text:
Smiting god, wearing an Egyptian Atef Crown
This statuette of an attacking deity shows him striding forward with one foot in front of the other. The smiting god holds one of his arms raised, and the other held out.
In his original state, the hands would have wielded weapons such as a spear and mace or thunderbolt. And his pierced ears would have been adorned with earrings of gold.
This smiting god figure was found in the Levant and originated from the Canaanite culture; however, he is clad in an Egyptian-style kilt.
Also, the crown has the distinctive Egyptian Atef Crown of Osiris, worn by the pharaohs. However, the figure is not an Egyptian king but an ancient Canaanite local deity from the Levant area.
Egyptian art and culture had a significant influence on the art of the Levant during the Late Bronze Age. While Egyptian styles may have been copied, their local meaning was different and adapted to the local deity's mythology.
This "Egyptianizing" style on statues of local gods has been found in several other areas in the Near East.
The Late Bronze Age was a time of significant wide-spread economic, political, and cultural connections. The result was that artistic elements of a variety of cultures were incorporated into local styles.
Ancient Canaanite Religion
Canaanite religion refers to the group of ancient Semitic religions practiced by the Canaanites living in the ancient Levant from at least the early Bronze Age. Canaanite religion was polytheistic and, in some cases, monolatristic.
The followers of the Canaanite religion worshiped a high number of deities in a hierarchy headed by El and Asherah.
The Canaanite religion was strongly influenced by their more powerful and populous neighbors and showed an apparent influence of Mesopotamian and Egyptian religious practices.
During the height of Egypt's power and influence, the Canaanite god Baal became associated with the Egyptian god Set and was considered identical. Iconographically, Baal was at this time shown wearing the crown of Lower Egypt and depicted in the Egyptian-like stance, one foot set before the other.
Atef is the specific feathered white crown of the ancient Egyptian deity Osiris. It combines the Hedjet, the crown of Upper Egypt, with curly red ostrich feathers on each side of the crown for the Osiris cult.
The Atef crown identifies Osiris in ancient Egyptian painting. Osiris, the god of the dead, wears the Atef crown as a symbol of the ruler of the underworld.
The tall, bulbous white piece in the center of the crown is between two ostrich feathers. The feathers represent truth and justice.
Bronze Aged Egypt
In Ancient Egypt, the Bronze Age began about 3150 BC. During the Early Bronze dynasties, the hallmarks of ancient Egyptian civilization, such as art, architecture, and many aspects of religion, took shape.
During the Middle Bronze dynasties, the Osiris funerary cult rose to dominate Egyptian popular religion.
The Late Bronze Age was the Egyptian Empire's most prosperous time and was marked the peak of Egypt's power. During 1292–1069 BC, eleven pharaohs that took the name of Ramesses.
Canaanite Smiting god, dressed Egyptian Style
- Title: Smiting god, wearing an Egyptian Atef Crown
- Date: 15th–14th century B.C.
- Culture: Canaanite
- Materials: Bronze
- Dimensions: H. 21.1 cm, W. 7.5 cm
- Museum: Metropolitan Museum of Art, NY
BREAKING NEWS – Rare Canaanite Temple Excavated – Biblical Archaeology – Bronze Age History
Virtual Tour of Prehistoric Art and Artifacts
- Ain Sakhri Lovers
- Wolverine Pendant of Les Eyzies – Prehistoric Portable Art
- Antler Perforated Baton – Paleolithic Portable Art
- Venus of Brassempouy
- Head of a Cycladic Statue, Keros-Syros Culture
- Stargazer – Sculpture of a Female Figure
- Stargazer Figurine
- Dancing Girl (Mohenjo-Daro) from the Indus Valley Civilization
- Prehistoric Stone Hand Axe
- Great Handaxe from Furze Platt
- Clovis Weapons and Tools
- Neolithic Chinese Painted Pottery
- Korean Neolithic Pot
- Neolithic Pottery from Ban Chiang
- Li – Chinese Tripod Jar
- Comb-Pattern Pottery
- Phaistos Disc
- Sican Funerary Mask – Peru
- Greenstone Mask, Central America
- Australian Aboriginal Rock Art – Bradshaw Rock Paintings
- Indigenous Australian Rock Art – Wandjina Style
Introduction to Ancient Canaan and the Canaanites
The Ancient Gods – Syria and Canaan
"The only thing that is humiliating is helplessness."
– Egyptian Proverbs
Photo Credit: 1)Metropolitan Museum of Art / CC0


text:
The Bank of Japan (BOJ) is the central bank most likely to adopt "helicopter money" policy but not in its traditional sense, S&P Global's chief global economist told CNBC.
"Helicopter money" is a term coined by Milton Friedman in 1969, and in its purest theoretical form, would involve giving cash directly to residents in order to stimulate growth.
However, in today's context, "helicopter money has to be a kind of monetary policy and fiscal policy coming together as one thing," said Paul Sheard, chief global economist at S&P Global.
Japan is one of the most likely candidate to adopt the unconventional policy, Sheard said.
The economy has struggled with deflation for two decades. Even after the BOJ's massive qualitative and quantitative easing (QQE) program and venture into negative interest rates territory, the Asian economy hasn't been able to boost domestic consumption and shake off deflation.
The impact of last Friday's Brexit outcome, had also led to the Japanese yen to appreciate sharply, blunting the country's export competitiveness.
Sheard explained that Japan is likely to adopt "helicopter money" because "the cornerstone of Abenomics is to mobilize monetary policy and fiscal policy to end this deflation once and for all."
"If it's done through the fiscal authorities, you know tax cuts and bigger budget deficits, with simultaneous quantitative easing, that's actually pretty easy to do within [Japan's] existing framework," he explained.
In Japan's context, fiscal authorities could introduce a form of tax cuts and bigger budget deficits, while the central bank could simultaneously introduce another round of quantitative easing, Sheard explained.
To be sure, the "helicopter money" policy might raise questions about the independence of central banks.
To this, Sheard responded that central banks independence means they can make their own decisions in their committees, but it doesn't give them a free hand to ignore what the government is doing.
"The government and the central bank have to work closely together," he said.

subset: commoncrawl


text:
Hurricane Maria, the most powerful storm to hit Puerto Rico in more than 80 years, struck the island just as life was beginning to return to normal in the aftermath of Hurricane Irma. Now, the entire island is without power, and law enforcement has been struggling to maintain order.
Unfortunately, the worst is far from over, with 70,000 residents being urged to evacuate the northwest region of the island as the Guajataca Dam is, according to the National Weather Service, in "imminent" danger of failing. For those outside the danger zone surrounding the dam, survival remains a challenge, with some officials predicting that it may take as much as a year to restore power to the 3.5 million Americans living on the island.
According to a statement released by the governor on social media, there have already been 14 confirmed deaths, though large-scale flooding has limited emergency personnel's ability to conduct search and rescue operations. The final death toll is now expected to be much higher. The current priority, according to officials, is to "reestablish airports," in order to receive incoming aid from the mainland United States.
Streets that are not flooded are often blocked, not only by fallen trees, but by the debris of collapsed buildings and torn off rooftops. Many of the buildings the remain standing have suffered significant damage, making them unsafe to enter, and a continuing danger to residents in the area.
The winds of Hurricane Maria, which reached Puerto Rico as a Category 4 storm, were powerful enough to rip the hoods off of vehicles and completely decimate much of the island's utility infrastructure. According to the Puerto Rico Electric Power Authority, approximately 35% of the infrastructure has been surveyed thus far, and of that, 80% has been completely lost. Utility companies from New York, Georgia and Florida have reported dispatched assets to aid in the recovery process.
There was no escape from the devastation as Maria pummeled the island. Low lying areas were quickly flooded, while communities at higher elevations were blasted by winds exceeding 150 miles per hour, tearing down trees, and destroying power lines, as Puerto Rico utilizes only above ground wiring.
Local businesses were destroyed in the storm, but looting thereafter has caused further damage, as some residents seek to find the means for survival, and others take advantage of overwhelmed law enforcement in the chaos, emptying stores of everything from food and water to electronics and even furniture.
Few buildings survived the onslaught unscathed. The Governor's office has claimed that they hope to have communications, both throughout the island and external, back up and running within 72 hours. Approximately 25% of the island is said to have access to running water, with the rest of the 3.5 million people left to survive on only emergency rations if they have them. Those without an emergency supply of water will soon be faced with an increasingly desperate situation, as the sea water has rendered many water sources undrinkable.
The situation in Puerto Rico is truly dire, with many more lives at risk even after the storm has long passed. Hurricane Maria, now a Category 3 storm, is currently expected to head North and miss the U.S. Mainland.
Images courtesy of Brenda Gallardo


text:
Since my brother loves brownies, I decided to make Almond Chocolate Brownies for his birthday! I searched and searched the internet for brownie recipes, and I decided to try a recipe from Simple Recipes. You can find this specific recipe here.
One of the interesting things about this recipe was that I had to melt the butter in a bowl that was inside another bowl filled with boiling water. I had only seen that done on TV!
One of the interesting things about this recipe was that I had to melt the butter in a bowl that was inside another bowl filled with boiling water. I had only seen that done on TV!
Once it melted, the batter turned super moist and gooey... yum!
After baking them, I sprinkled some white powder sugar on top of them to add some interest and pizazz.Ok, on to my review of this recipe. To be honest, I am going to give this recipe a 4.5 out of 10 (sorry!). Everyone that tasted these brownies thought that the almond flavor was just too overpowering. However, I think the shape, moisture, and fluffiness of the brownie was pretty good... so I think that if I put MUCH less Almond extract into the batter, these brownies could have been a great hit!
Anyway, sometimes you win some and sometimes you loose some. I really want to keep trying more and more new recipes to find which ones are tasty and which ones are just ok.
Baking really is lots of fun!
4 comments
Those look so yummy! Love chocolate...:)ReplyDelete
oh so yummy!! i love almond flavor and probably would've loved these brownies as-is!ReplyDelete
cute & little
If I ever have a chocolate craving I know what I'd want, your brownies. I have a sweet treat linky party going on at my blog and I'd like to invite you to stop by and link your brownies up. http://sweet-as-sugar-cookies.blogspot.com/2011/03/sweets-for-saturday-9.htmlReplyDelete
Hey..not bad for your first time..I was doing the same in honor of spring.great minds think alike.check out out my Brownie Popsicle..http://cre8tivelove4events.blogspot.com/2011/03/brownie-popsicles.htmlReplyDelete


