text:
—Lauren Groff

And the clocks! The clocks, especially—they promise control, efficiency, or even power, but time doesn’t care. And don’t say time “marches on.” We march on. Time just is.

When the first public sundial arrived in Rome, a trophy of war expropriated from Sicily in the third century BCE and mounted in the Forum for all to see, some Romans cursed it. “The gods damn that man who first discovered the hours, and—yes—who first set up a sundial here, who’s smashed the day into bits,” wrote Plautus. “You know, when I was a boy, my stomach was the only sundial, by far the best and truest.” People have been complaining about clocks ever since.

Plautus, a comedy writer, may have been half-kidding, but David Rooney is not. “It changed everything,” he tells us. “Romans were forced to live their lives by the clock. And this new temporal order was sweeping civilizations across the world.” In his insightful, globe-spanning new book, About Time: A History of Civilization in Twelve Clocks, he sets out to show that this ancient device is neither simple nor innocent, that clocks are designed with hidden agendas and ulterior motives, and that their influence on human societies and the human psyche has been more profound than we usually imagine.

Do we need a definition for this ubiquitous object? A clock is a device that measures time, I would say. (Though some physicists, seconded by the Internet Encyclopedia of Philosophy, like to say that time is what clocks measure.) Clocks also transmit information. The word clock may come from an Old French word for bell, cloche or cloque. Rooney says, “We tend to use it to mean fixed devices, either electronic or involving intermeshing geared wheels, that keep time and show it to us.” But he will define the word as broadly as possible to include anything that tracks the passage of time: sundials, hourglasses, kitchen timers, and all the rest, including the clock on your wrist and the other one in your pocket.

Rooney’s own relationship with clocks is long and deep. When he was eight years old his parents, both schoolteachers, decided to start a business making and restoring clocks in their home on the northeast coast of England. They became horologists, practicing a specialty that combines mechanical engineering with scholarship and antiquarianism. “I picked up the language of clocks and watches,” Rooney writes, “hearing discussions about the arcane technology of horology—fusees, escapements, oscillators—as well as the challenges of working with these complex machines.”

Accompanying his parents to museums and country houses, he came to feel that every clock has a story. Perhaps it was inevitable that as an adult he would find his way to the Royal Observatory in Greenwich, the very epicenter of the world’s clocks. Besides being the origin point for what is now known as Coordinated Universal Time (UTC), Greenwich collects and preserves precision timepieces dating back to the sixteenth century. Rooney oversaw these as curator of timekeeping from 2004 to 2009. He has also served as steward of the Worshipful Company of Clockmakers, which has as its motto Tempus Rerum Imperator (Time, the Ruler of All Things).

J.T. Fraser, the influential twentieth-century scholar of time, often emphasized that the clock must be seen not only as a device but as a metaphor. Clocks don’t just measure the time. They communicate messages about temporality that go beyond the number representing the present instant. Rooney understands this well. The clocks he reflects on (many more than twelve) are instruments of power, money, and faith. At the outset, he disclaims any intention to explore the nature of time itself as a scientific or philosophical problem; he will leave that “to the experts.” For him, clocks convey a variety of meanings that flow from the people who make and deploy them.

The first Roman sundial—“mounted up high, looking over the people, and standing for Rome’s ruling classes themselves”—had power both symbolic and real. Sundials were followed by water clocks and then mechanical clocks, and clock towers used drums and bells to broadcast time to the populace. This was not just a convenience. From the first, rulers used the clock as a means of control or even subjugation. “By forcing a sense of temporal order on to the population, these public timekeepers stood for a wider sense of civic order,” Rooney says. A clock in a high tower sends a message: Here is the knowledge. Here is the authority.

The most famous, most photographed clock in the world is surely the one at the Palace of Westminster in London, originally called Clock Tower when it was completed in 1859, renamed Elizabeth Tower in 2012, but universally known, for reasons no one seems to remember, as Big Ben. Its four faces each span twenty-three feet. The giant pendulum that regulates it is adjusted each year with the addition or subtraction of old pennies—a charming analog remnant in a digital world. The enormous bells strike on the quarter-hour and can be heard five miles away.

The largest clock in the world, however, is in Mecca. The Makkah clock, completed in 2012 atop a skyscraper and hotel complex overlooking the Great Mosque, is six times larger and higher than Big Ben. Its lights flash the call to prayer five times a day, visible at a distance of nineteen miles. Its resemblance to Big Ben is deliberate. “Putting Mecca time in the face of Greenwich Mean Time, this is the goal,” said one official when the clock was finished. Rooney, who has traveled to clocks in many nations, tried to visit the Makkah but was forbidden as a non-Muslim.

“For all the major world religions, clocks and faith go hand in hand,” Rooney tells us. For this purpose, clock includes calendar. Religious institutions were at least as eager as civic leaders to impose order on their followers. Establishing regular prayers, feasts, and holidays meant fixing their times in the day and the seasons, creating a routine and formalizing observance. Buddhists in Japan and China marked time with incense-burning clocks long before mechanical clocks became standard equipment at churches, mosques, and synagogues. Congregations were meant to understand that God’s majesty and grandeur included mastery of the wheels of time. The clock behind the altar at St. Mary’s Church in Lübeck, on the Baltic coast of Germany, was built and rebuilt many times; its ornate calendar dial, dating to the sixteenth century and accompanied by carved representations of the deadly sins and the Evangelists, served as a virtual almanac of solar and lunar dates and times. An inscription read:

When Thou regards in the Heavens the Shining Sun and then the light of the Moon, shining in their appointed courses; so then Thou canst perceive with the eye how the hours fly…. Think then of God who governs the Stars; and at the same time praise Him.

British bombers pulverized the church and its clock in the spring of 1942.

Of course, clock number one—not counting the many biological clocks ticking away in and around us—was the sun, marking the earth’s rotation. Long before Plautus protested, solar time already governed much of the human routine. Sundials just made it more obvious and exact. The moon’s rhythms, too, have guided time-reckoning since the prehistoric era. Intricate and complex astronomical clocks like the one in Lübeck not only kept time, they did so by mimicking the heavens in machinery, copying and modeling celestial motions, orbs and planets driven by wheels and gears. Clockmakers and astronomers have been natural partners. By 1605 it was plausible for Johannes Kepler to say, “My aim is to show that the celestial machine is to be likened not to a divine organism but to a clockwork.” The timekeepers at Greenwich occupy an observatory, the original headquarters of the astronomer royal.

In Jaipur, India, a far larger astronomical observatory and time center was built in the early 1700s for the ruler Jai Singh, who was determined to perfect tables of astronomical data in order to predict eclipses and other cosmic events. He sent to Europe for talent and records, including the much-treasured star atlas of John Flamsteed, England’s first astronomer royal. And he built what remains the world’s largest sundial, the Samrat Yantra. The gnomon rises to a height of seventy-five feet, and the time marked by its shadow is accurate to about two seconds. To Rooney, Jai Singh’s motivation was clear: “He wanted to show the world that he was at the center of the universe.” This may sound grandiose, but the Greenwich observatory was similarly motivated.

The message was that “time and astronomy held the secrets of the heavens.” Earthly rulers wanted to flaunt their possession of those secrets. As early as 1259, the Mongol ruler Hulagu Khan, grandson of Genghis, created the great Maragha observatory in what is now Iran. Three hundred fifty years before the invention of telescopes, the astronomers there used sextants to track the movements of stars and record them in comprehensive tables. Nearly two centuries later and a thousand miles to the east, the sultan Ulugh Beg founded a giant observatory in Samarkand, which likewise amassed troves of data regarding star positions. When England built its own observatory in Greenwich in 1675, Flamsteed worked from the Samarkand tables, by then copied and translated many times. Isaac Newton, in turn, borrowed Flamsteed’s data; he also built sundials and studied pendulums. Like Kepler, he conceived of the universe as a machine, its interacting parts linked by laws of cause and effect, ticking reliably onward, governed by “absolute, true, and mathematical time”—a clock.

Now we know, thanks to Einstein, that Newton was wrong about absolute time. Einstein observed clocks at railway stations and imagined them traveling at high speed on trains and spaceships; he proved that different observers, in different reference frames, mark the time differently. Each reference frame has its own clock, and there is no one clock to rule them all.

Yet here on earth, time is treated more than ever as absolute, true, and mathematical. No matter that Einstein says perfect simultaneity is impossible—we enforce simultaneity worldwide, with atomic clocks maintained in icy vaults at the United States Naval Observatory in Washington, the Bureau International des Poids et Mesures near Paris, and elsewhere. UTC has split from solar time; the earth’s rotation is not consistent enough to serve as a reference when our financial markets and lightspeed communications networks depend on nanosecond precision. Scientists now define that venerable unit of measure, the second, with esoteric priestly authority, as “the duration of 9,192,631,770 periods of the radiation corresponding to the transition between the two hyperfine levels of the ground state of the caesium-133 atom.” And the day? Don’t look to the sky. The day is nothing more or less than 86,400 of those atomic seconds. God’s clock may not exist, but humanity has established a collective timescale that tolerates no dissent. How we got to this point is the most important part of Rooney’s story.

Social scientists distinguish two kinds of time. One kind is fluid and inconstant. The other is exact and exacting. We’re born with the first kind. There are time signatures in natural processes, rhythms that vary and intertwine, and our experience of time is notoriously subjective. “Time travels in divers paces with divers persons,” as Rosalind says in As You Like It. It ambles, trots, or stands still. The second kind of time is abstracted from the tempos of nature. It enables rocket ships and factories. We can call it industrialized time or scientific time. Social scientists just call it clock time.

