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Anderson Cooper 360 Degrees
81 Minutes: Inside the Greatest Art Heist in History
Aired March 24, 2013 - 21:00 ET
ANDERSON COOPER, CNN ANCHOR: Hello. Welcome to this special report, "81 Minutes: Inside the Greatest Art Heist in History," the greatest in dollars and daring and in just how long investigators have been baffled. However, that could soon be changing. Here's 360's Randi Kaye. (BEGIN VIDEOTAPE) RANDI KAYE, CNN ANCHOR (voice-over): It is a beautiful and priceless collection, hundreds of millions of dollars worth of art housed inside these walls, the Isabella Stewart Gardner Museum in Boston. Visitors from all over the world come to see these masterpieces. But that's not all they're looking at. They are also looking at a crime scene, in fact, a crime scene from the biggest art heist in history, still unsolved. And this is all that's left. It is one of the art world's greatest mysteries. Who stole these priceless works of art and how have they managed to elude investigators all over the world for more than two decades? Thirteen works of art stolen, paintings by Rembrandt, Vermeer, Manet, Flinck, sketches by Degas, a Chinese bronze beaker and a finial that set on top of a Napoleonic flag, all taken in the dark of night, all together worth $500 million, $500 million, and not one has ever been found. (on camera): I'm Randi Kaye outside the Isabella Stewart Gardner Museum in Boston. This is where it all began the night of March 18, 1990. It was St. Patrick's Day weekend. There was a house party at the building right behind the museum. Some time after midnight, a group of young men left the party and spotted a car with what looked like two Boston police officers inside. They had no idea these two men weren't really police officers and no clue that just a short time later, these two men would pull off the greatest art heist in history. RICK ABATH, FORMER ISABELLA STEWART GARDNER MUSEUM GUARD: Come in, clock in. There would be two guards. KAYE: Rick Abath was one of the night watchmen on duty the night of the crime. Until now, he'd never done a television interview about what happened that night. Rick was 23 years old back in 1990. He had been working at the museum for about a year. The guard's shift began at 11:30 p.m., a shift that most nights was uneventful. ABATH: Boring, sit around, walk around, basically. One guy would go up and start his rounds, and then when he came back, the other, he would get behind the desk and the other person would go up. KAYE: On this night, things would be far from boring. During the night shift, there is always one guard manning the computer at the security desk by the side door, the employee entrance, which was the only way into the museum at night. That door was locked. So anyone who wanted to get into the museum would have to ring the buzzer. The guard on duty at the desk could see who was ringing that buzzer through a security camera perched outside right above the door. The camera is in plain sight. If there was trouble, the guard had just one way of alerting the outside world, a panic button at the security desk. But it wasn't so easy to reach. ABATH: You know, the same kind of panic button at a bank or something like that. It was up on the underside of the desk. But it was a fairly long desk and the computer that you had to be at to do your job was all the way over to the left, and it was almost all the way over to the right. So it wasn't just within arm's reach. KAYE: Still, Rick Abath never found any reason to use that panic button, that is, until the night of March 18. That night was unusual from the moment Rick arrived at work. He learned his usual partner had called in sick. They couldn't find anyone else, so they paired him with a daytime gallery guard. ABATH: When I got there, you know, my partner was there -- or -- well, I knew him. I didn't know him very well. I knew him from just around the locker room. And he was, I'm told, the only person they could get. So I figured I would take the first round. KAYE: That first round takes longer than usual. The fire alarm goes off for no apparent reason. So does another alarm on the fourth floor. After all that, Rick returns, and the gallery guard takes his turn making the rounds. The clock reads 1:24 a.m., and Rick is alone at the guard desk. Suddenly, the night takes a dangerous turn. ABATH: Cops rang the doorbell. And I could see them on the outside camera. I could see them walking down the street. I thought they were just clearing drunks off the street, because there were a lot of drunken people in the street that particular night. But then they stopped and they buzzed the buzzer. And I just kind of leaned over to the intercom and said, yes? And they said, Boston police, we got a report of disturbance on the premise. So I buzzed them in. KAYE: That decision to buzz them in is something Rick Abath has had to live with for the past 23 years. ANTHONY AMORE, SECURITY DIRECTOR, ISABELLA STEWART GARDNER MUSEUM: The night watchman, against protocol, allowed them into the museum. Anthony Amore is the security director for the Isabella Stewart Gardner Museum. He's also an active investigator on this case. He says back in 1990, no one was allowed into the museum after hours, not even police officers. But Rick, the security guard, said he'd routinely buzz in museum employees after hours, even the museum director. ABATH: I was never verbally told that, to the best of my knowledge. I know -- I'm sure there was a policy written somewhere. I'm sure it was -- but it wasn't the culture of the place for the most part. People came in and out of there fairly regularly. At least once a month, we'd let someone in. KAYE: So it was not unusual for Rick to hear that buzzer go off. On this night, Rick says he had no doubt it really was the Boston police at the entrance. ABATH: They were standing there in their pants and coats and badges and they looked like policemen, buzzed them into the museum. And one of them came right over to my desk. And one of them kind of stood in the alcove right there, just looking around, which didn't seem particularly odd to me. And he came up to me, the one guy, and they asked me -- he asked me if I was alone. And I said that, no, my partner in was off doing a round. He said, get him down here. So, I called him on the radio. KAYE: Within seconds, Rick's partner joined him at the security desk. ABATH: The cop that was dealing with me turned to me and said, don't I know you? Don't I recognize you? I think there's a warrant out for your arrest. Can you step out from behind the desk? And I'm sitting there and I looked the way I look. I don't look substantially different, other than I didn't have any white hair then. And, you know, I had my Berklee College of Music tie-dye on. I did have the Gardner security shirt on, but it was over my tie-dye and it was unbuttoned. And I was like, God, this -- OK, I know how this looks. It looks like I put these guard clothes on over my street clothes. KAYE: Here, Rick makes another grave mistake. He steps away from the security desk and away from the panic button, his only way to contact the outside world, his only way to prevent what was about to happen. ABATH: So I came out from behind the desk and I gave him my driver's license and I gave him my security I.D. and I think I was kind of singsongy, sarcastic about it, like, I really work here. And he said, up against the wall. There's a warrant out for your arrest. And so I put my hands up against the wall and he handcuffed me. He didn't frisk me. He just put a cuff on me. And that's when I heard my partner behind me shouting out, officers, why are you arresting me? Why are you arresting me? And I was just like, it's over. It's done. KAYE: In a matter of minutes, the two thieves had both night watchmen completely under their control. (END VIDEOTAPE) (COMMERCIAL BREAK) (BEGIN VIDEOTAPE) KAYE: After two thieves dressed as Boston police officers gained access to the museum, they had both night watchmen completely under their control within minutes. There was no time for either of the guards to call for help. And it seems the thieves knew it. The priceless collection of art in the museum is now theirs for the taking. It's about 1:30 in the morning, and it's time for the thieves to get down to business. ABATH: He finished cuffing me, and he cuffed my partner and very dramatically said, gentlemen, this is a robbery. You know, just do what we say and you won't get hurt. And I said, we don't get paid enough to get hurt. That kind of defused the situation a little bit. KAYE (voice-over): Rick Abath laughs about it now, but as soon as he was tied up by the two thieves, he realized how vulnerable he really was. ABATH: I was panicking. I didn't realize I was panicking. But I was completely panicking. KAYE: The thieves lead Rick and his partner down to the basement to differ different areas. Rick is taken to the boiler room and cuffed to an electrical box. His eyes and mouth were duct-taped and he feared for his life. ABATH: I was afraid that they were going to set the place on fire after they were done. That was my -- maybe because I was right across from the boiler. But that was -- my predominant fear was, God, I hope they don't burn the place down. KAYE: He couldn't see, couldn't hear. And he had no idea what was happening upstairs. All he knew was that his museum was unguarded and about to be robbed. It all happened so fast, he never had a chance to hit the one panic button by the guard desk. He knew no one was coming to help. Did the thieves know that as well? It appears they did since they were in no rush to get out. AMORE: The path is interesting. They took the guards after they handcuffed them and taped them and brought them into the basement. About 24 minutes elapsed, though, before they -- we see them again. KAYE: Motion detectors placed throughout the building picked up their trail for nearly an hour-and-a-half. But that didn't matter. Those motion detectors weren't connected to police outside. They only alert the guard sitting at the computer by the entrance, a computer that was now unmanned. AMORE: It's in this hallway where we see the first motion detectors go off. So, that's how we know that it was 24 minutes. So, it is about 1:48 and they're walking down this hallway together and they enter the Dutch Room. KAYE (on camera): Which is right there. AMORE: Exactly. And from the Dutch Room, they took six pieces. And that's where... KAYE: Including the Rembrandts. ABATH: The Rembrandt -- the three Rembrandts, the Vermeer, and the Flinck and the Chinese vessel. And that's where -- in terms of dollar value, that's where the lion's share of the theft occurred. KAYE (voice-over): These three Rembrandts, this Vermeer, this landscape by Govaert Flinck all had to be taken down from the walls in the Dutch Room. The real work had begun for the thieves. But as they get ready to remove Rembrandt's Storm on the Sea of Galilee, his only seascape, a high-pitched alarm sounds. Pulitzer Prize-winning reporter Stephen Kurkjian has investigated this case for "The Boston Globe" for decades. He first interviewed Rick Abath about the night of the crime for "The Globe" and Abath told him this alarm was designed to keep visitors from getting too close to the Rembrandt. STEPHEN KURKJIAN, "THE BOSTON GLOBE": That seascape, even if you look at prints of it now, images of it now, you will see a vision, an etching of Rembrandt himself. Art experts, art specialists, common folk knew that, and they would come up and they would point their finger close to, point out the image of Rembrandt. And if they got too close, then the alarm would sound. KAYE: Kurkjian says the thieves then smashed the alarm. KURKJIAN: That was really a compelling little detail to me, because it seemed like that worked, that, you know, if you got too close, the sound would go off. And as I went through the rest of the security that was in place at the museum, nothing else was there to guard the museum's valuables. KAYE: Like the motion detectors, this alarm was not connected to the outside world. But did the thieves know that as well? Because they didn't pack up and leave at that point. They continued on with their crime, and they took their time. One thief stayed behind in the Dutch Room and carefully removed some of the paintings from their matting and frames, although two of the Rembrandts were simply cut out of their frames. The