There is a very intriguing investigation of the Awan family. There are about six of them — brothers, spouses, and attached others — who were retained by various Democrats as computer-systems managers at compensation levels dwarfing that of the average congressional staffer. The Awans fell under suspicion in late 2016 and were canned at the beginning of February, on suspicion of mishandling the sensitive information to which they'd had access: scanning members' e-mail, transferring files to remote servers under the Awans' control, stealing computer equipment and hard drives (some of which they attempted to destroy when they were found out), along with a sideline in procurement fraud.
The hard drives were hammered to destroy them of course, just as Hillary Clinton's were (according to the FBI). Hammered! Every blow declares a great fear of what might be found on them.
What else but proof of crimes committed by their owners and associates?
We should say that almost all of them were canned. Hina Alvi and her husband, Imran Awan, stayed on, even though they were no longer authorized to have access to the House computer system (i.e., to do the work they were hired to do). Alvi continued to be retained by Congressman Gregory Meeks, a New York Democrat, for another four weeks. During that time, we now know, she was tying up loose financial ends, packing her house up, and pulling three young daughters out of school — just before skedaddling to Pakistan.
What Imran Awan was arrested for (on Monday, July 24, 2017), and what he and his wife are openly suspected of, is a scam to cheat a federal credit union out of some $300,000. They made "several false statements about their qualifications for a credit line and their intended use of the money". McCarthy thinks that "the strongest part of [the] case … involves the schemers' transferring the loot to their native Pakistan". This however was not mentioned in the indictment.
Awan was kept on the payroll for about six more months by Wasserman Schultz, a Florida Democrat, former Democratic National Committee chairwoman, and Clinton insider. She finally fired him only after he was arrested at the airport right before a scheduled flight to Qatar, from whence he planned to join Alvi in Pakistan.
There are grounds to suspect blackmail, given (a) the staggering sums of money paid to the Awans over the years, (b) the sensitive congressional communications to which they had access, (c) the alleged involvement of Imran Awan and one of his brothers in a blackmail-extortion scheme against their stepmother, and (d) Wasserman Schultz's months of protecting Awan and potentially impeding the investigation. There are also, of course, questions about stolen information.
Why did the FBI and the Capitol Police allow Hina Alvi to leave the country on March 5 when there were grounds to arrest her at Dulles Airport? Why did they wait to charge her until last week — by which time she was safely in Pakistan, from which it will likely be impossible to extradite her for prosecution? What, moreover, about Awan's brothers and other apparent accomplices? What has become of them since they were fired by the House almost seven months ago?
Imran Awan's sudden arrest in late July meant the Justice Department would finally have to file formal charges in court. Thus, there was hope that we'd finally get some answers. Instead, the indictment raises still more questions.
What is clear, however, is that the office is low-keying the Awan prosecution.
The indictment itself is drawn very narrowly. All four charges flow from a financial-fraud conspiracy of short duration. Only Imran Awan and his wife are named as defendants. There is no reference to Awan-family perfidy in connection with the House communications system.
More bizarre still: There is not a word about Alvi's flight to Pakistan, nor Imran Awan's failed attempt to follow her there. This is not an oversight. The omission appears quite intentional.
