text:
This is our story and this is our country
This is no ordinary place. This is my country. They [the people] are really from the country. They didn't make it, but came from it. Our ancestors — big people, strong people – stuck to it … and then we grew up, and this is our story, and this is our country. (Malangi 1983)1
David Malangi's world is indeed an extraordinary place – physically, spiritually and psychologically. To become familiar with its many facets, environments and ancestral connections is to come to know his art and to share his vision.
I first met Malangi in 1993. I had moved to Ramingining to be the Arts Administrator at Bula'bula Arts. During those early months I was gradually gaining familiarity with the various clan groups in the area, their associated ancestral narratives or Dreamings and particular clan-based imagery, the key artists and their individual styles. Among the painters working with the arts centre at that time Malangi's style was like no other. The wide white line, the dense matt black, the distinctive rich red and chocolate brown pigment,2 the generous rärrk3 (cross-hatching) and the bold graphic depictions of iconic ancestral beings all made up the singular and unmistakable style of David Malangi, the bark painter.
My accumulating familiarity with the person, the clan and the sites enabled me to see beyond the figurative depictions of creatures to recognise the work of a master draftsman, a painter who had an expert command of composition and an absolutely distinctive visual language. I also came to know a man of engaging personality and great generosity of spirit.
David Malangi Daymirriŋu4 (1927–1999), one of the renowned painters of Arnhem Land, was a member of the Manharrŋu5 clan of the Dhuwa moiety. As is customary in Yolŋu social laws of the Arnhem Land region, and indeed in many parts of Indigenous Australia, Malangi had inherited rights and responsibilities to particular tracts of land, ancestral sites within them and ceremonies related to them. For the purposes of overview I have grouped these areas into three distinct sections.
Throughout his career Malangi painted aspects of the areas of land which were his responsibility, with periods of emphasis – bodies of work – devoted to one area or another. The key countries and themes depicted in his paintings include the patrilineally inherited Dhuwa moiety lands of Mulaŋa and Ŋurrunyuwa on the eastern bank of the Glyde River on the Arafura Sea; Dhämala and Dhäbila on the western side of the river; and the Yirritja moiety lands of his mother around Yathalamarra billabong further west and about 20km inland from the Arafura coast. These three areas in central Arnhem Landare near the mainland town of Ramingining and the island of Milingimbi just off shore, about 500km east of Darwin.
The coastal area of Ŋurrunyuwa on the eastern side of the Glyde River mouth comprises rocky cliffs of the most magnificent red-purple metallic composition known locally as ratjpa.6 The rocks share the shore with intimate palm fringed beaches until the land, as you look south, gives way to mud flats and mangrove lined tributaries and swamplands. The name Ŋurrunyuwa derives from the base word ŋurru which means the nose; tip; front; peninsula, cape or point.7
The whole area of Manharrŋu country on the eastern bank of the river is called Mulaŋa8 and takes in the smaller components of Ŋurrunyuwa on the coast, Gupulugurrm, a muddy plain, and Rapam, a distant jungle. These areas were named by the ancestor, Gurrmirriŋu.
Biographical records indicate that Malangi was born at Mulaŋa in 1927.11 At that time the family was living away from the recently established mission on nearby Milingimbi Island, 12 their alternate base. Malangi's mother, a woman of the Balmbi clan from the west side of the Glyde, had left her country to live with the husband's family on Manharrŋu land.13
Those eastern bank lands are now rarely visited by Manharrŋu descendants. During a research trip in August 2002 it took family members three attempts before they were successful in taking me across the river to walk around the 'other side', as the eastern bank is commonly called within the family.14 A little sand beach is there, where you can land a dinghy, while higher up on the embankment beneath a stand of trees there is evidence of dinner camps over many years:
The country to the south opens out onto the big Gupulugurrm plain, previously a battle ground for Yolŋu.16 Beyond that is the jungle area known as Rapam17 and far beyond that, breaking the horizon line, a single towering Gulwirri palm.18
The family started to walk me around with the aim of seeing the sites of significance, to give 'proof' of Manharrŋu ancestral history and the chief ancestor figure for the Manharrŋu, Gurrmirriŋu.19 The great Hunter Gurrmirriŋu is known as the 'first man' by Manharrŋu, a law-giver and a warrior,20 and as such established their present beliefs and actions.21 He wandered these lands harvesting fruit, seeds and berries, and hunting goanna, kangaroo, birds and fish.
The actions of Gurrmirriŋu involved the key sites in this area — some can be seen, some are hidden, some have been altered due to changes in land forms and sea levels over millennia since the Waŋarru (ancestral time). From Rapam Gurrmirriŋu threw his luŋgu25 (harpoon) to Ŋurrunyuwa. From Ŋurrunyuwa he threw his luŋgu into the sea and then finally to Mooroonga Island. The spirit of Gurrmirriŋu is on Mooroonga, though he is known by another name there.26 The two countries are thereby connected through this ancestor.27
After a very good day's hunting Gurrmirriŋu was carrying home the fruits of his labour. Some stories tell how he was returning home to his wife.29 He sat down by a waterhole in the shade of a white berry tree, to rest and cook some of his catch before returning to camp; but lurking in the tree's roots was an evil (tree) spirit.
Dharpa32 (the King Brown Snake) rose from the roots of the white berry tree to bite Gurrmirriŋu, killing him. The death of Gurrmirriŋu, the 'first man', gave Manharrŋu people the occasion to perform their first mortuary rites.
The mortuary rite of Gurrmirriŋu is the predominant feature of many of Malangi's paintings associated with the Mulaŋa area. His depiction of this story on bark was reproduced on the reverse of the first Australian one dollar note — released in 1966 when Australia converted to decimal currency. Subsequently Malangi became known as the 'dollar note painter'; at times he was called 'Dollar Dave'.34 Due to the frequency with which he was asked to depict the now widely famous scene, Malangi and his family members — when talking about Mulaŋa country and its ancestral players — would refer to the 'dollar note' story, country and man, as often as the Gurrmirriŋu story, country and man.
The Gurrmirriŋu funeral scene or dollar note paintings focus on what I refer to as the 'whole story'. Depictions of aspects of the story came later with the artist's increasing confidence in developing compositional possibilities and an interest to push boundaries.
The early barks of the whole story from the early 1960s include a number of key elements that served to constitute a template which, by the late 1960s and into the ensuing decades, became increasingly formulaic. A vertical figure with rärrk painted torso, arms extended and bent at the elbows, and with legs outstretched is the body of the deceased Gurrmirriŋu lying in state while being ceremonially prepared for burial. He is surrounded by song men performing Manharrŋu song cycles to ensure the ancestral spirit's safe arrival at its final resting place. In turn, the spirit of Gurrmirriŋu will look after the surviving Manharrŋu.35 The song men hold clapsticks and didjeridu to accompany the singing and are shown sitting with their legs tucked underneath their bodies, sometimes expressed by Malangi as half figures with no legs. These ceremonial participants are differentiated from the deceased Gurrmirriŋu by their posture and by their plain black bodies devoid of body paint. The strong white lines used to delineate their figures also detail parts of their anatomy; while the angled lines within the frame of the body I see as indicating the three-dimensional figure. This compartmentalising has references to sand sculpture and mapping and spacial awareness on different scales.36
Surrounding this immediate group of figures, and in any available negative spaces, are the animals of the story. They represent both Gurrmirriŋu's harvest and the mourning process. The L-shaped motif, the leg of a wallaby (ŋarrku),37 signals Gurrmirriŋu's catch as well as the mortuary feast. Killing and eating wallaby can refer to the death of a person, and sections of dissected wallaby carcass can be a reference to the exhumation of human bones before reburial.38 The elongated 'tear drop' shapes in-filled with dots are also representative of (wallaby) meat.39
The white berry tree, Wurrumbuku,40 is the other key identifying feature of this narrative. In an early unusual depiction of the whole story, Mortuary feast of Gurrmirringu, the Great Ancestral Hunter 1963, one tree is placed towards the centre of the composition� – a structure borne of an early interest (which would persist) of dividing the bark essentially in half vertically to create a formal structure. By 1964 dual berry trees frame the dollar note barks. This formal flanking of the funeral scene became the format consistently used by Malangi when depicting the whole story.
In early barks, a random in-filling of dots in negative spaces, which suggests the presence of the white berries in the landscape, later became an ordered pictorial device. The depiction of berries very closely follows the actual appearance of this fruit – a single branch supporting rows of berries in a parallel alignment.
By the late 1960s then Malangi had formalised and strengthened his depiction of the full Gurrmirriŋu mortuary scene, with features which include the solid central location of the ancestor figure and flanking trees adorned with white berries in ordered rows, often interspersed with the placement of leaves.
Authority to paint the Mulaŋa area of the Hunter Gurrmirriŋu was primarily Malangi's. His older brother, George Burijŋa-1, had authority over Rapam, the jungle area where Gurrmirriŋu hunted, but I have only found one example of him painting for the public domain. Possibly his major authority was over ceremony.41 Charlie Boyun, the youngest brother and a painter, had a focus of responsibility for Djan'kawu country on the west bank of the river and consequently is less likely to have painted Mulaŋa.42 In fact there weren't other Manharrŋu painters (for the public domain) for much of Malangi's painting career, let alone painters depicting this story.43 Malangi was devising original compositions of this subject matter.
A letter written to the American collector Ed Ruhe, by a colleague, enthusiastically describes Malangi's work from this period.
Throughout the 1970s and 80s, while being asked repeatedly to depict the whole dollar note story, Malangi began to develop also what I call 'aspect' paintings, focusing on elements of the story in the absence of the central narrative elements – like vignettes, scenes in a play or details of the bigger picture. He began to produce paintings of the white berry tree with surrounding animals (commonly goanna and snake at the base of the image and birds at the top), as if setting the scene before the arrival of the Hunter and his subsequent death and funeral. Having moved from the sides of the bark, a single tree trunk generally occupies the centre of the composition. Black sinuous limbs extend from about half way up the trunk to reach the perimeters of the bark. With the picture plane thus effectively divided, the negative spaces become sub-sections of the whole – glimpses of the whole story.
Malangi was also exploring areas of the composition in paint and the juxtaposition of pigment — rows of white berries against alternating yellow and black leaves or, more abstract still, berries placed and juggled to fill either the entire top half, three quarters or the whole picture plane.
Here was Malangi the painter in full flight. Here was a Yolŋu painter, steeped in tradition, yet pushing the boundaries while still adhering to an 'allowed' frame of reference.45 In what are essentially studies of flora Malangi exercised his creative abilities in painting and composition and, in doing so, reached the 'sublime'.
Malangi was a leader in branching out and painting aspects of a full story in this way. I have come across few other central Arnhem Land painters who have done so within their own (allowed) repertoire with such tenacity. Perhaps too, as the Gurrmirriŋu story was considered public, rom (or garma),46 unlike the prescribed material requiring authority and the observance of restricted levels of information – the 'clan owned set forms' – the subject of the mortuary scene, with its less strict observance of regulation, allowed Malangi more freedom.47
To me the white berry tree paintings are amongst the most beautiful and enchanting of Malangi's works. The paintings have a 'singing' quality, akin to the shimmer, known as bir'yun48 – particularly of rärrk – in paintings by fellow Yolŋu artists aspiring to attain a closeness to and expression of a spiritual source.49 The compositions are exceptional, captivating and complex. One can withdraw within the shapes and the textures and sense the application of paint. In these paintings I believe Malangi crosses the boundaries of Yolŋu and Balanda art as a true draftsman in the company of painters everywhere.
The final key theme as 'aspect' of the bigger picture appeared in Malangi's senior painting years when he began producing the luku or foot paintings.
On smallish (tuck underarm size) vertical barks a field of red-brown ochre provides the base for a vertical depiction of a foot – sometimes two feet. The dense black in-filled foot has a solid white outline clearly articulating its component parts – toes, toenails and joints. The view is of the sole of the foot, or a footprint, as if looking at the foot from the subterranean depths of the ancestral domain.