other thief headed out of the room, back down the hallway. AMORE: Same path backwards, goes through the Early Italian Room, the Raphael Room, all the while passing incredibly priceless art, famous art, Raphaels, important Chinese pieces, Fra Angelico, and walked back to the short gallery where the thief takes five sketches Degas, and a Napoleonic finial from a top of a flag that Napoleon's first regiment carried. Throughout his actions here in the short gallery, he's going back and forth about a half-dozen times, again, passing things that any art expert would say, my God, these are two Raphaels, small and portable. Why wouldn't you take those? It's a great mystery to the theft. KAYE: Another great mystery is this painting by Edouard Manet. The oil painting was taken from the Blue Room on the first floor. AMORE: It hung right below Manet's portrait of his mother. It was about eight-by-10 and it was in a gold gilded frame and it was here. KAYE: Even though motion detectors picked up the thieves' trail by the entrance on the first floor and all throughout the second floor, there are no records of anyone entering the Blue Room. Rick Abath says in the time he worked at the museum, the motion detectors never failed. But he also says it wasn't impossible to avoid the detectors. In fact, he knew exactly how to do that. It was a game he used to play at night to help pass the time on his rounds. ABATH: You would walk in all kinds of crazy ways going -- some places, you would have to go around the perimeter of the room or you would have to go right through the center, you would have to duck down, or you would have to kind of squat and waddle, and do all these different stuff. KAYE: It's something straight out of the movies, like this scene from "Ocean's 12." The motion detectors at the Gardner Museum were not nearly as complicated as that. Still, the thieves still seemed to know how to evade them. But another question emerges: Why would they bother doing so only in the Blue Room, where just one painting was stolen? Unless they weren't the ones who actually took the Manet out of the Blue Room that night. The thieves made off with the printed records of the motion detectors, though they left the computer, which saved all of the information on its hard drive intact. Meanwhile, all of this time, Rick Abath is waiting in the pitch dark, scared to pieces in the museum basement. As he waited for something to happen next, he suddenly realized someone was staring at him. ABATH: Either through sweating or struggling or both, at some point, the duct tape had slipped down. So I could see a little bit over the duct tape, kind of. And at one point, somebody did come and check on me. Somebody was standing at the end looking down at me. But they didn't say anything. And I -- it spiked me up again. I was freaking out again, but trying not to, like, oh, my God, I have to pretend I can't see this person, because that would definitely not be good if they realized I could see them. KAYE: Rick says he had lost track of time and wasn't sure exactly when the thief came to check on him. That was the last he'd see of them. Their job was done. But remember the video camera perched outside the door where they entered? The thieves must have known it was there and must have known where it was hooked up to, because before they left the museum, they made one last move to be sure nobody ever recognized them. AMORE: There was a point where they kicked open a door, pried open a door, broke it pretty badly, and took the videotape we had, the only evidence of what they looked like, from the security director's office. KAYE: At 2:41 a.m., the door to the museum opens and closes, and then opens and closes again four minutes later. It must have taken the thieves those two trips in and out to load up the art. Then, just as suddenly as they arrived, the thieves were gone. KURKJIAN: Once they leave, they're never heard from again. KAYE: Rick Abath's fear that the thieves were going to burn down the museum prove to be unfounded. The museum was left largely unharmed. But 13 of the greatest works of art, worth about half-a- billion dollars, were missing. Rick says he just remembers waiting and waiting and waiting. Police found him the next morning. ABATH: The police came around the corner with flashlights, and the guy seemed surprised and screamed out, whoa, we have got another one. And I was just, like, cut me off this F-ing box, because my hands had fallen asleep a long time ago. KAYE: Rick was relieved to be found and to be alive. But he knew almost immediately that he was a suspect. ABATH: I knew I would. I mean, I opened up the door, you know. I mean, once I sat down with the FBI, I think the first thing I said was, what do you want to know? Because I knew. I mean, well, I'm the guy who opened up the door. They're obviously going to be looking at me. The FBI certainly was looking at him. Was it an inside job? How else could the thieves have pulled this off? And who else did the FBI suspect? (END VIDEOTAPE) (COMMERCIAL BREAK) (BEGIN VIDEOTAPE) KAYE: Dawn, and the damage was done. When security guards showed up for their regular morning shift and rang the buzzer, as they always did, they knew immediately something was wrong. They called their supervisor and soon the Boston police and the FBI were on the scene. Reality sunk in; $500 million worth of art was gone. (voice-over): There was no trace of the thieves. Authorities got an idea of what the bad guys looked like from the two night watchmen, the only ones to see the thieves up close. But it all happened so fast. They were tied up and blindfolded within minutes. Watchman Rick Abath gave this description of the guards to a sketch artist. ABATH: So, the guy who was dealing with me was kind of taller and skinny and was wearing his gold-framed, like, round glasses, if I remember correctly. And he had a mustache. And I remember before he arrested me, that it looked really greasy. I remember thinking that was really -- he was using some funky kind of wax on that thing or something on that. It was probably a fake mustache. KAYE: But the descriptions from Rick and the other guard didn't satisfy the FBI. Even Rick admits the sketch they produced didn't really look like either of the two men. ABATH: I remember at the time thinking, there's no way they're going to catch these people from this. GEOFF KELLY, FBI BOSTON: Unfortunately -- and that's one of the frustrating aspects of this case is the descriptions that were given were very vague, very generic. KAYE: Geoff Kelly from the FBI's Boston office is the lead agent in this case. Without a good description and virtually no other public information about the thieves' identity, the investigators begin to focus their attention on the museum employees. KELLY: These guys had a very -- they had a level of comfort in that museum that really points to the fact that, if it wasn't an inside job, they definitely had inside information. KAYE: Both the FBI and the museum security director are stuck on the fact that the thieves spent 81 minutes inside the museum. Anthony Amore says that is eight times as long as the typical art theft. AMORE: There was a covert button, just like you would see in a bank, and the thieves knew somehow that that hadn't been hit as evidenced by how much time they spent in the museum. KAYE (on camera): They were not at all concerned, 81 minutes, that the police were on their way. AMORE: Clearly not concerned that the police were coming. So how they knew that the guard didn't hit that alarm is a mystery to me. KAYE (voice-over): But did the thieves really know the alarms had not been set off? Or could that be why they waited a while to start dismantling the art? Remember, motion detectors didn't pick up the thieves' trail until 24 minutes after they entered the museum. ABATH: Apparently, there was a half-hour between -- 20 minutes between when they tied us up and when they actually headed into the galleries to start doing it. And I have seen a lot of people questioning like, well, what were they doing? And I'm thinking, they were probably waiting to see if I did press the panic button. They were probably waiting to see if the cops were going to show up. KAYE: According to the FBI, nearly nine of every 10 museum heists have an inside component. Rick Abath, the guard who let the thieves in, was interrogated for days. He also took lie-detector tests. He was never charged with anything. And when we talked with him, he maintained he had nothing to do with the heist. And what about the regular night watchman who called in sick that night? Rick remembers, after he buzzed the thieves into the museum, they asked him if he was alone. ABATH: I wonder if that -- are you here alone? Because there were provisions for a single guard to be here. I have wondered if "Are you here alone" meant "did they get anybody to come in?" But I don't know. KAYE: But that night watchman, the one who called in sick, was never charged, either. In fact, no museum employee has ever been charged with anything in connection with the crime. Though investigators say no one has been completely cleared, either. So with no apparent connections with museum employees, who else could have been involved? Notorious art thief Miles Connor was already a known figure among art thieves in Boston. In 1975, he stole a Rembrandt from a Museum of Fine Art. But in 1990, at the time of the Gardner theft, he was in jail, and no known connections were ever found. Mobster David Turner from Boston also was considered a possible suspect, with various publications pointing out the resemblance between the FBI sketch and Turner. But no definitive evidence linking Turner to the heist has ever surfaced. Boston crime boss Whitey Bulger was also rumored to be involved, with speculation he stole the artwork in order to smuggle it over to the IRA, the Irish Republican Army. GEOFF KELLY, FBI BOSTON: Certainly, if you're looking at Boston, which has a huge Irish population, and in -- it's not unusual or you wouldn't be incorrect in assuming that there might be some connection to the IRA. The IRA Has done it before, where they've taken paintings and basically ransomed them back for money. They've done this in the past. And because of the connection to Boston, it's not -- it's improbable. But, again, like many of the other theories, there's been nothing concrete that we've developed over the years. KAYE: The Justice Department has publicly disavowed any link between Bulger and the Gardner Museum. And so the search for the thieves continues. And, at the same time, the effort to recover priceless works of art. CHRISTOPHER MARINELLO, EXECUTIVE DIRECTOR, INTERNATIONAL ART LOSS REGISTRY: This is the creme de la creme of art recovery. KAYE: Christopher Marinello is an investigator and executive director of the International Art Loss Registry, the world's largest database of stolen art. He's been waiting to see if any of the stolen art from the Gardner Museum has come up for sale anywhere in the world. After all, if the thieves are after money, they will try and sell the art. So Marinello watches and waits. MARINELLO: We'd probably be the first ones to know about it. We do explore a lot of leads. We pass on those leads to law enforcement and let them run with it. KAYE: Investigator Robert Whitman says when it comes to stealing art, the actual theft is the easy part. Once they have the goods, they need to know how to sell it without getting caught. ROBERT WITTMAN, ART CRIME INVESTIGATOR: That's the next step. And if they're going to sell it, it's like a car. It's not like that. The market for these artworks is very small. KAYE: According to Wittman, nearly all stolen, high-end artwork is eventually recovered. Investigators continued with their search, chasing down countless tips and leads. Then, in 1994, a possible breakthrough. That year, the museum director received a mysterious, un-signed letter post- stamped from New York. The anonymous writer said he had access to the stolen art and would barter them back for 1 percent of their value. STEPHEN KURKJIAN, INVESTIGATIVE REPORTER: The writer asked for two things. One was that the investigation stand down. What he meant by that was he was worried that those people who would facilitate -- help him facilitate the return, would get arrested. And if he couldn't assure them fully that no one was going to get arrested here, that -- then the deal was off. And the second thing he asked for