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New York
4 May 2010
Price realised
Henri Matisse (1869-1954)
Nu au coussin bleu
signed 'Henri Matisse' (lower center)
oil on canvas
28 1/3 x 23¾ in. (72 x 60 cm.)
Painted in 1924
Eugene Marich, Paris.
Acquired from the above by Mr. and Mrs. Sidney F. Brody, 19 March 1964.
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L. Aragon, Henri Matisse, Roman, Paris, 1971, vol. II, p. 110 (illustrated).
M. Luzi and M. Carrà, Matisse, dalla rivolta 'fauve' all'intimisimo 1904-1928, Milan, 1971, p. 103, no. 425 (illustrated in color, pl. LVII).
L. Gowing, Matisse, Oxford, 1979, p. 158, no. 142 (illustrated).
P. Schneider, Matisse, London, 1984, pp. 526-528 (illustrated in color).
M. Hahnlosser-Ingold, Matisse: Meister der Graphik, Paris, 1987, p. 40.
Los Angeles, UCLA Art Galleries, Henri Matisse: Retrospective, 1966, p. 91, no. 63 (illustrated in color).
London, The Hayward Gallery, Matisse, 1968, pp. 123 and 165, no. 95 (illustrated, p. 123).
Paris, Musée National d'Art Moderne, Henri Matisse. Exposition du centenaire, April-September 1970, pp. 90 and 228, no. 170 (illustrated, p. 228).
Wanda de Guébriant has confirmed the authenticity of this painting.
The pose is iconic and instantly recognizable as signature Matisse: the nude model is seated, but turned to one side, she has raised both arms and bent them over her head, with hands joined, but not in any casual manner, because her limbs form an emphatic and purposeful arch. By way of counterpoise, the model's legs also interlock; she has drawn up her left leg, while inserting the foot beneath the knee of her bent right leg, which reaches to the floor. It is an effortful pose, one that only a practiced and dedicated model could have held for any length of time. Among the many figural positions that Matisse devised for his compositions during the course of his career, only the paper cut-out Nu bleu II, 1952, a radical rendering of the nude as an abstract sign, is more famous still, having become emblematic of the artist's work in its final flowering.
Nu au coussin bleu is the pivotal oil painting in a constellation of related works that Matisse executed in various media, all sharing this basic pose, during the mid-1920s. There are also drawings, several lithographs and two sculptures, including the artist's masterwork in three dimensions, Grand nu assis (Duthuit, no. 64; fig. 1). Matisse worked on Grand nu assis for a period of nearly seven years, from 1922 to 1929, slowly modeling it from one stage to the next--it turned into the most challenging work he would undertake during the early period in Nice, and the one that held the most significance for his work to come. Nu au coussin bleu likewise marks a crucial development in the progress of Matisse's painting during this time.
From 1917 onward, Matisse spent increasingly lengthy stays in Nice, first as a visitor who stayed in small hotel rooms, and beginning in 1921, as a resident of the city, having rented an apartment on the third floor of 1, place Charles-Félix. His decision to come to Nice had been a boon to his career. He later recalled in a 1952 interview, "Yes, I had to catch my breath, to relax and forget my worries, far from Paris. The Odalisques were the bounty of a happy nostalgia, a lovely vivid dream, and the almost ecstatic, enchanted days and nights of the Moroccan climate. I felt an irresistible need to express that ecstasy, that divine unconcern, in corresponding colored rhythms, rhythms of sunny and lavish figures and colors" (quoted in J. Flam, ed., Matisse: A Retrospective, New York, 1988, p. 230). Each spring Matisse sent back to Paris a shipment of his recent odalisques and other interior scenes for exhibition at Galerie Bernheim-Jeune, where they sold quickly and well. He was not, however, merely marking time in the sun. Dominique Fourcade has written:
"The paintings of the years 1917-1930 are not the dull reflection of a leave of happiness the artist would have passively accorded himself... These years are in fact an extremely active and a totally surprising moment in Matisse's journey From 1904 to 1916 Matisse elaborated an architectonics of color, whereas from 1917 to 1930 he moves to an architectonics of light... In the end, all of Matisse's research during these first years in Nice arrives at a new unity of the surface: human beings and objects are not treated differently than floors or walls on the painting's surface. Matisse progressively abolishes all pictorial distinction between the apparent subject of his paintings...and the background of these same paintings. He resolves this subject-background distinction in terms of space, and resolves the problem of space in terms of light. Each parcel of the painting's surface is a site of color, whether it represents lemons or a woman's body or part of the room's wall; and each site of color becomes a source of light that, combined with all other sources of light, creates a wholeness of light and space" (Henri Matisse: The Early Years in Nice 1916-1930, exh. cat., National Gallery of Art, Washington, D.C., 1986, pp. 47-48, 52 and 55).
Matisse declared: "Look closely at the odalisques: the sun floods them with its triumphant brightness, taking hold of colors and forms. Now the oriental décor of the interiors, the array of hangings and rugs, the rich costumes, the sensuality of heavy, drowsy bodies, the blissful torpor in the eyes lying in wait for pleasure [fig. 2], all this splendid display of a fiesta elevated to the maximum intensity of arabesque and color should not delude us. In this atmosphere of languid relaxation, under the torpor of the sun washing over people and objects, there is a great tension growing, a tension of a specifically pictorial order, a tension that comes from the interplay and inter-relationship of elements" (quoted in ibid., p. 35).
The subtleties of Matisse's new approach, "the architectonics of light," eluded many of his serious viewers, colleagues and the critics, who might fairly be accused of not looking closely enough. Disappointed in the odalisque paintings, which seemed to them like so much warmed-over Impressionism, they suspected that this one-time pioneer may have renounced the cause of modernism. Marcel Sembat, who had written a monograph on Matisse's early work, wrote to Paul Signac in 1922, "He's given in, he's calmed down, the public on his side" (quoted in H. Spurling, Matisse the Master, London, 2005, p. 255). Matisse may have taken such rumblings of criticism to heart, and during the mid-1920s he began, with greater deliberation, to address the all-defining modernist issues of architecture and space. There had been contending notions in his own mind about such matters, which now came to the fore, as Roger Fry has pointed out:
"Matisse's great popularity is based mainly on the work of the years 1920-1925. At this period in the clear light of his atelier in Nice, amid Oriental décor and the spoils of inexhaustible Provencal gardens, he developed richer, more alluring arabesques of gay and sonorous color than ever before. His work had a certain note of elegance. It was exquisitely mundane. A picture of his period seemed as delightful to summarize the refined social life of today as the 18th century painters had done that of their contemporaries He had shown himself the creator and consummate exponent of a modern rococo style. But there was another Matisse, who responded to quite a different kind of appeal from the visible world. A Matisse who felt the appeal of a stark, structural architecture, who loved above all a bare economy, who would, for the austerer delights of such forms, willingly sacrifice the intricate charm of his dancing arabesqueThis other aspect of his genius aims at a more arduous kind of expression, one in which plastic evocations play a larger part, though he never loses sight of surface organization In this mood Matisse seeks above all a plasticity of volumes which is at once more complete and more concentrated, held together by more clearly inevitable sequences" (in J. Flam, ed., op. cit., 1988, pp. 249-250).
By 1924 Matisse was actively pursuing a more sculptural approach to his painting, to meet "a new need for concentration and construction," as Isabelle Monod-Fontaine has described this effort (The Sculpture of Henri Matisse, exh. cat., Arts Council of Great Britain, 1984, p. 35). The sculpture Grand nu assis became the test-bed for his evolving ideas. The initial impetus for this sculpture stemmed from Matisse's interest, amounting to a virtual obsession, in Michelangelo's Night, an allegorical reclining figure in the Medici Chapel, Florence (fig. 3). Matisse closely studied a replica in the Musée des arts décoratifs in Nice. He was impressed by the fact that Michelangelo had set his figure on a downward sloping base, which prevented it from appearing passive and lethargic. Matisse applied this idea to his sculptures of reclining women, and in most dramatic fashion to the "rocking" pose of Grand nu assis, a figure which is ostensibly seated, but is actually reclining--her back unsupported--at an approximate angle of 45 degrees.
The sculpture Grand nu assis became the source and sustaining inspiration for a network of notable paintings, prints and related drawings. It is difficult in most cases to ascertain their precise chronology, and which work may have led to a specific development in another. Grand nu assis underwent a gradual metamorphosis in size and appearance--around 1924 it may have looked as it does in the photograph of Matisse on page 86 of this catalogue, where the volumes of the torso and limbs are noticeably more rounded and naturalistic than they appear in the finished work. A smaller sculpture, Petit nu an canapé, ascribed to 1924 (D., no. 65; fig. 4), which is thought to be a preliminary model for Grand nu assis, faces in the same direction as Michelangelo's Night. The lithographs (D., nos. 442 and 454; the latter, fig. 5), the first of which probably represents an state preliminary to the second, more elaborate image, would have been drawn facing left as well--the images were reversed when printed.
In 1923 Matisse painted the first important canvas in which he used the rightward facing pose of Grand nu assis; this is the painting Odalisque assise aux bras levés, fauteuil rayé vert (fig. 6). The figure of the odalisque in this picture is thinly brushed, with soft contours, typical of Matisse's early Nice manner--the model's figure displays ample soft flesh but little by way of muscular definition.
During the following year, in 1924, Matisse executed--perhaps at around the same time--both the oil painting titled Nu au coussin bleu, offered here, and the first of the two lithographs, likewise titled. Matisse's deliberate drive toward "concentration and construction" is especially noticeable in this painting, in which the figure has a more solid physical presence than in virtually any other picture of an odalisque or nude done in Nice prior to this time. The composition of Nu au coussin bleu is fundamentally similar to that of Odalisque assise au bras levés. Nevertheless, with a more austere conception now directing his efforts, Matisse stripped away both the gauzy harem skirt and the gaudily striped seat cover--the kitschier elements in the picture--leaving in the present composition only the Moroccan wall-hanging and the chair, now unadorned, set on a Chinese rug. In exchange, the artist thoughtfully placed a solid blue cushion on the chair to support the model, whose figure now possesses a palpably solid presence. The contours are firmer, and the paint has been applied more thickly than before; here Matisse has dispensed with the translucent paint film and airy facture that had been typical of his early Nice style. This approach lends substance and weight to the figure, and architectural firmness to the composition overall. Pierre Schneider has observed:
"In all of these works, the influence of sculpture is discernible in the varying degree of muscularity given to the female nude In pictures like the Nude seated on a Blue Cushion [the present work]... it is not so much the pose as the terse, contrast-filled treatment of the subject and the rough, harsh surface of the canvas, that gives the bodies a Michelangelesque appearance. This technique of breaking up volumes into multiple Cézannian planes and constructing with simple, exaggerated forms was derived from Matisse's sculpture; but it had originally been adopted from his pictorial technique; and now, charged with sculptural connotations of weight, density and volume, it was reverting to painting" (op. cit., p. 528).
Schneider titled this chapter of his landmark Matisse monograph "Michelangelo in the Harem." Cézanne and Renoir should also receive credit for their influence on Matisse at this crucial juncture in his work. Matisse met Renoir at the end of 1917, and had numerous contacts with the elderly and ailing master prior to his death in 1919. Renoir's example inspired Matisse to move away from the somber austerity of his wartime Paris pictures, with their cerebral bent, by suggesting a more sensuous approach to painting. Matisse loosened up his brushwork in a breezier, more casual manner. Moreover, following the classicizing and traditionalist tendencies that were very much in the air at that time, Matisse concentrated on leisurely interior subjects, in which the model was the center of attention. Jack Flam has written:
"[Matisse] must have been as impressed by Renoir's unabashed enthusiasm for female beauty as by his lively curiosity and courage... Matisse was not yet known as a painter of sensual nudes; he had not been primarily a painter of nudes at all, and most of those he had done were not notably erotic. His libidinous impulses had been largely sublimated in his painting, embedded in the pictorial language rather than overtly expressed in the subject. Renoir gave him the impetus to make new contact with own sensuality. After twenty years of bourgeois family life, decades of being 'the doctor' and 'professor,' Matisse in his late forties seems to have wanted to learn how to be young again" (Matisse: The Man and his Art 1869-1918, Ithaca, NY, 1986, p. 473).
While memories of Morocco remained a powerful impetus, meeting Renoir did much to set the stage for the emergence of the odalisque in Matisse's work of the 1920s. Renoir's example moreover directed Matisse to the "architectonics of light" in his early Nice paintings. The late nudes of Renoir revealed how it was possible to infuse volume with light, and to render this effect with warm color, without recourse to shadow. By 1924, however, in his desire for greater concentration and solidity in his pictures, Matisse turned to Cézanne as well--as John Elderfield has stated, "It was only to be expected, perhaps, that he should turn to Cézanne as he returned to sculptural form" (The Drawings of Henri Matisse, exh. cat. Arts Council of Great Britain, 1984, p. 86). Matisse declared "If you only knew the moral strength, the encouragement that his remarkable example gave me all my life! In moments of doubt, when I was still searching for myself, frightened sometimes by my discoveries, I thought: 'If Cézanne is right, I am right.' Because I knew that Cézanne made no mistakes. There are, you see, constructional laws in the work of Cézanne which are useful to a painter. He had, among his greatest virtues, the merit of wanting the tones to be forces..." (ibid., p. 87).
Henriette Darricarrère, Matisse's extraordinary model during this period, also had a crucial role in these developments. She worked with Matisse from 1920 to 1927, and was the rock on which the artist built his pictorial edifice. Jack Cowart has written: "During her seven years of modeling, Henriette excelled at role-playing and had a theatrical presence that fueled the evolution of Matisse's art. Earlier, Lorette and Antoinette had initiated the exotic odalisque fantasy, but it was Henriette whose personality seems to have been most receptive. She adopted the subject roles more easily and could express the moods and atmosphere of Matisse's settings without losing her own presence or her own strong appearance. Her distinctive physical features--a sculpturesque body and a finely detailed face with a beautiful profile--are evident in many of the artist's paintings, sculptures, and works on paper" (exh, cat., op. cit., 1986, p. 27). Hilary Spurling has called Henriette "a living sculpture. The finely modeled planes of her torso and limbs caught the light like [Matisse's] clay figures Her body articulated itself like a cat's into compact rounded volumes--breast, belly, haunch, hip, calf, knee--flowing smoothly into and out of one another from the calm regular oval of her face to the balls and heels of her bare feet." (op. cit., p. 270).
Matisse had taken a decisive stride in Nu au coussin bleu towards achieving the synthesis of architecture, color and light he had been seeking. The pose that he derived from Michelangelo and so successfully reconfigured for his own purposes was, as Cowart has called it, "his perfect union of body forms in physical and visual tension" (exh. cat., op. cit, 1986, p. 32). Schneider has observed, "With Michelangelo as his guide... Matisse energized his figures and, in a large number of paintings, succeeded in checking, or at least making up for, the surrender of flesh to two-dimensional theatricality" (op. cit., p. 528).
Drawing on the lessons from he had learned from the sculpture Grand nu assis and the painting Nu au coussin bleu, Matisse now easily brought to the paintings that followed this same heightened presence of the model, fully integrated within an enhanced architectural environment, in which the figure nonetheless retains its independent aspect and hieratic status. During the winter of 1925-1926, Matisse painted Odalisque au tambourin (fig. 7), in which he employed the leftward-looking Michelangelesque pose, now turned towards the front, with Henriette gazing directly at the viewer. Matisse then demonstrated the degree to which he could enrich the ambience of his compositions without fear of overwhelming the figure. He completed, also during the winter of 1925-1926, the universally acknowledged masterwork of his early Nice period, Figure décorative sur fond ornemental (fig. 8), surely the most lavish interior setting he ever devised. Each element in this picture appears to generate its own color and light, all subsumed within a fully integrated grand design, with the odalisque at the center of it all, Buddha-like, as if contemplating in serene delight this marvelous realm of the senses.
(fig. A) Matisse modeling Grand nu assis in his Nice studio, mid-1920s. The Moroccan wall-hanging seen in the painting Nu au coussin bleu is visible in the background behind the artist's head. Matisse Family Archives.
(fig. B) Matisse painting his model Henriette Darricarrère, Nice, 1921. Photograph by Man Ray.
(fig. 1) Henri Matisse, Grand nu assis, Nice, 1922-1929. The Baltimore Museum of Art; Cone Collection.
(fig. 2) Henri Matisse, Le genou levé, 1922. The Barnes Foundation, Merion Station, Pennsylvania.
(fig. 3) Michelangelo Buonarrati, Night, 1520-1534. Medici Chapel, Basilica di San Lorenzo, Florence.
(fig. 4) Henri Matisse, Petit nu au canapé, Nice 1924. Sold, Christie's New York, 5 May 2005, lot 280.
(fig. 5) Henri Matisse, Nu au coussin bleu à cote d'une chéminee, lithograph, 1925. The Museum of Modern Art, New York.
(fig. 6) Henri Matisse, Odalisque assise aux bras levés, fauteuil rayé vert,1923. National Gallery of Art, Chester Dale Collection, Washington, DC.
(fig. 7) Henri Matisse, Odalisque au tambourin, winter 1925-1926. The Museum of Modern Art, New York. The William S. Paley Collection.
(fig. 8) Henri Matisse, Figure décorative sur fond ornemental, winter 1925-1926. Musée national d'art moderne, Centre Georges Pompidou, Paris.
Special Notice
On occasion, Christie's has a direct financial interest in the outcome of the sale of certain lots consigned for sale. This will usually be where it has guaranteed to the Seller that whatever the outcome of the auction, the Seller will receive a minimum sale price for the work. This is known as a minimum price guarantee. This is such a lot.
Saleroom Notice
Please see the Special Payment Instructions for Brody Evening Sale Lots 1-28 which are printed in the Saleroom Notice for Lot 1 above.
Pre-Lot Text
Property from the Collection of Mrs. Sidney F. Brody
More than 100 years ago, London staged two important exhibitions of Futurist art. The second featured La Ferrovia Nord-Sud, offered on 5 February
Our specialists' tips, from what to look for in a glaze to how to read hidden stamps — featuring upcoming works offered at Christie's
The Collection of Mrs. Sidney F. Brody boasts a wealth of master works by the towering figures of the Modernist movement, exemplified by a trio of works: Picasso's <em>Nude, Green Leaves, and Bust </em>, Matisse's <em>Nu au coussin bleu</em>, and Giacometti's <em>Grande tête mince </em>. Christie's specialists discuss these masterpieces which will be offered in a special section of the 4 May Impressionist & Modern Art Evening Sale.
From his love of textiles to his mastery of colour, illustrated with works previously sold at Christie's, and more offered in November
Hailed as the 'Chinese Matisse', Sanyu moved to Paris at the height of the city's artistically precocious 1920s. Lavender Au discovers why his art became highly sought after at auction.
Jean Bonna discusses his collection of Old Master and 19th-century drawings being offered at Christie's in New York
With works by Van Gogh, Cézanne and Picasso, the Goulandris Foundation's new museum is a dazzling addition to Athens, as Jonathan Bastable discovers


