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Plains Cooperative Telephone Association Named Certified Gig-Capable Provider by NTCA–The Rural Broadband Association

Arlington, Va., (January 8, 2018) – Plains Cooperative Telephone was today recognized by NTCA–The Rural Broadband Association, the premier association representing nearly 900 independent, community-based telecommunications companies that are leading innovation in rural and small-town America, as a Certified Gig-Capable Provider for delivering gigabit broadband speeds and enabling technological innovation in the Idalia, Kirk, Joes, Cope, Eckley, Anton, Seibert and Burlington communities.

Arlington, Va., (January 8, 2018)

As a Certified Gig-Capable Provider, Plains Cooperative Telephone joins a national campaign to build awareness and industry recognition of community-based telecom providers that have built communications networks capable of delivering Internet speeds of up to 1 gigabit per second, which is 100 times faster than those currently available in many U.S. households.

“I applaud Plains Cooperative Telephone for its commitment to delivering the Internet’s fastest speeds—an accomplishment worthy of much praise considering the unique and challenging circumstances small, community-based telecommunications providers operate under every day in serving some of our country’s most rural and remote communities,” said NTCA Chief Executive Officer Shirley Bloomfield. “By building a gigabit-capable network, Plains Cooperative Telephone has not only overcome these challenges, but also shattered conventional benchmarks for broadband speed to enable cutting-edge technologies that drive innovation and promote economic development in their communities, region and nationwide.”

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The Featured Document Blog places the past in your grasp by introducing a compelling item from our digital collection.

Sign up for our newsletter, This Month in the Civil War on the Western Border »

As Southern states seceded from the Union in the months leading up to the Civil War, Missouri struggled with the decision of whether to rebel and join the new Confederacy. On January 21, 1861, the state called a convention to consider the "relations between the Government of the United States ... and the Government and people of the State of Missouri; and to adopt such measures for vindicating the sovereignty of the State, and the protection of its institutions, as shall appear to them to be demanded." On February 18, voters elected an overwhelmingly pro-Union group of representatives to the convention. Despite strong Unionist sentiment, this nike free 5 2015 ukraine
from February or March of 1861 reveal that Missouri was a true border state: one that wanted to preserve slavery and yet ultimately rejected calls to abandon the Union.

This set of resolutions encapsulated the arguments in favor of Missouri remaining in the Union, even as it maintained a strong proslavery position. The opening lines of the document suggest that the convention favored the so-called Crittenden Compromise , referring to a set of six constitutional amendments and four Congressional resolutions proposed by Senator John J. Crittenden. Intended to be palatable to both sides, the amendments would have restored the prohibition of slavery north of the 36 degree, 30 minutes line of the Missouri Compromise. Congress would be forbidden from abolishing slavery in slave states and the District of Columbia, and from interfering with the interstate slave trade. Congress would be required to compensate slave owners for escaped slaves. Most controversially, the sixth proposed amendment would forever prohibit future amendments revoking any of the six Crittenden amendments.

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Am I an addict?

If you know the answer is yes, find a meeting in your area come along - no appointment needed - or call the Helpline on the number above.

If you're in two minds, read on: All of us who eventually arrived at an NA Meeting had to ask ourselves this crucial question. It is perhaps the most difficult decision we have ever had to make. Maybe we could admit that we had addictive tendencies when it came to food, work and play etc, but never drugs! Denial played a great part in preventing us from answering honestly.

If you're in two minds, read on:

There is however a leaflet with a series of questions which can help: It is called "Am I an addict?" and here is part of the questionnaire:1. Do you ever use alone?2. Have you ever substituted one drug for another, thinking that one particular drug was the problem?3. Have you ever manipulated or lied to a doctor to obtain prescription drugs?4. Have you ever stolen drugs or stolen to obtain drugs?5. Do you regularly use a drug when you wake up or when you go to bed?6. Have you ever taken one drug to overcome the effects of another?7. Do you avoid people or places that do not approve of you using drugs?8. Have you ever used a drug without knowing what it was or what it would do to you?9. Has your job or school performance ever suffered from the effects of your drug use?10. Have you ever been arrested as a result of using drugs?11. Have you ever lied about what or how much you use?12. Do you put the purchase of drugs ahead of your financial responsibilities?13. Have you ever tried to stop or control your using?14. Have you ever been in a jail, hospital, or drug rehabilitation center because of your using?15. Does using interfere with your sleeping or eating?16. Does the thought of running out of drugs terrify you?17. Do you feel it is impossible for you to live without drugs?18. Do you ever question your own sanity?19. Is your drug use making life at home unhappy?20. Have you ever thought you couldn’t fit in or have a good time without drugs?

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97 Kenmare Street

New York, NY 10012

Tel. 212.431.5795

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Tuesday– Saturday

11 am– 6pm

611 Broadway #634

September 16th – December9th, 2017

97 Kenmare Street, New York, NY

September 16th Exhibition Opening:

Public Viewing: 11 am – 6 pm

Public Opening: 7 pm – 9 pm [ free run 50 nikes

VOTE FOR YOUR FAVORITEICON (to be delivered to Mayor de Blasio)


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As a contemporary form of commercialized nostalgia, souvenirs are the ultimate cliche in the representation of a city. Pocket-sized, acritical, and cheap, they populate tourist sites all over the world with a patina of innocence.

Producing collective imaginaries made up of lines that follow the profiles of superlative sculptures, buildings, and stories, souvenirs have become the reference points that anchor a particular culture in time, representing (consciously or not) political, cultural, and social values.

Souvenirs: New New York Icons, the second iteration of Storefront’s model show, commissions 59+ objects that redefine New York’s iconic imagery. Inspired by each of the city’s Community Districts, more than 59 artists, architects, and designers have reimagined the referential images that constitute the global perception of the city, proposing new understandings of the urban experience.

Challenging the symbols that have permeated the gift shop, Souvenirs presents critical approaches to the shifting and complex iconography of the city. The exhibition introduces new objects and, with them, new ways to relate to form, matter, affect, representation, and agency.

Visitors to the exhibition will be asked to cast a vote for the object that best represents their visions and values of the city. The top three souvenirs will be presented to the Mayor Bill de Blasio as new icons for New York City.

About the Installation

Storefront’s Iconic facade, designed by Steven Holl and Vito Acconci in 1994, has become a referent for the architectural community worldwide. The facade project, consisting of a series of pivoting panels opening the gallery walls onto the sidewalk, was built with an innovative concrete mixture, disrupting preconceived notions of heaviness attached to concrete. Taking this notion of postmateriality to its extreme, MOS Architects has produced a series of operations that open up the facade and the gallery space (through literal holes and material and textural transformations), bringing it into conversation with its urban and architectural context. With a series of transfers (material, formal, and spatial) between concrete, stone, glass, wood, plastic, and air, the installation brings the logic behind the aesthetics of recycling into a new formal language that invites us to reflect upon notions of signification and legibility in the built environment.

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