand joined Cameron's team on his historic Challenger Deep dive into theMarianas Trench, the deepest place on the planet. Join Hand for a firsthand report on the search for real extraterrestrials.


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An idea that is not dangerous is unworthy of being called an idea at all.
~Oscar Wilde
I spent 4 hours at 30,000 feet today, on a plane enroute from LAX to Pittsburgh to visit my man, and, with my head literally in the clouds, I asked my intuition what message to share next with my tribe.
My intuition, smart as she is, led me to pick up the in-flight magazine Hemispheres to thumb through while enjoying my Roasted Salmon Nicoise Salad (the magazine was included in the flight – the meal was not, but worth every penny of its 15 dollar price-tag).
As I was skipping through the magazine, I stumbled upon an article titled "The Upside of Unspeakable Ideas."
Yes indeed.
It was a short piece describing an annual "Festival of Dangerous Ideas" whose aim is to "shock people out of their comfortable beliefs" via "ideas that go against mainstream opinion."
Although topics such as "In Defense of Flogging" don't stoke my fire, the concept of breaking through our comfortable shells certainly does.
Sometimes we know too much for our own good…or rather, think we know.
The assumptions we make are often validated with our experience because whether we realize it or not, we are subconsciously seeking proof (the famous self-fulfilling prophecy at work).
But what if we adopted a beginner's mind with everything, acting as if we didn't know best already?
Click to tweet>> When we question our assumptions, the possibilities become countless. <<Click to tweet
I began questioning my assumptions around what I believed I was capable of when I moved to LA by myself at 18, again when I embarked on a 7 year adventure in the world as an actress, and now as I show up every day ready to serve as a coach and healer.
I assumed I wouldn't fit in in LA as a small-town girl from Oklahoma (breaking through that assumption by redefining what identity means to me), assumed only super-connected/super-hot/super-skinny girls got cast in films (breaking through that assumption by getting cast in several great indie films and eventually producing my own), and assumed that no one would be willing to pay me as a coach (I'm so fortunate that they have – and have experienced amazing changes as a result).
The more I realize how little I really know, the more I am open to embrace what I can possibly learn from the most unexpected places (that's right Hemispheres magazine, I'm looking at you).
Over to you: What new and dangerous idea can you explore today that questions all assumptions you have around what is possible for your life?
P.S. In case you missed it last week, I announced my own dangerous idea – a FREE BONUS hour of one-on-one time with me throughout November (that's buy one get one on all single sessions).
During these sessions, we get together and break through your assumptions and move toward new possibilities in your life…all while surrounding you with a ton of love and compassion.
Click the pic below to learn more about how I work and to get started:
Note: The free one-hour bonus sessions are available to anyone who books a clarity session in November; if you're not sure if I'm the right coach for you though, don't hesitate to set up a free 15 minute Discovery Call to find out by clicking here.


