Showing posts with label archery. Show all posts
Showing posts with label archery. Show all posts
Monday, June 18, 2012
Staffan Johansson on minimalism
It kind of sounds like atmospheric rockabilly, but that doesn't account for the strains of tango, 1920's jazz, and "Weimar Republic cabaret" that Carver Combo bandleader Peter Murphy (not the Bauhaus lead singer) cites as his band's influences. In any case, the broad musical spectrum of the Stockholm, Sweden group definitely keeps its guitarist Staffan Johansson on his toes. But rather than attack Carver Combo's stylistic Smorgastarta with multi-textural orchestrations, Johansson embraces savvy dashes of minimalism to punctuate the music' s ebb and flow. His fat, hollow tone resounds through the band's 2007 release One Sin Between Me and the Lord, and this year's Let the Fire In [Grave Wax Records]--sometimes clean, sometimes edgy, but always right in the pocket and delivered with expressionistic starkness.
Your big, round guitar timbre almost sounds as if you're plucking a huge water pipe. What gear did you use to craft the tones on Let the Fire In?
My main guitars are a 1983 Stratocaster and a Fender Custom Shop '51 Nocaster. I also used a Harmony Vibra-Jet that belongs to our producer, Jerker Eklund. My amps are a Bad Cat Tremcat and a Gibson Maestro GA-45, but Jerker let me play through his mid '70s Fender Deluxe Reverb, as well. My pedals include a Moody Sounds Tremolo, a Keeley-modded Boss Blues Driver BD-2, a Roland DEP-5, an Ibanez DML-20 Modulation Delay III, and an Ibanez Metal Charger that's modded for less distortion. It has cool EQ knobs, so I can get some real ratty sounds from it. The reverb came from the amps or a Korg GR-1 Gated Spring Reverb. My strings are D'Addario, gauged .010-.046.
How flo you get that clear and articulate edge to your sound?
I try to use as little distortion or overdrive as possible, and just turn up the amp to make it compress a little bit. In fact, for recording, I don't really like using overdrive pedals except for the Keeley BD-2.
Given Carver Combo's stylistic layers, how do you conceptualize your guitar parts?
There is no particular format, so I am free to create whatever I want. But when Peter first plays his songs for the band, I listen to the lyrics and the melody, and I try to capture that vibe. I also use a lot of duct tape on the strings.
What prompted you to play so bare?
[Laughs.] I've over-played on so many recordings, and was horrified to hear that it sounded like sh*t on playback. Also, my girlfriend has to listen to me practice all day, and she keeps saying, "Music must include pauses." But, seriously, I am obsessed with playing parts that complement the singer, and it seems the best way to do that is to play less and not get in the way of the vocal. I really study the melody, so I don't play anything that doesn't serve the song. It also helps to not be afraid of silence.
Molenda, Michael
Source Citation
Molenda, Michael. "Staffan Johansson on minimalism." Guitar Player July 2012: 32+. Fine Arts and Music Collection. Web. 18 June 2012.
Document URL
http://go.galegroup.com/ps/i.do?id=GALE%7CA292236231&v=2.1&u=22054_acld&it=r&p=PPFA&sw=w
Gale Document Number: GALE|A292236231
Monday, June 11, 2012
I'll take the Rothko For $87 Million.
Edvard Munch, Alter Fischer mit Tochter (Old Fisherman with daughter), a photo by HEN-Magonza on Flickr.
Many economists say that art can't be in a bubble because, frankly, it's not much of an investment in the first place. Unlike stocks, an artwork's price reflects numerous nonfinancial intangibles, like the pleasure of owning a painting or, perhaps more important, its ability to signal the owner's vast wealth and erudition. While stocks can provide an ongoing payment stream (via dividends) and are traded in public markets, art collectors must pay to protect their investments. It's also much harder for collectors to resell expensive art. Not only is the market opaque, but few artists have real long-term value -- Jasper Johns and Andy Warhol are rarities. Sergey Skaterschikov, who publishes an influential art-investment report, says that no painting bought for $30 million or more has ever been resold at a profit.
Artwork itself may be a lousy investment, but selling it (and advising on it and being an art-world consigliere) can be pretty profitable. Because each piece of fine art is unique and can't be owned by anybody else, it does a more powerful and subtle job of signaling wealth than virtually any other luxury good. High prices are, quite literally, central to the signal -- you don't spend $120 million to show that you're a savvy investor who's hoping to flip a Munch for $130 million. You're spending $120 million, in part, to show that you can blow $120 million on something that can't possibly be worth that much in any marketplace.
Art is often valuable precisely because it isn't a sensible way to make money. And perhaps as a result, it has become even more valuable of late. Benjamin Mandel, an economist at the Federal Reserve Bank of New York, has been studying the art market because, he says, ''it's a great way to study asset price valuations.'' Mandel read reports suggesting that the market was growing at an unsustainable clip. For one thing, prices have gone up far faster than global G.D.P.
But then Mandel realized that we had been looking at the market incorrectly. Fine art, he said, is not really part of the overall global economy. Instead, it's part of the economy of a small subset of the super-superrich, whom some economists call Ultra High Net Worth Individuals, or U.H.N.W.I.'s. And their economy, unlike ours, is booming. In that alternate world, fine art as a percentage of the economy has stayed stable over the last decade, in part because a flood of new U.H.N.W.I.'s in China, India and other developing nations has entered the art-buying market with great enthusiasm. In 2003, the sales at Christie's Hong Kong totaled $98 million. Last year, they were $836 million.
The art market, in other words, is a proxy for the fate of the superrich themselves. Investors who believe that incomes and wealth will return to a more equitable state should ignore art and put their money into investments that grow alongside the overall economy, like telecoms and steel. For those who believe that the very, very rich will continue to grow at a pace that outstrips the rest of us, it seems like there's no better investment than art.
So how can a thirsty outsider get in on this market's profits, short of opening a gallery or becoming an expert adviser? That's the supposed role of art investment funds, like the Fine Art Fund. Fund managers remove the pleasures and ego-stroking that distort the investment principles of art ownership by collecting money -- the minimum investment at the Fine Art Fund is $500,000 -- from individuals, much like a hedge fund or asset management firm does. These assets then serve to create something of a virtual art gallery. Managers use art expertise and close industry connections to try to buy art cheaply, sell it high and return the profit to their investors.
In this sense, the current art market seems a lot like the Gold Rush. In the late 1840s, there were tons of people who wanted to find gold, but it was mainly the middlemen, who sold the pickaxes and gold pans, who made money. And right now, the world is going to need a lot more pickaxe salesmen -- advisers, consultants, gallerists, buyers. One confident art-fund manager told me that his pitch is simple: there are only around 3,000 top-quality items sold each year and more than 3,000 people want them. The number of buyers is growing faster than the amount of art.
The pitch is great, except that many art funds have collapsed. That's because art isn't gold, or any other commodity in which units can be evaluated objectively. The value of any artist's work is determined by an insider world of cultural arbiters who coordinate with one another. They know long before the rest of us which new artist is going to have a big show, who is going to be trashed in a review or whose piece was just sold privately for a small fortune.
Because the art market isn't regulated like financial securities, insider dealing is generally not illegal. In fact, being a truly influential insider is so rewarding that the slots are zealously guarded. Larry Gagosian, perhaps the world's most influential gallery owner, needs a nearly impossible combination of skills -- deep art knowledge, master salesmanship, charm, ruthlessness, financial savvy and the respect of the artists themselves -- to maintain his edge and root out competition. When you start a consulting service or invest in an art fund, you are an outsider seeking to make money in a shadowy market filled with brilliant insiders just like him. No wonder it rarely works.
As I talked to art advisers and economists, I kept thinking of my childhood in Westbeth, a subsidized housing complex for artists in Greenwich Village. Our neighbors, painters and sculptors among them, were decidedly not rich. To them, the very idea that art should make someone wealthy was laughable, even offensive. It makes me happy to think that this world of art-as-investment is a minuscule fraction of the art world overall. Most people who create, trade and own art do it for a much simpler reason. They just like it.
Deep thoughts this week:
1. Art isn't much of an investment.
2. It's more like a bet on the .001 percent.
3. So do you believe rampant inequality will continue?
4. Wanna put money on it?
CAPTION(S):
PHOTOS (PHOTOGRAPHS BY GETTY IMAGES; GETTY IMAGES/SUPERSTOCK RM; GETTY IMAGES/DEAGOSTINI; ARTKEY/CORBIS) (MM28)
DRAWINGS (DRAWING BY PETER OUMANSKI) (MM26); CHART: BUY MING DYNASTY, HOLD POLLOCK, SELL RUBENS: The N.Y.U. economist Michael Moses tracks the sale and resale prices for major works of art. Here's the average annual return of strong painting performers over the past decade. (MM28)
By ADAM DAVIDSON
Source Citation
Davidson, Adam. "I'll take the Rothko For $87 Million." The New York Times Magazine 3 June 2012: 26(L). Fine Arts and Music Collection. Web. 11 June 2012.
Document URL
http://go.galegroup.com/ps/i.do?id=GALE%7CA291722611&v=2.1&u=22054_acld&it=r&p=PPFA&sw=w
Gale Document Number: GALE|A291722611
Monday, May 21, 2012
When art imitates life: a new novel revisits a famous Maclean's coverphoto of a university student and the soldier who adored her
IT ALL SEEMS strangely inevitable, given the endless cycle of self-reference in modern literature (and media). First, a young woman in Toronto, Kinga Ilyes, has her photo appear on the cover of Maclean's April 2, 2007, University Student issue. Sgt. Christos Karigiannis, a Canadian soldier in Afghanistan, sees it a month later and writes the magazine a (politely) appreciative letter about "the extremely attractive young lady." The media knows a feel-good story, arising from a situation that is always in sore need of one, when it sees it. Newspapers reprint the sergeant's letter and flash "Darling of Kandahar" headlines. Maclean's dispatches another photographer to Ilyes, and this time a reporter calls too, to ask a few details about her life.
A few weeks pass, and it's no longer a cheerful story: the soldier, like so many other Canadian troops before and after him, is killed by a roadside bomb. The young woman, shocked and saddened, withdraws from the public eye. Five years later, Montreal author Felicia Mihali publishes a novel, The Darling of Kandahar, about a girl whose picture appears on the cover of a magazine called Maclear's--the standard phrase "lightly fictionalized" hardly describes the alteration of a fraction of a single character-and catches the eye of a soldier in Afghanistan. The cycle begins anew, but this time a Maclean's reporter phones Mihali.
The prolific and multilingual novelist--three books in Romanian, seven in French, plus Darling, her first in English-has been in Canada since 2000. Mihali, 45, already spoke French when she arrived in Montreal from southern Romania. In 2007, after years of study, she was just becoming comfortable in English when she read the story of Kinga and Christos in Maclean's--the publication she had adopted as her window into English Canada's psyche. What first captured Mihali's attention was that Ilyes was born in Romania. "People are always talking about Romanian women," she says laughing, "but they don't often say we're beautiful. I felt a little touch of national pride."
It was the sudden, wrenching turn in the story, though, that held her. "It became a strange, dark matter with his death, and then his funeral was in Laval, near where I live." Mihali attended and was moved by the ceremony. "Now as a writer, I couldn't not write about this." And she would do so in English, partly as a "final exam for my English" and partly because the war in Afghanistan has, Mihali says, received so little coverage in French-language media. "In Quebec, despite all the Quebecois soldiers, people seemed to think it was an English-Canadian affair."
[ILLUSTRATION OMITTED]
Her protagonist Irina is, like Kinga Ilyes, 24 and born in Romania of Hungarian heritage. Unlike Ilyes, a Toronto resident who was doing some part-time modelling when she appeared on the Maclean's cover, Irina--an amiable drifter--was picked out of a small group of students on her unnamed Montreal campus by a photographer who asked if she wanted to pose for the cover of a national magazine. When she returns to her friends and they ask how much she was paid, "I let an Ah! of surprise escape, because it had not occurred to me to ask for money."
The first letter from her Kandahar soldier--Yannis (for John the Baptist) rather than Christos (for Jesus himself)--jolts Irina into deeper self-awareness. Yannis asks Maclear's to thank her "for being who she is," exactly as Karigiannis wrote about Ilyes. "I did not know myself well enough," Irina later recalls, "to be happy with that." So she's intrigued enough to reply, after the story veers entirely into Mihali's fictional territory, and Yannis emails her directly.
He writes about his identity and mission as a soldier, and about the situation that confronts him and his comrades: "We cannot go back before getting proof that we did something worthwhile here, and the longer we stay the harder this is to bear, as change is not noticeable at all." In Irina's mind it's reminiscent of the founding of Montreal-another long, slow and painful attempt to export Western values to a foreign land, in the absence of real commitment in the home society.
