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When did you first use Linux?

That's the question cropping up on various websites at the moment. If, like us, you love to reminisce about the olden days, when you had to recompile your kernel just to use your keyboard and FVWM2 was the most amazingly new tech on the planet, then get commenting below. What was your first distro? What did you think of it at the time? Were you one of the original Oxford Beer Trolls, plying Torvalds with ale in return for his efforts?

Here's how the TuxRadar team got started...

Paul Hudson: "I installed Red Hat 4.2 on my shiny new 133MHz Cyrix in '97, not long before 5.0 came out. I spent most of my time trying to figure out the difference between all the shell options and not really getting anything done."

Mike Saunders: "After finding Red Hat 5.1 on a magazine coverdisc back in '98, I gave it a whirl and fell in love when I got IceWM installed. (AnotherLevel, RH's FVWM setup, was a bit ugly.) I did need to recompile the kernel to get my rubbish sound chip working though."

Graham Morrison: "My Amiga 4000 (with 060!) had lain unloved for too long. In 1998, Red Hat 5.1 brought it back to life, albeit with plenty of expletives and no X Window System."

Andrew Gregory: "I tried to install some version of Mandrake 2005 from the Linux Format coverdisc, but it didn’t recognise the graphics card of my Dell laptop so I had to get Graham to fix xorg.conf for me. I hated the look and feel, but once I’d found Gnome and Ubuntu I was sorted."

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Your comments

back in was it -94 on my 16MHz Macintosh LC

New Life in Old PCs

In 2005 I needed to run a power point presentation continuously in the lobby at work with no budget and a dinosaur PC in the basement. Xubuntu to the rescue.

Success there led me to install Ubuntu on my somewhat dated computer at home a couple of months later and wonder at how fast it suddenly seemed. Pretty soon I was no longer booting it up into Windows because Linux would do everything I wanted to do and do it faster and better.

I got really adventurous a few months ago and decided to build my own home theater PC from scratch by ordering the parts online, assembling it my self, and running Ubuntu only from day 1. The new computer is a speed demon and runs all free software in both meanings of the word.

First Linux?

Slackware from floppies (loads of floppies) in '95.
Still my favourite distro.

2000 - Mandrake 7.1

Installed it the day before 7.2 came out on my *screaming* Athlon T-bird 800Mhz, 20G, 256MB system. Stuck with Mandrake through v8.0. Moved to Debian 3.0 (hooray 2.4 kernel!) shortly after that and then to Ubuntu at v5.04.

RedHat 9

In 2003 RedHat 9 was my first Distro. I bought an retail Version. The Box decorate my Desk until today ;)

Oh so long ago

I started playing with linux in the spring of 1999. I had heard of that new OS that was showing off and I decided to test it. Little did I know: I started with a distro that I bought in the shop and ran from CD. It was Slackware IIRC. I remember lots of whitish windows that sat there idly and I did not know what to do with it :D
After that I bought SuSE 6.0, installed that and trashed my Windows 95 that was previously installed. Oh well. SuSE 6.0 did run well though, well enough to go on with Linux. I bought Linux Answers early 2000, and kept bying Linux Format until I subscribed in 2008. Yes.

I stayed with SuSE until now. I now have OpenSuSE 11.1 with KDE 4.2.2 and all that jazz that comes with it, and I enjoy it a lot. I have no Windows on my HP Pavilion dv2000. No need for that OS that is just.....lacking.

Tuff question :)

Dabbled with it before the first LXF mag or was it PC Answers back then.

It's been a regular OS since 00/01 on my server.

The main OS on my desktop since 04. XP only gets used for gaming now.

Ubuntu 6.10. Yes, I'm a

Ubuntu 6.10. Yes, I'm a newbie. But I'm only 14!

'94 with a copy of

'94 with a copy of slackware. it was before windows 95 came out, so i replaced win 3.1 with it. i remember it coming on 15? 1.44 floppies my programmer-uncle gave me at the time. i was about 12 or 13 at the time. it used to drive me crazy, but not as much as windows :P
the 1st time i really used linux as my main machine was ubuntu 6.04 though. i loved it, and haven't been back to windows since.

Millenium Mandrake Here!

My first real Linux install was Mandrake around the turn of the century (2000'ish). Don't ask me which version. I had tried to install a different distro, which I can't remember the name of and probably doesn't exist anymore with no luck. The book Mandrake came with helped a lot, it was a commercial version I bought for 50 bucks. It took over 8 hours to install start to finish because I had to keep taking my computer apart to find information about the hardware.

You think it would make me appreciate the modern install process, but I guess like everything else, we learn to take things for granted...

Last Year

Bought an EEE last year and then bought a copy of Linux Format because it had a picture of an EEE on the front - and not looked back since!

It was Ubuntu 6.06LTS

I used Ubuntu 6.06LTS for my first ever Linux experience. I somehow messed up installing it and had to reinstall Windows (I felt more comfortable reinstalling Windows). When 7.04 came out I decided to try it in Virtualbox and I used it for many hours in Virtualbox. I got comfortable with the OS and persisted to use 7.10 in Virtualbox when it came out.

8.04LTS was released and I made the decision to go Linux alone. I finally installed Linux on my PC wiped out Windows and im still using 8.04LTS on my PC. Although an upgrade to 9.04 may be on its way...

Slackware 3.5 in '97

This brings back some memories. Eveyone at work was installing linux. I tried downloading Slackware from ftp.cdrom.com (Old Walnut Creek Ftp server). But ended up buying the 4 disc set from my local Microcenter. It was a pain to get everything up and running but it was fun at the same time. I loved how you could change the console font. t.fnt.gz was the best! Remember the old PPP scripts you needed to create to get your modem to dial out? Wow!!

When I coulding afford a mac

I think it was around 2002. I know it was Red Hat 8 though 9 was around the corner.

I couldn't afford a Mac at the time (which looked a helluva lot nicer than Windows 98 at the time) and especially could not afford replacing all my software with Mac versions.

So a friend told me about Linux and I decided to give it a whirl.

It wasn't all smooth-going but it was a learning experience. Now the only Windows computer in the house is work's laptop (which I'm not allowed to change the OS on).

when i couldn't afford windows server

2000 ... caldera open linux

Old Penguin

I downloaded the four floppy "MCC distribution" off the net (usenet rather than Internet, I believe), and installed it on a mighty 386SX-16 with 8MB of RAM. Eventually I beefed it up to 12MB and a 300MB SCSI disk to replace the RLL drive. It was still running 1.2.13 until Y2k.

Mandrake, Red Hat

I installed Red Hat 5.2 in about 1999-2000, after my 8086 Amstrad had died. It may have been on a PII 233...
I learned everything from scratch, and making huge mistakes (like copying from /dev/fd0 without mounting). After that came Mandrake 7, with GNOME, Englightenment, Blackbox, KDE, IceWM, FVWM, the lot. I fell in love, especially with KDE. Ever since I've been hopping between openSUSE and Ubuntu. I still don't like GNOME, KDE rocks more for me. It's got a lot better now!

My first home built computer ran Mandrake (and BeOS) circa 1998 - 1999. I liked it, however I couldn't play any current games so I kind of left it for several years. I came back around 3 years ago with Ubuntu. I'm using Fedora 10 on my Thinkpad.

I love it, Linux is getting better by leaps and bounds every year.

When I was six, with SuSE (it was then!) 8.4, I think. Got it in a copy of (sorry) Linux Magazine after the Windows install on my dad's laptop broke.

My first linux distro was

My first linux distro was Ubuntu 7.04. From that point I never used Windowz again. Now I have Ubuntu 9.04 beta and everything works as I wanted.

I also tried Mandriva, OpenSuse, Knoppix... but I like the synaptic package manager from Ubuntu and I will stick to Ubuntu

1998 SuSE with KDE1

a friend got me going back in 1998 with KDE1 on top of SuSE6 I think. This was my first non Apple machine. Still have that machine around somewhere. Still a SuSE user now on 11.1.

My first ISP gave me a shell account on his RH3 box :D but my first install was fedora core 3 still using fedora usually the odd numbered releases as i don't bother upgrading every six months just waiting till almost EOL for the next reinstall.

Enjoy the Choice :)

When the Amiga was abandoned ...

I had a subscription to Amiga Format in 2000 when suddenly, without warning, AF was retired and my subscription was replaced with Linux Format with 'Definite Linux 7.0' on the coverdisc. (In fact, I just pulled issue 1 off my shelf - how far we have come!)

Back then I dual booted with Windows 98 on my old P133 with 32mb ram. Didn't know much about networking in those days and so it took me nearly 6 months to get the distro to connect online. I persevered and now am one of 4 in our office of 20+ web designers and developers running a flavour of Linux as a desktop machine.

Summer of '98

After buying my Pentium 166MHz, and I got connected to the Internet, I somehow got to the Debian home page, and got interested.

A friend of mine recommened Slackware, and installed it on my PC. Then I decided I should try installing it for myself, so I scrubbed Slackware, and downloaded Debian 2.0 "hamm"... and I've been using Debian and Debian based distributions ever since (currently Ubuntu).

2004 Ubuntu

installed Ubuntu Breezy badger, as Firefox and Oo had whetted my appetite for free software and my younger brother was running Fedora, felt I wasn't up to Fedora so tried Ubuntu to start with until i felt confident, I never looked back and my brother dumped Fedora over wireless issues, must hold my hand up and point out I technically dual boot with XP, but haven't actually booted XP yet this year

Slackware '96

And I still have the disc! It came as a freebie along with 'Red Hat Linux: The leading Linux operating system' (featuring a modular 2.0.18 kernel, no less) and 'Caldera Open Linux Lite'. I bought the book to go along with the systems programming module I was doing at university at the time. Beat fighting for limited time on the few lab PCs around. I recall Slackware running really well on my home built 486 at the time.

