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Mnuchin Spars With Maxine Waters Before Meeting With Middle Eastern Country: 'I Believe You're Supposed To Take The Gavel'
Phillip Stucky Contributor
April 10, 2019 9:46 AM ET
Secretary of the Treasury Steve Mnuchin engaged in a heated debate with Democratic Rep. and House Financial Services Committee Chairwoman Maxine Waters during a Tuesday budget hearing before the House Financial Services Committee.
The secretary had a meeting scheduled with the Interior Minister of Bahrain later in the day and asked — before the hearing began — that he be allowed to leave on time to make his meeting, something that the chairwoman was unwilling to do as the hearing went late. (RELATED: Maxine Waters Finds Her First Target As House Financial Services Committee Chair)
"I have a foreign leader waiting in my office at 5:30 [p.m.] I've agreed to stay longer," Mnuchin began the discussion. "It will be embarrassing if I keep this person waiting for a long period of time. I've assured you, I'm happy to come back here and answer more of your questions. I respect the committee, and we want to have a good working relationship with you. I hope you'll understand."
Mnuchin continued his arguments by asserting that no other secretary has been asked to sit for more than three hours and 15 minutes during a hearing and that he had already been present for questions longer than that record. He reiterated that he planned to make himself available for an additional hearing if he was allowed to leave.
"I appreciate that, and I appreciate your reminding us of the length of time other secretaries have been here. This is a new way and it is a new day and it is a new chair. I have the gavel at this point. If you wish to leave, you may," Waters shot back, holding the gavel.
The California Democrat continued, reminding Mnuchin that no other secretary had imposed their own limits on the length of time a hearing could go. She argued that any comparison to past visits before the committee was unfair and ended by telling the secretary that he was free to leave.
WATCH: House Financial Services Cmte. Chair Maxine Waters and Treasury Sec. Mnuchin get into heated exchange during hearing. pic.twitter.com/jpZYofCZmX
— NBC News (@NBCNews) April 10, 2019
Mnuchin then responded, "If you wish to keep me here so that I don't have my important meeting and continue to grill me, then we can do that. I can cancel my meeting, and I will not be back here. I will be very clear. If that's the way you'd like to have this relationship."
He continued, "Let's be clear. You are instructing me — you are ordering me — to stay here. What I told you is I thought it was respectful that you'd let me leave at 5:15, which is the current time."
Waters then cut in, offering that Mnuchin was free to leave whenever he wished, but Mnuchin pushed further, appearing to ask for official permission to leave.
"Well then, please dismiss everybody. I believe you're supposed to take the gavel and bang it," Mnuchin concluded.
Waters cut him off, "Please do not instruct me as to how I'm to conduct this committee."
Morning Joe guest Willy Geist asserted after the exchange that the whole argument was like an outtake of an episode of HBO's popular political comedy, "Veep."
Tags : donald trump maxine waters steve mnuchin
Phillip Stucky


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'Top Chef: Kentucky' winner Kelsey Barnard Clark is the 5th woman to take the title — and is a fan favorite, too [EXCLUSIVE VIDEO INTERVIEW]
Susan Wloszczyna
Kelsey Barnard Clark is a 29-year-old from Dothan, Alabama, and a caterer who runs her own business and restaurant under the banner KBC. The ambitious chef catered her first wedding when she was just 15. She left the South at age 20 to attend the Culinary Institute of America in Hyde Park, New York. She learned the art of fine cuisine by working at Cafe Boulud and perfected her pastry skills at Dovetail.
Now Kelsey has bagged even more bragging rights as the fifth woman to win the title of "Top Chef," after rising to the top on the 16th season of Bravo's popular competitive cooking show that mostly took place in the state of Kentucky.
"It's been seven months since I found out I won," she says. "We wrapped in July." Was it hard to keep her news a secret? "Honestly, it wasn't because there s no point in everyone watching the whole season if they know I won. I don't want them to know. I want them to be like, 'Do you go home next week? Do you go home next week?' I'm always like, 'Well, you have to watch.' "
SEE'Top Chef' season 16 finale recap: Kelsey and Sarah battle it out
Kelsey hasn't received her $125,000 prize nor the $10,000 that is the reward for also being voted fan favorite — a title that she is especially fond of. "No, not yet. I have yet to get that phone call." She also will receive $50,000 in kitchen goodies from Williams Sonoma.
Early in the show, she revealed she how difficult it was to leave behind her 9-month-old son, Monroe, who turns 2 in June. Turns out he is a bit too young yet to fully grasp the fact his mom was on TV. But he does enjoy the benefits of his "Gulf Southerner" chef mom's prowess at cooking and baking. "He likes sweets, so anything I bake like banana bread, pound cake, biscuits … other than that he likes really fresh vegetables. He likes green beans and cauliflower, he loves roasted cauliflower. He's kind of like a spoiled brat when it comes to the vegetables. He wants them like really fresh, right when they are cooked. He doesn't love them reheated. So I've created a monster."
She believes her catering background prepared her to be more flexible and efficient about different challenges and circumstances than maybe her restaurant-based competitors.
"That has been a big discussion," she says. When it comes to "Top Chef," "They think that the new secret weapon are people with catering backgrounds. I would have to agree because when you do catering you often are forced to think on your feet constantly. The biggest thing about catering is that your client are kind of like these challenges where they all want different things, they all have different expectations. And when you're catering especially because we are a traveling catering company, we cook on site most of the time. … We are mostly cooking over a wood fire grill at least 90 percent of the time. Things go wrong a lot."
SEE Why 'Top Chef' in its 16th season is still the creme de la creme of U.S. food shows
That helped prepare her for "Top Chef," since the cheftestants don't know ahead of time what situation they will be cooking in during the Elimination Challenges. When her competitors asked her why she didn't plan for equipment, she told them, "That's because you shouldn't plan for equipment. Relying on a fryer that has to be plugged in? What are you going to do with the fryer if the breaker breaks? That's why I did so many cold dishes or dishes that were soups that I could reheat."
The 16th season was also notable in that only one of the eight male chefs, D.C.-area chef Eric Adjepong, made it to both the final five as well as the final three before being eliminated on last March 14 finale that took place in Macau, China. Kelsey's former work mate and Kentucky native Sara Bradley, the runner-up, made it the battle of the Southern lady chefs — just the fourth time that two women went head to head in the end.
SIGN UP for Gold Derby's free newsletter with latest predictions
"We worked together in New York for a few years, about eight years ago," Kelsey says. "She was savory and I was pastry at the same restaurant. We've kept in touch. We've been friends for a while." Being up against her buddy was to her, "the best case scenario. … It would have been really great, if it had not been me, for Sara to have won." The last time they got in touch with one another? "Yesterday. We are in similar stages in life. She is very pregnant, so we talk about baby stuff quite a bit. We have a lot of events that we are planning to do in the future."
'Top Chef' Winners List (Seasons 1 - 16)

