text:
Rosson Crow at the Modern in Fort Worth
by Jerome Weeks 8 Apr 2009 7:13 AM
Rosson Crow paints big canvases – often 8 feet by 12 feet. She generally paints interiors, interiors of rooms that may be empty of people but they've clearly been lived in, often riotously. These are rooms at peak moments of consumption. Hollywood nightclubs. Wall Street offices. Grand butcher shops. Luxury suites.
Rosson Crow in front of Queens Butcher Shop, 1910 -- oil, acrylic and enamel on canvas, 2008
KERA radio story:
http://artandseek.net/wp-content/uploads/2009/04/rosson-crow-final-for-air.mp3
Expanded online story:
Rather than just celebrations of excess, however, Crow's rooms are caught after the partygoers have left but before the maids have cleaned up the carnage. A typical image in her Focus show at the Modern Art Museum in Fort Worth is a painting of a San Francisco saloon — depicted after the 1906 earthquake wrecked it. There's this double-sided feel of lush exuberance and wretched hangover in her work.
CROW: "It's a presentation but it's also a critique. It's like the sobering morning after the orgy of decadence. [Laughs.]"
Crow says she's long been fascinated by historical rooms. She recalls growing up in Plano and going on field trips there to the Heritage Farmstead Museum. It's a preserved 19th-century farmhouse.
CROW: "I'd just been fascinated by that. So I've always really been into kind of old spaces. I remember when I was really little and playing house with my friends, we always had to play it, like, set in the 1800s."
WEEKS: "So a sort of Victorian home."
CROW: "Yeah, we didn't play regular house. It was always a historical thing. And then we had to do it with British accents."
Crow is only 26. That's incredibly young to be getting the kinds of attention and prices she's earned. She's had gallery shows in New York, London and Paris. But she'd already hit upon her signature style and subject when she was only an undergraduate at the School of Visual Arts in New York. She became obsessed by the Metropolitan Museum of Art's period rooms. These are historic recreations of different cultural moments. They're not real, Crow says, they're more like stage sets. Which is one reason her own paintings are so big.
CROW: "I'm making these spaces that I want to seem so over-the-top and so much of a spectacle. I almost want the paintings to seem like theatrical backdrops that you can enter into."
Crow currently lives in Los Angeles and enjoys going to the public library to pore through old photos and clippings for inspiration. But her period research does not mean Crow's paintings are historical dioramas. She emphasizes their painterly nature by working fast, her brushwork deliberately splashy and loose. And she finishes by covering the picture with drips and slashes of paint. Paradoxically, these lend her canvases a sense of energy — and dissipation.
CROW: "And also I like the way that the paint sits on top of the image. I like the play of feeling like you can go in the space but then you're stopped."
The Modern Art Museum's exhibition in Fort Worth contains only four canvases by Crow, but she's selected these brown and blood-red canvases with Texas in mind. Collectively, the paintings are darker, more violent than her usual work. She's not chosen any of her gaudy, color-saturated images of Hollywood interiors, but she has included a rare landscape, a view of the Spindletop oilfield after the gusher blew. The cluster of derricks look like so many wooden barricades.
Jukebox at Tootsie's, 1972 -- oil, enamel, spray paint and acrylic on canvas, 2007 -- NOT in the Modern show
The Fort Worth exhibition may be small, but it is Crow's first museum show. A notable event. And it is on her home turf.
CROW: "It's really strangely validating in some way and really amazing just to be able to have my parents come and my family and friends. It means a lot; it's really cool."
For all of her consideration of the past and of artistic influences like painter Francis Bacon (see her Queens Butcher Shop, above), Crow only belatedly realized one source of inspiration for her rooms – an inspiration close to home. Her mother, Peggi, once designed interiors for private jets.
CROW: "It took me a shockingly long time to make the connection. You have that moment where you're, like, I'm turning into my mother. But um, I have a lot of the photographs of things she worked on. They're amazing. So it's there, it's in the back of my head. It'll probably happen sometime."
Jerome Weeks
Tom Hendricks
These paintings have all the problems that the new art movement, post-modern art is against. Cold, disjointed, non communicative, weird, elitist (who would put this in their house?) technically OK but not extraordinary, pompous and inflated, shallow with little breadth or scope. The old art has painted itself into a corner.
Time for a revolution with a back to basics approach- in painting.
LOVE IT! So much energy! A nice bridge between contemporary and traditional art…
I'll be going to the Modern next week….can't wait to see Crow's work in person! I disagree with Tom…what's interesting and new about going "back to basics"? What's admirable or inventive or progressive about doing something that's been done before? Art like this is supposed to be thought-provoking, different, striking. Otheriwise, it would be as easy to dismiss as a realistic still-life — and just as boring.
Angie Carroll
Every day the staff here at the Heritage Farmstead Musuem in Plano are able to interact with and teach our visitors about life as it once was on the Texas Blackland Prairie. Our youngest visitors spread their joy and enthusiasm with each question and smile they return to us.
Having Ms. Crow validate what we do here each day insures that history learned and experienced makes a lasting impact on todays youth.
Children learn through their experiences, listening, feeling, smelling and doing all confirm our mission of teaching about our history and keeping it alive in the hearts and minds of our young guests.
I can't wait to check out Crow's art in person. Her choice of subject matter is definitely intriguing.
Sarah, Back – to – basics art means art that is innovative instead of trendy, profound instead of weird. It opposes the abuses of the gallery system, supports the mass marketing of art as exact copies, advocates breadth and depth of subject matter, art styles, and techniques; communicates clearly without the artist having to explain it; brings art out of the ivory tower museums and brings it to people everywhere; puts art to work as an integrated part of our lives. Lots of that is new, all of it is innovative, and none of that is boring. See the Dallas art events that have challenged the abuses of Modern art.
Psychedelic Robot
@ The Shops At Willow Bend
Take part in an exciting adventure and enjoy a thrilling story filled with a...
Art: Video & Installations
Exhibit: Aquatic Channels: Waterways, Water Resources, Fluvial Imaginations at Hawn Gallery
@ Southern Methodist University - Hawn Gallery in the Hamon Arts Library
Aquatic channels: waterways, water resources, fluvial imaginations reflects ...
Art: Gallery Openings & Receptions
THROUGH 1MAR 2023
Call for Submissions for we are more exhibition
@ *Virtual Event
Submissions are now open for we are more, a multidisciplinary community art ...