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shall we start on theories for what happened in book 6 and what is going to happen in book 7?
shall we start on theories for what happened in book 6 and what is going to happen in book 7?
everyone dies
...hopefully including the guys who made the Harry Potter films, thus ruining everything Rowling had done
Harry Potter grows a head, to reveal that he is, in fact, Zaphod Beeblebrox.
Seriously though, I'm contemplating reading the books. But there's also Dune in the waiting list, so not sure when I'm actually going to restart the first one, which I left less that half way through. I'd still have five more books left after that, before I could discuss the seventh.
If you try and take a cat apart to see how it works, the first thing you have on your hands is a nonworking cat. - Douglas Adams
i think snape is still on the good side and was acting on dumbledore's orders not to blow his cover when he killed him...i think he will help harry significantly in book 7 and will die in the last book....anyone agree??
yeah thats my view as well, also the locket that was switched was in Grimauld place if you re read book 5 when they were cleaning out the house but i think Mundungus might have nicked it and sold it.
yeah you are right....Originally Posted by superkingdave
don't remember book 5 that much but that's possible...Originally Posted by superkingdave
I don't see how Snape can possibly be on their side now to be honest.
I reckon Voldemort dies at the end of book 7, as one of them has to at some point (the prophecy) and I can't see them leaving a mystery that big hanging at the end of it. And as it's a children's book, I can't see it ending sadly as Harry dies. And Dave's right about Black IMO.
As an aside, why on Earth was Chapter 2 included? It gave it away (although it might not have done if by some miracle he is still on their side). I suppose he could be, because Dumbledore has never been so wrong.
Manchester United FC: 20 Times
R.I.P. Sledger's Signature, 2004-2008
Dumbledore would not plead with Snape for his life, no the 'serverus' was Dumbledore reminding Snape of his mission IMO. All the same he didn't mean to make the unbreakable vow but it was forced upon him. Dumbledore has some reason to trust snape that we don't know.
They all get Saints season tickets in order to see Jamie Lyon doing real magic before he buggers off to Australia again at the end of 2006, at which they get really upset, start fighting again and abra kadabra each other to death until only Harry is left.
exactly...Originally Posted by superkingdave
rowling was just trying to throw the readers off-track....Originally Posted by Tom Halsey
Indeed. However, there is now so much intrigued, crossed purposes, double-agency and fluffy allegiance that I'm officially bloody confused. I need book seven!
Also, in support of that theory - both are skilled Legilimens, so would have been able to 'talk' without words. R.A.B... either Regulus or Amelia Bones?
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subset: commoncrawl


