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Q: Saving Logcat output as application text file: crashes unexpectedly when there are few (or no) events I've added a method to my application that creates a Logcat file of that session.
public void LogcatToTextFile() {
    Date T = new Date();
    SimpleDateFormat sdf = new SimpleDateFormat("yyyyMMddHHmmss");
    String szDateTime = sdf.format(T);
    SimpleDateFormat date = new SimpleDateFormat("yyyyMMdd");
    String szDate = date.format(T);

    //makes ApplicationLogFiles directory if there is none
    File logFileDirectory = new File(this.getExternalFilesDir(Environment.DIRECTORY_DOWNLOADS), "ApplicationLogFiles");
    logFileDirectory.mkdir();
    //makes a directory that is titled with today's date if there is none
    File logFileDateDirectory = new File(this.getExternalFilesDir(Environment.DIRECTORY_DOWNLOADS) + "/ApplicationLogFiles/" + szDate);
    logFileDateDirectory.mkdir();
    //defines actual logFile in the nested directories
    File logFile = new File(this.getExternalFilesDir(Environment.DIRECTORY_DOWNLOADS) + "/ApplicationLogFiles/" + szDate, "ApplicationLogCatFiles_" + szDateTime + ".txt");

    if (!logFile.exists()) {
        try {
            Process process = Runtime.getRuntime().exec("logcat -c");
            process = Runtime.getRuntime().exec("logcat -f " + logFile + " *:V");
        }
        catch (IOException e) {
           e.printStackTrace();
            Log.e("IOException", "exception in LogcatToTextFile() method");
        }
    }
}

This runs fine as long as regular events (Log.d) occur frequently.
Some sessions have lasted more than ten hours (50,000 rows) until the application is exited by the user.
However, without regular log events, Logcat stops after a short period of time (minutes to hours). This problem was also described by Sonja here: logcat stops writing to file on device . I would like for Logcat to continue writing to a file and document any errors that may occur in the application.

A: This problem can by resolved by creating a log event at specified periods of time,
synchronized private void startLogCatTimer() {
    handlerLogCatTimer.postDelayed(getCountdownTask(), COUNTDOWN_TIME_MS);
}
private Runnable getCountdownTask() {
    String COUNTDOWN_TIME_MS = 300000; //5 mins
    Runnable task = new Runnable() {
        @Override
        public void run() {
            Log.d("Logcat", "Auto timer (No Problem). Time is: " + szDeviceTimeHHMM);
            handlerLogCatTimer.postDelayed(this, COUNTDOWN_TIME_MS);
        }
    };
    runnableLogCatDismissCountdown = task;
    return task;
}

redpajama_set_name: RedPajamaStackExchange


Silicone freezer bags are an environmentally friendly, safe and reusable alternative to single use plastic freezer bags. Their durable material is naturally free of phthalates, latex, PBA, BPS, and other nasty compounds and won't release toxic chemicals into your food. They are great for raw meat, fruit and liquid storage, and for steaming vegetables. Silicone bags are dishwasher safe and microwave friendly while offering great versatility for all of your food storage needs.
Silicone bags are an environmentally friendly, safe and reusable alternative to single use plastic freezer bags. Their durable material is naturally free of phthalates, latex, PBA, BPS, and other nasty compounds and won't release toxic chemicals into your food. They are great for raw meat, fruit and liquid storage, and for steaming vegetables. Silicone bags are dishwasher safe and microwave friendly while offering great versatility for all of your food storage needs.
Silicone is derived from Silicon, an element found in Silica ( i.e.. sand ) and oxygen, and is not known to be toxic to aquatic or soil organisms.
Silicone is naturally resistant to bacteria. It can be boiled to sterilize, or be placed in the top rack of your dishwasher.
It is stain resistant, durable and extremely resistant to extreme hot and cold temperatures without warping or cracking.
Silicone bags can be placed in the top rack of your dishwasher regularly or they can be washed by hand in warm water and air dried.
To sterilize them and to refresh their natural suction, bring to a boil a 2 : 1 ratio of water and vinegar. Let soak for 30-45 minutes. Remove with tongs, rinse and wipe out with a cloth.


Our walk has somewhat started a day early and not as planned. When I booked the hotel in Montpellier where we would recover from jet lag, I wasn't paying attention. We are several kilometers from town but, luckily, not to far from the Chemin d'Arles route. We decided to take a tram to town this morning, get the first stamp in our credencials and then walk back to the hotel after some additional walking, shopping and eating. Tomorrow we will just start at the hotel and walk to our originally planned first stop in Montarnaud. That makes our first real day of the walk very short and we've worked out some of the cobwebs today already.
The walk today was quite easy and not too bad for being in a large city. A good portion of it was along the green path formerly occupied by a branch of the lovely Saint Clément Aqueduct or next to the tall arched aqueduct itself. Nothing overly exciting but a good way to start the walk.
Speaking of a good way to start, as we arrived at the Cathedral of Saint Peter to get our credencials stamped, we met our first fellow pilgrim who was doing the same thing. We briefly spoke because he was walking to Montarnaud today but he mentioned that he was doing a different route than we were. He said he was walking the Via Tolasana, rather than the Chemin d'Arles. I was too jet lagged to think straight and reply properly so I just smiled and nodded. The "Via Toulsana" is actually just an older name for the Chemin d'Arles. It was good to see a fellow pilgrim anyway.
For anyone following us, the first route marking we saw was several kilometers from the cathedral, at the start of the green path of the Aqueduct. After that, it was possible to follow the red and white blazes of the GR653 fairly easily. It was still comforting to carry my phone with maps.me GPS though. We never made a wrong turn.
And finally, a special Happy Birthday to my Dad. He would have been 88 years young today and likely celebrating surrounded by three dozen sprinkles, offsprinkles and sprinklelettes. It's okay though. He is celebrating with Mom so he is happy.


A truck driver was killed in a crash involving two semis on southbound I-55 near Braceville, in Grundy County.
BRACEVILLE, Ill. (WLS) -- A truck driver was killed in a crash involving two semis on southbound I-55 near Braceville, in Grundy County. Only the left lane was open Tuesday morning, as crews continued to clear the debris.
Illinois State Police said the semis collided around 8 p.m. Monday. The crash shut down I-55 in both directions while first responders extinguished a resulting fire and investigators looked into the cause of the crash.
One driver died. The other driver was treated for minor injuries. State police did not release further details on the drivers.
The right lane of southbound I-55 is expected to reopen around 10 a.m. Tuesday.


