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Acquisition of immovable property by aliens (non EU members)
Cypriots or persons of Cypriot origin and extraction and E.U members are allowed to purchase real estate property without any restrictions. Aliens, however, are only given permission to acquire one of the following:
●One apartment or
● One house or
● A building plot or land up to three donums (4.000m²)
Offshore entities may also acquire premises for their business (no limit on the extend) or for the residence of their foreign employees provided the residence is registered on the employees' names. For the transfer of real estate on an alien's name, the permission of the Council of Ministers is required.
This permission is obtainable by all bona fide cases, provided that the property is not intended for commercial exploitation. In certain cases, however, the Council of Ministers will grant the approval for acquisition for commercial purposes if the particular project will enrich tourism. E.U. members are exempted from such restrictions and are treated as locals as from the 1st May 2004.
Ministerial Approval
The definition of alien by law is any person who is not a citizen of the Republic (whether resident or not) including an alien controlled company, but it does not include aliens of Cypriot origin or the alien wife of a person who is a citizen of the republic.
For the purpose of the legislation, acquisition of real estate property includes:
● Freehold ownership
● Long leases of more than 33 years.
● The acquisition of shares in a company, which owns real estate, if such an acquisition results in the company becoming controlled by aliens.
● The establishment of a trust or any type of set-up, which is connected with the ownership of real estate, for the benefit of an alien. Any registration of property not complying with the law is invalid. The following general points of real estate acquisition are hereby provided as a very rough and general guidance:
● A foreigner can buy a house for his own use only. In case of a long established person who has business (e.g. offshore company) or is residing in Cyprus, a permit to buy another house may be forthcoming. E.g. a foreigner has a house in Nicosia and wishes a beach-flat in Larnaka or a villa in Platres for holidays.
● A foreigner can buy land, for building, up to the extent of three donums (4.000m²). A permit to buy a plot of land outside the development area will most likely be refused (this is not so in the case of a house purchase so situated).
● No transfer of a share in property can be effected, i.e. a permit will be refused in case of a foreigner acquiring a share in property.
● One couple (husband and wife) can only buy one house (not one house each).
● In the case of foreign companies they can buy/build their offices only. No permit will be given for the purchase of a residence unless the house can be registered in the name of the company's director and he makes the application.
● In granting a permit to build, the Government may impose a time limit to effect the transfer/construction of the property. Such limit may be extended, however, on application depending on the circumstances. A period of three years is considered as a maximum but this can also be extended.
● A foreigner wishing to rent property for periods of thirty-three years or more requires the Council of Ministers' approval.
● A foreigner can sell his house and buy another. Any bona fide repeat purchaser will be granted a permit.
● A foreign purchaser may let his property for periods in excess of 30 days to a resident of Cyprus (not short lettings). This does not apply to offices.
● Any contract in purchase/lease etc. of real estate is valid even if the Council of Ministers rejects the foreigner's request. As such when purchasing property it is recommended that the contract includes a provision for such an event so as to secure a refund or other remedy to cover such an unlikely occurrence. The time period required for obtaining an answer from the Council of Ministers, provided all documentation is in order is approximately two-three months. As a general rule, all foreigners are permitted to acquire house/ business premises in Cyprus, provided they have:
● No criminal record in their own country or in Cyprus.
● The financial means to support themselves in Cyprus (An income per couple in the region of C£12.000 p.a. is considered satisfactory). Companies with dubious past, unclear ownership, unclear business etc. are not looked upon favourably.


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If you want to fill out the list before you print then just click on add text to add text before you print. Type the text that you want to appear and then drag it on top of the line. You can also just fill out the list after you print it in your handwriting.
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Either select one of the designs above or use our checklist maker with 101 different designs available.
We have many designs available. Just choose the design that you want to use and start creating your own printable checklist! This is just a sample of the designs available.
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You can change the contents of the checklist. We have many checklist templates with different icons and various numbers of lines and/or columns to create a checklist perfect for your needs.
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Type the title that you would like to appear. It can be your name, wedding checklist, moving checklist, etc.
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subset: commoncrawl


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As Director of High-Performance Vehicle Operations, General Motors Performance Division until 2008, Mr. Heinricy was responsible for the planning, development, testing and execution of all the performance versions of GM vehicles, from the Cobalt SS to the Cadillac CTS-V to the Corvette Z-06. He is also a legendary race-car driver, capturing 13 Sports Car Club of America (SCCA) national titles. Since his retirement from GM, Mr. Heinricy has become an automotive engineering and racing consultant to OEM's, exotic supercar manufactures, and race teams, including Formula 1.
1999 Mt. Read Blvd. Building 3 | Rochester, NY 14615 | P: 585.254.1100 | F: 585.254.1105
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Dark Matter Coffee
Astronaut Studio, a brand agency in South Dakota, sent out "Dark Matter", a custom blend of small-batch roasted coffee with original package design developed as a 2011 holiday gift for clients, partners and vendors. The image of the winged horse, inspired by the Pegasus constellation, was formed with actual coffee grounds. The concept and design is a deliberate play on the agency's astronomical brand identity.
The Dark Matter Coffee packaging was designed at Astronaut Studio, Sioux Falls, South Dakota, by creative director/copywriter Greg Veerman, art director Andrew Brynjulson and executive producer Wendy Johnson.
Filed under: Design
Tagged: Astronaut Studio
Location: USA


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The QS and Times Higher Education rankings are not necessarily a reliable indicator of university's quality, writes Professor Danielle Clarke.
A new academic year is inevitably heralded by a splurge of commentary about university rankings: Shanghai Index (now ARWU), the QS Top Universities and the Times Higher Education rankings. Each, on the surface, tells the same story for Irish universities – a dip in performance – UCD out of the top 100, Trinity out of the top 50, according to QS. The ARWU, with its heavy emphasis on science and Nobel Laureates, takes an unsurprisingly dim view of the Irish sector – no university makes it into the top 200. The press and university presidents have seized on these as evidence that Irish universities are starved of cash and are unable to meet global standards without additional financial support – and tuition fees are usually seen as the only realistic solution.
But it's important to take a closer look – rightly or wrongly, these rankings now have a place in the public consciousness. The crude overall score in each case masks a good deal of complexity. In the QS rankings overall positions for Trinity and UCD were respectively 52 and 114. Broken down by area, the picture looks very different – 52 (TCD) and 89 (UCD) for Arts and Humanities, placing UCD in the company of some rather fine universities – 4 positions above Northwestern, a couple of spots behind Rutgers. In Natural Sciences, however, Trinity comes in at 81 and UCD at 261, making a nonsense of the composite figure as a meaningful measure of quality. On the QS employer index UCD comes in at a creditable 69, only 6 places behind Trinity. One might conclude that inadequate funding for research in science and technology makes it difficult for a university like UCD to compete globally, despite its expertise, whilst the humanities, which are low-cost, still continue to make a large impact on the world stage. The continuing high reputation of Irish universities in the humanities is the untold story of these rankings, and the arts the unsung hero of the university system.
There is no country of comparable size to Ireland that registers in the top 100 at all – the University of Helsinki scores consistently well at around 50 – Finland has a population of 5.25 million. Portugal, with a population of 10.7 million, has no university in the top 200. Ireland continues to punch above its weight, despite all the negative commentary about the third-level sector: two universities in or near the top 100, the remaining ones figuring in the ranking alongside highly respected institutions globally. This is a good news story – we are on a par with universities that are funded in ways similar to our own, we struggle to compete with universities whose per capita income outstrips ours. UCD's annual income in 2008 was €357 million – less than a third of that of Cambridge University (ranked top in QS, 6th by THES) at £1140 million. UCD has a slightly larger student population than Cambridge. Go figure.
But how are the rankings compiled, and what do they actually mean? Like most rankings, the findings are only a reflection of the metrics applied. And quality isn't just about money, as the performance of the Irish universities suggests. There is a good degree of consensus about the universities at the top. Further down, the lists get volatile, reflecting the vicissitudes of state support, research funding, hiring freezes and local conditions, even though most institutions will still be doing the same things in the same ways whether they are number 89 on the list or number 114. Neither are the rankings exactly "objective". The QS rankings are based on a "Reputation Index", namely what other academics think of each institution (this counts for 40%). It stands to reason that this is a self-fulfilling prophecy: high profile, famous universities will be judged to be successful. Less famous ones will fall beneath the radar – or their specific strengths will not register because they fall outside of these measures.
Irish universities, for historical, cultural and linguistic reasons, tend to identify themselves with US and UK institutions, whilst also looking to Europe – most colleagues in UK universities have never heard of the Bologna Agreement, even though they are signatories to it. In Europe, we're doing well – Trinity is number 14, whilst UCD comes in at a creditable 26. This perhaps reflects the fact that many, if not most, European universities are primarily teaching institutions, and rankings are largely about research – the THES allots 30% of its assessment to teaching, 65% to research activity and 5% to international factors.
European universities tend to have relatively poor staff-student ratios but also to prioritise teaching over research. And this is really the most important thing about university rankings – that they give insufficient weight to what many would still see as the key function of a university, namely teaching a core curriculum to undergraduates who will go on to use, develop and expand those skills in ways that benefit the society that contributed through taxation to third level education. The story of the rankings is really of the abandonment of this goal by governments and universities themselves in favour of more instant (and quantifiable) returns. These things are vitally important, but there is a risk that without a solid core of high quality undergraduate teaching, innovation and research will become a law of diminishing returns, increasingly reliant on imported expertise. When, rather than if, we move into a new era of tuition fees, the universities' government-driven focus on research will come under renewed pressure. As a recent opinion piece in the Economist pointed out, the hours that American students spend engaged in study have fallen as inexorably as their tuition fees have risen, a factor partly attributed to the commitment of faculty to research at the expense of teaching. In a gobsmacking statistic, this year, 20 of Harvard's 48 history professors are on leave. Students have every reason to ask their universities to spend less time worrying about rankings, and more time on educating them for the future.
Professor Danielle Clarke is a Professor of Renaissance Language and Literature in the School of English, Drama and Film, UCD.