text:
Featured • Field Service • HVAC Contributor Network • HVAC News • Plumbing Contributor Network • Plumbing News
Building relationships and staying up to date with the latest businesses strategies and technology is essential, but especially in the...
May 15, 2019
Read More
Company News • Featured • Field Service • HVAC Industry • mHelpDesk Community • Success Stories
Hometown Heat Pumps, based in Burnham, Maine, offers heat pump installations, cleanings, repair and services, and air sealing and energy...
February 1, 2019
Appliance Repair News • Business Insights • Computer Repair News • Electrical Contractor News • Entrepreneurship • Featured • Field Service • HVAC News • IT Management News • Technology
Did you know "71% of homeowners are willing to sacrifice a feature such as a second bathroom in their home for smart home...
March 6, 2018
Business Insights • Featured • HVAC Tips • Sales & Marketing
"The key is to diversify what you're doing from a marketing standpoint." – Ben Tyson Growing your HVAC business...
March 15, 2017
Company News • Events • Featured • Field Service • HVAC Industry • Plumbing Industry
We're looking forward to exhibiting at several field service trade shows this March! We'll be taking our team of experts to...
February 27, 2017
Featured • HVAC Industry
IDEA 2017 is one of the premiere HVAC trade shows. The event will be held in Fairmont Scottsdale Princess for 2017. What is IDEA 2017?...
February 21, 2017
Carpet Cleaning Industry • Electric Contractor Industry • Featured • Field Service • HVAC Industry • IT Management Industry • Landcape Management Industry • Lawn Care News • Maid Services News • Pest Control News • Plumbing Industry
Attending field service industry trade shows are much more than an opportunity to get away for a couple of days. These events can give you...
February 6, 2017
Articles • Featured • HVAC Industry
Service World Expo is one of the leading trade shows. The event will be held in Mandalay Bay for 2017. What is Service World Expo?...
January 31, 2017
Events • HVAC Industry • HVAC News
We are excited to be exhibiting at the International Air-Conditioning, Heating and Refrigerating Exposition (AHR Expo) in Las Vegas next...
January 26, 2017
Your Email (required)
Sign me up for the newsletter!
Copyright 2017. All rights reserved. mHelpDesk.


text:
Democrat Woolf has $400,000 so far for his 21st District congressional campaign
Congressional candidate Aaron Woolf raised more than $205,000 in forty days, having established his fundraising account with the Federal Elections Commission on February 21, 2014. Combined with a personal loan of $200,000,
Woolf will report having over $400,000 cash-on-hand in his race against Republicans Matt Doheny and Elise Stefanik in New York's 21st District.Accompanying the fund-raising report was a statement attributed to Woolf.
"I am extremely proud of the great start to our campaign, and can feel the momentum as we speak with residents throughout the 21st Congressional District of New York," Woolf said.
"This election is about priorities. The priorities of Elise Stefanik and Matt Doheny are misplaced and misguided. Their support for ending the Medicare guarantee, raising taxes on middle class families and slashing education threatens our region's economic future. Stefanik and Doheny's far right-wing allies in Congress have supported the Ryan Budget and many policies that would hurt numerous middle class families in Upstate New York and the North Country. Instead of rubberstamping Paul Ryan's reckless budget and supporting unsound priorities, we need to focus our priorities on working together to find responsible solutions that grow our middle class and create more jobs," the statement concluded.
The 21st Congressional District covers the North Country from Jefferson and Lewis counties in the west through to Clinton, Essex and Warren counties in the east, and all the counties in between, including St. Lawrence.


text:
Dr. Jonathan Higgins
- Capella University, Minneapolis, MN: Phd in Leadership for Higher Education
- Old Dominion University, Norfolk, VA: Masters in General Secondary Education
- University of North Carolina, Asheville, NC: BA in Sociology, BA in Spanish
- Tutors: Mandarin Chinese, beginning Spanish, Math and English
Jonathan is a Concord, New Hampshire native who spent his childhood riding his bike around White's Park. Upon graduation from university, he taught English in China for nearly eight years, returning to the US after the first four years to earn his Masters in General Secondary Education and then returning for another three and half years. While in China, Jonathan became fluent in Chinese.
Since returning to the US in 2006, he has served as an Education Consultant for the New Hampshire Department of Education, the District Professional Development Coordinator for the Manchester School District, a Course Developer for the Office of Sponsored Research at UNH in Durham, and an Adjunct Professor at Plymouth State University, which he still does.
Most recently from 2011 to 2016, Jonathan established the Mandarin Chinese Program at Holderness School, which now boasts four levels.
Jonathan also has a wealth of experience with web design and internet marketing.


text:
In my last two blog posts (Bringing the Church Back Together- Part 2- First Steps and Bringing the Church Back Together- Part 1- Biblical Foundations) I discussed the biblical foundations of intergenerational worship and the importance of buy-in from the staff and the key leaders of your church. In this post I will speak specifically to the music/worship leader who will have to deal with the musical conundrum of bringing multiple music types together in a unified approach. It will be a challenge to some degree, but it can be done. I hope you'll find these practical applications helpful. As always, I'm sure there are many more I could add to the list.
- Pray! Again, I cannot emphasize this enough. Music and style is often a passionate subject for many in the church. Often, it's the non-musician who is the most hesitant to any change in the church. Be assured there will be push-back, but pray the the Holy Spirit would cause you to response in gentleness and love as you explain thoughtfully of the plan to integrate the services.
- Find a common "set-list." Many churches with multiple services have at least some common tunes that are sung in each service. Begin by using these songs when the services come together whenever possible. Obviously there will be modifications to the instrumentation or "style" of the song depending on who is leading, but at least find some common ground.
- Aim to use players and singers from all teams together. This may be pretty difficult practically and relationally, but remind those how important each person is to the integration of the services. If you have redundancy on instruments, set up a schedule for all to play. If you're going to integrate the choir into the new service (and if you have one, you should) they will need appropriate time to learn newer songs to help teach the congregation. If you used orchestra in one and only a praise band in another, you must find "charts" that allow all to play together. This process will stretch your players on both ends. Those used to "rocking it out" may feel stunted by the charts they now have to play. On the other hand, the less contemporary service might feel things are "louder" and too "rocky!" Be prepared to alter and make changes as you get started. Remember to keep your personal feelings in check. Listen carefully to the suggestions you hear. Some will be worth altering, while others will just be complaining. Be careful to make all feel valued and use grace as you respond to each comment.
- Introduce/Re-Introduce songs carefully and slowly. There are fantastic new songs and timeless hymns that probably have been ignored in the services when they were apart. Pick "new" songs to introduce that are lyrically sound, melodically and harmonically interesting, and memorable. When I'm confronted from time to time about new songs that "no one knows," I simply say, "I understand we don't know it well right now, but I believe this song is strong textually and will endure the test of time." I'm careful to say this because I also know there will be something in just about EVERY service I plan that has something most people are familiar with. In short, FAMILIARITY is more important than labeling something traditional or contemporary. What people want, truly, is something familiar…find that common ground first and work from there.
- Remember your church is NOT like the one down the street. I cannot emphasize this enough. Do not try to emulate everything you see working for the church that you perceive to be "doing it right!" You must contextualize carefully. Know your church–be careful to study her history, the demographics, the musical worship expressions over time, and the talent level of the musicians. Also, know your community. Things work differently in a county seat town in rural GA than they do in the white collar suburbs of Metro Atlanta. Study your people. Push them out of their comfort zones when appropriate, but don't completely eradicate Southern gospel from a church that's had that embedded in their history for 100s of years just because you don't like it. The church I am serving is vastly different from most of the churches in our area. We know who we are and what we do well and we capitalize on that. It's created a niche for us that has allowed us to be who God has called us to be without trying to emulate other churches in our area—who, by the way, do the things they do VASTLY better than we ever could.
- Give up your personal agenda and work as a team. You are not the star of the show, worship leader…God is. He likes it all. He LOVES to hear his children worship in Spirit and truth. He is not stylistically pulled one way or the other. He just wants authentic praise, offered with all the excellence we have to offer. That said, remember that part of being an intergenerational family means we ALL serve…not just the uber-talented. We are a team; we work together for the goal. This concept will be harder for some than others. You control freaks out there will struggle giving up control to others, but it's necessary. Remember the goal of being intergenerational is that we try to value all and give them a role of some importance. This means being very intentional about including "budding" singers and players. It might cost you some in the "excellence" you may be striving for, but if we only use our A-list players and singers, we will lose on on developing new ones. Someone one invested in us when we weren't so great—we must do the same. Basically, create a culture that aims to nurture rather than simply "perform."