was that an indication come from the museum that they were willing to engage the FBI and go for serious negotiations here. KAYE: The indication the writer asked for was this. The No. 1 printed in the "Boston Globe" Sunday currency table next to the Italian lira. The museum complied and printed the secret signal and then they, and investigators, waited. KURKJIAN: A short time later, they received a second memo. "Thank you very much. I appreciate the willingness to engage. I saw the one. However, I must tell you that we are still worried that they have not stood down." That the FBI has not stood down. KAYE: The hot lead went cold fast. The museum never heard from that person again. But another lead was surfacing, this one pointing straight to Hollywood. (COMMERCIAL BREAK) KAYE: What happened inside this museum nearly 23 years ago baffles investigators to this day. They haven't been able to catch the thieves, and $500 million worth of art seems to have vanished without a trace. KURKJIAN: I like to say it was Boston's last, best secret. KAYE (voice-over): Boston's last, best secret. Who stole the 13 works of art from the Isabella Stewart Gardner Museum, and where are they now? It is a question that continues to puzzle museum security director Anthony Amore. (on camera): What it is about this case that keeps you up at night, that just doesn't sit right with you? ANTHONY AMORE, FORMER MUSEUM SECURITY DIRECTOR: There were lots of quirky things about it. Every time you turn around, there's a different, interesting fact that you find. KAYE (voice-over): One of the biggest questions for Amore: Why did the thieves steal what they did? Remember the path of the thieves on the second floor? When they went from the Dutch Room to the Short Gallery, they bypassed valuable works of art that were small and portable and worth a lot more than some of the other art they stole. KURKJIAN: The two big Rembrandts and the Vermeer, those three pieces account for 90 percent of let's call it 500 million, 400, 500 million, whatever the mix, of the value. KAYE: Another big question, why did the thieves bother taking the golden finial that sat atop of a Napoleonic flag? At first, it seems they attempted to steal the flag itself. But it proved to be too difficult to take down. KURKJIAN: They wanted very badly to get that flag. And that's always seemed to me to be the clue that is the most interesting. And I know the FBI has spent a lot of time trying to figure that out. Visiting, talking to, associations who are involved with Napoleonic memorabilia to see was there a bounty for one of these banners? KAYE: Why did the thieves want that flag so badly? Is it possible they were given a specific list of artwork to steal? By a collector who especially loved those 13 works of art? That brings us to another theory. One that has been made popular by Hollywood. UNIDENTIFIED MALE: One million dollars, Mr. Bond. KAYE (on camera): Do you think it's possible that they're in some private gallery owned by some eccentric billionaire? WITTMAN: No. No. KAYE: Like Dr. No type character? WITTMAN: The whole idea that, you know, a collector is holding onto stolen works of art all came from that movie "Dr. No." The 007 movie, James Bond movie, 1962, where James Bond is going through Dr. No's lair. He looks over and he sees a painting hanging on the wall. OK? And that painting had been stolen the year before. That actually did happen. In 20 years, the FBI and five years since then doing these investigations, I've never run into a collector who had million-dollar paintings that were stolen. KAYE: Anthony Amore doesn't buy the Dr. No theory, either. AMORE: My gut instinct is that it's not far. Typically, when art is stolen, it doesn't get moved very far. If I had to guess, I would think it's still in New England. KAYE: Since 2003, the U.S. attorney's office has offered complete immunity to anyone who came forward with information on the paintings. And the museum is offering a $5 million award. That's a lot of money on the table. So why hasn't anyone come forward? KELLY: The other alternative, and it's a strong one, is that whoever has them just is waiting for the right time. And it's not a question of the $5 million or immunity. It's a question of this individual might get jammed up on some other unrelated crime and he or she might feel that this is their trump card to get out of prison. KAYE: Stolen art can be a get-out-of-jail free card for criminals, which is why the notorious Whitey Bulger was looked at with suspicion for a while. And more recently, just last year, authorities searched the home of alleged mobster Robert Gentile, who was in prison on drug and weapons charges. They found no sign of the artwork, and Gentile remains behind bars. There are some who don't completely buy this theory. Former FBI Agent Robert Wittman is one of them. WITTMAN: My personal opinion, just from experience, I think some of it has been dispersed in different places. And I think it's still possible that -- it's possible that the Vermeer and the Rembrandt could be in western Europe. KAYE: Wittman's theory is based on a 2006 lead the FBI called Operation Masterpiece. WITTMAN: It was resurfacing somewhere in the south of France at that time. They were being offered for sale for approximately $30 million at that point. KAYE: Hoping to crack the case, Wittman went undercover as an interested buyer. And although the FBI did recover over $65 million worth of stolen art during that operation, not a single piece turned out to be stolen from the Gardner Museum. But that doesn't mean that the people offering the artwork didn't have it. In fact, they talked specifically about selling the missing Rembrandt seascape and the Vermeer. WITTMAN: The case was close to possibly recovering some pieces. The reason I say that is because I've worked for this almost 20 years at that point. Through my experience, I think that, you know, these people were talking in reality. They were talking about the things they really had. KAYE: But that was nearly seven years ago. And Wittman fears the paintings could be anywhere by now. For art crime investigators, this Gardner artwork has become the holy grail. MARINELLO: I think that everybody that knows about art theft and art recovery knows these 13 items. They've been widely publicized. I think these pieces are unsalable in today's marketplace. KAYE: If that's true, then what will become of them? How will investigators ever find them? With offers of immunity ignored and the $5 million reward disregarded, the mystery only deepens. (COMMERCIAL BREAK) KAYE: The Isabella Stewart Gardner Museum is considered one of the finest institutions in Boston. So when two men posing as Boston police officers made off with 13 works of art, it became priority No. 1 for investigators working the case. Their goal has always been to return the stolen artwork to where it belongs. But even if they do one day, what may always haunt them is how the thieves knew the museum was so vulnerable. (voice-over): For 23 years, these empty frames have hung on the walls of the Isabella Stewart Gardner museum. But they are more than just evidence of a remarkable crime. They are a sign of hope, placeholders for when the paintings return. All these years, one thing investigators haven't been able to figure out, besides where the artwork may be, is how did the mastermind behind this heist know security was so thin at the museum? Just two night watchmen, one panic button, motion detectors that could be dodged and one security camera outside. Did the thieves have help from inside? Would they have been able to pull it off without inside information? Suspicion still surrounds the men on guard that night. Night watchman Rick Abath said, while he doesn't know of anyone in the museum who would have knowingly tipped the criminals to the lax security set-up, he admits it was a topic he and other guards spoke about often. ABATH: We talked about in terms of if the place got robbed or when it would get robbed. It -- the security was very much a concern. We knew there were no alarms on the paintings. There was no alarms that went outside the place other than the panic button. It was definitely a concern. KAYE: A concern that he and others would speak about in public. KURKJIAN: If you're worried about vulnerability in the security system, you can sell that. You -- and that's what I think happened here. Someone who had some interest in art made known to the criminal underworld, to a gang that he or she was familiar with, the information that this museum's security system is abysmal. And this is the components of it. How that person learned of it, whether he or she had a relationship with one of the guards, had picked it up at barroom conversation, that's yet to be determined. KAYE: To this day, no museum employee, including Rick Abath, has been fully cleared of the crime. Investigators are also still trying to determine why the thieves took what they did. And a more tantalizing question. The treasures they left behind. AMORE: Two doors down was a Michelangelo. They walked about a half dozen times by Raphaels. They walked by a Botticelli, a 500- year-old Botticelli. To think these things were bypassed, when they had all of this time, ample opportunity to take them. KAYE: And why the golden finial? A seemingly random object to steal, unless there's a connection to the lead investigated by the FBI back in 2006. That tip originated in the south of France, which could mean the mastermind behind the crime was interested in acquiring Napoleonic artifacts as well as the art. Still, so many questions, so few, reliable leads. But the trail may not be as cold as you think. MARINELLO: We do find that there's those two polar extremes. One is a very quickly after the theft, we'll locate the work because it's being offered for sale by a criminal or a handler. Or art will go underground, and we won't see it for a decade. Very little in between. KAYE: Investigator Christopher Marinello recently recovered a Matisse that was stolen 25 years ago. So he has hope the Gardner paintings will resurface. So does Anthony Amore, who has worked tirelessly, along with the FBI, to get the artwork back. (on camera): Do you think you're close? AMORE: I do. I do. I've been saying that for a couple years now. And people are going to start to wonder about me. But it's a slow process. We liken it to a needle in a haystack. But we're trying to make the haystack smaller. KAYE (voice-over): And it seems that haystack is finally getting smaller. Just this week, 23 years after the heist, the FBI announced they have identified the thieves who pulled it off. Agents refused to reveal the thieves' identities, citing an ongoing investigation. They would only say the thieves were part of a criminal organization based in New England and the Mid-Atlantic. And because it's been so long, the statute of limitations has expired. The thieves can no longer be prosecuted. And the stolen artwork? All 13 pieces remain missing. UNIDENTIFIED MALE: We have reason to believe it's likely that the artwork has changed hands several times. KAYE: Investigators are also offering the possibility of immunity to anyone who has the artworks. They just want the artwork back in good condition. Because if the paintings are stashed somewhere, perhaps hidden in an attic or behind a basement wall without the right temperature or right humidity, they will be ruined, if they're not already. It's a scenario investigators hate to even talk about, because it would likely mean these 13 masterpieces are gone forever from public view. WITTMAN: We all have a complication to maintain this material for our children. And when something like that happens, and if it's destroyed, well, we'll be letting our children down. KURKJIAN: It's stolen from the museum, it's stolen from Boston, it's stolen from America, it's stolen from the world. ABATH: I was a victim. The museum was a victim. The city of Boston was a victim. MARINELLO: It's a huge, huge theft. And we hope, one day, it will be a huge, huge recovery. KAYE (on camera): If that day ever comes and the half a billion dollars' worth of art was returned here, there would be a celebration. Only then will we finally have some answers as to how these two anonymous thieves were able to flawlessly pull off the greatest art heist in history and then vanish with the artwork into the dark of night without a trace. I'm Randi Kaye in Boston. Thanks for watching.


