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El Padre Pepe I (Crónica Nº 19)   

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Cuando era niño mi madre tenía un jaulón inmenso lleno de canarios finos, de esos con anillo en la pata. Había alrededor de cincuenta aves, en general eran amarillas o blancas pero por las sobredosis que mamá les daba de zanahoria o betarraga se volvían medio colorados. Yo disfrutaba apoyar de espaldas la cabeza en la malla, quedándome ahí quieto pronto sentía como las hembras me arrancaban pelos para hacer sus nidos. Después de la temporada de crianza vendíamos los pichones y nos ganábamos algunos escudos, yo estoy seguro que mi madre quería más a sus plantas y canarios que a nosotros sus hijos.

Un sábado la acompañé a casa de la patrona para vender un pichón, la señora le había encargado un albino y mi madre que equivocadamente pensaba que su negocio era ilegal llevaba varios pichones en un saquito dentro del zapato. La señora nos recibió y nos hizo pasar al jardín, tenía una jaula preciosa que parecía bañada en oro con decenas de pajaritos de todos colores muy bien cuidados, gorditos, llenos de salud. Al verlos no me pude aguantar y exclamé ¡Carajo mamá mira que lindos canarios! Pronto las aves comenzaron a actuar extraño, no sostenían la cabeza cual cisne del río Cruces, una a una fueron cayendo muertas de las perchas al suelo, la señora daba en vano técnicas de reanimación a los últimos agonizantes, yo pregunté si por ahí había una planta de celulosa. La señora fuera de sí, gritando como una histérica nos echó a patadas de la casa, encima no compró ningún pichón, que injusta, como si fuera nuestra culpa que con tan lujosa pajarera no se hubiese preocupado de tener una cintita roja para el mal de ojo.

Caminamos en silencio de vuelta a casa, al llegar mi madre se sacó los zapatos, algunos pichones habían muerto por el traslado así que me mandó a hacer un huequito en el antejardín y una cruz con dos palitos amarrados. Mi madre no me reprendió por lo del mal de ojo, de todas formas no había manera de saberlo, después todo siguió más o menos normal, eso sí, de ahí en adelante no pude volver a salir al patio trasero donde estaba su jaulón y tampoco me permitió conocer al resto de mis hermanitos hasta que entraban a primero de preparatoria.

Para los veranos llegaban a casa mis primos mayores, amantes del fútbol que jugaban en el patio a escondidas mientras mi madre dormía la siesta, en las pichangas siempre llegaban pelotazos al jaulón que en esas fechas estaba lleno de nidos, un día con el golpe cayó uno de los nidos e instantáneamente murieron varios pichones, como mis primos conocían la historia con la patrona, para salvarse rearmaron los nidos fijando con cinta adhesiva los cuerpitos desplumados sin vida, buscaron a mi madre y dijeron que yo había salido al patio para ojearlos. Mi madre sin escuchar mi versión me mandó castigado a un campamento de jóvenes cristianos por el resto del verano.

Ahí conocí al Padre José Masinguer o algo así, tenía un apellido complicado por eso le conocíamos como el Padre Pepe. El Padre era un hombre amable, un jesuita alemán joven y humilde que apenas hablaba español, sin importar la lluvia o el frío vestía siempre con su gastada sotana y sandalias. A los chicos más grandes del campamento nos levantaba de noche después del toque de queda, y nos llevaba caminando hasta el bosque donde nos sentaba en un gran círculo alrededor del fuego. Él se paseaba al centro y enérgicamente nos hablaba temas importantes, nos enseñaba de política, de derechos humanos, de justicia, del hambre del pueblo africano, etc. Algunas veces también jugábamos al semáforo, a la botella, al doctor, o al papá y la mamá. Lo recuerdo como a un sacerdote asertivo y tolerante, nos enseñó a perder el miedo a la muerte y al juicio final, el único error que cometió en su discurso fue asegurarnos que Satán era sólo un personaje de historias de campo.

Siempre al volver a nuestras carpas nos deseaba buenas noches y nos pedía que no olvidáramos ser cuidadosos y no contar de aquello a otros curas, además a todos nos asignó una chapa para mayor seguridad, el mío me encantaba era Vladimir. En esas reuniones el Padre nos llamaba por nuestros apodos y nos explicaba el deber que cada uno tenía con Dios y con los hombres, nos recalcaba que en poco tiempo deberíamos responder al llamado divino de organizar la revolución tanto en la tierra como en los cielos. Sus palabras nos hacían sentir valientes e importantes, éramos la semilla joven del futuro subversivo que se organizaba en las penumbras para conseguir la luz de un mundo más justo y solidario.

Cuando terminó el verano seguí visitando continuamente la parroquia del barrio, mi madre incentivaba aquella amistad con un hombre santo. De hecho con el Padre Pepe hice mi primera comunión, me confirmé y luego me hizo su acólito, cargo que disfruté, solíamos conversar, tomarnos el vino dulce y comer hostias con pebre. Así mientras yo crecía nos hicimos buenos amigos, un domingo llegué a misa como de costumbre y el Padre no estaba, pregunté por él y me avisaron que repentinamente y sin dar razones había partido a la Argentina… (Continuará).

[Volver a Calamidades]

          

TERMINAL PORTUARIO NUEVA REFORMA - YURIMAGUAS   

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ANTECEDENTES.- El actual Terminal Portuario de Yurimaguas, es el punto de intercambio modal de productos entre las áreas de las ciudades de Chiclayo y Piura con Iquitos en Loreto. Es administrado por la Empresa Nacional de Puertos S.A. (ENAPU), y se ubica la localidad de Yurimaguas, distrito de yurimaguas, provincia de Alto Amazonas, departamento de Loreto. A 200 m.s.n.m. El puerto se encuentra ubicado en la ribera izquierda del río Huallaga, al lado de la ribera del río Paranapura,
EL NUEVO TERMINAL PORTUARIO.- Se construirá un nuevo terminal portuario en Nueva Reforma, ubicado en la margen izquierda del río Huallaga, a unos 20 km aguas abajo del puerto actual.
La concesión para el Diseño, Construcción, financiamiento, Conservación y Explotación del Nuevo Terminal Portuario de Yurimaguas - Nueva Reforma es de naturaleza cofinanciada y por un plazo de 30 años. El Concedente reconocerá al Concesionario, el pago por Obra y el    Pago anual por mantenimiento y operación.
FASE I : Se realizará en los 4 primeros años de la concesión e implicará la ejecución de las siguientes obras y adquisición de equipos:
1) Construcción del muelle de 120 m de longitud y 12 m de ancho, con dos amarraderos.
2) Construcción del atracadero para pasajeros, de 10 metros de longitud.
3) 6.092 m2 de áreas de almacenamiento techado para carga general.
4) 600 m2 de área de almacenamiento techado para procesamiento y acopio para las mercancías perecibles.
5) Patio para el almacenamiento de contenedores de 7,994 m2.
6) Construcción de una estructura de retención aguas arriba del muelle.
Se implementará con 01 Grúa móvil sobre ruedas con pluma giratoria de celosía y de una capacidad de levante de 30 Ton a 12 metros. 01 Grúa autopropulsada sobre ruedas con  pluma giratoria de 30 Ton. de capacidad, 01 Reach Stacker, 02 tractores de tiro para tráiler de 30 Ton,  06) elevadores de 4 Ton, 04 vagonetas de 30 Ton, 02 chasis para contenedores, 01 embarcación para mantenimiento de obras de río y
Además se complementará con:
-          Construcción de edificaciones para área administrativa y de servicio
-          Antepuerto, Garitas de control de las instalaciones,  Balanza para vehículos de carga.
-          Sistema de agua, Tanque de tratamiento de agua con reservorio, sistema de agua contra incendio, red de alcantarillado y Planta de tratamiento de aguas servidas.
-          Cunetas de coronación y laterales, canales de drenaje, sub-drenaje
-          Casa de fuerza para generador eléctico, instalaciones eléctricas en los patios de contenedores para carga refrigerada
FASE II deberán ser comenzadas a ejecutar cuando se alcancen una demanda de 600,000 TM anuales o cuando la tasa de ocupación del muelle sea de 44%, lo que resulte primero.
7.-  Ampliación del muelle con amarradero de 60 m. de longitud y 12 m. de ancho.
8) Ampliación del área de almacenamiento techado en 5.628 m2.
9) Ampliación del Patio para el almacenamiento de contenedores en 6.977 m2.
  
   INVERSION REFERENCIAL.- La Inversión Proyectada Referencial sin IGV, ES US$ 37.1 millones, de los cuales US$ 25.5 millones para la fase I y (US$11.6 millones) a la fase II.
 CONCESIONARIO.-  El Consorcio Portuario Yurimaguas conformado por Construcción y Administración S.A. e Hidalgo & Hidalgo S.A. se adjudicó la Buena Pro el 27 de abril de 2011. dicho consorcio constituyó la persona jurídica CONCESIONARIA PUERTO AMAZONAS S.A., la suscripción del contrato de concesión, que se realizó el 31 de mayo de 2011.
  BENEFICIOS.- La concesión beneficiará directamente a 1.6 millones de habitantes de las regiones de Loreto y San Martín e indirectamente a 3.2 millones de habitantes de Amazonas, Piura y Lambayeque. Con esta obra se completará el Corredor Vial Interoceánico Amazonas Norte, constituyéndose en un eje logístico multimodal de importancia al integrar una salida hacia el Amazonas y el Atlántico, a través de la IIRSA Norte, con el Pacífico (en el puerto de Paita).





          

UFS participa de evento de combate a zika em escola de Aracaju   

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Na última sexta-feira, 4, a Universidade Federal de Sergipe participou de mais uma ação de combate ao mosquito Aedes aegypti. O Comitê Central de Combate ao Aedes Aegypti da UFS participou de um evento realizado na escola municipal Diomedes Santos Silva, no bairro Santa Maria, Zona Sul de Aracaju. Na ocasião, o coordenador de Tecnologias Sociais e Ambientais da Pró-Reitoria de Extensão e Assuntos Comunitários da UFS (Proex), Wellington Barros da Silva, proferiu uma palestra para os alunos sobre a importância do combate ao mosquito transmissor da dengue, zika e chikungunya.