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He is far more revolting than even I could imagine,
His breath fouled up with wine.
I do not recall how we ended together
How tangled we became like twine
Only that while the moment lasted
And heat dragged on to the night
I never once woke from that state with him in me
In a start or a cry of fright
However terrible he was in smell
However his features did seem
His touch was so gentle
Sensual and sweet
That a brush would draw me to keen;
An arch and a sigh, a soft moment later
He pulled us both down to bed
I sorely wish that this king among men
Were my husband
And wed
In his stead.
Dawn broke slowly
Like lightning or fire
It forced me to wake from my dream
A strange one it'd been
I'd drifted in sin
For which I'd be beaten
If ever they gleaned
The things I had done with that One
In my head
(A woman should never have dreams such as these)
But all is well for even in hell
The demons cannot read my thoughts as they please.
The whitest of doors greets my hand and abhors
The touch of my skin, slippery with win-
-some sweat of the night before
My grip will not stick and it takes three times thick
Before finally it opens to more
Of the same
A hall and a flame
Set in a socket in stone
Its flickering light casts shadows
So bright
They blind me when first I lay eyes
On them.
"Good morning!" she shrills
As breakfast now chills
Before me on plate of iron
So raw
"Did sleep find you well?"
I'll never tell, so I shrug my shoulders and sigh.
"Why the long face? A boy's heart should race; make merry,
Go forth and do all of the things!"
I look at her square,
a cold, bitter stare,
and in her eyes reflected-
My sorrow stares back.
The tears will not come
I feel too glum
My heart will not beat anymore
I watch her prepare
To pull from my chair
The body I hate
The one she adores.
I walk alone
No dark to my throne
Queen- not king!- of myself
Free in the air
Without much I care
Or in range at least
To touch.
The world is wild,
The wind is a child
Plucking at hair
Or feathering my clothes
It teases
It whispers
It calls and chants
And suddenly before me
A djinn wants to dance
It spirals up out
Of the nothingness and cold
Its eyes like hot coals as they seek me out
It holds itself there, puts hands to my hair
And tugs my head down
And out
Out of sight
Out of mind
Away from the world
I'd grown to love
I pull away from that creature
So terrible
Its heat I find hard to endure
Still my flesh it bares
With a flick
And then stares
At me.
"What do you want of me?" I hear myself say
Knowing the answer
Asking anyway.
"I want your body," it replies with a grin
Its voice is slick
No, dripping, with sin
Like the dream I had had
That dream long ago
I stare but a moment, and shake my head-
"The choice is not yours!" the demon then snarls
A fire appears
Withdrawn, prepared, to strike.
"I'll take you for mine
I care not what you like!"
I step back to
The wind and the cold
Watch that djinn
With eyes dull and old
"I can not stop you," I murmur so soft.
"But one thing you'd know
Before you carry me aloft
On wings that burn
And pleasure that rides
You are no king
Of where my soul hides
I keep it elsewhere
A place you can't touch
What you do to this body
Bothers me not overmuch."
"Suits me just fine," it says with a purr
It whisks me away
Unclad, undeterred
I know not time
In a place between worlds
A burning in heart, head and body
In the whole of me
All of me
Everywhere it touches
Sends heat through skin
That simmers and sparks.
"Djinn," I say, impassive, yet drained.
"What is it truly that you have gained
By keeping me here to have at your side
By holding me here to reign over
To ride
Who do you please by doing this deed?"
It pauses in passion, its eyes embers now,
Glowing with mischief, hot flint on snow
Unbidden beneath me, I feel it rise, watch the fire rise
Up to those eyes
They look me once over,
Bottom to top
Pause on my hair and the curve of my back
Lashed now with scratches of passion
Like a cat's;
Torn but not broken
My skin lies adorned
With the marks of a djinn
As gentle as scorn
"I keep you for you," it says with a smile
"To hold you safe from that world, my dear.
I'll keep you here as long as you like
Longer still even than your old friends would like
Together we'll be here
Master and slave."
The last sends rage boiling up through the clouds
Of impassive acceptance,
Startlingly loud
I exclaim in a voice
That quivers and quakes
"I am no slave!"
Its hand brushes my face.
Long claws like a tiger's
Drawn over my cheek
Never digging in
Quite meek
It's almost tender
The motion it makes
"You know what I meant," it says without strife
Without pain in its voice
Or anger or fright
Nothing but tenderness
Or sadness
Or hurt of a type
Not caused by claws
"What do you wish?" it asks, at length, when after again
We lie in the den
It made out of cloud
Between worlds and the shroud
Dividing the living
From the land of the dead
My answer is firm, at first and then not
As it forms in my mind and my lips start and stop
I stare at it plainly
Suspecting a trick
But the djinn's face is empty of guile
And quick
With worry
I see it
In the ember-like eyes,
In the red of its skin
In the reflection of glittering
On its thighs
"You who have been here
More than an age
At my side
With me
In me
Around me in phases
Down on your back
Or down on all fours
Barking perhaps
Curled by the door
Of any number of places
Palaces too
Mine and yours
Now the master is you;
What do you wish of me
Mortal I took– and not once
Not twice
But several thousand times
Here in the world
Between that which lies
Beyond the veil?"
I think and think
But cannot forget
The times I have spent here
The times I would get
To have back on earth
Away from its touch
Away from the djinn and its demands
On my form, taxed and wan
The burns and the marks
I feel nothing on
The words are out
Before I know them
The words climb out
And tears then follow them:
"Keep me here djinn,
It's all that I ask
Marry me to you
I'll do all that you task
Me with
Anything at all
You've won my heart
And you've stolen my soul
With your tender attempts
At true, kind love
Surely that you took me
Was a sign from above
Or below! I care not anymore."
"That is no wish!" the djinn booms with a roar.
"I stole you and raped you and now you want more?
Have sense, little creature, have sense in your heart!
Is there not more that lurks where you start? Isn't there something
Your soul must desire? My death, your happiness, a lack of my ire?"
Trembling then as I feel its rage, I curl up and stare at the page
With my soul written on it
Deep in my mind
Straining to read
But failing to find
Written in there
In my heart in gold
The reason I wish
For this tale to be told
For me to give in
And let the djinn win
To let him keep me
For his own
In sin
I struggle to find it
But the answer untrue
Bursts from my lips
In a rush without hue
"I do not know," I whisper
To a demon's rough growl
The sound echoes out
In a hall made of tile
That appears underfoot
And before me, some scales
"We shall soon see," it murmurs
So softly
The threat of a storm
Still burns within
But now it seems calm
And I shut myself in
Numbly I walk
On legs that know pain
From burns and scars
I knew were in vain
If wiped from me
They are when I fly
Away from this place
Where a part of me died.
"Stand you here, mortal, in the court of the just,"
So said the djinn, so spake him thus.
"Bring me your heart that we may weigh it
Bring me your sin
That we may cleanse it
But bring me your self first
That I may hold it
In hands one last time
Before just demands
We part."
I step up to it
That magical beast
It takes me in hands
Not meant to release
It brings me up then
Close to its chest,
Holds me there once
While my arms wrap
Themselves around it
The fire burns never
As once it did
It hurts not at all
I fathom not why I hid
My face from its sight
Or my body from it
At all
From the beginning
When first we met.
"Who are you to me?"
I ask its neck.
Its voice is hot spice
And a sad, ruined wreck
"I know that not," it replies with a sigh.
I struggle with myself
And do not ask why.
We part once more
It lets me down to the floor
I would but collapse
My legs they ignore
It pulls me to feet
That quiver and shake
And raises me up
Onto the dais
Then from there
It bids me to step
To the scale's cold platform
An inch to my left.
I take that step
And stand there
In a hall
In a nightrobe
More like a gown
Staring back down
At the light of my room
Where it rests in the dark
In the dark and the gloom
Walk down the stairs
On a table
With chairs
My breakfast chills
On a plate.
As djinn dreams abate
I hold my head
In my hands
And wish
Just wish
They were real.
©2013 Sam Oliver (Eris)
This is a story styled like a poem, but believe you me, it IS a story.
I hope you enjoyed it.