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#Jensomnia
Where's Jenny?
Jenny McCarthy's honesty, humility and humor have enabled her to transcend the boundaries of her roles as comedian, actress, host, best-selling author and influential activist in the world of healing and preventing autism. When she first made her own experience with her son Evan's diagnosis and subsequent recovery from autism, her unique ability to articulate the unspoken words of thousands of mothers and fathers across the world was recognized immediately.
A highly-regarded NY Times Best Selling author, McCarthy's books include the bestsellers Belly Laughs, Baby Laughs, Life Laughs, Louder Than Words: A Mother's Journey in Healing Autism and Mother Warriors: A Nation of Parents Healing Autism Against All Odds, LOVE, LUST, AND FAKING IT: The Naked Truth About Sex, Lies, and True Romance. Healing and Preventing Autism, co-written with Dr. Jerry Kartzinel, BAD HABITS: Confessions of a Recovering Catholic, and her latest book hit stores May 2014, Stirring The Pot: My Recipe For Getting What You Want Out Of Life which also landed on the NY Times Bestseller List. Upon completion of her 10th book, Jenny decided to re-focus her attention on her first love – TV, radio and comedy.
Playing recurring guest roles on major network television shows, such as "Two and a Half Men," "Just Shoot Me," and "The Drew Carey Show," Jenny continues to be a naturally engaging comedic actress.
In December 2009, she reprised her starring role in "Santa Baby 2: Christmas Maybe," a sequel to ABC Family's wildly successful holiday movie. The one-time "Singled Out" star co-hosted with the ladies of ABC's The View during the 2013-2014 season in addition to co-hosting Ryan Seacrest, reporting live from Times Square on "Dick Clark's New Year's Rockin' Eve" every December 31st.
Jenny is a board member of Generation Rescue, an organization dedicated to recovery for children with autism spectrum disorders by providing guidance and support for medical treatment to directly improve the child's quality of life for all families in need.
Currently, you can find Jenny on tour with the funny ladies of Jenny McCarthy's Dirty, Sexy, Funny and is launching her own daily morning show of the same name on the Sirius XM network this Fall. Be sure to click on the Where's Jenny? tab to see where you can catch the show.
Jenny McCarthy currently resides in New York, with her son, Evan and new husband, Donnie Wahlberg.
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text:
Please note: Shipping and insurance costs are not included in this promotion, ONLY ITEM PRICES!
(please note additional Austrian VAT tax applies for transactions concluded within the European Union)
Recently, our attention was drawn by the online catalogue of November 10th (2013) sale of French auction house "Herbette" (located in the town Doullens near the Franco-Belgian border, region Picardie), namely, its Lot No.35 titled "Ecole Romantique du XIXé (sic! - BW) "Elegante á la missive dans un passage italianisant" (see our image nr.16). Our initial feeling was: "No! It cannot be true! It is a real Guttenbrunn!" (as a result of many years of collecting of portrait paintings from the turn of the 19th century, we naturally possess keen knowledge of the œuvre of Austrian artist Ludwig Guttenbrunn, who spent several years living in Russia; one of his paintings (seen years ago in Tretyakov Gallery in Moscow) similar in composition left a particularly deep mark; it is a portrait of a Russian lady, known as certain Bibikova (see our image nr.17)).
The full clarity was achieved in the matter of seconds: by enlarging (zooming out) the online catalogue image on our PC, we were able to clearly see the artist's signature on the stone, on which our young lady is resting on. It was "L. Guttenbrunn /...". The line beneath the signature was unfortunately unreadable, thus we had to "console ourselves" only with approximate date of the late 1790s (according to the young lady's dress and hair-style).
The small-town auctioneers (who sell agricultural machinery today and works of art next day) never mentioned the presence of artist' signature in the catalogue (they either missed it, or considered it not deserving a mention in the description of a work of art...), what was extremely helpful for us. Consequently, in absence of (otherwise multiple) bidders from Russia, we won (via telephone) the bid, although were forced to engage in the auction room battle with one of the potential buyers (a local art dealer?), who surely did discover the signature of Guttenbrunn but was unaware of the portrait's Russian origin. Thus, the battle was not long lasting. By offering the price ten times higher than the starting one we "knocked him out of his stride".
We had no reservations concerning the depicted lady being Russian, for her overall appearance strongly echoed the (aforementioned) portrait of Mme Bibikova, as well as Guttenbrunn's other portraits made during his 10-year-stay in Russia (see our images nr.18-32).
We turned to mentions of his "Russian works" in art literature. Among the few known portraits of Russian ladies (as the matter of fact, there are not too many of them around) we found portraits of
- daughters of Tsar Paul I: Grand Duchesses Catherine Pavlovna, Alexandre Pavlovna and Marie Pavlovna (all of them depicted in childhood)
- portrait of (already mentioned) Mme Bibikova (1803)
- portrait of Princess Catherine Golenishcheva-Kutuzova (1797)
- portrait of Countess Ekaterina Lvovna Golovkina and
- briefly mentioned (one line in text!) by D. A. Rovinski (see our images nr.33-34) portrait of Anna Alexandrovna, duchesse (Duchess) Serra-Capriola, nee Princess Vyazemskaya (daughter of aforementioned Catherine Golenishcheva-Kutuzova).
Due to the fact that all other (aforementioned) female portraits were either already published (as those of Bibikova, Golenishcheva-Kutuzova and Golovkina), or displayed discrepancy in age of depicted persons, we set off on the search for possible representations of Princess Vyazemskaya (still in her girlhood or already as Duchess Serra-Capriola).
This search brought positive results. In (known to every lover of Russian portrait painting) publication of Grand Duke Nikolai Michailovich Romanov "Russian portraits of XVIII and XIX centuries", we discovered a miniature portrait painted by an unknown artist, which depicts (somewhat elder than our sitter) Duchess Anna Alexandrovna Serra-Capriola (see our image nr.35). This portrait features an undeniably likeness to our young lady! Additionally, we were able to find a portrait of Anna Alexandrovna's mother, Princess Elena Nikitichna Vyazemskaya (nee Golenishcheva-Kutuzova), sharing the same facial features (see our image nr.36)!!
Our further research led us to recently (and for the first time!) published (it was brought to Russia in 2003, in order to be exhibited in St. Petersburg's Russian Museum - see our images nr.37-38) "alleged" (!!) portrait of Duchess Anna Alexandrovna Serra-Capriola from the family collection of her Italian heirs. This portrait attributed to Austrian portraitist Joseph Hickel (sic! he visited neither Italian regions where Dukes of Serra-Capriola lived, nor Russia) shows a quite mature (dressed and hair-styled according to fashion of the early 1790s) lady, who shares no likeness with young Anna Alexandrovna in the book of Grand Duke Romanov!
We are absolutely certain that this (ca. 40-year-old) woman could in no way be "Russian" duchesse Serra-Capriola, who was born in 1770, and who in the 1790s was between 20 and 30 years old!
Anna Alexandrovna, Princess Vyazemskaya was born in 1770 as daughter of Senat's "Ober-Prokuror" (English: Chief-Procurator, or Prosecutor) Prince Alexander Alexeevich Vyzemski (1727-1793; see our image nr.39) and Princess Elena Nikitichna Vyazemskaya, nee Princess Trubetskaya (1745-1832; see our image nr.36). On November 12th 1788, Anna Alexandrovna married Antonio Moresco, Duke (duce) Serra-Capriola (also Serra-de-Capriola, Serracapriola. Antonio Moresco (1750 Naples - 1822 St. Petersburg; see image nr.40)) was then a Neapolitan ambassador at the Court of Catherina the Great. Later (after Napoleon's siege of Naples), he went back to being a private person, who nonetheless retained important international connections, and who - as before - continued to play decisive role in behind-the-curtain intrigues.
His young wife (St. Petersburg's high society referred to her as "duchesse") took up painting and painted with watercolors. Their house in Fontanka Street 22 was one of the most glamorous salons in Russian capital that daily received guests (great Russian poet A.S. Pushkin was one among them; see our image nr.41). After the death of Anna Alexandrovna's father (1793), she inherited their family's summer estate Murzinka by St. Petersburg (see our images nr.42-43).
Duke and Duchess had two children:
- Nikolai (Nicolo) Antonovich (1790-1870) was raised and educated in St. Petersburg. In 1840 he was appointed Ambassador of the Kingdom of Naples and Two Sicilies in Paris. In 1848 he became the prime minister of his Kingdom. He was also a first-class draughtsman and watercolor artist (see our images nr.42-43).
- Elena Antonovna (died in 1820), wife of General of Cavalry Stepan Fedorovich, Prince Apraksin. She died after the birth of her fourth child.
Duchess Anna Alexandrovna outlived her husband and her daughter by 20 years; she died in 1840 in St. Petersburg and was buried at the Blagoveshchensky burial vault of Alexandro-Nevski Lavra (monastery) in St. Petersburg (see our image nr.44).
Back to the "alleged" portrait of Anna Alexandrovna, which was (for the first time) shown in 2003 in St. Petersburg's Russian Museum. We believe that we found the reason why this work is until today considered the portrait of duchesse Serra-Capriola. In it, the depicted lady bears the black sash and cross of Maltese (St. John) Order (in existence since the 11th century), which was introduced in Russia by decree of Tsar Paul I on the 29th of November 1798. Among the (several) ladies-recipients of the "Grand Cross", we find (see our image nr.45 for clips from its recipient list of 1800) "la duchesse de Serra Capriola"...
The sitter in the portrait shown in Russian Museum indeed bears the Grand Cross of the Maltese Order. But which one? One cannot insist that it is its Russian modification. Besides that, in the late 1798, the duchess had to be dressed and hair-styled in an entirely another way - see other female portraits of that period!!
Fazit: the portrait brought to St. Petersburg in 2003 shows not Anna Alexandrovna but another, still unknown woman.
The rain to our parade came with the arrival of the portrait from the auction house: we could finally inspect the (thus far unreadable in auction catalogue) lower line of the artist's signature - "pinxit 1797". This discovery somewhat faltered our "Serra-Capriola" version, for we were now dealing with dates' discrepancy: the date of 1796 listed by D.A. Rovinski and "our" date of 1797.
Whether Rovinski personally (in nature) actually saw the (listed in his book) portrait of Duchess Serra-Capriola appears to be of quite doubtful accuracy to us, taking into consideration the multitude (there were thousands!) of other portraits from various Russian private collections mentioned by him. Or perhaps he was misinformed by then (late 19th-century) portrait's owner, Countess Zavadovskaya (see our image nr.34)? We tend to believe that the last version is correct!
Ludwig Guttenbrunn (ca. 1750/55 Krems, Lower Austria - 1819 Frankfurt am Main) was probably a pupil of well-known Austrian religious painter Martin Johann Schmidt (called "Kremser-Schmidt"), who was living in Krems. In about 1770 Gutennbrunn worked in Vienna. There, he portrayed composer Joseph Haydn (he and the latter's wife had an affaire) and Prince Nicolaus I Esterhazy, who became the artist's first sponsor. In 1771/72 Guttenbrunn made decorations in Esterhazy's new residence Castle Esterhazy by Raab (Györ, Hungary). In 1772, on prince's scholarship, he went to Rome. Guttenbrunn remained in Rome until 1779. There, he established close acquaintances in Rome cultural circles, before all with Goethe (Gutennbrunn's chalk drawing "Goethe in Maskenzug" (English: "Goethe at carnival procession") was formerly housed in Leipzig Collection Friedrich Zarncke), but also with influential art agent Joahnn Friedrich Reiffenstein (he acquired many works for Catherine the Great) and famous German artist Anton Raphael Mengs. In 1779, in Florence, Guttenbrunn became the court artist of Peter Leopold, Grand Duke of Tuscany (and future Holy Roman Emperor Leopold II). In 1783, he was elected a member of the Florence Academy (for his painted in 1782 in Naples "Self-Portrait", now in Uffizi Gallery in Florence). In 1784-1787 he worked in Turin as a court artist of King of Savoya.
In 1787 his friend from Roman period Reiffenstein helped Guttenbrunn with landing a commission to execute encaustic paintings for Red Studio of Catherine II' residence in Tsarskoe Selo. In November of the same (1787) year he arrived to Paris. There, in 1788, he portrayed Marie Antoinette and Dauphin. In 1789 Guttenbrunn went to London, where he in 1790/1795 took part in exhibitions at the Royal Academy.
In 1795, he followed the advice of the Russian Chancelor and became a court artist in St. Petersburg. In 1800 he was elected there a Member of the Academy. Besides St. Petersburg, in his last "Russian" years, Guttenbrunn was also active in Moscow. Between 1804/05 (according to Saur's artist dictionary; other sources refer to 1806 as the year of his departure from Russia) he returned to Western Europe: one could spot him in Dresden, then again in Italy (according to Saur, by 1805 he was already in Rome), where he remained until 1810 (in 1809, in Rome, Guttenbrunn became a Member of the Accademia di S. Luca). From 1817 (and until his death there on January 15th 1819) he lived in Frankfurt am Main.
Today, works of Guttenbrunn can be viewed in most esteemed museums worldwide: Dresden Gallery, St. Petersburg Russian Museum and Hermitage, Moscow Tretyakov Gallery and Pushkin Museum, Castle Trianon in Versailles, museums of London, Dijon, Weimar, Grenoble, Frankfurt am Main, etc.
Our images nr.17-32 offer a deeper insight into the œuvre of Guttenbrunn as portraitist.
CLICK HERE for interesting Russian article about this artist.
midec10ap13
Measurements: UNFRAMED:42,6x31,5cm/16,8x12,4in FRAMED: 59,5x48,0cm/23,4x18,9in
Object Type: Framed oil painting
Style: Old Master paintings
Technique: oil on mahagony panel
Creator: Ludwig Guttenbrunn
To see other works by this artist click on the name above!
Creator Dates: ca. 1750/55 Krems-1819 Frankfurt am Main
Nationality: Austrian
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Click on images or on to see larger pictures!
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Television Jul 16th 2019 - 6pm
Kavanaugh wins fifth 'Jeopardy!' round
Crime and Courts Jul 16th 2019 - 9am
Man arrested after domestic incident causes 'significant injuries' to woman
Health Jul 16th 2019 - 7am
NUTRITION: Obsessing over good eating can be a problem
Letters Jul 17th 2019 - 7am
Reader's View: No reason to reverse NorthMet project permits
Keith Ellison's divorce records unsealed: Congressman said he was abused
ST. PAUL -- Keith Ellison's ex-wife never accused him of abusing her -- though he accused her of physically abusing him. Those are among the takeaways from the unsealing of the former couple's divorce court records Wednesday, Oct. 17. The release...
Written By: Dave Orrick / St. Paul Pioneer Press | Oct 17th 2018 - 8pm.
File photo. Keith Ellison answers questions from the press after he kicks off a grass-roots door-knocking event at North Commons Park in Minneapolis, Friday, Aug. 17. Jean Pieri / St. Paul Pioneer Press
ST. PAUL - Keith Ellison's ex-wife never accused him of abusing her - though he accused her of physically abusing him.
Those are among the takeaways from the unsealing of the former couple's divorce court records Wednesday, Oct. 17. The release was hotly anticipated by journalists and partisans closely following the Democratic congressman's bid to be elected Minnesota's attorney general and his tight race with Republican Doug Wardlow.
The unsealing of dozens of documents came over the objections of both Keith and Kim Ellison and was the result of the Minneapolis Star Tribune and Alpha News, a right-leaning news website, successfully arguing in court that they shouldn't be kept secret. Their request followed an allegation in August by an ex-girlfriend of Keith Ellison that he abused her in his Minneapolis home in 2016.
That allegation - which Ellison denied and has yet to be investigated by police - has been a flashpoint in Ellison's race with Wardlow, whose campaign sought to seize on some aspects of the divorce case to tarnish Ellison.
There's some news, some non-news and some unresolved issues still to be worked out. Here are six takeaways:
No bombshell, but marriage woes laid bare
You can judge for yourselves from below, but there's nothing implicating Keith Ellison of anything salacious. Nothing like that at all in the public records.
Still, the records lay bare features of the demise of the 25-year marriage between the two elected officials. Kim Ellison serves on the Minneapolis Board of Education.
The records date back to when the couple legally separated in 2011, when two of their four children were minors. As the Ellisons feared, some of the documents now public contain details that appear to be tied to what Kim Ellison described Tuesday as depression following her diagnosis with multiple sclerosis.
Divorces are messy
As many who have been party to a divorce can attest, they're often messy. And the Ellisons' was, too.
By 2011, the marriage that Keith Ellison described Wednesday as "storybook" suffered an "irretrievable breakdown." That's a legal term often used in Minnesota for so-called "no-fault" divorces.
Like many such divorces, at first, the Ellisons - Keith via his attorney and Kim representing herself - seemed on a relatively amicable path to the process of splitting up assets and determining child custody and future finances. They agreed to joint custody of their children, and Keith Ellison, who earned significantly more than Kim, agreed to pay for her health insurance and monthly alimony payments, including child support and spousal maintenance.
However, the spousal maintenance became a point of contention, as the couple disagreed over which colleges they could afford for their kids, and which spouse was entitled to how much money. Kim Ellison's full-time job was eliminated, leaving her limited income as a member of the Minneapolis school board. She sought more money from Keith, arguing that her multiple sclerosis was hurting her ability to get a job.
Keith Ellison pushed back. In response to a 2015 request by Kim Ellison for an increase in spousal maintenance payments, he disputed Kim's assertion that her MS was an issue. Her political activities, including attending rallies and protests, showed that she was capable, he argued. His affidavit included attachments, such as printouts from her Facebook page, her calendar and partial transcripts of a deposition his lawyer had conducted with her.
"Respondent's behavior shows that her income is not limited by her medical condition, but by her choice to work only for the School Board," Keith Ellison wrote in a signed affidavit.
At one point, she accused him of living more comfortably than he needed to. Later, he said he ditched his Washington apartment and was sleeping in his office, an arrangement that he said made him "politically vulnerable."
The issue of spousal maintenance remains unresolved.
Kim never alleged Keith abused her
Nowhere in the records is there any suggestion that Keith Ellison abused Kim Ellison. "There was never any abuse in our marriage," Kim Ellison said Tuesday.
Keith alleged Kim abused him
In his affidavit from February 2015, Keith Ellison said he was a domestic abuse victim.
"The Respondent has hit me too many times to mention," he wrote, referring to Kim. He said the events, which included one instance where she allegedly bit his arm, sometimes left marks, which his staff noticed.
"It was very humiliating to admit that I was a domestic abuse victim," Keith Ellison wrote, noting she never hit their children.
Ellison said the alleged abuse was the reason he filed for divorce.
"The Respondent constantly blamed her physical abuse of me on her depression and MS, but would always do it again," he wrote. "Finally, I had to leave the marriage."
In the affidavit, he lists more behaviors of Kim Ellison that would be consistent with depression.
On Wednesday evening, Kim Ellison posted a six-paragraph statement on her Facebook page.
"My divorce file contains details of the most difficult time in my life, when I was struggling with my diagnosis of multiple sclerosis," her statement reads, in part. "I was scared, confused, worried, angry, and became depressed. It is a record of that time that I never thought a court would force me to share with the public."
Her statement does not directly address Keith Ellison's allegations that she abused him.
Keith feels bad
On Wednesday, Keith Ellison issued a statement opposing the release of the records and criticizing the Star Tribune and Alpha News for getting the files unsealed - as most divorce files typically are.
He also apologized for some of what he said in the divorce case.
"We had a storybook marriage until the onset of her illness, which was not diagnosed until long after she was suffering the effects of it," the statement reads, in part. "One of the great regrets of my life is that I did not appreciate the debilitating effects of Kim's illness until the doctors told us that it was Multiple Sclerosis and major depression. I attribute the difficulties in our marriage to the disease and my failure to understand it. I was not nearly sensitive enough to the symptoms of her medical condition at the time, and for that I am deeply sorry.
"Kim and I have rebuilt a strong friendship as parents to our four wonderful children. I am proud of the person Kim is. We are family, and I stand by her."
Yes, it's being used in the campaign
The political impact remains to be seen. Wardlow's campaign seized on one aspect of the spousal maintenance dispute: Kim's health insurance.
"Ellison Did Not Pay Court-Ordered Health Insurance for His Wife, Despite Her Having A Pre-Existing Condition," reads the title of a statement from Wardlow's campaign.
Here's what that's about: Kim Ellison is seeking more money from Keith Ellison because, according to a statement she provided to the court, her insurance company "dropped" her from coverage.
The divorce decree in place at the time stated that Keith Ellison would include Kim Ellison in his coverage. The language does contemplate that coverage could be terminated, but the issue of whether Keith Ellison owes his ex-wife money for that has not been resolved by the judge.
A hearing on that is scheduled for later this year.
News Mar 21st 2019 - 4pm
Ask the expert: Is your credit score costing you money?
News Feb 18th 2019 - 7pm
Who's getting Met Council money? East Metro transit projects get funded
© Duluth News Tribune and Forum Communications Company


