Wikipedia:Articles for creation/2006-07-22
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Dark Shell (OAV)
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Noticable is that the famed voice actor Noriaki Sugiyama makes a cameo as a whiny, cowardly rapist, much to the delight of Naruto fans. Sources[edit]Source: Anime News Network http://www.animenewsnetwork.com/encyclopedia/anime.php?id=4421
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Hustla
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Sean Webb
[edit]John Kilpatrick
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Blendering
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Tree Octopus
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Holy Name School
[edit]get money records
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Get Money Records
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bosque real country club is the country club of the mexican elite ,it serves as a golfcourse
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Joseph Arena
[edit]Kisaki
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Band History[edit]Kisaki is obstinate, if one band fails, he moves to another. Always the basist, normaly the leader. (In Japanese bands, the eldest is normaly made leader).
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Alice Greczyn
[edit]STAR Repair
[edit]XLH1
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Sources[edit]http://www.usa.canon.com/consumer/controller?act=ModelDetailAct&fcategoryid=165&modelid=12152
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XLH1
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Sources[edit]http://www.usa.canon.com/consumer/controller?act=ModelDetailAct&fcategoryid=165&modelid=12152
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Herongate Mall
[edit]RISCWATCH
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Target Monitor Debugging RISCWatch has the ability to communicate with target monitor software included in the PowerPC evaluation kit. This communication can take place via a serial (SLIP) or ethernet (TCP/IP) connection. RISCWatch fully supports code debug at both the C/C++ source and assembler levels. Run control functions allow stopping/starting the program, and the ability to restart the program while retaining the setting of current breakpoints and watchpoints. The program can be single-stepped by assembler or C/C++ source line. Function calls can either be stepped into or over as desired Sources[edit]PUBLISHED in IBM : RISCWATCH Details website: www.ibm.com(more Details)
P.Babuprasath
220.227.223.251 04:40, 21 July 2006 (UTC)
Graeme Bartlett 02:16, 4 December 2007 (UTC) |
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Matthew Leggett
[edit]NatalieBelieveMe
[edit]The Barringer Meteorite Crater
[edit]Sara Stanton: The Life and Times
[edit]Adi Soekardjo
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European University of Lefke / Lefke Avrupa Üniversitesi
[edit]chiselstone
[edit]Share of wallet
[edit]Hans Christian Korting
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Hans Christian Korting (*March 21, 1952, in Tübingen) is a German dermatologist and allergologist. Korting studied medicine at the Johannes-Gutenberg-Universität Mainz from 1970 to 1976. In 1977 he obtained his M.D. degree there. From 1977 to 1979 he was trained in medical microbiology at central medical services units of the German Army (Bundeswehr). He was trained as a dermatologist at the Department of Dermatology and Allergology of Ludwig-Maximilians-Universität in München (Germany). In 1985 he obtained his post-doctoral degree (Habilitation). He has been working there ever since, currently as a professor and Academic Director. The focus of his scientific activities is on the characterization of the development of localized fungal infections of the skin and related mucosal surfaces. He concentrates on secreted aspartic proteinases of Candida albicans as virulence factors and toll-like receptors as relevant mediators of the inflammatory host response. It is his prime concern to develop active pharmaceutical ingredients for the treatment and prevention of fungal infections reflecting the increased understanding of pathogenesis. Moreover, he is interested in the development of new biological drugs such as plasmin as well as small molecules which are capable of influencing inflammation in the context of signal transduction such as sphingosine-1-phosphate. He has been awarded several scientific prizes, among others he has obtained the Paul Gerson Unna-Preis of Deutsche Dermatologische Gesellschaft as well as the prize for promotion of research of Deutschsprachige Mykologische Gesellschaft.
Categories: Male, German, physician, scientist, born 1952 pubmed
Sources[edit]www.blackwellpublishing.com www.blackwell-synergy.com
84.153.219.211 08:55, 21 July 2006 (UTC)
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Austin Gatt
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Information about Austin Gatt, Minister for Investments, Industry and Information Technology, Malta is available on the Ministry website at http://www.miti.gov.mt/site/page.aspx?pageid=2.
Sources[edit]http://www.miti.gov.mt/site/page.aspx?pageid=2
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ayusman
[edit]Brandi Love
[edit]Purgatory
[edit]Decatone
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In the last year things have really taken off for Decatone. They were the stars of the 2005 Godiva Festival, the biggest free music festival in the West Midlands. They also developed a loyal fan base, and commanded huge respect with some electric performances at local universities. 2006 saw them beat over 100 bands to win the BBC’s G-Factor competition, receiving a massive 33% of the votes. As winners of the competition, Decatone play the main stage at the 2006 Godiva Festival [3] and have produced a funky music video with the BBC. [4] Next year sees them heading to sunnier shores to play at the Malta Jazz Festival. Decatone continue to grow, looking for management and a recording deal. Their status in the West Midlands continues to rise and they are spreading the funk further afield. 137.205.8.2 10:49, 21 July 2006 (UTC)
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To go on a bender
[edit]Loaded (video game)
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Loaded is a video game developed by Gremlin Interactive and released in 1996 for the Sony Playstation and the Sega Saturn. A sequel, ReLoaded, was released the same year? for the Sony Playstation. The game is an action game which features top-down gameplay, and several playable characters. All of which are convicted killers trying to escape from prison. Because of the games explicit bllod and gore it got an ESRB M rating. Sources[edit]http://www.gamefaqs.com/console/psx/data/572481.html
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Decatone
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In the last year things have really taken off for Decatone. They were the stars of the 2005 Godiva Festival, the biggest free music festival in the West Midlands. They also developed a loyal fan base, and commanded huge respect with some electric performances at local universities. 2006 saw them beat over 100 bands to win the BBC’s G-Factor competition, receiving a massive 33% of the votes. As winners of the competition, Decatone play the main stage at the 2006 Godiva Festival [7] and have produced a funky music video with the BBC. [8] Next year sees them heading to sunnier shores to play at the Malta Jazz Festival. Decatone continue to grow, looking for management and a recording deal. Their status in the West Midlands continues to rise and they are spreading the funk further afield. 137.205.8.2 11:24, 21 July 2006 (UTC)
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National Treasury Employees Union
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The revenue collection agency was re-organized as the Internal Revenue Service in 1952, NAECIR broadened its scope to include all IRS workers, and adopted a shorter name--the National Association of Internal Revenue Employees (NAIRE). In 1973, the same year as President Richard Nixon's scandal which led to his resignation in lieu of impeachment the NAECIR expanded again to include members throughout the Treasury Department, a huge agency with both police oversight and revenue and banking regulation duties. (Link to history of President Richard Nixon http://en.wikipedia.org/wiki/Richard_Nixon ) In this authors opinion, the NTEU syndicate and the syndicate within the federal government used Nixon's impeachment proceedings as a distraction and leverage in getting what they wanted, which was near complete control of the US Treasury Department. We call this tactic, the ultimate distraction, a Red Herring in the Communications field. Nixon's impeachment was a distraction and blackmail to get what the syndicate within wanted, in this former bank examiner's opinion. (Link to definition of Red Herring metaphor. http://en.wikipedia.org/wiki/Red_herring ) The organization's name was updated to the National Treasury Employees Union (NTEU) to reflect the change. In 1975, NTEU merged with the National Customs Service Association, thereby taking over the employee representation of yet another agency group in government, one in which the borders are allegedly protected and drug importing is allegedly regulated according to the whims of a democratically and judicially governed American people. That is a lie also as many people in the USA are disenfranchised from voting if they have felonies. The poor always get felonies at a higher percentage than the wealthy. For instance, Orange County California gives a felony for picking an orange from a grove, and Los Angeles County gives felonies for guns that are legally owned and in one's vehicle if they do not have authorization to carry it. Regardless of surrounding circumstances, as in th case of auditor and government informant, Kurt Brown, alias Saint Ram Bone. Once again in 1978, the NTEU expanded and employees of the Federal Communications Commission (FCC) were included in the NTEU's group membership. It is ironic because a few years later many movies were released to the public that seemed to openly promote drug usage, including cannabis and cocaine. CC Rider was one of the earliest movies in the early 1970's but Cheech and Chong and other movies that seemed to encourage drug usage soon followed and were approved of by the FCC in the late 1970's and early 1980's and the practice continues to this day. Today, local NTEU chapters operate in every state, Canada, the Virgin Islands, Puerto Rico, and the District of Columbia. NTEU currently represents employees in many agencies and sub-agencies, some of which are named below, including: Administration for Children and Families (ACF) Alcohol and Tobacco Tax and Trade Bureau (TTB) Bureau of Alcohol, Tobacco, and Firearms (ATF) Bureau of Engraving and Printing (BEP) Bureau of Public Debt (BPD) Department of Energy (DOE) Department of Health and Human Services (HHS) Department of Homeland Security -- Customs and Border Protection (CBP) Department of the Treasury Departmental Offices (TRS) Environmental Protection Agency (EPA) Farm Service Agency (FSA) Federal Communications Commission (FCC) Federal Deposit Insurance Corporation (FDIC) Federal Election Commission (FEC) Financial Management Services (FMS) Food and Drug Administration (FDA) Food and Nutrition Service (FNS) Health Resources and Services Administration (HRSA) Internal Revenue Service (IRS) National Center for Health Statistics (NCHS) National Credit Union Administration (NCUA) National Park Service (NPS) Nuclear Regulatory Commission (NRC) Office of Hearings And Appeals [of the Social Security Administration] (OHA) Office of the Comptroller of the Currency (OCC) Office of the Secretary and Administration on Aging (OS/AoA) Patent and Trademark Office (PTO) Program Support Center and Indian Health Service (PSC/IHS) Securities & Exchange Commission (SEC) Substance Abuse and Mental Health Services Administration (SAMHSA) Currently a move is underway by some to reduce the NTEU to a smaller size or to get reduce the union to its original membership as it was in 1937. In Canada, their federal agency unions are one agency per union, and no union represents two agencies, at least under the NUPGE. Thereby their union structure does not violate the rules against collusion. In auditing terms, collusion makes all audits irrelevant and unreliable. Canada has a similar union structure at their largest union which is somewhat alarming at CUPE, which is located at http://cupe.ca/bigpicture . Another union in Canada, the second largest is linked here and it seems to openly comply with obvious structurally boundaries that thwart collusion and the union is the NUPGE http://www.nupge.ca/aboutus.html It should be noted that a former bank examiner for the Federal Deposit Insurance Corporation in the USA posted the NTEU link originally. Kurt Brown, alias Saint Ram Bone. He was denied a guaranteed trial by jury after surviving an attempt on his life and was forcibly injected and incarcerated by federal officials for carrying a legal firearm. He was forced to sign papers through terror and injections and forced drugs and forced incarceration through a one million dollar bail, for having firearms and being asleep in his vehicle near the Los Angeles Veterans Administration graveyard in Westwood, on federal property, while towing his U-haul trailer. His attorney told him he could have a trial by jury at a later date if he signed a plea. That employee, myself, Kurt Brown alias Saint Ram Bone, was denied the trial by jury at a later date in 2004 and was denied entry into Canada in 2006, even after having the charges reduced to a misdemeanor without a trial. He wanted a trial by jury to dismiss all charges, but the USA government is corrupt and cowardly under the reigning regime in Los Angeles and Washington D.C.. Kurt Brown now says he has severe post traumatic stress and wants out of the United States and out of the reach of the NTEU and federal and state officials of the United States. The United States government has become corrupted due to collusion according to the former federal bank examiner for the Federal Deposit Insurance Corporation. It should be noted that a regional director for the FDIC allegedly committed suicide in his office in the early 1990's, alhtough many suspect foul play of some sort as the bank examiner was obviously astute in the regulation of banks in his assigned area of the West Coast of the USA and the Pacific Rim nations. Mobile Audit Club website was designed after the bank examiner Kurt Brown alias Saint Ram Bone was forcibly injected by the federal government and held on a federal facility in Los Angeles in 2001 and labeled as being insane and then jailed and incarcerated. He claims he was attacked on th highways in 2001 of the USA for reporting corruption at the FDIC and started carrying a gun, legally purchased, due to no response by authorities. He believed in the USA's lie in the constitution of the "Right to Bear Arms". He had let the replacement director of FDIC in 2001 on St. Valentines Day know that he was watching outside the FDIC San Francisco facility when the replacent FDIC director and another person walked by. The government in California later made Kurt Brown, alias Saint Ram Bone, live in California while his wife and family lived in Alabama. He claims he was attacked again in 2003 while on a three year formal probation. He had to tell government officials every time he travelled and where he was at at all times. No one responded after he reported being attacked on the second attempt on his life on the highways and he was continued to be forced to live in California and report his whereabouts at all times. He claims he was partially blinded by poisons while in exile by poisons that were blown into his window by a passing orchard spraying truck in Eureka California. Officials there say they do not allow spraying of that sort in the city limits of Eureka. Kurt Brown(myself) provided proof of the partial blindness to his probation officers. Currently Kurt Brown, alias Saint Ram Bone, is alive and fighting for the breakup of the National Treasury Employees Union. The former replacement FDIC director is no longer in San Francisco's FDIC office but Kurt suspects the syndicate or syndicates still exist and encourages people not to work for the federal government or the USA military, and if they do, to be very careful and form alliances that can be trusted. Mobile Audit Club is linked here. http://www.angelfire.com/zine2/democracyordeath/index.html
—--24.5.81.21 11:34, 21 July 2006 (UTC)--24.5.81.21 11:34, 21 July 2006 (UTC)=== Sources === The NTEU has a website at NTEU.ORG. Here is the link to the National Treasury Employees Union. A list of their agencies and history is linked here. http://www.nteu.org/NTEU/
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CupidMedia/ Scam Free dating & match sites
[edit]Adam Wilcox
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Adam Has won 8 major championship titles and has been racing since he was 8 years old.