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A new 2010 edition of the Armada Trance series has landed! Going strong for more than 3 years already, this compilation series has been highlighting Armada's trance catalogue with strong 2 CD mixes and a selection of the essential trance tracks for that period.
When it comes to trance music, Armada Music knows exactly which tracks and what artists are going to get the 'hot' tag this season. To keep you up to date, Armada Trance Vol. 9 passes by all the ingenious new angles, hooks, melodies and beats - with the latest productions of sound-architects like Chicane, Markus Schulz, Aly & Fila, Glenn Morrison, Way Out West, Andy Moor, The Thrillseekers and many more. 36 tracks for any type of trance lover - whether you like it proggy, techy or very uplifting. The powerful, contagious mix of 'Armada Trance Volume 9' reveals all the essential trance tracks of the moment!


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Marion, AL—The Marion Military Institute Tigers gave the University of Mobile Rams, the No. 21-ranked team in the NAIA, all it could handle in Saturday afternoon's scrimmage match at the Paul B. Anderson Tennis Complex. The Tigers started the day off strong by winning three of the four doubles matches played and then, in singles play, procured three more wins in the eight matches played to end the day in a 6-6 stalemate.
Particularly impressive were MMI's stout wins at No. 1 and No. 2 doubles. MMI's Morgan Hale and Andrew Wright continued their superlative doubles play by downing Mobile's Cesar Paleari and Lucas Tristao, 8-3. Equally impressive in victory were MMI's No. 2 doubles team of Kaiser De Leon and Javier de Claire. They edged Mobile's Tom Ruehl and Tim Buhler, 9-7.
"I must say I was quite impressed with our doubles play today," Coach Wright said. "We have two strong and athletic doubles teams. Hale and Wright played outstanding doubles, and De Leon and de Claire came up with some inspired play when they had to. Javi hit the shot of the day when he hit a spectacularly sliced backhand behind the opposing net player."
MMI's Marty Birchmeier and Patrick Ryder pulled out the team's third doubles point of the day with an 8-4 win at No. 4 doubles. They defeated Mobile's Marco Del Prado and Kyle Kirkpatrick.
The singles match of the day belonged to Kaiser De Leon, MMI's No. 1 singles player. Mobile's Paleari plastered De Leon, 6-2, in the first set, but De Leon picked himself up, dusted himself off (and then dusted himself off some more), and bounced back to take the next two sets, 6-1, 6-1.
"Kaiser played at an extremely high level today, especially in the last two sets," Coach Wright said. "He's a great competitor, and now that he's in fighting shape, he's going to be a very tough player to beat."
Hale, Ryder, and Birchmeier played solid and competitive matches. All three lost their matches by identical 6-4, 6-4 scores. Wright went against the grain and lost, 7-5, 6-4.
"Morgan was his solid, dependable self," Coach Wright said. "Morgan is always going to be in matches, no matter how outclassed he might be. He just has the perfect tennis demeanor. Just by looking at him between games and points, you can't tell whether he's winning or losing. Occasionally he might smile for a second or two, but then it's back to business. As for Ryder and Wright, the two of them have creative games. Their shot selection ranges from downright flaky to utterly stupendous. But of all the matches today, I was probably the most pleased with Marty Birchmeier. Out of all the returning players, he has matured the most. Today's match was by far the best match of his MMI career. I am very proud of him and the rest of the players, too."
Ben Jandzinski and Shane McDonough rounded out the scoring for MMI with straight-set wins at No. 7 and No. 8 singles.
The men's tennis team will return to action this weekend when it visits Meridian, MS, for two days of play against three nationally-ranked opponents. On Saturday, February 14, MMI will square off at 9:30 a.m. against Seminole State College, the No. 5-ranked NJCAA college in the nation, and then, at 1:30 p.m., MMI will face Itawamaba Community College, the 20th-ranked NJCAA team. On Sunday, February 15, MMI will take on 16th-ranked Meridian Community College. All play will be held at the Northeast Tennis Center.


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beauty / beauty news / Dey Manuel / fashion / makeup / photo shoot / Pink Diva / Tammerly
Pink Diva's Beauty Photo Shoot
If there is one thing that I absolutely LOVE about my job, it has got to be the amazing models and photographers I get to work with as well as the fantastic images we make when we put our ideas together.
After starting off 2010 with a series of fashion shoots with international models, I was on a role and there was no stopping me - except for my wedding plans. Seeing as though I have been busy planning my wedding for the past year, I had to put fashion photo shoots on hold, which left me itching to get back in to it.
I was so keen to get back in to it that I decided to squeeze one shoot in just before our wedding (which is now only three weeks away mind you) and so I contacted a beautiful model from named Cristina from Newcastle, NSW after seeing her casting call last month. I loved her look and could tell right away that she would give me something fresh, fun and fantastic for my portfolio. I was thrilled when she responded and asked me to be her makeup artist on the day and because Cristina has not previously taken part in a creative beauty photo shoot, she was very keen to embrace difference while playing with colour, lashes and accessories.
photographer Dey Manuel who has been a photographer for about 3 or 4 years and presents a fantastic portfolio containing a range of styles and photography types. We met at his studio in Chatswood, Sydney on Sat 5th February and decided to utilise Cristina's luscious long locks for a hair series.
2 comments:
- Makeup and Macaroons said...
Hi Tammerly, thanks for following my blog! I'm also following yours.
The makeup looks absolutely gorgeous, and yes you do have the best job in the world!
And congratulations on your upcoming wedding.
- February 13, 2011 at 9:56 AM
- melmeko said...
Wow darl, these look fantastic, you should be proud. Look forward to seeing some more photos of this shoot, so far the stand-outs for me are the blue lipstick look and the lilac eyeshadow with false lashes. Very nice work, you are very talented and I would love to see some more of your work, or portfolio photos shared on your blog.
Congratulations on your wedding, which must be very close now, hope it is the wedding of your dreams, you deserve it :)
- February 17, 2011 at 6:57 AM
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This is the official, most exciting and best way to celebrate National Tea Day 2017! The National Tea Day Festival is the perfect mix between garden party heaven and tea tasting perfection with snacks and entertainment making it the perfect day out.
Guests will have the chance to try & buy niche tea blends, sample teas from across the globe, join baking masterclasses and even have their photo taken with Queen Victoria, what's not to love?!
The event is held in the splendor of Kensington Roof Gardens in West London where guests can enjoy the feeling of an afternoon garden party in the heart of the Capital.
Doors open at 10:30am and the event closes at 4pm – tickets are only £5 with 100% of the proceeds going to charity!
Everything you need to know about the day is below including the format, details of our partners and the activities you can get involved in…


