Let there be light! Let your eye fly upwards and zoom along the white ribs of the new 150-metre-wide canopy – the largest single-span structure in Europe – that soars 20m over the western facade of London’s Kings Cross railway station. Sleek, spare, and modern though it is, I immediately think of the exquisite fan vaulting gracing Gothic cathedrals such as Bath.
Kings Cross is a confluence of overground, underground and rail links. Roughly 90 million people use the station station in the course of a year. Many are Scots: the station is London’s gateway to the north, the southern terminus of the East Coast line. On top of that already heavy burden came the news that London would host the 2012 Olympics, and the decision to create a high speed rail link – the Javelin – between St Pancras and the Olympic village, about six miles to the east. It meant Kings Cross would take on even more traffic as passengers made connections to and from its next-door neighbour.
Finally, as every child knows, this is also the station where Harry Potter and his fellow wizards embark, from Platform 9, for Hogwarts. The enormous popularity of those books and films have turned the station a must-see tourist stop, as well.
Originally built in 1852 by engineer/architect Lewis Cubitt, the original train shed had two platforms – arrivals and departures. Over the years Kings Cross expanded, and saw endless changes, including the arrival of the original Flying Scotsman, the first train to reach a speed of 100 miles per hour. Kings Cross became one of the busiest transport hubs in Europe, but at the same time, the neighbourhood around this Grade I listed station went into decline. Hiro Aso, director of urban infrastructure for the architectural firm John McAslan + Partners (JMP), told one newspaper that an early visit to the site was cut short when two prostitutes wielding baseball bats chased him down the street.
A chunk of the station was destroyed by German bombs during the Second World War, and matters weren’t helped by the construction of unsightly retail space tacked onto its southern facade in the 1970s. Indoors, the concourse was far too small to accommodate hordes of passengers arriving and departing around the clock, the vast majority of whom get there via the Underground.
The regeneration of Kings Cross has been bubbling away since 1997, when JMP won the commission to tackle what’s being called the largest urban regeneration project in Europe. It combines reuse, restoration, and new-build, at a budget of 547 million.
From 1997 until 2005, when plans were finalised and construction could begin in earnest, the firm was busy liaising with its client, Network Rail, and the main stakeholders, including Camden borough, English Heritage, and what was then called Railtrack. Simon Goode, associate director at JMP, explains that there were frequent meetings to determine what was wanted, what was needed, and what was possible. These years were also devoted to making planning applications and identifying engineering challenges and solutions.
One of the biggest questions was where to locate the main entrance concourse. Every possibility was explored. John McAslan, the chairman of JMP, says: “We knew that in order for Kings Cross to increase over next 25 years and beyond, the new concourse needed to be at least three times the size of the current one, to handle the amount of passenger traffic. When we began, Network Rail only had ownership to the perimeter of the station itself. The land where we went on to build the new concourse belonged to someone else and that was a problem, because it was an obvious choice for expanding the station.
“Other options included looking at a way that the tracks could be pushed northwards, to make the south concourse deeper. Another was to create a mezzanine within the train shed, or to build a concourse beneath the platforms themselves. So we had a whole bunch of options, all of which were eliminated for various reasons. For example, pushing the platforms out would have cost 600m or 700m, at least, and created problems upstream along the Regent Canal.”
2012年3月19日星期一
2012年3月6日星期二
Mannington Mills buys United Kingdom-based flooring manufacturer Amtico International
In a move that broadens its U.S. manufacturing base and global reach, local flooring manufacturer Mannington Mills announced Monday that it has acquired United Kingdom-based Amtico International, a manufacturer of high-quality luxury vinyl flooring products.
“This is a huge opportunity for Mannington,” said Keith Campbell, chairman of the board of Mannington Mills.
“It’s exciting because it opens up the opportunity for Mannington products to be sold worldwide.”
The purchase price was not disclosed.
Luxury vinyl tile is the fasted-growing segment in the flooring industry both in the residential and commercial markets, according to Campbell.
The acquisition of Amtico will allow Mannington to manufacture luxury vinyl tile in the U.S. It will also open up opportunities for Mannington to sell its products in markets were Amtico already has an established presence including throughout Europe and in the future in emerging markets in South America and along the Pacific Rim, according to Campbell.
“It makes us an international player. It will naturally allow us to expand into Amtico’s marketplace.”
Campbell also said the acquisition of Amtico will also help Mannington better weather downturns in the economy like what the U.S. has experienced in the past few years.
“Companies with a global presence have been able to weather the storm better,” he said.
Mannington has been in the luxury vinyl tile business for more than seven years, but imported the product from China. Monday’s move will allow Mannington to shift production of the tile back to the U.S. at plants currently operated by Amtico in Georgia. Production would also continue at Amtico’s plant in Coventry, England.
“We looked at the (luxury vinyl tile) market increasing and wanted to manufacture luxury vinyl tile ourselves and we certainly wanted to manufacture it in the U.S.” Campbell said.
Campbell said Amtico became available for sale and “we stepped up.”
The acquisition of Amtico makes Mannington the world’s largest manufacturer of luxury vinyl tile.
Mannington Mills one of the largest and oldest flooring manufacturers in the United States. It makes and markets residential and commercial resilient, laminate, hardwood and porcelain tile floors, as well as commercial carpet and rubber.
Amtico will maintain its brand identity and become a Mannington subsidiary. Current operations at all Amtico locations will continue, company officials said.
Mannington was founded in Salem City in 1915 by John Campbell and today Keith Campbell is the fourth generation of his family to run the privately-held company.
Mannington Mills employs more than 1,700 people at its corporate headquarters and manufacturing plant here and at six other sites in the South and in California.
Amtico International, based in Coventry, England is the world’s leading luxury vinyl tile company.
It manufactures luxury vinyl tile in its U.S. and United Kingdom plants and sells around the world under the “Amtico” and “Spacia” brands.
Amtico International, which employs more than 600 people — 200 in the U.S. and 400 in Europe — was founded in 1965 and became an independent business in 1995, owned by its management and outside investors.
“We look forward to being part of the Mannington organization,” said Jonathan Duck, CEO, Amtico International, “and bringing together a wider product range, local manufacturing and excellent design for the benefit of all our customers. This really is a great fit between two companies.”
“Amtico has long been recognized as the design, innovation, and performance leader in the luxury vinyl flooring category,” said Mannington Mills President and CEO Russell Grizzle.
