Mini rugby, also known as New Image Rugby, is a form of rugby union designed to introduce the sport to children. It uses a smaller ball and pitch than standard rugby, and has eight to ten players a side.

Invented in England in 1970, mini rugby was soon taken up by both the English Rugby Football Union (RFU) and the Welsh Rugby Union.

The original game had five backs and four forwards. There were no line-outs and no pushing in the scrum, which was made up of a prop, a hooker, a lock and a flanker. Each position behind the scrum in the senior game was represented by a scrum half, an outside half, a centre, a wing and a fullback.

The International Rugby Board does not directly govern very junior levels of rugby but rather leaves local bodies to do things as they see fit. Consequently, different countries have different junior versions of rugby designed to appeal to, and be safe for, younger children.

Mini Rugby in England
Technically, the RFU's regulations for age-grade rugby under the age of 13 are collectively known as "the rugby continuum", and "mini rugby" is just one of the stages of that continuum, and one part of that continuum is known as "Mini Rugby." However, "mini rugby" is much less of a mouthful and often used to refer to all age groups under the age of 13.

The age grade of a player is determined by his or her age at the start of the junior season, which is midnight on 31 August. An "under-8", for example, must start the season aged 7, but may turn 8 during the season and will carry on playing as an under-8 until the start of the next season. This ties in with the school year and as a result, if you add 5 to their school year you will get their rugby age group. For example, school year 2s are rugby Under-7s. School year 7s (first secondary year) are rugby Under-12s.

There are 3 stages to the rugby continuum.

Continuum Stage 1: under-7 and under-8 (school years 2&3) - Mini Tag Rugby
Continuum Stage 2: under-9 and under-10 (school years 4&5) - Mini Rugby
Continuum Stage 3: under-11 and under-12 (school years 6&7) - Midi Rugby

Ages under-13 to under-19 are then sometimes referred to as "youth rugby", where the game is only modified from the senior game in relatively minor ways. Some modifications may include the need for both feet to be placed in the ground at all times, so no diving to score a try, the team must consist of no more than seven players but at least five, in senior rugby there are fifteen players in one game, free passes are given if a player accidentally throws a ball forward, balls cannot be stripped from a players hands, and kicking is not allowed in youth rugby “rookie rugby.” The differences between the two types of play seem to be different, but all the rules of the game have the same intention.

The rule changes based on the rugby continuum are designed to make the game both safe and enjoyable for the level of physical and intellectual development expected in any given age group.

Here is a summary of the modifications to the International Rugby Board (IRB)'s Laws of the game:

Continuum Stage 1: U7 & U8 (Mini Tag Rugby)
U7 and U8 rugby is played on a relatively small pitch with cloth strips (tags) that are attached to a belt with velcro. Tackling in "Mini Rugby" is replaced by tagging. Tagging is the removal of one of a players tags attached to their belts. And with tagging, it helps reduce the risk of early injuries and health related issues. The game is simplified for the younger generations to understand the concept of  consistently running and passing.
Pitch maximum size 60x30m.
Ball: Size 3.
10 min each way.
5 to 7 a side.
5 points for a try. No conversions
Not allowed: tackling (just tagging), rucks, mauls, handing the ball to a teammate, ripping, going to ground, lineouts, scrums, kicking, hand-offs.
An under-8 team can only be tagged a maximum number of times before they lose the ball

Continuum Stage 2: U9 & U10 (Mini Rugby)

U9 and U10 rugby is played with tackling instead of tagging and the game becomes more physical as age increases. However scrums are NOT allowed in U9 rugby.  In U10 scrums are allowed. Scrums consist of three players from each team. The scrum is uncontested and whichever team wins the scrum gets rewarded the ball, which will then be thrown to the winning team to start a play. There are an equal number of players for both sides, a maximum of seven for U9 and maximum of eight for U10.

Pitch maximum size 60x35m.
Ball: Size 3 for U9s, Size 4 for U10s.
15 min each way.
Up to 9 a side.
5 points for a try. No conversions.
Allowed: tackling, handing the ball to a teammate, ripping, going to ground,
Not allowed: kicking or hand-offs.

Continuum Stage 3: U11 & U12 (Midi Rugby)
U11 rugby consists of twelve players, five of whom who participate in the scrum, while in U12 rugby consists of thirteen players, six of whom who participate in a scrum. What starts the game is a drop kick. After the ball is drop kicked to the opposing team, they will then gather the ball and decide if they want to keep it in play, having the ball drop kicked again, or beginning a scrum in the center of the field. Player can also be called for aggressive actions which include, high/late tackling, an offside, kicking, or an obstruction to the player or the ball. Rucks are also allowed.

Pitch maximum size 60x43m.
Ball: Size 4.
20 mins each way.
Up to 12 a side (U11). Up to 13 a side (U12).
5 points for a try. 2 points for a conversion.
Allowed: 5 player scrums and lineouts for U11s. 6 for U12s. Some limited kicking
Not allowed: fly-hacking, drop goals, penalty goals, hand-offs.

Other names
Mini rugby is known in Wales as "dragon rugby", and Australia as "walla rugby".  In Ireland the under-7s version of mini rugby is a touch or tag game with no set pieces known as "leprechaun rugby".

Famous mini rugby players
England:
Well-known English players who came up through the mini rugby system include Jeremy Guscott and Ben Clarke.

United States:
Well-known players from the United States include Garrett Bender, Andrew Durutalo, Zack Test, Chris Wyles, Ben Pinkelman, Madison Hughes.

Australia:
More well-known players from Australia include Nathan Sharpe, Adam Ashley-Cooper, Tatafu Polota-Nau, Benn Robinson, Kurtely Beale, Berrick Barnes.

Midi rugby
Midi rugby is the "bridge" between mini rugby and the full game. It is played twelve a-side. For the under 12s this is altered to 13 a-side.

See also
 Tag Rugby
 American Flag Rugby

References

External links
 mini rugby on the IRFU site
 mini rugby on minirugby.it
 The RFU's Regulations Site, including those for the Rugby Continuum

Variations of rugby union


Irving Kane Pond (May 1, 1857 – September 29, 1939) was an American architect, college athlete, and author.  Born in Ann Arbor, Michigan, Pond attended the University of Michigan and received a degree in civil engineering in 1879.  He was a member of the first University of Michigan football team and scored the first touchdown in the school's history in May 1879.

After graduating from Michigan, Pond moved to Chicago where he worked as an architect from 1879 to 1939.  He began his architectural career as a draftsman in the offices of William LeBaron Jenney and worked as the head draftsman in the office of Solon Spencer Beman during the construction of the planned Pullman community.  In 1886, Pond formed the Chicago architectural firm Pond and Pond in partnership with his brother Allen Bartlitt Pond.  The Pond brothers worked together for more than 40 years, and their buildings are considered to be among the best examples of Arts and Crafts architecture in Chicago. The Ponds gained acclaim as the architects of Jane Addams' Hull House, and three of their buildings have been declared National Historic Landmarks—the Hull House dining hall, the Lorado Taft Midway Studios, and the Frank R. Lillie House.  Pond became a Fellow of the American Institute of Architects in 1900 and served as president of the American Institute of Architects from 1910 to 1911.

Pond was also a leader in the Chicago arts community in the late 19th and early 20th century.  He was one of the founders of the Eagle's Nest Art Colony and a member of the Chicago Literary Club from 1888 to 1939.  Pond was also a published author of fiction, poetry, and essays on art and architecture.  He was also a frequent contributor to architectural journals and wrote  for The Dial and Gustav Stickley's The Craftsman.  In 1918, he published the book The Meaning of Architecture summarizing his views on the role of architecture in the broader spectrum of the arts.

Early years and education

Pond was born in Ann Arbor, Michigan in 1857.  He was the son of Elihu Pond and Mary Barlow (Allen) Pond.  His father was a member of the Michigan State Senate, warden of the Michigan State Prison for two years, the first president of the Michigan Press Association and the editor and publisher of the weekly newspaper, the Argus of Ann Arbor.  Growing up in Ann Arbor, Pond lived in a house on the current site of the Michigan Union, a building he later designed.  His next door neighbor as a child was the noted legal scholar, Thomas M. Cooley.  Cooley encouraged the young Pond, who aspired to be an artist, by presenting him with his first art book and by commissioning Pond to draw a set of cartoons of the Cooley family.  Pond attended the public schools in Ann Arbor before enrolling at the University of Michigan.

Pond was an engineering student at the University of Michigan from 1875 to 1879 and took architecture classes taught by Chicago architect William LeBaron Jenney.  Six years later, Jenney gained fame for designing Chicago's metal-framed Home Insurance Building.  In 1934, Pond wrote an article challenging the popular assertion that the Home Insurance Building was the first steel-framed skyscraper.

While attending the University of Michigan, Pond was a member of the first Michigan Wolverines football team.  On May 30, 1879, the team played its first intercollegiate football game against Racine College at White Stocking Park in Chicago.  The Chicago Tribune called it "the first rugby-football game to be played west of the Alleghenies."  Pond scored the first touchdown in University of Michigan history in the match.  He scored the touchdown midway through "the first 'inning'."  According to Will Perry's history of Michigan football, the crowd responded to Pond's plays with cheers of "Pond Forever."  Pond graduated from Michigan in 1879 with a degree in civil engineering.

Architect

Early career
In 1879, Pond moved to Chicago to pursue a career as an architect.  He worked as a draftsman in the offices of his former teacher, William LeBaron Jenney, and worked as the head draftsman in the office of Solon Spencer Beman during the construction of the planned Pullman community. While working with Beman, Pond was an ardent supporter of the Pullman planned community, he later acknowledged the resentment of Pullman residents that the town was anachronistic and represented some form of medieval barony.