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How to Avoid 3 Common Home Plumbing Disasters
Every Sacramento homeowner dreads the day when something goes wrong with the plumbing. It can be a costly event and is very inconvenient and uncomfortable. In life there are things that happen and are out of anyone's control, but many of the most common household plumbing problems are easy to foresee.
If you take a few minutes in the Fall months to think ahead, you can save yourself a great deal of expense and trouble in those freezing cold winter months.
Three common home plumbing disasters are: 1) Frozen Pipes, 2) Overflowing Toilet and 3) Leaking Hot Water Heater.
Frozen Pipes
Frozen Pipes happen when water flows through the pipes and then excessive low temperatures freeze it in place.
The frozen water expands and can burst the pipe or the fittings. Pipes that are the most at-risk are located outside or against external walls. Try and keep a steady temperature around these pipes.
During below-zero periods, open up cabinet doors or closet doors to let more heated air get to the pipes. Pipe wrap or even heated tape may be necessary. It can be purchased well in advance and applied before the big freeze sets in.
Overflowing Toilet
An overflowing toilet strikes fear and panic in everyone's heart. It is a helpless feeling to watch water rise up and up and not be able to stop it. Some ways to prevent it from happening are to be careful what is flushed.
Discuss with family members that objects like diapers, paper towels, and sanitary napkins should never be flushed down the toilet. A very common mistake happens also when emptying mop water into the toilet.
Mop water is usually dark and dirty, and many times there is a rag or sponge that was used during the cleaning that gets left in the bucket. It's impossible to see the object in the dark and dirty water, so the bucket can get emptied into the toilet and flushed before noticing. Be sure to check before dumping and flushing.
Hot Water Heater Issues
Hot Water Heater leaks can happen suddenly but typically there are warning signs to look for. Smelly water or water that is not heating up properly can be signs. A noisy hot water heater or any kind of leak, even a small one, are also indicators of trouble ahead.
Taking precautions for these three areas can save you from misery later during the frigid winter months.
Remember to keep up with a regular maintenance schedule. Call VanGo Rooter at (415) 755-7405 to get your Sacramento home inspected.


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Death Penalty Information Center
Equal Justice USA / Quixote Center
Murder Victims' Families for Human Rights
Murder Victims' Families for Reconciliation, Inc
National Coalition to Abolish the Death Penalty
Catholics Against Capital Punishment
The ACLU's Death Penalty Project
Amnesty International's Project to Abolish the Death Penalty
ABA Death Penalty Moratorium Implementation Project
Bloodsworth: The True Story of the First Inmate Exonerated by DNA
Tim Junkin
From Lynch Mobs to the Killing State: Race and the Death Penalty in America
Charles Ogletree and Austin Sarat
Don't Kill In Our Names: Families of Murder Victims Speak Out Against the Death Penalty
Rachel King
Capital Consequences: Families of the Condemned Tell Their Stories
Rachel King
Dead Man Walking: An Eyewitness Account of the Death Penalty in the United States
Sister Helen Prejean
The Death of Innocents: An Eyewitness Account of Wrongful Executions
Sister Helen Prejean
The Death Penalty in America: Current Controversies
Hugo Adam Bedau
The Biblical Truth About America's Death Penalty
Dale Recinella
Kiss of Death: America's Love Affair With the Death Penalty
John Bessler
The Last Face You'll Ever See: The Private Life of the American Death Penalty
Ivan Solotaroff
Beyond Repair?: America's Death Penalty (Constitutional Conflicts)
Stephen Garvey
Legal Lynching: Racism, Injustice, and the Death Penalty
Jesse Jackson and Jesse Jackson Jr.
Machinery of Death: The Reality of America's Death Penalty Regime
David R. Dow
"When Law and Ethics Collide - Why Physicians Participate in Executions"
Atul Gawande, MD, MPH
The New England Journal of Medicine, March 23, 2006
"Preferring White Lives: The Racial Administration of the Death Penalty in Maryland" (PDF)
Michael Millemann and Gary Christopher
University of Maryland Law Journal of Race, Religion, Gender, and Class, 2005
"Should Maryland Carry Out the Premeditated Killing of Vernon Evans?"
Kevin Zeese
www.dissidentvoice.org, February 7, 2006


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Thanks for joining us for our March/April challenge!
We loved every single entry
We loved every single entry
and have a winner to announce!
Please email Mynn at
mhkdesigns.etsyATgmailDOTcom to claim your prize!
Be sure and check back with us tomorrow
for a new challenge!
HUGS and happy crafting to you all!


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Blue Laser
- Brand: Universal
- Power: 60 W
- Work area: 600 mm x 300mm
- Materials: WOOD/MDF/HDF (3-5mm), Acrylic (6mm), cardboard, paper, fabrics, non-PVC acrylics and other organic materials.
- File type: Illustrator (AI), Autocad (DXF), JPG & BMP for rastering
CNC machines
Our CNC machines can cut wood, plastics, foam, or pretty much anything that is not metal. You will have to bring you own cutting tools (end mills).
X-carve (1. generation)
Milling area 80 cm x 80 cm with a Z height of 5 cm
Petra Haase
Milling area 100 cm x 160 cm with a Z height of 12 cm