The book is 'Using Linux: Special Edition' (ISBN 0-7897-1132-X, just in case you're interested) :p

Mandrake 7.0

Then tried a few other distros in the next few years, before finally becoming an Ubuntu convert with 7.04

Linux newbie

I just discovered the world of Linux in Feb of this year. I tried Kubuntu and Ubuntu, and stuck with Ubuntu 8.10. I just installed Xubuntu on my parents old Dell laptop after malware had borked their Windows XP install. It took me most of Easter Weekend to get their Linksys notebook adapter to see wireless networks, but it worked! This was in part thanks to LXF 117's cover article, "Fix Linux" using the Networking guide. Thanks!

red hat 7 back in 1999 or 2000

had difficulty to detect my monitor and display card..damn..

Started with Debian Sarge

Started with Debian Sarge (3.1) in June 2005. Played merry hob getting everything to work. I tried all sorts of other distros, but always came back to Debian. Then I discovered the testing branch and never looked back. I've been M$-free for almost 4 years now.

Began With Ubuntu 6.04

I installed Ubuntu 6.04 I asked a friend what he was playing with. A few days later he popped into my dorm room and gave me the live CD. I was hooked ever since!

when XP starts to freak me out with WGV ..

When XP starts to freak me out with WGV ...

Slackware around '95

I am not sure about the year. I should check back my CD collection because I think I still have it... It was a "Chip Magazin" CD addition. That time the magazin CD addition was also rare.
It was installed in my very first own computer on a Amd486DX-120 with 4MB RAM (later expanded to 8M and then to 16M) a Quantum 850MB HDD, a 3x speed Sony CD-ROM!, Trident 9440 vga card a 14" color svga monitor (still analog and had to adjust any resolution changes manually). Later I have added a Gravis Ultra Sound soundcard and a network card (ethernet but with coaxial cables! - in the campus had that type of net)
I do remember that I had to update to the latest X11 because the supplied Slackware version did not supported my video card. I think my first kernel re-compile was also because of one of the hardware element (I am not sure was it the sound or the net card)
I also recall that it was not easy for me start with linux because I did not speak English :-(

RH 5.1 ~'98?

Got it off the front cover of PCPlus, and had to re-compile the kernel to make my sound card work - which makes me strikingly similar to Mike actually!

Been through most distro's since then, although I've never Gentoo'ed (I interact with humans from time to time, and binary is not my first language).

Love, Light and Peace, Crispibits

About 10 years ago, some

About 10 years ago, some really really old RedHat, which for some reasons was unable to install LILO on my hard drive. :)

Well, that was the first time I saw Linux, but the first "real" one, the first I tinkered with, was the Slackware that came with "LINUX Configuration and Installation" book.

Then I saw Debian 2.2 in a local software store and that was it. =)

not so long its 2002

Yggdrasil - Fall `93

Installed Yggdrasil on a 486 Sx-25 with 4 MB RAM in `93, it has a v0.98 Kernel, X and a few other things besides - PCNFS daemon (!!!) .. and I still have this server up and running - although it was upgrade to the `94 version of Yggdrasil with a 0.99 Kernel and its still running well ! (Its all SCSI due to some hardware compatibility issues at the time !)

Over the years, its been a bit of everything, Slackware (v 1.x kernel) and then onto Redhat 5, SuSE 6.2 Redhat7, 8,9, Centos 3, Debina, SuSE 10.0, XUbuntu and Damn Small Linux....

Favorite so far for "Desktop Use" is OpenSuSE, although EEEUbuntu is a close second on an ASUS Eee 900.

Enjoyed "Cacko" on distribution on the Sharp Zaurus as well !

My first linux distro was SuSE 6.0 on a Pentium MMX because you didn't have to recompile the kernel to get support for greek characters and because it was a european distro. I bought every single SuSE version up until version 9.3. I turned my back to SuSE when version 10 came out and been using ubuntu variants ever since.

On my home machine... Ubuntu 7.04.
I got fed up of Win XP and having to look for warez to do everything and anything on my PC... Malware and virii were a pain, and Vista looked awful!
So 2 years ago I installed Ubuntu 7.04 (still in a dual boot mode with XP). When I realized that after 1 year I had only booted into XP 5 or 6 times (and half of those times by mistake) the WinXP partition got killed in a very unmerciful way (I played around with it in a hex editor to maim it and see it suffer from the inside) and was added to my Linux partition...

Never looked back, never will...

At school (Early nineties) we used to have an IBM AS400 Mainframe with UNIX and a Novel Netware Network. So I wasn't completely lost when I made the OS switch. Some things came back really fast :-)

It was nice to be able to switch now... Linux has matured, and I haven't really had to deal with the growing pains.

I'm constantly switching Linux/Alternative OS on my Portable and netbook to test/check them out or play around with to learn things without messing up my main machine (So far we've had : Debian, LinuxMint, Puppy, All Ubuntu flavors, Knoppix, RedHat, Mandriva, Haiku, and a whole slew of others).

Lovin' it. The last 2 years I feel like -I- have been controlling my machine, and not the other way around!

Eat your heart out MS!

I used my first linux on

I used my first linux on 300mhz 128m machine! It was damn small linux. Then I found that it is the best os ever and I installed it to my main machine.

2002 - Red Hat server running about 200 live websites

Probably just to change the permissions or something, but at the time it scared the hell out of me as I'd had the warning that you could delete the entire server with a single line of code and looking at a black window with white text is always quite fear inducing (I got to try that single line 2 years later when the server got decommisioned. It was quite nice just watching it go offline the other side of the country after an "rm -r /").

First Linux.....

I actually was running Minux on my original IBM PC....Dual floppies because no hard drives for PC were available then!

After playing around with that, I found RedHat 5 and I have been using RedHat since then. I have tried various other distros including Ubunti, but I always seem to prefer RedHat distros. I'm currently runing Fedora 10 on both systems, a tower and laptop.

1st Linux

Fist Linux OS I installed was Slackware 9.1 on a Pentium 3 Dell Dimension replacing Windows ME,that was the best thing I ever did,then on my main PC I tried to dual boot XP with Slackware 10.1 from LXF66 and succeeded on the 1st attempt. :) From there I have used Debian,SUSE,Mandriva,Fedora and currently I'm using Ubuntu(main PC and the old Dell) & Linux Mint on a IBM T21 Laptop.

I just sent M Saunders the

I just sent M Saunders the disks of Slackware3 and Redhat3 that I attempted to install on my 486SX in 1996/7 but it wasn't until a SWLUG meeting that I finally got a Debian installation on my computer, thanks Gareth

First linux: Ubuntu 6.10

After a few test with suse linux i found that ubuntu 6.10 was the best distribution for my needs. With Vista been a real nightmare, i turn my attention to linux. Ubuntu was easy to install and migration from Windows was for me very easy. I also would like to thank all the peoply from the forums, and Linux Format, for helping me. I now only using ubuntu on my desktop and portable and i also running ubuntu on a server.

I started using Linux - Slackware Linux, can't remember the version - while I was learning Sys-Adm's stuff at a company of a friend of mine back in 2000, but I started using it as Desktop in 2002 - I think.

Ubuntu 6.10 was my first.

Ubuntu 6.10 was my first. Around December 2006 as we were being flooded with the early Windows Vista marketing campaign, I really wasn't looking forward to paying for legal upgrades for even a few of the 8 or 10 computers I had accumulated over the years.

I had a bright idea to search eBay for cheap XP licenses, thinking at the time XP would de-value in light of the next M$ coming on. (how wrong that turned out to be!) Anyway, all over eBay were people selling OSs for $2, $3, $6 and so on. They were mostly Linspire distros and a few others I forget now.

Some quick research (comparing the number of Google hits for "Ubuntu", "Fedora", and "SuSE") indicated Ubuntu was reasonably popular.

I downloaded 6.10 and spent several days trying to get it installed on some really quirky hardware.

Haven't looked back.

Red Hat 1999

I too got my introduction with the Red Hat 5.1 distro on APC's Linux Pocketbook. Had lots of fun and games trying to configure X for my monitor!!!

Red Hat Biltmore

My first was RH4.2 biltmore in 1998
Now I'm a senior linux expert running more linux servers then I can count
(it was my first year in IT and my first year of connecting to internet)
(after running dos for a year on my 486 without internet)

Before I was repairing cars so you cant blame I started earlier

I got a redhat

It was redhat 9 in 2002-'03

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Thursday, 16 March 2017

Ametora: How Japan Saved American Style / W. David Marx

Ametora: How Japan Saved American Style
DEC 5, 2015

Tokyo, September 1964: A squad of plainclothes police descend on the tony Ginza shopping district and round up hundreds of Japanese youths who had outraged local businesses. Their crime? Loitering in what was then outre style — button-down shirts, skinny ties, suit jackets and chino pants. These delinquents were the miyuki-zoku (Miyuki tribe) and they idolized one thing: Ivy League fashion.

Ametora: How Japan Saved American Style, by W. David Marx
296 pages
Basic Books, Nonfiction.

Yes, they were preppies. Tokyo was about to host the Olympics and these kids were causing alarm by rejecting their 19th-century gakuran (high-collar) school uniforms. The Ginza panic seems incomprehensible today, but this is one of the fascinating accounts in W. David Marx’s unique archeology of Japanese menswear fashion, “Ametora.” The term is Japanese shorthand for “American traditional” and the book traces the cultural history of American trad as well as jeans and streetwear in Japan — how they were imported, exploited and sometimes radically modified. The result is, as Marx observes, “a highly illustrative episode of how culture globalizes.”

From gyaru (gals) to French maids, Tokyo’s wild vogues have caught international attention over the past decade or so and there could be no better guide to hacking one’s way to the source of this fashion Amazon than Marx, a Tokyo-based Harvard grad who has long blogged about style at According to Marx, the adoption of American styles in Japan began with one man, Kensuke Ishizu (1911-2005). The Okayama-born founder of clothing company Van Jacket is most known for “Take Ivy,” the 1965 photo book he commissioned of American students walking about on prestigious Ivy League campuses, decked out in letterman sweaters, sports jackets, madras shorts and penny loafers. In addition to this bible for the East Coast collegiate look in Japan, Ishizu also stoked youth interest — and clothing sales — via a magazine called Men’s Club. It enumerated in excruciating detail the finer points of dressing Ivy. Neckties had to be precisely 7 cm wide, but slanted jacket pockets were a no-no “anti-Ivy technique.”

