text:
Search Underway For Missing Plane, Pilot
Associated Press Published: February 10, 2012
MORGAN, Utah (AP) — A search is on in Utah for an overdue airplane that departed the Morgan County Airport for Wyoming and hasn't been heard from since.
Authorities say the Wyoming pilot left in a small plane Thursday, then turned around in the Coalville area and headed back toward Morgan. The plane's signal was then lost.
Morgan County Sheriff's Chief Deputy Kevin Edwards says he believes the aircraft when down east of the Snowbasin area and west of the airport. Weather was snowy overnight.
Officials from the Civil Air Patrol have been called in to help search for the location of the plane.
Filed Under: aviation, CAP, civil air patrol, missing, pilot, Search


When couples get married, they are so in love and believe that there is nothing that is going to come between them or cause them to be unhappy. Though most believe that initially, the bottom seems to drop out of that belief pretty quickly. How could this person that you married be so incredibly uncaring or messy or self-centered, etc?
You begin to question what you ever saw in this person or why you ever thought that your marriage would be so wonderful. Every day you find yourself becoming more and more frustrated and angry at him. You become resentful of his very presence in your life.
How can he not see what you need and want, especially if you are now pointing it out to him!
Before you begin to throw darts his way, it's time to take a close look at what YOU have been doing that has contributed to the brokenness you are experiencing in your relationship. Did you know that each of you contributes good things in your relationship and bad things? It is possible to fix this relationship before it ends in divorce, but you have to be willing to do some work on yourself.
1. Identify the problem areas.
You must recognize that there is a problem in your marriage that will not just go away and that you play a part in it. Too often people believe that problems will just fix themselves without any initiative on their part. You may look at the problem as his to fix.
After all, you are the model spouse. You do everything right. He should just know what you need and want without you having to tell him. It's his fault that things are coming apart in your relationship.
You make it known to him all the time that you are not happy with him. You spend your days and nights cleaning up after him and make all kinds of noise to let him know that you are not happy with doing this. He never seems to get the hint. He just gets mad!
2. Pay attention to how you're communicating.
The way you communicate with him has a huge impact on the reaction you get from him. Out of your own anger and frustration, you begin to communicate with him in a very angry, sarcastic manner. You seem to be angry all the time (at least to him).
There is nothing he can do that does not invoke an angry response from you. Every conversation he tries to have with you seems to turn into an argument. Learning to talk to each other in a respectful and civil way can begin to turn things around.
Talking to him about why, for example, his messes make you angry. Telling him what you expected in your marriage is also extremely important. He may know some things but to assume that he should just know what you are thinking and feeling means you believe he can read your mind.
He cannot and never could read your mind. You and your spouse need to talk about what is important to you and to him. You make decisions about how to treat one another based on your communication that is clear, open, honest, and respectful; and don't use sarcasm!
3. Check your negativity levels.
Your attitude about your spouse also must change from negative to positive. If someone is always negative in how they approach you, you would become discouraged and angry too. Your spouse may have come to the place of believing that it doesn't matter what he does or doesn't do; you are always going to find fault with him.
If that is the case, then why should he even try to please you? Something that might help you is thinking about what are the annoying things that you can choose to live with. There are some things in relationships that are just not worth creating brokenness, such as, which way someone puts the toilet paper on or where that person squeezes the toothpaste, etc.
If you have an issue about something, it would be important to think it through and if it is important enough to you, talk about it. But remember that neither of you is right nor wrong.
You are just different in how you do things. Some may be gender differences and some may be because you come from two different families and two different ways of doing things. As you begin to approach the differences with a more positive attitude about your spouse, you may find that both of you begin to be less annoying and more loving toward each other.
4. Don't just point the finger outward.
You must be willing to make changes yourself if your relationship is going to change for the better. You may have decided that it is not fair that you have to make changes while your spouse just goes about his life doing what he wants. However, you can only change yourself and your spouse can only change himself.
If you desire for things to be different and especially desire that things be much better, then you will need to be open to getting the ball rolling and make some changes yourself. Think before you speak. Ask yourself if what you are about to say is really true.
Next, ask yourself if it will be helpful to say it. Then, consider if it will really inspire change in your spouse or will it just be plain hurtful. Ask yourself if it is necessary to talk about and think about how you need to approach it so your spouse hears you (not at the top of your lungs or with an attitude).
Then consider whether what you are about to say is truly kind or if you're about to blow up out of anger.
5. Learn to be patient.
Remember that changes take time. You will need to keep doing things differently on a consistent basis if you want these changes to become a part of your marriage. It is always easy to fall back into old patterns of thinking and behavior so you have to be intentional about making the changes and continuing to make those changes.
If you are struggling with a "broken marriage" that seems to be heading for divorce, don't give up. Get the outside professional help you need before it is too late! We are here to help you to make your relationship better than it has ever been. Please contact us and we will help you get back on track in your marriage.
Work through the steps above. Go to our website and download the instructive worksheet to help you follow the process. If you are still having difficulty making change happen, please contact David and Debbie. We can help you figure out how to have the relationship you desire.


In the early 1960's the International Coffee Organization (ICO) instituted an identification code for coffee exports to enable it to apply the export quota system that existed at the time. However, this coding system has become an important statistical tool in its own right and so remains valid also in to-day's free coffee market.
The second group (1961, maximum four digits) identifies the exporter. Exporters are registered with the local authority that issues ICO Certificates of Origin and receive a code number from such an authority.
The system allows easy the identification of individual bags: the country of origin, the exporter, and the shipment number for that exporter.
For shipments in bulk (see topic 05.02.06) the shipping marks, including the ICO numbers, are marked directly on the container liner, making them visible when the container doors are opened. The container number itself is marked on the ICO Certificate of Origin, thereby completing the link.
* To see the entire list of country codes and more on ICO Certificates of Origin go to www.ico.org, look under Documents, By Category, Executive Board and trace EB 3775/01.
** Coffee Years run from October 1 to September 30 – individual shipment numbers recommence at 0001 every year.


Un-forgiveness is something that invades our hearts and if left unchecked it can block our view of all of the good in our lives. How can we forgive and even more important why should we forgive?
Jesus called his church an ekklesia (a gathering of people called out) what then are we called out to do?


