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Defenseman Carlo Colaiacovo (#26) of the Philadelphia Flyers defends against a pass made by Right Wing Steve Downie (#23) of the Pittsburgh Penguins
Penguins Lose Weekend Games, Key Players, Composure
After closing a 2-1-1 swing through the western U.S. with reason for optimism, the Penguins returned for a three-game homestand at CONSOL Energy Center that left cause for concern.
Thursday, Pittsburgh came out as it was supposed to against the low-ranked Edmonton Oilers. The Penguins avoided the kind of sluggish start that can often accompany a return from an extended trip across time zones, starting the scoring early on a shorthanded goal and building a 4-0 lead by the 1:01 mark of the second period.
Then, the wheels nearly fell off. Edmonton scored four unanswered goals, and it took the Penguins a pair of tallies in the game's last five-plus minutes to salvage a 6-4 win from what had the potential to be an embarrassing defeat.
Hosting the Boston Bruins Saturday afternoon, Pittsburgh saw Sidney Crosby become a late scratch after warmups due to what head coach Mike Johnston would later call "not feeling well." There was a scramble to replace the captain's spot in the lineup with planned scratch Craig Adams, and the Penguins would need that extra body as their other star center, Evgeni Malkin, was injured on his first shift of the game and is expected to miss one to two weeks.
Without Crosby and Malkin, the Penguins' shuffled line combinations struggled to generate offense. Bruins goaltender Tuuka Rask stopped all 30 shots he faced and Milan Lucic's goal midway through the first was the difference as Boston shut out Pittsburgh, 2-0; the other goal, an empty-netter by Zdeno Chara, just served to pad the score.
There wasn't much time to dwell on that loss, though, with a matchup with the Detroit Red Wings less than 24 hours later. The Penguins got Crosby back for that one, but Detroit got on the board just over a minute into the contest and never looked back, staking a 5-0 lead before Pittsburgh's David Perron broke goalie Petr Mrazek's shutout bid midway through the third.
The Penguins lost the game, 5-1. They lost winger Patric Hornqvist, their best player of late with 12 points (8G, 4A) in his last 11 games, to an unspecified injury that will sideline him for about a week. But perhaps most concerning is how quickly and easily they lost their composure.
Pittsburgh's 64 penalty minutes Sunday – which included five, 10-minute misconducts to forwards Steve Downie and Chris Kunitz and defenseman Kris Letang – gave the club the dubious distinction of being the league's most penalized this season.
Despite a radical overhaul to the front office, coaching staff and roster since last summer, there's been a book on the Penguins for the past several seasons, perhaps beginning with their 2012, first-round playoff loss to the Philadelphia Flyers: get into their heads, get them off their game, get them to lose their discipline and exploit the advantage. And this year's team is doing little to erase that perception.
It's easy to point to a player like Downie, who leads the NHL in penalty minutes, and Johnston did so after the loss to the Red Wings.
"I met with him before the game tonight and I told him, we just can't have that. And that is a concern, for sure. Downie has to play without taking minor penalties, especially obstruction penalties. If you take a penalty where you initiate through physical play, we can accept that; he knows that. And, when he does take a penalty or something bad happens in a game, he just can't let it go further. I thought he came out of the box, had a couple really good shifts for us – that's what he has to do – and then he goes back and takes a 10."
But the problem runs throughout the team, and Johnston didn't hesitate to say that, too.
"It's uncharacteristic of guys like Kunitz and Letang to do that. I'm not sure of the history with the officials, if there was something there from previous years that's built up … but, certainly, I thought our guys got on edge way too quick in the game, and penalties and 10-minute misconducts killed us tonight. We're trying to get some momentum back into a hockey game and you just can't do that. And it can't be your leaders – and, really, it's the discipline throughout the team."
At an unplanned but optional practice Monday, Letang took the opportunity to get in some extra work after being ejected Sunday – "I didn't skate for too long," he said – and accepted responsibility for his actions.
"I should not put the team in that situation, especially down a forward already. Obviously it's an emotional game and you're down 4-0, you're frustrated, and I shouldn't have let my emotions come out. I need to learn from it."
Letang went so far as to admit the Penguins may have earned a reputation with officials that isn't going to get them the benefit of the doubt.
"For years, and we're not afraid of saying it, we've been all over the referees yelling and complaining. I think we've made strides this year, but it's not perfect yet. They're not going to take your side if you give them a hard time. So, we need to get better at that."
"The referees talk to each other, and you don't want to have the reputation of being a team that complains, that whines, that does those types of things," Johnston said. "I don't believe that we have, but I've seen some signs over the course of the year that I don't like, and we have to address them."
They can start Tuesday in New Jersey, where the Devils are exactly the type of team that could push Pittsburgh's buttons.
"You try to stay with the plan, you play in your own system, try to play your game. Don't try to force it," Letang said. "We have to control what we can control."
Chris KunitzEvgeni MalkinKris LetangMike JohnstonPatric HornqvistSidney Crosbysteve downie
Previous Fiddler Sizzles While Stars Burn Hot
Next One Goal Wins It
Missed Points, Missing Offense Have Pens Last in Metro


Biology/Agricultural Science, Mathematics and any three of the following: Geography, Food and Nutrition, Economics, Technical Drawing, English Language, Physics, Chemistry, Nigerian Language, Home Economics. At least credit passes in English Language and Chemistry are compulsory.
College of Agriculture and Animal Science, Zamfara State.
College of Agriculture and Animal Science, Kaduna State.
Niger State College of Agriculture, Niger State.
a) FEDANIM-IBD requires at least passes in Mathematics/Statistics, English Language.
b) Plateau State College of Agriculture requires at least a pass in English Language and Mathematics/Physics.
d) Niger State College of Agriculture, Niger State. requires credit passes in Biology/Agricultural Science, Mathematics and any other Science subject as course requirement.
e) Federal Polytechnic, Mubi, Adamawa State. accepts a pass in Mathematics/Statistics and English Language with credit passes in Chemistry, Agricultural Science/Biology and any two such as Geography, Physics, Economics, Home Economics, Food and Nutrition and Technical Drawing.
f) Imo State Polytechnic, Umuagwo, Imo State: A pass in chemistry is compulsory. At least a pass in Statistics. Requires credit in English Language (not Lit. In English).