Aping looks from the United States wasn’t without its ridiculous moments. Men’s Club featured a 1959 photo of wannabe Ivy Leaguers looking more like businessmen in porkpie hats than big men on campus. When enthusiast Toshiyuki Kurosu and other Take Ivy authors snuck into Harvard to do research and take photos, they expected to see students in three-button jackets, regimental ties and wingtips — instead they were in cutoff shorts and flip flops.

“This was people having to adopt a completely foreign culture from zero and then actually sell it to other people as a package,” Marx says over a beer in Shibuya. “They were trying to sell to kids who had no clothing whatsoever other than their school uniforms.”

Marx first became interested in Japanese style after experiencing the streetwear craze in Tokyo in the late 1990s. He was so shocked to have to wait three hours in line to buy a T-shirt at A Bathing Ape that he later wrote his thesis on the chain, which is also chronicled in “Ametora.” It was a chance encounter with a former Van employee years later (while getting his cordovan oxfords polished, of course) that opened up introductions to the surviving Take Ivy pioneers.

“There was absolutely no culture of fashion when I was at Harvard,” Marx says. “People have this image of it as this place where people still dress like the ’60s. You’re lucky if people are wearing clean T-shirts with their sweatpants.”

Gaps in understanding didn’t dent the success of the Ivy look in Japan as Van sparked a revolution in Japanese menswear toward a more casual, individualistic aesthetic. Van enjoyed tremendous success until its bankruptcy in 1978, but countless styles sprung up in its wake: surfers, hippies, rockabilly greasers and bosozoku (biker gangs), not to mention offshoots like the takenoko-zoku (bamboo shoot tribe), who loved to dance in public in garish kung-fu outfits.

Indeed, entrepreneurs like Masayuki Yamazaki made a mint in doing exactly the opposite of Ivy — preaching ’50s hoodlum styles (sometimes called yankii) and putting a Tokyo backwater district called Harajuku on the map with his vintage shop Cream Soda, which counted John Lennon among its customers. As Marx writes, the retro rockers weren’t just imitating foreigners: “They used American influences to terrorize the public — regent haircuts, Hawaiian shirts, dirty jeans — but abandoned them when right-wing garb offered greater potency.”

Probably Ishizu’s greatest legacy today is the global success of Fast Retailing, the clothing firm behind the Uniqlo casual wear chain. Founder Tadashi Yanai’s father ran a Van franchise in Yamaguchi Prefecture and some of Van’s dedication to selling cheap, smart-looking clothes can be found in the Uniqlo ethos. Fast Retailing represents in a sense the full flowering of ametora. Also significant is the recent passion for Ivy style by fashion-conscious Americans tired of rampant casual wear. Style blogs in the U.S. began posting scans of Take Ivy in 2008, and when it was published in English in 2010, it sold over 50,000 copies, also appearing in Ralph Lauren and J. Crew outlets. Americans were turning to Japan to rediscover what they had lost, and the ironic circle was complete.

Sartorially savvy and rigorously researched, “Ametora” is a smart account of Japan’s engagement with America through the lens of menswear. Even if you don’t know your brothel creepers from your brogues, this book is a pleasure to read and an essential manual for decoding contemporary Japanese culture.

W. David Marx, a writer based in Tokyo, is the founder and editor of né He is the author of Ametora: How Japan Saved American Style, from which this essay is excerpted. Available from Basic Books, a member of The Perseus Books Group. Copyright © 2015.
 On May 24, 2005, VAN Jacket founder Kensuke Ishizu died at the age of ninety-three. By then millions of Japanese men—students, employees, executives, and retirees—were following Ishizu’s principles of Ivy as their basic style. Ishizu taught the 1960s generation how to dress, and they passed down those sartorial lessons to their children.

The Climb of Ivy
The styles of the American Ivy League transform the fashions of 1960s Japan.

By W. David Marx

0n April 28, 1964, a new magazine called Heibon Punch appeared on Japanese newsstands. The cover illustration showed four boys dressed in the style of American Ivy League students—blazers, short cotton pants, loafers, sharply parted Kennedy haircuts—chatting to another boy in a red sports car. Punch’s pages taught teens how to dress in this so-called Ivy style.

Heibon Punch was an immediate success. The debut issue sold 620,000 copies, and within two years circulation hit one million. The first wave of Japan’s postwar baby boom was entering college right as it launched. Compared with the frugal youth who came of age immediately after World War II, the baby boomers wanted to play in Japan’s newly emerging consumer society and could afford to. Heibon Punch became their guide.

The excitement around Punch sent young men to the most famous retailer for Ivy fashion: the clothing company VAN Jacket’s flagship store, Teijin Men’s Shop, in the Ginza neighborhood of Tokyo. There they bought their own button-down shirts, madras blazers, cotton chino pants, and penny loafers. Soon teenagers in these clothes started to park themselves on Miyuki Street and stay all day. They became infamous in the press as the Miyuki Tribe (miyuki-zoku).

The term zoku means “tribe” in Japanese, but the postwar usage connoted a delinquent subculture. Before 1964 a few youth tribes invented unique styles but almost always as an organic extension of their lifestyle. The Thunder Tribe (kaminari-zoku) bikers dressed in leather proper for a motorcycle ride, while the Sun Tribe (taiyō-zoku) partied on the beaches in bright coastal clothing. The Miyuki Tribe, by contrast, learned to dress directly from the mass media—a youth brigade drafted straight from the models in Heibon Punch.

Parents did not approve of their sons wearing stylish American clothing, so young men snuck out to Ginza with their Ivy duds hidden in rolled-up paper bags, then changed in cafe bathrooms. The paper shopping bag became a vehicle for VAN to promote its brand. The company had started providing the sleek paper bags to retailers featuring its logo in a red box at the bottom that stretched around the side. These bags flooded the streets, and young shoppers came to fetishize the logo. Youth who could not afford to buy anything from an official VAN retailer carried around an old rice bag with a VAN sticker on top.

As the summer of 1964 progressed and schools let out for vacation, teens swelled the Miyuki Tribe’s ranks, ballooning to two thousand members each weekend. The Olympics were being hosted that year in Tokyo, and the media demonized the Miyuki Tribe as a national embarrassment. Even teens who liked Ivy style pleaded for distance from the Miyuki fad. A sixteen-year-old high-school student in Ginza told reporters, “We hate being called members of the Miyuki Tribe—we’re Ivy.”

Parents moved to ban Ivy style at schools. Parent-teacher associations sent formal requests to VAN retailers to stop selling to students. In many small towns, schools prohibited teens from carrying a VAN bag or entering shops that sold the brand. But young men defied orders and lined up outside of menswear shops just to grab discarded cardboard boxes with the brand’s logo. A few maverick companies, meanwhile, got in on the action. Home-electronics company Sanyo worked with VAN to create a line of gadgets—the Sanyo Ivy Razor, the Sanyo Ivy Dryer, and the Sanyo Ivy Junior Tape Recorder. The word Ivy, after years of work by promoters in Japan, was synonymous with cool.

The beginning of the widespread adoption of American style in Japan can be traced back to a single individual, Kensuke Ishizu, founder of VAN Jacket and father of Japan’s Ivy style. Ishizu was born in the southwestern city of Okayama in 1911. It was the end of the Meiji era, a period that marked Japan’s transition from feudal society to modern nation-state.

The Meiji era began in 1868. For the previous 265 years the Tokugawa military government had enforced a sakoku, or “closed country” policy, to isolate Japan from the rest of the world. This seclusion came to an end in 1854 when U.S. naval commodore Matthew Perry and his fleet of warships demanded the country open its borders to trade. Four years later the shogunate signed a series of treaties with Western powers that threw Japan into economic and cultural chaos. Determined to get the nation back on track, reform-minded samurai took control of the government in 1868 under the banner of Emperor Meiji. During this so-called Meiji Restoration, the country’s leaders worked to adopt Western technologies and lifestyles, believing that a more modern Japan could fight off additional American and European attempts at colonization.

Before the Meiji era, members of Japan’s high-ranking samurai caste wore their long hair in topknots, strolled dirt roads in robes, and demonstrated their status with two swords tucked into their belts. By the first decade of the twentieth century, the country’s rulers attended bureaucratic meetings, banquets, and gala balls in three-piece suits and Napoleonic military uniforms. Imported clothing styles became a source of prestige.

Even before Western fashion supplanted traditional costumes, Japanese society had long used clothing as an important marker of status and position. To maintain social order, the Tokugawa military government, which began in 1603, micromanaged the nation’s vestments, regulating materials and patterns to certain castes. Only the nobles and samurai—a mere 10 percent of the population—were permitted to wear silk. But not everyone followed these rules. When farmers and urban merchants began to accumulate more wealth than their samurai betters, they lined their standard cotton robes with silk in an act of subversive panache.

After 1868 the Meiji government moved men into practical Western dress. In 1870 the emperor cut his hair short and donned a European-inspired military uniform. A year later, the Haircut Edict instructed all former samurai to lop off their topknots. The military adopted Western uniforms, with the navy imitating the British and the army imitating the French. In 1885 Tokyo’s Imperial University put its pupils in black gakuran (or tsume-eri), closed square-collar jackets and matching pants. The enduring symbol of the early Meiji era was the Rokumeikan—a French Renaissance–styled hall where Japanese elites dressed in formal ensembles, danced the waltz, and mingled with wealthy foreigners. From the 1890s onward, urban white-collar workers wore British-style suits to work.