text:
- in Cat Brush Advice by PetCareTools
Long Haired Cats: How to Stop the Shedding with the Best Brush
Long-haired cats are beautiful, and with all of this beauty also comes a lot of shedding. Cats normally shed a lot, but when you add in a particularly long coat, you have a recipe for home disaster. No one wants to deal with clumps of hair around their home.
And if you choose the best cat brush for long haired cats, you won't have to deal with these messes.
You can brush your cat daily, put an end to the hair overload that is causing mayhem around your home, and finally make sense of the situation.
The bad or good news, depending on how you view it, is that there are multiple comb types to pick among. You'll have a lot of options to see which one works best for your cat. The key most important thing is staying within a routine so that you can confidently catch all of the loose hair your cat has before it makes a mess in your home.
Cat Brushes: Your Best Options for Long Haired Kitties
Long-haired cats require a lot of grooming, and if you want your cat to have the perfect coat, you might need to invest in several brushes. The best brush options available to you include:
1. Steel Pet Comb
Ironically, one of the best "brushes" is actually a comb. Don't worry, your pet won't mind the difference in wording. A lot of people call these combs "flea combs," and some people call them "Greyhound combs."
Whichever name you choose for this comb, it works very well.
Most groomers will tell you that this is their go-to comb. Your cat's undercoat is what you want to target. You see, the undercoat is deep down in the fur and is where most of the hair that falls off of your cat originates.
If you're brushing just the top coat, you'll find that the cat:
- Still sheds often
- Still gets mats in their fur
It's not ideal when you only brush the top coat. But then when you go into a lot of stores, they don't explain these differences between brushes. You're left guessing at which brush is best for your cat.
The steel pet comb will reduce matting of the fur and will get deep down into the fur to remove loose hair.
What's really nice is that a lot of steel pet combs will have different thickness options. You'll find this to be very helpful when brushing a long-haired cat because it allows you to target those problem areas with greater ease: ears, paws and tail.
If I had to choose the absolute best cat brush for long haired cats, I would have to go with the steel pet comb.
But remember: this comb is ideal for the undercoat, so you must brush the topcoat, too.
2. Slicker Brush
An actual brush this time. The slicker brush is a brush that's designed to target the topcoat. These brushes are what most pet owners are accustomed to seeing in stores. And what's great about these brushes is that they're easy to clean.
All you need to do is rub the brush in the opposite direction with your fingers and remove all of the loose fur.
Some models also have self-cleaning buttons which makes hair removal even easier.
Slicker brushes are a great option for daily maintenance. The goal is to brush your cat in the direction that the hair grows. You'll be able to remove a lot of the loose clumps of hair this way, and you'll stop a lot of the indoor shedding in the process.
I recommend using the steel comb first followed by the slicker brush.
If you do this, you'll remove 99% of the loose hair your kitty has and keep it from overtaking your home in the process.
3. Dematting Tools
Remember how we talked about matting being a major problem with long haired cats? Well, if you're using the steel comb for cats and aren't finding any success with your cat's matting problem, it's time to switch up your routine.
Dematting tools are a great option.
You'll want to keep these tools on the side for those times when you simply can't comb or brush out your cat's mat. Continuing to work on the hair mat even when it hurts your cat isn't the best idea – honestly.
Instead, you'll want to use something that you know will work: dematting tool.
The dematting tool is great, and what it offers is a gentle curve in the steel blades. Curved steel blades allow you to cut through all of your cat's mattered fur from the bottom of the mat.
Note: You must be very careful when using these tools.
Gentle strokes are a must because the tool's blades are very sharp. The sharp blades can easily cut the cat's skin and cause injury. Aim for a smaller tool rather than a larger tool when choosing a dematting tool.
You want the tool to only pull through the mat rather than hit the skin.
This is a must-have tool to be able to cut through any thick mats that your cat may have.
Now, as a cat owner, this may seem like a lot of work, but you'll find that just ten minutes a day is all you need to be able to keep your cat's coat in mint condition.
I would also like to go off topic a bit and remind you that there are also scissors designed for long haired animals. These scissors are able to cut through thick mats and help a lot with problem areas.
A cat's legs or tail, which are often very difficult to brush, will be much easier with a quick snip.
You won't need to use the scissors or dematting tool often – in most cases. But you will need to use the steel comb and the slicker brush to confidently remove the loose hair from your cat's coat.
And if you continue to have problems with your kitty's fur, you can also bring them to the groomer.


text: I'm trying to run Erlang on Windows Vista. Having installed Erlang, when I try to run it I get the following error message: C:\Program Files\erl5.7.5\erts-5.7.5\bin\werl.exe The application has failed to start because its side-by-side configuration is incorrect. Please see the application event log for more deatils. My knowledge of computer science does not extend to "side-by-side" configurations - has anybody got a magic spell that I can use to make this error message go away. /Joe


text:
You know all those tourists who ask you where the White House or the Washington Monument is, sometimes when they're standing a mere 50 feet away from them?
They're not going anywhere anytime soon.
Park service research has shown many out-of-town visitors simply don't know what they're looking at when they see some of the monuments in D.C.
But on Thursday, the U.S. Commission of Fine Arts voted down a plan to add small stone labels to the major memorials on the National Mall, saying iconic monuments simply don't need labels.
Members of the arts panel said the markings would clutter the mall with seemingly corporate signage. Commission member Pamela Nelson said they looked like "tombstones.''
Copyright AP - Associated Press


text:
Transformers: The Ride 3D is gearing up for its grand opening at Universal Studios in Orlando, Florida tomorrow, June 20, 2013. Tonight, the organizers are hosting a very special sneak preview, red carpet event where the makers of the ride and other Transformers Celebrities (we presume) will be here to take it all in.
As usual, you can expect live coverage by your's truly (Perceptor) and our other news site moderator Sabrblade, as we are both in attendance of the event. For now, you can check out our live photo feed. Tonights event kicks off at 6:30, so be sure to check back early and often!