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@nhaines @cm-t @tcarrondo (pinged because this is relevant to you)
For some years we've been paying for a 'Meetup Pro' which could be used by Ubuntu LoCo Teams. The goal was to assist with LoCo teams who wish to create recurring events on the MeetUp platform by taking on the cost of the subscription.
If each team subscribed to Meetup Pro, that would typically be $9.99 -> $39.99 per month (depending on membership) per team. We're paying >$3000/year for a Pro account.
Currently only Ubuntu California LoCo, Communauté Ubuntu francophone and Comunidade Ubuntu Portugal are using the service. With 5 other LoCo's having used it at least 18 months ago, or more.
The vision when we set this up back in November 2015 was that numerous LoCo teams would create events all around the world to promote and advocate Ubuntu, meet up with friends, have hack-fests and so on. If that had happened, it would have been a cost-effective, way to provide a platform on which Ubuntu enthusiasts could reach a wider audience nearby.
I suspect some people didn't know the Ubuntu Meetup Pro existed, or don't use Meetup, or just don't need it. Either way, I don't anticipate the numbers of Ubuntu Meetup Pro users to jump to the point where it's cost-effective anymore. So I propose Canonical stops paying for this service, as it's not cost-effective.
I appreciate for those that use it, this is an inconvenience. I would recommend looking for an alternative source of income to fund the individual pro account if needed. Perhaps they could use the Community Donations fund. Although we clearly don't want to get into a situation where 20 LoCo teams suddenly all need pro accounts and are costing more than the one central account we had up until now :).
Alternatively, maybe it's worth looking at alternatives such as Get Together by the marvellous Michael Hall. Does anyone have any other suggestions for those migrating from Meetup?
I don't want to be that guy, but I'm going to be that guy. Great idea suggesting Get Together, but perhaps htop eventbrite would be suitable?
I'll throw another option into the mix. Because GetTogether was designed to be federated, and uses a relatively simple REST/JSON API, I could add an export feed to loco.ubuntu.com so that events there would be listed on https://gettogether.community. But this would only sync events, it wouldn't sync the teams or let you use any of the team & organization management features of GetTogether.
This post was flagged by the community and is temporarily hidden.
Eventbrite has the similar network effect that meetup has. Tons of people in known locations with specific interests. So if you create an event their built in marketing can cross-promote your event to people who are likely to be interested.
I wondered why this isn't used by LoCo teams.
So I went looking for my local LoCo team, the answer was clear: The last activity was seven years ago!
Have I looked in the wrong place? Or is this a sign that active LoCo teams are the exception?
You're right, the Ubuntu UK LoCo is somewhat sleepy.
Some teams didn't like the idea of using a closed-source service when there was already an open source option (loco.ubuntu.com)
There are already a couple of Ubuntu LoCo Teams using GetTogether, and I've created an Ubuntu org (similar to a Meetup "pro" account) so we can evaluate those features: https://gettogether.community/org/ubuntu/
Waves from Ubuntu California
As one of the groups that actively uses the Meetup account, a few things:
We only knew about the global Meetup organization run by Canonical because I worked with the LoCo Council on a trial basis for our team. I searched through the loco-contacts archive real quickly and didn't notice a big announcement about it, so I'm not sure many teams know about it.
Use of Meetup was VERY controversial for us at first due to the proprietary nature. We capitulated because the network effect of Meetup has been incredibly beneficial and the LTP would often break (SSO issues that prevented people from using it, non-modern UI, random bugs like the landing page that has ancient aggregated blog posts on it and makes our team look inactive). In the end, we mostly use Meetup now because the network effect means we get new people finding us all the time. We'd likely end up having a discussion about finding a way to continue paying for it.
Final point/question is about LTP. What is the status? It's already confusing, and disruptive, to people that we have both Meetup and LTP. I'm skeptical of moving to GT as yet another thing that will confuse users and will be abandoned in a few years in favor of the latest, greatest new framework project (I love you @mhall119, just jaded and these changes are painful).
I don't think anybody is working on or maintaining the LTP codebase anymore, it's pretty much been running on cruise control for at the last few years since Adnane moved on. It looks like it had a few commits from Walter and Pablo in 2016, but that's the last time it was touched.
GetTogether is at least open source and you can run instances of it independent of my instance on, if that helps alleviate concerns about it being abandoned. You could potentially replace the LTP code with GT code on loco.ubuntu.com, it would give some additional features but you'd lose the Launchpad integration (Ubuntu SSO should be easy enough to add though).
While I love, use, and promote Get Together, and I wouldn't cry for dropping the meetup subscription, but maybe the LoCo's aren't aware of the meetup offering.
As Popey said we in Portugal are using it, but we haven't yet assessed the value it's bringing, or at least I'm personally not aware of it.
Another note:
It would be very cool to see integrations between Get Together.community and the LoCo Directory.
Can we just change the pro subscription for 3 basic accounts?
We are using meetup for less than a year and we have new faces on meetings almost every month…
GetTogether + LoCo?
I think it's a perfect ideia!
@mhall119 The LTP is open source too. The long term consideration is that "it's pretty much been running on cruise control for at the last few years since Adnane moved on" turns into the same statement with "…since Michael moved on." Not saying you will but I'm certain it's something that will come up when we discuss this with the team.
That said, I think retiring LTP in favor of GT should be seriously considered to avoid confusion. Unfortunately I can't be the one to lead evaluation efforts here, as there likely are features in LTP that teams would miss, and content that we may wish to preserve.
Another completely valid point But it also proves that there is some safety net in using an open source solution over a closed one (if LTP was closed, it would have gone away years ago). There isn't really a good solution to this problem, either Ubuntu pays for something (Meetup), uses a 3rd party open source project (GetTogether) or builds and maintains their own (LTP), none of which can be guaranteed to still be around long-term.
At this point upgrading LTP to use a recent version of Python and Django will be a major task, so absent an active and motivated maintainer it will either stay how it is (cruise control), or need to be replaced. In my (admittedly quite biased) opinion, there would be less work in making GT work for the needs of Ubuntu LoCo Teams than in upgrading LTP's codebase.
Meetings are the biggest LTP feature that isn't in GT. I don't know how much that was ever used, and it looks like only the Arizona team has been using it recently.
In fact, it doesn't seem many teams have been using LTP at all recently, and I don't know if this is because of a general lack of LoCo team activity, or if they've just moved away from using LTP to track it.
While this isn't something that would get built into GT as a feature, I could do a one-off import of historic event data from LTP into GT (or help Canonical sysadmins do it if Ubuntu chooses to self-host an instance).
I will add one thing, LTP was strictly made for the Ubuntu community, while GetTogether can be used by other open source projects as well. I'm promoting it to others, such as GNOME, and hopefully that will result in a broader community of developers and maintainers, which would make "Michael moved on" a less concerning event.


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The scenario: The public relations firm you hired has just rolled out a brilliant campaign featuring your team of specialized care physicians. It's the perfect pitch: accessible information focusing on the kind of medicine that sets your practice above the … Read More
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League photographer David Morris took some amazing pictures of the Boston B Party and Montréal Sexpos at Saturday's bout!
Posts tagged: jackie ko
Sept 13, 2014: Horrors vs Nuts, Cosmos vs Pissahs
Posted September 16, 2014 by Boston Roller Derby
What a double header! On September 13th Horrors took on the Nutcrackers, and the Cosmonaughties went up against the Wicked Pissahs. The Horrors and the Cosmos went home victorious.
Posted in Bout Recap, News | Tags: America Ferocious, arkham horrors, Artoo, Bad Ass Mama, blockers, boston, boston derby dames, bout, Bout Recap, Captain Hook, Celia Casket, cosmonaughties, defense, Dirty Water, dottie danger, Elle Elle Cool Jam, emnasty, estrogeena davis, evabyn slapt, exciting, Fierce, Flyin King, fun, Fuzzta Rhymes, Gun Show, haddie collider, hailey contagious, Hard Core, Hardcore, hex o skeleton, hits, jackie ko, jammers, KC Wastem, Koopa Troopa, Lionheart, mandoline slicer, maully o'ffender, Maya Mangleyou, MC SlamHer, neurotic tendency, nutcrackers, offense, Phearsome, planitz collide, Rainbow Crash, reckless rehab, rock, roller derby, senora slaughter, september bout, Shayna Nestor, She-Bear, slim hurt'n, Smack, Smackarena, space invader, stevie nixher, Tiger Eye, Trauma, truant, walls, wicked pissahs, womanimal
August 11: Arkham Horrors vs. Cosmonaughties
Posted August 14, 2014 by Boston Roller Derby
On August 2nd the Cosmonaughties faced the Arkham Horrors to settle the score from last year's Championship bout.
Posted in Bout Recap, News | Tags: America Ferocious, arkham horrors, Bad Ass Mama, badonkey kong, boston, boston derby dames, Bout Recap, Captain Hook, cosmonaughties, Della Kinetic, Dirty Water, Elle Elle Cool Jam, flat track roller derby, Flyin King, Frenchie Von Knuckles, Fuzzta Rhymes, Hard Core, Hayley Contagious, Home Team, jackie ko, KC Wastem, MC SlamHer, Nora Morse, Phearsome, Rainbow Crash, roller derby, Shayna Nestor, space invader, Summer, Tiny Dancer, Trauma
B Party vs Sexpos Photos
Posted March 18, 2013 by Boston Roller Derby
Posted in Media, Photos | Tags: artoo detoonate, belle air bomber, boston b party, boston derby dames, code v, crown joules, demanda lashing, dottie danger, elle l cool jam, estrogeena davis, falcon punch, Flyin King, jackie ko, lil buckaroo, Montreal Roller Derby, neurotic tendency, ohi0, photography, roller derby, rous, sexpos, Speed metal, sports