Clock time was not born all at once. It has crept up on us—or, I think Rooney would prefer to say, it has been imposed, along with the spread of empires and the development of capitalism. The sparkling twelve-foot time ball that drops in Times Square on New Year’s Eve is a vestigial descendent of hundreds or thousands of time balls that served in the nineteenth century to synchronize clocks and distribute standard time around the globe, especially wherever there were ships. Marine chronometers had been essential for ocean navigation since the mid-eighteenth century, and before radio or the electric telegraph the accuracy of those clocks depended on signals that could be seen or heard. Greenwich established one of the first time balls, painted red, in 1833, and it has been dropping at 1:00 PM ever since.

European ships needed accurate time wherever they went, and wherever they went, they spread the power of empire. Individual chronometers inevitably gained or lost time, so they needed resetting. At the fortress overlooking the Cape of Good Hope, the first time signal was a cannon fired daily at noon. In the 1820s the English built an observatory at Cape Town—staffed largely by enslaved workers—and set up a time ball. Time guns and balls spread around the peninsula and, when technological innovation permitted, used electrical signals sent from the observatory. “All this infrastructure was built just in order to distribute accurate time from the observatory to the chronometers on board each of the ships in the bay,” Rooney notes. “Time on the southern African coast must have been worth a fortune.” It was the same wherever the ships of empire went.

We look back on this history from an era when the world’s clocks are increasingly connected—synchronized—by wired and wireless networks, and we’re learning to take this for granted as the natural state of things. Twice a year, victims of daylight saving time still need to set some clocks and watches forward and back by an hour—though many clocks (including those in smartphones) make the change themselves. It’s worth remembering that the synchronization of clocks, and the standardization of time, are relatively new. Before electricity, London clockmakers used to send assistants to the Greenwich observatory with pocket watches to get the exact time and bring it back, like hot soup in a takeout container. In 1836, Rooney tells us, an observatory staffer named John Belville turned the process around and began visiting the clockmakers with his own timepiece on a weekly basis—for a fee. He guaranteed the time to within a tenth of a second. The business prospered, and it remained a Belville family enterprise for the next hundred years, up to World War II.

By then, the clock as a personal and portable device—the watch—was standard equipment, not just a status object for the very rich. The manufacture of clocks had been one of the first and most lucrative manifestations of the Industrial Revolution, preceding even the textile industry. “The very term ‘clockwork,’” as Rooney says, “became synonymous with industrial machinery.” In 1800 half the world’s watches, 150,000 a year, came from England. That was about to change. Switzerland’s booming industry soon left England far behind, with specialist firms importing technologies from France and crafting fine, luxury timepieces. And so did the United States, in a different way, by mobilizing mass production.

But it was a linked pair of new technologies that put the world on its path to standard time: the telegraph and the railroad. Trains needed exact time, and electric signals by wire could deliver it. Trains carried people across the earth rapidly enough to expose a problem: the time as reckoned by the sun varied in every town and village. When it was noon in London, it was only 11:54 in Leeds and 11:47 in Barrow. High-speed transport made this untenable. The first standard time was Railway Time, defined in Britain by an act of Parliament as Greenwich Mean Time. In the United States, where the east–west distances were so large that local times varied by hours, standard time led by necessity to the creation of distinct time zones.

Standard time became a product—a commodity of value. London entrepreneurs in 1876 founded the Standard Time Company; the Standard Electric Time Company started in Connecticut eight years later. They had no shortage of customers: traders at banks and financial exchanges gained an edge from speed and depended on exact timing. (They still do, only now they deal in microseconds.) Early subscribers to the Standard Time Company also included pubs, because they were under pressure to enforce strict licensing hours. Inexorably, exact time became embedded in law and regulation. The Factory Acts, meant to provide the first small protection for children working in the mills, required that “the hours of the work of children and young persons…shall be regulated by a public clock, or by some other clock open to public view.” For Rooney, all this falls under the heading of the public clock as “an instrument of moral control.”

Tempus Rerum Imperator: “Time-keeping passed into time-serving and time-accounting and time-rationing,” wrote the sociologist and critic Lewis Mumford in 1934. He believed the clock was the crucial machine of the modern age, responsible for the dehumanizing rhythms of industrial work, and Rooney agrees. Ultimately he deplores these devices to which his parents devoted so much of their lives. He sees them as exploiters and tyrants—words usually applied to humans—rather than as desirable appliances or conveniences. They “wormed their way through societies,” he says. They “disciplined the masses.” They “became our overseers and landlords, our managers and supervisors.”

By keeping time down to nanoseconds, clocks also fix our location in space. Satellite navigation systems like GPS depend on orbiting atomic clocks, first American but now also controlled by Russia, the European Union, China, Japan, and India. These satellites continually transmit the exact time, and receivers triangulate their position based on the slight discrepancies caused by the delays in the lightspeed signals. “The night sky is a museum of old clocks, if we could see that far,” Rooney says. Navigation has been transformed. If the system had been in place in September 1983, Korean Airlines flight 007, carrying 269 people, would not have strayed into forbidden airspace and been shot down by a Soviet MiG. Rooney does not exaggerate when he says that these clocks “have changed the world, not just technically, but politically and culturally.” By next year there will be as many GPS receivers as humans.

The totality of our network infrastructure, all our linked computer systems, relies on this near-perfect synchronization. “These are the networks and systems that keep us alive, with food on our plates and roofs over our heads,” he says, but he doesn’t have to like it. “They are clocks placed above our heads by a military superpower. The service they provide is not—was never—benign.” He fears we have made ourselves all too vulnerable to technological failure or even catastrophe.

There is a clock for that too, of course: the Clock of Doom, a symbolic dial created in 1947 for the Bulletin of the Atomic Scientists to indicate the time left until Armageddon. Originally it was set at seven minutes to midnight. Now, owing to climate change and Covid-19, the Bulletin gives us a hundred seconds. It’s just a metaphor, of course.

For my money, the most revelatory of clocks is the 2010 movie by Christian Marclay, titled The Clock. It’s not in Rooney’s compendium, but I suppose he had to draw the line somewhere. The Clock tells the time nonstop in a twenty-four-hour loop. It is composed of snippets, about 12,000 of them, from films of many eras and languages. If you happen to walk into a screening of The Clock at 10:30 PM, you will see the actor David Strathairn as Edward R. Murrow delivering the news at 10:30 PM in Good Night, and Good Luck and, an instant later, Dustin Hoffman in Tootsie watching television at 10:30 PM.

Clocks are seen center screen or glimpsed in shadowy corners, on night tables, on wrists, on walls, in shop windows, grandfather clocks, clock radios, hourglasses, metronomes, and time bombs. When Ilsa leaves Rick waiting at the train station in Casablanca, it is 5:00 PM. At 5:43, Celeste Holm as Karen in All About Eve asks the time and Hugh Marlowe as Lloyd says, “When you asked a minute ago it was 5:42. It is now 5:43. When you ask a minute from now it will be—” Twenty minutes later, David Tomlinson in Mary Poppins sings, “It’s 6:03 and the heirs to my dominion/Are scrubbed and tubbed and adequately fed.” The time in The Clock and the time in the real world advance together.

The Clock is never boring, in my experience, but it is often frustrating. No sooner does a storyline draw you in than it jumps away. Narratives have no time to develop, and characters have no continuity. Everyone seems obsessed with time—waiting, worrying, racing the clock, punching the clock, clocking in or clocking out. “There’s no time,” they cry, or “I just don’t have the time.” For the viewer, suspense is never relieved, only restarted; as Zadie Smith wrote in these pages, “you miss clips the moment they’re gone, and cling to the aural afterglow of what has passed even as you focus on what is coming, what keeps coming.”*

The atomizing of time is deliberate. Marclay smashes the day into bits. He creates a continuous fragmentary present. We might say that’s what all clocks do. Clock time is one instant replacing another. The philosopher Henri Bergson, who resented the encroachment of scientific time, wrote in 1889:

When I follow with my eyes on the dial of a clock the movement of the hand which corresponds to the oscillations of the pendulum, I do not measure duration, as seems to be thought; I merely count simultaneities, which is very different.

Far from anchoring us in time, clocks cast us loose from the past, dislocate us from our natural sensation of continuity.

And still we welcome them into our lives. If exact timekeeping exploits us, we crave it nonetheless. In the early days of telephones, operators discovered that people were phoning them up just to ask the time. The telephone companies realized that customers would pay to hear the time announced by a disembodied voice. In London in 1935 there were 100,000 time queries a month, and a nationwide competition was announced to find “the Girl with the Golden Voice” who would speak the time with a pure tone and a pleasant inflection. The “Speaking Clock,” as the service was named, eventually received tens of millions of calls each year. Introducing it, Postmaster General George Tryon declared, “Here we have the latest and most wonderful of clocks,” adding, rather oddly, “It only speaks when spoken to.”

In its era, the Speaking Clock was a beloved feature of the cultural landscape. Many celebrities lent their voices to it over the years. Tom Stoppard made it (or her) the protagonist of his 1966 radio play If You’re Glad I’ll Be Frank. “The authority of my voice,” she muses, “the voice of the sun itself,/more accurate than Switzerland—/definitive/divine.” She pities her callers

and their dialling fingers,
their routine-checking, schedule-setting time-keeping clockwork—
luminous, anti-magnetic,
fifteen-jeweled self-winding,
grandfather, cuckoo, electric
shock-, dust- and waterproofed, chiming;
it counts for nothing against the scale of time.

Hardly anyone uses the Speaking Clock anymore, but that’s not because we’ve stopped caring what time it is. It’s because we always know. Or if we don’t, then, as Rooney notes, we can just ask Siri.