Some of Pond's earliest works as an independent architect were for clients in his home town of Ann Arbor and nearby Detroit.  As early as 1882, he designed "a modest but commodious home of stone and brick" on South State Street for Dr. Victor C. Vaughan.  Pond later pointed to the designs of the old mantels in the Vaughan house which "foreshadowed his future works."  He also designed Ann Arbor's Ladies Library Association Building (1885) and the West Physics Building for the University of Michigan, built in 1887 and destroyed by fire in 1967.  In 1887, he renovated the Detroit Opera House, increasing the seating capacity to 2,100 and relocating the auditorium to the main floor.

In 1886, Pond and his brother Allen Bartlitt Pond (1858–1929) formed their own architectural firm in Chicago under the name Pond and Pond.  The brothers continued to operate the firm for more than 40 years, and their buildings are considered to be among the best examples of Arts and Crafts architecture in Chicago.

Hull House and settlement house movement

The Pond brothers gained their greatest acclaim as the architects for Jane Addams's Hull House.  Their father's work as warden of the state prison had sparked an interest in social reform and the settlement house movement.  Allen Bartlitt Pond was the assistant superintendent of the Armour Mission, an educational and healthcare center, when Jane Addams came to Chicago in January 1889 looking for a building in which to open a new settlement house.  The two became friends and were riding in a carriage when Addams saw an old two-story brick house on Halsted Street.  Addams took a lease on the house, which she named Hull House after its original owner, and hired the Ponds to put the old house into shape.

Between 1890 and 1907, the Ponds were the architects for the Hull House as the project expanded rapidly.  The first building they designed for Hull House was the Butler Art Gallery.  Built in 1891, the Butler Gallery was situated on the same lot as Hull House.  It consisted of a reading room, an exhibition hall that was "the last word in design and lighting for those days," and a studio above. Numerous other building projects followed, including the original coffee house and gymnasium in 1893, the Children's Building in 1895, remodels and additions to the original building in 1895 and 1899, the Jane Club in 1898, a new Coffee House and Hull House Theater in 1899, the Hull House Apartments and Men's Club in 1901 and 1902, the Woman's Club (Bowen Hall) in 1904, the Boys' Club in 1906 and the Mary Crane Nursery in 1907.  The Pond brothers were affectionately known by residents of the Hull House complex as Allen the "deep Pond" and Irving the "wide pond."

One of Addams' biographers wrote that the "Pond brothers did it all, harmonized everything," and described the scene when Irving Pond attended Addams' memorial service in 1935:

Irving K., at Jane Addams memorial services in the Hull House Court, when Doctor Gilkey said, 'if you seek her monument look around you,' looked round also with tears in his eyes but pride in his heart; the visible memorial to Jane Addams was also a visible memorial to the Ponds.

The only surviving building from the Ponds' Hull House complex is the 1905 dining hall, a simple Craftsman style building that was designated as a National Historic Landmark in the 1960s.

The Ponds also designed club houses and settlement houses for other social reform organizations, including the Chicago Commons settlement house building (1901), the Northwestern University Settlement House (1901), and the City Club of Chicago building (1910).  The City Club building, noted for its "gently curving limestone arch that ties together the windows of the second floor," is today operated as the John Marshall Law School.  When the City Club building opened in 1910, it was considered a symbol of the reform movement:

The new building embodied the soaring expectations of the reform movement, as well as providing the material comforts of a middle-class social club.  Its two-story dining-lecture hall, complete with balcony and private eating chambers, accommodated over two hundred for the weekly luncheon talks on social and political issues of the day. ... Architect and club member Irving K. Pond declared that 'every line of the building illustrated some phase of the uplift movement.'

Eagle's Nest and related activities

Pond was also a leading member of the Chicago arts community in the late 19th and early 20th Century. In 1898, Pond was one of the founders of the Eagle's Nest Art Colony near Oregon, Illinois.  Pond and eleven others, including his brother Allen Pond, Lorado Taft, Hamlin Garland, Ralph Clarkson, Horace Spencer Fiske, leased a plot of land on a steep ridge with "craggy rocks" and gnarled cedars overlooking the Rock River.  The Pond brothers designed the home that was built for the colony, and the group spent their summers at the colony with other sculptors, painters, writers, architects, naturalists and kindred spirits.

The artists colony became integrated with the Oregon community, and the Pond brothers undertook several significant architectural projects in the Oregon area:
Oregon Public Library.  In 1908, the city of Oregon built a new public library based on a design by Pond and Pond and with funding from Andrew Carnegie.  The Ponds' design has been described as having a "commodious and pleasing" interior with an exterior of white brick and Elizabethan-Gothic architecture.  One of the unusual features of the design was a two-story art room in which artists from Eagle's Nest displayed their works and offered instruction to local residents.
The Soldier's Monument.  In 1916, the city commissioned a monument that included sculpture by Lorado Taft and an elaborate marble exedra by Pond and Pond.
Lowden Residence.  The residence of Frank Lowden, Governor of Illinois from 1917 to 1921, was another Pond and Pond design.  The house is located several miles south of Oregon on the Sinnissippi Farm.

In 1907, Pond was also one of the founders with Hamlin Garland of the Cliff Dwellers Club (originally known as the Attic Club and later the Little Room), a private club in Chicago for professionals engaged in the fine arts and performing arts.  In its early years as the Little Room, the group was described as "an exclusive organization consisting of creative individuals of like temperament joined together for relaxation."  Pond served as president of the Cliff Dwellers from 1934 to 1935.

Professional organizations
In recognition of his contributions to architecture, Pond became a Fellow of the American Institute of Architects in 1900 and served as president of the American Institute of Architects from 1910 to 1911.  He also represented the U.S. government and the AIA at the International Congress of Architects at Rome and Venice in 1911, delivering addresses at both.  He was also a founder of the Chicago Architectural Club and served as president of the Illinois Society of Architects.

Notable commissions

Unless otherwise mentioned all were designed by Pond and Pond

Pond's best known buildings include three National Historic Landmark structures located in Chicago — the Hull House dining hall the Lorado Taft Midway Studios, and the Frank R. Lillie House (1904).  Other notable Pond designs include the Freer House (1898) in Ann Arbor, the American School of Correspondence building (1906–1907) in Chicago, the federal building in Kankakee, Illinois, the Michigan Union (1919) built on the site of Pond's boyhood home in Ann Arbor, the Purdue Memorial Union (1924) at Purdue University, the MSU Union in East Lansing, Michigan, the Kansas Memorial Union at the University of Kansas, the Park Ridge Public Library, the Michigan League in Ann Arbor, the Omaha Apartments in Chicago, the Kent Building in Chicago (1902), and the Toll Building in Chicago (1908).

Architectural style and philosophy

As early as 1892, Pond became known as one of the "earliest modernizers in architecture."  The Art Institute of Chicago, where Pond's papers are housed, said of the firm: "While Pond and Pond were best known through their work for social service organizations, they designed a wide range of buildings — social, religious, educational/academic, residential, governmental, and civic — mainly in the Chicago area and the Midwest. They were known for detailed brickwork, asymmetrical massing, and distinctive decorative detail, producing fine examples of Arts and Crafts and early modern architecture."

In 1905 a 15-page article in the Architectural Record by Pond and illustrated by his designs was published. Pond described his views in it about architecture as an art:

Architecture is an art, and as an art, it does not consist simply in piling up forms, old or new, but is a means of expression. ... If architecture is an art and art consists in the expression of life, then that is neither architecture nor art which merely reproduces, even in new combinations, the old forms because they were once the accepted forms. That is a phase of archaeology and is unworthy of living architecture. ... However, the old ideas are not to be spurned and the old forms are not altogether to be cast aside when they contain the spark of life ...

Pond's article was viewed by some as a criticism of those in the Prairie School who overemphasized the horizontal over the vertical.  In this regard, Pond wrote:

In architectural composition, as in music, order is comprehended in rhythm.  Rhythm is expressed in the flow of part into part, of mass into mass, in the appearance and reappearance of certain proportions which are made to exist between the subordinate masses and between these masses and the dominant mass; between all the parts of the perfect whole.  Without order there is no architecture; without rhythmic composition no vital architecture can be.  That is the highest architecture in which rhythmic action of the structural forces becomes apparent.  Vertical forces in action, by the law of gravity, tend to work in right lines; horizontal forces, acted upon by this same law tend to work in curves. ...  It is not enough that the rhythmic movement be in horizontal direction only, but there must be a rhythmic flow vertically as well.  The result of these combined movements should be that of unity -- simple in its effect though complex in its harmonies.

Role in the Chicago school

In the AIA Guide to Chicago, the Ponds are identified as part of the "circle of young architects", including Frank Lloyd Wright, that was responsible for "transforming the concepts of the Arts & Crafts movement into the indigenous Prairie  School."  Pond was a contemporary, and in some ways rival, of Wright in the Chicago architectural scene of the late 19th and early 20th Centuries.  Both were members of the Chicago Architectural Club and served as judges and participants in the Club's annual competitions.  One biographer of Wright noted that Wright was insulted when the American Institute of Architects in 1912 commissioned a study of midwestern "progressive architecture" and instructed the investigators to examine the work of Louis Sullivan and Pond, but not including Wright.  In a letter to Lewis Mumford, Wright expressed his dislike for the "truly-old" Pond:

Yesterday someone told me that truly-old I.K. Pond took exception to your 'Sticks and Stones' because you weren't a 'practicing architect.'  What 'practicing architects' know anything at all of architecture anyway, -- even if they could write about it?  Certainly not he.  He's a dried herring, hanging beneath the eaves or Architecture.