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The inspiring Janet Thornton, Managing Director of Inspired Energy PLC, has been put on the 2015 shortlist in the headline category for the Entrepreneur of the Year Awards. The high profile event, at the beautiful Mere Golf Resort & Spa in Cheshire, is to be hosted by Lord Sugar's former right-hand man on BBC's The… Read more »
Inspired Energy PLC Group News
Inspired Energy PLC Quoted in Reuters
Nick Cambell, Risk Manager of Inspired Energy PLC, was quoted in Reuters in response to increased prompt natural gas prices following outages in Norway and cooler weather. "There is some short-term tightness in the system created by Norwegian outages along with slightly cooler weather than last week and continued high exports to the Continent. The… Read more »
Inspired Energy Named as Company to Inspire Britain
Inspired Energy PLC has been identified as one of London Stock Exchange's 1000 Companies to Inspire Britain. The report is a celebration of the UK's fastest-growing and most dynamic small and medium sized businesses. To be included in the list, companies needed to show consistent revenue growth over a minimum of three years, significantly outperforming… Read more »
Risk Management Team Market Update
Market Overview While prompt prices opened Monday above their previous week's closes, they quickly softened thanks to strong wind generation and the scheduled return of the Aberthaw coal plant. With a similar sentiment running through its gas counterpart, March-15 shed almost £1/MWh and falling as low as £40.25/MWh. This movement was reflected in the rest… Read more »
Risk Management Team Market Update
Market Overview UK Market factors told 2 individual tales this week, one each for the near and far price curves. The week opened with a further jump in oil price. After closing at just under $53/barrel on Friday, Brent crude rose to over $56/barrel by Monday afternoon. This continued to pull up far-curve prices (from… Read more »


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Nurturing and therapeutic touch for women during pregnancy and the postpartum phase is not a new concept- cultural and anthropological studies have demonstrated that massage and movement have been part of the care and health of the childbearing years throughout history. (Read more about Prenatal Massage at Well Within here.) Research has alleviated fears that massage may be dangerous for the pregnant mother, and it has become more and more common for women to incorporate massage into their prenatal care. Here at Well Within we see many women throughout their pregnancies. Some women may come in monthly for "maintenance massage", while others may come more often to alleviate specific discomforts. During this important prenatal time, many women make self- care their top concern. However, after the baby is born, all to often Massage Therapy becomes a distant memory for the Mom (along with sleep, regular meals, time alone, etc).
The postpartum period, or the Fourth Trimester, is a joyful and busy time. Whether it is a first or fourth child, the new family is very busy getting used to their new normal, and it is understandable that Massage Therapy falls to a lower place on the priority list. However, when I do get to see a postpartum mom, it is always very clear to me that this is perhaps the time when massage is needed the most! Often, the woman's neck and shoulders are extremely sore from countless hours staring down at their newborn, holding the baby for feedings, bending down to pick up their infant and/or other children. Issues like carpal tunnel or swelling of hands or feet may persist. Lingering low back pain can slow them down from enjoying any free time they might actually have…not to mention the emotional stress of giving birth and bearing the weight of this huge new responsibility…throw on top of all this weeks of sleep deprivation….and yes we have a person who could use a massage!
Acknowledging this as a period in a woman's life that could benefit greatly from massage, here at Well Within we try to make getting a session as accessible as possible. We give new moms the option to bring their infants (3 months old and under) along with them to Well Within for office appointments if child care is not possible – this is often not the ideal arrangement as having a wiggly, crying infant can be distracting, but we want to support new moms by offering this option.
Please give us a call or an email with any questions or interest in prenatal, postpartum, or infant massage! We hope we can be of help to you and your family through the joyful and sometimes demanding Fourth Trimester.