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- Ethernet monitoring and control
- Bidirectional RS-232 port for universal display control
- Three IR/Serial ports for one-way control of external devices
- Six internal relays for control of room functions
- Two Digital I/O ports
- RS-232 port for MediaLink Switcher support
- See All Features
The Extron MLC 226 IP MediaLink Controller is an enhanced control panel for controlling AV equipment in any classroom or conference room. It standardizes the control interface for all systems, making display systems simple to use. Standardization also makes setup and maintenance easier to support. The MLC 226 IP also includes IP Link® with GlobalViewer®, a free Web-based AV resource management and remote control software application.


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ARSENAL travel to Watford, looking to put their shambolic away form behind them in the Premier League.
The Gunners lost at Everton last weekend, their sixth defeat on the road - and now face a Watford side who will be on a high after securing their place in the FA Cup final.
What time does Watford vs Arsenal kick off?
This Premier League clash will take place TONIGHT - Monday, April 15.
It will kick off at 8pm.
The match will be held at Vicarage Road.
Most Read In Football
What TV channel is it on and can I live stream it?
This fixture will be shown live on Sky Sports Main Event and Sky Sports Premier League with coverage underway from 7pm.
Sky Sports subscribers can live stream this match online via their computer, tablet and mobile.
If not, you can purchase a Sky Sports Day Pass from NowTV for £8.99.
Alternatively, you can follow all the action via our dedicated SunSport LIVE BLOG.
What is the team news?
Granit Xhaka goes straight into the Arsenal team. The Swiss ace has been sidelined with a groin injury.


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eHouston, Enterprise Radio, EPN News, Exclusive Interviews, Franchising, Transportation
WG Storage & Delivery, an elite full-service delivery, relocation and storage company
Podcast: Play in new window | Download (Duration: 9:51 — 9.0MB) | Embed
Subscribe: Apple Podcasts | Android | Email | Google Podcasts | RSS | More
James Miri, founder and CEO of WG Storage & Delivery, an elite full-service delivery, relocation and storage company with locations in Austin, Dallas and Houston, Texas joins Enterprise Radio.
Listen to host Eric Dye & guest James Miri discuss the following:
- You became a franchisee at 25, why?
- When did you decide that WG Storage & Delivery was franchisable?
- What were the next steps in executing your franchise model?
- Did you have to overcome any obstacles when you opened your first franchise location in Houston? If so, what would you have done differently?
- What advice can you give to entrepreneurs who are trying to decide if their business is franchisable?
Duration: 9:51
James Miri has been a successful entrepreneur within the service industry his entire career. He is an expert in the areas of sales & marketing, business development, implementation, site selection, recruiting and strategic planning.
Over a nine-year period, Miri operated as a franchisee for the retail packing and shipping industry. He successfully started and managed multiple locations while serving on the Franchise Advisory Council for the Franchisor, representing the entire Southwest and all of its franchisees. Specifically, Miri won the Rookie of the Year award in his first year as a franchisee by beating the corporate sales all-time sales record. With top nationally ranked locations, Miri was able to carve out a niche within this industry that catered to not only the retail clients but, also to commercial clients, art and antique dealers and furniture companies that required expert packing and shipping services.
While still owning the franchise units back in 2005, Miri created a new business all on his own. This creation was WG Storage & Delivery in Austin, Texas.
Eventually in 2009 Miri sold the franchise units and expanded WG Storage & Delivery into Dallas, Texas. Both locations have received the highest accolades within the industry.
In 2012, Miri combined his franchise experience and business creation together and started WG Franchising. This company was created to build the WG Storage & Delivery brand across the country. The following year, WG Franchising sold its first franchise within the Houston, Texas territory that opened in March 2014.
Miri's extensive expertise in areas of franchising include organizational development, marketing and sales strategies, consumer marketing, operations training and brand development.
James Miri holds a B.S. from the University of Texas in Austin.
Websites: whiteglovedelivery.com | wgfranchising.com
Facebook: www.facebook.com/WGStorageandDelivery
Twitter: @WGLuxuryMovers
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Running your micro sublet (Airbnb)
Whether you do it for fun or for funds, hosting guests in your home from places like Airbnb (or Roomorama, etc.) is a rewarding experience. However, there can be times when it feels a little overwhelming - after all, you are running a bed and breakfast all on your own! We wanted to share some… Read More


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You know, I wish this wasn't the case, but, I don't really see anything all that wonderful about the Marc by Marc Jacobs Q 49 Catherine Lambskin Satchel. Is it just me or does anyone else feel the same way?
Yeah, this is a nice enough handbag, but I don't see anything over the top about it. In fact, I'm kind of bored with this bag. To be honest, I don't think I'd use this bag for anything other than a carry-on when traveling.
In the spirit of trying to find the best things in a particular bag, let me see what I can pull out of this Marc by Marc Jacobs bag. I do absolutely love the luscious lambskin leather used on this satchel. You can be sure that the leather is as fabulous in person as it is in this image. The antiqued brass hardware adds a nice bit of sparkle but it's definitely not enough to get me to buy the bag. There are plenty of ways for you to carry the bag: use the double handles or the adjustable and detachable crossbody strap. All elements of the bag are nice, but nothing I'll be running out to buy. I need a little bit more out of my handbags, even the most basic handbags. Buy through Bloomingdale's for $358.


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Major radio companies are abandoning rock music so quickly lately that sometimes their own employees don't know it.
Troy Hanson, the program director of WZTA in Miami, said that he first learned that his station's owner, Clear Channel Communications, had ditched the rock format -- and his staff -- when he tuned to the station one morning in February and heard talk-radio. His rock domain, known as Zeta, had vanished. "We didn't even get to play 'It's the End of the World as We Know It,"' the R.E.M. anthem, as a sign off, he said.
In the last four months, radio executives have switched the formats of four modern-rock, or alternative, stations in big media markets, including WHFS in Washington-Baltimore area, WPLY in Philadelphia and the year-old KRQI in Seattle. Earlier this month WXRK in New York discarded most newer songs in favor of a playlist laden with rock stars from the 80's and 90's.
Music executives say the lack of true stars today is partly the reason. Since rap-rock acts like Kid Rock and Limp Bizkit retreated from the scene, none of the heralded bands from recent rock movements, be it garage-rock (the Strokes, the Vines) or emo (Dashboard Confessional, Thursday), connected with radio listeners or CD buyers the way their predecessors did.
This sudden exit of so many marquee stations has not only renewed the perennial debate about the relative health of rock as a musical genre, but it also indicates that the alternative format, once the darling of radio a decade ago, is now taking perhaps the heaviest fire in the radio industry's battle to retain listeners in the face of Internet and satellite radio competition. Many rock stations may be in for another blow when the shock jock Howard Stern departs for Sirius Satellite Radio next year.
There are still signs that a fervent alternative scene survives. This weekend, for instance, 50,000 people a day are expected to visit Indio, Calif., for the sixth-annual Coachella Valley Music Festival, the biggest rock event of its kind in the United States, to cheer bands like the Arcade Fire and the Secret Machines. Moreover, while alternative programmers are searching for a solution, for the moment they have the benefit of new music by a clutch of reliable stars from the genre's heyday: Nine Inch Nails, Weezer and Beck are releasing their first albums in two years or more, and songs by each rocketed to the top of Billboard magazine's modern-rock airplay chart.
But many musicians in the newer bands on the alternative playlists "could be your waiter tomorrow night and you wouldn't know the difference," griped a radio promotion executive at one major label, who requested anonymity for fear of offending bands on his label.
Ratings for rock radio stations have been languishing for years. The share of the 18-to-34 age group that is tuning in to alternative stations has shrunk by more than 20 percent in the last five years, according to Arbitron, while stations playing rap and R&B or Spanish-language formats have enjoyed an expanding audience.
As a result, many rock programmers aren't sure what to play.
"The format in the last couple of years has gone through an identity crisis," said Kevin Weatherly, program director of KROQ, a closely watched alternative powerhouse in Los Angeles. "You have stations that are too cool, that move too quickly and are only playing the coolest music, which doesn't at the end of the day attract enough of the audience. Or you have the other extreme, dumb rock, red-state rock that the cool kids just flat out aren't into."
Such scrambling to strike a balance has cost many alternative programmers large chunks of audience. Some radio executives said that they made a fateful choice in the last few years to jettison the pop-rock side of their genre to concentrate on heavier-sounding bands, and now are afraid to turn back. As part of that shift, many stations also decided to eliminate women from their audience research. These stations decided to aim at men almost exclusively because of the heavier sound. "You got yourself into a corner that you can't get out of," said Tom Calderone, senior vice president for music and talent at MTV, and a former radio programmer and consultant. "When you listen to alternative stations do their 90's flashback weekends, you can hear something as meaningful as Stone Temple Pilots and Soundgarden to something as silly and quirky as Harvey Danger and Presidents of the United States of America. When you become 65-75 percent guys, you're leaving a huge audience on the table."
At WZTA in Miami, the decision in 2003 to remove women from the equation "was definitely when we started to see Zeta's attrition," Mr. Hanson said. Days after Clear Channel took Zeta off the air, a rival company, Cox Radio, flipped the format of one of its Miami-area stations to rock.
Mr. Hanson also suggested that land-based radio had been too slow to respond to satellite radio, which offers access to dozens of commercial-free music channels for a monthly subscription fee and to digital music players, like Apple Computer's iPod. He said that he balked when a supervisor suggested running an on-air contest to give away an iPod loaded with 949 songs. (Zeta's frequency was 94.9-FM.) "I was like, 'Then they don't need to listen to Zeta anymore."' Mr. Hanson wound up forgoing the contest.
"The people that are leading-edge technology consumers are not being embraced by terrestrial radio," said Jim McGuinn, who was program director of WPLY in Philadelphia, known as Y100, before its corporate parent, Radio One, flipped the station to rap and R&B in February. "The outsider image disappeared," Mr. McGuinn said.
Mr. McGuinn and a handful of other former WPLY employees have started an Internet radio station, y100rocks.com, to play music they say the terrestrial version had been missing, including songs by Interpol, Moby and Queens of the Stone Age.
But for now, Philadelphia has no terrestrial alternative-rock station.
Some analysts fear that, when radio stations switch from alternative rock to programming aimed at older listeners, they may be making a sacrifice. "Radio has ceded the younger demographic to other media," said Fred Jacobs, president of Jacobs Media, a radio consulting company in Southfield, Mich., specializing in rock. "I just don't know how we're going to get back people who didn't get into the radio habit in their teens," he said, adding, "It really becomes problematic down the road."