text:
Auto Finesse Tough Coat 500ML – Paint Sealant
Tough Coat Paint Sealant was one of the initial products that launched Auto Finesse as a serious contender in the detailing industry. Tough Coat quickly endeared itself to the detailing community with its extreme ease of use, reliable real world performance, durability, and highly reflective glass-like shine. This success solidified our position as a manufacturer of high quality car care products, and Tough Coat remains one of our strongest selling products. If you want to quickly apply durable protection to your vehicle, Auto Finesse Tough Coat is the product you've been looking for.Auto Finesse Tough Coat is a solvent-based, Acrylic-Polymer spray on sealant that offers a high degree of protection against weathering, UV-damage, acid rain etching, road salt, bird droppings, bug splatter, tree sap, and industrial pollution. Its strong water sheeting capabilities and slick finish help to flush away debris that normally stick to your paint, helping your vehicle to stay cleaner between washes. This combined with 3-6 months of solid durability, and easy application in all weather conditions, make Tough Coat the perfect winter sealant.Like all Auto Finesse car care products, Tough Coat is formulated to suit the needs of professional detailers, but can be used with great success by detailing enthusiasts and first time detailers as well. Tough Coat's fast curing time makes it the perfect sealant for time pressed professional enhancement, and winter protection details. Effortless buffing and a clear, glossy, highly reflective, wet-look finish also make it a joy to use for first time and skilled detailers alike. Tough Coat is also the ideal sealant for protecting larger vehicles, like 4X4's, and light aircraft.Auto Finesse Tough Coat is layerable, and can be applied over clean bare paint, or any of our Paint Prep Products. Tough Coat can also be easily topped with any of our Carnauba Waxes for added warmth, depth, and protection. Unlike most sealants, little curing time is necessary before Tough Coat can be safely layered or topped. Tough Coat can also be used like a quick detailer over itself, or Power Seal to help boost the finish. All of this combines to make it a very versatile detailing product to keep on hand.
Originally Tough Coat was designed for vehicle paintwork, both single stage and more modern two stage clear coats. However Tough Coat can also be applied to wheels. Whether they are powder coated, painted or polished, Tough Coat will bond to the surface and protect your wheels.
Prior to application we recommend the surface is treated to Tough Prep to insure the surface us fully clean. Tough coat should be applied in the same manor as on paintwork ensuring an even coverage. In the long term Tough Coat will help your wheels stay cleaner for longer. Also it will cut the need for a heavy hitting wheel cleaner and the rim will come back to life with just a pH neutral shampoo wash.
Tough Coat Paint Sealant was one of the initial products that launched Auto Finesse as a serious contender in the detailing industry. Tough Coat quickly endeared itself to the detailing community with its extreme ease of use
6 in stock


text:
30,00 €
This session, recorded at Studio Pathé-Magellan October 11 and 14, 1955 in Paris, is the first of three recordings released for the Barclay label between 1955 and 1956.
For his first recording-date in Paris Chet decided to tackle Bob Zieff's compositions, the same ones that Dick Twardzik had picked up in a hurry at the Alvin Hotel on his way to board the liner Ile-de-France. Violonist Dick Wetmore had just recorded the eight tunes, and Bob Zieff had had just enough time to revise the arrangements. Chet neither a champion sight-reader nor a big fan of rehearsals, hadn't yet played them in front of an audience. From that first French session only the reel referred to as a 'production tape' remains.
This 'complete Bob Zieff' gives an impression of unity that wellmatches the suite concept intended by the composer; as for "The Girl From Greenland", its role comes as a codicil. The record of Chet's quartet with Twardzik has now appeared in Ben Ratliff's book "Jazz, a Critic's Guide to The 100 Most Important Recordings" (The New York Times Essential Library); it's a fitting mention for an album that was long-unrecognised in the the United States…
Sad Walk:
Piece Caprice:
Chet Baker (Trumpet)
Dick Twardzik (Piano)
Jimmy Bond (Bass)
Peter Littman (Drums)
Side A
Side B
There are no reviews yet.
Your email address will not be published. Required fields are marked *
Your review *
Name *
Email *
Save my name, email, and website in this browser for the next time I comment.
Thelonious Monk – Les Liaisons Dangereuses 1960 – Limited Edition Deluxe 2-LP Box Set – RSD 2017
Ron Jefferson – Ron Jefferson Choir – Polydor International – 1965
Lester Young – Le Dernier Message de Lester Young – Barclay – 1959


text:
I'll be on Bill Meyer's show in Oregon today at 10:35 east coast time; please tune in if you have time – and if not, no worries. The audio will be available later today/early tomorrow.
I also wanted to mention that the fresh batch of EPautos magnets are in! I had to delay ordering these several times due to unforeseen financial obligations – including a backed-up septic tank.
At any rate, they are here now – and I'm catching up on mailing them out to those who were on backlog. Thanks for being patient!
Finally, I thought I'd mention that we're still a bit low for the month; have a look at the pie chart on the main page. But with a week to go, I'm confident we'll make it to the green – as we almost always do, thanks to your support.
Remember . . .
We depend on you to keep the wheels turning!
Our donate button is here.
If you prefer not to use PayPal, our mailing address is:
721 Hummingbird Lane SE
Copper Hill, VA 24079
PS: EPautos magnets – they're back! are free to those who send in $20 or more to support the site. Also, the eBook – free! – is available. Click here. Just enter you email in the box on the top of the main page and we'll email you a copy instantly!


text:
A Dhagpo lama is a drupla who completely dedicates his life to spiritual activity
A Dhagpo lama is a drupla who completely dedicates his life to spiritual activity within the heart of the Dhagpo Kagyu Mandala. A lama will have developed qualities enabling him or her to transmit the teachings they have received and to guide beings on the path to enlightenment.
The qualities of a lama are are shown through their actions and the recognition of their peers. The term "lama" is more than a mere title as it expresses the qualities of compassion, kindness and wisdom developed by the practitioner. A lama is an authentic example for beings and a source of inspiration for practice.
Dhagpo lamas and druplas continue their daily personal practice in order to remain continually in the lineage's stream of blessing. Lamas continue to work on themselves spiritually through regular retreats, study and involvement in community life and activities.
The responsibilities of Dhagpo Kundreul Ling's lamas and druplas include: the transmission of Gendun Rinpoche's teachings, the training of the student practitioners, the organisation and supervision of retreats, and the management of the monastic hermitages and various affiliated centres.
Gendun Rinpoche himself designated the lamas who would be responsible for the main positions within the community.


text:
Sean Deasy's blood-alcohol content was nearly twice the legal limit after he crashed his car -- an accident that killed his friend and passenger, Joseph Walker. A police officer reported that Deasy "had glassy eyes" at the time.
But according to Allegheny County Administrative Judge Jeffrey Manning, alcohol didn't cause Deasy to lose control of his Ford Mustang, slamming it into a utility pole along West Liberty Avenue.
Deasy, a 34-year-old former Pittsburgh police officer from Banksville, was convicted of involuntary manslaughter, speeding and reckless driving. Manning also convicted Deasy of DUI -- Deasy's blood-alcohol content tested 0.149 -- and homicide by vehicle. But he acquitted Deasy of a more serious charge that combines the two offenses: "homicide by vehicle while driving under the influence."
That charge would have carried at least three years of prison time. As it was, Manning sentenced Deasy from six months to about 24 months in a halfway house with work release.
Manning says that he's not allowed to comment further on the case, but he added, "It's a causation question. ... The evidence indicates that it was the speed that caused the accident."
Police say Deasy was driving at twice the 35 mph speed limit.
"The judge had the case flipped," argues Rebecca Shaver, the Pennsylvania state executive director of Mothers Against Drunk Driving. "He said that the speed was the cause of the crash. I think the alcohol was the cause of the speed."
Deasy declined to comment for this story. His attorney, William H. Difenderfer, was on vacation and could not be reached for comment. But according to the law, being a lousy driver in general can actually help your defense in this type of case.
"It's very difficult to prove that the alcohol is what caused the death," says George Heym, a DUI defense lawyer and former Allegheny County DUI prosecutor. Defendants can create reasonable doubt by offering up alternative explanations for a crash, such as road conditions or reckless driving.
"The fact that you had a history of driving recklessly while sober would bolster the argument to a jury," Heym says. "If you had dozens of speeding tickets, that could very easily be raised as a defense. ... I've seen cases where that was exactly the argument that was made." Just proving that someone caused another person's death while under the influence of alcohol doesn't cut it, he says: "You have to prove that the person wouldn't have died had the [defendant] not been under the influence of alcohol."
Michael Piecuch, the executive director of the Pennsylvania District Attorneys Association, agrees. Homicides by DUI are some of "the most complicated cases that prosecutors work on," he says. Prosecutors must show that the alcohol incapacitated the driver and that the accident couldn't be caused by something else -- "a high burden of proof," he says.
Joseph Walker's family was not pleased with the sentencing.
"We're very disappointed," says Walker's father, Mark Walker, of Robinson. "We don't think that six months in a halfway house is an appropriate sentence."
Mike Manko, a spokesman for the Allegheny County District Attorney's office, says prosecutors presented Deasy's blood-alcohol level as evidence during the trial and asked for jail time during the sentencing hearing, but he couldn't comment further.
Deasy's accident took place on April 21, 2004. According to a recount in the Pittsburgh Post-Gazette, he and Walker had been drinking and playing Trivial Pursuit with their wives, when the two men went out some time before 2 a.m., to make a beer run.
Since Deasy's sentencing, MADD's Western Pennsylvania affiliate office has received a handful of calls from people concerned about Manning's decision. Shaver calls Deasy's sentence "inappropriate."
"My heart goes out to [Joseph Walker's] family," she adds. "It's tragic."
Deasy must pay the Walker family $11,090.95 in restitution and spend five years in an alcohol-free probation program on top of his halfway-house time, which begins on March 13.
But Mark Walker still believes Deasy's getting off too light. The Pennsylvania Commission on Sentencing, a state legislative agency, recommends 9- to 16-month sentences for vehicular homicide convictions in cases where a DUI conviction is also made.
"He should have had at least nine months," Walker says. "Six months is below the recommended range, and that is an insult.
"My opinion is that a police officer was treated differently than the average Joe," he says. "We don't have any ill will against Sean. ... [But] we're not happy with the sentence."