redpajama_set_name: RedPajamaCommonCrawl


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Labor Esq Reps INT'L
Stewart hand-carves $1 mil for hospital
5:00 AM PDT 10/18/2006 by Associated Press , AP
MOUNT KISCO, N.Y. -- Martha Stewart has pledged to donate $1 million to the hospital where doctors stitched up her hand last December.
Stewart said she received excellent care and wants to "ensure that the region in which I live and the community, which has been so welcoming to me, has access to a superior medical facility," according to a news release issued Tuesday by Northern Westchester Hospital.
The 65-year-old lifestyle guru visited the hospital's emergency department after slicing her hand while carving a turkey in her home about four miles away.
Stewart's pledge is conditional -- other donors must give $2 million by the end of the year before the Stewart money kicks in. The donations would help the hospital nearly reach its $25 million fundraising goal for a new emergency department.
So far, more than $21 million has been pledged and a fundraising gala is scheduled for Oct. 28.
The $1 million is not the first gift from Stewart since she cut her hand. She sent two Christmas trees soon afterward, including one decorated with gingerbread cookies, the hospital said.


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Back to top Back to Exhibitions«
William T. Williams: Recent Paintings
September 6 – November 16, 2019
Blue Ducks, 2016
Moon Rise, 2016
34 1/8" x 16 1/4"
Over See, 2016
Silver Spoons, 2016
The Way We See, 2016
Water-Time, 2016
Back Home/Tide and Time/You and Me, 2017
acrylic on three joined plywood panels
20" x 42 1/4"
Blue Luck, 2017
acrylic on two joined canvases
Days of Summer, 2017
acrylic on plywood panel
Mustang Sally, 2017
Song of Praise, 2017
acrylic on two joined Gessobord panels and one plywood panel
Spirit of Nations, 2017
Stone by Stone/First Wife, 2017
acrylic on two joined plywood panels
Bus to Somewhere, 2018
acrylic on two joined plywood panels and wood strip
July Doors, 2018
Return to Hope, 2018
Sunday Suit, 2018
What We Need, 2018
Sun and Salt Water, 2018-19
Last Words, 2018-19
As Wide as Air, 2019
acrylic on two joined Gessobord panels
Between the Stars, 2019
acrylic on plywood
Breaking News, 2019
Case Closed, 2019
acrylic on three joined Gessobord panels
Four Nights, 2019
Red's Law, 2019
Hand and Heart, 2019
Crow's Cafe, 2019
acrylic on Gessobord panel
Kick Off, 2019
Past Due, 2019
Sunday Shoes, 2019
What Color is Time, 2019
Safe Steps, 2019
acrylic on found wood board
My Watch, 2019
Day by Day, 2017
William T. Williams (b.1942)
Culture Type, October 25, 2019
by Victoria L. Valentine
NAD NOW, October 22, 2019
by Mimi Wong
The New Criterion, October 2019
by James Panero
International Art Exhibitions, September 6, 2019
Artnet, September 3, 2019
by Caroline Goldstein & Sarah Cascone
by Deborah Solomon
YRB Magazine, August 22, 2019
Artdaily, September 11, 2019
Thursday, September 5, 2019 / 6-8 PM
Michael Rosenfeld Gallery is pleased to present its fourth solo exhibition for William T. Williams (American, b. 1942), showcasing a new body of paintings. Scheduled to be on view from September 6 to November 9, 2019, William T. Williams: Recent Paintings will feature 35 paintings from the 465 Series, the first series of paintings completed by Williams in his rural Connecticut studio. A masterful colorist, his new work continues to expand our understanding of abstraction and positions Williams as one of the great abstractionists of his generation.
William T. Williams: Recent Paintings will be accompanied by a fully-illustrated color catalogue with new scholarship by Jonathan P. Binstock, Mary W. and Donald R. Clark Director of the Memorial Art Gallery of the University of Rochester, NY (MAG), and an interview conducted by Hans Ulrich Obrist, Artistic Director at Serpentine Galleries, London.
The work of William T. Williams resonates with cultural history and personal memories of a childhood spent in the urban environments of New York as well as the southern landscapes of rural North Carolina, where he was born. Returning to country life, the artist's recent relocation of his studio from New York City to the natural environment of Connecticut embodies a renewed vision toward painting. There, he has reinvented his studio practice in a soaring, light-filled, renovated barn, replete with large windows that overlook an ever-changing landscape. William T. Williams: Recent Paintings will be the first exhibition of the new body of work produced under the natural light and rhythms of Williams' new studio. This environment, immersed in nature, has had a profound effect on the artist's recent work, whose richly-hued abstractions reflect the shifting dynamics of seasonal and atmospheric change.
The dynamism of these natural ebbs and flows permeates Williams' paintings, creating discernible shifts felt palpably through composition and color. The complex palettes of this life-long colorist will be showcased, from the vibrant and bold to the muted and somber. Working at a smaller, more intimate scale than ever before, Williams has experimented with the combination of multiple canvases. The seriality of the paintings offers a meditative form of time-keeping, a cyclical repetition that structures and documents his daily routine in the studio. Their multi-color grid compositions of layered paint recall the quilts that were prominent in the Williams' household. This modular approach of "patch-working" individual panels together employs varying configurations of contrasting forms and colors to generate dialogues within each work.
The work of William T. Williams is deeply influenced and inspired by jazz, and the artist has referred to his method of working through distinct series as that of a "theme and variations." On the occasion of William T. Williams: Recent Paintings, the artist has developed a jazz playlist of 30 favorites. The playlist includes iconic tracks that are in frequent rotation in the artist's studio by jazz legends such as John Coltrane and Miles Davis and contemporary musicians and composers like Jason Moran, Ron Carter, Karen Patterson and Wynton Marsalis. Williams observed recently, "I start out every day with Coleman Hawkins, because that brings me back to a specific time, and there's a tone that he has in his music that I really love… When I'm working, I listen to different musicians for different things... Each musician brings different nuances to the environment which affects my own thinking. Music is a constant in my studio."
The 465 Series extends on the techniques and formats explored in the 111 ½ Series, which Williams has described as a record of "place as a specific type of poetry." Similarly bearing reference to the artist's address, this new series continues the artist's consistent exploration of tactility, gesture, color and mark-making. The paintings' titles include personal and autobiographical references that reflect on a composite of experiences and memories from throughout his life. Together, they illuminate how abstraction became the mode through which Williams felt free to explore both representational and symbolic imagery in his work.
About William T. Williams
The work of William T. Williams (b. 1942) ranges in style from his early geometric abstractions, to almost-monochromatic explorations of texture, to an abstraction that derives its force from productive tension among colors and forms. While he has consistently tested the limits of his earlier styles and developed new approaches, his meticulous attention to the process of art making has remained constant. A master of brushwork and color, Williams creates his paintings in series, working through a labor-intensive process that often includes drawings, watercolors and prints.
From the outset of his career, Williams' art was characterized by bold color and daring compositions that paid homage to and challenged the abstraction that had come before it. He emerged at a time when abstract expressionism was in decline, while pop art, color field painting, and minimalism were on the rise. Concurrent with this aesthetic transition were social and political transformations that saw artists, intellectuals, and activists challenging the exclusionary practices of New York's white- and male-dominated art institutions. These critiques came in multiple forms, including an approach to art that favored figural representation embedded in a politics of struggle and an assertion of identities misrepresented by or excluded from American culture. Such images were a necessary correction to a history of omission and caricature, but they risked being received by the art establishment in a way that affirmed its tendency to ignore work by abstract artists who were also African American.