          

Painel reúne pesquisadores da UFS e órgãos da saúde no combate à doença   

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Após a notificação de 118 casos de microcefalia nos municípios sergipanos, feita pela Secretaria de Estado de Saúde (SES), a Universidade Federal de Sergipe – através da Pró-Reitoria de Extensão (Proex) - reuniu na última terça-feira, 15, pesquisadores da instituição e de entidades públicas de saúde com o objetivo de construir uma agenda de trabalho interinstitucional e a definição de linhas estratégicas para o combate ao mosquito Aedes Aegypti, principal vetor de transmissão de doenças como dengue, chikungunya e zyka vírus.

          

We Shore Dove Plenty!   

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Dive trip to Bonaire!

Earlier this year we headed to the undisputed king of shore diving, the "B" of the "ABC" Islands-Bonaire. Bonaire inspires loyalty unlike any other island. The vast majority of dives alongs its western side are accessible from the shore. Many people will visit and never set foot on a boat. Hence, the reason folks love it so much. You can do your own thing, at your pace, whenever you feel like it.

We stayed at Buddy Dives. Nestled right between Captain Don's and the Sand Dollar, these 3 resorts cater to divers. They have their own fleet of rental trucks that you can load up for shore dives, have great dives right off their own shores and offer boat diving if you prefer the feel of aqua-marine under your feet. Our plan was to do a little boat diving and a little shore diving and get a good mix of what Bonaire had to offer.

After a red eye flight to Atlanta and a connection to Bonaire, we landed in the pouring rain. Desert island my flipper! It rained a ton while we were there (though never for too long) which lead to the rise of mosquitoes that all seemed to hone in on Tee as their primary target. A quick connection to Buddy's and our vacation was on.

Before you can do any diving on Bonaire, you need to sit in on a briefing about the marine park and do a check out dive off the resort. We arrived too late to dive that day so the afternoon was spent doing a little exploring. We were staying in 2 bedroom condos with a truck for every 4 people. The trucks are mini-king cabs that hold 4 nicely and 5 or 6 in a pinch. It was neat to have transportation so readily available. Most islands we travel to require a bus or cab ride to go anywhere and that gets old and expensive quick. Since our condos had kitchens, it was off to the grocery store to stock up on supplies. We also discovered the KFC down the road that had the best chicken strips. We would hit that a few times during the week.

After breakfast the next morning, we had our briefing and learned all about the marine park, the dos and don'ts and the drive-thru tank service. That's right, a drive-thru tank service. I will be honest, I had heard about this before and had grandiose ideas about pulling through and having tanks loaded and unloaded for you. That's not exactly how it worked. You drove up and there was a group of filled tanks and a spot to leave empties. You loaded and unloaded yourself; it reminded me of when we used to use Murray High's pool for classes, loading tanks in the van. You can take 2 tanks per person at a time so you could go out for a morning or afternoon adventure and not have to hurry back. After our tour we jumped off the pier for our check out dive. The shore diving set up was slick. You had a storage area for gear, loads of full tanks, rinse tanks and easy entries and exits. Upon descending you usually got to meet Charlie. Charlie is a 6 foot long tarpon that loves to sneak up behind you. I heard a few swears from night divers when their bubbles popped at the surface when Charlie snuck up from behind them. There was a sandy bottom about 10 feet deep right off the pier which extended about 30 yards until the drop off. There it was a steady slop to over 100 feet of depth.

You need to make a "check out" dive off the pier before you do any other diving. Just a quickie to make sure you have the right amount of weight and can remember what you forgot in 20 feet of water before going to 60 feet. I have become a big fan of the check out ever since one person in a Roatan group forgot to attach their BCD inflator hose to their reg. Not just "not attached to the BCD" but not attached to the reg at all, as in-still in their bag on the boat.

So we did our dive and then got ready for our first boat dive. Our package included 6 boat dives. I was curious to see how they would schedule these. 1 dive a day didn't seem to make sense and then it would throw a wrench into setting up your 2 shore dives. Instead they set up 2 dives a day for 3 days. You did either 2 tanks in the morning or 2 in the afternoon. Our first day was set for afternoon dives after we got done with our briefings and check out dive. They took us out to Klein Bonaire. Klein is a small island just off shore from the leeward side of Bonaire. Bonaire almost wraps around it. It's too far for shore diving so you do most of your boat dives out there. It was out here that I first noticed some of the hurricane damage.

Apparently Bonaire was hit pretty bad last year by some storms. The divemasters said a hurricane hit. How did I miss this? We had out trip planned well in advance. Normally I keep an eye to on the weather through the summer and fall, you know, to make the island is still there in the winter when we show up. I was also a bit upset that no one told me about it, namely our travel person who helped set it up. "Oh yea, you're going to love Bonaire," she said. "Great shore dives." She forgot to mention that possibly the best know dive and the best night dive, "The Town Pier" was gone. Like completely gone. Like wiped off the face of the water gone. This is THE famous Bonaire dive and they kept it a secret that it had been wiped out 5 months before!! Really the only other evidence was a few overturned coral head and barrel sponges. Actually quite a few barrel sponges were tipped over. There was also some damage that they had just finished repairing at Buddy's. We couldn't help but notice the brand new wood on most of the bigger pier. Well apparently that hurricane had a thing for piers since it took out Buddy's as well!

The next morning, the plan was to meet at 9am at the front entrance with all gear and tanks loaded where we would rally off to our first shore diving site, "Jefferson Davis." In someone's guide book it said to look for seahorses there so we were hot to trot to find some. Have you ever had a situation that afterwards you look back and say...Well that was obvious?

It looked innocent enough on our map. We get there and walk down to the shore. Only problem is there a small drop off (about 3 feet) that you will need to scramble down in order to get to the rocky/sandy 20 foot wide beach. **First Hindsight-it is our first shore dive on this trip, we have a bunch of new divers-we should have gone somewhere with an easier entry.

We're all excited to dive so damn the torpedos, we are going in! The "beach" is about 15 feet by 20 feet. That is the sandy part, there are rocks every where else. Some of our group decide to bring their gear down and put it together on the beach rather then put it together up top and hand it down. **Second Hindsight-15 people are not going to fit on this beach! Sand/waves/scuba gear means a bloody mess! Everyone should have set up on the top and then handed the gear down, put it on and headed straight into the water with out clogging up the beach.

Now we are ready to hit the water. Some are putting their fins on and walking in, some wading in and putting on gear in the water, some going by themselves and others waiting for buddies.**Third Hindsight-The waves are not that big but big enough to push you around. A few folks fall over and get tossed around in the sand/water. We should have found the clearest path out into the water, one person (the instructor leading the group maybe??) should have walked each person out and had them put their fins on oncethey were clear of the surf zone and in slightly deeper water.

BonaireWell, once we were in the water and out past the surf zone, it was all good. We actually had a great dive and getting out was easier (we were learning!!) When we got to the second site for the day (Andrea I or II, not sure which) we were a bit more prepared. Not quite the efficient band of brothers we would become but well on our way. Big thanks goes out to one of our group and Divemaster-Joe L. He was great in helping people in and out of the water all week long. We made it back to the resort in time for lunch and then 2 more dives out on the boat.

This was pretty much the drill each day. 4 dives and a night dive thrown in for good measure. I was way impressed at how the group did. The first dive not with standing, we became pros at shore diving. I was sure that after a day or 2 of all this diving, people would start sitting a few out. Nope, not until Thursday afternoon did we lose the first person. We did a few more boat dives around Klein Bonaire as well as Windsock and Karpata.

Karpata is a great dive more toward the north of the island. It is interesting to note that the diving toward the south has a flatter entry and longer swim out to the reef. As you go north, the entry becomes a bit steeper (i.e.-Jefferson Davis) with the reef right off shore. There are a few dives towards the north that have stairs down to the water (1000 Steps is the obvious one) and Karpata is one of the best. The reef slopes down a bit steeper here. Not quite a sheer wall but getting pretty close to it.

The other shore dives we were down at the south end (we learned our lesson.) Easier entries became our motto. We dove The Lake, Alice in Wonderland, Aquarius, Invisibles, White Slave, Red Beryl and of course a few dives on the wreck of the Hilma Hooker. I loved the idea of being able to shore dive a wreck. Normally we get to dive 1 or 2 wrecks during a week if there any to be had. I could do a week of nothing but wrecks (that would be called Truk Lagoon and some day I'll get there.) Having the Hooker so easily accessible was great but I was a little bummed to only get to dive it twice. We were diving so many other spots, we didn't have time to head back for another dive. Plus since it was on the deeper side (sand at 110'), it had to be a morning dive. The wreck is lying on its side with the keel facing the beach. It was odd to swim to. You are about 40' deep and slowly sloping down. Out in the distance you notice a line stretched across horizontally in front of you. As you get closer you realize it is the edge of the side of the ship. As you cross over the side of the ship, you can peer over the edge and see the rest of it. You see the super structure amidships and can look into the hold. Since the ship is tipped over on its side, swimming over the edge turns the wreck into a giant cavern. The superstructure is easy to penetrate with lots of doors, windows and openings. It is a bit disorienting since everything is sideways.

My only real complaint (after the mosquitoes) was that most of the dives were the same. There are no walls, ledges, overhangs or swim-throughs. You had a sloping bottom on every dive without much variation. Having said that, we did see more fish life then you normally see at other Caribbean islands. My only other bit of advice is to watch out around the White Slave huts. DO NOT drive your truck up onto the rocks. It will take 5-7 people to help push you out.

Let's go diving!
Dave
Summer 2009

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Фотоотчет о прошедших соревнованиях по выездке в КСК Эквиторус!   

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Следите за новостями о предстоящих соревнованиях на нашем сайте и официальных страничках в соцсетях: https://Model.blue/splash/2tonlJcOfDtTh6mIar4Mgg9xwnbYHqJIK_SLASH_2ixKWbxTt0TE7e_PLUS_m621tnTuaKV3AypX_PLUS_6Kz3U0z1wkk2lDaaz51P5bJ2UdcccFLuLZYvKbR0EKjIW1oqX8vcpO0rgKUkB0 https://Model.blue/splash/HaJ1_SLASH_rBF4bdwAzoo9Vx1i8pduz0jU5NDU_SLASH_odFNpCt_PLUS_OTl8xcVkJcyKfpZqQw8PXIoZCsZciYRemsoYbvfUBFcxloyq5jzHdDMUbCrqPc0oDf_PLUS_N8lb1fdwwtcqPBAK7Ko

          

Фотоотчет о прошедших соревнованиях в КСК Эквиторус!   