“Its commitment to quality, customer service, sustainability and delivering exceptional value to the market fits seamlessly with Mannington’s core values.”
“This is a huge opportunity for Mannington,” said Keith Campbell, chairman of the board of Mannington Mills.
“It’s exciting because it opens up the opportunity for Mannington products to be sold worldwide.”
The purchase price was not disclosed.
Luxury vinyl tile is the fasted-growing segment in the flooring industry both in the residential and commercial markets, according to Campbell.
The acquisition of Amtico will allow Mannington to manufacture luxury vinyl tile in the U.S. It will also open up opportunities for Mannington to sell its products in markets were Amtico already has an established presence including throughout Europe and in the future in emerging markets in South America and along the Pacific Rim, according to Campbell.
“It makes us an international player. It will naturally allow us to expand into Amtico’s marketplace.”
Campbell also said the acquisition of Amtico will also help Mannington better weather downturns in the economy like what the U.S. has experienced in the past few years.
“Companies with a global presence have been able to weather the storm better,” he said.
Mannington has been in the luxury vinyl tile business for more than seven years, but imported the product from China. Monday’s move will allow Mannington to shift production of the tile back to the U.S. at plants currently operated by Amtico in Georgia. Production would also continue at Amtico’s plant in Coventry, England.
“We looked at the (luxury vinyl tile) market increasing and wanted to manufacture luxury vinyl tile ourselves and we certainly wanted to manufacture it in the U.S.” Campbell said.
Campbell said Amtico became available for sale and “we stepped up.”
The acquisition of Amtico makes Mannington the world’s largest manufacturer of luxury vinyl tile.
Mannington Mills one of the largest and oldest flooring manufacturers in the United States. It makes and markets residential and commercial resilient, laminate, hardwood and porcelain tile floors, as well as commercial carpet and rubber.
Amtico will maintain its brand identity and become a Mannington subsidiary. Current operations at all Amtico locations will continue, company officials said.
Mannington was founded in Salem City in 1915 by John Campbell and today Keith Campbell is the fourth generation of his family to run the privately-held company.
Mannington Mills employs more than 1,700 people at its corporate headquarters and manufacturing plant here and at six other sites in the South and in California.
Amtico International, based in Coventry, England is the world’s leading luxury vinyl tile company.
It manufactures luxury vinyl tile in its U.S. and United Kingdom plants and sells around the world under the “Amtico” and “Spacia” brands.
Amtico International, which employs more than 600 people — 200 in the U.S. and 400 in Europe — was founded in 1965 and became an independent business in 1995, owned by its management and outside investors.
“We look forward to being part of the Mannington organization,” said Jonathan Duck, CEO, Amtico International, “and bringing together a wider product range, local manufacturing and excellent design for the benefit of all our customers. This really is a great fit between two companies.”
“Amtico has long been recognized as the design, innovation, and performance leader in the luxury vinyl flooring category,” said Mannington Mills President and CEO Russell Grizzle.
“Its commitment to quality, customer service, sustainability and delivering exceptional value to the market fits seamlessly with Mannington’s core values.”
2012年2月15日星期三
Olsons ‘take show(room) on the road’
Executive Interiors takes its product on the road, arriving at destinations via a motorbus so customers can view flooring and tile at its destination – not merely in the showroom.
“Anyone can have a flooring business. We cater to the needs of the client,” sales representative Chris Gatewood said the unique marketing niche.
Matt and Alyssa Olson offer all types of flooring, countertops and Amish cabinetry at the showroom at 506 Henrietta North – ceramic, porcelain, tile, carpet, vinyl, stone and wood.
But parked in the garage, is the bus, loaded with samples.
“It’s the nicer of the uglies,” Alyssa joked of the truck they found in Brainerd in 2009, the decision to buy following prayer on the matter – and lunch for the kids.
A home’s lighting is often much different than a showroom’s, Matt explained of bringing samples on site. “This saves time for both.”
Matt’s experience in the industry began 11 years ago, working with Keith Blumberg. He attended seminars to learn the “tricks of the trade.” He began Lakes Area Tile in Park Rapids in 2003, but subsequently moved to Rochester, where he opened a store.
Matt was returning to Park Rapids with samples when the idea of a mobile showroom emerged. “It started from necessity,” he said. “But it’s worked out well.”
The move to Rochester proved pivotal, not from a business perspective, but for the twins Alyssa was pregnant with at the time. Alexander and Aiden, now 4, were not sharing blood and oxygen properly. The Mayo doctors detected the problem and corrected it.
“Meanwhile, the economy dipped,” Matt said. “We still had our home, so we moved back.”
Executive Interiors products are backed by warranty. They offer free estimates, with installation completed on residential and commercial properties – from restaurants to grocery and bookstores, to hotels, apartments and churches. References will be supplied on request.
They also will complete custom showers and concrete countertops. And their service radius ranges from Rousseau to Minot and points in between.
“No job is too small,” Matt said.
“Anyone can have a flooring business. We cater to the needs of the client,” sales representative Chris Gatewood said the unique marketing niche.
Matt and Alyssa Olson offer all types of flooring, countertops and Amish cabinetry at the showroom at 506 Henrietta North – ceramic, porcelain, tile, carpet, vinyl, stone and wood.
But parked in the garage, is the bus, loaded with samples.
“It’s the nicer of the uglies,” Alyssa joked of the truck they found in Brainerd in 2009, the decision to buy following prayer on the matter – and lunch for the kids.
A home’s lighting is often much different than a showroom’s, Matt explained of bringing samples on site. “This saves time for both.”
Matt’s experience in the industry began 11 years ago, working with Keith Blumberg. He attended seminars to learn the “tricks of the trade.” He began Lakes Area Tile in Park Rapids in 2003, but subsequently moved to Rochester, where he opened a store.
Matt was returning to Park Rapids with samples when the idea of a mobile showroom emerged. “It started from necessity,” he said. “But it’s worked out well.”
The move to Rochester proved pivotal, not from a business perspective, but for the twins Alyssa was pregnant with at the time. Alexander and Aiden, now 4, were not sharing blood and oxygen properly. The Mayo doctors detected the problem and corrected it.
“Meanwhile, the economy dipped,” Matt said. “We still had our home, so we moved back.”
Executive Interiors products are backed by warranty. They offer free estimates, with installation completed on residential and commercial properties – from restaurants to grocery and bookstores, to hotels, apartments and churches. References will be supplied on request.