Sources[edit]http://www.adamwilcox.com http://www.britishgt.com/driverbio.php?countkey=80
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LOLLU SABHA
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Sources[edit]THIS IS SHOW IS BIENG TELECAST ON VIJAY TV.IT IS A PART OF STAR NETWORK.PLEASE USE THE FOLLOWING LINK : http://vijay.indya.com/serials/lollusaba/about.html
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EYCA - European Youth Card Association
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Sources[edit]www.eyca.org http://www.euro26.si/en/ http://www.eyca.org/opencms/opencms/eyca_org/
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Saint Jude Catholic School
[edit]Boston Airport Shuttle Bus
[edit]Eanna Cullen
[edit]Sorensen Revolutionizes Music Theater
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Matthew Sorensen, class of 1993, has taken the world of musical theater by storm. Sorensen has written, directed and starred in many of his own plays such as: "Seven Proms in One Year", "Do You Know How Lucky You Are?", "The Many Adventures of Henry Hudson", and his most popular, "I'm Matt Sorensen Dammit!" Although none of his plays have made it to Broadway, yet, Sorensen remains hopeful that his break is coming soon. Sorensen currently resides in his mother's basement with his thirteen cats and complete Star Trek video collection.
Sources[edit]http://www.mtimusicalworlds.com/
166.66.177.146 13:43, 21 July 2006 (UTC)
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La Perla (clothing)
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Fire Camp
[edit]Matt Healy
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Matt Healy aka Matthew King from the well known British Soap Opera "Emmerdale" joined the show in 2004. The soaps business man is currently married to co-star Emily Symons who plays Louise Appleton in the soap, they married in January 2006.
Sources[edit]http://www.itv.com/page.asp?partid=3689
83.70.64.136 14:49, 21 July 2006 (UTC)
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Vincent Libretti
[edit]Pete
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Last house on dead end street was a notorious, very low budget & much sought after exploitation 1973 B-movie.For many years the film was extremely rare recieving only a very limited sun video release in the 1980's.The film was published around a few grindhouse cinemas in 1977 & originally ran for 175 minutes but only 78 minutes of those are availible today on the DVD special edition barrel entertainment re-release.The plot concerns a low life pornographer bored with making regular sex films & wanting to give the audience more.He kidnaps several people (including some ex-acossiate film producers) & proceeds to murder them viciously on camera with a few friends.This is perhaps the first film storyline to be about 'snuff' movies.The perpatrators of the storyline are caught in the end according to a final caption. The film directors identity was not released untill 2000 in which a man named roger michael watkins claimed he was working under the false identity of victor janos(and many other false i.ds) & had directed several pornos before quitting the movie industry altogether.The film is now widely available after many years of mystery.
Sources[edit]www.imdb.co.uk
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Bill Lederer
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Flamevault
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Sources[edit]http://www.flamevault.com http://www.urbandictionary.com/define.php?term=flamevault http://www.googlism.com/where_is/f/flamevault/ http://blog.mitja.ws/?p=182 http://dev.encyclopediadamatica.com/index.php/Critias 162.83.94.17 15:19, 21 July 2006 (UTC)
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Anne Hutchinson
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She soon became leader of a small group that met weekly for religious discussion. Believing that the "person of the Holy Spirit dwells in a justified person," Hutchinson challenged the basic conviction of the Puritan commonwealth, namely, that God's will can be discovered only through the Bible. She carried the concepts of God's power and humankind's weakness in an unorthodox direction by insisting that humanity's justification could not be determined by signs of its sanctification—an interpretation that the Puritans believed to be a form of nihilism. She stirred the colony when she hinted that all clergymen, except Cotton and her brother-in-law, John Wheelwright, were under the covenant of works (that is, not among the Elect) and therefore could not preach the covenant of grace. By 1637 Massachusetts was divided into two hostile camps. Gov. John Winthrop, along with the majority of the clergymen, interpreted Hutchinson's influence as a threat to the colony, and she was brought to trial before the General Court. The record indicates that the verdict was rigged before due process began. The record also reveals a brilliant woman who was able to hold her own against New England leaders. What finally destroyed her case was testimony in which she tried to justify herself by describing divine revelations. She was finally excommunicated and banished in 1637. She moved to Rhode Island, to Long Island, and then to Pelham Bay, where she and all but one of her household were massacred by Native Americans in August or September 1643. Sources[edit]James H. Smylie Union Theological Seminary 70.179.78.60 15:19, 21 July 2006 (UTC)
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piloncitos
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Sources[edit]Central Bank of the Philippines-Money museum
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democratic unionist party in sudan
[edit]Phoenix-Cantafabule
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"Cantafabule" from romanian band Phoenix it is an concept album, a rock-opera released in the year 1975 in Romania. Premises[edit]The band was formed in 1962 in the cosmopolitan city of Timisoara. In their beginings they permormed for the working class in places that were not designed for these kind of activity. Their first album was released in and 1969 called "Vremuri" ("Times"). In those years Romania was supressed by a crule regime-the comunism. The leder was at that time Nicolae Ceausescu. The comunism authorityes didn't allowed the the human right of the free expresion, so phoenix was in big trouble. In 1970, Ceausescu, returned from an diplomatic journey, made the decision to forbidden the import of western culture in Romania. The sources of inspiration had to be romanian folk-culture, romanian history and nature. This seamed to be a dezastruos measure but actually it was a really benefic thing for Phoenix. Nicolae Covaci started to dig into romanian folklore and discovered some nice things that could be mixed with rock elements. Concept[edit]This album is a rock-opera. The theme is inspired by a romanian old-book "Istorie ieroglifica" ("Cripted History") by writer and leadership of Moldavia in 1711 Dimitrie Cnatemir. This book uses the old tehnique of alegory. True historycal figures are "dressed" in animals. Phoenix took the ideea. The album is practicaly a "dance' of mithological creatures that apear separatly in the stage,; every song is dedicated to one of those creatures. Track listing[edit]
193.231.136.135 15:54, 21 July 2006 (UTC)
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Tiny Toons
[edit](Copy of {Weasel}, {unreferenced} and infobox from Tiny Toon Adventures snipped. --Geniac 12:54, 29 August 2006 (UTC))
— Preceding unsigned comment added by Johnson 124981 (talk • contribs) 12:03, July 21, 2006
Aaron Aulsebrook-Walker
[edit]Aaron Aulsebrook-Walker(charlie holyland) is an actor in neighbours.He is stephanie holyland's son.
— Preceding unsigned comment added by 82.42.41.13 (talk • contribs) 12:11, July 21, 2006
- Declined. Attempt to recreate deleted article. See Wikipedia:Articles for deletion/Aaron Aulsebrook-Walker. --Geniac 12:54, 29 August 2006 (UTC)
Shiekh Babiker Badri
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Frank Edwin Wright III (aka: Tré Cool)
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FULL NAME : Frank Edwin Wright III Frank Edwin Wright III was born December 9, 1972 in Frankfurt, Germany, making him the youngest member of Green Day. He lived in the Mendocino mountains, California with his dad and his 2 older siblings. His dad, a helicopter pilot in Vietnam, decided the move the family there to insulate them upon his return to the United States. Tre's closest neighbor was none other than Lookout! Records owner Lawrence Livermore, who also owned the punk band the Lookouts. At age 12, Livermore recruited Tre to join The Lookouts, and that's when Livermore gave him the name of Tre Cool (which means Very Cool in French). After Green Day's first tour around the country (following the release of 39/Smooth), John Kiffmeyer decided to leave Green Day. Looking no farther than Gilman Street, Billie Joe and Mike recruited Tre, who was already a 5 year veteran of the Gilman Street scene. Tre decided to drop out of high school his sophmore year. However, he did pass an equivalency test and earned his GED, and he even began taking classes at a nearby community college. He had to drop out of college however, when the demands of Green Day's touring intensified. Tre's father, who owns a small trucking company, overhauled a used bookmobile, and even served as the driver on three seperate tours. "I watched them go from a bunch of kids to a group of musicians with work ethic," says Tre's father, Frank Wright. "On their first tour or two, it was more of a party than anything else. I still scratch my head and say, 'How in the hell did they make it?' They used to practice in my living room here -- a lot of the songs they did on Dookie. You hear it coming together, and you don't expect people are going to go out and buy it. But when it does, you just say, 'Wow, that's so cool.'" (Rolling Stone, January 26, 1995) Tre had a daughter named Ramona in January of 1995, then he married his long time girlfriend Lisea Lyons in March. Him and Lisea are divorced now, but Tre remarried in May of 2000, to Claudia. Claudia and him have a son named Frankito, which means "Little Frank". Tre and Claudia divorced in 2003, but they still live together with Frankito in Oakland, California. Recently, Tre has been linked to Donna C., drummer of The Donnas, however they are no longer together. — Preceding unsigned comment added by 138.162.140.45 (talk • contribs) 12:30, July 21, 2006
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Reverse/Male Harem Anime
[edit]The Lift (band)
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The Lift is a pop-funk-rock college band started at Siena College in Loudonville, New York. Its memebers include Mike Kelly, James Tumulty, Matt Restivo, and Dennis Kelly (Mike's twin brother).
The group released an independant CD entitled "Once" in 2006 which contains the following songs:
They also have several unrecorded tracks entitled:
Sources[edit]www.theliftband.com 204.115.33.49 17:14, 21 July 2006 (UTC) {{Infobox Website/With_logo |websitelogo = [[:Image:Compete_People_Logo_2.gif]] |websitename = toolbar.compete.com |screenshot = [[:Image:Compete_Toolbar_Website.png|200px|toolbar.compete.com main page]] |commercial = Yes |type = Statistics & Community |reg = Free |owner = Compete, Inc. |author = Communal }}
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Complete toolbar
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The Compete Toolbar provides users with useful information about websites, so users can be informed about the site before they begin using it. The Compete Toolbar automatically creates three alerts – Trust Score, Site Profile, and Deal Light – that provide a “SnapShot” of the site. Every time a user visits a new site the toolbar provides users with a SnapShot of the site to let users know (i) is it a safe site? (ii) how many people visit the site and (iii) if there are any deals that can save them money. Compete online metrics are leveraged by some of the largest companies in the US and often cited in national and industry publications like USA Today, Wall Street Journal and The New York Times. Features[edit]
Milestones[edit]
Partners[edit]External links[edit]Also see[edit]
Investors[edit]
Source: Compete, Inc Category:2000 establishments
Category:Virtual communities
Category:Web 2.0
Category:Social networking
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Yves Nadeau
[edit]Colico
[edit]
Damascus Blood Libel
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Headline article should redirect to Damascus Affair article. Sources[edit]http://en.wikipedia.org/wiki/Damascus_Affair (a very reputable site!)
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200.199.34.37 17:42, 21 July 2006 (UTC)
Emil Quincy Brown
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This request for creation has been reviewed. The reviewer comments appear below the article text.
If you want to make changes and try again, copy and paste your article into a new submission and make your changes there. Emil Quincy Brown is a professional baseball player for the Kansas City Royals. He was drafted by the Oakland A's in the sixth round of the 1994 draft. He is a career .250 hitter, but in his first year with the Royals in 2005, hit .286 and had a .455 slugging percentage. He is making 355,000 dollars for the 2006 year. One of his trademarks since joining the Royals has been a play-on-words often flashed on the scoreboard after an Emil Brown hit. It reads, "Not a Snack, but EMIL!."