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Paywalls are good. How to sneak your friends past this one.
Lisa Gray Dec. 3, 2014 Updated: Dec. 3, 2014 11:28 a.m.
PHOTO / AHMAD AL-RUBAYEAHMAD AL-RUBAYE/AFP/Getty Images
Photo: AHMAD AL-RUBAYE, AFP/Getty Images
Ever wondered why, back in the '90s, most newspapers stampeded off the cliff, putting all their content online for free -- and in the process, training consumers not to pay for the news? It wasn't just the Internet madness of the time. It was the business model that everyone accepted: Without the huge expense of printing and delivering a physical newspaper to every subscriber's driveway, conventional wisdom held, advertising alone would be enough to support journalism.
We all know how well that worked out.
And here's the reason: As the market developed, websites found that they could charge very little for their online ads.
That hard economic fact led to the Web we know today. To make money at a low-profit-margin game requires a high-volume business. Hence the webby proliferation of weird news stories, cheesecake photos, quizzes, cats, and quizzes about cats. Stuff like that is like candy: Irresistible and harmless in small doses, but terrible if it's all you consume.
Unfortunately, smart, deep coverage of the world isn't a high-volume business. Ads alone aren't enough to sustain it; but ads plus subscriptions are.
That's the business strategy of HoustonChronicle.com, the site you're on now. If you subscribe to the Chronicle in any form -- if you get it seven days a week, or on weekends, or have a digital-only subscription -- then you automatically have free access not just to Gray Matters, but to everything on the entire blithering site: the columnists, the e-edition, the coverage of things like arts and the school board that you can't read for free. Just start an account. You've paid for it already, and we are wildly grateful.
And if you aren't already a subscriber? Well, duh. Subscribe.
Once you're in, it's easy -- and ethical -- to share articles with your friends. (We think of them as free samples.) When you're on the page of an article you want to share, don't copy the web address out of your browser window. Instead, use the Chronicle's sharing tools.
Under the story's headline, you'll see a little line of icons -- an envelope for email, a lowercase f for Facebook, a blue bird for Twitter, and so on. Click on one of those, and webby magic will generate an email or automatic post for you, complete with a freelink. That freelink is like a guest pass: It will whoosh your friends past the paywall, straight to the article.
Alternately, if you dislike auto-generated posts, click Twitter's blue bird and copy the web address out of the box that pops up on your screen. That's the freelink to the article, and you can use it wherever you like -- in email, on Facebook, on webpages. You'll get the same whoosh: Your friends will be in.
Where, you ask, will such promiscuous no-strings sharing lead? Might your friends suffer envy that you have access to a world they can glimpse only in snatches, when it occurs to you to share? Might they feel guilty, thinking that they too should support high-quality journalism? Might they end up subscribing themselves?
Well, we hope so. So please: Send out those links.
Read Gray Matters. Feel the whoosh.
This article was updated 12/3/14, after a website redesign.
Follow Lisa on:
http://www.facebook.com/lisa.gray.94402LisaGray_HouTX
Lisa Gray is a senior writer on the features desk. Previously, she's held many of the Chronicle's most interesting jobs: Senior editor for digital, features enterprise editor, member of the editorial board, acting op-ed editor, columnist--and, most fun of all, founding editor of Gray Matters, the Chronicle site named "Best Blog" in Texas three years in a row.
Email her at lisa.gray@chron.com. Or follow her on Facebook, where she spends way too much time.
A devoted husband. A volunteer medical pilot. A life lost to COVID.
World-renowned expert Ben Neuman shares which COVID vaccine he'd take, given the choice
She'd had COVID-19. She didn't think she could get it again.

redpajama_set_name: RedPajamaCommonCrawl


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Meghan Markle's Dad Hung Up On Prince Harry?
Story from Pop Culture
Meghan Markle's Dad Claims He Hung Up On Prince Harry
Anna Millard
Photo: Samir Hussein/Samir Hussein/WireImage.
Another day, another completely crazy rant from Meghan Markle's dad.
In a new interview he claims (and we really, really hope) will be his last, Thomas Markle gave Mail on Sunday an inside look at how truly awful it must be to share DNA with him. Markle reveals that Prince Harry and soon-to-be-royal-wife Meghan called him following his embarrassing pre-wedding photo shoot scandal. Markle admits he lied to the prince and his daughter, saying he was just "being measured for a hoodie." Because that's super normal.
According to Markle's account, Prince Harry and previously advised him not to work with press. Markle then completely ignored the advice, because what could you possibly learn about publicity from a man who has been in the public eye since he was still in the womb.
On the phone, Harry reportedly told Markle, "If you had listened to me this would never have happened." Which is true. To which Markle cooly and calmly responded, "Maybe it would be better for you guys if I was dead...then you could pretend to be sad," and hung up.
I'm going to go ahead and assume this crass attempt to guilt-trip his daughter over his own stupid mistakes did not leave a good impression on the prince who actually did grieve the sudden loss of a parent at a very young age in the public eye.
Here's to the Duchess of Sussex, for proving you don't need to be "daddy's little princess" to be royalty. Hopefully she's raising her glass, because she has really earned a drink.
As for me, my momma always told me, "If you don't have anything nice to say, quote Chrissy Teigen." So I'll leave you with a few words of wisdom to chew on throughout the week: "This guy...this guy sucks."
Meghan Markle's Dad Hung Up On Prince Harry
Pop Culture • Celebrity Couples • Entertainment • Meghan Markle • News
written by Anna Millard
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All photos by Susan Crowe — my wonderfully talented mother; nature, wildlife, and grandson photographer; and owner of CrowePhoto — used throughout Nonsense & Shenanigans can be found here.
Visit the 'Contact' page for any inquiries.
More of her work can be found here.
This actually happened. And is one of the many, many reasons I love her.
July 22nd Nap Time — again with Gigi, he slept the whole time they were on the water.
July 15th Nap/Sleepy Time — Gigi wore him out (this one is out of order because I forgot about it).
November 21st Nap Time with Mutt at Gigi's – 17 months old.


A Council spokesperson said as it is the largest council outside Belfast it was imperative it had the structure and capacity to deliver on the ambitions of councillors. The spokesperson said it was agreed to have four directors when the council was established and to fill three of the posts in the first year with moves towards filling the fourth later.
The salaries range from £81,989 - £87,047 per annum. "This is an all-inclusive salary which is reflective of the responsibilities of the post and the additional hours of work required. The total number of Directors in the legacy councils was 12 and in accordance with employment rights legislation and agreed protocols the existing Directors were invited to compete for the new posts. Sharon O'Gorman was appointed as the Director of Position and Olga Murtagh appointed Director of Place. Both have been in post since March 2015. The services in these Directorates range from Planning, Building Control, Estates and Assets Management, Community Planning to Economic Development, Regeneration and Tourism Arts and Culture.
The Strategic Director of People which is responsible for services including Environmental Health, Leisure, Environmental Services and Community Development, is being filled in a short term interim basis on the same salary band.


