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Article by Glenn O'brien, NYC, 2013
Extraordinary rendition: Jan Frank and painting between the lines.
Only our surprise that the unforeseen was fated, allows the arbitrary to disappear. The delights and anguish of the paradoxes on this imagined plane resist the threat of paintings reducibility. The poise, the isolation of the image containing the memory of its past and promise of change is neither a possession nor is it frustrating. The forms, having known each other differently before, advance yet again, their gravity marked by their escape from inertia.
– Philip Guston
The energy and nature of human minds is so vigorous that they go on exerting themselves while awake by no adventitious impulse, but by a motion of their own, with a most incredible celerity. When these minds are duly supported by the physical organs and senses of the body, they see and conceive and discern all thing with precision and certainty. But when this support is withdrawn, and the mind is deserted by the languor of the body, then it is put in motion by its own force. Therefore, forms and actions belong to it; and may things appear to be heard by, and said to it.
--Cicero, On Divination LXVII
Divination forms a continuum, but we could say that at one pole there is "possession," and at the other "reading." By possession we mean that a god or some other spirit enters one's bodya and takes control—voice, gestures, words—all belonging to the god. Reading is interpretive—that all the flowing occurrences of this world are a stream of messages. Somewhere in between, half possessed by fire, half swimming in a seat of total significance, there is inspiration. A fork in the path: one way leads to an image of the world as a book, as a riddle written in code, each occurrence a presage and glyph of the whole. The othe way leads to randomness, mere chance, forever beyond our grasp, casting a shadow of nihilism on an accidental universe. Either way, theology is unavoidable. But in the latter case the language is geometry and statistics, while in the former it is luck and power."
--Dale Pendell, The Language of Birds, Some Notes on Chance and Divination
"Thirty seconds of revelation is worth a million years of know-nothings."
--Gulley Jimson,The Horse's Mouth, Joyce Cary
I don't have a tattoo. I could never think of anything I wouldn't get sick of. If I had to get a tattoo, I'd probably reproduce a Jan Frank drawing, maybe on my back or upper arm. Nobody would fuck with somebody with a tattoo like that. Or ask you what it means. They'd be afraid you'd tell them. And probably a tattoo like that would still look pretty good even if you lived to be 100. It would mean exactly what it meant originally, but probably even more, as there would be a lifetime beneath it to explain its cryptic variety.
For me there's no art like painting. Now more than ever. Installations remind me of the cable guy. Most everything else looks too easy. I want to see the suffering and the gamble, see the sweat, smell the blood and feel the put up or shut up attitude. I want to inhabit the space between the lines where the real reading goes on. Art based on memes, metaphors or even complex ideas just aren't going to hold up. It's too literal or "post-literal." It is too easily found out and then utterly useless. If it's easily described, isn't that enough.
Nobody has progressed beyond abstract painting. It's the only art you can really spend your time on and not wind up knowing less than you did when you started. It is mandala, Rorschach, jazz and poetry. It is speculative aesthetics. Unsolicited testimony. Mojo workout.
Hand made art possesses a magic unavailable in the machine made product. It's rooted in the inscrutability and sublime nature of imperfection. Anybody can push a button and generate a ready-made, anyone can take a great photo or casually orbit around the sun. But only an artist with a hand can do it wrong properly, and do it in contrarian fashion differently every time.
Jan Frank is not an abstract expressionist, no matter what the work looks like. His work is made by hand but also by mechanical means. It is made by addition, multiplication (silk screened brush strokes from his library of favorites by masters) and subtraction (it is made by spontaneity and by design.) Imagine Pollack meeting Warhol's Diagram paintings. It is made by a process or processes, but that is more important to Frank than to any of us. The process is for the artists to know; for us it's enough to know the work. Even the artist might like to forget how he got there.
Let's quote Philip Guston again: "John Cage once told me, 'When you start working everybody is in your studio—the past, your friends, enemies, the art world, and above all, your own ideas—all are there. But as you continue painting, they start leaving one by one, and you are left completely alone. Then, if you're lucky, even you leave.'"
Although Jan Frank's processes are complex, and may even seem dramatic (I can think of no other abstract artist who employs nude models), they don't really matter to anyone but him. He is getting at something that matters to him, but essentially what matters is the painting or drawing itself. He could keep his process secret (which I'm all for—and I won't tell) and it wouldn't really matter except for the people who write reviews and press releases. (Which are universally increasingly awful.)
What is important is what happens when you look at the work. You can really enter these paintings and travel through them, returning again and again for a different experience. They have depth and a temporality that is illusory but effective. Watching them sit still you move, you go places, different places each time. The viewer has room to maneuver, on proxy trips from subatomic cloud chambers to alien calligraphy to gene splice trickery to cartoon aura renderings of pre-Columbian gods to the tracks of your tears. It is all of the above; it is none of the above. Here is work against logic, against rhetoric, against interpretation. You can call it abstraction with appropriation, but it sounds better if it's abstraction with mugging. Although the paintings are delicate, airy, even minimal by Frank's reckoning, they are also tough as nails and spider webs. Here is work that stands firm against the electronic and the digital. It is enigmatic without making claims of that sort.
The best abstract painters play with pareidolia. Pareidolia is a psychological phenomenon in which the mind perceives images where there are none. Faces in the clouds, the man in the moon, canals on Mars. Apophenia is similar, "the unmotivated seeing of connections, especially the observation of patterns in random information. Apophenia is common among gamblers and diviners or soothsayers—those who took omens from the entrails of sacrificial victims or the flight patterns of birds.
Apophenia is also common among religious folk of the superstitious. It takes faith to see Mother Theresa in a raisin bun or Jesus on a piece of toast. Seeing what's not there takes either faith or talent but usually not both.
Abstract art involves ways of seeing that are abnormal or atypical. What was once a detail become the deal. When the astronomers, astrologers and poets named constellations they were using an imaginative faculty and whether they were believers or not, the patterns simply became signifiers of an existing myth or story. Imagined images become entrances to an unknown narrative.