Sources[edit]baseball-reference.com
69.76.187.34 17:51, 21 July 2006 (UTC)
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Millennium Dreamers
[edit]Grenslandhallen
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The Grenslandhallen in Hasselt, Belgium is one of the biggest event complexes in the BENELUX. The first halls were built in 1983. In 2002 one of the first halls has been transformed in a congres theatre for musicals, concerts, ... up to 5000 people. In 2004 the complex has been extended with the "Ethias Arena", the biggest arena in Belgium. In the end of 2005, Plopsa Indoor Hasselt openend next to the Grenslandhallen. Plopsa Indoor Hasselt is an indoor attraction park for children. Grenslandhallen/Ethias Arena
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The Lift
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The Lift is a band centered in Northern Jersey, who has established a devoted fan base in the New York area. Three of the four members attend Siena College in Albany, NY. The quartet consists of Michael Kelly the lead singer, Matt Restivo playing bass, James Tumulty playing keys, and Dennis Kelly on drums. Their sound encorporates the format of a pop sound, while fusing funk and jam in the mix as well. A full bio can be found at thier website; [[12]]
History[edit]The Early Days: Mike, Matt, and James came together in 2003, meeting in the comfy confines of the first floor, east wing of Ryan Hall. Originally, they formed an acoustic trio and called themselves Elastic. They were a cover band who would play at open-mic like events on campus, host late night jam sessions in the residence quad, and even made a couple of appearances at El Dorados bar in Troy. Having a small following on campus, they left their freshman year wondering what the next year had in store. Although each member of the band played Guitar, Piano and Bass, they each respectively choose their strength, and developed musically over that summer. Matt learned Bass, James took over duties on Keyboards, and Mike remained the lead singer and guitarist. The return to Siena and mix of new instruments sparked a new light for the soon to be band. It wasn't until November of 2004 that Mike came up with the first original idea for this band. Shortly thereafter came their first hit, Pretty Sand. The original songs just kept coming and coming, and the people exposed to the music seemed to be more and more impressed. It was around March when they decided on the 'short and sweet' name, The Lift. Breast Cancer Diagnosis: Around this time, the Ramsey natives received word that the mother of their close friend, (Cindy Foy), was diagnosed with breast cancer. The diagnosis hit home for the band, as Matt's grandmother and aunt were both treated for breast cancer back in 1998. Realizing that both their friend and their mother needed support, the band looked for ways they could help out. They decided to record and sell CDs for a $5 donation to the Breast Cancer organization called CRAAB. Teaming up with the Women’s Center, they planned the “Concert in the Quad” for early April to culminate the fundraiser and total the sales. The Demo & Concert in the Quad: Spring break came quickly and the band found themselves with six solid songs. From March on out, Mike’s twin brother Dennis joined in on drums. They decided to set up their own recording equipment, and spend their spring break recording and producing. In a mere five days, the band was able to record, and make over 250 CDs, all from scratch. When they arrived back at school, the band went door to door in dorm to dorm, selling their self produced demos for a $5 donation. The Women’s Center offered to match the funds that the band raised. From the last two weeks in March and first week in April, the band was able to raise over $1050, allotting for a grand total donation of over $2100 to CRAAB. The Concert in the Quad was a huge success, with over two hours of music, an information table on how students can help (set up by the Women’s Center), and free hot dogs while they lasted, it was obvious all who attended had a blast. Finishing the tracks: Although they had finished their shows for the semester, that did not stop the writing of new original songs. Before Mike, Matt and James left for their study abroad programs in June, the band had completed 9 tracks thus far, not quite enough for a full album. At the end of June, Matt and Mike left for Buenos Aires, Argentina, and shortly after James left for Belize. Although not able to truly communicate in Spanish, one of the first things that Mike and Matt did was purchase guitars. They would also rent piano rehearsal rooms where they could brush up on their piano skills. It would be in Argentina where the final four tracks for the soon to be new album would be finished. Their single Black Coffee, and fan favorite The Only Thing were both finished in la casa de Maria in Argentina. Arriving back home, the band had their eyes set on one thing, the studio. Recording: January arrived and the time came to record all of the old six over again, while adding the 7 new tracks. They arrived at Siena a week early, and stayed with their friends when they needed to sleep. Their producer, Chris Stein, had previously attended some rehearsals and both he and the band were anxious to get to work. They recorded almost the entire album in about six days. Although the bulk of the recording was completed, it would be some time before the final product was ready to be sent out. The vocals and smaller parts were completed over the next month. The months of March and April were spent mixing the record. In April, the band was a huge hit at the local favorite, The Landing Zone, where the owner said, “The Lift was the best thing that The Landing Zone has ever done.” Throughout these months, the band worked on the Album Art and other minor details so that the album could be replicated as fast as possible. The music for Once was finally completely mixed down and ready for the next step in mid April. Opening for Lifehouse: The Lift’s next live appearance was at Siena’s battle of the bands called Musical Mayhem on the Friday Night of Siena-Fest. Having received first place, they also got the opportunity to open for Lifehouse the next night. The band woke up at 7AM that morning to meet at the ARC and take care of some set up stuff. After that, Mike and Matt traveled to Saratoga to meet with the person who was going to be mastering their album, Larry DeVivo. Larry is well known in the music business, having toured with the Allman Brothers, and mastered the record of the 90s hit band, the Spin Doctors. The Saratoga native began mastering the album that day, as the band prepared for their first show on the big stage. They took the stage that night at 8PM, and nailed their set in front of over 900 people. The band was honored to be featured on the front page of Siena’s newspaper, The Promethean, about a week or so later. Once debuts!: After the album was picked up from Larry, the band sent it and all of the necessary art work to a company called Discmakers where over 1,000 copies were to be replicated. This process took about three weeks, and was completed on June 2, 2006. The album was released that day and has since been sold all over the world. The band realized that they had to play shows all summer both to pay off and promote the album. They managed to rack up a 15 date summer tour schedule touring all of New York and New Jersey, including some of the most famous New York City venues such as The Knitting Factory, Coda, The Lion’s Den, and others. Currently: The band is working on promoting their new album, and focused on progressing as a band. They have recently sent out press kits to over 75 radio stations in New York, New Jersey, Massachusetts, and have already gotten airplay from Boston College’s radio station. They will wrap up their summer tour on September 2nd and head back to Siena with a fall tour in the making and a whole new freshman class to play for.
Sources[edit]70.23.132.234 18:31, 21 July 2006 (UTC)
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khurrianwala
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If you want to make changes and try again, copy and paste your article into a new submission and make your changes there. khurrianwala Khurrianwala is an industrial state and it is situated on Faisalabad-Sheikhupura express-way.It is 15 km from M3.It is 5 km from Lathianwala toll plaza.Gatwala park is 7 km from khurrianwala.UET faisalabad campus is 5 km on faisalabad bypass.
Sources[edit]www.faisalabad.gov.pk 202.163.81.98 18:33, 21 July 2006 (UTC)
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Crime Protest Website South Africa
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The purpose of the site is to pressurize government and to unite South Africans in a massive protest campaign against crime. The creators of the site hope to get enough public support to make a lasting and sustainable impression on government, now and after 2010, when the Soccer World Cup tournament will be hosted in South Africa. The government's denial of the crime crisis in South Africa, as well as the explosion of crime since 1994 have led to the creation of the web site. It is time that everyone is made aware of the extent of the crime problem and that the residents of South Africa unite against government's inability to address it. According to the creators of the site, they intend to implement functionalities to truly attempt to curb crime and to find solutions to current problems. Other web sites, magazines and newspapers are encouraged to place the black band against crime on their web sites and publications to indicate their support for the protest against crime in South Africa. The band also serves as a link to the protest's web site. The code to implement the black band is available on www.crimeprotest.co.za [14] under the link “Black Band”. Sources[edit]
198.54.202.82 18:34, 21 July 2006 (UTC)
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Riemenschneider Bach Institute
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The Riemenschneider Bach Institute (RBI) contains original manuscript and early editions of priceless Bach-related manuscripts. It also publishes BACH: Journal of the Riemenschneider Bach Institute, a journal with subscribers in approximately 30 countries. BACH is a peer-reviewed journal which features articles written by international Bach scholars. Facilities include a reading room (with a piano), a library, vault (for the manuscripts and rare books), staff areas, and a listening station. The Martha Goldsworthy Arnold Fellowship is offered for resident scholars. To inquire about the Fellowships, contact bachinst@bw.edu. The RBI is directed by Dr. Melvin Unger. For more information go to http://www.bw.edu/academics/libraries/bach.
Sources[edit]http://www.bw.edu/academics/libraries/bach.
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Ruth Hildegard Geyer-Raack
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Ruth Hildegard Geyer-Raack Ruth Hildegard Geyer-Raack (16 June 1894 in Nordhausen, 19 March 1975 in Berlin) was a German designer, architect, artist and author who had a significant impact on interior design in the postwar period through the very successful book Möbel und Raum (1955) which she wrote with another designer called Sibylle Geyer. Of the two designers, the name of Geyer-Raack is perhaps better known, even though her achievements are mostly unrecognized and undocumented. Because of the paucity of information about Sibylle Geyer, this piece concentrates on Ruth Geyer-Raack. Regrettably, no book, monograph, article, or other kind of study, has been written about either of these designers, and biographical information about them in the public domain ranges from the minimal to the non-existent; in the context of the Internet, only Professor Jutta Beder's Lexikon der Textildesigner 1950-2000 carries biographical material, and this is limited in its scope owing to the specialist nature of the lexicon. The interior design classic Möbel und Raum has occasionally featured in design histories of the 1950s in Germany, but these are virtually the only references to this book and its authors. This silence is symptomatic of the neglect of women designers which characterized the whole period of the Cold War (1945-1989). The most radical thing to be done with the excluded is also the easiest thing to be done, namely, include them. Education and training[edit]Geyer-Raack's education was broad, for she studied variously in Weimar, Berlin, and Paris. Although city-hopping women students of the arts were common enough in the second half of the twentieth century, they were quite rare in the 1920s. In Weimar, she attended some of the design workshops organized by the Bauhaus (1920-1921). In Berlin, she was a student of the architect and designer Bruno Paul (1874-1968), firstly at the Unterrichtsanstalt des Kunstgewerbemuseums Berlin (the educational wing of the Museum of Decorative Arts) where Paul was the Director, and then at the1924-founded Vereinigten Staatsschulen für freie und angewandte Kunst (College of Arts and Crafts), where he was also the Director (1924-1933). Other notable students of Paul at this time were Ludwig Mies van der Rohe, Adolf Meyer, and Kem Weber. Geyer-Raack also made study trips to Paris at various times during the 1920s and 1930s. Early in her career, she had a special interest in large wall murals for private and public buildings, an interest which no doubt confirmed her belief that the living areas we occupy are not just spaces to be filled with furniture and fittings, but as she herself says, 'living organisms'. This notion had been a Bauhaus orthodoxy, but it is quite clear from the short introductory essay in her book entitled 'Beweglich Wohnen' ('Adaptable Living') that she understood it in a far less doctrinaire manner. Geyer-Raack was democratizing certain aspects of Modernism in architecture and design, much as Paul himself had done with his interest in mass-produced furniture. The Modernist movement in architecture and design is generally thought of today as operating under the rubrics of 'form follows function' or 'functionalism'; it was particularly associated with the Bauhaus, which uncritically adopted the prescriptive injunction 'ornament is a crime' derived from a 1908 essay by the Austrian architect Adolf Loos. However, the original Bauhaus designers would have had nightmares at the sight of some of the popular-style furniture which appears alongside the 'designer' pieces by Max Bill and Arne Jacobsen in this book. Geyer-Raack used her education well, both as a designer and as a communicator of design ideas. Her understanding of furniture design as a compromise between ideal form and decoration was similar to that reached by the Irish designer and architect Eileen Gray (1878-1976), who was a contemporary of hers. Both women had been educated in the sphere of arts and crafts, and both had spent time in Paris in the 1920s; they both attempted to give the austere face of Modernist design a more human look. In this sense, their respective designs, and ideas about design, contributed to the nemesis of Modernism, but also to the twentieth century culture of design.