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Fan pays $2.6 million for VIP ticket to watch Messi vs Ronaldo
A soccer fan has paid around $2.6 million for a ticket to watch Lionel Messi and Cristiano Ronaldo face off. The match between Paris Saint-Germain and Saudi Arabian All-Stars is set for Thursday, Jan. 19. Players from Al Hilal and Ronaldo's club Al Nassr will fill out the Saudi side. Bidding for the VIP ticket […]
A soccer fan has paid around $2.6 million for a ticket to watch Lionel Messi and Cristiano Ronaldo face off. The match between Paris Saint-Germain and Saudi Arabian All-Stars is set for Thursday, Jan. 19. Players from Al Hilal and Ronaldo's club Al Nassr will fill out the Saudi side.
Bidding for the VIP ticket supposedly started at about $260,000. However, Saudi businessman Mushref Al-Ghamdi eventually paid ten times this amount in the end. CNN reports that Al-Ghamdi is the general manager of a real estate company called AqarOne.
Pricey ticket includes incredible access to both Messi and Ronaldo
Along with the actual ticket to the game, the businessman will also get to meet Messi and Ronaldo after the match. In fact, post-game locker room access grants Al-Ghamdi the ability to meet and great with the entire PSG team. He will also attend a gala lunch, as well as the trophy presentation of the winning team for the friendly match.
Here are the details about Beyond Imagination ticket bidding…It will end on the 17th of Jan at 11:30 PM KSA time. The money will go to charity (Ehsan) @EhsanSA. So far we reached 700 thousand Euros. pic.twitter.com/FDMtSkwSBT
— TURKI ALALSHIKH (@Turki_alalshikh) January 9, 2023
Saudi officials claim that the money raised for the ticket auction will go to charity. Ehsan, the organization's charity of choice, is wide-ranging non-profit that helps Saudi citizens in multiple ways. The charity aids economical, educational, and environmental work, as well as with health care.
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Having His Cake and Eating It, Too
Wayne Thiebaud shook up the art world in 1962 with paintings that were joyous, confectionary, and uniquely Californian. Since then, he's worked steadily, producing sought-after pieces noted for their originality and impact on American art. On the eve of his 100th birthday, the artist says he's "trying to learn to paint" and put a smile on people's faces.
By Jessica Zack
Wayne Thiebaud at his studio in Sacramento.
In the summer of 1961, Wayne Thiebaud, at age 40 and just one year into his position as an assistant professor of art at UC Davis, loaded up his car with his new paintings, unpretentious depictions of edible Americana—hot dogs, ice cream cones, cakes, pies, and gumball machines—and drove cross-country with fellow Sacramento artist and former student Mel Ramos to look for a New York dealer.
A former commercial illustrator and cartoonist, Thiebaud had an eye for the irresistibility of goods on display and a nose-to-the-glass nostalgia for the sweets and cafeteria staples of his youth spent in Long Beach and hardscrabble southern Utah.
He was a self-taught artist with voracious art-historical curiosity and reverence for the old masters (particularly, still-life virtuosos Chardin, Morandi, and de Chirico), and he had already shown his work on the West Coast in numerous exhibitions, including his first solo museum show a decade earlier at Sacramento's E.B. Crocker Art Gallery (Influences on a Young Painter—Wayne Thiebaud). But he was still searching for his own answer to the endless conundrum of what exactly to do with the brush in his hand, standing before a two-dimensional blank canvas.
Before landing on his breakout, signature style of painting everyday consumer goods and bakeshop confections—candy apples with tactile stick and shine; layer cakes on spindly plates, in heavy impasto mimicking frosting—Thiebaud was largely unnoticed by an art establishment besotted with the postwar drips and color fields of the abstract expressionists. Emotion and (masculine) myth held sway with the East Coast critics and blue-chip galleries, not the perfect geometry of a neatly sliced, ready-to-serve cheese round.
In Manhattan, Thiebaud devoted a day to walking up Madison Avenue from Midtown, calling on the district's many art galleries. He was summarily turned down at each stop and eventually found himself heading west, toward Central Park.
Art dealer Allan Stone found the dejected California painter resting his legs and bruised ego, with a fat roll of canvases under his arm, outside Stone's new townhouse gallery space on 82nd Street.
"You wouldn't be interested in these," Thiebaud said. "Nobody else is."
He couldn't have been more wrong.
Section of Thiebaud's Cakes (1963).
COURTESY OF THE NATIONAL GALLERY OF ART/© 2020 WAYNE THIEBAUD/LICENSED BY VAGA AT ARTISTS RIGHTS SOCIETY (ARS).
Stone, having coaxed Thiebaud to let him take a look, found he was puzzled and transfixed by what he saw. ("My first reaction was, This guy must be nuts," Stone once told CBS.) He offered Thiebaud a solo show the following spring.
That 1962 exhibition was an immediate, phenomenal success and indelibly marked Thiebaud's entrance into the national conversation about where American art was headed. Every painting sold, to prominent private collectors as well as the permanent collections of the Guggenheim Museum and the Museum of Modern Art. National magazines wanted to interview the modest Northern California art instructor with the industrious, Depression-era work ethic and deadpan sense of humor.
"Wayne's work was so suave by comparison with other pop artists of the time, whether it's early Warhol or Lichtenstein," says Kenneth Baker, the longtime San Francisco Chronicle art critic and coauthor of a comprehensive 2015 monograph on Thiebaud's oeuvre. "His paintings had a confectionary, delectable quality that people found inherently appealing on sight. They were clearly disciplined, yet indulgent toward the spectator's pleasure. The appetitive attraction that art can exert on its viewers had never been, in my recollection, so plainly declared as it was in Wayne's work of that period."
When pop art exploded later that same year, and Thiebaud's color-blocked lollipops and pillowy meringues were displayed alongside Lichtenstein's brash comics and Warhol's soup cans in the first-ever pop art group show (the Pasadena Art Museum's New Painting of Common Objects), Thiebaud's fame took on even greater dimensions, even though his connection to pop has always seemed to him like a misalignment.
Thiebaud wasn't aiming for social commentary with his depictions of mass-produced abundance. He never intended to satirize postwar consumer lust.
"I hope not," says Thiebaud, now age 99, on a June 2020 afternoon, during the first of several wide-ranging conversations we had about his life and his art. "I'm essentially very positive, and I like to feel celebratory about the work. Most of it should feel joyous."
He's always been a California optimist at heart, and he doesn't believe, as some critics do, that serious art is debased in any way by humor or by aiming most of all to delight.
"I think I was kind of spoiled as a boy," Thiebaud says. "I had wonderful parents who spoiled me. If I did things now that were other than joyous, let's say that were dark and moody, I would be having to fake it."
"Most of all," he adds, "I like to see people smiling when they look at my paintings."
Ripley Ridge (1977).
© 2020 WAYNE THIEBAUD/LICENSED BY VAGA AT ARTISTS RIGHTS SOCIETY (ARS).
It's frankly impossible for me not to smile during a visit to Thiebaud's midtown Sacramento studio. It's housed in a nondescript, gray one-story building across the parking lot from a discount grocery store. Canvases by one of the most respected and beloved painters alive lean against the walls on both sides of the long space, and it's breathtaking being confronted in person with most of his major themes—his food paintings; his iconic, vertiginous San Francisco cityscapes; his Sacramento River delta landscapes, beachscapes, and quasi-abstract mountain studies—all in such casual arrangement.
Toward the back of the room are a number of paintings of clowns, the most recent subject to capture Thiebaud's attention. He says these jesters hold some indescribable mystery for him; he can't decide whether they're menacing, slapstick, or something in between. He recently painted one in full makeup behind the bars of a jail cell and another with his hair on fire.
Thiebaud has spent the past six years on the clowns, and he says that he usually spends at least a decade working through a specific subject matter. "You don't realize it at the time, but it happens."
For instance, when he bought a house in San Francisco's steep Potrero Hill neighborhood in 1972, he started a consuming series of cityscapes—now iconic and instantly recognizable as Thiebauds on ubiquitous posters and postcards—distinguished by their extreme angles and exaggerated chaos.
"I was fascinated by the way in which, at intersections, four different roads came in at different angles," he says. "There were these cascading roads with parallel skyscrapers and buildings, which made it look almost like big, square rocks on the side of a waterfall, with cascading automobiles, and raised the question of whether they would be able to really sustain their position on the road. That was a wonderful challenge, to try and see if I could express that. Looking at them, you should feel a sense of disequilibrium."
Thiebaud in his book-lined study.
When Thiebaud emerges from the back office, which is lined to the ceiling with art books and where he likes to read each day, he moves briskly through the gallery and greets me. He's charming and inviting. He squats down low in his Lacoste slip-ons to look closely at his work. A palette with dabs of fresh paint and a wet brush rest on a wooden bench. Names of artists and authors tumble forth in conversation. His face is remarkably unlined despite his decades on the tennis court. Perhaps the only sign of Thiebaud's advanced age is that his low-pitched voice grows hoarse after about 20 minutes of talking.
Thiebaud is in robust health, his droll sense of humor and upbeat spirit intact. A life of routine and rigor has clearly served him well. He's as self-deprecating as ever, and, notably for someone turning 100 on November 15, he still adheres to a daily schedule that has altered very little over the course of seven decades.
He's up early every day, motivated to head into the studio each morning by what he modestly calls "this almost neurotic fixation of trying to learn to paint." "It's rare that I'm not in the studio," he says. "That is the program that seems to have been my lot."
After breaking for lunch, until the COVID-19 pandemic hit, Thiebaud would play doubles several times a week with old friends at the Sutter Lawn Tennis Club. "I still play, but it's a kind of insult to the game at this point," he says.
"And then in the afternoon, it's back to [painting]."
One of the artist's brushes. Thiebaud buys them locally and eschews expensive brands and special paint.
Thiebaud has lived in the same modest house in Sacramento's Land Park neighborhood since 1971. His wife of 56 years, Betty Jean, died in 2015. Their son Paul, an art dealer who represented his father and others, through galleries in San Francisco, New York, and Sacramento, died in 2010. Thiebaud has three surviving children and six grandchildren.
"My world hasn't changed much," he says of the current lockdown. "I'm usually in the studio most of the time anyway. I do miss going out to restaurants, seeing my friends."
Thiebaud is open-minded about the possibility that work itself—his ritualistic, daily discipline of "visual inquiry," a lifelong practice of training himself to see more attentively, to distill reality into satisfying compositions—may be life-sustaining.
There's a fascinating paradox at the heart of Thiebaud's art practice, which becomes clearer the more we talk: He works with a compulsive attention to detail and has a perfectionist's eye for finding flaws, quick to needle himself about where he's fallen short of his ideals, and yet he avows an unwavering love for the process of painting itself, despite its inherent frustrations and his frequent discontent.
I ask him if he ever looks at his work in the studio and feels satisfied.
"It's very, very rare," he says.
Thiebaud's longtime friend Gene Cooper, a Laguna Beach artist and art historian, sees Thiebaud's diligence as a product of his Mormon upbringing (he left the church as a teenager when expected to go on his mission) and central to understanding his drive to revisit and rework his earlier canvases.
"Wayne developed a work ethic that he would carry into his adult life as well as his art and teaching careers," says Cooper. "It would never disappear. It was a moral issue. In a way, work is his subject matter, an ongoing process without an end. He does not wait for inspiration to guide him. It is work that directs his journey."
Canyon Pass (2019).
COURTESY OF ACQUAVELLA GALLERIES/© 2020 WAYNE THIEBAUD/LICENSED BY VAGA AT ARTISTS RIGHTS SOCIETY (ARS).
Thiebaud is famously allergic to philosophizing about his own work, but he does admit that it's reasonable to read irony or a subtle, winking presence in many of his paintings, although it's always in the back seat, with material, formal concerns ("making a composition that works")—and, of course, nostalgia—up front.
"It's a wonderful combination of memory, imagination, and direct observation," he says. "A lot has to do with yearning."