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 New-York Historical Society | The Little Cowboy Game

Expanded Hours

We're now open Wednesdays through Sundays! Proof of vaccination against COVID-19 is required for visitors ages 12 and up. Learn more >

The Little Cowboy Game

Object Number:
ca. 1895
Cardboard, paper, wood, metal
Overall: 1 1/8 x 10 1/2 x 20 1/2 in. ( 2.9 x 26.7 x 52.1 cm )
lithographed: on the box cover: "The/ LITTLE/ COWBOY/ GAME/ PARKER BROTHERS/ SALEM, MASS., U.S.A."
"The Little Cowboy Game" board game with 16 circular wooden game pieces, a cardboard spinner with a metal arrow and a paper board applied to the bottom half of the paper covered cardboard box; chromolithographed box cover depicts a boy riding a horse swinging a lasso with a rider chasing a bull in the background; box cover inscribed, "The/ LITTLE/ COWBOY/ GAME/ PARKER BROTHERS/ SALEM, MASS., U.S.A."; chromolithographed board with a checkered oval track with a cowboy and steer pictured in the center; wooden aprons.
Credit Line:
The Liman Collection
Due to ongoing research, information about this object is subject to change.
Creative: Tronvig Group

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text:
Report: Wilbur Ross May Have Grifted $120 Million From Investors, Partners

Rapacious Ross. Photo: Jabin Botsford/The Washington Post/Getty Images

Wilbur Ross, the octogenarian Commerce Secretary who months ago was found to have grossly inflated his wealth in order to gain entry to the exclusive Forbes billionaire club, stands accused of a much graver infraction.

In an article published Tuesday morning, Forbes’s Dan Alexander — who has become Ross’s central tormentor in the last few months — reported that, based on conversations he had with 21 people, Ross may have stolen more than $120 million from associates over the years, taking vast amounts of money from business partners and consistently scamming investors. “If even half of the accusations are legitimate,” the magazine writes, “the current United States secretary of commerce could rank among the biggest grifters in American history.” If possible, the story paints an even more unflattering portrait of the man than that description lets on:

It is difficult to imagine the possibility that a man like Ross, who Forbes estimates is worth some $700 million, might steal a few million from one of his business partners. Unless you have heard enough stories about Ross. Two former WL Ross colleagues remember the commerce secretary taking handfuls of Sweet’N Low packets from a nearby restaurant, so he didn’t have to go out and buy some for himself. One says workers at his house in the Hamptons used to call the office, claiming Ross had not paid them for their work. Another two people said Ross once pledged $1 million to a charity, then never paid. A commerce official called the tales “petty nonsense,” and added that Ross does not put sweetener in his coffee.

One of Ross’s former colleagues calls him a “pathological liar.”

In a statement, the Department of Commerce said: “The anonymously sourced Forbes story is based on false rumors, innuendo, and unverifiable claims. The fact remains that no regulator has made any of these accusations against the Secretary. This rehash of old stories is clearly the result of a personal vendetta. The baseless claims made in this story were well publicized long ago and are not news.”

Forbes reports that Ross’s private equity funds were struggling in the run-up to President Trump’s victory, and that his  complex methods of allegedly skimming money from investors, which involved, in part, charging inappropriately large management fees, were drawing increasing scrutiny from federal authorities. The Commerce Secretary position provided a soft landing.

But Ross isn’t out of the legal woods. He has also had to contend with accusations leveled by several former colleagues, who say that he stole millions from them. Several have filed suit against Ross over the years — one lawsuit was settled for about $10 million in 2007 — and another case, filed by equity manager David Storper, is making its way through the New York court system.

Unsurprisingly, Ross’s questionable ethical practices have continued during his White House tenure. As Dan Alexander (yes, him again) reported last June, Ross maintained holdings in foreign companies even while serving in government, exposing him to obvious conflicts of interest. One of these firms had major ties to a Russian oligarch who had been hit with American sanctions. Last November, Ross signed a form asserting that he had divested all the assets he had previously promised to, which turned out not to be true.

These transgressions, for which Ross has mostly offered difficult-to-believe explanations of ignorance on his part, have drawn some attention from Democratic lawmakers and the Office of Government Ethics.

But is any of this enough to possibly cost Ross his job? Given that it took roughly 475 scandals for Scott Pruitt to finally get the heave-ho, it seems unlikely, at least for now. But if Democrats take control of Congress in the fall, with all the oversight powers that entails, Ross may find himself in a considerably worse position.

Report: Wilbur Ross May Have Grifted $120 Million


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The Spy Who Left Me

Buried in the woods somewhere in West Germany thirty years ago.

Sophisticated Soviet spy radio discovered buried in former forest in Germany – Archaeologists digging for the remains of a Roman villa near the German city of Cologne have found a sophisticated Soviet spy radio that was buried there shortly before the fall of the Iron Curtain.

The spy radio was buried inside a large metal box that was hermetically sealed with a rubber ring and metal screws. Although the radio’s batteries had run down after almost 30 years in the ground, the box hissed with inrushing air when it was opened…

The scientists suspect agents would have used the spy radio to send secret reports back to the Soviet Union about observation of the Jülich Nuclear Research Centre, about 6 miles (10 km) west of where it was found; or of the military air base at Nörvenich, about the same distance to the southeast, where U.S. Pershing nuclear missiles were based until 1995.


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All posts by infinitywaltz

Raccoon Lagoon game screenshot courtesy official site

Top Oculus Game Releases – July 2019

While many were justifiably excited about the release of Oculus Quest, it carried over the same problem of a lack of content. Some might call it the Beat Saber toy. Then we had the controversy around Oculus’ aggressively “curatorial” stance, which was accused of being overly like a walled garden that shunned experimental, indie or otherwise unproven titles. Going into month two and three, however, we are starting to see some interesting new titles pop up, and blow through a much needed air of novelty and refreshment. Here are some of our top picks.

from Twisted Pixel

Incorporating a little of every sort of action – from high tech gun play to down-and-dirty fisticuffs – as well as stealth, deception and even psychological warfare, Defector is a plot-driven spy thriller with multiple diverse missions.

While some of the promotional material compares this to Mission Impossible, the combination of futuristic weaponry and Middle Eastern setting had us thinking of George Alec Effinger’s stories set in the Arabic cyberpunk metropolis of Budayeen.

In any case, this is a polished FPS action experience for VR players looking for something a bit more meaningful than wave or rail shooters, and its setting is close enough to the “real world” to make its action all the more immersive.

Oculus Rift, Oculus Rift S | 25 GB | $19.99 from Oculus

Journey of the Gods

from Turtle Rock Studios

We’ve all been on our fare share of heroic fantasy quests where the fate of the very world itself hangs in the balance, but we’ve never seen one that looks quite like Journey of the Gods.

This game’s bizarre vistas and weird, angular – and occasionally tentacled – inhabitants are as far from the usual elves and dragons as you can get, with color schemes and creature designs drawing less from the usual European myth than from recent indie games like Hyper Light Drifter and even Sundered.

No doubt the titular Journey of the Gods – and the related quest to save the world or whatever – is plenty compelling, but the setting alone is worth giving this one a look.

Oculus Rift, Oculus Quest | 970 MB | $29.99 from Oculus

Raccoon Lagoon

from Hidden Path Entertainment

Raccoon Lagoon game screenshot courtesy official site
Raccoon Lagoon – screenshot courtesy official site

Based on the title, I was expecting Raccoon Lagoon – from the same studio behind Defense Grid and Brass Tactics – to be nonstop trash pandas. It isn’t, but my disappointment wore off quickly when I realized that it’s actually an incredibly charming farm simulation for VR.

The relaxing rural chores of the Harvest Moon series combine with cute, Pokemon-inspired creatures and a pastoral island setting that gives you plenty to do but doesn’t hurry you along.

This is VR gaming at its most relaxing; go on quests, turn your island into a thriving home…or just take off and spend the day fishing.

Oculus Rift S, Oculus Quest | (COMING SOON)

from Crows Crows Crows

So happy to see the continued success of the wacky stuff: Accounting+ comes with tremendous game dev pedigree – William Pugh (The Stanley Parable), Dominik Johann (Minit) and Justin Roiland (Rick and Morty).

The game started as a jam, but has ballooned/blossomed into a much bigger experience in its two years. It also has a killer soundtrack. Give yourself a little Dada, Po-Mo joy and hop into this zany world. You will laugh. Your mouth will be agape. You will swim in meta. Just do it. Account.

Oculus Quest, Rift, Rift S | 1.93 GB | $11.99 from Oculus

Gravity Sketch

from Gravity Sketch

Excited to see this exacting design tool get the Oculus Quest port treatment. Of course, we don’t like having to pay for stuff a second or third time for device-specificity, but at the same time, we know that devs, investors and Facebook/Oculus have spent money on not only making these ports but improving the experiences in the process. We also note that slowly the prices are coming down from their nose-bleed heights and many of these tools/games are now quite affordable – about the cost of a lunch for two.

Gravity Sketch is not just another Tiltbrush or Quill – it is geared towards creating detailed models, scenes and artwork that can be exported into other design tools, CAD software, game engines, or 3D printing platforms.

It will be amazing to see what the combo of this kind of design software can do when combined with tetherless, free roaming hardware.

Oh and did we mention that it’s a tiny download?

Oculus Quest, Rift, Rift S | 121.6 MB | $29.99 from Oculus

What VR games did you play this month (excluding Beat Saber)?