The theme of the foot featured prominently for some time as the latest in a body of work designed to extend and explore established repertoires. Every couple of days Malangi would walk into Bula'bula Arts with one or two foot barks under his arm. This time coincided with the visit of Philippe Peltier, curator of the Musée national des Arts d'Afrique et d'Oceanie, Paris, and a foot bark was secured for their collection which was subsequently included in the Galerie des 5 continents exhibition and catalogue in 1995.50
The foot is the foot of Gurrmirriŋu. The word luku, meaning foot, footprints, tracks or traces, or guides, by extension refers to the ancestors who led the way for the following generations.51 Luku also means the root of a tree; 52 the idea of being implanted below the surface of the earth connects the living Yolŋu to the subterranean ancestral domain. Thus Gurrmirriŋu's foot denotes the ancestral source for this country on the eastern bank of the Glyde River.53
On the day the family and I succeeded in getting to the 'other side', after moving south most of the group returned to the beach landing while Birrinbirrin, David Rumbarumba54and I continued north to Ŋurrunyuwa, to the coast, to complete the walking around and to search for 'proof' of Gurrmirriŋu's presence.55 It was here that Gurrmirriŋu left large footprints, like imprints or depressions in the red rock. Despite our best efforts, we were unable to locate the foot-imprinted rock.
It had been some ten years since family members visited this site.
That visit was in 1991 – when Michael Riley made a film for ABC television's Blackout series which traced Malangi through his country on both sides of the Glyde. Part of the film was shot on the 'other side'. Following that experience Malangi began producing foot paintings in earnest, having never before produced such imagery.58 He appeared re-inspired or with a new and sharpened perception.
The act of painting Gurrmirriŋu's foot was to chronicle a place, an event, a presence. It was also an act of distilling the subject to its purest form. Malangi had dispensed with the whole story, the overall and perhaps more generic description and, in doing so, was himself reaching closer and closer to a higher plane and to the essence of a spiritual and ancestral source. This is how I read these icon paintings made during the last active painting years of Malangi's life.
Glyde River country
In the early 1980s Malangi created a new mode of representation of established subject matter in a series of paintings which, in their composition, mapped and bridged his Glyde River country.59 The common feature and central structure of these maps of country is a vertical shaft of matt black pigment sweeping up from the bottom edge to the top of the bark, dividing it into two parallel columns representing, notionally, Manharrŋu country flanking the Glyde River.
The pictorial structure already established in the white berry tree paintings now becomes the river and its tributaries in plan view. This construction enabled Malangi to divide the bark into further sections – details, chapters, episodes – where neither a reliance on chronological order nor literal map making was a consideration. The details, the aspects of the story of this area, of these countries, were positioned according to balance. Sometimes he swapped the geographical position of the river banks, sometimes imagery relating to one or the other river bank was combined.
These paintings encompass iconography of the entire river mouth area. Relating to Gurrmirriŋu and his story on the eastern side of the river are depictions of a sand bank at the river's mouth where Gurrmirriŋu sat, Garaŋala reef with the luŋgu that he threw, the food of Gurrmirriŋu – girrgili (vine), räkay (water reed), rui (yams) and räga (berries) – little rivers of the area, and bilma (clapsticks).60 Images relating to the Djan'kawu ancestors, significant to the western side, are the waterhole Milminydjarrk, dhona (sacred digging sticks), fish and shellfish.61
The river is all Dhämala. To cross the Glyde to the western bank is to encounter an entirely distinct environment, ancestral history and subsequent visual expression.
Dhämala and Dhäbila — Djan'kawu country
Dhämala63 and Dhäbila64 are two tracts of Dhuwa moiety land west of the Glyde River. Dhämala lines the bank of the river south of the mouth before changing to Yirritja land of the neighboring Mildjiŋi clan. The entire area is a patchwork of Yirritja and Dhuwa territories. Dhäbila reaches some 12–16km further west along sandy and muddy stretches to the mangrove lined coastal fringe at the Arafura Sea. Both areas are host to a diverse natural habitat which includes active tributaries and estuaries as the river fans out around its mouth, fresh and brackish waterways, mangroves, shrubs, grasses, salt and freshwater fish and shellfish. Coastal sand dunes and mangroves give way inland to vast muddy plains, punctuated and fringed with a variety of vegetation including paperbark groves and stands of palms.
At times Dhämala and Dhäbila have been blurred into one, or confused with each other by Balanda in their descriptions of paintings. A Dhämala story is sometimes recorded as a Dhäbila story, as it is possible to drive with ease between the two areas in pursuit of the significant sites that link them – their 'boundaries' unclear to the untutored eye.65
Over several years I have become familiar with these lands on the western bank through my close association with the family66 and the area's relative proximity to Ramingining. Repeat visits to the same sites over a number of years while working in the area, and subsequent visits to Arnhem Land enabled my knowledge to build, detail by detail. On my first weekend in the community in 1993, I was invited to join the family hunting at Dhämala and Dhäbila. In 1999 when I journeyed north to attend the old man's funeral, I again visited Dhämala with family members who travelled to the river's edge to collect the headstone that had been brought over from Ŋurrunyuwa. Numerous trips made to these lands during the main research trip for this exhibition in August 2002 added to my understanding. The two areas form a broken elongated arm of country related by virtue of its creation by and presence of the Djan'kawu Ancestors.67
The Djan'kawu Sisters link Dhuwa clans across eastern and central Arnhem Land. They came from the Island of Burralku east of the mainland, arriving on the shores of north-east Arnhem Land at Yalaŋbara in Rirratjiŋu clan country. They travelled west with the sun, plunging their digging sticks into the ground and, in doing so, created and named waterholes, places, people, language, birds and animals, making them sacred.68
At Dhämala with the plunge of their digging sticks the Djan'kawu created the sacred Milminydjarrk called Mirrmirrŋurr, a tiny mangrove fringed waterhole around 50 metres from the river's edge.
It was in this area that the Djan'kawu changed their language to Manharrŋu language and gave the Manharrŋu the colour black. Black is a prominent feature in the paintings of Malangi. The use of black also differentiates the painted design of the hollow log coffins of the Manharrŋu from those of other clans which feature a Djan'kawu design – Djan'kawu related clans to the east paint bands of red, white and yellow on the log, while the Manharrŋu also include black bands.69
At Dhämala the Djan'kawu hung their dilly bags in a tree nearby at Giwillirrgilibil to go in search of shellfish.71 The bags contained the sacred law, held by the women. While they were away the bags, with the law inside, were stolen by the men, and from that point the knowledge and law of ceremony was the domain of men.
From Dhämala the Djan'kawu continued their travels and creative acts westward. Plunging their digging sticks into the ground they made and named Buwany (the shooting star site) and the Gilimgarri waterhole on the plain, reaching the coast at Dhäbila. From here they moved with the sun to lands of other clans.
The Dhämala and Dhäbila Djan'kawu paintings represent a distinctive aspect of Malangi's oeuvre, for with each 'country' he devised an entirely new way of representing it. Instead of seeking to tell the 'whole story' of the Djan'kawu in one picture plane or depict them in human form (as could be read in the Gurrmirriŋu works), he told their story through traces of their existence, the food they collected, the creatures they made sacred, the sites they created. Painting the Djan'kawu in these ways represented both an expression of the everyday and an exploration of Yolŋu religious knowledge. (plates 33, 34)
Mirrmirrŋurr Milminydjarrk
From the Djan'kawu landscape and lore comes Malangi's most definitive and sacred design. The Mirrmirrŋurr Milminydjarrk (waterhole) is depicted as a central roundel from which bands radiate vertically, horizontally and diagonally to the edges and corners of the picture plane where smaller roundels, or sometimes squares are placed.
The radiating motif is the signature of the Djan'kawu, the identifier, and with slight variations is painted by artists depicting the story of the Djan'kawu as related to their clan country. It signals a number of associations including the rays of the sun with which they travelled, the tracing of the journey or tracks between waterholes and sites created by them with the plunge of their digging sticks, and the design of the woven ŋanmarra,73 the conical mat used to give birth to the Dhuwa people, and this is synonymous with the womb and the procreative powers of the women.74
Like other Dhuwa moiety painters of the Djan'kawu narrative, Malangi's paintings are based on this broad Djan'kawu template but are site specific. Milminydjarrk is central on the bark. Mirrmirrŋurr is the specific name of this actual waterhole, while Milminydjarrk is the generic name given to a freshwater spring.75 Surrounding it at Dhämala, and on the bark, are smaller waterholes connected by a subterranean channel system of linked waterways. The yellow rärrk in the negative spaces represents water run-off across the vast mud plains with the seasonal rains and the ebb and flow of river tides.76 It also lends a visual reference to the cycles of nature and the woven fibres of the birthing mat which brings life.
When looking at reproductions of Malangi's bark paintings of the Mirrmirrŋurr design, Yolŋu respond immediately with comments such as 'that's Malangi's Dreaming, that's his design'. What they are expressing it seems to me is that this design above any other is most closely connected to the clan religious law, the madayin.77 That is, this very waterhole and this very design is 'high totem' for Malangi, therefore most restricted and most sacred.78 The mesmeric quality of Malangi's Milminydjarrk barks is also an expression of ancestral power.
Even though the Milminydjarrk site is public in the sense that women, children and visitors can go there, it is nonetheless the key to Malangi's spiritual identity.79In Yolŋu cosmology the clan waterhole is the spiritual reservoir, where the souls of the unborn reside and where, upon death, the souls return 'home'. The established design template for expressing Milminydjarrk — the circle with radiating lines in a rectangular frame — bears a direct relationship to the ceremonial aspect of the Manharrŋu in the form of a body design for initiates painted in ceremony and the basis for a sand sculpture used in smoking or cleansing rituals as part of the process of the mortuary rite.
This is a ceremonial design and therefore sacrosanct. The knowledge is transferred from those with clan authority to young painters to use for ceremony as well as for the public domain, but with the requirement that the design remains the same. Early barks by Malangi's brother Charlie Boyun80 reveal a similar strict adherence to the law of representation.81 Malangi's paintings of Milminydjarrk in public collections are dated in the late 1960s,82� yet he would continue to paint Milminydjarrk, incorporating it as an aspect in river map paintings throughout the 1980s and 90s.
Djan'kawu icon paintings
Malangi exercised much more freedom with the Djan'kawu subjects other than Milminydjarrk, in what I call 'icon' paintings. This repertoire or series is distinctive for the placement of one or two figures vertically and centrally on the bark executed in bold white pigment and rärrk on a dense black ground. Often the figure is 'anchored' to the bottom edge of the bark; sometimes it appears to float.
The subjects comprise representations of the Djan'kawu. To find a nonda, a long-bum mussel, in the mud is to find food collected by the Djan'kawu, eaten by them, created by them. More than this, the mussel is the Djan'kawu, an essence of the Djan'kawu, a spirit of the Djan'kawu, the power of these ancestors imbued in the mussel. To paint the nonda (or other Djan'kawu subjects like goanna or sun) is to paint the Djan'kawu in a manifestation other than human form.83 Malangi painted such manifestations of the Djan'kawu through the species they encountered, ate and created on their travels in several series of barks whose subjects include freshwater and mangrove goannas, shellfish, catfish, salt and freshwater fish and bush food. In early paintings a number of species crowd the picture plane and are painted in a very descriptive manner, whereas in later more resolved worksthe imagery is distilled to a bold, single iconic figure on a black ground.
�Among the first barks of the descriptive type is a series Malangi made for Australian Perspecta 1983: a biennial survey of contemporary Australian art, for which Djon Mundine's encouragement to develop a body of work84 may have been the pivotal moment when Malangi allowed himself to explore his own creativity – and to develop and elevate his work beyond the formal 'by the book' rendition. Some ten years later he was at the height of painting his single 'icon' paintings.