text:
Best Things You've Never Heard, International — April 10, 2015 at 8:13 am
by Troy Culpan
"…some of the songs on the record are sad and some are happy, but in our world even at our saddest we should be happy in comparison to some of the stuff that's going on in the rest of the world, with what's going on in the news and I don't know, some of our worst problems are not problems at all, do you know what I mean…"
From release: Hot off the release of their new album 'Happy People', Peace have announced GTM Festival side shows, listed below. The indie four piece exploded onto the scene with their debut album 'In Love' last year and have moved quickly to follow up that success with a new album. Their debut offering 'In Love', full with indie anthems and youthful zing, climbed into the UK Top 20 and in turn saw the band play two sold out shows at Shepherd's Bush Empire as they transformed from a misfit band from the Midlands to an international success. The new album sees Peace continue their relationship with producer Jim Abbiss who has worked with the likes of Arctic Monkeys, Kasabian, Bombay Bicycle Club as well as the band's debut album
After coming last in a pub trivia quiz, we had a chat to Harry Koisser from Peace about the band's return to Australia for 'Groovin; The Moo' as well as some headline shows, their new album 'Happy People' and a whole lot more…
Now you haven't wasted much time in terms of music releases with 'Happy People' out now just under two years from your debut, why was it important to you to have a new release out so soon?
I think just because we're at that age where you've still got energy and can still write songs and I haven't quite worked out if you stop writing good songs over time or whether there's an amount of songs inside you that you can get out or whatever, but we're just striking while the iron is hot, we had songs and we did them as soon as possible.
Why was 'Happy People' the perfect name for the album?
Because some of the songs on the record are sad and some are happy, but in our world even at our saddest we should be happy in comparison to some of the stuff that's going on in the rest of the world, with what's going on in the news and I don't know, some of our worst problems are not problems at all, do you know what I mean? I guess as in song writing being a young person in 2014 and in a band, it was like these problems that felt real to us were like this should be happening to us, being able to run around having your heart broken and not understanding the world, maybe that's what should be happening? I don't know… but it just fit, it was the right title, we want to be happy people, we're trying to make people happy and that was it, it just fitted.
So what was the process like putting the new album like compared to the debut?
Hmm… quite different to be fair… the debut record we just went in, didn't have a clue what we were doing, just grabbing anything we could find, effects, pedals, whatever trying to make everything as loud as possible. I think this time we still don't have much of a clue, I mean we were still kind of grabbing everything that we could and shoving it on there and experimenting but I think this time we had a little more purpose, kind of knew the way we wanted it to sound, we weren't just going in blind do you know what I mean? So that was the only real difference, we could articulate our thoughts a little bit more, if we wanted the drums to be dry we knew how to explain it. That's pretty much it to be fair, we asked for dry drums this time, that was it.
So you once again worked with Jim Abbiss as producer, what does he bring to the band that works for Peace?
He just whips us in to shape and gets songs on record because we just fuck around all day, we wouldn't get anything done. We'd happily sit in a room together and play songs over and over and change things and experiment for a year if we could, but he's the man that goes 'right, we're going to record that, that sounds good' and he's the man that sonically shapes it in to something that isn't just a mess you know what I mean? We've got all these sounds but he knows how to EQ them and fit them together, the more technical side and he knows when to calm us down and say 'lads take a minute' and if I'm getting like this song that needs to be a fifteen minute journey he'll say it doesn't need to be fifteen can you get it down to seven? And I'm like yeah Jim, you're the voice of reason. He's a good guy, he's the daddy in the studio you know, he's nice to deal with.
Now you're heading back to Australia as part of Groovin The Moo as well as some of your own shows, also a quick return trip from your last visit in 2013, how have the Australian audiences attached themselves to Peace?
Yeah I think really well, we went over last year and did some club shows and they were all really good, and meeting fans afterwards there was just an eagerness, we're equally as eager, we just want to get over there. With the internet now you see when people want you there and we're constantly being hounded by people saying come to Australia and we just had to do it, you know? Well excited, especially to do a festival, I've heard good things and we've never done a festival in Australia.