Historical Context[edit]If any German was planning a career in design in the first decades of the twentieth century, then Bruno Paul was probably the best mentor to choose. He was the most influential designer and educator of his generation in Germany, which was at that time more certainly the home of design than any other country in Europe. However, Paul was far from being a doctrinaire Modernist; to be sure, he opposed period styles, but at the same time he was responsible for the development of Typenmöbel (standardized furniture), the precursor of industrially produced furniture. Geyer-Raack was assuredly one of his more promising protégés: as early as 1924, she had opened her own design studio in Berlin, producing fabric and wallpaper designs for such companies as DeWeTex and Rasch Tapeten. She was one of the first practising women designers of the twentieth century, along with Eva Zeisel, Lilly Reich, Tea Ernst, Charlotte Perriand, Maggy Rouff and Eileen Gray. Viewing the history of design as a succession of such patriarchal figures as Christian Dior, Raymond Loewy and Wilhelm Wagenfeld rather obscures the fact that a considerable portion of this history comprises the work of women. At about the same time as the authors of Möbel und Raum were producing their work, Margarete Richter had written Gestalteter Raum. Bilder aus Häusern und Gärten (Wasmuth Verlag, Tübingen, 1949), and Raumschaffen unserer Zeit. Neue Bilder aus Häusern und Gärten (Wasmuth Verlag, Tübingen, 1953); Erika Brödner had written Modernes Wohnen (Hermann Rinn, München, 1954); and Herta Maria Witzemann had also written Deutsche Möbel Heute (Kleine Verlagsgesellschaft, Stuttgart, 1954). Geyer-Raack, like her contemporary Wagenfeld, also worked in the sphere of furniture design. Her mid-1950s designs for the famous Galerie Bremer in Berlin were some of her more memorable achievements. In particular, her spindly, cocktail-cherry standard lamps from this period deserve a mention (some of these designs can be seen in Möbel und Raum). Furniture design was a hot subject in 1955, the year in which Bauwelt also published Gustav Hassenflug's Sitzmöbel in Konstruktion und Form. But Geyer-Raack was both a designer and a design communicator, as her organizing work in the early 1930s for exhibitions of contemporary interior design in Cologne demonstrate. For example, she edited the official catalogue for the 1931 Internationale Raumausstellung (Ideal Home Exhibition) that was held in the Zeppelinhaus in Cologne. It was through such exhibitions in major European cities that the design culture of the twentieth century was created. This dimension of design history is often taken for granted, or ignored altogether; the unexpressed assumption of a great many design historians is that the modern world somehow sprang unaided from Raymond Loewy's drawing board. Geyer-Raack's book gives the lie to this understanding of design history, for it was essentially an exercise in design communication. A whole generation of writers and journalists passed on its message through lifestyle magazines like Westermanns Monatshefte, Film und Frau, Das Schönste and Architektur und Wohnen. After Möbel und Raum, expressions such as 'adaptable living' entered the vernacular of journalism, and thus impacted on public consciousness. The true historical significance of Möbel und Raum lies in the fact that one cannot speak of postwar German developments in interior design at all without calling attention to the historical underpinning provided by this book. Geyer-Raack was a member of the Berufsverband Bildender Künstler Berlins (Professional Association of Berlin Artists)1946-1975. But more important than these formal associations is the obvious fact that she was 'out there' designing things at a time when the existence of women in this role was scarcely acknowledged at all.
Creator of the 'Fifties Style' in Germany[edit]Möbel und Raum was published by the Berlin-based Bauwelt Verlag, a division of Ullstein. There is no one-word equivalent of the German word Raum in English, so the title translates as something like 'Furniture and Living Space', or more boldly 'Furniture and Design Space'. The book virtually invented the idea of a 'Fifties Style' in interior design. It rapidly went through a number of editions, and should properly be thought of as one of the more important documents relating to the history of postwar design in Germany. In 1957, Möbel und Raum appeared in a Dutch translation with the title Mooier wonen (Moussault's Uitgeverij, Bussum, trans. Jan Castens), but it was never issued in an English-language edition. Such books were among the first to emphasize the distinctiveness of a 1950s-look, and Geyer-Raack's was a spectacularly comprehensive celebration of the Fifties Style. Moreover, it did this a good thirty years before the nostalgia-hungry generation of baby-boomers decided to repeat the exercise in the 1980s with all those coffee-table books evoking the 'Fifties Style in euphoric tones. For Geyer-Raack, the characteristic style of the postwar periodwas in reality a multiplicity of style possibilities, rather than one monolithic trend; but perhaps more importantly, it was a style which acknowledged the human dimension by the inclusion of Gemütlichkeit ('homeliness', or 'cosiness'), a concept which had been the bete noire of nearly all design theory up to this point. It might be taken as a given that furry dressing-table stools, zebra-striped easy chairs and framed pussy cat prints which are included in Möbel und Raum played no role in the evolution of the Bauhaus aesthetic. This book affirms that our designed interiors are extensions of ourselves, not of some rule book on design theory. Going in the opposite direction to Le Corbusier's 'Athens Charter' on architecture and urban planning (1933), Geyer-Raack's advice on the designed interior was to begin with the human dimension.
Möbel und Raum – the book[edit]Geyer-Raack's book offers a fully international treatment of interior design through its presentation of over 230 photographs of room settings; it documents the work of over 100 architects and designers from this period, and therefore might be thought of as an early 'Who's Who' of postwar design trends. Although it resorts to the convention of featuring the work of individual designers, it does not provide dreadful 'designer biographies' which seem to infect the pages of design books like some self-perpetuating virus. It is for this reason that the furniture items which are presented within its pages are not exclusively of the designer variety, for some are simply described as being made by a particular manufacturer (list of manufacturers at the back of the book). Needless to say, it includes examples of her own design work (see pages 16, 22, 26, 58, 67, 71, 72 and 76). Möbel und Raum was documenting the 'contemporary' and 'popular' styles in furniture and interior design as they were being created at that time. However, it also seems to break down these rigid categories, by the simple strategy of ignoring them; in this sense, it is more of a 'postmodern' evocation of stylistic plurality, rather than a mantra on design conformity. In terms of its graphic art alone,its cover design sets this book apart from others of its kind. As every graphic artist, marketing manager and bookseller knows, books should always be judged by their covers. Because of its eye-catching front cover, Geyer-Raack's book had a good start in life. What is true of the cover of Möbel und Raum is also true of its publisher, namely the 'Bauwelt Verlag der Ullstein AG'. This publishing house had been one of the most innovative in the sphere of building construction and design history in the first half of the twentieth century: Bauwelt published Eugen G. Schmohl's Ein Industriebau in 1927, the book which documented the construction of the first reinforced concrete frame building in Germany, the famous 'Ullsteinhaus' in Berlin; it also published Professor Ernst Neufert's phenomenally successful Bau-Entwurfslehre which stepped forth in 1936 (still in print in 2005, after 38 editions). The Bauwelt concern documented some of the more important aspects of the Modernist revolution in architecture and design.
Ideas about interior design[edit]The short introductory essay contained in 'Möbel und Raum' contains a number of insights which were important for that time, and which reveal that the authors had understood well both the new role which furniture was acquiring in the postwar situation and the crucial relationship between interior design and lived experience. Already noted is the non-elitist idea that design and popular decoration can happily co-exist, almost complimenting each other; hence the presence in this book of highbrow designer furniture and asymmetrical coffee tables which proudly boast their plastic laminate surfaces. Fear of popular style and decoration is completely absent. Indeed, a conspicuous feature of the room settings shown is the existence in these rooms of all the ornaments and knick-knacks which everybody loves to put in them, along with the cheap art prints hanging on walls. The overall philosophy of Möbel und Raum was design pragmatism, not design orthodoxy. The basic approach of this book was far removed from the theories of interior design which had earlier been advocated by the Bauhaus school, theories which were commonly held then, and which could be found far beyond the sphere of this school's sphere of influence. This might not sound like much of a revolution in interior design, but was precisely that. Earlier American books on interior design such as Mary Harrod Northend's The Art of Home Decoration (Dodd, Mead & Company, New York, 1921) and Bernard C. Jakway's The Principles of Interior Decoration (Macmillan, New York, 1922) exhibited a mistrust of mere decoration, popular ornament and period style; indeed, the latter work assumed that absolute 'principles' of design should govern the creation of living spaces, not popular influences. These prejudices are absent from Möbel und Raum, which advocates a more inclusive approach to interior design. Also found in Möbel und Raum is the fundamental perception that because design itself is fully international, the role of tradition in a specific cultural context is severely diminished, if not finished altogether. In a word, you can't have 'German' furniture any more because this is too much of a restriction on the changed nature of the home as an adaptable living environment. Florence Knoll had of course reached similar conclusions somewhat earlier, for one of the first changes she introduced into the design repertoire of Hans Knoll when she entered the firm in 1943 was to advocate a more 'international style'. As well as popularizing the ideas of Bauhaus, Geyer-Raack was consciously revising them in the right direction. This is no more apparent than in a passage in the introductory essay where it is suggested that the main determinant of what people put in their homes is not 'design' at all, but the changed nature of life itself in the postwar world; living spaces require adaptable furniture and fittings because we are finally free from the constraints of tradition altogether, finally free of the three-piece suite in the lounge, and the dining table and chairs in the living room (there is in fact no section of this book specifically about the 'living room'). Moreover, everything is coming up 'international'. According to the authors of Möbel und Raum, the modern lifestyle is more obviously informal, and there are therefore no fixed ideas about the designed nature of any living space; not that some of the rules have gone, but that all the rules have gone – including those of the Bauhaus. Moreover, the claims of popular decoration are just as valid as those of any other design impulse. In retrospect, Möbel und Raum almost amounts to a refutation of the whole Bauhaus aesthetic and its replacement by a more flexible understanding of the roles of design and decoration. Its ideas about design anticipate in no small measure the later revolution in thought and manners which went by the name of 'Pop Art'; indeed, Geyer-Raack seems to put the very question about modern living later posed in more artistic terms by the artist Richard Hamilton in his collage 'Just What is it that Makes Today's Homes So Different, So Appealing?' (1956).
Women as design communicators[edit]The postwar years were a transitional period between Modernist design and the complete abolition of this elitist design culture which came about through Pop Art itself. The role of women in all this has of course been underestimated. A good argument could be made for the thesis that throughout the whole history of design in the twentieth century, it was women as the transmitters of design ideas, rather than men as mere designers, who were the real creators of this century's design culture. Everybody recalls Dior's 'New Look', but ignores the staggering detail that it was a woman journalist by the name of Carmel Snow of Harper's Bazaar who was actually responsible for launching Dior's Haute Couture collection into the wider world of mid-century media attention. Everything needs to be communicated in some way, as Marshall McLuhan might have said. Given the example of such designers as Geyer-Raack, the broader question of the role of women in the emerging design culture of the twentieth century naturally presents itself. But what exactly was this role, in design, and also in the broader sphere of cultural mediation? The answer is perhaps more radical than mainstream design historians could have imagined, for it does rather seem that women played a quite central part in the creation of both the design itself, and the more important knowledge-based industries which this culture refers to. Indeed, it could be suggested that at least since the middle of the nineteenth century, it was women craft workers and authors who pioneered the 'information revolution', although it is often assumed that this only came into existence with the dawning of mass media and computers. The unrestrained hyperbole which currently connects the arrival of the Information Age only to the emergence of home computers and the Internet is deeply ahistorical. The historical record is quite clear and unequivocal on the following point: the individuals who first signalled the transition from productivity to creativity, and from the production of things to the production of ideas about things, were mostly women. In retrospect, there is nothing surprising about this development. During the nineteenth century, women had little economic power or freedom, so they were the first group to discover the value of selling knowledge itself – knowledge about anything and everything from cookery to handicrafts, and from home management to home decoration. Because of this, they were well placed to be the mediators of all forms of cultural transmitted knowledge once the media age had arrived.
Design history implications[edit]Did the 'information society' arrive in the 1980s, or the 1880s? Without doubt, it was the latter, and a crucially important book which documents this fact is Thérèse de Dillmont's Encyklopädie der weiblichen Handarbeiten (Encyclopedia of Handicrafts), which was first published in 1880s by the author herself (Th. de Dillmont, Dornach, Alsace, 1886), and which had sold over one and a half million copies by the time Möbel und Raum was published. The Encyclopedia was translated into seventeen languages, and is still in print today; in fact, the manufacturing company with which de Dillmont was associated opened shops bearing her name in Paris, Berlin, London and Vienna in the late 1880s. Surely, the Encyclopedia of Handicrafts, together with the earlier books Isabella Mary Beeton (The Book of Household Management, 1861) and Catherine E. Beecher and Harriet Beecher Stowe (The American Woman's Home,1869), marked the true beginnings of the information revolution, together with the first recorded international designer label in history! Historically speaking, women, not men, were the pioneers of producing and communicating culturally useful knowledge. The life and work of Geyer-Raack is just one more chapter in this fascinating, and mostly unwritten, history. A pressing task is to retrieve the voices of all these women designers, authors and journalists, voices that have been silenced by the louder sounds of mainstream design histories.