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What Queerocracy Looks Like
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BERNARD FRIZE Winter Diary
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It looks like words have won...
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LARRY POONS New Paintings
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Lessons in Empathy
LAUREN GROFF with Matthew Daddona
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A Wide Open Mind
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AMPLIFY 2013: rotation
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A Great and Joyful Noise
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Portrait of the artist. Pencil on paper by Phong Bui.
In conjunction with Richard Nonas's show at James Fuentes (Richard Nonas, March 8 – April 21, 2013), and upcoming solo booth at Art Brussels (April 17 – 21, 2013), the sculptor met with Alex Bacon to discuss his complex and imaginative theories of art and aesthetics, and their relation to his unique formation as an anthropologist who, in the 1970s, found himself an unwitting but enthusiastic participant in the New York art world.
Richard Nonas: It's very important to my thinking that I was not trained as an artist, and didn't in fact study art. I was an anthropologist for about ten years, teaching and doing a lot of field work with native people: American Indians in Northern Canada, and in the desert of Northern Mexico where I spent two years in a village of 50 people. It was an extraordinary time, like living in a surrealist painting where everything makes sense to everybody around you but doesn't make any sense to you. Holding both those things in your mind at the same time is quite a powerful experience.
I ended up back in New York, teaching anthropology part-time at Queens College and writing a book about something that had fascinated me in those two years in Mexico: the extraordinary way those people conceived and perceived the world spatially, ways they situated themselves contextually that were unlike anything I knew in my own culture. I was writing about how we arrange the world in order to understand it. At that time I had a sled dog that I had brought back from sub-Arctic Canada and was spending an hour or two every day in the park with him. I found myself picking up pieces of wood and staring at them while the dog played. One day I held up two pieces of wood, pushed them together and, incredibly, they conveyed strong and specific emotion. It was identifiable emotion with no story, a disembodied emotion I could not fathom or explain. I felt like I had been hit on the head with a hammer. I realized all at once that it might be possible to communicate abstract emotion directly with objects, instead of indirectly with words. I started taking the wood home and moving it around. The idea of art never occurred to me. I had grown up in New York, I was interested in the world, was a sort of young intellectual. I knew the collection of the Museum of Modern Art, but, as I came to realize, in a totally superficial way. I knew the names, the forms, but nothing more.
Richard Nonas, "Untitled (Wall Steel piece)," 2006. Steel. 8.25 x 8 x 1". Unique. Courtesy of the artist and James Fuentes.
This was in about 1967. A couple of months later, a friend came to my apartment and said, "Idiot, that's called art. That's called sculpture." [Laughs.] So there I was, trapped. I realized that I had to figure out what all this was about. I met a stone sculptor and I borrowed a chisel and a piece of stone. I tried everything. I tried to understand what I was doing. I looked at art. I looked at the world.
Coming into the art world in New York in the '70s was strange, but I very quickly became part of a group of young artists, makers—Gordon Matta-Clark being one of them, and Alanna Heiss another—who were, each in their own way, fighting to cut their way through to the things that they knew they meant to say. By this time I had a studio and I was already making fairly big things, which were related to what I'm doing now. There was a very short period of time, a matter of a few months, where I tried other very different things, but I very quickly found a vocabulary. The sculptural tool that interested me most was extension: lineal extension, a thrust into the world. Which came from anthropology, and the field archeology I had done for a year or two, but found also in all the art that interested me.
I was trying to set up the physical and emotional conditions in which what I now called art could take place. Conditions that, in fact, became part of my definition of art, and of what art meant to me. But I didn't start that process with analysis. Analysis always came second, was always the examination of something that I'd already done.
"There are physical places, spaces deeply imbued with human meaning."
Alex Bacon (Rail): It seems that you benefited from not having the same training as your artist peers. Starting in anthropology meant that you began with a realization that those university trained artists had been trying to work towards undoing their art historical and academic studio training. They were trying to get to a more direct, personal intervention into space and material, which was something they had to throw off the dross of art history to reach. But you already had that realization in the context of anthropology which was what drew you to art in the first place. And it's timely of course that it happened in that moment of the late '60s and early '70s in New York, because that was a time and a place in which the art world had become tuned to those same ideas, so that you could enter and express yourself in that way, by making art. Whereas maybe if you'd come of age in a different moment it seems likely you would have continued to be an anthropologist.
Nonas: I think you're quite right. In fact, anthropology was the best possible training for art that I could have had. I was an anthropologist because I was fascinated by questions; questions as questions. I very quickly realized I was not as interested in answering those questions as I was in seeing where they led—that is to say, the questions that those first questions pointed at, the next set of questions, and the next set of questions after that, were what drove me. I believed that the jump of constant questioning was the strength of anthropology, that keeping the questioning going was its point. The aim was to land in a place different from where you expected to land.
And that's the way I thought art should be made too, the way it should be thought, and even seen. I'm interested in questions that I can't answer. I don't even want to answer them. Tension is the tool I'm after—excitement, friction, the movement towards even more than I think will be there, lies in the unanswered-ness of the unanswered question.
Rail: It seems that you take that even a step further. I think a lot of artists would say something about wanting to pose a question that can't be fully answered, at least within language. But in talking to me earlier about how you never see your works as definitively finished, you told me about how, having your studio filled with examples of your work everywhere, you often see something out of the corner of your eye and, while you liked it yesterday, today you want to change it in some way. So it seems to me that the test of your work is that it's not just that the question should be unanswerable, but rather that the very nature of the question itself changes over time.
Nonas: Absolutely. And it's not even just that the nature of the question changes, it's that the world in which, and about which, the question is posed changes too. There's a quote by one of the major quantum physicists, who said something like, "Not only is the world more complex than we think it is, the world is more complex than we are able to think it is."* That unreachable complexity, the searing pathos of a world more complex than we can understand, is almost my definition of beauty. What I want to accomplish, and what all the art that interests me seems able to accomplish, is simply an acknowledgement of that unreachable more.
Richard Nonas, "Untitled (oil on paper mounted on canvas)," 2012. Wood, paper, oil paint. 5 x 5 x 0.75". Unique. Courtesy of the artist and James Fuentes.
Rail: I think this is a very loaded issue for abstract art historically, and it suggests a figure like Agnes Martin, who held similar ideas to the ones you're expressing here, but for whom they were explicitly spiritual, whereas it seems that you take a more materialist route. For me there's in fact a relation of sorts between the two apparently disparate positions, and you seem to establish just such a relation yourself.
Nonas: Absolutely, but I think that as much as anything else, language is the problem here. We are almost forced to unpack and specify thoughts like "undifferentiated more" in order to able to communicate it, yet a great deal is lost by doing so.
This doesn't answer your question, but it keeps the questions going. If you ask those questions spiritually, you find yourself stopped at a certain point. If you ask them scientifically, or materially you stop the process at another point. You gain something in each case, but lose something else. (That's the "sticks in the park vs. the words in the book" contrast I started with.) And I'm interested now in seeing how far one can keep that questioning going without limiting the direction and form that the answer can seem to take.
Rail: I think that it is your approach to your work—with its role as a kind of tool in mind—that sets you apart from other artists, even of your own generation. I would like to think that maybe it allows you to retain something of what you have been saying about resisting the collapse of questioning, and the creation of distance between the work and its viewer.
Nonas: I hope so. But the image of art as a tool is part of the larger question of what that tool is used for. It seems to me that much strong art creates worlds, complete wholes. That is what I want from my work too. I want to find ways to build situations that can say almost everything while saying almost nothing. I want them to be chunks of reality that contain even larger chunks of reality. Chunks, I mean, of everything we react to, clumped combinations of intellectual, emotional, societal values distilled to what it means to be you—to see as you. A bounded clump of consciousness—that's what I mean an artwork to be.
If you stand in front of an Agnes Martin painting or a Rothko painting or a good early Ryman painting there's a world there, there's a wholeness that has the three-dimensionality of emotion, perception, a kind of literalness—all of those things at once. And that my relationship to that onslaught usually is, "How can I hang on to all this all at once?" How can I remember it without defining it away; without killing it?" That is the tension that memory of art brings to me. The positive tension of feeling it slip away from me. And I think the same tension of an immediate wholeness necessarily slipping away is generated by the best of the Renaissance paintings; it's true of Giotto, and it's true of some of the best African art, too. Each of these works has greater presence than I expect it to be able to have, more than it has any right to have, and more that it can actually retain.
Rail: Does what you're calling a "clump of consciousness" reside in the object or in the person?
Nonas: It resides in the interaction between the two!
Rail: As you're talking I'm thinking about an experience with, say, a Rothko painting. I think part of the experience of such a painting is the sense in which it does indeed create a world, but it's a kind of alien world. Because I often feel that a Rothko in a sense changes the whole feeling of the room in which it's hung. It takes over the room such that in entering the room, you feel as if you have entered into the space of the Rothko, that the painting's space takes over from and subverts the experience of the room as a particular space. So I wonder if there is something different about your work, where it does seem to be much more about the interaction. I don't know if "hostility" is the right word in speaking about a Rothko painting, but there is definitely a way in which that work forces you into a particular kind of relationship with it, if you are to have an experience with it beyond admiring its color palette, or something of the sort.
Richard Nonas, "Untitled (Table, 2 Chairs, 4 wall pieces)," 2011. Cedar wood. Dimensions variable. Unique. Courtesy of the artist and James Fuentes.
Nonas: I think there's no one way to do it, but I think that the most interesting fact is that some situations do that or some objects do that, and some objects don't do it. But the objects that do do it, don't necessarily do it in the same way. The Rothko does say "listen, not all worlds are friendly; not all lives are easy." [Laughs.] And, each world, each strong object, is friendly one moment and terrifying in in the next. But, friendly or not, for a moment those objects can include everything. They can say everything, and part of what they say is, "Get me out of here!" [Laughs.] I think it's perfectly reasonable that some strong art is frightening or threatening. I agree with you about the Rothko, but I think it's very important to realize that that's not just a quality that exists abstractly within the painting. It's a quality that depends on an interrogative viewer, a viewer able or willing to acknowledge that complexity.
I find the word "acknowledge" to be very useful here. Its neutrality, its recognition of distance, of otherness, of wariness and lack of control; its quality of waiting and watching is what I mean it to communicate.
I started this conversation talking about place, place-ness, about moving through worlds as an observer, not necessarily as an artist. What I realized in Mexico was that there are physical places, spaces deeply imbued with human meaning, that can have a great deal of power over us, places that affect us in an extremely worldly way. And those places are still models for the kind of art that I want to make. But I find I cannot do that directly. What I can do, though, is to make objects that function as tools to force those powerful places into existence.
Rail: I think this is a very important point, because if you think about something like, say, Minimalism, and you think about someone like Robert Morris and his gray plywood objects, that kind of work is seeking a direct, immediate impact, but is not necessarily involved in this kind of multilayered, complex emotional world, right? That work just wants to be present in the now, there with you, and that necessarily involves, I think, a kind of emotional valence. But, I think for you, by zeroing in on that more directly, the work actually becomes something of an acquired taste, experientially speaking. In a way you have to be ready for it.
This reminds me of the anthropological experience you mentioned, where you go into another culture, and then, at least at the beginning, a lot of the emotional life of the people you are studying seems alien to you in a way you don't understand. It has meaning for them, while for you, it's something close to nothing. It's really mysterious, and so, in a way, there is something similar about the anthropologist coming in and trying to understand that mysterious distance and difference from his or her own culture, and hopefully in the process gaining a certain level of sensitivity. Your work seems to me to play with that thin line, where a lot of people they could come and see these few pieces of wood stacked one on top of the other, and think, "What is this? I could do this myself"—the classic philistine's reaction. Your viewer has to be ready to experience your work, prepared to engage in that kind of intellectual labor, which is far from unavoidable.
Richard Nonas, "NY Storm Cracked Buttress (Floor Wall Wood Piece black walnut)," 2013. Wood, 26.25 x 4.5 x 4.5". Unique. Courtesy of the artist and James Fuentes.
Nonas: Well, not quite. They do have to be open to it, but it's my job to make them, trick them, into doing it. It's my job to disorient them into doing it. The kind of perception that I'm after comes from disorientation. It is what one sees out of the corner of one's eye, rather than what one already knows. It is a kind of protective distortion. There are not only different levels of perception, but different kinds of perception as well. It is the job of the artist to set up the situation in which the perception happens, not just within the work, but around the work too. That's what I mean by context. It is the job of the artist to build that context in which, for a moment, one sees the world slightly differently. That's what the art is. One moment sets off the process.
And how do you do that? Well, you do it in a lot of different ways. All strong artists, I think, develop techniques to do it. Everything depends on where you are looking from. The act of looking changes everything.
Rail: In that way it's very different from the more didactic expression of the same idea in Robert Morris's Three L Beams, where Morris takes three identical L beams, and places them in three different orientations, such that there is, in that work, the idea of the L beam that is held in the mind, which is then juxtaposed with the experience of those beams in actual space, where each one feels or seems different from the others, based solely on a simple act of rotation. But in your case, I think it becomes important to imagine the way that you're using a certain kind of material and a certain kind of scale, which is very different from what Morris is doing.
Nonas: Placement separates my work from Morris's. What Morris is doing is counting, separating one element from another. I want it all to happen at once, a kind of superimposition. If any separation is to be made in my work, you have to make it; it's not done for you, and you are not told how to do it. Everything is superimposed on everything else.
Richard Nonas, "NY Storm Cracked Wood (Wall black walnut)," 2013. Wood. 24 x 4.25 x 4.25". Courtesy of the artist and James Fuentes.
Rail: For Morris that kind of disorientation is the beginning and end of his project, and in that way it's something of a closed question, operating not unlike it does in a basic perceptual psychology textbook, which also tells its reader, "You see the L beam one way, and if you turn it in space then it becomes different experientially." But in your work the kind of disorientation that comprises the entirety of Morris's work is simply the initial seduction of the viewer that engenders in him or her a level of curiosity.
Nonas: Not curiosity, but openness. You may not feel curious, but there is something there you want to figure out. I think that Morris's work is about analysis and mine isn't. I don't want the piece itself to be an act of analysis. I want the piece to be the clump that Morris's analysis is analyzing. I want all the aspects that he is separating to be pushing against each other at once and as a unit. I'm not interested in taking things apart, I'm interested in what happens when they stay together, when they are together.
Rail: In this way your idea of art-as-tool seems a very constructive concept. Literally, but also figuratively, as in how using a tool to take something apart is not necessarily a purely destructive or nihilistic gesture, but can be seen as essentially constructive. In the sense that with a tool one takes apart in order to ask, "How does this work?" or "how might it be rearranged?"
Nonas: Sure it is, but I am not really much interested in taking things apart. Except, maybe, as you suggest, to begin to build something new. I'm interested in wholeness, the connectivity that changes everything.
But there are different sorts of tools, and I should probably think more about how I want to use that word. The act of analysis is itself reductionist. The assumption is, "This is going on, and this is also (separately) going on," and we should add them all together in order to see what's really going on. But the whole, for me, is always more than the sum of its parts, and the tension between the unpacked box and the packed box is what interests me. The uncut whole, the unanalyzed whole, the physical immediacy and intellectual presence that is lost in the process of analysis is still what interests me the most. I think that a lot of the art that has been made recently is actually about both analysis and art historical positioning. And something profound is lost in both cases.
Rail: Returning to the example of Rothko, you might not remember exactly what colors you saw, or the way they were arranged, but the real take away is the very deep and complex emotional experience his paintings engender in the viewer. Working from this, I think for an artist of a younger generation, such as yourself, it becomes clear that this experience is the most important part of the work, and that you don't necessarily need to paint a canvas to get there. In your case you use very minimal materials, because you seem to realize that if experience is what matters, it can take on any sort of form as long as the appropriately intense experience results.
Richard Nonas, "Untitled (Wall Steel Piece)," Steel. Unique. Courtesy of the artist and James Fuentes.
Nonas: The difference between grand materials and poor materials is an interesting distinction, but more interesting are the differences in the intellectual and emotional resonances of any materials at all. As a sculptor I, perhaps, start closer to the tactile world than a painter does. I want earthly solidity, familiarity in my materials, known substances with known characteristics, basic materials, and old ones, each different from the other. I want materials on the narrow edge between nature and culture, the place where one category comes close to slipping into the other. I use the same forms, and the same arrangements of those forms in wood, steel, and stone. There is an immense and powerful difference if I make a line in wood, and the same line in steel or stone. The line in wood is slower. It's more absorbent, figuratively as well as literally. It is gentle but it is shaky. Your eye dances along it. The steel line is hard and fast and cold. Your eye races. My job is to use those differences.
Rail: Why do you think you've been drawn to those particular materials? Because those three—wood, stone, and steel—do seem to account for the majority of your work. You have these big ideas about the kind of experience you want to create for the viewer, but then the work itself takes these very specific forms that seem to have recurred for you consistently through time.
Nonas: I understood from the beginning that charged, familiar materials and clear simple geometric forms were what I needed to build with. I knew that everything in that building must be self evidently clear that there could be no mystery about any part of what I was doing except the finished product itself. I knew that, like the half and half doubleness of anthropological fieldwork, everything must make sense except the unexpected inexplicable result. All or nothing it was and is.
*This quotation is often misattributed to famed astrophysicist Arthur Stanley Eddington, but is actually likely a variant on British geneticist and evolutionary biologist J.B.S. Haldane's "the universe is not only queerer than we suppose, but queerer than we can suppose." See Haldane, Possible Worlds and Other Papers (London: Harper and Brothers, 1927): p. 286.
Alex Bacon
ALEX BACON is a critic, curator, scholar based in New York. Most recently, with Harrison Tenzer, he curated Correspondences: Ad Reinhardt at 100.