While progressive in his approach to architecture, Pond was not as revolutionary as others in the Chicago school of his day.  Architect Stuart Cohen, FAIA, noted that, while the Pond brothers' architecture departs from traditional architectural styles, they "did not break radically from such stylistic forms" but sought instead "to create a modern American architecture without rejecting architectural stylistic traditions, but simplifying them through the emphasis of geometry and the inherent quality of building materials and construction."

In 2009, Pond's autobiography, written in the two years before his death, was published by Hyoogen Press through the efforts of Chicago architect David Swan.  At the time of the autobiography's release, architecture historian Robert Bruegmann opined that the Pond brothers "have remained relatively obscure because they didn't fit in with narratives that wished to see Chicago architecture of the late 19th and early 20th centuries as a prelude to European modernism of the 1920s."  Nevertheless, Bruegmann noted that "Chicago architecture was always a great deal more than that" and expressed his satisfaction that the publication of Pond's autobiography "should go a long way toward bringing back into focus one of America's most interesting and important architectural practices."

Author

Pond was a noted author and member of the Chicago Literary Club from 1888 to 1939. He was the club's president from 1922 to 1923.  Many of his works of fiction, poems and papers on art and architecture were published by the club, including "A Strange Fellow: A Story with an Immoral" (1889), "The Mystery of the Light" (1891), "The Pleasures of Travel (1894), "Can Architecture Become Again a Living Art?" (1895), "The Whale - A Study: The Historic School of Jonah" (1897),  "The Poetry of Motion: and Other Matters" (1899), "A Few Meloncholy Reflections and Lively Anticipations of Misdeeds to Come" (1905), "A Side Light on Architecture" (1906), "Art and the Expression of Individuality" (1911), "Architecture: Its Origins and Illusions" (1914),"Poems" (1917), "Here Lies the Way" (1918), "Such Stuff as Dreams Are Made On." "The Stones of Venice" (1919), "A Day Under the Big Top: A Study in Life and Art" (1924), "On Believing and Leaving" (1928), "Toward an American Architecture" (1930), "Hold Your Horses: The Elephants Are Coming!" (1931), "What Is Modern Architecture?" (1933), "Just One Thing After Another" (1934), and "Do Children Think?" (1938).

Pond was also a frequent contributor to architectural journals and wrote  for The Dial.  In 1910, he published an essay in Gustav Stickley's The Craftsman, advocating an architectural style embodying the American spirit and idealism.  In 1918, he published the book The Meaning of Architecture.

In 1908, Pond's 13-page article on the architecture of telephone exchange buildings, illustrated by the designs of Pond and Louis Sullivan, also appeared in Architectural Record.

Books by Pond
 The Meaning Of Architecture: An Essay In Constructive Criticism (1918)
 The College Union (1931)
 Big Top Rhythms: A Study in Art and Life, written and illustrated by Pond (1937)
 A Strange Fellow, and other Club Papers, written and illustrated by Pond (1938)
 The Autobiography of Irving K. Pond, written in the 1930s and published posthumously (2009)

Later years
Pond was a bachelor until age 72.  Through most of his life, his closest friend was his brother Allen Pond.  In 1918, he wrote the following in the dedication to his book, The Meaning of Architecture:

This book is dedicated to my brother -- my lifelong companion and partner Allen Bartlit Pond.  Through his sympathy and understanding, in the light of his clear thought, and under his inspiration I have been better able to follow those paths of individual, professional and civic endeavor in which a rare ancestry bade us walk.

After his brother died in 1929, Pond married Katherine N. de Nancrede, who was 47 years old, at a ceremony in Ann Arbor.  Pond said at the time, "It's the first time I ever did it, and I thought I ought to be pardoned because of my youth."  Pond was also an amateur acrobat and remained a physical fitness buff all of his life.  At the time of his wedding in 1929, the Associated Press reported that he is "almost as well known for his present athletic agility as for his architectural accomplishments. A part of his daily routine is to turn handsprings and flipflops and do other strenuous exercises."  He drew applause when, on his 80th birthday, he grabbed his bare knees with both hands and performed a backflip.  A photograph of Pond's feat was published in Life magazine in June 1937.

Though he was some 25 years older than his wife, Pond outlived her.  She died in 1935, and Pond died four years later in September 1939 while traveling in Washington, D.C.    The cause of death was reported as a stomach ulcer.  He was age 82 when he died, and he asked that his remains be cremated and sent to the University of Michigan.

Gallery of buildings designed by Pond and Pond

References
Notes

External links

 Irving Kane Pond's American Circus Collection at The Newberry Library

1857 births
1939 deaths
19th-century players of American football
19th-century American architects
Michigan Wolverines football players
Presidents of the American Institute of Architects
Fellows of the American Institute of Architects
Chicago school architects
People from Ann Arbor, Michigan
Deaths from ulcers
University of Michigan alumni
20th-century American architects


A nonose is a monosaccharide with nine carbons.

Nonoses types
Depending on the position of the functional groups, a distinction is made between ketononoses and aldononoses.

Aldononoses have seven chiral centers, which allows the formation of 128 stereoisomers (27), which differ in the position of the hydroxyl groups or the asymmetric carbon atom. Ketononoses have six chiral centers, which gives the possibility of 64 different possible stereoisomers.

Nonoses families
 Neuraminic acid
 Sialic acid
 Legionaminic acid
 Pseudaminic acid

References

Monosaccharides


Fashion 时髦 Moda МОДА, whose name comes from “fashion” in English, Chinese, Spanish and Russian, colloquially referred to as Fashion Moda, started as a cultural concept guided by the idea that art can be made by anyone, anywhere. Fashion Moda was an art space located in the South Bronx, New York founded by Stefan Eins in 1978. As a museum of science, art, invention, technology, and fantasy, it was an alternative art space that combined aspects of a community arts center and a worldwide progressive arts organization until its closing in 1993.

History

Fashion Moda was an art space founded by Stephen Eins in 1978 after closing his previous project, the 3 Mercer Store. Eins was soon joined by artist, poet and musician, Joe Lewis and William Scott, a nineteen year-old from the neighborhood as co-directors. The gallery was located in the South Bronx, outside the traditional art gallery district which was emerging in Soho at the time. Despite this, Fashion Moda quickly became a strong voice in the New York art world during the late 1970s and the 1980s. The venue provided a platform for exchanges between downtown Manhattan artists, graffiti writers, and Bronx residents. The space encouraged the production of creative art, unhampered by the contemporary art market and academic art training. As such, it was a center for many downtown and local South Bronx artists, writers, and performance artists to workshop their ideas and first display their works. Fashion Moda received funding annually with grants from the National Endowment for the Art and the New York State Council of the Arts. In addition to art shows, the space held auctions, performances, seminars, and other events.

With the South Bronx location, Fashion Moda was closely tied to the global emergence of Hip Hop. Wild Style, a documentary by Charlie Ahearn on the manifesto of hip hop used Fashion Moda as studio and subject. Exhibitions and events were usually accompanied by musical performances including those from talents ranging from Afrika Bambaataa or Rammellzee to jazz musicians such as Jerome Cooper and Rasul Siddik.

Fashion Moda played a major role in legitimizing graffiti as an art form by presenting one of the first graffiti gallery exhibitions in October 1980. Curated by the 19-year-old John “Crash” Matos, the Graffiti Art Success for America show featured artists such as Fab 5 Freddy, Futura 2000, Lady Pink, and Lee Quinones. It was one of the first spaces to allow artists to paint directly on the walls and facade of the gallery. This influential show opened up new possibilities for the art form by allowing street artists to connect with critics, collectors, and curators.

Fashion Moda introduced and exhibited a wide range of artists. Fashion Moda facilitated many exhibitions and collaborations between artists. John Ahearn and Rigoberto Torres utilized Fashion Moda as a meeting place and collaborated to create life casts of Bronx locals which were exhibited in the South Bronx Hall of Fame show.

In addition to highlighting new talent, Fashion Moda was a major force in establishing new venues. In 1980, Fashion Moda collaborated with the downtown progressive artist collective, Colab (Collaborative Projects Inc.), on The Times Square Show, which introduced uptown graffiti-related art to the downtown art and punk scenes. Set up in an abandoned massage parlor in Manhattan's Times Square, the Times Square Show included a mock store, performances, graffiti, a punching bag, peep shows, protest actions, and parodic manifestos. The goal of this shows was to legitimize an art form outside of the traditional art scene and exhibit it to the mainstream art world.

In 1982, Fashion Moda was invited to participate in Documenta 7, a quinquennial contemporary art exhibition held in Kassel, Germany. At this event, a store was set up like the Time Square Show where shirts, prints, and novelty items from participating artists could be bought. A video lounge was also set up so that artists’ videos could be watched and purchased. The exhibition reflected the idea of art as a commodity and its power to spread social messages. Joe Lewis left Fashion Moda in 1982, but it continued a program of exhibitions until its official closing in 1993.

Location
Fashion Moda was located in a building at 2803 Third Avenue in the South Bronx. The space was established in a former Salvation Army which was ransacked during the 1977 blackouts. The art space was near 147th Street and the Hub, a shopping center. During the time of Fashion Moda's existence, the South Bronx was a rougher area. The area was stricken by poverty, drugs, and violence. However, during this time, the South Bronx was also an area of intense creativity. The South Bronx location allowed the space and artists who participated in it the freedom to explore the questions "What is art?" and "Who defines it?". In the area, boundaries were being broken and communities were being untied. The location of Fashion Moda allowed it to be a successful art space for many years.

Bibliography

 American culture in the 1980s By Graham Thompson. Edinburgh University Press, 2007.
 New York Open to the Public By Cheri Fein. 1982.

