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Monthly Feature
Wayne and Leah bring you their monthly take on beer!
Hope you all had a Happy Halloween TMR readers. This month brings you a seasonal from one of our favorite domestic brewers, Magic Hat. The beer, a fall seasonal, is called Hex. Not sure where you sit as you're reading this, however, where we are the weather is changing and becoming our favorite time of the year…autumn. Cooler temps and changing leaves, fall is here!
Wayne's Take
Last month we did our Top 5 and Magic Hat #9 was on my list. Maybe in the near future we will review #9, but for this month we went with Magic Hat's Fall seasonal Hex. Magic Hat, at least until this point in time, hasn't produced a beer that I didn't like and the same can be said of Hex. While not my favorite Magic Hat product (#9 still holds that distinction) Hex was very solid. Hex, upon pouring into a glass, had a nice color to it. I wish I had a strict description of the color, maybe a reddish orangish mix, nice color, reminded one of autumn, not a lot of head either. I took my first sip and let it linger for a little while, and how's this for an oxymoron, it had a simplistic complexity to it. A lot of nice taste lingering, maybe a little spice, hint of cinnamon and then followed by a slight bitterness. Maybe like a bitter walnut??? There were several distinct flavors to it, which gave it that complexity, but not so many that I couldn't say it was simple. Also, there were two distinct stages following the swallow, the initial taste (as described above) and the following slight bitterness to it.
Leah's Take
I liked Hex for a number of reasons…number one, sorry to say, was the super cute spooky bottle design. (Hey, it is the first thing you see). It was also, two, a lovely amber color and its nice to start working on the darker beers now that its getting chilly. Three, Hex has a rich but not too heavy flavor that finishes with less bitterness than some comparable beers and has a faint sweetness. It would be perfect to sit down and have several watching football or something.
Wayne's Meal Pairing
I would pair Hex with a holiday fruit dessert, like maybe a pumpkin or apple pie. I would say that pumpkin and apple pie or sweet definitely, but not as sweet as other desserts. They seem to rely on the natural sweetness of the contents, rather than other desserts, and I think that the fine taste and slightly bitter aftertaste (and I do mean slightly) of Hex would compliment an autumnal dessert nicely.
Leah's Meal Pairing
Given its very mild sweetness, I think Hex would be fab with something bacony- maybe a pizza with bacon even. I could also see drinking it with sweet-savory like spiced nuts.
There you go TMR readers, another Magic Hat success, hope you try it and like it. Since we were a day late on our October entry, this month we will try to bring you 2 entries. Until next time!


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Chevrolet 3100 Pick-Up Dually
Chevrolet / Photoshop Chops Posted by Sebastian Motsch / 0 comments
Found this picture of the Chevrolet 3100 Pick-Up over at autowp.ru and instantly thought I'd have to modify it. The truck is now a top-chopped dually. Quite impressive, isn't it? The proportions now make it look like a larger truck. Other than the modifications already mentioned, I kept it mostly stock. No need to mess with a great design like that!

subset: commoncrawl


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Black Panther was an instant success for Marvel. First, it broke the company's first-day presale ticket records, out-earning The Last Jedi over its four-day opening weekend. Then, it nabbed the biggest February debut of all time. It's pulled in more than $1 billion in worldwide box office totals alone, and it currently stands as the highest-grossing film by a black director. Now, its legacy will also include an appearance in the Smithsonian's National Museum of African American History and Culture.
The museum announced that it will display the costume worn by star Chadwick Boseman and designed by Oscar-nominated designer Ruth E. Carter from October 24th to October 27th, during its first African American Film Festival. "Black Panther is the first superhero of African descent to appear in mainstream American comics, and the film itself is the first major cinematic production based on the character," the museum says. "Black Panther illustrates the progression of blacks in film, an industry that in the past has overlooked blacks, or regulated them to flat, one-dimensional and marginalized figures. The film, like the museum, provides a fuller story of black culture and identity."
Along with Boseman's costume, the museum will feature a shooting script signed by co-writer and director Ryan Coogler, producer and Marvel Studios president Kevin Feige, executive producer Nate Moore, and co-writer and producer Joe Robert Cole. Attendees will also be able to see two pages of the spec script and 24 high-resolution production photographs. The Smithsonian also reports that it's in the final stages of making the costume exhibit a permanent one in the museum.
Curator Rhea Combs praised the film's powerful black characters, especially in regard to its female characters. "It was also nice to see women in dynamic warrior roles, as well as adept in the sciences and technology," Combs says. "These are images many audiences have longed to see in mainstream films, but for too long haven't."


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Instead of doing your own analysis, you can invest in either a mutual fund or an ETF. Here, we look at the differences & similarities between the two.
Last month we looked at whether investors should be concerned about inflation. While many remain fixated on whether inflation will keep rising, there's something else that could have an even bigger impact on markets and therefore your investment returns – interest rates.
Most people are aware that interest rates have been so low for so long. For those who aren't, a quick glance at how much you've made from cash in the bank is a disheartening reminder. Many, however, aren't aware of the impact interest rates could have on your wealth outside the bank – i.e., your investments.
Interest rates are the cost of borrowing money. If you're a borrower, it's what you pay the lender and if you're a lender it's what you can expect to earn. The riskier the loan the more interest the borrower will pay to compensate the lender for the risk. That's why government bonds, many of which are seen as virtually risk-free, pay wafer-thin interest (known as coupons) while corporate bonds, particularly higher risk 'junk bonds' where there's more risk of default, pay more.
Interest rates aren't set in stone though. They're controlled by central banks such as the US Federal Reserve, the Bank of England, and the European Central Bank. They do this for 'Goldilocks' economic growth – not too much, not too little. If central banks want to boost growth they can lower interest rates, which makes borrowing cheaper and encourages spending and investment. If they want to cool an overheating economy, they can increase them which has the opposite effect.
Low interest rates are therefore viewed as generally good for businesses and stock markets. Whether interest rates rise, or fall can also have a big impact on bonds. As most bonds pay a fixed coupon, if interest rates rise that makes those coupons less attractive and so bond prices fall. If interest rates drop, it's vice versa and happy days for bond holders.
With interest rates in much of the developed world hovering around zero, it's fair to ask – just how low can they go? While you might not think rates like 0.25% in the USA, 0.1% in the UK or 0% in the Eurozone can sink any lower, we can't rule out sub-zero rates. In places like Japan and Switzerland they're already there.
Some forecasts, however, predict interest rates to start ticking back up. Central banks use them to control rising inflation, and with many prices going up across the globe (although it's not a foregone conclusion that'll carry on), some see interest rate hikes as inevitable. That's not guaranteed either though.
The Bank of England are taking a "wait and see" approach, before deciding what to do in case current levels of inflation turn out to be temporary. The US Federal Reserve has repeatedly said it expects this inflation to be "transitory". Central banks know hiking interest rates would put the brakes on the economy and so may be reluctant to do so given post-lockdown recoveries are still underway.
If interest rates do rise, there's no hiding from the fact that it likely won't be good for markets in the short term. Does that mean investors should sell out now though, or wait before making any future investments? We certainly don't think so.
It's important to remember forecasts are just that –predictions, some of which will turn out to be wrong. That's why we don't think it's wise to base investment decisions on uncertain outcomes. Economies and markets can be unpredictable and often catch economists and investors alike by surprise.
If interest rates do stay low for even longer, or even if they don't rise significantly, markets could carry on doing what they've always done over the long term – go up. Investors waiting on the side lines could get left behind, as has happened for several years to those making pessimistic forecasts. Time in the market has been shown to increase your chances of investing success more than trying to time the market, which could even harm your returns if you get it wrong.
We don't try to predict whether interest rates, inflation, economies, or markets will go up, down or sideways. Instead, our approach is to consider the possibilities – what if any of those scenarios happen? That means rather than swinging our portfolios around based on forecasts, we make sure they always contain a blend of different investments. So, whatever happens, there should be something performing well or providing some protection – it's what's called the "all-weather" approach. That doesn't mean the portfolios will grow over every short-term period, but over the long run we expect them to deliver strong returns to help our clients achieve their financial goals.
Investing in securities involves risk and the loss of investment capital. Past performance is not indicative a future returns. Your advisor can discuss your tolerance for risk with you so that you understand the potential for loss before proceeding with a portfolio recommendation.
To find out more about this topic and more, please fill in the form below to arrange a call back.
To access a full recording of the webinar, please fill in the form below. We'll email you a link to the video.
Stay up-to-date with financial news and insights delivered straight to your inbox. Sign up today.


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Psalm 22
NO TRUE BELIEVER, PARTICULARLY AT THIS time of the year, can read this Psalm without being confronted with the reality of Christ's crucifixion. It inspires sorrow, adoration--and a desire to understand this astonishing text.
The music for this Psalm has long since disappeared, but its original Hebrew title "Aijeleth Hashahar" is translated as "The Deer of the Dawn"--perhaps a metaphor for Christ Himself. It would be consistent with Scripture to conclude that the music was chosen to magnify and strengthen this hallowed text. Surely, it was solemn, yet filled with the glory of the suffering Servant.
Like 54 other Psalms, the title for this Psalm includes the words "to the Chief Musician" or "to the Choirmaster." Most scholars conclude that it was meant to be sung by the Temple choir, that group of singers chosen for a lifetime of musical service. Their selection, by the way, did not depend on their availability on "rehearsal night" or their love of music. They sang because God placed them in His Temple--the dwelling place of His "Shekinah glory."
Today, all believers make up the "Temple Choir" as singing is not optional for God's saints. The Holy Spirit of God dwells in His blood-bought ones. They are his temple! And like that ancient choir, singing holy songs of praise demands the best of our ability--and effort! The Temple singers were the "best of the best"--no half-hearted effort was tolerated. And for God's songsters today, no less is expected. We may not be THE best, but we must always give OUR best!
In Psalm 22:3, these words: God is enthroned in (or inhabits) the praises of Israel.
These powerful words become an instructive metaphor and lead us to the focus of our thoughts today: Our music must provide a throne for God--not a platform for ourselves. When Christians sing, every aspect of their song must draw attention and glory to our high and holy God.
Nineteen verses later (Verse 22), Jesus declares that
I will declare Your name to My brethren;
in the midst of the congregation I will praise you.
Not only does our holy God indwell the Christian's song, Christ promises to lead the Church in glorious praise to the Father. With Christ as the Conductor of His sacred choir, the songs of praise are filled with His Spirit and must bear the mark of the Master Musician.
Right now, sing a great hymn! Your holy calling demands no less. And even if you cannot sing aloud, let your mind frame the music in praise to the Father!