In the end, Yannis Alexandridis dies just as Christos Karigiannis did. The story of Kinga and Christos meant his was a death far more newsworthy than that of most Canadians there. Kinga Ilyes, who was stunned to learn that she and Karigiannis had become the inspiration for a novel, was in Europe shortly after his death: "I saw my picture in Romanian newspapers, and my inbox was choked with messages when I came home." But it wasn't long before Karigiannis faded from the news cycle; it's been almost five years, Ilyes notes, since the media last called her. The situation is much the same in Darling of Kandahar, where Irina continues to talk about their story to anyone who asks, aiming to keep the cycle ever renewed.
Bethune, Brian
Source Citation
Bethune, Brian. "When art imitates life: a new novel revisits a famous Maclean's cover photo of a university student and the soldier who adored her." Maclean's 14 May 2012: 27. Fine Arts and Music Collection. Web. 21 May 2012.
Document URL
http://go.galegroup.com/ps/i.do?id=GALE%7CA289834582&v=2.1&u=22054_acld&it=r&p=PPFA&sw=w
Gale Document Number: GALE|A289834582
A few weeks pass, and it's no longer a cheerful story: the soldier, like so many other Canadian troops before and after him, is killed by a roadside bomb. The young woman, shocked and saddened, withdraws from the public eye. Five years later, Montreal author Felicia Mihali publishes a novel, The Darling of Kandahar, about a girl whose picture appears on the cover of a magazine called Maclear's--the standard phrase "lightly fictionalized" hardly describes the alteration of a fraction of a single character-and catches the eye of a soldier in Afghanistan. The cycle begins anew, but this time a Maclean's reporter phones Mihali.
The prolific and multilingual novelist--three books in Romanian, seven in French, plus Darling, her first in English-has been in Canada since 2000. Mihali, 45, already spoke French when she arrived in Montreal from southern Romania. In 2007, after years of study, she was just becoming comfortable in English when she read the story of Kinga and Christos in Maclean's--the publication she had adopted as her window into English Canada's psyche. What first captured Mihali's attention was that Ilyes was born in Romania. "People are always talking about Romanian women," she says laughing, "but they don't often say we're beautiful. I felt a little touch of national pride."
It was the sudden, wrenching turn in the story, though, that held her. "It became a strange, dark matter with his death, and then his funeral was in Laval, near where I live." Mihali attended and was moved by the ceremony. "Now as a writer, I couldn't not write about this." And she would do so in English, partly as a "final exam for my English" and partly because the war in Afghanistan has, Mihali says, received so little coverage in French-language media. "In Quebec, despite all the Quebecois soldiers, people seemed to think it was an English-Canadian affair."
[ILLUSTRATION OMITTED]
Her protagonist Irina is, like Kinga Ilyes, 24 and born in Romania of Hungarian heritage. Unlike Ilyes, a Toronto resident who was doing some part-time modelling when she appeared on the Maclean's cover, Irina--an amiable drifter--was picked out of a small group of students on her unnamed Montreal campus by a photographer who asked if she wanted to pose for the cover of a national magazine. When she returns to her friends and they ask how much she was paid, "I let an Ah! of surprise escape, because it had not occurred to me to ask for money."
The first letter from her Kandahar soldier--Yannis (for John the Baptist) rather than Christos (for Jesus himself)--jolts Irina into deeper self-awareness. Yannis asks Maclear's to thank her "for being who she is," exactly as Karigiannis wrote about Ilyes. "I did not know myself well enough," Irina later recalls, "to be happy with that." So she's intrigued enough to reply, after the story veers entirely into Mihali's fictional territory, and Yannis emails her directly.
He writes about his identity and mission as a soldier, and about the situation that confronts him and his comrades: "We cannot go back before getting proof that we did something worthwhile here, and the longer we stay the harder this is to bear, as change is not noticeable at all." In Irina's mind it's reminiscent of the founding of Montreal-another long, slow and painful attempt to export Western values to a foreign land, in the absence of real commitment in the home society.
In the end, Yannis Alexandridis dies just as Christos Karigiannis did. The story of Kinga and Christos meant his was a death far more newsworthy than that of most Canadians there. Kinga Ilyes, who was stunned to learn that she and Karigiannis had become the inspiration for a novel, was in Europe shortly after his death: "I saw my picture in Romanian newspapers, and my inbox was choked with messages when I came home." But it wasn't long before Karigiannis faded from the news cycle; it's been almost five years, Ilyes notes, since the media last called her. The situation is much the same in Darling of Kandahar, where Irina continues to talk about their story to anyone who asks, aiming to keep the cycle ever renewed.
Bethune, Brian
Source Citation
Bethune, Brian. "When art imitates life: a new novel revisits a famous Maclean's cover photo of a university student and the soldier who adored her." Maclean's 14 May 2012: 27. Fine Arts and Music Collection. Web. 21 May 2012.
Document URL
http://go.galegroup.com/ps/i.do?id=GALE%7CA289834582&v=2.1&u=22054_acld&it=r&p=PPFA&sw=w
Gale Document Number: GALE|A289834582
Monday, May 14, 2012
"Ideas for integrating technology education into everyday learning
Historically, humans have used engineering and technology to solve problems. But that's not good enough for our creative and beauty-loving nature. Even in ancient times, perfectly fine protective cave walls were covered with petroglyphs, and simple clay pots were adorned with intricate paintings.
We create functional designs that can evoke as much emotion as a fine painting. Use the following activities to explore the place where art and engineering meld.
language arts:
Be a Movie Star!
* Investigate movie making technology and how it's used by screen artists to create your favorite movies, http:// entertainment.howstuffworks. com/question295.htm and www. physorg.com/news/2011-02-hightech-moviemaking-video.html. Then make your own show! After you choose a topic, begin by creating a simple storyboard, designing the screen shots and building simple sets, then writing the script for your actors. Film your movie with video, podcast it, or create an animated version using some of these free online animation programs: http:]] goanimate.com/; www.fluxtime. com; and www.miniclip.com/sketchstar/en/ OR go all the way with real stop-animation videos and purchase an easy-to-use program called SAM animation: www.samanimation. com/.
* If you have access--try Windows Movie Maker or iMovie to edit your footage into a final product to share with all!
[ILLUSTRATION OMITTED]
math:
Discover the Secret Mathematics in Art with the Golden Ratio!
* Many artists proportion their works to approximate the Golden Ratio; and so does nature. The Golden Ratio is a special number that is equal to its own reciprocal plus one. The actual number is 1.618. Fibonacci, an Italian mathematician, linked the study of math, nature, and art by discovering an infinite sequence of numbers that could calculate a means to reach the Golden Ratio. The first two Fibonacci numbers are o and I, and each next number is the sum of the previous two: 0, 1,1, 2, 3, 5, 8,13, 21, 34, 55, 89,144 ... Not only is this sequence used in engineering, but it appears throughout nature, www.youtube. com]watch?v=AzfHbETDbN8&featur e=related
[ILLUSTRATION OMITTED]
[ILLUSTRATION OMITTED]
* Have your students go on a Fibonacci scavenger hunt in and out of school and share their findings. Then graph the results and create a class Fibonacci collage.
Science:
Engineer Art that Moves!
* Browse through these amazing kinetic sculpture sites to see art in action:
Artist Theo Jansen: www. youtube.com/watch?v=OR_-YellQo&feature=related Artist Reuben Margolin: http:// vimeo.com/3001833 Artist Lyman Whitaker: www.youtube.com/ watch?v=hpZvn3YtPYY Kid Art: www.youtube.com] watch?v=81f4nBhKgtE
* As you watch the sculpture videos, brainstorm what enables the art to move. Discuss levers and fulcrums, weight and balance, pulleys, gears, wheels, materials, potential and kinetic energy, and perpetual motion.
* Now, to design your own action art ... first choose your energy (wind, heat, water, electricity, people) and location (hanging in air, on ground, etc.). Next sketch your design. Then choose your building material (paper, junk, plastic... ). Finally build and test your art!
* Younger students can focus more on shape, weight, and balance by creating their own mobiles or modifying premade designs, www. enchantedlearning.com]crafts] mobiles]
[ILLUSTRATION OMITTED]
[ILLUSTRATION OMITTED]
Make Magical Magnetic Art
* Ferrofluid is a liquid solution that acts like a solid in the presence of a magnetic field. It is a technology that is currently used for seals in electronic devices, brakes in mechanics, aerospace control systems, heat transfer in loudspeakers, and MRI cancer detection. It is also quickly becoming its own bizarre art form! Check out this Ferrofluid sculpture: www. youtube.com/watch?v=eDnrFgd7yfo Then find out how Ferrofluid works: www.youtube.com] watch?v=PvtUto2zVAs.
* Now it's time to make your own magnetic magic. You can buy quality Ferrofluid for about $40, www.teachersource.com/ Electricity And Magnetism/Ferrofluid/ BulkFerrofluid.aspx, or you can make your own with MICR toner and vegetable oil. www.youtube.com/ watch?v=vsQh1AT6qUE (recipe)
* You will also need a clear container and Latex gloves for each student. Use Neodymium magnets (rareearth) for activating your art. Regular magnets aren't strong enough.
* Pour Ferrofluid, 1-2 inches deep, into your container. Petri dishes with lids work well. ***Caution!*** This is messy-staining stuff that will creep right out of the dish! Gluing the lids on AND then sealing with clear caulk worked for me. Keep the magnets on the dish bottom and sides, and be ready to be amazed!
Social Studies:
Create some cool!
* We all want our car to start every morning and get us safely to where we need to go. But, we also want our car to look good along the way! Automobile companies are acutely aware of our love affair with cars, so their designers work tirelessly to give us just what we want. Check out the latest in car design technology: www.cardesignonline.com/design/. And try the online design simulation at www.12playgamesonline.com/ Games/Create-Ride-Design-YourDream-Car-G367.html
[ILLUSTRATION OMITTED]
* Next have a "cool car" design challenge. All students or teams must start with the basic functions and parts of a vehicle. After that, their inner artist can take over. They can sketch on graph paper/ use "Google Sketch Up" (a simple online CAD program), make posters. Older students could even create Styrofoam or clay models of their designs and test them in a wind tunnel. As an extension, students can produce promo-live or video clips for their cool designs. Some fun promo examples: www.youtube. com/watch?v=tlcKySQvl_4 and www.youtube.com/watch?v=R55euHQnao.
* All activities can be modified according to grade level.
Krista Jones is a teacher of P-5 Engineering Technology Education at Bellevue Elementary School Bellevue, Idaho. She can be reached via email at kjones@blaineschools.org.
Jones, Krista
Source Citation
Jones, Krista. "Ideas for integrating technology education into everyday learning." Children's Technology and Engineering Sept. 2011: 21+. Psychology Collection. Web. 14 May 2012.
Document URL
http://go.galegroup.com/ps/i.do?id=GALE%7CA278276633&v=2.1&u=22054_acld&it=r&p=PPPC&sw=w
Gale Document Number: GALE|A278276633
We create functional designs that can evoke as much emotion as a fine painting. Use the following activities to explore the place where art and engineering meld.
language arts:
Be a Movie Star!
* Investigate movie making technology and how it's used by screen artists to create your favorite movies, http:// entertainment.howstuffworks. com/question295.htm and www. physorg.com/news/2011-02-hightech-moviemaking-video.html. Then make your own show! After you choose a topic, begin by creating a simple storyboard, designing the screen shots and building simple sets, then writing the script for your actors. Film your movie with video, podcast it, or create an animated version using some of these free online animation programs: http:]] goanimate.com/; www.fluxtime. com; and www.miniclip.com/sketchstar/en/ OR go all the way with real stop-animation videos and purchase an easy-to-use program called SAM animation: www.samanimation. com/.
* If you have access--try Windows Movie Maker or iMovie to edit your footage into a final product to share with all!
[ILLUSTRATION OMITTED]
math:
Discover the Secret Mathematics in Art with the Golden Ratio!
* Many artists proportion their works to approximate the Golden Ratio; and so does nature. The Golden Ratio is a special number that is equal to its own reciprocal plus one. The actual number is 1.618. Fibonacci, an Italian mathematician, linked the study of math, nature, and art by discovering an infinite sequence of numbers that could calculate a means to reach the Golden Ratio. The first two Fibonacci numbers are o and I, and each next number is the sum of the previous two: 0, 1,1, 2, 3, 5, 8,13, 21, 34, 55, 89,144 ... Not only is this sequence used in engineering, but it appears throughout nature, www.youtube. com]watch?v=AzfHbETDbN8&featur e=related
[ILLUSTRATION OMITTED]
[ILLUSTRATION OMITTED]
* Have your students go on a Fibonacci scavenger hunt in and out of school and share their findings. Then graph the results and create a class Fibonacci collage.