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April 4, 2019 – The documentary film "The Providers" airs nationwide on PBS stations on Monday, as a feature of the PBS series "Independent Lens." The film focuses on the challenge of treating addiction in rural New Mexico. Correspondent Megan Kamerick sits down with both the filmmakers and two of the featured rural healthcare practitioners to talk about the film…and the problems at the core of the crisis. "The Providers" airs Monday, April 8 at 9 pm and Saturday, April 13 at 10 pm on NMPBS 5.1.
Laura Green, filmmaker, "The Providers"
Anna Moot-Levin, filmmaker, "The Providers"
Leslie Hayes, Española physician featured in "The Providers"
Chris Ruge, nurse practitioner featured in "The Providers"
For Further Reading:
With a lens focused on three practitioners, new documentary tells the story of rural health crisis, opioid epidemic


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Europe's immigration challenge (4/5): Austria's message to refugees: be silent or risk going back
Austria, where the Christian Democrats are a coalition partner, is deporting Pakistani refugees, practically sentencing them to death. And yet it's been only weeks since Pope Francis spoke on their behalf. His words moved many but obviously didn't reach the ears of Austrian politicians, notes a Gazeta Wyborcza columnist.
The whole nasty story wouldn't have happened if the illegal Pakistani immigrants, who had applied for asylum in Austria, simply kept silent. But, thinking they were in a democratic country, they decided to publicly demand decent treatment. Instead of vegetating for years in the overcrowded refugee camp in Traiskirchen near Vienna and working illegally, they staged a street demonstration in November last year to protest the poor conditions in which they are kept. The police immediately chased them away, so they took refuge in one of the churches, until being offered temporary shelter by the Servite monastery. But the authorities didn't forget: on Sunday, 4 August, eight of the 40 Pakistanis involved were arrested and immediately deported.
Austrian activists who, together with the Catholic Church, support the Pakistani refugees, tried various ways to prevent their deportation. One activist bought a ticket for the same plane on which a deported Pakistani man was being flown out of the country and tried to prevent it from taking off, but was overwhelmed by the police. Worse still, the police have now turned against the activists themselves. Three people were arrested on human trafficking charges last week, and the police searched the monastery. The authorities say nothing will prevent the deportations from going on as planned.
Fear and helplessness
I wouldn't be writing about this in such detail if I hadn't met the Pakistani refugees from the Vienna monastery in person. I spent a few hours with them back in April. Their eyes reflected a sense of fear and helplessness. Most had been human rights activists in Pakistan and had to flee. For them, deportation means a death sentence: if not by the security forces, then by the Taliban.
The asylum seekers couldn't understand why the Austrian government considered their home country to be an oasis of democracy. Even the Austrian Foreign Ministry, they pointed out, had issued warnings for Austrian tourists to stay away from Pakistan. So why, when it came to the refugees, did the authorities say they weren't in danger and were prepared to send them back?
Austria is, undoubtedly, a country ruled by law, with regulations on the treatment of immigrants. It is also true that many Asians or Africans come to Europe for purely economic reasons under the pretence of religious or political harassment.
A small country like Austria simply cannot receive them all. And yet the law must not be applied en masse. Each and every individual case should be processed in due course. Refugees are not cattle. Moreover, it's been public knowledge for years that the conditions in the Austrian refugee camps are scandalous.
Terrible conditions
But the government in Vienna has never cared about what the critics say and now has chosen the worst possible way of handling the issue. The deportations of the Pakistanis began on the eve of the election campaign, and at a time when their advocate, Cardinal Christoph Schönborn, the Archbishop of Vienna, was out of the country and couldn't intervene on their behalf. In this context, allegations that the SPÖ/ÖVP coalition is using the issue to earn political capital by playing to the populist gallery come as no surprise.
But it is not only in Austria that refugees face terrible conditions. In Greece, border police chase them like wild game. The Italians are known to have stealthily sent African immigrants to Germany. In Britain, a recent government campaign warns illegal immigrants that if they don't leave, they may end up in jail. In Poland, as public television has recently showed, refugee detention centres look and operate like regular prisons.
Speaking a month ago on the Italian island of Lampedusa, where thousands of African "boat people" have found temporary refuge, Pope Francis said he wanted to persuade Catholics to change their attitude towards the immigrants' tragedy so that we started treating them as people in need. How long will it take for Europe to heed his words?


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I visited some islands around Xmas 2010
Link to photos of "Inner Islands"
Link to photos of Bird Island
Link to photos of birds, turtles, crabs, etc.
The Republic of Seychelles is an island country just south of the equator in the Indian Ocean, consisting of hundreds of islands. There are some 20 "inner" islands consisting of granite from the supercontinent Pangaea. In contrast to most other isolated oceanic islands, the Inner Seychelles are NOT volcanoes that are relatively young; the Inner Seychelles are, geologically, very old! By far the largest of the "inner" islands is Mahé, measuring about 155 square kilometers. Mahé also has the highest top the archipelago, at 905 meters.
The islands were uninhabited when they were colonized by the French around 1750. Around 1800 the islands became British. In 1977 the country became independent.
All islands have a tropical climate. The rainy period is from about December to March.
The "inner" islands consist of beautiful granite formations, tropical rain forests and many coralline and sandy beaches. Cultivated land is quite scarce; apart from fish, most foodstuffs have to be imported.
People, economy
The total population is about 100,000, of which about 80,000 in the island of Mahé. The major sources of foreign revenue are fishing and tourism.
Travel and tourism
The islands are very popular by international tourists, who enjoy themselves with walking, snorkeling, diving. Some islands are resorts, and others are nature reserves - with many birds, turtles, crabs, etc. My favorite is Bird Island, a coralline resort and nature reserve with a size of only 100 hectares, with perfect ecotourism; some 25 people are working there, and the maximum amount of visitors is about 80.
|Index :: Print


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This section answers the most frequently asked questions
- How to log a call
- What are the Service Desk communication and opening hours?
- What are the response times?
- What are the resolution times?
- How to determine severity level?
- How to reset your salsa portal password
- How to request RMA (Return Material Authorisation)?
- How to request RMA (Return Material Authorisation) for Ipanema?


