Mississippi is a southern state of the United States, with some piece of its southern outskirts merged by the Gulf of Mexico. The western border is encompassed by the Mississippi River. Jackson is the capital and furthermore the biggest city out here. It is the 32nd crowded state in the country.
Majority of the land over here is currently held by agribusinesses. To a great extent provincial state with agrarian zones commanded by modern ranches, Mississippi is positioned last among the states in terms of median household income, education attainment and also health.
One of the most popular attractions over here is the Beau Rivage, it is a fascinating waterfront resort with a pool, numerous fancy restaurants and also a huge casino.
We take a look at the population of Mississippi from the year 2014-18, you can get to see it an increase of 0.0158 Million in the past 5 years. Therefore, each year it has been noticed that the population increases by around 0.00316 Million. Hence, the population of Mississippi in 2019 is expected to be 2.9958 Million + 0.00316 Million = 2.99896 Million. So, the population of Mississippi in the year 2019 in terms of estimated data = 2.99896 Million.
At present African Americans fuse around 37 percent of its population. Most have predecessors who were really oppressed, with different unequivocally transported from the Upper South in the nineteenth century to wear out the range's new estates. Different such slaves were from mixed race with European predecessors, as there were different young people familiar with oppression with white fathers. Americans of Scots-Irish and Scottish heritage are present all through the state.
Population Density is 63.5 persons per square kilometer. Mississippi has enjoyed the experience of a population boom during 19th century. Around 1800, information was recorded at 7,600 and following ten years those figures had reached out by more than 300% to 31,306. That was actually the biggest population in the entire history of Mississippi and further growth in the years saw the population touch 606,526 by 1850.
By the start of twentieth century, the number of people in the state had sufficiently crossed 1.5 million as growth has moderated in the present time, the general picture stays one of tremendous growth.
In 1834, a certain Captain Isaac Ross and had his inheritance was in Lorman, liberated his slaves and sent them immediately to Africa and a new nation was built and was named Liberia. Recently, citizens of Liberia went to Lorman and set a stone at the Captain's grave site to pay tribute to his idea.
The world's most noteworthy cottonwood tree farm is in Issaquena County.
In 1902 while on a hunting binge in Sharkey County, President Theodore Roosevelt chose not to shoot a bear. This display brought about the age of the world famous teddy bear.
The first ever female country mail transporter in the United States was Mrs. Mamie Thomas. She gave away mail via carriage toward the southeast of Vicksburg in 1914.
The rarest North American cranes live in this part of the world in the savannas of Jackson County. The Mississippi Sandhill Crane is almost 44 inches tall and has a wingspan of 8 foot.


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Beverley Hughes: I do not accept that. As the right hon. Gentleman knows, the provision contains operational safeguards, as do the provisions on incitement to racial hatred. The clause establishes a public order offence; it will require the Attorney-General's consent. I do not share the right hon. Gentleman's fears that cults such as scientology will be the subject of offences under the provision.
Several hon. Members rose—
Beverley Hughes: I shall further explain why the clause should be in this Bill before giving way again.
First, there is a connection between the events of 11 September and the consequences that have flowed from that. Secondly, there is an anomaly in law whereby two groups are protected and other religious groups are not. Thirdly, despite the dissent voiced here and in the other place, there is widespread support for the provision. The view of the Church of England was expressed by the Bishop of Southwark in the other place. The Muslim Council of Britain, the Law Society and the Joint Committee on Human Rights acknowledge the "pressing social need". The United Nations Human Rights Committee noted the increase in harassment after 11 September and pressed the need for reaction.
Since 11 September and subsequent events, we have seen the need to protect vulnerable religious communities. We can—
Ms Abbott: Will the Minister give way?
Beverley Hughes: I am going to complete—
Mr. Hogg: Your hon. Friend wants to intervene.
Mr. Speaker: Order. The right hon. and learned Gentleman is giving the Minister a hard time. I will not allow that.
Mr. Hogg: On a point of order, Mr. Speaker. I was not trying to give the Minister a hard time. I was merely
12 Dec 2001 : Column 936
trying to bring to her attention the fact that her hon. Friend the Member for Hackney, North and Stoke Newington (Ms Abbott) wanted to intervene.
Mr. Speaker: Perhaps the right hon. and learned Gentleman should let me chair the proceedings while he sits quietly.
Beverley Hughes: In the operation of the law on incitement to racial hatred offences, we saw a small but important deterrent effect on some of the worst excesses of extreme racist groups. I have no doubt that the provision on incitement to religious hatred would have a similarly significant deterrent effect on the groups that seek to extend their violent and distressing propaganda to Muslims and other religious groups. That is another important reason why it should be included in the Bill.
Mr. Kelvin Hopkins (Luton, North): Will my hon. Friend not concede that she is confusing ethnicity, which we cannot change, and belief, which we choose? I cannot escape from being a middle-aged white English person, but I choose my socialist beliefs and I want them to be challenged and open to discussion.
Beverley Hughes: I acknowledge that view. It is not one that we share.
I refer again to the powerful speech made by my right hon. Friend the Member for Manchester, Gorton who used his own experience to illustrate the fact that people respond to him in terms of his religion, not his ethnicity. That is the view that we have taken.
Ms Abbott: For the avoidance of doubt, I, too, stand four-square against discrimination against Muslims. One of the problems with the clause is that it does not provide protection against discrimination; it is about incitement to religious hatred. Furthermore, I believe that 99 per cent. of what it is now fashionable to describe as Islamophobia is either an offence under racial hatred legislation, or a straightforward public order offence.
Beverley Hughes: There are gaps in the legislation. If Members think about why we need the incitement to racial hatred offence in addition to the other provisions in the Public Order Act 1986 and in addition to the racially aggravated offences provisions, perhaps they will apply that thinking to why we need the incitement to religious hatred offence. Current provisions do not cover every eventuality. They do not cover incitement as it is defined in the Bill: the use of threatening, abusive or insulting words or behaviour intended or likely to result in public disorder. That is the difference. It is not covered in other parts of the Public Order Act, nor is it covered in the other legislation to which my hon. Friend referred.