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Sticky Post By NINE dot ARTS Permalink
October 3, 2018 NINE dot ARTS
Meow Wolf Creator Vince Kadlubek on the Merging of Art and Business and Plans for a New Location in Denver
Sticky Post By NINE dot ARTS On October 3, 2018
On Monday, September 24, the founder of Meow Wolf, Vince Kadlubek, spoke to Denver Startup Week about his vision for Meow Wolf – now and for the future – as it establishes a second location in the Sun Valley neighborhood in Denver. Meow Wolf originated with a vision to create inspiring collaborative spaces for artists, brought to life by an arts and entertainment group in Santa Fe. As Meow Wolf grew, Kadlubek embraced his responsibility as a leader for the artistic community. At #DENStartupWeek, he shared the Meow Wolf story, details about the new location coming to Denver in 2020, and how artists and entrepreneurs can plug in to the new location.
Here are three takeaways from the panel:
Art needs to exist with business…
Kadlubek reminisced on Meow Wolf's early days when they didn't charge for tickets, opting instead for a donation jar for visitors. When, to everyone's surprise, they made more than $100,000 in a year, they were shocked and…unsettled. They weren't used to making money like that, figured they must have done something wrong, and the IRS would surely come after them. The predicament was so intimidating, they contemplated burning all the money (which they thankfully decided against). To Kadlubek, this was a clear indicator of the uneasy relationship artists can have with the business side of running a creative company.
Meow Wolff is a for-profit company, and Kadlubek said that there has been a stigma attached to this. Some consider it "selling out," but he encourages artists to reject this idea. If an artist makes something valuable, they have to embrace the business. "Building a business can be a different type of creativity, one that requires multiple creative choices every day," he said.
Kadlubek was inspired by the business model for the City Museum in St. Louis, a popular children's museum that keeps attracting new attendees and return visits every year by creating an experience that visitors, both adults and children, loved and want to come back to enjoy again.
Here in Denver, he said they will keep the exhibit fresh by changing out half of the exhibit every year and adding a new digital layer, with "mixed reality" as the next creative opportunity they hope to embrace.
…But don't put $ ahead of people
Though Kadlubek made a point to say that artists need to be smart about business in order to make a living, he also emphasized you can't go too far in that direction. "It's so easy to put money ahead of people," he said.
Meow Wolf is widely admired because of their commitment to Corporate Social Responsibility. Vince said this is important not only because it's the right thing to do, but also because it's what consumers want. They care about a company that cares. Following its success, Meow Wolf has given back more than $500,000 in its first two years to non-profits, DIY spaces and art projects.
Members in the audience asked how they navigate a fine line between spontaneity and structure that is necessary for an art company to be financially successful while staying true to the creative process. The answer, he says, isn't clear and requires constant thought. "It's important to always be searching for that sweet spot where you aren't boxing your team with too much structure. Artists need space to be creative and push boundaries. However, some structure is needed to make sure the project will be successful and audiences attending the events will get what they want and be satisfied."
A new artistic destination in Denver
When looking to expand to a new location, Kadlubek said they thought Denver would be a good choice because of the soaring art scene sparked by new galleries and events. However, deciding where in Denver was a decision that needed more consideration. When Meow Wolf first announced via Facebook their plans to open a location in Sun Valley, a user commented on the post asking, "What are you going to do for the people in Sun Valley?" He replied, "I don't know, can you help?"
Since then, there have been ongoing discussions on how Meow Wolf can positively impact its new neighborhood and artists. Working directly with the community, Kadlubek wants to be mindful of the environment he's entering, choosing to work with and collaborate with the Denver art community.
Recently, Meow Wolf released their Corporate Social Responsibility plan, which is broken into four major pillars: respect for the community, the artists, the environment, and an inclusive economy.
The "respect for the artists" pillar outlined Meow Wolf's ultimate goal — to pay artists good wages and support the artists they can't employ directly. There was also an unexpected aspect to this goal, one that isn't surprising considering his dedication to responsibility: Meow Wolf's Denver exhibition will have 40 percent of the design elements dedicated to Colorado-based artists.
Our team at NINE dot ARTS is excited to welcome Meow Wolf to Denver, and looks forward to the impact that the organization and artists will have on our community. Click here for the Open Call for Artists for the Denver location!
Meow Wolf Creator Vince Kadlubek on the Merging of Art and Business and Plans for a New Location in Denver October 3rd, 2018NINE dot ARTS
Tagged: art collection, art curation, Meow Wolf, NINE dot ARTS
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Art is a powerful way companies can unite employees across geographies