Science:
Engineer Art that Moves!
* Browse through these amazing kinetic sculpture sites to see art in action:
Artist Theo Jansen: www. youtube.com/watch?v=OR_-YellQo&feature=related Artist Reuben Margolin: http:// vimeo.com/3001833 Artist Lyman Whitaker: www.youtube.com/ watch?v=hpZvn3YtPYY Kid Art: www.youtube.com] watch?v=81f4nBhKgtE
* As you watch the sculpture videos, brainstorm what enables the art to move. Discuss levers and fulcrums, weight and balance, pulleys, gears, wheels, materials, potential and kinetic energy, and perpetual motion.
* Now, to design your own action art ... first choose your energy (wind, heat, water, electricity, people) and location (hanging in air, on ground, etc.). Next sketch your design. Then choose your building material (paper, junk, plastic... ). Finally build and test your art!
* Younger students can focus more on shape, weight, and balance by creating their own mobiles or modifying premade designs, www. enchantedlearning.com]crafts] mobiles]
[ILLUSTRATION OMITTED]
[ILLUSTRATION OMITTED]
Make Magical Magnetic Art
* Ferrofluid is a liquid solution that acts like a solid in the presence of a magnetic field. It is a technology that is currently used for seals in electronic devices, brakes in mechanics, aerospace control systems, heat transfer in loudspeakers, and MRI cancer detection. It is also quickly becoming its own bizarre art form! Check out this Ferrofluid sculpture: www. youtube.com/watch?v=eDnrFgd7yfo Then find out how Ferrofluid works: www.youtube.com] watch?v=PvtUto2zVAs.
* Now it's time to make your own magnetic magic. You can buy quality Ferrofluid for about $40, www.teachersource.com/ Electricity And Magnetism/Ferrofluid/ BulkFerrofluid.aspx, or you can make your own with MICR toner and vegetable oil. www.youtube.com/ watch?v=vsQh1AT6qUE (recipe)
* You will also need a clear container and Latex gloves for each student. Use Neodymium magnets (rareearth) for activating your art. Regular magnets aren't strong enough.
* Pour Ferrofluid, 1-2 inches deep, into your container. Petri dishes with lids work well. ***Caution!*** This is messy-staining stuff that will creep right out of the dish! Gluing the lids on AND then sealing with clear caulk worked for me. Keep the magnets on the dish bottom and sides, and be ready to be amazed!
Social Studies:
Create some cool!
* We all want our car to start every morning and get us safely to where we need to go. But, we also want our car to look good along the way! Automobile companies are acutely aware of our love affair with cars, so their designers work tirelessly to give us just what we want. Check out the latest in car design technology: www.cardesignonline.com/design/. And try the online design simulation at www.12playgamesonline.com/ Games/Create-Ride-Design-YourDream-Car-G367.html
[ILLUSTRATION OMITTED]
* Next have a "cool car" design challenge. All students or teams must start with the basic functions and parts of a vehicle. After that, their inner artist can take over. They can sketch on graph paper/ use "Google Sketch Up" (a simple online CAD program), make posters. Older students could even create Styrofoam or clay models of their designs and test them in a wind tunnel. As an extension, students can produce promo-live or video clips for their cool designs. Some fun promo examples: www.youtube. com/watch?v=tlcKySQvl_4 and www.youtube.com/watch?v=R55euHQnao.
* All activities can be modified according to grade level.
Krista Jones is a teacher of P-5 Engineering Technology Education at Bellevue Elementary School Bellevue, Idaho. She can be reached via email at kjones@blaineschools.org.
Jones, Krista
Source Citation
Jones, Krista. "Ideas for integrating technology education into everyday learning." Children's Technology and Engineering Sept. 2011: 21+. Psychology Collection. Web. 14 May 2012.
Document URL
http://go.galegroup.com/ps/i.do?id=GALE%7CA278276633&v=2.1&u=22054_acld&it=r&p=PPPC&sw=w
Gale Document Number: GALE|A278276633
Saturday, May 12, 2012
Tuesday, May 8, 2012
Baby Steps; Where does modern art history start? The Met'spredynastic-Egypt show reveals the beginning of everything
The style of ancient Egyptian art is transcendently clear, something 8-year-olds can recognize in an instant. Its consistency and codification is one of the most epic visual journeys in all art, one that lasts 30 dynasties spread over 3,000 years. That's the era--as long as six Roman empires, or a dozen American ones--we all know for its pharaohs and pyramids and sphinxes, Tutankhamen and Rameses, and that brief instant in the Eighteenth Dynasty when art comes within a hair's breadth of a lyrical naturalism we associate with Ingres.
At the Metropolitan Museum of Art's breathtaking "The Dawn of Egyptian Art," you won't see any of that. This show covers the years between about 3900 B.C. and 2649 B.C., the period before Egypt became Egypt, and opens a mystical window on how the forms, ideas, and images of Egyptian art came into being. And although I relish the dynastic art--especially the breathtaking, magnificent Eighteenth--the predynastic period is my favorite. It's looser, more unfinished, open, raw, not as codified as what followed. In this show, you'll see nothing less than the completion of the long metamorphosis from the Neolithic to the modern mind, of one kind of human becoming another, seeing and interacting with the world in new ways. It is also incredibly old: more ancient to Julius Caesar than Caesar is to us.
To grasp how this art came to be, understand that nature and topography are everything in Egypt. The livable part of the country is the several-miles-wide, 600-mile-long Nile Valley, a densely populated strip bounded by pure desert and thus impervious to invasion. It has two big problems: First, it never rains. Second, the river floods every summer (or did, till twentieth-century dams were built). The land demanded strict confederation and administration to use the rich silt brought into the valley by the floods, and it took the form, starting around 4400 B.C., of "hydraulic despotism"--total control by the pharaohs, managed by highly structured bureaucracies. The pharaohs came to be seen as gods on Earth, controlling the water, allowing farming and animal husbandry. Civilization simmered, bringing wealth and art.
The show is made up of about 180 objects, 80 from the Met's permanent collection, most of them about the size of a lunch box. There are vessels, makeup palettes (that great eyeliner had to be ground and mixed somewhere), game boards, boats, a marvelously whimsical bowl with little feet that is actually a hieroglyph meaning "pure," and numerous highly observed images of flowers, palm fronds, water, hills, antelopes, elephants, fish (one puffing out its young from its mouth), steers, deer, and dozens of other animals. Many theorists insist that art wasn't invented until the eighteenth century, that everything before that is either archaeological, anthropological, ceremonial, or utilitarian. Nonsense. What you're seeing, in addition to being all those things, is art. Great art made both to be used and to give visual, aural, tactile, and psychic pleasure. Art that leaves us helpless.
There are a few large-scale statues, including one that sets the stage for almost all walking figures to come. But any number of objects display advanced ideas of space, abstraction, figuration, stylization, wit, narrative, touch, and composition. On the inside of a small bowl, crocodiles bask on the banks of a river. Different plants are rendered from different angles. The crocodiles are sprawled in every direction, because that's what crocodiles do. Squiggly lines on the rim, where real water would go, represent the shore. Meanwhile, the outside of the bowl displays animals that would be seen on the banks of the Nile, in an amphibious worldview that's as naturalistic as anything by Constable. Elsewhere in the show, a deep bowl shows more crocodiles basking among delicately rendered weeds and reeds. Nearby are four hippos; one may be pregnant; a baby hippo trails behind. Relative scale, girth, and positioning are in perfect perspectival accord. Have hippos ever been rendered better?
When I looked at the jackal statue ambling forward on bent tiptoe, tail full, ears alert, in mid-stride, all I could think was, Best. Jackal. Ever. A large palette gives us an elaborate lion hunt with numerous bowmen shooting arrows, antelopes running and being lassoed, an alarmed ostrich, a hunting dog or coyote clawing at a deer's haunches. Another palette depicts carrion birds feasting on figures mauled by a nearby lion. In these two scenes, you see the start of the bas-relief carving and stylization that will soon become that clarion style we all know. "The Dawn of Egyptian Art" lets us see people living in a world of their own making, and observing, harmonizing, and taming this world; people alive with ideas of their own, desires, and an unexplained need to render it all as sensuously, seriously, wonderfully, and as often as possible.
Jerry Saltz
Source Citation
Saltz, Jerry. "Baby Steps; Where does modern art history start? The Met's predynastic-Egypt show reveals the beginning of everything." New York 14 May 2012. Fine Arts and Music Collection. Web. 8 May 2012.
Document URL
http://go.galegroup.com/ps/i.do?id=GALE%7CA288853478&v=2.1&u=22054_acld&it=r&p=PPFA&sw=w
Gale Document Number: GALE|A288853478
At the Metropolitan Museum of Art's breathtaking "The Dawn of Egyptian Art," you won't see any of that. This show covers the years between about 3900 B.C. and 2649 B.C., the period before Egypt became Egypt, and opens a mystical window on how the forms, ideas, and images of Egyptian art came into being. And although I relish the dynastic art--especially the breathtaking, magnificent Eighteenth--the predynastic period is my favorite. It's looser, more unfinished, open, raw, not as codified as what followed. In this show, you'll see nothing less than the completion of the long metamorphosis from the Neolithic to the modern mind, of one kind of human becoming another, seeing and interacting with the world in new ways. It is also incredibly old: more ancient to Julius Caesar than Caesar is to us.
To grasp how this art came to be, understand that nature and topography are everything in Egypt. The livable part of the country is the several-miles-wide, 600-mile-long Nile Valley, a densely populated strip bounded by pure desert and thus impervious to invasion. It has two big problems: First, it never rains. Second, the river floods every summer (or did, till twentieth-century dams were built). The land demanded strict confederation and administration to use the rich silt brought into the valley by the floods, and it took the form, starting around 4400 B.C., of "hydraulic despotism"--total control by the pharaohs, managed by highly structured bureaucracies. The pharaohs came to be seen as gods on Earth, controlling the water, allowing farming and animal husbandry. Civilization simmered, bringing wealth and art.
The show is made up of about 180 objects, 80 from the Met's permanent collection, most of them about the size of a lunch box. There are vessels, makeup palettes (that great eyeliner had to be ground and mixed somewhere), game boards, boats, a marvelously whimsical bowl with little feet that is actually a hieroglyph meaning "pure," and numerous highly observed images of flowers, palm fronds, water, hills, antelopes, elephants, fish (one puffing out its young from its mouth), steers, deer, and dozens of other animals. Many theorists insist that art wasn't invented until the eighteenth century, that everything before that is either archaeological, anthropological, ceremonial, or utilitarian. Nonsense. What you're seeing, in addition to being all those things, is art. Great art made both to be used and to give visual, aural, tactile, and psychic pleasure. Art that leaves us helpless.
There are a few large-scale statues, including one that sets the stage for almost all walking figures to come. But any number of objects display advanced ideas of space, abstraction, figuration, stylization, wit, narrative, touch, and composition. On the inside of a small bowl, crocodiles bask on the banks of a river. Different plants are rendered from different angles. The crocodiles are sprawled in every direction, because that's what crocodiles do. Squiggly lines on the rim, where real water would go, represent the shore. Meanwhile, the outside of the bowl displays animals that would be seen on the banks of the Nile, in an amphibious worldview that's as naturalistic as anything by Constable. Elsewhere in the show, a deep bowl shows more crocodiles basking among delicately rendered weeds and reeds. Nearby are four hippos; one may be pregnant; a baby hippo trails behind. Relative scale, girth, and positioning are in perfect perspectival accord. Have hippos ever been rendered better?
When I looked at the jackal statue ambling forward on bent tiptoe, tail full, ears alert, in mid-stride, all I could think was, Best. Jackal. Ever. A large palette gives us an elaborate lion hunt with numerous bowmen shooting arrows, antelopes running and being lassoed, an alarmed ostrich, a hunting dog or coyote clawing at a deer's haunches. Another palette depicts carrion birds feasting on figures mauled by a nearby lion. In these two scenes, you see the start of the bas-relief carving and stylization that will soon become that clarion style we all know. "The Dawn of Egyptian Art" lets us see people living in a world of their own making, and observing, harmonizing, and taming this world; people alive with ideas of their own, desires, and an unexplained need to render it all as sensuously, seriously, wonderfully, and as often as possible.
Jerry Saltz
Source Citation
Saltz, Jerry. "Baby Steps; Where does modern art history start? The Met's predynastic-Egypt show reveals the beginning of everything." New York 14 May 2012. Fine Arts and Music Collection. Web. 8 May 2012.