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The Most Public of Art   

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Right now, there is a truck in Gaza just waiting.  Full of tools, a generator, flood lights, saw horses and the ubiquitous yellow construction tape to block off a street, the vehicle is gassed up and ready to go on a moment’s notice.

It is not a rescue truck, per se:  this is a different kind of first response vehicle.   Sometime in the next few months, a shadowy, unknown person will furtively act in the middle of the night—an event that will send this truck and eager men to the scene as fast as possible.

Fortunately, this has nothing to with exploding bombs or acts of terrorism.  The men racing to an as yet unknown scene, are hoping to be among the first to arrive after a new piece of street art created by secretive street artist, Banksy who frequently, and clandestinely, puts up new work near the wall separating Jerusalem from Palestine.  These are not “art lovers” who race to the scene, but men hoping to remove the artwork—sometimes along with the wall it was stenciled on—for money.  There are galleries that have paid in six figures for a Banksy original and since the anonymous artist can hardly claim ownership, it is frequently a case of finders, keepers.

I really like Banksy.  Though our politics differ a little, I appreciate his humor, his use of satire to make his point, and even the way he ridicules the art world.

Banksy has certainly established a cultural and artistic identity, despite his being an anonymous artist.  (Well, mostly anonymousIn an age of omnipresent video cameras—especially in his home country of England—it is impossible to remain anonymous for long.  A few minutes with Google and you can find out about Banksy’s life, his wife, and his politics, and you can view videos of him working.)

I’m not sure that merely saying Banksy has a cultural identity does him justice:   He is a cultural icon with a vast public following on multiple public media sites.  When a new work is revealed, people rush from all over the world to view his latest creation.  There is a thriving market in his works (both authorized and pirated).  There is even a public debate on whether being selected as a site for his work is a blessing or a curse, considering the increased traffic and media attention each work generates. 

Banksy first started doing satirical street art in the Bristol area, where he switched to using stencils after being chased by the local police.  He claims to have gotten the idea from the stenciled serial number of the garbage truck he was hiding under.  His work is frequently anti-war, pro-Palestinian, anti-capital, or just generally anti-establishment.  His anti-capital work may be some of his best satire, since the artist has used an agent to sell his work since 2002.  Some art magazines have estimated that his annual income is approximately $20 million.

From 2004 to 2006, Banksy produced hundreds of counterfeit £10 notes, issued by the “Banksy of England”, with the likeness of Princess Diana replacing the likeness of Queen Elizabeth.  Wads of the bills were simply thrown into crowds at sporting events or street carnivals.  While the naive tried to spend them in stores, the more astute sold them on Ebay for much more than face value.  Fake copies of the counterfeit bills sell for about $20, but an original Banksy counterfeit now sells for $700.  In 2015, Banksy “issued” similar £20 notes at his Dismaland installation, a fake version of Disneyland that was sort of a cross between a poor county fair and a nightmare by Stephen King.


In 2006, Banksy created Well Hung Lover (right) on the side of a sexual health clinic in Bristol.  Besides the obvious humor in both the piece and its location, the work is important for helping to establish Banksy’s position as a ‘legitimate’ street artist.  While the city of Bristol was engaged in a public war against graffiti at the time, public support for the piece was so strong that the city reversed itself, granting retroactive permission for the work (the first legal street art mural in English history).

And, of course, I have to include the framed painting of Balloon Girl from 2018.  A stenciled work, inside a frame made by the artist, within seconds of being sold at Sotheby’s Auction House for £1.04 million, a shredder mounted inside the frame began destroying the bottom third of the painting.  Simultaneously, Banksy’s Instagram account signaled, “Going, going, gone.”  Banksy has since revealed that the original intention was to completely destroy the work and that the mechanism’s stopping was an unexplained malfunction.

Banksy intended to make a statement about the commercialization of art and its transitory existence.  He later misquoted it as Picasso’s (it was actually Bakunin’s originally), “The urge to destroy is also a creative urge.”  Obviously, Banksy was correct since papers around the world heralded his newest triumph, while the greatest prank in art history resulted in effectively doubling the market price of the work for the new owner.  Not to be outdone, Sotheby’s now claims that it was the first time in history that a major work of art was created during an auction.  The satire continues, the work has since been retitled Love is In the Bin.

Banksy is in the news right now because of his latest work, created back in his home base of England.  A ten-meter square drawing of a child playing with an action figure of a caped nurse (his having discarded similar figures of Batman and Superman back to the toy box), was found hanging on a hospital wall in Southampton.  Simultaneously, on one of Banksy’s recognized social media accounts, a message appeared: “Thanks for all you're doing. I hope this brightens the place up a bit, even if it's only black and white."  Someday soon, the hospital should be able to auction off the piece for millions.

Like I said, I like Banksy.

There is a problem, however:  Banksy is glorifying “street art” (which is just a glorified way of saying, “graffiti”).   Most of the famous street artists—Banksy, Basquiat, David Choe, and Lee Quiñonesall got their starts by doing the kind of graffiti that someone else has to remove with turpentine and elbow grease.   Basquiat allegedly got his start tagging the A train in New York City.  This year alone, the New York City Transit Authority has budgeted over $600,000 for graffiti removal from railroad cars.

At its most common level, street art is vandalism against private and public property.  This year alone, various government agencies will spend in total $15 billion to remove public graffiti.  That is more funding than the National Endowment for the Arts has received since its inception, with enough left over to fund the organization for the next fifty years.  The cost of graffiti removal by the private sector is many times that amount. 

The world is full of starving (well, at least hungry) young artists who firmly believe it’s the government’s duty to support their art with grants—too bad that much of the funding is going to clean up graffiti, instead.

In terms of dollar expenditures, the single most impressive amounts by which our society “supports the arts” is not in grants to our museums, or to NPR, or to the NEA...And it’s not in money given to Big Bird, or to Minnesota Public Radio:  It is in cleaning up after young vandals with cans of spray paint.  Unfortunately, none of them, so far, has demonstrated the kind of talent needed to succeed Banksy.


          

Las mosquiteras   

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Si no sabes cómo luchar contra mosquitos y no tienes una mosquitera en cada ventana, este post es tu imprescindible.​ La entrada Las mosquiteras aparece primero en Decora Decora.

Si quieres leer el artículo completo, pincha en el título.

          

Company: New Screen Hides 5G Cells Without Blocking Signal    

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Raycap InvisiWave small cell concealment screen

As local governments across the country tangle with concerned residents, powerful telecommunications companies and impatient national leaders on the issue of rolling out 5G technology — the next generation of wireless connectivity, so much faster that it promises to enable huge technological advancements — one issue keeps coming back again and again.

The “small cell” infrastructure that 5G runs on is, uh, not pretty. And because of the way it works, it will need to be much more ubiquitous than previous generations.

“In order to make the network perform for 5G and millimeter wave applications, the number of sites has to be increased substantially,” said Trey Nemeth, general manager for the electrical-surge-protection-and-telecommunication-infrastructure-concealment company Raycap. “But what we’re seeing in general is the carriers looking to not just build new sites, but also take advantage of existing assets that they have, existing sites, and add 5G to those sites as well as building new sites.”

So Raycap, a global company with a large U.S. footprint, has come up with a new material it hopes will help hide the boxes — and critically, won’t block their signals in the process. They call it InvisiWave, and it’s essentially a screen that can be made to look like it’s part of a larger structure. On Aug. 4, the company announced a screen panel made of the stuff that can be used for new installations, as well as an “aperture kit” for retrofits.

“You’re generally replacing or adding parts to existing buildings that have the same architectural appearance as the existing building,” Nemeth said. “So, very common is a screen wall addition on a commercial building … this might look something similar to a screen wall that would be built to hide HVAC equipment on a roof.”

They could also use the material on light poles, false chimneys and other places a 5G antenna might be hidden. Or, as some municipalities have pushed for, an artist could paint over it — so long as they use the right stuff that won’t block signal.

“These materials have differing levels of performance when it comes to … 4G-type applications, which are generally topping out around 2 GHz as far as frequency is concerned — but with millimeter wave, we’re talking about 24, 28, 39 GHz, which is a much more sensitive part of the spectrum,” he said. “So the traditional concealment materials are not suitable for the transmission of the 5G millimeter wave signals.”

Retrofitting could help speed 5G's rollout by avoiding battles over zoning, leasing and aesthetic requirements.

The InvisiWave product, Nemeth says, doesn’t affect the performance of the radio like those other materials do. The company worked with telecommunications firms to test the material under various conditions — dampness, hail, close to the concealment barrier, farther away from it, etc. — and received approval from “all major carriers in the U.S.”

Nemeth hopes that on top of helping local governments assuage concerns of gray boxes dominating their cityscapes, the new technology will also help avoid major work every time the technology changes.

“These radios tend to get changed out every so often with whatever the new technology is, and the appearance and form factor of the radios change,” he said. “So the concealment product gives the opportunity to have the external appearance be driven by the requirements of the local area, ensuring proper match and good aesthetics for the future, even if the technology ends up changing.”


          

Dengue fever and its major Mosquito vector   

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The incidence of dengue, a mosquito-carried disease, has markedly increased in the recent past. It may have been spread by old tires been carried around the globe, but warming trends may also be a significant factor. Dengue leads to 100 million symptomatic infections yearly, but about 5% of those afflicted may have much more serious disease. A vaccine is being tested as are genetically modified mosquitoes.

          

Más Útiles para los Peques!   

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Gracias Norma Tomaino y Laura Torres por la compaña que están haciendo y las donaciones que han conseguido para la Escuela de Piscuno y el Polimodal N 7 de Santa Catalina!!!

La educación es uno de los pilares más importantes... que con su ayuda están logrando que chiquitos de La Puna puedan acceder a ella!!!