text:
Small is big, or, a story about the most intimate art collection in the world
An interview with French artist jewellery collector Diane Venet
Diane Venet owns one of the most unique, most emotional and, in a sense, also one of the most intimate collections of art in the world. For over 20 years she has been collecting jewellery made by artists. The pieces are miniature sculptures, creative and sometimes quite sentimental affairs to which the artists have been impelled by very personal events in their lives. Venet calls her collection an "intimate museum" not only because it's so compact (it fits into a couple of boxes), but also because artist jewellery is essentially a key that combines private history and the history of art in a very special way. Even though Venet's collection consists of objects – small works of art – the stories that accompany each work of art are just as important. In fact, the objects and stories are often so intertwined that they cannot be separated.
To begin with, the origin of her collection is quite unique and very personal. Venet is married to Bernar Venet, a well-known French sculptor and conceptual artist. Her collection began with her wedding ring, which Bernar created by spontaneously wrapping a thin silver band around her finger in a style characteristic of his art. The ring was later followed by a number of brooches and necklaces. Each of Bernar's creations embodied a miniature essence of his artistic journeys and searches, thus turning each piece into a very personal record of his creative and emotional life.
Today, Venet's collection consists of over 200 pieces of jewellery, spanning a time period from the second half of the 20th century to today. Pablo Picasso, Alberto Giacometti, Georges Braque, Salvador Dalí, Robert Indiana, Louise Bourgeois, Sol LeWitt, Robert Rauschenberg, Lucio Fontana, Wim Delvoye, Roy Lichtenstein, Michael Craig-Martin, Andres Serrano and Jeff Koons are only some of the names represented in the collection. And, even though some of the jewellery has been made in several editions, its unifying element is usually one and the same, namely, that the pieces have been made with one particular person in mind.
Many of the pieces in Venet's collection were made specifically for her. For example, Orlan made her a brooch that is a kind of miniature self-portrait of the artist. The brooch was inspired by Orlan's legendary Self-Hybridization series. John Chamberlain's first foray into jewellery was also inspired by Venet. She continues to approach new artists today, thereby growing her collection and at the same time challenging artists to be bold and cross boundaries. Andres Serrano, Pedro Cabrita Reis and Jason Martin are the latest to have joined the collection lately.Venet admits to chasing after some of the gems in her collection for years, the search thus turning into a veritable research process.
Venet's mission has always been to share. She wears jewellery from her collection every day, and the collection has been exhibited in a number of venerable art institutions. In 2011, the exhibition From Picasso to Koons: Artist as Jeweller was shown at New York's Museum of Arts and Design (MAD). The exhibition later travelled to Athens, Valencia, Miami and Seoul.
This summer, it was shown in Venice, and for a year next summer, it will tour in China starting at CAFA, the very beautiful academy museum in Beijing. In 2017 it will travel back to the Musée des Arts Décoratifs in Paris. Venet admits, though, that her passion has in large part created the market for artist jewellery, with prices rising in direct proportion to its growth and thus palpably limiting her own opportunities to add to her collection. She can no longer afford much of what she deems valuable.
We meet on an unreasonably rainy October day in New York at the studio of Venet's husband. They are both in the city to attend the opening at the Whitney Museum of a grand retrospective of Frank Stella, the American classic of conceptual art and also a friend of the Venets. Venet is wearing the Orchid Ring made by Marc Quinn in 2009, which was inspired by the artist's Garden series (2000), a psychedelic collection of exotic plants preserved in silicone oil. "You can immediately tell it's a Quinn," she says. But, although the artist's jewellery seems to be just miniatures of his large-format works of art, they gain an additional dimension of artistic experience due to their wearability. They become self-sufficient objects, separate works of art themselves.
You have jewellery by Frank Stella in your collection, but I've read that he turned you down several times before making jewellery for you.
I have two – a necklace and a ring. My husband started my collection twenty years ago by giving me a piece of jewellery he had made himself. And then he asked his artist friends – César, Arman and others – to do a piece for me. When he talked about it to Frank Stella several years ago, he said, "No, I'm not interested." Three months later, I called him and tried to persuade him, but he again said no. But because we're friends and we see each other fairly frequently, Bernar talked to him again one time as we were having dinner at Stella's house – "Frank, it's such a pity, because Chamberlain is doing a piece especially for Diane, and others, too." Then Stella stood up, opened a drawer behind him and gave me a gilt-painted necklace in a style inspired by his reliefs. He created it using his computer in the same way as he makes his sculptures. A year later he gave me another piece – a gold ring with curved forms, which was also inspired by his work as a sculptor.
Stella is so creative. Next year he'll be celebrating his 80th birthday, and he's still working. It's crazy. It's fantastic! He has an unbelievable studio upstate New York, huge, and he creates all the time. And he dares, which I love. He says, "It doesn't matter if people don't like my work. I need to do it."
What fascinates an artist about making jewellery?
It's a challenge. How can I do something very small, something that is me and yet at the same time is not just a miniature of my work? It's a challenge, it's a joke. And a love story, too. Bernar is never going to buy me a Hermès bag; he's going to give me a piece of jewellery instead. Each piece of jewellery has its own story. For example, the Chilean artist Roberto Matta once said that his desire was to make "objects to touch rather than to look at". I never met him, but I know his wife, and she lent me his necklace for the exhibition in New York. It's so beautiful, because he took mother-of-pearl and twisted gold thread around it and around her neck. She is a tiny woman, and you feel the artist's hands. It's very touching and very intimate. And you feel he did it with love...which I think is beautiful.
It seems that most artist jewellery could have been inspired by a romantic story.
Picasso made jewellery for his mistresses Dora Maar and Marie-Thérèse Walter. When he was on the beach, he just picked up pebbles and then painted them for Dora. He also did a piece of bone on which he engraved the portrait of Marie-Thérèse.
There are many great stories. The Greek artist Vassilakis Takis is a good friend of mine. I've known him forever. He's a crazy old man now. Not easy. But when he was about 45, he was living with a young gallery owner who was only 20 years old. A few years ago, I saw a piece of jewellery made by him at a gallery in London, and, thanks to the iPhone, I quickly took a picture of it and called a friend of mine in Athens, who was that very same gallery owner, and I said, "It's expensive, but is it unique, is it good, and what should I do?" She immediately answered that if I could afford it, I should buy it. "It's a unique piece, it's good, and there's a story behind it." So, I bought it. I brought it to Athens and I showed it to her, and I said, "You didn't tell me the story...." She said: "I was twenty, I was very close to him, and he moulded it on me.... And then we didn't have money, and we sold it. I was looking for it for about thirty years, and now you found it...." I said, "I bought it, but if you want it back...." She replied, "No, no, keep it for the collection." So, that's an intimate story.
I recently began a small collection – everywhere I went I took along small, flat pieces of white cardboard, very clean pieces. Whenever I met an artist friend, I'd ask him to draw something on the piece of cardboard and sign it. Later, I'll frame and carry them. I've got about ten of them now, from various artists, and I wear them as pieces of framed jewellery. To show that artists' jewellery doesn't have to be precious. There aren't any precious stones in there. Because the precious aspect is not the material; the precious aspect is the idea. The material is always unique, just like the artist's challenge and daring.
I also have a unique piece by Gino Severini. It's a silver and gold bangle from 1941, signed by him. I bought it in a gallery in London 15 years ago. I have a friend in Paris who is also an art collector. When I met her husband and showed him the bangle, he said, "You bought a Severini. I was also offered it, but I didn't buy it, because it's a fake." "Why do you think it's a fake," I asked. "Because before I bought it, I researched a lot." He said, "Because I know Severini's daughter, and she said that her father never did any jewellery." I replied, "You know, Marcel, for me, being the wife of an artist, I wouldn't be so sure. For example, if Bernar did a piece for a girlfriend somewhere that came out after his death, my daughters would see it and might say, 'No, that's not his.'" I kept the bangle and continued to research it. After a while, I found a photograph in which you can see Severini's wife wearing it. Now I know it's real and it's unique. So, when you search, there are always stories behind the pieces....
You call your collection an intimate museum.
Yes, because these pieces are works of art. Mini works of art that aren't miniatures of the artist's other work, but at the same time they definitely bear the artist's creative signature. Bernar, for example, has made almost all of his jewellery only for me. And each piece, in turn, corresponds to a specific period of his creative work. I thus possess an exhaustive and representative collection of jewellery that corresponds to the Indeterminate Lines, Arcs, Angles, and Straight Lines that have made up his artistic vocabulary for the past few years.
At the same time, the artists do not wish to make these pieces of jewellery commercial, which preserves their intimacy. Their main field is paintings and sculptures, not jewellery.
Jewellery is a specific genre that demands certain skills. For some artists, that could pose a challenge as well.
For example, the above-mentioned jewellery made of pebbles, Picasso made it himself. But in the late 1950s and 1960s, he worked a lot with the goldsmith François Hugo, whom he had met when looking for someone who could make his ceramic platters out of silver. Later, the two of them together developed the idea about medallions inspired by motifs in Picasso's drawings. That was two years before Picasso died. They're in editions of twenty. But what's twenty compared with Picasso's editions on paper? The last ones are in editions of hundreds. So, his jewellery is still very special and unique.
Max Ernst, Jean Cocteau, Man Ray – they all worked with François Hugo. Niki de Saint Phalle, for her part, had help with her jewellery from her Italian friend GianCarlo Montebello. She wanted the jewellery to be made of enamel and just as colourful as her sculptures. But working with enamel is very complicated, so she turned to Montebello. Bernar, on the other hand, makes all of his jewellery himself. I bring him pieces of long bars of silver or gold from 47th Street here in New York, and then he bends them and does everything himself. So, they're all unique.
But sometimes artists have an idea, they make a drawing, but they don't know how to make it into a piece of jewellery, because they don't have the skills. It's not their job. But it doesn't change anything. That's like saying, oh, Jeff Koons, Koons doesn't do his own things, Koons has a hundred and twenty assistants. Well, in Italy during the Renaissance, they had two hundred and fifty assistants. It doesn't matter. The main thing is who has the idea and the desire to realise it. But, of course, if an artist has made a piece of jewellery with his own two hands, it's got added value.
I think César's ideas were very significant in jewellery art. After he presented his compressed cars in the 1960s, he later took this same idea and applied it to jewellery. He invited his friends to give him their formerly significant but no longer important jewellery: medallions from childhood, small rings, etc. Then he compressed them and turned them into a sort of pendant of concentrated memories of the past. And he called them "micro-sculptures".
You've also got jewellery by contemporary artists in your collection. To be honest, I cannot imagine a romantic story behind the jewellery made by Jeff Koons or Damien Hirst. Or maybe I'm wrong?
You know, Jeff Koons did a piece for Stella McCartney. She convinced him. They were very close, and he's a very special guy. It took him five years to say "yes" to the piece. He did just one piece; I think it's an edition of fifty, and he said he will never make any more. So, I had really lined up to get one, because there are so many collectors of Jeff Koons who are ready to pay enormous amounts of money for any work done by him. I think Koons was very friendly with Stella McCartney, but I'm not sure it's a romantic story.
Yoko Ono, for example, has made only two pieces of jewellery. Both were made in collaboration with Filippini. One is a ring called Imagine Peace, made of 18k white and yellow gold in the form of an LP record. It's a kind of dedication to her and John Lennon's peace activism in the 1970s. "Imagine" is written at the centre, a symbolic link to Lennon's famous song. It's not romantic, but it's memory. It's a story.
How many copies do artists usually make of their jewellery?
It depends. Picasso has twenty copies of one piece. Some have made several copies of a piece of jewellery, others make only one. Montebello, who made jewellery not only for Niki de Saint Phalle but also Man Ray, Lucio Fontana and Gio Pomodoro, was the one who started the idea of editions of an artist's jewellery in the 1960s. Usually editions are from 8 to 20. It depends. For example, Man Ray's Optic–Topic (1974) gold mask is an edition of one hundred, but I'm not sure that one hundred were actually made. On the other hand, Warhol, who had never before shown any interest in jewellery, was persuaded by the Swiss watchmaker Movado to create a watch design ....in 1987, shortly before his death. This limited edition of 250 copies was presented at the Basel fair in 1998. But, as far as I know, not all of the copies were actually made. When I was still going to school in New York, I bought a piece of jewellery by Roy Lichtenstein that was made in an almost unlimited edition and at the time cost three dollars at an art gallery. Now it would sell for 5000 dollars, if you could find one, of course.