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By Saikou Suwareh Jabai
The bodies of two Gambian migrants from Niumi Kanuma, have been recovered from the sea of Catanzaro Lido in Italy on 13th May.
According to Alladin Fatty, a Gambian migrant in the area, the two young men went missing in the waters of Catanzaro Lido.
"It all started when a ball went into the water. In an attempt to recover it, they drowned," Fatty told The Migrant Project. The deceased were both 25 years old.
According to a first-hand account, one of the two men dived into the water but didn't resurface, probably because of the currents. Subsequently, the other young man dived into the water in an attempt to help him, Fattty explained.
It was reported that divers and ground crew from the Reggio Calabria Fire Brigade and naval vessels from the Port Authority, the Carabinieri or Italian Police and staff of the emergency services, all intervened. A helicopter from the Civil Protection Department was also involved in the search, which lasted for almost 24 hours, before the bodies were recovered.
In other development, a 25-year-old Gambian migrant named Lamin Manneh from Badibu, has been reported missing in Libya.


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International Conference and Exhibition on Biochemistry
January 04, 2017
We are pleased to welcome all the interested participants to International Conference and Exhibition on Biochemistry during November 02-03, 2017 at Chicago, Illinois, USA.
January 04, 2017
- Biochemistry Conference 2017 welcomes all the members form universities, clinical examination foundations and organizations, biochemists, scientists, researchers, academicians, entrepreneurs, research scholars and delegates from biochemistry labs, industries and healthcare sectors to be a part of the conference to share their knowledge on all parts of this rapidly expanded field and then, by providing a showcase of the research in the field on Biochemistry.
The conference focuses on the theme "Biochemistry - Rethink Rebuild Reclaim".
Biochemistry Conference 2017 aims to provide scientific platform for face to face exchange of knowledge and ideas across the Biochemistry. The conference is designed to give knowledge, ideas and to think out of the box. The aim of the conference is to promote research in the field of Biochemistry with another goal to facilitate exchange of new ideas in these fields and to create a dialogue between scientists, practitioners and biochemists.
The market for Biochemistry is increasing day by day and the main factors for the growth of market just because of increase in research area, public demand, employment is challenging and well-paid jobs, increasing demand for minimal procedures Invasive and technological advances.
Altogether the Biochemistry Conference 2017 aims to be a standard discipline gathering in the life science for research presentation, discussion, learning and encouragement - with participants leaving with new research knowledge and ideas, and perhaps the beginnings of international alliances and friendships.
Biochemistry is an emerging discipline that uses genetic information from an individual as part of their clinical diagnostic care (e.g., for diagnostic or therapeutic decision-making) and the health outcomes and policy implications from that clinical use. Biochemistry Conference 2017 provides a platform where you can meet top notch experts in the field and molecular biology to discuss molecular mechanisms by which genetic information encoded in DNA.
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· Sterling workshop and sessions
· Remarkable Awards and Global Recognition to meritorious Researchers
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· Exquisite Platform for showcasing your products and International Sponsorship
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This is our third real week of homeschooling.
It's our first day back from taking a break over Christmas.
Our first week was crazy. Our first day of homeschool, my mom broke her back!
That threw everything into chaos. But today was better…
We started off with a bible story in the floor with the labs 😆!
The kids love spending more times with their pups!
We read aloud, wrote notes, asked questions, then watched a YouTube video about today's story.
Jocelyn and I spent the first hour with the kids 1-on-1.
We decided to start the homeschool day with a bible story for the kids, AND so we could get more time in the word.
Next the kids are going into math on their own.
Right now we are using Time 4 Learning as our online homeschool curriculum (https://www.time4learning.com/).
It's really good! It could use a few more video lessons explaining the material, but what's there is a great foundation.
When we pulled the kids out of public school, our little girl was in 2nd grade and our son Isaac was in 4th.
Anna Jo was a little ahead, and Isaac was a little behind. So we are doing 3rd grade for both of them.
It's working out well.
We work from home, so while they do their lesson we sit beside them and get work done, stopping when they need help.
Homeschool Tip for Work at Home Parents…
While the kids work independently in their Time 4 Learning lessons, we are doing tasks like checking email, answering questions in our forums, and setting up social media posts.
Why those tasks?
Because these are quick tasks that are independent from each other.
Each email is a couple minute task, each Forum post a couple minute task, each twitter or Facebook post is independent of the other.
So if the kids need help in the next hour, we can stop, help, and then go back to our task without interruptions.
What we have learned so far is it's too hard to work on complicated tasks during "school time" because the interruptions get us distracted.
Task switching is a killer for productivity.
But knocking out Flip Your Life community forums and emails?
Works perfect.
We can take care of these and still help the kids when they need it!
We are moving on to math for the day, then the kids get to pick what they study next.
Homeschooling is hard, but we are figuring it out, one day at a time!
What is your biggest productivity challenge with the kids at home for homeschool? How do you help them and get work done?
Tell us in the comments!
Work at home! Homeschool! Travel!
Homeschool is possible for us because we work at home and make money online!
Would you like to know how we do it? Sure!
Learn more at: https://flippedlifestyle.com/flipyourlife