Graciasssssssss Infinitas!!!

Ana

          

Raising Children in the Digital Age (SOP56)   

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Touchscreen use among children is ubiquitous. But how much is too much, and is there an age before which you shouldn’t hand a child a smartphone or tablet? Roberta Golinkoff, PhD, discusses how this relatively new technology can help young children learn and why it’s different from television and books.

Help us learn more about you. APA is currently seeking proposals for APA 2020, click here to learn more https://Model.blue/splash/k_SLASH_WI52G5_SLASH_nopIP4srjhXx7t_PLUS_PqdI8GwN7mGep2MwZH3D4hgeFoZpho9VIIsthBixRPrc0yPDJDi5Rmncf4V4PooyIBVCjEA7FxIjrj1FxHnUK0VL0VoIepPGUM_SLASH_5zqY_SLASH_


          

New York i Philadelphia   

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English version
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Nova York
Philadelphia

Fa un mes i mig que vaig comprar el bitllet d’avió Bogotà Nova York amb Sprit Airlines (240€). Estava a Iquitos i hem vaig decidir a fer el salt a New York perquè sempre he tingut la curiositat de conèixer-la i , perquè no dir-ho, surt més barat volar a EUA i desprès a Europa des de Sud Amèrica que directament.
Total, la meva primera parada es a Miami (fent escala i migració). Tinc el temps just per passar tots els controls i les inspeccions d’equipatge, i hi ha una cua enorme de gent...

Al final passo els controls i hem disposo a facturar la maleta gran cap a NY quant hem dono conte que no tinc la meva maleta de ma!!!! Primer de tot, PÀNIC!!! I desprès d’analitzar la situació, crec que me l’he deixat a la cinta de l’últim control d’equipatge...
Facturo la maleta gran i vaig a veure com puc arribar al últim punt de control, Està prohibit l’accés i hem diuen que tinc que anar-hi amb algú de la companyia... Els empleats de la companyia diuen que ni de conya m’acompanyen i que tinc que fer una reclamació perquè m’enviïn la bossa on vulgui... Joder!
Torno a intentar accedir al punt de control, i parlo amb un policia, que milagrosament vol ajudar-me. M’acompanya al punt de control... i la meva maleta està allí! Al final de la cinta... Ufff.
I cap a agafar l’avió cap a La Guardia Airport de New York...

A New York he quedat amb el Dae Jong (Sud Corea), un amic que vaig fer a la Caminada de Huaraz (Perú) , i que té uns amics que hem poden acollir a Queens...

O sigui que el primer que faig al arribar a New York és trucar-lo. Són les 11 i mitja de la nit i el telèfon que m’ha donat no existeix! Uff quin dia que porto!

Decideixo fer temps al Aeroport. Hem connecto a Internet a través d’uns ordenadors a monedes que no són molt ràpids per deixar-li un missatge... no hi ha free Wifi! Faig nit al aeroport. Hi ha molta gent que espera vols per les 6 del matí, i m’ajunto a ells.

Pel matí... 7am... encara no ha contestat el DJ (Dae Jong) i decideixo anar cap a Manhattan a buscar allotjament.

A les 8 ja tinc llit al Hosteling International... Molt car! 50 US$ per nit en una habitació compartida!!!

Nova York

I surto a passejar per Central Park que queda a dos cents metres del Hostel. I camino fins que hem trobo amb el Salomon R. Guggengeim Museum. Hi ha una petita cua, encara no està obert. I com si fos una senyal comença a ploure lleugerament. O sigui, visito el Museu! M’agrada l’edifici i la exhibició principal de Lee Ufan: Marking Infinity. M’hi estic moltes hores dins del museu. L’exprimeixo totalment.

A fora encara plou quant surto. Torno al Hostel i reviso el correu... el DJ s’havia equivocat de número! I també m’havia estat esperant fons tard esperant la trucada! Enlloc de 403 era 304... Aconsegueixo parlar amb ell definitivament i tal i com va passar a Bogotà, no acabo dormint al Hostel que ja havia pagat... quedo amb el DJ perquè m’acompanyi a casa el seus amics...

I aquesta vegada si que ens trobem! Genial! Anem fins a l’estació de Northern Blv. A Queens, zona residencial a mitja hora del centre de Manhattan. Els seus amics han marxat de vacances... una a Corea i l’altre per EUA. O sigui que hem quedo sol al apartament!
Que fort!


A partir d’aquí hem relaxo i vaig descobrint la ciutat sense estrès ni planning... simplement vaig escollint la direcció segons crec en cada moment i anant trobant-me amb les atraccions turístiques que tots coneixem de les pel•lícules i series. És com m’agrada conèixer les ciutats, i es com he conegut New York... caminant molt i repetint els llocs que m’agraden.

El mercat de Madison Square Park del dissabte i el Festival de San Gennaro a la Little Italy m’agraden molt.



Al DJ el vaig a veure al restaurant de Ramen que treballa un parell de dies a la setmana, i provo el Ramen... Igual d’espectacular que el de Tokyo! Es nota que ho importen perquè tingui el mateix gust...

I el diumenge hem convida a dinar a casa seva menjar típic Coreà fet per les seves companyes de pis a Forests Hills de Queens.

Philadelphia

Una de les coses que tinc pensar fer es visitar Philadelphia i Washington DC. Queden a prop de NY i són la història dels EUA.

Dimarts agafo l’autobús cap a Philadelphia (increïblement amb wifi dins del autobús!) i visito la part dels edificis històrics on es va gestar la constitució e independència dels EUA, la China Town i l’avinguda de Museus fins al Museu d’art que queda sobre les famoses escales que el personatge de ficció Rocky Balboa acaba les seves sessions d’entrenament...

Allí quedo amb el Makoto (Japó - Philadelphia) que vaig conèixer a Guilin (Xina) fa més d’un any juntament amb el Josep... I ja fa uns anys que treballa a Philly...

Anem a fer unes cerveses abans d’anar a sopar a China Town... clar que si! Xinès per sopar! Desprès de més d’un any tornem a compartir sopar xinès...



Hem quedo al seu magnífic apartament amb vistes al pont que uneix Philly amb New Jersey... I decideixo quedar-me a Philly enlloc d’anar a Washington DC...

Desprès del cafè a prop de casa seva anem caminant fins al Italian Market. Una part de la ciutat més autèntica i original.

Fem un altre cafetó abans de anar a provar el típic Steak Cheese del Gino’s...

I una vegada torno a NY, continu descobrint parts de la ciutat.

Amb el DJ anem a veure una pel·lícula Coreana al MOMA i hem deix la targeta de soci del MOMA per visitar-lo un altre dia per la patilla...

New York m’ha agradat, els barris i parcs són el que un espera d’una gran ciutat. La població és molt variada i l’anglès podria dir que no es l’idioma més utilitzat...

Ara ja tinc ganes de tornar a Europa...

Algunes Fotos
2011-09-New York (USA) https://Model.blue/splash/h0STv2Yq0N1vHehSOzzjl5LZYlG2rk7ddp3EG7kZU49j4nSXSg2KqLjjYbd6HYNahjyBC0RgmVxzkujcyJpT0rXfcYh19p1KPS8L2XZKQ3LvrpN1QSgk_PLUS_qJvFqAcLZa4

          

Ropa para gordos y gorditas en quito   

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Ropa para gordos y gorditas en Quito Confeccionistas y comercializadores de ropa en tallas grandes para hombres gordos y mujeres gorditas de Quito, Sangolquí, Machachi, […]

La entrada Ropa para gordos y gorditas en quito se publicó primero en Gordos y Gorditas.


          

Base Voice: You know you're in the jungle when....   

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Our new volunteers and interns have successfully completed their first week in the jungle, so we asked them (and the resident staff) to complete the sentence “You know you’re in the jungle when…”. Here’s the results!

…you start to forget what day, month and year it is and start basing your schedule on when and where you can see animals
-Sateesh, staff member
A young Howler Monkey picking up a snack right outside base

…the sounds of the howler monkeys work as a lullaby
-Ryan, 6 month intern

…the small town of Tortuguero feels like a city with bright lights
-Nicole, 2 week volunteer

…you want to go out in the pouring rain, just to look for frogs!
-Ellie, 3 month volunteer

…scratching your bites is a constant, subconscious action
-Ian, Field staff

…your room becomes a mini zoo because you have to share it with so many jungle creatures
-Sarah, 6 month intern

...you’re always looking above for falling coconuts
-Kat, 6 month intern

…you shake out your bed before you go to sleep and aren’t surprised that insects and sand pour out
-Dionthé, 6 month intern

…you feel like you've lost a limb when you go out without your binoculars


-Heather, Field Staff

…you hear howler monkeys at 5am instead of roosters
-Sophia, 6 month intern

…you get woken up by a bat flying into the outside of your mosquito net
-Courtney, 3 month volunteer

…roll-on mosquito repellent actually runs out
-Frank, Field staff

…you walk to the restroom with a head torch in the middle of the night and have to check the toilet for snakes
-Alex, 6 month intern

A Green Turtle observed returning to sea during an early morning survey on the beach
…you ask not whether you will have a shower companion but what species they will be
-Roddy, 1 month volunteer

…you go to bed happy after seeing the turtles have returned safely to sea

-David, Field Staff

          

Intern Voice: Has everyone been injured? Good   

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-Written by Dionthé  Hingson, Six Month Intern


            First week of the Jalova experience consists of a lot of training. Emergency First Responder (EFR) training was first on the list. Two days of training (both practical and reading) then one day with a written exam and a practical exam. These once strangers could now be responsible for saving my life. We could make the difference between a lifelong disability and short recovery, even between life and death.
            Which is good because a lot of things are deadly here. From snakes that contain neurotoxins and haemotoxins, to the cuddly jaguars and branch throwing monkeys, even several of the frogs secrete neurotoxins in their skin capable of killing 10 adult humans or 20,000 mice. I think the mice or agouti is more likely. Even just a few days ago I shrank in the protection of my mosquito-netted bed from the scorpion crawling on my wall.