Living in an artist loft building on Broadway that over the years included neighbors Kenneth Noland, Joel Shapiro, Janet Fish, and William Copley, Williams believed that abstraction offered him greater creative and expressive freedom than figural representation, but he was also wary of the potential cold, impersonal aspect of painting that was merely about painting. Williams thus developed an approach that rendered the abstract representational, not only through titles replete with autobiographical references, but also in the shapes he incorporates. Jazz became an important site of convergence where memory, history, and a black American abstract tradition met, and quilting was for Williams another manifestation of an African American tradition of abstraction. His artwork often incorporates the diamond shape as a visual motif that functioned "as a stabilizing force, a form that interacts compositionally with what's around it. But it goes back to the quilts of my childhood, the patterns and forms I grew up with."
The synthesis between personal/cultural narrative and abstraction that Williams developed early on in his career was met with deserved success. Born in rural North Carolina, Williams moved to New York with his family as a youth. He attended the School of Industrial Art (now the High School of Art and Design) and received an associate degree at New York Community College, before enrolling at Pratt Institute in 1962. At Pratt, he studied with some of the foremost figurative painters of the day including Richard Lindner, Philip Pearlstein and Alex Katz, but it was painter Richard Bove who encouraged Williams to work from intuition and memory rather than from observation. The resulting abstract work found support amongst his professors whose encouragement led Williams to pursue graduate studies at Yale University. The graduate department at Yale provided a rigorous theoretical foundation and studio practice for the artist as the faculty included George Wardlaw, Jack Tworkov, Al Held, Lester Johnson, and others.
Williams completed his MFA at Yale in 1968 and moved to New York. In 1969, the Museum of Modern Art (MoMA) purchased his Elbert Jackson, L.A.M.F. Part II (1969). That same year, he was included in the Whitney Biennial and he organized X to the Fourth Power at the newly opened Studio Museum in Harlem. In 1968, Williams formed the muralist collective Smokehouse Associates along with Mel Edwards, Guy Ciarcia, and Billy Rose; they were active in Harlem from 1968 to 1970.
Williams conceptualized the artist-in-residence program at The Studio Museum, which remains to this day a core mission objective and functions in its original iteration according to the guidelines that Williams instituted. In 1971, Reese Palley Gallery, New York mounted Williams' first solo exhibition and he began teaching at Brooklyn College of the City University of New York (CUNY), where he was on faculty for four decades, inspiring hundreds of students including Nari Ward and Arthur Simms. In 1965, he spent a summer in Maine as a student at the Skowhegan School of Painting and Sculpture, returning as faculty in 1971, 1974, 1978, and 1979; the latter year he served as Director Pro Tem. In 1975, Bob Blackburn invited Williams to make a print at the Printmaking Workshop; over the next 22 years, Williams collaborated with Blackburn to produce 19 editions, as well as a number of unique print projects. In keeping with this ongoing interest in printmaking, Williams has also collaborated on prints with the Brandywine Workshop and Lafayette College's Experimental Printmaking Institute (EPI). In 1977, he participated in the Second World Festival of Black Art and African Culture (Festac '77), held in Lagos, Nigeria, which marked his first time in Africa. The trip, especially the movements of patterned clothing he saw on the street, had a profound effect on his art, and Williams began a series of paintings inspired by this African tradition of abstraction. Williams has continued to revise, adapt, and transform his style, and this dynamism combined with a consistent set of formal and thematic concerns has contributed to the longevity of his luminous career.
Williams has been the recipient of numerous awards and fellowships, including: the Individual Artist Award in Painting from the National Endowment for the Arts (1970), a John Simon Guggenheim Fellowship (1986), The Studio Museum in Harlem Artist's Award (1992), a National Endowment for the Arts Regional Fellowship (1994), a Joan Mitchell Foundation Grant (1996), the Brandywine Workshop's James Van Der Zee Award for lifetime achievement in the arts (2005), the North Carolina Governors Award for the Fine Arts (2006), the Alain Locke International Award from the Detroit Institute of Arts (2011), and the Skowhegan Governors Award for Outstanding Service to Artists from the Skowhegan School of Painting & Sculpture (2017). Recently, Williams was inducted into the newest class of National Academician members at the National Academy Museum & School in New York (2017) and he is the recipient of the 2018 Pratt Institute Legends Award and the 2019 Lifetime Achievement Award at the 30th Annual James A. Porter Colloquium, Howard University, Washington, DC. Williams was also the first African American contemporary artist to have his work (Batman, 1979) included in The History of Art by H.W. Janson.
For over forty years, Williams' work has consistently been shown at home and abroad. Representation in groundbreaking exhibitions includes L'Art Vivant Aux Etats-Unis (Fondation Maeght, Saint-Paul-de-Vence, France, 1970); The Structure of Color (Whitney Museum of American Art, 1971); To Conserve a Legacy: American Art from Historically Black Colleges and Universities (Addison Gallery of American Art, 1999); What is Painting? (MoMA, 2007); Blues for Smoke (Museum of Contemporary Art, LA, 2012) and Witness: Art and Civil Rights in The Sixties (Brooklyn Museum, 2014). In 2016, he was featured in the inaugural exhibition at the Smithsonian Institution's National Museum of African American Art and Culture (Washington, DC) and in 2017, his contributions as part of the mural collective Smokehouse Associates were examined in Smokehouse, 1968-1970 at The Studio Museum in Harlem.
Recent solo presentations of the artist's work include William T. Williams: Theme and Variations at the Morris R. Williams Center for the Arts, Lafayette College in Easton, PA (2009) and William T. Williams: Variations on Themes at The David C. Driskell Center for the Study of the Visual Arts and Culture of African Americans and the African Diaspora, University of Maryland in College Park (2010). In 2017, Michael Rosenfeld Gallery presented its first solo exhibition for Williams, William T. Williams: Things Unknown, Paintings, 1968-2017, which celebrated five decades of work and featured an overview of the artist's most major painting series. The exhibition was accompanied by a fully-illustrated catalogue with engaging conversations between the artist and Thelma Golden, Director and Chief Curator of The Studio Museum in Harlem, and Courtney J. Martin, Deputy Director and Chief Curator at Dia Art Foundation. At Frieze New York this year, Michael Rosenfeld Gallery presented William T. Williams: 1970, an exhibition that focused on the pivotal year 1970 and highlighted a selection of seminal paintings and never-before-exhibited works on paper from the artist's first mature series, Diamond in a Box.
Williams is represented in over thirty public collections, including the Detroit Institute of the Art (MI); Fogg Museum (Harvard Art Museums, Cambridge, MA); The Menil Collection (Houston, TX); The Museum of Modern Art (New York, NY); Nelson A. Rockefeller Empire State Collection (Albany, NY); North Carolina Museum of Art (Raleigh); Philadelphia Museum of Art (PA); Sheldon Museum of Art, University of Nebraska (Lincoln); The Studio Museum in Harlem (New York, NY); Whitney Museum of American Art (New York, NY); and Yale University Art Gallery, Yale University (New Haven, CT).
More information on William T. Williams (b. 1942)
The work of William T. Williams can be seen in the following current and upcoming museum exhibitions:
Soul of a Nation: Art in the Age of Black Power, The Broad, Los Angeles, CA, March 23–September 1, 2019; de Young Museum, Fine Arts Museums of San Francisco, San Francisco, CA, November 9, 2019–March 15, 2020
Black Refractions: Highlights from The Studio Museum in Harlem, Kalamazoo Institute of Arts, Kalamazoo, MI, September 13–December 8, 2019
The Shape of Abstraction: Selections from the Ollie Collection, Saint Louis Art Museum, St. Louis, MO, September 17, 2019–March 8, 2020
Generations: A History of Black Abstract Art, The Baltimore Museum of Art, Baltimore, MD, September 29, 2019–January 19, 2020
With Pleasure: Pattern and Decoration in American Art, 1972-1985, The Museum of Contemporary Art, Los Angeles, CA, October 27, 2019–May 11, 2020
Since 2016, Michael Rosenfeld Gallery has been the exclusive representative of William T. Williams. Michael Rosenfeld Gallery specializes in 20/21 century art. Established in 1989 by Michael Rosenfeld, the gallery opened its doors to promote the breadth of American art and those artists—known or unknown—that contributed to the establishment of surrealism, social realism, abstract expressionism, figurative expressionism and geometric abstraction. Michael Rosenfeld Gallery is located at 100 Eleventh Avenue, New York, NY, 10011. Gallery hours are Tuesday through Saturday, 10:00AM–6:00PM.
Dan Munn, Communications Associate
dm@michaelrosenfeldart.com, 212.247.0082