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Try using an aquarium heater or a reservoir chiller to ensure that the water temperature is no higher than 70 degrees and no lower than 60. The risk of root rot increases and oxygen is depleted at higher temps and cold temps can shock plants.
When growing hydro with organic nutrients, add beneficial GRO Nutrients® microbes such as BIO ROOTS or STIMULATOR to your reservoir to help break down nutrients for easier root absorption.
Keep pH levels between 5.5 and 6.8 (depending on the strain) at all times. Once you know your strains preferred pH, dial it in and keep it as close as possible.
Use air pumps and air stones to oxygenate your nutrient solution at all times. Roots need access to fine bubbles of oxygen to thrive.
Use a TDS meter to measure the amount of nutrient solution in reservoir. Plants growing hydroponically quickly deplete available CO2. Be sure to provide extra CO2 gas with a tank and regulator or a CO2 generator. Plants will thrive at 1500 ppm (parts-per-million).
Remember to foliar feed your plants with water or use GRO Nutrients® mild nutrient solutions. This will help feed them and rinse off the dust or residue that hamper photosynthesis.
It is important to maintain humidity levels between 40 and 60 percent. High humidity will encourage molds while low humidity can attract pests. Keep your reservoir covered to prevent algae growth. Any wet surface exposed to light will encourage molds. Maintain a light-tight environment wherever your nutrient solution flows.
A reverse osmosis (RO) machine will soften hard water to reduce calcium and magnesium buildups and prevent hard water damage to leaves. Air temperature should never go above 90 degrees. Keep it below 80 to promote and encourage growth.
Customize your measuring cups to correspond to the size of your reservoir. When using "Flood and Drain" or "Ebb and Flow" systems, be sure the roots have enough time between feedings to prevent over-watering and constantly soggy mediums.
Never allow water pumps to draw air. Always keep reservoir levels above half-full to avoid salt buildup and wild pH fluctuations. Completely drain and replace all nutrient solutions in the reservoir at least every two weeks. Recycle if necessary by diluting the water and using it on houseplants or outdoor gardens.
Use a mild nutrient solution such as BUD TRIGGER or BUD GENIE or plain pH balanced water for the last week of growth to flush roots and plant cells of excess salts. Your buds will burn smoother and taste better.
To minimize potential fire hazard, keep all electrical equipment off the floor and mounted on the walls. If there's a flood, this will save you from shorting your equipment.
Store all GRO Nutrients® products in a cool dry place; Not your grow chamber. Heat and light negatively affect the quality of your fertilizer. Never allow Rockwool to dry out completely in a hydroponic system. Never throw waste from your hydro room away with your regular trash. Bag it separately and dispose of it discreetly.


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Entry for July 19, 2007
Today I started off by adding kelp to my vitamins. Similar to yesterday, I took kelp first thing in the morning and then the rest just before lunch when my hands started getting cold.
I took one 250 mg of magnesium and that seemed to work until early afternoon and I got the cold hands again. With the idea of potassium floating around in my head, I decide to purchase two bananas just to see if it had any effect…and it did. I was fine for the rest of the day.
Around dinner time, I start to feel that very mild chest pain pressure that I used to feel when my magnesium was really low. This hasn't happened in a very long time but it makes sense because I'm taking less magnesium lately. In fact, it hasn't happened since I discovered the zinc deficiency.
This is the one weird symptom that scares me the most so I take 250 mg of magnesium and I add one 99 mg of potassium for good measure. If this was a sign of low magnesium and I'm sure that it was, could it be a low level of potassium?
Took another 99 mg of potassium before going to bed.
Here's my latest thesis:
If low magnesium was causing the sodium to go high then the last time I tried to add potassium was before the magnesium loss was corrected. Therefore there would be no way that I could correct the potassium imbalance as long as the magnesium loss still existed.
Magnesium activates a key enzyme in cell membranes that controls the balance of sodium and potassium. This is absolutely essential to the electrical activity of nerve cells, as well as to the very existence of a cell. If it's sodium-potassium ratio is too far out of balance, the cell would burst.
Oh boy….here we go again…
No comments yet.