How do the artists themselves valuate the pieces? Do they consider them works of art or something more like an affair, a fling, a little joke?
No, they respect it. For five years I've been trying to persuade my friend, the American sculptor Joel Shapiro, to create a piece of jewellery for my collection. He says "yes" to the idea, but he still doesn't know how to actually do it. I think that when the artists find a way, they like it. They know that it's going to be in books and in museums and it's going to be representing them. No, I think they assume it. But at the same time, I'm completely convinced that once the museum curator decides to do an exhibition, he or she will exhibit the artist's paintings and sculptures...and maybe not their jewellery. Not yet.
There's always this discussion – is jewellery an art or a craft?
I know. When I exhibited in Venice, my collection was shown in cases, like jewellery. And, it's possible that the pieces also looked more like jewellery when they were presented in such a way. In Miami and Athens, on the other hand, I exhibited them on the walls. Protected, of course, but more as if they were works of art on a wall. It looks different that way. It depends on the way you present it.
It's true, when I see women visiting the show, they see jewellery. But men see art. And also, there's always this moment of surprise. Many people don't even know that Lucio Fontana did jewellery, as well as Picasso. Then you have people who are very art-oriented and who see art immediately. And then you have others who see just jewellery, because they see necklaces, rings....
In the same piece?
Yes, in the same piece. But I myself try to insist on the fact that it's art. But I think that with time, as the market develops and more and more collectors and new artists in the field emerge, jewellery's status as art will only grow stronger.
But there are surprisingly few collectors of artist jewellery.
Very few, but the number is growing. In the beginning, I bought a lot at auction. But I can't anymore, it's so expensive. I think I helped building up the market. Currently there's a Chinese guy who's collecting with no money limits, and he's buying unique pieces from all over the world. His collection will most probably become the best in a few years! Alexander Calder's pieces nowadays sell for 300,000 and 400,000 dollars. I can't afford that.
Calder was once one of the most prolific artists. I read somewhere that he created more than 1800 pieces of jewellery.
Yes, and all of them are unique. Throughout his life he designed and constructed items of jewellery as gifts for his close family and friends. For example, if you invited him to dinner, at six o'clock he'd go to his studio and do a new piece with your letter "U" and give it to you on that evening. He made 1800 pieces like this, but they are all unique. So, it's fantastic because it's his hand. Dalí made drawings and then they were done in many editions. That's not the same thing.
One could say that with your collection and the exhibitions you've organised, you have created the market for artist jewellery.
I think so. At the beginning, it was a really a niche, because it was totally unknown and people hadn't heard anything about artist jewellery. But now you have two art jewellery auctions in Paris in December. That's never happened before. Before, you had one or two artist jewellery pieces in the middle of a painting and sculpture sale, but never specialised. Now it's different. It builds up the market, which is interesting because it means that it's known.
On the other hand, though, prices are going up....
Exactly. Now my thing is to go for the new artists and ask them to make a special piece for me to improve the collection in another way.
Have you yourself bought much at auctions?
A lot, but years ago. For example, I bought Pomodoro at auctions in Monaco. It was OK, nobody was much interested in it. The people who go to jewellery auctions in Monaco, they go for rubies, for diamonds and for sapphires. They don't go for the necklace by Pomodoro. They didn't even know who he is. So, sometimes I bought very well.
But why are people so crazy about rubies, diamonds and all the precious stones?
Because in their souls, women are very classical. Let's say, if you are born into aristocracy and saw your mother and grandmother wearing things like that, you don't think about it and just assume it's normal. And then you have young women from middle-class families and they want to look like those from the aristocracy – they dream about their weddings, the white dress and the diamond on their finger. And then you have women with maybe a little more personality, they go for something different. You know, it's funny, but when I wear pieces like this and I'm at some social event, sometimes nobody asks me what it is. They all have diamonds, and nobody comes up to me to ask what I'm wearing. It's funny, no?
It's strange.
It's very strange. Because these pieces are special. You either like them or you don't.
When you buy a new piece, do you always try it on?
Yes. Because, you know, it's very new. And I just feel I become closer to the artist ! I know it's a very selfish reaction, but it's a special feeling....
It all started with your wedding ring. But when did you realise that you are becoming a collector? At which point did that happen?
It started with Bernar, and then he gave me a piece by his friends César and Arman. And then, little by little, he became bigger as an artist, and I felt that I had to have my own thing on the side. I'd never been a serious collector before. I'm not a collector at heart, not like people who've collected something since they were kids. No. I'm very curious, I'm interested in many things. This is the first time I've collected something. Really. And I collect with limits – money limits and knowledge limits. Because I don't spend all my time doing only that. It began little by little, and now it's growing more and more. Because now I can look on the computer to see where there's some auction going on that could be interesting.
You become a bit of a hunter?
Exactly. And I miss things, for example, two pieces by Chirico were sold at an auction sale in Rome three months ago. I don't have Chirico in my collection, but I would love to, because I think he is a great artist. And he did only a few pieces and they are very good. At that auction, one piece went for 100,000 euros, and I just can't do that. But it doesn't matter. I go with younger artists and people I can afford.
I looked for Dalí for a very long time, because I need a Dalí in a serious collection. The director of the Dalí museum is a good friend of mine, but they never lend anything, nor do they sell anything, of course. Besides, I didn't want a piece of jewellery that had been made in a hundred or a thousand copies. After a long search, I finally found a brooch by him at a gallery in Paris. It's an edition of six, but we only know of three. It's a spoon, a gold and enamel coffee spoon, but inside the spoon there is a clock, and under the spoon there's a comb. It's a completely surrealistic thing. I love that piece very much. You know, when you search for a long time and finally find something, that's exciting, too.
Have you ever had the feeling that you overpaid to get some piece?
Yes. Koons is overpriced. I paid 50,000 dollars for his piece, and it's probably overpriced because of fashion, etc. Anyway, I think that Koons is a very good artist. Some people say that it's junk, but I don't think so. I know he will be remembered. Yes, I probably overpaid for it, but I thought that it's important to have his piece in the collection. It's very expensive, but if I wanted to sell it today, it would probably be twice the price. It's ridiculous, but this is our world. But I'm not selling it anyway.
From your point of view, how do you feel when so much money flows into the art market? Is that helpful to the development of art or quite the opposite?
No. I think it's terrible. You know why? The terrible flow of money arises because people don't spend it in another way. They want, they think they're going to get surprises. A year ago, Bernar and I were in Singapore. There's a duty-free space next to the airport where you can store artwork without having to pay taxes. There's one like it in Geneva, too. The works of art are mostly bought by companies or rich collectors. Of course, they don't give their names. After the auction sale, they just put the artwork in boxes, the boxes are put on a plane, and then they arrive in Singapore. At the end of the drive there's a gate, and it all goes directly into safes. I think it's terrible, because nobody will see those works of art again. It's just about the money. So sad.
But is there still a correlation between the real value of art and the price?
Rarity makes the price, of course. But I think prices have gone too high. For example, if you buy Cézanne, a very good Cézanne for a high price, it's maybe too much money for art, but OK, Cézanne is a part of art history. But if you're going to buy one of those Chinese guys or Richard Prince for 20 million dollars – come on, what does it mean? And the money doesn't even go to him. When a piece by Jeff Koons is sold by a collector at auction, it's not Koons who makes the money. I think people like Pinault, Arnault and the big collectors are very responsible for this situation. Because what do they do? They just do business. They send some young knowledgeable art advisors to artists' studios all over the world, and when they see the studio of a young artist who is doing interesting things, they buy the whole studio. Pinault or Arnault – let's call them by those names – they keep a part of it, and they sell the rest at an auction sale, therefore building up the price. The poor artist thinks, oh, it's done with him.... So he changes his studio, he buys cars....
...he loses his mind...
Exactly. And three years later, he's out.
Because he's not creative anymore?
Exactly. Or, the price of his work slowly increases until the collector, who owns most of the artist's work, puts them all up for sale at auction, and then the price falls. Maybe the artist lives better compared to when he didn't have any money at all... but these collectors have earned twice as much as the artist. I think that's wrong.
Do you think the current market bubble could collapse in the future?
I think some artists could disappear. A few would remain. But could the whole market collapse? I don't think so. There's so much money in this world. Look at the Dubai Art Fair – it was bad at the beginning, and it's much better now. And there are new museums everywhere, and they have to put art on the walls. Bernar told me that when he was going to auction sales 25 years ago and he saw an artist sold for 10,000 dollars, he said, oh my God, 10,000 dollars – people are crazy! But not long ago we saw Yves Klein sold for one million. Bernar commented, oh my God, people are paying one million for a painting! It's a bubble, and it's going to burst. Now it's 30 million. It's crazy. But at the same time, museums don't have money. Centre Pompidou, for example, has a budget of one million per year to buy art. They live on donations. What you can buy as a museum for one million?
Based on your experience as a collector, why do people have this desire to possess, to own things? After all, you can go to a museum and see it all there.
Yes, in a museum it's available to everyone. And this is why I like to show. But before showing, I own, that's true. So, I think it's a very human desire. It's true that you can rent an apartment, but if you can own an apartment, you prefer to be at your place. No? It's human. But there's a difference between owning something and living with it, and owning something and keeping it locked away in a safe.
After living with an artist and being in the art world for so many years, is art still able to surprise you?
Of course. Even more so now. There are many young artists, and I feel I'm too old, I don't understand them. I'm 70 now, but when I was 25 and 30 years old, 70-year-olds seemed so old to me. Now, when I'm this age myself and I visit the studios of 25-year-old artists, I either smile because it looks like what I knew from before (but many times they don't know this) or they do completely different things and sometimes I don't get it. I would be tempted to say it's junk. But maybe not. I don't think that I have the same fresh eye as I had before, but I think it's always been like that. I think that when you've done a lot, you've seen a lot, your computer is full, and you don't have a fresh eye anymore.
But maybe your eye improves with age?
Your knowledge improves, because you learn, but your eye.... I don't know. I know that it's interesting when I don't understand, that's for sure. Because then it might be something very new. But when I see a pile of whatever on the floor at an exhibition, it makes me smile, because Bernar did a pile of coal in 1963. The first one. That was fifty years ago. It's been done already.
I think there's been a hole for the last fifteen or twenty years in which not as much has happened that will remain. That's reality. Of course, there are always exceptions. But now, I think we probably have a new generation that is completely different, because it's a generation of different techniques. And these techniques make a different mind – the new generation thinks differently and they will do something that is very different. Art is never stopped. And, of course, there will be new things coming.
Based on your experience, do you believe art has the power to change something in people?
Yes, I think so. Art is very important. I think that in general, culture is the only thing that can change anything in the world. Take, for example, myself – if I wake up in the morning, it doesn't matter whether I'm in a sad or romantic mood, but if it's a beautiful day and I go outside and look at the sky and the trees, I feel happy, of course. But, if I see a work of art that I like in a museum or gallery, I feel happy right away. Maybe that's something I've learned. I'm from a collector's family. I've been around art all of my life. And also, as a journalist I've spoken to very many people about art, because it was a part of my life. Art is like a foreign language – I've always said that, and I really believe it. You have to learn it. Because what you see and like at first, you like it because it's part of your culture before. If you see something and you like it immediately, it's because it reminds you of something on an unconscious level. And if it reminds you of something, it's not very new. It's more interesting if art questions you, if you don't understand it. Why is Duchamp so interesting and why is Duchamp the father of so many generations of artists now? Because when people saw Duchamp for the first time, they didn't understand him – they thought, my God, what does this mean? Or Donald Judd. I have a beautiful Judd at my house, and many people have asked (I have many friends from different worlds, not only from the art world) what is it? And I say to them, if you don't know, go take a book, read it, go to exhibitions, build up your own knowledge. The research is the most interesting part. Art is like a language – if you learn it, it makes you happy.