Kensuke Ishizu’s childhood coincided with the subsequent Taishō era, when the growing middle classes were joining elites in adopting Western customs. By the time Ishizu was in his teens in the 1920s, Japan was undergoing rapid changes in social mores. The notorious mobo and moga—“modern boys” and “modern girls”—stood at the vanguard. After the devastating 1923 Great Kantō earthquake, many Japanese women adopted Western dress for better disaster preparedness. Moga, by contrast, played with Western culture as style—wearing silky dresses with short bobs. Their mobo beaus slicked back long hair and wore flared wide-leg “trumpet pants.” Every weekend, mobo and moga flocked to Tokyo’s lavish Ginza neighborhood and strolled its well-lit brick streets. These youth liberated style leadership from the upper classes and took it in unauthorized directions.

In 1929 Ishizu moved to Tokyo to attend Meiji University. He rejected the utilitarian gakuran school uniform and instead ordered a three-piece suit in brown-green tweed—at the cost of half a professor’s monthly salary—matching it with white-and-brown saddle shoes.

The mobo/moga moment would be short-lived: worried about the rise in leftist radicals, the government reversed course on liberalization in the early 1930s. Tokyo’s Metropolitan Police Department launched a campaign to clean up juvenile delinquency, pledging to close every dance hall in the city. Law enforcement swept the streets of Ginza for overly fashionable youth. The police arrested anyone doing anything suspiciously modern—going to cinemas, drinking coffee, or eating grilled sweet potatoes on the street. Regardless, in March 1932 Ishizu was married in a high-collar morning coat and a custom-ordered ascot.

In mid-1939 Ishizu, now twenty-eight, left with his family for the Chinese port city of Tianjin to become sales director at a department store, soon taking over clothing manufacture and design. Tianjin, situated on the East China Sea, hosted a diverse group of nationalities. Ishizu frequented British tailors to learn trade secrets, heard war news at the local Jewish club, and bet on jai alai in the Italian concession.

After the attack on Pearl Harbor in December 1941, the Japanese government systematically rolled back all Western influences from local culture. The public heard daily propaganda about the savage crimes of the “devilish Anglo-Americans.” New regulations demanded that companies remove English words from brand names and advised against writing words horizontally. While Ishizu wore his high-end three-piece suits, Japanese men back in Okayama lived in practical, khaki-colored uniforms called “citizen clothing” (kokuminfuku)—an early parallel to Communist China’s Mao suit.

In August 1945, while serving as a naval attaché in Tianjin, Ishizu heard the emperor’s radio broadcast announcing the Japanese surrender to Allied Forces. The Nationalist Chinese prevented any mass violence against the former occupiers, but they ransacked the glycerin factory where he had been assigned during the war. Ishizu spent most of September 1945 locked in a former Japanese naval library.

In October the U.S. First Marine Division arrived, coming ashore to an impromptu victory parade. Looking for Japanese men who could speak English, a young American lieutenant broke Ishizu out of the library. Ishizu and the lieutenant became friends, the American regaling Ishizu with stories of his undergraduate life at Princeton. Ishizu heard for the first time about something called the “Ivy League.”

On March 15, 1946, the Americans put Ishizu and his family on a cargo ship back to Japan. He took only a backpack, leaving behind the modern equivalent of $27 million in cash. At the end of March 1946, Kensuke Ishizu returned to his hometown of Okayama, which was completely burned to the ground.

Ishizu became the menswear designer for a high-end clothing showroom in Osaka. The late 1940s was an odd time to manufacture expensive menswear. Japanese spent forty times more on food than on clothing. Women continued to wear the baggy, high-waisted monpe farming pants they wore during wartime. Pilots who had been in line to perform kamikaze missions wandered around in brown flight suits.

In this fashion vacuum of garment shortages and rationing, the first group in Japan to readopt Western style were the Pan Pan Girls—streetwalking prostitutes who catered to American soldiers. They wore brightly colored American dresses and platform heels, with a signature kerchief tied around their necks. They permed their hair, caked on heavy makeup, and wore red lipstick and red nail polish. Pan Pan Girls’ jackets had enormous shoulder pads in imitation of officers’ wives. Prewar Western fashion and customs had entered society through the male elite and trickled down. But the first to wear American-style clothing in postwar Japan were women—and prostitutes at that.

Following the American way of life looked like a way out of despair. Prewar interest in Western culture was an aesthetic choice and status symbol—now it was also a means of self-preservation. Kensuke Ishizu had a business advantage in this new Japan where everyone hoped to imitate American lifestyles. He built up a network of the top sewing talent in Osaka and stockpiled fabrics and zippers through an American soldier who shopped for him at the post exchange. Ishizu turned out top-notch garments that got the attention of not just others in the garment industry but also law enforcement. His product was so good that the police apprehended him for a short time on suspicion that he was illegally importing clothing from abroad.

At the end of 1949, Ishizu started his own business, Ishizu Shōten (“Ishizu Store”). Although still few in Japan could afford to buy new clothing, Ishizu was confident that the market would return.

Proximity to the Korean Peninsula made Japan a key manufacturing base for the American military effort after the Korean War began in 1950. These boom times encouraged the urban middle classes to finally revamp their wardrobes. Ishizu pursued an alternate business model to the traditional practice of made-to-order suiting: ready-to-wear clothing. Tailoring was expensive and time-consuming (one suit cost a month’s salary), whereas off-the-rack clothing could get a larger volume of garments to an eager public. Ishizu pumped out saddle shoes as well as cotton flannel shirts and indigo work pants under a faux American brand called Kentucky.

Ishizu Shōten found its most profitable niche, however, in high-end sport coats for rich elites. An Osaka department store gave Ishizu Shōten its own corner, and Ishizu found a loyal customer base in wealthy suburban families. As the business grew, Ishizu wanted a more memorable brand name, so he rechristened his company VAN Jacket, borrowing VAN from the title of a comic book.

A major barrier remained: it was taboo for men to show interest in fashion. When white-collar workers first donned Western suits in the early twentieth century, the garment was meant as a modern and sober uniform, not as a means of self-expression. Any tweaks or customization to the basic formula implied vanity. If the suit’s wool looked rough, a tailor would turn the fabric inside out and sew it back together. The basic male wardrobe went to extremes of conformity: a single charcoal-gray or navy-blue suit, dark tie, white shirt, and dark shoes. White shirts outsold colored ones more than twenty to one. A striped shirt was enough to get a worker in trouble. And ready-to-wear clothing was not an option. Men dismissed nontailored garments as tsurushi or tsurushinbo, meaning “something hung up,” with the sting of a racial slur.

Japanese women in the early 1950s could enjoy a handful of fashion magazines, but they were utilitarian—pages packed full of black-and-white dress patterns rather than dream catalogues full of glossy photos. Men had only one fashion resource: the suit-pattern guide Danshi Senka. In early 1954 female readers of women’s magazine Fujin Gahō, who reveled in the latest Parisian styles, complained that their husbands accompanied them to parties and weddings in bland business suits. The Fujingahōsha publishing company decided that men needed a fashion magazine to teach them proper dress, and they wanted a charismatic figure to make the magazine compelling. One name kept popping up: Kensuke Ishizu.

Ishizu joined the editorial team, and the quarterly publication Otoko no Fukushoku (“Men’s Clothing”) debuted in late 1954. The magazine offered fashion photography and articles, but the editorial tone was pure instruction—a textbook introduction to semiformal wear, business wear, sportswear, and golf wear. Ishizu and the other writers gave practical advice to fashion novices and introduced the latest styles from America, France, and England.

Ishizu turned Otoko no Fukushoku into a VAN media organ, weaving advertisements and clothing samples from his company throughout the magazine and buying up the majority of each 35,000-issue print run to sell them to VAN’s retailers. He wrote so much for the first few years that he had to hide his work under pen names such as Esu Kaiya (“Esquire”) in fear that his authorship was too conspicuous.

In the mid-1950s the few young men who rejected their school uniforms for stylish clothing were marginalized as delinquents. Youth wore uniforms everywhere; there was no such thing as “young fashion.” Parents in the postwar era felt a particular anxiety about their children wearing fashionable clothing. The strict morality of the imperialist era collapsed after World War II in tandem with the wartime regime, and parents assumed their children would go astray in the ensuing moral vacuum.

The sensational “Oh, Mistake Incident” of 1950 solidified these associations. Hiroyuki Yamagiwa, a nineteen-year-old chauffeur at Nihon University, broke into a coworker’s car at knifepoint, slashed the driver, and drove off with 1.9 million yen in cash. Yamagiwa then took his girlfriend on a three-day joyride. The minor crime made headlines after Yamagiwa screamed out in pidgin English “Oh, mistake!” upon being apprehended. During police interrogation Yamagiwa continued to drop random English words into his Japanese and revealed a tattoo that said “George.” In just three days on the lam Yamagiwa and his girlfriend spent 100,000 yen—ten times a university graduate’s starting monthly salary—on clothing in high-end Ginza boutiques. In front of the media flashbulbs Yamagiwa wore a gold corduroy jacket, red pocket square, dark brown gabardine pants, light brown button-up shirt with long collar points, argyle socks, chocolate brown shoes, and a President Truman–style fedora. For disapproving adults across Japan, the connection between loose morals and American fashion could not have been any clearer.

Things slowly started to change. In 1956 the Japanese government released a white paper on the economy that opened with a joyous phrase—mohaya sengo de wa nai, “the postwar is over.” The population had enough food, work, and shelter; they began to think more about what to wear. But middle-aged men continued to deplore off-the-rack clothing, and Ishizu resigned himself to the fact that it would never appeal to his own generation. Against the mores of the period, he would have to court the youth market.

None of the contemporary trends in Japan looked right for the new line of ready-to-wear clothing Ishizu wanted to make for younger men. Looking for inspiration, Ishizu embarked on a world tour in December 1959, culminating in his first visit to the United States. While in New York Ishizu sought out a popular American fashion style often covered in Otoko no Fukushoku’s international reporting—“Ivy League.” By the late 1950s the look had moved beyond campuses and into the mainstream of American wardrobes.