Both pareidolia and apophenia are wired into our brains. Facial recognition is our most primal human software—it is also present in other primates and various creatures to whom a symmetrical face might constitute a threat. A breakdown in pattern recognition, the inability to recognize faces, prosopagnosia, results from damage to the brain. The artist Chuck Close and the writer Oliver Sacks suffer from this condition, although it also seems to have inspired them—for Close it was a reason to paint faces.
Dale Pendell writes: "The reverse condition might be called hyperproso-pognosia. Excess of meaning…A polymorpous bead game in overdrive; all the meanings anticipated before the sentence is finished, questions and answers, call and responsed, uttered simultaneously. A diapason of lucid babble: Pentecost."
Now let us consider this way of seeing liberated from divination and therefore from consequence. Imagine patterns chosen not because they are significant but because they are attractive or evocative, because they are ambiguous or contradictory, or simply because they seem to arise from a collaboration between refined taste and cortical imperatives. Perhaps painting gives us forms of divination that doesn't rely on unreliable or extinct divinities, that are rooted in our mechanisms of perception . Even unbelievers need augurs; they have a future, even if they consider an afterlife something for sissies.
The augur knows the signs. The word come from augere—to increase, to augment, to honor or enrich, to exalt. The job, for two thousand years exiled to the sideshow, is now even there discredited and has fallen to the artist though he or she may not know it.
Jan Frank constructs fields of vision. They may look improvised, and there is improvisation involved, but also a long process of considered work creates the finished work. The sculptor George Sugarman put it like this, in a 1965 oabek discussion with Philip Pavia who aimed to set spontaneity and design at odds.
Pavia: "To design is immoral, because the artist doesn't follow his conscience."
Sugarman: "By design you mean a preconception from which you work. Now, suppose I have an idea of a form which I want to get. It might take me a week, two weeks, a month to get it. All that time, am I being spontaneous? …A spontantous idea, especially in sculpture, must be executed. That means keeping that idea spontaneous for six moths. When I am working there is a question not of spontaneity and design, but of being in touch all the time with the original intuitive idea."
While Frank's work may appear spontaneous, the way Pollack's does, it is actually spontaneity refined and perfected. It recalls William Wordsworth's definition of poetry: "I have said that poetry is the spontaneous overflow of powerful feelings: it takes its origin from emotion recollected in tranquillity: the emotion is contemplated till, by a species of reaction, the tranquility gradually disappears, and an emotion, kindred to that which was before the subject of contemplation, is gradually produced, and does itself actually exist in the mind."
Jan Frank is not an action painter. He's an action/reaction painter. I like that idea. It puts the abstract artist above the fevered, booze swilling shaman/psychopath role that has become a cultural cliché and replaces it with a sort of persistent craftsman who may have oracular gifts but keeps them on the down low and works professional hours not when the muse howls. Painting must defend its mysteries, but in the end it's a tough every-day job and somebody has to do it.
"Nature is a haunted house," said Emily Dickinson, "but Art is a house that tries to be haunted." And as Dr. Peter Venkman said in Ghostbusters, "let's show this bitch how we do things downtown."
Jan Frank
by Adrian Dannatt
A painting is a series of marks that join together to form an object or work over which one's eye may freely roam.
-- Pierre Bonnar
The local legend of Jan Frank, a downtown Manhattan fixture, eternal resident of Bond Street where he forever walks his Labrador, chain-smoking Chinese cigarettes, resplendent in Ray-Bans and alpaca teddy bear coat, has oft obscured his actual oeuvre.
Luckily, the exemplary exhibition currently at Paul Kasmin's annex gallery on West 27th Street, featuring a jewel-box room of drawings and one exceptional painting, here reminds us of just how refined -- dare one say "good" -- an artist Frank can be.
Ostensibly made over seven months (the show is titled "Seven Months"), these 40 works-on-paper were conjoured with varied inks, tips and nibs, along with correction-fluid whiteout, on luscious handmade rag stock from Indonesia and Holland. Gathered thus in their elegant ranks, these ethereal drawings, like neural nets suspended in a painter's space, make a range of fluid associations between themselves and the history of art.
One would not need to know that Frank was the youngest person at Willem de Kooning's funeral, or that he started this series of works at the same time that Brice Mardenbegan using Chinese inks, or that he was then exhibiting alongside Christopher Wool, to divine such associations.
Frank is a big enough and a serious enough artist, with sufficient confidence in his own talent, to welcome rather than disparage such comparisons, and will happily admit his admiration for those artists, and many others, while never doubting the unique significance of his own work.
Frank's "line," however serendipitous and inspired by the chance operations we know from John Cage, has an ease, an absolute rightness to it, which seems somehow familiar when one first sees it, like a homecoming. It is complex while simple, straightforward yet sophisticated, with the instinctive harmony of the true artist's deceptively easy gesture.
These drawings are inspired by sessions with six different life models, and one would not know this explicitly but rather by their inherent sensuality, the barely palpable presence of the naked body, a sort of subtle erotics all the finer for its discretion.
Frank has been drawing non-stop since he was a child in Amsterdam, his own father, a Dutch sea captain, being an amateur artist, but the sheer range and dexterity of his work has often been overlooked.
Thus as a young man who moved into his loft back in 1974, Frank was very much a part of the hard-drinking scene of elder artists at Max's Kansas City, being especially close to Donald Judd, who was one of his first supporters. Frank was making video installation work, along with his close colleague Sherrie Levine, a striking combination of sculpture and video-imagery, of which even Leo Castelli remained a consistently curious fan.
Sabotaged by the rise of Neo-Expressionism, Frank has always been dogged by a certain shadow of bad luck, whether the closure of his longtime gallery, the revered Salvatore Ala, or the shock of 9/11 itself, after which Frank practically tried to drink himself to death, refusing to exhibit in New York galleries for over a decade.
Certainly Frank has always maintained a high-low sense of adventure, which fuels much of his fabled deadpan anecdotage, which includes tales of spending long evenings at Elaine's (where Elaine always insisted he had the number one table reserved in his name whenever he so wished) and longer days locked up at the Bellevue "drunk tank" with homeless alcoholics.