Document URL
http://go.galegroup.com/ps/i.do?id=GALE%7CA288853478&v=2.1&u=22054_acld&it=r&p=PPFA&sw=w
Gale Document Number: GALE|A288853478
Tuesday, May 1, 2012
'A' Ok: British singer/songwriter Ed Sheeran's global hit 'The A Team'charts in the U.S. at last.
"'The A Team' came from an experience I had when I did a gig at a homeless shelter," 21-year-old British singer/songwriter Ed Sheeran says of his breakout single, released by Elektra/Atlantic in the United States (and by Asylum in the United Kingdom). "I was 18 at the time and kind of quite naive. So, I was a bit taken aback by some of the stories that I heard.
"I got home that night and wrote a lot of the lyrics," he continues. "I wanted to write it so it sounded kind of upbeat, so you wouldn't really know what it's about, because it's quite a dark subject."
More specifically, Sheeran says the subject is hard drug use (and not a reference to the '80s TV show of the same name). "A drug like crack cocaine is called a 'class A' drug. That's in the same category as heroin. Instead of making it clear and just saying what [a person's] problem [with addiction] was, I'd say, 'She's in the 'class A' team.' It was kind of my way of covering it up, making it a bit more subtle."
In the tradition of folk/rock hits like Suzanne Vega's "Luka" (about child abuse) or Tracy Chapman's "Fast Car" (alcoholism) that shade heavy topics under a melodic canopy, "The A Team" has gotten fans singing along to its sunny sound. Last summer, the track soared to No. 3 on the Official Charts Co.'s U.K. singles chart, It has since reached the top 10 in Australia, Germany, Ireland, Japan, Luxembourg, New Zealand and Norway.
This week, Sheeran's worldwide hit makes its first appearance on a U.S. Billboard chart, debuting at No. 30 on the Triple A radio airplay tally. Chart reporter KTCZ (Cities 97) Minneapolis leads all panelists with 143 plays through April 18, according to Nielsen BDS. Among all monitored stations, adult top 40 KLLC (Alice @97.3) San Francisco leads with 345 plays, having been the first to spin it stateside on Jan. 27.
Honored at this year's BRIT Awards as British breakthrough act and British solo male artist, Sheeran returns to his No. 17 peak on the Folk Albums chart with EP The A-Team. As he continues his first North American tour with Snow Patrol, the five-song collection sets up the June 12 U.S. arrival of his debut full-length, +. The Asylum/Warner set was No. 1 on the U.K. chart for three weeks last year,
Before then, Sheeran will throw fans a curve: the Slumdon Bridge EP (due April 24 on Elektra) with Shady/Interscope tapper Yelawolf, whom he's long admired. "I reached out, he said yes," Sheeran says. "We had 10 hours in a studio together and made four songs, which I love. The EP is a good fusion of both worlds."
For exclusive video content with Ed Sheeran, go to Billboard.com//chartbeat.
Trust, Gary
Source Citation
Trust, Gary. "'A' Ok: British singer/songwriter Ed Sheeran's global hit 'The A Team' charts in the U.S. at last." Billboard 28 Apr. 2012: 35. Fine Arts and Music Collection. Web. 1 May 2012.
Document URL
http://go.galegroup.com/ps/i.do?id=GALE%7CA287867528&v=2.1&u=22054_acld&it=r&p=PPFA&sw=w
Gale Document Number: GALE|A287867528
"I got home that night and wrote a lot of the lyrics," he continues. "I wanted to write it so it sounded kind of upbeat, so you wouldn't really know what it's about, because it's quite a dark subject."
More specifically, Sheeran says the subject is hard drug use (and not a reference to the '80s TV show of the same name). "A drug like crack cocaine is called a 'class A' drug. That's in the same category as heroin. Instead of making it clear and just saying what [a person's] problem [with addiction] was, I'd say, 'She's in the 'class A' team.' It was kind of my way of covering it up, making it a bit more subtle."
In the tradition of folk/rock hits like Suzanne Vega's "Luka" (about child abuse) or Tracy Chapman's "Fast Car" (alcoholism) that shade heavy topics under a melodic canopy, "The A Team" has gotten fans singing along to its sunny sound. Last summer, the track soared to No. 3 on the Official Charts Co.'s U.K. singles chart, It has since reached the top 10 in Australia, Germany, Ireland, Japan, Luxembourg, New Zealand and Norway.
This week, Sheeran's worldwide hit makes its first appearance on a U.S. Billboard chart, debuting at No. 30 on the Triple A radio airplay tally. Chart reporter KTCZ (Cities 97) Minneapolis leads all panelists with 143 plays through April 18, according to Nielsen BDS. Among all monitored stations, adult top 40 KLLC (Alice @97.3) San Francisco leads with 345 plays, having been the first to spin it stateside on Jan. 27.
Honored at this year's BRIT Awards as British breakthrough act and British solo male artist, Sheeran returns to his No. 17 peak on the Folk Albums chart with EP The A-Team. As he continues his first North American tour with Snow Patrol, the five-song collection sets up the June 12 U.S. arrival of his debut full-length, +. The Asylum/Warner set was No. 1 on the U.K. chart for three weeks last year,
Before then, Sheeran will throw fans a curve: the Slumdon Bridge EP (due April 24 on Elektra) with Shady/Interscope tapper Yelawolf, whom he's long admired. "I reached out, he said yes," Sheeran says. "We had 10 hours in a studio together and made four songs, which I love. The EP is a good fusion of both worlds."
For exclusive video content with Ed Sheeran, go to Billboard.com//chartbeat.
Trust, Gary
Source Citation
Trust, Gary. "'A' Ok: British singer/songwriter Ed Sheeran's global hit 'The A Team' charts in the U.S. at last." Billboard 28 Apr. 2012: 35. Fine Arts and Music Collection. Web. 1 May 2012.
Document URL
http://go.galegroup.com/ps/i.do?id=GALE%7CA287867528&v=2.1&u=22054_acld&it=r&p=PPFA&sw=w
Gale Document Number: GALE|A287867528
Sunday, April 22, 2012
STORAGE INSIDER: Brocade's SAN Health makes house calls; An expertopinion on SAN performance and configuration isn't far away -- if youuse Brocade switches
It may sound obvious, but the larger a storage network gets, the more difficult it is to keep it well documented and, more importantly, well tuned. Sooner or later, administrators in charge of large storage structures will welcome -- and actually ask for -- an expert opinion on configuration, topology, and performance of their SAN.
Steve Wynne, now technical marketing manager at Brocade (and formerly chief SAN architect for the Asia and Pacific areas) knows that all too well. "Almost every customer I visited asked me to inspect their network," he explains.
Wynne was glad to oblige those requests, but after numerous similar sessions, he decided to write a program to automate the long and tedious network-inspection process. This is how the first version of SAN Health was born, a little more than two years ago.
Brocade was so pleased with the first version that it assigned other resources to help Wynne make SAN Health a sophisticated analytic tool, available free of charge to all customers.
Learning how SAN Health works is fascinating. After downloading this Windows application from the Brocade Web site, you just enter the IP address of one or more switches, and SAN Health will accurately discover the rest of the network using console commands.
SAN Health captures just about any information you will ever need to know for each of your SANs, including name and model of each switch, their speeds, the overall number of ports, which ports are being used, and what devices are attached to them.
The application will also take the pulse of your network, collecting critical indicators such as fan speed, internal temperature, and the status of power supply modules in each enclosure. You also have the option to gather performance statistics, timed according to a custom schedule.
The database captured by SAN Health is then uploaded to Brocade's report-generation servers, where it's formatted into an Excel spreadsheet that contains a summary table of the entire network, a diagram in Visio format, and detailed information on each switch and each SAN.
Depending on the load, customers receive their spreadsheet by e-mail after a few hours. Interestingly, the spreadsheet cells are color-coded to mark areas that need attention. For example, in the test that Wynne ran for me a faulty power supply was colored orange, while a less severe condition -- a zone disconnected from the rest of the fabric -- was marked in blue.
SAN Health reports also include recommendations on what you should improve and how, as well as charts showing performance data. Can't get enough of XML? For the joy of your developers, SAN Health delivers the same detailed data in XML format, too.
Wondering if Brocade is going to use the data collected by SAN Health? Of course it is; those databases are invaluable to better understanding how the switches are used in the field, which helps in planning for new Brocade products and features, Wynne explains.
Despite his new technical marketing manager position, SAN Health is still keeping Wynne busy. "I had to bring up new report-generation servers to cope with the demand," he tells me.
Apparently SAN Health is an offer that customers find difficult to refuse, and understandably so: It's the fastest and most affordable way to get excellent documentation and an expert opinion for your SAN. Unfortunately, it collects data only from switches made by Brocade or by its OEMs. One can only hope that other vendors take note; there are lots of SAN admins desperate for this type of application.
By Mario Apicella
Source Citation
"STORAGE INSIDER: Brocade's SAN Health makes house calls; An expert opinion on SAN performance and configuration isn't far away -- if you use Brocade switches." InfoWorld.com 11 Oct. 2004. General OneFile. Web. 22 Apr. 2012.
Document URL
http://go.galegroup.com/ps/i.do?id=GALE%7CA123096794&v=2.1&u=22054_acld&it=r&p=GPS&sw=w
Gale Document Number: GALE|A123096794
Steve Wynne, now technical marketing manager at Brocade (and formerly chief SAN architect for the Asia and Pacific areas) knows that all too well. "Almost every customer I visited asked me to inspect their network," he explains.
Wynne was glad to oblige those requests, but after numerous similar sessions, he decided to write a program to automate the long and tedious network-inspection process. This is how the first version of SAN Health was born, a little more than two years ago.
Brocade was so pleased with the first version that it assigned other resources to help Wynne make SAN Health a sophisticated analytic tool, available free of charge to all customers.
Learning how SAN Health works is fascinating. After downloading this Windows application from the Brocade Web site, you just enter the IP address of one or more switches, and SAN Health will accurately discover the rest of the network using console commands.
SAN Health captures just about any information you will ever need to know for each of your SANs, including name and model of each switch, their speeds, the overall number of ports, which ports are being used, and what devices are attached to them.
The application will also take the pulse of your network, collecting critical indicators such as fan speed, internal temperature, and the status of power supply modules in each enclosure. You also have the option to gather performance statistics, timed according to a custom schedule.
The database captured by SAN Health is then uploaded to Brocade's report-generation servers, where it's formatted into an Excel spreadsheet that contains a summary table of the entire network, a diagram in Visio format, and detailed information on each switch and each SAN.
Depending on the load, customers receive their spreadsheet by e-mail after a few hours. Interestingly, the spreadsheet cells are color-coded to mark areas that need attention. For example, in the test that Wynne ran for me a faulty power supply was colored orange, while a less severe condition -- a zone disconnected from the rest of the fabric -- was marked in blue.
SAN Health reports also include recommendations on what you should improve and how, as well as charts showing performance data. Can't get enough of XML? For the joy of your developers, SAN Health delivers the same detailed data in XML format, too.
Wondering if Brocade is going to use the data collected by SAN Health? Of course it is; those databases are invaluable to better understanding how the switches are used in the field, which helps in planning for new Brocade products and features, Wynne explains.
Despite his new technical marketing manager position, SAN Health is still keeping Wynne busy. "I had to bring up new report-generation servers to cope with the demand," he tells me.
Apparently SAN Health is an offer that customers find difficult to refuse, and understandably so: It's the fastest and most affordable way to get excellent documentation and an expert opinion for your SAN. Unfortunately, it collects data only from switches made by Brocade or by its OEMs. One can only hope that other vendors take note; there are lots of SAN admins desperate for this type of application.
By Mario Apicella
Source Citation
"STORAGE INSIDER: Brocade's SAN Health makes house calls; An expert opinion on SAN performance and configuration isn't far away -- if you use Brocade switches." InfoWorld.com 11 Oct. 2004. General OneFile. Web. 22 Apr. 2012.
Document URL
http://go.galegroup.com/ps/i.do?id=GALE%7CA123096794&v=2.1&u=22054_acld&it=r&p=GPS&sw=w
Gale Document Number: GALE|A123096794
Friday, April 20, 2012
Hardcover bestsellers/nonfiction
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Results for Advanced Search Keyword (Van Gogh)
Title: Hardcover bestsellers/nonfiction Author(s): Dick Donahue Source: Publishers Weekly. 258.44 (Oct. 31, 2011): p13. Document Type: Article
Full Text:
[ILLUSTRATION OMITTED]
"Our Intellectual and cultural elites reject the God our parents believed In," asserts Buchanan. The bestselling author of such books as The Death of the West. How Dying Populations and Immigrant Invasions Imperil Our Country and Civilization has been on a media blitzkrieg tour touting his latest: consecutive nights last week on Sean Hannity, and stops with Glenn Beck, Laura Ingraham, Imus, Dobbs, Liddy, and many more. He's getting the word out and finding his audience as the political season heats up. Copies in print: 85,000.