What can we expect this time around, with a new album can we expect it to be new album heavy?
I'm not sure, we kind of experiment, I'm sure we'll do different sets throughout the festival circuit and we'll probably do an equal balance to begin with and see what goes down better and try and tailor it to the audience. We never go in with an idea of we're going to play the new record because that's what we want and what we're listening to, if people are reacting to a certain song we'll just work around that and kind of go with the set, if the new stuff's going down well then by the end we'll have a few new songs in there you know, we kind of communicate on stage, we have a set list but everything is flexible and under negotiation between us and the audience.
What are you looking forward to most about coming back that you didn't get to do last time?
Mate, like everything! Last time I was writing and I wrote a load of songs that ended up on the record, I wrote 'Happy People' the song in Australia and worked on some other stuff that ended up on the record and I didn't get a chance to actually like leave the hotel room or do anything, so this is going to be the first time I experience the culture rather than the inside of a hotel room or a venue. I'm looking forward to that and sussing out the vibe.
Ok, so let's get a bit of a quick fire insight into you:
First album you bought?
James Brown 'Sex Machine' no, that was bought for me, the first one I bought with my own money was Led Zeppelin 2.
Favourite band to see live?
At the moment it's Foals, I went to see them and it's a bit of an experience, they really hammer it in.
What band or artist made you want to be a rockstar?
Jimmy Page… and Keith Moon, just those two, they were my icons when I was younger, they were the two guys and I started playing drums and then guitar because I realised God Jimmy page didn't play drums. Good idols.
A song you'd love to cover that no one would expect?
I guess we did cover it, but Charli XCX 'Billionaire' but when I did hear that song I said we've got to cover this, it's just got a really good groove and I like the lyrics and I can't really get into pop music but I love that song and I think we might try and do it live.
What about a song that you wish you'd written throughout musical history?
'Don't Let Me Down' by The Beatles, every time I hear that song I think I could've written this, this is my style. It's just the emotion of it, and I don't know it's such a good song, every time I hear it I say 'I could write a song like this' and I wish I had.
Have you ever said to someone who doesn't like the band "come on, give Peace a chance…"?
Have I said that? I'd like to… I think I probably have said that, the thing is it's a bit of a battle sometimes to get the more senior music journalists to see what's going on, but it is kind of a thing when people don't understand, so yeah I have probably said that.
Ever thought about covering that song?
Yeah I played it in DJ sets, maybe we should cover that, not a bad idea.
Being together for six or so years now, what do you feel you have learned in this time together as a band?
Oh God I have no idea *laughs* absolutely nothing, if anything I've just unlearnt everything I did in education, all the stuff I learnt in school I just absolutely forgotten *laughs*
Lastly, let's predict the future so finish this sentence for me, by the end of 2015, Peace will…
Have their own helicopters… I don't know where that came from *laughs* Peace will have been achieved on a global level, world peace will be installed, it's just a software update away you know? The Earth just needs to update its firmware, the human race just needs to install the software and everyone will wake up and go 'oh God equality's alright, we are all the same race so let's treat each other with a bit of respect.' Fingers crossed for that one… I hope that one day everyone wakes up and says 'Oh God we've been doing it wrong this whole time.'
Catch PEACE at Groovin' The Moo at the following dates:
Oakbank – 25 April
Bunbury – 26 April
Bendigo – 2 May
Canberra – 3 May
Maitland – 9 May
Townsville – 10 May
Check out PEACE at their headlining dates:
TUESDAY 28 APRIL ROSEMOUNT HTL, PERTH www.oztix.com.au, www.heatseeker.com.au
THURSDAY 30 APRIL DING DONG LOUNGE, MELBOURNE www.oztix.com.au
WEDNESDAY 6 MAY THE ZOO, BRISBANE www.oztix.com.au
FRIDAY 8 MAY OXFORD ART FACTORY, SYDNEY www.oztix.com.au, www.moshtix.com.au
Presented by XIII touring
ALSO we have 2 sets of double passes to give away and you can WIN a double pass to the SYDNEY show on May 8th by simply sending us an email to mtrbwy@maytherockbewithyou.com with your name and the subject of 'PEACE giveaway' and you could win a double pass to the show. You must be 18+. Winners will be notified by email.
From: London, UK
Band members: Harry Koisser – vocals, guitar, Samuel Koisser – bass, Douglas Castle – guitar, Dominic Boyce – drums
Website: http://peaceforeverever.co.uk
Latest release: Happy People (out now)
Tags GTM. Groovin The Moo Peace XIII Touring
Author: Troy Culpan