References

External links
Stefan Eins website

American artist groups and collectives
American contemporary art
Graffiti and unauthorised signage
1978 establishments in New York City
Mott Haven, Bronx


In 1952, Frank Lloyd Wright completed his last Los Angeles building, the Anderton Court Shops, a small three-story group of shops on fashionable Rodeo Drive in the downtown section of Beverly Hills, California.

Design
The entrance to all the shops is off of an angular ramp that wraps around an open parallelogram as it leads upward to the shops. Four shops
were envisioned with the penthouse space, an apartment. Like the Marin Civic Center, this is another example of a secular Wright building with a "steeple". The inverted “V” front elevation stands out in sharp contrast to its traditional, flat-front urban neighbors.

Present day
Since the Anderton Court Center's completion, the space has been subdivided. The complex now consists of six small shops, three on each side, each staggered a half-floor from one another and offset by the ramp. The facade, which was once light buff with oxidized-copper-color trim, has been painted white with black detailing. Today's canopy and signage are later additions, not consistent with Wright's original design.

The Anderton Court Shops are on the National Register of Historic Places.

See also
 List of Frank Lloyd Wright works
 History of the National Register of Historic Places
 List of National Historic Landmarks by state
 State Historic Preservation Office
 List of Registered Historic Places in Los Angeles County, California

References

 Storrer, William Allin. The Frank Lloyd Wright Companion. University Of Chicago Press, 2006,  (S.356)

External links

Anderton Court Shops on peterbeers.net
Anderton Court Shops on waymarking.com
 Office of Historic Preservation - California State Parks
 SEARCHING OUT WRIGHT'S IMPRINT IN LOS ANGELES
Photo on Arcaid

Frank Lloyd Wright buildings
Buildings and structures on the National Register of Historic Places in Los Angeles County, California
Commercial buildings on the National Register of Historic Places in California
Buildings and structures in Beverly Hills, California
Landmarks in Los Angeles County, California
Modernist architecture in California
Commercial buildings completed in 1952


An octose is a monosaccharide containing eight carbon atoms.  Lincomycin contains the octose methylthiolincosamide.

See also
 Heptose
 Hexose
 Pentose

References

Monosaccharides


Friederike Caroline Neuber, née Friederike Caroline Weissenborn, also known as  Friedericke Karoline Neuber, Frederika Neuber, Karoline Neuber, Carolina Neuber, Frau Neuber, and Die Neuberin  (9 March 1697 – 30 November 1760), was a German actress and theatre director. She is considered one of the most famous actresses and actor-managers in the history of the German theatre, "influential in the development of modern German theatre." Neuber also worked to improve the social and artistic status of German actors and actresses, emphasizing naturalistic technique. During a time when theatrical managers in Germany were predominantly men, Caroline Neuber stands out in history as a remarkably ambitious woman who, during her 25-year career, was able to alter theatrical history, elevating the status of German theatre alongside of Germany's most important male theatrical leaders at the time, such as "her actor-manager husband Johann, the popular stage fool Johann Müller, the major actor of the next generation Johann Schönemann, the multi-talented newcomer Gotthold Ephraim Lessing, and principally, their de facto Dramaturg, Johann Gottsched."

Life and work

Early life
Friederike Caroline Weissenborn was born 9 March 1697 in Reichenbach im Vogtland to Daniel Weissenborn and his wife Anna Rosine Weissenborn, née Anna Rosine Wihelmine. Her father was a legal court inspector and her mother was very well-educated. From her mother, Caroline learned reading, writing, and French. Her tyrannical father beat her mother until her mother's early death in 1705. Caroline spent the rest of her childhood with her father in Zwickau where she lived from 1702 to 1717. Allegedly, Caroline was unloved and neglected by her father who may have also beaten her; she had a scar on her face attributed to her father's beatings. Reportedly, she attempted to escape her home as early as age 15. However, it was not until age 20, in 1717, that Caroline successfully ran away from home with Johann Neuber, a clerk who had worked for her father. The couple married one year later in 1718. Together the Neubers "served their theatrical apprenticeship in the traveling companies of Christian Spiegelberg (1717–22) and Karl Caspar Haack (1722–25)."

The Neuber Theatrical Troupe
In 1727, she and her husband founded their own acting troupe which became a "training ground for some of the great actor-managers to come”. That same year their company was "granted a patent by the elector of Saxony, Frederick Augustus I, to perform at the Leipzig Easter Fair." The troupe is recorded to have played in nineteen towns and cities as spread out as Warsaw, Kiel, and Strasburg, most often in Dresden, Hamburg, and Leipzig. Although no complete repertoire for the company exists there is an existing "detailed account of eight months in 1735, 8 April to 5 December" in which the troupe is listed to have performed "seventy-five 'Schauspiele' (a mixture of 'Tragödien' and 'Cömodien') in 203 performances." Additionally, they are recorded to have performed ninety-three Nachspiele (a short play usually following a longer comedy or tragedy) in 107 performances during these eight months. The Neuber troupe has been described by historians as "a training ground for later principles" such as Heinrich Koch and Friedrich Schönemann, "each of whom founded his own troupe afterwards and enjoyed far more success than his mentor."

Partnership with J.C. Gottsched
As early as 1725, Neuber's acting technique had "attracted the attention of Johann Christoph Gottsched, the critic and drama reformer who modeled his work on classical French tragedy and comedy." Throughout her career, she was active in the introduction of the French theatre in Germany, and worked closely with Gottsched and his wife, Luise Gottsched, to elevate the status of German theatre. Gottsched was the first to call her "Die Neuberin." Gottsched was important to the Neubers' company for he initiated in their company a "careful learning of parts and rehearsal for the heavily improvised farces and harlequinades that then dominated the German stage." The theatrical partnership between Caroline Neuber and Johann Gottsched lasted until 1739 and is "usually regarded as the turning point in the history of German theatre and the start of modern German acting."

Banishment of Harlekin/Hanswurst
In 1736 Caroline Neuber came to Frankfurt with the intention to perform respectable theatre and set up her stage on the Liebfrauenberg. The Neubers pattern in 1736-7 was to play "major dramas of classical base of German imitations" while excluding the traditionally crude topics associated with the popular theatrical character Harlekin from their performances. This demonstrated that a change in tone for theatre in Frankfurt was beginning, with the Neubers performances that were more respectable than the popular theatre revolving around Harlekin. However, it took more than Neuber's resolve to "change the taste and demands of most audiences of the day."

In 1737, Neuber symbolically banished Hanswurst from the stage as part of her efforts to elevate the status of German theatre. The staged banishment has generally been regarded as an emblematic moment in German theatre history for the transition from popular, improvised, so-called "Stegreiftheater" to a modern bourgeois literary mode. These Hanswurt plays were created specifically for the enjoyment of male audiences. During this period it was becoming more acceptable for women to pursue work as actresses; however, it was still unacceptable for women to work as managers of theatrical companies. Theatre historians of the late eighteenth century often described Caroline Neuber as one who had a masculine spirit and manly ambitions in order to reconcile what they viewed as “the disparity between her professional achievements and her gender role.” Neuber died near Dresden, aged 63.

Partnership with Lessing
Caroline is attributed with discovering playwright Gotthold Ephraim Lessing, often considered by historians to be the first dramaturg. After meeting Caroline, his interest in theatre grew. He translated several French plays for her and eventually wrote his first play, The Young Scholar which Neuber produced for him in 1748.

Legacy

Caroline Neuber (play)
Caroline Neuber, called Die Neubrin in many of its productions, is a biographical play written by Eberhard Keindorff and Gunther Weisenborn about Caroline Neuber's life. The play was created for actress Agnes Straub. Caroline Neuber premiered in the 1934/35 season in The Third Reich and was written as "the government consolidated its power and generated arts bureaucracies to oversee the publication, production, and response to plays." The play was permitted publication in 1934 and premiered in Berlin in 1935. Caroline Neuber is unusual for its era, in which German theatre was censored by the Nazis, for the content of the play "challenges some of the basic cultural prejudices of the Third Reich." By this point in history, Caroline Neuber was seen by theatre professionals as an important theatrical reformer of the 18th century. Because of this Keindorff and Weisenborn crafted a play about her life that served as a means for audiences to compare Neuber's reformation to the Nazi-directed theatrical reformation and thus, critique Nazi-theatre appropriately. When analyzed, Caroline Neuber is interpreted as "a condemnation of the Third Reich itself." However, for those who had the power to censor theatre, Neuber's biography play was seen simply as a play about a famous actor, manager, and reformer that "complimented National Socialist reforms of the stage." The Nazis were initiating reforms to create what they saw as "new, honest, noble, wonderful German theatre." Because of this to "the general audience Die Neuberin was star biography; for the preferred audience, the reform stage of the past collided with the reforming stage of the present." Caroline Neuber's legacy as not only an actress/manager but a reformer of the German stage served as a vehicle for Germans to learn from the past and critique the present.

Caroline Neuber Prize
This award commemorates Neuber's theatrical contributions to Germany. Since 1998, the city of Leipzig awards the Caroline Neuber Prize endowed with €6,000 every two years on her birthday in March. The prize is awarded to a female theatre artist from a German-speaking country who sets new standards for excellence in theatre arts. Those who have been honored with the prize include Monika Gintersdorfer, Jutta Hoffmann, Inge Keller, Konstanze Lauterbach, Nele Hertling, Karin Henkel, Sasha Waltz, and Ann-Elisabeth Wolff.