Malangi's execution of these manifestations of the Djan'kawu represent a mid to late career continual experimentation with format. By the time he was painting the minimal figures of the early 1990s he was in his late sixties, a senior custodian of his own land as well as his mother's. His development as a painter and as a ritual leader were commensurate, and these iconic depictions may be read as a meditation on religious knowledge.
In Yolŋu ceremonial teaching, through a series of 'age-grading' rituals, increasingly restricted knowledge is revealed. An integral part of this process is the learning of the connectedness to the ancestral domain through restricted ceremony — song, oratory and painting – both the painting of sacred objects known as raŋga,85 as representations of the Waŋarr or Miligidji86 (ancestral beings and ancestral time) made for restricted rituals and the painting on bodies. These actions effectively allow participants to gradually experience a oneness with the Waŋarr.87
Malangi's concentration on single subjects transferred to an interest in representing these aspects sculpturally. In the late 1980s and early 90s he produced a body of work where a detail or aspect of the Djan'kawu chronicle is given three-dimensional form. These subjects include particularly a series of sculptures related to Dhämala and Dhäbila – birds and goannas – representations of the everyday creatures related to this country as well as homage to their totemic significance.
Most paintings contain inside and outside elements. For those not conversant with restricted Yolŋu law, Malangi's barks of single figures on black grounds are very satisfactory and resolved minimal paintings and can be enjoyed as such. The depiction of the creatures in this distilled way also signals a sacred dimension and suggests a realm beyond the everyday. Thus as the nonda is one essence of the Djan'kawu, represented on bark, it also becomes an icon of the Djan'kawu in the spiritual sense. The distilling of the subject suggests an intellectual and spiritual exercise associated with attaining cultural authority and religious knowledge.
Malangi's accomplished ritual standing became increasingly evident in the Djan'kawu works of the late 1980s and early 90s. At the same time he was producing his masterful Yathalamarra paintings – dedications to his mother's Yirritja moiety Balmbi clan land – distinctive for their expansive horizontal picture planes and the extensive use of black.
Yathalamarra is a horseshoe shaped billabong surrounded by trees and grasses and inhabited by abundant freshwater life such as waterlilies, darters, lotus birds and catfish. Malangi spent the last thirty years of his life there on a more or less permanent basis.88 As manager, djuŋgayi,89 he was caretaker of the land and its associated ceremonies. From here he continued to paint his Dhuwa moiety Dreamings of the Glyde River while increasingly developing a repertoire of paintings – an entire visual language – to represent the rich ancestral lands of the Balmbi, focusing on Yathalamarra and its surroundings.
In and around the Yathalamarra billabong itself are the key sites Gutitjbimirri, Wulawarri and Djalumbudjapin.90 Nearby is the smaller waterhole and ceremonial site Bilimarr, and to the south and north is country associated with the ancestor, Murayana.91 The social and ancestral history of Yathalamarra is discussed in Margie West's essay.92 Here then, I simply introduce the exquisite Yathalamarra landscapes in bark.
My familiarisation with this area occurred over a much longer period of time than the example given for Mulaŋa. During my time working with Bula'bula Arts, I would often visit Malangi's house at Yathalamarra. Most visits took place sitting on the verandah of the house at 'bottom camp' near the southern end of the billabong, the area of country known as Gutitjbimirri.93 Occasionally I was able to venture further and see other parts of the billabong.94 On return visits to Ramingining, after leaving the community, I would always visit Malangi at Yathalamarra. This growing familiarity with the family and their country paved the way for experiencing Balmbi land in a much more comprehensive way. During the 2002 research trip, the women and children supervised the expeditions to a number of Balmbi sites.95 This process is like peeling back the layers of an onion, gradually, not hurriedly, gaining a comprehension of the complexity of the ancestral landscape.
Like other bodies of work begun when Malangi was younger, and with less ceremonial authority and painting experience, his early depictions of Yathalamarra of the 1960s adhere to a personal template of sorts that he used to paint the 'whole' dollar note story. In a vertical format the central figure (of Gurrmirriŋu) is replaced by a central roundel (waterhole) surrounded by trees and animals related to the site. What followed by the 1980s were barks, still vertical in their axis, but instead of presenting one overall picture plane, the bark was divided into a series of columns into which Malangi placed individual elements of the story. At the Yathalamarra waterhole 1988 includes a central roundel – representing the spiritual reservoir – placed within a horizontal panel. Like the Djan'kawu icon paintings, single aspects of the larger story are placed on a black ground into vertical parallel columns arranged across the vertically oriented bark96 – the ancestral players for Yathalamarra.
The ultimately accomplished works came with Malangi's orientation of the bark from vertical to horizontal. Within this 'landscape' he painted a series of pictures documenting the Yathalamarra waterhole, still using the columnar structure which enabled him to depict an inventory of aspects of the ancestral narrative visually partitioned across the picture plane.
While some of these expansive barks gave a comprehensive chronicle of the billabong, others focused on its particular parts and the ancestral events specific to that site. Yathalamarra Story c.1990 encompasses all of Yathalamarra in the established columnar arrangement and features the central waterhole of the ancestral women, Biyay'u and Bundul. Yathalamarra Story 1989 is another definitive work which focuses on the area of the billabong where these ancestral waterlily women reside. Their pool, placed centrally on the bark is surrounded by girrwul (water weed), with the column of rärrk representing Yirritja Balmbi land. The added presence of Bipimirriny97 the lotus bird and the ancestral women with their digging sticks in representational form, and at the top of the painting, their breasts, places central significance on the creation of the area by the acts of these women who live in the billabong's southern part.
Looking at such paintings can provide the experience of standing within the panorama of Yathalamarra and surveying features of the landscape from a central viewpoint. In real life to stand on the central peninsula of land where the outstation houses are located is to see the darter tree and the ancestral womens' pool to your left, the catfish site at the apex of the billabong and the hollow log site to your right. Transferred onto bark Malangi expressed this landscape as a complex chronicle of interconnected sites by arranging the features in adjacent relationships, as if 'unwrapping' the landscape. The result is that while all the features are present, their placement is not literal. As a general rule the focal site of the spiritual reservoir within the billabong where the ancestral women reside is placed centrally in the picture (as was the central reservoir for Dhämala, Milminydjarrk, in the Dhuwa barks).
I suggest the significance of the 'viewpoint' and thus the central placement of the spiritual reservoir is more than to chronicle the physical arrangement of the land, but is a dedication to the central significance spiritually of the site. Through a map of the scene then, through formal relationships, it is possible to evoke unspoken relationships.
The central roundel, based on a sand sculpture design, references ceremony which is further expressed by the order of pictorial elements, their repetition across the picture plain echoing the rhythmic execution of song cycles, dances and incantations designed to bring the participant closer to a connection with the spiritual domain.
The further distinguishing feature in the Yathalamarra works is the emphatic use of black. More than just Malangi's predilection for this pigment, its use suggests the extensive waters of Yathalamarra, as did the use of black in the iconic Djan'kawu works, referencing the environment of associated water creatures. In Yolŋu cosmology water has many layered references not least of which is water as the vehicle for the journey of the soul. Again, the waterhole is where the souls of the unborn reside and where the deceased return.
Mortuary ceremonies include song cycles and actions (dances) about water, as the transition from one realm to the next takes place.98 And significant sites were formed by the actions of an ancestor creating a waterhole, a source of survival for the clan, a spiritual source.99
These vast columnar paintings emerged at around the time when Malangi was also strongly producing aspect paintings as part of the Djan'kawu series.100 The precursor to the horizontal barks and the sectioning of the picture plane was surely Malangi's mural experience – when in 1987 he created a mural in horizontal format depicting the creation story of Yathalamarra.101 The use of individual elements within the Yathalamarra works influenced the Djan'kawu 'icon' paintings. One approach fed into the other while each remained distinct.
In the Yathalamarra works, as a senior man, Malangi developed a language authoritative, innovative and unique.
A born painter
The funeral held at Yathalamarra outstation was an acknowledgment that Malangi moved in two worlds – the Yolŋu and the Balanda. A public ceremony held on Saturday 3 July 1999 was attended by many Yolŋu and Balanda – family, friends, curators, academics, dealers and politicians – who all came to pay tribute. The media described the occasion as the equivalent of a 'state funeral' which included a guard of honour by Yolŋu members of the armed forces.
I was fortunate to stay on in the small community to witness the events in the week that followed as, nightly, members of Yolŋu clans carried out singing and ceremony to farewell the dearly loved family member. On intermittent evenings there was Christian fellowship also acknowledging the meeting of the Yolŋu tradition with the Balanda.
The headstone was collected from Ŋurrunyuwa and brought across the river in a dinghy to Dhämala to be prepared. The specially chosen metallic rock, when sanded back, revealed ratjpa — the sparkling red-purple ochre used to paint up for ceremony and also used by the artist in his paintings. A plaque set in the rock carries Malangi's medals of a lifetime of achievement – the one dollar note medal, the Emeritus pin from the Australia Council, and the Doctor of Laws medallion – again the Yolŋu and Balanda worlds coming together.102 More than this though, the placement of the ratjpa rock from Ŋurrunyuwa to rest in Yathalamarra country brought together the spirit of father and mother.103
Howard Morphy has noted that as Yolŋu gain ritual knowledge they are able to attain deeper law, higher law and not only discern their own law but take on the role of djuŋgayi or custodial manager of their mother's country.104
It seems to me that it was this union, this acceptance into the spiritual realm, into the realm of god that Malangi strived for all his adult life through his art. I see his artistic output as a clear expression of an accumulative lifetime of greater and greater religious knowledge, wisdom, knowing. Every Yolŋu participates in a similar journey to a greater or lesser degree. The young man begins life with innocence and inexperience and enters into a series of lessons, through ceremony, through painting where knowledge and law is revealed. The attainment of a connection to the spiritual realm occurs through teachings in restricted ceremony not least of which is through being painted up and establishing a connectedness with the ancestral domain through this experience.
The Gurrmirriŋu paintings are essentially those of a young man. By his life's end Malangi was producing ever more profound dedications to his djuŋgayi country. In doing so he was striving to attain a higher state of consciousness, to bring the mundane and spiritual worlds closer together, to connect with god, with the Waŋarr – through painting.
Susan Jenkins
I acknowledge the assistance of Malangi, members of Malangi's family and Bula'bula Arts in compiling this essay.
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IntroductionNebraska (nəbrăsˈkə) [key], Great Plains state of the central United States. It is bordered by Iowa and Missouri, across the Missouri R. (E), Kansas (S), Colorado (SW), Wyoming (NW), and South Dakota (N).
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David Orden joined IFPRI in August 2003 as senior research fellow in the Markets, Trade and Institutions Division to conduct research on agricultural policy and international trade, including the impacts of industrialized country agricultural subsidies on developing countries.
Orden is also professor of agricultural and applied economics at Virginia Polytechnic Institute and State University (on leave). He has carried out research and public policy education programs on exchange rate effects on agriculture, macroeconomic dynamic econometrics, the economics and political economy of domestic support policies and international trade negotiations, and technical barriers to trade. He has been a Visiting Fellow at the University of New South Wales in Australia (1990), chairman of the International Agricultural Trade Research Consortium (1996-97), and Visiting Professor at Stanford University (1998-99). Orden received a Ph.D. in economics from the University of Minnesota.