redpajama_set_name: RedPajamaCommonCrawl


There will always be a deep curiosity about the private lives of celebrities. What do they do when they're not in front of a camera? How do they act? And, most importantly, how do they live? Lucky for us, sometimes we are able to take a peek into the home of a well-known entertainer and get a sense for their lifestyle. In this way, us normal folks are able to live vicariously in the lap of luxury. In this instance, we are able to step inside the Montecito estate of Academy Award-winning actress Natalie Portman. The 3,991-square-foot home from architect Barton Myers is perched on a hillside near Santa Barbara and features four bedrooms, five bathrooms, and a stunning kitchen. Step inside, take a look around and see what else this estate has in store.


text:
package M2.Objet_Architectural.Interface_Communication;

public abstract class Role extends Interface {

}

redpajama_set_name: RedPajamaGithub


Lloyd Property Management Company, a South Dakota corporation, and its affiliates and subsidiaries, including, but not limited to, C.R. Lloyd Associates, Inc., Lloyd Asset Management, LLC, Lloyd Construction Company, Lloyd Real Estate, and Lloyd Residential Group, LLC (collectively referred to herein as "Lloyd" or "We") respect your privacy and are committed to protecting it through our compliance with this policy.
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Happy Friday!!! What are you reading this weekend? I'm on the last book of the Assured Destruction series the third book is called Assured Destruction with Zombies. It's by Michael F. Stewart. It's a great YA thriller. If you hurry I believe the whole series is free for the kindle today. Click on the image if you'd like to check it out!!


Find Florida Construction lawyers, attorneys, law firms – FL Construction Lawyers. Construction Lawyer Leesburg, Fl – thedicklawfirm.com – Explore Leesburg jobs and career resources on Monster. Find all the information you need to land a job in Leesburg and build a career.
Need an attorney in Leesburg, Florida? FindLaw"s Lawyer Directory is the largest online directory of attorneys. Browse more than one million listings, covering everything from criminal defense to personal injury to estate planning.


text:
Q: insufficient user rights I am a real newbie. I have Kubuntu 18.04 dual booted with windows 10. They both access files in a separate drive to the OS's. All was working fine for several weeks. Now when in Kubuntu all is fine except when I try to save edited files from any program (including LIbreOffice 6.0.7.3) I get: "Object not accessible. The object cannot be accessed due to insufficient user rights." In Windows all is still fine but my objective is to say goodbye to it. I cannot think of anything that could have caused this. I have checked using Windows that it considers all drives healthy following advice in a similar question.
Disk Setup
NAME FSTYPE LABEL UUID                         MOUNTPOINT   SIZE OWNER GROUP MODE
fd0                                                           4K root  disk  brw-rw----
sda                                                       223.6G root  disk  brw-rw----
├─sda1
│    ntfs   System Reserved
│                 86C6F9ACC6F99C9D                          500M root  disk  brw-rw----
├─sda2
│    ntfs         F85E3B505E3B0742                        222.3G root  disk  brw-rw----
└─sda3
     ntfs         1A2843C628439F9D                          837M root  disk  brw-rw----
sdb                                                         3.7T root  disk  brw-rw----
├─sdb1
│                                                           128M root  disk  brw-rw----
├─sdb2
│    ntfs   Data Store
│                 01D20AECC9B1D480             /media/fri   1.8T root  disk  brw-rw----
├─sdb3
│    ntfs   System Store
│                 01D20AECCD70D850                        318.7G root  disk  brw-rw----
├─sdb4
│                                                             1M root  disk  brw-rw----
└─sdb5
     ext4         fadeaf64-7096-4340-a534-05c02c087e07 /    1.6T root  disk  brw-rw----

A: If you are modifying a word document from the windows drive that would be a bit tricky.
Windows likes to keep it's grubby fingers in the pie, ESPECIALY if you have fast boot on. I would turn fast startup off,
https://www.windowscentral.com/how-disable-windows-10-fast-startup
If that's not the case, I would check your systems file permissions, make sure you didn't accidently bork your permissions.
A little script I wrote to help with web server permissions. you would copy it into a text file, save the file as "perm.sh" in the command line run
chmod +x perm.sh

and then run it
./perm.sh

for i in /* ; do
igno=("/dev" "/sys" "/proc" "/tmp" "/mnt" "/media");

subdir=$(find $i -type d);

if [[ $(echo "$i") != $(echo $igno) ]]; then

printf "\n\n$i has the following stats:\n\n" ;
printf "\n_______________________________________\n\n" ;
stat -c "%n  %a %G:%U"  $subdir | tail -15 | head -14;
printf "\n\n______________________________________\n" ;
fi