References

External links

1697 births
1760 deaths
People from Reichenbach im Vogtland
People from the Electorate of Saxony
German theatre directors
German women theatre directors
Actor-managers
18th-century German actresses
18th-century German businesswomen
18th-century German businesspeople
18th-century theatre managers
German theatre managers and producers
Women theatre managers and producers


Collier Area Transit (CAT) is the public transportation system in Collier County, Florida. Regular transit bus service and the paratransit system are administered by the Collier County Department of Alternative Transportation Modes. Service is provided to Immokalee, Marco Island, Golden Gate and the City of Naples area, seven days a week from 6 a.m. to 7:30 p.m. depending on the route.

Routes
, there are 21 bus routes. Keolis does not operate here anymore. now its MV.

References

Bus transportation in Florida
Transportation in Collier County, Florida
2001 establishments in Florida


Craige Schensted (), who formally changed his name to Ea Ea, was an American physicist and mathematician who first formulated the insertion algorithm  that defines the Robinson–Schensted correspondence. Under a different form, that correspondence had earlier been described by Gilbert de Beauregard Robinson in 1938, but it is due to the Schensted insertion algorithm that the correspondence has become widely known in combinatorics. Schensted also designed several board games including *Star,  Star, and Y. In  1995, he changed his name to  Ea, the Babylonian name for the Sumerian god Enki, and in 1999 changed it to Ea Ea. He lived on Peaks Island in Portland, Maine.

References

External links
Home page of Ea Ea, formerly Craige Schensted
Biography of Ea Ea
Obituary of Ea Ea

Board game designers
Year of birth missing (living people)
20th-century American mathematicians
21st-century American mathematicians
People from Portland, Maine
Living people


Amalia Uys (born 14 October 1984) is a South African actress. She starred as San-Mari van Graan in the soap opera 7de Laan from 2006 to 2013.

Early life
Uys was born in Springbok, Northern Cape. She matriculated at Hoërskool Menlopark in Menlo Park, Gauteng. She graduated from Stellenbosch University in 2003, after which she moved to Johannesburg.

2008 helicopter crash
On Saturday 31 May 2008, Uys suffered injuries when a helicopter that she and two fellow 7de Laan cast members (Sekoati Tsubane  and Hazel Hinda) were traveling in crashed into a car shortly after take off.
The actors were in Kroonstad for the first day of a 12-month promotional tour for SABC2.
Tsubane and Hinda were discharged shortly after checking into hospital but Uys had to remain overnight for her wrist fracture. Neither the pilot nor the car driver were injured in the incident.

References

External links
 7de Laan official website

1984 births
Living people
People from Nama Khoi Local Municipality
South African soap opera actresses
Stellenbosch University alumni


Godzilla: Asian American Arts Network was a New York-based Asian American arts collective and support network established in 1990. Founding members Ken Chu, Bing Lee, Margo Machida, and others established Godzilla in order to facilitate inter-generational and interdisciplinary dialogue and collaboration for Asian American artists and art professionals. The collective provided visibility in local and national exhibitions, developed press outreach strategies, published newsletters, and sponsored symposia on Asian American art. It was disbanded in 2001.

Godzilla's contemporaries included Godzookie, and the Barnstormers.

History
The original members of Godzilla were Tomie Arai, Ken Chu, Karin Higa, Arlan Huang, Byron Kim, Bing Lee, Colin Lee, Janet Lin, Mei-Lin Liu, Margo Machida, Stephanie Mar, Yong Soon Min, Helen Oji, Eugenie Tsai, Charles Yuen and Garson Yu. Some of Godzilla's members were previously involved in Basement Workshop and Asian American Art Centre. Members decided to name the organization "Godzilla" after Japanese movie monster Godzilla.

The collective organized "slide slams" where hundreds of artists had the opportunity to display their work as well as view other artists' works. Godzilla also published a national newsletter that included member-written opinion pieces, coverage of Asian American art from across the United States, and calls for artwork. Because Godzilla members rejected formally becoming a 501(c)3 organization, rotating volunteer committees coordinated much of its work. The Godzilla logo and newsletters were designed and produced by Charles Yuen.

Other notable artists and arts professionals who later joined Godzilla include artists Paul Pfeiffer, Zhang Hongtu, Nina Kuo, Allan deSouza, Lynne Yamamoto, and art critic Alice Yang.

Whitney Biennial Protest
In the spring of 1991, members of Godzilla published a letter highlighting the historic absence of Asian American artists in the Whitney Museum of American Art's Biennials. The collective chose to call attention to this absence in part because of the Whitney Biennial's influence in establishing trends in the American art scene. In response to Godzilla's letter, Whitney Museum director David Ross met with Godzilla members Tsai, Machida, Pfeiffer and others to discuss plans to expand minority representation the Whitney's curatorial staff, which was intended to in turn improve the representation of minority artists in the Whitney's future biennials. Tsai was subsequently appointed as a curator at the Whitney in 1994.

Notable exhibitions

 Dismantling Invisibility: Asian and Pacific Islander Artists Respond to the AIDS Crisis, 1991, Art in General, New York, New York
 The New World Order III: The Curio Shop, 1993, Artists Space, New York, New York
 Urban Encounters, New Museum, 1998
 Why Asia, 2001

External links
NYU's Fales Library and Special Collections Guide to the Godzilla Asian American Arts Network Archive

References

Asian-American art
American artist groups and collectives
Asian-American organizations
Arts organizations established in 1990
1990 establishments in the United States


Diane Pearson (5 November 1931 in London – 15 August 2017 in London) was a British book editor and romance novelist, who has been translated into several languages.

In 1994, she won the British Book Award for Editor of the Year and was the President of the Romantic Novelists' Association from 1986 to 2011, when she retired.

Biography
Margaret Diane Pearson was born on 5 November 1931 in Croydon, London, England, daughter of Miriam Harriet Youde and William Holker. During her childhood, she often visited her grandparents in a village on the Surrey/Kent borders. She attended Secondary School in Croydon.

At 16, she started her career in publishing with Jonathan Cape Ltd, and was senior editor at Transworld for 38 years. In 1994, she won the British Book Award for Editor of the Year.

In addition, she is the writer of several short stories and novels, which have been translated into several languages.

In 1975, she became the second wife of the Irish actor and physician Richard Leeper McClelland ( Richard Leech) (1922–2004). As a widow, she lived in her native London until her death in 2017.

Bibliography

Whitman Saga
The Marigold Field (1969)
Sarah Whitman (1971) a.k.a. Sarah

Single novels
The Loom of Tancred (1967) a.k.a. Bride of Tancred
Csardas (1975)
The Summer of the Barshinskeys (1984)
Voices of Summer (1992)
Chaos at High Altitude (2012)

Anthologies in collaboration
Sarah Whitman; The Runaways; Nunaga; The Winds of War (1972) (with Victor Canning, Duncan Pryde and Herman Wouk)
Proof; The Old Man of the Sea; Stillwatch, The Summer of the Barshinskeys (1985) (with Dick Francis, Ernest Hemingway and Mary Higgins Clark)
Reader's Digest Condensed Books (1995) (with Terence Strong, Mary Higgins Clark and Ewan Clarkson)
The Censor (2009) in Love Me, Love Me Not
Count the Days (2011) in Romance and Mystery Under the Northern Lights

References and sources

1931 births
2017 deaths
English romantic fiction writers
English editors
Writers from Croydon


The 2010 United Nations Security Council election was held on 12 October 2010 during the 65th session of the United Nations General Assembly, held at United Nations Headquarters in New York City. The elections were for five non-permanent seats on the UN Security Council for two-year mandates commencing on  2011. The General Assembly elected Colombia, Germany, India, Portugal, and South Africa.

Procedure

In accordance with the Security Council's rotation rules, whereby the ten non-permanent UNSC seats rotate among the various regional blocs into which UN member states traditionally divide themselves for voting and representation purposes, the five available seats are allocated as follows:

One for Africa (held by Uganda)
One for Asia (held by Japan)
One for Latin America (held by Mexico)
Two for the Western European and Others Group (held by Austria and Turkey)

Term
The five members will serve on the Security Council for the 2011–12 period.

For the WEOG seats Germany, along with Canada, and Portugal, stood for election. India ran uncontested for the Asian seat since Kazakhstan stood aside. South Africa also ran uncontested for the African seat after being endorsed by the African Union. After dropping out to Brazil in the 2009 election, Colombia also ran unopposed.

Elected members
Africa: South Africa replaces Uganda
Asia: India replaces Japan
GRULAC: Colombia replaces Mexico
WEOG: Germany and Portugal replace Austria and Turkey

Results
The results in the three uncontested seats were as follows: India received 187 votes, South Africa 182 votes and Colombia 186 votes.

For the two Western European and Others Seats the results were as follows:

Round 1
Germany 128
Portugal 121
Canada 114
Germany was elected as they passed the two-thirds majority.

Round 2
Portugal 113
Canada 78
Following this round of voting Canada officially withdrew its candidacy.

Round 3
Portugal 150
Canada 32

Some states continued to vote for Canada, as withdrawal of candidacy is not binding and member states may vote for any state they please. However, the withdrawal was sufficient to ensure the election of Portugal by a two-thirds majority.

Reactions

Canada
Canadian Foreign Minister Lawrence Cannon acknowledged that foreign policy under the Conservative government had played a role in the loss – even as he said that policy is based on sound democratic and human rights principles. "We will not back down from our principles that form the basis of our great country, and we will continue to pursue them on the international stage," Cannon said. "Some would even say that, because of our attachment to those values, we lost a seat on the council. If that's the case, then so be it." Blame was also shifted toward Liberal Party of Canada leader Michael Ignatieff  for the defeat by the Conservative Party of Canada, though he rejected the blame as "ridiculous". "The blame game is a sign of a government that is unwilling to absorb the lessons of defeat." He, along with his foreign affairs critic Bob Rae, also said Prime Minister Stephen Harper had "paid the price" for a change in the foreign relations of Canada away from the traditional path of the Liberal and Progressive Conservative governments since the second half of the twentieth century. They cited Canada's tradition of peacekeeping missions, a balance in policies toward Israel and Palestine, aid and economic links with Africa and multilateral work on the environment and other global issues. One former diplomat said "We've suffered a loss that we haven't previously suffered in our foreign policy. It is a significant defeat for Canadian policy. We presented ourselves for a seat and the membership found us inadequate."