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My name is Coe Campbell and I was honored to receive the Hire Memorial Scholarship for 2018. Jonathan Jeffrey, the Department Head of Special Collections describes the internship. He says that "the Dr. Delroy & Patricia Hire Internship was established in 2015 to provide students with professional experience working in a special collections library, specifically with material from Allen and Monroe counties in Kentucky and Macon County in Tennessee." This scholarship opened the opportunity for me to work in the Department of Library of Special Collections at WKU. This funded internship was more than an academic opportunity; it was a life changing experience.
While doing research and working here at the Library, I felt like I was discovering myself as well as preserving history. I have learned to value everything while interning here, Christmas cards, letters, old farm signs and even business cards are important. I have found that behind every good textbook and history book there is a plethora of sources that no doubt came from a library. I have heard many say that libraries are boring places, others have stated that libraries as we know them are soon to die-out altogether; but I must beg to differ. A Special Collections library, like WKU's, is a rich and vibrant source of knowledge and information. I would recommend anyone to come to the Special Collections Library spend even one hour in research; I promise they will find something that will spark their interest on almost any topic.
This internship has inspired me to put my history major to use by hopefully pursuing a MA in Library Science so one day I can help people reconnect to their past. I also want to help to preserve the history of common folk so future generations will know that everyone regardless of their social or economic status is important in the history of us all. History to me is more than dates and important people. History is web of stories, personalities, and people all interconnected. I am thankful somewhere in that web of life; my own history will be found.
Take a look at some of the things that I processed at Kentucky Library Research Collections and through TopSCHOLAR.