Dr. Evan Harris (Oxford, West and Abingdon): We on the Liberal Democrat Benches are extremely sympathetic to those in vulnerable communities who may be victims of incitement, which extends beyond Muslims and race to, for example, homophobic attacks. We support legislation covering a much wider range of people. Why did the Minister and her colleagues vote against an
amendment in 1998 that would have included a much wider range? Why does she not introduce such a provision in a wider Bill that covers all vulnerable communities?
Beverley Hughes rose—
Mr. Speaker: Order. We are discussing the amendment that is before us and nothing else.
Beverley Hughes: As I have said, the Bill follows the events of 11 September. The issue of homophobia does not readily spring to mind as something that follows on from that.
A number of arguments have been advanced to demonstrate why the provision should not be in the Bill. I understand that there are concerns about limits to freedom of expression that might result from having an offence of incitement to religious hatred. The Government do not underestimate the concerns that have been expressed by many Members of this place and of the other place that a person should not be prosecuted for expressing their legitimate religious beliefs and for having legitimate debate on and scrutiny of those beliefs.
My right hon. Friend the Home Secretary undertook to consider the amendment that was tabled by the right hon. Member for North-West Cambridgeshire (Sir B. Mawhinney), who is in his place, to determine how best to ensure that that limitation on expression did not occur. I am grateful for the right hon. Gentleman's co-operation. We have closely examined the amendments tabled in Committee that sought to provide that protection. We have also closely examined the amendments that were moved in another place. After careful consideration and the involvement of the right hon. Gentleman, we have concluded that the amendments would not be effective in addressing the concerns that have been expressed—legitimate as those concerns are.
The difficulty is that creating an exclusion from prosecution, or creating a specific defence where, for example, a person cited a religious text, would create a loophole that could and would be exploited by those who deliberately seek to incite hatred. Those are the very people whom we need to catch by this legislation.
Groups have lifted quotes from the Bible out of context and used them as headlines on their literature in order to incite religious hatred. We therefore propose to reinstate an amended clause on incitement to religious hatred—a guidance provision that will provide reassurance on this specific point.
Mr. Hogg: Will the hon. Lady give way?
Beverley Hughes: I will finish my point.
The amended clause will provide guidance from the Attorney-General on the legitimate expression of religious belief that is not likely to amount to an offence of inciting religious hatred.
Sir Brian Mawhinney: I am grateful to the Minister for giving way. If I catch your eye later, Mr. Speaker, I shall make some comments in response to what she has said.
The amendment says that the Attorney-General "may" produce guidance. I would like to see that guidance before any commitment is made, but why does the amendment state that he "may" produce guidance, and not that he will produce guidance? Alternatively, when the Bill goes to another place, will the Minister change the wording so that the Attorney-General will produce guidance?
Beverley Hughes: For reasons to do with legal advice that we received, the word "may" was included in the amendment, but we have made it clear, and the Attorney-General has made it clear on the record, that that guidance will be produced, so there is no difficulty in changing the word "may" to "will". I am happy to tell the right hon. Gentleman that we shall do that when the Bill goes to another place.
Mr. Hogg: That brings us to the nub of the matter, which I have already put to the hon. Lady. The amendment requires the Attorney-General to
"issue guidance as to conduct in respect of which he will not institute proceedings".
In other words, his guidance will define conduct that may result in proceedings, as well as conduct that will not result in proceedings. That is a form of legislation, to be introduced by guidance from the Attorney-General—I am not criticising him—who is not a Member of Parliament. The guidance is not subject to amendment or even debate; that is not a proper way to operate in criminal law.
Beverley Hughes: In tabling the amendment, the Attorney-General and the Government were responding to the legitimate concerns of Members that the provision should not limit legitimate expression or discussion of religious beliefs. We agree with that. I do not accept the right hon. and learned Gentleman's interpretation of the guidance. As he has outlined, the guidance will exclude legitimate expression and make it clear that such behaviour will not be regarded as criminal; it will not be regarded as inciting hatred or public order.
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"Time's Up!": Healthy Love - What in the World is That?
Healthy Love - What in the World is That?
Hope you had a good Valentines Day! And since Valentine's Day is upon us, I thought it would be a great discussion about what happens in Pathological Love Relationships--- that attraction is on over-drive while love (from a pathological) is lingo-bling.
The opposite of healthy love is what we often call 'toxic' love. Sometimes understanding what toxic 'looks like' helps us to see what real 'love' should look like too.
Here is a short list of the characteristics of Love vs. Toxic Love (compiled with the help of the work of Melody Beattie & Terence Gorski).
2. Love - Room to grow, expand; desire for other to grow. Toxic love - Security, comfort in sameness; intensity of need seen as proof of love (may really be fear, insecurity, loneliness).
10. Love - Loving detachment (healthy concern about partner, while letting go.) Toxic love - Fusion (being obsessed with each other's problems and feelings).
Love is not supposed to be painful. There is pain involved in any relationship but if it is painful most of the time then you are probably in a Pathological Love Relationship because the end result of these relationships is 'Inevitable Harm.' Let's be clear that there is nothing wrong with wanting a relationship - it is natural and healthy. If we can start seeing relationships not as the goal but as opportunities for growth then we can start having more functional relationships. A relationship that ends is not a failure or a punishment - it is a lesson. And these lessons are mostly about pathology, its permanence, and the lives it affects without discrimination.
Good Morning Sandra! This post is so helpful...almost like a recipe for a good home cooked meal... if you have all of the ingredients. 'Hope I have what it takes when and if the time ever comes around!


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Leah Remini Talks the Conclusion of A&E's 'Scientology and the Aftermath'
Hannah Klein August 15th, 2019 - 5:38 PM
Leah Remini, an actress and activist, sat down with The Hollywood Reporter to discuss Scientology and the Aftermath. Remini has been a forthright critic of Scientology since 2013, when she made her own exit from the organization. After three seasons, she has made the decision to end Scientology and the Aftermath, an Emmy-winning docuseries on A&E.