In a December 2011 interview, Canada's new foreign affairs minister John Baird attributed the failure to win a seat to principled positions taken by Canada on certain international issues: “Maybe if we had shut up, and not talked about gay rights in Africa; maybe if we had shut up and been more quiet about our concerns about Sri Lanka; maybe if we hadn't been so vocally against the deplorable human rights record in Iran, maybe Iran might have voted for us.... But we didn't and I don't think we regret anything. Iran probably voted against us; North Korea probably voted against us; Gadhafi probably voted against us. I think those are all badges of honour.”

India
India's envoy to the UN, Hardeep Singh Puri said "We have worked hard ... we have pushed for every single vote".

See also
List of members of the United Nations Security Council
Canada and the United Nations
Germany and the United Nations
India and the United Nations
European Union and the United Nations

References

External links
 UN document A/65/PV.28 (Official record of proceedings)
 UN document GA/11009 (UN Department of Public Information)
 Report from official UN YouTube channel
 UN News Centre
 Press Conference on Rules of Procedure for Security Council Elections (11 October 2010)

2010 elections
2010
2010 in international relations
Non-partisan elections
October 2010 events


Pond and Pond was an American architecture firm established by the Chicago architects Irving Kane Pond and Allen Bartlitt Pond.

Overview

Working in the Arts and Crafts idiom, the brothers gained renown for elaborately detailed brickwork and irregular massing of forms. One of their earliest projects, in 1885, was a building for the Ladies Library Association of Ann Arbor, Michigan. Only the dated cornerstone survives—preserved in a stairwell of the present Ann Arbor Public Library.

Irving K. and Allen B. Pond were born in Ann Arbor, Michigan. Their father was newspaperman Elihu Pond, editor of the weekly Ann Arbor Argus. Jokingly called by friends "Ikey" and "Abie", after their initials, the two brothers attended the University of Michigan, where in 1879 they were pupils in architectural classes given by William LeBaron Jenney, who commuted from Chicago to deliver the first courses in architecture at Michigan. [Later, in the Home Insurance Building, Jenney developed the steel skeleton framework that made highrise buildings possible.]

The Pond brothers were part of an active artists' scene in Chicago that included Lorado Taft, Bert Leston Taylor, Jane Addams, and Harriet Monroe.  The brothers were founding members of the Cliff Dwellers Club of Chicago, of the Eagle's Nest Art Colony in Ogle County, Illinois, and associated with Jane Addams' Hull House in Chicago, for whom they designed various buildings.

The firm was considered among the "earliest modernizers in architecture" in the period after the Great Chicago Fire.

The firm was also notable for its success in a new field of architectural design, that of large university student union buildings.  Pond and Pond built student unions for the campuses of Purdue University, University of Michigan, Michigan State, and University of Kansas.  One interesting note is that their most significant student union building, the Michigan Union, was built on the site of the brothers' boyhood home.

Allen Bartlitt Pond was born in Ann Arbor, MI, on November 21, 1858, and died in Chicago on March 17, 1929.  Irving Kane Pond was born in Ann Arbor on May 1, 1857, and died in Washington, D. C., on September 29, 1939.

Architects trained through the firm of Pond and Pond include Andrew Willatsen.  The firm's papers are housed in the Art Institute of Chicago.

Selected commissions

 Victor Clarence Vaughan House - Ann Arbor, MI (1882) Irving Pond
 West Physics Building (demolished 1966) - University of Michigan, Ann Arbor, MI (1887)
 J.C. Coonley House - Chicago, IL (1894)
 Paul C. Freer House - Ann Arbor, MI (1898)
 James Westfall Thompson House (now Faculty Housing) - Hyde Park, Illinois (1899)
 Eugene R. Hutchins Residence, 1429 N. Astor St. Chicago, IL 1890s
 Fred W. Job Residence, 4575 S. Oakenwald Ave. Chicago, IL 1890s
 Kasson Residence, 1442 Astor St. (formerly 148 Astor)  Chicago, IL 1900s
 Chicago Commons Building - Chicago, IL (1901)
 Howe House - Evanston, Illinois 1905
 Kent Building/Kuppenheimer Warehouse - Chicago, Illinois (1905)
 Hull House Dining Halls - Chicago, Illinois (1905)
 Hull House, Coffee House - 800 S. Halsted St., Chicago, IL (1905)
 Geneva Lakes Family Y.M.C.A - Main and Wrigley Dr., Lake Geneva, WI (1905)
 American School of Correspondence Building - University of Chicago, Hyde Park, Illinois (1907)
 Lorado Taft Midway Studios - Hyde Park, Illinois (1909)
 Thalfried Estate - 565 East Deerpath, Park Ridge, IL (1909)
 Post Office - Kankakee, IL (1908)
 Oregon Public Library - Oregon, Illinois (1909)
 City Club Building - Chicago, Illinois (1910)
 Park Ridge Public Library - Park Ridge, IL (1912)
 Soldiers' Monument - Oregon, IL (1916)
 Michigan Union Building - University of Michigan, Ann Arbor, MI (1917)
 Big House, Los Alamos Ranch School - Los Alamos, New Mexico (1917)
 Purdue Memorial Union - West Lafayette, IN (1924)
 Student Union Building - Michigan State University, East Lansing, MI (1924)
 Manor House - Kenosha, Wisconsin (1926)
 Student Union Building - University of Kansas, Lawrence, Kansas (1927)
 Chicago Lighthouse for the Blind Building - Chicago, Illinois (1927)
 Michigan League Building - University of Michigan, Ann Arbor, MI (1929)
 Student Publications Building - 420 Maynard Street, University of Michigan, Ann Arbor, MI
 YMCA Building, 110 North Fourth Avenue, Ann Arbor, MI
 Baptist Home Missionary Training School - Chicago, IL
 Franklin Head Residence - Chicago, IL
 Highland Park Club House - Highland Park, IL
 Prairie Style Home: William F. Dummer, Coronado, CA
 Albany Park Presbyterian Church, 4850 N St. Louis Ave, Chicago, IL

References
Notes

External links

 Pond and Pond papers at the Art Institute of Chicago

Architecture firms of the United States
Arts and Crafts movement


Mahmoud Mohammad Issa Mohammad (محمود محمد عيسى محمد) (born in 1943) was a Palestinian and former member of the Popular Front for the Liberation of Palestine. After a publicized battle with Canadian immigration authorities, he was deported to Lebanon in 2013 and died from cancer in 2015.

Background

In 1968, Mohammad was involved in the attack of a commercial El Al aircraft at an airport in Greece. Under orders of the Popular Front for the Liberation of Palestine, the then-25-year-old and another man hurled grenades and sprayed the plane with machine-gun fire, killing Leon Shirdan, a 50-year-old Israeli maritime engineer. After the attack, the Associated Press referred to the aircraft as "blazing, smoking" and "bullet-riddled".

Mohammad and his accomplice were arrested at the airport. In 1970 he was convicted of manslaughter and other charges and sentenced to 17 years in jail. However, he was freed a few months later after another Palestinian terrorist group hijacked a plane and threatened to kill the passengers unless the government released Mohammad.

After being pardoned by Greece, Mohammad lived in different parts of the Middle East, including Lebanon, where he married his wife in 1976. The couple spent a few months in Cyprus in the 1980s until he was barred from re-entering the country for security reasons in 1984.

Life in Canada and legal battle
In 1987, he applied for residency in Canada while failing to disclose his membership in the PFLP and his criminal history.

On December 15, 1988, an immigration adjudicator ruled Mohammad should be expelled from the country because he had concealed his role in the 1968 politically motivated attack in Greece. However, before he could be deported, he filed a refugee claim and was able to avoid deportation for more than 25 years due to appeals and legal maneuvering. He lived in Brantford, Ontario, with his wife Fadia Khalil. He has three children and two grandchildren.

In 2001, the refugee board's appeal division concluded that Mohammad was a "terrorist" under Canada's Immigration and Refugee Act and upheld his deportation. However, Mohammad was granted another pre-removal risk assessment in 2006, which meant a new hearing and a re-evaluation of an earlier risk assessment that found it would not mean his certain death to send him to a Lebanese refugee camp.

Mohammad denies he was a terrorist, stating in 1988 that: "I was a freedom fighter – not a terrorist. I was fighting Israel, the enemy of (his people)... My record in Canada is clean, clear and good." He has also stated, regarding efforts to deport him that "I'll fight to the last moment. I am not going to give up." When asked by a FOX News reporter about whether he regretted his crime, he responded: "[It's] not your business. [It's] not your business... This is not your business."

As of March 2011, it has been estimated that Mohammad's 23-year legal case has cost Canadian taxpayers over $3 million. James Bissett, a former Canadian diplomat, who now works with Centre for Immigration Policy Reform, has cited Mohammad's case as "the classic case" demonstrating the flaws in Canada's immigration and refugee system, noting that: "He's still here and his case is still before the court. It's cost the taxpayer $3 million and he's not paying."