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INTERVIEW: Black Peaks
Linsey Teggert talks to Black Peaks' Joe Gosney about their intense second album
By Linsey Teggert on Wednesday, October 10th, 2018
If ever there was a testament to the British heavy music scene being in a very exciting place right now, it's Black Peaks' second album. With All That Divides, the Brighton four-piece have created a blistering powerhouse of a record that will no doubt top multiple end of year lists.
For most bands, the touring cycle doesn't begin until an album has been released, but Black Peaks have hit the ground running with a relentless touring schedule over the summer. "Last year we finished playing shows around July so we could work on the new record," explains guitarist Joe Gosney. "Our first shows back were the ones with Marmozets, and since then it's been non-stop. It's a heavy schedule but it's what we love to do, as a relatively young band it's the natural thing to do, to spread our music to as many people as possible."
During this intense summer, teasers were dropped in the form of singles Can't Sleep, Home and Electric Fires. While Black Peaks are no strangers to the epic – their 2016 debut album Statues marked them as a sheer force to be reckoned with – these singles hinted that the band were about to embrace the colossal. As a body of work, All That Divides is so much more than was hinted at; a masterfully ambitious record from the opening rumblings of the explosive Can't Sleep, through sonically expansive tracks such as Aether to carefully nuanced closer Fate I & II. Every single idea is meticulously fleshed out and Will Gardner's vocals are nothing short of astonishing, going from soulful croon to impassioned growl in a matter of seconds. This beast of a record also has something to say, in the form of commentary on the sorry state of UK political affairs.
"It's an outlook on what's been going on over the last couple of years and what's happened with Brexit, taken from our experiences with it, but this record wants to give a message of optimism as to what's going on, it's not completely bleak," says Gosney. "It's more of a message that there's a lot of bad, but a lot of good people, and if we all come together we can make good things happen as well. There's also a lot of light and dark in the record, musically there are some of the most delicate parts alongside the heaviest stuff we've ever written, so there's that sense of two conflicting sides of a story."
this record wants to give a message of optimism as to what's going on, it's not completely bleak
There's a sense of personal upheaval too; towards the end of their last touring cycle, exhaustion and uncertainty weighed heavy on the band. To come out of the other side with an album like All That Divides is a triumph.
"We'd spent six weeks in a van in Europe and played some incredible shows, but it took its toll mentally on some of us. There were unknowns within the band in terms of what we wanted to do next, and it transpired that Andrew [Gosden, previous bass player] just didn't want to go through it again, which is understandable. Since Dave [Larkin, bass] came on board, it's created a different dynamic. With Statues, there was a lot of guess work as to what we wanted to sound like, but this time around we were a lot more certain. By no means is this the definitive version of Black Peaks, we're still evolving, but certainly at the time of recording, All That Divides is the best thing we could have ever done."
Black Peaks play The Cluny, Newcastle on Saturday 13th October.
INTERVIEW: Me Lost Me
News: Cluny 2 Reopens
INTERVIEW: Palace Watson
Bunch Of Fives: Ceitidh Mac
INTERVIEW: Blóm
FEATURE: Reasons To Be Cheerful #1
INTERVIEW: Warm Digits
INTERVIEW: Jango Flash
NEWS: Pete Wylie @ The Cluny/Georgian Theatre
LIVE REVIEW: Ben Watt, Keeley Forsyth @ The Cluny 2, Newcastle (29.02.20)
Focus: Andrew Cushin