Our Seven Favorite Oculus Games of 2018

Top Oculus Rift Game Releases of 2018

There were many fascinating releases in the Virtual Reality gaming spectrum in 2018, and we are delighted to see the industry iterating, exploring and improving. These were our favorites – the best, well…that’s someone else’s problem.

Hatsune Miku

from Crypton Future Media

“Vocaloid and VR fans were treated this year to a Hatsune Miku game that was finally done right. After Miku’s first foray into VR wasn’t so well-received due to lack of gameplay, Crypton Future Media listened to fan feedback and made a fun rhythm game more in vein with the franchise’s previous titles.

Not necessarily a ground-breaking VR project, Hatsune Miku VR provides a decent amount of fan service and catchy, popular Vocaloid songs sung by Hatsune Miku. Try Hard Mode if you’re really looking for an intense workout.” ~ Michael.Duhacek

Oculus Rift | 3 GB | $24.99 from Steam
Also playable on: HTC Vive

from Crows Crows Crows, Squanch Games

This is a game with all the pedigree of the Dada movement – it started out as a game jam between developers from The Stanley Parable and Minit as well as Rick and Morty co-creator Justin Roiland – and the propensity of a leprechaun. While it may not satisfy all gamer types, it plays to the idea in which VR pulls you by the collar into its own bizarre whims without ever truly hurting anyone.

Get woke in a po-mo manner.

Oculus Rift | 1 GB | $11.99 from Oculus or from Steam
Also playable on: PlayStation VR, HTC Vive

Pixel Ripped 1989

from ARVORE Immersive Games

Its game-within-a-game approach is delightfully meta as well as adrenaline-fueled – playing on a GameBoy analog in class without getting caught is a tense exercise in divided attention.

More important than its clever play of Augmented Reality within Virtual Reality, though, is that Pixel Ripped 1989 is fun in every way, from its nostalgic call-backs to ’80s-era video games to its tight 3D platforming action.

Oculus Rift | 3 GB | $24.99 from Oculus or from Steam
Also playable on: PlayStation VR, HTC Vive

from Secret Location

From the same company that gave VR its first Emmy award with their trailer for Sleepy Hollow, Secret Location has made several VR games on the road to what may be their best so far.

Transpose is a single-player title that has you playing out multiple versions of yourself called Echoes that interact with future and past versions of you in what amounts to an uncompromising series of sci-fi escape rooms.

A fascinating and ideal demonstration for spatialized gameplay that may not be for those who hate challenging puzzles but may be a little slice of just-have-to-solve-it for the rest.

Oculus Rift | 6 GB | $19.99 from Oculus or from Steam
Also playable on: PlayStation VR, HTC Vive

The Invisible Hours

from Tequila Works

Tequila Works showed they could put a fascinating spin on the classic ensemble murder mystery with 2017’s The Sexy Brutale. Designed specifically for VR, their follow-up is just as compelling a twist on the classic formula, complete with a plot based on the Internet’s favorite historical inventor, Nicola Tesla.

The Invisible Hours is like the murder mystery dinner party you sat through in the ’90s, but without the overcooked fondue and dried out sausage rolls. It’s stepping into an Agatha Christie novel or reliving your childhood playing Clue. The story and immersive theater elements captivate gamers and non-gamers alike. Watching people experience the game who haven’t picked up a console since the Atari VCS and become completely lost in the narrative is thrilling. What makes The Invisible Hours an essential addition to the list is its ‘gateway drug’ effect for whetting the appetite for immersive and interactive storytelling.” ~ JaneHasNoThumbs

Oculus Rift | 9 GB | $29.99 from Oculus or from Steam
Also playable on: PlayStation VR, HTC Vive, Windows MR

from Polyarc Games

Never send a man to do the work of a mouse! Moss ramps up the enchantment early with the introduction of Quill, the rodent heroine of the storybook adventure. Her minuscule stature is amply detailed, and leaning in for a close-up of her is like watching a Calico Critter come to life. She also frequently acknowledges your presence, and it’s nigh impossible to watch her reach up to touch your face without feeling a tug at the heartstrings.

With the player represented as a disembodied human-sized presence, there are frequent visual reminders that the dangerous world Quill is braving very much belongs to human beings. Guiding Quill while simultaneously solving environment puzzles can lead to some head-scratching moments, but it never detracts from the enormous joy of piloting the tiny adventurer through this whimsical realm.

Oculus Rift | 12 GB | $29.99 from Oculus or from Steam
Also playable on: PlayStation VR, HTC Vive

Beat Saber

from Beat Games

Beat Saber took all the things that were working from SoundboxingLightblade VR and Audioshield and mashed them up into the most perfect combination of Rhythm Game, combat training and fitness workout.

With a kick-ass music library, perfect haptics to enhance strikes and blade-mashing, and an international e-Sports community consistently growing around it, Beat Saber pleases casual to hardcore gamers alike and may have given VR – for the first time ever – the break-out hit it desperately needed.

Oculus Rift | 200 MB | $19.99 from Oculus or from Steam
Also playable on: PlayStation VR, HTC Vive

Top 5 Oculus Releases – November 10th-16th – Slime, Stealing and Strategy

This week’s top five Oculus releases incorporate a little of everything, from cooperative heists to alien agriculture. There’s also plenty on offer for mobile VR users – no Rift required.

Slime Rancher: VR Playground

from Monopark

Slime Rancher: VR Playground game screenshot courtesy Steam
Slime Rancher: VR Playground – screenshot courtesy Steam

We loved the original version of this game – so much that we named it 2017’s Game of the Year on our sister site – so of course we’re beyond excited about the VR version.

A cute farming simulator inspired by classic JRPGs that – at least for us – can turn into an unsettling metaphor for industrial agriculture surprisingly quickly, Slime Rancher is fascinating and addicting.

Its simple “suck and blow” mechanic (using a vacuum tool) is easy to pick up and belies the complexities at play beneath the surface as herds of slimes eat, breed and mutate.

A big part of the fun is exploration the wilderness around your ranch, and Slime Rancher: VR is a stand-alone experience letting you explore three of its environments. While it doesn’t include a full implementation of the entire game, there’s plenty to suck and blow, and the focus seems to be more on the relaxing and exploring elements than the factory farming bit, which is fine with us.

Oculus Rift | 1 GB | FREE from Steam to owners of the original game

Crow: The Legend

from Baobab Studios

Crow: The Legend - screenshot courtesy Oculus
Crow: The Legend – screenshot courtesy Oculus

Directed by Eric Darnell (best known for Madagascar), this week’s most hyped VR release is an animated retelling of a Native American legend and featuring the voice of Oprah Winfrey, John Legend and Constance Wu, among others and was featured at Cannes.

Oculus Rift | 6.6 GB | FREE from Oculus
Oculus Go | 1.9 GB | FREE from Oculus
Gear VR | 1.9 GB | FREE from Oculus

from White Elk

Covert game screenshot courtesy Oculus
Covert – screenshot courtesy Oculus

A clever two-person cooperative concept based on heist movies, Covert makes good use of an asymmetric dynamic in a similar vein as Keep Talking and Nobody Explodes. The VR player is the thief, physically breaking in to highly guarded locations, while a non-VR player acts as the hacker, breaking into the security systems to assist the thief in getting away with the goods.

Crawl acrobatically through laser grids like Catherine Zeta-Jones in Entrapment! Hack like the hackers in Hackers! Live out other film-based fantasies, maybe even from movies that came out past the 1990s!

Oculus Go | 2.1 GB | $9.99 from Oculus
Gear VR | 2.1 GB | $9.99 from Oculus

Voxel Fly

from Cenek Strichel

Voxel Fly game screenshot courtesy Oculus
Voxel Fly – screenshot courtesy Oculus

We’re suckers for well-made, old-fashioned shoot-’em-ups, and Voxel Fly combines the entomological science fiction aesthetic of classics like Space Invaders and Yars’ Revenge with a voxel-based, blocky approach to graphics that’s one part Zaxxon and two parts Zenzizenzic.

Honestly, you had us at “space bugs,” but multiple game modes and different ships to select – from classic space fighters to blimps – just add to the fun.

Oculus Go | 56.2 GB | $1.99 from Oculus

Voronium – Locus Sols

from Gamalocus Studios

Voronium - Locust Sols game screenshot courtesy Steam
Voronium – Locust Sols – screenshot courtesy Steam

We’re also suckers for well-made tower defense games, in or out of VR, and Voronium – Locus Sols definitely delivers on that front. Combining tower defense and FPS mechanics with a science fiction narrative, this is a solid blend of strategy and action.

Oculus Rift | 5.5 GB | $14.99 from Oculus or from Steam


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Tag Archives: Percy the Park Keeper

Write your own Percy the Park Keeper Story

I have been trying to encourage my daughter to write short stories.  She is not a natural story-teller like her younger brother but we are slowly getting there.  One of the things that seem to work with her is if … Continue reading

Posted in Homeschooling | Tagged , , , , , , , | Leave a comment

Using Children’s books as Readers

I am very thankful that my kids love their books.  They love being read to, they love sitting and paging through their books on their own and my daughter is really starting to enjoy reading books for herself and to … Continue reading

Posted in Book Ideas | Tagged , , , , , , | 1 Comment

Percy the Park Keeper

Blue finally discovered the Percy the Park Keeper books (written by Nick Butterworth).  We have some of the books around the house as Pink loves any story that involves kind animals but until recently Blue was not that interested.  Now … Continue reading

Posted in Book Ideas | Tagged , , , , , , | 2 Comments


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Picture using this on your next camping trip: The Ion Fire Pit

Categories: Camping

There are certain shapes and designs that will simply never go away, and the column is one of them. Over the centuries, every civilization has used some variation on the design, while others have reached back to borrow themselves. This fire pit from Decorpro borrows much in the same way to create a unique backyard conversation piece with its Ion Fire Pit.