He's punched it out with Earl "The Pearl" Monroe, hung with Keith Richards, lost several fortunes on his obsessive horse betting, not least in Hollywood with Tony Curtis, shared a studio with Chuck Close, dated some of the art world's most formidable beauties and became a millionaire launching the most famous restaurant in New Hampshire.
It's entirely typical that when Frank started a series of semi-abstract works based on Henry Kissinger's spectacles he should end up with the man himself at the Four Seasons happily posing in front of one of these same paintings.
Or that it was Frank's own supply of aluminium which he offered to Cady Noland and James Siena, and thus launched both their subsequent careers in that medium.
But regardless of this rich personal history, as ripe with tragedy as victory, no matter what he went through, Frank always kept painting, seeing it as the most radical of all possible creative activites, the most radical because it is the most difficult.
Making a "great" painting of any variety is a very hard thing to do, was so, is so and will remain so, and we should not be shy of celebrating anyone capable of giving us such a gift, openly celebrating the sheer generosity and integrity of this act.
Jan Frank, "Seven Months," May 19-June 18, 2011, at Paul Kasmin Gallery, 511 West 27th Street, New York, N.Y., 10001.
ADRIAN DANNATT is an art writer based in Paris.
Of Cupcakes and Condos: The Onetime Editor at Large of 'Open City' Returns to New York
And finds it much changed
By Adrian Dannatt • 04/17/13 12:59pm
The morning after I arrived in New York last month for a week's visit—the city had been my longtime home until three years ago, when I moved to Europe—I went to the Metropolitan Museum to see the extraordinary new video Street by James Nares. A set of continual tracking shots of New York life, it was shot from a moving car, using a technique whereby each person captured on camera becomes a sort of extreme slow-motion three-dimensional Everyman—a flicked cigarette is as poetic in its eternal arc as flapping birds. A dazzling hour of audio-visual meditation, it is particularly suited to anyone who's just disembarked from a plane and wants to plunge immediately into the city. Mr. Nares told me that he wished he had made such a video when he first arrived here, back in the mid-1970s. Seeing Street prompted me to take the city's pulse, note its shifts, lament what's been lost in the time since I lived here.
It seemed appropriate to do so in the pages of The Observer, my lifeline to New York when I found myself stranded in Milan in the 1990s, laboring as editor of the magazine Flash Art. I would sneak off to the café every morning with my precious copy of the paper and sit with the inevitable espresso, sipping with wry regret at the news of all-too-distant Gotham, until my furious boss would burst through the door shouting in his apoplectic and comically accented English, why I was not at work.The excitement of this city still rings out with the very first announcement of its name at Heathrow, where I was thrilled to hear, among a request for passengers to present themselves to the departure desk, "Mr. Brice Marden, Mr. Marden please." Reading on the plane of the recent death of Mayor Koch, I realized that many of my favorite friends in the city belong to that last great generation that was already living there when Mr. Koch took over in 1978, the "pre-Koch" posse of urban warriors who knew downtown when it really was "down" in all its now-unimaginable gorgeous poverty.
I stayed with one of them, the fabled artist Jan Frank, in his untouched loft on Bond Street, one of those few remaining absolutely authentic spaces, as far from the real estate agent fantasy of "artist's loft" as a cupcake is from a crack vial, a place from which to step out and survey the ravages of gentrification on the surrounding block. Jan was busy mounting a group exhibition about the 1970s for the gallery White Box, and his neighbor from across Bond came over the cobbles—the impeccable veteran Minimalist Stephen Rosenthal, with his elegant striped canvases from that era and tales of the artist's co-op in which he's lived forever. Joseph Kosuth used to be there way back in the '60s, and they still have the now-elderly art student once shot by Chris Burden as part of a performance, the sort of celebrity who would hardly past muster at the Herzog & de Meuron condo next door.
Best of all are tales of Doug Ohlson, last of the old-skool boozer abstractionists, who used to be so drunk he would get stuck in the fancy tree installed outside by developers, jammed in the unexpected branches with his bottle, and who came to his end on the pavement outside the latest luxury shoe boutique. This was Carl Andre's great drinking buddy, the man he is said to have called after Ana Mendieta fell to her death—try telling that to the sippers of "locally sourced milk" at The Smile.
The particular sense of loss and promise that seems uniquely generated by Manhattan is the source of much of its cultural mythology. The long battle between ancient and modern is more acute here than anywhere else, the lust for destruction, for immediate profit, overwhelming heritage. Thus I had to note, with a shock akin to a missing limb, the shuttered door of the Grandaisy Bakery on Sullivan Street and, even more brutal, the transformation of Gino into a shiny emporium selling spotlit gourmet cupcakes, an extreme contrast with the osso buco chiaroscuro and shuffling Sicilian waiters of the good old days. I peered for the faintest trace of that famous zebra wallpaper, any slightest vestige of that historic interior—gone, only its echo at Royal's townhouse on Archer Avenue remaining now.
Thank the primeval Lords of Unrule that at least the Subway Inn around the corner remains unchanged. There a stiff bourbon mit chaser ushered out any lingering miasma of nostalghia, for how easily at that notoriously sticky beer-stained counter could one become like that perfect elder WASP recently met, now in permanent exile on his Newport estate, who explained to me why he could never return to New York, had not set foot in the place in over 50 years: "You see I knew the city in its very greatest years, in the '50s and early '60s, so it would be simply too devastating for me to ever have to see it as it is today."
In the city's museums, too, I felt a sense of loss. In the Met's wondrous new American wing, I was dismayed to discover that the great painting The Quartette by my famous relative William Turner Dannat, an imposing salon piece that used to dominate a wall, had been stripped of its period frame and stuck in open storage, where one can contemplate its fall from grace through glass like some once-proud beast in zoo captivity. I was heartened, though, at the Frick, by an impeccable exhibition of Impressionist prints and drawings from the Clark Art Institute, including some gathered by Robert Sterling Clark himself in Paris after WWI, like works from the Degas studio sale that he attended.