subset: commoncrawl


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Luckily we brought with us the makings for some fine Manhattans, so we were eager to see if the sparkling cider and the island's eponymous cocktail would become friends. Indeed they did, and on the rocks, this baby is smooth and is blessed with a creamy mouthfeel. The nose is slightly caramel, and the first sip proves what your nose already knows. You can control the sweetness by how much sparkling cider you top it with.
So, for those of you searching for a holiday cocktail this season, you need look no further. The Big Apple pairs well with loads of winter Holiday fare unlike its mother, the Manhattan. (Boozy cocktails like Manhattans are notoriously difficult to pair with bread- and vegetable-heavy apps because they leave a burning alcohol sensation on the tongue, and no one wants that.)
Big Apple
(created by Cocktail Buzz)
1 1/2 oz. rye or bourbon
3/4 oz. sweet vermouth
dash aromatic or orange bitters (such as Bitter Truth or Angostura)
generous splash or two sparkling apple cider (such as Martinelli's)
maraschino, brandied, or marasche cherry, as garnish
Stir first three ingredients in ice for 30 seconds. Strain into a rocks glass filled with fresh ice. Top with Sparkling cider. Garnish with cherry.


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17970 NW 27th Avenue Miami Gardens, FL 33056
- Save time and money with FREE in-store pickup!
- While shopping online, simply select the "Pick Up In Store" option and choose your local store. We'll send you an email once your order is ready to be picked up from the store you selected.
- When you arrive at the store, find a store associate or head to the register. Make sure you have your pickup notification email along with a government issued id.
11136 Pines Boulevard Pembroke Pines, FL 33026
1740 S Bearing Street Dania Beach, FL 33004
9025 W Atlantic Blvd Coral Springs, FL 33071
Women's Shoes Sandals & Boots | Shoe Carnival at 17970 NW 27th Avenue
Women's Shoes...Get shoes, boots, and sandals for the whole family at your nearby Shoe Carnival at Gardens Promenade in Miami Gardens, FL
For a fun and exciting shopping experience, check out the local Shoe Carnival shoe store located at 17970 NW 27th Avenue in Miami Gardens, FL. Our unique approach to shoe sales combines advertised regional and national sales, along with in-store only limited-time sales to give our customers unbeatable deals. With these exciting sales always being announced over the microphone in your hometown shoe store, you will find brand-name styles for the whole family at incredible prices!
We carry a broad array of women's shoes in Miami Gardens, FL, including women's boots, sandals, and heels! We offer a variety of men's shoes, from men's dress shoes to steel toe boots. Shoe Carnival boasts a wide selection of kids' shoes at affordable prices, for all ages and stages. We also carry handbags, backpacks, and other accessories to complete your new look.
But, best of all, we carry athletic shoes and casual sneakers for the whole family by the brands you love: Nike, Adidas, Vans, Converse, Puma, and many more!
Products and promotions at your favorite family shoe store are changing all the time, so be sure to stop by the local Shoe Carnival today (and come back often) to find a great deal on new shoes!


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text:
Economics Dept. Seminar Series(2)
112 Eggers Hall
Add to: Outlook, ICal, Google Calendar
Open to
Contact to request accommodations
We're Turning 100!
To mark our centennial in the fall of 2024, the Maxwell School will hold special events and engagement opportunities to celebrate the many ways—across disciplines and borders—our community ever strives to, as the Oath says, "transmit this city not only not less, but greater, better and more beautiful than it was transmitted to us."
Throughout the year leading up to the centennial, engagement opportunities will be held for our diverse, highly accomplished community that now boasts more than 38,500 alumni across the globe.


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May isn't just a big month for US go players. The temperature is rising on the international go scene too. On May 4, Chen Yaoye 9P defended his Chinese Tianyuan (Tengen) title against up-and-coming player, Zhou Hexi 4P. Zhou faced off a strong field to top the 26th Tianyuan qualifiers for the second year in a row, but once again fell to Chen, who has now held the Tianyuan for four consecutive years. Meanwhile in Korea, Lee Sedol 9P fought back from a 2-1 disadvantage to defeat Park Younghun 9P in the (best of five) 17th GS Caltex Cup. Lee took home a cool $60,000 for his trouble. The finals of the 4th BC Card Cup start tomorrow (May 11 in the US), with Korea's Baek Hongseok 9P set to take on China's Dang Yifei 4P. China dominated the earlier rounds of the tournament, but Baek managed to fight his way through to the final, defeating Zhou Ruiyang 5P and Hu Yaoyu 8P along the way. 17 year old Dang Yifei's run has been no less impressive. En route to the final, Dang defeated Lee Sedol 9P, Park Younghun 9P and Piao Wenyao 9P, among others. Both players are competing for their first international title.
Coming up very soon:
- The 33rd World Amateur Go Championship is just getting started in Guangzhou, China. Expect updates from the E-Journal team very soon.
- The 4th BC Card Cup finals start tomorrow. Watch them live on Baduk TV. The coverage for game 1 starts at 11:30pm, May 11, US EDT.
- The 67th Japanese Honinbo title match starts on May 15 in Kyoto, Japan.
- This being an Olympic year – the (quadrennial) Ing Cup will begin on May 23 in Taiwan.
For more details, see the professional Go calendar at Go Game Guru.
– David Ormerod, GoGameGuru; Photo: 17 year old Dang Yifei 4P (right) plays Piao Wenyao 9P.


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text:
Unless you preordered from NineStar Press because then you have it today. Happy reading to those who do!
About The Merchant's Love:
Maxen, second son of a wealthy merchant family, longs to leave Tournai and visit everywhere he can. All his life, he's found places on maps and dreamed, planning out routes to get to them. For now, he's tied to Tournai's capital city by family obligations and his position in their shipping business. Someday, though, he'll be able to travel. His sudden attraction to Faelen shocks him, but their friendship soon becomes a necessary part of his life. Love, however, has no place in his plans, especially not love for a royal cousin with secrets who wants nothing more than to stay in one place.
For Faelen and Maxen to build something real between them, they must resolve their differences, but when magic goes awry and all Faelen's secrets are revealed, will Maxen remain at his side?
Add The Merchant's Love to your Goodreads shelf.
Preorder The Merchant's Love:
NineStar Press
Barnes & Noble


text:
What is the DIBELS?
The DIBELS is a national assessment designed to measure student mastery of early literacy skills related to letter and sound recognition as well as decoding words. Mastery of these skills is critical to students becoming fluent readers and developing comprehension of text.
Who takes the DIBELS?
The DIBELS is administered to all students in Grades K-2 annually. In Grades 3-6, students participate in the DIBELS assessment only if they are not reading on grade level as measured by other indicators.
When is the DIBELS administered?
The DIBELS assessment windows are in September, January, and May. Schools identify specific testing days within the district window.
How long is the DIBELS assessment?
The DIBELS consists of several one minute assessments on specific skills. The number of one minute assessments varies by grade level. Students are assessed individually, so each student only experiences about 15 minutes of testing during each window.
How are students scored on the DIBELS?
Students are awarded points for correct answers on each one minute assessment and overall. The total number of points earned by a student is converted to a proficiency level. The proficiency levels are Benchmark, Below Benchmark, and Below Cut Point for Risk. Students at the Benchmark level are considered to have demonstrated on grade level skills for that time of the year. The score needed to stay at Benchmark increases as the year progresses to represent the growth in achievement that should occur during the year.
How do I find out my student's score on the DIBELS?
Student scores are posted in the Home Access Center (HAC) after testing and scoring is completed. Additionally, parents may contact their student's teacher about DIBELS scores.
Where can I find more information about the DIBELS?
DIBELS Information - University of Oregon Site
Pennfield Middle School
726 Forty Foot Road
Hatfield PA 19440
Phone: 215-368-9600


text: Rook-Online is a 4-player bidding and trick-taking partnership card game. If you are put off by the maddeningly complex bidding conventions of bridge, but desire more of a challenge than hearts or spades, then Rook-Online is the game for you. Rook cards were introduced in the early 20th century for the benefit of members of certain Protestant sects that considered playing cards to be sinful. Parker Brothers filled the void with a game that was played like cards but did not use the standard playing-card deck. Rook has four "suits"--colored red, green, black, yellow--with 14 cards in each suit. Dozens of different games can be played with the Rook deck; Rook-Online.com offers Standard and Tournament ("Kentucky Discard") Rook.