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Organization Search Results
Organizations within 20.0 miles of San Antonio, TX, USA
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Dignity Hospice
Dignity Hospice is based in San Antonio, and is known for its compassionate Hospice, Palliative, and related care. Dignity Hospice provides Hospice Care to patients in Homes, Assisted Living, and... (29.48518,-98.56776) More >
San Antonio, TX | ( No Reviews)
Interest Areas: Health & Medicine, Seniors
Updated: 10/1/18 , Distance: 6.14 miles away
BEYOND THE LIGHT OUTREACH PROJECT
BTLOP's effective date for Federal 501(c) 3 status was April 17, 2015. Currently there are no paid staff. Seven board members, one Ex Officio and nine volunteers are available to support the... (29.41308,-98.46706) More >
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SNIPSA
SNIPSA Inc., Spay-Neuter-Inject-Protect of San Antonio, Inc., is an all-volunteer, non-profit, 501(c) (3) rescue organization founded by a group of veterinarians and caring individuals. The common... (29.46969,-98.49129) More >
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HUMANE SOCIETY OF LIVE OAK
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LIVE OAK, TX | ( No Reviews)
Updated: 9/3/18 , Distance: 13.49 miles away
ALOMEGA HOSPICE
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Threads of Love for Heaven's Sake meets the second and fourth Monday of every month at Community Bible Church on the 2nd floor of the administration building. We sew, crochet, knit, make memory... (29.58194,-98.51801) More >
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CRESSIE ANIMAL REFUGE & ENRICHMENT CENTER
CARE is a diverse group of business men and women with the common goal to help the animal over-population problem in San Antonio. By working with the City of San Antonio's Animal Care... (29.58455,-98.52081) More >
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Updated: 8/21/18 , Distance: 11.59 miles away


An open letter from LGBTQ organizations in the United States regarding the epidemic violence that LGBTQ people, particularly transgender women of color, have experienced in 2015.
We appear to be in a moment of crisis in LGBTQ communities. Unfortunately, this is not new: our movement was born out of a response to violence and police raids, and trans women of color were at the forefront of this resistance. Violence remains a life or death issue for far too many in our communities.
The National Coalition of Anti-Violence Programs (NCAVP) has responded to 14 LGBTQ homicides in 2015. To the best of NCAVP's knowledge, eight of the incidents have been intimate partner, family or stalking violence-related and six have been hate or police violence-related. One homicide appears to be either hook-up violence or intimate partner violence but the facts of the case are still not clear.
Kentucky: Papi Edwards, a transgender woman of color, who was shot on January 9th in an apparent hate violence homicide.
Virginia: Lamia Beard was found shot to death on January 17th in an apparent hate violence homicide.
Texas: Ty Underwood was found shot to death early Monday morning on January 26th in an apparent hate violence homicide.
California: Yazmin Vash Payne was discovered fatally stabbed to death on Saturday, January 31st, in an apparent intimate partner violence homicide; Payne's boyfriend, Ezekiel Dear, has been arrested and booked for suspicion of murder in connection with her death.
California: Taja Gabrielle de Jesus was discovered stabbed to death on a stairwell in San Francisco's Bayview District on Sunday, February 1st in an apparent hate violence homicide.
Louisiana: Penny Proud was found fatally shot on February 10th in an apparent hate violence homicide.
Florida: Kristina Gomez Reinwald was found unresponsive in her home on February 15th and police are investigating this as an intimate partner violence homicide.
Ohio: An individual with the last name Golec was allegedly stabbed by their father on February 13th in an apparent family violence homicide.
New York: Randy J. Bent was found stabbed and set on fire in an apparent pick up violence homicide on March 8, 2015.
Massachusetts: Omar Mendez was found stabbed to death in his home in an apparent intimate partner violence homicide on February 15th.
Massachusetts: Lisa Trubnikova was allegedly killed on February 5th in an apparent stalking homicide.
Colorado: Jessie Hernandez was killed by the police on January 26th.
Georgia: Ashley Belle was killed on January 26th and her partner was charged with the crime in an apparent intimate partner violence homicide.
New York: Cassandra Keels was killed on January 18th in an apparent intimate partner violence homicide and her girlfriend has been arrested.
In NCAVP's most recent Hate Violence Report, almost 90% of all homicide victims were people of color. Further, almost three-quarters (72%) of these homicide victims were transgender women, and more than two-thirds (67%) were transgender women of color. In NCAVP's most recent Intimate Partner Violence Report, LGBTQ and HIV-affected people of color made up the majority of survivors – and have for the past three years. The 2013 report also found that LGBTQ and HIV-affected people of color were more likely to experience IPV incidents in public spaces, perhaps an indication that LGBTQ people of color's lives are more policed and harassed in the public sphere.
If vulnerability to violence occurs at the intersections of people's identities, so, then, should our responses that will prevent this violence. We cannot expect a singular response to address or prevent this violence. Our responses must be multi-dimensional and contemporaneous. We, the undersigned organizations, are committed to the safety and self-determination of LGBTQ people from all communities, and to dismantling the conditions that support violence in all its forms.
Public officials, community leaders, and the public at large must acknowledge LGBTQ lives are valuable, and that transgender women of color exist, and must speak out against violence when it occurs.
Public officials and policymakers should act swiftly to address the day-to-day discrimination that LGBTQ people, particularly transgender people of color, experience, and the impact this discrimination has, including increased rates of poverty, housing instability, unemployment and trauma.
Law enforcement and media must respectfully and accurately identify victims of violence with names and pronouns in line with their current gender identity.
Law enforcement and the media must stop criminalizing LGBTQ people, particularly transgender women of color, in their deaths by reporting on past alleged criminal activity or showing pictures that suggest criminality.
We also need to take action to address this violence. Public awareness ads, such as AVP's Born to Be Campaign, can show positive, affirming images of transgender and gender non-conforming folks. The National Black Justice Coalition (NBJC) 100 Black LGBTQ/SGL Emerging Leaders to Watch Campaign is working to empower young Black leaders to mobilize in their communities to make positive changes throughout the nation. Programs like Audre Lorde Project's TransJustice and Safe OUTSide the System Collective in New York City, Casa Ruby in Washington, DC, and BreakOUT! in New Orleans, and the Translatina Coalition, to name a few, lift up the voices of trans women of color and respects and supports their leadership. Non-discrimination protections, in employment, housing, public accommodations and other areas are critical to protecting LGBT people legally.
We commit, as LGBTQ organizations throughout the United States, to take on this work. We commit to holding public leaders and institutions accountable for their response to this violence. We commit to keep speaking the names of the victims – and those of the survivors – and encourage and support the leadership of transgender women of color as those most impacted by this violence. We commit to doing everything we can to end this violence.