It is common Justice Department practice, in pleading a conspiracy indictment, to allege that the scheme began "on or about" its starting date and continued "up to and including the date of the filing of this indictment". Strictly speaking, a conspiracy ends when the crime that is its objective has been completed. But there is no requirement that a specific end date be set forth in the indictment. Therefore, prosecutors go as long as they can — i.e., right up to the date the grand jury voted to indict — to give themselves the widest berth possible to argue that evidence damaging to the defense is relevant and admissible. But that is not what happened in the Awan indictment.
The Justice Department alleges that the conspiracy took place "from on or about December 12, 2016 through on or about February 27, 201″. February 27 was six days before Alvi fled and five months before Awan was arrested trying to leave the country. This makes no sense. Indeed, it does not even make sense in the context of the narrow scheme prosecutors have charged: Although the indictment says the conspiracy ended on February 27, it alleges a relevant $83,000 interbank transfer occurred on February 28 (see indictment, paragraphs 8 and 22). That is, prosecutors assert that a money transfer supposedly in furtherance of the conspiracy happened a day after the conspiracy was already over. That is surely just a mistake — anybody can screw up a date.
There is, by contrast, no apparent explanation for omitting from a fraudulent cash-transfer prosecution the fact that the conspirators undertook to transfer themselves to the foreign country where they'd sent the money. Why would prosecutors leave that out of their indictment? Why give Awan's defense a basis to claim that, since the indictment does not allege anything about flight to Pakistan, the court should bar any mention of it during the trial? In fact, quite apart from the manifest case-related reasons to plead instances of flight, a competent prosecutor would have included them in the indictment simply to underscore that Awan is a flight risk who should have onerous bail conditions or even be detained pretrial.
We must also ask, again: Why did the FBI allow Alvi to flee? Before she boarded her March 5 flight to Qatar (en route to Pakistan), agents briefly detained her. U.S. Customs and Border Protection agents had already searched her baggage and found $12,400 in cash. As I have pointed out, it is a felony to move more than $10,000 in U.S. currency out of the country unless one completes the required government report … There was no indication that she did so in the complaint affidavit submitted to the court when Awan was arrested last month.
By the time Alvi fled, the Awans had been under investigation by various federal agencies for at least three months.
The FBI was sufficiently attuned to the Awans' criminality that its agents went to the trouble of chasing Alvi to the airport.
If she didn't fill out the required form, she should have been arrested for the currency violation. Is it possible that, rather than arresting her, federal agents instructed her to complete the form on the spot? One would hope not, but even in such an unlikely event, Alvi would undoubtedly have made false statements about the provenance of the cash. That would also have been a felony, providing more grounds for her arrest.
Why let her go, especially when, as its agent told the court in the aforementioned affidavit, the FBI "does not believe that Alvi has any intention to return to the United States"?
More bizarre: Why not include Alvi's flight — as well as Awan's later attempt to go on the lam — in describing the money-transfer scheme charged in the indictment? Patently, these episodes are damning proof of fraudulent intent, which prosecutors must establish at trial if they are to convict Awan. Did prosecutors fail to mention the flight evidence in hope of diverting attention from the government's decision to let Alvi flee? Again, one would hope not, but if not, what could the explanation be?
To summarize, the indictment is an exercise in omission.
Nothing about Wasserman Schultz's energetic efforts to prevent investigators from examining Awan's laptop. A likely currency-transportation offense against Alvi goes uncharged. And, as for the offenses that are charged, prosecutors plead them in a manner that avoids any reference to what should be their best evidence.