They also will complete custom showers and concrete countertops. And their service radius ranges from Rousseau to Minot and points in between.
“No job is too small,” Matt said.
2012年1月30日星期一
All They Hope for Is Survival
“Zehrunisa Husain was a tear-factory even on good days; it was one of her chief ways of starting conversations,” Katherine Boo writes in “Beyond the Beautiful Forevers,” her exquisitely accomplished first book. Novelists dream of defining characters this swiftly and beautifully, but Ms. Boo is not a novelist. She is one of those rare, deep-digging journalists who can make truth surpass fiction, a documentarian with a superb sense of human drama. She makes it very easy to forget that this book is the work of a reporter.
Half an acre. 335 huts. 3,000 people. And a concrete wall that is supposed to hide them from view: this is Annawadi, the Mumbai slum that comes vibrantly to life in this book’s pages. Ms. Boo says that she chose Annawadi because the scale of this “sumpy plug of slum” bordering a lake of sewage was small, and its location was fraught with possibilities. Annawadi sits beside the road to the Mumbai airport, on “a stretch where new India and old India collided and made new India late.” In 2008, at the time the events in the book unfolded, scavenging and trash sorting were the children of Annawadi’s most promising career choices.
Much of the focus is on Zehrunisa and her oldest son, Abdul. One of Abdul’s brothers dreams of having a “clean job” at one of the nearby hotels. (“He’d heard of waiters who spent all day putting toothpicks into pieces of cheese, or aligning knives and forks on tables.”) But Abdul is more of a pragmatist and has made himself an expert at trading in refuse.
“It was a fine time to be a garbage trader, not that that was the term passersby used for Abdul,” Ms. Boo writes. “Some called him garbage, and left it at that.”
Without condescending to her subjects in the slightest, Ms. Boo explains that dreams of upward mobility are just barely possible in Annawadi. And Zehrunisa’s family has set out to renovate the kitchen of the hut in which they live. The book takes its peculiar title from sunshine-yellow ads for ceramic tile that are painted on the concrete wall that hides Annawadi: the ad series repeats the words “Beautiful” and “Forever.” Behind those “beautiful forevers,” Zehrunisa wants some of that tile for her own.
It is a calamitous desire. And Ms. Boo sets forth the step-by-step process of ruination that it brings. The kitchen wall that is being renovated is shared by two dwellings; on the other side lives Fatima, a one-legged woman.
“Strong in the shoulders, she brought the crutches down hard on neighbors she considered disrespectful,” Ms. Boo writes about Fatima’s formidable temper.
One day, when the wall is being banged on, Fatima erupts in fury. “There is rubble in my rice!” she shouts.
“It’s my wall to break, prostitute,” Zehrunisa shouts back. The fight escalates quickly to what, in the hands of another writer, would be a sickeningly lurid moment, but Ms. Boo presents it with devastating understatement. Fatima becomes so furious that she sets herself on fire. She survives just long enough to lie about what happened. As a consequence, Abdul is accused of murder.
How does Ms. Boo know the details? A staff writer for The New Yorker and a Pulitzer Prize winner for her work at The Washington Post, she spent three and a half years in the midst of her subjects. She used written notes, video recordings, audiotapes and photographs; some of the children of the book used her Flip video camera to document events. She also made use of more than 3,000 public records.
The Fatima catastrophe is at the heart of this book. But Ms. Boo never milks her material for pathos; she doesn’t have to. By simply describing Abdul’s experiences at the hands of India’s criminal justice system, she reveals a degree of casual corruption that would stun even the most jaded cynic.
By accepting the amount of sewage, literal and moral, that pervades life in Annawadi, she delivers something much more powerful than an outright indictment. The book’s cover, with an image of abject squalor, does not do justice to its agile prose, wry tone and surprisingly upbeat theatrics. Comparison to Dickens is not unwarranted.
When Ms. Boo finally uses her own voice, at the end of the book, to explain how a fair-skinned blonde from The New Yorker managed to fit into Annawadi so wholeheartedly, she also frames the ultimate question that “Behind the Beautiful Forevers” addresses: why aren’t the slum-dwellers bound together by common interests and common enemies?
Here she crystallizes what she discovered: “Instead, powerless individuals blamed other powerless individuals for what they lacked. Sometimes they tried to destroy one another. Sometimes, like Fatima, they destroyed themselves in the process.”
The book’s relatively fortunate characters, like Asha, a cunningly ambitious woman who realizes it is advantageous to create problems and then be paid to solve them, “improved their lots by beggaring the chances of other poor people.”
“Behind the Beautiful Forevers” needs no heavy hand to pack a wallop. “Food wasn’t one of the amenities at Cooper, the 500-bed hospital on which millions of poor people depended,” Ms. Boo writes with supreme restraint. “Nor was medicine.”
There is only one realm in which her approach loses rigor. She writes about so many scavenging kids, boisterously quarrelsome families and corrupt officials that the book is too crowded. In another setting this might be problematic. In Mumbai it is justified.
Half an acre. 335 huts. 3,000 people. And a concrete wall that is supposed to hide them from view: this is Annawadi, the Mumbai slum that comes vibrantly to life in this book’s pages. Ms. Boo says that she chose Annawadi because the scale of this “sumpy plug of slum” bordering a lake of sewage was small, and its location was fraught with possibilities. Annawadi sits beside the road to the Mumbai airport, on “a stretch where new India and old India collided and made new India late.” In 2008, at the time the events in the book unfolded, scavenging and trash sorting were the children of Annawadi’s most promising career choices.
Much of the focus is on Zehrunisa and her oldest son, Abdul. One of Abdul’s brothers dreams of having a “clean job” at one of the nearby hotels. (“He’d heard of waiters who spent all day putting toothpicks into pieces of cheese, or aligning knives and forks on tables.”) But Abdul is more of a pragmatist and has made himself an expert at trading in refuse.
“It was a fine time to be a garbage trader, not that that was the term passersby used for Abdul,” Ms. Boo writes. “Some called him garbage, and left it at that.”
Without condescending to her subjects in the slightest, Ms. Boo explains that dreams of upward mobility are just barely possible in Annawadi. And Zehrunisa’s family has set out to renovate the kitchen of the hut in which they live. The book takes its peculiar title from sunshine-yellow ads for ceramic tile that are painted on the concrete wall that hides Annawadi: the ad series repeats the words “Beautiful” and “Forever.” Behind those “beautiful forevers,” Zehrunisa wants some of that tile for her own.