text:
Barbershop Harmony Society
Sweet Adelines International is a highly respected worldwide organization of women singers committed to advancing the musical art form of barbershop harmony through education and performance.
If you want to stay informed of the all the happenings of the female barbershop music scene, subscribe to Harmonizer, which is put out by BHS each quarter. It's full of news, reviews, and previews of coming events and competitions.
International Organizations
Barbershop Harmony Society
The Barbershop Harmony Society brings men together in harmony and fellowship to enrich lives through singing.
BABS - British Association of Barbershop Singers
The British Association of Barbershop Singers is a registered charity, whose aim is to promote the education of people of any age in the enjoyment of Harmony Singing in the Barbershop Style.
LABBS - Ladies Association of British Barbershop Singers
LABBS is the only British Ladies Barbershop Association in the UK.
AAMBS - Australian Association of Male Barbershop Singers
The Australian Barbershop community is vibrant collection of male singers from all over Australia, who gather together to sing tight, exciting four-part harmonies in quartets and in choruses.
NZABS - The New Zealand Association of Barbershoppers Inc.
All over New Zealand there are men enjoying singing in the barbershop style. They meet as quartets or as choruses and love to sing with each other and to entertain the public of new Zealand.
Harmony, Incorporated
A vibrant organization of women of all ages, recognized for world-class singing in the barbershop style and promoting bonds of friendship.
World Harmony Council
An organization of barbershop societies around the world.
Scotland's Harmony Junction
Once a year since 1997 the five Barbershop Choruses in Scotland have met to celebrate the hobby of Barbershop Harmony and they called it Scotland's Harmony Junction.
BinG! - Barbershop in Germany
Since BinG! was founded in 1991, many new barbershop choruses and quartets have come into being in Germany, creating their wonderful sounds on the stage with animated enjoyment.
DABS - Dutch Association of Barbershop Singers
FABS - Finnish Association of Barbershop Singers
FABS was founded in 2004 to promote and support barbershop in Finland. The aim is to increase interest in 4-part a cappella singing among juniors as well as seniors who have singing as their hobby.
Holland Harmony
The largest Dutch organization for female barbershoppers.
IABS - Irish Association of Barbershop Singers
SABS - Spanish Association of Barbershop Singers
SNOBS - Society of Nordic Barbershop Singers
SNOBS is an association aiming to spread, develop and preserve Barbershop style in choruses and quartets throughout the Nordic countries.


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Restorative Dentistry
The right restorative procedures at the right time can reduce the need for additional dental work in the future.
Restorative procedures help protect both oral health and overall health while improving the appearance of the patient's smile. Being able to properly chew food and having correct bite alignment affect a patient's health in ways that go beyond just a smile.
The Biomimetic Approach
Biomimetic Dentistry is defined as the reconstruction of teeth to emulate their natural biomechanical and esthetic form and function. Simply put, biomimetic dentistry means to copy what is life-like. With biomimetic dentistry, only the damaged and decayed part of the tooth is removed and the final restoration is bonded to the remaining healthy natural tooth structure. Biomimetic restorations include stress-reduced direct composite restorations and porcelain/composite inlays and onlays that restore the biomechanics of broken and damaged teeth.
When restoring damaged, broken, and decayed teeth, the goal is to return the tooth to its original strength, function, and esthetic. Biomimetic dentistry accomplishes all of this in a conservative approach with strong and attractive results.
Composite Fillings
Composite fillings use tooth-colored material to restore teeth with cavities and maintain a natural appearance. Once the decay is removed, the tooth is filled with a composite material which is then cured using a specialized light to harden the material. Composite fillings can be done in one visit.
Inlays and Onlays
An inlay or onlay is a partial crown restoration that can be placed when there is not sufficient tooth structure to support a filling but enough tooth structure left that a full crown is not needed. Inlays/onlays are made of porcelain or gold, and they aesthetically and functionally replace the missing tooth structure.
Dental Crowns
A crown is a dental restoration that completely covers the outside of a tooth that is cracked, broken, worn down, or severely decayed. Dental crowns are usually completed in two visits. During the first visit, the tooth is prepared (shaved down) and an impression is taken. A temporary crown is placed while the permanent crown is fabricated. During the second visit, the permanent crown is carefully fitted and then cemented into place.
Dental Bridges
A bridge can replace missing teeth without the use of a denture or dental implant. A bridge is composed of two crowns and a replacement tooth or teeth. Crowns are typically placed on the teeth on either side of the space, with the fabricated tooth or teeth attached in between.
For multiple missing teeth, an implant may be used to anchor the bridge.
Dental Implant Restorations
Dental implants are composed of three pieces: a small screw made of a biocompatible metal called titanium, an abutment which connects the screw and the final restoration, and the final restoration. The screw, which is placed in the jawbone, acts as a replacement for the tooth root, providing a strong foundation for fixed or removable replacement teeth. The screw begins to fuse with the bone over the course of a few months. After the fusing process, known as osseointegration, the abutment is inserted into the screw to allow for the permanent attachment of the restoration.
A denture is a replacement for multiple missing teeth within the same (upper or lower) arch. A denture differs from a crown or bridge in that it does not rely on an existing tooth structure, and it completely replaces the missing teeth.
There are several different types of dentures:
- Full or Partial
- Removable or Fixed
- Traditional or Implant-Supported


text:
1449337-9010 Invacare Robin 3.0m For L Profile, Diagonal Floor and Wall Support Kit
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The Invacare Robin is a superbly designed hoist. Due to its unique twin strap design it is perfect for home care and long-term care users and paediatrics also. No spreader bar required. It fully meets the wide range of day to day lifting requirements. The discreet, classic design combined with easy to use design and 360 full unit rotation makes ...
Handicare RiseAtlas Ceiling Hoist
RiseAtlas is a safe and easy-to-use stationary ceiling lift unit available in two models and two special versions with and without built-in transfer motor and other features and functionalities. The choice depends on what settings and situations the ceiling lift unit will be used in and, of course, the needs of the users 'Free Site Surveys Avai...
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The Invacare Robin ceiling hoist provides a unique and innovative method of transfer. The patented 'Dual Strap' system has no spreader bar; offering a safe, flexible and comfortable transfer with optimal client and carer contact. Very easy to use, the Robin provides a stable and comfortable lifting process. No Spreader bar required - optimal con...
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The Freeway Transactive Ceiling Track Hoist, exclusively manufactured by Prism Medical UK is undoubtedly the safest, easiest and most practical way to safely transfer clients from one surface to another. Installed at ceiling level complete with innovative tracking solutions, the Freeway Transactive Ceiling Track Hoist provides the caregiver with...
Hill Rom Liko Free Span Ultra Twin Gantry Lift Hoist System
For the heaviest lifts The need for lifts/hoists for bariatric patients has increased considerably in the last few years. With a lifting capacity of 500 kg (1,014 lb), the freestanding FreeSpan™ UltraTwin system meets very high demands. FreeSpan UltraTwin is a freestanding system, and since it is not affixed to the walls or the ceiling, ther...
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Extended room coverage without permanent installation FreeSpan™ Traverse is a flexible solution for situations where you need a traverse system, but where you either cannot or do not wish to mount fixtures on the walls or ceiling. The lift motor can be easily moved in all directions over a large area. FreeSpan Traverse is a freestanding syst...
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The FreeStand™ lift/hoist system is a sturdy, easily assembled and economical freestanding patient lift/hoist system. This system is ideal for many situations and settings, particularly in-home care. As the system is freestanding, there are no special structural requirements for the walls or ceilings in the room where it is used. While the upr...
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Easily moved or room-to-room The Multirall™ 200 overhead lift/hoist system is a portable overhead lift/hoist that can also be used for room-to-room patient transfers—with just one lift motor. Its portability makes it an excellent and economical solution for nursing home and hospital care situations where lifting needs are temporary. The Mult...
Hill Rom Liko Ultratwin Overhead Ceiling or Gantry Hoist Heavy Duty Patient Hoist
Ceiling Hoists
Hill Rom Liko Ultratwin Overhead Ceiling or Gantry Hoist Heavy Duty Patient Hoist
For the heaviest lifts In many countries, the number of obese people is increasing and obesity is a growing health problem. Transferring and caring for extremely heavy people safely without jeopardizing their integrity can be a challenge. To prevent injuries among caregivers and to give very heavy patients the best possible care, it has beco...
Hill Rom Likogard L/XL Overhead Ceiling Hoist
The LikoGuard L & XL overhead lift/hoist system will offer a selection of industry-leading features in the healthcare marketplace. Built with experience and innovation, the LikoGuard overhead lift/hoist combines powerful performance and enhanced safety design features, honouring the safe patient handling heritage of the brand LikoGuard f...
Hill Rom Likorall 200 Overhead Ceiling Hoist
Next to the characteristic security and safety of its big brothers, Likorall™ 200 is a very economical model in the Likorall® range. The Likorall 200 provides a majority of the functions needed to manage many everyday lifting situations, in a thought-through package. The Likorall 200 overhead lift/hoist system is an ideal choice for those wh...