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Is Your Teen With T1D Really a "Slacker"?
by Leighann Calentine, guest blogger, D-Mom.com
My daughter Quinn was diagnosed with type 1 diabetes just shy of her fourth birthday. In those early years my husband and I, along with grandparents and school staff, were in charge of her diabetes care, including knowing what her blood sugar was and giving insulin for meals and snacks. I was the "captain of the ship," and with me in charge, we were very on top of things.
When Quinn neared the end of elementary school and entered middle school, we were in uncharted territory. Her need for independence meant giving over care to her and trusting that she could self-manage. Of course, we were always a phone call or text away. We were still able to keep her diabetes management on track.
And then she hit the teen years, and suddenly diabetes management was almost entirely her own. Funny thing about teenagers, they want to do everything — including diabetes management — on their own!
I am so proud of how she juggles the demands of diabetes with schoolwork, extracurriculars, and, well, life. I know she is doing an awesome job, especially when I hear about some of her friends from camp who are constantly going into DKA (diabetic ketoacidosis, a complication of high blood sugar).
But she isn't managing her diabetes in the "type A" way that I would manage her diabetes.
It got me thinking about why many teens become lax in their diabetes management, and why diabetes burnout seems to be almost universal in teenagers. Now, don't think that because I've written a book or have a blog that I've got this diabetes thing 100 percent under control… I don't! So I turned to my longtime friend Allison to try to figure this out, because not only is she a licensed therapist, but she was also diagnosed with T1D as a child.
Allison Nimlos, M.A., L.A.M.F.T., is a licensed associate marriage and family therapist and a diabetes health coach at Greater Than Counseling & Coaching in Minnesota. In the following Q&A, she helps me understand the whys and hows of diabetes burnout in teenagers. I figure that if it's a struggle for us, then it's a struggle for others. I hope that you can see my earnestness in wanting to help you and your teen while trying to find answers for my own teen and myself.
L: What is diabetes burnout?
A: In a nutshell, diabetes burnout is the frustration, fatigue, anxiety, overwhelm, etc., that comes as a part of living with a never-ending 24/7 disease. It's incredibly common, occurring in around 40 percent of people with diabetes at any given time.
L: Why are teens susceptible to becoming burned out?
A: Just like anyone else, they are dealing with the rigors of managing a disease that is really pretty unforgiving. But unlike adults, they are also dealing with a still-developing prefrontal cortex while simultaneously learning to take on a bunch of other responsibilities in life, like rigorous academics, a packed extracurricular schedule, peer pressure, and social obligations, doing their own laundry, etc. It's a lot for a teen to keep up with on the best of days, but when you add a complicated disease on top, it can sometimes be too much to handle alone.
L: Is becoming lax in their diabetes care a form of burnout?
A: It can be. Many people cope with the stress and frustration of managing diabetes by pushing away some of that responsibility. It's a coping mechanism. It's a maladaptive way of coping, but it's coping nonetheless.
L: Is diabetes burnout a form of rebellion? Or do they just have so much going on that they can't juggle everything at once? Is diabetes the thing that just has to give?
A: The difference between burnout and rebellion is that rebellion is done very intentionally, as a means to manipulate and get something they want. Burnout is more of a response; it's just a natural reaction to something that's going on. Most teens who are in burnout who slow down or stop aspects of their management aren't doing it as a way to assert their identity or to "prove something" to their parents; it's just that they're having a difficult time managing things. You could think of it as a cry for help.
Teens can also become susceptible to burnout because they actually are trying very hard to manage their diabetes, and they are afraid of disappointing their parents. It doesn't always mean they don't care; sometimes it's because they care so much and are frustrated that their efforts aren't showing in the results.
L: Does it make a difference whether the teen was diagnosed as a young child or more recently?
A: Surprisingly, no. People may think that the longer you have it, the more "used to it" you are, but everything is changing during the teenage years. They are taking on more and more responsibility, and therefore their relationship with diabetes is changing. For a child who's young, parents are doing the bulk of the thinking and doing, and so diabetes plays a relatively small role. As a teen takes on more of the day-to-day tasks, they can experience diabetes differently.
L: What advice do you have for parents who are frustrated that their teens are no longer testing blood sugar as frequently as they should, aren't bolusing for the foods they eat, and are ignoring the alarms on their CGM (continuous glucose monitor)?
A: Again, most teens aren't waking up and saying, "I want to tick off my parents by not managing my diabetes." Diabetes management can seem straightforward for adults, but for teenagers, they have a lot of things competing for their attention, and they may be having a difficult time figuring out how to make that integration. Some of it comes with time and experience, trying out different routines, and some of it comes from maturity and a more developed sense of why diabetes management tasks need to take precedence. But when you're a 16-year-old guy trying to impress a girl, sticking yourself with a needle is going to feel low on the priority list.
L: How can parents help get their teens back on track without nagging them?
A: Part of the work is preventing them from getting off track to begin with, and that comes with a lot of communication and agreements regarding what you are and aren't going to give over to your teen as far as responsibility goes. Trust comes from demonstrations, and teens can earn more responsibility by demonstrating that they are trustworthy. Teens tend to lose responsibility when they demonstrate they aren't trustworthy; it's a natural consequence. Punitive consequences, on the other hand, such as taking away cell phones, rarely work because it not only doesn't solve anything, it embitters the teen. Natural consequences, such as a parent showing up at a teen's friend's house to check the teen's blood sugar, can be pretty motivating!
L: What can parents do on their end not to be so frustrated? For instance, I don't get mad if my daughter's CGM alarms in the night and I have to get up to deal with it, but I do get annoyed if it's because she didn't look at her CGM and deal with it before bedtime, and waking me up could have been avoided.
A: I am reminded of what a nurse said to me when my son was in the NICU after he was born: "No one graduates from high school in the NICU." Basically, your teen will eventually get the hang of it. They will learn, they will succeed. Be patient. Get your own support, whether that's from a counselor, educator, or a peer support group.
L: Is it enough for their self-management to be "good enough" even if it's not great?
A: I think as long as they are not in imminent danger, that might be the expectation you need on certain days. Our "best" can fluctuate from day to day, and so it can be helpful to have that grace and flexibility to know that not every day is going to be a 70 percent time-in-range day, and that's okay. But we also don't need to approach life from the expectation that mediocre is "as good as it can get." Teens can do really well managing diabetes, and teens can also have a really hard time managing well. It isn't necessarily an either/or, but a spectrum.
Disclaimer: The experiences and suggestions recounted in these articles are not intended as medical advice, and they are not necessarily the "typical" experiences of families with a child who has type 1 diabetes. These situations are unique to the families depicted. Families should check with their healthcare professionals regarding the treatment of type 1 diabetes and the frequency of blood glucose monitoring.
People in the Know: "Forgetful" Teens?
4 Nag-Free Ways to Keep T1D Teens on Track
In the Spotlight: Supporting Your Newly Diagnosed Teen
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Inspired Stories to Watch
What I Wish I'd Said the Day You Were Diagnosed
Searching for the right words after a type 1 diabetes diagnosis? Start here.
10 Fun and Useful Diabetes Printables
Make your life easier—and your child's day brighter—with these handy projects.
Top 5 Things to Never Say to Your Spouse About T1D
Ever heard (or uttered) any of these zingers? Find ideas for more effective ways to get your point across.
How I Learned What a Severe Low Looks Like
As parents of children with type 1 diabetes, we have to be prepared.
Make Your Own Medical ID Bracelet
For a great rainy-day activity, help your child make his or her own personalized type 1 diabetes ID bracelet with step-by-step instructions and a free printable design.
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Bagging lots of users is a challenge one of the startups in Y Combinator's 2016 winter batch is worrying about a bit less than the average. The two-man strong founder team of Thunkable is coming from the rather more comfortable position of already having fostered a community over four million strong — thanks to the drag-and-drop app builder interface they helped developed at MIT some five years ago. The same core tech the pair are now aiming to build a business on.
And while they don't yet have all those millions of users locked into their new tool, they do have some 50,000 people signed up about month after launching their free app builder. And a clear path to encourage over more of their old users — and bring on new ones too.
So why the fork of the original MIT project now? The success of MIT's App Inventor meant it had outgrown the resources afforded it within academia, say Thunkable's co-founders Arun Saigal (CEO) and WeiHua Li (CTO).
While MIT App Inventor's original target was educators and students, offering a free learning tool to lower the barrier of entry to coding, the pair say the success of the software — which has been used to make some 13 million apps at this point, and garnered 4.3 million registered users — called for spinning out of the academic setting.
When App Inventor's growth hit around 300,000 monthly active users the team decided to take stock by surveying the users to ask who they were and what they were using it for. The result was a surprise: they found the majority (over 50 per cent) were not in fact educators — a realization that let them to consider the potential of transforming an educational resource into a business.
In fact, says Saigal, they discovered all sorts of people were using the software to build all sorts of apps — from individuals wanting to make an app to control a connected LED light in their own home all the way up to enterprises using it to put together apps for their sales teams.
The team at MIT was also fielding more and more feature requests from App Inventor users. But did not have the resource to serve all the requests. So both demand and potential for growth were clear.
"We saw that there was this huge range and actually a majority of our users were not in education. And our users started sending us 'hey can you build this?', 'can you build that?' — obvious things, monetization or the ability to add in Google Maps or something like that. And these weren't features that were ever within the scope of App Inventor," says Saigal.
It had evolved into the largest app creation tool for non-programmers that was out there.
Other app builder tools do already exist of course, including the likes of Bizness Apps and AppGyver. There's also the outsourcing route for companies to hire external devs or dev studios to build apps for them. The latter option can be expensive, though. While existing app builders aren't always that accessible to non-developers, the pair argue; some level of coding knowledge may still be required.
The claim for Thunkable is that anyone who can use a computer can build an app, says Li — simply by slotting together the blocks of code it uses to simplify the programming process.
"We're a tool for anybody and everyone who wants to build apps — from the non-developer to the highly skilled developer who wants to do something quicker and easier," adds Saigal.
"There are two parts to our tool," he explains. "The first part is the designer and what that is is basically you can drag and drop the UI of your app. So if you say hey here's my screen I want a button, I want a text field, I want these sensors and I want an image, ok great.
"It is the same concept [as coding] but it's much more English-friendly, it's much more logical and straightforward than writing in Java or whatever other language it may be," he adds.
Another advantage over competing app builders that Saigal claims is that apps built with Thunkable's software are fully native, rather than being web apps. So can work offline and are able to make use of specific mobile hardware features such as GPS and NFC. And while Thunkable does offer some templates for people who want a little more structure to get started it is not limited to just building template apps — unlike some competitors.
There is also no need to download an SDK to build apps on Thunkable. The software works in the browser, and includes other features designed to appeal to a broad user-base — such as the ability to live test the app being built on the user's Android phone.
Given Thunkable's jumping off point is a strong community built off of free software, the pair say the plan is to keep offering a free version (Thunkable is currently entirely free) for the foreseeable future. Monetization will come via a freemium route, building a tiered pricing model on top of the basic free version. They say they will likely be charging users for certain extra features, with different pricing tiers based on whether the user is an individual, a SME or a large enterprise.
Thunkable is not just App Inventor with a new name; they have already added some new features to the platform too. Additions include extra sample apps and templates; support for Google Maps; and enabling Android's Material Design features (which they say, again, the MIT team never had the resources to support).
"You come to the site there are obvious UI improvements [with Thunkable vs App Inventor]. The buttons, the color scheme, all that kind of stuff we've improved. And then past that probably a couple of the largest features that we've added are that at MIT we did not support any of the new Android design stuff," says Saigal.
The team is also offering stepped up support — so is responding (currently for free) to "every email… every chat that we get online". "That's been one of the biggest things that we offer — actual human support to work through your problems with you," he adds.
The types of features Thunkable might start charging a monthly subscription fee for in future could be for monetization capabilities for apps built with the platform, perhaps charging individuals $5 to $10 per month for that. Right up to much more premium, enterprise options — with much higher monthly subscription fees attached — such as the ability for an enterprise customer to have a white label version of an app that lets them host their own data and includes support for specific enterprise software.
In terms of the timeframe to flicking the monetization switch on, they say it's going to be "sometime in the next year". Although the priority right now is building out the product and growing users, they add.
Keeping the App Inventor community on side is going to be essential to scaling the business, given that a four-million strong user-base was able to be sustained by just two dedicated MIT staff. How was MIT able to support so many users with so few staff? Community power users chipped in a lot of help with support on the forums, says Li.
And since having strong customer support is a key plank of Thunkable's proposition then scaling as a business without needing to hire very large numbers of support staff will be more easily achieved if they can likewise nurture a strong and engage community to pull with them.
What will happen to MIT's App Inventor? It's not entirely clear at this point, but it looks like development on that project may well wind down in future, with Thunkable picking up the baton.
The startup has been funded by a $120,000 seed from YC so far, which the co-founders reckon will see them through the rest of the year — and they say they are in no hurry to raise another round at this stage.
As well as using the funding to hire more staff to help scale the business, they are working on building an iOS version of the product — which currently only supports building Android apps. An iOS version has become possible since Apple open sourced its programming language, Swift, last December, according to Saigal. It also wasn't possible before given MIT's limited resources.
"People have been asking for the iOS version for years and we're finally investing the time and resources in," he says, adding that the hope is to have an early version of this ready towards the end of the year — and a full version launched this time next year.
Beyond adding iOS, the longer term goal for Thunkable is to evolve the tool so it supports collaborative app development — much like Google Docs allows multiple people to easily work on documents together, according to Li.
"That's our long term strategy," he says. "How to make a tool to enable or empower our user, empower people to build tools collaboratively.