[ILLUSTRATION OMITTED]
So Van Gogh didn't kill himself? That's the shocking theory proposed by Naifeh and Smith, who won a Pulitzer for their bio of Jackson Pollock. They argue that the great and tortured impressionist ran afoul of a couple of bizarre teenage boys on a long walk home, ending in his accidental shooting death. The book is selling well based on reviews only, as the author tour doesn't begin till this week--mostly at museums: the Met in New York, Boston Museum of Fine Arts, the High in Atlanta, Dallas Museum of Art, LACMA in L.A., the Art Institute of Chicago, along with Politics & Prose in D.C. and Tattered Cover in Denver.
Jerry West is one of the NBA greats--both for his performance on the court with the takers and his spectacular career as a front office executive. He is the very image of the National Basketball Association--literally, his driving-to-the-basket silhouette is the NBA logo. Publically known as intense yet reticent, West, along with Jonathan Coleman, has written a story hailed for its candor and its remarkably measured notion of happiness. As he told the New York Times, "I'm hoping the book will be inspirational because you can overcome a lot of things in life and do something that makes you feel good--for a moment." What West did overcome, or come to terms with--a death in Korea of a beloved brother, an abusive father, unremitting self-criticism, not to mention six losses to the Celtics in the NBA finals--has resonated with reviewers and audiences, reports Little, Brown. "He's been tremendous and tireless," said a publicist. And that will surely resonate with those who remember no. 44 on the hardwood. 70,000 in print.
[ILLUSTRATION OMITTED]
Hardcover Bestsellers/Nonfiction
October 31, 2011 Last Weeks
week on list
(1) Killing Lincoln. Bill O'Reilly & 1 4
Martin Dugard. Holt, $28
ISBN 978-0-8050-9307-0
(2) Boomerang. Michael Lewis. 2 3
Norton, $25.95
ISBN 978-0-393-08181-7
(3) Suicide of a Superpower. -- 1
Patrick J. Buchanan.
Thomas Dunne/St. Martin's, $27.99
ISBN 978-0-312-57997-5
(4) Paula Deen's Southern Cooking Bible. 3 2
Paula Deen with Melissa Clark.
Simon & Schuster, $29.99
ISBN 978-1-4165-6407-2
(5) Nearing Home: Life, Faith and. -- 1
Finishing Well. Billy Graham Thomas
Nelson, $19.99
ISBN 978-0849948329
(6) Unbroken. Laura Hillenbrand. 9 49
Random House, $27
ISBN 978-1-4000-6416-8
(7) Seriously... I'm Kidding. 5 3
Ellen DeGeneres. Grand Central, $26.99
ISBN 978-0-446-58502-6
(8) Jacqueline Kennedy. Caroline Kennedy. 7 6
Hyperion, $60
ISBN 978-1-4013-2425-4
(9) That Used to Be Us. Thomas L. Friedman 8 7
& Michael Mandelbaum.
Farrar, Straus & Giroux, $28
ISBN 978-0-374-28890-7
(10) West by West. Jerry West and, -- 1
Jonathan Coleman Little, Brown, $27.99
ISBN 978-0-316-05349-5
(11) Van Gogh: A Life. Steven Naifeh and -- 1
Gregory White Smith. Random House, $40
ISBN 978-0375507489
(12) I Never Thought I'd See the Day! 6 3
David Jeremiah. FaithWords, $24.99
ISBN 978-0-446-56595-0
(13) Every Day a Friday. Joel Osteen. 11 6
FaithWords, $24.99
ISBN 978-0-8929-6991-3
(14) Great by Choice. Jim Collins & 10 2
Morton T. Hansen. Harper, $29.99
ISBN 978-0-06-212099-1
(15) In the Garden of Beasts. 20 24
Erik Larson. Crown, $26
ISBN 978-0-307-40884-6
Source Citation
Donahue, Dick. "Hardcover bestsellers/nonfiction." Publishers Weekly 31 Oct. 2011: 13. Fine Arts and Music Collection. Web. 20 Apr. 2012.
Document URL
http://go.galegroup.com/ps/i.do?id=GALE%7CA271595904&v=2.1&u=22054_acld&it=r&p=PPFA&sw=w
Gale Document Number: GALE|A271595904
Results for Advanced Search Keyword (Van Gogh)
Title: Hardcover bestsellers/nonfiction Author(s): Dick Donahue Source: Publishers Weekly. 258.44 (Oct. 31, 2011): p13. Document Type: Article
Full Text:
[ILLUSTRATION OMITTED]
"Our Intellectual and cultural elites reject the God our parents believed In," asserts Buchanan. The bestselling author of such books as The Death of the West. How Dying Populations and Immigrant Invasions Imperil Our Country and Civilization has been on a media blitzkrieg tour touting his latest: consecutive nights last week on Sean Hannity, and stops with Glenn Beck, Laura Ingraham, Imus, Dobbs, Liddy, and many more. He's getting the word out and finding his audience as the political season heats up. Copies in print: 85,000.
[ILLUSTRATION OMITTED]
So Van Gogh didn't kill himself? That's the shocking theory proposed by Naifeh and Smith, who won a Pulitzer for their bio of Jackson Pollock. They argue that the great and tortured impressionist ran afoul of a couple of bizarre teenage boys on a long walk home, ending in his accidental shooting death. The book is selling well based on reviews only, as the author tour doesn't begin till this week--mostly at museums: the Met in New York, Boston Museum of Fine Arts, the High in Atlanta, Dallas Museum of Art, LACMA in L.A., the Art Institute of Chicago, along with Politics & Prose in D.C. and Tattered Cover in Denver.
Jerry West is one of the NBA greats--both for his performance on the court with the takers and his spectacular career as a front office executive. He is the very image of the National Basketball Association--literally, his driving-to-the-basket silhouette is the NBA logo. Publically known as intense yet reticent, West, along with Jonathan Coleman, has written a story hailed for its candor and its remarkably measured notion of happiness. As he told the New York Times, "I'm hoping the book will be inspirational because you can overcome a lot of things in life and do something that makes you feel good--for a moment." What West did overcome, or come to terms with--a death in Korea of a beloved brother, an abusive father, unremitting self-criticism, not to mention six losses to the Celtics in the NBA finals--has resonated with reviewers and audiences, reports Little, Brown. "He's been tremendous and tireless," said a publicist. And that will surely resonate with those who remember no. 44 on the hardwood. 70,000 in print.
[ILLUSTRATION OMITTED]
Hardcover Bestsellers/Nonfiction
October 31, 2011 Last Weeks
week on list
(1) Killing Lincoln. Bill O'Reilly & 1 4
Martin Dugard. Holt, $28
ISBN 978-0-8050-9307-0
(2) Boomerang. Michael Lewis. 2 3
Norton, $25.95
ISBN 978-0-393-08181-7
(3) Suicide of a Superpower. -- 1
Patrick J. Buchanan.
Thomas Dunne/St. Martin's, $27.99
ISBN 978-0-312-57997-5
(4) Paula Deen's Southern Cooking Bible. 3 2
Paula Deen with Melissa Clark.
Simon & Schuster, $29.99
ISBN 978-1-4165-6407-2
(5) Nearing Home: Life, Faith and. -- 1
Finishing Well. Billy Graham Thomas
Nelson, $19.99
ISBN 978-0849948329
(6) Unbroken. Laura Hillenbrand. 9 49
Random House, $27
ISBN 978-1-4000-6416-8
(7) Seriously... I'm Kidding. 5 3
Ellen DeGeneres. Grand Central, $26.99
ISBN 978-0-446-58502-6
(8) Jacqueline Kennedy. Caroline Kennedy. 7 6
Hyperion, $60
ISBN 978-1-4013-2425-4
(9) That Used to Be Us. Thomas L. Friedman 8 7
& Michael Mandelbaum.
Farrar, Straus & Giroux, $28
ISBN 978-0-374-28890-7
(10) West by West. Jerry West and, -- 1
Jonathan Coleman Little, Brown, $27.99
ISBN 978-0-316-05349-5
(11) Van Gogh: A Life. Steven Naifeh and -- 1
Gregory White Smith. Random House, $40
ISBN 978-0375507489
(12) I Never Thought I'd See the Day! 6 3
David Jeremiah. FaithWords, $24.99
ISBN 978-0-446-56595-0
(13) Every Day a Friday. Joel Osteen. 11 6
FaithWords, $24.99
ISBN 978-0-8929-6991-3
(14) Great by Choice. Jim Collins & 10 2
Morton T. Hansen. Harper, $29.99
ISBN 978-0-06-212099-1
(15) In the Garden of Beasts. 20 24
Erik Larson. Crown, $26
ISBN 978-0-307-40884-6
Source Citation
Donahue, Dick. "Hardcover bestsellers/nonfiction." Publishers Weekly 31 Oct. 2011: 13. Fine Arts and Music Collection. Web. 20 Apr. 2012.
Document URL
http://go.galegroup.com/ps/i.do?id=GALE%7CA271595904&v=2.1&u=22054_acld&it=r&p=PPFA&sw=w
Gale Document Number: GALE|A271595904
Friday, March 30, 2012
Guy Hubbard
I recall a conversation with Guy Hubbard in which he reflected upon paper-and-pencil testing as it impacted his own life as a student. Guy was born in Nottingham, England. Following his elementary and secondary school education, he studied at the Nottingham College of Art and London University.
He was most uncomfortable with the excessive emphasis upon "testing" as a means for professional advancement as practiced in England. Hence, following his service in the Royal Air Force, he and his wife, Jennifer, moved to Canada. He later enrolled at the University of British Columbia, where he received his second bachelor's degree.
Guy taught in British Columbia between 1956 and 1959. He then enrolled in Stanford University, where he completed his MS and PhD degrees. It was at Stanford that he met Mary Rouse, who later became his co-author and colleague in the Art Education Department of Indiana University.
Whereas Hubbard spoke eloquently about the pitfalls of testing, it should be noted that he was one of our most systematic thinkers about the nature of art education content and instruction. Together with Mary Rouse, he authored a contemporary series of interrelated elementary-level art education textbooks, Art In Action. Following Mary's death, he authored junior high school textbooks and revised the elementary series.
What always impressed me about Guy Hubbard was his systematic and comprehensive approach to teaching. No doubt this was related to his having taught in Art Education and Computer Based Programs. Early in his career, he anticipated the importance of computers and digital images for our field. I was over 30 years ago that he developed an impressive matrix describing the scope and sequence of the Art in Action series. His approach recognized the importance of translating words into actions. At the same time, he resisted simplistic "how-to-do-it" solutions. Hubbard's writing encouraged students to explore four basic disciplines: creative expression, aesthetic perception, art heritage and aesthetic criticism. Truly, it was a "comprehensive art program" that he advocated.
[ILLUSTRATION OMITTED]
Of course, it was a pleasure for me to work with him as Editorial Advisory Board members for Arts & Activities magazine. I shall always think of Guy and Jennifer as people with great intelligence and style. They enjoyed their sailboat and cruised in Florida, the Great Lakes, Long Island Sound and the Chesapeake. But, most important, Guy Hubbard was a responsible and dedicated art educator who managed to make sense of things he cared about as they impacted others.
[ILLUSTRATION OMITTED]
Dr Guy Hubbard began writing for Arts & Activities magazine in 1981, with his "Teaching Art with Art" series. Over 26 years, he composed roughly 130 articles. In 1992, he took on the monthly "Clip & Save Art Print" series. His Clip & Save features totaled 140. Dr Hubbard continued to write for Arts & Activities until ill health caused him to stop in the summer of 2006. Guy Hubbard contributed much to Arts & Activities, and all of us involved with the magazine will be eternally grateful.--Editor
In general, history is made up of accounts and analyses that help us understand who we are and how we have come to where we are. Oftentimes, we speak of "the history of art educators," but there's no simple narrative that tells the full story. These are histories. When you come down to it, our history is made up of accounts of people and institution--their actions and ideas. As the years go by, I frequently pause to think about individuals who've influenced me. These thoughts and memories serve as the basis for this series, "Art Teachers I Have Known."--JJ.H.
Jerome J. Hausman is a visiting professor at The School of The Art Institute of Chicago and serves on the Arts & Activities Editorial Advisory Board.
Hausman, Jerome J.
Source Citation
Hausman, Jerome J. "Guy Hubbard." Arts & Activities Apr. 2012: 12. Fine Arts and Music Collection. Web. 30 Mar. 2012.