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( Most recent update: 4:45 p.m. ET.)
The brutal heat wave that has Southwest states in its grip is being blamed for at least one death.
Saturday in Las Vegas, an elderly man was found dead in his home, which did not have air conditioning, theLas Vegas Sun reports. Paramedics say the heat contributed to his death, a spokesman for Las Vegas Fire and Rescue tells the Sun. For the second consecutive day, the temperature hit 115 degrees Fahrenheit in the city.
Now forecasters warn that temperatures, which have also topped 110 in other cities, hit 122 in Palm Springs, Calif., and went even higher in Death Valley, won't be coming down in the next few days. What's worse, they might even go a bit higher. As CNN puts it:
"Civic and emergency officials throughout the Southwest say if there was ever a time to worry, this would be it."
According to the National Weather Service:
"Temperatures will continue to approach or exceed records underneath an expansive upper ridge anchored over the Southwest and Great Basin. Excessive heat warnings remain in effect for a large portion of California ... Nevada ... and Arizona ... where daytime highs will yet again dangerously soar well past the century mark and overnight lows will barely drop into the seventies and eighties. As the ridge begins to build northward late Sunday and into Monday ... triple digit temperatures will expand north through the Intermountain West and all the way to the Canadian border."
The shows "excessive heat" alerts in five states: California, Arizona, Nevada, Utah and Colorado. There are slightly less ominous "heat advisories" posted for Oregon, Idaho, Washington and Montana.
The Weather Channel adds that "temperatures will continue to soar well into the 110s and even 120s into the new week."
Saturday, we wrote about the Weather Service's webpage where it posts updates on the temperature in Death Valley the highest "reliably recorded air temperature on Earth," 134 degrees Fahrenheit, was registered in Death Valley on July 10, 1913).
The high there Saturday, according to that chart, was 124 degrees.
At 4:10 a.m. local time Sunday (7:10 a.m. ET) the temperature in Death Valley was 105 degrees. That's 5 degrees higher than at the same time Saturday.
Update at 4:45 p.m. ET. It's Painful To Walk On The Asphalt:
From Death Valley, NPR's Kirk Siegler says it's painful to walk on the pavement (he's wearing sandals).
"It feels a bit like somebody is blowing a hair dryer in my face at all times. ... It's hot to the crisp and the sun is absolutely punishing," Kirk tells our Newscast Desk. He's been watching a thermometer that just a few minutes ago was registering 129 degrees.
For the record, the National Weather Service's webpage's latest reading was "only" 119 degrees.
Also (from our original post):
If you need a refresher on tips for how to stay safe when its extremely hot, the Weather Service has them posted here. As we said Saturday, they include:
— Stay inside if you have air conditioning. Go to a library, store or cooling center if you don't.
— Stay hydrated and avoid alcohol and caffeinated drinks.
— Slow down. This isn't a time to be outside exercising.
Meanwhile, there's more rain expected Sunday in parts of the Northeast. That could mean more flooding for already soggy parts of New York State and Pennsylvania.
Copyright 2020 NPR. To see more, visit https://www.npr.org.


text: Namitha Name : Namitha Birth Name : Namitha Mukesh Vankhavala Gender : Actress Height : 6' (1.83 m) Born on : May 10, 1981 Age : 43 Born in : Surat, Gujarat, India Acting in : Telugu,Tamil Biography : Namitha was born in the Punjabi-speaking Kapoor family in Surat, Gujarat, India on May 10, 1981. She is the only daughter in this family, which consists of her dad, a businessman while her mom is a homemaker. She has a degree in English Literature. She used to teach swimming to young children and was raised in Bombay. She first came into the limelight after she was crowned Miss Surat during the year 1998. She went on to participate in the 2001 Miss India pageant and ended up as the fourth runner-up, while Celina Jaitley was crowned Miss India during this event. This publicity opened up doors for her and she did a number of TV commercials like Himani cream & hand soap, Arun Ice Cream, Manikchand Gutka, and Nile herbal shampoo. Film director Siddiqui introduced her to the tinsel screen in a Malayalam movie, and thereafter Namitha has acted in several Hindi, Tamil, Kannada, Telugu and English movies. In the first of two Telugu movies she went by the name of Bhairavi. She attained fame after the release of 'Engal Anna' in which she starred opposite Vijayakanth. She is also known as an item girl in regional movies, and often appears in Tamil magazine front covers. She became even more popular after her dance number 'Arjuna Arjuna'. She is proficient in Karate, loves to dance, watch movies, swim and play badminton in her spare time and likes to work out physically. She likes novels, especially by Sidney Sheldon, as well as comic books. She is a promoter of Gadgetguru.