The final episode of Scientology and the Aftermath was filmed in front of a live studio audience composed of former members of Scientology. The two hour special will feature testimonies regarding Scientology policies that have prevented members from reporting cases of sexual assault and abuse to authorities. According to The Hollywood Reporter, the series finale will feature accusations of rape against Danny Masterson, an actor and Scientologist who has yet to be charged with any crime. The episode is scheduled to air on Monday, Aug. 26.
Throughout the show's three seasons, Mike Rinder, a Scientology defector, has joined Remini in confronting the onslaught of allegations made against Scientology and its members.
During her interview with The Hollywood Reporter, Remini spoke on her decision to end the series. "We're exposing so much," she started, "but we need to do some other things to bring the fight to a different level. We did not plan on more than a season or two. I always thought it would be six or eight episodes and that would be enough for the FBI, local police and the IRS to start doing something about it — or at the very least revoke their tax exemptions. People kept telling us more stories, and we had to tell them, but there's only so much you can do in this forum and in this way."
The actress continued to speak on the show's impact on Scientology. "Oh, they're definitely challenged, as evidenced by their hate websites and picketing A&E and Disney," she said. "The things they're doing are right up their alley. They're feeling it. I mean, who wants to let go of $3 billion? But their time is up — in terms of what they've gotten away with for five decades."
Although Scientology and the Aftermath has inflicted damage on Scientology, the organization has, in turn, impacted the show.
"In television, you have advertisers. When you have employees of Scientology writing 444 letters by seven people, it's not like whoever advertises on our show is going to take the time to go, 'Hey, this is the same person and they work for the Office of Special Affairs at Scientology,'" explained Remini, speaking to Scientology's habit of allegedly meddling in the series. "That department has policies that say 'Destroy them utterly or at the very least cost them their job.' I'm quoting the policy. They did this with Richard Behar and Time magazine. They spent $25 million trying to destroy him and the magazine. They did the same with Going Clear. Advertisers are not sitting there going, 'Are these real religious people? Is this religious bigotry?' They don't want any of this bullshit nonsense. They don't want to be known as bigots. So their first instinct is to say, 'Look, we know this is a crazy organization, but we don't want any part of that.' They want advertisers to say that. It's all a charade. I mean, what person wants that in front of their office building?"
In regards to ending the series with an episode on accusations of sexual assault, Remini had this to say: "I don't know ultimately what they're going to air — which is part of the issue when you're not 100 percent in charge of your own show — but I can tell you what the intention was. I don't remember the number of people in the audience, but they were all ex-Sea Org members. When I asked, 'How many of you had a sexual crime committed against you in Scientology or SeaOrg or know of somebody who was molested or raped,' every single person raised their hand. That's just the 75 or so people who were in the audience. One girl stood up told me she knows of 11 people who committed suicide in the Sea Org. Most people are blessed enough to not know any in their life. To raise your hand and say, '11,' it shows you what kind of organization we're dealing with and how they obstruct justice. The work's not done — whether it's with A&E or another outlet, we're not going to stop working."
The finale's focus on sexual assault is accompanied by complications pertaining to Danny Masterson, as the actor has yet to be charged for any crime. With this being said, Remini took a moment to address how she hoped the episode would address the rape allegations. "We filmed with three [alleged] victims," she began. "The [alleged] victims were concerned and felt hurt and betrayed by [the delay in airing], and I understand that. They also feel hurt and betrayed by the [Los Angeles] District Attorney. I wanted to open up the whole thing. If it was any other organization but Scientology, the D.A. would at least be investigating. I've heard nothing."
The interviewer then shifted the conversation to Remini's past, asking her how the show has impacted her recovery process as a former member of Scientology.
"I don't know that it's helped my recovery," she said. "Most people, when they get out of an abusive relationship, hopefully start doing the work to heal. I just haven't been able to do that. It's opened up a can of worms for me. I didn't know, as a parishioner, that these things were going on. Obviously, I understood the policies of Scientology, because we all read the same things, but you don't truly understand what's going on. You see me, I'm shocked in these episodes. You're not allowed to talk to each other in a way that people can talk to each other in the free world — and I say that because it's like a prison. You're not allowed to tell someone you were molested or raped in Scientology. You'll get a report written on you internally. You get in trouble. There's not that free communication among parishioners."
Even though Remini said that communication was limited amongst members, she claims the church as a whole is aware of the alleged crimes within its circles. "The church certainly knows that there are rapes, molestations and physical abuse going on — which is why I keep saying I think the FBI would be successful if they conducted a raid, as they did in 1977," she said. "Every crime that Scientology has ever committed or hidden is contained in their folders. I don't know that I've begun the healing process. When Scientology's tax-exempt status is revoked and people are in prison, that's when I'll start healing. Until then, I'm still in the fight."
As Remini quickly explained, the focus of that fight is children and victims of Scientology. "We're going down another avenue that we feel will bring real justice to victims of Scientology but also prevent it from happening in the future — particularly with children," she said. "They need a voice that their Scientology parents aren't providing. I'm not dumb enough to give Scientology a heads up on what we're planning exactly."
The interview concluded with a question on what Remini has planned for the future. "More than telling another story," she started, "I want to focus on protecting its future victims. We've done our job. The public is seeing what a truly evil organization it is. It's not about religious beliefs. They can believe whatever the fuck they want. But they can't just do whatever the fuck they want — because that's what they've been doing."
Scientology and the Aftermath
Hannah Klein
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JoAnne Bott Anderson
Visual Arts: Glasswork, Mixed Media, Painting
I ventured into the art world during my earlier careers in business and education. It started with glass and the creation of commissioned pieces and many gifts, and expanded into watercolor, acrylic, and oil paintings as the years went on. But, it was with my venture into the world of bees that I truly found myself. Using their beeswax in the medium called Encaustic painting was mesmerizing. The lingering scent of honey as I touched the mixture with heat; the versatility as I blended, carved and collaged into it, captured me. I found I could begin a studio day with an idea and watch where it led me, either to an abstract or realistic endpoint, both showing my individual style. I've taught the medium at the York Town Craft Guild and in my studio called Art From the Beehive. Being part of the revitalization of this ancient art form as an artist and as an educator has made this third career the best!