"Primarily," he continues, "what I'm interested in and always have been is this wonderful, personally involving search to find out all I can about painting, to be willing to take risks and try things that don't seem to be logical, and find out how my feelings and experiences as a boy growing up in America can be reflected in a painting."
Thiebaud was born in Mesa, Arizona, and spent most of his childhood in Long Beach. He has fond memories of being a teenager on the coast, working as a lifeguard, hawking newspapers on the beach, and selling stacked ice cream cones and hot dogs at a popular café.
He also recalls how formative the two strapped years were that his family spent in Utah in the 1930s after his father, a Mormon bishop, lost his mechanic's job and tried his hand, unsuccessfully, at ranching.
Those boyhood memories of the land and the stark light, the feeling of being dwarfed by the vast western terrain, have deeply influenced Thiebaud's approach to landscape. People never appear in his semiabstract mountainscapes, yet a hint of human scale—a tree atop a bluff, or a lone cabin—draws the viewer into the frame. "I look at the paintings and try to actually imagine how I would walk along a little top edge, or how would I feel diminished by being underneath a huge outcropping," Thiebaud says.
Since the 1990s, he's produced dozens of paintings of the Sacramento–San Joaquin Delta, a source of ongoing inspiration. In his distinctly fauvist, playful colors, golden furrows are bisected by gem-tone rivers snaking through pastel-hued fields dotted with orchards.
When you look closely, you see that he combines several perspectives into one frame. The delta paintings appear to be bird's-eye views, "but I've never gotten up over about 25 feet to look, so those [vistas] are all imagined," Thiebaud says.
He has been drawn again and again to the striking tonal shifts of the delta's seasonal changes, something that escapes most visitors to this lesser-
known area of Northern California.
"There are a thousand miles of waterways, largely unknown to very many people, and these winding rivers and lagoons and islands form an amazing array of patterns," says Thiebaud. "In the winter, the landscape would be very dark and dreary and foggy and almost black when the fields were vacant; then the spring would have these wonderful, fresh, bright greens and almost lively yellows coming to life. Then in the summer, where things were more golden and palomino-colored and brighter, and stronger dark shadows were cast. What I'm pointing out is that what I tried to do was not to make a specific area or specific place pictorially, but to use those various seasonal and color changes to make essentially a kind of abstract representational combination, trying to combine as many of the seasons and colors as seemed really interesting and compelling."
Section of Waterland (1996).
To celebrate Thiebaud's 100th birthday, the Crocker Art Museum, which has hosted a Thiebaud show every decade since 1951, has planned a massive retrospective of his artwork in all media, including numerous works from the artist's collection that have never been publicly displayed.
Wayne Thiebaud 100: Paintings, Prints, and Drawings is currently scheduled to be on view from October 11, 2020, through January 3, 2021, and then will travel to four other American museums: the Toledo Museum of Art, in Ohio; the Dixon Gallery and Gardens in Memphis; the McNay Art Museum in San Antonio; and the Brandywine River Museum of Art in Chadds Ford, Pennsylvania.
Thiebaud, who has visited the Crocker regularly and donated to the museum generously since making Sacramento his home in the 1950s, "had a big hand" in what was included in the centennial exhibition, says Scott Shields, the Crocker's associate director and chief curator. Iconic Thiebauds are there in abundance, but so are "some things you might look at and not even realize they're his."
"One of the things I most admire about Wayne is that he never just stuck with one thing," says Shields. "A lot of artists find success, and they just do it the same way for the rest of their career, especially in the contemporary realm, but he was really cognizant of not wanting to get stuck. He's never sat still and rested on his laurels."
Thiebaud is voluble when it comes to art history or his love of teaching. (He officially retired from UC Davis at age 70, continued to teach as an emeritus professor until 2009, and still occasionally sees students privately.) "Wayne has always felt, even when he was starting out, that he was a teacher who painted, as opposed to a painter who taught," says Laguna Beach artist Fred Hope. For the past six years, Hope, who is 68, has driven north to Sacramento "with a carload of new work" every six weeks (the pandemic has curtailed his visits) for an afternoon of private instruction at Thiebaud's studio.
The two met at an exhibit in 2011 after Thiebaud saw Hope's work and told Gene Cooper that it was "well painted, but rather ordinary" and that Hope should push himself to make it extraordinary by making it more personal. Cooper relayed the comments. "It was exactly the right thing for me to hear at that time," says Hope.
"He doesn't talk down to students, and there's a peer-to-peer feeling that makes you feel you could really achieve something if you work hard," Hope says of Thiebaud. "He climbs right down off any pedestal. He doesn't really like to talk about himself, but he loves to talk about examples, about what he learned from Richard Diebenkorn, or from [Willem] de Kooning. The thing he gets across is how much he loves doing what he does. It's impossible not to be affected and stimulated by that."
Four Pinball Machines (1962).
COURTESY OF CHRISTIE'S IMAGES LTD. 2020/© 2020 WAYNE THIEBAUD/LICENSED BY VAGA AT ARTISTS RIGHTS SOCIETY (ARS).
Thiebaud is also a master at deflecting a compliment. He shrugs when the subject of prices for his work comes up.
In July, one of his monumental paintings from 1962, Four Pinball Machines, measuring 68.4 by 72 inches, was sold at Christie's One auction for $20.1 million, more than doubling his previous record, from 2019, when Encased Cakes (2010–11) went for $8.46 million.
Looking back over an exceptionally successful career spent doing exactly what he's always wanted, Thiebaud agrees that by being associated early with pop art, he was "misunderstood into fame," as Time magazine's former art critic Robert Hughes once wrote.
"I don't think I would have been known without being associated with pop art, even though I don't even particularly admire the tradition," he says.
Nearly 60 years after the seminal New York exhibition with Allan Stone, Thiebaud laughs when he recalls that formative period when he gave himself permission to stop aping the New York artists then in vogue and instead paint from memory the foodstuff and amusements of his youth.
Remembering his "first little pie painting," Thiebaud says, "I thought to myself, That's the end of me as a serious painter. Who the hell is ever going to be interested in these? But I just couldn't leave it alone."
Thiebaud credits one of his artist heroes, Dutch American abstract expressionist de Kooning, whom he befriended during a 1956–57 sabbatical in New York, with pushing him to develop a signature style and a subject matter all his own.
"De Kooning looked at my work and said, 'This looks like the work of 100 people. You have to find something that you're deeply in love with, or know a lot about, and take that as your subject matter. Don't take the art world as your subject matter.' So when I came back to Sacramento, I sat down and thought, I better think this thing out and start over," Thiebaud recalls. "Because I was teaching, I gave myself an assignment to take basic shapes on a canvas—circles, ovals, squares, triangles. And then I thought, What will be my subject matter? I want something to sit on a plane and cast a shadow. And I thought, I've worked in restaurants. Maybe I'll make those triangles into a pie."
"Crazy as it seemed," he says, "I declared then that I was going to grant myself the ultimate freedom, that I was going to paint what I really wanted to paint, any subject matter that for me seemed interesting, and I would paint any object, anytime, anywhere. And I've pretty much continued that. I never wanted to get repetitive. I wanted to change and explore as many different kinds of things as I could."
Boston Cremes (1962).
COURTESY OF CROCKER ART MUSEUM/© 2020 WAYNE THIEBAUD/LICENSED BY VAGA AT ARTISTS RIGHTS SOCIETY (ARS).
At the start of one of my interviews, I ask Thiebaud what he worked on that morning.
"A self-portrait," he says, the first one he'd attempted in several years. "That was a wake-up call to how much I need to do some more figures." He tells me he also pulled out a "little beach picture" he'd done some years ago, to see if he could "make it look a little more interesting."
Thiebaud's long-standing habit of reworking older paintings, sometimes ones he hasn't touched in decades, often leads to his work being labeled with multiple years, like Street and Shadow, an oil painting of a roller-coaster-steep San Francisco street in the Crocker show, dated "1982–83, and 1996."
Thiebaud stands at the open garage door to his studio and gazes inside.
What compels him to return to a finished work after so much time?
"One just seems to sort of wink at you" from a corner of the studio, he says, "as if it's saying, Why don't you try this? What would happen if you did this?"
Thiebaud is above all a perpetual student. He describes days spent in the studio as akin to being a scientist in a lab. He's at heart a tinkerer, a problem solver. "I think painting can somewhat parallel and duplicate scientific research, because painting really is a research," he contends. "You have to try a lot of different things and be willing to have the painting begin to reveal itself. And it's not like applied science, where there's an answer or an end. Scientists, like painters, are always crediting accidents.
"Painting, in my opinion, is one of the most difficult things in the world to do. When you've seen the heroic accomplishments of Vermeer, Velázquez, Rembrandt, Picasso, and Matisse, and Middle Eastern, Japanese, Chinese painting…it's overwhelming. You don't want to ignoble that tradition."
His voice trails off as if he's silently questioning the whole lifelong endeavor.
"It's actually almost ludicrous that anybody would do it," he says.
I ask him if he believes in the Samuel Beckett dictum "Fail again, fail better."
"Exactly. Yes. That's very much a part of it," he replies. "Serious painters spend an awfully long time looking at the work, speculating, hypothesizing, What would happen if I did this? So on and so forth. So in a way, you're painting in your mind all the time."
Thiebaud pauses. "I don't think you can probably ever look long enough."
Bow Ties (1990).
WAYNE THIEBAUD 100: PAINTINGS, PRINTS, AND DRAWINGS
• Oct. 11–Jan. 3, 2021 (subject to COVID-19 restrictions)
• Crocker Art Museum, 216 O St., Sacramento
• crockerart.org
Jessica Zack Jessica Zack is a Bay Area journalist who writes about books, film, and visual culture.
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Sussex County Public Health Profile Report
Incidence of Laryngeal Cancer: Age-Adjusted Rate per 100,000 Males, 2014-2018
(4.7 - 10.2)
NA=Data not available.
Sussex Compared to State
During 2018, 245 male and 72 female New Jersey residents were diagnosed with cancer of the larynx (voice box). Factors that can increase your risk of laryngeal cancer include: tobacco use, including smoking and chewing tobacco; heavy alcohol consumption; and possibly a virus called the human papillomavirus (HPV).
Between 1990 and 2018, the age-adjusted rate of laryngeal cancer in males decreased from 9.5 to 4.8 cases per 100,000. In females, the rate decreased from 2.2 to 1.1 per 100,000 during the same interval. The lifetime risk of developing laryngeal cancer is 1 in 189 for men and 1 in 769 for women.
A Comprehensive Cancer Control Plan was developed by the Task Force on Cancer Prevention, Early Detection and Treatment in New Jersey which aims to reduce the incidence, illness and death due to cancer among New Jersey residents. [https://www.cdc.gov/cancer/ncccp/ccc_plans.htm]
Incidence rates (cases per 100,000 population per year) are age-adjusted to the 2000 US standard population (19 age groups: <1, 1-4, 5-9, ..., 80-84, 85+). Rates are for invasive cancer only (except for bladder cancer which is invasive and in situ) or unless otherwise specified. Number of cases (numerator) is the total count of cases in five years.
NJ State Cancer Registry, Nov 16, 2020 Analytic File, using NCI SEER*Stat ver. 8.3.9, [https://seer.cancer.gov/seerstat/] NJ population estimates as calculated by the NCI's SEER Program, released February 2021, [https://www.seer.cancer.gov/popdata/download.html]
Measure Description for Incidence of Laryngeal Cancer
Definition: Incidence rate of invasive laryngeal cancer for a defined population in a specified time interval. Rates are age-adjusted to the 2000 U.S. Standard Population. Rates are per 100,000 population.
Numerator: Number of new cases of laryngeal cancer among a defined population in a specified time interval.
Denominator: Defined population in a specified time interval.
NJ Age-Adjusted Invasive Laryngeal Cancer Incidence (exits this report)
Cancer Epidemiology Services, New Jersey Department of Health, PO Box 369, Trenton, NJ 08625-0369, e-mail: cancer@doh.nj.gov, web: www.nj.gov/health/ces