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Unfortunately though, four years since that stupendous innings, Sehwag hasn't managed to hit a single century outside the sub-continent - something that saddens his fans, including me, to no limits. Has he got sucked into the reputation of batting the way 'Sehwag is supposed to bat'? It isn't that he's batting poorly - the timing is still there and also the hunger (an ODI double century proves that). So what is it?
Sehwag is known to be an entertainer of very fine quality and when he gets going, he scores in double quick time and sets up the match perfectly for the bowlers. His knock invariably makes the opposition play the catching up game, for there's always enough time for the Indian bowlers to take 20 wickets. He looks set to hit good balls for fours and forces the opposition to think out of the box, but sometimes even that proves futile. The opposition continues to employ unorthodox fields, yet Sehwag keeps finding the fence. All of this makes him a very special player, often invoking comparisons with Sir Vivian Richards, but there's a lot more to his batting that intrigues me.
The shrewd tactician
In 2003, the track at the Melbourne Cricket Ground for the Boxing-Day match was quite damp and stroke making wasn't the order of the day, at least in the first session. Sehwag was in good form and could have easily continued to play his natural game - which is to see the ball and hit the ball. But he chose to curb his instincts. He knew he couldn't pull or hook - in fact he isn't a very good leaver of the short ball too and hence decided to willfully take blows on his body and helmet. For a player with his ability to attack, it's difficult to say no to a challenge, come what may. But Sehwag's meticulous restrain during that innings told us that his game was more intense than just being purely instinctive.
His second best innings at Adelaide stands out simply for the patience he displayed even on a flat 4th/5th day track. He knew that he was coming out of a really bad patch and needed to bat a bit differently to both save India the blushes and resurrect his flailing career. He did that and fortunately hasn't looked back since.
On Viru's agenda
The point is simple - Sehwag of 2003 & 2008 needs to resurface once again. In spite of batting like a millionaire, he needs to get back to being stingy.
Champions are known for what the champions do. Sehwag is a champion cricketer not only for his ability to bat but also for his astute knowledge of scoring runs under different and difficult circumstances. Perhaps, why one cannot accept him getting dismissed playing a risky shot when the situation demands caution. All great players have a few gears, which they shift depending on the demands. Sehwag is a genius and hence I'm expecting him to summon the attitude he showed in 2003 and 2008. If he could do it then, there's no doubt that he can do it now too.