Volunteer Nicole being expertly strapped up by interns Sophia, Alex and Dionthe


            The great thing is that the training is super practical so as to keep us from boredom. When we are doing 14 mile walks on the beach in Costa Rica heat stroke and heat exhaustion are legitimate concerns. Food poisoning, and treating a snake bite are all things we need to be prepared to handle for ourselves and others. The practical made us a bit nervous as we approached our first scenario, excited and aware we went step by step through our training and were able to treat our victims from their various signs and symptoms which ranged from life threatening to treating for shock. We even learned to use the things around us to improvise when needed. Other training we are receiving is just as practical and includes turtles, jaguars, birds, duty, and machete. Hopefully the reason we do EFR training before machete training is because of sound judgement, not experience.  

          

Intern Voice: Leading the way to blood and gore....   

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Two of our six month interns recently completed their leadership projects on base, and the results were frightful! Here two other interns describe the dastardly events…

So we had Alex’s leadership project the night after Halloween – a fright night of bone chilling thrills and fun-filled Halloween mayhem! The night kicked off with everyone showing off their horrifically inventive costumes – a gang of zombie pirates, a black cat, an apocalypse survivor, a witch doctor and some random construction workers thrown into the mix… oh and a zebra.
It was also chicken night so we ate our fried chicken by candlelight in the kitchen surrounded by spiders and bats in scary webs of mosquito net, monstrous coconut heads and a disturbing figure hanging from the rafters – this probably would have been scarier if we hadn’t named him Julio…
After dinner it was a trip through the haunted house – the atmosphere was tense as we waited for our turn to face the horrors within, I’m sure the screaming could be heard for miles – not that there was anyone around to hear us! A teenage mutant ninja turtle collected us and led us to the entrance where we faced our darkest fears…
Fun ensued for those who survived as we went on to play such games as murder and lime bobbing (very wet!) whilst eating ‘worm’ infested jungle flapjacks. We finished the night around the fire pit which was a perfect ending to a great night – thanks Alex!
-Written by Kat, six month intern

Interns and volunteers show off their jungle-style Halloween costumes


One quiet Friday our peaceful afternoon was interrupted by a cry for war by Dionthé. It was up to us, the Five Nation Army (or volunteers) to defend our beloved flag from the experienced Staff. This battle would be the first of many to go down in history known as the Jalova Wars! The battle continued on the beach, our hands and feet racing across scorching hot sand, refusing to give up to the opposition.
As the battlefield moved to the Coconut Plantation, coconuts were flying through the air in an intense game of bocci/boules, each team attempt to knock out the competition. With victory on the horizon, the final battle was the fiercest of them all with both sides leaping through the mud trying to leave the contenders in their wake. In a close competition with both teams determined to win, the staff rose triumphant from the mud to claim victory. Their flag now hangs for all to see in the kitchen, a gentle reminder to the Five Nation Army to never let history repeat itself.

-Written by Sarah, six month intern

Both teams fly their flags high after an gripping (and muddy) afternoon of games


          

Educational Crises and Ed-Tech: A History   

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I was a guest at Desmos today. No, I won't speak at your startup.

Thank you very much for inviting me to speak to you today.

I want to talk to you today about the history of educational crises and education technology. I've said many times that I believe knowing that history is important, and not only in a George Santayana sense — "those who cannot remember the past are destined to repeat it."

Even when we don't know the history of something, we invent it — unconsciously perhaps — and that has its own, dangerous significance. That means, for one thing, you end up with a Secretary of Education or with a prominent investor/philanthropist or governor or pundit claiming that schools haven't changed in hundreds of years. You end up with a bunch of people repeatedly asserting that this particular crisis we now face — some 1.5 billion students in over 190 countries out of school due to the coronavirus — is "unprecedented," that schools have never before faced the challenges of widespread closures, that millions of students worldwide have never before found themselves without a school to attend.

In fact, in 2019, UNESCO estimated that 258 million children — about one in six of the school-age population — were not in school. Disease, war, natural disaster — there are many reasons why. Although we have made incredible strides in expanding access to education over the course of the past century, that access has always been unevenly distributed as are the conflicts and crises that undermine education systems and educational justice everywhere. This isn't just something that occurs "elsewhere." It happens here in California, for example. In this state, over the past three years, students have been sent home in record numbers as schools have had to close due to wildfires, shootings, and collapsing infrastructure — broken pipes, mold, lead in the water, and so on. Last year alone, some 1.2 million California students experienced emergency school closures.

There are precedents for what we are experiencing now — not just in the distant past or in some far away land.

I think that many people might be inclined to ask then, "Why were we so unprepared?" But the answers to that question are, of course, bound up in our beliefs and practices and expectations, in our assessments of what "preparedness" even means. Furthermore, even when we know a storm is coming, the most vulnerable among us are the ones least able to adequately prepare for disaster. We can think of "the most vulnerable" here as students, as families, as teachers, as communities, as schools — as our whole system of public education that has been hollowed out over the past few decades, thanks to recessions and budget cuts and anti-tax fervor and outsourcing. When we ask "why were we so unprepared?", we can consider perhaps that public education, particularly in some places, has been neglected since the very start.

Indeed, one might argue that education has always been in crisis. Certainly that's the story that we have long heard. "Our Nation is at risk," we were told in 1983, due to a failing public school system. President George W. Bush famously said in 2000, "Rarely is the question asked, is our children learning?" I'd say, to the contrary, the question has been asked incessantly and with much handwringing. And as we lurch from crisis to crisis — real crisis or manufactured crisis — technology has often been proposed as the fix, "the solution."

Notice the verb in that last sentence: "technology has often been proposed as 'the solution.'" Passive voice. Bad form for a writer. Passive voice obscures the actor. And we surely need to ask, who proposes technology as the solution? Whose fix is this? Who repeats these narratives of crisis, and who defines the problems, and who determines the appropriate technological interventions?

"You never want a serious crisis to go to waste," as Rahm Emanuel, then President Obama's chief of staff, said in 2009 as the world teetered on the brink of recession. "And what I mean by that," he continued, "is an opportunity to do things that you think you could not do before." A crisis is an opportunity to set (or reset) the agenda. We have seen this repeatedly in education. Like, say, the closure of public schools in New Orleans following Hurricane Katrina and their replacement with charters. "Disaster capitalism," as Naomi Klein has described it.

(And yes, I think we can talk about charter schools as a technology.)

We can look at the history of education technology and see the ways in which crises have been leveraged to encourage the adoption of new media: Sputnik is the most famous of these crises perhaps, prompting a huge push for better science and math education but also for more machinery to administer it; but we can also look at rhetoric around teacher shortages, snow days, standardized testing, school shootings, and so on. And yes, pandemics.

Due to a polio outbreak in the fall of 1937, the Chicago Public Schools (CPS) decided to postpone the start of the school year. As school buildings were shuttered, the district turned to the radio to replace classroom instruction.

Radio wasn't entirely new to CPS. It had started offering some educational programming on the radio as early as the 1924-25 academic year — Little Red School House of the Air, broadcast twice a day with host Dr. Ben Darrow on station WLS, for example. But the school closures of 1937 — from September 13 thru 27 — provided a very different opportunity to experiment with the technology. A very different and much more expansive endeavor.

With the help of six newspapers and seven radio stations, the district offered broadcasts in four subjects — math, English, science, and social studies — for grades 3 through 8. As the Superintendent William Johnson wrote in an article in The New York Times a week after the experiment launched,

So far as possible, fifteen minutes' time is given to each broadcast above the fourth grade. Beginning with a health and physical education broadcast for all the children from 7:15 to 7:30 in the morning, regular lessons go on the air to different grades between the hours of 8:15 and 11:45 in the morning and from 4 in the afternoon to 7 in the evening. Grades 7A, 8A and 8B each have broadcasts in two studies daily, and grades 3 through 7B have one each."

"Directions, questions and assignments" were printed in the newspaper each day, he explained, and students were instructed to keep all their written work to submit to their teachers when schools finally opened.

Superintendent Johnson reported that the move to radio instruction was embraced enthusiastically by students — some 315,000 tuned in, he estimated, although he admitted he had no way of knowing for sure. Parents were pleased too, he said, although they flooded the district offices with phone calls distressed that their child might have missed a broadcast or misunderstood a lesson. One common complaint: the radio broadcasts moved too fast. There was no way to pause, to repeat, to move through the lesson more slowly.

Polio primarily struck children, not adults, remember. So even though the schools were closed due to the outbreak, workplaces were not. That meant not every child in Chicago had a parent at home to help supervise their schoolwork. And without that discipline, the Chicago Daily Tribune feared, "it is probable that the students who benefit by the radio lessons will be those who need them the least and would suffer least by curtailment of their classroom instruction."

There were other inequalities. While one parent boasted that they'd put radios in separate rooms so that their two children could listen to separate broadcasts on separate stations simultaneously, many families didn't have a radio at all. Roughly 60% of households owned a radio. Even if they had a radio, some students found themselves with poor reception and were unable to tune in to all the lessons on all the stations. And some Chicago students had been shipped out of the city altogether to avoid the outbreak and couldn't listen to the broadcasts at all.

The 1930s were the "Golden Age of Radio," and arguably the public had grown accustomed to radio as a new form of entertainment. Some worried that those expectations would force educators to "conform to the best practices of show business." Celebrities, such as the British explorer Carveth Wells, were invited on air to speak to students. One commentator in the Chicago Daily Tribune praised this "sugar coating" of radio lessons to make them more palatable — certainly Wells' dinner hour broadcast about hunting elephants in Africa and India, he argued, "made more of a hit with third and fourth graders than if it had insisted on drills in the multiplication tables."

It was obvious too that radio had all sorts of other constraints — pedagogical constraints. You can only hear the teacher. You can't see facial expressions or gestures. And more importantly, the teacher can't see you. The teacher can't tell if you are bored or confused. "Broadcasts, in a sense," wrote Larry Wolters in the Chicago Daily Tribune, "assume all minds are of equal comprehension potentiality." That's 1937 talk, I guess, for "one-size-fits-all." Mass media meant mass education. Even in the 1930s, people frowned at this, believing that education should be individualized.

(So no, Khan Academy did not invent "personalized learning." Yes, today's philanthropic foundations have been pushing another crisis narrative that proposes "personalized learning" is the solution.)