Document URL
http://go.galegroup.com/ps/i.do?id=GALE%7CA283833630&v=2.1&u=22054_acld&it=r&p=PPFA&sw=w
Gale Document Number: GALE|A283833630
He was most uncomfortable with the excessive emphasis upon "testing" as a means for professional advancement as practiced in England. Hence, following his service in the Royal Air Force, he and his wife, Jennifer, moved to Canada. He later enrolled at the University of British Columbia, where he received his second bachelor's degree.
Guy taught in British Columbia between 1956 and 1959. He then enrolled in Stanford University, where he completed his MS and PhD degrees. It was at Stanford that he met Mary Rouse, who later became his co-author and colleague in the Art Education Department of Indiana University.
Whereas Hubbard spoke eloquently about the pitfalls of testing, it should be noted that he was one of our most systematic thinkers about the nature of art education content and instruction. Together with Mary Rouse, he authored a contemporary series of interrelated elementary-level art education textbooks, Art In Action. Following Mary's death, he authored junior high school textbooks and revised the elementary series.
What always impressed me about Guy Hubbard was his systematic and comprehensive approach to teaching. No doubt this was related to his having taught in Art Education and Computer Based Programs. Early in his career, he anticipated the importance of computers and digital images for our field. I was over 30 years ago that he developed an impressive matrix describing the scope and sequence of the Art in Action series. His approach recognized the importance of translating words into actions. At the same time, he resisted simplistic "how-to-do-it" solutions. Hubbard's writing encouraged students to explore four basic disciplines: creative expression, aesthetic perception, art heritage and aesthetic criticism. Truly, it was a "comprehensive art program" that he advocated.
[ILLUSTRATION OMITTED]
Of course, it was a pleasure for me to work with him as Editorial Advisory Board members for Arts & Activities magazine. I shall always think of Guy and Jennifer as people with great intelligence and style. They enjoyed their sailboat and cruised in Florida, the Great Lakes, Long Island Sound and the Chesapeake. But, most important, Guy Hubbard was a responsible and dedicated art educator who managed to make sense of things he cared about as they impacted others.
[ILLUSTRATION OMITTED]
Dr Guy Hubbard began writing for Arts & Activities magazine in 1981, with his "Teaching Art with Art" series. Over 26 years, he composed roughly 130 articles. In 1992, he took on the monthly "Clip & Save Art Print" series. His Clip & Save features totaled 140. Dr Hubbard continued to write for Arts & Activities until ill health caused him to stop in the summer of 2006. Guy Hubbard contributed much to Arts & Activities, and all of us involved with the magazine will be eternally grateful.--Editor
In general, history is made up of accounts and analyses that help us understand who we are and how we have come to where we are. Oftentimes, we speak of "the history of art educators," but there's no simple narrative that tells the full story. These are histories. When you come down to it, our history is made up of accounts of people and institution--their actions and ideas. As the years go by, I frequently pause to think about individuals who've influenced me. These thoughts and memories serve as the basis for this series, "Art Teachers I Have Known."--JJ.H.
Jerome J. Hausman is a visiting professor at The School of The Art Institute of Chicago and serves on the Arts & Activities Editorial Advisory Board.
Hausman, Jerome J.
Source Citation
Hausman, Jerome J. "Guy Hubbard." Arts & Activities Apr. 2012: 12. Fine Arts and Music Collection. Web. 30 Mar. 2012.
Document URL
http://go.galegroup.com/ps/i.do?id=GALE%7CA283833630&v=2.1&u=22054_acld&it=r&p=PPFA&sw=w
Gale Document Number: GALE|A283833630
Saturday, March 24, 2012
How to survive the most dangerous ski race on earth: there's a goodchance of bodily harm at La Grave, France's Derby de la Meije
The little piece of paper in my hand reveals the number 633. Six trois trois. It's been folded neatly four times. I stare at it outside the registration area and show it to a 60-ish man with gray hair who is as lean and fit as a thoroughbred. He smiles. "It's a good place to start," he says. "Un point de depart tres bon." Six hundred thirty-three. This means exactly 632 competitors will be in front of me, and nearly 400 will ski behind me.
Tomorrow's race, Le Derby de la Meije, against more than 1,000 skiers, snowboarders, monoskiers, telemarkers--and the sketchy few using gear built in their own garages--goes down at France's La Grave, the scariest ski resort I have ever seen. We will compete in heats of 10, staggered 90 seconds apart, a civilized way to race. The rest of the event, however, is unconventional. The start of this 6,890-vertical-foot dash to the valley floor is smooth, packed snow, but only for about 300 feet. Then it quickly becomes a bouillabaisse of rocks, moguls, cliffs, and glacial ice. Avalanches and icefall are common. But the route is my call: I can ski any line on the mountain. The first one to the bottom wins, regardless of equipment.
Simple. Only La Grave doesn't have an easy way down. Since French ski mountaineer Sylvain Admirat first held the Derby on March 17, 1989 (attracting 63 participants), the mountain has averaged about one death per year.
I've heard that some participants race drunk Afraid of a life-ending miscalculation en route, I choose to do my drinking the night before. The Derby, after all, is a four-day festival of skiing, parties, and unmitigated lunacy that may or may not involve French hip-hop. I find all of it at the Bar a Mouffle, which isn't a bar per se. It's what the English call a caravan, a dumpy metal camper normally towed behind a grumbling station wagon. But this is France. The caravan has been styled with a Gallic suaveness. A DJ booth, tiny lounge, and bar have been squeezed into the old RV, and a rowdy crowd smokes, drinks, and babbles in different languages. Sure enough, French rap booms through the speakers. I spot my European competition, all born skis-on-feet Tomorrow they will be so full of Gitanes smoke and confidence that it's hard to imagine beating even one of them to the bottom. There's nothing to do but surrender prematurely, order another vin rouge, and continue massacring the French language to anyone who will listen.
The next morning, hundreds of competitors meet at the gondola to begin the journey to the start zone at the top of La Grave's Girose Glader. There are skiers in costumes, serious guys wearing game faces, and monoskiers in speed suits. I stuff myself into a gondola with five other fools and we head to the top. None of us speaks. The cabin is awash with fear.
The goal of the Derby is, of course, to be fast But the terrain requires a certain level of caution. I spent the last two days scouting for a smooth line. Would it be faster to take a longer way down to avoid the moguls and rocks? Or is the direct route--a bone-rattling, fall-and-you're-hospitalized line--the surest road to glory?
I'm still debating as I arrive at the start. Not good. Six trois trois. I wish those next to me good luck, and then the gun sounds. Almost immediately I'm at the back of my heat. I draft, tuck, and hang on, and pass the others during a long, flat section on the Girose. As I cross the flats and reach the steeps, my strategy crumbles.
I chatter across moguls, arms flailing. A rock rips the edge out of my ski; I nearly hit three people skiing inside some sort of group spaceship costume. Then I jump off a huge ice bulge that I'd planned to avoid. I find my knees up around my ears, and then, before I even realize where I am, I'm neck-and-neck with another competitor, tucking through the finish, legs burning, lungs gasping, and heart thumping. Total time from top to bottom? Eleven minutes, 26 seconds. Good enough for 275 out of l,000.
At the finish, spectators and competitors lounge around in T-shirts and bikinis in the spring weather. A local foists steaming cups of mulled wine on everyone wearing a racer's bib. I peel off my jacket, collapse on a sunny bonder, and watch. Nearly an hour later, racers are still coming down. When the spaceship crosses the line, it elicits huge applause.
I've known all along that the Derby is not about winning. The crowd's reaction to the spaceship confirms it. But when Frenchman Nicolas Anthonioz comes through with the winning time of six minutes, two seconds, it suddenly becomes about taking two minutes off my time and cracking the top 100 next year.
THREE DOMESTIC DERBIES
You don't have to go all the way to France to get run over by skiers dressed as a spaceship.
SILVER BELT BANZAI, SUGAR BOWL, CALIFORNIA, MARCH 13-14
In six-skier heats, Banzai racers shoot down Sugar Bowl's Silver Belt Gully and the fastest time wins. Last year, former World Cup racer and current ski-cross jockey Daron Rahlves won the men's field, and his sister, Shannon, took the women's race. If Rahlves is still resting after the Winter Games, the field should be wide open. Practice strategic hip checks beforehand.
AL JOHNSON MEMORIAL, CRESTED BUTTE, COLORADO, MARCH 21
Named after a rugged 19th-century mailman, the AJ is a telemark uphill-downhill race through some of Crested Butte's roughest terrain. Costumes are highly encouraged, if not mandatory. There's a good chance you'll be skiing next to a hamburger or Shaft. The race is notoriously brutal on gear. Racers must finish with all of their equipment, even if it means carrying battered skis across the finish line.
TUCKERMAN INFERNO, MADISON, NEW HAMPSHIRE, APRIL 16-18
The Inferno is more than a ski race. Competitors run, kayak, and bike their way around Mount Washington. The last leg is a ski over the headwall and down Tuckerman Ravine, New England's classic steep-skiing test piece. The real challenge is avoiding the hordes who converge halfway down the bowl at Lunch Rocks to heckle, drink beers, and sled.--HEATHER HANSMAN
[ILLUSTRATION OMITTED]
Winter, Tom
Source Citation
Winter, Tom. "How to survive the most dangerous ski race on earth: there's a good chance of bodily harm at La Grave, France's Derby de la Meije." Skiing Feb.-Mar. 2010: 16+. Physical Therapy and Sports Medicine Collection. Web. 24 Mar. 2012.
Document URL
http://go.galegroup.com/ps/i.do?id=GALE%7CA218814622&v=2.1&u=22054_acld&it=r&p=PPSM&sw=w
Gale Document Number: GALE|A218814622
Tomorrow's race, Le Derby de la Meije, against more than 1,000 skiers, snowboarders, monoskiers, telemarkers--and the sketchy few using gear built in their own garages--goes down at France's La Grave, the scariest ski resort I have ever seen. We will compete in heats of 10, staggered 90 seconds apart, a civilized way to race. The rest of the event, however, is unconventional. The start of this 6,890-vertical-foot dash to the valley floor is smooth, packed snow, but only for about 300 feet. Then it quickly becomes a bouillabaisse of rocks, moguls, cliffs, and glacial ice. Avalanches and icefall are common. But the route is my call: I can ski any line on the mountain. The first one to the bottom wins, regardless of equipment.
Simple. Only La Grave doesn't have an easy way down. Since French ski mountaineer Sylvain Admirat first held the Derby on March 17, 1989 (attracting 63 participants), the mountain has averaged about one death per year.
I've heard that some participants race drunk Afraid of a life-ending miscalculation en route, I choose to do my drinking the night before. The Derby, after all, is a four-day festival of skiing, parties, and unmitigated lunacy that may or may not involve French hip-hop. I find all of it at the Bar a Mouffle, which isn't a bar per se. It's what the English call a caravan, a dumpy metal camper normally towed behind a grumbling station wagon. But this is France. The caravan has been styled with a Gallic suaveness. A DJ booth, tiny lounge, and bar have been squeezed into the old RV, and a rowdy crowd smokes, drinks, and babbles in different languages. Sure enough, French rap booms through the speakers. I spot my European competition, all born skis-on-feet Tomorrow they will be so full of Gitanes smoke and confidence that it's hard to imagine beating even one of them to the bottom. There's nothing to do but surrender prematurely, order another vin rouge, and continue massacring the French language to anyone who will listen.
The next morning, hundreds of competitors meet at the gondola to begin the journey to the start zone at the top of La Grave's Girose Glader. There are skiers in costumes, serious guys wearing game faces, and monoskiers in speed suits. I stuff myself into a gondola with five other fools and we head to the top. None of us speaks. The cabin is awash with fear.
The goal of the Derby is, of course, to be fast But the terrain requires a certain level of caution. I spent the last two days scouting for a smooth line. Would it be faster to take a longer way down to avoid the moguls and rocks? Or is the direct route--a bone-rattling, fall-and-you're-hospitalized line--the surest road to glory?
I'm still debating as I arrive at the start. Not good. Six trois trois. I wish those next to me good luck, and then the gun sounds. Almost immediately I'm at the back of my heat. I draft, tuck, and hang on, and pass the others during a long, flat section on the Girose. As I cross the flats and reach the steeps, my strategy crumbles.
I chatter across moguls, arms flailing. A rock rips the edge out of my ski; I nearly hit three people skiing inside some sort of group spaceship costume. Then I jump off a huge ice bulge that I'd planned to avoid. I find my knees up around my ears, and then, before I even realize where I am, I'm neck-and-neck with another competitor, tucking through the finish, legs burning, lungs gasping, and heart thumping. Total time from top to bottom? Eleven minutes, 26 seconds. Good enough for 275 out of l,000.