Turnbull's tough choice - back the people against the banks or retire early. Perhaps to the Cayman Islands?
An excellent article from Ian. There will be a Royal Commission. A majority of MPs support it in the House of Reps. Very soon the people will rise up to demand and end to dodgy banking practices that are ruining millions of lives in Australia and right around the world.
Tens of thousands of Australians have had their lives ruined by the major banks. If there's no need for a Royal Commission because ASIC has greater powers, then why is the Turnbull Government wasting time and money on a parliamentary inquiry that has less power than both?
What a conundrum - you'll need quite some time to think through that one.
In salad terms, rather than the rocket, the newly elected government instead has opted for the iceberg; and a particularly wet and limp sample of the family Asteraceae it is too.
Given the admirable speed with which the government responded to the disturbing images emanating from the Northern Territory's juvenile detention centres, its longstanding reluctance to bring bankers to heel is perplexing.
You'll forever hear financiers argue that because of its strength, our banking system sailed through the financial crisis. Nothing could be further from the truth.
Surely it couldn't have anything to do with the fact that our financial services industry is the biggest political donor in the country. The big four alone donated more than $730,000 in the year to June last year. And that's before bank and finance industry lobby groups kicked the tin.
The comparison with the NT inquiry is entirely valid. Tens of thousands of Australians have had their lives ruined by the mounting toll of atrocities that have come to light in the past decade from the major banks' role in the Storm Financial meltdown, the financial planning and insurance scandals through to rigging of the interest rate setting markets.
For the past decade, we have been regaled with tales of rampant fee gouging, conflicts of interest and falsification of loan documents driven by a sales culture that has elevated profits above all else.
While last week's decision to not pass on the full Reserve Bank rate cut reignited community anger, it was merely a continuation of the cartel-like behaviour that has seen the big banks once again acting in unison, just as they have for the past 20 years.
Here are a couple of myths the banks love to perpetuate that need busting.
If you believe the big four banks, they simply can't pass on Reserve Bank cuts in full because the rate it sets only partially determines their cost of raising money. And the cost from other sources is rising.
That's entirely true. But before we start, it's worth remembering that banks are like every other kind of business. They buy money cheaply and make a profit by selling it at a higher price.
In a normal competitive market, businesses are price takers. They have no power over what they charge. The only businesses that can fix prices are monopolies or oligopolies, where a couple of big players act in unison. Sound familiar?
Tuesday was a classic case. Within minutes of the Reserve Bank decision, the Commonwealth Bank announced that it would pass on just half the cut to borrowers but would bump up the rate it pays to investors for some term deposits.
Blow me down, if during the course of the next hour or so, the other three did exactly the same. It was uncanny.
Who has ever argued we need a weak one? This little smokescreen belches across the media every time there is any criticism about the huge profits our banks generate.
The Commonwealth Bank is hurtling towards a record $9 billion annual profit, due to be unveiled this week. There is no denying the enormity of the earnings. But that's just one measure of its heavyweight status. It is the amount it generates off its capital base that is truly astounding. Last year, it managed a return on equity of 18.2 per cent.
Compare that to Citi, one of the world's biggest banks. While its earnings were larger, Citi could only generate a return of about half that of the CBA.
The other three local banks aren't too far behind the CBA on that measure. In short, they are cash generating machines, the likes of which global banking behemoths can but dream.
A study by The Australia Institute released last week puts those earnings in another light. Our banks generate an annual income equivalent of 2.9 per cent of GDP. That's Olympic gold and puts them in a class of their own. In the US, American bank earnings - massive as they are - pull in around 1.2 per cent of GDP.
The reason they can achieve these magnificent results is because of their pricing power and their stranglehold over not just banking but insurance, superannuation and almost every other form of financial service you can think of.
We need a strong banking system, not one that exerts too much power.
That's debateable. What isn't up for argument is that no other industry enjoys the kind of taxpayer support that our financial sector enjoys.
Farmers and small businesses can go broke. The car industry can be told to pack and leave. But not the banks.
You'll forever hear financiers and their apologists argue that because of its strength, our banking system sailed through the financial crisis eight years ago unscathed.
Nothing could be further from the truth. After furious lobbying, initially from Macquarie Group, the Rudd government imposed a ban on short selling of bank and finance stocks in an effort to stave off collapsing share prices. It then guaranteed bank deposits.
On top of that, it handed our banks the keys to the country's AAA credit rating. If it hadn't done so, our entire banking system was in danger of collapse. Having borrowed hundreds of billions of dollars from wholesale credit markets offshore, they were facing ruin because credit was frozen and no-one would lend them the cash to refinance.
Taxpayers rode to the rescue. Our banks borrowed $120 billion using that taxpayer guarantee, a bailout never before seen and unlikely to ever be witnessed again. They've since argued it wasn't a bailout because they had to pay fees to use the guarantee. You have to chuckle; bankers complaining about being charged a fee.
It doesn't end there. A Reserve Bank study released as part of a FOI request in May revealed our four major banks get an annual $4 billion leg up as a result of that emergency GFC action. Foreign lenders give them a rate discount because they now know Australian taxpayers will bail them out if anything goes wrong.
It's all the fault of a few bad apples. Why are orchardists tarnished in this manner?
Globally, banks have been fined a collective $US200 billion and, while admitting criminal behaviour in the manipulation of interest rates, foreign exchange and gold markets have seen a mere handful of employees end up behind bars.
At least the UK and US regulators were on the front foot in those cases. Our corporate cop has only just gotten around to launching action on the rate rigging and so far, the case appears far from solid.
So, ask yourself this: Why are our banks so afraid of a Royal Commission, especially if it's all the fault of those few bad apples? The answer lies partly in the enormous bonuses paid to those interest rate traders now accused of being rogue.
You only score a $5 million annual bonus for generating vast amounts of wealth to the organisation, which in turn bumps up the bonuses for everyone above you. How much wealth? That's what our banks don't want you to know.
BRN Comments: An excellent article from Ian. There will be a Royal Commission. A majority of MPs support it in the House of Reps. Some LNP members will very likely cross the floor if required. The vast majority of the new Senate is in favour. Mr Turnbull is a lame duck. The only possible hope he has of rescuing his position is to well and truly side with the people rather than the banks on a Royal Commission.
The truth that the banks do not want you to discover is that far too much of your wealth and the nation's wealth is siphoned away into the deep coffers of the banking and finance system.
The jig is just about up.