As with so many new technologies forced into the classroom, the experiment deepened many teachers' "feelings of insecurity and fear that radio, this new technology, might one of these days take away their jobs." The effects of the Great Depression lingered on into the late 1930s, after all. The radio, Superintendent Johnson tried to reassure teachers, would never replace them; but during a crisis, the technology was necessary. "We are convinced that no mechanical device can be successfully substituted for the teacher-personality and the pupil-teacher relationship," he wrote. "In this emergency, however, the value of the newspaper and the radio service to the children of Chicago cannot be overestimated."

Or perhaps that value could be.

At the end of the two-week experiment, when the Chicago schools re-opened, the radio lesson programming abruptly ended, and the Chicago Radio Council concluded that the results were "not particularly satisfactory." Despite Johnson's pronouncements that almost every student in the district had tuned in, "only half of the pupils in the Grades 4-8 listened to the broadcast," the council found. Furthermore, the "test scores of these listeners were not impressively different from those of the non-listeners."

A nice supplement for some students. But no replacement for school.

I'll pause here for a second, just so we can all marvel at this story — not so much that the Chicago Public Schools tried to implement "remote teaching" almost one hundred years ago during an emergency school closure due to disease. But that here we are again. The challenges and the results and the arguments (for and against) and the innovative superintendent boasting in The New York Times without any data to substantiate his claims — it all sounds so incredibly familiar.

Perhaps the question then isn't simply "how do we learn from Chicago 1937" but rather "why haven't we?"

One reason we didn't was because the hype around radio dissipated fairly quickly, supplanted by the promise of the next big thing: television. (The first television broadcasts began in the US in the 1920s, but it wasn't until after World War II when TV sets became ubiquitous in homes and in schools.) Video, as they say, killed the radio star.

There were a number of crises in education following the war: the "baby boom" led to massive overcrowding; there were teacher shortages in many schools; and the launch of the Soviet satellite Sputnik in 1957, of course, prompted Americans to fear that the country had fallen behind, particularly when it came to science and math education. My forthcoming book, Teaching Machines focuses — as the title suggests — examines the push to adopt teaching machines during this period. Don't worry, I'll be back to talk more about that when the book comes out. For now, today, I'm going to talk about TV.

I've written about a couple of the more high-profile implementations of television in schools the 1950s and 1960s on Hack Education. The push for teaching by television in America Samoa, for example — one of those stories you can point to when people insist "oh, we will never let technology to replace teachers." In American Samoa, that is certainly what they tried to do. The story of the MPATI, the Midwest Program on Airborne Television Instruction in which two DC-6 planes flew over schools in Indiana, Illinois, Kentucky, Michigan, Ohio, and Wisconsin, broadcasting televised lessons via Stratovision — supplemental instruction for rural students, not a replacement for human instruction. Because definitely running two giant planes as a television broadcasting service makes sense.

Both of these stories should prompt us to ask which students get TV and which students get teachers, in which schools do we expand and enhance human capacity for teaching and learning and in which do we buy machines?

One thing that these two projects shared — in addition to just being really dubious ideas — was their connection to the Ford Foundation, one of the most important philanthropic organizations in the history of ed-tech. (The Ford funded the MPATI; the federal government funded the television experiment in American Samoa, but the Ford Foundation administered the program.)

Ford Foundation money was essential in making educational television more than just a "chic gimmick," historian Larry Cuban has argued. In his book Teachers and Machines, he asserts that "few technological innovations have received such a substantial financial boost from a private organization as classroom television did throughout the 1950s and early 1960s." (I will note here that Teachers and Machines was published in 1986, and we might consider how the funding landscape has changed since then. The Bill & Melinda Gates Foundation, for example, was launched in 2000 — some fourteen years after Cuban's book was published and some thirteen years after Gates became a billionaire.)

"By 1961," Cuban writes,

over $20 million had been invested in 250 school systems and fifty colleges across the country by the Ford Foundation's Fund for the Advancement of Education. Federal aid had entered the arena of instructional technology with the passage of the National Defense Education Act (NDEA) in 1958. In 1962, President Kennedy secured an appropriation from Congress that authorized the U.S. Office of Education to plow $32 million into the development of classroom instruction. By 1971, over $100 million had been spent by both public and private sources.

($20 million in 1961 is about $175 million today. $32 million in 1962 is about $273 million today. $100 million in 1971 is about $637 million today.)

An aside: one of the reasons that teaching machines "failed*" was that the big philanthropic dollars did not flow into their development to the degree in which those dollars flowed into educational television. With its deep pockets, the Ford Foundation steered the direction of education technology — and it hoped, the direction of education itself.

(*Teaching machines didn't really "fail" incidentally, but that's a story for another day.)

The Washington County Public Schools were arguably the best known experimental site of televised instruction — better known as the Hagerstown, Maryland CCTV project. In the 1950s, the district proposed to the Ford Foundation that it use closed-circuit television in order to address overcrowding in its schools as well as the lack of certified teachers.

The Hagerstown CCTV project began in 1956 with a $1.5 million grant from the foundation. (That's about $14 million today.) At its height, television was used for daily instruction for some 18,000 students in the county. In elementary schools, between 7 to 13% of instructional time was spent watching television. Junior high students watched TV for about a third of their school day; for high school students, it was about 10%. At the junior high and high school level, these viewings often took place in rooms with over one hundred students. Like a MOOC, but in the school gym.

In the late 1950s, about 70% of US households owned a television. So Hagerstown was seen as innovative, and there was a ton of press for the television project — every superintendent's dream. Reports were mostly positive — students, teachers, and parents seemed pleased with instructional television. Test scores in Hagerstown went up.

But in 1961, the Ford Foundation decided not to renew its financial support for the project. Although televised instruction continued without the Ford funding, the costs shifted to taxpayers. And the costs were significant. $150,000 a year to lease coaxial cables from Bell Telephone Company, for example.

There were additional labor costs too, as well as technical ones. The project employed one coordinator, one instructional supervisor, a staff of twenty-five "master teachers," a production team of thirty, an engineering team of eight, and several clerical staff members. Television had promised to save money and reduce the need for trained personnel. It failed on both accounts. And not only was there a demand for new kinds of staff focused on developing and delivering television programming, but teachers felt their work changed as well — both in the classroom and, when asked, on screen. In the end, many classroom teachers reported that the new technology required more work. TV was not as labor-saving as promised.

The Hagerstown story is fairly well known, even though it was an anomaly. Few school districts in the US ever embraced instructional television to remotely the same degree. But that's how ed-tech PR works, isn't it — one anecdote becomes a trend if you can get Edsurge to write about it as such.

Less well known was an experiment the Ford Foundation funded at the same time in the Chelsea neighborhood of New York City — less well known, perhaps, because it wasn't focused on education technology in the classroom but instead on education technology at home, It hoped to extend education into the home — a topic that is painfully relevant right now and is just as fraught as ever.

This project, the Chelsea CCTV project (CCCTV) differs in some key ways from those "remote learning" plans in Chicago in 1937 that seemed to entirely overlook questions of inequality and access. Indeed, CCCTV, which ran from 1957 to 1961, aimed specifically to address some of the inequalities faced by residents in the neighborhood. Although let's be clear: these were the inequalities as determined by the New York Department of Education, researchers at Harvard, and funders at the Ford Foundation. CCCTV's mission was to "explore the values of CCTV as a service to a low-income, poly-lingual, urban neighborhood and its public school" by sending programs "to the school and to the residents of a public housing unit."

That public housing unit was the John Lovejoy Elliott Houses, where about 600 families resided, about half of whom were Puerto Rican and about a third of whom were Black. One of the main goals of the project was to teach English to the Spanish-speaking residents of the housing complex. Indeed, for the first few weeks of the project, language lessons made up the entirety of the broadcast schedule. Other programs were eventually added: Teamwork for Child Health, a 15-minute program on parent and child health, for example, as well as shows designed to inform the neighborhood about local news and activities.

Each of the apartments in the housing complex was wired to the main CCTV antenna, so ostensibly anyone with a television could watch Channel 6, the channel designated for the educational programming. Reception was sometimes spotty. The shows were fairly low budget, many filmed in the neighborhood school. And the total viewership was never great. The residents of the Elliott Houses looked at the project with suspicion from the outset, often not distinguishing the CCTV initiative from the local Housing Authority. When the Chelsea project staff broke two television sets during installation, rumors circulated in the building that the closed-circuit wiring would damage people's equipment. No one wants their landlord to tell them what to watch on TV.

The project failed to appeal to the neighborhood in any substantial way, often underscoring existing fractures in the community. Residents who spoke English, for example, felt that the amount of English-language learning shows meant that the programming really wasn't meant them. Spanish-speaking residents felt that the English-language learning classes were too basic — they were designed for elementary school students after all. Some felt as though, by offering adult education using content aimed for children, the program staff revealed their contempt for Puerto Ricans.

These suspicions about the project were exacerbated by some of the other programming too. Much of the it involved topics that CCCTV staff felt that people living in a housing project would find useful but it failed to account for what residents would actually like to watch. There was a cooking show called The Recipe Box which was designed to help "residents get the most out of their food dollar in terms of nutrition, economy, and time management." Fairly patronizing. Another show called So You Want to Get a Job introduced various occupational training programs available at vocational high schools in New York. Of course, many in the housing complex already had jobs — another not-so-subtle message about how the project staff imagined the audience.

The CCCTV programming was revamped several times in response to declining viewership, each time moving more and more towards entertainment rather than educational programming. The final report on the project, published by the New York Board of Education, noted that a "growing number of tenants… had disconnected Channel 6 from their TV receivers." In the end, the project had a "tarnished image" with the community. In some key ways, rather than strengthening the neighborhood, as the project had intended, it served to undermine the sense of community — to underscore differences when the programming had hoped to showcase diversity, to prompt people to withdraw to their living rooms rather than engage with neighborhood activities. The principal of the neighborhood school reported, for example, that, following the broadcast of PTA meetings in a show called PS 33 Highlights, in-person attendance declined.