The contrast between the pleasures of the Frick and MoMA down the road could not be more extreme, the latter having seemingly turned into a processing machine for mass tourism with a density of crowds and confusion to rival Toys 'R' Us at Christmas, vast packs of wilding youth barely checked by a "security" force more suited to a high-security prison. MoMA makes clear what happens when a museum becomes an obligatory destination for every out-of-town visitor and every grade of schoolchild, a sort of object lesson in the frightening furthest limits of "democracy." (Admissions figures at MoMA are surely significant, for even if not everyone pays the full $25, the sheer millions of visitors must add up to a pretty serious annual total.) The main activity at MoMA would seem to be texting—every gallery is dense with shoe-gazing teens on their gadgets, tapping out aphorisms to each other, a dense mass of incessant typing through which it is almost impossible to clear a path. Yet among all this horror, the curatorial chops have never been better—there was a cracking small show on genius junkie designer Robert Brownjohn and his Goldfinger title sequence, and some clever soul had at last taken Pavel Tchelitchew's painting Hide and Seek out of storage and installed it at the top of an escalator, where it gathers as many admiring crowds, and quite rightly, as when it was the museum's No. 1 attraction.
After battling through tour groups and what appeared to be entire Midwestern football teams enraged on Red Bull, I emerged on the top floor to almost certainly the greatest exhibition ever assembled on the history of nonobjective art, "Inventing Abstraction."
DESPITE MY PENCHANT for New Yorkers of a certain battered vintage and my regret for the inevitable destruction of so many of my own landmarks (where are you now, Tepper auction house; come back, Spring Street Books), my instinctive suspicion of today's jeunesse dorée was allayed by an impeccable dinner hosted by my friends Sage Mehta and Michael Robinson. In an Upper West Side penthouse duplex were gathered a fresh intellectual cabal, the editors of The American Reader. Witty, caustic, Ivy League, preposterously over-informed and entirely under 30, I found them utterly impressive, especially as they had never so much as heard of the Manhattan literary magazine Open City, of which I was editor at large for some 20 years and whose demise was so relatively recent.
Yes, some of the table banter was blushingly self-conscious in a manner akin to the Worst of Simon & Garfunkel—"Can analysis be worthwhile? … is the theater really dead?"—and yes, we did actually start discussing Franny and Zooey at one point, but I liked the retro whiff of such earnestness.
All seemed to be going well until I mentioned my personal time machine for retrieving the real old New York, which included my recent visit to a triple bill of 1933 movies at Film Forum, happily packed with those cinéastes of yesteryear loudly opening their Tupperware boxes of food, rustling wrappers, discussing Nova Pilbeam. I also mentioned the magical underworld of the city bus, now seemingly as antiquated as horse-drawn carriages, which plunges one back into a New York as rough and tough as The Panic in Needle Park, a sort of mobile hospital unit filled with those delicious dregs of the city one used to be able to see on 42nd Street.
Maybe it was my description of one fellow crosstown rider as a "monster" that occasioned a sudden explosion of fury from the previously engaging young editress at my side. Hence I was roundly denounced for being "privileged" in my assumptions, not only as a white male but as a wealthy heterosexual member of a dominant class, though how she deduced this from my mere presence remained a mystery. My passing reference to my own personal cowardice as my being a "pussy" was also roundly condemned, indeed was brought to a sort of kangaroo court as my assailant announced, "There are four women around this table and none of them will allow your use of such a term," a condemnation of which the others seemed less certain. In the end, somewhat shell-shocked, I came to realize that this was just another sort of induction into another sort of élite, the latest equivalent of frat hazing, and that I too could now imagine what it would be like to have just graduated in semiotics at Brown or gender studies at Wellesley, a rather thrilling sense of almost cross-dressing, the decades falling away from me to reveal the eager intellectual neophyte I secretly still remain.
Inspired, exhausted, practically physically transformed into an entirely righteous 22-year-old radical bluestocking, I staggered back to Newark Airport from a week in surely still the greatest city in the world, swinging my complimentary tote bag from designer Stefan Sagmeister's show at the Jewish Museum, on which he'd emblazoned, NOW IS BETTER.


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She enjoys the outdoors, tries to eats healthy and likes to take a midnight stroll from time-to-time. Second, a cookie-cutter profile is, by definition, going to be a bit generic. As in the example above, adding the part about seeing vacant lots turn into shiny new homes gives her something she can emotionally connect with. Well maybe we can help each other.
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Yahoo Answers
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subset: commoncrawl


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Large heart-shaped cherry. Best picked when dark red, Lapins are very juicy with firm flesh and good flavour. A great split-resistant cherry. Ripens late December to early January. Self-fertile.
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378 Mulock Drive, Newmarket, ON L3Y 9B8
+ taxes & licensing
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This beast of a car comes with a monster 263hp 3.8 L V6 engine hooked up to a 6 speed manual transmission.
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Located at 378 Mulock Drive, Newmarket, Ont. L3Y 9B8
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See the Carpages.ca Terms & Conditions for more details.
378 Mulock Drive, Newmarket, ON L3Y 9B8
UCDA dealers adhere to a strict code of ethics.


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Design a Logo for an Auto Mechanic/Auto Repair Shop
- Estado: Closed
- Prêmio: $30
- Inscrições Recebidas: 8
- Vencedor: jovanovic95bn
Síntese do concurso
I need a LOGO design and FAVICONS of that logo design.
*This is for an auto repair/maintenance shop.
*Colors: Blue and Red and metal
*Company Name: Top Guys
*Slogan: A Better Way Forward
*Logo: Not just words but a logo is to be done. DO NOT USE A CAR
*Idea: See the attachment for an idea of what I like or envision. It does not need to be similar. Use this as a staring point.
*Quality: High
*Logo Use: Website and print
*Formats: All formats needed, especially .ai and png
*About: We aim to provide auto maintenance for the busy professional people who have not time to take their vehicle to the shop and to women who are worried of being taken advantage off or who do not have a male to handle their car maintenance. We make it easy for our customers. We are affordable and only offer yearly packages that safes the customer over $1000 a year.