I wouldn't post those results here, but just review them, if something doesn't look right, ask.
I love teaching people about linux if you ever need a hand or just wanna chat about linux, drop me a line!

redpajama_set_name: RedPajamaStackExchange


Thank you, Nan, for that kind introduction, and thank you to President Mester of the Federal Reserve Bank of Cleveland for inviting me to speak this evening. I am honored to be here and to support the mission that you and the Council for Economic Education have worked so hard to advance--that every student in America gets a strong, early start on their financial education.
That mission is critical in its own right, but it also reflects the deeply held value of participation--of giving young people the chance to shape not just their own futures, but also the futures of their communities and their country. Because so much of the language of finance is couched in terms of metrics and rationality, we often forget that finance is something we never do alone. It is, by definition, a collaboration, which helps us work together to achieve common goals.
The Federal Reserve is no exception. Tonight, I want to briefly discuss the role that participation plays in the Federal Reserve's work and outline one effort to solicit broad participation--an upcoming conference on stress tests, intended to make those tests more open, transparent, and effective.
Public institutions exist under a grant of trust from the people they serve, to pursue a specific policy goal. When the public holds an institution accountable for that grant, the institution becomes stronger. The Federal Reserve System we know today emerged through decades of legislation, public consultation, and debate--from the original Federal Reserve Act, which created the Federal Reserve System, to the Banking Act of 1935,1 which established the modern Federal Open Market Committee (FOMC), to the Treasury-Federal Reserve Accord of 1951 (PDF), which ensured the separation of monetary and fiscal policy.2 These changes made our economy and our country stronger, because they improved the Federal Reserve's ability to accomplish the mission Congress assigned it.
Throughout this evolution, a key principle has been that accountability allows the Federal Reserve to be independent--that we are subject to challenge, to counterargument, and to the emergence of new evidence and ideas. For our work to remain legitimate, the public must be able to see, understand, and engage with our efforts; to reaffirm their support when we have earned it; and to offer informed guidance on when to change course.
Accountability is only one reason the Federal Reserve relies on public outreach and participation. We also rely on participation for our effectiveness, because the best ideas in finance and economics can, and often do, come from a wide variety of sources. Agencies like the Federal Reserve are a collection of expertise--informed by experience and positioned to turn a broad range of information into policy. But we are not, and cannot be, a monopoly on insight or wisdom.
The Federal Reserve recognizes these limits, and the need to invite new ideas, through a variety of initiatives. We seek out a qualified, diverse workforce, and foster an inclusive workplace.3 We meet frequently with a range of advisory councils, drawing on expertise in banking, modeling, and consumer and community finance.4 We have increased transparency around our policy process and issued new reports on financial stability and banking supervision and regulation, with new details about our work.5 And across the Federal Reserve System, our staff publishes a wide range of economic and policy research and plays an active role in academic discourse.
Monetary policy itself shows the value of participation and transparency. U.S. monetary policy is the sole responsibility of the Federal Reserve. Yet some of the most important innovations in the field have come from outside the Reserve System. Since 1935, we have decided monetary policy by committee, a structure that has served us well because it is designed to capture different views of a wide and varied national economy. And over the past several decades, the FOMC has greatly increased its own transparency--from postmeeting announcements, to announcing an objective for inflation, to a published survey of economic projections, to postmeeting press conferences (which will now take place after every FOMC meeting).6 As many of you know, over the course of 2019, we will be reviewing our monetary policy strategy, tools, and communication practices, and we will hold a research conference on the subject with outside speakers, as well as "Fed Listens" events at a number of Reserve Banks, to hear from a broad range of constituencies. But these improvements are more than a simple matter of disclosure. They are an invitation to participate, and a way to provide the public with the means and opportunity to inform our work.
This year, we are taking similar steps to improve a cornerstone of our post-crisis rules. Supervisory stress tests offer an independent and valuable lens on the health of the banking system. They offer us a forward-looking measurement of bank capital, a view of common and systemic risks across the banking sector, and a broader understanding of the health of the financial system. The results are valuable for markets, analysts, and ultimately, the participating firms.
Ten years have passed since the Federal Reserve conducted its first supervisory stress tests. That initial experiment helped stabilize financial markets and shore up our banking system at a critical and uncertain time. Our challenge now is to preserve the strength of the test, while improving its efficiency, transparency, and integration into the post-crisis regulatory framework.
Improvements like these are necessary to ensure our supervisory framework evolves from its post-crisis origins to an effective steady state. The question of how best to consolidate the gains from the first 10 years of stress testing deserves the attention and effort of the country's best minds. We should welcome changes and novel ideas, even when they explore stress testing in a new and unfamiliar light.
In July, as a forum for such ideas, we will host a public conference focused on the transparency and effectiveness of stress testing. Called Stress Testing: A Discussion and Review, the event will convene panel discussions, drawing on a mix of presenters with industry, academic, and regulatory backgrounds. It will involve written papers, which will be compiled and published to spur further research. We expect the insights from the conference to inform the evolution of our stress-testing framework--and we hope to continue the conversation well after the conference ends.
This input is as essential to our work as any public outreach we do. Stress testing provides insight into a dynamic financial system, and our stress-testing process must be dynamic as well. More broadly, the core of the Federal Reserve's independence is a broad consensus around the value and public worth of our mission. The Federal Reserve is the steward and trustee of that mission, but the public is its owner. To serve the public, we must not just allow input, but welcome it; not just permit debate, but foster it; not just allow participation, but treat it as essential to our work.