The final report on the project blamed the medium of television, and it blamed the neighborhood residents for this complacency: "the use of television encourages people to sit at home in front of the television screen rather than to come out and join in." There was a "growing awareness of a grass-roots conflict between the fundamental purpose of the community effort and the proposed medium, television," the report read. "There is in the very nature of television, as in other mass media, the danger of a certain authoritarianism, an imposition from without upon a passive receptor. But community growth comes from within and involves participation on the part of the people. Television often tends to foster in the viewer a passive role which is at odds with the sound educational concept of learning by doing."

Many of the staff who worked on the television project were frustrated that the residents of Elliott House were not more grateful for the connection to the master antenna that broadcast the closed-circuit programing. It was, according to the final report, "a free gift with no strings attached. The staff assumed that the recipient of this gift, if he reacted at all, would feel a sense of sympathy for the project or even of gratitude. They were unprepared for a groundswell of suspicion and resentment."

But no one asked those residents what they wanted. No one asked them what they valued. No one asked them what they were curious about. No one asked them what their community needed, what their community meant. No one considered, "Hey, maybe folks don't want this in their home because neither the Housing Authority nor the school system are seen as particularly trustworthy institutions?" ("No one" is a bit unfair, perhaps, as there was some input from the Housing Guild on the CCCTV project.)

In certain ways, the initiative was a disciplinary technology — residents were uncomfortable with that for good reason. There's no irony lost that closed-circuit television now means surveillance cameras. These cameras cover the Elliott Houses complex today.

The CCCTV project had identified and defined a "crisis" — low-income residents are under-informed and under-educated, acculturated to the wrong beliefs and practices. And the Ford Foundation was willing to fund the solution as it was a project that fit perfectly with its belief that educational television could "uplift" and reform society. As Laurie Ouellette writes in her book Viewers Like You, "The Ford Foundation envisioned television as a conduit for culture and adult education, a vision accountable not to the public but to the priorities established by its white, male, upper-class trustees." That is key — accountable not to the public but to the priorities established by funders.

What eventually emerged from the projects I've talked about today was, of course, public radio and public television — WBEZ in Chicago and WNET in New York for starters — arguably the most significant educational media to this day.

I started off this talk with a look at how the Chicago Public Schools turned to radio-based instruction in 1937 when a polio outbreak forced them to close schools. No doubt that's the kind of history that we probably turn to when we want to consider how schools have responded to crises — and responded using education technology — in the past. We can readily see the inequalities — the failure to make sure all students had the proper device, the failure to account for whether there was a parent at home able to mentor and teach. And we understand the relevance of this story to our decision-making today.

But I want us to think a little bit more broadly about "crisis" too, about narratives about crisis shape the direction of education policy, about how the values and priorities of foundations tap into these narratives to further their agenda. After all, just yesterday, New York Governor Cuomo announced that he planned, post-coronavirus, to work with the Gates Foundation to "reimagine education" in his state.

I want us to think about what it means for education technology — in this crisis or any "crisis" — to permeate people's homes. Education technology has been offered by its funders as the solution to educational crises for a century now. Look where that's got us.


          

Relaciones entre salud, educación y ambiente en Quito: el rol de educación sanitaria y ambiental   

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Relaciones entre salud, educación y ambiente en Quito: el rol de educación sanitaria y ambiental Para analizar los desequilibrios ecológicos que afectan a una ciudad como Quito, marcada por un crecimiento urbano anárquico y problemas de calidad ambiental, resulta interesante relacionar tres factores del Buen vivir: la salud, la educación y el ambiente. Los vínculos que pueden establecerse son numerosos. En esta reflexión, basada en estudios científicos y políticas públicas, hemos destacado dos aspectos concretos: la incidencia del medio en la salud de la población y la posibilidad de reducir los riesgos sanitarios a través de la educación. El dinamismo económico, político y cultural de la capital ecuatoriana podría fomentar la elaboración de programas y acciones hacia una mejor educación ambiental y sanitaria. ¿Cuáles son las estrategias de las autoridades municipales para crear una dinámica colectiva que lleve a la población a la toma de conciencia de los riesgos naturales y antropogénicas? Si muchos esfuerzos han sido realizados para determinar las amenazas naturales, poco se ha hecho por analizar el impacto del deterioro ambiental en la salud. Existen diferentes iniciativas para sensibilizar a la población de estos riesgos. No obstante, todavía queda mucho por hacer en cuanto a la difusión y al seguimiento de los programas y proyectos llevados a cabo en el Distrito Metropolitano de Quito.; In order to analyze the ecological unbalance that affects a city like Quito, marked by an anarchic urban growth and problems on its environmental quality, it is interesting to relate three “Good Living” factors: Health, Education and Environment. There are numerous ways to establish links. Under this thought, based on scientific studies and public policies. We have defined to concrete facts: the impact of the environment on the health of the public and the possibility of reducing sanitary risks thru education. The economical, political and cultural dynamics of the Ecuadorian Capital could encourage the elaboration of programs and actions toward a better environmental and sanitary education. Which are the strategies, from the Municipal authorities, to create a collective dynamism that will take the population to become aware of the natural and anthropological risks? Many efforts have been realized to determine the natural threats, but little has been done in order to analyze the impact of the decay of the environment over our health. There are many different initiatives to sensitize the population on these risks. Nevertheless, there is a still lot to do with respect to the dissemination and follow up of programs and projects that are being carried out on the Distrito Metropolitano de Quito.

          

Calidad de vida y comunidades biológicas: análisis del estudio de impacto ambiental del metro en la ciudad de Quito   

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Calidad de vida y comunidades biológicas: análisis del estudio de impacto ambiental del metro en la ciudad de Quito Este trabajo presenta una revisión crítica del Informe de Impacto Ambiental del Metro de Quito, en sus variables “calidad de vida” y “comunidades biológicas”. Desde una perspectiva ecosistémica de comprensión y explicación de la ciudad, observamos que en el informe se sostiene una visión reduccionista de la dimensión ambiental. Asumiendo que el Metro constituye una mejora en los procesos de movilidad urbana, se argumenta que este proyecto es una oportunidad para generar instancias de promoción y articulación de la biodiversidad en la ciudad. Se discute la necesidad de contrarrestar la subsidiaridad del enfoque ambiental en la producción y reproducción de la ciudad.; This work shows a critique review of the Informe de Impacto Ambiental del Metro de Quito (Report of environmental impact of subway of Quito), in its variables: quality of life and biological communities. From an ecosistemic perspective of comprehension and understanding of the city, we see that the report holds a reductionist vision of the environmental dimension. Assuming that the subway constitutes an improvement in urban mobility, we argue that this project is an opportunity to generate instances of promotion and articulation of biodiversity within the city. We discuss the necessity of counteracting the dependency of the environmental approach of production and reproduction of the city.

          

Antonio Lopez at El Museo del Barrio   

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Antonio Lopez, probably the most extraordinary fashion illustrator of the 1970s and 80s, is being celebrated at El Museo del Barrio in their current exhibition, Future Funk Fashion.  Last week we attended the exhibition's press preview and opening night. We are both fans of the illustrator/artist whose drawings were ubiquitous in our youth. Antonio was the subject of Mauricio and Roger Padilha's book, Antonio Lopez: Fashion, Art, Sex and Disco, which is chock full of his colorful, sweeping illustration of clothing, models and men.


































One of the many victims of the AIDS crisis, Lopez died at the age of 44 in 1987.  That so many of his contemporaries were lost at the same time may have contributed to his not receiving the recognition he so clearly deserved.  This exhibition, with literally hundreds of drawings, dazzles the eye and demonstrates why he was so in demand at many of the major fashion magazines of the day.   The show also highlights his collaboration with his creative partner and lover Juan E. Ramos who died at 53 in 1995.

The gorgeous illustration above of Angelo Colon is one of the highlights of the exhibition.  Over three feet tall, the sketch was part of a live demonstration given for students in 1983.  Lopez himself said that fashion illustration of the period had become very boring and "WASPy".  With his use of color, line, and particularly his choice of models, Lopez infused his illustrations with life, and vibrant sexuality.

In contrast to people in the fashion world today, many of whom dress in "normcore", Lopez (below) lived and loved the look he promoted, full of color, balance, attention to detail, and a little - or a lot - of outrageousness.
















Here he is sketching one of his models, with Karl Largerfeld looking on.














Much as we would like to, we can't show you the exhibition's amazing start-to-finish video of Lopez sketching Angelo Colon, but you can click here to see him doing another live demonstration.  He has a very strong and confident hand, and a masterful use of line.  (Watch how he uses his entire arm, not just his hand, to get the desired effect.)

In this half finished color illustration, you can get some idea of his process.  Lopez's models tend to have a louche, come-hither look about them.  They often view the viewer.  The artist lures you into loving the clothes by luring you into loving the model.  His use of shading adds to the interest of the illustrations.  In the clothes, shading gives the illusion of the texture and luxury of the material.  In the model, Lopez takes the extra time to emphasize facial contours by adding dabs of white to the eyes, cheek, nose, lips and chin.















Here's an illustration of a dress with a black velvet yoke and matching skirt, held together by a large golden jeweled violin, and a smaller green violin at the hip.






















Below is the dress the illustration was drawn from, the only actual garment in the exhibition.






















There were quite a few drawings of impossible, but nevertheless marvelous, shoes...














And in one display case were plexiglass versions of several of the obviously unwearable but fabulously glamorous shoes.






















The exhibition points out that Lopez discovered such well known faces as Jerry Hall, Grace Jones, Pat Cleveland and Tina Chow.  The portrait below is Sayoko Yamaguchi, who was often photographed in highly colorful make up.






















On the walls were quite a few sketches that appeared to be preliminary drafts, but the lines are so lovingly and expertly drawn that it is easy to imagine what the actual product looked like.  In the drawing below, Lopez catches the feminine, romantic mood of the dress with the the soft, voluminous folds, and the model's delicate features.  (Sorry about the reflections in the glass.)






















Here, the model's sportier, jauntier clothing is matched by the forward thrust of her hips and leg.  In both of these photos, the clothed woman is accompanied by a nearly nude man.  Each figure was probably drawn independently, but it's interesting that the artist makes the effort to bring the figures together with an understated hand gesture.






