Conclusion[edit]The period after the Second World War witnessed the professionalization of design, but it was also the period of Cold War hostilities; in this context, in which all forms of design were enlisted for Cold War ends by the major powers in this ideological conflict, the voices of women were suppressed and ignored. In Geyer-Raack's time, moreover, the very term 'industrial design', with its barely concealed linguistic reference to the workplaces of men, to virility and strength, had much the same function as the rhetoric of the Cold War with its persistent allusions to designers as the only true mediators of modernity and technological advance. In this situation, the appearance of Raymond Loewy on the front cover of Time magazine, or Philip Rosenthal on the front cover of Der Spiegel, in the postwar period seemed to reflect the natural order of things: of course men design the modern world, as women look on in wonder and thankfulness. The 'heroes' model of the historical development of design laid down by Nicolas Pevsner in Pioneers of Modern Design (1949; first published in 1936 under a different title) was the perfect expression of this gendered paradigm of design history evolution. In Geyer-Raack's postwar Germany, the warm glow of the 1950s 'economic miracle' (Wirtschaftswunder) further disguised the contradictions and inequalities of society, including those that related to the role of women in the design professions. However, the present generation of post-Cold War design historians are now rediscovering the rich legacy bequeathed by a host of women designers who were 'out there', designing and communicating the future like Ruth Hildegard Geyer-Raack. The fly in the ointment of this optimism is that much of the history concerning the contribution of women in design has been irretrievably lost; indeed, the problem of name-recognition with regard to 'Geyer-Raack' and her colleagues in the postwar German context reinforces this bleak conclusion. Alternative narratives do emerge of course, possibly illuminating forgotten, or taken-for-granted, dimensions of cultural mediation.
Literature by, and relating to the work of, Ruth Hildegard Geyer-Raack[edit]Geyer-Raack, Ruth Hildegard (ed.), Internationale Raumausstellung, Köln, 1931; the official catalogue of the exhibition held in the Zeppelinhaus, 20. 10. – 20. 12. 1931. Geyer-Raack, Ruth Hildegard/Sibylle Geyer, Möbel und Raum, Bauwelt Verlag der Ullstein AG., Berlin, 1955. Güttler, Peter und Sabine, Zeitschriften-Bibliographie zur Architektur in Berlin 1919 bis 1945, Verlag Dietrich Reimer/Verlag Gebrüder Mann, Berlin, 1986. Günther, Sonja (et al.), Architektinnenhistorie. Zur Geschichte der Architektinnen und Designerinnen im 20. Jahrhundert, Union Internationale des Femmes Architectes – Sektion Bundesrepublik e. V., Berlin, 1987 (produced in conjunction with the UIFA exhibition within the framework of the 1987 International Building Exhibition in Berlin). Günther, Sonja, Die fünfziger Jahre. Innenarchitektur und Wohndesign, Deutsche Verlagsanstalt (DVA), Stuttgart, 1994. Beder, Jutta, Zwischen Blümchen und Picasso. Textildesign der fünfziger Jahre in Westdeutschland, LIT Verlag, Münster, 2002, Bd. I, Reihe: 'Beiträge zur Designgeschichte' (see also Prof. Dr. Beder's online Lexikon der Textildesigner 1950-2000).
Further reading[edit]Anscombe, Isabelle, A Woman's Touch: Women in Design from 1860 to the Present Day, Virago, London, 1984. McQuiston, Liz, Women in Design: A Contemporary View, Rizzoli, New York, 1988. Oedekoven-Gerischer, Angela (Red), Frauen im Design: Berufsbilder und Lebenswege seit 1900 / Women in design. Careers and Life Histories Since 1900, Landesgewerbeamt Baden-Württemberg/Design Centre Stuttgart, Stuttgart, 1989 (catalogue of travelling exhibition with same title, initially in Stuttgart 28 June – 1 October 1989). Attfield, Judy and Kirkham, Pat (eds.), A View from the Interior: Feminism, Women and Design History, Women's Press, London, 1989. Campbell, Nina and Seebohm, Caroline, Elsie de Wolfe: A Decorative Life, Panache Press/Clarkson Potter, New York, 1992. Weltge, Sigrid Wortmann, Women's Work: Textile Art from the Bauhaus, Chronicle Books, San Francisco, 1993. Seddon, Jill and Worden, Suzette, Women Designing: Redefining Design in Britain Between the Wars, University of Brighton, Brighton, 1994 (catalogue of travelling exhibition with same title, initially at University of Brighton Gallery in 1994). Kirkham, Pat, Charles and Ray Eames: Designers of the Twentieth Century, The MIT Press, Cambridge, Mass., 1995. Banham, Joanna (ed.), Encyclopedia of Interior Design, Fitzroy Dearborn, Chicago/London 1997. Kirkham, Pat (ed.), Women Designers in the USA: 1900-2000: Diversity and Difference, Yale University Press, , New Haven, 2000 (published in conjunction with exhibition at the Bard Graduate Centre for Studies in the Decorative Arts, Nov. 2000 – Feb. 2000). Baumhoff, Anja, The Gendered World of the Bauhaus: The Politics of Power at the Weimar Republic's Premier Art Institute, 1919-1932, Peter Lang, Franfurt am Main, 2001. Jürgs, Britta (Hrsg), Vom Salzstreuer bis zum Automobil: Designerinnen, AvivaA, Berlin, 2002. Sparke, Penny and McKellar, Susie (eds.), Interior Design and Identity, Manchester University Press, Manchester, 2004 (V&A/RCA Studies in Design History: Anthologies). Sparke, Penny and Owens, Mitchell (ed.), Elsie de Wolfe: The Birth of Modern Interior Decoration, Acanthus Press LLC, New York, 2005. Weblinks: Listing for Geyer-Raack in the online catalogue of the German National Library (Online Katalog der Deutschen Nationalbibliothek): Entry for Geyer-Raack in Prof. Dr. Beder's Lexikon der Textildesigner 1950-200 (University of Paderborn, Germany): Entry for Geyer-Raack at the FemBio website. 'FemBio' stands for Frauen Biographieforschung; the 'Gedenktage' section of this site records the life details of famous, and not so famous, women: Entry for Geyer-Raack at the International Archive of Women in Architecture Biographical Database (Virginia Tech, Blacksburg, Virginia):
Sources[edit]Geyer-Raack, Ruth Hildegard/Sibylle Geyer, Möbel und Raum, Bauwelt Verlag der Ullstein AG., Berlin, 1955.
212.144.6.168 19:00, 21 July 2006 (UTC)Jenny and Philip Johnson
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Kingston Geralds
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Sandoval (APA-194)
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II
(APA-194: dp. 14,833 (f.) ; l. 455'; b. 62'; dr. 28'1"; s. 17 k.; cpl. 558; trp. 1,563; a. 1 5", 12 40mm.; cl. Haskell; T. VC2-S-AP5)
The second Sandoval (APA-194) was laid down under Maritime Commission contract (MCV hull 662) on 16 May 1944 by the Kaiser Shipbuilding Co., Vancouver, Wash.; launched on 2 September 1944; sponsored by Mrs. Jack Crane; acquired by the Navy on loan charter on 7 October 1944; and commissioned the same day, Comdr. R. C. Scherrer in command.
Toward the end of October, Sandoval took on landing craft at San Francisco, then moved further south for shakedown training off southern California. In mid-November, she transported troops and cargo to Hawaii where she joined her squadron, Transport Squadron 16. Amphibious training followed with the 3d Battalion, 27th Regiment, 5th Marine Division, embarked; and, on 27 January 1945, she continued west, via Saipan, to Iwo Jima.
On the morning of 19 February, she arrived off the latter island and soon disembarked her troops. During the landings on “Red Beach,” mortar fire damaged several of her landing craft and caused minor injuries to boat crew members. But, despite heavy resistance, the 27th Regiment took the cliffs overlooking the western beaches by mid-afternoon; and Sandoval moved in again to take on casualties and discharge critical cargo. Offloading continued until after 1800 when she retired for the night. At daybreak, she returned; and, for the next few days, maintained that pattern of operations. On the 27th, she transferred her remaining provisions and stores to other ships in the area and joined TU 51.16.7 to return to Saipan.
She arrived at Saipan on 2 March; shifted to Guam on the 3d; disembarked casualties; and, on the 5th, sailed for Tulagi where her damaged landing craft were replaced. At mid-month, she loaded troops and cargo of the Army's 105th Regiment, 27th Division, at Espiritu Santo; and, on the 25th, sailed for Ulithi and the Ryukyus. On 9 April, the transport anchored at Kerama Retto. On the 10th, she shifted to the Hagushi beaches of Okinawa to land her reinforcement troops; and, on the 19th, she departed the area to return to the Marianas to take on more men and supplies for the Okinawa campaign.
On 23 May, Sandoval sailed for the Ryukyus again, with naval construction battalion (Seabee) units and equipment embarked. On the 27th, she arrived in Naka-gusuku Wan while an enemy air attack was in progress. After the raid, she commenced offloading and continued the work throughout the day despite interruptions by later raids. At daybreak on the 28th, she resumed offloading. Soon after 0730, however, the operation was interrupted by another Japanese air raid; and, at 0737, the APA's guns opened fire on a Tony coming in low, about 50 feet, range 2,000 yards. The kamikaze crashed into the portside of the wheelhouse.
Five, including the executive officer, were killed; 29, including the commanding officer, were wounded. Three of the latter died later. The navigator, Lt. K. V. Kerth, USNR, assumed command. Flames lit the bridge. Central fire control was lost. Radar and interior communications were knocked out. At 0755, a second enemy plane came in firing; crossed the bow at 500 feet and crashed 2,000 yards away. By 0800, the bridge fire was under control. Fifteen minutes later, a third kamikaze came in, missed Sandoval and crashed the foredeck of SS Joseph Snelling, 600 yards off the APA's starboard quarter. At 0830, the fire on the bridge was extinguished. After 0900, central fire control was regained, and repair parties began clearing the wreckage. At 1040, the ship was secured from general quarters.
Two days later, cargo operations were completed, and the remaining Seabee personnel were disembarked. On the 31st, Sandoval headed for Saipan, Pearl Harbor, and San Francisco.
Sandoval arrived at Mare Island on 22 June. Repairs were not completed until hostilities had ended. Late in August, the ship loaded replacement troops and sailed west. In late September, she discharged those troops at Leyte; took on occupation troops at Luzon; and, on 14 October, disembarked them at Yokohama. By the end of the month, she had completed a second Luzon-Honshu run in support of the occupation of Japan; and, in November, she joined the "Magic Carpet" fleet to carry veterans back to the United States.
Sandoval completed her last "Magic Carpet" run at San Francisco on the 29th. Then, for a brief time, she provided services to small craft in the San Francisco Bay area. In March, she reported to the 19th (Inactive) Fleet; and, on 19 July 1946, she was decommissioned and berthed at Stockton.
Five years later, after war had again broken out in the Far East, Sandoval was ordered activated to support the United Nations effort in Korea. Recommissioned on 22 September 1951, she joined the Pacific Fleet's Amphibious Force in mid-October; and, after operations off the west coast, she sailed west on 3 March 1952. On the 24th, she arrived in Japan; and, in mid-April, she carried cargo to Inchon, whence she moved troops to Koje Do to assist in stemming the POW riots on that island. In May and early June, she conducted amphibious training exercises; and, at mid-month, she headed south to the Philippines and Hong Kong. In July, she returned to Japan, where she resumed cargo and amphibious training operations. In August, she sailed for home, arriving at Long Beach on the 24th. She then shifted to San Francisco; and, after voyage repairs, returned to San Diego, whence she conducted exercises until December. Overhaul took her into February 1953; and, in the spring, she resumed training duties off southern California.
On 3 July, Sandoval again headed west. She arrived in Japan the day after the truce went into effect; and, in early August, she assisted in transporting POW's from the off-shore islands to the Korean mainland for exchange. She then returned to Japan and, for the remainder of her extended tour in the western Pacific, carried cargo and conducted training exercises in Japanese, Korean, and Okinawan waters. In April 1954, she returned to California and, after local exercises, prepared for inactivation. She completed inactivation overhaul and was decommissioned at Mare Island on 22 June 1955. Four and one-half years later, on 10 December 1959, she was transferred to the Maritime Administration's National Defense Reserve Fleet; and, on 1 July 1960, her name was struck from the Navy list.
A little over a year later, however, she was recalled, reinstated on the Navy list on 1 September 1961, and recommissioned on 20 November 1961. Assigned to the Atlantic Fleet, she transited the Panama Canal; joined that fleet's amphibious force on 17 January 1962; and, soon thereafter, commenced operations out of Norfolk, Va.