Something strange? No. Something nasty and disgraceful, but not strange. Nasty and disgraceful is business as usual in the Democratic Party.
Yet more criminals in the Democratic Party and their employees are getting away free as air.
Five members of a Pakistani family under criminal investigation for allegedly misusing their positions as computer administrators for dozens of Democrats in the House of Representatives were paid at least $4 million from July 2009 to the present, The Daily Caller News Foundation's Investigative Group has learned.
Evidence suggests some of the dozens of House Democrats — many of whom serve on the intelligence, homeland security and foreign affairs committees — who employed the suspects were inexplicably paying people they rarely or never saw. See the interactive graphic at the end of this story for the names of the employing representatives.
Even before Capitol Police told chiefs of staff for the employing Democrats Feb. 2 that the Awans — including brothers Imran, Abid and Jamal, and two of their wives, Hina Alvi and Natalia Sova — were suspects in a criminal theft and cybersecurity probe, there were multiple signs that something was amiss.
For example, four of the 500 highest-paid House staffers are suspects, according to the DCNF's analysis of payroll records. There are more than 15,000 congressional staff employees with an average age of 31, according to Legistorm.
Top slots on Capitol Hill are subject to fierce competition, and for most employees, the hours are long and job security is nonexistent. The median salary for legislative assistants is $43,000 annually, according to InsideGov.com.
Imran Awan has collected $1.2 million in salary since 2010, and his brother Abid and wife Hina Alvi were each paid more than $1 million.
Imran first came to Capitol Hill in the early 2000s and Abid joined him in 2005. Imran's wife Hina Alvi was added to the payroll in 2007, while Abid's wife, Natalia Sova, appeared in 2011. Finally, in 2014 the youngest sibling, Jamal, joined the payroll in 2014 at the age of 20 with a salary of $160,000.
Since 2003, the family has collected $5 million overall, with Imran making $2 million and Abid making $1.5 million, according to Legistorm.com, which tracks congressional staff data. Of some 25,000 people who have worked in the House since 2010, only 100 have taken home more than Imran.
As "shared" employees, their salaries were cobbled together with part-time payments from multiple members, with a result that the Awans appeared at one time or another on an estimated 80 House Democrats' payrolls.
Among the House Democrats employing the Awans was Florida Rep. Debbie Wasserman Schultz, the former Democratic National Committee Chairman whose tenure there was marked by a disastrous email hack that she blamed on the Russians.
Some of the House Democrats terminated the suspects on their payrolls following the meeting with investigators, but it's uncertain how many have done so.
Court documents show that Imran was flush with enough cash to loan $30,000 to a friend. Yet Abid declared bankruptcy in 2012, discharging debts to others while keeping retaining ownership of two houses.
The "interactive graphic" follows which lists the Democrats who paid the Awans.
Since news of their criminal activity became public knowledge despite House Democrats trying to cover it up, the Awans have fled to Pakistan.
Politico reported the Awan crew is "accused of stealing equipment from members' offices without their knowledge and committing serious, potentially illegal, violations on the House IT network".
A House IT employee who requested anonymity said tech workers who have taken over some of those offices found that computers … sent all data to an offsite server in violation of House policies. Additionally, staffers' iPhones were all linked to a single non-government iTunes account.
Debbie Wasserman Schultz, the corrupt former chairperson on the DNC, wants her computer back. The police want to keep it while they investigate the crimes of the Awan family. She must fear that they will find something on it that could incriminate her.