business to out of home (OOH) competitor Ooh!Media earlier this year for $570 million. The sale was part of the double merger in OOH this year, which also included the acquisition of APN Outdoor by JCDecaux for $1.2 billion.
Both acquisitions have now been approved and completed.
Here, There & Everywhere (HT&E), the parent company of Australian Radio Network (ARN), has appointed former Ten CEO Hamish McLennan as chairman, following the departure of Robert Kaye as interim chairman last month.
McLennan takes over from acting chairman Paul Connolly who had been leading the search for a full-time replacement after the retirement of long-serving chairman Peter Cosgrove earlier this year.
McLennan held the role of Ten CEO from 2013 to 2015 and was replaced by current boss, then CFO and COO, Paul Anderson.
McLennan is also chairman of REA Group and is a non-executive director of financial services business Magellan Financial Group.
"Radio is a fantastic medium with proven ongoing growth potential and HT&E has the leading metropolitan radio business in the country and the best radio talent in Australia," McLennan says.
"I am delighted to be joining HT&E at this pivotal point in its evolution."
McLennan added that the opportunity to chair HT&E was appealing due to the company's varied media assets, management team and balance sheet, all of which he stated are critical to further the growth of the business.
"Hamish is an experienced media and marketing executive who brings unparalleled experience to the board, given the global role he has held and his depth of understanding of the changing media landscape and the demands of advertisers," Connolly says.
"He has a proven track record as an outstanding leader across the media and advertising sectors and will be invaluable as HT&E evolves post the sale of Adshel."
Previous roles for McLennan also include executive VP of News Corp in both New York and Sydney from 2012 to 2013 and CEO of Y&R from 2006 to 2011.
HT&E most recently sold the Adshel business to out of home (OOH) competitor Ooh!Media earlier this year for $570 million. The sale was part of the double merger in OOH this year, which also included the acquisition of APN Outdoor by JCDecaux for $1.2 billion.