text:
Jacqueline Straight - Indigo Bloom
$ 4,900.00
Brand Paige
Style 3360984-5211
With an effortlessly cool silhouette, the Jacqueline Straight is a modern straight jean with a sought-after length that hits right at the ankle bone. Floral patches, a washed-out indigo hue and distressed hem really capture the look of the '90s. PAIGE's super soft stretch denim and authentic character will make you want to play in this lively pair.


text:
Bus companies critical of government's plan to subsidize intercity services
The Estonian government's plan to offer free rides to passengers on some intercity bus routes, not just county bus routes, has drawn criticism from businesses arguing that no analysis has been done of the potential impact of the move.
There are currently a couple of tens of subsidized bus routes between different counties, rides on which will become free from July 1 next year in accordance with the plan tabled by Minister of Economic Affairs and Infrastructure Kadri Simson (Center).
"We don't know yet what will happen," Go Bus board member Enn Randmaa told Postimees on Wednesday. "There was a meeting with the Estonian Road Administration today as well. They do not know what will happen either. Nobody can say."
Andrei Mandla, another member of the management board of Go Bus, said that currently, the government subsidizes their Haapsalu-Tartu service. "That bus is sold out on Fridays," he pointed out. "What will happen when the whole thing is free?"
Jan Landrat, route manager at Taisto Liinid, pointed out potential distortions to be caused by free services on partial legs of the free service which other operators have been serving on a commercial basis, as well as the effect on the economic results of intercity bus lines where a free bus and a fare charging bus operate closely together.
The question of whether a fee can be charged for booking a free ticket via the online ticket selling system has yet to be resolved, Landrat added.
The government has set aside money in next year's state budget to raise the subsidy for bus services from €21.9 million to €34.8 million earmarked for making county bus routes free beginning next July 1.
Editor: Aili Vahtla
Source: BNS


text:
We left PE on a grey day for drive the 325 kms to Oudtshoorn, choosing to travel through the Langkloof on the R62 rather than along the coast. The Langkloof is a valley of c.160kms with a climate which is ideal for growing fruit – it is also very beautiful.
We crossed the Gamtoos River and beyond Humansdorp turned off on the R62, intending to stop for coffee in Kareedouw. It was a good decision because the coffee and pancakes in The Sweaty Dutchman (unfortunate name) were quite excellent. We didn't really have time to explore further, which was a sadness as the Dutch Reformed Church is apparently marvellous, and this is where John Vorster was buried.
The weather started to improve and the scenery was quite wonderful – every day we set off seemed to be more beautiful than the day before! Just before Uniondale the R339 took us through the rocky Uniondale Poort, also known as Queen Street.
Uniondale was our next, brief stop. This small town was formed in 1856 with the combining of the two towns of Hopedale and Lyons. During the Anglo-Boer War the town was attacked by Commandant Gideon Scheepers in January 1901, although the town was protected by five British forts. It is clearly an interesting town – it will have to join the 'next time' list.
The original Dutch Reformed Church is known as the 'Voortrekker Saal' and used for community projects while the new Dutch Reformed Church was built in 1884, and firmly locked; the Pinkster Protestant Church (the Uniondale Congregational Church) was built c.1865 by the London Missionary Society. We walked around the block on quiet streets and then the driver was keen to set off again.
And so we set off on the next leg, into more open countryside with mountains everywhere.
Another coffee stop at De Rust, and then we were driving into Oudtshoorn past red hills, which are described in detail here, as red conglomerate or enon.
Further information
British forts at Uniondale
Tales from Uniondale
Uniondale and Here