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Humana is a Medicare contractor, AARP is not
A controversial mailing from Humana to Medicare recipients has Republicans charging unfair treatment in the way the government handled private insurance companies versus the AARP.
The House Republican Conference said the government is silencing Humana about reforms that would change Medicare Advantage, while the AARP — a notable reform supporter — gets off scott-free.
"This week the Centers for Medicare and Medicaid Services announced it was investigating Humana for providing 'misleading' information regarding the administration's proposed cuts to Medicare Advantage policies — and prohibited other Medicare Advantage plans from providing similar information on how Democrat health 'reform' could take away their current coverage," the release said.
"Yet the administration's edict prohibiting plans from communicating with their beneficiaries failed to include AARP, which sponsors a Medicare Advantage plan but has been a prime advocate of Democrats' government takeover of health care — quite possibly because AARP has been supporting a health care overhaul from which it stands to gain overall handsomely," the statement said.
We wanted to investigate whether there were two different standards at work. We found that AARP and Humana actually have very different roles with Medicare plans. AARP makes money by licensing its name to a private insurer that offers a Medicare Advantage plan. Humana is a different private insurer that takes money from the government to provide an Advantage plan.
Humana contracts with the Centers for Medicare and Medicaid Services in a program called Medicare Advantage. Often called Medicare's HMOs, Advantage is an optional program in which the federal government pays private insurance companies a set rate to treat Medicare beneficiaries. The program was conceived as a cost-containment measure on the theory that competition among private plans would drive down costs. That has not happened, and Medicare Advantage actually costs the government more. President Barack Obama and groups like AARP have said it's time to bring the costs of Medicare Advantage in line with the cost of regular Medicare.
Humana is the second-largest insurance company that handles Medicare Advantage, right after UnitedHealth Group.
The Centers for Medicare and Medicaid Services, the federal agency that runs Medicare and is often referred to as CMS, recently announced it was looking into mailings that Humana sent to its Medicare Advantage and Part D patients. (Part D is Medicare coverage for prescription drugs.)
"We are concerned that the materials Humana sent to our beneficiaries may violate Medicare rules by appearing to contain Medicare Advantage and prescription drug benefit information, which must be submitted to CMS for review," said Jonathan Blum, acting director of CMS's Center for Drug and Health Plan Choices. "We also are asking that no other plan sponsors are mailing similar materials while we investigate whether a potential violation has occurred."
According to the CMS, Humana's mailing warned beneficiaries that they might lose benefits under health care reform, a claim that Democratic officials dispute. The Huffington Post said it has obtained a copy of the mailer and posted it to its Web site.
The impact of health care reform on Medicare recipients has been a matter of considerable debate. We examined a claim by President Barack Obama that Medicare benefits would not be cut and found it to be Half True. Experts told us basic benefits would stay in place but that it's conceivable or even likely that Medicare Advantage patients could see reduced benefits.
In a letter to Humana, a CMS official said that Humana's communication could be considered "misleading and confusing to beneficiaries" and might be construed as official Medicare communications.
The House Republican Conference said CMS did not target the seniors' group "quite possibly because AARP has been supporting a health care overhaul ..."
Our research shows, however, that AARP has a very different relationship with its members than Humana does with seniors on Medicare Advantage.
Here's how it works: AARP lends its name to insurance companies to sell policies specifically for AARP members. The insurance companies then pay AARP a fee for the policies they sell with the AARP name. AARP calls these payments royalties. (Read our story for more details on AARP's royalties .)
AARP does profit indirectly from selling Medicare Advantage and Medicare supplemental policies, and it uses that money to fund its efforts as a nonprofit advocacy group.
AARP partners with UnitedHealth on its Medicare plans. UnitedHealth is the No. 1 seller of Medicare Advantage, with 16 percent of the market, followed closely by Humana with 14 percent of the market, according to Mark Farrah Associates.
So when AARP mails seniors, it's using its own private membership list for communication.
Humana, on the other hand, is mailing people using personal information it receives as a government contractor. UnitedHealth would be bound by similar rules.
We find that the House Republican Conference is off base when it claims that the CMS and the Obama administration have two different standards for AARP and Humana. Humana is a government contractor for Medicare Advantage; the AARP is not. We rate the statement False.


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The new episode is here! Here is what I feel about this 'light' episode.
Nindiya ke paar – Uzair Jaswal starts this song in a light fashion with a lot of 'first love pangs' in his voice. The minimalist music arrangement compliments the soft style of singing and before you know Uzair weaves the timeless 'Tere bin nai lagda dil mera sonia' in between and takes the song to it's peak, not before coming back to the 'Nindiya ke paar' melodiously. Yet again Zoe and Rachel compliment the song wonderfully well. The song is consistently 'mellow' and is very easy on the ears. Instantly liked it.
Aaj Rung hai – Hadiqa Kiani – To me, the song didn't start on a very confident note. May be you will differ. The music setting (in the beginning) is exactly like her Kamlee song from episode 1, but the similarity ends here. The age old kalaam by Amir khusro ' Aaj Rang hai' has been treated quite differently by Rohail in this because the layers aren't many and it's a fairly light on the senses. If you are one of those who like very aggressive rendition of this kalaam you might not like it. Still the 'echo management' in the song is just splendid. The song raises the tempo in the last 3 odd minutes with Hadiqa looking very comfortable coupled with an extremely different (And fast paced) music setting. The back up singers- Zoe and Rachel get into the act quite well. Very good effort. May be I won't play this on and on, but is worth a 'listen' for it's sheer innovative treatment to this timeless Qawwali.
Neray Aah – Rachel Viccaji & Farhad Humayun – The brilliant starting of this song will instantly arrest you. Farhad leaves the drums and gets behind the microphone with the very lovely Rachel Viccaji to sing what' the first 'filmi' song on CokeStudio. You can find the filmi version of this song here. Farhad has sung this earlier as well and you can find his version here. This version is all about raw energy in the studio. Rachel raises the bar high for Farhad to match up which he effortlessly does, giving us an extraordinary song in the process. Brass band, Electric Guitar and Dhols also feature in the song by the way. The song is sung (and arranged) with so much 'finality' that you feel surprised on the way one sung can be interpreted. Excellent Rohail Hyatt written all over the song!
This song should be a 'go to' guide for the lesser mortals on how to do a 'filmi' song if you want to.
School di Kitaab – Hello Bohemia! Rap remains more or less the same. The lyrics, very suggestive. It's about Bohemia telling how he has created an industry and how crazy his fans are. Hmmmm. They remember his songs like the way they read books in the school. While in the 'song review' section of cokestudio.com.pk they mention that Bohemia wanted kids to go back to books and not just learn his songs. Frankly I liked the song but this message was absent for me in the song. Not a great song, but I liked it!
Taaray – Bilal on his guitar starts the song and you can instantly find out that it's a positive and confident song. Excellent guitar play and vocally backed as usual Zoe and Rachel, this song just completes the overall light feel of this episode. Motivational lyrics and simple composition will ensure this hits the right chords with those who prefer to keep it light and listen to simple songs.
Rohail Hyatt continues to innovate and the songs of this episode seem to be carefully picked to keep the 'light' feel in the mind. The expectations from Coke Studio Pakistan continue to rise and rise and rise! Since I prefer the songs that touch my soul and not 'light' songs I wanted more from this episode.
My picks – Neeray aah, Nindiya ke paar and Aaj Rung hai
Do visit – http://www.cokestudio.com.pk for more information, videos and to just check out the awesomeness of Coke Studio, the way it is meant to be!


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mom 30seconds.com/mom
10 Ways to Take Care of Yourself on Mother's Day (and Every Day!) by Marci Fair
5 years ago
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We're so busy taking care of everyone else that we forget to take care of ourselves. Whether it's Mother's Day, or any other day, we need to focus on our physical and mental health. Our lives are busy, so keep it simple – and just do it!
- Take your vitamins.
- Drink more water.
- Read quotes or books that inspire you.
- Hug your kids.
- Get some fresh air.
- Watch a sunset.
- Encourage a friend.
- Enjoy a latte.
- Take a bath.
- Do something that only you love.
When you take care of yourself, you can better take care of everyone else. You deserve it; you're a very important person!