We all know "an apple a day keeps the doctor away" but I'm pretty sure a serving of kale could as well. I've been eating a lot of kale lately, mostly because it's good for me but also because it's simple to prepare. Lightly steamed with a little olive oil, lemon juice, salt and pepper or this recipe for sesame kale salad. Sounds like a a lot but not when you have a good recipe.
Kale is a cruciferous vegetable, meaning the leafy green contains cancer-fighting antioxidants. It also contains calcium and fibre and a healthy dose of vitamins A, C and iron. It's a powerhouse of feel-goodness. And, I'm convinced it's good for my hair as well.
Regular green, Lacinato or purple kale, they've all been a long time favorite of mine. It tastes sweet and earthy and is a nice change to spinach. Strip the leaves, wash well under cold water and then saute or steam. You can add to soups, stews or winter salads. Or you can keep it simple like with this recipe for sesame kale salad. Make a big batch and store in the fridge. It's great as a side dish or an after work snack.
Kale is in season from September to February and is at its nutritional best during the coldest months of the year. Not many of us can say we're at our best during the cold winter months. So, now is the time to welcome kale into your diet and onto your plate.
Separate kale leaves from stems, wash and chop. Steam in a little water until tender and bright green.
Meanwhile, whisk together the remaining ingredients in a large bowl. Add the kale to the dressing and stir to combine. Top with the toasted sesame seeds. Good served warm or chilled.
Sounds delicious! I have over-wintered kale in my garden ready to pick. Perfect.
The trick is to de-stem the kale and remove the leaves from the thick stem.