It is a calamitous desire. And Ms. Boo sets forth the step-by-step process of ruination that it brings. The kitchen wall that is being renovated is shared by two dwellings; on the other side lives Fatima, a one-legged woman.
“Strong in the shoulders, she brought the crutches down hard on neighbors she considered disrespectful,” Ms. Boo writes about Fatima’s formidable temper.
One day, when the wall is being banged on, Fatima erupts in fury. “There is rubble in my rice!” she shouts.
“It’s my wall to break, prostitute,” Zehrunisa shouts back. The fight escalates quickly to what, in the hands of another writer, would be a sickeningly lurid moment, but Ms. Boo presents it with devastating understatement. Fatima becomes so furious that she sets herself on fire. She survives just long enough to lie about what happened. As a consequence, Abdul is accused of murder.
How does Ms. Boo know the details? A staff writer for The New Yorker and a Pulitzer Prize winner for her work at The Washington Post, she spent three and a half years in the midst of her subjects. She used written notes, video recordings, audiotapes and photographs; some of the children of the book used her Flip video camera to document events. She also made use of more than 3,000 public records.
The Fatima catastrophe is at the heart of this book. But Ms. Boo never milks her material for pathos; she doesn’t have to. By simply describing Abdul’s experiences at the hands of India’s criminal justice system, she reveals a degree of casual corruption that would stun even the most jaded cynic.
By accepting the amount of sewage, literal and moral, that pervades life in Annawadi, she delivers something much more powerful than an outright indictment. The book’s cover, with an image of abject squalor, does not do justice to its agile prose, wry tone and surprisingly upbeat theatrics. Comparison to Dickens is not unwarranted.
When Ms. Boo finally uses her own voice, at the end of the book, to explain how a fair-skinned blonde from The New Yorker managed to fit into Annawadi so wholeheartedly, she also frames the ultimate question that “Behind the Beautiful Forevers” addresses: why aren’t the slum-dwellers bound together by common interests and common enemies?
Here she crystallizes what she discovered: “Instead, powerless individuals blamed other powerless individuals for what they lacked. Sometimes they tried to destroy one another. Sometimes, like Fatima, they destroyed themselves in the process.”
The book’s relatively fortunate characters, like Asha, a cunningly ambitious woman who realizes it is advantageous to create problems and then be paid to solve them, “improved their lots by beggaring the chances of other poor people.”
“Behind the Beautiful Forevers” needs no heavy hand to pack a wallop. “Food wasn’t one of the amenities at Cooper, the 500-bed hospital on which millions of poor people depended,” Ms. Boo writes with supreme restraint. “Nor was medicine.”
There is only one realm in which her approach loses rigor. She writes about so many scavenging kids, boisterously quarrelsome families and corrupt officials that the book is too crowded. In another setting this might be problematic. In Mumbai it is justified.
2012年1月4日星期三
Deadly Backroom Buttocks Plastic Surgery Brings Lawsuits
A Colombian couple, characterized by prosecutors as greedy con artists who preyed on Latino patients, are now facing wrongful death lawsuits from the family of a 42-year-old Las Vegas woman who died in a botched buttocks enhancement procedure in the back room of a tile store.
A lawsuit filed Dec. 22 in Clark County District Court in Nevada on behalf of the husband and two children of Elena Caro seeks unspecified damages from Ruben Dario Matallana-Galvas and his wife, Carmen Olfidia Torres-Sanchez, plus the owners of the now-closed tile store and a beauty salon alleged to have referred Caro to the couple for the fatal surgery.
Caro's daughter, Janet Villalobos, filed a separate lawsuit Dec. 21 against the same defendants.
"They're seeking damages for the loss of their wife and mother," said attorney Kevin Edwin Galliher, representing husband Oscar Canale and the couple's two children. Galliher said he is cooperating with lawyer Michaela Tramel, who represents Villalobos. Tramel didn't immediately respond to a message seeking comment.
The Las Vegas Sun first reported the lawsuits Tuesday.
Matallana-Galvas, 56, and Torres-Sanchez, 47, were each sentenced in October to up to eight years in a Nevada prison plus a year in the Clark County jail for involuntary manslaughter, conspiracy and practicing medicine without a license.
Matallana-Galvas said he was a homeopathic physician in Colombia. Torres-Sanchez was a lawyer with the country's attorney general's office. Authorities said they were in the U.S. on tourist visas that have expired, and they will face deportation after completing their sentences.
An autopsy showed Caro died April 9 from an allergic reaction to anesthesia administered before an injection of a gel to reshape her buttocks. Caro received facial injections from Matallana-Galvas a week earlier, with no side effects.
Authorities said Caro was referred by people at the Sinaloa Beauty Salon to Matallana-Galvas and Torres-Sanchez, and that the fatal procedure took place in a back room of a Tiles and More store east of downtown Las Vegas.
Attorneys for the defendants were not identified in court records, and Galliher said the defendants were not yet served with the lawsuit.
Matallana-Galvas acknowledged at his sentencing that Caro became ill while he conducted the procedure with Torres-Sanchez assisting.
Authorities said the couple bundled Caro into a car with another woman, but Caro died on the way to a hospital.
A lawsuit filed Dec. 22 in Clark County District Court in Nevada on behalf of the husband and two children of Elena Caro seeks unspecified damages from Ruben Dario Matallana-Galvas and his wife, Carmen Olfidia Torres-Sanchez, plus the owners of the now-closed tile store and a beauty salon alleged to have referred Caro to the couple for the fatal surgery.
Caro's daughter, Janet Villalobos, filed a separate lawsuit Dec. 21 against the same defendants.
"They're seeking damages for the loss of their wife and mother," said attorney Kevin Edwin Galliher, representing husband Oscar Canale and the couple's two children. Galliher said he is cooperating with lawyer Michaela Tramel, who represents Villalobos. Tramel didn't immediately respond to a message seeking comment.
The Las Vegas Sun first reported the lawsuits Tuesday.
Matallana-Galvas, 56, and Torres-Sanchez, 47, were each sentenced in October to up to eight years in a Nevada prison plus a year in the Clark County jail for involuntary manslaughter, conspiracy and practicing medicine without a license.
Matallana-Galvas said he was a homeopathic physician in Colombia. Torres-Sanchez was a lawyer with the country's attorney general's office. Authorities said they were in the U.S. on tourist visas that have expired, and they will face deportation after completing their sentences.