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Host: Uplift Adventures
Location: Crowsnest Pass, AB T0K 0M0 - Canada
Dates: 6/24/2020 - 6/27/2020
Course Description:
The WAFA to WFR Bridge course upgrades the Wilderness Advanced First Aid to a Wilderness First Responder (WFR) in 4 days. This course must be taken within 3 years of receiving the WMA International WAFA certification or an equivalent from another provider. The WFR is the definitive medical training course for all outdoor professionals and enthusiasts. This course may be used as a recertification for those holding a current WFR certification or equivalent from another provider whose original WFR training was at least 64 hours in length. Current WMA International Wilderness EMS Upgrade students may also use this course to recertify the wilderness portion of their certification.
**If you are using this course to recertify a WMA WEMS Upgrade certification it is your responsibility to let the sponsor know when registering, and to inform the instructor on the first day of class.**
Host Information:
Contact Info:
for registration or
course questions
Room and Board:
Courses offered in the Rocky Mountains of Crowsnest Pass, come learn, play, and discover Southwestern Alberta
Accommodation and meals are available on site. Please contact Uplift Adventures for more information regarding onsite options. If you would like to stay offsite options are available throughout the Crowsnest Pass. Contact us if you would like some suggestions.
|Instructor Name
|Rachel Jamieson
|AB, Canada
|ACP, EMT-Paramedic, WEMT


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Products >> TSS-DTE
Nimbis Services has three TSS product offerings:
The TSS-DTE product offering is for customers who do not have ITAR sensitive information and would like to use trustedstratus.org domain.
The TSS-DTE-ITAR product offering is for customers that require added security for ITAR-restricted data and need to use the trustedstratus.com domain.
The TSS-DTE-ATO product offering is for customers that require an Authority-To-Operate (ATO) cloud environment and will be using the trustedstratus.us domain.
Nimbis Services offers flexibility in licensing the TSS-DTE platform by offering both a monthly or annual subscription license. Customers may procure a license to the TSS-DTE directly from Nimbis Services or through the General Services Administration (GSA) Schedule. TSS-DTE licensing includes the following features:
1. Six (6) seats (user licenses) to the TSS-DTE platform
2. Standard Support
Standard Support consists of:
1. Online web support via trouble ticket submission
2. Access to Updates made generally available
3. Onboarding of one (1) software application on the TSS-DTE platform
4. One half (½) day training/demo session
Nimbis Services also offers the following TSS-DTE platform add-ons for an additional fee:
1. Enterprise Support
2. Extended Support
3. Cloud Hosting Credits
Enterprise Support provides customers additional support beyond what Standard Support offers. TSS Enterprise Support includes:
1. Online web support via trouble ticket submission
2. Access to Updates and Upgrades made generally available
3. Up to 500 person hours of onboarding of multiple software applications, tools, and data on the TSS-DTE platform
4. Two half (½) day training/demo sessions
5. TSS-DTE project configuration and setup support
Extended Support provides customers support after hours during weekdays and weekends. Extended Support may be procured monthly or annually. Extended Support is not available to customers that have not procured the Enterprise Support package.
Cloud Hosting Credits provide customers with credits to be applied to cloud hosting services fees such as Vcpu compute hour usage, cloud storage, cloud data transfer, and other cloud utilities and services. Nimbis Services offers the following cloud hosting credit increments: $10K, $30K, $50K, and $100K to provide flexibility for customers licensing TSS monthly or on an annual basis. Nimbis Services shall procure, manage, and support the cloud hosting services as specified by the customer. The customer will receive a monthly report summarizing the cloud service fees incurred in the prior month along with the remaining balance available.


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Simple Gold Wedding Bracelet for Both Brides & Bridesmaids- Evelyn
Simple Gold Wedding Bracelet for Both Brides & Bridesmaids- Evelyn
Simple Bracelet for Brides and Bridesmaids in Gold & Cubic Zirconia
Here is a simple gold wedding bracelet for both brides and bridesmaids. Many brides have found this design perfect to add just a little bling on their wrist. The reason that is popular is because of its simplicity. The bracelet is great for bridesmaids too, the simplicity of this bracelet will suit every woman. the bridesmaids can wear it on the wedding day and with any of their outfits after the wedding.
A simple gold wedding bracelet is made with a single teardrop cubic zirconia that is filled with sparkly and is adjustable to fit any size with the slider. The gold bridesmaid and wedding bracelet is available in silver and rose gold finish too.
Measurement: Crystal part is approx 1 inch or 2.5 cms, crystal is 1.5 cms wide
Shipping & Delivery
Shipping & Delivery
Fast & Safe Delivery is our No.1 Priority
1. Three shipping options available with Tracking
2. Express Delivery Times 4-7 Business days.
3. Priority Delivery 9 to 14 Business days. (Signature Required)
4. Standards Delivery 12 to 21 Business days
5. Order Processing Time- 1-3 Days
6 Flat Shipping Rate.
7. Free Shipping Options Available
Jewelry Customization
Jewelry Customization
We understand that every bride & woman needs are different. We are glad and willing to work with you, explore opportunities to customize your jewelry. We will do our best where possible and deliver the best.
We can make small Changes...
1.Length Adjustments longer or shorter/ bigger or smaller.
2.Add/ change/ remove pearls or a crystal.
3. Need clip-on earrings instead of pierced earrings.
4. Need a matching jewelry set.
5. Simply ask what is on your mind.
Return & Exchange
Return & Exchange
We sincerely hope you will be happy with your purchase. We strive to provide 100% satisfaction to our customers, hence we have established a flexible return or exchange process.
Learn More about our return and exchange process, it is flexible and & easy.
Your Virtual Fitting Room
Your Virtual Fitting Room
Your Virtual Fitting / Dressing Room
*At your convenience, experience how the jewelry looks on you.
* " TRY VIRTUALLY" button is located on every product.
* Try Virtually is available in mobile and desktop devices.
*Experience the difference read more on how to use "Try Virtually"
Care Instructions- Jewelry
Care Instructions- Jewelry
Here are just a few steps to ensure your lustrous Jewelry is preserved and maintained!
1. Keep away from moisture.
2. Preserve it well.
3. A Little TLC
Complete Your Look!
Explore find more exquisite pieces for a perfect wedding day look.
Gold Bridal Hair Pins- Evelyn
Gold Bridal Bracelet, Gold Wedding Jewelry, Gold Crystal Bracelet, Clear Cubic Zirconia, Gold Teardrop Bracelet, Bridesmaid Bracelet, Evelyn
14K Gold Plated Wedding Jewelry Set for Brides- Evelyn
Once you choose your jewelry, we will get to work...
We Promise, Commit & Deliver
We Will Make it...
We work towards sending all our orders at the earliest.
* Every component is handpicked and checked.
* Measured, Customized, Tailormade as requested.
* Delivering Great Quality, Fast is our No.1 Priority
Wedding & Gift Ready Packaging
Each Pieces jewelry is packed with layers of protection and ready for its secure journey worldwide.
* Ready to be added with your other bridal ensemble.
* Gift ready packaging
Experience the difference.
* Thank you for choosing Poetry Designs, we sincerely hope you like your jewelry.
* Contact us for any problem or support, we are always here to help.
* Nothing delights us more than knowing you loved your jewelry.


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How to Create Messages Your Employees Won't Ignore
Have you ever seen the TV show Mad Men? If you watch carefully and understand the advertising business, you know that the clever slogans behind some of the legendary ad campaigns are based on research and not many glasses of Scotch.
If you have been following along, I have been blogging about the importance of developing an employee communication strategy and have broken down all of the elements that should be included. Today, we get to the fun, but oh so very hard part – key messages! Key messages are developed after you have done your research, set your goals, and understand who your audience is.
Including messages as part of your communication strategy helps keep all of your communication material consistent and focused. I don't know how many times I have pulled out a communication strategy when I am writing content to ensure that the messages are on track.
When it comes to creating messages that grab the attention of your audience, there are some very important differences between communicating to employees and marketing communication messages. I also believe that there are some very important lessons we can learn from the marketing world if you are going to win the hearts and minds of your employees.
10 Things To Do So Your Messages to Employees Stand Out
- Have a purpose – Messages must have a purpose and be linked to your goals – otherwise you are wasting everyone's valuable time.
- Be authentic – being genuine and real helps build trust
- Be timely – your employees should be informed first – don't wait for the rumour mill to start or for them to read about it in the newspaper
- Keep it simple – strip your messages down to the core
- Limit the number – keep your key messages to three or less
- Tailor to fit – your messages should always be relevant to your audience
- Make it real – concrete is far more effective than abstract
- Have fun and be creative – grab their attention
- Put them on repeat – frequency will ensure you have been heard
- Be human – appealing to emotions is a powerful way to connect to your audience
Following these rules will mean the difference between people ignoring your emails and having employees who understand and remember what you have communicated.
"If you have an important point to make, don't try to be subtle or clever. Use a pile driver. Hit the point once. Then come back and hit it again. Then hit it a third time-a tremendous whack."
Winston Churchill
A Winning Formula for Internal Communications
Read The Free eBook
Our eBook shares our unique formula for building business culture and driving success. Find out the 3 key factors in attracting, inspiring and retaining high-calibre talent. Get your free copy when you subscribe to our newsletter. Be the first to know about new blog posts and stay up to date with industry news.Download the ebook