Submission Fee means a fee to be paid on submitting the art work for the exhibition. It is non-refundable.
2.1 These Terms shall govern the provision of the services by the Organiser to the Artist to the exclusion of any other terms and conditions.
3.1 The Artist shall pay a non-refundable submission fee of £6 on submitting art work for the exhibition. This fee doesn't guarantee that the Artist will be a part of the Exhibition. This fee is charged for administration purposes and dealing with the submission process.
3.2.1 £94 if qualified for the Exhibition. By paying this amount the Organiser and the Artist agree that the Organiser will charge the Artist commission fee of 25% from each sold art work during the Exhibition. The fee of £94 must be paid within 14 days of confirmation from the Organiser that the Artists will be exhibiting their work. Terms on commission from sales see clause 9.
3.2.2 £294 if qualified for the Exhibition. By paying this amount the Organiser and the Artist agree that no commission will be charged on sold artwork during the event. This fee must be paid within 14 days of confirmation from the Organiser that the Artists will be exhibiting their work.
4.1 Once the Artists receives their space offer they have 14 days to sign and return the agreement and to arrange final payment of the Final Fee. If this is not completed within the 14 days then their space will be offered to another artist.
4.2 If the Artist decides to cancel their participation after signing the agreement, their Final Fee will not be returned.
4.3 The Organiser may re-allocate any cancel Space and, for the avoidance of doubt, the Organiser shall not be obliged to reimburse any cancellation fees in the event of the re-booking such a space.
5.1 The Artist shall occupy the whole of its allocated Space by the commencement of the Exhibition and for the entire duration of the opening hours of the Exhibition.
5.2 The Artist is obliged to bring and install their artwork before the Exhibition starts (dates and times will be drawn up in Exhibition Manuals) and dismount their artwork after the Exhibition is finished.
5.4 The Artist shall not sublet or share of the Space or any part of it without the Organiser's prior consent. Collaborations and sharing of space is allowed with prior consent of the Organiser.
5.4 The Artist shall occupy the Space as the Organiser's licensee. The Artist shall not obtain any right of exclusive possesion or occupation of or any proprietary interest in the Space.
5.5 The Artist's Space should be constructed in accordance with the rules and regulations set out in the Exhibition Manual. The Artis shall comply with all instructions of the Organiser and/or its agent in respect of the construction of the Space.
5.6 The location of the Space allocated to the Artist shall be provisional and subject to change prior to Exhibtion.
5.7 The Organiser shall be entitled to relocate the Artist's Space or Venue at any time prior to the Exhibition and, if necessary, reduce the Space allocated.
5.8 The Artist shall vacate the Space at the end of the period of the Exhibition or otherwise in accordance with the Organiser's request. In the event that the Artist fails to vacate the Space, it shall indemnify and keep indemnified the Organiser against any losses, costs incurred as a result of the Artist's failure to vacate.
6.1 The Artist shall comply with the Exhibition Manual. The contents of the Exhibition Manual varies depending on the exhibition and its venue but a copy of one which is likely to be similar to the Exhibition Manual may be obtained on request. This should be used as a guide of the nature and scope of the rules and regulations to be included in the Exhibition Manual. The Exhibition Manual will be sent to the Artist aproximately one month before the Exhibition.
7.2.2 the Organiser shall not be liable for any loss of income or profits, loss of contracts or for any indirect losses.
7.3 Nothing in these Terms shall exclude or in any way limit the liability of the Organiser for fraud or for death or personal injury caused by its negligence, or for any other liability to the extent that the same may not be excluded or limited as a matter of law.
7.4 The Organiser shall not be liable for any delay or damage or loss caused by any event, fact or circumstance beyond the Organiser's reasonable control.
7.5 The Artist shall indemnify and keep indemnified the Organiser against all costs, losses or damages incurred by the Organiser or claims made against the Organiser arising directly or indirectly as a result of any breach of these Terms by the Artist, any default or negligance of the Artist or the Artist's agents, employees or subcontractors in connection with the Exhibition.
7.6 The Organiser is not liable for any damages to the artwork due to the Venue's conditions. All of those conditions will be described in Exhibition Manuals and it will be the Artist's responsibility to understand and agree to those terms.
8.1.1 commits a material or persistent breach/es of any of these Terms and, having received the notice giving full particulars of the breach/es and requesting that the same be remedied, has failed to remedy such breach/es.
9.1.1. Referring to clause 3.2.1 where the smaller Final Fee is charged but the Artists agrees to share the commission with the Organiser from the sold artwork during the Exhibition the Organisers shall take 25% VAT inclusive commission of all sold artwork at the Exhibition. If any sales will happen on the day of the Exhibition, the buyers must be directed to the sale point at the Venue where the Organisers will process the transaction.
9.2 The Artwork sold at the Exhibition will be marked as sold but must remain at the Venue until the Exhibition has finished. There will be the exception in special circumstances and it will depend on the Organiser's decision.
9.3 The Organisers shall use their best endeavours to distribute sales revenue less commission or admin fees (credit card cgharges, admin fees for credit/debit card portals) to Artists within 7 working days of receipt of invoice for sales at the event. Any refused cheques and credit card payments shall be deducted from Artist revenue due. Any cheques and credit card payments refused by the bank shall not be responsibility of the Organisers. The Organiser is not liable for any agreement between the Artists and buyer. The Artists is obliged to deliver the artwork to the buyer within the times agreed prior to the transaction.
10.1 The person or persons signing the Exhibition Contract on behalf of the Artist shall be deemed to have full authority to do so on behalf of the Atist and the Artist shall have right to claim as against the Organiser that such person did not have such authority.
11.1 The Artist acknowledges that the Organisers shall not be held responsible for the failure of all or any other contracted Artists to attend the Exhibition or the failure of any number of visitors to attend the Exhibition for any reason.
12.1 Each Artist will ensure that all the exhibited articles and any alterations to the space will be removed by the specified times at the end of the event. The Organisers reserve the right to pass on any costs incurred by any Artists failure to vacate.
13.1 The Artist shall comply with all applicable laws, regulations and codes of practise relating to the Exhibition and the Artist's attendance at the Exhibition, including without limitations, the rules and regulations set out in the Exhibition Manual and any additional rules imposed by the owner of the Venue, the local authority and any fire and safety regulations.
13.2 All materials used for building, decorating, covering the Space or forming part of the Space must be non flammable.
13.3 No explosives, detonating or fulminating compounds or other dangerous materials shall be brought into the Exhibition by or on behalf of the Artist.
13.4 The Artist shall warrant that all relevant legislation will not be infringed and indemnified the Organiser against any losses incurred by the Organiser as a result of a breach of the warranties.
14.1 These Terms shall be governed in all respects by the laws of England and Wales and the courts of England and Wales shall have exclusive jurisdiction to settle any disputes.
15.1 The failure of either party to enforce any term of or right arising pursuant to these Terms does not constitute a waiver of such term or right and shall in no way affect that party's right later to enforce or excercise the term or right.
15.2 The invalidity or unenforceability of any term of or right arising pursuant to these Terms shall not adversly affect the validity or enforceability of the remaining terms and rights.
15.3 The Terms constitue the entire agreement and understanding between the parties with respect to its subject matter and supersedes any prior agreement, understanding or arrangement between the parties, whether oral or in writing, with respect to the same. No representation, undertaking or promise whether, without limitation, relating to location of the Space, visitor or Artist attendance figures or otherwise, shall be taken to have been given or be implied from anything said or witten in communications between the parties prior to these Terms, except as set out herein. Neither party shall have any remedy in respect of any untrue statement made to it upon which it has relied in entering into these Terms (unless such untrue statement was made fraudulently) and that party's only remedies shall be for breach of contract as provided in these Terms.
15.4 Subject to the definition of 'Organiser' pursuant to which it is intended to confer a benefit on the named third parties, nothing in these Terms shall confer on any third party any benefit or right to enforce any of the Terms whether pursuant to the Contract (Rights of Thirs Parties) Act 1999 or otherwise.


LLC "TNK-Uvat" (a member of the TNK-BP group of companies) is to cut the cost of drilling 15 horizontal wells at the Ust-Tegusskoe field by $19.2 million by deploying a new drilling technology.
The new technique, known as mini-pilot hole horizontal well drilling, eliminates the labour-intensive procedure of "truncation" and drilling a pilot hole and will be used in TNK-BP's Uvat Eastern Hub development. A small-diameter guide well is drilled before working on the main producing hole to help clarify the geological section and oil saturation, as well as determining the optimal trajectory for the well's horizontal section to ensure greater productivity.


Happy Friday everyone! I'm here sharing some really great lamp makeovers! Why go out and buy a brand new light when you can just revamp an old light that you thrifted or one that you own!? I was lucky enough to come across some pretty great lamps at an estate sale. Luckily they wanted to get rid of these lamps so I said I'd take them off their hands! 🙂 Gladly!
I love all of these remakes and I love how you can custom design lighting in your home to match your exact style! I love all of the creativity with all of these lamps and I might have to give one or two a try! I would have never thought to make lamps out of some of these items! So cool!
How to turn a lantern into a lamp – Lovely Etc.
Which one is your favorite?! I'm hoping I can come across an old tripod so I can make a lamp for my basement! How fun are these makeovers?! I hope everyone has had a great week and I will see you next week with an announcement and a project I have been working on for quite some time!
« Birthday Party Decor & DIYs for the Ladies!
My creative bug is coming back……I just have to be careful about the spending and pace myself. Can't wait until you see the computer desk in the kitchen in person! Love you!!!
That's great! I can't wait to see the computer desk in person!! See you in a week! Love you too!


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#CU Pros
Stats & Media Resources
Lennon Named An NSCA Athlete of the Year
Senior goalkeeper Nolan Lennon was named a 2019 All-American Strength and Conditioning Athlete of the Year by the National Strength and Conditioning Association. He is the only Division I men's soccer player to receive the honor.
Lennon has demonstrated tremendous resilience during his career, battling back from three ACL surgeries. The senior's fight was rewarded last season as he earned his first varsity letter as a Clemson Tiger.
"He has spent countless hours in the weight room during his career and has consistently dedicated himself to his physical preparation," said strength and conditioning coach Rick Franzblau. "His hard work and dedication towards building the Clemson's men's soccer culture has not gone unnoticed."
Lennon's commitment to the Tigers and leadership on the pitch is evident to coaches, teammates and fans, and the senior earned the position of team captain for the upcoming fall season.
In the weight room, Lennon is one of the strongest guys on the team and is among the top players on the team in bench press and split squat. The goalkeeper also leads the team in vertical jump and is among the team leaders in the 30-meter sprint.