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Live In LA //
- 1. For Bradford (08:12)
- 2. Purge (07:09)
- 4. Pandas Run (07:27)
- 5. In My Dream (04:03)
- 6. Banboo Shoots (10:04)
- 7. Comin On (08:07)
- 8. Ready To Go (06:38)
This is a trio of living musical poets.Cornetist Bobby Bradford was the partner of John Carter until the death of this astonishing clarinetist and he played with giants like Ornette Coleman, Eric Dolphy, Charlie Haden and David Murray.Trombonist Glenn Ferris' curriculum goes from the Don Ellis and Harry James big bands, the rock–jazz bands of Frank Zappa and Billy Cobham and to a multitude of other groups, including those of Tony Scott and Steve Lacy.Double Bassist Mark Dresser, one of the foremost players on the scene, has shared the bandstand with Anthony Braxton, Ray Anderson, John Zorn, Anthony Davis, Dave Douglas, Joe Lovano and many other artists.
Bobby, Mark and Glenn came together in the middle-late 70's through Bobby, who was (and is) a well respected figure head of the "creative music" LA scene. Bobby had his own club-concert room in Altadena California called the "Little Big Horn". This is where they would join their creative forces with other musicians such as John Carter and James Newton.They had always talked about recording together but life took them to other places and dimensions. And time just passed by. In 2009, Glenn made a very rare visit to LA and contacted Bobby and Mark about finally getting some of their music documented. Glenn brought recording equipment with him and they let the tape roll: in the living room of trombonist-composer Bruce Fowlers house.Since several years now, Glenn video interviews musicians with one question."What is Beautiful Music for You ?".
You can hear the collective answer from Bobby, Mark and Glenn on this very beautiful and historically important recording.
Bobby Bradford - trumpet, cornet
Glenn Ferris - trombone
Mark Dresser - bass


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Thanks to the advances made by medical science, post – operative pains of a digestive surgery are now history. Using advanced Laparoscopic techniques a highly trained team at Ckosmic can now operate on you with minimal cuts and with no open wounds. And if you're worried about the cosmetic effects of surgery, namely scarring, then you can opt for Single Incision Laparoscopic Surgery (SILS), a procedure that we can proudly claim to be the experts of. So why opt for the painful and old fashioned way of 'Open Surgery' when Ckosmic offers you a modern and hassle – free solution for the same
We provide you with unique solutions to loose those extra inches which include diet and exercise, gastric balloon and bariatric surgery, you can opt for any.
Laparoscopy is an operation performed in the abdomen or pelvis through small incisions (usually 0.5–1.5 cm) with the aid of a camera. It can either be used to inspect
To offer our patients truly global healthcare at Ckosmic, we are constantly innovating and researching the latest techniques from around the world.


text: Apollo Awards For Young People by Young People Thank you to everyone who attended the 2018 Apollo Awards. It was a great event in celebration of young people and their achievements with Epic. We hope you enjoyed the event as much as we did!A big thank you to all the young people and the Youth Forum who made this all happen. It wouldn't have been possible without their commitment and dedication. See you next year! The Apollo Awards is an event organised and led by young people to celebrate the achievement, development, and dedication of their hard- working peers in the Royal Borough of Kensington and Chelsea. This event will be taking place on the 9th of November and will involve a themed ceremony, performing acts, and speeches from youth forum members. This year the theme chosen for the event is Memories and young people have reflected on why this theme is so important to them: "As young people we find it important to make memories so we can look back on what we have achieved in life. Memories help us reflect on how we are as young people and the step we need to take as we transition into adulthood" -Holly Moorhead. This year's Apollo Awards will also celebrate young people's sports achievements by presenting the winners from the London Youth Games. Young people will be presenting awards in the following categories: Spirit of the Games Disability Sports Award Outstanding Achievement (Team & Individual) Epic CIC believes that positive childhood memories can shape young people's confidence and help build a stable future. That's why this year's Apollo awards will look back at young people's journey with Epic, recognise their achievements and create new happy memories for everyone involved. Who can be nominated? All nominees must be Young people aged 13 to 25 years old, who live in the Royal Borough of Kensington and Chelsea and/or attend school, college or sport/community provision within the borough. In some categories, nominations can be made for individuals and or groups. For the category of adult leader the nominee needs to be associated with an organisation within the Royal Borough as either a volunteer or a member of staff. Make a nomination Loading... Gallery Apollo Awards 2018 To see the full gallery of photos from the 2017 Apollo Awards click here. Contact us If you would like further information in regards to future Apollo awards please contact [email protected] or call 020 7938 8022