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The China-based Internet content company said it was responding to a report in the South China Morning Post which asserted that the company was talking to bankers about potentially going private and delisting from Nasdaq.
An excerpt from the story:
Four financial industry sources told the South China Morning Post yesterday that Sohu had recently talked to several banks, including Credit Suisse, to advise the Beijing-based company on a possible privatisation plan.
Credit Suisse was also helping Sohu to seek new investors, most likely private equity firms, to finance the plan, said the sources, who declined to be identified as the talks were confidential.
"No such discussions are in progress or currently contemplated," Sohu CFO Carol Yu said in a statement.
Sohu this morning is down $3.95, or 8.1%, to $44.89.


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Royal Shakespeare Theatre, December 22nd, 2016
Well this was something special, but perhaps not for the reason the RSC were expecting. The production had been much trumpeted for the digital technology that allowed ariel to transform into various different creatures and be projected over various parts of the set. that element, I'm afraid, was distinctly clunky, with jerky real time animation, not very clear images, and necessitating the endless lowering raising of various screens on which to project the images. Well, with the actors and especially ariel doing a more balletic and physical performance on the stage, these images were rather redundant. And for all these projections, the projections still felt very heavy. there was now flying as such.
But it was a special production in many other ways. The light was spectacular, transforming the carcass of a vast ship into woods and trees, flowers, clouds and even lava at one point, and the masque did make good use of singing and projections. But what made the production was the clarity of the storytelling. Simon Russell Beale as Propsero did his last two monologues in a simple white clean light, with no tricks, and my heart was in my mouth, truly realising what great writing this is, and how sad. A beautiful moment was Prospero releasing Ariel, and Ariel hesitating, looking back, almost asking what he should do now. There's was a complex but touching relationship. Likewise with Caliban.
So full marks for the production, but a big 'meh' for the technology. I enjoyed the final few moments so much that I will try to see the production when screened next month. How will the images come across then I don't know.


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Change equals growth.
That's right…how many times do we or perhaps not you someone you know cringe at the thought of change?
The workplace is a great environment to witness this phenomenon.
In fact the very thought of change can cause rebellion in some people to the extreme of mutiny, which, I am sure some of you can equate to in your personal lives as well.
This behaviour isn't restricted to adults. We see it in our precious little ones as well.
BUT, what if we were to look at change like this:
- just may be change is the perfect opportunity to grow
- for reflection
- just may be change is the catalyst for our own expansion
What if that expansion means our personal growth AS WELL AS our material world? So internally and externally?
Think about it for a minute…close your eyes and just consider, perhaps you may even say to yourself , NOW…that with every experience I grow and expand…..
How empowering!
NOW let us also consider that just perhaps, and may be not now, but at some time, TRUST change will, has and is RIGHT NOW bringing great improvements into your life.
And may I suggest that now knowing and trusting change is bringing improvements would it not be fair to expect the best in life now?
And wouldn't NOW be a good time to raise your standards? Wouldn't now be a good time to decide that anything less than settling for your dreams wouldn't be trusting now would it? and
Anything less than settling for your dreams wouldn't be honouring your body and soul.
I'd like you to sit in silence, quiet your mind, give permission to yourself to be silent within and without. NOW find a time, in your mind's eye, when you felt gratitude and perhaps you had faith, that's right, catalogued in your unconscious mind, your memory, is a time, and another time, and yet a third time when you felt absolutely grateful and knew within every cell of your body if you are completely truthful with yourself, that's right, you know the times when looking back there was no way the results from the change did not bring to you the very outcome that served a higher purpose.
So NOW get in touch with those times, those events and feel the emotions of faith and gratitude because emotion converts your dreams, your desires to reality. That's right…
You create your reality!
Every day
Every moment
So go ahead now and set the intention, make the spiritual commitment if you choose, to expect the best for yourself because change equals growth equals expansion equals personal power.
Feel yourself grow with every experience and look for the reason for the experience. The positive reasons.
With that said realising now that you create your reality it is time to take responsibility with the intention of only positive outcomes.
"You are given the gifts of the Gods; you create your reality according to your beliefs. Yours is the creative energy that makes your world. There are no limitations to the self except those you believe in." Jane Roberts – The Nature of Personal Reality
Love and Blesses
Your E-Coach Dianne
Change Equals Growth


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When organizers say that Pacific Standard Time, which focuses on four or so decades of LA art, is "the largest cultural collaboration ever undertaken in the region" they are in no way stretching things.
Perhaps that sentence doesn't even go far enough. The mega, multi-museum, multi-month show has been years in the making. And the participating institutions? There are over 60 of them around the Southern California area. Imagine trying to wrangle 60 people on one project. Not easy. Now imagine coordinating 60 museums and galleries, venues that have various goals and projects and budgets and space availabilities. Yeah. It's all so ambitious.
But "ambitious," which can be a loaded word, doesn't equate "unreachable" in this instance. Quite the opposite, in fact, for the planning and the scheduling have all dovetailed nicely. Meaning Pacific Standard Time is set to open on Saturday, Oct. 1. And 25 of the participating museums will host a free day on Sunday, Oct. 2, to stir up the opening weekend love.
The Getty Foundation and the Getty Research Institute got this very big ball rolling nearly a decade ago, in 2002. "Never before have so many arts institutions worked in concert to present such a large and varied body of work to the public," stated James Cuno, President & CEO of the J. Paul Getty Trust.
We're already looking ahead to January, when several days of public performances and artist appearances take place in association with Pacific Standard Time. Some 1,300 artists will be represented or see their work exhibited or displayed during the six-month period.
If you're feeling pre-overwhelmed, don't be. One, Pacific Standard Time will be around for a good half year. And two, the web site was created not merely to impart hours and prices and the basics but to help people create plans and itineraries around the exhibits. It's extremely well done and a snap to use.
Find out who'll be free on Oct. 2, and how you can make the most of this local love-on-art-a-thon.
Pictured: "Spatial Occurrence" (detail), The Levitation of a Human Being, 1971, Tony deLap, Laguna Art Museum