Made up of eight separate solid steel sections, all connected by a suspended steel plate, this fire pit features slots on which you can place rotisserie spits, skewers, or marshmallow sticks making it perfect for summer gatherings. Once you get a fire going for long enough, the material making up this stove heats up and radiates out warmth for hours afterwards so you can stay huddled up by it after the fire has gone out. Due to the coating on this pit – each one will develop its own unique patina over a lifetime of use.

Ion by Decorpro was inspired by the rigid geometry of Roman architecture. This fire pit is the perfect addition to any backyard, patio, sitting area, cottage or beach. The grand scale and unique form will always be the focal point of any conversation. Ion has been designed with slits along the tall columns to allow you to easily rest skewers, marshmallow sticks or even rotisserie spits. The plate holding the fire is firmly secured to the columns which actually elevates the base off the ground.

This has been designed to remove the bottom plate from making contact with the ground, once it reaches high temperatures. This large scale fire pit is made entirely out of a heavy gauge steel, finished with an automotive grade epoxy powder coat finish. Please follow the instructions carefully after purchasing this products. Look and finish of the Ion will change after exposure to high heat, creating a beautiful natural patina. Consult your local bylaws before purchasing or burning the Ion fire pit. All fire pits are custom made to order, please allow approximately 4 weeks lead time on every fire pit purchase.

  • Made from 100% Steel
  • Painted in an Automotive grade epoxy powder coat paint
  • Durable for outdoor use
  • Price US$1,526.91

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Wilkinson Walsh + Eskovitz Offices – Washington DC

  • Client Wilkinson Walsh & Eskovitz,
  • size 32,600 sqft
  • Year 2017
  • Location Washington DC, United States,
  • Industry Law Firm / Legal Services,
  • FOX Architects have designed the offices for law firm Wilkinson Walsh + Eskovitz located in Washington DC.

    Wilkinson Walsh + Eskovitz (WWE) was looking for a modern and timeless aesthetic for their new office. A boutique law firm, WWE has a reputation in the market for being cutting-edge and practicing high-stakes litigation. Their new office had to step away from the traditional law firm aesthetic to embody their unique culture.

    Our team exchanged traditional solid wood walls and crown molding for all glass fronts with black trim to create a timeless, yet relevant look that defines WWE’s progressive culture. This open and bright environment creates a multi-layered space that encourages employees and guests to enjoy all areas of the office. Smaller offices permit more work lounges, huddle spaces and a variety of meeting areas to be interspersed throughout the office.

    Entering the space, clients and potential recruits alike are immersed in WWE’s progressive approach to client service. By substituting the traditional law firm aesthetic with a sleek, timeless appeal their new office creates an atmosphere unique to WWE’s progressive culture.

    DesignerFOX Architects
    Contractor: *rand Construction
    Photography: Ron Blunt


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A friend recently confided in me about not being able to choose between two men. She described each men to me. And they sounded like every two men I’ve ever had to choose between.

A is kind and takes good care of her. He’s the one that’s always around. She feels safe and comfortable with him.

B is mysterious. Quiet. Intellectual. He’s not always around, and that makes him exciting. She gets butterflies around him.

She wanted my advice on what she should do. Whom she should choose.

I thought about it. I searched my brain for all the wisdom I had ever collected on the subject. And I drew a blank.

‘I don’t have any good advice to give you’, I said, admitting my defeat.

‘What do you mean?’, she asked, clearly annoyed, ‘didn’t you say you’ve been through this before?’

‘Yes’, I said, ‘I have’.

‘And?’, she pressed.

‘Well, I can’t tell you who to choose…. because I never chose’, I revealed, ‘I just dated them both’.

I used to own a T shirt that had ‘Why can’t I have it all?’ printed on it. I guess that was also my philosophy in life.

I hated choosing between things.

I bought both dresses. Ordered both desserts. And dated both men.

I used to think that if I chose one, it’s a loss. I didn’t want to miss out on the other one. I didn’t want to be ‘stuck’ with one.

But the thing is – unlike dresses and desserts – when you choose both men, you actually end up having neither. You may think you have both, but in reality you don’t. Or at least in my case, that’s how it was.

In my experience, not choosing can play out in two ways:

  1. Neither of them know and you’re constantly trying to hide the fact. Eventually you get tired of it or get found out.
  2. One or both of them know. They’re OK with it because they are also dating other people.

In either case, the experience is unfulfilling. Like always having half a meal.

I’m reminded of something that happened years ago:

It was his last night in town, and we went out for dinner by the water – my favourite spot. I had been spending a lot of time with him this week, and I wondered if R suspected anything. I had told R I was busy with friends from out of town. But it must have seemed odd to R that I never invited him along.

On my way back home I called R and asked if I could come over.

I brought him a burger – a big juicy Guilt Burger with a side of fries.

We were lying in bed, and I noticed he was suddenly really preoccupied with his phone. He apologised, saying he was wishing his friend a happy birthday.

I told him to take his time.

Then his phone rang. He stared at it and let it ring without answering.

He then excused himself and went into the bathroom. I suspected it was to return that phone call.

Then his door buzzer rang. At this point I put two and two together. I kept my cool and knocked on the bathroom door, letting him know he had a visitor. ‘Do you want me to leave?’, I asked. ‘No’, he said.

He stayed in the bathroom for a bit longer. I could hear his phone ringing and his Whatsapp messages beeping. I lay on his bed staring at the TV, thinking about how I should handle the situation.

I could play the upset girl card but hell, given what I was upto, that would make me a hypocrite.

I waited until he came out and asked him again- in a nice way- whether he needed to be somewhere and whether I should leave. He said no, and I could tell he looked embarrassed. He lied down next to me on the bed.

I leaned towards him and whispered “Sometimes trains collide”.

He put on an embarrassed smile.

That night, I realised that the thing about not choosing is you can’t expect them to choose either.

I still buy both dresses and order both desserts, but I have since learned my lesson about men.


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Light Painting Anniversary Flowers

I had some time to myself this evening while every one was at volleyball practice, so I decided to experiment with some light painting (again.)  Tried it before here and here.  It took a few tries but I finally managed to get a decent image.

Here is what the set up looked like in the light.

At first I used a small flashlight and cut a blue balloon in half and put it over the head of the flashlight so that the narrow end of the balloon that you blow into was at the end of the flashlight where the light was shining through.  I did this to concentrate the beam of light so as to better “paint” my small subject.

However, as you can see below, this allowed way too much light to come through.

Also, you’ll notice the shadow on the wall because I had the flowers set up way too close to it.  Also, notice the blue squiggly lines on the top right hand side of the photo.  This is what happens when you don’t turn the flashlight off before pulling it away from your subject.

So, I pulled the flowers out far enough away from the wall that they wouldn’t cast a shadow and I took the top half of a balloon and put it over the flashlight and snipped a tiny slit in it, letting the littlest bit of light sneak through.  See below.

Some other things to note:  You must have your camera on a tripod to do this.  Auto-focus on the subject when your room light is on and then switch your camera to manual focus to lock in the focus because when the room is completely dark you nor your camera will be able to focus on anything.

It works best if you use a remote shutter, but the self-timer can work too.  Do not use the regular shutter release button on the camera itself because you will shake the camera and your picture will turn out blurry.

You can do up to 30 seconds of painting or set the shutter to BULB, which is what I did.  That way I could hit the button to open the shutter, turn on my flashlight, paint for as long as I think I needed to, turn off the flashlight, and close the shutter.

It is a fun challenge to try light painting.  Something different to keep me busy with photography when the weather is cold and dreary outside.

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Tag: What’s She Dune?

China Glaze Desert Escape Collection Summer 2015

China Glaze Desert Escape Collection Summer 2015

So how was your Monday? My day was so busy that it just zipped by and poof it’s Tuesday. I guess that’s good, but it’s scary how fast time flies. I’m looking forward to a 3 day weekend so I’m excited about that so I hope this week goes by quickly and I can get to my 3 days of utter laziness. Yasss! I got a bunch of swatching done this past weekend so I do have a lot of new stuff to share with you. On Friday I got a nifty package from my friends at China Glaze…nifty? Am I back in the 50’s or what? Anyway, you know that I am always excited when new China Glaze collections come out and this is no exception. At first glance I thought the color palette looked a little disjointed, but once I got to see them in person they just worked. How did it work? I don’t know…it’s a mystery!

i-don-t-know-it-s-a-mystery-oHa! I remember how much I loved that movie when it first came out. Yeah, it’s a little pseudo-intellectual but it was really good! Plus, it came out during a time when my life goal was to become a Shakespearean scholar. Who would have thought that instead I’d decide to wax poetic about nail polish? Oh how low I have fallen! Still, nail polish has its merits, am I right or am I right? Back to the polish. The collection I have for you today is the China Glaze Desert Escape Collection for Summer 2015 so I hope you like my swatches (and commentary) below.

China Glaze Don’t Mesa With My Heart 1China Glaze Don’t Mesa With My Heart 2China Glaze Don’t Mesa With My Heart

I love pink and that is no secret. I do think that it my signature color despite of years of black rebellion where I refused to wear pink because it was too girly. I love this pink because it’s bright but no too bubblegum. The formula was nice–not streaky and very easy to control. I applied two coats here and a coat of Seche for added shine.

China Glaze What’s She Dune 1China Glaze What’s She Dune 2China Glaze What’s She Dune?