We've all heard it before: "A picture is worth a thousand words." That famous idiom (or is it a cliche?) first appeared in a 1911 newspaper and has been widely used since. In today's society, however, the phrase has taken on a whole new meaning. Using images instead of text to convey ideas—known as "picting"—is becoming the norm among today's digital-first students.
Snapchat, a mobile app that allows users to capture video and pictures that disappear after a few seconds, has over 173 million daily users and the average number of Snaps per day hovers around 2.5 billion. Instagram, a social networking app for sharing photos and videos, counts more than 400 million daily users. YouTube, the most popular video site on the Web today, has over 5 billion videos. Approximately three out of every four tweens and teens are on some type of social media platform these days. In short, picting has arrived.
Is Picting a New Literacy?
A new type of literacy is emerging, but rather than embracing it, most schools are shying away.
As Kayla Delzer says in a recent EdSurge article, "social media is happening—with or without you." Students are coming to school with an established digital footprint. They are on Facebook, Twitter, Instagram, and Snapchat before they even step into our classrooms.
Here are four picting apps that will give your students ownership of their learning, share your classroom culture, and make your classroom more engaging.
Consider adding a Social Media Specialist or Class Photographer as a classroom job to capture memorable moments, showcase student work or tell the story of your classroom in images and post to your class accounts. You may be surprised to see what students value and want to share out with the world, as opposed to what the teacher would choose.
A fun way to put Instagram to work in the classroom is to feature a Student of the Week. Have your picting expert chronicle a week in the life of that student and post those pics at the end of the week to acknowledge them. The key is to have that special student choose the images that he or she wants to use to tell their story.
Students can take a picture of their favorite book and use hashtags and the comment feature to convince others why they should give it a read.
For the youngest learners, give them a device and send them on an ABC scavenger hunt. Have them capture images around their classroom, school or home that represent the letter of the alphabet that they are learning that week.
Challenge older students to create engaging stories using the full range of Snapchat features like filters, emojis, and the drawing tool. Stories don't always have to be serious. Snapchat allows kids to have fun with storytelling.
A favorite activity I use with my students is reflecting on their reading by creating #BookSnaps, a way to make learning and thinking visible. Check out Tara Martin's blog to learn the ins and outs of how to get started with this cool activity. For younger students, like my third and fourth graders, we used Google Drawings to create our #BookSnaps and then shared them on Twitter, Facebook, Instagram and Seesaw.
Snapchat is also perfect for students to record 10 second book reviews. Kids can record quick videos giving their recommendations on the latest book they have read.
Finally, most students are learning a world language in school. Snapchat is an easy way for kids to practice speaking. Younger students can record themselves practicing new vocabulary while older students can carry on conversations in the language they are studying with other students or the teacher to hone their speaking skills.
Most people, kids especially, are consumers of YouTube videos. Encourage students to be creators and put them in the driver's seat to create video content instead of just watching what others have produced.
I have one student that recently discovered his Google for EDU account automatically gave him his own YouTube channel as well. He spends endless hours at home and during recess at school making videos that explain some of the more difficult math content we cover in a kid-friendly way. I recently explained to him what a screencast is and that he can also create them using Screencastify, Educreations, Explain Everything or even Seesaw and then upload to his YouTube channel. (Guess what he is probably spending his weekend doing?) Have your kids take a stab at making their own tutorial videos. What better way for kids to learn than from each other?
A similar idea is to record students leading lessons and teaching other students. These videos can be shared on the class YouTube channel or on a student's individual channel. You have the option of making them unlisted (instead of public) if you don't want to share them with the world. The idea here is when students go home and have to complete practice problems or study for a test, they have a kid-friendly video to watch in case they get stuck.
Roselynn Burke, a 4th grade teacher from New Castle, Delaware, is a genius when it comes to leveraging YouTube in the classroom. Her students create Book Commercials instead of writing the traditional book report, and she compiles all of them into a playlist for kids to use when looking for recommendations for their next pageturner. She is also an avid user of Twitter and on occasion people ask questions about the pictures she tweets so her kids typically respond via a YouTube video. For example, one time she tweeted her students playing a game that someone did not recognize. Her students videotaped a tutorial of how to play the game and tweeted back to that person. Talk about the power of social media!
Students asking or answering an interesting question. Make sure to add a hashtag or some text to give them a shout out for their stellar contribution!
A student leading a lesson. I had a 4th grader teach a math lesson on multistep multiplication problems to a group who needed additional help. We made sure to capture that image and share it on Seesaw (and Twitter and Instagram) so her parents and the world could see her fine work in action!
Students building or creating. We routinely captures images of students "making" by using materials in our makerspace or via coding platforms like Scratch and Tinkercad.
Seesaw also has video capability so "selfies" have become a regular means of expression in my classroom. My students always have the option of how they want to show what they know. Many choose the video option, especially my struggling learners. They prefer to express themselves using video or the drawing tool.
The desired result of using social media in the classroom is to provide authentic opportunities for students to use their voice, engage in positive digital citizenship, and create connections with the real world that will engage and motivate today's learners.
How are you using "picting" and other social media apps in your classroom?
Disclaimer: If you are concerned about the appropriateness of what will be posted or have an agreement with your school district that states students cannot post directly to class social media platforms, have a dedicated device on hand for students to take images for you to post to the class account.
I also suggest you routinely change the password to maintain security of the account if you are having students post directly from a class account.
Finally, in order to ensure that students have a voice in what is shared at the end of each day or the week spend 5 minutes posting together so students have input with regard to hashtags, text, etc. that will used alongside the images.
Chrissy Romano-Arrabito is a veteran teacher with over 24 years experience with students in elementary and middle school. She blogs at theconnectededucator.com.


Blade Armor was designed and manufactured to help stop the wear and tear associated with stick blades. Designed as an added layer of protection underneath the tape of your stick, Blade Armor is made in Canada and only 3mm thick! Their Invisi-Blade Technology allows these thin strips of armor to adhere to the bottom of the stick blade without compromising the overall feeling of the blade and puck. Blade Armor is awesome for Ice and Inline hockey applications and can really extend the life of your stick! Blade Armor is available in a variety of colors to match your team or your stick tape!


Topps (UK) Football Match Attax Extra 2014/15 Hat-Trick Hero 2015 Match Attax Extra 2014/15 Hat-Trick Hero 2015 LT3 - These three special foil fronted cards can be used as part of a game in connection with the others in this series. This time the cards are titled Hat-Trick Hero and again have foil fronts, but there is only one player on each. The players are Diego Costa, Sergio Aguero and Charles Austin. The red and blue backs again have the club logo and player's position. Size 88 x 64mm.
Sporting Profiles Football Classic Teams Arsenal F.C. 2006 Classic Teams Arsenal F.C. 2006 L8 - This is a series of black and white team photographs posed by Arsenal football players fronted by appropriate silverware, but without any text – other than "Classic Teams, Arsenal" on the backs. Size 114 x 75mm.
Sporting Profiles Football Classic Teams Liverpool F C 2006 Classic Teams Liverpool F C 2006 L8 - This is a series of black and white team photographs posed by Liverpol football players fronted by appropriate silverware, but without any text – other than "Classic Teams, Liverpool" on the backs. Size 114 x 75mm.
Sporting Profiles Football Classic Teams Tottenham Hotspur F C 2006 Classic Teams Tottenham Hotspur F C 2006 L8 - This is a series of black and white team photographs posed by Arsenal football players fronted by appropriate silverware, but without any text – other than "Classic Teams, Arsenal" on the backs. One of the pictures being the Spurs Football League Champions 1951 team (the same photo is at no. 3 in Rockwell's Classic Spurs) and another is the 1961 League/Cup double winners side (no. 4 in Rockwell). Size 114 x 75mm.


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Samsung Galaxy S3 Android 4.1.2 Jelly Bean Update Roll Out – Check Out The Amazing Features
It's just the other day that the current Samsung flagship smartphone, the Galaxy S4 got its first update from T-Mobile. It's now the turn of the Galaxy S3 to have the honors, which comprises of the Android 4.1.2 Jelly Bean update which Magenta has already stared to roll out. The update is reported to include some nice cool features that should provide a fresh new lease of live in the face of its more worthy successor, the S4.
Among the features to look forward to in the new update include Blocking Mode, Sound Balance, Samsung Gallery, Auto-pairing via NFC, Paper Artist and so on. The update will also offer Multi Window View that enables the user to open and work on two pre-defined apps at the same time. Then there are a few smaller features also included, such as Easy Mode, more advanced camera options as well as the new 4G logo of the carrier. Unfortunately, Google Play is not part of the update package, which is quite shocking considering the enhanced functionality the features come along with. More so since it was already stated to be part of the update.
Coming to the update, the T999UVDMD5 weighs 187 MB and can be downloaded either via the latest version of Samsung Kies or over the air. T-Mobile has stated the update will be available till June 16th. The official notification has already been sent out though for those who haven't received the same so far can try and download the update manually. For this, they will have to tao on Settings, About Device and then Software Update. However, users are advised to ensure their devices are at least 50 percent charged before getting along with the update process.
Filed Under: Apps/Softwares, News Tagged With: Samsung Galaxy S3, Samsung Galaxy S3 Android 4.1.2 Jelly Bean Update
Windows 10 VS Windows 8: Key Distinctions Between These Iterations Of The Operating System
Top 9 Best Text To Speech Transcription Software ; Best Software
10 Best DVD Burning Software For Mac And Windows – To Burn The Data
List Of The Best Apps For Apple Watch: What Suits Your Needs?
The Best Apps For Apple Watch – Health And Fitness Apps
Facebook Quiz App Exposes Data of Millions of Users
Facebook Helps You Stay Spoiler-Free with Keyword Snooze
Snapchat Might Be Preparing a Gaming Platform Within Its App
Microsoft Fixes Its Facial Recognition Tool to Better Spot Darker-Skinned People
Google Earth Returns with an Area Measurement Tool


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Accentuating the Positive
by Jeremy Alford
Patrick Juneau
There's nothing pretty about the oil spill claims BP is paying, but Lafayette attorney Pat Juneau contends the process is yielding significant benefits for the state.
You can tell Pat Juneau has put in his time before juries and judges. The Lafayette attorney has a gentle touch, which seemed to be appreciated by the panel of state lawmakers charged with overseeing the Deepwater Horizon Claims Center.
You can tell Pat Juneau has put in his time before juries and judges. The Lafayette attorney has a gentle touch, which seemed to be appreciated by the panel of state lawmakers charged with overseeing the Deepwater Horizon Claims Center. Juneau was named claims administrator by a federal court this past spring, charged with making sure residents and businesses are compensated for damages and losses.
He explained this to the oversight committee as only an archetypical Southern lawyer with a shock of white hair could. Slowly. Deliberately. With a mix of dead seriousness and casual banter that sometimes drones on but captures attention spans.
"He is a Louisiana person, and he's real familiar with the folks involved in this," state Sen. Ed Murray, D-New Orleans, said during the committee's most recent hearing. "I think he will do a much better job than what they had before."
What we had before was Kenneth Feinberg, who oversaw the process when it was called the Gulf Coast Claims Facility. Juneau replaces Feinberg, a Boston brawler who would publicly and fiercely debate with elected officials over issues of fairness with the same kind of zeal he reserved for commercial fisherman and coastal residents.
The claims center was preparing to start shipping out payments in late July. With the assistance of 18 satellite offices across the Gulf Coast, more than 20,000 claims had been filed as of July 1, with roughly 30 percent coming from Louisiana. In comparison, the Feinberg-led center processed about 221,000 claims and paid out $6 billion.
It's expected that about $7 billion will eventually be paid out across the Gulf Coast from the process Juneau is overseeing. "I want to stress to everyone that that's just a projection. There's no cap on the fund," Juneau says. "I'm not sure how much will come to Louisiana, but I'm not naive. It will be a significant number, and it will have a B' on it, in the billions."
He adds that the number of claims will steadily increase. After all, there were 75,000 claim forms mailed out in June to individuals and businesses that may be eligible to participate. And Juneau says an operational framework is in place to handle the masses, should they come.
He argues there's an "unknown story" in association with that preparation - that is, the economic impact the process will eventually have on Louisiana's economy, and already is in some instances.
Juneau referred to a study of the money being spent on administration and processing - not the actual claims - that predicted $270 million in sales, $290 million in salaries for new jobs and $20 million for the state treasury over the next three years. "There are good things that are going to happen to Louisiana," he says.
The claims center's headquarters have been set up in the Energy Building, a skyscraper in New Orleans. It alone employs more than 340 people, plus 100 accountants who live in Louisiana. Two shifts help man the main offices 24 hours a day. "We've taken over four floors there. That is now a vibrant building in Louisiana."
There's likewise a call center in Hammond that can staff up to 400 people and six satellite offices spread through the state. "We have a heck of an investment here in Louisiana," Juneau adds.
Rep. Joe Harrison, R-Napoleonville, counters that it's a bittersweet accomplishment and that he's more concerned that a funding mechanism will be there in coming months and years for elongated or future claims. "The existing businesses that were affected by this are who I'm worried about," Harrison says.
Juneau says those existing businesses will be treated more fairly under the new process he's overseeing. He notes that his appointment came from the court, that the Web-based application system is "transparency on steroids," applicants will know up front what they'll need to participate, and there is an easy-to-navigate appeals process. "And if they don't like the program for whatever reason, they can opt out by Oct. 1 and then pursue their rights," he notes.
Addressing some lawmakers' suggestions that more outreach needs to be done to let people know what's going on, Juneau says "millions" of letters have already been mailed, commercials are on television, announcements have aired on radio, and print advertising had been purchased. One lawmaker said he noticed an advertisement in the Shreveport region, but some closer to the coast could offer no similar examples.
Harrison and others asked Juneau to help them conduct community meetings, which have been ongoing. "There is a lot of apprehension about going from one claims group to another," Harrison says.
Juneau, who would like to make his employees available for any and all such gatherings, says new claimants can still come forward if they feel they were impacted by the oil spill; those with claims that were pending under the old process have already been notified. "If you're in doubt, file the claim," Juneau says. "We'll do the homework for you."
The process being overseen by Juneau is fueled by an $8 billion settlement reached during the first week of March between attorneys representing more than 100,000 individuals and businesses with claims against BP over the 2010 Deepwater Horizon explosion. The local law firm of Domengeaux, Wright, Roy & Edwards, led by managing member Jim Roy, helped negotiate the $8 billion settlement.
If you're interested in filing a claim, try one of the following:
The main website, which can direct you to either economic or medical claims, at www.deepwaterhorizonsettlement.com; or
Make inquires by phone, 24 hours a day, through the Hammond-based call center by dialing 1-866-992-6174 for economic claims or 1-877-545-5111 for medical claims.
Jeremy Alford can be reached at [email protected]
Tue, Jul 24, 2012, 3:28 PM