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Clyfford Still Newly Revealed
Clyfford Still has not been easy to "get." The notoriously controlling artist limited the presentation of his work, famously turning down not only sales, but also gallery representation for an extended period (1951 to 1969), and even an offer to exhibit at the Venice Biennale in 1957. To be sure, there were major gifts of his work to the Albright-Knox Gallery in Buffalo (31 paintings in 1964) and the San Francisco Museum of Modern Art (28 paintings in 1975). But for some years after the artist's death in 1980, at a time when the estates of Pollock, Rothko, Gottlieb and Motherwell were vigorously promoting those artists, Still's widow rejected all requests for loans of paintings to exhibitions and reproduction rights, even to scholars. Although there are also significant holdings of Still's work in New York and Washington, D.C., as recently as the year 2000 John Golding called Still "the great unseen."[i] David Anfam argues that Still was then "in near total eclipse.'[ii]
In addition to the difficulty in actually seeing Still's art, the paintings can be slow to reveal their quality. Living in Toronto in the 1960s – 90 minutes away from Buffalo – I long remained unmoved by his work in the Albright-Knox. But in later years I was frequently surprised by the high quality of a Still painting here and there: in Basel, Berkeley, and Chicago. In my experience it is a mark of excellence when an artist is not easy to appreciate at first.
Moreover, the reception of the artist has sometimes been negative enough to vitiate his reputation. In 1971 Walter Darby Bannard wrote in Artforum, arguably the leading art magazine in the English-speaking world at the time, that Still "unlike Pollock and Newman… has not succeeded in very large scale." Bannard had a particular distaste for those works in which Still "pulls the shapes apart, lets them lie on top of a field and keeps plenty of air between them." In Bannard's view, there was a "failure of Still's art since the middle '50s," and the cause was the "dispersal" of Still's forms and the incompatibility of Still's small, "random, rough-edged, uneven touch" with working on a large scale.[iii] In 1980 Clement Greenberg, who had previously acknowledged Still as "one of the most important and original painters of our time,"[iv] excoriated Still's exhibition at the Metropolitan Museum in New York. In a remarkably personal diatribe he proclaimed that Still was "arty from the first;" only about four or five of the 79 paintings achieved "success;" the colour from the 1950s on was "declamatory," and the wider paintings were frequently in need of cropping.[v]
The counter to these arguments, based as they were on purely visual close criticism and a commitment to quite different, more apollonian painting by artists like Morris Louis, Kenneth Noland and Jules Olitski, would have been a trenchant analysis of the genesis of Still's art in the struggles of his life, especially the difficulties of his youth on what Still described as "the burned and wind-swept plains" of his "lostland" in depression-era Alberta and eastern Washington state.[vi] That analysis was not forthcoming.
But now Still is in the news and being revealed as never before. In November of 2011 a 1949 painting by Still sold for a lofty 61.7 million dollars at Sotheby's in New York City, and in the same month the Clyfford Still Museum, designed by Brad Cloepfil of Allied Works Architecture, opened in Denver. The Museum is devoted solely to Still, with about 2,400 works willed to it by the artist's widow and his estate, along with a considerable array of archival materials. Many of these paintings had been rolled up for decades in the Stills' house in New Windsor, Maryland. Then in October of 2012, a new book[vii] on Still was released with thoroughly researched texts by the Director of the Clyfford Still Museum, Dean Sobel, and its adjunct curator, David Anfam, who discuss numerous works never seen publicly before. It's a revelation, exposing two quite different artists from the signature Still: a tortured realist of sorts in the 1930s and a surprisingly joyous, and even ecstatic, painter in the 1970s, with much of the "lightness" that Bannard and Greenberg had previously found lacking in his work.
The Museum, together with Anfam's research, raise a number of questions, not all of which can be answered now. Tellingly, Anfam often puts forward tentative speculation, such as, "Cezanne and/or Munch may also be relevant" to the gutted steers in Still's paintings of 1934 and 1935.[viii] A rich trove awaits scholars as the wealth of archival material in the Museum is being catalogued.
One such question is the relation of Still to his art-historical sources. Still was notorious for denying influences and once improbably asserted, "My work is not influenced by anybody."[ix] Anfam aptly describes such assertions as Still's "imaginative parthenogenesis." He finds the influence of Rembrandt – whom the artist "esteemed above all"[x] – in Still's early self-portraits and an admiration for Turner in Still's landscapes of the late 1920s. He notes that Still did a Master's thesis on Cezanne in 1935, but attaches more importance to Van Gogh. Both the Dutch artist and Still signed their work without the patronym: Vincent, Clyfford. In their early careers both painted "the wretched of the earth."[xi] A comprehensive exhibition of Van Gogh at the neighbouring Denver Art Museum[xii] has been thoughtfully exploited to support Anfam's contention. But the newly revealed figurative Still of the mid-1930s relates only tangentially to any of these putative influences, and while Still's motifs of workers in the field are sometimes similar to Van Gogh's, he clearly lacks the vigorous handling and buttery surfaces of Van Gogh.
As for the mature Still, a case can be made, as Sobel does, that the innovative, nine-foot-high PH-235 (1944) is the first quintessential Abstract Expressionist painting [see above]. That remarkable work has the large scale, the disdain for mere facility, the resolute rejection of not only representation but also figuration, and an aloof independence from both Cubism and – except perhaps for Miro – Surrealism. It is this kind of advanced work that earned the respect of Still's fellow Abstract Expressionist painters. Pollock once exclaimed, "Still makes the rest of us look academic."[xiii] Pollock's remark is telling. There is no parallel in Still for the "all-together," synthesizing quality of signature Pollock. While the apogee of Pollock's career in 1947 to 1950 is a truly great accomplishment, William Rubin has rightly found a considerable array of art-historical sources manifestly brought together in it: late Monet, analytical Cubism, Mexican muralism, Surrealism, and so on.[xiv] Still's resolute independence and insistent Americanism is of another order entirely.
A second question would be, When is Still at his best? I'm tempted to leave aside the early and mid-1930s work as depressive juvenilia, which Anfam describes as "pastorals from hell" and "tortured phantasmagorias,"[xv] although they could perhaps be defended to some degree as Still's determined effort to escape his facility in drawing, as evidenced by PH-672 (1923), a self-portrait done at age 18.
Some excellent transitional paintings of 1936 and 1937 transcend the misery of the earlier work. PH-342 (1937) has not yet fully moved beyond figuration and seems to owe something to both Surrealism and Kandinsky, but it is almost lyrical in comparison with what had come immediately before. It is a telling link in the development of Still's art to his mature, fully non-objective, signature work.
Bannard argued that "Still's paintings are best when they are overwhelmed by colored paint, when they are flooded and stuffed." If Bannard was pointing to those works in which one field of colour pushes urgently against another, envelops it perhaps, producing an almost claustrophobic sense of pressure and confinement, then I would agree. Certainly some of Still's greatest works are of this type, although there were surprisingly few such paintings in Still's exhibition at the Metropolitan Museum. Prime examples include PH-11 (1954) and PH-173 (1955, also known as 1955-K ).
Some of the greatest Stills are of a second type, in which vast monochromatic fields are punctuated by one or two thin, vertical lines. Still had an extraordinary gift for monochrome, and those vertical filaments, which he called his "lifelines" had, as I will argue, a special significance for him. The most famous of these is the great, nine-by-thirteen-foot PH-246 (1951-52, Art Institute of Chicago), which Still called the "black monster." It was a key work in the 15 Americans exhibition of 1952 at the Museum of Modern Art in New York, and one that I think of as a truly great masterpiece. The Clyfford Still Museum owns a variant of it, not quite as good as the "black monster," but impressive in its own right: PH-1078 (1951) [illustrated at the top of page].
And yet, there remains a third mode of highly successful paintings, those same more open works with "shapes pulled apart" that Bannard rejected. To be sure, there are many such works that fail, but I believe there are also a number of great ones. Still left expanses of raw canvas in his paintings as early as 1947, e.g., PH-118, and he clearly moved back and forth between two poles of his art: a dense, almost claustrophobic, closed-in pole and the looser, more lyrical and more open work like PH-118. I particularly admire some works of this third type, such as PH-73 (1949, private collection, also known a 1949-F).