Habilidades Recomendadas
Principais inscrições deste concurso
jovanovic95bn Bosnia and Herzegovina
starby Pakistan
HussainNasr Pakistan
DesignsMR El Salvador
netral88 Indonesia
Painel de Esclarecimento Público
Como começar com concursos
Poste seu Concurso Rápido e fácil
Obtenha Toneladas de Inscrições De todo o mundo
Premie a melhor inscrição Baixe os arquivos - fácil!


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You boasted that you don't trust easily. Well, the joke's on you because you have handed your life to these pharmaceutical companies run by corporate people you don't even know! Probably never thought about it …
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Claim No. 692 Louis Gravier
[Text in Margin: The award is only for the first [?] land of 615 acres of this given in the [?]]
This is a claim to a land situated in the district
of Waialua in the Island of Oahu. Known by the
name of �Paukauwila� and consisting of five
distinct and seperate [separate] pieces.
The only witness introduced to the Board by
the Claimant is H.E. Govr Kekuanaoa who tes-
tifies [testifies] that Governor Kuakini (John Adams)
told him that he had given this land to the Claim
-ant [Claimant] and that the Claimant has had the same in
quiet possession from the year 1837 or 1838 to the
present time. But he further testifies that Kuakini
had no right to transfer this land to Claimant
as it was not his to give, that he, Kekuanaoa
has always been the Konohiki of the land and that
the claimant has lived under him; possessing and en-
-joying (enjoying) no greater rights than any other tenant.
This Evidence is far from supporting the present
claim but H.E. Govr Kekuanaoa, having at the solici-
-tation [solicitation] of the president of the Board, consented that
a freehold title less than allodial might be award
-ed [awarded] to the claimant, We do therefore award to Louis
Gravier a freehold Title less than allodial, or in
other words a Life Estate in the land of �Paukauwila�
in the district of Waialua aforesaid according to
the metes and bounds set forth in the annexed survey
made by T. Metcalf on 10th day of March AD 1848
This award is upon the Express Condition that the
Claimant is to respect the rights of native tenants
to the fullest extent and with this reservation
the Claimant may commute the freehold awarded
to him into a fee-simple title as prescribed by law
�Notes of Survey of Paukauwila in Waialua
Oahu� �Commencing at Rock on E. side of Kaiaka
bay, called Pohakukani, being the makai N.E. corner
of this land, and Running S. 65� 45� E. 3 Ch. 36 4/12 ft.
along rocky edge of bay to path by sand beach. Thence
following around mauka end of bay at high water mark
to mouth of River at mauka S. corner of Kaiaka
bay. Thence S. 23� E 11 Ch. 52 8/12 ft across Kihi River
to stake at boundary line between this and Mananui
Then following along up the very irregular boundary line
between this and Mananui to mouth of Hahiha gulch
then along bottom of Hihiha gulch up to its intersection
with Kalia Gulch the S.E. corner of this land. Then
following along down boundary line between this and
Kalia to pile of stones on mauka side of river
near houses at Palaa then along boundary line
between this and land called Palaa to mauka E.
Corner of Kaiaka Bay Pt. Commencement.
Containing an area of Acres 615
[Diagram in Original]
[Text in Diagram: Relative positions of the small lands, Kahilikia, [?], Catholic School lot, Paloa is guessed at, Kaiaka, Pohakukani Rock, Kiki River, Palaa, Piikalauae, Pa Pipi, alanui aupuni, Railroad Original boundary of this land when given to Louis Gravier, Kalia gulch, Palaa is placed at little less than half distances as it stands in the original marker for [?], Kaheka gulch, Isaah]
�Also of small land called Kahilikia in Kuapali Gulch
belonging to Paukauwila.�
�Commencing at Rock on upper edge of Pali
at S. corner of this land and running N. 9� 30� E
6 Ch. 39 7/12 ft. down Pali and across W. branch of
stream to Rock marked x at E. Corner of this land.
Thence N. 84� 15� W. 10 Ch. 52 8/12 ft. to point angle near
junction of streams. Thence N. 67� 45� W 7 Ch. 52 8/12 ft.
along right bank of stream to point 3/4 Ch. right of it.
Thence N. 35� 30 W 6 Ch. 29 8/12 ft along and across
stream to large Rock on left edge of stream the
makai N. corner of this land. Thence S. 25� 15� W.
2 Ch. 20 ft. 2 Rock on upper edge of Pali, the makai
W. Corner of this land. Then following along upon
upper edge of Pali to place of Commencement including
an area of Acres 15 8/10
�Also of Land called Piikalauae belonging to Pau-
Commencing at N.E. corner of this land at crossing of
the aupuni road at stream and running S. 11� 15 W
2 Ch. 14 � ft to Rock marked x at slight angle Thence
S. 14� 45� W 3 Ch. 55 3/12 ft. to Rock at S. corner of this
land. Thence N. 84� W 3 Ch. 3 4/12 ft. to stone wall at
S.W. corner of this land. Thence N 6� 45� E 3 Ch.
20 ft along stone wall to slight angle. Thence N.
5� W. 2 Ch. 41 ft along wall to stream at N. corner of
this land. Then following up along stream to place of
commencement. Including an area of
Acres 2 23/100
�Also of Catholic school house lot belonging to Paukauwila�
�Commencing at small hau tree on E. edge of Kiki River,
at Canoe landings the makai W. corner of this land and
running N. 74� E. 7 Ch. 13 2/12 ft. along land called
Keoneula to small wiliwili tree at makai N. corner of
this land. Thence S 21� E. 1 Ch. 31 3/12 ft. along land
(name unknown) to angle. Thence S. 35� E. 1 Ch. 1 4/12 ft.
to E. corner of this land at Mahu. Thence S. 56� 30� W.
5 Ch. 4 7/12 ft. along Mahu to River. Then along down
River to place of Commencet. Including an area of
Acres 2 29/100
�Also of Poloa belonging to Paukauwila-
(All of above small lands are in Mananui)
�Commencing at N Corner of this at corner
Kalo patch joining Mahu and Poloa and running
N. 83� 30� W. 2 Ch. 28 4/12 ft. along Mahu to stake
at corner. Thence S. 22� � W. 2 Ch. 29 8/12 ft. along
Mahu to Breadfruit stump angle. Thence S.