Robert E. Buchanan
Visual Arts: Painting, Works on paper
I taught illustration for over 30 years at the Art Institute of York. I spend almost every day creating and thinking about art. Now with limited income, I try to produce ink drawings of faces and figures influenced by ancient times. I love watercolor and oil also. At 74, I work hard and usually have plenty of energy to produce. I love drawing and generate ideas through my many sketchbooks. My goal is to show fresh and unusual visions from every day images.I like to jolt the viewer and come up with drama and chiaroscuro in my work. I work with classical music and look to Hieronymus Bosch as my muse. Working in ink, I build form in a method similar to weaving. Robert E. Buchanan MFA Syracuse University Publications SPLASH, American Artist, Watercolor Artist, Pastel Journal North Light. Exhibits, Salmagundi, Society of Illustrators, Allentown Art Museum, University of the Arts, Marketview Arts
Rosa Luz Catterall
Visual Arts: Mixed Media, Painting; Facilitates art wellness groups.
Artist Statement I believe that we all experience the world in our own unique way. My paintings allow me to go on a journey and recapture experiences through different media. As I cross the bridge between thinking and feeling, I am able to enter a state of existence that revives the place, time, and all my five senses of that moment. I always go back to my reference pictures and sketches, but it is really what is in my heart that gets translated into each of my paintings. As an immigrant Latino woman whose experience has been about relocating from a small town to a big city and then to a smaller city, I find my themes reflect cultural diversity, movement and growth. I find nature grounds me and helps me move forward in my art. My desire is to connect on a human level with the community. I envision myself growing as a painter and inspiring others to be free and to celebrate their own creativity and identity. Rosa Luz Catterall
Ophelia Chambliss
Graphic Arts; Visual Arts: Graphic Arts, Illustration, Media and Visual Communications, Murals, Painting, Visual Arts Instructor; Mural and Public Art, Artist Residencies,
Ophelia M. Chambliss has been successfully working and exhibiting as a fine artist, and lecturer, for many years. In addition to a number of solo and group exhibitions, she has participated in several distinguished juried shows. She calls her signature painting style realistic cubism, and paints a variety of subject matters. Her mediums are primarily in Oil, and Acrylic with a color palette that is rich, and colorful. Ophelia feels that life, like her art, is a process. She holds a Bachelors Degree in Communication Arts and Sciences, and a Masters in Communications from Penn State University. She combines her visual communication with verbal and written communication to tell the story behind her work, in lectures and presentations that build an appreciation for cultural understanding. She also uses her creative and communication skills to work with school and community groups to create public and community art pieces that speak to their message and gives them an opportunity to participate and take ownership. Several of her pieces are dualistic in nature, meaning that there is more than one way to display and view the painting to see a different image or point of view. Most of her recent work has been in the realm of public art and murals. She is particularly fond of this because of the community contribution, client collaboration, visual language messaging, and the challenge of scale. Ophelia is originally from Chicago, IL but currently resides in York, Pennsylvania. Prior to her career in Fine Art, she was a business professional in the Publishing Industry, specializing in Graphic Design, and Business Development. Ophelia was recruited from Chicago to York, and held the position of Vice President of Publishing Services, and as an independent contractor, worked as the Business Development Director, for a Publishing Services company in Maryland. She continues to do freelance work in Graphic Design and print production.
Curtis Doll
Visual Arts: Glasswork, Mixed Media, Painting, Photography, Printmaking, Works on paper; Monumental Architectural/Liturgical Stained Glass Design
Curtis is a 1977 honor graduate of Fine Art from the York Academy of Arts majoring in painting. In 1997 enrolled at Bradley Academy for the Visual Arts to learn the computer as a design tool. Acquired an Associate Degree in Advanced Technology for Advanced Digital Design and was inducted into the ALPHA BETA KAPPA National Honor Society. Founded CurtisGraphics Design Services on 09/02/1999 – on 04/25/2008 incorporated to become CurtisGraphics Corporation. In 1979 began work at Linauts Stained Glass Studio in Reading Pennsylvania. I have since designed and produced many monumental Architectural Stained Glass projects across the US. From start to finish; meeting with the client, determining the course of the Architectural Glass Design, producing the scaled transparent Lumiére design – after approval, creating the full-size drawing, transferring onto pattern paper and cutting the patterns, selecting the color and texture of the glass, cutting the glass – acid etching – painting – staining the glass if necessary, and overseeing the project to its conclusion. In 1987 was published in Stained Glass Quarterly for six monumental stained glass windows I designed for Tifereth Israel using the Six Orders of the Mishna as the theme which can be viewed at http://www.curtisgraphics.com/asg/ The seventh window in the Historical Alcove in Tifereth Israel was used as the cover art on "This House We Build" – (Lessons for Healthy Synagogues and People Who Dwell There) – http://www.curtisgraphics.com/j_historical.html A beautiful hardcover booklet describing and illustrating the 17 windows residing in the Simpsonville United Methodist Church – (Simpsonville South Carolina) by Linda Pendergrass was published in 2013 and can be viewed at http://www.curtisgraphics.com/smpsnvll/ A poem entitled "The Lark Ascending" was published in the 2002 International Library of Poetry Anthology titled "The Solace of Night", by Watermark Press, One Poetry Plaza, Owings Mills, MD – http://www.curtisgraphics.com/thelarkascending.html Created 553 designs for door, side-lite, and transom beveled glass – pdf Book of Designs for MIKA International in 1999 can be downloaded at http://www.curtisgraphicscorp.com/crystal_beveled_art_glass.html In the summer of 1999, I created my business website, curtisgraphics.com. Shortly after that, I founded CurtisGraphics Design Services on 09/02/1999 – on 04/25/2008 I incorporated to become CurtisGraphics Corporation. During the 1980s my parents told me I would need to one day learn how to use the computer. I asked them, why? I'm an artist. I use paint, canvas, paper, glass. Why on earth would I ever need to learn how to use the computer? In 1997 I enrolled at Bradley Academy for the Visual Arts to do just that. I was inducted into the ALPHA BETA KAPPA National Honor Society. I learned the quality of art produced with the computer is only as good as my traditional abilities with color, design and composition, and draftsmanship. Yes, it takes just as much dexterity to produce a work of art with a mouse as it takes with a pencil or paintbrush. In point of fact, it is more difficult to master the mouse as a drawing/painting instrument. And it takes a whole lot more technical knowledge to create with a computer. Through Facebook, I became acquainted with the online art community and have joined and have taken an active role in posting my artworks on cybercultures, groups, and online galleries. I have recently been accepted by Singulart, singulart.com, an international online gallery of some renown that sells art to a worldwide audience.