Nonetheless, I am not arguing that Still's best work necessarily fits into one of these three categories. A particularly powerful work in the Clyfford Still Museum, PH-191 (1951), like so many other excellent paintings, doesn't fit easily into any of them.
One might wonder if the late, more lyrical works, such as PH-1082 (1978) achieve the same heights as Still's best work of the late 1940s and early 1950s. Perhaps most do not, but many major artists' greatest work is concentrated in a peak period. Picasso was probably at his best before World War I, when he was working closely with Georges Braque, but one need not – Clement Greenberg notwithstanding – dismiss the bulk of his work after that. While I concede to Bannard that Still was probably at his very best in the late 1940s and early 1950s, I agree also with Anfam that in the late Stills there can be a suggestion of "air in motion, breath, wind" and colour can "float aloft, etched and ecstatic.[xvi]
A third question – perhaps the most resistant to resolution and yet the most important one – is, What are the sources for Still's creativity and how do they affect the emotional valence, and – ultimately – the aesthetic quality of the work?
One of the most ambitious accounts of the emotional valence of the work is that of Robert Rosenblum. In "The Abstract Sublime"[xvii] he analyzed the impact of Still in terms of an awesome confrontation with great "boundlessness" that linked him to both Turner and his contemporaries Newman, Pollock and Rothko; together with Still they were cited as the four "masters of the abstract sublime." But Rosenblum did not enquire why Still produced the work he did, what adversity he might have triumphed over in his art.
Anfam's answer to that question focuses on the hardships of Still's early life on his father's farms. He adduces numerous instances of Still's youthful travails in his "lostland," e.g., the death of the artist's baby sister at the age of merely four days, Still's shocking wheat until his arms were "bloody to the elbow," the "constant killing" of chickens and various farm animals.[xviii] Anfam finds "the ubiquitous verticality' in Still's art embodies "the aspirant life force necessary to defy the horizontal, voided prairies."[xix] This argument has some merit but would be more persuasive if those lifelines were not so often tenuous and if the reasoning were less a-theoretical.
Strangely enough, Anfam does not consider one key biographical fact. The Clyfford Still Museum website observes that apparently Still's "father once… tied a rope around Clyfford's ankles and lowered him headfirst into a newly built well to assess its status."[xx] Still referred to that rope as his lifeline. Still also told San Francisco Museum of Modern Art director Henry Hopkins that his father would occasionally "drop him down a well as a sort of punishment."[xxi] In my view Still's experiences with his father's well, as dark and frightening as they must have been, are a valuable clue for understanding the impetus behind Still's art. The classical theoretical text is by British aesthetician Edward Bullough,[xxii] who argued that the making of art always involved a cathartic "detachment" from intensely personal.
experience. Similar ideas can be found in Georg Wilhelm Friedrich Hegel, Walter Pater, Benedetto Croce, and others. We should not be surprised then, that many of the best Stills can feel closed in, have dark and earthen tones, and are marked by that ubiquitous "lifeline," and yet suggest a transcending power and vitality that is lacking in the clearly under-distanced, near-despairing work of the mid-1930s, such as PH-414 (1934-5).
So what, then, is the status of Clyfford Still? Dean Sobel places him at the forefront of Abstract Expressionism. The distinguished Canadian painter Otto Rogers prefers him to Rothko,[xxiii] and I much prefer Still to de Kooning. Now art lovers around the world are in a much better position to decide for themselves.
[i] John Golding, Paths to the Absolute. Mondrian, Malevich, Kandinsky, Pollock, Newman and Still (London: Thames & Hudson, 2000), p. 232.
[ii] David Anfam, "Still's Journey" in Dean Sobel and David Anfam, Clyfford Still, The Artist's Museun (New York: Skira Rizzoli, 2012), p. 59.
[iii] Walter Darby Bannard, "Touch and Scale: Cubism, Pollock, Newman and Still," Artforum, 10 (June, 1971), pp. 58ff.
[iv] Clement Greenberg, "American-Type Painting," Partisan Review, XXII:2 (Spring 1955); reprinted with revisions in Art and Culture (Boston: Beacon, 1961), pp. 208-229. There have been other such disparagements of Still, e.g., Kenneth Baker questioned whether the San Francisco Museum of Modern Art should have accepted Still's donation of paintings in Datebook (San Francisco Chronicle), April 25, 1993, p. 39
[v] Clement Greenberg, "Clyfford Still," Arts Magazine, 55 (Oct., 1980), pp. 114ff. In fairness to Greenberg it must be noted that Sobel thinks of Still as the de facto curator of the exhibition after the death of Thomas B. Hess in 1978, and only one of 79 paintings listed in the catalogue is indicated as coming from a private or public collection. A much stronger exhibition could surely have been mounted.
[vi] David Anfam, op. cit., p. 70. Anfam is quoting from letters by Still to Betty Freeman and Barnett Newman of 1961 and 1946, respectively.
[vii] Anfam, op. cit.
[viii] Anfam, op. cit., p. 106 (emphasis added).
[ix] As quoted by Nancy Marmer in "Clyfford Still: The Extremist Factor," Art in America, 68 (April, 1980), p. 105.
[x] Anfam, op. cit., p. 63. Anfam is quoting from a Betty Freeman typescript in the Smithsonian institution.
[xi] Anfam quotes Van Gogh as recorded in Judy Sund, Van Gogh (London: Phaidon Press, 2002), p. 98.
[xii] Becoming Van Gogh included 70 works by that artist and was on from Oct. 21, 2012, to Jan. 20, 2013.
[xiii] Dean Sobel, "Why a Clyfford Still Museum?" in Sobel and Anfam, op. cit., p. 24 (as cited by Sam Hunter from a conversation with Pollock in 1955).
[xiv] William Rubin, "Jackson Pollock and the Modern Tradition," I, III, Artforum, 5: 6,8 (Feb., Apr., 1967). The term "all-together painting," not used by Rubin, owes to Michael Fried.
[xv] Anfam, op. cit., pp. 70 and 83.
[xvi] Anfam, op. cit., p. 99.
[xvii] Robert Rosenblum, "The Abstract Sublime," ARTnews, 59:10 (Feb., 1961).
[xviii] Anfam, op. cit., pp. 72, 74 and 79.
[xix] Anfam, op. cit., p. 74.
[xx] www.clyffordstillmuseum.org/blog/tags/clyfford-still
[xxi] As reported by Tyler Green, "Clyfford Still part two: The birth of abex?", http://blogs.artinfo.com/modernartnotes/category/clyfford-still/ (Oct. 12, 2011).
[xxii] Edward Bullough, "'Psychical Distance' as a Factor in Art and as an Aesthetic Principle," British Journal of Psychology, V (1912), pp. 87-117.
[xxiii] In conversation, May 29, 2013.
Hi Ken. Enjoyed stumbling upon and reading this article. I took your Abstract Expressionism class at York U, and it remains one of my fave to this day. Just recently got into Clyfford Still's work, and I am struck by his palette, as it is something I have pondered over for my own art work. You make mention of his referencing Native American art – I would hazard a guess that his palette, consisting largely of red/black/white/yellow, is a tip of the hat to the Native American archetypal colors used in their mythology, representing the four directions: north, east, south, west.
Dedicated readers might be interested in a recent Still reaction located in my Letter from New York, one of the earliest articles posted on this site last year, a review of the big survey of Abstract Expressionist holdings at the Museum of Modern Art , October 2011.
Thanks Darby,You know I have great respect for you and Clem.The problem with living in England is that we have to rely on memory of work seen.Ive only seen Still,s work in the Met.Like a few of the unfurleds by Morris Louis,which have a similar expansiveness,my memory of Still is of uncompromising greatness.I cant think we will be disappointed in Denver.See you there!
Great article …Still is a frustrating artist.One day I love everything… at say the Met in NY then Ill be up there and can hardly look at the stuff,but I love the work from the 40s-50s with the heavy surface.One day I ran into Clem at Marlborough gallery when they were in the Fuller building we both agreed that the work wasnt that great .Clem ask me why? I said "He just didnt work on them long enough" Clem said no no but I forget what Clems reason was…
It is rare and refreshing to come across such a thoughtful and perceptive account of a great artist with good, instructive illustrations right in the text.
I want to assure Patrick Jones that my disappointment with Still's later, more open work in no way diminishes my admiration for the best stuff, which influenced me no end. It is so powerful."Hard to get",indeed!- I am still working on it.
I remain dubious of Still. I find him heavy handed and too much on the surface of his paintings; even the white paintings or the paintings left with unpainted areas.
Good article–thanks!–even if I don't always agree with it, e.g. the well incident–a rumour–has been disputed.
A terrific article about a great artist,thank you Ken.I was a close friend of Ed Dugmore,a student of Stills and a good painter.He had a sincerity of thought and deed that was palpable and I suspect learnt from the master.I cant wait to make the journey to the museum,Bannard and Greenberg aside.This ,like Pollock,is the real thing


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A Tyrannosaurus menacingly chases after Ronald McDonald, clenching a McDonald's logo in its jaws. A flying reptile swoops just above the ground as another creature extends its head out of the water, showing its sharp teeth.
The scene unfolds on the flooded grounds of the Wading River McDonald's.
Just another day at Lake McDonald's. READ