Deportation in  2013
On May 11, 2013, after fighting deportation for more than 25 years, Mohammad was deported from Canada to Lebanon. At a press conference, Canadian Immigration Minister Jason Kenney praised the deportation, stating: "After a 26-year stay in Canada, we finally succeeded in deporting this convicted terrorist killer. Mr. Mahmoud Mohammad Issa Mohammad represents just how broken Canada's immigration and refugee determination systems had become under previous governments...[Mohammad] lied about his identity a criminal past, he lied about not having ties to terrorist organizations...Mr. Mohammad flagrantly violated Canada's fair immigration laws and this country's generosity. He made a mockery of our legal system."

At the same conference, Kenney cited Mohammad's case as a failure of Canada's immigration system, stating that: "This case is almost a comedy of errors, with delays, with a system that was so bogged down in redundant process and endless appeals that it seemed to some that we would never be able to enforce the integrity of Canada's immigration system and deport this terrorist killer.

Phil McColeman, the Member of Parliament for Brant, praised the deportation, stating that "As country we accept people from all over the world who want to come to Canada and we expect that when they come here they are law-abiding citizens who play by the rules. We can't and we shouldn't tolerate it when people misrepresent themselves in order to get into Canada...What do we say to the thousands of others who are law-abiding citizens who are honest about their background and who want to come to Canada. To do otherwise, to allow someone like him to stay, we'd be legitimizing misrepresenting yourself to get into Canada and saying that well, if you do that, and stay here long enough, we'll forget about it."

Commenting on Mohammad's deportation, Shimon Fogel, CEO of the Centre for Israel and Jewish Affairs (CIJA), stated: "It really was a thorn in our side, much like some of the known Nazi war criminals who were able to dodge the system. There was just something glaringly unjust about his ability to take advantage of everything that Canada had to offer even though he had blood on his hands." Fogel further stated that "Although long delayed, justice was ultimately not denied in this case. Just as it is critical that we provide swift and compassionate support to legitimate refugees, it is likewise essential that we prevent Canada from being used as a safe haven for terrorists."

His deportation was welcomed by the family of Leon Shirdan, the Israeli man who was killed in the 1968 attack. His grandson, Ran Shirdan, who also lives in Canada, stated that his family had "no sense of closure" until "Canada announced the deportation of this revolting excuse for a human being", stating that the deportation was "Way late — but late better than never."

Mohammad's deportation was criticized by immigration lawyer Lorne Waldman, who claimed it was evidence of a pro-Israel stance of the Conservative government of Stephen Harper. Mohammad's lawyer, Barbara Jackman, expressed concern that Mohammad will not be able to afford proper medical treatment in Lebanon.

References

1943 births
Living people
People convicted of manslaughter
Applicants for refugee status in Canada
Popular Front for the Liberation of Palestine members
People deported from Canada
Palestinian people imprisoned abroad
Prisoners and detainees of Greece
Recipients of Greek pardons


The Archdiocese of Boston sex abuse scandal was part of a series of Catholic Church sexual abuse cases in the United States that revealed widespread crimes in the American Catholic Church. In early 2002, The Boston Globe published results of an investigation that led to the criminal prosecutions of five Roman Catholic priests and thrust the sexual abuse of minors by Catholic clergy into the national spotlight. Another accused priest who was involved in the Spotlight scandal also pleaded guilty. The Globe's coverage encouraged other victims to come forward with allegations of abuse, resulting in numerous lawsuits and 249 criminal cases.

Subsequent investigations and allegations revealed a pattern of sexual abuse and cover-ups in a number of large dioceses across the United States. What had first appeared to be a few isolated cases of abuse became a nationwide scandal, then a global crisis, for the Roman Catholic Church.

Ultimately, it became clear that priests and lay members of religious orders in the Catholic Church had sexually abused minors on a scale such that the accusations reached into the thousands over several decades. Although the majority of cases were reported to have occurred in the United States, victims have come forward in other nations such as Ireland, Canada, Australia, New Zealand and India. A major aggravating factor was the actions of Catholic bishops to keep these crimes secret and to reassign the accused to other parishes in positions where they had continued unsupervised contact with youth, thus allowing the abusers to continue their crimes.

The investigation of the scandal by The Boston Globe was titled "Spotlight Investigation: Abuse in the Catholic Church". Its in-depth reporting was the central subject of Tom McCarthy's film Spotlight in 2015, which won two Academy Awards including Best Picture.

History

Boston Globe coverage
In 2002, criminal charges were brought against five Roman Catholic priests in the Boston, Massachusetts area (John Geoghan, John Hanlon, Paul Shanley, Robert V. Gale and Jesuit priest James Talbot) who were all convicted and sentenced to prison. The ongoing coverage of these cases by The Boston Globe brought the issue of "sexual abuse of minors by Catholic priests" into the national spotlight.

Cover-ups
Grassroots public advocacy groups like Voice of the Faithful focused on Cardinal Bernard Francis Law after documents revealed his extensive role in covering up incidents of sexual misconduct of his priests. For example, Cardinal Law moved Paul Shanley and John Geoghan from parish to parish within the diocese despite repeated allegations of molestation of children under the priests' care. Later, it was discovered that Shanley had addressed a 1978 conference that led to formation of the North American Man/Boy Love Association (NAMBLA).

In 1984, John Brendan McCormack became Secretary for Ministerial Personnel in the Archdiocese of Boston. In this role, McCormack was Cardinal Law's point of interface for reviewing complaints against priests accused of sexual misconduct and removing some of them from active duty. He was later accused of taking too little action in handling Geoghan, a Boston priest who allegedly molested over 130 children during his ministry.

In 1990, after receiving complaints from an alleged victim, he removed one priest from duty and sent him to treatment, only for the same priest to later serve as a hospital chaplain. He also wrote conciliatory letters to another priest accused of pedophilia and who once defended NAMBLA, then failed to notify the diocese to which that priest was later transferred of the accusations made against him.

Cardinal Law's response
Cardinal Law's term as Archbishop of Boston began in popularity but quickly declined into turbulence towards the end of his tenure. Allegations and reports of sexual misconduct by priests of the Archdiocese of Boston became widespread causing Roman Catholics in other dioceses of the United States to investigate similar situations there. Cardinal Law's actions and inactions prompted public scrutiny of all members of the United States Conference of Catholic Bishops and the steps they had taken in response to past and current allegations of sexual abuse at the hands of priests. The events in the Archdiocese of Boston exploded into a national Roman Catholic Church sex abuse scandal.

Law's public statements and depositions during the abuse crisis claimed that the Cardinal and Roman Catholic Archdiocese of Boston did not initially have the expertise to understand pedophilia and ephebophilia and relied upon doctors' recommendations. In January 2002, Law stated, "I promulgated a policy to deal with sexual abuse of minors by clergy. This went into effect on January 15, 1993", and asserted that the "policy has been effective." In one 2002 deposition, Law said that his practice under the policy was to seek the advice of mental health professionals before deciding whether a priest accused of sexually abusing a child should be returned to the pulpit.

Impact on the diocese
In 2002, the Boston Archdiocese agreed to pay $10 million to victims of Geoghan, and in 2003, it paid an additional $85 million to 552 victims and parents who had filed civil lawsuits over the ignored abuse. In some cases, insurance companies balked at meeting the cost of large settlements, claiming the actions were deliberate and not covered by insurance. This caused additional financial damage to the Archdiocese, which already faced the need to consolidate and close parishes due to changing attendance and giving patterns. In June 2004, much of the land around the Archdiocese of Boston headquarters was sold to Boston College, in part to raise money for legal costs associated with the scandal.

Resignation of Cardinal Law
Cardinal Law submitted his resignation to the Vatican, and Pope John Paul II accepted his resignation on December 13, 2002. The Archdiocese closed sixty-five parishes before Cardinal Law stepped down from service. In response to the scandal, over fifty priests signed a letter declaring no confidence in Cardinal Law and asking him to resign.

In a statement and apology, Law said, "To all those who have suffered from my shortcomings and mistakes I both apologize and from them beg forgiveness." He remained cardinal, which is a separate appointment, and participated in the 2005 papal conclave.

Handling by Bishop Lennon
Bishop Richard Lennon's appointment as apostolic administrator of the Boston archdiocese, following the resignation of Cardinal Law, brought criticism from some sex-abuse victims' groups. This criticism increased after Bishop Lennon's appearance in the Frontline documentary Hand of God. The movie documents the history of a Salem, Massachusetts sex scandal and its effects on the film maker's own family. Lennon closes the Salem parish despite the fact it is not losing money for the Church. Then, when the movie's filmmaker attempts to film the administrative building where his brother reported his own sexual abuse, Lennon exits the building, shoves the camera, and declares he will not "feel bad about this" after being told why the filmmaker wants to film the building's exterior. He does not respond to the invitation to dialogue that the filmmaker's presence on the property represents, and attempts to avoid discussion of the sex scandal by refusing to talk about anything other than the Church's private property rights (i.e. trespassing). He responds to the filmmaker's claim that he doesn't care by calling the filmmaker a "sad little man."

Archbishop O'Malley
Bishop Seán Patrick O'Malley was appointed Archbishop of Boston on July 1, 2003, having already dealt with sexual abuse scandals in the dioceses of Palm Beach and Fall River.

On August 25, 2011, Cardinal O'Malley released a list of 159 names of priests who had been accused of sexually abusing a minor. The publication mentioned that 250 priests in the archdiocese had been accused but 69 names were omitted because they were either deceased, were not active ministers, had not been publicly accused, or were dismissed or left prior to canonical proceedings. An additional 22 names were omitted because the accusations could not be substantiated; nine of these priests were still in active ministry.