text:
6 Grocery Store Trends
6 Grocery Store Trends
The need for alternative grocery shopping options surged during the COVID-19 pandemic as people looked for safer ways to buy food. The Manifest surveyed 501 people about their grocery shopping habits in the past three months and found that people trust Instacart the most for grocery delivery. People have also seen their average grocery bill increase as the cost of food rises with supply chain disruptions.
Mary is worried.
She's gone to three grocery stores in the past two hours and still can't find a bag of flour. She's watched as people throw piles of produce in their carts until the shelves sprawl empty down the aisles.
People are preparing for the worst, and Mary is out of luck buying food for her favorite meal.
Luckily, grocery stores have an answer.
While grocery delivery services like AmazonFresh and Instacart have always been an option for people, the pandemic created a surge in popularity for these alternative grocery shopping methods.
More stores now also offer curbside pick-up as a cheaper option for people looking to stay away from crowded store aisles and not pay delivery or service fees.
The Manifest surveyed 501 people about their grocery shopping habits during the COVID-19 pandemic and the benefits and challenges of using services like Instacart and AmazonFresh.
We found that while most people continue to shop for groceries in-store, 17% of consumers opt for alternative grocery shopping methods, and 38% of people have seen an increase in their average grocery store bill during the pandemic.
How are grocery stores responding to these changes?
While the demand for groceries grows, physical stores face larger competition from delivery services like Instacart and AmazonFresh. With this sudden switch in shopping behavior, traditional grocery stores may have to reevaluate their delivery options to compete with these big tech brands.
Our Findings
- Nearly two-thirds of people (62%) prefer to buy groceries in person at the store during COVID-19, while 22% opt for safer methods like curbside pickup (10%) and grocery delivery services (12%).
- More than one-third of people (38%) say their grocery bill increased during the past 3 months, indicating that people are eating differently during the pandemic.
- More than half of people (53%) trust Instacart and its partner companies the most to deliver their groceries, beating huge competitors like AmazonFresh (21%) and Peapod (5%).
- About half of people (52%) believe the main benefit of using a grocery delivery service is saving time, while only 11% use grocery delivery services because they are safer during COVID-19.
- Almost one-quarter of people (22%) say their main challenge with grocery delivery is the delivery and service fees, which add to the overall cost of groceries.
6 Grocery Store Trends
- Americans still go to the grocery store to purchase food during COVID-19.
- Not as many Americans use grocery delivery services as expected during the pandemic.
- The average grocery bill increased during COVID-19.
- People trust Instacart the most for grocery delivery.
- People use grocery delivery services because they're convenient.
- People avoid using grocery delivery services due to price.
Grocery Store Trend #1: In-Person Grocery Shopping Still Dominates the Supermarket Industry
People continue to shop in grocery stores, but they limit how frequently they shop each month, by stocking up on more items at one time.
Almost two-thirds of people (62%) continue to buy groceries from physical stores during the COVID-19 pandemic instead of using grocery delivery services or curbside pickup.
While most people still prefer to shop at stores, weekly grocery shopping has gone down 20% as people seek to limit their time in public areas.
Lisa Hugh, founder and CEO of Single Ingredient Groceries, explained how she has adjusted her grocery shopping behavior to limit her shopping trips.
"Pre-pandemic I tried to buy only exactly what I needed and not have an excessively stocked pantry," Hugh said. "Now, my goal is a very well-stocked pantry."
Now, my goal is a very well-stocked pantry.
With people frequenting stores to stock up on food, what are supermarkets doing to keep consumers safe?
To prevent the spread of the virus, certain national supermarket chains are requiring people to wear masks inside the stores. These supermarket chains include:
- Aldi
- Costco
- DollarTree
- Kroger
- Publix
- Sam's Club
- Target
- Walmart
- Whole Foods
- Winn-Dixie
Grocery stores also encourage consumers to social distance within the store by keeping 6 feet apart. With these measures in place, 62% of people believe it is worth the risk to shop in person at the grocery store.
Grocery Store Trend #2: Only 12% of People Have Used Grocery Delivery Services During COVID-19
While only 12% of people have used grocery delivery services during the pandemic, this change still indicates a significant uptick in the popularity of grocery delivery services. Only 3% to 4% of grocery spending previously was done online in the U.S. but has tripled to 10% or 15% due to the pandemic.
Specifically, grocery delivery service Instacart saw a 500% increase in orders and hired 300,000 new shoppers to keep up with the rise in demand.
Christina Cay, creator of C'MON MAMA, a blog about motherhood, explained how her opinion of grocery delivery services changed after trying it for the first time.
"Prior to the COVID-19 pandemic, I had never used a grocery delivery service in my life," Cay said. "I have exclusively used grocery delivery services for the past 5 or more months, and I'm never turning back."
I have exclusively used grocery delivery services for the past 5 or more months, and I'm never turning back.
While people may be hesitant to try delivery services, consumers quickly realize they can provide an easy alternative to shopping in-person.
"At the beginning, I missed going and picking out things like I was accustomed to," Cay said. "But now, I don't think we'll ever not use a grocery delivery service. It's too easy, too efficient, too convenient, and too streamlined to give up."
Grocery delivery provides a safe way to receive groceries on-time, and customers recognize the convenience of ordering groceries from the comfort of their homes.
For example, AmazonFresh, Amazon's grocery delivery service, has one of the highest overall customer retention rates with 54% of customers ordering again within 30 days of their first order.
People also use curbside pickup to limit their contact with other people. One in ten people (10%) have used curbside pickup at the grocery store in the last three months. They order groceries online and then drive to the store to pick up their packaged groceries outside.
Grocery delivery services and curbside pickup offer safe and convenient options for people looking to stay away from physical stores and still receive the groceries they want.
Grocery Store Trend #3: More Than One-Third of People Say Their Average Grocery Bill Has Increased During COVID-19
With limited restaurant and eating options, people's spending habits on food have changed. More than one-third of people (38%) say their average grocery bill has increased during the pandemic.
About one-quarter of people (23%) say their grocery bill has increased by more than $50, while 15% say it has increased by less than $50.
Only 47% of people say their grocery bill has not changed; 15% of consumers say their grocery bill has decreased.
Why Are People Spending More on Groceries During COVID-19?
Because food costs more now.
As people stockpile food and limit trips to the grocery store, there is an increase in demand on the food supply chain. Recently, companies that handle food processing have been hurrying to hire more employees to help fulfill the orders.
People are eating at home instead of in restaurants. This sudden switch in dining habits has disrupted the cadence of the food supply chain. Restaurants receive food differently than grocery stores as they are sent different packaging and have separate delivery procedures.
For example, distributors must switch from packaging milk in half-pint cartons for schools to gallon containers that people like at home.
This change puts pressure on supply and drives up prices.
Francine McQueen, founder of Marlenee PR, a freelance public relations firm, explained how she adjusted her buying due to the pandemic.
"I am buying more in bulk, although there are just two of us," McQueen said. "I've purchased multiple cans, multiple packages of rice, cereal, and bags of apples. In the past, I would just buy one or two pieces of fruit, then go back to the store every few days."
I am buying more in bulk, although there are just two of us.
With a change in grocery behavior like McQueen's occurring nationwide, food supply chains must increase prices to stay profitable.
Grocery Store Trend #4: Instacart Is More Trusted Than Amazon (But How Does Instacart Really Work?)
Instacart is the most trusted grocery delivery service, beating AmazonFresh and national supermarket chains like Safeway and PeaPod.
More than one-quarter of people (53%) trust Instacart and its partner companies to deliver their groceries safely.
One-fifth of people (21%) trust AmazonFresh, and 5% trust Peapod with their grocery orders.
Only 4% of people trust Walmart to deliver groceries on time and safely, although Walmart recently decided to partner with Instacart in August 2020.
Instacart became a massive success almost overnight when the global pandemic forced more people to consider shopping online. Due to the coronavirus, Instacart's expected April profit was $10 million dollars, after it sold $700 million worth of groceries in the first two weeks of April.
April 2020 was the first time Instacart became profitable since its start in June 2012. With this increase in demand, Instacart received a new round of funding that launched its valuation to $13.7 billion.
How Does Instacart Work?
Available in 85% of U.S. households, Instacart is an on-demand grocery delivery business. The grocery app and website allow users to shop from local grocery stores online. Once the shopper submits her order, Instacart sends a "personal shopper" to fulfill and deliver the order on the same day.
What Makes Instacart Different From Other Grocery Delivery Services?
While many grocery delivery services stockpile fresh produce in a large warehouse, Instacart shoppers actually shop at major local grocery stores, pick up everything on your list, and then drive to your home in their own car.
This local shopping element could be why people prefer Instacart to AmazonFresh and other grocery delivery services.
Still, Instacart recently had its share of public issues. Instacart is now suing Cornershop, a delivery service majority owned by Uber, for IP infringement and stealing its product images, descriptions, and pricing data.
Instacart also has been accused of a massive data leak, affecting about 275,000 customers. On July 22, Buzzfeed reported that someone was selling Instacart customer information on the dark web.
Thousands of Instacart consumers' personal data like customer names, credit card numbers, and order histories are being sold for $2 per customer record.
Instacart says it is unaware of any security breach and denied that their system had been hacked.
With the data scandals, Instacart faced some public backlash. However, they still remain the most trusted grocery delivery company in the U.S.
Grocery Store Trend #5: Grocery Delivery Services Are More Time Efficient
As people switch to using grocery delivery services, they consider the benefits: an on-demand service versus traveling to a grocery store.
About half of people (52%) believe that the main benefit of using a grocery delivery service is saving time, not safety.
Only 11% of people believe the primary advantage of grocery delivery services is safety such as staying socially distant, indicating that grocery delivery may stay popular even after the pandemic ends.
Meanwhile, 10% of people like that grocery delivery reduces parking and gas costs, and 7% enjoy order personalization.
Saving time can be a major asset to a busy consumer. Ordering groceries online allows people to search for items quickly, select the type of food they want, and order it to their home at a time that works best for them.
Using the past order history button can also make reordering groceries easier than scanning the aisles for individual items.
Sherry Mae, CMO of Tankarium, a fish and aquarium e-commerce store, discussed how switching to delivery service impacted her life.
"Admittedly the pandemic has forced me to assess the time I spent [at the grocery store]," Mae said. "The time I save from physical grocery shopping can be used to build my skills or do relaxing activities with family and friends."
Grocery delivery can be a huge win for busy people who are looking to shave off the hour a week they spend shopping for food and invest that time in a fitness class, social event, or other activity they want to pursue.
Food Retail Expert and Senior Vice President of Analytics at Inmar Intelligence, Jim Hertel believes online grocery shopping is here to stay: "I think a substantial portion of them will remain online shoppers."
I think a substantial portion of them will remain online shoppers.
While the main surge in grocery shopping online is due to the pandemic, people find other benefits from using the service, including efficiency and convenience.
Grocery Store Trend #6: People Find Grocery Delivery Services Expensive
Delivery and service fees, bad produce, and inconvenient drop-off times are the top grocery delivery challenges.
Almost one-quarter of people (22%) say the main challenge with using grocery delivery is the delivery and service fees included in the price.
Meanwhile, 17% of consumers complain that they receive bad produce with delivery, and 11% say the drop-off times are inconvenient.
Only 5% of customers worry about data security and privacy, even with Instacart's alleged recent hack.
The majority of people still shop in physical stores to buy groceries, which indicates that delivery services have room to improve, such as with fees and produce quality.
The delivery fees deter people looking to save money while shopping for essentials. Some delivery services offer better pricing options than others, like AmazonFresh and Instacart.
Once settling on price, people are then concerned about the quality of produce they receive from delivery services compared to picking out the items themselves.
"Obviously, produce is the item that feels like the wild card when you're ordering online," said Daniel Carter, founder of Zippy Electrics, an online guide to electronic riding gadgets. "But other stuff like canned goods and toiletries arrive exactly in the way we ordered them."
People like Carter may have less control of the specific piece of fruit or vegetable they receive but recognize this is the cost of online ordering.
While delivery services could do a better job at reasonable pricing and quality assurance, loyal consumers gladly trade these challenges for the convenience of online shopping.
Grocery Delivery Services May Become Tough Competitors for Traditional Supermarkets
The COVID-19 pandemic triggered a change in grocery shopping behavior as people searched for safer ways to receive essentials.
While 62% of people still shop in stores during the pandemic, 22% of people have opted for more socially distant methods of shopping, including grocery delivery services (12%) and curbside pickup (10%).
People have also seen an increase in their average grocery bill as the cost of food surged with disrupted supply chains and limited eating options.
While food suppliers struggle to meet demands, delivery services like Instacart have seen a surge in orders. As the most trusted delivery service, Instacart faces new difficulties, including a lawsuit with Uber and an alleged data hack.
People, however, remain undeterred by the recent news and prefer Instacart over AmazonFresh and PeaPod.
People see other benefits to grocery delivery services, including saving time and order personalization.
Grocery delivery services, however, still have a long way to go in terms of customer experience: People say fees are too high and the produce selected is not always ideal.
With large numbers of people trying out grocery delivery services for the first time and liking them, supermarkets may need to prepare for long-term competition.
About the Survey
The Manifest surveyed 501 people across the U.S. about their grocery shopping habits. The survey ran July 27-31, 2020.
About 47% of the respondents were female; 40% were male and 13% declined to answer.