An autopsy showed Caro died April 9 from an allergic reaction to anesthesia administered before an injection of a gel to reshape her buttocks. Caro received facial injections from Matallana-Galvas a week earlier, with no side effects.
Authorities said Caro was referred by people at the Sinaloa Beauty Salon to Matallana-Galvas and Torres-Sanchez, and that the fatal procedure took place in a back room of a Tiles and More store east of downtown Las Vegas.
Attorneys for the defendants were not identified in court records, and Galliher said the defendants were not yet served with the lawsuit.
Matallana-Galvas acknowledged at his sentencing that Caro became ill while he conducted the procedure with Torres-Sanchez assisting.
Authorities said the couple bundled Caro into a car with another woman, but Caro died on the way to a hospital.
2011年12月28日星期三
Family’s new home plea over asbestos
A FORMER soldier fighting a legal battle against a housing association has received the backing of Melton Royal British Legion.
Nigel Grant, of Winster Crescent, Melton, is making a desperate plea to the Loughborough-based De Montfort Housing Society to re-home him and his family from their current property which he claims is ‘covered’ in black mould. He is also concerned about levels of asbestos in the property’s flooring.
At Mr Grant’s request the society has made the decision to rip up all the tiles from the dining room, living room, downstairs hallway and cupboard under the stairs. It also plans to rip out the fireplace, which has patches of black mould, and inspect the living room floor for damp.
However, the association has refused to rehome Mr Grant’s family while work is being carried out for a week from January 9, and once work is finished it will not be providing replacement tiles.
The father-of-three, who served his country in Iraq during 2008, fears his family’s health may be affected if they are forced to remain in the property and is working with the Royal British Legion to try to resolve the issue.
He said: “I have researched the affects of asbestos and mould exposure and am very concerned.
“My children suffer from chronic asthma and my four- month-old son Lochlan has developed a bad cough.
“I am doing all I can to ensure my family has somewhere safe to live but feel like I’m just going round in circles and it’s putting an unimaginable amount of stress on myself and my partner Elaine Godfrey.”
Mr Grant has raised his concerns with Melton Council. Environmental protection and safety manager Victoria Clarke said: “Asbestos should not be removed unnecessarily as it can be more dangerous than leaving it in place. We are therefore liaising with the housing association to ensure the work is carried out safely.”
Said Gurmeet Virdi, director of operations for De Montfort Housing Society, said: “We have discussed with the family whether or not they would prefer to stay in a bed and breakfast at our expense on the first night while the tiles are removed and will carry out air tests to check that it is safe before they move back in.”
Nigel Grant, of Winster Crescent, Melton, is making a desperate plea to the Loughborough-based De Montfort Housing Society to re-home him and his family from their current property which he claims is ‘covered’ in black mould. He is also concerned about levels of asbestos in the property’s flooring.
At Mr Grant’s request the society has made the decision to rip up all the tiles from the dining room, living room, downstairs hallway and cupboard under the stairs. It also plans to rip out the fireplace, which has patches of black mould, and inspect the living room floor for damp.
However, the association has refused to rehome Mr Grant’s family while work is being carried out for a week from January 9, and once work is finished it will not be providing replacement tiles.
The father-of-three, who served his country in Iraq during 2008, fears his family’s health may be affected if they are forced to remain in the property and is working with the Royal British Legion to try to resolve the issue.
He said: “I have researched the affects of asbestos and mould exposure and am very concerned.
“My children suffer from chronic asthma and my four- month-old son Lochlan has developed a bad cough.
“I am doing all I can to ensure my family has somewhere safe to live but feel like I’m just going round in circles and it’s putting an unimaginable amount of stress on myself and my partner Elaine Godfrey.”
Mr Grant has raised his concerns with Melton Council. Environmental protection and safety manager Victoria Clarke said: “Asbestos should not be removed unnecessarily as it can be more dangerous than leaving it in place. We are therefore liaising with the housing association to ensure the work is carried out safely.”
Said Gurmeet Virdi, director of operations for De Montfort Housing Society, said: “We have discussed with the family whether or not they would prefer to stay in a bed and breakfast at our expense on the first night while the tiles are removed and will carry out air tests to check that it is safe before they move back in.”
2011年12月11日星期日
Clay and canines
You may not see the dog in Wendy Gingell's mural-like "Atlas Unfettered." At first perusal, the assembly of black and white ceramic clay tiles composed of angles, wavy lines, swirls and the repeated use of the word "tree" may seem abstract and chaotic.
Not until you back off from the piece does the wide-eyed image of Atlas -- the artist's real life yellow Lab -- pop into view.
Atlas is more than just the subject and inspiration of the piece, part of an exhibit of new work by Gingell now on display at the International Gallery of Contemporary Art. In a way, he's also the reason that Gingell finds herself working in Alaska, the reason why this show is happening where it is.
Originally from Gravelbourg, Saskatchewan, Gingell went to college in Toronto, planning on majoring in international studies. But she found herself enjoying art classes so much that she just kept taking them "for many, many years."
When she finally got her bachelor's degree, she moved on to Montreal, where she took French and more art classes. Eventually she had to "learn to pay the bills," she said, working in social services for some years to pay off her student loans.
"I finally paid that debt off three years ago," she said, with a note of relief.
In the meantime, among other adventures, she had relocated to Vancouver, met and married Eric Lazo, moved to Guemes Island near Anacortes, Wash., and adopted Atlas and Taupin, a black Lab. Gingell described them as "dropouts from a local assistance (companion) dog program."
She also got into tile. Among the neighbors on the tiny island -- Guemes is off the state ferry grid and depends on a county ferry to connect with the mainland -- was Sue Roberts, an experienced tile artist.
"I helped her with her garden; she let me use her kiln," Gingell said.
They had grown a little bored with the island after finishing a house there, she said. But neither were they chomping at the bit for another move when fate stepped in.
Or rather Atlas did.
"Our dog needed some very expensive knee surgery," she said. More than they could easily afford. But, fortuitously, 11 months ago, Lazo was offered a marketing job in Anchorage.
"We moved so we could afford to have the surgery," she said. "Honestly. And I stayed back there for two months after Eric moved just to help (Atlas) with his rehab after the surgery. That's the kind of people we are."
Arriving in Alaska this year, she wanted to continue with tile work but didn't have access to a running kiln. Instead she spent her time doodling "images of the north, woods, the environment" and baby-sitting the Labradors.