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Plainfield Connections promotes parents as teachers
Plainfield Connections March get-together focused on litleracy and school readiness.
Cheryl Makin
@CherylMakin
Plainfield Connections Parents as Teachers program celebrated the joy of reading Wednesday
The March program featured Dr. Seuss-themed crafts and story time.
Plainfield Connections offers home visits, monthly get-togethers and resources for families.
The program is part of Union County's Maternal and Child Home Visitation Program for JFK Health Systems.
PLAINFIELD – Reading together, what a treat. In English and Spanish, not missing a beat. Parents taking time to do what kids need. Building skills for the future, and planting a seed.
Dressed in their finest pajama-wear, parents and their children in the Plainfield Connections Parents as Teachers program celebrated the joy of reading with a Dr. Seuss-themed get-together at the First Unitarian Society of Plainfield on Wednesday.
A part of Union County's Maternal and Child Home Visitation Program for JFK Health Systems, Plainfield Connections offers monthly meetings for parents and children. With a focus on helping parents with parenting skills as the children develop, the home visit program is funded by the state Department of Children and Families. Special events such as Plainfield Connections, around since 2011, get funding assistance from several foundations, said Program Manager Jenny Fischbein.
The three-fold home visitation program allows for 60 families to participate at a time, Fischbein said. Along with the monthly themed Plainfield Connections, the program also provides home visits and resources for additional services, such as nutrition or health care. While the March meeting — Reading Together — focused on literacy and school readiness, other sessions have included themes such as holidays, a Women's Health Fair, the Tooth Fairy (dental care) and International Day.
"We also provide the parents with information concerning health care, like age-appropriate immunizations, well and preventative care. We help them set goals, such as returning to work or school, learning English, help them set goals," said Fischbein, adding that the program, formerly housed at the closed Muhlenberg Regional Medical Center in Plainfield, is now based out of JFK Medical Center in Edison. "We help parents be better parents for their kids."
READ: DAR participates in Read Across America
Crystal Dow of Plainfield said she and her daughter, Dulce, 2, have found Plainfield Connections to be very educational.
"They offer a lot of different activities," she said. "They teach the whole family — mother, father, siblings — a lot about bonding with the baby."
The home visit program, established in 1997, works with the parents from pre-natal through post-partum to age 3. The children age-out when they become enrolled in a pre-school program, Fischbein said. If there is no available pre-school program in their hometown, they may continue until the child is 5 and ready for kindergarten.
On Wednesday, each of the 14 moms who attended the two-hour program received a bag of Dr. Seuss-themed crafts, such as "The Cat In The Hat" hat and a counting coloring sheet, and the book "One Fish, Two Fish," by Dr. Seuss. Along with parent educators Laura Weiss, Marlene Chinchilla, Rosa Dalton, parents and children engaged in a story time before sharing lunch and an educational session on the importance of literacy and reading together. Everything is presented in both English and Spanish.
"This social component is important because many of our clients are socially isolated," Fischbein said. "This is a time for them to meet other families and connect and have their own group that they can identify with."
Rosalee Walker, along with pony-tailed Annalee Walker, 2, have been attending the monthly get-togethers since Annalee's birth.
"I really like it," said the Roselle resident. "It's good for her. She gets to get out and play with other kids — when she feels like playing."
Mother of three Yvette Nieto, of Plainfield, said the program is very beneficial for her eldest, Naty Nieto, 3. Everything she has learned with Naty, she passes down to Rogelio, 1, and Jose Julian, 6 months. Soon, she and Naty will be aging out of the program as the toddler was recently enrolled in pre-school.
"I am going to miss it very much," said Nieto in Spanish. "I don't have family here and they have become a little family to me. It has been very good for me."
READ: Woodbridge students learn about career options
Three "grandmothers" were also on hand to play with the children so the parents had time to socialize and listen to the day's educational session.
"I love this," said Bernice Jeronowitz, of South Plainfield, a volunteer with the hospital for more than 30 years. "My granddaughter is 27 and I can't exactly read to her anymore. This lets me play with the children and be a grandma to little ones. The kids are very nice and very cute."
"The 'grandmas' are here every time," Dow said. "They are volunteers who play and talk with the children. When Dulce is playing with them, I get to talk with the other parents. Dulce doesn't have a grandma, so this gives her an adopted 'grandma.'"
Many of the moms noted that they already enjoy story-time sessions with their little ones. Walker said it is one of Annalee's favorite activities.
"I read every single day with her," she said. "And she also reads with my mom. She loves it. It calms her down. She just loves books in general. She loves reading and cuddling."
Dow said Dulce loves being read to by mom and her three older brothers, ages 12, 10 and 8.
"They are good older brothers," said Dow, who became involved with Plainfield Connections when she was five months pregnant with Dulce. "They read to her all the time. My 8-year-old was trying to teach her the letters yesterday. She doesn't understand yet, but he was trying."
Fischbein said the gift of books was made possible by a fundraiser that Frances Perillo's fifth-grade class at Menlo Park Elementary School hosted. Special attention to photograph the day's event was taken, Fischbein said.
"We are going to post everything on our Facebook page," she said. "That way the children who participated in the fundraiser can see where the books went and what we did with them. It's not often you get to see the direct result of what you did."
For more information, go to facebook.com/PlainfieldConnections/?fref=ts or call 908-668-2862 or 908-668-2512.
Staff Writer Cheryl Makin: 732-565-7256; cmakin@mycentraljersey.com
© 2021 www.mycentraljersey.com. All rights reserved.


Hey everybody, it's Truffles! I'm not a very happy camper this weekend. Mommy is in the middle of cat sitting for our neighbor for TWO WHOLE WEEKS! I am feeling very neglected. But as bad as I feel, I also feel sorry for T-Two...at least Mommy keeps coming home to me. Her Mommy is nowhere in sight and won't be for another full week.
For our Sunday Selfies post this week I thought you might like to meet T-Two. She's a beautiful blue Persian and will be a year old in March. Mommy first met her when she was only 3 months old, and in that short period of time she sure has grown!!!
What a pretty girl and a cute selfie!
T-Two is gorgeous!!! She sure has grown a lot, hasn't she?
I remember watching Carmine grow from a 4-month-old baby. It is such a joy to watch kitties grow!
T-Two is adorable! And it's nice of your mom to take care of her while her mom is away even if you're not happy about it, Truffles.
She sure has grown. What a cutie!
Very cute! She's getting big!
What a gorgeous girl T-Two is and unique name.
Those are lovely selfies of pretty T-Two.
It's difficult to share our Mama isn't it Truffles?! We know all about that over here :p T-Two was an adorable kitten and she is striking as a ten month old too. Really beautiful!
She's gorgeous, Truffles, but Mommy will ALWAYS come home to you! Purr!
She is gorgeous! (But not as beauteous as yous dear furrend), And LOOK at all that floof!
It's OK to be a bit jealous.
What a beautiful Persian. We love the blues!
WOW! That is some floof!! She is gorgeous, but of course, not as gorgeous as you, Truffles!
What a cutie patootie, full of floofy. Great selfie.
I hope she doesn't brought T-Two home with her until it's Mom comes home. Yikes!


As a kid I got some electronics sets and a soldering iron from my dad. This got me into the whole thing and I started tinkering a little until I was about 15 or so and my interests changed. For a long time that's been it and everything went into a box. I only used the iron for little things, repairs where they might be needed but never really got back into it.
Then in the beginning of 2018 - more than 20 years later (yeah I am old) a friend told me about Arduino and I looked it up. I was doing a lot of programming for fun and work in different languages like Python, PHP and LSL but never touched actual C code. Then I noticed that I know the basics of C++ from using LSL for about 10 years already which at least uses the same syntax and borrowed lots of key things from C++. I ordered my first Arduino Uno and dug out my old electronics box which still had a lot of interesting stuff I totally forgot about.
Since most of the things in my box were very basic, I started ordering bits and pieces to get a base set of electronic components. While waiting for these to arrive from China I started learning the Arduino derivate of C which was surprisingly easy compared to what I expected. There's tons of ressources available and even more ready to used libraries and code snippets.