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Mahindra has made a tremendous progress from once being a commercial vehicles manufacturer to being a leading family car manufacturer in India. One of the strongest suits for Mahindra cars in India has been the SUV/MUV/MPV category, in which it is one of the strongest players in the market.
Mahindra XUV 500 has been one of the superstars for Mahindra and has helped the company develop a solid footprint in the SUV segment. Mahindra has introduced several tweaks over the years but the latest upgrade in 2018 is touted to be the biggest ever and the upgraded version is known as the "Plush New XUV 500". Let's have a look at what's new and what's not in this car.
The already large front of the car gets more presence with the upgraded grille along with swankier headlamps. The grille has chrome surrounds which complement the chrome surrounds of the fog light inserts excellently. There are new 18 inch allow wheels, chrome inserts, two tone roof rails, and black cladding around the car. The rear end has also undergone massive transformation with newer tail lamps with a new ridge over the number plate holder. The overall look is more mature and premium as compared to its predecessor.
The overall look and feel of the cabin are same as the predecessor but the individual elements have been carefully upgraded. The tan leather upholstery is the biggest upgrade as it makes the already spacious seats seem even more inviting. The central console seems snugly fitted with a 7-inch infotainment system that doubles as rear parking camera, Tyre pressure monitor, push button start/stop, cruise control, electric sunroof, airbags, and a host of storage spaces provided for the comfort of travellers.
Mahindra XUV is available in Petrol and Diesel variants with the option of manual and automatic transmission for users. The car comes with a 2179 cc engine that powers both the petrol and diesel variants.
Mahindra XUV500 price for the diesel variant starts from Rs. 12.50 Lakhs and goes up to Rs. 19.25 Lakhs. Mahindra XUV500 price for the solo petrol variant is fixed at Rs. 15.73 Lakhs and is available with automatic transmission only.
Mahindra XUV 500 is available in seven colours Pearl White, Opulent Purple, Crimson Red, Volcano Black, Mystic copper, Moondust silver, and lakeside brown.
The key specifications for Mahindra XUV500 are: –
- Engine – 2179 cc
- Fuel Type – Petrol and Diesel
- Transmission – Manual and Automatic
- Torque – 360 Nm max.
- Max Power – 155 bhp
- Seating – 7 Pax
- Airbags – 6 Airbags
With this major upgrade, Mahindra expects the XUV 500 to strengthen its hold in the market. But with several new launches coming up, it is yet to be seen if the new Plush XUV 500 manages to strengthen its hold.
Also check upcoming Hero bikes in India


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A great furniture store in Chicago with quality furniture and friendly staff.
Welcome to Decorium Furnitures!
Continue Shopping
Made with veneers from genuine wood. The artisanal workmanship of the veneer is distinct and unique in every aspect. Consequently, it is impossible for any one item to be exactly the same as another item and any slight difference should be looked upon as the natural beauty and trait of the product and not a flaw
The high gloss Cobalt ...
Elegant and eye-catching, the stunning navy velvet Ritz Bed is the perfect addition to any space.
Soft Velvet
Brass Nailheads
Wing Back Headboard
Contemporary Design
Twin Size: 60.5" W x 83" D x 71" H
Full Size: 60.5" W x 83" D x 71" H
Queen Size: 66.5" W x 88" D x 71" H
King Size: 82.5" W x 88" D x 71" H
Turn up the wow factor in your bedroom with this Bed. Stunning velvet upholstery in a posh color brings rich elegance and style to your space. A fan-like shell pattern on the headboard is achieved with channel tufting, which keeps the padded headboard plump and full, so it supports your back while you sit up in bed, binging on your favorite show...
Revamp your bedroom space with this sumptuously crafted bed. The star of the show here is the headboard—its tufted with deep button tufts that not only keep its thick padding in place and aloft, but also add a modern, textural look to your space. Sleek green velvet upholstery feels luxuriously upscale to the touch, and the high headboard and the...
Ensconce yourself in regal modernity in this Dolan Velvet Queen Bed. A super tall headboard makes this Dolan bed hard to ignore, ensuring it is the focal point in your bedroom sanctuary. The padded headboard is plump and welcoming, making it ideal for propping up against while you read the daily news or watch some TV. Gold trim and channel tufti...
Surround yourself in modern luxury when you add this Langston Velvet Queen Bed to your bedroom oasis. Sumptuous by design, this bed features all-over button tufting for a look that is nothing short of stunning. This dimensional bed features a heavily padded headboard and side rails, each covered in magnificent-to-the-touch navy velvet for a look...
Embolden your bedroom space with this beautiful and colorful Jovina Velvet Queen Bed. A pop of stunning color and chic, sleek velvet upholstery set this bed apart as a distinctively elegant option for your bedroom sanctuary. The contemporary design meshes well with modern decor, making it the ultimate choice for the uber-modern home. Metal legs ...
Take your bedroom space to a whole new modern level with this Victory velvet queen bed. Posh velvet upholstery in a lovely black color is intersected by polished gold metal in a geometric design that is nothing short of spectacular. This stunning bed has a gold metal base to finish off the presentation on a glamorous and upscale note. Full slats...
Our Store offers interior design consulation, furniture staging, and rentals.


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Hey Divas, our good friend Author Caroline Jhingory recently wrote to us to talk about loose skin. We featured the story of her 150 pound weight loss back in July and she received a lot of questions from Black Women Losing Weight members about sagging skin post-weight loss. She shared the info below and photo for more info:
"As a result of my weight loss, I was left with a mass of hanging skin on my belly and underneath my arms that hung like curtains. The fact that my stomach was bigger than my already tiny boobies bothered me the most. People often commented that my belly looked like the stomach of a woman that had 5 kids, although I have never had children. I know of others that were successful at losing 100+ pounds and they had no issues with sagging skin. Their skin bounced back. However, for many (myself included), there was no amount of exercise or strength training that would get rid of my post-weight loss flab.
In December 2007, I choose to have an abdominalplasty (tummy tuck) and lipo on my arms to remove the excess skin. I thought that the skin weighed more, but the doctor said it was around a pound and half worth of skin he removed. Over the last few years, I have reduced additional flab around my belly with more intensive cardiovascular exercise. Much of the research out there says that you need to SWEAT, meaning cardio, to burn fat around the belly.
I'm a little 50/50 on whether I would have plastic surgery again. Maybe on my thighs. I'm a little hesitant because the surgery was the worst. Let me say it again …the worst pain of my life. Maybe I am just a sucker. It hurt when I laughed, it hurt when I breathed, it hurt when I walked, it hurt when I ate. And for some reason I couldn't pee after surgery unless I splashed ice cold water on my "vajayjay" with a water bottle and shocked it to pee. The doctor said this was normal and that it happens to some women after C-sections, so go figure."
Check out Caroline on Instagram.


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Hello!, you are most welcome to Freshreporters.com news media platform.
Fresh Reporters – as the name implies is a digital newspaper platform focused on serving fresh an undiluted information on happenings within and outside Nigeria.
To continously earn the trust of the public we're dedicated to the pursuit of truth and reason covering a range of issues from breaking news to politics, business, education, sports, entertainments and so on to the crossroads of people and society.
At FreshReporters we do not aim to manipulate the mind of our readers and public toward any particular point of view but rather that they understand the facts, and thus be able to come to their own conclusions.
We own a discussional page on Facebook with the name: FreshReporters.com
You can reach us when you fill this form or dial our digit : +2348084076066 respectively.


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"Immigration law is a mystery and a mastery of obfuscation, and the lawyers who can figure it out are worth their weight in gold."
– CIS spokeswoman Karen Kraushaar
How to Prepare for an Interview with an Immigration Attorney
Assemble as many facts, documents and items related to your case as you can and take them with you to the interview. Be sure you have all immigration-related documents.
Organize your thoughts and state your needs as clearly as possible: be assertive. Your initial goal should be to find a lawyer with whom you are comfortable and at ease when discussing your particular problem.
Describe your position as thoroughly as possible so that the lawyer will be able to determine whether she can help you.
If you are not familiar with any words or terms used by the lawyer in the course of the interview, do not hesitate to ask for an explanation of them.
Ask about the lawyer's expertise:
(a) Does the lawyer specialize in your type of problem?
(b) What steps are involved in solving the problem?
(c) How much experience does the lawyer have in resolving your type of problem?
Try to get an estimate of the time involved:
(a) Is the lawyer available immediately?
(b) What steps are involved in solving the problem?
(c) Approximately how long will each step take?
(d) Approximately how long will the whole case take?
Try to get an estimate of the expense involved:
(a) Approximately how much will it cost to solve your problem (including both the lawyer's fees and other expenses)?
(b) How does the lawyer charge? Does the lawyer charge a flat rate or does the lawyer charge by the hour?
(c) Does the lawyer charge for all phone calls?
Sometimes a solution to a legal problem is simple and straightforward. Most cases, however, involve some uncertainties in both proving of facts, and establishing and applying the law. It may help to ask your lawyer such questions as:
(a) What are the potential difficulties in your case? Is the law clear?
(b) What can be done to help speed things up or reduce costs?
(c) What is the attorney's communication policy? Can you communicate by email? What is the turnaround time for responses to your calls or questions? Does the attorney have an online case tracking system you can use?
Be aware of how your case in progressing.
Keep in contact with your lawyer. Always update your lawyer on changes in your contact information.
Ask to receive a copy of all documents and correspondence relating to your case, and keep your own file.
Ask to be kept advised about how much the case is costing.


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Blacet and Wiard Analog Synthesizer Modules
|All modules built as kits except the Wiard Joystick Module, and the Zeroscillator. All have been modified for banana jacks. Blacet modules are available at http://www.blacet.com. Wiard modules are from http://www.wiard.com. The Zeroscillator is from Cyndustries http://www.cyndustries.com.
Top Row (from left to right): Bar Graph, Midiverter, Scanner, Sequential Switch, StoneZ, Hex Zone
Middle Row (from left to right): Improbabilty Drive, Binary Zone, Filthy Filter, Cyndustries Zeroscillator
Bottom Row (from left to right): Dual Filter, VCO, VCO Quad Mix, I/O, Wiard Joystick.
Top Row (from left to right): Mixer Processor, Final Filtre, EG 1, Wiard Mini Wave, Multi/Attenuator (2).
Bottom Row (from left to right): Frequency Divider (2), KlankWerk, Time Machine, Dark Star Chaos.