56� W 2 Ch 56 7/12 ft. along Punanui to stake at
W. corner of this land. Thence S. 26� 15� E. 24 � ft.
to stake at corner. Thence N. 73� 15� E. 5 Ch. 43 ft.
along lands called Waialua and Mahu to stake
Corner near house. Thence S. 15� 30� E. 1 Ch. 1 4/12 ft.
to stake at corner. Thence N. 70� E. 1 Ch. 9 3/12 ft.
along land called Kuanopili to stake at E. corner
of this land. Thence N. 22� 45� W. 3 Ch. 5 3/12 ft.
to place of commencet. Including an area of
Acres 1 28/100
March 10 1848 T. Metcalf Sur
Adjudication of Cl No 692 Louis Gravier Dr
Incidental expenses and action of Board 7 Jany 1848
draft deposr of claim reduced fol 1 and citation
draft testimony redd& Engd f1
Surveys of T. Metcalf Cl 692 (5 lots)
Engrossing Surveys f12
Report of Commissioners this day rendered
on the above claim
Ioane Ii
Hale Kauwila W.L. Lee
22 January 1849 J.H. Smith
S.M. Kamakau
Z Kaauwai
Click tabs to swap between content that is broken into logical sections.


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Shopping center las vegas
Las Vegas, Nevada | Texas de Brazil
653 N Town Center Dr - Las Vegas NV - MapQuestLas Vegas Harley-Davidson features one of the largest assortments of co-branded merchandise and biker regalia, including Las Vegas-exclusive clothing, leather apparel, accessories, shoes, gifts and collectibles.
World Market CenterReferred to as Wynn Plaza, the shopping center will open in fall 2017 with 75,518 square feet of luxury retail space, according to a statement from the resort.
Things to Do in Las Vegas | Vegas Events, AttractionsTown Square Las Vegas is a shopping, dining and entertainment center on Las Vegas Boulevard at the junction of I-15 and the 215 Beltway.
Visit The Historic Commercial Center District located in Las Vegas, Nevada at the corner of Sahara Avenue and Maryland Parkway.Shadow Hills Shopping Center, Las Vegas, NV 89108 - Retail Space for rent.Find official info on attractions, activities, nightlife, museums, spas and more.
Las Vegas Hotel Souvenirs, Gifts, & Amenities - Luxor
The Linq/High Roller | Shopping in The Strip, Las VegasLas Vegas North Premium Outlets offers sales events scheduled throughout the year, including special sale weekends for Memorial Day, Independence Day, Labor Day, Columbus Day, Veterans Day, and back-to-school shopping in August.
Best Shopping in Las Vegas | The Best Malls, BoutiquesWhile shopping on the Strip leans towards the upscale and high end.In many cases, Las Vegas shopping is as much about the shopping experience and showy surroundings as it is about what you actually take ho.
Huntridge Shopping Center gets a face-lift and newLas Vegas Restaurants near Best In The West Shopping Center Restaurants in this area are known for Steakhouse, Italian, American, Japanese and Contemporary American cuisines.There are more fun things to do in Las Vegas than you can possibly imagine.The Forum Shops at Caesars is recognized as offering the premiere combination of luxury retail, excellent location, entertainment and ambient surroundings.Unique shopping along a street in ancient Rome, The Forum Shops has no visual rivals in any market of the world.Police said Officer Bryon Bunitsky, 47, was involved in the...But what most tourists do not know is that Las Vegas has many popular shops that.
REAL ESTATE BRIEFS: CAI Investments breaks ground onCombining an open-air shopping mall with a live-music mecca and a supersize Ferris wheel with dazzling views, the Linq is one of the latest additions to the Strip.Travelers who visit Las Vegas because of its international reputation as a premiere resort destination are discovering a unique shopping experience enhanced by an elegant, festive ambience.Las Vegas is an unapologetically flashy city, and most of its shopping centers are extravagantly designed, too.
Best Shopping in Las Vegas | Travel + Leisure
Las Vegas Shopping You can spend money in almost any way imaginable in Las Vegas, but the best way to actually leave with what you paid for is to go shopping.One of the most popular events at the outlet center is the After Thanksgiving Weekend Sale featuring Midnight Madness.There are over twenty huge Malls and Outlets in Las Vegas and hundreds of luxurious shops inside the hotels.
Shopping - The Mirage - Las Vegas Hotels - The Mirage
Boulevard Mall might be Las Vegas' most charming shopping
Las Vegas travel deals on hotels, shows, and things to do
Shadow Hills Shopping Center - 2041 N Jones Blvd, Las
Neonopolis - WikipediaThe center is situated at the high-traffic key intersection of Desert Inn and Eastern in close proximity to local hospitals and the Las Vegas Convention Center.View detailed information and reviews for 653 N Town Center Dr in Las Vegas, Nevada and get driving directions with road conditions and live traffic updates along the way.The 100-acre, open-air center features 22 buildings detailing a collage of Old World and contemporary architectural styles with over 115 stores and restaurants, an 18 screen movie theater and 252,000 sq. ft.
Rainbow Plaza is located in Las Vegas, Nevada and offers 44 stores - Scroll down for Rainbow Plaza shopping information: store list (directory), locations, mall hours, contact and address.Las Vegas offers some of the best shopping opportunities in the world.
Village Square Las Vegas | Restaurant, Shopping, RetailARIA Las Vegas is the epitome of luxury casino resorts - featuring luxury suites, expansive views of the Las Vegas Strip, while be central to things to do in Las Vegas.We have put together some great offers and shopping deals to help save you a lot of money when you are fulfilling your shopping fix on your next trip to Las Vegas.Shopping on the Las Vegas Strip Come shop, dine and experience Grand Canal Shoppes, an extraordinary Venetian-inspired shopping mall and dining destination on the Las Vegas Strip.
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text:
How to Manage Balance like a Boss
Whether you're an entrepreneur, want-to-preneur or somewhere in between, burnout is real and never timely. This is why establishing a method for maintaining balance is necessary.