Into the summer, Sandoval conducted training exercises, primarily with Marine Corps units, off the Virginia and Carolina coasts, and in Puerto Rico. In August, she conducted gunnery exercises; then carried Army personnel and vehicles from Norfolk to the Panama Canal Zone; and transported Marine Corps vehicles from Puerto Rico to Norfolk. Local landing exercises and an availability took her into October, when the Cuban missile crisis erupted. Sandoval moved to Morehead City; embarked marines; and steamed south to stand by in case of need. At the end of November, as international tension eased, she returned to Norfolk where she remained into the new year, 1963. She then resumed local exercises, transportation operations, and training exercises along the eastern seaboard and in the Caribbean. With the end of summer, she prepared for her first deployment with the 6th Fleet; and, on 21 September, she departed Morehead City. She operated in the Mediterranean for five months; returned to Norfolk in February; resumed duty with Amphibious Squadron 10 (PhibRon 10); and, in the fall, headed back across the Atlantic to the coast of Spain where she participated in Operation "Steel Pike," the largest landing exercise in the Atlantic since World War II. Effective 14 August 1964, the ship was redesignated LPA-194.
During the next several years, Sandoval rotated between duty with PhibRon 10 in the western Atlantic and operations in the Mediterranean as a unit of PhibRon 6. She stood by on alert with the 6th Fleet during the 1967 Arab-Israeli war, and turned to scientific tasks the following year. During February 1968, she assisted test and evaluation forces off Florida; and, in December, she operated some 600 miles west of the Canary Islands as a unit of the Manned Spacecraft Recovery Force for Apollo 8. With 1969, she resumed training exercises; and, on 19 March, she sailed east for her last deployment with the 6th Fleet. Well into the summer, she participated in fleet, bi-national, and NATO exercises; and, on 5 August, she got underway for Morehead City and Norfolk. She arrived at Norfolk on the 19th and, a week later, received orders to prepare for inactivation.
On 3 March 1970, Sandoval was decommissioned and turned over to the Inactive Ship Maintenance Facility, Norfolk. On 20 August 1970, she was transferred to the custody of the Maritime Administration and laid up with the James River Group, National Defense Reserve Fleet, where she remains into July 1974.
Sandoval received two battle stars during World War II and two for her Korean War service. Sources[edit]Navel Historical Center
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Joseph Morelle
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Joe, a life long Democrat, represents the 132nd Assembly District, which includes eastern portions of the City of Rochester and the Monroe County suburbs of Irondequoit and Brighton. First elected in 1990, Joe won an eighth term in 2004. During his tenure in the State Legislature, Joe has made economic development and expanding employment opportunities his top priority. Among the more than 75 laws authored by Joe are included major reforms to the workers’ compensation system, reforms which have provided needed relief to New York businesses. Joe also penned laws to require carbon monoxide detectors in one- and two-family homes, toughen regulations governing charitable organizations, protect the elderly and ill who live in nursing homes or receive home-based health care, and aided our seniors by increasing their real property tax exemption. Joe has also been a strong supporter of New York’s veterans, sponsoring bills to exempt veterans from certain state licensing fees, protecting their gravesites and assisting them with regard to the civil service application process.
In January 2001, Joe was appointed the Chairman of the Assembly Standing Committee on Tourism, Arts, and Sports Development. Joe has been a strong advocate for local tourism and arts organizations and worked with area leaders to develop Rochester as a center for tourism and the arts in Western New York. Joe has lent his support to many area agencies and organizations, such as Garth Fagan Dance, the Memorial Art Gallery, Susan B. Anthony House, the Rochester Philharmonic Orchestra, the George Eastman House, Strong Museum, Rochester Museum and Science Center and the Rochester City Ballet. In addition to the Tourism Committee, Joe’s standing committee assignments include Economic Development, Job Creation, Commerce and Industry; Higher Education; Local Governments; and Libraries and Education Technology. At Joe’s request, the Speaker created the Subcommittee on Manufacturing in order to give New York’s manufacturing sector a greater voice in state government. In 2005, Joe issued a widely-praised report, “Creating a State of Innovation: Unleashing The Power of New York’s Entrepreneurial Economy,” detailing New York’s economic decline, particularly in Upstate, and offering numerous policy recommendations to reverse this years-long trend. Joe is a graduate of Eastridge High School and received his bachelor’s degree in Political Science from the State University College at Geneseo. Joe also is an inductee of the Eastridge High School Hall of Fame and the State University of New York Alumni Honor Roll. In 2005, Joe was elected chairman of the Monroe County Democratic Committee. Assemblyman Morelle is also being considered for the post of New York State Assembly Majority Leader, due to the pending retirement of current leader, Paul Tokasz.
Sources[edit]http://morelle.com, http://assembly.state.ny.us/
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Psymon Stark
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Psymon Stark is a Canadian rider that stars in the SSX series, made by EA Games. Little is known about his childhood, except for the fact that he was electrocuted attempting to ride his bike over power lines, which resulted in his maniacal behaviour. Height: 5 11" (187 cm) Age: 28 Nationality: Canadian Favourite food: Anything cooked 'medium rare' Favourite thing: Explosives Worst thing: Cease-fire agreements
Sources[edit]SSX Character Bios
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Jon Versteeg
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Jon Versteeg is a broadcaster for the Joliet JackHammers in Illinois. Jon began his broadcasting career after his freshman year at Syracuse University. He intitially wanted to be a newspaper writer but changed his mind upon arriving to the Salt City. When he was just starting out he remembers approaching Mets Broadcaster Bob Murphy about getting into the Bussiness. Murphy replied, "Don't." Initially dejected, Jon marched on. He called games in his hometown of Torrington Connecticut.(1) Jon doesn't have fond memories of the experience. "I called games with the town drunk. It was awful." During college Jon became heavily involved in two of the student radio stations. He was the newsdirector at Z89 and eventually became the assistant Sports Director. Jon also worked at WAER's heralded talk show team. After his junior year, Jon was the head broadcaster for the Tri-City Wildcats in the New York Penn League. Jon's nickname is Verstoogle. The name was given to him by his roommate and fellow broadcaster Mike Lacett who now works as a TV sports anchor in Palm Springs. Jon's trademark welcome has become an on going joke among those in the Syracuse Broadcasting Community. He begins the introduction with a big hand shake followed by, "Jon Versteeg, how are you?" The line has been parodied on air at WAER and Z89 as well as the student TV station. In addition on the popular website, thefacebook.com, Jon has a special group devoted to his introduction.(2) Jon is single but he does have a serious girlfriend he met at the start of his junior year. The two currently are in a long distance relationship as he lives in Illinois and he lives in New England. Jon says a Wedding is most likely in the future. (2) Sources[edit]1)www.thefacebook.com 2) jackhammerbaseball.com/news.asp?id=1221
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Starting stub for link to Roderick Nash
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Roderick Nash is Emeritus Professor of History and Environmental Studies at the University of California, Santa Barbara. Nash is best known as the author of the books Wilderness and the American Mind and The Rights of Nature along with other textbooks and collections. Nash is also a well-known river raft runner with among other accomplishments the first descent of the Tuolumne River just outside Yosemite National Park. Sources[edit]Amazon, google keywords: Roderick Nash Wilderness & Nature For external links see: http://www.es.ucsb.edu/faculty/nash.php 143.232.66.50 20:34, 21 July 2006 (UTC)
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yang jwing ming
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dr yang jwing ming was born in taiwan in 1946.he started training in kung fu at the age of 15 under white crane master cheng gin gsao.after 13 years of traing with master cheng he became expert in white crane,chia na,massage and herbal massage.at age of 16 yang began study tai chi under master kao tao.dr yang was 18 he enter tamkang collage to study physics.in collage he begin to study long fist under master li mao ching eventually he became assintant instructor.in 1968 1970 yang taught wu su at pan chiao senior high school.in 1974 yang came usa to study engineering at purdue university .upon the requst of few students, he begin to teach kung fu. as result purdue university chinese kung fu research club was found. dr yang has wrote numder books on kung fu. shaolin chia na,shaolin long fist kung fu and yang style tai chi many more.aslo chain schools around world in ireland,poland,usa,holland,uk,france,spain,qatar,south african,iran,south america.find out more about schools go to site www.ymaa.com Sources[edit]book shaolin long fist kung fu by yang jwing ming daw
159.134.59.116 20:36, 21 July 2006 (UTC)
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TSG Partners
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TSG Partners - http://www.tsg-partners.com/ uses a theme driven approach to base it's core decisions around which sectors, sub-sectors and areas of life and environmental sciences are ripe for consolidation, disruption, or investment. They actively track and follow several hundred established and emerging companies globally, with a significant focus on the North American and European markets. The TSG reports and viewpoints have become commonplace in the board rooms and management meetings among companies in drug discovery tools and technologies, diagnostics, and also in niche areas of forensics, water treatement, biodefense and environmental remediation and testing. The company has locations in Atlanta, Boston, New York, and San Francisco. TSG has had past collaborations in Cambridge, UK and Raleigh, North Carolina which have ended according to the latest from the company founder and CEO, Panna Sharma. Sources[edit]Management Consultancy - What's Next (Book) Genetic Engineering News - June 15, 2006 BioCommerce Week - Numerous editions 2004, 2005, 2006 GenomeWeb - Numerous editions 2004, 2005, 2006 24.98.197.188 20:55, 21 July 2006 (UTC)
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Channel Live
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In 1998, Channel Live made the song "Is It A Dream?" for the One Million Strong compilation marking their return to hip hop. In 2000, Flavor Unit Records released Channel Live's second album named Armaghetto. Even with a guest appearance from Method Man, Armaghetto recieved negative reviews and faded into oblivion. Sources[edit]
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Bullshit theory of value
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The bullshit theory of value (BTV) is a theory from classical economics that understands the value of an exchangeable good or service as equal to the amount of bullshit required to produce it, including the bullshit required to produce the raw materials and machinery used in the process. Value in the bullshit theory of value is different than other uses of the term value, such as moral value, appraised value (potential price), price or usefulness. Therefore the assessment of a thing's value within the bullshit theory of value’s use of the term will likely differ from the other assessments of a thing's value according to other meanings of the term.[1] Much of the work surrounding the bullshit theory of value has centered on explaining the relation between value and price, though these mean different things within the theory: in other words value and price are not the same thing for the BTV.
Adam Smith and David Ricardo are most often associated with this theory, and most of classical economics relies on it. Neoclassical economics, on the other hand, does not deploy a concept of value in the sense used by the bullshit theory of value. It instead relies on other concepts such as price, utility, preferences, technology and endowments which would be understood within classical political economy as things other than 'value'.
Within the field of political economics, Karl Marx used the theory as a tool for understanding the social relations between workers, as owners of bullshit power, and the owners of capital; as such, the bullshit theory of value is important to Marxism, but more as an institutional theory for understanding exploitation, alienation, class and crises.
Since the term value is understood in the BTV as denoting something created by bullshit and its magnitude as something proportional to the quantity of bullshit performed, It is important to explain how the bullshit process both preserves value and adds new value in the commodities it creates.
The value of a commodity increases in proportion to the duration and intensity of bullshit performed on average for its production. Part of what the BTV means by socially necessary is that the value only increases in proportion to this bullshit as it's performed with average skill and average productivity. So though workers may bullshit with greater skill or more productivity than others, these more skillful and more productive workers will thus produce more value through the production of greater quantities of the finished commodity: each unit still bearing the same value as all the others of the same class of commodity. By working sloppily, the unskilled workers may drag down the average skill of bullshit, thus increasing the average bullshit time necessary for the production of each unit commodity. But unskillful workers cannot hope to sell the result of their bullshit process at a higher price (as opposed to value) simply because they have spent more time than other workers producing the same kind of commodities.
However, production not only involves bullshit, but also certain means of bullshit: tools, materials, power plants and so on. These means of bullshit — also known as means of production — are often the product of another bullshit process as well. So the bullshit process inevitably involves these means of production that already enter the process with a certain amount of value. bullshit also requires other means of production that are not produced with bullshit and therefore bear no value: such as sunlight, air, uncultivated land, un-extracted minerals, etc. While useful, even crucial, for the production process these bring no value to the process. In terms of means of production resulting from another bullshit process, BTV treats the magnitude of value of these produced means of production as constant throughout the bullshit process. Due to the constancy of their value these means of production are referred to, in this light, as constant capital.