The artistic contribution of Directors of Photography to the films that they shoot, in narrative mainstream cinema, have been historically ignored in favour of the director-centred auteur theory. In order to address this imbalance a new approach to attributing authorship in film needs to be implemented, which acknowledges co-authorship in collaborative film-making. By taking established auteur methodologies The author, himself a practicing Director of Photography, analyses the work of Gregg Toland, who has long been recognised for his technical contribution to Citizen Kane (Welles, 1941), but only by analysing his previous work can one actually realise the depth of his influence on the visualisation of Kane.
Gregg Wesley Toland, born in 1904, became one of the most respected Directors of Photography in Hollywood during the 1930s and 40s. He started his career as an assistant to cinematographer George Barnes, who would later shoot Rebecca (Hitchcock, 1940). By 1931 Toland had graduated to cinematographer at Goldwyn Studios. Throughout the 30s he developed his own style of shooting, on films including Les Miserables (Boleslawski, 1935), Mad Love (Freund, 1935), The Road to Glory, (Hawks, 1936), Dead End (Wyler, 1937), Wuthering Heights (Wyler, 1939), The Grapes of Wrath (Ford, 1940), and The Long Voyage Home (Ford, 1940). In 1941 he shot the film that many film critics and theorists consistently regard as the best American film ever made, Citizen Kane (Welles, 1941). The film has topped every Sight and Sound Critics' poll of Best Film since 1962.
Toland died in 1948, aged just forty-four. His influence on visual narrative has been almost completely over-looked. He is chiefly mentioned only in connection with the auteur directors of the 30s and 40s. His artistry is almost always credited to others, and his historical role seems to have been consigned to that of a technical innovator. This treatment of Toland at the hands of historians, critics and academics illustrates the wider misrepresentation of the great cinematographers of the past, and present. Often defined as technicians rather than artists, as artisans rather than authors. The wide-spread acceptance of classic auteur theory, which credits the director with sole authorship of a film, championed and developed by Truffaut (1954), Bazin (1957), Cameron (1962), Sarris (1962) and Wollen (1969), is largely responsible for the neglect of many innovative and creative careers. Perkins was one of the first to challenge the single-author idea, and discuss the idea of collaboration: 'Unless one has watched the planning and making of a picture, it is impossible to know precisely who contributed each idea or effect to the finished movie.' (Perkins, 1972: 68). Petrie argued for a 'radical rethink' of the auteur theory with the 'consideration of the cinema as a cooperative art...' (Petrie, 1973: 111). He particularly points to the significance of the contribution of the cinematographer. Koszarski also criticised the over-simplification of ideas of authorship and attributing artistry: 'It is simply preposterous that there is not a sentence on the art of Lee Garmes or Gregg Toland, not any proper critical evaluation.' (Koszarski, 1972, p.136) This is still true forty years later. Despite these various reservations the director as single-author has remained the bedrock of mainstream film theory.
This, in itself, demonstrates a complete lack of awareness of the cinematographer's contribution to the film. The aesthetic that the film adheres to is Toland's, developed over eleven years of shooting films. This is what I will establish, not only in order to give Toland the artistic credit that he deserves, but highlight by example how cinematographers have been historically ignored, and authorship often mistakenly attributed. Toland is far too often referred to as a "technician" who enabled Welles to realise his own vision, whereas he should be recognised as a co-author of the film.
takes of continuous action. All of these techniques are evident in Toland's earlier work.
Kane is often cited for its use of staging in depth, low camera angles, ceilinged sets, and long takes of continuous action. All of these techniques are evident in Toland's earlier work.
Bazin gives a detailed analysis of the shot (fig. 5) conveying Susan's (Dorothy Comingore) attempted suicide (1972: 77-80).
The frame tells a story, by the significance of the foreground glass and medicine bottle, Susan on the bed in the mid-ground, and Kane trying to enter the room in the background.
We can actually trace the genesis of this shot from Mad Love where the placement of the bottle in the foreground emphasises the fact that Gogol's Housekeeper, Françoise (May Beatty) is drunk (fig. 6).
Also the glass in the foreground in The Long Voyage Home is a prelude to Olson (John Wayne) being drugged (fig. 7).
Although in both these cases the foreground object is out of focus, the compositional, and storytelling ideas are the same. Three different directors, the same cinematographer. It is easy to assume that Toland initiated this classic shot.
The use of low camera positions can create dynamic compositions. Again Kane is noted for its use of low angle shots, especially the use of raised floors to get the camera at floor level. We can also see many examples of the floor level camera in Toland's pre-Kane work, for example, Les Misérables (fig. 8), Wuthering Heights (fig. 9), and an example from Citizen Kane (fig. 10). Toland often uses a low angle, looking up at the characters, to give them more importance and power at particular moments in the narrative, for example when Valjean (Fredric March) looks at the candlestick that the Bishop gave him in Les Misérables, it reminds him of his moral obligations (fig. 8).