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Support Staff
The Nation's Best!
Lady Lion fans are the best. The Lady Lion Cager Club boasts a membership of over 800 and is one of the most active support groups in the country.
Crowd-Starter Extraordinaire
As one of the most recognizable mascots in the nation, the Nittany Lion brings a unique spirit to the court.
Famous for one-handed push-ups, themed dances, and playing with the crowd, the Lion is a special part of the Lady Lion experience.


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Defraggler  1.13.155
- Added quick defrag to command line version.
- Added option to view folder index entries in file list.
- Fixed bug related to excessive GDI objects.
- Fixed tab issue in search tab.
- Improved speed of moving very large files to the end of the drive.
- Several minor bugs fixed.


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Code of Practice for Research Degree Programmes
The Code of Practice for Research Degree Programmes contains a wide range of information required by both students and their academic departments from the point of registration on to a higher degree by research, to the point of award.
Registration and fees
This section provides information on how new and continuing students can register; about the different registration periods and upgrade procedure; and on the different types of fees and how to pay them.
- Registration of new and continuing research students
- Periods of registration
- Tuition and continuation fees
Changes to your status, personal circumstances and time limits
During the course of their research, students may need to make changes to their status. Any changes of status will require formal approval using one of the forms below.
- Sponsored students
- Upgrade from MPhil to doctoral level studies
- Confirmation Review (for students entering directly onto PhD)
- Change of candidature
- Leave of absence
- Time limit extensions
- Withdraw from the University
- Changes to personal details
The relationship between a student and their supervisory team is a critical one. This section provides guidance on what is expected from students, supervisors and departments:
- Ethical approval
- Good Academic Practice
- Research Data Management
- Attendance Monitoring
- Induction
- Physical & social environment
- Supervision
- Responsibilities of the student
- Responsibilities of the supervisor
- Responsibilities of the department
- Change of supervisor
- Conflicts of interest in Postgraduate Supervision
- Planning for time abroad in your PhD
Academic progress
It is important that students and supervisors regularly work together to review a student's academic progress towards their research degree. This section provides information on what reports are required and suggests a good practice schedule.
Working hours, holidays and employment
This section provides information on the required working hours and holiday entitlements for research students, as well as clear guidance on the rules governing the employment of students by departments:
Thesis preparation, submission and examination
This section gives students information on the required format and presentation of their thesis together with the process that must be followed for submitting it. It then guides students through the oral examination process and any changes that may need to be made to the thesis before the award and conferment of the degree.
- Use of unfair means in the assessment process
- Use of copyright material
- Publishing work prior to submission
- Preparation of theses
- Formatting and binding of theses
- Alternative Format Thesis
- Submission deadlines on University closure days
- Submission of theses
- Submitting a thesis to Turnitin
- Appointment of examiners
- The oral examination (viva voce)
- After the oral examination: recommendations and reports
- Minor amendments
- Resubmission of a thesis
- Library copies
- Embargoing a thesis
- eTheses: Frequently Asked Questions
- Award and conferment of degrees
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- Complaints and appeals


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Santa Ana police to hold first gun buy-back
SANTA ANA – Police and city officials announced plans for a no-questions-asked gun buy-back that will take place at Santa Ana Stadium Saturday.
In exchange for the weapons they turn in, residents will receive $100 or $200 gift cards from four retailers that the city is purchasing with $80,000 in funds seized in illegal drug investigations.
The buy-back, the city's first ever, is an outgrowth of city concerns about the December massacre of 26 students and staff at Sandy Hook Elementary School in Newtown, Conn., and the need to respond to the threat of gun violence.
Officials announced details of the program on Wednesday at the Santa Ana Police Department, where a couple of dozen weapons, ranging from Saturday night specials to assault rifles and military weapons such as an M1 carbine, were displayed. The number of weapons was typical of what police seize each month, officials said.
"Just by looking at the type of weapons in front of me, you can see the potential danger out there," said Carlos Rojas, the city's acting police chief. "These are weapons that were seized off the street by our officers doing their day-to-day duties in the community."
People who turn in rifles, handguns and shotguns will receive $100 gift cards, and those who turn in assault rifles will receive $200 gift cards. Authorities said they had no idea how many weapons might be turned in. A gun buy-back in Garden Grove in December yielded about 10 weapons. Los Angeles police collected more than 2,000 firearms in a December buy-back, while an event last month in Compton yielded 386, news accounts said.
"Is this going to solve our problems? No," said Mayor Miguel Pulido, who noted a shooting spree across Orange County on Tuesday that left four people dead. "But is this a step in the right direction? Absolutely."
Pulido and Rojas were joined by council members Vincent F. Sarmiento and David Benavides. Officials said they hoped that residents would use the buy-back as an opportunity to get rid of weapons that they don't feel comfortable having around the house, are poorly maintained and dangerous or could result in accidental deaths of children. And they urged responsible gun owners to make sure they're adequately trained and keep their weapons safely.
"Who needs this? Pulido asked as he held up a World War II-era MP 40, a German submachine gun that police had seized. "You don't need this kind of weapon for hunting, you don't need it for recreation. This just does a lot of damage to a lot of people very quickly."
The program will take place from 9 a.m. to 2 p.m. at 602 N. Flower St., adjacent to Santa Ana Stadium.
Police ask that people turning in weapons place them unloaded, into the trunks of their vehicles. Ballistics technicians will retrieve the weapons.
The buy-back is anonymous. Staff working the event will ask to see proof of Santa Ana residence, such as a utility bill, California identification or consular ID card to qualify for a gift card. Non-residents can turn in guns, but won't receive gift cards. They're from Northgate Gonzalez Market, Target, Stater Bros. and Walmart.
Police will see to the destruction of the weapons, but will attempt to return weapons that are stolen to their rightful owners, and will also run ballistics tests to see if any of them have been used in a crime, Rojas said.
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SOLD OUT. Please watch the live webcast.
"It clearly can be in the U.S. and the West's strategic interest to help social revolutions fighting for the values we espouse and proclaim." —Anne-Marie Slaughter
Former director of policy planning for President Obama, Anne-Marie Slaughter will reflect on the ethical components of foreign policy at the highest levels of U.S. government. Princeton professor of politics and international affairs and author of The Idea That is America: Keeping Faith with our Values in a Dangerous World, Slaughter is uniquely qualified to assess the opportunities and risks of values-based policies in a complex global network of actors.
Ethics Matter is a monthly series of town hall events with notable policy and academic experts. The events will be taped and distributed for broadcast on television stations across the country. A networking reception will follow the taping.
RSVP is required and seating is limited. The reservation deadline is Thursday, February 9, 2012. Due to the studio recording, latecomers may not be admitted. Suggested Donation: $10.
Speakers: Anne-Marie Slaughter, Julia Taylor Kennedy
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Tibi Galis, executive director of the Auschwitz Institute for Peace and Reconciliation, discusses the question "What does it mean to prevent genocide?" and the distinction he sees between genocide prevention and military intervention policies.
After Galis gives brief remarks, he will enter into conversation with Carnegie New Leader Kyle Matthews of the Will to Intervene project. Other CNLs will join the dialogue in this interactive program.
Speakers: Tibi Galis, Kyle C. Matthews
Carnegie Council for Ethics in International Affairs
Merrill House
170 East 64th Street
New York, NY 10065-7478
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(212) 752-2432 - Fax
Map: Click Here (opens a new window)
FREE for Carnegie New Leaders and one-time FREE admission for their invited guests. CNLs, invite as many as you would like, simply provide the guest's name, title, affiliation, and email address upon registration. Non-CNL members $25.
Contact: Stefanie Ambrosio
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Email a question before the event: firstname.lastname@example.com.


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Tight Margins and Reg Changes Prompt New Interest in Outsourcing
As mortgage lending volumes decline and regulatory costs climb, potential cost savings are tempting lenders and servicers to outsource more of their operations.
Lenders remain reluctant to outsource for control and liability reasons. But with volumes down and compliance expenditures up, more have, particularly among midsized firms with limited resources.
"Midtier players are willing to look at anything that might save them money right now. This cycle is one of the worst. Companies are looking at it out of necessity. If it means keeping the door open, they will do it more than ever," says Brian Koss, EVP at Mortgage Network, a retail lender that outsources post-close quality control.
The trend marks a shift in lenders' motivation to use business process outsourcing. Traditionally, lenders farmed out overflow work during busy periods, such as refinancing booms.
"The mortgage industry compared to other industries has been rather slow to embrace outsourcing. However, there is now a growing trend toward lenders looking for ways to cut costs," says Judy Wheatley, SVP, compliance, Indecomm Global Services.
Now, lenders are contracting out different functions to save money, even as they bring back in-house certain work previously handed off for capacity reasons.
"It really has changed in terms of why people do it. Over the past couple of years, and historically, we've seen people expand outsourcing based on how much business they can do. It was a lever point," says Jeff McGuiness, CEO of the Lenders One mortgage cooperative, a group which has a fulfillment services arm. "However, most recently it really has been done to make sure all compliance components are administered as efficiently as possible to control cost variables."
Outsourced compliance systems lenders can use on a per-transaction basis have become particularly crucial for the midtier market, says John Robbins, who is one of the executives working on launching Mortgage Collaborative, a separate mortgage cooperative that lacks an outsourcing affiliate.
Use of outsourcers' compliance systems may fall short of offering overall costs savings, but they will prevent what might otherwise be an unmanageable increase in costs related to new regulations and associated repurchase risks, Robbins says.
Lenders "can't afford to save money by cutting the compliance side," he says, noting that the volume of information involved simply is too large to handle manually, and the midtier's loan origination systems alone generally lack the compliance functions to handle new rules, except through integrations with third-party compliance software.
Exceptions may be companies like loanDepot that have enough of their own technology to handle today's operational demands efficiently. �"We're trying to create a conveyor belt so services can flow through faster," says Anthony Hsieh, CEO of loanDepot, and a mortgage industry veteran with a lot of experience with online lending.
"We really don't see a ton of cost savings yet [from outsourcing]. Maybe we're just blinded, but we'd rather have the control," he says.
Outsourcing is "not right for everybody, but it makes sense for companies that are trying to decrease their fixed costs in a down market. I've never seen the mortgage industry more inefficient than how I see it now," says Hsieh, noting that full-time employee efficiency is "the worst I've ever seen it, particularly when it comes to underwriting."
One particularly costly task that some lenders are considering outsourcing is underwriting. But given underwriting's close ties to revenue, lenders that can afford to keep it in-house tend to refrain from outsourcing underwriting for control and liability reasons, says Koss, who works for a retail-only lender.
"As desperate as everyone is to save money, sales come first," he says.
Other types of loan reviews are increasingly being outsourced, though, particularly in third-party channels where companies buy correspondent loans or fund wholesale ones. Some lenders have grown more interested in developing these channels as volumes have waned.
"Everybody's out there scrambling for a larger market share," says Wheatley, noting that this is driving an increased lender interest in outsourcing certain correspondent functions.
Third-party origination channel reviews are easier to outsource because they are "more an audit function than an underwriting function," and they are noncustomer facing, says Stan Middleman, CEO of Freedom Mortgage, Mt. Laurel, N.J., a national lender that operates direct lending retail, correspondent purchase and wholesale channels.
Freedom outsources some of its functions like file review for loans it purchases through its correspondent channel, but it also has begun providing its own outsource services along the value chain "from origination to servicing" for external clients.
The tasks that get outsourced vary between lenders, but generally reflects a lot of change in one direction or another, he says. Some midsized lenders are seeking to move away from servicing because of increased regulation in this area. But others, including Freedom's first outsourcing client, continue to service their own loans and contract out the origination process from funding to closing, for customer retention reasons.
"We see a lot of folks pulling things like underwriting back in-house, but anything that is�a commodity is outsourced," says Deb Aydelotte, president of Lenders One affiliate Altisource Fulfillment Operations (parent company Altisource Portfolio Solutions also owns Lenders One).
Lenders are often finding outsourcers have the automation or offshore staff to handle certain processes more efficiently than they can, but there is a limit to what is effective to outsource. Koss finds it helpful to have a third party handle its post-closing quality control on a checklist basis, but prefers to keep all decision-making roles in-house.
The processes that can save lenders money via outsourcing vary depending on the company. "I can't say it's underwriting or quality control, it depends on the client and function," Aydelotte says.
"There are those that would say underwriting is your highest expense and it generally is the highest paid in an operation, but that cookie-cutter response just doesn't work for everyone," adds McGuiness.