At the finish, spectators and competitors lounge around in T-shirts and bikinis in the spring weather. A local foists steaming cups of mulled wine on everyone wearing a racer's bib. I peel off my jacket, collapse on a sunny bonder, and watch. Nearly an hour later, racers are still coming down. When the spaceship crosses the line, it elicits huge applause.
I've known all along that the Derby is not about winning. The crowd's reaction to the spaceship confirms it. But when Frenchman Nicolas Anthonioz comes through with the winning time of six minutes, two seconds, it suddenly becomes about taking two minutes off my time and cracking the top 100 next year.
THREE DOMESTIC DERBIES
You don't have to go all the way to France to get run over by skiers dressed as a spaceship.
SILVER BELT BANZAI, SUGAR BOWL, CALIFORNIA, MARCH 13-14
In six-skier heats, Banzai racers shoot down Sugar Bowl's Silver Belt Gully and the fastest time wins. Last year, former World Cup racer and current ski-cross jockey Daron Rahlves won the men's field, and his sister, Shannon, took the women's race. If Rahlves is still resting after the Winter Games, the field should be wide open. Practice strategic hip checks beforehand.
AL JOHNSON MEMORIAL, CRESTED BUTTE, COLORADO, MARCH 21
Named after a rugged 19th-century mailman, the AJ is a telemark uphill-downhill race through some of Crested Butte's roughest terrain. Costumes are highly encouraged, if not mandatory. There's a good chance you'll be skiing next to a hamburger or Shaft. The race is notoriously brutal on gear. Racers must finish with all of their equipment, even if it means carrying battered skis across the finish line.
TUCKERMAN INFERNO, MADISON, NEW HAMPSHIRE, APRIL 16-18
The Inferno is more than a ski race. Competitors run, kayak, and bike their way around Mount Washington. The last leg is a ski over the headwall and down Tuckerman Ravine, New England's classic steep-skiing test piece. The real challenge is avoiding the hordes who converge halfway down the bowl at Lunch Rocks to heckle, drink beers, and sled.--HEATHER HANSMAN
[ILLUSTRATION OMITTED]
Winter, Tom
Source Citation
Winter, Tom. "How to survive the most dangerous ski race on earth: there's a good chance of bodily harm at La Grave, France's Derby de la Meije." Skiing Feb.-Mar. 2010: 16+. Physical Therapy and Sports Medicine Collection. Web. 24 Mar. 2012.
Document URL
http://go.galegroup.com/ps/i.do?id=GALE%7CA218814622&v=2.1&u=22054_acld&it=r&p=PPSM&sw=w
Gale Document Number: GALE|A218814622
Thursday, March 22, 2012
Media flacks keep their eye on the ball
With sports routinely outdrawing other genres on TV, those with shows or films to market are taking notice. And it doesn't matter whether a production is sports-focused or simply a project that might appeal to fans; the feeling among film and television producers is that sports media can be an essential part of a publicity campaign.
Columbia Pictures actioner "21 Jump Street" has brought in a consultant to ensure that sports media is a part of the PR plan. While the action film doesn't highlight home runs, touchdowns or goals scored, "Jump Street" thesps Channing Tatmn, Jonah Hill or Ice Cube may well end up chatting on sports TV and radio about their reboot of the popular 1980s television series in the runup to the movie's March 16 release.
"Having talent on either sports radio or sports-themed television programming tends to reach a heavy concentration of males who are 18 and older --along with sports-savvy women," says Sony Pictures Entertainment's Steve Elzer, senior VP of media relations. "So if we have a film that targets men--whether it has a sports theme or not--we believe (sports media) is a very important slice of our campaign."
ESPN shows like "First Take," "SportsCenter" and "Sports-Nation" consistently attract audiences in key male demographics. "SportsCenter," for example, has a 75% male audience with a median age in the hard-to-reach 33- to 38-year-old range. Radio spoils talkshows regularly welcome movie and TV stars not only to talk sports but also to tubthump their latest projects. Even less obvious outlets like the NFL Network's "The Rich Eisen Podcast" can be an excellent venue for stars to pitch their work. Eisen's podcasts, simulcast on TV and the Internet, regularly feature celebs such as Matt Damon and Adam Sandier talking both football and Hollywood, and have exceeded 4 milhon downloads since April.
Since 1993, Jeff Freedman, founder of praisery FSPR, has worked for nearly every studio in Hollywood as a publicist-for-hire focused on courting sports media coverage. He's seen movies increase their tracking by as many as eight points when a sports media-specific push goes well.
Freedman, who is working with Columbia on "21 Jump Street," points to "Moneyball" as an example of a well-executed sports campaign. ESPN had numerous segments devoted to the movie, including ones with star Brad Pitt on "SportsCenter" and the show "Numbers Never Lie." The MLB Network also did a Bob Cost-as-hosted special, featuring Pitt and co-star Hill, among others.
[ILLUSTRATION OMITTED]
The marriage of sports media and a film like "Moneyball," based on a book that chronicled a change in the way baseball players are valued and which boasts a big name hke Pitt, was a no-brainer for outlets hke ESPN and the MLB Network.
But Freedman argues that projects without sports-driven plotlines can also benefit from such exposure. A common misconception among some studio execs, according to Freedman, is that the courting of sports fans may pigeonhole a project as simply a movie for rabid armchair jocks.
"Sometimes (studios) feel that sports are confining, which is not the case," Freedman says. "If Brad Pitt does an interview on the MLB Network, you don't have to worry that some women are going to be (turned off), because he's talking about the baseball in 'Moneyball.'" The only women who are going to see the interview are women who are baseball fans, he says.
From the sports media side, there is certainly a healthy appetite for Hollywood talent appearing on programming.
"It adds a bit of celebrity sizzle," says Fox Sports media group president and chief operating officer Eric Shanks. "Overall, it is just another kind of way to broaden sports and make it entertaining."
Shanks, a producer on the former Fox Sports talker "The Best Damn Sports Show Period," included stars like Mark Wahlberg, Bradley Cooper and Kid Rock on Fox's NFL telecasts this past season. Fox Sports Net simulcasts "The Dan Patrick Show," a radio program that is a popular destination for stars, and Shanks says he would always consider new talk projects that combine Hollywood and athletics.
Eisen, an on-air personality for the NFL Network, books his own guests for his podcast. He has grabbed a long list of film and television talent to discuss sports and their projects, including Bryan Cranston ("Breaking Bad"), Josh Charles ("The Good Wife") and Larry David ("Curb Your Enthusiasm").
"I love to have relaxed conversations with (people) from various spectrums of pop culture, and the NFL is a major slice of pop culture," Eisen says. "What better way to have somebody promote their movie, their show or their album than to come on in a relaxed easy environment and show their fans that they are just like them?"
A veritable bhtz of Hollywood regulars have descended upon ESPN's Bristol, Conn., headquarters to take part in what the company calls the Car Wash, where talent from films like "The Hangover Part II" (Justin Bartha), "Grown Ups," (Sandier, Chris Rock, David Spade, Rob Schneider, Kevin James) and "Hall Pass" (Peter and Bobby Farrelly) are booked as guests on a laundry list of ESPN shows across TV, radio and online.
"We're in a world where media is being ever-increasingly fractured," Freedman says. "Every day, there are more channels, more websites and more radio (options). Sports (platforms) can be most effective if (used) in sync with the
Chetwynd, Josh
Source Citation
Chetwynd, Josh. "Media flacks keep their eye on the ball." Variety 13 Feb. 2012: 11. Popular Magazines. Web. 22 Mar. 2012.
Document URL
http://go.galegroup.com/ps/i.do?id=GALE%7CA282741280&v=2.1&u=22054_acld&it=r&p=PPPM&sw=w
Gale Document Number: GALE|A282741280
Columbia Pictures actioner "21 Jump Street" has brought in a consultant to ensure that sports media is a part of the PR plan. While the action film doesn't highlight home runs, touchdowns or goals scored, "Jump Street" thesps Channing Tatmn, Jonah Hill or Ice Cube may well end up chatting on sports TV and radio about their reboot of the popular 1980s television series in the runup to the movie's March 16 release.
"Having talent on either sports radio or sports-themed television programming tends to reach a heavy concentration of males who are 18 and older --along with sports-savvy women," says Sony Pictures Entertainment's Steve Elzer, senior VP of media relations. "So if we have a film that targets men--whether it has a sports theme or not--we believe (sports media) is a very important slice of our campaign."
ESPN shows like "First Take," "SportsCenter" and "Sports-Nation" consistently attract audiences in key male demographics. "SportsCenter," for example, has a 75% male audience with a median age in the hard-to-reach 33- to 38-year-old range. Radio spoils talkshows regularly welcome movie and TV stars not only to talk sports but also to tubthump their latest projects. Even less obvious outlets like the NFL Network's "The Rich Eisen Podcast" can be an excellent venue for stars to pitch their work. Eisen's podcasts, simulcast on TV and the Internet, regularly feature celebs such as Matt Damon and Adam Sandier talking both football and Hollywood, and have exceeded 4 milhon downloads since April.
Since 1993, Jeff Freedman, founder of praisery FSPR, has worked for nearly every studio in Hollywood as a publicist-for-hire focused on courting sports media coverage. He's seen movies increase their tracking by as many as eight points when a sports media-specific push goes well.
Freedman, who is working with Columbia on "21 Jump Street," points to "Moneyball" as an example of a well-executed sports campaign. ESPN had numerous segments devoted to the movie, including ones with star Brad Pitt on "SportsCenter" and the show "Numbers Never Lie." The MLB Network also did a Bob Cost-as-hosted special, featuring Pitt and co-star Hill, among others.
[ILLUSTRATION OMITTED]
The marriage of sports media and a film like "Moneyball," based on a book that chronicled a change in the way baseball players are valued and which boasts a big name hke Pitt, was a no-brainer for outlets hke ESPN and the MLB Network.
But Freedman argues that projects without sports-driven plotlines can also benefit from such exposure. A common misconception among some studio execs, according to Freedman, is that the courting of sports fans may pigeonhole a project as simply a movie for rabid armchair jocks.
"Sometimes (studios) feel that sports are confining, which is not the case," Freedman says. "If Brad Pitt does an interview on the MLB Network, you don't have to worry that some women are going to be (turned off), because he's talking about the baseball in 'Moneyball.'" The only women who are going to see the interview are women who are baseball fans, he says.
From the sports media side, there is certainly a healthy appetite for Hollywood talent appearing on programming.
"It adds a bit of celebrity sizzle," says Fox Sports media group president and chief operating officer Eric Shanks. "Overall, it is just another kind of way to broaden sports and make it entertaining."
Shanks, a producer on the former Fox Sports talker "The Best Damn Sports Show Period," included stars like Mark Wahlberg, Bradley Cooper and Kid Rock on Fox's NFL telecasts this past season. Fox Sports Net simulcasts "The Dan Patrick Show," a radio program that is a popular destination for stars, and Shanks says he would always consider new talk projects that combine Hollywood and athletics.
Eisen, an on-air personality for the NFL Network, books his own guests for his podcast. He has grabbed a long list of film and television talent to discuss sports and their projects, including Bryan Cranston ("Breaking Bad"), Josh Charles ("The Good Wife") and Larry David ("Curb Your Enthusiasm").
"I love to have relaxed conversations with (people) from various spectrums of pop culture, and the NFL is a major slice of pop culture," Eisen says. "What better way to have somebody promote their movie, their show or their album than to come on in a relaxed easy environment and show their fans that they are just like them?"
A veritable bhtz of Hollywood regulars have descended upon ESPN's Bristol, Conn., headquarters to take part in what the company calls the Car Wash, where talent from films like "The Hangover Part II" (Justin Bartha), "Grown Ups," (Sandier, Chris Rock, David Spade, Rob Schneider, Kevin James) and "Hall Pass" (Peter and Bobby Farrelly) are booked as guests on a laundry list of ESPN shows across TV, radio and online.
"We're in a world where media is being ever-increasingly fractured," Freedman says. "Every day, there are more channels, more websites and more radio (options). Sports (platforms) can be most effective if (used) in sync with the
Chetwynd, Josh
Source Citation
Chetwynd, Josh. "Media flacks keep their eye on the ball." Variety 13 Feb. 2012: 11. Popular Magazines. Web. 22 Mar. 2012.
Document URL
http://go.galegroup.com/ps/i.do?id=GALE%7CA282741280&v=2.1&u=22054_acld&it=r&p=PPPM&sw=w
Gale Document Number: GALE|A282741280
Tuesday, March 20, 2012
Hit the trail: it's never too late to start the transition from couchpotato to runner.