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May 4, 2019 by Josh Sadlier
2012 Volkswagen Golf R
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2012 Volkswagen Golf R
Volkswagen, of course, was one of the original players in the "hot hatch" segment, virtually inventing the concept with the original
of the '70s and '80s. But VW's iconic performance model has arguably grown a bit soft with age, encumbered by ever-thickening layers of luxury and sophistication. In the eyes of some hardcore road jockeys, Volkswagen has lost the plot.
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That's where the new 2012 Golf R comes in. Endowed with all-wheel drive, a sharpened suspension, and a juiced-up engine that's highly tunable, the Golf R brings aggressive updates to the GTI's familiar formula. A six-speed manual is the only available transmission, a reminder that the R is aimed at a particularly discerning subset of VW's fan base. If that sounds like you, better get in line, because VW only plans to sell 5,000 Golf Rs stateside.
After a week in the Golf R's saddle, we still aren't convinced that it's $10,000 better than the value-packed base GTI. But hey, we get it. The R is the ultimate German hot hatch. Those 5,000 enthusiastic owners will likely be too busy enjoying the drive to worry about what they paid.
What's to Like
The Golf R's tight suspension, big brakes, and Haldex all-wheel-drive system make it much more of a driver's car than the GTI on which it's based. Interior materials are second-to-none in the hot-hatch segment. The standard touch-screen interface is both intuitive and responsive, and the backseat is exceptionally adult-friendly.
What's Not to Like
The ride is unpleasantly stiff on rough roads, an unusual flaw for a VW. Due to the AWD system's extra weight, the R isn't much quicker than the GTI despite its 56 extra horsepower. The cargo area isn't wide enough for a golf bag. Standard features are sparse given the elevated price, and we have some build-quality concerns.
Driving Impressions
The Golf R's Haldex all-wheel-drive system can send up to 100 percent of the engine's power to the rear wheels, making this car far more precise and capable in real-world corners than the GTI. Thanks to always-on stability control (an odd feature in an all-wheel-drive car) and standard all-season tires, the R hasn't really distinguished itself in third-party performance tests, but drive one on a winding road before you jump to conclusions. At anything less than the limit of adhesion, the R feels planted, balanced, and damn near invincible, not unlike its pricier Audi TT S platform-mate. Adding to the effect are superb R-specific brakes that showed no signs of fade as we zipped up and down California's 9,624-foot Sonora Pass. Although the Golf R is heavier than a small hatch should be, and its electric power steering isn't razor-sharp, this is still a highly capable machine in spirited driving. The only real disappointment is the ride quality, which evinces little of the GTI's suppleness.
Engine and Drivetrain
The 2012 Volkswagen Golf R is powered by a 2.0-liter turbocharged inline-four rated at 256 horsepower and 243 pound-feet of torque. This is actually an evolution of the previous-generation GTI's motor, which is known on the aftermarket for being easier to tune. The torque starts to come online around 2,000 rpm, and acceleration is swift from 2,500 rpm on up, continuing all the way to redline—a nice surprise, as turbocharged motors often lose steam with revs to spare. Also welcome is the unusually musical engine note. The mandatory six-speed manual transmission is rewarding to row and helps keep the turbo spinning with its closely spaced gear ratios.
Green Evaluation/Gas Mileage
The Golf R is EPA-rated at 19 mpg city/27 mpg highway. That's not bad for this level of performance. The highway figure could be better, though, as sixth gear at 80 mph yields a busy 3,300 rpm—we're surprised VW didn't go with a taller ratio for sixth and let the engine's ample low-end torque pick up the slack.
Vehicle Details
Features and Technology
The Golf R has a decent array of standard features, including xenon headlamps, dual-zone automatic climate control, iPod/Bluetooth connectivity, satellite radio, and an SD-card slot in place of the more common USB port. We're enamored of the standard touch-screen interface, which is both efficient and user-friendly. However, given the R's starting price of nearly $34,000, we feel that niceties like keyless entry/ignition, premium audio, and a sunroof should be standard, not optional. Some might argue that navigation should be standard as well. Notably, all of that stuff is included if you opt for the four-door Golf R, but VW only offers it on the two-door model as a pricey package, which our two-door test car did not have. We especially missed the audio upgrade, as it's a Dynaudio system, and we know from experience with other VWs that Dynaudio cranks out the tunes with the best of them. The base stereo sounds average at best.
The Golf R has unique blue gauge needles, but for the most part, it's got the same interior you'll find in the GTI with the Autobahn package. This isn't a true luxury-grade cabin—the hard plastic trim on the lower dashboard keeps it out of that league—but it's close, even though we heard some unbecoming rattles emanating from the front door panels over bumps. Plus, the R's Autobahn-spec leather seats have more prominent side-bolsters than the standard plaid GTI seats. Too bad the driver seat had developed a nasty creak under cornering load in our 6,000-mile test car.
Speaking of seats, the ones in back are incredibly roomy given the R's diminutive dimensions. As for cargo, the hatchback trunk is generally quite accommodating, but you'll have to fold down one side of the split rear seatback if you want to haul a golf bag or three.
Unlike rival models, which generally look like products of the Hot Wheels school of design, the Golf R keeps it classy. A demure "R" badge on the grille signals the car's specialness to the cognoscenti, as do the distinctive twin tailpipes, but otherwise, the R largely blends in with its lesser brethren. We like it. If you don't, there are plenty of aftermarket suppliers that would be happy to make your R look a little more, um, distinctive.
Market Segment and Pricing
If you grade hot hatches using price-to-performance ratio, the Golf R is going to fail. Speed is cheap and plentiful in this segment, with sporty things like the
Subaru WRX
available for thousands less—not to mention VW's own
. The WRX is probably the R's most formidable foe, offering all-wheel drive and a few more horsepower in a lighter package. But the two-door Golf R's $33,900 entry fee buys a lot of premium kit, and that matters. Indeed, we think a more apt comparison is to entry-level luxury sport sedans like the
BMW 328i
What We Think
The 2012 Volkswagen Golf R clearly isn't for everyone, but we're inclined to cut it some slack despite its initially eye-watering MSRP. Forget that it's a Volkswagen for a moment, and ask yourself where else you can find all-wheel drive, athletic handling, world-class brakes, sprightly acceleration, restrained styling, and an upscale interior, all for $33,990 to start. Made you think, right? Yeah, us too. We're sure VW will have no trouble convincing 5,000 folks that the R has no peers at this price point.
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Cereal bowls
Wedgwood's beautiful range of fine bone china cereal bowls are perfect for any type of breakfast setting and will start your morning right. With a range of sizes and colours, there has never been a better time to brighten up your breakfast bowl collection.
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Radioworld is pleased to announce our 2015 Ice Fishing Seminar and Sale taking place in just over a month on Saturday December 5th 2015. We have 4 seminars lined up for this year with a great line up of presenters. The seminar is free of charge but we would like you to register with us by emailing firstname.lastname@example.com or calling the store at 416-667-1000.
!!!!! We just got a Lowrance Elite 4 CHIRP Ice Machine to raffle off at the seminar compliments of Navico! Make sure you register with us for the seminar coming up on December 5th for your chance to win.


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Andromeda Pet Sailor Bow
For those looking to dress up their four-legged sailor-pet in style. The bow features two elastic bands that slide through your pet's collar - no more fussy buckles or worrying if it'll stay on.
How to wear them
Just like our pet bowties, our pet sailor bows are easy to slip on and have two elastic bands that slide right through your pet's collar. This makes them hassle-free and ready to wear without the fear of them falling off your pet.
Standard: 5" approx
Mini: 3" approx
About Modern Companion Made Products
This product is made by Modern Companion in-house. We work and compensate small business illustrators to create the patterns and then we print them on fabric using small business manufacturers within the USA. Each print is individually cut and sewn by our small team here in South Carolina so the pattern lineup will be different for everyone. That's what makes our products truly unique and one of a kind. Pattern color may vary slightly from the image you see.
Have a question about our products or need help with something? Visit our FAQ page to see if we have the answer or feel free to contact us directly here.


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We've all seen the memes since this COVID-19 pandemic started about dogs who have had enough of you walking them, thank you very much. And in turn, the cat memes are all about them wondering when we are going back to work and giving them their much needed personal space back. We get it. Dogs tend to be goofy and friendly while cats are, ahem, a bit more discerning about their company. The truth is, though, cats have plenty of different personality types, and many of them do experience separation anxiety. This is particularly true of cats who were orphaned. And with many of you going back to work if you haven't gone back already, it's a good idea to know the signs of separation anxiety in cats.
What Are the Signs My Cat May Be Experiencing Separation Anxiety?
While every cat has a different personality, the general signs of separation anxiety in felines are:
- Excessive meowing, crying or moaning
- Eating too fast or not eating at all
- Excessive self-grooming
- Elimination outside the litter box
- Destructive behavior
- Excitement upon returning from home that's out of the ordinary
- Vomiting food or hairballs
- Trying to escape
As veterinarians and pet owners, we know that some of these things can be frustrating, particularly the elimination outside the litter box. Many cat owners have gotten the "gift' of defecation on the bed, in a shoe, or on an item of clothing. It's important to remember that this isn't necessarily a sign of spiteful behavior but can often mean that your cat is looking to mix their scent with yours. Cats believe they are also helping you find your way home. Instincts run deep!
What Can I Do if My Cat Shows Signs of Separation Anxiety?
Thankfully, there are things you can buy and actions you can take to minimize the anxiety your cat may begin to feel when you return to work or other activities outside the house.
Some of the ways to minimize separation anxiety in cats are as follows:
- Leave the radio or TV on a station that is often on when you're there
- Keep arrivals and departures low key (hint: Don't announce, "Mommy is leaving!")
- Create a nook, safe haven, or refuge for your cat that is their safe space
- Provide plenty of toys and/or puzzles for playtime while you are gone
- Channel prey instincts by hiding food in toys that make them work for it
- Start with shorter absences first
- Provide a perch or "catio" so that your cat can see their favorite views
- Consider a room diffuser or pheromones to provide a calming scent for your cat (check the safety of this with your vet first)
- Remove departure cues (ie) put your keys in your pocket a few minutes before leaving)
- Provide plenty of cuddles and playtime once home
- For more serious cases, consider having a sitter coming for 1-2 play sessions during absences
We cannot emphasize enough the importance of checking with your veterinarian when you see any change in your cat's behavior before you chalk it up to separation anxiety, as early treatment of illnesses is crucial to cat wellness. For example, some cats go outside the litter box when they have urinary tract infections.
In extreme cases, medication may be an option, but your vet will usually leave that as a final alternative. As the ASPCA notes: "Sometimes for cats, veterinarians will advise using pheromones or calming treats before prescribing medication. Always consult with your veterinarian or a veterinary behaviorist before giving your dog or cat any type of medication or supplement for a behavior problem."
If you have any other questions about this or how to deal with anxiety in your cat, please don't hesitate to give us a call.


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