text:
Q: Symfony 4 get authentification with cas and roles via database I am having trouble finding any help, examples or tutorials that layout how to use CAS for Authorization but load the roles from a local database in Symfony 4.
I managed to authenticate via CAS using the bundle: prayno. I manage to succesfully get roles from a database via an entity and repository. But the fact is that I did not manage to make the link between the twos.
Here is my security.yaml:
security:
# https://symfony.com/doc/current/security.html#where-do-users-come-from-   user-providers
providers:
    cas:
      id: prayno.cas_user_provider
firewalls:
    dev:
        pattern: ^/(_(profiler|wdt)|css|images|js)/
        security: false
    main:
        anonymous: ~
        logout: ~
        guard:
            authenticators:
                - prayno.cas_authenticator

The function under the prayno bundle to get authentification and the roles:
public function loadUserByUsername($username)
{
    if ($username) {
        $password = '...';
        $salt = "";

        $roles = ['ROLE_USER'];

        return new CasUser($username, $password, $salt, $roles);
    }

    throw new UsernameNotFoundException(
        sprintf('Username "%s" does not exist.', $username)
    );
}

From there, I tried to get my roles from the database using the controller I created for this occasion:
<?php

namespace App\Controller;

use App\Entity\FscDroitsBundle;
use Symfony\Bundle\FrameworkBundle\Controller\AbstractController;
use Symfony\Component\Routing\Annotation\Route;

class RightsController extends AbstractController
{
/**
 * @Route("/rights", name="rights")
 */

public function attribute_rights($netid)
{
   $entities = $this->em->getDoctrine()->getRepository(FscDroitsBundle::class)->findRights($netid);
   $rights_array = array('ROLE_USER');
   foreach ($entities as $data) {
       array_push($rights_array, $data->getBundle());
   }
   return $rights_array;
}

But, until now, I did not find any way to use this controller in the bundle, something like:
$rights = new RightsController();
$roles = $rights->attribute_rights($username);

instead of:
    $roles = ['ROLE_USER'];
in my loadbyUsername function.
The problem seems to come from this line:
$entities = $this->getDoctrine()->getRepository(FscDroitsBundle::class)->findRights($netid);

The error is: Call to a member function has() on null
How is it that the controller can not access the repository in the bundle meanwhile it access it without any problem on a view ?

redpajama_set_name: RedPajamaStackExchange


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Check out the interview with 2anormal exclusively on Skilly Magazine Online.
2anormal: My career began in 2002. I started out as a member of a group. I recorded songs but never released any albums until my solo debut Get Money, Make Moves in 2008-2009. I have pretty much released 1 album per year ever since.
The two things that work best for me are live shows and internet radio. The only tip I would give is to choose quality of listeners over quantity. Don't promote based on the sheer amount of people present, promote in the places where people are likely to be the most interested and engaged.
I would like to become a well-known independent artist with a solid fan base that loves my music for how relatable and authentic it is.
The hardest thing for me is balancing music, family with 2 small children, and my 9 to 5. I never sold any drugs or had some rich investors to finance my career; sometimes it's a struggle. Timewise and financially, it's expensive to be a real artist that truly invests in themselves.
Kansas City is the home of a lot of things. The best BBQ in the world and Gates being my favorite. The music scene is dominated by Mob Music. There are many talented artists. I like it here for the most part. It's a big enough city that there is always something to do, but not so big to the point of traffic jams.
Read. Especially if you are not being backed by somebody with deep pockets. You cannot afford to lack resources and knowledge. We live in a time where information is more accessible than it has ever been. Read and research any and everything relevant to your career.
The best thing in my career is fan interaction. When people from all over the world take the time out to send a random inbox, message, or comment about how they heard my music somewhere and how much they enjoy it. I don't think there is anything better than that validation.
My inspiration is life itself. My approach to writing is the same as old school r&b. For the most part, r&b lyrics are inspired by love, pain, and life experience. I like to take my experiences and turn them into stories and anthems that people can feel and relate to.
Yes. I think it is very possible with the right plan and knowledge. I think the days of people just hearing your song and signing you because they like it are gone. If you put in the work, I think you can be successful.