She connected with the local arts community. She found support at the Upstairs Studio in downtown Anchorage and the International. She met other "ceramic, fine arts and craft junkies."
And she won one of the most coveted art awards in Alaska -- a Connie Boocheever Fellowship. The prize, named for the former president of the Alaska State Council on the Arts, is given to people the council considers to be significant "emerging artists" in different disciplines each year. In 2011 it went to visual artists. Other winners were photographers Ben Huff of Juneau and Michael Conti of Anchorage and painter James Adcox of Nome.
The Boocheever Fellowship, which included a cash award of $2,500, made the current show possible.
The show includes a number of functional dishes and bowls -- Gingell said they are microwave safe -- and numerous tiles displayed as wall hangings. Some are single pieces, others use six or nine separate tiles pulled together to form a single picture.
The images include wildly animated faces, anatomical designs and fanciful critters like a narwhal, a walrus with a fish tail and something bug-like.
"I'm always interested in what people tell me they see," she said.
Even when the title suggests a narrative, as in the nine-tile "Parable of the Whale and the Starfish," its specifics are elusive. "I can't tell you what it means," she said.
But the single-tile "Man Attacked by Giant Mosquitoes" is pretty self-explanatory.
And "Atlas Unfettered" is an undisguised tribute to the happy dog's new life on new knees in Alaska.
Gingell said she was "shocked" to win a Boocheever award. But the judges weren't alone in their estimation of her talent. Almost as soon as she arrived, she began displaying her work during the First Friday openings at downtown's Upstairs Studio and, more recently, was included with local clay masters Paul Dungan, Gina Hollomon and Ahna Iredale in a show at 2 Friends Gallery in midtown.
She had her artwork juried into the statewide Earth, Fire and Fibre competition, now on exhibit at the Anchorage Museum, and her tableware is sold in the museum gift shop. Beyond Alaska, she's had work accepted for shows next year at the Museum of Northwest Art in La Conner, Wash., and at the Smithsonian Craft Show in Washington, D.C.
Despite the success and numerous semesters of art classes, she's not shy about being called an "emerging artist." She acknowledged that she still has a lot to learn.
Not until you back off from the piece does the wide-eyed image of Atlas -- the artist's real life yellow Lab -- pop into view.
Atlas is more than just the subject and inspiration of the piece, part of an exhibit of new work by Gingell now on display at the International Gallery of Contemporary Art. In a way, he's also the reason that Gingell finds herself working in Alaska, the reason why this show is happening where it is.
Originally from Gravelbourg, Saskatchewan, Gingell went to college in Toronto, planning on majoring in international studies. But she found herself enjoying art classes so much that she just kept taking them "for many, many years."
When she finally got her bachelor's degree, she moved on to Montreal, where she took French and more art classes. Eventually she had to "learn to pay the bills," she said, working in social services for some years to pay off her student loans.
"I finally paid that debt off three years ago," she said, with a note of relief.
In the meantime, among other adventures, she had relocated to Vancouver, met and married Eric Lazo, moved to Guemes Island near Anacortes, Wash., and adopted Atlas and Taupin, a black Lab. Gingell described them as "dropouts from a local assistance (companion) dog program."
She also got into tile. Among the neighbors on the tiny island -- Guemes is off the state ferry grid and depends on a county ferry to connect with the mainland -- was Sue Roberts, an experienced tile artist.
"I helped her with her garden; she let me use her kiln," Gingell said.
They had grown a little bored with the island after finishing a house there, she said. But neither were they chomping at the bit for another move when fate stepped in.
Or rather Atlas did.
"Our dog needed some very expensive knee surgery," she said. More than they could easily afford. But, fortuitously, 11 months ago, Lazo was offered a marketing job in Anchorage.
"We moved so we could afford to have the surgery," she said. "Honestly. And I stayed back there for two months after Eric moved just to help (Atlas) with his rehab after the surgery. That's the kind of people we are."
Arriving in Alaska this year, she wanted to continue with tile work but didn't have access to a running kiln. Instead she spent her time doodling "images of the north, woods, the environment" and baby-sitting the Labradors.
She connected with the local arts community. She found support at the Upstairs Studio in downtown Anchorage and the International. She met other "ceramic, fine arts and craft junkies."
And she won one of the most coveted art awards in Alaska -- a Connie Boocheever Fellowship. The prize, named for the former president of the Alaska State Council on the Arts, is given to people the council considers to be significant "emerging artists" in different disciplines each year. In 2011 it went to visual artists. Other winners were photographers Ben Huff of Juneau and Michael Conti of Anchorage and painter James Adcox of Nome.
The Boocheever Fellowship, which included a cash award of $2,500, made the current show possible.
The show includes a number of functional dishes and bowls -- Gingell said they are microwave safe -- and numerous tiles displayed as wall hangings. Some are single pieces, others use six or nine separate tiles pulled together to form a single picture.
The images include wildly animated faces, anatomical designs and fanciful critters like a narwhal, a walrus with a fish tail and something bug-like.
"I'm always interested in what people tell me they see," she said.
Even when the title suggests a narrative, as in the nine-tile "Parable of the Whale and the Starfish," its specifics are elusive. "I can't tell you what it means," she said.
But the single-tile "Man Attacked by Giant Mosquitoes" is pretty self-explanatory.
And "Atlas Unfettered" is an undisguised tribute to the happy dog's new life on new knees in Alaska.
Gingell said she was "shocked" to win a Boocheever award. But the judges weren't alone in their estimation of her talent. Almost as soon as she arrived, she began displaying her work during the First Friday openings at downtown's Upstairs Studio and, more recently, was included with local clay masters Paul Dungan, Gina Hollomon and Ahna Iredale in a show at 2 Friends Gallery in midtown.
She had her artwork juried into the statewide Earth, Fire and Fibre competition, now on exhibit at the Anchorage Museum, and her tableware is sold in the museum gift shop. Beyond Alaska, she's had work accepted for shows next year at the Museum of Northwest Art in La Conner, Wash., and at the Smithsonian Craft Show in Washington, D.C.
Despite the success and numerous semesters of art classes, she's not shy about being called an "emerging artist." She acknowledged that she still has a lot to learn.
2011年9月14日星期三
Saudi Ceramics completes fourth factory facility
Saudi Ceramics, the listed manufacturer of ceramic products, said it has completed the second and final phase of its fourth tile factory to help meet demand for finishing materials in the country.