Rob Evans
Visual Arts: Mixed Media, Painting, Printmaking, Works on paper
Rob Evans is an artist and independent curator who lives and works near Wrightsville, PA. Evans' enigmatic paintings and drawings can be found in more than two dozen prominent public collections across the nation including the Metropolitan Museum of Art; National Gallery of Art; Corcoran Museum of Art; Library of Congress; San Francisco Art Museums; Baltimore Museum of Art; and the Portland (OR) Art Museum among others. His paintings have been featured in numerous books, newspapers and magazines and on public radio and television. His work has also been showcased in many blogs and online publications including a recent interview on the Huffington Post. Evans' work has been showcased in over 100 solo and curated group exhibitions at museums and galleries around the world at such places as the Tretyakov Museum, Moscow; Lalit Kala Akademi, New Delhi, India; Corcoran Museum of Art, Washington, D.C.; Delaware Center for the Contemporary Arts; Contemporary Art Center of Virginia; and the Arkansas Art Center to name just a few. Evans received a BFA from Syracuse University in 1981 and has been awarded numerous grants including two fellowships from the Pennsylvania Council on the Arts, and a prestigious fellowship from the Pollock-Krasner Foundation. As an independent curator Evans has organized and guest curated several major museum exhibitions including Transforming the Commonplace: Masters of Contemporary Realism at the Susquehanna Art Museum and the traveling exhibition, Visions of the Susquehanna featuring paintings of this extraordinary river spanning more than 250 years. In 2015 Evans was invited by Governor Tom Wolf and First Lady Frances Wolf to help curate an exhibit of prominent Pennsylvania artists throughout history at the State Museum in Harrisburg as part of the Governor's Inaugural Festivities. Evans has worked as a community arts activist for the last two decades. He has served on the boards of Yorkarts and the Historic Hellam Preserve (where he is also artist-in-residence), established and curates the Visions of the Susquehanna Art Colletion at the Zimmerman Center for Heritage, is Founding Artistic Director of the PA Arts Experience, and was instrumental in establishing Marketview Arts as a new downtown arts venue in York, PA.
Chelsea Foster
Graphic Arts; Visual Arts: Graphic Arts, Media and Visual Communications, Murals; Hand Lettering
Chelsea Foster is a graphic designer and hand lettering artist based out of Downtown York, PA. Outside of Chelsea's graphic design work, her craft spans additional mediums including murals, hand lettering, photography and visual arts. A couple of recent works include the public mural at Collusion Tapworks ("York" mural) and The Capital Theatre (donor wall and concessions letterings). Chelsea has also recently showcased photography and visual art at Parliament Arts Organization and Gallery @ 227. Chelsea creates customized hand lettering projects including wedding invitations, signage, holiday cards, and client requests. She also enjoys teaching hand lettering workshops up and down the East Coast from New York to Miami. Chelsea's primary work comes in the form of graphic and web design. Her specialty is in branding and marketing development but her work can be seen in children's workbooks, posters, mailers, postcards, textbooks and more. Local clients include The Capital Theatre, ABWE, The York Market District, Keystone Kidspace, By K Events, Trinity Photography, Historic Shady Lane, etc. When not at her downtown studio Chelsea enjoys spending time with her family, riding her motorcycle, traveling, baking and reading books.
Chris Gold
Chris Gold is a resident of York, PA who started painting later in life. Her creative journey began in 1999 when her daughter came home from school with a pot she made in her ceramics class. They began taking some private ceramics lessons and she discovered the joy of creating something functional from a lump of clay. After 15 years of being frustrated with the occasional unfixable failures coming from her kiln she felt she needed a different medium for her creative outlet. In addition, pottery did not allow for the degree of self expression she desired. As a child she grew up being fascinated watching her father paint with colorful, creamy oil paints, so she picked up a brush to try it for herself. Paint is now her chosen medium because it allows her the flexibility to change a work to suit her aesthetic through to completion. She also finds painting a better vehicle to express her appreciation of the God given feminine strength and beauty she finds in nature. Her art education is not a formal one, but rather gained by taking workshops and classes from local professionals. She paints in a range of genres including acrylic or mixed media abstracts as well as traditional and surrealistic landscapes. Now a retired nurse practitioner in women's health, she has much more time to devote to the canvas and is showing her work in area galleries and online social media. She has been accepted into juried shows through the York Art Association and is showing work at the York Jewish Community Center, Ironic coffee bar and Parliament Art. She is a member of the York Art Association and a juried member of the Oil Painters of America.
Steven Heffner
Visual Arts: Illustration, Painting, Sculpture
Sterling Keesey
I'm a self taught painter and a musician/lead guitar in the local band, Fever and the Thrill. I have been painting for the last 4 years. During my journey as a musician, I realized I needed another outlet to express the other side of my creativity. In doing so, I have accomplished showing my work in local galleries around York including King's Courtyard, Parliament, Gallery 110 and Gallery 227. My techniques include traditional and Dutch wet on wet painting. My work is an extension of myself, expressing my moods, feelings and dreams.