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Reclining Leather Massage Chair£89.99 instead of £199.99 (from Tiny Home Store) for a reclining leather-faced swivel chair with 8 vibrating massage functions - save 55% + DELIVERY INCLUDED!
Save 55%
Promotion ends on
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- Relax in a reclining chair.
- Features 8 massage functions.
- 6-point massage and heated backrest operated by remote control.
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- Thick bonded leather-faced in a choice of 4 colours.
- Delivery is included!
The Fine Print
- One per person.
- May buy multiples as gifts.
- Voucher valid until 23rd July 2014.
- Delivery to UK mainland only.
- Please allow up to 10 working days for delivery after redeeming.
- Subject to availability.
Full Details
If you've always wanted to spin around in a big swivel chair while stroking a Persian cat, just wait 'til you see what else you can do with today's deal…
We're offering you a reclining leather-faced swivel chair with 8 vibrating massage functions for just £89.99, saving you 55% off Tiny Home Store's price of £199.99 (correct as of 1.6.14).
Designed with both comfort and style in mind, this leather and PVC swivel chair comes with a 6-point vibration massage and recline function and is perfect for the home or office. The 8 massage functions and heated backrest feature can be used to target different parts of the back and shoulders as you work, sit or simply relax – all at the touch of a button! Once you've found the perfect setting, the remote control can be stored in the integrated leather pouch, made to match the chair's thick bonded leather (in your choice of black, brown, cream or red). Better yet, the recline and tilt function can be locked to any position, so you won't experience any Dr Evil-type mishaps as you lounge around - cat or no cat.
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- When you've bought we'll send you your unique wowcher code.
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- Select your colour.
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Once purchased, you can redeem this wowcher towards another wowcher or claim a Wowcher Wallet Credit. Click here for more info.
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I hope this answers your question. Also to answer your next question, yes I do know where to find all the SBS.
You can find up to volume 71 here: http://onepiece.wikia.com/wiki/SBS
I Love You!
Alright i went back as far as page 130 and i didn't find anyone asking this. Anyone have an idea who Makino's baby Daddy is? Oda was asked the question in the SBS and he simply said "It has to be that guy" Who is that guy? Shanks? Garp?? one last romp with Ace before he was killed???


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Not Available
Wingback Convertible Rocker & Ottoman
- Overview
- Expertly crafted with a kiln-dried hardwood and plywood frame and extra-thick padding on the arms and back.
- Sturdy hardwood runners provide smooth, quiet motion.
- Solid wood frame uses mortise and tenon joinery and is corner blocked for structural integrity.
- Knobs on the front and back of the runners keep the chair stable as you rock or stand up.
- Add value with extra feet (sold separately) that allow you to convert this versatile piece to a traditional armchair when rocking is no longer necessary.
- Crafted in America by our own master craftsmen from local and Imported materials.
- Rigorously tested to meet or exceed the highest industry safety standards.
- Dimensions & Care
- Overall: 33" wide x 35" deep x 41" high
- Height from Floor to Armrest: 25.5"
- Seat: 29" wide at front, 21.5" wide at back x 8" thick
- Diagonal Depth: 35"
- Weight: 88 pounds
- Dust with a soft, dry cloth.
- To protect the finish, do not apply abrasives or household cleaners.
- Blot spills immediately, and wipe with a clean, damp cloth.
- Shipping & Return Info
This is an upholstered furniture item. In-stock items will usually ship within 7-10 business days for the cities listed below.
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For other areas, your items will be delivered within 2-3 weeks.
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Return Policy
At Pottery Barn Kids, we take great pride in the quality and craftsmanship of our products. Attention to design, materials, safety and construction is our priority. We carefully inspect your order prior to shipment; upon receipt, please inspect your purchase and notify us of any damage. We will arrange for a prompt replacement. If, within 7 days for Quick Ship upholstery and 30 days for all other products, you are dissatisfied for any reason, you may return your purchase for a refund of the merchandise value.
If your return for Merchandise Credit Cards is greater than $10,000, we will issue $10,000 in Merchandise Credit Cards to you that day, and then mail additional Merchandise Credit Card(s) for the amount in excess of $10,000 to you.
We cannot accept returns on monogrammed, personalized, special-order items, or on items damaged through normal wear and tear. We also cannot accept returns of final-sale items, which are identified by a price that ends in $0.99.
For returns of items purchased from your Pottery Barn Kids registry, we will gladly provide a refund or exchange for the merchandise within 90 days of your event or within 90 days of purchase, whichever date is later.
For assistance, please contact Customer Service at 800.993.4923
International Returns: Online returns are available only for items that were shipped to the United States. If you would like to return items that were shipped outside the US, please see International Returns and Exceptions.


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This issue of the Trade Insights series provides analysis of notifications submitted as part of the preparation for the implementation under the WTO Trade Facilitation Agreement. Fifteen economies in the Asia-Pacific region have already submitted Category A notifications, i.e., the list of substantive provisions they have either already implemented or are committed to implement by the time the Agreement enters into force.
This report comes from the Asian and Pacific Conference on Gender Equality and Women's Empowerment: Beijing+20 Review, 17-20 November 2014, Bangkok.
The current paper provides a review of natural disasters and their impacts in Asia and the Pacific by disaster type, subregion and level of development. The first section looks at the occurrence of natural disaster events. This is followed by an analysis of fatalities and economic loss in sections two and three respectively. The short-term consequences of natural disasters on the economy are also mentioned. The final section briefly discusses aspects regarding exposure and vulnerability of countries in Asia and the Pacific.
This issue of the Trade Insights series identifies Asia-Pacific LDCs and LLDCs with export-portfolios and economies which are at greatest risk from the recent collapse in global commodity prices. Asia-Pacific LDCs and LLDCs account for less than 2% of global commodity exports and just 7% of Asia-Pacific commodity exports; however many these economies have export-portfolios which are highly concentrated in one or two major commodities: mainly crude oil, natural gas, aluminum, iron ore/steel, cotton and copper.
This study on "Disasters in Asia and the Pacific: 2014 Year in review", developed by the Information and Communications Technology and Disaster Risk Reduction Division of ESCAP, provides an overview of natural disasters in the Asia-Pacific region and its impacts. Although there were no major disasters in 2014, over half of the world's natural disasters occurred in the region. Hydro-meteorological hazards were the most frequent, causing most fatalities and economic losses.
Migration has economic, social, environmental and political implications in both countries of origin and destination. There is growing recognition that policy interventions which foster a link between migration and decent employment can promote sustainable development. However, across Asia and the Pacific there is a lack of high-quality migration statistics which form the foundation for designing, monitoring and evaluating policies. Without detailed, disaggregated migration statistics it is impossible to determine the costs versus the benefits of migration-related policy interventions.
Water is vital to human lives, as well as fundamental to all development issues. Asia and the Pacific are facing serious challenges both in terms of the quantity and quality of water in sustaining its long term economic growth prospects and achieving sustainable development.
The "Quick Guide for Policy Makers on Pro-Poor Urban Climate Resilience in Asia and the Pacific" focuses on the need to enhance understanding of the region's key urban stakeholders on climate change, discusses how it affects efforts to realize sustainable urban development, and explores what actions can be taken to synergize continued commitments to poverty reduction alongside urban climate resilience.
Myanmar holds considerable promise, for businesses both domestic and foreign, as well as for development practitioners, confident of seeing a rapid transformation in economic conditions and quality of life in general. Nevertheless, while the country has attracted substantial interest from around the world, there are still many gaps in knowledge. In-depth information about the conditions facing the private sector, as well as the perspectives of the various members of the private sector, is still in the process of being uncovered.
This issue based on the Statistical Yearbook 2014 (http://www.unescap.org/resources/statistical-yearbook-asia-and-pacific-2014), released on 9 December 2014. It highlights some of the social issues and policy challenges in Asia and the Pacific, some of the links between these issues, and the role of data in making better decisions in future to ensure no one is left behind.
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By Brendan Conway
Hedge-fund investors took their collective foot off the gas in April, according to the latest data from BarclayHedge and TrimTabs Investment Research. They handed over a net $430 million to hedge funds during April, which was only about half the March tally.
The data, based on information from nearly 3,400 funds, also shows an April return of 0.6%, which is a third of the S&P 500′s performance that month.
But don't blame equity funds. From the two firms:
The TrimTabs/BarclayHedge Hedge Fund Flow Report noted that stock-picking hedge fund managers performed well, just as they did over the past 12 months.
"Equity Long Only hedge funds rose 4.4% in April, making them the best performing of 13 major fund categories," said Sol Waksman, president and founder of BarclayHedge. "Fixed Income and Multi-Strategy continue to be the only strategies to post inflows in the past 12 months."