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OUR MOTTO: Carbone & Carbone give everyone of our customers in Valatie, New York our three I's of law practice; Intensity, Integrity and Intelligence. We have served the Capital District and Adirondacks, and even Valatie for over 35 years. It is safe to say that we can help. Please, feel free to call or email us at firstname.lastname@example.com for your free consultation, today.
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Fax: (518) 326-0366


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Bridging Body and Soul
Bearing the Body
Farrar, Straus and Giroux, 304 pages, $24.
The revelation buried within Ehud Havazelet's first novel, "Bearing the Body," is welcome and rare: Upon first opening its covers, the thought occurs that this novel, as a body of work, must have been borne of a heavy labor (Havazelet's last book was published almost a decade ago), and so that its plot or prose might have to be borne, as well, put up with or suffered. But read a page, or two or 10, and any pedestrian suspicion soon gives way to the lofty: Eventually, Havazelet's debut rivals one of its vital images, San Francisco's Golden Gate Bridge, for its aspirations, disbelief-suspension and tenuous beauty.
The title, can, if dissected, cut two different ways: One version pallbears the physical body of the deceased to its grave, while the other holds to a version of the metaphor offered above. The metaphysical body must be borne, too; the burden of humanness must be survived by the soul. Havazelet knowingly performs surgery, then, halving his titular pun, and so having his skin even while shedding it. The cadaver of the first version is the body of one Daniel Mirsky, revolutionary, drug addict and victim of murder. The other version's body is equivocally tragic — history, the weight of Sol Mirsky's Holocaust past.
The book opens with Nathan Mirsky, graduated as the oldest medical school student in his class, now serving his rotation in Boston. Returning to the home he shares with his girlfriend, Janet, he finds a letter in the mail, postmarked San Francisco. The reader is told that Nathan knows the letter is from his estranged brother, Daniel. What the reader doesn't know, at first, is that Daniel has been dead for a week.
Nathan drives to his native Queens, New York, making the requisite pilgrimage: He stops in on his father, Sol, a retired salesman and amateur archivist. Since the death of Mother Mirsky, Freda, Sol has passed his time tracking transport numbers, informing the living relatives and friends of Holocaust victims of the specifics of their loved ones' demises. Reflective road trips and historical trains are soon exchanged for an airplane, as Sol and Nathan fly to San Francisco, ostensibly to retrieve Daniel's remains. But in a small, squalid rented room is to be found the first irony of many: There is only a box; Daniel has no body to bear. As Daniel was the son of a survivor of the ovens of Europe, his final defiance was to will himself cremated — asking, in essence, that his life, which burned brightly, too quickly, be flung in his father's face as ashes: "survivor's guilt" relapsed upon the already grieving.
Now, the novel's business begins. The Mirskys meet Daniel's girlfriend, Abby, and her son (not Daniel's), Ben. Daniel, in his letters to Nathan, had mentioned neither. Sol is hospitalized for a wound received in a mugging. His momentary absence from the book brings Nathan's own guilt and grief into view. Nathan's relationship with Janet is deteriorating; his work in the emergency room is making him sick. Through the indiscretion of a detective, Rivera, the Mirskys find that Daniel was shot to death at the intersection of the territories of two rival gangs. Daniel was always a talker, never a doer, and so it seems shocking — both to his fellow characters and to their reader — that he'd gone to that alley armed with a gun of his own, though unloaded. Apparently, Bay Area schoolchildren, even Abby's Ben, were employed as couriers of heroin, which Daniel had recently quit using. This prodigal son of Jewish Brooklyn and the Columbia University unrest had, in the Wild West, finally ventured at vigilance — converting his radicalism from café theory to ghetto practice, hoping to avenge the abuse of his adopted son and, perhaps, that of his own private demons.
What Havazelet has given us here is a story of patrimony, fraternity, and of guilt both individual and collective — moving, not just coast to coast but psychologically and emotionally, too, though ultimately exhuming the done before, and occasionally boring.
Such, however, is not an effect of Havazelet's prose, which is always excellent and surprising — alternately loose and tight, as based on ear and image as opposed to received syntax or the belabored correct. Here is Daniel, in posthumous or epistolary italics to Nathan, reflecting on Sol after the death of their mother:
"Still, he's Solomon the Adamant, the Aggrieved, the Last Angry Man. I don't know what you expected but I thought, Look out, here it comes. Line up for the big show. Tough as this may be on him, the pain, even the dying, maybe, just watch what he'll make it for the rest of us."
From Adam's earliest Adamancy to the finality of the Last Angry Man, this is masterful. Surprisingly, the voice of the narrator, the authorial third person, is equal in its sad calm to the immediacy of such "I don't know what":
"Nathan wondered, if he stood here forever, or just left the receiver dangling, how long would the phone in Boston ring? How long before somewhere between here and there cut in and requested that he hang up or redial? How long before a computer someplace decided he was taking up valuable time. Or till Angelo, their super, came in with his key and angrily slammed down the phone? Maybe it would just go on, hours, days, weeks. Maybe right now across America there were hundreds of phones ringing in empty rooms where no one lived anymore and where no one would be hurrying back to pick them up and say, Hello, sorry, are you still there?"
These quotations, diverse as they were written toward differing purposes, demonstrate the author's shifty range and rhetorical power. As he has in his two previous story collections (1988's "What Is It Then Between Us?" and 1998's "Like Never Before"), Havazelet writes best when he writes wildly, freely, though with confident cadence. Any reservation, then, would be to diagnose not his treatments in language but the affliction of language with theme.
Patrimony, as a theme, is itself a patrimony — better left to the cemetery that was last season's shelf. The familial has become all too familiar — especially in today's literature of and by American Jews. We are not as pure, nor as purely suffering, as our forefathers, and for that we should be thankful, or otherwise occupied, not always eulogizing or exhorting ourselves, sacerdotal or doting. When I say that Havazelet's revel ation is buried, I mean this: Such magical prose should not be made to bear such workaday theme or plot, the plod of "the real." Should Havazelet ever shed the skin of convention, the body bared should be modestly perfect — and a living master of American Jewish letters would be born.
Joshua Cohen is a literary critic for the Forward.


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U13 Central Zone Regional Results
For an Under 13 Regional age group competition, the Central Zone Competition certainly felt like a national championship as 30+ teams flooded the doors of the Walter Nash Centre in Lower Hutt.
With three boys grades and two girls grades, basketball fans, parents and supporters were in for a treat over the four days of action. The action packed week featured many close games, with some having to go to double overtime to decide.
Hosts Hutt Valley were unlucky to make the final after taking on Wellington in what was a fairly one sided game, but managed to give Hawke's Bay a run for their money in the Girls 3rd/4th A grade. Hawke's Bay slipped away in the end to finish 3rd by 10 points. Taranaki Girls gave Wellington a rather uncontested final, going down 62-30.
The boys A grade went down in similar fashion, with Hutt Valley taking on Taranaki in their 3rd/4th Playoff. The game, which was officiated by Summer Series Referee Daphne Martinez, ended up going into overtime, as the teams couldn't find a winner at the end of the 4th quarter. Hutt Valley pulled ahead in the final stages of the game, winning 62-60 in what was undoubtedly the game of the day. Wellington went down in a 24-60 blowout in favour of Hawke's Bay.
In the boys B grade Grand Final, Summer Series Referee Emily Smith was given the whistle in what would see Hawke's Bay B take on Taranaki Country in a heavily contested match. The scores were even throughout the game, but Hawke's Bay let the game slip in the last quarter, seeing Taranaki Country take the win 55-63.
Tawa College Boys team member Malachi Collins also managed to pick up a whistle during the tournament. Well done to him for giving officiating a go.
Congratulations to all the teams that entered and took part, and congratulations to our Summer Series officials who did exceptionally well this tournament.
U13 Central Region Officials:
Daphne Martinez ('A' Boys 3rd/4th Playoff Official)
Emily Smith ('B' Boys Final Official)


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Like most local farmers markets, it's best to go on the weekend and I went to the beloved and famous Jean Talon Market. It's so easy to be seduced by the gorgeous summer produce (oh, the perfectly ripened Quebecois strawberries! The sweet peaches! Rhubarb!) that's available at multiple vendors' stands. But I had to restrain myself from buying the glorious fruit since I am not permitted to bring this home but I did pick up some really flavorful goat's milk cheeses and sheep's milk butter.
Even though there is plenty of opportunities to eat within Jean Talon, you should walk out about 5 minutes to Salmigondis for brunch. Typically for me, brunch isn't a big deal since the menu is primarily made up of eggs and it feels redundant. However, Salmigondis have some interesting tweaks to the classics that it feels and tastes different.
The restaurant was packed by the time I arrived around 12:30 PM. It's a relatively compact restaurant that has a charming covered outdoor space where locals and tourists dine until the rain poured. The diners are a large range of people from pairs of young friends and couples to groups of older friends catching up.
I've started with two beverages – a really good cappuccino (surprising for a restaurant) and fresh grapefruit juice.
My main course was a really good plate of shrimp cake eggs benedict with cucumber peanut relish, salicornia (also known as sea beans) topped with hollandaise. The shrimp cakes were the primary reason the eggs benedict is different enough for me. The sweet and savory shrimp cakes were perfectly seasoned and the luscious egg yolks and creamy hollandaise added the unctuous elements to the dish. The sea beans and relish added some fresh and crunchy notes.
My dessert so to speak is a plate of manoic or cassava and coconut cake topped with fresh whipped cream, coconut flakes, and cilantro. I also ordered a pot of organic kukicha from Camellia Sinensis Tea House. The tea was excellent – sweet, nutty notes and it's great the staff provided a minute-long (or two) hourglass to time the brew time perfectly.
The cassava and coconut pancake, essentially, was interesting enough even though I was expecting a slice of layer cake. The slightly chewy texture from the cassava was pleasant and the coconut flavor permeates at every bite nicely.
Overall, it's a very good place to have brunch. Flavors are unique and the cooking is very good too. Service was understandably, a little bit slow since there's only two waiters on the floor and they were slammed with a full restaurant but they were friendly and did the best they could to get the orders out.[alpine-phototile-for-flickr src="set" uid="26389565@N00″ sid="72157710019752902″ imgl="flickr" shuffle="1″ style="gallery" row="4″ grwidth="1200″ grheight="800″ size="640″ num="30″ shadow="1″ border="1″ align="center" max="100″]
6896 St Dominique St
Montreal, QC H2S 3B2
Phone: +1 514-564-3842
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text: Lawson Elser is proud to have been involved in many education projects including public elementary projects, high school level projects, and university buildings. We have designed entirely new structures, helped renovate existing buildings including historic structures, and have designed new additions to existing education facilities. We are especially interested in university projects and have designed building structures for universities all over Indiana and in other states as well.