My work celebrates the artist's hand in our sterile, flat screen-obsessed world. Jessica Lee is a graduate of York College of Pennsylvania where she received her BA in Fine Art with a minor in art history. She is a former member of the King's Courtyard Artist Collective and exhibited her work at their gallery at 124 East King Street, York until December of 2019. She has also been a featured artist at Small Star Art House, York Blue Moon and the York Art Association's Sally Little Danyo Members' Sales Gallery. Her abstract work has been exhibited at NASA Goddard in Greenbelt, MD, and at the Art Science Gallery in Austin, Texas. Lee focuses on textures, lines, shapes and what she refers to as "surface depth." A sentiment that has held much personal meaning for her is in the Niche quote, "There are no beautiful surfaces without a great and terrible depth." Using this as a metaphor for her own personal struggles and triumphs, Lee typically flattens the picture plane and creates instead a depth to her surfaces through translucent layers. Recently, Lee has been including vintage illustrations in her mixed media creations. "They remind me fondly of childhood – and passionate story times with my mom!" – Jessica Lee
Leah Limpert Walt
My artistic explorations through imagery almost always begin with reflections on both external and internal landscapes. They're honest evaluations of trauma, mental health, and philosophical ponderings on purpose, meaning and the mysticism tied to those facets. They are the results of a constant effort towards healing, understanding self, and placement of self in the physical world. The self portrait is a common reoccurrence in my work because of my open evaluation of personal experience. I study realism and landscape because of the rigor of nature, the skill and meditation needed to mimic it, and for the settings that envelope the moments in our lives. I practice surrealism because the psyche is a prism that these environments are filtered through. They're taken in, fanned out and revealed, then refocused and projected through the lens of ourselves. Our perspectives. I question "What does it look like after the experience of life?" and "What are the moments when the nature of things needs no more a spectrum than what is there?" The correspondence between silent admiration in the present and the thoughtful reflection on those moments stirs up the content of my work. Sometimes the thoughtful is rooted in the psyche, composed of symbols of the natural rather than the physical places as they are observed optically. Instead, the fragmented spectrum that's filtered through the fractured self. Naturally, those fractals consist of both the shadow and the light.
Jess McPherson
Multi Arts; Visual Arts: Crafts, Functional and/or Decorative, Jewelry, Media and Visual Communications, Mixed Media, Painting, Printmaking, Sculpture, Textiles, Visual Arts Instructor, Works on paper
"When we connect ourselves to our ancestors, we are reminded of our strength. My work is an exploration of personal and cultural identity, jumping hurdles backwards and forwards to reconnect ties and hold tight to fraying ends. I believe in art as our first language. I believe in its magic, its medicine. I trust it to help make sense of things I often can't put into words. I trust in the making of it and I hold that making sacred. Twining a corn husk basket on the western shore of the Susquehanna, centuries after colonization, I sit re-indigenizing our homelands. Gathering treasures washed ashore with my friend, we build altars to the mystery, to the world around us, to our shared experience, and we litter them with old German magic passed down and down. I teach an artist to make rope and the grass reaches up to join us, we receive its lessons. I grieve a broken heart, children I'll never have, and work to give strength to strangers, never knowing that these are the lessons held in my trust for the process, the choosing of thread, the rhythms and colors, until the work is complete and I understand its name and I let it go. I wrap thread endlessly for years sharing stories and making connections, part of this continuum. In every piece, I carry our ancestors forward. I tell our histories, celebrate our lives and dream our futures." Jess McPherson is an award-winning artist, cultural educator, and social impact strategist of Shawnee and Pennsylvania German descent.
Christine Mercer-Vernon
York, Pennsylvania based artist, Christine Mercer-Vernon's paintings explore humanity's deep connection to the natural world. Her work combines storytelling with minimalism and movement to present each hopeful narrative in a quiet and contemplative composition. A self-taught artist, her work has been shown in galleries throughout the east coast and she is a member of the American Women Artists non-profit organization.
Liette Monic
Performing Arts: Vocal; Visual Arts: Murals, Painting, Performance Art; Outside Energy Artist
As an outside artist/creative I've combined my psychic/empathic gifts to create a new type of channeled reading. Using wet on wet oils I create Energy Reading Portraits painting what I see & feel of your energy field (aura)-comes with a full interpretation. I've painted over 60 portraits from 2016-present. From these portraits I've created a Shamanic Oracle Deck of 44 signed oracle cards. This project is complete and working on the means to print/publish. I enjoy hanging my paintings crooked! LOL Painting can be challenging for me as I have no depth perception due to an incident in my 30s which forced me to perceive sight in a different way. I use my creativity in many ways from painting, drawing & singing beginning at gradeschool age, psychic/clairvoyant, playing percussions, running sound, party entertainer, making home remedies, in the 80s I programmed first McCrory's buyers inventory end user application that connected sales from all stores to inventory giving buyers immediate insight to ordering & creating reports. I received a bonus trip to Israel, Egypt, Greece, & Turkey. This all led me to my current passions of channeled tarot readings, healings, & oil paintings. My visions influence my other paintings. I've always followed my heart and my first passion was and still is singing. However, along life's road as I discovered other passions which I engaged with they always kept my life interesting and learning new things. "Love Is The Key To Life!"