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Backlund to Retire from Sewanee Admissions
The University of the South has announced that Dean of Admission Lee Ann Backlund will retire from her position at the end of this academic year.
Backlund first served in Sewanee's Admission Office from 1981 to 2001, followed by a stint as a college counselor at Porter-Gaud School (Charleston, SC) and several years as dean of admission at Agnes Scott College in Atlanta. She returned to Sewanee as dean of admission and financial aid in 2010 and was named vice president for enrollment planning in 2014.
During her service to the university, Backlund oversaw and managed unprecedented growth in applications; undergraduate enrollment has grown from 1,463 students in 2010 to 1,725 this year. She and her team demonstrated and embraced innovation in their work—never more so than during the past 10 months. Backlund says she is most proud, however, of two things: her current and former colleagues who have successful careers and leadership positions in admissions, and the many classes of Sewanee students who have grown to be agents of change in the world.
Backlund is a national leader in college admissions. She is the past chair of and continues to serve on the Board of Directors of Common App, a not-for-profit organization committed to the pursuit of access, equity, and integrity in the college admission process. She is also past president of SACAC, the Southern Association for College Admission Counseling. In Sewanee, her service to the community includes as a member of the Board of Trustees for St. Andrew's-Sewanee School.
"Lee Ann has spent her 40-year career helping young people find the right fit for their college experience and individual development," said Reuben Brigety, Sewanee's vice-chancellor and president. "I am grateful for her high standards, her innovative thinking, and the unfailing dedication to student success that she brought to her position." The university will begin a national search for Backlund's successor.


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Members Units
Navy Recruiting District New England/ Boston
Served in this District? Find your Shipmates on Navy.TogetherWeServed.com
Garrison - Recruiting Command
Existing Year
468 Members Who Served in This Unit
This Unit Only This Unit and 0 Reporting Units Parent Unit and 199 Reporting Units
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Adamski, Ted, SCPO, (1993-2014)
Agbay, Edgardo, PO1, (2005-Present)
Alban, Gustavo, PO1, (2001-Present)
Albano, Cliff, PO1, (1989-2007)
Albro, Thomas, CPO, (1975-2007)
Amadeo, Joseph, CPO, (1984-2004)
Amato, Anthony, CPO, (2001-Present)
Anderson, David, CPO, (1989-Present)
Anderson, Kurt, CPO, (1995-Present)
Andrade, Victoria, PO1, (1987-2007)
Anthony, Robert, PO1, (1986-2006)
Armwood, Leon, PO1, (1991-2015)
Arnold, Benjamin, PO1, (1993-2007)
Arriola, Stephen, CDR, (1990-Present)
Ashford, Eric, CPO, (1994-2007)
Ashmeade, Georgia, PO1, (1996-Present)
Avery, Steven, PO1, (2001-Present)
Azevedo, Brian, PO1, (1989-2012)
BABCOCK, Mark, CPO, (1999-2008)
Bain, Alan, PO1, (2000-Present)
Balentine, Kevin, PO1, (1996-2007)
Bamba, Omar, PO1, (2001-Present)
Barr, Colin, PO1, (1997-2007)
Barrera, Rodolfo, PO1, (1997-2007)
Bartlett, Kevin, PO2, (2001-Present)
Bass, Timothy, PO1, (2000-Present)
Beall, Jessica, PO2, (2001-Present)
Beattie, Daniel, PO1, (1990-2010)
Belanger, Glenn, PO2, (1988-1998)
Bellefeuille, Brian, CPO, (2002-Present)
Belyea, Michael, ENS, (2006-2007)
Bennet, Edward, SCPO, (1988-Present)
Bennett, Eric, PO1, (1993-2013)
Berthiaume, Robert, PO1, (1988-2001)
Bethune, Joseph, PO2, (2001-2008)
Bielecki, Michael, CPO, (1978-1998)
Bilinski, Chris, LCDR, (1995-Present)
Billouin, Bruce, PO1, (1990-2001)
Bingham, Scott, PO1, (1998-2008)
Bishop, Dale, CPO, (1987-2008)
Blade, David, CPO, (1996-Present)
Bocash, Michael, CPO, (1999-2008)
Boivin, Mark, MCPO, (2002-2010)
Bolieiro, Kenny, PO1, (1992-Present)
Boord, Jeremy, CPO, (1996-2016)
Bowers, T. C., CDR, (1998-Present)
Boyet, Andrew, PO2, (1995-2006)
Bradovich, Jared, CPO, (2000-Present)
Brant, Drew, SCPO, (1986-2010)
Unit Citations - Display as Table
Excellence Awards
Associated Patches
Battle/Operations History
Unit Timeline
Unit Photos Member Photos
Torrey, Jon, Jr., PS1
Round Portland
Gafoor, Anthony, NC1
NC1(SW) Tony Gafoor
NRS Portsmouth NH
ME Fishing
Awards Banquet 2007
Williams, George, PO1
MMC Jim
Underway???