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1. General. The ASIMO DESKTOP WIDGET is made available to you for your personal use in compliance with all applicable laws, rules and regulations. Honda Motor Co., Ltd. ("Honda") reserves the right to refuse or discontinue participation to any applicant at any time in its sole discretion.
2. Permitted License Uses and Restrictions. This License allows you to install and use one copy of the ASIMO DESKTOP WIDGET Software on a single computer at a time. This License does not allow the ASIMO DESKTOP WIDGET Software to exist on more than one computer at a time, and you may not make the ASIMO DESKTOP WIDGET Software available over a network where it could be used by multiple computers at the same time. You may make one copy of the ASIMO DESKTOP WIDGET Software in machine-readable form for backup purposes only; provided that the backup copy must include all copyright or other proprietary notices contained on the original. Except as and only to the extent expressly permitted in this License or by applicable law, you may not copy, decompile, reverse engineer, disassemble, modify, or create derivative works of the ASIMO DESKTOP WIDGET Software or any part thereof. THE ASIMO DESKTOP WIDGET SOFTWARE IS NOT INTENDED FOR USE IN THE OPERATION OF NUCLEAR FACILITIES, AIRCRAFT NAVIGATION OR COMMUNICATION SYSTEMS, AIR TRAFFIC CONTROL SYSTEMS, LIFE SUPPORT MACHINES OR OTHER EQUIPMENT IN WHICH THE FAILURE OF THE ASIMO DESKTOP WIDGET SOFTWARE COULD LEAD TO DEATH, PERSONAL INJURY, OR SEVERE PHYSICAL OR ENVIRONMENTAL DAMAGE.
3. Transfer. You may not rent, lease, lend or sublicense the ASIMO DESKTOP WIDGET Software.
4. Termination. This License is effective until terminated. Your rights under this License will terminate automatically without notice from Honda if you fail to comply with any term(s) of this License. Upon the termination of this License, you shall cease all use of the ASIMO DESKTOP WIDGET Software and destroy all copies, full or partial, of the ASIMO DESKTOP WIDGET Software.
5. Disclaimer of Warranties. YOU EXPRESSLY ACKNOWLEDGE AND AGREE THAT USE OF THE ASIMO DESKTOP WIDGET SOFTWARE IS AT YOUR SOLE RISK AND THAT THE ENTIRE RISK AS TO SATISFACTORY QUALITY, PERFORMANCE, ACCURACY AND EFFORT IS WITH YOU. THE ASIMO DESKTOP WIDGET SOFTWARE IS PROVIDED "AS IS", WITH ALL FAULTS AND WITHOUT WARRANTY OF ANY KIND, AND HONDA HEREBY DISCLAIMS ALL WARRANTIES AND CONDITIONS WITH RESPECT TO THE ASIMO DESKTOP WIDGET SOFTWARE, EITHER EXPRESS, IMPLIED OR STATUTORY, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES AND/OR CONDITIONS OF MERCHANTABILITY, OF SATISFACTORY QUALITY, OF FITNESS FOR A PARTICULAR PURPOSE, OF ACCURACY, OF QUIET ENJOYMENT, AND NON-INFRINGEMENT OF THIRD PARTY RIGHTS. HONDA DOES NOT WARRANT AGAINST INTERFERENCE WITH YOUR ENJOYMENT OF THE ASIMO DESKTOP WIDGET SOFTWARE, THAT THE FUNCTIONS CONTAINED IN THE ASIMO DESKTOP WIDGET SOFTWARE WILL MEET YOUR REQUIREMENTS, THAT THE OPERATION OF THE ASIMO DESKTOP WIDGET SOFTWARE WILL BE UNINTERRUPTED OR ERROR-FREE, THAT THE ASIMO DESKTOP WIDGET SOFTWARE WILL BE COMPATIBLE WITH THIRD PARTY SOFTWARE, THAT THROUGH THE ASIMO DESKTOP WIDGET SOFTWARE ACCESSING THE INTERNET TO DOWNLOAD NEWS ITEMS YOU INCUR COSTS OR REDUCED NETWORK PERFORMANCE, OR THAT DEFECTS IN THE ASIMO DESKTOP WIDGET SOFTWARE WILL BE CORRECTED. NO ORAL OR WRITTEN INFORMATION OR ADVICE GIVEN BY HONDA OR AN HONDA AUTHORIZED REPRESENTATIVE SHALL CREATE A WARRANTY. SHOULD THE ASIMO DESKTOP WIDGET SOFTWARE PROVE DEFECTIVE, YOU ASSUME THE ENTIRE COST OF ALL NECESSARY SERVICING, REPAIR OR CORRECTION. SOME JURISDICTIONS DO NOT ALLOW THE EXCLUSION OF IMPLIED WARRANTIES OR LIMITATIONS ON APPLICABLE STATUTORY RIGHTS OF A CONSUMER, SO THE ABOVE EXCLUSION AND LIMITATIONS MAY NOT APPLY TO YOU.
6. Limitation of Liability. TO THE EXTENT NOT PROHIBITED BY LAW, IN NO EVENT SHALL HONDA BE LIABLE FOR PERSONAL INJURY, OR ANY INCIDENTAL, SPECIAL, INDIRECT OR CONSEQUENTIAL DAMAGES WHATSOEVER, INCLUDING, WITHOUT LIMITATION, DAMAGES FOR LOSS OF PROFITS, LOSS OF DATA, BUSINESS INTERRUPTION OR ANY OTHER COMMERCIAL DAMAGES OR LOSSES, ARISING OUT OF OR RELATED TO YOUR USE OR INABILITY TO USE THE ASIMO DESKTOP WIDGET SOFTWARE, HOWEVER CAUSED, REGARDLESS OF THE THEORY OF LIABILITY (CONTRACT, TORT OR OTHERWISE) AND EVEN IF HONDA HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES. SOME JURISDICTIONS DO NOT ALLOW THE LIMITATION OF LIABILITY FOR PERSONAL INJURY, OR OF INCIDENTAL OR CONSEQUENTIAL DAMAGES, SO THIS LIMITATION MAY NOT APPLY TO YOU.
7. Controlling Law and Severability. This License will be governed by and construed in accordance with the laws of Tokyo, Japan, as applied to agreements entered into and to be performed entirely within Tokyo between Tokyo residents. This License shall not be governed by the United Nations Convention, the application of which is expressly excluded. If for any reason a court of competent jurisdiction finds any provision, or portion thereof, to be unenforceable, the remainder of this License shall continue in full force and effect.
8. Complete Agreement; Governing Language. This License constitutes the entire agreement between the parties with respect to the use of the ASIMO DESKTOP WIDGET Software licensed hereunder and supersedes all prior or contemporaneous understandings regarding such subject matter. No amendment to or modification of this License will be binding unless in writing and signed by Honda. Any translation of this License is done for local requirements and in the event of a dispute between the English and any non-English versions, the English version of this License shall govern.
Read and agree to the terms of use, and click the "INSTALL NOW" button.


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Both of tonights sides wind up with a difficult away and home schedule, Warriors away to Treviso then home to Connacht while Munster must travel to Parc Y Scarlets before hosting, whisper it, Ulster, in their final game.
And neither should allow themselves to be distracted by earlier events in Galway where Connacht host Ulster (5.15 ko).
This evening, the momentum is unquestionably with the visitors. They are undefeated in their last six matches in the RaboDirect PRO12 and furthermore have only been beaten once, 16-14 away to Scarlets, since mid September.
Injury accounts for three of the six changes Sean Lineen makes to the side that thumped Cardiff Blues last time out but there's a return at number 8 for Johnnie Beattie, in in place of Ryan Wilson.
Seven of those who were involved in the 23 against Ulster last weekend are unavailable to Tony McGahan through injury and that might, in a perverse sort of way, act in their favour, helping to negate the hangover of that defeat.
Luke O'Dea comes onto the right wing in the place of Denis Hurley (leg injury) and there's no doubt O'Dea knows how to find the tryline as he's shown in the RaboDirect before, and more recently in the Britsh & Irish Cup semi final win over Leinster.
Ian Keatley comes in for the injured Ronan O'Gara and is partnered by Tomas O'Leary, O'Callaghan teams up with another 200+ capper Mick O'Driscoll in the second row and there's a reshuffled back-row, Peter O'Mahony moving to number 8 in place of James Coughlan (broken hand) and Donnacha Ryan in at blindside wing forward.
RaboDirect PRO12 games may lack the aura of the Heineken Cup ones. And the difference in intensity was evident last weekend. So too the consequence of defeat.
But this game tonight will lack nothing in either of those areas.
Munster: F Jones; L O'Dea, J Murphy, L Mafi, S Zebo; I Keatley, T O'Leary; W du Preez, M Sherry, S Archer; D O'Callaghan, M O'Driscoll capt; D Ryan, T O'Donnell, P O'Mahony. Replacements: D Varley, M Horan, J Ryan, B Holland, P Butler, C Murray, S Deasy, I Dineen.
Glasgow Warriors: P Murchie; F Aramburu, S Hogg, A Dunbar, C Shaw; R Jackson, C Cusiter; J Welsh, P MacArthur, M Cusack; R Gray; A Kellock (capt); R Harley, C Fusaro, J Beattie. Replacements: D Hall, R Grant, M Low, T Ryder, C Forrester, H Pyrgos, D Weir, T Seymour.
Referee: N Owens (Wales).


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- MS in Finance - Financial Analysis
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Argosy University offers doctoral, master's, and bachelor's degree programs to students through its eight colleges: College of Behavioral Sciences, Graduate School of Business and Management, College of Education, College of Health Sciences, College of Arts and Sciences, College of Creative Arts and Design, College of Clinical Psychology and Western State College of Law at Argosy University as well as certificate programs in many areas.
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Liberty University provides a world-class education with a solid Christian foundation, equipping men and women with the values, knowledge, and skills essential for success in every aspect of life.