Ishizu took the train down to Princeton, the alma mater of his American lieutenant friend. Japan’s elite campuses were packed with identical-looking boys in black wool uniforms; Ishizu was impressed by Ivy League students, who dressed up for classes in a distinct, individual way. The shots he snapped with his compact camera of Princeton undergraduates later illustrated his U.S. trip report for Otoko no Fukushoku. One attractive Ivy Leaguer in a blazer, undone dark necktie, white button-down shirt, gray flannel pants, and a coat slung over his shoulder became the issue’s unwitting cover model. As Ishizu wrote in an accompanying essay, “There was nothing like that particular American flamboyance that we all have come to expect.”

These elite, athletic students demonstrated how dapper a young man could look in ready-to-wear clothing. The clothes looked neat and fit closely to the body. Ishizu especially liked that the style relied on natural materials such as cotton and wool, which could be worn for a long time and easily cleaned. Japanese students in the late 1950s had little pocket money, but Ivy clothing would be a good investment—durable, functional, and based on static, traditional styles.

And there was something chic about how Ivy students wore items until they disintegrated—holes in shoes, frayed collars on shirts, patches on jacket elbows. Many nouveau riche Japanese would gasp in horror at this frugality, but the old-money Ishizu saw an immediate link
between Ivy League fashion and the rakish, rough look of hei’i habō, the early twentieth-century phenomenon of elite students flaunting prestige through shabby uniforms.

Ishizu now had his inspiration. In 1959 VAN produced its first “Ivy model” suit—a detailed copy of Brooks Brothers’ classic Number One Sack Suit with a loose, dartless jacket.

Ishizu’s imported style found ready acolytes. Two particularly dedicated readers of Otoko no Fukushoku, Kazuo Hozumi and Toshiyuki Kurosu, founded the Traditional Ivy Leaguers Club with five other friends in the late 1950s. The group held weekly seminars on Ivy style, looking up terms from American magazines in a yellowed prewar English clothing encyclopedia. They also invited an aging tailor to teach them about details associated with the American style, such as hooked vents (a key part of the stitching on the back of a blazer) and overlapped seams.

In 1959 the club convinced Otoko no Fukushoku—which Ishizu had newly rebranded with the English name Men’s Club—to feature them in a four-page story. All seven members appeared in dark Ivy suits for the group portrait, holding up a poster of a blond pinup girl to demonstrate their expertise in American culture. A blurb proclaimed them to be “seven Ivy samurai.”

Today, little about the clothing in the photo would be identified as Ivy League style—certainly not Kurosu’s porkpie hat, cufflinks, silver-colored formal necktie, and pearl tiepin. Despite Men’s Club’s position at the forefront of Ivy League fashion in Japan, nobody involved in the operation could accurately replicate the American collegiate look. Lacking firsthand experience with Ivy League students, the style in Japan was built on tiny scraps of information and Men’s Club editors’ educated guesses.

In 1961 Kensuke Ishizu hired his son Shōsuke, who had been working at Men’s Club, to be the head of VAN’s planning department and produce an Ivy clothing line. Before this point, most Ivy items relied on the fifty-year-old’s imagination: Ishizu called shirts with a long vertical stripe “Ivy shirts,” desert boots with a buckle on the back “Ivy boots,” and pants with a buckle on the back “Ivy pants” with an “Ivy strap.” Shōsuke’s mission was to make more authentic Ivy items, but he did not know how. The obvious solution was to bring in an Ivy expert. Toshiyuki Kurosu, cofounder of the Traditional Ivy Leaguers Club, was invited to join VAN and accepted the offer.

At the beginning, the two young employees struggled with even the core pieces. With no connections to Ivy League colleges or university shops, Kurosu and Shōsuke had few concrete details on the latest campus fashions. They foraged for hints in GQ, Esquire, Men’s Wear, Sports Illustrated, the French magazine Adam, JC Penney and Sears Roebuck catalogs, and the ads in The New Yorker. These publications provided design ideas, but VAN’s factories needed patterns and three-dimensional versions of the garments to make true copies. While traveling to the United States on business, Kensuke Ishizu bought up a few pieces at Brooks Brothers to use as guides, but these could not be extrapolated into an entire clothing line. Kurosu resorted to hitting the black markets, where he could scrounge around in piles of discarded GI clothes for Ivy-like garments.

As the full Ivy line came together in 1962—chino pants, navy blazers, seersucker jackets, rep ties—VAN updated its logo to appeal to a younger audience. Kensuke Ishizu placed his original red-and-black stencil logo in a circle with the catchphrase “for the young and young at heart.”

The wider apparel industry was unsupportive of the Ivy trend. Ishizu decided that VAN would take it directly to teens.

As fashion-conscious men looked more to magazines than to department stores for style guidance, from 1963 onward VAN used its shadow editorial control of Men’s Club to fill each issue with minutiae of modern American collegiate life. There were explorations of elbow
patches, detailed looks into the “V-zone of an Ivy Leaguer,” and essays from Kensuke Ishizu on critical matters such as “girls who understand Ivy and girls who don’t.”

Despite these efforts, Ivy primarily existed in Japan inside the magazine’s pages. Almost all youth still wore their gakuran uniforms or equally bland garments. Readers understood the imagery in Men’s Club—a world where everyone lived surrounded by Ivy suits, Coca-Cola bottles, and jazz records—as a pleasant fantasy. Dressing like this in real life would certainly elicit ridicule from classmates and neighbors. VAN needed to prove to their readers that there actually were well-dressed youth roaming the cities of Japan.

In the spring of 1963, Toshiyuki Kurosu started a column in Men’s Club called “Ivy Leaguers on the Street,” where he and a photographer took snaps of young passersby in Ginza who dressed similarly to East Coast preps. Kurosu picked the best and wrote accompanying captions. This soon became readers’ favorite part of the magazine. With this, Kurosu may have invented “street snaps”—the distinct style of documentary fashion photography that now appears in nearly every Japanese fashion magazine.

In truth Tokyo barely had adequate numbers of fashionable men to fill each issue’s pages. But the work got easier once teens started to hang around the neighborhood’s main avenues in contrived outfits with the hope of catching Kurosu’s eye. Subsequent editions of the column showed a more pronounced Ivy League style, a trend which snowballed as teens tried to outdo the young men in the previous issue.

VAN customers in the first half of the 1960s came exclusively from three groups: celebrities, creatives at top advertising firms, and the sons of wealthy families. In the United States, Ivy represented the casual style of elite university students, but the style reached far beyond East Coast campuses because of its ease of fit, rugged materials, and reliance on basic styles. Not so in Japan. VAN had so far only found consumers at the very top of society.

To make things easier on their pupils, Ishizu, Kurosu, and the others at VAN decided they needed to break Ivy down into a set of dos and don’ts. They summarized their mission thus:

When you buy medicine, the instructions are always included. There is a proper way of taking the medicine, and if you do not take the medicine correctly, there may be adverse effects. Same goes for dressing up—there are rules you cannot ignore. Rules teach you style orthodoxy and help you follow the correct conventions for dress. Starting with Ivy is the fastest way to get you there.

In the pages of Men’s Club, Kurosu became the unofficial headmaster of the Ivy school. He ran an Ivy Q&A column in the back of the magazine. He told readers, for example, not to wear ties with their sports shirts and to avoid tie tacks and cufflinks with blazers, while also advocating for the mentality of Ivy: an easy East Coast nonchalance. Kurosu warned a reader threatening to wear a button-down collar with the buttons undone, “It has to feel natural. It’s the absolute worst if other people think you’ve left them intentionally unbuttoned.” Kurosu, a twenty-something who had never lived in the United States, was playing referee with confidence that came from years of research—but also a good measure of bluffing.

VAN was so successful in using these definitive proclamations to get both readers and retailers on the same page that Japanese fashion today still retains this emphasis on rules. U.S. Ivy League style was steeped in tradition, class privilege, and subtle social distinctions. The best part of collegiate fashion was its unconscious cool. No one read manuals; they just imitated their fathers, brothers, and classmates. In Japan VAN needed to break down Ivy into a distinct protocol so that a new convert could take up the style without having ever seen an actual American. Men’s Club often gave the same styles the fun of filing taxes.

But readers ate it up, and their demand for instruction only resulted in an even greater tyranny of details. A true Ivy shirt had a small “locker loop” under the collar and a center box pleat. Ivy men wore a pocket square in the “Ivy fold,” a necktie exactly seven centimeters wide, and an “orthodox” pant length. A biblical dogma developed about the Ivy suit jacket’s center hooked vent, even though its presence on the back of the jacket made it mostly invisible. Men’s Club warned against the danger of slanted jacket pockets—a nefarious “anti-Ivy technique.” This homosocial one-upmanship brought fashion—previously belittled as a “feminine” pursuit—closer to technical “masculine” hobbies such as car repair and sports.

In 1963 Kensuke Ishizu, consolidating his position, laid down the master concept for Western dress in Japanese with just three letters: TPO (tī pī ō in Japanese), an acronym for “time, place, occasion.” Ishizu believed that men should choose outfits based on the time of the day and season, their destination, and the nature of the event.

Ishizu later formalized the TPO idea with a guidebook called When, Where, What to Wear. The pocket-sized volume offered lists of ideal outfits, coordination styles, and fabric types, as well as diagrams on how to get the perfect suit fit. The book was an immediate bestseller. Electronics maker Sony passed out copies to every male employee.

Ivy turned into big business for VAN Jacket. By 1967 the company hit 3.6 billion yen in revenue ($71 million in 2015 dollars), and at the end of the decade, 6.9 billion yen ($111 million in 2015 dollars). In these years VAN did not just clothe the nation in Ivy League style but acted as Japanese youth’s introduction to a more Americanized lifestyle, in which clothing played a major role in forming a distinct identity. With traditional Japanese culture discredited by its defeat in World War II, youth were desperate for a new set of values. And at just the right time, VAN offered an idealized version of American life.

The company also benefited from the fact that real Americans were gradually disappearing from the Tokyo landscape. By the mid-1960s GIs were few in number and generally confined to their bases in remote areas. Youth in Tokyo instead learned about the American people from VAN, Men’s Club, and Hollywood films. They came to see the United States as not a wartime enemy or postwar occupier but as the home of jazz, fancy colleges, button-down collars, and blond bombshells.