Home - Orthodontics Coraopolis & Monaca, PA - James D. Harkins D.M.D.
Locations in CORAOPOLIS & MONACA, PA.
Welcome! The Orthodontic professionals at Harkins Orthdontics are pleased to welcome you to our practice. Harkins Orthodontics has two conveinent locations in Coraopolis & Monaca, PA. We want all our patients to be informed decision makers and fully understand any health issues you face. That's why we've developed a web site loaded with valuable information about Orthodontics and orthodontic problems and treatments. We encourage you to visit this site whenever you have concern about your orthodontic needs.
Our web site also provides you with background about our, staff, office hours, insurance policies, appointment procedures, maps, directions to our offices in Kennedy Township and Center Township,and other useful information. We know how hectic life can be, and are committed to making our practice convenient and accessible. And we want you to feel confident that when you choose James D Harkins D.M.D., you're working with a doctor and other professionals who are qualified, experienced and caring.
Please take a few moments to look through this site to get a better feel for James D Harkins D.M.D.'s capabilities and services. We also invite you to email or call our offices at any time to request an appointment or ask any questions. Thank you.


This first volume in the history of the Royal Navy in Polar exploration covers the period from the sixteenth century up to 1842 and Ross's explorations of the Polar regions. The Royal Navy has always been used as an arm of national policy with the purpose of gaining new territories and opening new passages in regions far beyond the usual seafarer's voyages. The people who undertook such expeditions have left their names scattered through the Polar regions: Frobisher, Rankin, Cook, Vancouver, Franklin, Ross, Parry and Scott are just a few of the well-known examples. This illustrated and informative book will be of interest to both the general reader and the expert and researcher.


Carol Lam was never notified that there were any problems regarding her performance on immigration. Not once.
And yet, she was fired for it.
Oh, and by the way, she was enlarging the Cunningham investigation, as any US Attorney would (or should), by just following the evidence.
And then, boom. She was fired.
Does that sound fishy to anyone else?
— May 11, 2006, the day after Lam informed the Justice Department that she planned to execute a search warrant on CIA Executive Director Kyle "Dusty" Foggo and the same day that it was reported that her investigation had spread to Rep. Jerry Lewis (R-CA), Alberto Gonzales' chief of staff Kyle Sampson wrote to a White House official: "The real problem we have right now with Carol Lam that leads me to conclude that we should have someone ready to be nominated on 11/18, the day her 4-year term expires."
This was a railroad job to help out the good old boys, pure and simple.
Agreed. Watch Cunningham get pardoned on Bush's way out.
And this business with Lam is, I believe, what is called "being thrown under the bus . . . . "


This one-day retreat is designed to help young women with lupus navigate the transitions ahead from managing work, school, finances, and relationships while living an active, engaged life.
Young women living with lupus often feel isolated, out of step, judged, lonely, or misunderstood—and that's on top of dealing with the unpredictable symptoms of the disease. They face the pressure of trying to seem like they are fine to family, friends and co-workers; even when they are not.
This one-day retreat is designed to help young women with lupus navigate the transitions ahead from managing work, school, finances, and relationships while living an active, engaged life. You will meet other young women living with lupus and together gain knowledge and support as you live well with lupus though college, career, dating, family or whatever the future holds.
This retreat is free of charge and limited to women ages 19-29 who have a current diagnosis of lupus. No guests or children.
Registration is required and space is limited and available on a first come, first served basis so don't delay. Last day to register is June 11, 2019.


text:
Modern British Railways › Diesels on the London Midland (Capital)
Diesels on the London Midland (Capital)
By Michael Welch. An album of high quality colour photographs of diesel locomotives and multiple units at work around the London Midland Region between the 1960s and 1980s. The headlong rush to modernise Britain's railways following the 1955 Modernisation Plan, resulted in a plethora of different diesel designs, built by various manufacturers. Some of these stood the test of time well, while others were inherently unreliable and caused endless headaches both for maintenance staff and the operators alike. Using the best available archive images this album looks back at the bewildering assortment of diesel locomotives and units that could be found on the London Midland Region. A wide variety of locomotive and multiple unit types are photographed at locations from all around the London Midland Region. An introduction to diesel traction on London Midland lines is included and each photograph is accompanied by an extensive caption. Hardback. 120 pages.
Green Diesels in View (Capital)
Blue Diesels in View (Capital)
Large Logo Diesels in View (Capital)
Modern Locomotives of the UK (OPC)
Crewe in the Days of BR Blue (Amberley)
The Deltic Family 1955-1973 (Visions)
Sixties Diesel & Electric Days Remembered VI (Strathwood)
Any Colour You Like: A Journey through Britain's Railways in the 1970s (KRM)
Winners & Losers: Loco Bashing Tales from the 1980s
The North British Type 2: Bo-Bo Diesel-Electric Classes 21 & 29 (Pen & Sword)
BR Blue: A Personal Reflection (Amberley)
Green Diesel Days (Amberley)
Diesels & Electrics on BR in the 1970s and 1980s (Booklaw)
The Allocation History of BR Diesel Shunters 2nd Edition
Today's Railways UK 12-issue Subscription
The Heyday of the Early British Rail Diesels (Booklaw)
Inter-City 125 (1972 Onwards – All Models): Owners' Workshop Manual (Haynes)