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Losing Faith
As if one summer day he stole the jade buttons
off his lover's favorite dress
and fled in his banged-up tangerine-filled pickup truck,
fled to a colder land where cornstalks wavered
in the breeze at night like candleflames as far
as the eye could see,
and he'd lie awake in the hard truck bed for hours,
rubbing the bits of jade like prayer beads,
trying to ignore the chilly rustling all around him
like the silk skirt of a woman
running wild-eyed and barefoot
in an unbuttoned dress, her breasts rising
and falling, nipples hard as jade,
pursuing him through the starlight.
Lisa Rosinsky was a 2012 Morton Marr Poetry Prize finalist, and her work has appeared or is forthcoming in journals including Measure, 32 Poems, Iron Horse Literary Review, and Innisfree Poetry Journal. She has also written for the children's magazines Highlights and Highlights High Five.
Cornfield and storm photo courtesy Shutterstock.


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- David Fincher is not out of this race, and if BAFTA wouldn't reward their own, then I think he still is the frontrunner for BD. That being said, The King's Speech seems to be locked and loaded for the big win.
- There will most likely not be a King's Speech sweep. Many are predicting it to go straight down the board, but I think the awards will be more dispersed this year. Inception and Alice in Wonderland stand to take some technical awards, and Editing and Cinematography could split as well with True Grit and The Social Network.
- Helena Bonham Carter and Geoffrey Rush do well with the Brits. That combined with popularity of the film, means that if there is any chance of an upset in the Supporting categories it will come from this duo (I will also throw Hailee Steinfeld in as well, as she could easily take the prize).
- Natalie and Colin seem unstoppable at this point, but watch out for Annette.
Best Director - David Fincher "The Social Network"
Best Actor - Colin Firth "The King's Speech"
Best Actress - Natalie Portman "Black Swan"
Best British Film - The King's Speech
Best Supporting Actor - Geoffrey Rush "The King's Speech"
Best Supporting Actress - Helena Bonham Carter "The King's Speech"
Orange Rising Star Award - Tom Hardy
Best Original Screenplay - David Seidler "The King's Speech"
Best Adapted Screenplay - Aaron Sorkin "The Social Network"
Best Animated Feature - Toy Story 3
Best Debut by British Director/Writer/Producer - Chris Morris "Four Lions"
Best Film Not in the English Language - The Girl With the Dragon Tatoo
Best Editing - The Social Network
Best Cinematography - Roger Deakins "True Grit"
Best Original Score - Alexandre Desplat "The King's Speech"
Best Production Design - Inception
Best Costume Design - Alice in Wonderland
Best Makeup and Hair - Alice in Wonderland
Best Sound - Inception
Best Visual Effects - Inception
Best Short Film - Until the River Runs Red
Best Short Animation - Short Eagle Stag


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Because I associate hamburgers more with dinner than with lunch and I usually avoid rush-hour traffic at all costs, I was always doubtful I would make it to Annie's Hamburgers, which closes on the early side (7 p.m. Monday through Wednesday, 8 p.m. Thursday through Sunday) and lies not within five miles of my house (this lazy girl's dining radius on most weekdays). I thought this a sad thing since one of my many food quests is to try all the city's renowned burger establishments, a group that certainly includes Annie's.
But with some appropriate encouragement from a fellow burger-loving friend, I managed to make to Annie's before sundown. For the sake of experimental consistency, I try to order the same thing at every burger joint: a half-pound burger (or equivalent) with cheese, mayonnaise, lettuce, tomato, and onion rings. Annie's doesn't offer a half-pound patty, so I got the double (two quarter-pound burgers) with all the accoutrements.
Annie's makes a perfectly fine burger, but it will never compete with the likes of other powerhouses like Christian's Tailgate. The lettuce and tomato were a bit limp (probably from having sat out on the prep counter for several hours), and the mayonnaise was tasty but strangely watery in consistency. In the past, some reviewers have complained that the burgers themselves were deficient in flavor and temperature. These criticisms were spot-on in my experience, as both patties had no discernible trace of seasoning and were at best lukewarm. It's hard to chalk up these flaws simply to the fact that Annie's is a "dive" joint, since other establishments classed in the same category seemed to produce more nuanced burgers or at least use a higher grade meat.
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The rings, by the way, were top-notch: thickly battered with a crunchy exterior shell and a crisp interior onion. If I find myself at Annie's again, I'll get a double order of rings and try the frozen lemonade.


text: Since 1954, New Yorkers have depended on Veselka's cabbage soup as the cure for a hangover. And where else can you get some of the city's best banana pancakes alongside pierogies and a cheeseburger? Nowhere. On the pierogi front, it doesn't matter what filling you choose, each fork-tender pocket feels like it came straight out of baba's kitchen and tastes like a Polish heaven.


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PDF Version
Mr. Chairman and Members of the Subcommittee, thank you for this opportunity to testify. My testimony does not relate to a funding issue. Rather, I am here to present the committee with information regarding an issue of key importance to the National Telecommunications and Information Administration and all Americans.
Recently, the Federal Communications Commission (FCC) conditionally approved an application for a waiver allowing a company called LightSquared to repurpose the satellite spectrum immediately neighboring that of the Global Positioning System (GPS) for use in extremely high-powered ground-based transmissions. In doing so, the FCC waived its own rules, acting with unusual speed. The section of spectrum at issue is in the L Band 1 (1525 - 1559 MHz) and is immediately adjacent to the GPS section (1559 - 1610 MHz).
The FCC's action has caused serious concern within the GPS industry and user community since this planned use is fundamentally incompatible with existing GPS uses. Initial technical analyses have shown that the distant, low-powered GPS signals would receive substantial interference from high-powered, close-proximity transmissions from a network of ground stations. The consequences of disruption to the GPS signals are far reaching, likely to affect large portions of the population and the federal government. Therefore, it is imperative that the new system not be deployed unless it can be conclusively guaranteed that the GPS users are fully protected from radio interference.
The Global Positioning System, or GPS, was first launched more than 30 years ago and is now a critical and extremely reliable part of our national infrastructure. Millions use it routinely every day. The satellites which feed GPS data to the Earth's surface were initially intended for military purposes. Following the 1983 Korean Airlines disaster, President Reagan announced that GPS would be available for civilian purposes and in 1996 GPS was declared by President Clinton to be a dual-use system with an Interagency GPS Executive Board established to manage it as a national asset. Taxpayers have invested billions of dollars in the system over the decades, while the private sector has invested in both civilian and military uses. Today, GPS is a national asset, from which every taxpayer can benefit through both consumer and professional GPS equipped devices. The Global Positioning System has stimulated a multi-billion dollar global industry, and technology leaders such as Trimble contribute both to the domestic economy and to US exports.
The swath of spectrum where GPS satellites transmit, the L Band, has long been reserved for satellite to earth communications of various types. It is fundamental to sound spectrum planning that like uses be grouped together to ensure similarity of technical characteristics and avoid interference. Lightsquared's proposal to build 40,000 terrestrial base stations operating at 1 billion times the power levels of GPS signals as received on earth represents a tectonic change in the use of this band. While the GPS community lauds efforts to add new broadband competition and free up spectrum for mobile uses, this must be done in the context of rational, long term spectrum planning, rather than the rushed, ad hoc waiver process followed by the FCC to date. Spectrum is a public asset and it should not lightly be handed over at the behest of a private party. More fundamentally, the laws of physics cannot be waived by the FCC. This is a serious problem with no obvious solution.
Trimble has been a leader in the GPS industry since it first began. My company manufactures and sells commercial use GPS devices and services. You are probably more familiar with consumer companies, such as Garmin, who sell similar devices for individual use. Trimble employs over 4,000 people worldwide and over 2,000 people in the US. Trimble sells many GPS devices to the federal government, to the Department of Defense, the Department of Interior, The Department of Homeland Security, The Department of Transportation and others, including the US Air Force and Air National Guard, US Army, US Army Corps of Engineers, US Marine Corps, US Navy, US Coast Guard, Federal Emergency Management Agency, General Services Administration, National Parks Service, US Forest Service, Natural Resources Conservation Service, The Bureau of Land Management, Bureau of Indian Affairs, US Fish and Wildlife Service, US Environmental Protection Agency, US Geological Survey, Bureau of Reclamation, NASA and NOAA.
The National Telecommunications and Information Administration (NTIA), which falls under the jurisdiction of this Subcommittee, has a substantial stake in the outcome of this FCC decision. As the Executive Branch representative on telecommunications issues, the NTIA registered the objection of eight federal agencies with the FCC, including the Department of Defense. The NTIA letter states that it received letters from: the Space-Based Positioning Navigation & Timing, National Coordination Office, the Office of the Assistant Secretary of Defense, National Aeronautics and Space Administration, the Office of the Secretary of the Department of Transportation, the Office of the Secretary of the Department of Interior, the Federal Aviation Administration, and the Office of the Manager of the National Communication System raising concerns with the Lightsquared proposal.
Initial tests indicate that each LightSquared ground station will cause varying levels of interference with GPS within miles of the ground stations, and LightSquared plans to build as many as 40,000 such ground stations. If GPS is interfered with, critical private and public sector activity will be adversely affected, including:
In recognition of the potential interference to GPS receivers, the FCC, as part of its January 26, 2011 modification order, required the establishment of a working group to bring together LightSquared and the GPS community. This working group will study the interference concerns, identify measures to prevent interference and produce a report for FCC review no later than June 15, 2011. The working group process will be complete once the FCC, in consultation with NTIA, concludes that "the harmful interference concerns have been resolved and sends a letter to LightSquared stating that the process is complete."
The GPS industry is committed to work with LightSquared, FCC, NTIA and other interested parties in this working group process. However, we believe that additional safeguards are needed. We recommend:


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Story Created: Oct 25, 2007 at 5:09 PM MST
By Kiersten Throndsen
A Nampa man is on the run, charged with inappropriately touching a child and the suspect is related to the state leader for Idaho's education system.
James D. Luna is charged with lewd conduct of a child under 16-years-old. Court documents filed in Canyon County, show the victim told police Luna began touching her in 2000, to quote: "Make her feel better."
The victim says that sexual conduct happened more than 20 times during a five year span from when she was nine, until she was 14-years-old.Police say in those documents Luna admitted the crimes during a taped phone call between him and the victim.
He is the brother of State Superintendent of Public Instruction Tom Luna.
CBS 2 Eyewitness News talked to one mom who says Superintendent Luna needs to help protect kids but what his brother is accused of shouldn't make a difference on his role as a state educational leader.
"What his brother is involved in I don't think he should be, you know, necessarily held responsible for that, I mean it wasn't something he specifically did," said Susan Faulkner as she waited to pick up her daughter from middle school.
Police say James Luna admitted to touching the girl and allegedly said he had a problem and needs help, but isn't sure there is anyone who can help him. Luna was last seen driving a Beige/white Mazda M3 with Idaho license plate 2CDA064.
They say Luna could be armed. You are urged to call Nampa Police at #465-2257 if you have any information.
CBS 2 Eyewitness News called Superintendent Tom Luna's office but so far no one has called back.
Additional Links
...After a grand jury indictment, 43-year-old Luna was arraigned on charges that he allegedly sexually abused a female family member from the time she was 9 years old until she was 14.
"By having manual to genital contact, and or oral to genital contact with the intent to arouse, appeal to, and or gratify lust, passion, and or desire of the defendant, and or the minor child. Do you understand that charge sir?" asked the judge.
"Yes sir," replied Luna.
Many of the details involved in the indictment come from a recorded conversation between Luna and the victim in which he allegedly admits to the abuse, and even tells the girl that he needs help, but isn't sure anyone can offer him the help he needs...


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Ranthambore is a great place to visit on the weekends for a short excursion. The 130 kilometers to Ranthambore National Park can be covered in a less than 3 hours by hiring a taxi in Jaipur.
With Citycabsjaipur.com, you can relax on the trip, safe in the knowledge that you are being taken care of by a well-trained chauffeur.
Our Driver will pick you from your place in Jaipur morning and take you to Ranthambhore National Park, from Park Gate Government Jeep's & Canter's will take you inside the park for 03 Hours Safari, after completing Safari he will take you back and Drop you at your place in Jaipur.
In between you can visit Ganesh Temple Situated in Ranthambhore Fort.
(b). Sariska National Park
The Sariska is an Indian national park and wildlife refuge located in the Alwar district of the state of Rajasthan. The present area of the park is 866 km2. The park is situated 125 km from Jaipur and it will take around 2 hours to reach.
Our Driver will pick you from your place in Book Jaipur to Sariska Cab Service . After completing your trip he will take you back and Drop you at your place in Jaipur.
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The plan to spruce up the Ferry Building's concrete backyard with a pedestrianized "great urban place" was, as the San Francisco Examiner reported back in December, married to 65 new parking spots.
Those parking spots have been axed following perhaps a predictable outcry from pedestrian and cycling advocates and nonprofit Livable City.
Though presumably they're doing just fine now without the 65 extra spots, some number of Ferry Building merchants are "hopping mad" about the loss of new parking in the plan.
Says one: "If you're carrying six bags of groceries, you're not thinking about catching a bus."
A Port planner notes that "in the face of these kinds of controversies, we need some kind of demonstration that parking is necessary."
Meanwhile, Livable City says their goal is just a more "walkable and bikeable Embarcadero."


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I'm Glenna Mageau
Award-Winning Author, Speaker, Coach
Own Your Story
We all have a story. When we learn to own it and share it, that's when we discover our true potential and path in life.
Live Your Passion and Purpose!
Are you clear on what you want to do… be… have… in life?
We get so caught up in what we don't have and all that we think we are not that we don't often see or explore our gifts and talents.
You already have within you all that you need to succeed.
It's time to believe… it's time to step into the life you want to live… the dream you want to experience…
It's time to believe in you.
You have many gifts and talents.
Believe in the power of you.
Own Your Story! Let it Empower You!
Glenna is an Award-Winning Author, Speaker, and Write Success Coach
Award-winning author of several books
- suspense/thrillers (Maggie Thom)
- heart-touching and humorous nonfiction (Glenna Mageau)
Creating Deeper Family Connections along with Preserving Mom and Dad's Journey – Ensuring that our seniors are sharing their journeys, their stories.
Talks and Workshops
Excellent! I learned to never give up on a dream…
Going into old age, we should know that we are loved, feel connected and know that our lives mattered.
Glenna's Books
Glenna Mageau


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Los Angeles Times Historical Newspaper (1881-1995)
Delivers unique coverage of the development of Southern California and the American West. Follow reporter Charles Lummis as he walks from Cincinnati to Los Angeles, recording his travels and providing a unique glimpse into Native American life. Read the Annual Trade Number Edition (published 1886-1962), which promoted Southern California to prospective immigrants from the East and Midwest. Review the "Noticias en Español" news summary column (published 1922-1933), which served the Times' Spanish-speaking audience.
This digital archive offers searchable (by keywords, author's names, articles, dates, etc.) full text, and is browsable by full page or issue. Includes photos, graphics and advertisements from the first issue published in 1881 to 1995.
Service Provider
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Database Subjects
- Biography and Genealogy
- Criminal Justice / Security Studies
- Education
- History
- Language / Literature / Communication
- News - Current and Historical
- Political Science / Philosophy / Law
Recommended for Authorized Users?
- History
- News - Current and Historical
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Going Where Wood Hasn't Gone Before
Worry-free Wood in the Bathroom, Kitchen, and Beyond
Think you can't put wood there? Why not! Go for it! Once it might have been a bad idea, but with Marazzi Montagna 4 x 28 wood-look tile, it's a great idea.
Wood in the Bathroom
Wood in the bathroom? Yep. Wood-look tile is transforming bathroom design. You can put it on the shower wall to create a rustic, on-trend design. You can put it behind the bathtub and luxuriate in your own personal spa. You can put it on the vanity backsplash for an enduring design. You can put it on the floor without worrying about warping or water damage. There's no stopping wood in the bathroom anymore.
This beautiful backsplash features Montagna 4 x 8 in Soft Maple. Wood is the perfect way to blend contemporary and traditional elements for a transitional design that turns heads.
Wood in the Kitchen
Did your mother guard her wood floors in the kitchen with gusto? Wiping up every little spill quickly, worried that it might stain or make the wood swell or warp? Tile takes all the worry out of wood in the kitchen.
Montagna 4 x 28 wood planks allow for design freedom. Try a herringbone pattern to liven things up a bit. Now the chef can enjoy cooking without concern about the mess she's making or if it's too soon to mop the floor again. Wood-look tile suits your busy, modern lifestyle so you don't have to worry about any special maintenance or refinishing.
Wood in the Basement
Basements are tricky at best. Most people don't think of wood as an option for basement floors or walls. With wood-look tile it's the perfect selection. Put some wood-look planks on the wall to create a homey entertaining area. Or make a vintage, reclaimed-feeling game room with Montagna 4 x 28 in Caramello.
Be sure to prepare your basement surfaces properly to keep moisture from being a problem under the tile. Some waterproof underlayment is just the thing for no-fuss installation. Consult a professional for best results.
Take a look at Marazzi's Montagna 4 x 28 at Home Depot.