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Second International Homecoming features festivities and culture
093016 International HC
McKenna Corson
With 20 represented countries showcasing their cultures, Kent State's second International Homecoming on Friday night provided a worldly feel to an originally American celebration.
The event, which started at 7 p.m. in the Student Center Ballroom and was filled with food, music and performances.
International Homecoming started with students, families and alumni signing in and receiving a "passport" that would be marked with a stamp at each country's table to get free food.
Eron Memaj, director of international student affairs and creator of International Homecoming, had the idea for the event for a long time.
"International students are not very familiar with the homecoming concept," Memaj said. "This is a way to introduce them to homecoming festivities, while at the same time introducing and showcasing their cultures with the rest of the community."
Food from some of the countries was served, and people milled about and visited tables representing other countries.
Katarina Smiley, a sophomore public health major, attended International Homecoming to support an international friend. She saw the importance of international students and learning about other cultures.
"People think of international students as just international students, not that they have a background," Smiley said .
Grant Wang, a junior visual communication design major, also stressed the importance of leaning about other cultures.
"There's a lot to learn from international students, including their beliefs, mindsets and cultures," Wang said. "(They) help open our nation's eyes."
After people ate and walked around the countries' tables, performances started. They ranged from a Honduran traditional dance to an American beat boxer and an Omani comedy show.
Hesham Alamri, a junior aeronautics studies major and president of the Saudi Arabia club, attended International Homecoming to help the Saudi Arabia table and see other cultures.
"The media shows what people can't see," Alamri said. "The best way to truly show a country is by having this event. This is a place where you can show your country and culture, and have your voice heard."
Instead of having only international students celebrate their country, Memaj wanted to create International Homecoming to include every culture.
"The word international means in 'between nations,' so when we have International Homecoming, it will also have the U.S. represented," Memaj said. "It is a misconception that International Homecoming is just for international students.
" It's for all students. We all came from somewhere," he said. "The purpose of International Homecoming is to have an international celebration and get all cultures and all nations together, including the U.S."
International Homecoming will continue into the future according to Memaj.
Contact McKenna Corson at [email protected]
international homecoming
kent state homecoming


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Home » A Journey Into Culture
A Journey Into Culture
In our reflection(s) on culture, we identified a number of potential problems and areas of confusion when working with culture. In the film, Mary Poppins, Julie Andrews sang "Let's start at the very beginning" and continued that the beginning is "a very good place to start". So perhaps I should follow this advice and start by explaining my journey into organisation culture.
The study started in 1994 with three seemingly simple concepts:
In the field of organisation culture, culture is simply explained as "the way we do things".
In the field of psychology, based on the views of Jung, people are seen to have personality preferences and if given a choice, they will create an environment that best suits their preferences.
In the field of leadership, various authors agree that leaders are the custodians of culture.
Reading these perspectives together raised a basic question, which was quickly followed by many others. It also started a journey of almost three decades of part-time research. The question that started it all was;
If culture in a system or organisation and personality of the leaders in that same system can both be measured and then compared, would the results show similarities between the culture and the personality preferences of the leaders?
This quickly raised a second question;
Given the broad acceptance of Jungian personality principles and assessments, could organisation culture be measured in terms of these principles?
At the time there were practitioners using individual type assessment instruments to determine an average, and even modal, personality profile and calling this the organisation cultural type. However, the fundamental principles of psychology, statistics, and considerations of power and influence, made it clear that culture could not logically be viewed as some aggregate of individual personality preferences.
In spite of extensive research, no instrument could be found that would measure organisation culture from a Jungian typology perspective, at least not one that would be accepted at a tertiary academic level. There was one instrument found that assessed educational settings but, in my mind, it did not address the complexities of organisational culture sufficiently.
And that was the start of many years researching "the way things are done" in terms of different business disciplines and then interpreting them in terms of human behaviours. However, I did not understand the enormity of the process I had started! The biggest work turned out to be;
turning identified behaviours into research statements,
compiling a questionnaire, getting/begging respondents to complete it, and
having the questionnaire validated independently. This eventually required three rounds of research. Anyone that attempted this will know that every validation ends with items being rejected, new ones developed and the process of data gathering basically needing to start again. The professor that did the statistical validation further stipulated that each round of testing required at least three times as many respondents as statements.
After incalculable hours of work and many twists, turns and re-do's we had a questionnaire – the Organisation Character Type Assessment or OCTA. The instrument was finally statistically validated at a University in South Africa. It is worth noting here that only factors with correlations of greater than 0.8 are reported on.
Classifying Culture
When researching classifications of culture, three broad approaches are found;
Descriptors of culture in terms of generally explainable phenomena. These might be given interesting titles such as being named after mythological gods or even directions on a compass. In the process of explaining the culture, it becomes clear that this approach describes a style of functioning. It is often linked to a story that creates an atmosphere or vision of what it looks and feels like to work there. One currently popular example of this approach is a so-called performance culture.
The second approach is describing culture in terms of the drivers or concepts underpinning cultures. These are usually referred to as cultural factors or constructs. Here one finds concepts such as order, power distance, masculinity and many, many more.
The last approach is found less often, and could in a way be linked to styles, but comes from a psychological perspective. Here the focus is on identifying certain cultural archetypes that are deemed to form the basis of organisational cultures. A small sub-group within this approach defines culture in terms of organisational or group based/collective personality factors.
These three approaches are not mutually exclusive or one better than the other. The value lies in each of them describing culture in different ways that adds value and grows a broader understanding of the culture. A style describes the atmosphere to make the culture easier to understand, factors list specific areas that can be changed or developed at organisation level and the personality approach explains the invisible paradigms or drivers underpinning the culturally derived behaviours.
The Organisation Character Type Assessment or OCTA gives its user results from all three of the above perspectives.
What the OCTA measures (See also the sample report)
From a descriptive or style perspective, the questionnaire gives nine statistically validated styles, six of which are reported on. These six styles naturally describe opposing modes of functioning that also shows a degree of tension. An example is the style of the "Regiment" where one finds a clear order, discipline and role clarity. Its opposing tension is the "Shell-Hole" where the structure and order become dysfunctional and people take limited to no initiative, make no suggestions and the focus is largely on "survival".
The three styles not reported in are deemed secondary to the six primary styles, despite being statistically valid. Continuing with the example of the Regiment – Shell-hole example mentioned above, one of the three non-reported on styles is the Siberian style. When this style is found, it identifies a situation that has become so extreme that all interaction, initiative and focus beyond day-to-day activities have basically ceased. This culture could be deemed toxic from an employee perspective.
The OCTA has six validated factors five of which are reported on. These factors are key when considering organisation development or culture change. In line with the fundamental principle of leaders as custodians of culture, it is not surprising that one of the factors is Leadership. The interesting aspect is that through analysis of the leadership factor, three distinct – not-yet-validated - leadership foci have been identified. These are a collective focus, a positional focus and an individual focus by the leader. A similar aspect was found with the order factor where we find two - not-yet-validated - different dimensions of order namely hierarchical and process based order.
The last result obtained through the OCTA is linked to the start of the whole process nam ely to obtain "personality" or Type constructs of organisations that could be compared to individual Jungian personality constructs. With culture existing only within group settings, I decided to work form the broad Jungian constructs of type and then to find descriptors of how that would manifest in organisational or group behaviours. A basic example is that where one finds Introversion and Extraversion with an individual, one would find a group focussing on their internal functioning or the external environment. The focus shifts somewhat from sources of energy to primary focus. These dimensions were not statistically analysed but items loading on each "preference" were identified based on five expert opinions. These experts were people with extensive experience in the understanding and use of Jungian type instruments. Question meaning or the reasons for interpretation were not discussed at all and where there was any conflict/difference of opinion about the interpretation of an item, the item was not included in this aspect of scoring.
In conclusion, after almost three decades of research, a unique instrument with 72 questions supplies three distinct – yet interacting - perspectives on organisation culture.
Research has highlighted not just its uses in organisation development and change, but has shown changes organisations go through during their lifecycle. It has been used as pre- and post- intervention assessment to measure the impact of interventions.
The instrument has been used in no less than 7 masters research projects. One of the studies focussed on sub-cultures found between sections within one department
Other unpublished research showed cultural differences between departments in one faculty at a University and another identified shifts between pre- and post change intervention.
To support our continued research and to see what the questionnaire looks like please complete the research version available here.
For more information on the use of the instrument with your own clients, please contact us directly
Copyright © 2020, J & L van Rooyen