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Each month, direct to your email inbox, we'll send the best camping news, tips, recipes and more, to enhance the camping lifestyle that you love so much. Learn More
Breakfast takes on a Louisiana spin with this easy slow cooker bake.
Milton / Madison SE KOA brings a new location to the state of Wisconsin.
No matter the time of year or the weather these TV shows and movies are sur...
Plan the perfect trip from home or on the road with the official KOA app. Learn More
Open April 1 - October 31
Reserve: 800-562-5784
Info: 608-846-4528
4859 County Road V
De Forest, WI 53532Get Directions
Exit 126 off I-90/94/39 (DANE-DeForest Exit) on Hwy V. We are located just 1/4 mile East of the interstate on the South side of Hwy V.
If using a GPS and it does not direct you to Exit 126 off the interstate, please use this address: 911 W. North St.,
De Forest, WI 53532. This will bring you to the entrance to our driveway.
If you are heading East from MN on Interstate 94 please be aware that the exit numbers change when you merge with Interstate 90 at Tomah, WI.Get Google Directions
Camper Rating 4.5 out of 5


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Ralph Lauren Collection Irina Patent Leather Penny Loafer
Sorry, this item is sold out!
Looks like you've got more shoe shopping to do - have fun!
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Item # 286711
An American legend, the Ralph Lauren Collection brings quality and creation together. You can expect nothing less than perfect casual style when you step out in the patent leather Irina.
- Patent leather upper
- Penny keeper detail
- Round toe
- Fully lined in leather
- ½" block heel
- Leather sole
- Made in Italy
- View more Women's Ralph Lauren Collection Shoes
- Online Exclusive!
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Everyone has an opinion. Here's your chance to share yours! Be the first to write a review of this product and help your fellow shoppers pick the best of the best.


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Spruce up your hotel room with Ecoya Travel Tin. This conveniently-sized candle lets off a light fragrance to enrich any environment, making your travels all the more pleasurable and scent-sational.
A natural alternative to paraffin wax candles, Ecoya candles are hand-poured by Australian master candle makers using pure cotton lead free wicks and only the finest fragrances and essential oils.
Free of: Lead, paraffin
Essential Elements: Candle is set in a tin case. Up to 15 hours burn time. Scents available in Sweetpea & Jasmine, Vanilla Bean, Wild Frangipani, French Pear, Lemongrass & Ginger and Lotus Flower.
Product NotesView All Ecoya View All Home Fragrance
|Travel Tin Candle-French Pear-2.1 oz
|Currently Unavailable
Please choose which cart you want to add the item.
By choosing one of the above, you are able to shop for both yourself and a registrant at the same time. Once you are ready to checkout your items will be waiting for you in both your personal and registry shopping carts.
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Please contact us at (1-888-696-0423)


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Store Locator
Store Locator
Aldi in MO
-> Aldi in Lebanon,MO 65536
Store Details:
668 S Jefferson Ave
Lebanon, MO 65536
Get Map and Direction
Store Hours:
Monday-Friday: 9am - 8pm
Saturday: 9am - 8pm
Sunday: 10am - 7pm
Back to list of Aldi Stores in Lebanon,MO
Aldi short for "ALbrecht DIscount", is a discount supermarket chain.
ALDI entered the U.S. market in 1976, with a handful of stores in southeastern Iowa. Now, nearly 1,000 U.S. ALDI stores are spreading the savings from Kansas to the East Coast. In its 2008 report, Progressive Grocer ranked ALDI 25th in U.S. grocery chains in terms of gross sales--considerable accomplishment given our limited assortment and low prices.
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My name is Owen Olsen and I am running for school board representing District 5 which includes Cleveland, Emery and Green River. I have lived in Cleveland for the past 32 years. I worked in the education field for 21 years and have been retired for two years. I feel that my experiences have given me an appreciation for the system and how it works.
I spent 1968 fighting in Vietnam for the right to choose. Since that time I have witnessed election after election where a candidate ran unopposed. Our system of government is set up in so that we, the voters, are entitled to a choice.
Therefore, I am running to give the people a choice. I am also running because I feel that tax monies allocated for education should be used for the purpose of educating children. I have a strong respect for those people who are in the trenches each day trying to do their jobs-principals, teachers, secretaries, maintenance workers, cooks, bus drivers, and custodians.
If elected, I will do my best to ensure these people have representation on the board. I have seen over the years the erosion of benefits to the employees and I believe that needs to stop. I have seen morale among the employees in the school district slip each year. I have seen teachers struggle to try and serve their classes and meet the many, varied needs of all their students without the help and sometimes even the materials they need.
The education system faces great challenges today and will face even more in the future. We need to be pro-active, and smart in order to meet these challenges so that our students have the knowledge and tools necessary to be successful when they enter a world that is challenging and unsure.
My name is Royd Hatt and I am a lifelong resident of Emery County, having been born and raised in Green River. I have been married to Toni for 24 years and have four children. Three of our children are still enjoying their education in Emery County Schools. My family and I are owners of Hatt's Ranch game bird ranch where we raise pheasants for a living.
I have been a school board member for 17 years now and I have enjoyed very much my working relationship with fellow board members and district staff. My leadership credentials include school board vice president and president, president, vice president and board member of the North American Game Bird Association, and ecclesiastically I have served as high counselor, bishop and currently as counselor in the stake presidency.
I have always been very involved in Emery County events, including emcee of the Miss Emery County Queen Pageant and playing opposite my son Ren in the Emery High/community production of Pirates of Penzance as the pirate king.
I love this county and I would consider it a privilege and honor to continue serving as a representative of every citizen, taxpayer, parent and most of all student of Emery County. Your vote for Royd Hatt on Nov. 7 will be a vote for a man of integrity, working for Emery County students.


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Sarah Baird Slaven, a current Somerset Community College student, wanted to further her education after she graduated from McCreary Central High School in 2010. She didn't, however, want to venture too far from home.
"I considered other schools, but going to SCC was really appealing to me," said Slaven. "I knew others who were going to school here and I was able to take advantage of scholarship opportunities here, making my decision easier."
Slaven, a native of Strunk, said one thing she has benefited from most while attending SCC is the personal relationships with other students, faculty and staff.
"I've learned to be more outspoken," said Slaven, who indicated she was fairly shy before college. "I learned to jump in and get to know more people. I've now had the opportunity to participate in leadership training and I think I've had a great start to my education and future career."
Slaven has indeed jumped in and become involved with SCC, not only at her "home"
center in McCreary County
, but also at the
SCC Campuses. She currently serves as a
student ambassador
for the college and is the president of
Phi Theta Kappa
, the honor society for two-year higher education institutions.
In her leadership role with Phi Theta Kappa, Slaven has been active in forming a college and a community project. The college project is focused on college completion. The chapter is conducting workshops and is embarking on a campaign to actively encourage all SCC students to complete a college credential of some sort.
On the community side, the chapter conducted research after area wet/dry elections. A Soapbox Forum was then held at SCC to examine the social and economic impact of going wet in a rural community.
In addition, Slaven also works as a
for math, a job that will come in handy has she prepares to transfer to Eastern Kentucky University in the fall to pursue her dream of becoming a middle school math teacher.
"I'm not one of those people who just naturally 'gets' math," Slaven said. "It's hard for me, but I love a challenge and I enjoy helping others work through their challenges. I look at mathematics like a puzzle, and I like putting the pieces together."
Slaven and her husband, Brandon, reside in Strunk. Slaven is the daughter of Gordon and Regina Baird.
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Fort Wayne is the principal city of the Fort Wayne Metropolitan Statistical Area, a metropolitan area that encompasses Allen, Wells, and Whitley counties, for an estimated population of 414,315. In addition to those three counties, the Fort Wayne ¢ Huntington ¢ Auburn CSA, a combined statistical area, includes Adams, DeKalb, Huntington, and Noble counties, for a population of 610,015.
Under the direction of American Revolutionary War statesman General "Mad" Anthony Wayne, the United States Army built Fort Wayne last in a series of forts near the Miami Indian village of Kekionga in 1794. Named in Wayne's honor, Fort Wayne established itself at the confluence of the St. Joseph River, St. Marys River, and Maumee River as a trading post for European settlers. The village was platted in 1823 and experienced tremendous growth after completion of the Wabash and Erie Canal.
By the 21st century, Fort Wayne's economy was based on manufacturing, education, insurance, health care, logistics, and defense and security. The city has been an All-America City Award recipient in 1982, 1998, and 2009.


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With Sandy Hook still fresh in everyone's minds, as well as other recent shootings, gun safety awareness has reached even the small towns in the Midwest.
Immediately after the Sandy Hook shooting parents and administrators were somewhat nervous and discussions were implemented by the administrators on how to handle just such a situation here. Of course, the big issue is not just about safety, but keeping the guns out of the schools in the first place.
Although not gun related, in November of 2012 the Jasper County Community Unit 1 District had a bomb threat made to the high school. After that incident school safety policies were reviewed and meetings were held on how to improve the safety at the schools.
Visitors to the schools are asked their name and 'buzzed in' before entering the schools. All visitors have to sign in at the main offices and will be given a visitors pass before being allowed to walk the halls of our schools. Classrooms are numbered and phones are available in the classrooms.
Jasper County Community Unit 1 Superintendent Dan Cox stated, "There have been no policy changes in regards to guns and school safety. We have increased communication with our staff as well as with the First Responders in the community."
Metal detectors would be an increased cost to the schools and the taxpayers and school gun safety programs are also costly. In many communities a call for stiffer gun control laws has been suggested.
While all the above are good ideas, there are other ways to implement a safety 'program' for the schools.
Cox continued, "We have Newton City Police Officers and Jasper County Sheriff's Officers as well as Illinois State Police that casually drop by our schools to see how things are going. This is a positive presence of law enforcement."
Location, ST | website.com


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Clifford O. Hagan Player
Inducted in 2006
Naismith Memorial Basketball Hall of Fame Inductee 1978
Quick and strong, with one of the best hook shots in the game, Hagan played for the legendary Adolph Rupp and led the Kentucky Wildcats to an 86-5 record, including a 25-0 record in the 1954 season. He played for 13 pro seasons, ten with the NBA's St. Louis Hawks and three with the ABA's Dallas Chaparrals. Hagan led the Hawks to five Western Division titles and the 1958 NBA Championship.
Where They Were
University of Kentucky 1951-1954