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Kerala is called "God's own country" and rightly so. The grace and splendor of nature's treasure can be seen and experienced here to the fullest. The backwaters are world famous and attract tourist from all over the globe to experience the magic. A boat ride in the calm and serene water bodies surrounded by lush green trees and feeling cold breeze is an experience to remember. Cochin City has lots of history and old world charm. Explore the treasure of this city and enjoy a relaxing holiday with your friends and family.
The Avenue Centre Hotel is a part of Avenue Hotels. It's a comfortable and modern three star property. This hotel is most suited for the business travelers. It is located strategically and is very close to the Ernakulam railway station. This hotel has well maintained 21 rooms. The hotel has efficient service and warm hospitality which will make you feel at home at all times.
The accommodation is clean and comfortable. The rooms have all the basic amenities and facilities to take care of all the needs of the guests. There are 3 categories of the rooms available – Standard, Deluxe and Sweet.
The hotel is located approximately 24 km from Cochin International airport and 2 km from Ernakulam railway station.
The Kerala backwaters are located close to the hotel. Another popular tourist destination, Bolgatty Palace is situated around 15 minutes away from the hotel.


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Dr Diana Perriman
Dr Diana Perriman is an Australian Physiotherapist. She received her undergraduate degree from the University of Sydney, her MSc. from the University of East London, and her PhD from the Australian National University. She has worked extensively as a clinician in hospitals in Sydney, Canberra and London, UK. She managed the Edinburgh community team for 8 years prior to returning to Australia in 2003. After completing her PhD in 2011, Diana became the clinical research coordinator for the Trauma and Orthopaedic Research Unit which is part of the ANU Medical School and the Canberra Hospital. Her research interests broadly include trauma and arthroplasty outcomes, whiplash and joint kinematics.
Research interests
Orthopaedic trauma and arthroplasty, whiplash, hip and knee joint kinematics, hamstring injury.
- Supervisor, Arthroplasty
- Supervisor, Femoroacetabular impingement—outcomes and imaging
- Supervisor, Gluteal tendon degeneration
- Supervisor, Identifying Morphological Changes in the Cervical Spine Muscles in Whiplash
- Supervisor, Pickles Knee Study—A prospective imaging study of cruciate retaining and substituting knee replacement, in osteoarthritis and healthy aging
- Supervisor, Trauma
- Supervisor, Whiplash
Clinical research and osteoarthritis