text:
Michael Sieve is pleased to announce the opening of his new gallery, Chisholm Valley Wildlife Art. This gallery features Sieve's originals, prints, and sculptures. It is located in the picturesque hill country of southeast Minnesota and is the culmination of a lifelong dream of Sieve's to have his own art gallery.
Sieve began his career as a wildlife artist in 1979 and has since become recognized as one of the top big game artists in the country. Together with his publisher Wild Wings he has produced over 150 limited edition prints and has helped raise millions of dollars for conservation organizations. His works can be found in museums and private and public collections throughout the country.
The gallery itself has the look and feel of an old English gunroom and is meant to be a showpiece for wildlife art. The land, 185 acres with hardwood-covered hills, a valley, and a trout stream, is meant to be a showpiece of conservation practices in southeast Minnesota.
This fall Sieve and his wife Juli will be inviting the public to join them at their grand opening. This opening will take place on the first two weekends of September, and after that the gallery will be open by appointment. The gallery is located halfway between Houston and Rushford, just off Chisholm Road. The address is 22388 Daley Creek Drive, Rushford, MN 55971. For more information about Sieve and his work, please visit the website MichaelSieveArt.com or the Facebook page Michael Sieve – Chisholm Valley Wildlife Art. Sieve can also be contacted at (507) 421-2527.
Grand Opening Hours:
Saturday, Sept. 5, 2015, 3:00-9:00 pm
Sunday, Sept. 6, 2015, 12:00-6:00 pm
Saturday, Sept. 12, 2015, 12:00-6:00 pm
Sunday Sept. 13, 2015, 12:00-6:00 pm


text:
Create a Website Account - Manage notification subscriptions, save form progress and more.
PRESS RELEASEMayor Gavin Buckley
Public Information Office160 Duke of Gloucester StreetAnnapolis, Maryland 21401
FOR IMMEDIATE RELEASE:Media contact: Mitchelle Stephenson, 410-972-7724 or firstname.lastname@example.com
City Leaders to Host Community Meeting at Eastport Fire Station to Discuss Solutions to Gun Violence
ANNAPOLIS, MD (February 13, 2020) – City residents are encouraged to attend a community meeting at the Eastport Fire Station on Monday, Feb. 17 at 6 p.m. to discuss recent gun violence. Mayor Gavin Buckley with Alderman DaJuan Gay (Ward 6), Alderman Ross Arnett (Ward 8) and Alderwoman Rhonda Pindell Charles (Ward 3) will host the meeting, giving residents an opportunity to speak directly to decision- and policymakers about ideas for finding solutions and concerns for public safety.
The meeting agenda will include a presentation by Police Chief Edward Jackson who will be there to answer questions and discuss short- and long-term action from the Annapolis Police Department (APD), including community policing initiatives. City Manager David Jarrell, as well as community and faith-based leaders, will be on hand to hear resident concerns.
The meeting was called due to gun violence in the area of the 1100 to 1299 block of Madison Street. On Monday (2/10), two incidents of shots fired, one at 7 p.m., the other at 2 a.m., had officers responding, although no victims or suspects were found. On Tuesday (2/11), officers responded to shots fired around 11:30 p.m. At that time, responding units found a 29-year-old male with injuries consistent with being shot. He was treated at an area hospital for non-life threatening injuries.
"We have got to find better ways to resolve our differences," said Mayor Gavin Buckley. "I know this isn't a policing-only issue or an issue that faith leaders or elected officials can solve on their own. That is why I want to hear from community members. We've all got to work together to find a way forward."
Annapolis Police are asking for the public's help in the Tuesday night incident. Those with information should contact APD detectives at 410-260-3439 or call Metro Crime Stoppers at 1-866-7LOCKUP and submit an anonymous tip.
# # #


text:
After defying political gravity for three years, Theresa May brought her tortured tenure as prime minister to a close on Friday.
"I will shortly leave the job that it has been the honor of my life to hold," she said outside Downing Street, her voice quivering in the morning sunshine. And with that, she's off -- or at least she will be later in the summer, once a new Conservative leader is elected.
Her statement sets up a few more hectic weeks of political drama in Westminster. For now, though, we're following May's lead and getting out of here.
Thanks for following our live coverage.


text:
The following letter is reproduced with the kind permission of Mr Peter Thornton, Independent Researcher and Commentator. However, while this permission is given, it in no way constitutes an endorsement of RestoreAustralia's aims. Peter remains staunchly apolitical.
The letter is the latest in an exchange of correspondence with the Minister for Defence Science and Personnel, Hon. Warren Snowdon MP, Shadow Minister Ronaldson, and Peter who is trying to get answers to the continuing refusal by the government to bring veteran's pensions into line with civilian pensions, which are pegged to the cost of living index. It seems that the government can find millions of dollars to send to Indonesia to finance building mosques and schools for a religion that is dedicated to killing our Diggers, but when it comes to looking after the survivors of the wars the politicians have sent us to fight there is "no money available in the budget".
We want answers, and we want them now!
This is the relevant part of the correspondence between Peter and the Ministers that preceded the following letter:
…..the issue of pension parity should be a matter of principled policy stemming from the 2007 agreement with Veterans and not one of cost! As such, I hope both the Government and the Opposition will reconsider their policy positions on this matter as a priority and I would in turn ask the Minister and Shadow Minister to provide a considered response to the matters raised here, not only myself, but to all those copied and to the broader Veteran community at large.
The Issue of "Cost" to reinstate DVA Pension Parity
Dear Minster Snowdon and Shadow Minister Ronaldson,
Unfortunately, apart from one or two keep alive emails from Senator Ronaldson shortly after the dispatched of my abridged email below, the silence has been deafening in response to my research paper regarding the issue of Pension Parity for DVA Disability Pensioners.
As a consequence, and as previously requested below, I write once again to request a detailed and considered response to my research paper (an abridged version was attached to the original letters) and to now ask what your respective party policies will be to ameliorate this specific issue in the lead up to the next election.
As my research clearly demonstrates, the expected decline in DVA recipient numbers will substantially, if not completely offset within current budgetary allocations, any reasonable cost to fix the pension parity issue … a very critical issue for disability pensions that are inclusive of an income compensation component (i.e. Intermediate and TPI / Special Rate pensions).
Given that the minimum wage is about to be raised once again from 1 July (and "before the ink has dried" since the last rise), the divergence of the DVA Disability Pension to that of community norms will be even starker again … essentially putting more at-risk veterans and their families at even greater risk.
Again, I request that you both provide a detailed and explicit response about what your respective party policies will be to ameliorate this grievous situation in the lead up to the next election …. but not only to myself …. but to all veterans and the citizens of Australia.
Kind regards Peter ThorntonIndepedent Researcher and Commentator Phone: 02 6169 6873 Mobile: 0406 1944 69 "All for One … and …One for All"


text:
Two very different life & death situations play out in these two short films, but both contain the sharpest of writing and the greatest of performances.
SEE YOURSELF OUT (22:51) When unforeseen circumstances throw Wallace and Reggie into each other's orbit, they discover that they share an unhealthy common ground.
ABOVE JEWELS (8:46) Two dysfunctional sisters attempt to bury the body of a cheating husband before being discovered by a Good Samaritan passing by.
Click here to listen to an interview with Kevin Nielsen, writer/director of See Yourself Out.
Click here to listen to an interview with Ashley Erin Campbell & Holland Olmstead, the filmmaking team behind Above Jewels.
Source: Discover Film