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Mizuno Prospect 11.5" GPT1150Y1
Sorry, this item is out of stock
The Prospect line of gloves from Mizuno is designed specifically for the youth player. These gloves use patented technology to help these younger players learn how to field and catch the ball correctly. Emphasizing easy closure and catching the ball in the pocket of the glove, Mizuno has done a great job developing a glove that assists youth ballplayers improve their game. With some models available in a Cowhide leather and others in Pigskin, players can choose which feels best for them without sacrificing the glove's effectiveness.
The GPT1150Y1 is 11.5" in length and designed for all positions on the field. This glove features Mizuno's signature closed Wave Flex web. This unique-looking web can adapt to any position on the field, which is ideal for a youth ballplayer.
The shell, palm and web are composed of a Cowhide leather, which is lightweight and durable – perfect for a youth player. The hand opening features a fastback, closed back with a Velcro strap binding. This closed backing has a cutout for the index finger, for those that prefer to keep his/her index finger on the outside of the mitt. This fastback design will keep the pocket deep and, along with the ParaShock palm pad, will protect the hand from sting on impact. The Velcro binding provides quick and easy adjustments for the hand opening, without sacrificing a secure hold. The ButterSoft lining on the inside of the glove provides an extra level of comfort for the player.
The Prospect line features many patent-pending and patented technologies to help the youth player use the glove the correct way and make it easier than ever before to secure the ball in the glove. The technologies include: Heel Flex, PowerClose, PowerLock and FlexBridge Hinge. Built into the glove, they combine to make the glove not just easier to close, but easier to close correctly around the ball. When it comes to the youth player learning the game and how to field correctly, Mizuno has gone above-and-beyond to provide a glove that will help bring a new player to the next level. The Prospect will arrive just about game ready, so there is less time breaking the glove in and more time using it to improve on fielding skills.


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"We rely 100% on OpenBase and WebObjects every minute of every day."
Power. Speed. Simplicity. Reliability. That's what it takes to meet the unique, complex, and often last-minute reservation and ticketing needs of special events.
So it's not surprising that these are the same characteristics that Box Office Tickets looked for in a development platform, when it began designing its current software infrastructure five years ago.
After careful consideration, the company decided to bet its future on OpenBase SQL database software, WebObjects and Mac OS X.
"We moved from Windows to Mac OS X for sheer power," says George Domurot, President, Box Office Tickets. "There was nothing else in the marketplace that even remotely had the power that was behind OpenBase and WebObjects. We wanted an infrastructure that can do whatever we need it to do, with the ability to scale with us as we grow."
Now, with system in production for nearly a year, the results speak for themselves.
"We rely 100% on OpenBase and Web Objects every minute of every day," says Domurot. "Our data model is complex and our searching mechanism is deep. OpenBase works beautifully for us. We have three audiences our clients, guests, and our employees. Each group interacts with OpenBase, day and night, through an array of WebObjects servers independently handling each audience's requests."
The "back of the house" for one-of-a-kind events
Unlike ticketing for a concert or movie, the services that Box Office Ticket provides are highly customized, often one-of-a-kind, and usually quite complicated.
A fundraising dinner, for example, may involve linking reservations to table management; enabling guests to select from among different meal choices; and offering different donation options as well as ticketing and payment processing.
"We're basically the 'back of the house' for many different types of organizations, such as non-profits, arts organizations, political causes and community groups," says Domurot. "We provide the software that supports their events and helps them be successful."
To meet that end, it is critical that the Box Office Tickets software infrastructure can be changed quickly, to support new kinds of client requests and deliver new types of services.
"Our clients throw requests at us all the time that enhance our data model," says Domurot. "Sometimes, we're making weekly modifications to our database. OpenBase handles it. Implementing changes with OpenBase is a piece of cake. Our clients are amazed that the changes they ask for not only get done, but are done quickly."
From Oracle to OpenBase: A simple choice
With database design, reliability and performance at the heart of their business, Box Office Tickets had initially selected Oracle for their database software, but they soon found it too complex and time-consuming.
"If you are a database management guru, Oracle's probably great," says Domurot. "At the time, it was very difficult to do what we were trying to do -- take a major leap from a legacy system to the object-oriented world of WebObjects. We didn't want to think about the database. In contrast, OpenBase did so many things for us that it made it very simple to interact with a very complicated system. With OpenBase, we didn't have learning curves, it's intuitive. We ported our legacy system and Oracle database over to OpenBase in 4th quarter, 2001 -- and we've never looked back."
Credit card transaction processing -- from OpenBase
Moving to the OpenBase database platform brought another benefit to Box Office Tickets: stored procedures for secure, real-time credit card payment processing, built right into the database server.
"The credit card processing component of the OpenBase PowerCenter eCommerce server is great for Box Office Tickets because it's enabled us to meet our business goal of providing an online point-of-sales system for our clients," says Domurot.
"We're not just another dot-com or web company. For almost a decade, we've been taking our service requests by telephone. Today 90% of all our service requests, from guests to clients, are handled online with OpenBase at the heart of our operation."
Unfortunately, before implementing the OpenBase software, the company spent $5,000 on another credit card processing solution. "We thought we needed an expensive solution because of our customized financial processing services and the complicated business model we use to process credit cards," says Domurot. "It didn't work and in the end we had to eat the expense and trash the software"
"After that, I went to OpenBase and told them what I needed to do for my business. They listened, and in just a couple of days, we were up and running test transactions. OpenBase was less expensive and I have one less vendor to deal with. Because of our experience with OpenBase handling our credit card processing implementation, there are a lot of other services that we want to offload to the OpenBase database server to facilitate our delivery of service."
The people behind the product
"OpenBase is a great database product," says Domurot, "But the hidden benefit of choosing OpenBase are the people who work there. If you need help, they are on it. I don't believe you can get the quality of relationship and support you get with OpenBase from their competitors."
"In fact, I see a little bit of us in OpenBase and their customer service. Like us, for them, the client comes first. Having sincere, knowledgeable, honest and helpful people on the other end to help you is just basic good customer service. As simple as this may sound, it's hard to find."
"Meeting our clients' most challenging requests is the reason why we're having such a good time at Box Office Tickets and one of the reasons why every year we grow," says Domurot. "OpenBase is a product that works, with a team that listens and supports you. What more do you need?"


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Caribou at the Social
The time has never been as ripe as now for an artist like Jessy Lanza. Seducing the language of R&B from an iceberg of electronic minimalism, the Canadian siren sits in a genre junction that may be niche for right now but it's hot and current. And she does it well.
Unfortunately, a sound a distilled as hers has a narrow window for proper execution, especially live. Although her music's loaded with style and aesthetic, the lack of volume and presentation at her recent opening performance (Nov. 18, The Social) made it seem like the kind of flat half-show that ails electronic music's live reputation. Her voice – the beacon and soul of her music – was distant in the mix. Riding far behind as a secondary ornament to programmed beats, her vocal expression just wasn't given enough play to weave the aura it's capable of on record.
Jessy Lanza at the Social (photo by Christopher Garcia)
Headliner Caribou, on the other hand, brought plenty of show with a live lighting array and a full band. While that last detail there is something unusual and impressive for an electronic act, it's standard operating procedure for Caribou. It's why Dan Snaith and company are one of the best in the business at rendering electronic music with live-band electricity.
Caribou at the Social (photo by Christopher Garcia)
Caribou's sound is a constant evolution. Their previous album, Swim, was a very honed and effective pivot toward the dance floor. With this year's Our Love, Caribou's still out there under the throbbing lights and shaking that ass, just with some timely stylistic updates like clipped hip-hop looping, sizzurped R&B and the rhythmic perpetuity of EDM. At times, their current sound gets a little too deep into the boxy house-music schema at the cost of the identity Snaith has worked so hard to achieve. Even so, Caribou's reliable taste remains high.
Caribou at the Social (photo by Christopher Garcia)
Moreover, though they've ventured into a dance-music path well-trod by fly-by-nights, Caribou seriously certifies it onstage with real live play that sometimes even results in two drummers. To say that Caribou is to electronic music what the Roots are to hip-hop is maybe going a bit far, but not that far. After all, they create all the odyssey of EDM with all the legitimacy of a live band.
When all of Caribou's forces converge, it's a transporting thing. Between the lights, fog and frequency of this latest album, the time-bending vibe of this show was a palpably late-night one. As the show approached 11:00 PM in real time, the sensation in the room felt more like 4:00 AM... somewhere back in 1994.
Caribou at the Social
Read more This Little Underground:
Live music at the Smiling Bison
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Email Bao: email@example.com


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New mobile command unit is unveiled in Limerick
LIMERICK City and County Council has unveiled a new mobile co-ordination unit which will be deployed during major incidents.
The unit, which was commissioned as part of the Major Emergency Management programme, will act as an on-site command and control centre when needed.
Niall Murray, assistant chief fire officer, who oversaw the fitting out of the vehicle, says it has been designed to be functional and to allow personnel to respond to incidents irrespective of location.
"The new co-ordination vehicle allows us access an electronic information management system which is used to identify key issues and capture the evolving events of a major incident. This allows information to be automatically recorded and communicated to all relevant personnel and agencies and will greatly assist us particularly during evaluation in post event reviews," he said.
Mayor of Limerick, Cllr Kevin Sheahan said the new vehicle which will be a huge asset to the local authority.
"It means that all the main principal response agencies can gather in one location to capture the evolving events of a major incident and jointly respond while having the most up to date technological information to hand."
The vehicle is equipped with laptops, printers, internet access using WIFI, TV, UHF radios and satellite phone. It is capable of being powered by generator if deployed at a location where there is no direct electricity supply.
Work is currently underway to enable the new unit to connect directly with the co-ordination centre located within the local authority's headquarters.