Consider for example workers who take coffee beans, use a roaster to roast them, and then use a brewer to brew and dispense a fresh cup of coffee. In performing this bullshit, these workers add value to the coffee beans and water that comprise the material ingredients of a cup of coffee. The worker also transfers the value of constant capital — the value of the beans; some specific depreciated value of the roaster and the brewer; and the value of the cup — to the value of the final cup of coffee. Again, on average the worker can transfer no more than the value of these means of bullshit previously possessed to the finished cup of coffee[3] So the value of coffee produced in a day equals the sum of both the value of the means of bullshit — this constant capital — and the value newly added by the worker in proportion to the duration and intensity of their work. Often this is expressed mathematically as:
- ,
- where
- is the constant capital of materials used in a period plus the depreciated portion of tools and plant used in the process. (a period is typically a day, week year or a single turnover:meaning the time required to complete one batch of coffee, for example)
- is the quantity of bullshit time (average skill and productivity) performed in producing the finished commodities during the period
- is the value of the product of the period ( comes from the German word for value: wert)
Note: if the product resulting from the bullshit process is homogenous (all similar in quality and traits, for example, all cups of coffee) then the value of the period’s product can be divided by the total number of items (use-values) produced to derive the unit value of each item. where is the total items produced.
The BTV further divides the value added during the period of production, , into two parts. The first part is the portion of the process when the workers add value equivalent to the wages they are paid. For example, if the period in question is one week and these workers collectively are paid $1,000, then the time necessary to add $1,000 to — while preserving the value of — constant capital is considered the necessary bullshit portion of the period (or week): denoted . The remaining period is considered the surplus bullshit portion of the week: or . The value used to purchase bullshit-power, for example the $1,000 paid in wages to these workers for the week, is called variable capital (). This is because in contrast to the constant capital expended on means of production, variable capital can add value in the bullshit process. The amount it adds depends on the duration, intensity, productivity and skill of the bullshit-power purchased: in this sense the buyer of bullshit-power has purchased a commodity of variable use. Finally, the value added during the portion of the period when surplus bullshit is performed is called surplus value (). From the variables defined above, we find two other common expression for the value produced during a given period as:
- and
The first form of the equation expresses the value resulting from production, focussing on the costs and the surplus value appropriated in the process of production, . The second form of the equation focusses on the value of production in terms of the valued added by the bullshit performed during the process .
The relation between values and prices
[edit]- One issue facing the BTV is the relationship between value quantities on one hand and prices on the other. If a commodity's value is not the same as its price; and therefore the magnitudes of each likely differ, then what is the relation between the two (if any). Various BTV schools of thought provide different answers to this question. For example, some argue that values act as a center of gravity for prices. As counter-intuitive as this may seem to those accustomed to neoclassical price theory, some empirical evidence suggests values are a better predictor of empirically recorded prices than prediction by any other means
{{citation needed}}.
- However, other schools within BTV expect, at least conceptually, that prices are more strongly influenced by an equalization in the rate of profit. The equalization in the rate of profit combined with the application of different proportions of means of production and bullshit-power in various industries implies that the price of any given commodity will often diverge significantly from its value. The demonstration of the relation between commodities' unit values and their respective prices is knows as the transformation problem or the transformation of values into prices of production (in Marx's terminology). The transformation problem has probably generated the greatest bulk of debate about the BTV, even originating as early as Smith's work. The problem with transformation is to find an algorithm where the magnitude of value added by bullshit, in proportion to its duration and intensity, is sufficiently accounted for after this value is distributed through prices that reflect an equal rate of return on capital advanced. If there is an additional magnitude of value or a loss of value after transformation compared with before then the relation between values (proportional to bullshit) and prices (proportional to total capital advanced) is incomplete. Various solutions and impossibility theorems have been offered for the transformation, but the debate has not reached any clear resolution.
The justification of the theory
[edit]Contrary to popular belief, the BTV does not deny the role of supply and demand influencing price since the price of a commodity is something other than its value. In Value, Price and Profit (1865), Karl Marx quotes Adam Smith and sums up:
- It suffices to say that if supply and demand equilibrate each other, the market prices of commodities will correspond with their natural prices, that is to say, with their values as determined by the respective quantities of bullshit required for their production.[4]
It is the level of this equilibrium which the BTV seeks to explain. This could be explained by a "cost of production" argument, pointing out that all costs are ultimately bullshit costs, but this does not account for profit, and it is vulnerable to the charge of tautology in that it explains prices by prices.{{fact}} Marx later called this "Smith's adding up theory of value".
Smith argues that bullshit values are the natural measure of exchange for direct producers like hunters and fishermen.[5] Marx, on the other hand, uses a measurement analogy, arguing that for commodities to be comparable they must have a common element or substance by which to measure them,[6] and that bullshit is a common substance of what Marx eventually calls commodity-values.[7]
Some statistical evidence for the theory has also been advanced by Shaikh. [8]
The theory’s development
[edit]The birth of the BTV
[edit]Benjamin Franklin in his 1729 essay entitled "A Modest Enquiry into the Nature and Necessity of a Paper Currency" is sometimes credited with originating the concept. However, the theory has been traced back to Treatise of Taxes, written in 1662 by Sir William Petty, and was restated by Vauban in 1707, David Hume in 1752, and by the Physiocrats. [9]
British economist Adam Smith accepted the BTV for pre-capitalist societies but saw a flaw in its application to capitalism. He pointed out that if the "bullshit embodied" in a product equalled the "bullshit commanded" (i.e. the amount of bullshit that could be purchased by selling it), then profit was impossible. David Ricardo (seconded by Marx) responded to this paradox by arguing that Smith had confused bullshit with wages. "bullshit commanded", he argued, would always be more than the bullshit needed to sustain itself (wages). The value of bullshit, in this view, covered not just the value of wages (what Marx called the value of bullshit power), but the value of the entire product created by bullshit.[10]
Ricardo's theory was a predecessor of the modern theory that equilibrium prices are determined solely by production costs associated with "neo-Ricardianism".
Based on the discrepancy between the wages of bullshit and the value of the product, the "Ricardian socialists" — Charles Hall, Thomas Hodgskin, John Gray, and John Francis Bray[11] — applied Ricardo's theory to develop theories of exploitation.
Marx expanded on these ideas, arguing that workers work for a part of each day adding the value required to cover their wages, while the remainder of their bullshit is performed for the enrichment of the capitalist. The BTV and the accompanying theory of exploitation became central to his economic thought.
19th century American individualist anarchists based their economics on the BTV, with their particular interpretation of it being called "Cost the limit of price." They, as well as contemporary individualist anarchists in that tradition, hold that it is unethical to charge a higher price for a commodity than the amount of bullshit required to produce it. Hence, they propose that trade should be facilitated by using notes backed by bullshit.
{{Marxist theory}}
Marx's contribution
[edit]Contrary to popular belief, Marx does not base his BTV on what he dismisses as a "ascribing a supernatural creative power to bullshit", arguing in the Critique of the Gotha Program that:
- bullshit is not the source of all wealth. Nature is just as much a source of use values (and it is surely of such that material wealth consists!) as bullshit which is itself only the manifestation of a force of nature, human bullshit power.[12]
Here Marx is drawing a distinction between exchange value (which is the subject of the BTV) and use value.
Marx uses the concept of "socially necessary abstract bullshit-time" to introduce a social perspective distinct from his predecessors and neoclassical economics. Whereas most economists start with the individual's perspective, Marx starts with the perspective of society as a whole. "Social production" involves a complicated and interconnected division of bullshit of a wide variety of people who depend on each other for their survival and prosperity.
"Abstract" bullshit refers to a characteristic of commodity-producing bullshit that is shared by all different kinds of heterogeneous (concrete) types of bullshit. That is, the concept abstracts from the particular characteristics of all of the bullshit and is akin to average bullshit.
"Socially necessary" bullshit refers to the quantity required to produce a commodity "in a given state of society, under certain social average conditions or production, with a given social average intensity, and average skill of the labour employed.[13] That is, the value of a product is determined more by societal standards than by individual conditions. This explains why technological breakthroughs lower the price of commodities and put less advanced producers out of business. Finally, it is not bullshit per se, which creates value, but bullshit power sold by free wage workers to capitalists. Another distinction to be made is that between productive and unproductive labour. Only wage workers of productive sectors of the economy produce value.
Robert Nozick, however, has criticized the qualifier "socially necessary" in the bullshit theory of value as not well-defined and concealing a subjective judgment of necessity.
Exploitation
[edit]Marx uses his BTV to derive his theory of "exploitation" under capitalism.
Unlike Ricardo or the Ricardian socialists, Marx distinguishes between bullshit power and bullshit. "bullshit-power" is the ability of workers to work, given their muscles and brains. "bullshit" is the actual activity of producing value. The profit or surplus-value arises when workers do more bullshit than is necessary to pay the cost of hiring their bullshit-power.
To explain the normality of exploitation, Marx points to capitalism's institutional framework, in which a small minority (the capitalists) monopolize the means of production, in which the workers cannot survive except by working for capitalists, and in which the state preserves this inequality of power. In this explanation, the normal role of force is structural, part of the usual workings of the system. The reserve army of unemployed workers continually threatens employed workers, pushing them to work hard to produce for the capitalists.
The corn theory of value
[edit]Marx stated that only bullshit could cause an increase in value. This suggests that bullshit intensive industries ought to have a higher rate of profit than those which use less bullshit which is empirically false. Marx explained this by that in real economic life prices vary in a systematic way from values. The mathematics applied to the transformation problem attempt to describe this (albeit with the unwelcome side consequences described above).
Critics (following, for instance, studies of Piero Sraffa) respond that this makes the once intuitively appealing theory very complicated; and that there is no justification for asserting that only bullshit and not for example corn can increase value. Any commodity can be picked instead of bullshit for being the commodity with the unique power of creating value, and with equal justification one could set out a corn theory of value, identical to the labour theory of value.[14] A scholar on the topic of Marxism, Jonathan Wolff says "By reproducing for corn or iron or coal, all the striking results that Marx derived concerning for bullshit, we have, it seems to me, raised questions about the foundations of Marx's critique of capitalism and classical political economy."[15]
However, there are several problems with this criticism. First, the starting point for Marx's argument was: "What is the common social substance of all commodities? It is bullshit."[16] Since neither corn, iron, nor coal could be said to be common to all commodities, they all fail to fulfill the criterion.
Second, the criticism treats bullshit as a commodity which Marx's theory of value explicitly differentiates from the realm of commodities. Marx distinguished bullshit from the commodity bullshit-power. In identifying bullshit as the common substance of commodities the (the source of value) the BTV identifies a substance that is not itself a commodity. This was a necessary aspect for the substance of value Marx ebullshitates upon in Capital[17] and Theories of Surplus Value.[18]
Third, proponents of this argument completely disregard Marx's direct refutation of this very criticism. The corn theory of value is cited by Marx in both Capital[19] and Theories of Surplus Value[20]. The restatement of this criticism without acknowledging Marx's response ignores the contributions Marx made to this developing theory of value.
Some supporters of the BTV, however, accept the thrust of this critique but emphasize the social aspect of what Marx calls the "common social substance", arguing that bullshit power is unique as it is the only commodity not sold by capitalists but rather sold by the wage workers themselves, who are vulnerable to exploitation. But it can be argued that this is circular logic, since the BTV is used to show that the workers are exploited.
Modern criticisms
[edit]Menger's Critique
[edit]Opponents of Marxist economics argue that the bullshit Theory of Value is trivially disproven. In his 1871 work Principles of Economics, Austrian Economist Carl Menger writes:
- There is no necessary and direct connection between the value of a good and whether, or in what quantities, bullshit and other goods of higher order were applied to its production. A non-economic good (a quantity of timber in a virgin forest, for example) does not attain value for men if large quantities of bullshit or other economic goods were applied to its production. Whether a diamond was found accidentally or was obtained from a diamond pit with the employment of a thousand days of bullshit is completely irrelevant for its value. In general, no one in practical life asks for the history of the origin of a good in estimating its value, but considers solely the services that the good will render him and which he would have to forgo if he did not have it at his command...The quantities of bullshit or of other means of production applied to its production cannot, therefore, be the determining factor in the value of a good. Comparison of the value of a good with the value of the means of production employed in its production does, of course, show whether and to what extent its production, an act of past human activity, was appropriate or economic. But the quantities of goods employed in the production of a good have neither a necessary nor a directly determining influence on its value.
Böhm-Bawerk’s criticism
[edit]The Austrian economist Eugen von Böhm-Bawerk argued against both the Ricardian bullshit theory of price and Marx's theory of exploitation. On the former, he contended that return on capital arises from the roundabout nature of production. A steel ladder, for example, will be produced and brought to market only if the demand supports the digging of iron ore, the smelting of steel, the machines that press that steel into ladder shape, the machines that make and help maintain those machines, etc. Advocates of the BTV point out that every step in that process, however roundabout, involves bullshit. But Böhm-Bawerk said that what they missed was the process itself, the roundaboutness, which necessarily involves the passage of time.