Sarah Noble
Visual Arts: Mixed Media, Painting, Textiles, Visual Arts Instructor, Works on paper
——–Bio———- Sarah Noble is a visual artist, researcher and educator who primarily works in oil paint and fiber. A central exploration in her work is a use of color as haze that tips the viewer experience of her subject toward that of a shifting visual play between vaporous color and form. Her current subject of interest are nesting Waterbirds and their young through representing them and their habits in her work as allegorical harbingers from our natural world. Fiber felted edge frames and weavings are made for some paintings in a study of an abstract dispersal of the painted color into tactile object. Sarah studied painting at Chautauqua School of Art, The New York Studio School, The School of the Art Institute of Chicago, The International School of Art, Anderson University, and completed her MFA at Western Carolina University in 2006. Among the galleries she has shown her work are, Denise Bibro Gallery and The Bowery Gallery in NYC, as well as Gross McCleaf Gallery and Bridgette Mayer Gallery in Philadelphia. She previously taught classes at Pennsylvania College of Art, Logos Academy and currently lives and works with her husband and daughter in York, Pennsylvania. ———Website————— http://sarah-noble.squarespace.com/ ———Research————— In 2015, Sarah discovered the life's work of previously unknown York, PA Outsider Artist, Ralph Henry Eck, Jr. She has conducted extensive research and documentation of Eck's life and work over 5 years. She continues to work to preserve the legacy of his life and work through writing, exhibition planning, and aiding plans toward future museum placement at The Kohler Art Preserve. ———Publications———— (essay) https://issuu.com/mucollegeofahss/docs/ralph_henry_eck__jr._catalog (lino prints) http://www.jlconrad.com/species ————Press—————— https://lancasteronline.com/features/the-joy-of-painting-mu-s-eckert-art-gallery-hosts/article_c1b1402a-5bb3-11e9-9ada-eb1be42b3690.html
Carol Oldenburg
Visual Arts: Mixed Media, Murals, Painting, Visual Arts Instructor, Works on paper
Carol Oldenburg is a mid-career artist living and working in York, PA. Having made up her mind in first grade to become an artist, Carol went on to doggedly pursue a career as a portrait artist and later as landscape painter. No matter the subject she finds the challenge of depicting it in a way that will intrigue the viewer a worthy passion. Carol received her BFA from Kutztown University in an age when conceptualism was touted and drawing the figure was the exception. Never one to run with the crowd, she embraced figure drawing and drawing in general as an avenue of learning. It wasn't until her 40's that painting moved to the forefront of her art expression. There is a great variety in subject matter in Carol's paintings and yet they are all distinctly recognized as hers. "A face, a landscape, a garden or a flower; it is all about light, shape and color. Beauty can be seen and depicted in a painting of anything." Carol has exhibited her paintings widely throughout the United States and has won numerous awards for both drawing and painting. Her work as been displayed in Togo, Africa as part of the Art in the Embassies Program. Being part of the program led to both a White House and State Department invitation to celebrate the 40th Anniversary. She works out of OMG STUDIOS in downtown York. Being downtown has allowed Carol and the OMG artists to engage the community through studio tours and classes held at the studio and in collaboration with local businesses.
Karen Paust
Visual Arts: Crafts, Jewelry, Painting, Textiles, Visual Arts Instructor, Works on paper
I have worked with my hands as long as I can remember. Sewing, crocheting, knitting, and using recycled materials have been petri dish of creating. Beadwork sprang from my interest in botany. I taught myself how to bead, realizing that beadwork reflected how plant cells connect. Beading allows me to combine sewing, knitting, painting, and sculpting techniques into a unique art form that interacts with light in an amazing way. I spend as much time as possible outside, wild mushroom hunting, and observing nature to integrate into my creativity. I love to teach beading, crocheting, knitting, spinning, dyeing, drawing, and painting.
Kelly Pedersen
Visual Arts: Illustration, Painting
Kelly Pedersen grew up in rural NY and then received her B.F.A. from Syracuse University. She moved to Maryland when she married and has then lived in Stewartstown, PA the past 16 years. She received her Master in Education from Loyola College and taught students with learning disabilities for 15 years. She has raised three children and many pets and is now pursuing her dream of illustrating and painting. Kelly has been inspired by her own horses, dogs and cats, and the impact they have had on her family's lives. In her illustrations, she hopes people feel a sense of delight and playfulness as her animals take on human qualities. It is her desire to inspire the special relationship that pets often have with their families. Drawing and writing helps her express the world around her in a unique perspective. In the past year she has taken classes by local artists and has opened an Art Studio at Marketview Arts Building in York, PA. She works on commission doing oil painting "children and pet portraits" and is getting her first children's book published in 2016. She is currently a member of the York Art Association and the Pennsylvania Arts Experience: partsexperience.com. She has shown her art work at the York Art Association. Kelly currently lives in Stewartstown on a small farm with her husband, horses, dogs, and cats. She also enjoys having her married children and one granddaughter living close by. Kelly can be contacted at home or in her art studio in Marketview Arts Building.
Andrius Polonikas
Graphic Arts; Media; Multi Arts; Visual Arts: Architectural Illustration, Ceramics, Crafts, Earthworks, Film, Glasswork, Graphic Arts, Illustration, Media and Visual Communications, Mixed Media, Murals, New Media/Technology, Painting, Photography, Printmaking, Sculpture, Visual Arts Instructor, Works on paper; Tattoo
Creative, self motivated, design-oriented, Fun Loving, and passionate for all things art! A Lithuanian Born Artist residing currently in York Pennsylvania. I moved to America in 1991 and ended up in York studying design, layout, motion graphics and video at Bradley Academy for Visual Arts graduating in 2005. From there my time has been spent working and creating art in or around the York area you may have seen some around at galleries such as Hive Art Space, The Parliament, Studio 117, CoWork 155, Ironic, Marketview Arts, and others. My art also may have caught your eye around the city, since I do large scale window and wall murals (trust me if you seen one you know my work) 😉
Catherine Prescott
Catherine Prescott grew up in Wisconsin. She twice exhibited in the Outwin Boochever Portrait Competition, National Portrait Gallery. In 2018 she was commissioned to paint Governor Tom Corbett's official portrait. In 2017 Principle Gallery invited nine artists to exhibit portraits of "The Charleston Nine" for their families. Catherine painted Reverend Pinckney. Prizes awarded include the Portrait Society of America, the State Museum of Pennsylvania, The Salmagundi Club and ten firsts in juried exhibits. Museum shows include the Butler Institute of American Art, an invitational, the Brauer Museum of Art, two-person, the Susquehanna Museum of Art, solo, and the Phillips Museum of Art, solo. Her work was published in Art Renewal Center 14th Annual International Salon, 2020, The Huffington Post, Image Journal, CIVA Seen, American Arts Quarterly, Art of The Portrait, and American Art Collector. She taught at Messiah College, 20 years, and Gordon College's Orvieto, Italy, program since 1998. Selected collections: Pennsylvania State Capitol, State Museum of Pennsylvania, Messiah College, Fulton Bank I like to paint people whose looks seem to reveal the history of an inner life. My work is to discern which of the exterior visual clues convince me that I'm looking at a whole person…that the inside and the outside belong to each other. Many of my models are friends I know whom I ask to pose for me. Often they have a story that stimulates my interest in them as well as a strong sense of interiority. I also paint commissioned portraits, which require getting to know the subjects as much as they have time for. I usually spend the first session just discussing what they want, but during that time I am watching carefully for the visual clues that will communicate their character and inner life. That is as important to me as an accurate and identifiable likeness. Then I take photographs, usually around 100, including several poses, and different light. Backgrounds or other supporting elements could be from other places or times, borrowed or invented.