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If you're in the Bay Area, you won't want to miss the Alien She exhibit at Yerba Buena Center for the Arts (here until January 25, 2015). Curated by Astria Suparak and Ceci Moss, it is "the first exhibition to examine the lasting impact of Riot Grrrl on artists and cultural producers working today."
About-Facers sure do love some '90s riot grrrl jams, and the lasting impact the movement continues to have on women and girls today. When I recently heard about Alien She and that it will be leaving town soon, I jumped on the opportunity to check it out.
Upon entering the exhibit, you are faced with a huge wall of posters and fliers from shows in the '90s and early 2000s.
You will also find a reading area with plenty of zines to poke through, photography, video interviews, and interactive projects.
There are even headphones with playlists to serve as the soundtrack for your browsing, blasting songs by Bikini Kill, Dominatrix, Catcall, Bratmobile, Switched at Birth, and many more iconic and lesser-known riot grrrl bands.
One display I loved was Bay Area photographer Tammy Rae Carland's series of photos, Untitled (Lesbian Beds). The photos feature unmade beds of lesbian couples, without additional details (or even visuals) of the couples themselves.
It was fun to speculate about the lives of these mystery women based on their crumpled bed sheets, as well as the artist's intentions with the quiet images.
You can read the curators' statement about Alien She for the full scoop, or to get more insight on riot grrrl itself, if you are unfamiliar.
The next stop for Alien She is the Orange County Museum of Art in Newport Beach, California, from Feb. 15 – May 24, 2015. After that, you can find it at Pacific Northwest College of Art in Portland, Oregon, from Sept. 3, 2015 – Jan. 9, 2016. Don't miss it!
Stacey is a bookworm who loves nature and making people happy. She enjoys utilizing the tools she gained from her Women and Gender Studies degree to critique media and the world around her from a feminist perspective.


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Panthers fire Boughner, seek 'transformative' coach
The Florida Panthers fired head coach Bob Boughner on Sunday, not long after the 2018-19 season ended. The team also parted ways with assistant Paul McFarland.
GM Dale Tallon's quote in the press release won't exactly cut off speculation about interest in Joel Quenneville, as the phrase "transformative, experienced head coach with Stanley Cup pedigree" sure seems ... on the nose? On the 'stache?
"We made a tough decision today and have relieved Bob Boughner of his duties as head coach," Tallon said. "We didn't meet expectations this season and share responsibility for that fact. After careful evaluation, we have determined that this is a necessary first step for our young team and we will seek to identify a transformative, experienced head coach with Stanley Cup pedigree to lead our team going forward. We're grateful to Bob, Paul and their families for their hard work and their dedication to the Panthers organization and we wish them the best of luck in their future endeavors."
The Athletic's George Richards reports that the Panthers want to talk to Quenneville "officially." Hmm, interesting.
Tallon's already called his shot about Florida aiming for the fences when it comes to using cap room, with many wondering if the Panthers might target both Artemi Panarin and Sergei Bobrovsky if the two prominent Blue Jackets indeed make it to free agency.
"We'll be very aggressive after the season," Tallon said on Feb. 25, via the Panthers' website. "We have lots of room now. We have lots of picks. We'll turn this into a positive thing. We had some bunt singles, to scratch and claw to improve our organization on a daily basis, and then we'll eventually hit the home run."
The idea of getting Quenneville and big free agents is alluring, and could represent a symbiotic relationship: getting Quenneville might make those free agents more willing to buy into Florida being legitimate as a contender, while potentially landing big names could make Florida a more desirable destination. This is a huge letdown for Boughner, of course, but it sets the stage for maybe the most interesting summer for the Panthers ... ever?
Boughner, 48, coached the Panthers for two seasons. They were unable to make the 2018 or 2019 Stanley Cup Playoffs, with Boughner compiling a 79-62-22 record as Florida's head coach. Considering some of the high-end talent on the Panthers' roster, it was fair to wonder why the team couldn't put it all together. If you believe that the Panthers underachieved because of Boughner, then you're likely in favor of this decision.
Still, two seasons isn't exactly a long leash for a coach, and this organization's continued to change course. Richards points out that Jonathan Huberdeau is set to play for his sixth coach, and the 25-year-old has only played in the NHL for seven seasons.
The Panthers appear primed to go bold, and sadly that has already cost people jobs.
More on the Panthers
Is there an easy fix for their woes?
Why they were smart not to tear apart their roster at the trade deadline.
A look at their struggles back in November.
James O'Brien is a writer for Pro Hockey Talk on NBC Sports. Drop him a line at firstname.lastname@example.com or follow him on Twitter @cyclelikesedins.