Ivy style in the 1960s marked a critical moment when men started dressing up, and it set the pattern for how the country would import, consume, and modify American fashion for the next fifty years. After Ivy, Japan had an infrastructure to create and disseminate the latest in American styles—not just the clothes of clean-cut New England youth but even the wilder looks of the counterculture.

On May 24, 2005, VAN Jacket founder Kensuke Ishizu died at the age of ninety-three. By then millions of Japanese men—students, employees, executives, and retirees—were following Ishizu’s principles of Ivy as their basic style. Ishizu taught the 1960s generation how to dress, and they passed down those sartorial lessons to their children.

Ishizu did not just kick off the culture of Japanese menswear but kept it replicating the values of VAN Jacket through a sophisticated industry in Japan. The most successful brand to come out of the VAN Jacket family is global apparel giant Fast Retailing, whose marquee chain, Uniqlo, has over 1,500 stores in eighteen countries. Founder Tadashi Yanai’s father ran a small VAN franchise in the industrial town of Ube, Yamaguchi, called Ogōri Shōji. Ishizu renamed it Men’s Shop OS to attract a younger crowd.

Yanai opened the first Uniqlo in Hiroshima in 1985, and while many of Uniqlo’s best sellers over the years—brightly colored down jackets, fleece, thermal underwear—have not necessarily been Ivy items, Yanai’s dedication to selling unisex basics at reasonable prices echoes the original mission of VAN Jacket. Toward the end of his life, Kensuke Ishizu visited a Uniqlo store and told his son, “This is what I wanted to make!”

W. David Marx

W. David Marx, a writer based in Tokyo, is the founder and editor of né He is the author of Ametora: How Japan Saved American Style, from which this essay is excerpted. Available from Basic Books, a member of The Perseus Books Group. Copyright © 2015.

 W. David Marx, a writer based in Tokyo, is the founder and editor of né He is the author of Ametora: How Japan Saved American Style, from which this essay is excerpted. Available from Basic Books, a member of The Perseus Books Group. Copyright © 2015.

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Wednesday, May 5, 2010

My Ace of Cakes Phase

You know how I told you I go through all these phases because I have no life am super creative? My current phase is baking. Which is weird because I don't even really like dessert (I know, I'm a freak of nature). Oh and it's also weird because I never baked before in my life. Whenever we have cookie exchanges or birthday cake rotations at work, I always would buy from the grocery store and wouldn't even bother to put it in my own container and pretend I made it myself.

But I had a GBFF who would make all these amazing cakes and because N was always working out of town he was all "You should totally help J make cakes because you like to watch Amazing Wedding Cakes and the Cake Boss and it will keep you busy while I make it rain."  So I called him and we started making cakes and we will probably have a show on Bravo soon. Look, I'll prove it:

Here are the reasons I think cakes are my ticket to fame and red hair and really big feminine but awesome flower tattoos on my arm (oh you didn't know? this is what I picture myself to look like when I open my own bakery. I call it Punky Crocker.):

1. J is a total flamer. Like Damien in Mean Girls except he thinks he can totally pass for a straight man and he lives with two other gays.

2. We argue all.the.time. Like about everything. And they can turn into huge blowups. "What do you mean we are out of sugar?! We're a fuckin' bakery!" "Of course we have to make the monkeys edible and not just use the ones from your Barrel of Monkeys!" "It has too much crap on it already, stop trying to add fuckin' butterflies!" This is reality TV gold.

3. Our cakes are not terrible for us only doing this for a few months. Yeah we should probably shoot for something better than "not terrible" but whatev.

Anyway, I am pretty much over this hobby and ready to move onto something else making homemade pinatas or some shit but unfortunately I dragged J into this and he wont let me quit now. Oh well.

Gay tantrums and reality tv love,

P.S. If George Lopez has people sing Total Eclipse of the Heart on his show one more time I am going to find him and stab him in the face. That's my song dammit!

P.P.S. It is perfectly okay if Lea Michelle sings it on Glee and her rendition may or may not have given me chills last night.

twononblondes said...

For the recored, Gina's cakes (from her bakery, obvs) are better than not bad. They are really quite yummy and there is some definite decorating talent.

Sarah RDH said...

I think your cakes look good! I wish I had more occasions to make more cakes, but there's not too many people I really care about enough to put 9 hours of my life into it, ya know???

Becky Mochaface said...

Those look amazing. And I would totally buy cakes from a bakery called Punky Crocker. Because I? Love puns. I know. I'm a freak of nature.

Post a Comment


text:
Fiscal Officer

Duties and Responsibilities

The Township Fiscal Officer is an elected official and is independent of the Township Trustees, yet by law, the Township Fiscal Officer must work closely with the Trustees. While the Trustees have the legislative authority in the township (ORC 505.01), the Township Fiscal Officer must keep an accurate record of all township accounts and transactions (ORC 507.04). It is the responsibility of the Township Fiscal Officer to comply strictly with the legal requirements set for the Township Fiscal Officer’s duties, to establish and practice rules for efficient management of the Township Fiscal Officer’s office, and to follow good accounting practices in maintaining records and The Township Fiscal Officer has designated duties that are specified in the Ohio Revised Code, such as recording accurately the proceedings of the Board of Township Trustees, i.e., keeping the Minutes (ORC 507.04), plus numerous other ministerial duties.

Joel Moszkowicz, Financial OfficerAppointed in December of 2017 first as the Assistant Fiscal Officer taking the office as Fiscal Officer effective January 1, 2018, until December 31, 2018. He has a background in Business and Finance with a Master of Business Administration from the University of Findlay where he graduated in 2009 in Organization Leadership. He is also a member of the Jerusalem Township Fire Department where he serves as a Fire Fighter and Emergency Medical Technician. Aside from being a Fiscal Officer and Fire Department member, he is a Claims Adjuster for Progressive Casualty Insurance Company where he works full time. In his spare time, he is involved with various conservation clubs, the Boy Scouts of America and with his family. He has grown up in the township living on North Curtice and Donovan roads, a graduate of Clay, Eisenhower and Jerusalem schools, an  Eagle Scout of Troop 131 – St. Luke’s Church, Curtice, Ohio.
As part of the appointment by the Trustee Board, he will be required to run for election in November of 2018 and if elected to continue as Township Fiscal Officer for a four-year term.

Joel Moszkowicz
9501 Jerusalem Rd
Curtice, Ohio 43412
(419) 392-2764 Cell
(419) 836-8921 Office


text:
UCC Remembers Logo

Discover the stories and remember the lives of UCC
Old Boys who gave the ultimate sacrifice in the Great War.

Major William Edward Steacy ’07

Died: November 25, 1918

Major William Edward Steacy, whose death was briefly announced in our last issue, died in France in No. 12 Stationary Hospital on Nov. 25th, 19 18, of pneumonia.

Major Steacy came to U.C.C. from St. Mary’s College, Kingston, and was at U.C.C. from 1905 to 1907. His next three years were spent at R. M.C. whence he obtained a commission
in the Canadian Garrison Artillery. Later on he was transferred to the R.C.H.A. at Kingston. At the outbreak of war, he was instructor at the Royal School of Artillery, and was promoted to the rank of Captain and Commandant of the School.

In July, 1916, he reverted to the rank of Lieutenant and went overseas in charge of an artillery draft. He went to France immediately on reaching England and served on the Headquarters Staff with Col. Thacker. He was slightly wounded at Lens in 19 17 and, during convalescence, he was granted furlough to Canada. On returning to France, he was posted to the 19th Battery, C.F.A., and was promoted to the rank of major in October, 1918. On his return to his battery, after leave in London, he took cold and, after a very short illness, died of pneumonia.

Major Steacy is survived by his widow and a young daughter, who reside in Halifax, and four brothers and one sister.

College Times (Summer 1919) pg. 11

More information about Major William Edward Steacy ’07 can be found at:

Upper Canada College Roll of Service 1914-1919

Canadian Virtual War Memorial

Canada At War

Canadian Great War Project

Commonwealth War Graves Commission

Frontenac Club Inn Plaque – Kingston (World War 1 Walking Tour – stop #15)

The Laurier Centre for Military Strategic and Disarmament Studies

Officers who served overseas in the Great War with the Canadian Artillery 1914-1919

The Royal Regiment of Canadian Artillery


text:
Target expands voice-commerce relationship with Google to battle Amazon

Google announced nationwide expansion of its Google Express relationship with Target. Users in the Continental US will now be able to buy from Target through the Google Assistant and receive Google Express delivery. The voice-commerce relationship extends to Google Home devices.

Features and capabilities are nearly identical to those announced in August with Walmart. And while the deal isn’t yet fully operational, ultimately you’ll be able to:

order and reorder from Target with free shipping on orders exceeding $35.opt in for personalized recommendations (as an existing Target customer) and a “quick re-order experience based on past Target purchases.”shop on any device (including Android TV) where the Google Assistant is available.

Google is doing battle with Amazon on multiple fronts, and so are its Google Express retail partners. Google sees voice-based shopping from an array of branded retailers as a point of differentiation vs. Amazon. By the same token, retailers need to make themselves accessible through virtual assistants and smart speakers. There’s an alignment of interests, creating an anti-Amazon alliance of sorts.

A recent ad campaign for Google Express promotes the notion of “all your favorite stores in one place.” In addition to Target and Walmart, the service offers access to Kohl’s, Joann, Sur la Table, Walgreens, Staples, Toys R Us and numerous others.

Target is a top 10 e-commerce site, but it badly lags Amazon, and it has no voice-commerce capability today. It’s wise for Target to work with Google to leverage the latter’s distribution. However, the question in my mind is: Will Google retail partners like Target benefit in a meaningful way from these deals, or will they eventually turn into little more than suppliers for Google Express?