Lukacs - Name Meaning, What does Lukacs mean?
Lukacs as a name for boys is of Greek derivation, and Lukacs means "from Lucanus". Lukacs is an alternate spelling of Luke (Greek).
Recommended sound-alike names are Lacy▼, Lars, Loucas, Loukanos, Luano, Lucan, Luce, Lugus, Luis, Lukan, Lukianos and Lukyan. These names tend to be more commonly used than Lukacs.


text:
Phoenix Suns will play remaining schedule on NBA 2K, stream games on Twitch
Chris Bumbaca
The Phoenix Suns intend to finish the 2019-20 NBA regular season without interruption.
Games will still take place — just not on a real basketball court.
A message on the team's Twitter account said Thursday that Suns games will continue without interruption on NBA 2K and streamed on a Twitch channel for the public to watch. The venture will start Friday night, when the Suns will square off against the Dallas Mavericks (previously scheduled for Saturday).
It's unclear whether the games will be simulated or whether someone will be at the controls. USA TODAY Sports has reached out to the Suns for comment.
The NBA owns half of the NBA 2K League, which was founded in 2017 and launched in 2018. NBA 2K was first released in 1999.
Follow every game: Latest NBA Scores and Schedules


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Which of the following is an example of a tertiary consumer?
(D) is the correct answer. A tertiary consumer eats the secondary consumer (the jackrabbit), who eats the primary consumer (the frog), who eats the producer (the plant).