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Home > North - South American Banknotes
World Paper Money 16th Edition General Issues 1368-1960
Banknotes North - South America
North America is a continent that lies entirely in the northern hemisphere and almost completely within the western hemisphere. It is also considered as a northern subcontinent of the Americas. It is bordered in the north by the Arctic Ocean, in the east by the Atlantic Ocean, in the west and south by the Pacific Ocean and in the southeast by South America and the Caribbean Sea. North America has an area of approximately 24,709,000 km², approximately 4.8% of the surface of the Earth or approximately 16.5% of the land surface. The population is estimated at nearly 529 million people (as of July 2008) spread over 23 independent states. North America is the third largest continent in terms of area, after Asia and Africa and the third largest in terms of continent population after Asia, Africa and Europe.
South America is a continent in the southern hemisphere, south of North America and north of Antarctica. The continent is bordered in the west by the Pacific Ocean and in the east by the Atlantic Ocean.
History North America
It is believed that the first human inhabitants of North America were of Asian origin; they crossed Alaska 20,000 years ago and then headed south through the valley of the Mackenzie River. The European discovery and settlement in North America date from the 10th century, when Normans (986) were lords and masters in Greenland. Although the evidence is patchy, they reached Eastern Canada around the year 1000 under the leadership of Leif Eriksson. The discovery journeys of Christopher Columbus in 1492 and John Cabot's journeys to Eastern Canada (1497) had a greater effect on the continent's further history. Portuguese and French expeditions have also had a major impact on the continent.
History South America
The first settlements in South America are dated around 15,000 BC. and were in the coastal zone of Ecuador and Peru. Around 2700 BC. the first town with stone houses was built in Caral. The development of pottery gives people the opportunity to preserve food longer, so that the native valleys in the Andes can be colonized.
Ancient civilizations are the Chavin culture (1700 - 300 BC), the Mochica culture (0 - 750 AD) and the Nazca culture (200 BC - 1000 AD), all in Peru.
The Incas ruled from 1438 to 1532 over a large area that ran from northern Chile to Ecuador. Their empire was ruled centrally by an emperor from Cuzco. Although civilization had reached a high level, some inventions such as the wheel were unknown to the Incas.
In the 16th century, Spanish and Portuguese explorers began to explore the South American east coast. Lured by stories of a golden kingdom in the interior, they moved further inland. For the local population, the bacteria that Europeans brought was an unprecedented disaster. Estimates indicate that perhaps more than two thirds of the Indian population died of diseases unknown to them, such as the plague to which they had no resistance. Subsequently, the Spanish explorer Francisco Pizarro succeeded in 1532 with a small army in conquering most of the Inca Empire by capturing the emperor. Until 1572, the Incas held out against the Spaniards in parts of their empire. Machu Picchu was such a remote evasive resort.
South America was divided between the Portuguese and Spaniards in 1494 with the treaty of Tordesillas. Brazil became Portuguese, the rest Spanish. In the following centuries South America slowly fell into the hands of both colonial powers, although other European countries, in particular England and the Netherlands, had some influence. When the United States became independent in 1776, the call for independence in South America became stronger. The occupation of Spain by Napoleon in 1808 provided the opportunity for wars of independence. A well-known leader of independence was Simón Bolívar. The decades that followed were marked by great political instability: civil wars broke out almost everywhere and the united republics fell apart in a patchwork of states. Latin America did not stabilize until the last decades of the 19th century; in many countries oligarchic regimes came to power, which under the motto of Orden y Progreso ("order and progress") brought economic prosperity but also brutal oppression.
Around the 1930s, oligarchic regimes were relieved in most countries by populist governments, of which Juan Perón is perhaps the best known. In the 1950s, most of these regimes were replaced by governments that were more democratic, but also more unstable. The result was that coups took place that led to military dictatorships. In the Cold War, the United States feared communist influences in Latin America, interfering with the political situation that often supported military dictatorships. In the 1980s, most countries got into a deep economic crisis. Countries could no longer pay off their debts, which led to hyperinflation. The military regimes could no longer maintain themselves and most of South America was given democratic rule. Towards the end of the 20th century and the beginning of the 21st century, many Latin Americans became disillusioned with the neoliberal economic system, and left-wing candidates were elected president in many countries. A well-known example is Venezuelan President Hugo Chávez.