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From The Print Journal
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You are here: Home / 2018 Contest Winners / Katherine Paterson Prize for Young Adult and Children's Literature / Randolph Caldecott, Forever in Motion
by Barbara Younger
Randolph Caldecott, Forever in Motion
Honorable Mention, Katherine Paterson Prize for Young Adult and Children's Literature
August 14, 2018 /in 2018 Contest Winners, Katherine Paterson Prize for Young Adult and Children's Literature /by Cammie Finch
Look! That picture book boasts a shiny sticker on its cover.
Study the sticker closely. Do you see a man bouncing on a horse? He's John Gilpin.
Gallop back in time to meet the artist who drew him…
The world Randolph Caldecott loved was a leaping, flying, dancing, barking, galloping place.
At the King's School in Chester, England, Randolph sat still long enough to pay attention, earning the title of Head Boy for his good grades.
The second school let out, he was off on adventures. On his way through town, he sampled sweets from the bakery, chatted with merchants hitching their wagons, and watched ducks splash in the River Dee.
He traveled the country lanes and fields, jumping over streams and fences. Randolph paused, every now and then, to study a pig's snout, admire a rooster's colors, or pet a farmer's dog, but mostly, he was a kid on the go.
Those adventures whirled through his mind when he got home. He sent them sailing onto paper.
Mr. Caldecott didn't encourage Randolph's artistic talent. He wanted his son to be a banker. In 1861, at fifteen, Randolph moved to a nearby town to give banking a try.
Randolph added column after column at the Whitchurch and Ellesmere Bank. He needed a break from so many numbers! He sketched his fellow employees and the bank's customers, a handy use for old deposit slips.
Luckily, his job included calls to local villages. He sped over the lanes in his brand new country gig. The villagers liked Randolph. They invited him to steeple chases, dances, and cattle fairs. More happenings to draw when he returned from the fun.
The Queen Railway Hotel caught fire that year. Randolph whipped out his notebook to sketch the shooting flames. He drew a more detailed picture later and mailed it to The Illustrated London News. The magazine sent Randolph a check, and, hooray, they published his drawing!
At twenty-one, he was promoted to a bank in the city of Manchester. Randolph grabbed the opportunities city life offered him: art lessons, an art club, and friendship with other artists.
Randolph suffered from a weakened heart and stomach pains, but he refused to let illness slow his artistic tracks. He snatched every spare moment to draw and paint. Sometimes, he even forgot to go to bed, working all night long.
But Randolph didn't forget to celebrate each time he sold another piece of art.
One day he made a brave decision. He up and quit the bank.
Randolph Caldecott was on the move, this time to the great city of London. "I have enough money in my pocket sufficient to keep me a year or so," he wrote to a friend. In that year, he would learn if he could make a living as a professional artist.
Talk about a hopping place! Randolph roved the streets and squares of London. He sketched kids rolling hoops, ladies selling flowers, and rich gentlemen strutting to the theater with their noses in the air.
Inside the theater, he drew Hamlet on stage with a sword in one hand and a torch in the other. He drew the Prime Minister giving an important speech at Parliament. And when witty Mark Twain visited from America, Randolph caught him on paper.
Randolph spent happy hours at the Zoological Gardens. He sketched everyone he met from the roaring lions to the zookeeper mucking out the stalls.
The animals lay stiller than still in the British Museum. Randolph studied the wing feathers of a stuffed stork. He measured the skeleton of another stork. He needed to understand how their bodies fit together and how they worked so he could bring animals to life in his drawings.
Project after project delivered money to his pockets. He painted huge swans for the dining room of a fancy house. He climbed high into the Harz Mountains to sketch the sights for a travel book. His big break came when he illustrated one hundred and twenty scenes for Washington Irving's Old Christmas.
People were paying attention to Randolph Caldecott, including an engraver named Edmund Evans. Mr. Evans was experimenting with something exciting: color printing. Publishers sold books for older kids in England, but they didn't offer many picture books, especially beautiful ones. Edmund Evans was determined to change that.
He visited Randolph in his apartment on Great Russell Street and asked him to create two picture books.
Randolph knew kids were cool. He jumped right into the project. He decided to illustrate a nursery rhyme, "The House That Jack Built" and a ballad, "The Diverting History of John Gilpin."
First, he constructed a blank book in the size the real book would be.
Next, he figured out where to place the words and pictures. He made quick drawings called "lightning sketches" as he thought about the story.
Then he painted the actual illustrations with brown ink and a small brush.
Finally, he added color to some.
Mr. Evans printed 10,000 copies of each picture book in time for Christmas, 1878. The first printings sold out right away. Success! From then on, Randolph and Mr. Evans produced two new picture books a year.
Kids loved the books. Randolph didn't preach or try to teach manners. The grownup characters made silly mistakes, and the kid characters got important parts. He even cast a boy and a girl as the King and Queen in Sing a Song for Sixpence.
And no one sat still. Cats caught rats. Frogs paid calls. Knaves stole tarts. A bear in a flowered dress and bonnet promenaded down the street. A doll danced. Dinnerware bopped to life.
Randolph didn't fence his characters in with a black border like many illustrators did. His characters moved across the page as if they were actors on stage. He left plenty of white space, too, so they could breathe.
Randolph Caldecott became famous in England, Europe, and America. Not one to brag, he spoke in a low, quiet voice. He sported a pleasant expression, although it was hard to see because of his whiskers. Tall and thin, he sometimes put himself in his pictures. He married in 1880. Mrs. Caldecott began to make appearances in Randolph's pictures, too.
No matter how busy he was, Randolph answered the letters kids sent him. "I thank you very much for the grand sheet of drawings," he wrote one boy. "There are many beautiful things waiting to be drawn. Animals and flowers. Oh! Such a many."
In 1885, a London magazine asked him to travel to the United States to record "American Facts and Fancies." Randolph said yes to the adventure.
The rolling of the ship in rough seas was not the kind of motion he relished. He joked in a letter: "We hope an overland route is discovered by the time of our return."
That fall, Randolph drew the people and sights of America, from a boy getting off the ship in New York to dock workers loading cotton in South Carolina.
The Caldecotts reached St. Augustine in December. Randolph was now sick, really sick.
The man who never stopped drawing kept on.
Then the lines in his sketchbook trailed off.
Randolph died on February 13, 1886. He was thirty-nine. His good friend wrote in a tribute, "The artist's hand is still."
Fifty years later, publisher Frederic Melcher created an award to honor picture book illustrators. He named it the "Caldecott Medal" after the artist who, with energy and enthusiasm, first captured for kids the scurry and frenzy and fun of the world.
Look at the Caldecott Medal. There's John Gilpin on his horse, coattails waving as he gallops through town. Geese honk. Dogs bark. People hurry about. No one is sitting still. Randolph Caldecott, forever in motion!
Creative Activities to Use with Randolph Caldecott, Forever in Motion
Oh! Such a Many Journals: Randolph wrote in a letter to a boy: "There are many beautiful things waiting to be drawn. Animals and flowers. Oh! Such a many." Have students fold five or six sheets of paper in half and then staple them together to make journals. Ask them to write "Oh! Such a Many" on the front of their journal. Inside, they can draw things they think are beautiful. Next to each drawing, ask them to jot down words describing that beautiful thing.
Objects to Life: Randolph was one of the first illustrators to bring objects to life in his picture books. Explain to children that this is called "personification." Human qualities are given to things that aren't alive. Next, ask them to find something at their seat to bring to life such as their pencil, notebook, friendship bracelet, or shoes. Through creative writing, drawing, or small group conversations, let students express what their object is thinking and feeling.
Lightning Sketches: Have students take turns choosing an animal or object for everyone to draw as fast as they can. Explain that Randolph used this technique when he designed a new picture book. Set a timer to add to the fun. Children sometimes have trouble with the concept of sketching. Help them understand that a sketch isn't precise or detailed, but a useful tool for brainstorming and planning.
Capture That Scene: Randolph first earned money as an artist by drawing news events. Let your students bring pencil and paper out to the playground during recess Ask them to study the scene, as Randolph did, and then make a drawing of the playground action. Display the drawings in the hall for the rest of the school to admire.
Long Columns of Numbers: In honor of Randolph's banking days, ask your students to create a long column of numbers. Have them switch papers with someone else and then add up that column. Randolph made sketches of his fellow bankers when he got tired of adding. Invite students to make a sketch of a classmate on their paper.
Travel Guide: Randolph spent happy hours exploring London. Use travel books and websites to show students the sights of London. Next, on paper or in small groups, have them list their favorite sights in your area. Let them each choose a sight to draw. Ask them to write a sentence or two describing their drawing. Put the drawings together to create a travel guide. Display the travel guide in your school media center or use it as a welcome gift for a new student.
Caldecott Medal Winners: Read Caldecott Medal winners and Honor Books to the class. Then go through the books again, examining the illustrations more closely (or have students do this in small groups). Randolph's art was best known for its sense of motion and its humor. Ask students to look for those qualities in the illustrations and to share what they find.
Picture Book Party: Kids loved the picture books of Randolph Caldecott. Invite your students to bring in a picture book they love. Let them show the class their favorite page and explain why it's their favorite. Then treat your students to a reading of your favorite childhood picture book. Consider playing a game or serving a snack in celebration of your book.
For Kids at Home
Clay Creations: Randolph made clay models of animals and other objects when he was a boy. To make your own modeling clay, mix two cups flour, one cup salt, and three tablespoons cream of tartar in a saucepan. Stir a tablespoon of cooking oil into one cup of water. Add several drops of food coloring. Pour the liquid into the saucepan. With an adult, stir the mixture over medium heat for a few minutes. Cool and then knead. Use your clay to create animals and anything else you like.
Action Charades: Randolph's illustrations are alive with motion. Take turns acting out animal actions such as a duck waddling, a horse galloping, or a frog jumping, and people actions such as flying a kite, riding a skateboard, or licking an ice cream cone. The actor may not talk or make any other sounds. The other players guess the answer by shouting it out. Whoever guesses first gets a point.
Thank You Pictures: Randolph wrote lots of letters. He often included a drawing, signing his name "Pictorially Yours, Randolph Caldecott." For your next thank you note, draw a picture of yourself enjoying the present you received. Add a simple "Thank you" and sign your name.
Cover Image: Caldecott, Randolph. Gilpin Losing Control of his Horse. Colored engraving. 19th century. Victoria & Albert Museum, London, UK.
https://hungermtn.org/wp-content/uploads/2019/03/art-1428646__340.jpg 340 509 Cammie Finch https://hungermtn.org/wp-content/uploads/2019/03/Writing-and-Publishing-Logo-300x874px.png Cammie Finch2018-08-14 10:14:342020-06-08 17:38:25Randolph Caldecott, Forever in Motion
hungermtn@vcfa.edu | 36 College Street Montpelier, VT 05602 | (802) 828-8844
Review: The Binti Trilogy by Nnedi Okorafor
by Bianca Viñas How to Have a Two-Night Stand
Andrea Rogers


Being here on work experience, I've had such an amazing summer at WATB. I've had the chance to work on tons of different projects, from graphic design to editing. But by far the biggest and most exciting opportunity I have been given is designing a MURAL for their meeting room. With a 2 by 3 meter canvas to work on, the end goal of this project was to create a wall that illustrated the story of What Are The Buttons.
From the beginning, we knew that we wanted the wall to be black and white – simple but sophisticated! We took some inspiration from murals across Pinterest, and from there it was time to use my imagination to make every illustration meaningful to the team and their experiences at the company.
I used Adobe Illustrator to draw out all the individual illustrations, then put them together leaving minimal white space. There are a few repetitive images I used as fillers where the gaps weren't big enough to do a completely new illustration; namely paper airplanes, light bulbs, and mouse icons. The vector image was then printed and fitted by Printmates (Redhill).
With a wide range of clients to represent, I managed to fit in a party ticket (Mirage Parties), a jet plane (Instajet), an open sign (Barni), and some Lego (Inspect and Adapt). There is also a marquee (Fantastic British Food Festivals), a laser (Thinklaser) and a cute dog in the bottom right hand corner (Mishko and Shampoo). We even decided to kill off one of the Chickidee birds!
The end result I am extremely happy with! It's such a cool and unique opportunity to see my illustrations blown up across a huge wall, and I've definitely left my footprint in the WATB office!


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Album Review of The Nature of Things by The Daredevil Christopher Wright.
Home » Pop/Rock » The Nature of Things
The Daredevil Christopher Wright
Record label: File Under Music
Genre(s): Pop/Rock, Alternative/Indie Rock, Alternative Singer/Songwriter
Buy The Nature of Things from Amazon
The Nature of Things - Fairly Good, Based on 3 Critics
Hailing from the relatively small Eau Claire, Wisconsin, music scene, the Daredevil Christopher Wright might have something of a kid brother complex going on. Though the band was formed in 2004, its relatively sporadic output had been celebrated in part due to involvement from fellow Eau Claire musician Justin Vernon of Bon Iver's connection to the group's 2009 debut album, In Deference to a Broken Back. Vernon mixed several songs on that album, which was a colorful affair that used a wide variety of guest musicians and auxiliary sounds to augment singer/songwriter Jon Sunde's winsome orchestral folk-rock.
A short while back, the University of Wisconsin-Stevens Point campus hosted two shows within the same week. One was a sold-out dubstep show where a massive throng of people all looked on in wonder at something that was produced by a computer and not actual musicians. The other was a sparsely-attended show featuring a trio of classically-trained musicians called the Daredevil Christopher Wright.
Consequence of Sound - 44
Based on rating C-
The last thing that could be said about The Daredevil Christopher Wright is that they are too wedded to one sound. The Nature of Things, their second full-length, weaves traces of Simon & Garfunkel (the opener, "I & Thou"), Fleet Foxes ("Blood Brother"), and a kind of twee, Belle and Sebastian flavor ("Andrew the Wanderer"). One could argue that all three of those groups share something in common, but they also represent different eras.
'The Nature of Things'


Rob and I are not a couple.
Can I have a moment alone with Amos, please?
Carol and Ric don't seem to be busy.
Les had to rewrite his essay.
Ranjit and Emmett still liked each other.
What's Tal doing here anyway?
Marion got up earlier than usual this morning.
Ken seems like an easy-going guy.
Shyam tried to impress his boss.
Billie didn't seem to be happy with our decision.
Elric didn't show up for work on Monday.
I asked Hui to leave.
Sabrina has promised to pay back the money he owes by the end of the month.
Blake won't try to stop you.
Finding Kory isn't going to be easy.
Rajesh read the whole Bible from beginning to end.
Do you know where you are, Morgan?
Pantelis asked Barrio if she knew where he could buy an assault rifle.
Tao decided to quit his job.
Maria has been gone for ages.
Howard made quite a lot of money in his twenties.
I have so many things I want to tell Robert.
Merril played much better today.
Roxane gave Linder a big smile.
The boy I helped is Celeste.
I can't believe that you kissed Masanobu.
Mitchell doesn't have any friends who like camping.