The Riyadh company, which also has a business line in water heaters, said it has started pilot production at the new facility. The factory will produce 9,000,000m2 of ceramic tile or porcelain. The company had originally signed contracts with companies that could execute the expansion last October.
“With the addition of this project with a capacity of the company's total production of tiles 52m square metres annually,” the company stated to its shareholders. “[It is] expected to contribute to this expansion in the company's revenues increase when working at full capacity by SAR 150m.”
Saudi Ceramics, along with suppliers of cement, steel and aluminium, is attempting to capitalise on the strong construction activity in Saudi Arabia that has been mostly funded by the government.
The Riyadh company, which also has a business line in water heaters, said it has started pilot production at the new facility. The factory will produce 9,000,000m2 of ceramic tile or porcelain. The company had originally signed contracts with companies that could execute the expansion last October.
“With the addition of this project with a capacity of the company's total production of tiles 52m square metres annually,” the company stated to its shareholders. “[It is] expected to contribute to this expansion in the company's revenues increase when working at full capacity by SAR 150m.”
Saudi Ceramics, along with suppliers of cement, steel and aluminium, is attempting to capitalise on the strong construction activity in Saudi Arabia that has been mostly funded by the government.
2011年6月26日星期日
Glastonbury Festival
Unlike the apocryphal Inuit vocabulary for snow, the English language does not have enough words to describe the many varieties of mud. Nowhere was this lack more in evidence than at Glastonbury.
Softened by wet weather in the weeks preceding the festival and host to rain on Friday, the Somerset site was churned into a quagmire by 177,000 pairs of boots. Connoisseurs of mud had a field day. There was sticky mud that felt like you were walking through molasses; slippy mud that felt like you were walking on ice; oozy mud that gathered in treacherous lakes; and stray mud that insinuated itself into your sleeping bag. It was, in short, a very muddy experience.
Please respect FT.com's ts&cs and copyright policy which allow you to: share links; copy content for personal use; & redistribute limited extracts. Email ftsales.support@ft.com to buy additional rights or use this link to reference the article - http://www.ft.com/cms/s/2/54aa47e0-a00b-11e0-a115-00144feabdc0.html#ixzz1QR5bz9SW
The wretched conditions called for an anthem-friendly rock band to make the wet huddled masses gaze heavenwards and think inspiring thoughts. By chance, Glastonbury had two on hand: U2, who headlined the Pyramid stage on Friday, and Coldplay, who followed on Saturday. (The final headliner was Beyoncé, who was due to close the festival last night, the first woman to headline Glastonbury in its 41-year history. A Financial Times review of her show will be published tomorrow.)
U2’s set was stripped-down and forthright, the work of a band with a point to prove. The Irish foursome had flown in especially from the US where they are on their “360 Degree” world tour. They were booked to play Glastonbury last year but had to pull out after Bono injured his back.
The singer’s vertebrae aren’t the only sign of frailty in the U2 behemoth. The album they’re working on has been pushed back to next year after initial recording sessions didn’t work out, and they’ve been under fire for moving part of their business affairs from Ireland to a lower tax jurisdiction in the Netherlands, leading tax-avoidance protesters to threaten to disrupt their performance.
The protest duly materialised with an inflatable balloon reading “U Pay Tax 2” appearing during the opening song, but it deflated after a violent intervention by security staff. The usually loquacious Bono made no allusion to the subject. “Have you come here to ask forgiveness?” he sang cryptically during “One”, rain splashing his sunglasses. Incandescent guitar playing from The Edge lit up the damp scene. Without the high-tech stagecraft of their usual shows the quartet were focused and hungry. But the heavy-handed suppression of the protesters left a sour taste. Glastonbury’s reputation as a haven for freethinking was dented.
Friday’s surprise was an unannounced show by Radiohead on a small stage in a far-flung part of the site, playing a low-key set drawing on their new album The King of Limbs. It was an ill-kept secret, however; the space was overwhelmed and many disconsolate festivalgoers were turned away.
The weather added to the downcast mood. Getting wet and cold sharpens one’s temper towards pop stars, with their comfortable dressing rooms. When Bobby Gillespie moaned, “C’mon Glastonbury, you can do better than that,” during Primal Scream’s underwhelming set you wished someone would unfurl a banner reading “So can you”.
Succour came from an unlikely quarter. Hardcore New York rappers The Wu Tang Clan are about as far from Glastonbury’s touchy-feely image as it’s possible to get without being arrested, but they strong-armed an initially lukewarm audience into submission with a belligerent hip-hop masterclass at the Pyramid stage, led by chief rapper Method Man, a mud-defying spectacle in box-fresh white trainers and white towelling robe.
The weather picked up on Saturday. The mud, however, remained. Jessie J performed sitting on a throne, lame with a broken foot. Both the singer’s chutzpah and her immobility summed up the festival, hobbled by the mudbath but making the best of it. A Stonehenge of discarded Wellington boots appeared in the dance area. Elsewhere some wag placed banana peel on an evil-looking slick of mud, cordoned it off and left a sign reading “Caution: slip hazard”.
When sunshine finally appeared on Saturday afternoon, the atmosphere was transformed. At the West Holts stage, one of Syria’s most popular singers, Omar Souleyman, performed a vibrant set mixing up-tempo dance beats with traditional Arab music. There was no mention of the unrest roiling his nation. Janelle Monáe played her quicksilver R&B as the sun set. The uplift in mood extended to the mercurial dub reggae pioneer Lee “Scratch” Perry: the 75-year-old was reluctant to leave the stage after his pulsating midnight show.
After nightfall, the Pyramid stage looked majestic. A light beamed into the night sky from the apex of the pyramid and flares were let off. It was an open goal for headliners Coldplay and they didn’t miss; but nor did they execute it very memorably. Chris Martin’s yearning falsetto pressed the right buttons but the sense of transcendence they engendered felt too formulaic, too easily won.
Mud-spattered festivalgoers deserved better – and they got it from Pulp, Saturday’s secret guests. Led by an irrepressible Jarvis Cocker, the reformed Britpop band played a well-judged mix of rarities and hits, climaxing with a stirring rendition of “Common People”. The audience sang each word with Cocker before streaming off into the night. It was the moment of renewal for which Glastonbury was crying out.