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Igloo Pop
Though primarily targeted at kids, this is an interesting audio-based game that will put your listening skills to the test, albeit in a chaotic and senseless environment.
(Thus, it can be fun for adults too, with the right crowd!)
Sneak peak: The instruction book provides a cool depiction of how to set up the game, amongst other interesting things... (see trivia below)
Name: Igloo Pop (2003)
Designer: Heinz Meister and Klaus Zoch
Publisher: Rio Grande, Zoch Verlag etc
Time to play: Around 20 minutes - up to you to decide
Price Range (AUD): $49 to $70 - I got mine for $38
Availability: Seems to be hard to find and my perusal of the internet leads me to believe that it is out of print!!
Audio/Sound
Dexterity (sort of)
Random Trivia: Both the box and the instruction book provide a rather strange narrative and non-nonsensical description of the game:
The young ice giant has a big problem: he wants to buy fish sticks, but he cannot remember how many and he has nine shopping lists in his basket.
So he goes from igloo to igloo and shakes each. In each he listens to the delicious fish sticks bouncing off the igloo walls. When he thinks that the igloo in his hand has the same number of fish sticks as one of his shopping lists, he takes it home.
When he gets home, there are no fish sticks in the igloo. Instead, wild and laughing Inuit/Eskimo children tumble out of the igloo. Excitedly they shout, "Shake us again!" "That was great fun!"
"This is super", thinks the young ice giant. "Now, I have found some new friends to play with!" And, he promptly forgets all about his shopping lists.
7.0* out of 10. (An interesting and good game - See my Rating Scale)
One key thing that makes this game a good one, in my view, is its novelty - it's a game to bring out if you want to give people a surprise or to mix up proceedings. However, the type of surprise or reaction will obviously depend on the type of group you have. If you have an open minded group this game will be quite interesting to them. If you don't, your friends might find your selection too crazy!
The basic premise of the game is that there are 12 igloos, each igloo containing a unique number of beads from 2 to 13 beads. After having the opportunity to examine each igloo (by feeling their weight, shaking them and hearing the noise produced by them), players must wager or guess how many beads are inside each igloo.
They can make three types of bets - from a risky bet that identifies the EXACT number of beads (worth the most points - 3 points) to a safe or conservative type of bet that specifies a range of numbers (with a maximum range of 2, eg. 1-3 beads; these are worth only 1 point). There is also the in-between bet, a range of 1, that is worth 2 points.
The downside of this game is obvious - it seems like a kids game and has minimal replay value (unless you take a keen interest in this genre of games). However, the game is challenging and not as easy as it seems. It provides a decent relief from other more strenuous games, and it doesn't take too long to introduce to a crowd. I quite like the game and I think it is severely underrated/overlooked.
September and October 2014: Reduced from 7.25/7.2. Whilst still a good and relatively different game, it feels wrong to give this the same score as say the innovative Hanabi, which is a game that I would consider to be the benchmark of the 7.25 score. It is wacky/different enough for it to be above 7, but perhaps not much more.
Interesting theme of shaking igloos and guessing the number of beads within them - they feel solid in your hand
Tests those with, or who claim to possess, an acute sense of hearing. Also tests your sense/perception of weight as you compare igloos with different numbers of beads within them. Challenging even for adults
A different and relatively unique game - apart from Mord Im Arosa or Space Alert, there aren't too many games whose predominant game mechanic revolves around an audio component (of course, I exclude story-telling games such as Dixit, Once Upon a Time or Gloom, where the audio component of the game comes directly from speaking rather than the game itself or its components)
Light hearted filler (though this can work both ways - those demanding more substance to a game might not like this game)
Relatively east to explain rules and fast gameplay
Might be looked upon as ridiculous by those who feel too old to play this game - but I would say that these people just don't know how to have fun!
Can be quite hard to differentiate between the igloos - some may perceive this to be too hard
Replay value may be lacking, in the sense that it's game orientated towards kids BUT arguably this depends on the group - just be aware though that its novelty might wear out.
A little bit chaotic at times as everyone does their own thing (little accountability - you can't check to see if people are abiding by the rules) and not everyone will like that; thought I would suggest that this is not a game that requires a strict enforcement of the rules.
If you're after something amusing or an "icebreaker" game in between other games, try this audio-based game that operates as a temporary crowdpleaser in the right environment. It probably boasts a higher success rate with children and families though.
Everyone gets a set of 10 betting tokens of their chosen colour - these are called thalers.
Minus the distribution of thalers, this is how the game is set up:
Igloo village set-up:
All igloos are placed in the middle, surrounded by 9 cards with the draw pile on the left: Notice the undistributed betting tokens (thalers) on the top left
Before your first game, the igloos shown here must be set up manually by inserting the right number of glass beads into each igloo. They must also be labelled UNDERNEATH with the appropriate number from 2 to 13, the number reflecting the quantity of beads inside them. There are 12 igloos in total and the base of the igloos must be sealed tightly.
Never look at the base except for once the scoring round begins! These tell you the answer to how many glass beads there are in each igloo
Wagering/Listening
The youngest player counts to 3. On 3, each player simultaneously takes one igloo village of their choice and shakes it WITHOUT LOOKING AT THE BOTTOM OF THE IGLOO (as the bottom has the answer).
Shaking the igloo - random volunteer demonstrating what to do
If they want to, a player may place a betting token in the igloo and then place it on a card of their choice. You may only use the cards available in front of you.
Note that only 1 igloo may be shaken at a time.
If no bet is placed, the igloo must be returned to the middle for someone else to shake.
Once an igloo is placed on a card it may not be taken, shaken, stirred or removed.
MORE THAN ONE IGLOO MAY BE PLACED ONTO A CARD
Each card has different numbers on it as demonstrated below:
Hardest bet to make is the card in the middle as you must get the bet spot on (you must place a betting chip on the igloo with EXACTLY 12 beads inside and then place that igloo onto the 12 card). This is worth 3 points if you get it right
The card on the right is worth 1 point and allows you to have a margin of error - so long as your igloo has 4-6 beads in it you have a chance of winning 1 point.
As you can see, there are three types of cards: those with only 1 number; those with 2 numbers; and those with 3 numbers.
These represent the range of beads that players think might be in the igloos.
Cards with:
3 numbers give the least number of points (1 point) as there is a larger room for error. For example, in the right card in the picture above, this allows players to place igloos with betting tokens if they think the igloo contains 4, 5 or 6 beads inside.
2 numbers give 2 points. A medium-risk option as you have two possibilities of numbersto choose from.
1 number gives 3 points, being the hardest to guess as the player has to get the number of beads exactly right.
Scoring: begins when all the igloos are placed on a card or if no one wants to place any more igloos on cards
There is a very basic rule with scoring: If you guessed the number right, you always get your thaler/coin back.
If you get it wrong, you lose it forever.
If there is only one igloo on a card, this is straightforward - if the person got it right they get their thaler/coin back and the card too.
Cards are always kept for scoring purposes, as the number of eskimos represents the number of points one gets. If they get it wrong, they lose the thaler forever and the card remains where it is.
If there is more than one igloo on a card, the person who placed the thaler in the highest (correctly) numbered igloo wins the card. Everyone else who correctly guessed the numbers on the card gets their thalers back.
Whoever guessed the number wrong must give their thaler to the winner of the card - these thalers of different colours are used for scoring purposes by the winner of the card and cannot be used as future bets. If this rule is too confusing (but it isn't really) or if you think it's a bit unfair (it kind of is, in the sense that you don't always get to choose the higher-beaded igloo), you can ignore it.
Suppose these bets were made by Green, Yellow and Purple above.
Notice that Purple placed it on the 6.
On scoring round, we discover that Green is wrong as 11 does not fit into the range of 4-6.
Purple and Yellow are spot on as they are both within the range. However Purple gets priority for betting on the "6" Igloo so wins the card and also gets their vote back.
In addition, because Green got it wrong, Purple wins Green's token for scoring purposes (worth 1 victory point in the end).
Yellow gets their vote back but not the cardas Purple won it
Game's End
The game continues until one of these conditions is met:
1) one or more players has no more coins to bet with left OR
2) there aren't enough cards left for 9 cards to surround the igloo village.
Each player adds the number of eskimos present on cards + the number of thalers a player has to give their total score (victory points). Whoever has the most points wins.
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Thank you so much for your delicious tea - it was exactly what I was looking for!
Item arrived on time and in good condition. It was a gift and the recipient was pleased.
Outstanding Customer Service, The tea is amazing, 25 Diamond stars.
I received one tea bag as a sample... very good! Not too strong, just perfection.
I tried the SenCha green tea sample. It was marvelous, too! I will probably place an order in the next month or two. You have many nice selections/items on your website! Good ideas for gifts!
It was the type of Green Tea I was looking for. Very good!!
Japanese Sen-Cha is the best!!
I love green tea, and suspect that it may be one of the Orient's hidden secrets to long-life, but in America all the green tea that we have is so un-authentic and weak.
This Japanese Sen-Cha is stronger and more complex. I don't even need to use sugar or honey because they only mask the amazing flavors of the tea.
I like a good cup of tea. I know green tea is healthy but I never found one that I liked. I got a sample of this one with my previous order and it really was good. Even my husband who is a coffee man and not a tea drinker, liked it.
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Six Artists Talk Louis Vuitton Artycapucines Collaboration
With monogram-free calfskin as canvas, six masters put their signatures on Louis Vuitton's ever-versatile Capucines handbag. Now on view.
Styling: Sara Zaïdane
BAGS LOUIS VUITTON (ARTISTS FROM LEFT TO RIGHT: JONAS WOOD, ALEX ISRAEL, URS FISCHER, NICHOLAS HLOBO, SAM FALLS, TSCHABALALA SELF)JONAS WOOD
"I still can't believe people buy my paintings. I guess it's a cool blessing just to see people reacting positively to the work. I am hoping that the same kind of energy will apply with this bag collaboration. It was cool that we were able to recreate all the details of [my paintings] using totally different materials."
"I decided to reimagine the surface of the bag as one of my wave paintings. We're a beach culture here in Southern California, and waves dictate the rhythm and pace of L.A. life. What originated as a flat, animated image took on a more sculptural, squishy, wetsuit-inspired quality."
"The things I chose are, in themselves, perfect shapes, so there was nothing else to add. An egg is already amazing; if it were spherical it would be boring. Fruits are made to be very attractive, in the same way that flowers are; that is how plants communicate and, in a way, it's also how they have sex."
"I stitch on my paintings and drawings, and my sculptures are created by layering found materials such as leather, [tires] and copper pipes. I started by looking at the Louis Vuitton motifs, in particular the flower. I felt that I could interpret it as something growing from the bag—literally emerging from it."
"I realized that the best way to approach this project was to just do what I do—make an artwork. I grew up on a farm in Vermont with my mom, an artist who painted botanicals on silks. We started by replicating some of the plants using embroidery, and then used it as part of the surface of the bag."
"The crux of my artistic mission is based on personal experience... Growing up in Harlem influence[s] this aspect, because I saw so many different kinds of people, all from within one community. It reaffirmed the idea of multiplicity—of expression, identity, and aesthetics, all coming from one small [place]."
Photography Bela Borsodi, Fashion Sara Zaidane, Grooming Claudia Lake (Contact NYC) Model Walter Savage (Option1 Models)
BAGS LOUIS VUITTON (ARTISTS FROM LEFT TO RIGHT: JONAS WOOD, ALEX ISRAEL, URS FISCHER, NICHOLAS HLOBO, SAM FALLS, TSCHABALALA SELF)
Pride Throwback: Love Ball '89
On the heels of Love Ball III with CFDA, founder Susanne Bartsch recalls the extravaganza that started it all.