Carole Baker, age 84, of Green Bay, passed away peacefully, Friday, August 24, 2018 at a local assisted living facility. She was born June 5, 1934 in Algoma, daughter of the late Florence (Knutson) Anderegg and was a graduate of Green Bay East High School.
Carole married Timothy Baker and together they shared 55 loving years of marriage before he passed away in 2012. Carole worked for many years at a local bank and also co-owned and operated Timothy's gift stores along with her husband. Carole also served as Allouez Town Treasurer.
Carole enjoyed knitting, solving puzzles, shopping and playing cards. She was an avid fan of the Green Bay Packers. Her greatest joy was spending time with her beloved family.
Carole is survived by her children: Caren (Dale) Fabry, Andy (Lori) Baker and Amy Baker; 4 grandchildren: Collin (Megan) Andrews, Ryan (Dani) Baker, Brittany (Grant) Larscheid and Allyson (Chris) Peters; 6 great-grandchildren: Ava, Beckett, Brooks, Lylah, Charlotte and Jace; 4 siblings: Joanne (the late Richard) Pasterski, Sandra Elgin, John (Mary Ann) Anderegg and Jayne (the late Ron) Marler; numerous nieces, nephews, other relatives and friends.
Visitation will be held at Newcomer-Green Bay Chapel (340 S. Monroe Ave., Green Bay), Wednesday, August 29, 2018 from 4 to 7 PM. A memorial service will follow at 7 PM.
Carole's family would like to extend a special thank you to Rachelle and the staff at Unity Hospice for their compassion and care.
Add your memories to the guest book of Carole Baker.
I opened the Sunday paper to reveal your mother's passing. I have realized that reflection on the lives of loved ones can be comforting as we negotiate the past that lies ahead for us. Take care as you travel knowing that their lives have given you Direction on to proceed for the rest of your life.
I cannot be there with you on Wednesday. Work and other commitments will keep me away. I will always have fond memories of my high school years and the Bakers on Karl Street.