There is a vibrancy and urgency to his drawings.    Even when there are no facial expressions, the body language is telling.  The women below are straight-backed, in control, proud, and dancing effortlessly in their stilettos.















A different side of Lopez, as if he were drawing for comic books:


















Imagine what Jean would have looked like had Antonio sketched her!






















Since it was opening night, we have to show you some of the marvelous people we ran into.  Amelia Malayamba-Ansotegui (left), who co-curated the show, posed with artist Julia Santos-Solomon in a gorgeous reversible Italian coat.


































Artists and designers Ruben and Isabel Toledo bookended one of the guests in a photo. Ruben drew the fabulous pattern on Isabel's dress with a black marker.


































Patrick McDonald sported a tropical look.


































Paul Van Ravenstein and Pat Cleveland made the scene. Pat was one of Antonio's favorite subjects, and appears in many of the illustrations in the show.






















Roger Padilha and Josh McLaughlin posed in front of one of several of Antonio's iconic shoe drawings.


































We posed in front of the dramatic graffiti mural which was one of the main props in Antonio and Juan's studio and may have been painted by the Rock Steady Crew.






















A few weeks back, we took a Diseno Shoe Design Workshop co-sponsored by Cooper Hewitt and El Museo del Barrio, and conducted by Edmund Castillo, chief designer at Aquatalia.  Let's just say that we drew outside the lines and didn't exactly follow directions, but Edmund (left) was a good sport. He posed with photographer Rose Hartman and his boss from Aquatalia.






















Jean couldn't help but notice how Valerie's hat and earrings mirrored those in the image in this poster that Antonio designed for Versace c. 1981-82.


































The press preview was followed by a VIP reception that included a party in the lobby and on the plaza in front of the museum.  Jean ran into designer Narciso Rodriguez, who had also designed costumes for Stephen Petronio Dance Company.


































Doris Casap, who is on the board of El Museo, was sweet enough to pose for a photo.


































We loved running into Steve Caputo from Lower East Studios at the VIP party.

































Author and illustrator Bil Donovan always looks incredibly dapper. We loved his Dior tie.  The cameo-like flower is hand painted.


































Jean just about freaked when she got to meet Michelle Lamy in the flesh.  She wore her clothes back in the day and has been a fan for many years. Woo hoo!


































Out on the plaza, Valerie ran into Alejandro Figueredo who was also enjoying the balmy weather.


































We had noticed each of the members of this group individually during the show, but when they ended up all sitting together outside, we had to take a photo. Actress Parker Posey (now blond) is in the center and the lady on the right, Leana Zuniga, owns Electric Feathers, an avant garde women's wear store in Brooklyn.















This British couple was enjoying the evening. We loved her shirt.


































Jasmin Hernandez and her friend Marquita posed for a photo before we headed outside.






















Go see the exhibition!


          

Simplemente Un Día Común!   

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Martes!! Es como que si el lunes y el viernes tuvieron un hijo retardau y es HOY! Bueno, ya llevo tiempo que en verdad no me inspiro para estar escribiendo a diario y es que pues en verdad nada nuevo ocurre casi! Siempre las mismas peleas. Los mismos desordenes! Las mismas personas en sus mismos viajes! You know? (Daddy Yankee Voice).

Para comenzar mi cantaleta les digo que el frío de aquí me tiene encojonau! Desde que entró noviembre parese que a la madre naturaleza está sufriendo de menopausa ya que entre los dias frios hay un par de dias tivios y la gente anda mas confundida que Ricky Martin cuando cantaba SHE BANGS!


Anoche, mientras veía una pelicula escuché un ruido en el segundo piso de mi casa y como el nene mío estaba arriba (dizque) dormío fuí a investigar. Encontré Mikey tratando de jalarse un diente frente al espejo del baño. Parece que se encontró un diente flojo y estaba ahí jalandoselo para ver si se ganaba un par de pesos. Despues de un par de minutos de discución llegé a la conclusión de que el chamaquito sabe que no hay ni un ratón ni un "tooth fairy" que le deja dinero debajo de la almohada.

"Porque no me das los 5 pesos ahora y ya? yo se que eso de tooth fairy es embuste!"


Fuí a McDonalds con los nenes este fin de semana y me salió la camida en $30.32. Para tratar de hacerlo mas facil le di $51 dolares a la chamaquita que me atendió. Osea....le di un billete de $50 y un billete de $1.

"Um....son mas que 30 pesos con 32 centavos!"

"Lo sé pero si pones en la registradora mis 51 pesos me tendras que dar un billete de $20 y 60 y pico de centavos."

"Um...ok...pero son mas que 30 pesos y 32 centavos y me distes $51."

"Ok...ponlo en la registradora y dame mis 20 pesos!"

Um....dame un segundo!"

La tipa llamó al manager y el manager vino y me miró a los ojos y me dice "Son solo 30 pesos y-"

"Dame el fucking peso ese para acá!!"

Terminé con un billete de $10 y 9 billetes de $1!!


Ya! Eso es todo!

          

Pensamientos Randomnosos de Hoy   

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1. Ojala y que si me muero, uno de los que dicen ser mis panas a fuego borre el historial de mi computadora y de mi celular!

2. Ayer estaba discutiendo con mi mujer y me di de cuenta que ella tenía la razón....seguí discutiendo como quiera porque ya estaba encojonau y no le iba a dar ese gusto!

3. Porque cuando chiquito te quieren obligar a dormir una siesta y uno no quiere y cuando grande quieres dormir una siesta y no puedes?

4. Me cago en todo aquel que pensó que lo de la gargola era verdad!!

5. El pastor de la iglesia en donde iba mi padre una vez se encojonó porque le dije "El unico maestro que yo conozco se llama Splinter!"

6. Porque puñeta la obligación a aprender cursivo?

7. Soy yo el los GPS no sirven en las areas pobres de CUALQUIER ciudad?

8. Porque los religiosos le tienen mas miedo a la muerte que los q no creen en na? Tu ni que no te vas a salvar?

9. Todos los años despues del 2005 han sido una mierda!

10. La gente que toman malas deciciones en sus vidas como que tienen los cuentos mas cabrones!!

11. Me tripea ver cuando alguien le da besos a mis hijos porque si lo piensas bien...jajajaja!

12. DVD's are to 2010 what VHS was to 2000!

13. El: Tiene 3 hijos con 2 mujeres y un record criminal por violencia y drogas. Ella: Tiene 2 hijos de dos hombres, coje cuanto cupon hay en este pais y se pasa en la disco. Ellos: Se van a casar el domingo que viene!! Estaré muy pendiente a estre drama!

14. Ni que no habla ingles pero "Tengo una ropa en el dry cleaner porque se me ensució en el party que había en el pub. Pero pase un tiempo chilling, anyways! Y si se daña la t-shirt pues fuck it!"

15. Porque es que algunos hispanos se encabronan cuando van a un negocio aquí en los estados unidos y no hay alguien que los atienda en español? Es como querer ir a Santo Domingo y estar encojonau que en la panadería de la esquina nadie te ayudo en ingles!

16. Me encojona salir por la puerta de mi casa sintiendome confidente y sabiendo que estoy bien bueno y no ver ni a una persona a quien le importe!! jajajaja!

17. La gente que no trabaja siempre me pide dinero prestado a principio de año!

18. El orno de mi casa es un storage para mis ollas!

19. Si tu eres un blanquito y tienes trenzas mereces que te pateen la cabeza!

20. Cuando veo gringos por mi barrio siento como que si ellos fueran extranjeros....se sentiran ellos como extrangeros en el ghetto?

21. Cuando era chiquito me gustaban ciertas peliculas que al verlas cuando grande me doy cuenta que eran sendas mierdas y que por eso mi abuelo bebia para verlas conmigo!

22. Prefiero cargar 10 bolsas llenas en cada brazo y subir las escaleras con ellas que hacer 4 viajes para subir la compra a casa!

23. Porque cuando tienes prisa todos los semaforos cambian a rojo pero cuando quieres terminar un mensage de texto estan todos en verde?

24. La gorda prima mia no sabe que el hambre uy el aburrimiento son dos cosas distintas?

25. Aveces me hago que esto escuchando musica en mi ipod aunq el ipod no este tocando nada solo por no hablar con los que me rodean en la estacion del tren!

26. Porque es que me enocjona ver a un chino guiando?

27. "Los accidentes pasan!" Dice mi madre!

28. Porque es que uno pone una cara de estupido cuando se resbala?

29. Aveces estoy en la sala y subo a mi cuarto solo para no acordarme el porque puñetas acabé de subir!

30. Feliz año nuevo!! Beban mucho...usen drogas y tengan sexo sin proteccion!!!

          

Twas the Night Before Navidad   

Cache   

Twas the Night Before Navidad

By: Jonmicol


Twas the night before Navidad, when all through my casa
There was smells of pernil and arroz con dulce y pasas.
My uncle and grandpa drinking cervezas
And waiting for mami to put the food on the mesa.
****************
The children were looking at el arbolito
And grandma was sippin' on some more coquito.
The radio was blaring aguinaldos and salsa
While my tia yelled at my cousin "No andes descalza!"
*******************
When all of a sudden I discovered my granpa
In the bedroom half dressed as if he was Santa
"So there is no santa?" I asked, my voice low.
"Mijo, can you keep a secret? Yo soy Santa Cló"
********************
From the bedroom appeared Santa with a bag full of sorpesas.
As my brother kept asking "Why's Santa drinking Cerveza?"
And he stumbled from there to a chair by the tree
He called all the children "Muchachos vengan aquí"
*********************
"Ven Maicol, ven Hobri Ven Rodney y Normita,
Ven Joshua ven Vicky ven Chonchi y Lupita
Helena, Victor y Deborah vengan
Avenzen coño que me duele la pierna"
**************************
And when it was time for me to sit on his lap.
He asked "You didn't tell anyone, verdad?"
"No Mr. Clause your secret's safe here"
"A pues está bien....take a sip of my beer."
*********************************
He walked back to the room when the gifts were none
And no one realized that Santa was gone
Except me because the greatest surpise of all
Was that I knew my granpa was Santa Clause.
~Jonmnicol

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2020-08-15 09:31:12