text:
London, London Gatwick Airport (LGW)
Airport map and general info
Getting around London
London Gatwick Airport is located 45km (28 miles) south of London.
West Sussex RH6 0NP
Dialling Code: +44
Telephone: +44-344/892 03 22
London Gatwick Airport is clearly signposted from the London motorway network, including the M25 (junction 7), which is a short distance away. London Gatwick Airport is directly accessible from the M23 motorway (junction 9) and the A23 (London to Brighton road).
The railway station is adjacent to the South Terminal. The Gatwick Express (gatwickexpress.co.uk) runs regularly to London Victoria Station (journey time: 30 minutes).
The Thameslink service (thameslinkrailway.com) stops at London St Pancras International (journey time: 50 minutes) and other London stations, before heading north to Luton and Bedford.
Southern services (southernrailway.com) connect the airport with London Victoria (journey time: 32 minutes) and the south coast.
Information on all national rail travel is available through the 24-hour National Rail Enquiries line (nationalrail.co.uk).
There are more than 400 express coach services operating daily from the coach stations at both terminals. The main coach station is located on the ground floor of the South Terminal, with most services operating from here. Principal routes also stop at the North Terminal. There are desks providing coach information and tickets in the arrivals concourses of both terminals.
EasyBus (easybus.co.uk) runs services to Earl's Court. National Express (nationalexpress.com) operates services to London Heathrow Airport and central London from both terminals. The National Express Shuttle coach 25 connects to London Victoria Station. Oxford Bus (oxfordbus.co.uk) links the North and South Terminals to Oxford. The Gatwick Flyer (gatwickflyer.co.uk) runs to destinations east of London from the South Terminal station only.
Taxi booking desks (taxis.gatwickairport.com) are located in the North Terminal arrivals area and the northern entrance to the South Terminal; taxis wait outside the terminal buildings. Taxis can also be booked in advance via the airport website.
Each terminal has a short-term car park that's linked via covered walkways. Long-term parking is available in car parks further from the terminals; a free shuttle bus runs between these car parks and the terminals. Passengers can book parking in advance (gatwickairport.com/parking). Valet parking is also available.
City Guide London
Bureaux de change facilities and ATMs are available in the arrivals and departures areas of both terminals.
Public telephones are located throughout London Gatwick Airport. Internet access is available via a paid-for wireless service (free for the first 90 minutes) and at fixed stations in all terminals. Postboxes are located in the post-security departure areas of the South and North Terminals and at check-in in the North Terminal.
There are numerous restaurants, bars and cafés located in both terminals (both pre- and post-security).
There are many shops at London Gatwick Airport, including fashion boutiques, souvenir retailers and newsagents. Several duty-free outlets are available for passengers leaving the EU. The airport also offers home delivery and collection services for items purchased within the terminal.
Left-luggage facilities are available in both terminals. A lost property service is operated by the Excess Baggage Company. Luggage trolleys are available. A porter service is located in the baggage reclaim areas.
Other facilities at London Gatwick Airport include baby changing rooms, showers, a children's play area, prayer rooms, and a medical centre.
There are extensive business facilities and meeting rooms at the No.1 Lounge (no1traveller.com) in the North Terminal – the Regus Express Business Lounge in the South Terminal offers similar services.
Surrounding area London Gatwick Airport
Special assistance is available for disabled passengers. There are ramps and/or lifts where necessary, disabled toilets, induction loops and reserved seating. There is designated parking space for badge holders in the short-stay car parks linked to the terminal buildings. Wheelchair assistance and help with baggage is also available on request. Passengers requiring further assistance should inform the relevant airline before travelling.
Airportcode: LGW
Each arrivals concourse has an information desk where multi-lingual staff are on hand to deal with enquiries 24 hours a day.
There is a free 24-hour shuttle train, which links the North and South Terminals.
London has an excellent public transport system managed by Transport for London (tel: +44-343/222 12 34; tfl.gov.uk). The integrated ticketing system operates via a prepaid smart card (the Oyster Card) and covers the tube, overground trains and buses. Oyster cards are available to purchase at any Underground station and ca n be prepaid for pay-as-you-go travel, daily or weekly passes. Paper tickets still exist but fares are more expensive.
Black cabs (londonblackcabs.co.uk) are available to hire when their yellow sign is lit; just hold out your arm to hail one.
From grand historic hotels to budget boutique digs and hostels, London has a plethora of hotels from which to choose.
The best are booked early, particularly during the summer and at Christmas.
33 Roland Gardens
SW7 3PF London
Category: Luxurious
Four-poster beds, luxe velvet fabrics and gleaming antiques are the hallmarks of Anouska Hempel's design hotel.
Shangri-La Hotel The Shard
The Shard is one of the spectacular new structures on the Thames and located near London Bridge. The 202 hotel rooms of the Shangri-La occupy levels 34 to 52. It's hard to say which is more imposing, the opulent ambience or the breathtaking views. The exclusive Gông champagne lounge on level 52 also belongs to the hotel, but you don't have to be a guest to be welcome there.
The Sumner
54 Upper Berkeley Street
W1H 7QR London
Boutique hotel comforts within a stone's throw of Hyde Park and Oxford Street.
Qbic Hotel
London E1 1EE
This design hotel in London's East End places the emphasis on sustainability and a sophisticated decor and color concept. The key features of its spacious rooms are handcrafted mattresses, rain showers and other smart accessories that make your stay a truly enjoyable one. An added bonus is the hotel's central location in the new nightlife district Shoreditch.
Twenty Nevern Square
Nevern Square 20
London SW5 9PD
Category: Budget
This boutique hotel in a restored town house on green Nevern Square in Kensington is ideal for guests looking for a quieter experience. The Tube and Earl's Court exhibition center are just a few minutes' walk away. The hotel also has a technically up-to-the-minute conference room for up to 25.