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Loie Hollowell: Definitely. I'm a renderer through and through. If I could just go off into the country and paint without restrictions… actually that's basically what I do now. What I mean is, if I could have my way and never push myself, I would do what I learned how to do when I was young and that's render really tightly. Really smooth with really light wrist strokes, and really perfectly plastic. Where you can't even see the stroke or you do one on purpose like "Oh there look, that's the brush stroke!"
It's satisfying rendering in these paintings, using a fan brush and getting the perfect light to dark gradient; I always feel satisfied by that. It feels like when you're driving over a hill in the country and go over one hill and your heart jumps a little bit and then you're going down hill and you know you made it.
One of the reasons I have been making these expanding forms that go from to light to dark and light to dark, is that I get to do these gradients. That is regardless of whether it is the pastel or a sponge or the brush. The enjoyment of rendering also comes from finding that perfect dark color to blend into the light color.
RKS: Do you work those colors out beforehand on the palette?
LH: A lot of the time I am working them out in the drawing, and a lot of times I am working them out on the canvas and they get painted over. It has to do with the vision of the painting. So if I imagine the yellow being the lightest color I'll start with purple for the base. I'll make a deep purple with a Prussian blue or something. But then I need to figure out what I'm going to do in the middle so that it's not just turning into something brown. Maybe I'll bring in some red or some deeper ocher.
RKS: Ooh la-la
LH: Yeah, it's like "Oooh what's gonna go in the middle of that bump! Hmmm."
RKS: That sounds fun.
LH: It is. It's the act of blending and the excitement of the final product. I'll have all the colors set to go on the palette, a huge chunk of the dark and a huge chunk of the light and maybe two transitions in between. And then on the canvas I'll be working out all those in-between areas. Using a palette knife is another favorite tactile experience, but that has to do with blending too.
RKS: How do you start these paintings?
LH: Drawing; every piece comes from drawing. I do a bunch of really quick sketches and doodles in my little nighttime journal. That will develop into a drawing that I will make on Bristol paper and if I really like it I will grid it out and grid that out on to the canvas and leave it around in case I want to paint on it later. I haven't gotten to the technology of projecting it yet [laughs]. Sometimes a drawing will inspire another drawing, on another canvas. I won't even go to paper, I'll just draw it out on the canvas. And then that might lead to a drawing on paper, which might lead to another painting.
RKS: How long do your paintings take?
LH: They take anywhere from one week to two or three months. The ones that have happened in a week I have seen clearly in my head. I draw them out and the painting immediately proceeds from there. Probably two weeks actually, because I consider the drawing part of the whole process. It's the study process. Also, all the previous attempts on one canvas–I would consider that time as part of the time it takes to finish one canvas. So maybe some paintings will take two years.
RKS: I'm curious what's the last painting you worked on and how do you feel about it.
LH: This one is the second iteration of a painting called locked lingam based on this drawing right here. The first iteration was pretty much this drawing [points to one of the her preparatory drawings in a grid on the wall]. The small first iteration painting was the first time I used the sponge technique. All the small paintings were 9″x13″ and this painting is the step up in scale. So I thought with the step up in scale it would be interesting to multiply the lingams.
Lingam is sanskrit for phallus and yoni is sanskrit for vagina. That's what this painting is. I guess I've kind of taken a historical precedent of the yoni and lingam being expressed artistically and made it into my own shapes.
The yoni as the vagina symbol is the mandorla shape in the center of this painting. The mandorla, Italian for almond, is, in Catholic art, the shape that kind of glows around the Virgin Mary during the ascension. I like it as a simplified vagina. A smooth almond shaped kind-of mouth form. That's what's in the center, and is in a lot of these paintings. I tend to paint them yellow because I see yellow as this vibrant sexual energizing color and red as a more of bodily kind of deep, hungry color.
RKS: In this locked lingam painting, would all these reds in the spectrum fall under that categorization? Actually it looks like the red goes blue-purple towards the center.
LH: I think the red in this painting is starting out as kind of a sensual and absorbent deep-hued purple. It was color that wants to suck you in and then as it goes out it's becoming more fleshy and more of the body as it increases in white. But with this painting I'm not sure how the edges are going to conclude, I'm not sure if those diagonal lines are going to be there. I'm not convinced by the drawing version of it.
The sponge technique I mentioned was first used in the first iteration of locked lingam, and in the second iteration here, it was painted all wet. So I did this sponge thing, with these tiny little sponges here [picks up a dish sponge that is cheap yellow plastic foam on one side, green scrub pad on the other, that has been cut into six even cubes] and I cut them up, and tried to get as detailed as I could.
RKS: You used the scrubby side?
LH: Yeah, the scrubby side. But sometimes I used the soft side.
RKS: So you're lying, they're not sponges! [both laugh]
LH: You're right what is that?
RKS: The scour side?
LH: Oooh, yeah.
RKS: I was wondering how your stipple texture was so fine.
LH: Yeah, it is the fibrous side of the sponge that give the fine stipple. Sometimes I used the sponge side, the porous sponge side, to get into the tight curves and details.
Anyway, I introduced the sponge just as a means to have a different light absorption on the surface of the painting. I use a lot of linseed and stand oil in my paint and I am always having to experiment with the amounts of linseed oil to get the finished product to look even. I'll oftentimes have to just spray it.
I did the sponge as a way of having the light sit more, or rest more, or look more flat and matte. Also I really liked the way the pastel was functioning in the drawings. It was granulated and smudgy, and not because I was trying to but because of the properties of the pastel and the limited drawing space [all the drawings are around 9″x11″]. With the sponge I thought I could inhibit my tendency to render really tightly by bringing in a large tool. And it was really tricky to mix with and has an inherent set of physical properties that were not what I was accustomed to. Much as my finger was when I did my pastels. The grain of the sponge was like a finger print. That you can see in the ojee, in trans formation over there.
But you see in that painting if I was using brushes I would have rendered it really smooth, but with the sponge it's stepped. Which I wouldn't have wanted if I had done it by hand.
RKS: The problem is you're gonna get really good at using the sponge and you won't have any problems.
LH: [laughing] Right, I'll have to go bigger.
RKS: Or find a new terribly clumsy tool.
LH: I know if I get good with the sponge, and it was functioning as an inhibitor, I'll have to find a new inhibitor.
RKS: Or be aware that you can't continue to talk about it as an inhibitor.
LH: Yeah. These paintings are newer though, they're the product of the last three years. I wasn't doing these paintings coming out of grad school. I have a lot of trouble sticking to one way of painting or one way of being an artist. I feel like if I don't keep introducing new technical things into the painting process, I'm going to get bored.
RKS: And you're still learning.
LH: And I'm still learning. My lexicon of painting is really new and just developing.
RKS: If you were to stop you would be either super arrogant and/or super dumb.
LH: It would be believing that these are the best that I can do–at thirty-two. That these are the best paintings I can make, the best kinds of questions I can come up with. Sometimes I think about myself in fifty years, and about the insane amount of knowledge I will have about my practice. I don't do it all the time but I do fantasize about what I will be making in fifty years. Maybe that's problematic.
RKS: It's an interesting question.
RKS: Are these paintings a series?
LH: I feel among the paintings I have done in the past three years, there are a bunch of different groups that I can expand upon. It feels like much more of a complete practice. Because within the practice, I have these different directions that I can go. Maybe the painting style will change, the texture and technique will change, but I feel that the kind of content I am dealing with right now has been what has driven me since I started considering myself an artist. And I feel like the form they're taking now is actually the strongest language that I have been able to put out into the world.
RKS: It's not a series, it's just a total practice.
LH: There are multiple ideas going on within the practice. I feel like the drawing practice, and drawing in general, is the ground work for painting, the architecture of painting. And when you are bringing in color to a drawing, even pastel it's such a thick, malleable substance that it really feels like painting. So I think my pastels could eventually develop into their own body of work.
There's a different element in this body of work, there's the figurative reference and there is this geometric abstract reference. I could see myself going in those two directions. I have this painting that is more figurative and it comes out of a more Chicago Imagist School sensibility. The landscape element in this one could lead into a whole different direction, whereas the trans formation painting and the space that is completely held within the frame, self-contained light, self-contained form could be a whole new direction. There's so much to do! I want to expand the color, so this has all been a body of work of color. In the next series, the lines might be in the same, but the color is going to be totally different.
RKS: Do you have a tool run down?
LH: Well, I've talked about the sponge. Something I promote is this awesome eraser that you use for drawing, it's like a mechanical pencil but for thin eraser sticks. It's called the Tuff Stuff Eraser Stick. You can get really sharp points with it. I use pretty standard painting supplies, like a glass palette. One thing I do that has come in handy recently since I have started working on multiple paintings, is to keep my brushes in water overnight so they don't dry out and you don't have to wash them every night either. Another really helpful tool is my dropper bottle in which I put my medium–a mixture of linseed oil, stand oil, and mineral oil.
RKS: Your proprietary blend. Do you have the proportions worked out?
LH: Well it depends on each painting. Recently I have been putting a bit more linseed oil in it.
I use really short brushes. I'm more of a knuckle painter, I've been told. But I'm painting bigger painting so I have larger and longer brushes now.
RKS: Sable?
LH: Yea, it's a really smooth texture. Perfect for blending.
RKS: The canvas is linen?
LH: Yeah, and varying thicknesses of linen. I like the texture of the linen and the color. It's a good solution to sides in a culture of frameless paintings. And there is a panel underneath the canvas because I rework the paintings a lot. I'm always cutting down the paint, and scraping, and chopping. Sometimes I'm even using a blade and tape on the canvas to tape off areas.
And four layers of gesso, sanded. Not totally smooth though, I like the grain.
I put down my under coat of painting but it almost always becomes a different painting. Through the layers of mistakes, I'll have a nice thick undercoat of what was once a painting.
RKS: Do they all have prior attempts underneath?
LH: Yea.
RKS: That gives them all a certain amount of body.
LH: Yeah, you can see bumps and circles from previous shapes. One of these paintings I was particularly mad at, it's been six different paintings. The first painting on there was five months of layering and it just didn't work out.
RKS: You're brave.
LH: As these ideas become more clear to me there's gonna be less…
RKS: Less bullshit! [both laughing]
LH: Yeah, less bullshit. If a painting isn't working, I'll just set it aside. Because painting over your work can be really problematic. You need to see your mistakes to make something better the next time and to be able to reflect on it. In time, you'll pull those bad paintings out and you'll find something you were hitting on that you couldn't see because you were so concerned about having enough yellow. But actually maybe the colors were right on.
RKS: Or were a prelude to something else.
LH: Yeah. I need to be saving these, but having a small studio kind of prevents you from keeping too much stuff.
RKS: You get a lot of freedom from getting rid of stuff.
LH: Definitely. And it's nice having the remnant texture underneath the paintings. As I get better, just like losing the awkwardness of the gradient made with the sponge, I might lose the funkiness of the previous paintings. Just as I couldn't have made these paintings without the past twenty years of experience, I couldn't have made the final paintings without the previous ones.
RKS: So you have a certain size canvas you make?
LH: All of my canvases are within the ratio of 9″x12″ piece of paper because that's what all my drawings are. When I grid it out I know what my fraction is going to be. It is pretty easy for me to lay out the grid pretty quick. I've only been working with four different sizes. I feel like I have so many other things to think about that my canvas size has to be super specific.
RKS: That's great.
LH: Having to worry about color, and shape, and line, there are just so many variables. The fixed canvas sizes help the exploration of other ideas. I can think much more more clearly as I move through my ideas. That is why, I am going to mainly try to work on 21″x28″ canvas until the show because I need to get my focus on. I feel like I have this tendency to pooh-pooh shows of paintings that are all the same size because it just seems so sellable. But as a painter whose gotten to the point where I have this show, you actually have to add some constants into the equation to stay sane. Maybe when you reach the level of Alex Katz you can just say "Make a 7'x8′ canvas for me"
RKS: Or "Make me forty 7'x8′ canvases."
LH: I have new found respect for the diligence that it takes to constrain yourself and give yourself boundaries.
RKS: It really is a mind game.
LH: Scale is so relative too. You go into a gallery in Chelsea and there's a 7'x8′ painting that looks like it's a 21″x 28″ painting in my studio.
RKS: How do you know when you are done?
LH: I guess everything has to reach a point, more or less, of harmony. The color has to work with the form and I think in this orange lick-lick painting right now, what I'm most concerned about right now is the kind of all-over-ness of the yellow. It doesn't have that kind of pop. I was going for something else. I like the trippiness of the eye, I like the contrast of the light yellow with the dark purple, which actually turned to orange. And I like how that contrast creates the optical fuzziness. But I feel like the middle mandorla could make it pop even more, it could be doing something, and maybe it's just in my imagination that it could be doing something that really sucks you in. But right now it's not humming yet.
RKS: So the paintings are not trying to get a close to the drawings as possible?
LH: So I make drawings but sometimes I don't like the colors that I do in them. I'll try to make the painting more uniform in color maybe, which I did on this orange lick-lick painting, but then I did like it! I'm realizing it is such a different beast, a 6′ x 4′ painting to a 9″ x 12″ drawing. If I'm going to making these paintings big, I'm going to have to start making these drawings the equivalent ratio between the drawing and the painting that I had before with the smaller paintings.
RKS: Can the lessons of your drawings translate one-to-one with your paintings?
LH: Almost. With painting you can get an almost infinitely larger range of color and the luminosity of paint lends to an engagement with painting that I can't have with my drawing.
RKS: Can you describe a painting, as you might to someone who can't see it?
LH: The paintings all come out of such a specific vision but I try to keep that vision as simplified as possible. I don't want the ideas to be too didactic, I don't want the feminist element or the bodily references or the vagina or penis to be visible right away. So I could describe this orange lick-lick painting as silhouettes radiating outward with each silhouette defining the reverse of another, and expanding into infinity. But I'm much more interested in what comes across to the viewer from that simplification, than in whatever I would describe to you or whatever names I would give my forms.
Note: Loie Hollowell's paintings are included in "Eat a Peach," a group exhibition featuring Jim Gaylord, Douglas Melini, Loie Hollowell and Carl D�Alvia. Jeff Bailey Gallery, Hudson, NY. Through October 15, 2015.
Related posts:
Interview: Sophia Flood in Gowanus
The nicest guy in Chelsea: Booksigning party
Two Coats of Paint is licensed under a Creative Commons Attribution –
Noncommercial-No Derivative Works 3.0 United States License. To use
content beyond the scope of this license, permission is required.