Lately I have totally been into putty colors so I can tell you that this is one of my favorite nudes of recent times. It’s not overly brown and it’s not yellow-based–it’s kind of perfect for my skin tone. I feared that this would be a nightmare shade but it was actually pretty nice. I applied three thin coats but I think two regular coats would have been enough to get a smooth finish.

China Glaze Rain Dance the Night Away 1China Glaze Rain Dance the Night Away 2China Glaze Rain Dance the Night Away

I absolutely love this color! My camera totally makes it look more blue than it is–it has more green in it in real life and it is goygeous. The formula was perfection so no complaints here. I just wish my camera would capture this type of colors accurately.

China Glaze Don’t Desert Me 1China Glaze Don’t Desert Me 2China Glaze Don’t Desert Me

Even though this is technically pink, or raspberry pink, I am not a big fan of this one because it’s kind of frosty-looking. I guess it’s a shimmer but I dunno–it’s just not my cup of tea. The formula seemed a little thin, but it actually built up nicely with two coats.

China Glaze Meet Me at the Mirage 1China Glaze Meet Me at the Mirage 2China Glaze Meet Me at the Mirage

This one right here was the big surprise for me. When I firs saw it I told myself I’d hate it…and then I put it on. It’s like this fantastically smooth metallic marvel! It’s practically a one-coater. I actually ended up really liking this one on me. I so love when I get proved wrong when it comes to nail polish.

China Glaze The Heat is On 1China Glaze The Heat is On 2China Glaze The Heat is On

This one is probably my least favorite polish in the collection. There’s nothing wrong with it–I just don’t like orange-red polishes too much. It’s a jelly finish polish so it has that really great squishy look to it, but you will need 3 coats to make it fully opaque–and even then you might get a little VNL. It’s nice, but not super exciting.

Overall, I am really pleased by the variety in this collection. The formula was good on all of them which you know will always be my #1 gripe regardless of brand because who has time to deal with bad formulation? While the colors aren’t revolutionary, they are pretty and good staple colors. If you are polish hoarder collector, you also won’t be disappointed. Now for the important deets: the Desert Escape Collection is set for a June 1st release and can be found at a new online retailer for China Glaze: lockandmane.com  Sally Beauty Supply will carry limited kits but will not be carrying the individual shades. I was also informed that Ulta will not be carrying this collection so the main place to pick up individual shades will be lockandmane.com I’m not sure if this is they case because this is a specialty collection or whatnot, but I’ll let you know if I hear more. So what do you think about this collection? Do you see any shades that you’re going to pick up? Thanks so much for stopping by today, and I will talk to you soon!


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Clara Barton

Nurses on the front lines: A history of heroism from Florence Nightingale to coronavirus

BY: - May 14, 2020

Nurses are heroes of the COVID-19 crisis. May 12 was International Nurses Day, which commemorates the birthday of Florence Nightingale, the first “professional nurse.” The World Health Organization also named this year the “Year of the Nurse” in honor of Nightingale’s 200th birthday. To nurses everywhere, this day and this year have great significance. Nurses, […]


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Oklahoma Contemporary
Josh Tonsfeldt Screengrab Portrait

New Light

April 21, 2020

#ArtistSpotlight: Josh Tonsfeldt

Get to know the emerging artist turning the every day upside down

Josh Tonsfeldt
b. Independence, Mo., 1979
Works on view: Untitled (Bright Golden Haze); Quentin (Shadow on the Glare)

Josh Tonsfeldt, Untitled, 2015
Untitled (2015) by Josh Tonsfeldt, on view in Bright Golden Haze.

Daily life looks a little different through the eyes of Josh Tonsfeldt. The boundary-pushing artist draws on the minutiae of everyday experience to create work that transcends the boundaries of classification. Tonsfeldt's videos, photographs, drawings and installations mix technology and tradition to comment on transformation, decay and his own family history.

"A lot of my work comes from domestic life and materials that we use every day," Tonsfeldt said. That's the case for both pieces on display in Oklahoma Contemporary's inaugural Bright Golden Haze and Shadow on the Glare exhibitions: a mixed-media sculpture featuring a deconstructed consumer television screen and a disarmingly surreal video built around fragments of a family reunion.

Tonsfeldt's untitled work in Bright Golden Haze scrambles these everyday elements into a 3-D piece that challenges our ideas of what sculpture can be. "It's a dissection of this screen, this device we spend a great deal of our lives in front of. It's also a montage, a kind of collage of video of fragments of video from my daily life and experiences," Tonsfeldt said. "But it's edited in a way that's fairly abstract. There's no narrative to it. It also serves as a sort of display device, as a kind of table for displaying some sculptural fragments."

"[I want] to find new ways of looking at things that might otherwise be very familiar to you, or might otherwise seem kind of banal or uninteresting."

— Josh Tonsfeldt
Quentin Still image Josh Tonsfeldt
Josh Tonsfeldt's video installation, Quentin — on display in Oklahoma Contemporary's Shadow on the Glare exhibition — captures with disarming detail the minute experiences of a family reunion in northeastern Oklahoma. In this captured image, a spider interacts with discarded food from a family picnic.

Tonsfeldt is the only Bright Golden Haze artist to also be featured in Shadow on the Glare, our third-floor exhibition of works by Oklahoma artists responding to the themes of light and place in our inaugural exhibition. While the artist's work draws generously from a wide variety of media, his Quentin (2018) video installation on display upstairs gets to the root of his interest in creating still and moving images.

"I started out working in photography and taking pictures. That's all about observation and going out into the world to find new ways of looking at things that might otherwise be very familiar to you, or might otherwise seem kind of banal or uninteresting," Tonsfeldt said. "I think that, in a way, led me into trying to look at objects and materials you might not otherwise consider or find so interesting to look at, and reconsider them."

Visitors will have plenty to consider, and reconsider, when Oklahoma Contemporary is able to open its doors to the public. Until then, here are a couple videos to help acquaint you with the work of this one-of-a-kind artist before you're able to experience it in person.

Josh Tonsfeldt. Untitled, 2015. LCD television, digital video, carbon fiber, fiberglass, CFL tubes, dust mask, pigment print on hydrographic film, pigment inks, resin. 30 x 55 x 60 inches. Photo by Alex Marks.

Photo of Josh Tonsfeldt by Dennis Spielman.

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Bright Golden Haze Shadow on the Glare installation Artist Spotlight video Exhibitions

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Phone: 405 951 0000
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P.O. Box 3062
Oklahoma City, OK 73101

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Workforce Strategy Adult Social Care Independent Sector

A Workforce Strategy for Adult Social Care Independent Providers in Cornwall 2019 - 2026 'Proud to Care'

We believe the shared vision is of a well led, well regarded and well trained workforce that promotes sustainability, quality and independence within the adult social care independent provider sector.  A workforce that is proud to care.  This workforce is enabling people to live the best life they can, receiving quality care at all points in their life as and when needed.

Continue reading

To achieve this vision a Workforce Strategy has been produced building on existing information and with sector engagement and feedback.  This Social Care Independent Providers Strategy informs the Adult Social Care element of Cornwall and Isles of Scilly Integrated Social Care and Health workforce transformation plan (as part of the Sustainability and Transformation Partnership - 'Shaping Our Future').

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Opinion: Gov. Newsom’s Future of Work Commission Risks Taking State Backward

Original Article: https://timesofsandiego.com/opinion/2020/01/14/gov-newsoms-future-of-work-commission-risks-taking-state-backward/

  • Author: Michael Saltsman

  • Publication Date: January 2020

  • Newspaper: Times of San Diego

Gov. Gavin Newsom’s Future of Work Commission visits San Diego this week, where its members will discuss potential changes in employment law to match the 21st century labor market. The commission’s goals are laudable; unfortunately, its appointed members have ideas that will take the state’s workforce backwards, not forwards.Start with commission co-chair Mary Kay Henry, who serves as president of the Service Employees International Union. SEIU has spent north of $100 million prosecuting the “Fight for $15,” a campaign to raise the hourly minimum wage to $15 and unionize fast-food workers.

California and its localities were early adopters of the Fight for $15, and employees and employers have paid the price. San Francisco lost over 1,000 restaurant jobs in 2018, the most recent year for which data is available. One chef recently warned the city’s high costs are making it “nonviable” for new restaurant development. In Los Angeles and Orange County, once-robust full-service restaurant growth has slowed to a crawl, according to the Census Bureau.

Some restaurant jobs are being replaced with automated alternatives. Ed Rensi, past CEO of McDonald’s USA, said his former employer’s nationwide embrace of touchscreen ordering kiosks was a direct response to rising labor costs. Numerous quick service and full-service restaurant chains have done the same, providing customers with a “convenience” that used to be part of an employee’s job description.

Henry isn’t the only counterproductive choice for the Governor’s commission. Take Saru Jayaraman, a UC-Berkeley professor and founder of the labor group Restaurant Opportunities Center, or ROC. Jayaraman travels the country to promote California’s unusual payment model for tipped employees (e.g. servers and bartenders), where tips aren’t treated as income earned on the job. California is one of just seven states that doesn’t count tip income towards the minimum wage. According to state labor law, a server who earns $300 in tips on a Friday is no different than a dishwasher who earned none.

She’s met with little success in her travels; in fact, not one state targeted by Ms. Jayaraman and her group ROC has adopted and kept California’s model. Instead, thousands of tipped servers have raised their voices to oppose her, citing evidence that ROC’s preferred payment model will lead to less take-home pay and more restaurant closures. In the Bay Area, for instance, a Harvard study found that each dollar increase in the base wage for tipped employees boosted closures for 3.5-star restaurants by as much as 14 percent. A recent study from Miami and Trinity University economists found that restaurants in high-cost markets like California hire nearly 20 percent fewer tipped employees as a percentage of total staff.