Does your child struggle with peer relationships?
Does your child tend to withdraw from or have difficulty relating to other people?
Temple's College of Education Clinic is offering a weekly after-school group for children ages 7-11 who struggle with making friendships and social skills in a fun, laid-back environment! Group members will build social skills and relationships as they build with Legos at "Builders' Club." The Club will be led by professionals and graduate level students. Group fees are on a sliding scale and are affordable. Group will take place on Temple's main campus and will meet once a week after school.


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Mamluks' war with Ottomans: Rise of a civilisation, fall of another - Daily News Egypt
Business Mamluks' war with Ottomans: Rise of a civilisation, fall of another
Mamluks' war with Ottomans: Rise of a civilisation, fall of another
The complex used to have an office where the sultan would receive the public to hear their complaints.
Bassant Mohammed February 27, 2020 Comments Off on Mamluks' war with Ottomans: Rise of a civilisation, fall of another
In the middle of Islamic Cairo's main Street Al Mu'izz, one may find Sultan al-Ghuri's mausoleum. Legends have it that the place was never used and the whereabouts of the Sultan's body is still unknown. However, some say that his head is buried under the location.
Known as al Ghuriya, the monumental Islamic complex was built for those that were killed in battle or poisoned, away from home, and buried in an unmarked grave.
Al-Ghuri's complex consists of a mausoleum for the sultan, a khanqah (Islamic University), a sabil for distributing water, and a kuttab which was an Islamic primary school.
This office overlooks a grave yard where his wife, along with his odalisques, are buried.
Tuman Bay II, the last ruler of Egypt in the Mamluk Sultanate, is also believed to be buried in this place, after he was executed.
Last days of Mamluk's Sultanate in Egypt
The last period in the Mamluks rule of Egypt witnessed conflicts and countless wars, while some were external, others were internal struggles for the throne with short-lived sultans.
During the Burji Mamluk, or Circassian Mamluk, political power often plays an important role for designating a new sultan. Burji translates into English as Tower, referring to them ruling from the Citadel of Cairo. Constant bickering may have contributed to ending the Sultanate and their defeat by the Ottoman Empire.
This dynasty was shaped by treason; sultans were murdered left and right by everyone around them. This was mainly due to how power was passed down in this era: whoever was able to kill the Sultan would immediately receive the title. So even the guards, servants, and even palace officials would attempt murder just to get the title. Because of this, people dub this time period the era of the one-night sultan.
The main reason behind so much treason during this time was due to how children were brought up. In the time of the Circassian Mamluks, children were brought up in the military. Unlike the Ancient Romans or Greeks that fought under one nation, Circassian Mamluks were treated more like mercenaries, and only had their loyalty located in gold and money.
Since it was any Mamluk's game to become the next Sultan, even ordinary people started to greed for power. That's where the Julaben sect comes in; they were a sect of slaves bought and sold as children. They had no loyalty to anyone and played a dangerous role in killing the sultans. The princes of the Julaben Mamluk ruled their own armies, meaning that they were able to control the Sultan.
Qansuh as Sultan of Egypt
Qansuh al-Ghawri was the second to last of the Mamluk Sultans to rule Egypt. He rose to power during one of the more difficult dynasties, the Burji or a Circassian Mamluk rulers. A revolt against Tuman Bay by the conspiring princes led to the appointment of Qansuh as sultan against his will.
Facing revolts, treasons, and Egypt's empty treasury, Qansuh, as the wealthy prince he was, refused the sultan position, fearing to be deposed by execution like his predecessors. However, the princes forced him to take the position and promised never to betray him.
Knowing that the Mamluks were untrustworthy, Qansuh asked a fortune-teller who will rule Egypt after him. The fortune-teller said that the person who would rule Egypt after Qansuh, has a name that starts with an "S", therefore Qansuh ordered to kill everyone whose name began with S. Unbeknownst to him, the coming Sultan of the Ottoman Empire was named Selim I.
To replenish the empty treasury, exorbitant demands were levied on every kind of property, almost reaching seven to ten months' worth of income; even religious and charitable endowments were no exception. This was exacted with such severity, not only from Jews and Christians, but from every class, so to create outbreaks in the city.
Selim's war with the Safavid Empire in Iran
The growing Shi'ite Safavids Empire headed by Shah Ismail, challenged the Ottoman Sunni Empire. As a Shi'ite Muslim, Iran's Shah Ismail I embarked on a war with the Sunni Ottoman Sultanate over the Caucasus and over religious differences.
However, Egypt's relations with the Safavid dynasty in Persia raised a new ground of hostility with the Ottoman Sultanate. Selim realised that not only had Shah Ismail I become more threatening, but Egypt's Qansuh was even more dangerous.
Deceiving Egypt, he used the fight with the Safavids as an excuse to enter Syria, which was under Mamlik's rule.
Selim started the conquest of Egypt, and in order to reach Iran, he decided to use Syria as an entry point. With no enemies to the north, he could now safely make his advancement. In the spring of 1516 he gathered his forces and marched to the Savafid's.
Mamluk treason and the fall of the Sultanate
During Selim's march to the Safavids, the governor of Aleppo Hayir Bey assured Al-Ghuri that Selim would only pass through Syria to fight in Iran.
However, Al-Ghuri doubted the intentions of Selim so he marched to Syria in order to counter the Ottoman occupation.
Before starting the war, the Mamluks set up a war council and decided not to use cannons since Islam prohibited the use of fire when killing, which already made the Ottoman's more advanced than the Mamluks.
The defeat was due to the betrayal of two Mamluk leaders, Hayir Bay and Janbirdi al-Ghazali who was the viceroy of Hama.
In the battle field, Hayir spread rumours of sultan Al-Ghuri's death, ordering the army not to move forward. This lead to the Mamluk's defeat by Selim I at the Battle of Marj Dabiq, north of Aleppo, on 24 August 1516, and to the death of Sultan Al-Ghuri.
Stories however vary to how Al-Ghuri met his end.
Some people say he was poisoned by his servant on the battle field, but others say that he had a heart attack and fell off his horse. However, both stories confirmed that his head was cut off and buried to prevent it from falling into enemy hands.
On the other side the Ottoman's claimed that he was beheaded by a Turk whom Sultan Selim would have put to death, but afterwards pardoned.
Tuman Bay, and resistance
Succeeding his uncle, Tuman Bay became the new Sultan to face the Ottomans. Due to the Ottoman's advanced weapons , their military power was greater than the ability of the Mamluk army and the fighters who joined from Egypt. The Ottomans were quickly able to take over Cairo.
However, Egyptian resistance did not stop under Toman Bay. He quickly gathered the Mamluk army, and the Egyptian people attacking the occupation forces.
But the betrayal plays its role for the second time and Toman Bay was captured with the help of the Mamluks to be executed in April 1517.
He was executed at Bab Zuweila or Zuweila Gate, the only gate opened for the public. People passing by would for decades read the Quran for his soul.
The remains of a rope and the hook of the gallows by which Toman Bay was killed are kept inside Zuweila Gate until this very day for visitors to see when entering the gate.
Inside the gates, visitors will also notice the presence of human teeth, wishes, and magic spells. All of these pendants were placed on the door of Zeweila as people believed that there is a magical entity called Al-Mutawakkil sitting above the door every Friday, to deliver people's wishes to Heaven.
It was said that Toman Bay asked people not to scream or cry, at his execution, but to read Al-Fatihah three times to bless his soul.
Topics: Mamluks Ottomans War
Bassant Mohammed
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February 27, 2020 Breaking News


Despite the time of year, Fall has not quite hit the Bay Area yet. We still have pretty high temperature and clear blue skies as far as the eye can see.
That still doesn't stop me from acting like its fall and that the temperatures are cooling. I'm cooking more and crafting more too. Can't say much for TV and Movies. Its been baseball games everyday since the LA Dodgers are in the playoffs.
This is a wonderful (and small) state park near Half Moon Bay. There's even a hostel in the park. Wouldn't this be an amazing view to wake up to on vacation?
I wasn't lying about the clear blue skies. This gem is also in Pescadero (about an hour drive away from San Francisco), and its a short 2 mile hike (4 miles round-trip). You get gorgeous views of the ocean and we got to see a small grouping of lady elephant seals hanging out on the beach.
Pan fried salmon with caulifower rice and steamed veggies. Delish! And it only took about 25 minutes to make too. I sauteed the cauliflower rice and mushrooms, steamed the broccoli and green beans. It assembled really quickly.
This is my second $5 in Paris sweater. Right now I'm finished up the sleeves. I improvised on the pattern and decided to make this long, cableknit sleeves. But now I have to frog the sleeves and start all over because I made the larges too large. Oops.
I finished this pillow case as my final project for my Sewing 101 class. Its much smaller than it looks, but I'm very proud of it. I learned how to do the fancy French seam for this project.
I've also enrolled in another sewing class. This time, we're making pajama bottoms. I'm so excited for this project. I've been wanting to learn how to sew my own clothes for as long as I can remember. I'll post pictures of that project soon.
Fred Rogers was an amazingly patience, loving and emphatic human being. The first 3/4ths of this book is a recap of the recent documentary, "Won't You Be my Neighbor" but this last portion focuses more on his social ties to friends, family and the community at large.
This book has me terrified (but also a little bit excited) to turn 40. I'm still plenty of years away from that milestone, but seriously… I need to start preparing for that next era of my life now before it catches me off guard.
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