Dillon Samuelson
I'm a painter and illustrator currently living and working in York city. I graduated from the Fine Art program at York College of Pennsylvania in 2014, and the following year was awarded the third annual Appell Arts Fellowship at Marketview Arts. Since then I've also completed residencies with the Vermont Studio Center in Vermont, Springboard for the Arts in Minnesota, and have shown work in exhibitions across the US. Storytelling is important to me, and is the backbone of my work, whether a piece is meant to accompany a specific narrative or stand on its own. I'm particularly interested in folklore and mythology, and use painting and drawing as a way to bring these tales to life.
Theresa Sever
Theresa Sever is an Outsider Artist living in Quarryville, PA.
Andi Simpson
Graphic Arts; Visual Arts: Ceramics, Crafts, Functional and/or Decorative, Graphic Arts, Mixed Media, Murals, Painting, Works on paper
Andi is located in downtown York, Pennsylvania. Andi studied fine art/art history and graduated with a BFA from Frostburg State University. Andi works with a variety of mediums, including acrylics, inks, and oils. She considers her art to be abstract. Her work exhibits an ethereal sense of warmth, light, and love but also elicits the sensitive chaos found in nature. Her paintings begin with a foundation comprised of multiple layers of color and a variety of textures. Building from that background she allows intuition to guide her. Defined shapes and forms present themselves organically as the piece progresses. She does not intend her work to espouse a specific message or extract a uniform reaction. Instead, she hopes to deliver a perpetually novel experience to each viewer, evoking unique visceral responses.


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text:
Q: Make a document look like it's been redacted by the CIA? I've produced notes collections for physics courses that I've taken that include problem set solutions.  Two Professors have said they are worried future students will use my notes to cheat (i.e. it's a lot of work to produce new problem sets).  I'm toying with the idea of making the default version for the notes of a couple of these classes a redacted version, with the full version available on request.
I've used a macro around the .tex contents that uses a boolean flag to expand to nothing when a redacted flag is true.  However, I thought there could be a more fun way of doing the same problem.
Is it feasible to make it look like large portions of text (and formulas, and perhaps images) have been gone over by the big black marker of an over-zealous CIA redaction officer, faced with the impossible task of obscuring how much they've spent financing terrorism and government coups around the world?
Here's an example with about 1/3 redaction:

If something could be done like this, with random content redacted in black up to some threshold, that would be a pretty fun way of obscuring the problem set solutions.

redpajama_set_name: RedPajamaStackExchange


The prescription for growing your bottom line: tend to the health of your energy brand to identify and address problem areas.
The basics of the brand audit is the same as the auditing of your financial records. While the financial audit assesses the accuracy of your balance sheet, the brand audit assesses the accuracy of how your brand is represented and how it is perceived by your target audience. Auditing your brand tells you how well your brand is representing your company, if you are over-utilizing a weakness or under-utilizing a strength.


CONTROLRadioUK Thoughts: If I had my way 'Robot Boy' would be here instead, as it's in my top 5 favourite EVER songs list and no words of compliment can do it justice, but 'Skin To Bone' is just as good. The first Linkin Park song I heard was 'In The End' and to this day I know all the lyrics and rock out like the BAMF I am. Since then their music, just like every other Artist/Band in existence, has evolved. There is an argument over whether that's for the worse or better, but I have continued listening to their music even if I don't like every song and 'Skin To Bone' is so good. It's got a lovely tribal beat that runs perfectly through the song with the other mixture of beats. The lyrics whilst short and sweet, go ever so very deep and it really is a fantastic song.
CONTROLRadioUK Thoughts: My peers at CONTROLRadioUK HQ wanted me to feature 'Human' because for some unknown reason, it's the only song by The Killers they like. I don't know if it's because it was vastly overplayed on release with many people mocking it, but I really don't like it and this was the first song by The Killers I ever heard, and 'Hot Fuss' was the first Rock album I ever bought. It was a fantastic album, not a song I didn't like and I eagerly anticipated The Killers follow up album which fell flat. Like Linkin Park before them, The Killers are a band where I don't like every song & album they come out with, but when I do like something I fall for it hard. I will still to this day sing 'Somebody Told Me' with all my might proudly because it is a fantastic song with a release date that makes me feel very old.
CONTROLRadioUK Thoughts: I love this video. It's just so well done with the editing and effects, I love it. It's not the best song by Maroon 5 (for me that will always be 'She Will Be Loved') but the musics good, the lyrics are good, and it's just a fantastic video.
CONTROLRadioUK Thoughts: Trying to pick a Kelly Clarkson song is not easy because she's amazing. My peers at CONTROLRadioUK HQ wanted me to go with 'Because Of You'. It's a fabulous song with a very powerful video, but I wanted something a bit more fun for a Thursday. 'Walk Away' is the fun I'm choosing today because again! She's got so many great songs, with great videos, anything from 'Miss Independent', 'Since You've Been Gone', 'Stronger (What Doesn't Kill You)' could've been picked. But 'Walk Away' was one of my favourite songs as a late teen.