If you dropped into our office on any given day you will likely hear the phrase, "We want to see you win." What makes helping our clients and even each other is possible? Balance.
Balance before burnout is what keeps us accessible to our clients at almost any given moment, yet able to step away from our devices on our scheduled days off. So far it's been working for us and we want to share so it can also work for you.
First, grab your favorite planning tool for keeping track of your day - digital or print. Got it? Perfect!
Now here are three quick tips to help you manage balance like a boss:
Gather all of the schedules that matter to you and jot them down. Start with your work schedule. If you're self-employed or freelance, note your business hours and stick to them. Even creatives need rest so toss out the notion (and guilt) that you must fill every space and wake with your pen in hand. Whether it's nine to five or you're most productive between four in the morning and noon, mark the days you're working. This is also a good time to start a color coding or symbol system so tasks stand out at a glance. If you're not in the habit of enjoying your days off, mark those days so they stand out until the habit sets in. If Saturday and Sunday are your off days, honor that and others will, too. Don't forget your personal appointments: doctors, self-care, dates and days for relaxing (we're serious!).
Next, add other family members' calendars. This could include your spouse's travel or kids' school calendar and extracurricular appointments. Make note of all special occasions, events, and appointments. This is a good time to add any vet schedules, vehicle and home maintenance, and bills.
You may need a sheet of paper for this or can rattle off the list easily, but either way, list your priorities in order. Allow them to help you shape your schedule and set the course for what's to come. Don't forget these two important things: block time for what matters to you and be present.
If a task no longer fits in your schedule, find out if you can reschedule, outsource or cancel.
Grab another sheet of paper and jot down all of your goals, breaking them down (yearly, quarterly, monthly, weekly and daily). Transfer those goals and timeframe to your calendar. We have faith in you and believe you're going to celebrate on each of these days.


text:
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text: Boston's culinary community lost a shining star – chef James Salomone, formerly of Parsnip in Harvard Square passed away suddenly last week as a result of complications from a recent surgery. Known as an extremely kind and patient chef, Salomone was passionate about his craft, having honed his skills in award-winning kitchens like Craft, Colicchio & Sons, Café Boulud, Clio and Uni. His friends and former co-workers have set up a GoFundMe page to help support his family with his memorial service. Click through to pay your respects or make a donation.


text:
The YouTube for Android TV app has received an update this week which brings with it a number of small but useful changes. The update is now listed as live on the Google Play Store and therefore should be making its way out to devices soon, if it has not arrived already.
The first change detailed on the Play Store listing is an easier ability to resume where the viewer left off after switching between apps. This essentially means if a user switches from watching a YouTube video to another app then switches back again, the video will automatically resume playback from where it left off. This also seems to be the case even if the video was paused before switching – once returning to the YouTube app, it does not reload the previous video in a paused mode but instead automatically commences playback. The next main change is an increase in Google Assistant support. Google Assistant is now available on a number of Android TV units and with this latest update the YouTube app now supports specific Google Assistant-related commands. Google has not provided a full list of these commands and instead uses 'skipping ahead by 30 seconds' as an example of what commands can now be given. In addition, "personalized channels" are being added to the YouTube app on Android TV devices running Android 8.0 (Oreo). This is specific to Oreo as it relates to the new Oreo interface and how a user can select which "channels" from an app they would like to see prominently displayed on the home screen. Therefore, following the update, it seems a more "personalized" channel will become available. On a more mundane note, the app update is also adding improvements which should result in less stuttering and smoother playback.
In spite of YouTube being one of the core and principle apps on Android TV, its interface has come under fire in recent months due to its design and implementation, following what was a fairly significant redesign. Since then, however, it has received regular and routing updates that have improved various features in subtle ways. This latest update being the most recent example.


text:
Take care of your yacht with a beautiful high-end lighting
Your yacht is made of many precious materials such as teak or stainless steel.
Teak, a material with multiple properties, is a precious wood that can be found on all high-end boats. Among its greatest properties are the resistance and the impermeability to fresh water and sea water. It is also rot-proof, that is, it protects from all possible attacks by fungi or insects. . But especially the teak, with its pleasant and unique smell, has an inimitable color which, exposed to magnificent high-end lighting offers you an incredible play of light for an impregnable view. Teak to be well protected must be fed with a specific and adapted oil. This interview is done regularly.
Your stainless steel must shine, remember to renovate with a stainless steel product.
The rendering of high-end lighting for your boat on beautiful shiny stainless steel will highlight your luxury yacht.
In order for your high-end lighting to reflect your lighting manufacturer's plans, it is important to think about maintaining your batteries, which are important resources for the proper functioning of your electrical installations. To avoid wearing out your battery should generate 3 cycles that are boost, absorption and floating and avoid regular surges. Do not forget to recharge your batteries to the maximum of their power potential, so as not to alter the rendering of the high-end lighting of your yacht.


text:
Newstalk 97.3 The Sky or WSKY-FM is a popular radio channel of Micanopy, Florida. The coverage area of the station is covering the boundaries fo Gainesville-Ocala, Florida on its licensed frequency of 97.3 MHz while its power consumption is about 50,000 watts. The commercial broadcaster mostly aired program related to news updates or talk shows.
Newstalk 97.3 The Sky airs for the first time on back September 7th, 1985 under the call letter of 97.7 WGLV. Some old callsigns of the broadcaster are WGLV, WGGG-FM, WLCL, WRRX which were adopted in 1985 to 1987, 1987 to 1989, 1989 to 1993, and 1993 to 1998 respectively.
Some topics which station covers regularly include news feeds, media updates, weather conditions, sports coverage, and some hot music tracks. The affiliation partners of the channel are Premiere Radio Networks, Westwood One Networks, and ABC Radio News. The station also got a sibling broadcaster WKTK, and the owner of their assets is Entercom Communications. You can get connected to the channel on their social media platforms.