During 18-months contracting at Sky Betting & Gaming in Leeds, I was involved in the creation of names, headlines and supporting copy for numerous promotions, including those for Sky Vegas. I dreamt up the name 20/20 Free Spins is it immediately encapsulated the energy and equally importantly explained the mechnanic of the promotion where by simply staking £20 on slots or instant win games, you get you 20 free spins.
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All winnings from your 20 Free Spins are paid as cash… So let the spins begin!


M & D Buildings recognize its obligation to the construction industry and our Clients to help eliminate the risks involved in finding the right General Contractor. When deciding which renovation is best for your home, you should be thinking along a couple of lines. First of all, what type of renovation does your home need? And two, which renovation is going to add the most value to your home? Finding a balance between these two factors is where you will likely find the best return financially and on a personal level.
Today, even the best-built and well-maintained homes require repairs from time to time. They are especially necessary to prevent situations where foreseeable damage may occur.
An extra bathroom will always add extra appeal to buyers with families. If you are not sure you have the space, please consult us at info@mdbuildings.ca. You can not lose by adding a bath.
At the top of the list are family room and bedrooms. Doing so could be expensive, as it often involves extending walls, rearranging rooms or adding box-day windows, but the investment will likely pay off in the future.
If you're planning on staying in your home for a long time, there's no better way to safely and usefully invest your money like a basement finishing. Remodeling the basement is the best way to increase your existing living space with an investment that will significantly pay back for itself over a relatively short period of time.


A variety of illustrations and infographics created for Travel Weekly's digital and print issues.
Travel Weekly and TravelWeekly.com are the most influential B2B news resources for the travel industry.
Print collateral for a SUNY Purchase College writing program.
Corky Carroll's is a surf school with locations in California and Costa Rica, founded in partnership with the famed surfer of the same name.
Masthead is a company that primarily manufactures products for women going through medical procedures as a result of breast cancer.
Projects include catalogs, rack cards, hang tags, business cards, stationery, and brand consistency.
Mission BBQ is a Maryland-based barbecue restaurant chain focused on giving back to those who serve our country—military, police, and firefighters.
Projects include website design and maintenance, email campaigns, social media marketing, print collateral, and brand consistency throughout all mediums.
A website design for Making Headway, a foundation providing funding and research for children with brain and spinal cord tumors.
Custom invitations and thank you cards for a graduation party.
This is the online portfolio for architect and designer Sarah Tombaugh.
Harlem Property Re+Development is a New York City-based property firm. The website features an interactive homepage.
DM Creative Group is a full-service creative agency focused on design and marketing.
This catalog lists hundreds of products created by the Oxford University Press. The process of compiling information also included a custom data input website and collaboration between multiple teams.
Ilyssa Londa is a jewelry designer based in New York.
Projects include a homepage redesign, email campaigns, social media imagery, and creative direction.
A selection of logos done for various clients.
Sleep Woodstock is a classic mid-century motel in Woodstock, VT.
Wespy is a concept for a Manhattan-based app that uses existing social media data to locate new places to check out.
How does it work? You can login through Facebook, Twitter and/or Instagram and your friends' location data is imported into Wespy. You can browse and filter through this info to find cool places to go based on your friends' info.
Why? Who do you trust to recommend awesome stuff to do more than your friends? Unlike review apps and websites where you'd read reviews written by strangers (that are sometimes sponsored), Wespy adds the advantage of knowing the visitors personally and making your own decisions based on the interests of the friends who visit a certain location.


Has anyone else tried the Netflix streaming on XBox Live? It's waaaaay cooler than I thought it would be. Over 12,000 options to watch instantly … very, very cool. Cable is rapidly becoming an over priced irrelevant option with so many ways to watch high quality tv and movies through the internet for free or almost free!
I'm kicking off the new year with a cold. Sore throats, nasal congestion and headaches are just a bucket of joy!
I'm very excited about some upcoming tv shows: Heroes, 24, Lost and the final half of the final season of Battlestar Galactica (I'd be sad about that, but they're coming out with a spinoff series, so I'm not freaking out too much).
I am NOT excited about another season of American Idol. I love the show but I'm tired of it being a five hour a week commitment. That's just rediculous. I miss the days of season one when they did the whole thing in one to two hours a week. Does it really need three nights a week???
I'm starting to get excited about the new Star Trek movie. Soon I will begin rewatching the previous ten in preparation for it's glorious arrival … I can't wait!
Hey Matt. I am with you on the American Idol thing. I am not sure that I am going to watch it. They really strech to have enough stuff to fill those 3 days a week that it is on anyway. Most of it can be done without.
I am so excited for the new season of the biggest loser. It is such a motivation and inspiration to watch everyone do so well and lose so much wieght.
I love DVR…fast-forward through all the fluff!!!! Last season, we watched the American Idol finale in about 15 mins. 🙂 We enjoy watching Biggest Loser that way too — skipping all the "coming up" and recaps.
yo, love the xbox netflix marriage, been catching up on Heroes and about to start watching Lost if they have it. I love it.
Sorry to hear you have a cold! Hope you are on the mend and noone in your family catches it.
I am so excited about your competition and getting started "Tending the Temple" in 2009. I have 2 days to read everything on your sight and read the book I purchased today "Biggest Loser" weight loss program. I am confused about the food pyramid versus calorie counting. I would welcome an email and any advice so that I start off on the right foot.
You will always be our "Maine" inspiration and Biggest Loser!


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Manuel Tolsá (Enguera, Valência, Espanha, 4 de maio de 1757 — Las Lagunas, México, ) foi um arquitecto e escultor em Espanha e México. É um dos arquitetos que projetou a Catedral Metropolitana da Cidade do México e o Hospício Cabañas.

Escultores da Espanha
Arquitetos da Espanha
Arquitetos do México
Nascidos em 1757

redpajama_set_name: RedPajamaWikipedia


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M/Y Lady Britt är en superyacht tillverkad av Feadship i Nederländerna. Hon levererades 2011 till sin ägare Sten Warborn, en svensk miljardär och barnbarn till Monarkgrundaren Birger Svensson. Superyachten designades exteriört av De Voogt Naval Architects medan interiören designades av Redman Whiteley Dixon. Lady Britt är 63 meter lång och har en kapacitet upp till tolv passagerare fördelat på sju hytter. Den har en besättning på 16 besättningsmän.

Galleri

Referenser

Externa länkar

Superyachter
Fartyg byggda i Nederländerna
Fartyg sjösatta 2011