Running isn't easy. It's work. But if you're trying to lose weight or improve your overall fitness, taking up the sport is one of the best decisions you can make. And now that spring is almost here, there's no better time to lace up your running shoes. To help you get started, we turned to Jonathan Cane, a competitive runner, cyclist, triathlete, and president of City Coach, an online service that coaches runners at all fitness levels. His advice, whether you've never run regularly or have just been letting your running shoes hibernate since last fall:
1/Start Gradually
* No matter how fit you are, running puts significantly more stress on your joints than cardio activities like cycling or swimming, so you have to transition into it slowly. "For the first couple of weeks, stick with short runs," Cane says. Always do a brisk five-minute walk to warm up. Then, alternate between a couple of minutes' running and a couple of minutes' walking for a total of 20-30 minutes. As your timed walk/run becomes easier, move to specific distances. After your warmup walk, jog 200-400 yards, then walk the same distance, and then run 200-400 yards more. Repeat the walking and running cycle until your half-hour workout is up.
2/Allow Time for Recovery
* Limit your running to around three times a week, Cane says. Run one day, then let your body recover the next. The time off allows your joints and connective tissue to adapt. Complement your running with strength training. Working your glutes, abductors, adductors, and core can help to amp up fat loss as well.
3/Set a Goal
* Each week, try to cover more total distance in your workout, or run at a slightly faster speed so that you're always making progress. "Come back aggressively each workout," Cane says, "but don't overdo it" You want to make steady gains and improvements every week, but you need to be smart so you don't end up with an injury before spring even hits.
4/Pick the Right Location
* When you're getting started, soft terrain like a treadmill is ideal, Cane says. "It's more forgiving on your joints." As you get better at running indoors, start increasing the incline on your treadmill so that it more accurately mimics running in the real world. "When you're finally ready to head outdoors, try to find a hard-packed trail," Cane says. "Avoid concrete whenever your can. Even asphalt is softer and more forgiving than concrete." Use your first outdoor runs to help reestablish the kind of mileage you're used to running on the treadmill while also giving your joints a chance to get used to running in the "real" world.
5/Consider a Race
* Even if you're not taking up running for any competitive purpose, training for a race is a good way to stay motivated and keep yourself on track, Cane says. Pick a short race like a 5K. Don't worry about your time or your place--the goal for your first race should simply be to finish. By the time you have a couple of races under your running shorts, you'll know if you want to try anything longer. And by then, you'll have built all the skills and habits you need to keep running regularly, even if it's just around the neighborhood instead of under the gun.
500 Miles
As a general rule of thumb, that's w long the cushioning on most ining shoes lasts.
140
The number of calories burned by a 1.80-pound man while running a mile at a mail's pace of 12 minutes. Ramp up your speed to burn even more.
Ramsamooj, Sunil
Source Citation
Ramsamooj, Sunil. "Hit the trail: it's never too late to start the transition from couch potato to runner." Men's Fitness Apr. 2012: 32. Physical Therapy and Sports Medicine Collection. Web. 20 Mar. 2012.
Document URL
http://go.galegroup.com/ps/i.do?id=GALE%7CA282825320&v=2.1&u=22054_acld&it=r&p=PPSM&sw=w
Gale Document Number: GALE|A282825320
Running isn't easy. It's work. But if you're trying to lose weight or improve your overall fitness, taking up the sport is one of the best decisions you can make. And now that spring is almost here, there's no better time to lace up your running shoes. To help you get started, we turned to Jonathan Cane, a competitive runner, cyclist, triathlete, and president of City Coach, an online service that coaches runners at all fitness levels. His advice, whether you've never run regularly or have just been letting your running shoes hibernate since last fall:
1/Start Gradually
* No matter how fit you are, running puts significantly more stress on your joints than cardio activities like cycling or swimming, so you have to transition into it slowly. "For the first couple of weeks, stick with short runs," Cane says. Always do a brisk five-minute walk to warm up. Then, alternate between a couple of minutes' running and a couple of minutes' walking for a total of 20-30 minutes. As your timed walk/run becomes easier, move to specific distances. After your warmup walk, jog 200-400 yards, then walk the same distance, and then run 200-400 yards more. Repeat the walking and running cycle until your half-hour workout is up.
2/Allow Time for Recovery
* Limit your running to around three times a week, Cane says. Run one day, then let your body recover the next. The time off allows your joints and connective tissue to adapt. Complement your running with strength training. Working your glutes, abductors, adductors, and core can help to amp up fat loss as well.
3/Set a Goal
* Each week, try to cover more total distance in your workout, or run at a slightly faster speed so that you're always making progress. "Come back aggressively each workout," Cane says, "but don't overdo it" You want to make steady gains and improvements every week, but you need to be smart so you don't end up with an injury before spring even hits.
4/Pick the Right Location
* When you're getting started, soft terrain like a treadmill is ideal, Cane says. "It's more forgiving on your joints." As you get better at running indoors, start increasing the incline on your treadmill so that it more accurately mimics running in the real world. "When you're finally ready to head outdoors, try to find a hard-packed trail," Cane says. "Avoid concrete whenever your can. Even asphalt is softer and more forgiving than concrete." Use your first outdoor runs to help reestablish the kind of mileage you're used to running on the treadmill while also giving your joints a chance to get used to running in the "real" world.
5/Consider a Race
* Even if you're not taking up running for any competitive purpose, training for a race is a good way to stay motivated and keep yourself on track, Cane says. Pick a short race like a 5K. Don't worry about your time or your place--the goal for your first race should simply be to finish. By the time you have a couple of races under your running shorts, you'll know if you want to try anything longer. And by then, you'll have built all the skills and habits you need to keep running regularly, even if it's just around the neighborhood instead of under the gun.
500 Miles
As a general rule of thumb, that's w long the cushioning on most ining shoes lasts.
140
The number of calories burned by a 1.80-pound man while running a mile at a mail's pace of 12 minutes. Ramp up your speed to burn even more.
Ramsamooj, Sunil
Source Citation
Ramsamooj, Sunil. "Hit the trail: it's never too late to start the transition from couch potato to runner." Men's Fitness Apr. 2012: 32. Physical Therapy and Sports Medicine Collection. Web. 20 Mar. 2012.
Document URL
http://go.galegroup.com/ps/i.do?id=GALE%7CA282825320&v=2.1&u=22054_acld&it=r&p=PPSM&sw=w
Gale Document Number: GALE|A282825320
Email: leonard.wilson2009@hotmail.com(Web-Page) http://archery2009.googlepages.com(Album / Profile) http://www.facebook.com/album.php?aid=10033&id=1661531726&l=2acca1e351
Email: leonard.wilson2009@hotmail.com
Monday, March 19, 2012
Tennis / Wood / Floor
Teaming up again to deliver a second tennis thriller, Martina Navratilova and Liz Nickles introduce their sophomore effort, Breaking Point. Reappearing in this new mystery is ex-tennis pro, current physical therapist and incidental detective, Jordan Myles. Reprising her accomplishments in The Total Zone, Jordan's work in a high tech sports clinic brings her into inevitable contiguity with a mystery she is uniquely qualified to solve. With the assistance of Noel Fisher, a.k.a. "The Fish," an unlikely-looking private investigator, Jordan probes the reasons behind the startling murder at the French Open of Catherine Richie, a young computer whiz and persona assistant to Jimmy Bennett, owner of a hot new talent agency representing top tennis stars. Central to the solution of the mystery is Catherine's role in Bennett's burgeoning business, along with the actual nature of the business itself. Not until the end of the novel does Jordan piece together the essentials, several times narrowly escaping death in the process.
The subplot, which is of more psychological interest than the main narrative of Breaking Point, revolves around Jordan's resolution of her failures, both personal and professional. She deals with her early retirement from tennis after a debilitating accident and a professional career that fell short of its early promise. Here Navratilova and Nickles explore concerns that are universal and pertinent to tennis superstars like Jordan and, indeed, Martina herself. While Jordan's constant mental replays of her failures border at times on the obsessional, her compulsion to understand them, to get them right - to succeed - are certainly comprehensible, and humanly so. Readers can clearly relate to this aspect of the detective.
Of additional human interest is Breaking Point's focus on the personally competitive nature of professional tennis, on and off the court. The fundamental and long-standing impact of this consuming competition is manifested in Jordan's rivalry with tennis darling Kelly Kendall, even though both have long since retired from the circuit. Breaking Point provides a resolution to this personal feud, albeit in a plot twist of dubious credibility. With this resolution comes a hint of Jordan's psychological liberation from the obsessive loops of the past, as well as her potential for growth in ensuing novels.
While the plot of Breaking Point at times strains credulity, particularly during its forays into cybermystery, the novel's psychological elements and insight into the inner workings of the tennis world render it worth at least a cursory read. Tennis aficionados, no doubt equipped to identify not-so-thinly veiled references to notable players on the tennis tour, will find Breaking Point rewarding. Even non-fans stand to learn a great deal about a world unto itself, the microcosm of professional tennis.
Lesbian and gay readers, however, would most likely appreciate seeing Martina provide a more extensive representation of gay and lesbian characters on the tour. Lesbian relationships and sex are peculiarly absent from Breaking Point, and this is perhaps the novel's most profound mystery. Hopefully, Navratilova and Nickles will solve it in the next installment.
Source Citation
Maxwell, Lynne. "Breaking Point." Lambda Book Report July 1996: 30+. General OneFile. Web. 19 Mar. 2012.
Document URL
http://go.galegroup.com/ps/i.do?id=GALE%7CA18627544&v=2.1&u=22054_acld&it=r&p=GPS&sw=w
Gale Document Number: GALE|A18627544
Teaming up again to deliver a second tennis thriller, Martina Navratilova and Liz Nickles introduce their sophomore effort, Breaking Point. Reappearing in this new mystery is ex-tennis pro, current physical therapist and incidental detective, Jordan Myles. Reprising her accomplishments in The Total Zone, Jordan's work in a high tech sports clinic brings her into inevitable contiguity with a mystery she is uniquely qualified to solve. With the assistance of Noel Fisher, a.k.a. "The Fish," an unlikely-looking private investigator, Jordan probes the reasons behind the startling murder at the French Open of Catherine Richie, a young computer whiz and persona assistant to Jimmy Bennett, owner of a hot new talent agency representing top tennis stars. Central to the solution of the mystery is Catherine's role in Bennett's burgeoning business, along with the actual nature of the business itself. Not until the end of the novel does Jordan piece together the essentials, several times narrowly escaping death in the process.
The subplot, which is of more psychological interest than the main narrative of Breaking Point, revolves around Jordan's resolution of her failures, both personal and professional. She deals with her early retirement from tennis after a debilitating accident and a professional career that fell short of its early promise. Here Navratilova and Nickles explore concerns that are universal and pertinent to tennis superstars like Jordan and, indeed, Martina herself. While Jordan's constant mental replays of her failures border at times on the obsessional, her compulsion to understand them, to get them right - to succeed - are certainly comprehensible, and humanly so. Readers can clearly relate to this aspect of the detective.
Of additional human interest is Breaking Point's focus on the personally competitive nature of professional tennis, on and off the court. The fundamental and long-standing impact of this consuming competition is manifested in Jordan's rivalry with tennis darling Kelly Kendall, even though both have long since retired from the circuit. Breaking Point provides a resolution to this personal feud, albeit in a plot twist of dubious credibility. With this resolution comes a hint of Jordan's psychological liberation from the obsessive loops of the past, as well as her potential for growth in ensuing novels.
While the plot of Breaking Point at times strains credulity, particularly during its forays into cybermystery, the novel's psychological elements and insight into the inner workings of the tennis world render it worth at least a cursory read. Tennis aficionados, no doubt equipped to identify not-so-thinly veiled references to notable players on the tennis tour, will find Breaking Point rewarding. Even non-fans stand to learn a great deal about a world unto itself, the microcosm of professional tennis.
Lesbian and gay readers, however, would most likely appreciate seeing Martina provide a more extensive representation of gay and lesbian characters on the tour. Lesbian relationships and sex are peculiarly absent from Breaking Point, and this is perhaps the novel's most profound mystery. Hopefully, Navratilova and Nickles will solve it in the next installment.
Source Citation
Maxwell, Lynne. "Breaking Point." Lambda Book Report July 1996: 30+. General OneFile. Web. 19 Mar. 2012.
Document URL
http://go.galegroup.com/ps/i.do?id=GALE%7CA18627544&v=2.1&u=22054_acld&it=r&p=GPS&sw=w
Gale Document Number: GALE|A18627544
Email: leonard.wilson2009@hotmail.com(Web-Page) http://archery2009.googlepages.com(Album / Profile) http://www.facebook.com/album.php?aid=10033&id=1661531726&l=2acca1e351Email: leonard.wilson2009@hotmail.com
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