The opposition to Jayaraman’s policies is bipartisan: Democratic legislators in New Jersey, New Mexico, New York, Illinois, Maryland, and Washington, DC, among other locales, all rejected Jayaraman’s approach after servers turned out to oppose a “future of work” where restaurant customers order on an iPad and the opportunity to earn substantial tip income vanishes.

California would be better-served if the Governor’s commission examined legislatively-imposed barriers that keep employees and employers in the state from prospering. But that’s unlikely to happen while Henry and Jayaraman are on the job. Consider the East Bay city of Emeryville, which has the country’s highest minimum wage: Last year, the City Council tried to pause an upcoming minimum wage increase, after a city-sponsored team of academics identified serious harm to small restaurants from past hikes. Instead of acknowledging the data, ROC and the SEIU successfully threatened the council with political consequences should they fail to keep the increase as scheduled.

To prepare for the future of work, Gov. Newsom’s Commission should first take stock of past mistakes–and fix them.


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online promotional code 50 off clickfunnels 2020

online promotional code 50 off clickfunnels 2020 Pricing: Is it truly worth it?

Too lots of new services stop working amongst the big tide of online organisations that come to the mix every single day. With the assistance of social media and brand-new advertising techniques, it is not the most difficult thing to obtain someone to visit your internet site. For this, you require an appropriate sales funnels, which is what used by Click Funnels

Just what is a online promotional code 50 off clickfunnels 2020?

If you are a shopping entrepreneur, getting an excellent knowledge of sales funnels and also converting a bring about a client is just one of the a lot of standard things you must know from the start. To put it merely, a sales funnel is the process that a prospective purchaser experiences from being a visitor/lead to lastly acquiring the item or the solution. This process narrows down to completion, making it appear like a channel, therefore the name. Your service as well as the revenue depend entirely on just how you handle to efficiently carry out this channeling procedure.

online promotional code 50 off clickfunnels 2020 Initially, Click Funnels Pricing could make you believe if it is worth it, yet you will need it to make a quick development and recognition among the customers specifically in the first few stages of running a company. This solution especially aids the start-ups and also the business owners that are not very aware of the advertising and marketing and also sales procedure to get the most effective out of their marketing methods by converting site visitors successfully to be customers.

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When you pay a regular web designer to produce a site for you, the final result may be cosmetically pleasing, but they typically do not focus on making a sale via the platform. When it comes to any kind of

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Editor Characteristic Let’s see what else you can do in the Clickfunnels editor Material Blocks Select from a range of content blocks that can be quickly dragged and dropped onto your sales funnel. These include a Frequently Asked Question section, rates table, timer, progress bar, and a lot more. Media Select and include images, video, or audio to your sales funnel.

Videos can also be embedded from You Tube, Vimeo, and Wistia. Fonts Pick from one of the lots of Google fonts for your content and headings, modify the color, alter the size, and more. Background Select background colors, images, or videos for your sales funnels. Types Within the editor, you can include a number of advanced type types to your funnels.

Click Funnels have been developed by sales and also advertising experts with numerous years of experience in actually making sales. Adhering to are some of the pre-designed sales funnels that you can select at the Click Funnels.

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You could choose these funnels inning accordance with the market you are operating in, the kind of solutions that you offer as well as exactly what type of a sales procedure that you desire your possible customers to go via. There are examples of all these funnels that you can have a detailed appearance at as well as experience the same channeling procedure that your site visitors will experience as soon as you use that funnel.

All the styles and also sales funnels that you enter the Click Funnels solution are significantly personalized. You could utilize your own color themes, photos and also texts taking into consideration the ideas that Click Funnels offer to get the very best results. The modifying and also editing and enhancing procedure is a basic drag and also decline technique making anyone, also with no web layout experience, to produce the sort of website that you constantly fantasized to have for your company.


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Rep. Omar Shares Update on Coronavirus Response

March 13, 2020
Press Release

WASHINGTON—Rep. Omar today shared updates on her office’s response to the coronavirus (COVID-19), including legislation she introduced in the U.S. House of Representatives, coordination with Minnesota Governor Tim Walz’s office, internal office policies, and constituent services during the COVID-19 outbreak.
“Responding to coronavirus is the top priority for me and my staff right now.  We are continuing to monitor the situation in our district, state, and across the nation, working to provide our constituents with the most up to date information as we learn more,” Omar said. “Right now, we in the House are working to pass the Families First Coronavirus Response Act – a major bill that authorizes free coronavirus testing, paid emergency medical leave, extended unemployment insurance, food assistance, and help for health care workers. It also includes the MEALS Act, a bill I authored to ensure that children whose school is cancelled due to the coronavirus can continue to receive meals. I hope the Senate and President will take action on this legislation as soon as possible. The health and safety of our constituents hangs in the balance.”
Details and additional updates below:

  • This week, Rep. Omar authored a bill, the MEALS Act to ensure that children whose school is cancelled due to the coronavirus can continue to receive meals. Thanks to our team’s hard work, the bill was included in the Families First Coronavirus Response Act and is expected to pass the House today. This is a major accomplishment for kids in Minnesota and across the country.
  • This afternoon, Rep. Omar and the Minnesota Congressional delegation held a call with Governor Tim Walz ahead of the emergency declaration in the state. Rep. Omar asked about measures to ensure that Minnesota’s prison and homeless population are cared for during the crisis.
  • Rep. Omar has set up a microsite for constituents to access. Last week, the Congresswoman sent a message to the whole district with these resources. Our office has also put any large public gatherings on hold, including this Friday’s scheduled labor town hall.
  • Rep. Omar outlined her internal office plan of action to protect staff, constituents, and mitigate the spread of COVID-19 while maintaining high-caliber constituent services and legislative operations. Omar’s office policy includes transitioning to a telework operation in her Washington, DC and Minneapolis office starting today.


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If they don’t appreciate you let them walk

By Alma Namene Amunyela |

People are good to have. But one thing to know is that if they want to leave, let them go.

Dear ladies, if people’s time is up don’t hold them back. Remember, there is a time for everything.

A time to gather and a time to cast away, a time to embrace and a time to refrain from embracing, a time to hold and a time to let go.

Most of the people come into your life in a season for a reason and when their time is up they go. And you see, these seasonal people will not hear you regardless of how much or how loud you cry, how truthful or how loving and profound you speak.

There is not much you can do; just wish them well and let them go, and life goes on.

My girls, stop holding onto folks who have let go of you a long time ago. You need to tell yourself the truth, and that is that every relationship wasn’t destined to be a life-long relationship.

Sometimes you will just find yourself in the company of people, and then you begin to open yourself up to people and build relationships, either weak or strong. But then slowly we become older and wiser, and we start seeing people for who they really are.

So don’t worry about them; just let them go with peace and don’t get stressed up because of the current situation.

People leave you because they are not joined to you in any physical way, so that when they decide it’s time to go you can’t make them stay. So let them move.

But that doesn’t mean that they are bad people; it just means that their part in the story of your life is over (ethimbo osho tali ti).

If someone can’t treat you right or value you and see your worth just let them go.


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Hai Su Trang (HST) – Hai Su Den (HSD) fields are located in the Cuu Long Basin, in block 15-2/01 with approximately 60 km away from Ba Ria – Vung Tau, the Southern coast of Vietnam. This field has complex facility infrastructure consisting of one well head platform HSD and one well head separation platform HST. TLJOC recently faced some operational challenges such as instability and even system shutdown and as the operating safety is very critical for this offshore field, they have started the investigation on finding solution for more efficient operational condition.

In TLJOC system, debottlenecking of the three separates network including oil, water injection and gas lift network were typically needed for entire field life to maximize the production rate and avoid any further system shutting in future. In addition, there were few changes in reservoir system such as increasing perforation zone for some of the wells to enhance production rate which should be simulated in advance to make sure of facility capability and flow assurance. Furthermore, finding root cause of bottlenecking and controlling operational condition to avoid the exceed limitations was very critical for asset team.

All production units were modelled and analysed for current condition and future operational condition base on reservoir management plan. The several scenarios based on TLJOC- RMP cases has been run and result got evaluated to make sure facility pipelines and equipment have enough capacity and at the same time there will be no integrity in pipeline such as slug issue. Also, additional cases were defined for possible upcoming event such as dropping or increasing facility unit pressure or decreasing water injection pressure to have better view of system health and capacity for entire life of field.

The results of analysis prove that in oil pipeline the slug flow pattern exist in most of cases, as one of key reasons for recent operation issues. Recommendations are either control the operation condition of riser to mitigate slug or to control separator pressure in order to reduce slug. Another recommendation was to maintain the liquid level in separator based on certain level to avoid slugging. Based on back pressure effect analysis this system has capacity to increase production up to 20 %, however 15% increase is more efficient operationally. The water injection and gas lift network can handle all possible event and have no problem with capacity only need to keep monitoring the junction pressure to not fall or exceed the operational and integrity limit.

You can access this article if you purchase or spend a download.


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The 5-step guide to starting your company’s background check process

As your business grows, your team must expand to support new demands. Hiring can be an exciting process that adds bright new perspectives to your processes and bolsters your company’s integrity. However, uninformed hiring choices can have a negative impact on your team. So, deciding who to trust with the growth of your organization is crucial.

Pre-employment background checks offer valuable information that allows you to make more knowledgeable choices about your future employees. If your business has a minimal background screening process or no screening process at all, you should consider formalizing your background check policies before you make your next hiring decision. An official background check process makes hiring more streamlined and offers transparency and honesty to applicants.