Softened by wet weather in the weeks preceding the festival and host to rain on Friday, the Somerset site was churned into a quagmire by 177,000 pairs of boots. Connoisseurs of mud had a field day. There was sticky mud that felt like you were walking through molasses; slippy mud that felt like you were walking on ice; oozy mud that gathered in treacherous lakes; and stray mud that insinuated itself into your sleeping bag. It was, in short, a very muddy experience.
Please respect FT.com's ts&cs and copyright policy which allow you to: share links; copy content for personal use; & redistribute limited extracts. Email ftsales.support@ft.com to buy additional rights or use this link to reference the article - http://www.ft.com/cms/s/2/54aa47e0-a00b-11e0-a115-00144feabdc0.html#ixzz1QR5bz9SW
The wretched conditions called for an anthem-friendly rock band to make the wet huddled masses gaze heavenwards and think inspiring thoughts. By chance, Glastonbury had two on hand: U2, who headlined the Pyramid stage on Friday, and Coldplay, who followed on Saturday. (The final headliner was Beyoncé, who was due to close the festival last night, the first woman to headline Glastonbury in its 41-year history. A Financial Times review of her show will be published tomorrow.)
U2’s set was stripped-down and forthright, the work of a band with a point to prove. The Irish foursome had flown in especially from the US where they are on their “360 Degree” world tour. They were booked to play Glastonbury last year but had to pull out after Bono injured his back.
The singer’s vertebrae aren’t the only sign of frailty in the U2 behemoth. The album they’re working on has been pushed back to next year after initial recording sessions didn’t work out, and they’ve been under fire for moving part of their business affairs from Ireland to a lower tax jurisdiction in the Netherlands, leading tax-avoidance protesters to threaten to disrupt their performance.
The protest duly materialised with an inflatable balloon reading “U Pay Tax 2” appearing during the opening song, but it deflated after a violent intervention by security staff. The usually loquacious Bono made no allusion to the subject. “Have you come here to ask forgiveness?” he sang cryptically during “One”, rain splashing his sunglasses. Incandescent guitar playing from The Edge lit up the damp scene. Without the high-tech stagecraft of their usual shows the quartet were focused and hungry. But the heavy-handed suppression of the protesters left a sour taste. Glastonbury’s reputation as a haven for freethinking was dented.
Friday’s surprise was an unannounced show by Radiohead on a small stage in a far-flung part of the site, playing a low-key set drawing on their new album The King of Limbs. It was an ill-kept secret, however; the space was overwhelmed and many disconsolate festivalgoers were turned away.
The weather added to the downcast mood. Getting wet and cold sharpens one’s temper towards pop stars, with their comfortable dressing rooms. When Bobby Gillespie moaned, “C’mon Glastonbury, you can do better than that,” during Primal Scream’s underwhelming set you wished someone would unfurl a banner reading “So can you”.
Succour came from an unlikely quarter. Hardcore New York rappers The Wu Tang Clan are about as far from Glastonbury’s touchy-feely image as it’s possible to get without being arrested, but they strong-armed an initially lukewarm audience into submission with a belligerent hip-hop masterclass at the Pyramid stage, led by chief rapper Method Man, a mud-defying spectacle in box-fresh white trainers and white towelling robe.
The weather picked up on Saturday. The mud, however, remained. Jessie J performed sitting on a throne, lame with a broken foot. Both the singer’s chutzpah and her immobility summed up the festival, hobbled by the mudbath but making the best of it. A Stonehenge of discarded Wellington boots appeared in the dance area. Elsewhere some wag placed banana peel on an evil-looking slick of mud, cordoned it off and left a sign reading “Caution: slip hazard”.
When sunshine finally appeared on Saturday afternoon, the atmosphere was transformed. At the West Holts stage, one of Syria’s most popular singers, Omar Souleyman, performed a vibrant set mixing up-tempo dance beats with traditional Arab music. There was no mention of the unrest roiling his nation. Janelle Monáe played her quicksilver R&B as the sun set. The uplift in mood extended to the mercurial dub reggae pioneer Lee “Scratch” Perry: the 75-year-old was reluctant to leave the stage after his pulsating midnight show.
After nightfall, the Pyramid stage looked majestic. A light beamed into the night sky from the apex of the pyramid and flares were let off. It was an open goal for headliners Coldplay and they didn’t miss; but nor did they execute it very memorably. Chris Martin’s yearning falsetto pressed the right buttons but the sense of transcendence they engendered felt too formulaic, too easily won.
Mud-spattered festivalgoers deserved better – and they got it from Pulp, Saturday’s secret guests. Led by an irrepressible Jarvis Cocker, the reformed Britpop band played a well-judged mix of rarities and hits, climaxing with a stirring rendition of “Common People”. The audience sang each word with Cocker before streaming off into the night. It was the moment of renewal for which Glastonbury was crying out.
2011年5月25日星期三
June an action-packed month for holidaymakers with villas in Portugal
Those going to villas in Portugal next month will have plenty to see and do in the country, from the Quicksilver Pro surfing event in June to the Festivities of Lisbon.
Surf lovers will surely want to head over to Ericeira between June 14th and the 19th, when some of the world's top board riders will battle it out for supremacy on the waves.
Watersports fans staying in villas in Portugal will also get a chance to witness the World Match Racing Tour at Portimao Marina. A qualifying series for the Americas Cup, the regatta comes to Portugal between June 22nd and the 26th.
Meanwhile, visitors to the capital on June 12th will be privileged to see Lisbon come alive with music, dancing and food as the annual Festivities of Lisbon get underway.
One of the capital's most vibrant celebrations, the festival sees the city decorated with coloured globes and garlands of flowers, while traditional roasted sardines and sweet basil are served in local eateries.ADNFCR-2074-ID-800557009-ADNFCR
Surf lovers will surely want to head over to Ericeira between June 14th and the 19th, when some of the world's top board riders will battle it out for supremacy on the waves.
Watersports fans staying in villas in Portugal will also get a chance to witness the World Match Racing Tour at Portimao Marina. A qualifying series for the Americas Cup, the regatta comes to Portugal between June 22nd and the 26th.
Meanwhile, visitors to the capital on June 12th will be privileged to see Lisbon come alive with music, dancing and food as the annual Festivities of Lisbon get underway.
One of the capital's most vibrant celebrations, the festival sees the city decorated with coloured globes and garlands of flowers, while traditional roasted sardines and sweet basil are served in local eateries.ADNFCR-2074-ID-800557009-ADNFCR
订阅：
博文 (Atom)