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It's the Final Push, Say No to PSO!
We need your help now! The Corporation Commission could vote
as early as next week on PSO's unjustified attempts to keep your over collected
rates instead of returning them to you.
What's at stake? $428 million, a savings of nearly $24
spread out over the remainder of this year. These savings were supposed to be
returned to you, but instead PSO wants to keep the savings for themselves. We
need your help in asking the corporation commissioners to say No to PSO and
make sure the over collected taxes are returned to you.
Fill in the form on this page to send an email to the corporation
commissioners and let them know that you expect the recent tax savings to be
returned to you, where they belong. Tell them to say No to PSO's attempts to
profit at your expense. You can also call the commissioners, toll free, at 1-844-248-8224.
Just like in the OG&E case, when you let your voices be
heard, you win. Let's fight together to keep electricity affordable and
reliable! Let's fight together to lower your rates!
Your phone number is required for your letter to be automatically delivered.
Your phone number is required for your letter to be automatically delivered.
By taking action you will join AARP's online network and will receive urgent news and action alerts about the issues that matter the most to older Americans, as well as information about AARP activities, events, and member benefits.
Dear [Decision Maker],
I am writing today to respectfully request that you return PSO's recent tax savings back to me, the customer. The tax savings in question were collected from me under the premise that they would be used to pay taxes, not used for profit and other projects. Now that tax rates have changed, those previously collected taxes should be returned. I urge you to tell PSO to return this over collection of taxes without delay.
Respectfully,[Your Name] [Your Address] [City, State ZIP]
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What better way to celebrate Singapore's 52nd year of independence than with a birthday toast? The Botanist Gin (a type of Islay gin) will be commemorating this special occasion with a tribute to the Singapore Sling, the national cocktail. Here's how it works: Five Singaporean bartenders from various bars will recreate their own version of the iconic gin-based drink. The best part? These cocktails are exclusively available at the respective bars this month:
True to its name, the bar features a retro-inspired interior with Khong Guan biscuit tins and Gold Cock Brand glass tumblers decorating the bar, making it a stand out amongst the other more expat-oriented ones along the Singapore River.
Name: Lion City
What the drink is: "The classic Singapore Sling, delicately refined with fresh and homemade ingredients, starring distinctly Singaporean flavours like pomelo and our national beer." – Edwin Poh
The ingredients: The Botanist gin, cointreau, homemade cherry cognac, pineapple shrub, fresh pomelo juice, homemade pomelo syrup, pomegranate seeds and Tiger beer.
60 Boat Quay, Tel: 65350838
With an industrial-chic interior made out of concrete and black painted metal, the bar focuses on creating modern interpretations of cocktails and foods.
Name: Culture of Singapore
What the drink is: "A spin to the Straits Sling, infused with symbols of our rich, multi-ethnic cultures and a nod to our history as a British colony. The cocktail is generously topped with pomegranate seeds that represent our tight but united population, and refreshing mint leaves that symbolize our constant innovation." – Boo Jing Heng
The ingredients: The Botanist gin, home blend earl grey, cassis, rose water, lemon juice, sugar, pomegranate seeds, mint leaves.
38 Seah Street, Tel: 6337 7355
You may also like: The All-New Lulu's Lounge in Pan Pacific is a Sophisticated Bar with Personality
This cosy, intimate bar serves up artisanal tipples with interesting names inspired by Singapore's history prior to its colonial times.
Name: SG52 Sling
What the drink is: "Tropical, refreshing, and made truly Singaporean with very familiar flavors from typical hawker fare like coconut, calamansi and kaffir lime leaves." – Panying Lee
The ingredients: The Botanist gin, cointreau, cherry liqueur, Benedictine D.O.M, spiced pineapple, lime juice, calamansi juice, Kaffir lime leaves, coconut soda.
10 Ann Siang Hill, Tel: 9389 9301
You may also like: The story behind why The Botanist, Islay's only gin, has won critical acclaim
If you're up for some unique cocktails and drinks (along with snacks), here's the place to be.
Name: Ong Lai Sling
What the drink is: "Ong Lai means 'pineapple' in Hokkien, and sounds similar to wang lai which means prosperity to come. This is the iconic Singapore Sling, blessed with the symbolism of good luck and prosperity from a popular local snack, pineapple tarts." – Jerrold Khoo
The ingredients: The Botanist gin, cointreau, cherry liqueur, Benedictine D.O.M, pineapple juice, pineapple tart syrup, fresh lime juice, Angostura bitters.
118 Telok Ayer Street, Tel: 6438 1836
Unlike many whisky-driven bars which have a more upscale and modern approach to its decor, The Flagship takes inspiration from an old-school American diner. None of the extravagant decorations, just raw brickwork walls, rustic timber benches and of course, tons of whisky bottles behind the counters.
Name: We Are Singapore!
What the drink is: "A twist to our iconic national cocktail with the nostalgic flavours from an old way of snacking on sweet pineapple slices mixed with chili tau yu (soy sauce)." – Jerrold Khoo
The ingredients: The Botanist gin, cointreau, cherry liqueur, Benedictine D.O.M, pineapple juice, chili padi, apple cider vinegar, Brewlander Hope summer ale.
20 Bukit Pasoh Road, tel: 9011 8304
You may also like: The Art of Appreciating Fine Whisky With Torquhil Campbell, The 13th Duke of Argyll
Story originally appeared on Female.


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"I have a dream that my four little children will one day live in a nation where they will not be judged by the color of their skin, but by the content of their character."
Martin Luther King, Jr.
"I Have a Dream Speech"
African American-themed cable network TV One will be showing the DNC Convention because Barack Obama is the candidate this year.
However, they won't be showing the Republican convention.
Live Feed and Drudge reported:
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Given Barack Obama's historic run for the Oval Office, African American-themed cable network TV One plans to break from its usual entertainment programming to provide extensive coverage of the Democratic National Convention in August.
"This is a huge deal for TV One as it is for the African American community," said Johnathan Rodgers, president and CEO of TV One, a channel in about 40 million homes. "African Americans have fallen in love with Barack Obama's family, his candidacy … we will be covering the democratic convention all the time."
TRENDING: Two Women Activists Hit by Car on I-5 Outside Seattle -- Suffer Serious Injuries After Hitting Windshield and Front Grill .....Video
But John McCain shouldn't expect the same treatment. The network doesn't plan any coverage of the Republican convention.
"We are not a news organization," said Rodgers, speaking at the opening session of the semi-annual Television Critics Association press tour in Beverly Hills. "We are a television network designed to celebrate African American achievement."
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"My audience is 93% black," Rogers added. "I serve my audience."
You've got to love the incredible double standard.