Newstalk 97.3 The Sky Programming
|Coast To Coast AM with George Noory
|This Morning, America's First News
|Bob Rose Show with Greg Cassidy
|Brain Kelmeade Show
|Rush Limbaugh Show
|Sean Hannity Show
|Mark Levin Show
|Savage Nation with Dr. Michael Savage
|Ben Shapiro
The official site of the channel is thesky973.radio.com


text:
/ Your Moments your way /
Investment - USA
Choosing a photographer can be a tricksy process
Just think - a stress free shoot, no threats or bribes for the hubby or kids necessary, your sole responsibility is to relax and admire your baby. When you book an Omoba session, we come to you - all sessions take place in the comfort of your own home, or at a location of your choice, and we do all the heavy lifting. It's great.
Because we believe in the value of the tangible, all sessions include a luxury print product we have tried and tested, even printed for ourselves and absolutely love. We've all got 100s of photos sitting unprinted on a phone or memory card somewhere. Let's avoid that.
Our session fee is $350 for a 2 hour shoot. With this you'll receive:
- access to your online gallery of 20+ edited, high resolution images - whoop whoop, you can print these out and share to your heart's content :)
- 3 mounted prints of your choice in our fave 8x10 size to get you started.
- a link to your own mobile app so that you can enjoy your photos on your mobile phone.
Mounted Prints
three 8x10 prints
A timeless presentation of your favourite photographs
- Hang these in clusters to make a Pinterest worthy gallery wall
Great for maternity, baby and family shoots


text:
FAI Junior Cup Last 16
Evergreen – 2
Willow Park – 0
Kilkenny's last remaining representatives Evergreen progressed to the quarter-final of the FAI Junior Cup after a fine 2-0 victory against Athlone's Willow Park at Kells Road on Sunday afternoon.
The hosts got off to a great start when they went ahead through Sean Barcoe with just under fifteen minutes played. Willow reacted well and had numerous chances to level, however, Evergreen held out to take a one goal lead into the break.
The second-half was very close with both sides threatening, however, on 68 minutes, Evergreen were given a fantastic chance to double their lead when a free-kick was awarded just inside the Willow D
Conor English stepped up and curled an absolute beauty into the top right corner to make it 2-0 and seal Evergreen's progression to the FAI Junior Cup's final eight.


text:
Find metal cutting band saws to deliver serious power to tough materials. Right now sears has this whopper of a deal in which i get at least 20 off maybe 30 with their sunday night deal tonight their 14 inch professional bandsaw model 22401.
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Craftsman 14 band saw model 137224140 urethane tires set of 2 made in usa see more like this new belt craftsman 14 inch band saw 1 jl20020002119224100 29502 others. And is 68h x 21 58d x 33w to cut different materials the device offers 2 blade speeds. Sears has band saws to help you make irregular cuts.
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text:
Yeah I know!
What if I tell you that choosing the perfect keratin shampoo should not be so confusing?
Even though there are a lot of keratin shampoo out there on the market?
Sounds interesting right?
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I have one promise to make!
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Sounds Interesting?
Have a quick glance at keratin shampoo!
Best keratin shampoo 2018 – Editior Choice!
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1. Moroccan Argan Oil Shampoo & Conditioner Set 16 Oz – Volumizing & Moisturizing,
SHAMPOO AND CONDITIONER – contains Moroccan Argan Oil for Volumizing and Moisturizing the scalp. Gentle on Curly and Color Treated Hair.
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We want you to look and feel fabulous! BAEBODY ARGAN OIL SHAMPOO AND CONDITIONER SET IS THE ONLY SOLUTION YOU NEED! Baebody Argan Oil Shampoo is a precious blend of Moroccan Argan Oil, Jojoba Oil, Camellia Seed Oil, Avocado Oil, Keratin, Almond Oil, and Coconut Oil.
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ADVANCED MOISTURIZING PROTEIN MASQUE – Targets Split Ends and Adds Volume to Fine Hair. Proven to Soften Hair and Repair Cuticles and Scalp for Long Lasting Health. Cruelty Free & Loved by Women and Men
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Come support the Animal Rescue League throughout the summer and possibly find your forever friend! Animal Rescue League of El Paso, Inc. (ARL) is a volunteer based, No Kill shelter. Founded in 1995, we serve El Paso County and Southern New Mexico. ARL focuses on rescuing homeless dogs/cats in our community who either find themselves on death row at Animal Control or on the streets as strays. This is your chance to help our furry friends.
Back to All Events
Earlier Event: June 28El Paso Jazz Girls LIVE
Later Event: July 44th of July BBQ


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Not to be outdone by the never ending hurricane of future centric R&B that seems to be crawling out of any and every corner, Australian singer Vanessa Elisha has debuted her newest track 'Ocean', which features production help from previous collaborator J-Louis.
The track follows her April single 'Midnight Swim', and judging solely on the titles, she seems to be very water-themed. J-Louis, a Soulection alum, paces Elisha's serene, solemn harmonies with tempered snare taps and ambient swirls. Retrodden formula aside, there's some genuine joy that easily spills here.
Listen to 'Ocean' below.
Wanna hear more music like this? Check out 405 Radio, or our New Music section.


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UKB Item Reference: 50646
A VitrA Sento bathroom cabinet offers multiple benefits to the modern bathroom, with its combination of style, lighting, storage and mirrors. With its softly curved corners and modern LED strip along the length of the cabinet, it's a piece that has a truly modern aesthetic, ideally suited to those creating a room with a contemporary look and feel. The soft close double doors allow easy access to a handy storage space, keeping bathroom essentials tidy and out of view for an uncluttered room.
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Jose Mourinho has remained coy over a possible return to Chelsea. The Blues could be searching for a new manager yet again this summer, as Maurizio Sarri has reportedly asked the club's hierarchy to leave in order to join Juventus.
Mourinho remains available after he was sacked by Manchester United in December, but the 56-year-old gave no indication that he would be open to returning to Stamford Bridge for a third time in his career. When asked about a potential return to Chelsea after Liverpool's 2-0 win over Tottenham, Mourinho told beIN Sports: "We are not here to speak about it.
"We are here to speak about this and not about us."