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text:
Title: Photo portrait James F. Hentges
Full Citation
Permanent Link: http://ufdc.ufl.edu/UF00032414/00001
 Material Information
Title: Photo portrait James F. Hentges
Physical Description: 4x5 polyester
Language: English
Publication Date: 1961
Subject: Hentges, James F.
Agriculture, College of
Animal Science, Department of
General Note: Photo portrait James F. Hentges
Funding: Digitized with funding from the Institute of Museum and Library Services as part of the Ephemeral Cities grant project.
 Record Information
Bibliographic ID: UF00032414
Volume ID: VID00001
Source Institution: University of Florida
Holding Location: University of Florida Archives, Special Collections, George A. Smathers Libraries
Rights Management: All rights reserved, Board of Trustees of the University of Florida.
Resource Identifier: Photograph 5541 from the University Archives Photograph Collection.

University of Florida Home Page
© 2004 - 2010 University of Florida George A. Smathers Libraries.
All rights reserved.

Acceptable Use, Copyright, and Disclaimer Statement
Last updated October 10, 2010 - - mvs


text:
Title: STENAPA update
Full Citation
Permanent Link: http://ufdc.ufl.edu/UF00100100/00009
 Material Information
Title: STENAPA update
Physical Description: Serial
Language: English
Publisher: St. Eustatius National Parks Foundation
Place of Publication: Gallow Bay, St Eustatius, N.A.
Publication Date: September 2005
Copyright Date: 2010
 Record Information
Bibliographic ID: UF00100100
Volume ID: VID00009
Source Institution: University of Florida
Holding Location: University of Florida
Rights Management: All rights reserved by the source institution and holding location.

This item has the following downloads:

STENAPA Update-2005-09 ( PDF )

Full Text

September 2005

P Newsletter 3/2005

Turtle Satellite Tracking Project

This year we are hoping to finally
solve the mystery of where turtles
go, once they leave Statia's nest-
ing sites. With funding from the
Dutch Caribbean Nature Alliance
(DCNA), STENAPA and the Na-
ture Foundation of St Maarten
have started a satellite tracking
study of Green and Hawksbill
Turtles. The aim of this project is
to track these animals on the way
to their foraging grounds, once
they leave the island's waters
towards the end of October.
Getting to know the turtle's
movement pattern will give us a
much clearer picture of their geo-
graphical range. This will allow
us to improve protection and
conservation efforts, not only on
the nesting beaches, but also in
other essential habitats. Satellite
tracking will indicate the migra-
tion pathways turtles use, ena-
bling us to determine any poten-
tial threats, such as fisheries inter-
action these animals may en-
counter on their way between
nesting and feeding grounds.

i Map of
Route of
This is how it

Under the supervision of Dr
Robert Van Dam, a sea turtle
biologist with manyyears experi-
ence using satellite telemetry to
tracl< turtlep in the Caribbean

transmitters will be attached
to three adult females on
Statia and to two on St.

The transmitter is a 12cm by
5cm by 3cm box, and weighs
200 grams with an antenna
attached at one end. There is
no danger of it hurting the
turtle as its design is stream-
lined and therefore will not
interfere with any normal
behaviour and movements.
Attachment procedure of the
transmitter poses no risk to
the animal. To limit move-
ment during tagging, she is
put in a holding box where
her carapace is cleaned of
any algae or barnacles before
attaching the transmitter, plus
a soft cushioning layer to her
shell. It sits towards her head
which will be out of water
when she surfaces for air,
enabling signals to be sent to
satellites. Layers of hardened
protective fiberglass encases
the transmitter, protecting it
from damage during thejour-
ney through the ocean, reefs
and other obstacles the ani-
mal might encounter.
All this is done after she is

finished with nesting.

A very important aspect of
this project has been the
opportunity to increase
public awareness of turtle
conservation issues. Pro-
gramme Coordinator Dr
Emma Harrison visited
Statia's schools in Septem-
ber to give presentations
on satellite telemetry. At the
same time a "Name the
Turtle" competition was
organised. Students were
given the task of drawing
turtles, projecting where
their migratory path might
lead them, writing an essay
about a turtles journey or
making a model of a turtle
using only recycled materi-
als. Over a hundred entries
were received andjudging
was no easy task. All win-
ners were allowed to
choose names for the
tagged turtles, one of them
being Miss Shellie. She and
the other turtles can be
followed on STENAPA's
website ww.statiapark.org

Good Luck to all turtles and
a safe return to Statia !!

Inside this issue:

Plastic Bags Campaign

Launch of new book on
Reptiles and Amphibians

Corallita Research
New Volunteers on Statia

Statia's little Raptor

Election for Board of

Special points of interest:

Wednesday Oct. 19 at 3.00 PM
Join Beach Clean-up at Zeelandia

Saturday Oct. 29 and Sunday
Oct. 30 at 8.00 AM
Hike on the Quill Trail with Au-
thor of Reptiles and Amphibians
of Dutch Caribbean. Meet at the
top of Rosemary Lane.

Saturday Nov. 05 and Sunday 06
at 9.00 AM
Help clear our large trees from
Mexican Creeper Corallita (see
flyers for detail)

*Guided tours at the Botanical
Gardens are available from
8am-- pm every weekday. Con-
tact the office if you want to
have a guided tour outside of
these hours. The Garden is open
from sunrise to sunset everyday.

*Turtle nesting season is nearly
over. Contact the office if you
want tojoin a patrol.

St Euttu Naioa an Mari e Pak nBtncl -adn

Plastic Bags Campaign Update

STENAPA with the aid of the Island Gov-
ernment is addressing the problems asso-
ciated with plastic waste. This type of pol-
lution poses a serious threat to all wildlife,
particularly to the marine environment.
Statia has no recycling facilities therefore
all waste is deposited at Smith's Gut, the
land fill very close to Zeelandia Beach.
Plastic bags constitute a major proportion
of the waste and the aim of the campaign
is to reduce the quantity of plastic bags
entering Smith's gut.
STENAPA is producing re-usable cloth
bags which will be distributed to every
house hold, free of charge. Each house
hold will be given 2 bags and in addition
every school child will receive one bag as
well. By using these bags instead of the
traditional plastic variety given away by
the stores, the unsightly and dangerous
plastic pollution will be reduced.
Over the last few months STENAPA organ-
ized various activities to raise public
awareness of the negative impact of plas-
tic wastes. These included:
Presentations at all local schools to edu-
cate children on the dangers of plastic

Radio Programmes in June and August to

inform everyone about the campaign
and to encourage the public to adopt
other waste reduction measures.

A school contest to design a logo for the
Eco-bags (a picture of the winning design
was published in the last Newsletter).
A radio jingle" contest with the slogan
Re-use, recycle, refuse which is aired
twice daily on PJR 91.5 FM.
Currently activities include the designing
of a poster for schools and shops. The
Eco-bags have been ordered and will
arrive in November/December.
A two hour shop tour to visit
14 store owners was carried
out by Governor Mr. Hyden
Gittens and Nicole Esteban,
Manager of STENAPA with
the aim to brief shop owners
about the ongoing plastic
bags campaign managed by
the government and
STENAPA. They were shown
a large re-usable cotton Eco
bag which is ideal for grocery
STENAPA is delighted at the
response of the shop owners,

they are unanimous in their support of the
campaign and all have agreed to display
the posters and also to stock the Eco-bags
for sale to customers who might have
forgotten to bring their own. Governor
Gittens reiterated the importance of re-
ducing plastic waste, not only for environ-
mental reasons, but also for the enhance-
ment of Statia's beauty. In future, an im-
port tax will be levied on plastic bags to
further encourage shops to charge for
such bags and also to entice the public to
use their Eco-bags.

Launch of new Book on Reptiles and Amphibians

Statia was fortunate to be selected by a
team of fourteen scientists to conduct a
month long study of our reptiles and
amphibians during June of 2004. This
study, organised by Bob Powell and Bob
Henderson, led to publication of several
scientific papers. Dr. Powell was inspired
by Statia's population of Antillean Iguana
/Iguana delicatissima) and organised for
the "Protect Iguana" signs, which are
posted in town and in the Quill and
Boven National Parks. Dr Powell also sug-
gested that he organise production of a
colourful guide to Reptiles and Amphibi-
ans with copyright to STENAPA. Proceeds
from the sale of these books would be
donated to conservation. Fortunately
STENAPA was able to find funding for
the printing of 3000 copies through
World Wildlife Fund Netherlands and
Prince Bernard Nature Fund, and the
book covers the three Dutch Caribbean

Windward Islands. Copies of the book will
be distributed to schools and youth
groups. The three nature conservation
organizations of St. Eustatius, Saba and
Sint Maarten will offer the books for sale.

STENAPA is happy to welcome Dr Powell
back to Statia on the 28-30 of October for
the launch of the 200 page publication
Reptiles and Amphibians of the Dutch
Caribbean, St. Eustatius, Saba and St.

While in Statia, Dr Powell will be hosting
two nature walks to use the guide book
for the identification of lizards, snakes and
frogs. The public is invited to join Dr Pow-
ell at the top of Rosemary Lane on Satur-
day the 29th and Sunday the 30th of Oc-
tober at 8AM for a leisurely stroll along the
Quill trail, lasting about an hour.

,Rt'epih and \mphilir il,
sat- . ;r. Eit alnfrfil iJ St. Alh rten

Page 2

Newsletter 3/2005

Corallita Research

Whether we call it Corallita or by its fancy
botanical name Antigonon leptopus,
Mexican Creeper, Coral Vine, Mountain
Rose, Confederate Vine, Chain of Love,
Heart on a Chain, Love Vine, Coral Bells,
Queen's Jewels, Kadena de Amor,
Queens Wreath or Cemetery Vine, we
are talking about the very beautiful but
deadly invader that threatens Statia's
indigenous flora and fauna.
This very aggressive pest hides its tubers,
which can weigh 7 kilo, in 2 meter deep
soil. It shoots out vines up to 10 meters
long and kills even big trees with its
choking embrace. It covers entire areas
of vegetation, depriving it of sunlight and
so killing all undergrowth. It breaks down
farm fences and interferes with tele-
phone lines.