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Sites of Japan's Meiji Industrial Revolution recommeded as a World Heritage Site
ICOMOS, the official advisory panel of UNESCO, reccommeded some sites of Japan's Meiji Industrial revolution as a world heritage site to UNESCO on this May 4th. (http://whc.unesco.org/)
The recommended candidate consists of 23 facilities in 8 prefecturessuch as nagasaki and Fukuoka, mainly southwestern parts in Japan in total. They all represent the rapidly developped processes of the heavy industry at the turning point of Japan from the pre-modern to the modern society about 150 years ago in the Meiji era, explains the japanese government. For example, Gunkan jima island in Nagasaki pref. which worked as a plant island including schools, residents of factory workers and their families as if it were an independent city on the sea 40~50 years ago is one of those symbolic facilities. Now those places and areas are so popular and not only Japanese but foreigners visit to know about Japanese historical and societal changes. The candidate will be on the item list and examned at the upcoming UNESCO committee at Bon Germany Jun.28-Jul.8.


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Expedia, TripAdvisor, and Minube- every traveler must have heard these names. These travel apps have gained ground for their comprehensive city guide, features like Things to do, and useful reviews. Startups and ambitious entrepreneurs can focus on online travel market which is expected to reach over USD 565 billion by 2020.
If you want to grab the opportunities offered by booming traveling industry, customized travel mobile app solution can remain handy for you. Yes, a feature-rich travel app is designed for travelers and includes all necessary travel-related features. From finding places to stay and eat to getting routes to landmarks and enjoying the nightlife- the travel or city guide apps can help travelers in every way.
- Benefits of Travel Application Development
Travel agency, museum, city-related services providers, and tour operators can leverage the benefits of travel application. Though the tour and travel industry is thriving, it is full of challenges and competition. Particularly startups, small, and mid-size travel businesses find it difficult to cope with growing challenges and changing requirements.
Established players have grabbed the sizeable chunk of travel industry market share. There, SMBs can take advantage of a mobile platform through a seamlessly-performing travel app and attract new customers. It is easy to convert people into regular customers with a custom travel mobile app solution.
Do you know the city guide app or a tourist app can also offer real-time information about the city's activities and famous places, amusement parks, malls, hotels, etc. to the local residents. In other words, the travel app is useful for first-time visitors and local public alike. The app can give your business a boost and a new identity while generating revenue.
Here we give a step-by-step guide to building a travel or city guide app that can benefit your business.
- How to Build City Guide App
The city guide or travel app needs the following essential features to get success amid increasing competition.
– Offline support
In today's internet-driven world, the offline mode may seem weird, but the travel app needs it. The reason is simple: It is possible that the visitors may not have data or continuous Internet access in various places. There, the travel app with an offline mode can remain handy. The app users can readily use the app with or without Internet connection anywhere.
– Multilingual support
Let's take an example of Paris. People from across the world visit this "City of Lights". How about targeting visitors from different countries by providing multilingual support in your app? You can include both local and foreign languages in your app. Here, you need to pay attention to highly popular and widely spoken languages.
– Complete transportation information
It is really helpful for people to get complete details regarding public and private transportation especially if they visit the place for the first time. A timetable of bus, train, and other public transport services should be included in the app. Also, other useful information like taxi fares and schedules needs to be added.
Related Reading- Most Useful Tips to Maximize ROI of Your Business Mobile Application
– Important Information
We have discussed transportation-related information. Now, you may wonder which important information you should include in your travel app. Well, you can add city-wise emergency contact numbers like hospitals, airport, railway stations, police stations, etc. Also, you can include parking-related information along with charges. Be it a metro city or a small town, the parking issues loom large on people, and therefore, if tourists visit a particular city in their own or rented vehicles can find the parking information very useful.
This important information can attract more people to download and retain your app in their smart devices.
– Geo-location services
GPS or geo-location feature is one of the must-have features for travel apps, cab-hailing apps, retail apps, and order-booking apps. The geo-location services can boost your business and increase profitability. Your app users can find real-time information about the place and get the right direction. It is easy to send personalized notifications to the app users based on their current locations. Also, your city guide app can suggest nearby places to visit and show their route immediately.
– Search option
This is another benefit of geolocation or GPS functionality. Your app can have search functionality and the users can readily find a particular place on the basis of their current location. You can also provide filters to narrow down the search or make it more specific. For example, you can give an option of finding nearby restaurants, airport, or hospitals within the search menu. The app users can use relevant keywords to get the necessary information.
The search option can be integrated with Google Search. Mobile app development services can do it for your app. In a way, you can give your city guide app a wider outlook.
– Social Media integration
Social media integration is the need of the hour for any business app. When you opt to build a city guide app, you should consider this feature to attract more people. Social media integration enables app users to share images, videos, and experiences of particular places. It can certainly make your app more reliable and richer than other similar travel apps that have no social media support.
In this social media-driven age, people tend to rely on recommendations of their friends and relatives. When satisfied app users will post their experiences on their social media accounts, your business can get the benefit of word-to-mouth publicity. You can make the most of social media network as a promotional tool. What's more, you can also share attractive images and engaging posts regarding various places on your company's social media account to promote your app and business.
– Reviews and recommendations
Reviews and recommendations matter the most when it comes to the travel application. Tourists can freely their views, experiences, and suggestions in this section, which is useful for other prospective tourists. Also, you can get valuable feedback regarding your app's functionality and feedback. It assists you to improve the performance of your app. Also, positive ratings can encourage people to download your app.
After going through key features, let's have a brief idea on the app development team and cost of a feature-rich travel application.
The development team to build a bespoke travel app consists of a project manager, two app developers including one back-end and one front-end developers, app designers, and quality control executive. If the app project is big and you want to integrate complex features, it is beneficial to hire an extended team of developers to meet the deadline.
- Travel Application Development Cost
It is advisable to consult a reputed mobile application development company in the USA to get a clear idea about the travel app cost. Just like traditional apps, travel app development cost also does not include the charges for app maintenance and support.
Travel app development company considers various factors while deciding the app cost. Some of these factors include the selection of platform, features to be integrated, and overall complexity of the app. Also, MVP (Minimum Viable Product) or a full-fledged app also makes the difference.
Finally, when you hire travel app developers, the charge is decided on an hourly basis. For example, if you hire the US or Canada-based developers, they charge around $150-$200 an hour, whereas Indian app developers charge around $25 to $50.
Altogether, travel mobile app solution costs you between $12000 to $25000. However, if you want to make the app more robust and complex, the cost can go significantly high.
A city guide or travel app can enhance and retain the reputation of your business. It assists tourists and helps you cooperate with travel agencies, hotels, and other tour-related business. You can draw the attention of many people by providing real-time information about the latest happenings, gatherings, and cultural events with the help of an app.
Your search for a reliable mobile app development partner ends here! We have served over 400 global corporate clients across various industry sectors with customized, high-end app solutions. If you want to build a user-friendly traveler app and boost your business, we are here to help. Just drop us a line at email@example.com and our executives will get back to you soon.
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12 06, 2019
New lower ticket rates now availble
Corporate Updates
Available from today our new lower ticket prices for Athens and Thessaloniki Routes. You can find more and detailed information at the following links[...]
02 01, 2019
Happy New Year!
Corporate Updates
Our best wishes for a year full of health, love, happiness and many many beautiful trips!
21 12, 2018
Merry Christmas!
Corporate Updates
The administration and the stuff of KTEL THESSALONIKI SA wishes you Merry Christmas and a happy new year!
21 06, 2018
Summer routes schedule for Thessaloniki Region, starting from 15/6/2018
Corporate Updates
Ktel Thessaloniki's summer schedule for routes around Thessaloniki region is now available at section "Routes". We wish you all a great summer!
05 01, 2018
Happy New Year from all of us at KTEL Thesssaloniki!
Corporate Updates
The administration of KTEL THESSALONIKI SA wishes to dear passengers, fellow and workers a Happy New Year, with health, love and MAGNIFICENT TRIPS!
30 11, 2017
Scheduled Route Changes
Corporate Updates
We'd like to inform you that from 15 December 2017 there are scheduled changes on the hours of the route from Athens to Thessaloniki.
23 10, 2017
Ten buses accessible to people with disabilities
Press Releases
The first accessible bus buses to people with disabilities are a fact. Ten buses have been acquired by KTEL Thessaloniki SA, which circulate both on t[...]
11 09, 2017
We welcome the new university students
Corporate Updates
KTEL THESSALONIKI SA will always be at their side, supporting them financially, with discounts up to 60% and by cooperating with student cards and oth[...]
25 07, 2017
New bus stop on the route Thessaloniki - Athens
Corporate Updates
Please be advised that a new bus stop is added to the Thessaloniki - Athens route. So the buses of KTEL Thessaloniki are also stopping at Karaiskaki S[...]
14 06, 2017
Our brand new home at Kifisos station is ready!
Corporate Updates
We are welcoming you to our brand new house at Kifisos station! Out ticket counters were fully renovated! We are expecting to serve you with joy,[...]