JaguaRep® is a professional, manufacturer's sales representative of high technology electronic components. Our engineering focus, superior technical knowledge, and our outstanding sales and customer service support allow us to concentrate our efforts on demand creation with Local OEMs in the Latin American market and win new business for the lines we represent.
JaguaRep® is a Mexican company, covering sales and promotion for principals from within the country. We establish close relationships with our customers and distributors. We strive for a prompt response time on every new business opportunity allowing us to adjust tactics based on local conditions. We minimize risks and uncertainties for our principals by understanding the local playing field.


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Portfolios Reconstructed
Home Partner Content Partner Reports A Partner Report from Mackenzie Investments on rethinking the way forward Portfolios Reconstructed
In this Partner Report, we examine how the rising interest rate environment calls for a shift in portfolio construction. The growth bias that worked before the pandemic may be giving way to dividend investing.
By: Mackenzie Investments
With pandemic lockdowns now well in the rearview mirror, investors are confronted with an unfamiliar investment landscape.
Many investors have come to the realization that the portfolio that worked prior to the pandemic may not work today. The past decade was dominated by high-growth investing, seemingly ignoring risk. But as the world's central banks grapple with inflation, interest rate increases shifted investor preferences.
As the markets adapt to this new reality, now is the time for portfolio reconstruction.
The fiscal and monetary stimulus enacted at the height of the pandemic has left the world awash in cash. This includes a massive increase in consumer savings, as spending patterns changed during lockdowns. That pent-up demand has now been unleashed, driving inflation to highs not seen in decades.
"This is typically an environment where many dividend-paying stocks perform well," says Darren McKiernan, Head of the Mackenzie Global Equity and Income Team and the lead manager of the Mackenzie Global Dividend Fund. Katherine Owen and Ome Saidi are also named portfolio managers on the fund.
As managers of a core portfolio, his team is style agnostic in terms of the growth-value spectrum. The overarching goal is to find high-quality businesses with the free cash flow to support a healthy dividend.
McKiernan points out that over the past decade of growth dominance, dividends have accounted for just 15% of realized investor returns, far short of the 40% average that was established over the preceding 120 years.
The dividend solution
A pivot toward durable businesses that pay sustainable dividends may provide a degree of stability to a portfolio overloaded with higher-risk growth.
"We believe dividends will be an important source of total returns going forward," says McKiernan. "All we need is for the world to look more like the last 120 years than the last 10 — and signs seem to indicate that's going to be the case. At the very least, the long-term averages are on our side."
Even as the global economy slows, still-high inflation and the rising interest rates designed to tame it should benefit portfolios that are weighted toward pro-cyclical sectors, such as financials, travel and leisure, as well as energy and materials.
However, active management remains key, as skillful stock selection has the potential to add considerable value.
"Not all dividend-paying companies are created equal when it comes to a rising-rate environment," says McKiernan. "There's a big swath of the investment universe that might be disproportionately negatively affected by rising interest rates."
Commissions, trailing commissions, management fees and expenses all may be associated with mutual fund investments. Please read the prospectus before investing. Mutual funds are not guaranteed, their values change frequently and past performance may not be repeated.
The content of this article (including facts, views, opinions, recommendations, descriptions of or references to, products or securities) is not to be used or construed as investment advice, as an offer to sell or the solicitation of an offer to buy, or an endorsement, recommendation or sponsorship of any entity or security cited. Although we endeavour to ensure its accuracy and completeness, we assume no responsibility for any reliance upon it.
This article may contain forward-looking information which reflect our or third party current expectations or forecasts of future events. Forward-looking information is inherently subject to, among other things, risks, uncertainties and assumptions that could cause actual results to differ materially from those expressed herein. These risks, uncertainties and assumptions include, without limitation, general economic, political and market factors, interest and foreign exchange rates, the volatility of equity and capital markets, business competition, technological change, changes in government regulations, changes in tax laws, unexpected judicial or regulatory proceedings and catastrophic events. Please consider these and other factors carefully and not place undue reliance on forward-looking information. The forward-looking information contained herein is current only as of May 3, 2022. There should be no expectation that such information will in all circumstances be updated, supplemented or revised whether as a result of new information, changing circumstances, future events or otherwise.
William Aldridge on Canada
Canada's time to shine
Economies Recalibrated
Lesley Marks on the stock market and Europe
Darren McKiernan on technology
Partner Reports is a space made available for businesses who wish to publish content for financial professionals. Advisor's Edge journalists are not involved in writing these articles.