Significant sexual abuse cases

Joseph Birmingham
In 1987, after at least 23 years of child molesting by Father Joseph Birmingham during which time he was shuffled to various parishes, the mother of an altar boy at St. Anns wrote to Law asking if Birmingham had a history of molesting children. Cardinal Law wrote back "I contacted Father Birmingham. ... He assured me there is absolutely no factual basis to your concern regarding your son and him. From my knowledge of Father Birmingham and my relationship with him, I feel he would tell me the truth and I believe he is speaking the truth in this matter."

Paul Desilets
Paul Desilets, a retired Quebec priest, had been indicted on 27 counts of indecent assault and battery dating back to his time as a parish priest in Bellingham, Mass., between 1978 and 1984. In 2005, he was convicted and sentenced to 1 to 1.5 years in prison. He was later released in 2006 after serving 17 months.

Robert V. Gale
Robert V. Gale was sentenced to 4.5–5 years in prison in 2004 after pleading guilty to repeatedly raping a boy in Waltham during the 1980s. Gale (who had been treated in 1987 following years of abusing children) began a restricted ministry around 1992, living at St. Monica's in South Boston while studying at the University of Massachusetts.

Cardinal Law, who had the ultimate authority, signed off on letting Gale remain at St. Monica's. An adolescent reported that Gale abused him in his room/office in the rectory just a few months after Law's decision was made. Gale completed his prison sentence on March 17, 2009. At the time of his release, he had been transferred to the Massachusetts Treatment Center for the Sexually Dangerous in Bridgewater, where it was determined he could be released nine months early for good behavior.

John Geoghan

John Geoghan (1935–2003) was accused of sexual abuse involving more than 130 children. Charges were brought in Cambridge, Massachusetts alleging molestation that took place in 1991. Geoghan was laicized in 1998. In January 2002, Geoghan was found guilty of indecent assault and battery for grabbing the buttocks of a ten-year-old boy in a swimming pool at the Waltham Boys and Girls Club in 1991, and was sentenced to nine to ten years in prison.

The trial included testimony by the victim. Dr. Edward Messner,  a psychiatrist who treated Geoghan for his sexual fantasies about children from 1994 to 1996 also testified, as did Archbishop Alfred C. Hughes, who testified that he banned Geoghan from the swimming club after a complaint that he had been proselytizing and had engaged in prurient conversations.

After initially agreeing to and then withdrawing a $30 million settlement with 86 of Geoghan's victims, the Boston archdiocese settled with them for $10 million, and is still negotiating with lawyers for other victims. The most recent settlement proposed is $65 million for 542 victims. The settlements are being offered in response to evidence that the archdiocese had transferred Geoghan from parish to parish despite warnings of his behavior. Evidence also arose that the archdiocese displayed a pattern of transferring other priests to new parishes when allegations of sexual abuse were made.

Geoghan was charged in two other cases in Boston's Suffolk County. One case was dropped without prejudice when the victim decided not to testify. In the second case, two rape charges were dismissed by a judge after hotly contested arguments because the statute of limitations had expired. The Commonwealth's appeal of that ruling was active at the time of Geoghan's death, and remaining charges of indecent assault in that case were pending.

On August 23, 2003, while in protective custody at the Souza-Baranowski Correctional Center in Shirley, Massachusetts, Geoghan was strangled and stomped to death in his cell by Joseph Druce, a self-described white supremacist serving a sentence of life without possibility of parole for killing a man who allegedly made a sexual advance after picking up Druce while he was hitchhiking. An autopsy revealed the cause of death to be "ligature strangulation and blunt chest trauma." There have been questions raised about the advisability of placing these two men on the same unit, as prison officials had been warned by another inmate that Druce was planning to assault Geoghan.

John Hanlon
On April 25, 1994, Father John Hanlon of Hingham, Mass., who was not connected to the convictions stemming from the Spotlight investigation, was sentenced to life in prison after being convicted in March 1994 of raping 2 boys.

Richard J. McCormick
On April 8, 2020, officials from the Massachusetts Department of Corrections announced that retired Ipswich Catholic priest Richard J. McCormick died at the age of 79 while serving what was supposed to be an 8-10 year prison sentence at the Massachusetts Treatment Center in Bridgewater. He was convicted of sexually abusing two boys at an Ipswich summer camp in the 1980s.

Ronald Paquin
On January 1, 2003, Boston priest Ronald Paquin was sent to prison after pleading guilty to raping an altar boy and began serving a 12-15 year prison sentence. Boston attorney Jeffrey A. Newman, who represented the victim in the case against Paquin, described Paquin as a "key player" in the Archdiocese's sex abuse scandal, due to his insight on the Archdiocese's transfer of guilty priests. He was released in 2015 and was later convicted in Maine on November 29, 2018 on 11 counts of sexual abuse involving an altar boy he abused while visiting Maine in the 1980s. In May 2019, Paquin received a sixteen-year prison sentence. On April 23, 2020, the Maine Supreme Judicial Court upheld 10 of the 11 sex abuse charges which resulted in Paquin's Maine convictions, with only one charge being vacated. It was also ruled two of the 10 which were upheld also accounted for two other charges he was convicted of as well, thus making them offset, but also saw some of his serious charges upheld.

Paul Shanley

According to Leon Podles in his book Sacrilege: Sexual Abuse in the Catholic Church, "In late 1993, Shanley was sent to the Institute of Living in Hartford, Connecticut, for evaluation. The Boston archdiocese has refused to release this evaluation, but other released files show that Shanley admitted to nine sexual encounters, of which four involved boys, and that he was diagnosed as "narcissistic" and "histrionic." Shanley admitted that he was "attracted to adolescents" and on the basis of this confession, the Boston archdiocese secretly settled several lawsuits against Shanley. The archdiocese of Boston in 1993 had to admit to the diocese of San Bernardino part of the truth about Shanley, and the bishop of San Bernardino immediately dismissed him."

In February 2005, Shanley was found guilty of indecent assaults and the rape of a male minor and received a sentence of 12 to 15 years in prison. Shanley's case remains controversial to some because the allegations of abuse came only after the victim (now an adult) alleged that he recovered memories of the abuse from approximately 20 years earlier. The manner in which the accusations against Shanley arose and enormous attention in the media also have given rise to questions about the validity of the convictions.

Shanley was released from Old Colony Correctional Center on July 28, 2017, after completing the required 12 years of his sentence. On October 28, 2020, Shanley died at the age of 89.

James Talbot

Jesuit priest James Talbot, who taught and coached at Boston College High School, was among those charged. He had been removed from ministry in 1998 after allegations surfaced that he had molested a student at Cheverus High School in Portland, Maine. In 2005, Talbot pleaded guilty to rape, assault with intent to rape, and three counts of assault and battery, related to two students he sexually abused during his time at Boston College High School and was handed a 5-7 year prison sentence. He was released in 2011. On September 24, 2018, Talbot pled guilty to the sex abuse charges in Maine and immediately began serving a three-year prison sentence.

Robert A. Ward affair
In February 2002, Rev. Robert A. Ward was accused of molesting an altar boy in Boston in 1970. Records show that the archdiocese knew at least as early as 1995 that the pastor used cocaine and had been treated for drug abuse. The records also show that in 1999 Ward admitted to downloading of child pornography from the internet, a discovery made when a technician repaired Ward's computer and noticed the sexually explicit material. Ward was suspended by the Archdiocese of Boston in February 2002 and dismissed by the Vatican in 2005.

References

Notes

External links
 Archive of articles from the  Boston Globe
 Audits, Child And Youth Protection; US Conference of Catholic Bishops
 Charter For The Protection Of Children And Young People; US Conference of Catholic Bishops
 Child And Youth Protection; US Conference of Catholic Bishops
 National Review Board,  Child And Youth Protection; US Conference of Catholic Bishops
 Safe Environment, Child And Youth Protection; US Conference of Catholic Bishops
 Victim Assistance, Child And Youth Protection; US Conference of Catholic Bishops

Catholic Church sexual abuse scandals in the United States
Child sexual abuse in the United States
Incidents of violence against boys
Roman Catholic Archdiocese of Boston
Sexual abuse cover-ups
Violence against children
Violence against men in North America


Isaias Bardales Jr. (born August 18, 1979 in San Jose, California) is a former American soccer player.

Career

College
Bardales attended Leland High School in San Jose, California and played college soccer at San Jose State University.

Professional
Bardales signed a Project-40 contract with Major League Soccer and was drafted in the first round (11th overall) in the 2001 MLS SuperDraft by Los Angeles Galaxy. He played in 12 MLS games for Galaxy in his rookie season, starting one, and scored a goal in the US Open Cup. He was sent on loan to the Seattle Sounders and later the Syracuse Salty Dogs in the A-League, and was waived at the end of the 2003 season.

He later played in the USL Premier Development League for the San Diego Gauchos and the San Jose Frogs.

Post-Soccer Career
Bardales was a forward for the California Cougars of the Professional Arena Soccer League for a time. His coaching experience began with Aptos High School Boys Varsity Soccer in Santa Cruz, CA.  He later took on an Assistant Coach position for Evergreen Valley College in San Jose, California in 2008.

In 2010, he began training youth competitive soccer teams across the Bay Area, CA earning him a prestigious Bay Area Double-Goal Coach Award from Positive Coaching Alliance. As of 2021, Bardales continues to train youth competitive soccer in the Inland Empire, CA.

References

Living people
1979 births
Men's association football forwards
LA Galaxy players
Syracuse Salty Dogs players
San Diego Gauchos players
San Jose Frogs players
California Cougars players
USL League Two players
Major League Soccer players
American men's soccer players
American expatriate men's soccer players
San Jose State Spartans men's soccer players
Seattle Sounders (1994–2008) players
Puerto Rico Islanders players
A-League (1995–2004) players
USL First Division players
Expatriate men's footballers in Puerto Rico
Soccer players from San Jose, California
LA Galaxy draft picks