New Volunteers on Statia

STENAPA recently welcomed the 4th
group of volunteers for Statia Conserva-
tion Project this year. A group of six peo-
ple from Sweden and the UK are working
hard to help staff and interns on conser-
vation projects around the island. Their
areas of activities are the Botanical gar-
dens, improving trails in the Quill Na-

This alien plant employs bees, wasps, flies
and butterflies to spread its pollen and
domestic as well as wild animals, includ-
ing birds, eat its fruit seeds, thus spread-
ing it further as they drop their pellets.
The seeds of this vine are even carried on

It is assumed that many yeas ago, Coral-
lita was introduced to Statia as an orna-
mental plant and possibly to combat soil
erosion. The indigenous home of Anti-
gonon leptopusis South America and

STENAPA has received funding from
AMFO to launch a one year pilot project
to provide an insight into the ecology of
the Corallita Vine and also finding ways
to controlling the species.
Dr Pieter Ketner and Joris Ernst of Twente
University in the Netherlands will visit
Statia from 25th October to I Ith Novem-
ber for their first research trip.

The projects objectives will include:
What is the distribution of Corallita
(where does it occur and how much)?
What are the problem areas?
What areas are vulnerable to this vine?

tional Park and monitoring nesting turtle:
at night time along Zeelandia Beach. The
volunteers work hard during mornings
and also during night time turtle patrols.
. Their afternoons are spent relaxing or
diving. Projects undertaken by this group
include concreting of the entrance road
to the Botanical Garden, improving the
section of Round the Mountain trail from
the Quill trail to the Botanical Garden
and assisting with the turtle satellite
transmitter project.
This picture shows the new group during
a nesting beach clean up at Zeelandia,
shortly after their arri-
val in August.

How deep are the tuber roots located?
Which animals eat the fruits?

Are seeds still viable after being eaten by
these animals?

By what means can the species be eradi-

The duration of the project is divided into
5 phases:
I; Mid October: Literature study, Re-
search proposal
2; Late October: Choice of areas to set up
the tests to local circumstances and to
begin the mapping of vine.
3; Early November: Setting up the tests in
the field, Instruction of the ranger field-
work. Fieldwork will continue until ca.
March/April 2006
4; March/April 2006 Second visit by sci-
entists, Evaluation of results so far, Ad-
vise how to continue with the tests.

5; November 2006 Third visit, Final report
STENAPA would very much welcome
volunteers to help with the clearing of
large trees and also for persons inter-
ested to speak with the researchers
about the Corallita problem. Statia should
not be covered up by a pink blanket.

Statia's little Raptor

s Visitors to Statia and particularly Birders
or "Twitchers" as they are so quaintly
called in the UK, have always been fasci-
nated with our very beautiful Killy Killy.
This little raptor belongs to the falcon
family and its proper name is American
Kestrel /Falco sparverius). It is widely
distributed in the Caribbean as well as in
the Americas. One finds this bird mainly
in open country, but it is often observed
in built up areas of Statia. It nests in tree
cavities, recesses of buildings or at the
base of a palm frond. The Killy Killy is a
fast and fearless bird of prey who lives
mostly from Lizards, larger insects and
Swill not refuse a mouse here and there.
Good spots to watch this bird are along
the way to the Botanical Gardens and
around English Quarter, where one often
sees it hovering in the air, ready to swoop
down on it's next meal.
'4 (Photo by Brenda Kirby)

Page 3

St Eustatius National and Marine
Parks and Botanical Gardens
e^ST. >

National Parks Office
Gallows Bay
St. Eustatius, Netherlands Antilles
Phone/fax: 599-318-2884
Email: semp@goldenrocknet.com

STENAPA is an environmental not-for-profit founda-
tion on St Eustatius and was established in 1988. The
objectives of STENAPA are to upkeep the natural envi-
ronment, to preserve and protect endangered or en-
demic species (flora and fauna) and to educate the
community about the importance of the protection of
the natural environment.

Areas of responsibility include management of the
marine park, the national parks and the Miriam C
Schmidt Botanical Gardens. STENAPA is legally dele-
gated by the Island Council to manage these pro-
tected areas.

Vice President:

Irving Brown
Ronnie Courtar
Jana Mason
Kay Boyd

Election for Board of STENAPA

In accordance with the Statutes that call
for elections of new officers of the Board
every two years, The Board of Sint Eusta-
tius National Parks voted last month for
the positions of President, Vice President,
Secretary and Treasurer.

Mr Irving Brown was voted as the new
President and Mr Ronnie Courtar as Vice
President. Ms Kay Boyd was elected to be
Secretary, pending the return of former
Secretary Jessica Berkel from Maternity
Leave. Ms Jana Mason returns for a sec-
ond term as Treasurer.

Mr Irving Brown thanked Ronnie Courtar
for his leadership during his term as Presi-
dent. Mr Brown believes that right now
STENAPA is doing well, and would like to
keep it going in the right direction.

He acknowledges the importance of
keeping the public involved, maintaining
good contact with government and con-
tinuing to work on the educational pro-
grammes to involve children in the pro-
tection of Statia from a young age.

One of Mr Brown's interests is to encour-
age Statians to come to the Botanical
Gardens to help more with volunteer

The Board of STENAPA currently has
eight members and is actively seeking to
increase the numbers.

In February2004, one representative
from the government and one from the

Fisherman's Cooperative were invited
onto the Board, these positions are still

The Board of STENAPA is also seeking for
wider membership from people in Statia
interested in nature and the environ-
ment. Persons interested should send a
letter to the National Park's Office at Gal-
low's Bay

In photo back left
to right
Daniel Eaton, Ira
Walker, middle
row from left:
Jana Mason and
Kay Boyd, Front
row Irving Brown
and Michele
Faires. Absent::
Ronnie Courtar
(off island), Jes-
sica Berkel
(maternity leave).

University of Florida Home Page
© 2004 - 2010 University of Florida George A. Smathers Libraries.
All rights reserved.

Acceptable Use, Copyright, and Disclaimer Statement
Last updated October 10, 2010 - - mvs


text:
FAU 5133 over BRANCH

+35.17361, -89.82944
35°10'25" N, 89°49'46" W
Source: National Bridge Inventory
Information not verified. Use at your own risk.

Name:FAU 5133 over BRANCH
Structure number:79051330001
Purpose:Carries highway over waterway
Route classification:Collector (Urban) [17]
Length of largest span:14.1 ft. [4.3 m]
Total length:60.0 ft. [18.3 m]
Roadway width between curbs:82.7 ft. [25.2 m]
Deck width edge-to-edge:111.9 ft. [34.1 m]
Skew angle:15°
Owner:City or Municipal Highway Agency [04]
Year built:1980
Historic significance:Bridge is not eligible for the National Register of Historic Places [5]
Design load:MS 18 / HS 20 [5]
Number of main spans:3
Main spans material:Concrete continuous [2]
Main spans design:Culvert [19]
Deck type:Concrete Cast-in-Place [1]
Wearing surface:Bituminous [6]

Latest Available Inspection: April 2015

Status:Open, no restriction [A]
Average daily traffic:7,250 [as of 2016]
Truck traffic:2% of total traffic
Structural appraisal:Equal to present minimum criteria [6]
Deck geometry appraisal:Superior to present desirable criteria [9]
Water adequacy appraisal:Equal to present desirable criteria [8]
Roadway alignment appraisal:Equal to present minimum criteria [6]
Channel protection:Bank protection is in need of minor repairs. River control devices and embankment protection have a little minor damage. Banks and/or channel have minor amounts of drift. [7]
Culvert condition:Deterioration or initial disintegration, minor chloride contamination, cracking with some leaching, or spalls on concrete or masonry walls and slabs. Local minor scouring at curtain walls, wingwalls or pipes. Metal culverts have a smooth curvature, non-symmetrical shape, significant corrosion or moderate pitting. [6]
Scour condition:Bridge foundations determined to be stable for the assessed or calculated scour condition. [8]
Operating rating:48.5 tons [44.1 metric tons]
Inventory rating:35.6 tons [32.4 metric tons]
Sufficiency rating:94.3

Previous Inspections

DateSuff. ratingEvaluationDeckSuper.Sub.ADT
April 201594.3Not deficient---7250
April 201394.3Not deficient---7250
June 201194.3Not deficient---7250
July 200994.3Not deficient---7250
December 200794.3Not deficient---7250
October 200594.4Not deficient---7030
November 200394.3Not deficient---7260
January 200294.0Not deficient---8110
April 200094.4Not deficient---6900
May 199894.9Not deficient---5650
June 199865.7Not deficient---9750
December 199577.6Not deficient---9750
October 199478.6Not deficient---7400


text:
Voice of the Voiceless...
I am the Voice of the Voiceless
Through me the dumb shall speak
'Til the world's deaf ear be made to hear
The wrongs of the wordless weak.

Oh, shame on the mothers of mortals
Who do not stoop to teach
The sorrow that lies in dear dumb eyes
The sorrow that has no speech.

From street, from cage, from kennel
From stable and from zoo
The wail of my tortured kin proclaims the sin
Of the mightly against the frail.

But I am my brother's keeper
And I shall fight their fight
And speak the word for beast and bird
Till the world shall set things right.
-Ella Wheeler Wilcox
Click the Kitten to enter Hope's Cry


text:
Thursday, 17 December 2009

Yearbook Yourself

As the end of 2009 approaches why not have a go at at this website and see yourself in glorious retro fashions dating back to 1950.

Finding the perfect image to use can be tricky - you may get best results from using the option to take a picture with your webcam if you have one installed.

Your face should be dead straight on to the camera, and have no hair or other obstruction across your face. Once you have an image inserted, tweak the size and position.

Each era can be fine tuned using the controls beneath the picture to get the best overall result, and is accompanied by music from the era and a smattering of information about fashion and trends on the right.

When you find an image you want to share you can post it directly to Facebook, save it to your computer, or use the share link to post it to a URL that you can share with whoever you want.

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