text:
require "spec_helper"

describe Baton::Configuration do
  describe "#config_path=" do
    context "given config file available" do

      before(:each) do
        subject.config_path = "#{File.dirname(__FILE__)}/../fixtures/config.cfg"
      end

      it "will set the host" do
        subject.host.should eq("fromconfig.com")
      end

      it "will set the port" do
        subject.port.should eq(12345)
      end

      it "will set the vhost" do
        subject.vhost.should eq("fromconfig")
      end

      it "will set the user" do
        subject.user.should eq("fromconfiguser")
      end

      it "will set the password" do
        subject.password.should eq("fromconfigpass")
      end

      it "will set the heartbeat" do
        subject.heartbeat.should eq(666)
      end
    end

    context "given a non existing file" do
      it "will log an erorr" do
        subject.logger.should_receive(:error).with("Could not find a baton configuration file at bad_path")
        subject.config_path = "bad_path"
      end
    end
  end

  describe "#connection_opts" do
    before(:each) do
      subject.config_path = "#{File.dirname(__FILE__)}/../fixtures/config.cfg"
    end

    context "give a config file" do
      it "will return a config hash" do
        subject.connection_opts.should eq({
          host:      "fromconfig.com",
          port:      12345,
          vhost:     "fromconfig",
          user:      "fromconfiguser",
          password:  "fromconfigpass",
          pass:      "fromconfigpass",
          heartbeat: 666
        })
      end
    end

    context "given one of the configuration options is nil" do
      it "will not be returned in the config hash" do
        subject.vhost = nil
        subject.connection_opts.should eq({
          host:      "fromconfig.com",
          port:      12345,
          user:      "fromconfiguser",
          password:  "fromconfigpass",
          pass:      "fromconfigpass",
          heartbeat: 666
        })
      end
    end
  end

  describe "multiple amqp hosts" do

    before do
      Kernel.stub(:rand).and_return(1)
      subject.config_path = "#{File.dirname(__FILE__)}/../fixtures/config-multi.cfg"
    end

    it "will set the host" do
      subject.host.should eq("moreconfig.com")
    end

    it "will have an amqp host list" do
      subject.amqp_host_list.should eq(["fromconfig.com", "moreconfig.com", "thirdconfig.com"])
    end

    it "will default the heartbeat to 60" do
      subject.heartbeat.should eq(60)
    end

  end
end

redpajama_set_name: RedPajamaGithub


Today's Reading is 1 Corinthians 2:1-5 And so it was with me, brothers and sisters. When I came to you, I did not come with eloquence or human wisdom as I proclaimed to you the testimony about God.For I resolved to know nothing while I was with you except Jesus Christ and him crucified. I came to you in weakness with great fear and trembling. My message and my preaching were not with wise and persuasive words, but with a demonstration of the Spirit's power, so that your faith might not rest on human wisdom, but on God's power.
I hear Paul saying we don't need to be practiced or perfect before we're willing to proclaim the Word to people. We just have to come "real" to people we meet and witness to them sharing our story. When we try to be perfect before being available for God to use us we rob others from the opportunity to hear His word. We just need to proclaim the love of God demonstrated by sending Christ to die for our sins so that we may have everlasting life. We don't have to read a bunch of books or take lots of college courses to be prepared. The only preparation we need is having faith that God put us in the situation to share our story and that the Holy Spirit will guide our words and actions as we share our testimony. This faith also allows us to open ourselves to tell things that we may have never told anyone.
We also rob ourselves of the opportunity to let the Holy Spirit work through us and witness what God can do when we give him the reins of our life. When we see the Spirit work in our lives it helps to strengthen our faith in the Lord. I believe this is why you hear people say that it was more powerful for them to witness to someone than for the person receiving. Unfortunately, as humans we like to be reassured that God really does exist. We know he does, we believe he does, but it's always nice when you actually "see" it happen. It doesn't mean we're any less faithful, even Thomas wanted to see the wounds of Christ before he believed that Christ actually returned.
So the next time you're in the position to share the Lord with someone, remember, you're not alone. Say a small prayer, be humble and jump off that cliff knowing that God will be there through it all guiding and directing you.
7.26.13 "God with Skin On!"


This statistic depicts locksets/hardware brands used the most by U.S. construction firms in 2014. The survey revealed that 9 percent of the respondents use Emtek brand the most.
* Page 314 of Adobe publication.


This is a place where I will post on any topics that I find interesting or simply just the usual blabbering about my sweet baby girl, super hubby and cats!
930am: Olive wakes up and stays awake for 2-3 hours. I will need to feed, bathe, play and put her to sleep again.
12pm: I can only clean the house when Olive is sleeping so this will be a good time for me. If she sleeps well, I have 2hours to wash, clean and to eat lunch. On days when she is grumpy, I will need to carry her and it will be hard to clean the house.
4pm: Olive feeding time and she will usually stay awake for 2 hrs. Time to play and sing songs for her. Occasionally I will read her children bible stories too and she love it!
6pm: When she is asleep again, I will have some free time to myself. Perhaps I will be 'youtub-ing' at this time and eating dinner.
8pm: Olive feeding time and she will usually stay awake for about 1-2 hours. I will have to repeat the whole process of playing and singing songs for her.
930pm: Once she is asleep again, it is time for me to wash the dishes and tidy the house.
10pm: I will try to spend time with my hubby if it is possible or if not, I will be blogging and he will be busy with his work.
11pm: Olive will wake up again and I will prepare to massage and change her for the night. After an hour of playing and cuddling, she will usually fall asleep again.
12midnight: Time for me to sleep or perhaps I will try to catch a late night DVD.
What a life? I really admire all mothers after I become one, especially those that give birth to twins or more. It is really tiring given the amount of sleep and housework to do but I give thanks to God for giving me a chance to experience motherhood. It is definitely a worthwhile experience. Staying at home has given me alot of chance to be with my daughter and I will not trade that for anything else. Sometimes I do take the occasional break from cooking and cleaning the house. I will lie in bed with my daughter for the whole day, nursing and cuddling her. That is really a wonderful feeling.


text:
Home News "I believe the Governor has other interests that he's focusing on and I'm right now focusing on education and I would like him to let me do my job" (Video)
"I believe the Governor has other interests that he's focusing on and I'm right now focusing on education and I would like him to let me do my job" (Video)
"I believe the Governor has other interests that he's focusing on and I'm right now focusing on education and I would like him to let me do my job" pic.twitter.com/GXHBBncl06
— Acyn (@Acyn) August 10, 2021
"I believe the Governor has other interests that he's focusing on and I'm right now focusing on education and I would like him to let me do my job" (Video) Reviewed by Facts on August 10, 2021 Rating: 5