text:
Trump – 'I will shut down the government for border security'
British Ambassador Resigns Over Leaked Documents
Google claims not to be biased, and yet…
Large-Scale Immigration Raid Begins
HORIST: Reporters can tell the truth occasionally … even on CNN
No, Migrant Facilities are not like Concentration Camps, and Suggesting they are is Disgusting
Trump Gives up on Citizenship Question
A House Divided: AOC Accuses Nancy Pelosi of Being Racist
HORIST: 10 reasons why we need to give the House back to the GOP
America Under Attack
Bernie Sanders May Not Win the Primary, but His Platform Already Has
Trump Crosses the Border into North Korea
Hooray For Harriet Tubman, But Please Leave Andrew Jackson Alone
Individual Liberty
HORIST: Independence Day: It is all about e pluribus unum
HORIST: Independence Day: Speaking up for freedom
HORIST: Independence Day: Fireworks and flag burning
California Just Brought Back the Worst Part of Obamacare
This Is Why We Fail To Turn Legal Immigrants Into Real Americans.
Violence Shakes Hong Kong as Chinese Puppet Regime Cracks Down on Massed Protests
Tom Steyer Announces Presidential Bid
Bill Clinton Pal Jeffrey Epstein Arrested Over Sex Trafficking Charges
HORIST: Does Biden have too much baggage?
Freedom Doesn't Mean Free Stuff, but Democrats Don't Want You To Know That
Kamala Harris: Let's Just Buy the Black Vote
Elizabeth Warren Has 'Big Plans,' But Has She Ever Actually Executed Any?
HORIST: MSNBC and CNN politicize Independence Day … big time
HORIST: Conservative Economist wipes the floor with Nobel Prize winning socialist
South Korean President Suggests Third Summit is Possible
Trump vs. China: Administration Halts China Recruitment of US Scientists
Report: More Jobs Available than Workers
US and Mexico Reach Immigration Deal
HORIST: Can Trump get re-elected?
HORIST: There is deja vu in Trump going to North Korea
Hong Kong: Protestors Vandalize Government HQ
Iran Shoots Down US Military Drone
Video: Horist talks about the Abortion Debate
Video: Horist Talks about the Democrat Primary Candidates and Their 'Issues'
Video: Horist Explains Why Trump Should Not Release Tax Returns
Alex Horist on Prison Reform
Alex Horist: A Millenial Perspective
Video: Larry and Friends (episode 1) Tackle the Myth of 'Universal Basic Income'
Trump doubles down on his demand for border wall funding
by Alice Green
in Politics and Elections, Trump
Donald Trump started talking about a border wall at the start of his presidential campaign and he's never stopped. Now, he says he will shut down the government if Congress doesn't include $5 billion for the wall in the spending bill they must pass by December 21st.
According to the federal website "Walls Work," $5 billion would pay for the construction of 330 miles of border wall.
"A lot of the wall is [already] built. It has been very effective," Trump said last week during a meeting with Democratic lawmakers, going on to list questionable statistics about illegal traffic in areas with existing barriers. "The only reason we have any percentage where people got through is because they walk and go around areas that are not built. [Illegal traffic] dropped virtually 100% in the areas where the wall is. It is very effective."
Democratic leaders responded to Trump's demand with an offer to provide $1.6 billion for border security in 2019, but Trump says it's not enough.
"The president has his own style and way of negotiating," says Senator John Thune (R-SD). "The only thing I would say is, it's just simple math: that you've got to get 60 votes in the Senate, and that's going to require Democrats."
Speaking about Trump's threat to shut down the government, Senator Shelley Moore Capito (R-WV) says Trump will realize "that a shutdown is really not going to gain anything for his position and, in a lot of ways, is more damaging to the American people."
Other lawmakers insist the shutdown would be no big deal. "The fact is, the vast majority of the government is not going to be shut down under any scenario," says Senator Pat Toomey (R-PA). "So there's this little tiny sliver, and within that universe, anybody that is an essential employee still works. So I think this has all gotten a lot overblown."
Failure to pass a spending bill by December 21st would result in a partial shutdown affecting about 25% of the federal government's discretionary budget. The shutdown would not affect HHS, Social Security, Medicaid, Medicare, or the Pentagon.
Agencies that could be forced to send employees home without pay include the Interior, Commerce, Agriculture, Justice, Transportation, the State Department and NASA.
Trump in recent days also suggested Mexico would help pay for the border wall by way of the new United States Mexico Canada Agreement.
"I often stated…Mexico is going to pay for the Wall," tweeted Trump. "This has never changed. Our new deal with Mexico (and Canada), the USMCA, is so much better than the old, very costly & anti-USA NAFTA deal, that just by the money we save, MEXICO IS PAYING FOR THE WALL!"
As it stands, less than one third of the 2,000 mile border with Mexico has a security fence of any kind.
And while Trump has managed to boost funding for the DHS and oversee repairs on 31 miles of existing barriers, no progress has been made on a new wall. CBP in November awarded two contracts for border wall construction in South Texas; when completed, these projects will cover less than 20 miles.
In the meantime, illegals and drugs continue to pour into the country.
During the 2018 budget year, CPB agents arrested nearly 400,000 people trying to cross the border. This is up from about 300,000 last year. In 2017, CBP seized over 800,000 pounds of marijuana and more than 15,000 pounds of heroin from smugglers at the border.
Editor's note: As I have said many times, in 30 years Americans will look back and realize that the border wall was President Trump's most important initiative.
John Noble says:
Trump needs to get MEXICO to pay for the wall as he promised. Tell Mexico that they will to take responsibility for not stopping the flow of drugs into the United States, and that all ports of entry and exit will be blocked until they pay up. What has Trump got to lose. The Democrat Party is now a full blown communist organization that is on the verge of turning this country into a totalitarian state. We can either fight them with tariffs and block the flow of goods across the border, or we can fight them later in a bloody civil war. Half of this country is just that angry, and it wouldn't take much to light the powder keg.
BRENDANTEXAS says:
BREAKING NEWS..all democrate have agreed to open up their homes to take in all illegals with HIV,CHICKENPOX, BRONICAL INFECTIONS, HEAD LICE,, STD'S, they agreed to pay for their medical bills food stamps to free taxpayers spending trillions MERRY CHRISTMAS TO DEMOCRAT FOR THEIR NEW OPEN DOORS POLICY LOL
Ray Savey says:
The democrats have always been for spending tax payers money for give
away programs on everybody but Americans, why should we continue to
support those who do not contribute to our society, I'm now retired and live
on a fixed income, my living expenses continue to go up due to this situation.
I have never received any help from the government my entire life. I resent
supporting illegal people who do not contribute or intend to contribute.
Mike Faricellia says:
Shut the government down if the Democrats refuse to cooperate. Keeping our military on the border is costing money. Build the wall.
Cong says:
The military gets paid whether they work or not. So add more.
John Sorenson says:
A southern boarder wall is badly needed and inexpensive compared to our current costs of enforcement and the great damage and costs of illegals and drugs getting into the U.S. These are established and easily confirmed facts to justify immediate funding of a wall. Why are so many people brain stubborn on this need? They and their democratic representatives are just President Trump OBSTRUCTIONISTS that are doing great damage to this country.
Go for it Trump!
Shut the government down until we get the wall!
We need to do all we can to shut these invaders
out of our country!
kathleen clark says:
when and if the government does shut down,,,, tell congress that their paycheck is the first to go and see how fast they come around to giving the 5 billion for the wall ,,, it won't hurt me but it will hurt some people right here at Christmas time,,,
if and when there is to be a government shut down tell congress that their paycheck with be the first to go,,,, see how fast they come to an agreement and pass the 5billion that Trump says will build all the wall,,,,
we need that wall,,, we can't just keep our country safe with hoards of people like that coming to cross over,,, you know some will make it across,,, usually the worst of them all will get across,,, the democrates should know that if they get into our country and kill and rape ,, steal,, riot ,,, and murder it is because they held up building the wall to keep us safe,,
Doris says:
Do not wait till January. We want the wall now,don't give in to dems. BUILD THE WALL.
Stanley says:
President Trump….PLEASE shut down the government. Then
shut down Joy Behar's big mouth. Some of us remember
when ABC radio shut her up many years ago.
James youngblood says:
Do not build a wall! Get rid of trump….
Bill Looney says:
I am conservative, but President Trump most resign. He is a foul-mouthed bully who is destroying the moral and positive energy of the United States. His entire family is a disgrace in the White House.
The worst thing is Trump is a pompous liar. I personally feel, other than Tiffany, the Trump family should be deported to a desert island, much like The Raiders of the Ark.
Just leave us alone forever, Trump.
And I could not stand Hillary. She is a saint compared to you and your greedy leeches.
An American Patriot.
Thank you President Donald J. Trump for standing up for the America people in fighting for the southern border wall.
Shame on all the people in America that do not respect the office of our president.
Donald J.Trump was elected by the people for the people to do the job of the president, therefore we are all subject to his way of getting things done.
Shutting down the government is never a good thing to do but when push comes to shove if the only way to get some people in Congress to change their ways the I say go for it Mr. President.
BUILD THAT WALL. The Democratic Party will always resist what the Republican Party wants to do until some of them come to their senses.
Karen Barlet says:
Personally, I'm so tired of people thinking that immigrants are nothing but criminals. ALL nationalities, including us good ole Americans, have criminals amongst us. The wall may or may not help solve a thing. As far a drugs go…take a look at our own country. We have doctors writing our scripts for opiods like they are M&M's and then the patient, in return, goes out and sells them. Our own country has a problem with drugs and it is not all due to illegal Mexicans. Then don't forget about crooked cops, who I know first ✋ will try and give you drugs in exchange for peoducts you sell from your own business. As they tried to get me to exchange drugs for things I was selling from my own business. I don't play that game and have no use for drugs either. You don't judge eveyone for a few bad seeds….just like you don't throw away a whole bag of apples for one bruised one. I have Hispanics who work for me and they are the best enployess ever. They show up and are very reliable. I can count on them better than my own kind. When you run a business you need people you cam count on. So there is good in All humans and thete is bad in All humans. Don't judge all for a few bad ones. You know I'm right. God so loved the WORLD…..not just Americans.
BUILD THAT WALL!!! TODAY!
A lot of people don't like President Trump, but they sure like the money he is putting in their pockets and our country.
Luz says:
What I dont get is why a shutdown for BS lies by 45 and his lying GOPers! FACT MORE DRUGS COME IN THROUGH AIRPORTS PERIOD! Learn the facts for yourselves instead of listening to made up propaganda by 45 and fox news! Following like lemmings ready to go over that edge with 45 LMAO! Look it up there are less people coming over the broader since 2012, it's all lies made up by racist! If it's so bad then why are republican leaders who live there say that a wall is NOT the answer and WON'T help PERIOD! I'm so tired of racist making up BS. Like saying that they bring decease. Funny but wasn't white men who brought chicken pox and deliberately gave it to the natives to try and kill them off. HYPOCRITES!
Joe Gilbertson says:
You need to check your facts. The drugs coming by air is minuscule compared to transport by land. Your grasp of history is also faulty.
Mark Parvin says:
No one is looking at the big picture of the overall picture.
If it cost less than 250 billion dollars to build and maintain 2000 miles of a wall 30 feet tall and 6′ wide , it will be a miracle.
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text:
Patronyme

 Cindy Gallop (1960-), publicitaire anglaise
 Tom Gallop, acteur américain

Voir aussi
 Gallop (studio), un studio d'animation japonais créé le .

redpajama_set_name: RedPajamaWikipedia


text:
Cristy Smartphones	0
Motorola had big plans for its customers this year, one of the plans include the tech company releasing the Moto C and the C Plus which has been dubbed to be the cheapest smartphone from the OEM ever.
However, as the tech world awaits the manifestation of the device which has been rumored to be coming into the market before the year runs out, the tech company has contrary to earlier reports that it was planning to kill the Moto X line after it released the Moto Z line last year, been found to be working on a successor device in the X line.
Fresh reports which surfaced online holds that the tech company is planning a possible release of the Moto X4 which might surface in markets soon.
According to reports leaked online by Evan Blass, the Moto X4 came into the market with a presentation video which showed that the device would come into market packing 4GB of RAM under the hood and a possible dual-camera setup on the back panel.
The device, according to leaked presentation video will come with a 5.5-inch screen and a 3D glass protection layered on top.
Other information regarding the device includes the incorporation of a USB Type-C port along with a 3,800 mAh battery which is equipped with Quick Charge feature.
Under the hood of the device, a possible Qualcomm Snapdragon 660 processor will be fitted with the onboard storage memory pegged at 64GB of internal storage. It will also come with security features which include the fingerprint sensor which is mounted on the front part of the device.
Galaxy S8 and S8 Plus Fast Charge	Moto Z2 Play
Camera and Accessories, Cell Phone and Smartphones, iPhone Accessories, iPhone tips and tricks, Smartphones
Snowden designs a device to warn if your iPhone's radios are snitching
Cell Phone and Smartphones, Smartphones
18 iPhone Hidden Features You Need to Know