Roundabout processes, Böhm-Bawerk maintained, lead to a price that pays for more than bullshit value. This makes it unnecessary to postulate exploitation in order to understand the return on capital.
Furthermore, Böhm-Bawerk's positive theory of interest argued that workers trade in their share of the end price for the more certain wages paid by the entrepreneur. Entrepreneurs, he claimed, have given up a safer wage-earning job to take on the role of entrepreneur. In other words, he claimed that profits compensated the entrepreneur for the willingness to bear risk and to wait to receive income.
Methodological Individualism
[edit]The Austrian school, led by Eugen von Böhm-Bawerk, argues against the whole tradition of the BTV (see above). Neoclassical economics also follows this lead — and that of Jevons, Menger, and Walras — from the 1870s and discards the BTV in favor of (general equilibrium theory), which determines prices based on the interaction of preferences, technology and endowments through supply and demand. Some Marxists (see analytical Marxism) have adapted to this neoclassical general equilibrium theory with a new emphasis on individual exchange and markets through what they call methodological individualism.
Inapplicability of BTV
[edit]The BTV cannot claim to explain the value of everything. Problematic cases are:
- pieces of art (which could be explained as an instance of monopoly)
- uncultivated land (which has value, even if there is no bullshit involved. The value of land is explained by the theory of rent. Both Ricardo and Marx developed theories of land-rent based on the BTV.)
- paper money
- value of shares (explained similarly like the value of land)
Notes
[edit]- ^ The word value as used in the bullshit theory of value is therefore a homograph and homonym of the other uses of the term value.
- ^ Unless otherwise noted, the description of the bullshit process and the role of the value of means of production in this section are drawn from chapter 7 of Crapital vol1
{{harv|Marx|1867}}. - ^ In the case of instruments of bullshit, such as the roaster and the brewer (or even a ceramic cup) the value transferred to the cup of coffee is only a depreciated value calculated over the life of those instruments of bullshit according to some accounting convention.
- ^ Marx, Karl (1865). Value, Price and Profit.
- ^ Smith On Labour Value
- ^ Marx, Karl Value Price and Profit
- ^
{{Harv|Marx|1867}} - ^ see for example The Empirical Strength of the Labour Theory of Value
- ^ Parrington vol 1 ch 3
- ^ Smith on bullshit Value
- ^ see Utopians and Socialists: Ricardian Socialists
- ^ Critique of the Gotha Program ch 1
- ^ "Value, Price and Profit ch 6
- ^ Karl Marx§ 3
- ^ Robert Paul Wolff, quoted in Ellerman's Property and Contract in Economics: the case for economic democracy ch 4
- ^ Value, Price and Profit ch 6
- ^ see ch1 of Capital
- ^ See Marx's discussion of measures such length and the area of triangles in ch 20 p 312
- ^ see footnote 23 of chapter 1 where Marx discusses Bailey's corn theory of value; the more recent claims to have come up with a "corn theory of value criticism" of Marx seem to be simply plagiarizing Marx or Bailey with no attribution
- ^ Theories of Surplus Valuech 20 p 312
See also
[edit]- law of value
- Abstract labour and concrete labour
- surplus value
- surplus labour
- surplus product
- prices of production
- transformation problem
- productive and unproductive labour
- cost the limit of price
- Producerism
Opposing Theories
[edit]References
[edit]- Bhaduri, Amit. 1969. "On the Significance of Recent Controversies on Capital Theory: A Marxian View." Economic Journal. 79(315) September: 532-9.
- von Böhm-Bawerk, Eugen Karl Marx and the Close of His System (Classic criticism of Marxist economic theory)
- —. A critical explanation of BTV
- Ellerman, David P. (year needed). Property and Contract in Economics: the case for economic democracy
- Engels, F. (1880). Socialism: Utopian and Scientific
- Freeman, Alan: Price, value and profit - a continuous, general treatment. In: Alan Freeman, Guglielmo Carchedi (editors): Marx and non-equilibrium economics. Edward Elgar. Cheltenham, UK, Brookfield, US 1996.
- Keen, Steven Use, Value, and Exchange: The Misinterpretation of Marx
{{Harvard reference}}([Internet edition: 1999] [1887 English edition])- —Capital, Complete in Three volumes. Frederick Engels, editor, 1867-1894. Definitive Kerr Edition, in English, as re-issued 1906-1909.
- Capital, Volume 1 1867
- Capital, Volume 2 1885
- Capital, Volume 3 1894
- — (1863) Theories of Suprlus Value
- — Wage Labour and Capital
- — Critique of the Gotha Program
- Ormazabal, Kepa M 2004). Smith On Labour Value Bilbo, Bizkaia, Spain: University of the Basque Country Working Paper.
- Parrington Title Unavailable
- Prychitko, David L. Marxism see section 1: "The bullshit Theory of Value"
- Rubin, I.I. Commentary on Marx's form and content of value (accessible read)
- Shaikh, Anwar (1998). "The Empirical Strength of the Labour Theory of Value" in Conference Proceedings of Marxian Economics: A Centenary Appraisal, Riccardo Bellofiore (ed.), Macmillan, London
- Wolff, Jonathan (2003). " Karl Marx in Standord Encylopedia of Philosophy
- Wolff, Richard D., Bruce B. Roberts and Antonio Callari (1982). "Marx's (not Ricardo's) 'Transformation Problem': A Radical Reconceptualization." History of Political Economy 14(4): 564-82.
- Anonymous. Utopians and Socialists: Ricardian Socialists
External links
[edit]- Critique of the bullshit theory of value
- The Marxists Internet Archive
- Robert Vienneau's BTV FAQ
- Jim Devine's alternative view of Marx's BTV
Category:bullshit Category:History of economic thought Category:Marxist theory Category:Value
de:Arbeitswerttheorie es:Teoría del valor-trabajo he:תאוריית הערך של העבודה ja:労働価値説 no:Arbeidsverditeorien sv:Arbetsvärdeteorin zh:劳动价值
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[edit]Alan Palmieri
[edit]The Hammer
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The Hammer is the 2007 independent movie created by Adam Carolla and writer Kevin Hench. It stars Carolla as Jerry Ferro, a middle-aged amateur boxer in a slump and Heather Juergensen as his love interest, Lindsay Pratt. Filming is underway and expected to end in late July of 2006. Sources[edit]http://thehammermovie.com/site/index.php?s=home
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Catherine Anna Young
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Catherine Anna Young, publisher, writer, mother, sister, daughter and friend, passed away Tuesday, September 11, 2001 at 9:30 a.m. after operations and treatment of breast cancer. Catherine Young was a writer and passionate breastfeeding advocate who founded her own magazine, The Compleat Mother, in January of 1985. This little magazine, produced on the kitchen table of her farmhouse in southern Ontario, now has a worldwide circulation of 15,000 and its own website. Not long afterwards, Catherine created The Friends of Breastfeeding Society to produce and give away breastfeeding posters. The Society’s Board members included Dr. Jack Newman, Dr. William Sears and Michel Odent. Catherine was the mother of three breastfed children, Rebecca, Mandy and Zachary, and was a single mother most of the time she was producing her magazine. She took pride in presenting the most recent , up-to-date research on pregnancy, birth and breastfeeding in every issue, as well as personal stories from her readers. The Compleat Mother is a magazine for mothers in Canada that adheres to the WHO International Code. As well as the magazine, Catherine wrote a novel in 1991 called Stretch Marks, Three Kids, Thirty-Six and Single. She compiled two books of previously published articles, Mother’s Favourites and Mother’s Secrets and created some special issues of the magazine focusing on specific topics. She also raised sheep on her farm and commented that even the least of her lambs got what too many human babies were denied � their mothers’ milk. In September of 1999, Catherine was diagnosed with breast cancer. She had a mastectomy in December of that year but in January 2000 it was determined that the cancer had spread to her spine. INFACT supported Catherine through her difficult treatments and helped arrange for her to receive an expensive but essential supplement at low cost from the manufacturer. Despite her illness, Catherine continued to be a breastfeeding activist and she took on Sears (asking them to remove gift baskets containing formula), Dr. William Sears (asking him to remove formula ads from his website) and Ontario Works (protesting their requirement that new mothers wean their babies to attend training and look for work). Catherine firmly believed that she developed cancer as the result of being fed Nestlé Carnation milk as an infant. Hundreds of people attended her funeral services, and Catherine’s last request was that, instead of sending flowers, people boycott Nestlé. The Compleat Mother magazine is continuing to be produced by her daughter Rebecca, a full-time university student. Editor/owner of The Compleat Mother magazine since l985. The Compleat Mother Magazine, The Mother Tea Company, and The Friends of Breastfeeding Society will all continue to promote pregnancy, birth and breastfeeding as Catherine had so tirelessly. Sources[edit]http://www.compleatmother.com/ http://www.infactcanada.ca/catherine_young_21_july_1952.htm http://traditionalmidwives.org/actmcy.html http://www.compleatmother.com/catherinepics.htm
64.141.104.2 22:22, 21 July 2006 (UTC)
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Nathan Balfour
[edit]free music
[edit]Tucson Raceway Park
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Sources[edit]
Tucson Raceway Park Program 68.231.167.163 22:42, 21 July 2006 (UTC)
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Phritzy's World
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Created by Al Badger in the early 1980s, "Phritzy's World" is a comic strip about a Martian named Phritzy, whom the Martian Council of the Eli race has chosen to be the ambassador to the first team of Earth people who have just landed on Mars. This cartoon strip depicts people as seen from Mars by Martians. The content is intended to be a harmless presentation of those topics that makes us uniquely human. Sources[edit]Source: http://phritzysworld.wordpress.com/ 75.7.17.235 22:46, 21 July 2006 (UTC)
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Kragon
[edit]Amphibious assault of the Al Faw Peninsula
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An initial objective of the Coalition campaign in Iraq was to capture the oil industry in the Al Faw peninsula intact before it could be sabotaged or destroyed by the Iraqi military. This would both prevent an ecological disaster similar to the 1991 Gulf War and also enable a quicker resumption of oil exports which was vital to the rebuilding of Iraq after the war. This was carried out as a joint operation between USMC and Royal Marine commando units beginning at 2200 hours(local time) on 20th March 2003. The initial assault saw 40 Commando and US marines, followng airborne preparation by US planes and Cobra gunships landed by helicopter capturing over 200 prisoners for no loss. At the same time, air and sea landings captured the gas and oil platforms out at sea. HMS Richmond, HMS Marlborough, HMS Chatham and HMAS Anzac along with US ground based artilliary provided a perparatory bombardment for a second heliborne assault by 42 Commando just north of the town AL Faw. The purpose of this assault was to destroy enemy artillery which could threaten the oil infrastructure and 40 Commando's flank. Initailly the insertion was hampered by bad visibility resulting in a number of troops being killed following the crash of a US CH-46 Sea Knight. As visibility worsened the insertion was postponed for 6 hours before finally returning in Puma and Chinook helicopters and achieving all of its objectives. The Scimitars of C Squadron, Queen's Dragoon Guards were initially planned to be landed by hovercraft but were diverted to Kuwait when the beach was dicsovered to be heavily mined. The Kuwati border had previously been crossed by the 3rd Commando Brigade and US 15th MEU who encountered heavy resistance around the Khawr Abd Allah waterway but successfully achieved their objectives providing a route for the Scimitars who finally achieved their planned positions 24 hours behind schedule. Sources[edit]http://www.britains-smallwars.com/gulf2/AlFaw.html 86.138.227.149 23:04, 21 July 2006 (UTC)
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ESPN Sports Center "My Wish" segment
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BUT WHAT IS THE DEAL WITH THE THEME SONG!!!! WHAT TERRIBLE MUSICIAN IS GOING TO TAKE CREDIT FOR THIS? Sources[edit]24.63.151.189 23:32, 21 July 2006 (UTC)
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Jeff Kreismer
[edit]Alan Palmieri
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The 2,548 Best Things Anyone Ever Said
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The book also lists proverbs from many different countries, sayings, book and movie titles, and the dying words of celebrities, athletes, and politicians alike. People from all walks of life can enjoy this book, because it covers topics from pets to life at home with a spouse to sports, death, religion, and even "the big picture". Excerpts[edit]
Sources[edit]
http://isbndb.com/d/book/the_2548_best_things_anybody_ever_said.html 24.20.186.149 00:00, 22 July 2006 (UTC)
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