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[Matt] Damon will allegedly star as Francois Pienaar, the captain of South Africa's 1995 World Cup-winning rugby team in a film to be directed by Clint Eastwood, about Nelson Mandela, and the effect the sporting win had on the country.Interesting. It would be good if this raises the profile of rugby in the USA and Canada, where the far less interesting sport of soccer has taken root.
Tuesday, June 10, 2008
Rugby, the movie
Posted by Peter Risdon at 7:47 am
3 comments:
For your North American readers:-
- 10/06/2008, 10:16
- Peter Risdon said...
I never tire of watching that try. Phil Bennett's magic at the start of the move was just extraordinary. And poor old JPR Williams, neck tackled repeatedly. Didn't let it bother him, but it wouldn't be allowed now.
- 10/06/2008, 10:22
I used to hate/admire those little sods who were so nimble that you couldn't catch them even when you realisedya what they were about to do.
- 10/06/2008, 16:57
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Origin: British
Period: Mid Twentieth Century
Provenance: Unknown
Date: c.1940
Height: 26 inches
Width: 18 inches
Condition: B
The Whole: 29.5 x 21.5 inches
The hand drawn and painted Guernsey film advertising poster in the Art Deco taste, shown in a Guernsey cinema during the German occupation of Guernsey, advertising the film Rebecca of 1940, starring Laurence Olivier & Joan Fontaine and directed by Alfred Hitchcock, the arrangement composed in watercolours on marbled paper.
Condition is very good; there is some light creasing and crinkling where the poster has been folded prior to being framed, but there are no tears or holes. The poster is presented in a large simple frame, glazed and ready to hang.
Rebecca is the classic Hitchcock gothic thriller and a compelling mystery ( and haunting ghost story) about a tortured romance released in 1940. Based on the novel by Daphne du Maurier (1938) The film won two Academy Awards. I
In Guernsey names such as the Lyric Hall, Central Hall, The People's Palace (also known as Billy Bartlett's or The Flea Pit), St. Julian's Hall (later The Gaumont) and the North Cinema were all familiar to the Guernsey public from the late 1920s and early 1930s onwards. One of the biggest, the Regal Cinema, was built in 1937 in inimitable Art Deco style and re-named the Odeon in 1948. All of Guernsey's cinemas were closed after the air-raid on St. Peter Port on 28th June 1940 by the German Luftwaffe, but were re-opened shortly after the Island was occupied by German forces. At the Regal, German films were initially shown on 2 nights every week, but by the end of 1941 the programme was exclusively German, making this posters survival quite remarkable.
A unique poster, which in the world of film advertising is a rare thing, the artwork having a deliciously simple deco elegance, created in a time where cinema provided a much-needed escape from the trappings of wartime Britain.


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SEAN SHIM-BOYLE: Jack
On ViewJane Lombard Gallery
April 5 – May 12, 2018
New York
To walk into Jack, Sean Shim-Boyle's first exhibition at Jane Lombard Gallery, is to walk into a space where things are off-kilter, amiss, just slightly wrong. The gallery's main space is taken up by Mother! Mother! (2018), a large textual display made out of blue wooden letters that covers one whole wall. Further down the gallery, a mechanized installation, Fee Fi Fo Fum (2018), endlessly repeats a movement that never quite completes itself. Off to one side, a gleaming golden egg rests upon a plinth. This is, somewhat archly, titled Golden Egg (2018)––but a closer approach discloses an accusatory "THIEF" engraved thickly into the egg's resinous surface. Beyond this, animated in a continuous paroxysm of movement, a long rubber tube swings about wildly in the air: Beanstalk (2018). These are the disparate works that make up Shim-Boyle's idiosyncratic take upon "Jack and the Beanstalk," one of the world's oldest and most widely-known fairytales. It's an exhibition built out of sparse materials (just four works altogether) but the strength of Shim-Boyle's convictions, and his willingness to wear his ambitions lightly, make for an experience that lingers well after one makes one's way back down 19th Street.
Of South Korean-Canadian ancestry, Sean Shim-Boyle (b. 1986, Vancouver, Canada) is based in Los Angeles, California. Having earned a BFA in graphic design (California Institute of the Arts, Valencia, CA, 2008) and an MFA in sculpture (UCLA, Los Angeles, CA, 2012), he approaches questions of site-specificity and materials with a critical background. Mother! Mother! is perhaps the simplest work in the show, but it is also arguably the most arresting precisely because of the ways in which it both mediates and troubles the source of the work (i.e. the familiar fairytale) and renders it newly strange. The phrase "Mother, bring me the axe!" (from the fable) is rendered in large wooden letters—the kind seen commonly in kindergarten classrooms—but repeated horizontally across the wall in such a way as to introduce an element of stuttering or glitching within language itself. Each word in the phrase is repeated, but the repetitions are not equal in number. Consequently, a jittery quality emerges as you scan the wall, moving left to right, passing over the manic repetitions of "axe" to culminate in a flat, emphatically final ". . . Thud!" An insane child? A broken automaton? What's startling here is how Shim-Boyle's strategy magnifies the physicality of violence contained, even minimized, within the source text.
Fee Fi Fo Fum, comprising a set of motion-activated doors and a two-way mirror, takes the stutters and jitters initiated in Mother! Mother! and translates them into another context, using wholly different materials. The work, comprising motion-activated doors and two-way mirrors, recalls Dan Graham's play with transparency and elements of architectonic form, but there is no entry possible here. More to the point, the doors come to a hesitant stop halfway through each cycle, pausing for a moment before beginning again. Where Graham's installations invite participatory play and movement that interweaves defined spaces, Shim-Boyle's work wards off any such entry by virtue of its seeming mechanical errors. You do not want to get caught between these doors.
Golden Egg (2018) is a J'accuse! of sorts, but its address is not immediately apparent. Jack is, of course, the thief in the fable. But Jack is not a straightforward rehearsal of the fable. Throughout this show, Shim-Boyle has focused closely on a few recurring concerns: visibility, (un-)interrupted motion, points of access, and ways of negotiating these. By relying on a source text so widely known, he is able to initiate a strategic play between the knowledge audiences bring and his specific intervention into that text—namely, how that knowledge, and access to that knowledge, and the forms of cultural access implied thereby, circulate differently across cultures. Here, language falters, and access—to cultural memory, to the childhood stories one may call one's own, and by extension to the forms of belonging one forges through adolescence—is fraught with risk. The iconography of "Jack and the Beanstalk," so familiar to so many, is refracted through the prism of life under the conditions of globalization. Who, in other words, gets to access seeming universals of fact and fiction? Who tells these stories, and how are they told? Whose sensibilities translate the fairytales cherished within a specific cultural tradition for another audience? Golden Egg echoes the themes of inhibited or hindered access traced across Mother! Mother! and Fee Fi Fo Fum by both re-presenting the famous golden egg Jack steals in the fable and marking the object itself with its ultimate fate. But is every "theft" necessarily the action of a thief, with the pejorative connotations thereof? Is it somehow thievery to navigate multiple formal systems of identity? What of the baser forms of thievery such as appropriation?
Perhaps no other work in Jack announces itself as the ultimate accretion of these concerns as Beanstalk does. Installed at the end of a passage that begins with Golden Egg, and illuminated by a single naked lightbulb, Beanstalk consists of an EMT conduit, air compressor, and a long rubber tube. This rubber tube remains in constant motion, defeating attempts at photography. In the fable, the beanstalk is a conduit to cultural belonging. It provides Jack access to wealth and knowledge, even if they are unethically earned (after all, "Jack and the Beanstalk" does involve Jack committing theft thrice over). The beanstalk, in short, allows Jack to realize his aspirations of upward class mobility. Returning to, and extending from, the logic of repetition and stutters that mark both Mother! Mother! and Fee Fi Fo Fum, the frantic motion of Beanstalk collapses the desire signified within the tale's narrative (you want Jack to climb the beanstalk, with its promises of great wealth and opportunity) with a forceful physicality that resists all contact.
What's so fascinating about most of the works in this show, is that if we find something foreboding in them, it is because the works riff on the iconography of childlike play: Mother! Mother! is made out of the brightly painted blue woodblock lettering familiar to so many of us from our earliest childhood memories. And yet its manic stutter (and that implication of a shattering climax!) introduces distinctly unsettling elements. Shim-Boyle distorts the circuitry of memory, and from within the jitters of semantic hesitation emerge the lived uncertainties of negotiating identity and difference. Shim-Boyle is reluctant to make his work "about" being biracial, but the consequences of that heritage show up unbidden throughout.
Sean Shim-Boyle's second New York exhibition (his first was at Brooklyn's SIGNAL Gallery four years ago) showcases an artist calling upon form and materiality to think through cultural questions at stake today. When everything is "global," it is easy to flatten experience, to claim identity with the Other. In Shim-Boyle's consistent focus on the difficulties of articulating forms and modes of cultural belonging, and the ways in which language and cultural origins construct forms of being, it is not identity but rather difference that counts. It is this difference that gives texture to the increasingly migratory, nomadic circuits traced by artists and cultural workers the world over. One sees this in the show's diversity of materials and strategies of installation, all of which participate in a shared conversation. Shim-Boyle clearly wants his work to show us something of who he is, but not reduce the complexities of that work to a simple matter of tracing originary routes. That is an ambition the show fulfills with impressive clarity.


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Where: PAB, B305, 3rd floor
When: March 13, 2019 @ 12:00 pm
Astropy Overview, Update, and Discussion
Dr. Kelle Cruz is an Associate Professor of Physics and Astronomy at the Hunter College and a Research Associate at the American Museum of Natural History (AMNH). Her research interests include the study of very low mass stars and brown dwarfs. She received both her Bachelors and PhD from the University of Pennsylvania, where she was an NSF Graduate Research Fellow. Prior to joining the Hunter faculty, she was an NSF Astronomy and Astrophysics Postdoctoral Fellow at AMNH and a Spitzer Postdoctoral Fellow at Caltech. She is passionate about open science practices and resource sharing among scientists. She is the founder and Editor-in-Chief of the AstroBetter blog and wiki and serves on the Coordination Committee of the Astropy Project, the core software suite for Astronomy in the Python programming language. She is currently serving on the Board of the American Astronomical Society. Prior to being elected to the Board, she served as the Chair of the Committee on Employment from 2010-2017. She also recently started ScienceBetter Consulting, a small business dedicated to serving the needs of the scientific community.


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