Follow this step-by-step guide to create a reliable background check process for your company.

Step 1: Take inventory of your needs

Before you can choose a background check company or move forward with specific screening policies, you must decide what you want to get out of a background check process. First, identify reasons why you should screen applicants for various positions. Different jobs may require different levels of restriction and security. You can then tailor your background check policies to your company’s different job descriptions.

Also, you should decide early on how much you are able to budget for background checks. It’s less costly to pay for diligent background checks than to deal with potential increased liability of not screening.

Step 2: Understand and comply with background check laws

Job applicants have distinct rights during the background process. While a background check company will help you comply with laws, it is important for you to understand the rights and privacy privileges of your applicants.

The Fair Credit Reporting Act (FCRA) is the primary regulator of how reports are used by employers. The FCRA ensures that applicants are aware you are screening them and places responsibilities on the employer to protect the privacy of applicants.

Step 3: Clarify your policies

Once you recognize your company’s background check needs, team up with your legal counsel to mockup an applicant screening policy. That policy should inform applicants about which background check company is running the checks, what types of screenings will be run, how the information in their report will affect decisions and how disputes will be handled. It is also a good practice to offer applicants with an explanation of which offenses will bar them from certain positions.

Step 4: Find a company that fits your needs

When choosing a company to run background checks for you, consider the role you want the company to play in your hiring process. Full-service background check companies can be reliable partners throughout hiring that will help you interpret results and ensure you make informed decisions. Online background check services offer quick results but are less hands-on and may not be FCRA compliant.

No matter what you choose, verify the service you enlist is compliant with FCRA and accredited by the Professional Background Screening Association (PBSA).

Step 5: Know what to do with information from a report

Based on the background check policy your company created, you will have guidelines on how to respond to certain charges on an applicant’s report. If you decide to remove an applicant from consideration due to information on their report, you are taking adverse action. When taking adverse action, you must notify the applicant of your decision and provide reasoning for it.

If you have any further questions about how to proceed, contact your background check company. Also, you can get in touch with One Source’s Client Relations Ream today.

When You’re Ready to Run a Background Check, Start Here

Everything you need to do before launching the background check process

Whether you are an employer looking into the history of a potential new hire, a volunteer coordinator wanting to verify the background of a volunteer or anyone else who could need a background check, there are a few important things you must do before you receive a report. Once you decide on a background check, follow these simple steps to ensure the check runs smoothly and ethically.

Choose the type of background check

There is a wide variety of common background checks, and each type provides slightly different information to serve a unique purpose. Clarify your purpose for running a background check and choose the type that will best meet your needs.

  • Pre-employment Screening: Employers can run background checks specifically designed to minimize risk for their business. Pre-employment checks can include confirmation of work history, education history, a credit report, criminal records and driving records. In certain situations, a drug screening and a review of an applicant’s social media use can be included.
  • Volunteer Screening: Nonprofits, schools and other organizations that require volunteers can maintain their integrity and keep their communities safe with background checks. Volunteer checks are just as thorough as pre-employment checks, but they are meant to fit the budget and needs of volunteer organizations.
  • Certified Contractors Background Checks: If you are hiring contractors, you can make sure they are screened to the same high standard you require for your staff, while staying compliant with the FCRA. A certified contractor check includes a criminal check, optional drug screening and a check of compliance with One Source Certified Contractor (OSCC) guidelines.

For more comprehensive information, contact One Source Client Relations.

Get authorization from the person being checked

To move forward with a background check, you must receive consent from the person who will be checked. The Fair Credit Reporting Act (FCRA) mandates that a Disclosure and Authorization form must be signed before a background check, and if it is not authorized you could face legal consequences. Notify those you intend to background check and explain to them how the results of the check will be used so they can be informed before they sign off.

One Source offers a compliant Disclosure and Authorization form you can download here.

Gather identification information

The insight you need to obtain from the person being reviewed can vary based on the company you are running the check through. For most background check companies, you need to provide a full name and a unique identifying number such as a birthdate, Social Security number or driver’s license number. A background check company will tell you up front if they need any further information.

Once you complete these tasks, you can let a background check company do the rest of the work. Background checks take a few days to complete. To learn more about the background check process or to get started, contact One Source Client Relations.

Frequently Asked Questions about Pre-Employment Background Checks

Finding and hiring the best candidate for a position at any company can be a long and tedious but worthwhile process. No matter how your business chooses to structure its hiring, background checks should be a crucial part of the system. They provide security, mitigate risk and help you choose a candidate with confidence.

We answered a list of the most frequently asked questions about pre-employment background checks, so the next time you’re hiring, you can hit the ground running.

How long does a background check take?

Typically, a background check can take 2 to 4 business days. The exact amount of time until you get a report back can vary if there are unforeseen complications or if additional screenings are requested.

It can take an instant to search internet databases, but to search real-time, original-source records, as the Equal Employment Opportunity Commission (EEOC) requires, it may take longer. One Source delivers 96 percent of background checks in 24-48 hours.

What do I need to run a background check on an applicant?

According to the Fair Credit Reporting Act (FCRA), you must have a signed release form from every applicant you would like to screen. Your applicants must know you are running a background check and must consent to the screening. You can download a copy of our background check Disclosure and Authorization form here.

What information will I get from a background check?

One Source’s TotalCheck products can provide you a comprehensive and verified report that includes:

  •  Verification of an applicant’s information.
  • A county/statewide criminal history report.
  • A supplemental search of multi-court jurisdictional criminal record databases.
  • A nationwide federal criminal report, cross-referenced with the Federal Bureau of Prisons’ databases.
  • A search of the national sex offender registries.
  • A check of global watchlists.

How do I review the results of a background check?

When an applicant’s background check is complete, you will receive an email with an embedded link to the report. The link is password protected to keep your applicant’s data secure.

Why should I hire a background check company?

A consistent and compliant partnership with a background check company can make the entire hiring process easier. One Source has carefully developed background screening methods to ensure accuracy and save companies time. And if you ever run into a problem with a background check, it is useful to have an expert partner like One Source who can quickly answer your questions. When you hire a background check company, you can maintain clarity, compliance and confidence through the hiring process and get a fantastic new hire to work ASAP.


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www.fuddruckers.com – Join Fuddruckers Survey

Fuddruckers Survey Logo

Fuddruckers Survey

Are you a Fuddruckers customer? And want to share any comment, question, or feedback about your recent visit to the restaurant? Then you may be interested in filling out a short form, can be found on the Fuddruckers site, and tell them how you are feeling about them and rate your satisfaction.

Fuddruckers Feedback Survey is a good means for you, the consumers of Fuddruckers, sharing your experience and honest reviews so that the company comes to know what their customers want from them and serve according to their expectations. Like, if you get excellent customer service and express your feeling, your appreciation will motivate them to do better than before. And if your experience was not that much good, don’t worry, feel free to voice your opinion and help Fuddruckers find out their loopholes and enhance the service quality.

What You Need for the Fuddruckers Survey

Anybody, who stopped into a Fuddruckers location, can partake in the survey. Here is still provided for your convenience a list of basic requirements to complete the process rightly.

  • Must visit a Fuddruckers restaurant most recently.
  • I need to recall that dining experience.
  • A PC or a smartphone with a stable internet connection to access the web browser and visit the survey page.

How to Complete the Survey

Interested consumers can follow the steps mentioned below to take the survey. It will take just a few minutes to complete.

  • Go to the Fuddruckers official website www.fuddruckers.com
  • Navigate to the “Contact Us” page from the top right corner of the page and click “YOUR VISIT TO FUDDRUCKERS”.

Fuddruckers Survey

  • Entering the desired page, you can find the blank space where you have to type anything you want to tell Fuddruckers.
  • Rate your feelings based on your experience from ‘OK’ to ‘Love it’ (1-5 in scale).

Click the “Next” button and complete the rest of the survey process. In the end, you may receive some offers from Fuddruckers.

Fuddruckers Feedback Notes

  • Fuddruckers Guest Satisfaction support is managed by Satisfy from Propensity Media.
  • Apart from Feedback Survey, entrants can choose any category such as Fuddruckers E-Club, donation, food and nutrition, social media, gift cards to begin the dialogue; view ‘Quick FAQs’, and send your comments, opinion, questions, etc.
  • You can also check the information about the privacy policy, jobs, franchising, web accessibility statement, newsroom, Fudds eClub information from the links posted at the bottom of the page.

Also Read : Take the Bojangles’ Survey for an Offer

About Fuddruckers

Fuddruckers, based in Houston, Texas, is an American fast-casual restaurant chain, specialized in hamburgers. The chain is a subsidiary of Luby’s Inc. and has around 77 company-operated restaurants and 111 franchised locations throughout the United States and the world.

Fuddruckers was opened as Freddie Fuddruckers in 1979 by Phillip J Romano. The restaurant based on the concept to offer large hamburgers made with fresh, never frozen, 100% USDA premium-cut beef and sesame-topped buns baked scratches in their own restaurant bakeries. The meet is always ground on-site in the burgers and it’s stocked full of sun-ripened tomatoes, hand-leafed lettuce, sliced onions, Fudds cheese sauce, and lots other fixings.

Contact to Fuddruckers

Those, who have questions or concerns about Fuddruckers, can reach them only online. If you want to contact over the phone, you need to go to your neighboring Fuddruckers location and collect the phone number.

You also can visit the official website and fill up a form providing your concerns and issued under that specific category provided on the ‘Contact Us’ page. In addition, you can follow them on various social media platforms like Facebook, Twitter, Instagram, or Google+.

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