redpajama_set_name: RedPajamaCommonCrawl


Dr. Christine Vian is the wife of Dr. Leif Löberg. She earned her DDS degree from New York University, College of Dentistry in 2001, and her B.S. and B.A. degrees from the University of California, Irvine in 1996. Her meticulous eye for detail sets her apart from her colleagues. She uses the latest dental technology to provide her patients with a healthier, more beautiful smile. Her ultimate goal is to make her patient's experience in the dental office as comfortable as possible.
When not practicing dentistry, Dr. Vian is busy being a mom to their 4 children – Liam, Aydenne, Emerson, and Everly. She loves to exercise, read, and bake when she has free time … which is not often with a family of 4 active kids!


Harvia all-glass sauna doors have been specifically designed for sauna use. The glass used in the doors is tempered 8 mm safety glass. Seals keep the heat in the sauna room and make sure that the door closes smoothly. Choose from warm bronze, fresh green, modern clear or stylish satin glass.
Glass doors increase brightness and impression of space. They are also safer and make it easier for you to keep an eye on children from inside the sauna. Glass doors are also maintenance-free decade after decade. The doors shown in the photos are available for Variant and special saunas.
There are also two decoration patterns available for the surface of satin and green glass doors: bulrush and female figure. The door frame material matches the sauna wall panels, the door handle is hardwood, and the hinges are chrome-plated and adjustable.
Soft light filters through the glass and touches the surface of the wood.
One or more windows can be added to Variant saunas. All Harvia windows are made of 8 mm tempered safety glass. Choose from warm bronze, fresh green, modern clear or stylish satin glass. Like all Harvia sauna structures, the windows also meet the strictest safety standards.
Harvia also offers a novel alternative to glass blocks: windows with a satin or green finish with a glass block pattern. The windows are easy to mount and fit beautifully with satin or green sauna doors. The frames are alder or aspen.


A new musical by Jahn Sood. Ernesto "Che" Guevara from the perspective of four women in his life who each saw him as a different man, with a different name, and his quest to reinvent himself and find his own independence. Now in development at MTF as part of the Lerner & Lowe writer's group.
Words by Jahn Sood, Music by Pat Irwin. As the nefarious gangster bleeds to death, his dying words lead us on an ethereal journey through his subconscious. "The boy has never wept or dashed a thousand kim. Mama, mama what have you done with him." Adapted from the screenplay by William S. Burroughs.


Whether you prefer it neat, as a shot with lime or mixed into a margarita, tequila is one of Mexico's most delicious exports, derived from the native agave plant. Now you can embrace the more subtle complexities of this storied beverage as you sample more than 20 varieties at Wasted Grain in Old Town Scottsdale. VIP admission gets you in an hour early, where you can experience exclusive tastings and enjoy one-on-one time with distillers.
The tickets identified in this promotion are made available through Goldstar. Groupon is not affiliated with or sponsored by Wasted Grain in connection with this deal.
You must be age 21 or older to attend. VIP includes an extra hour of tastings from 2:00pm-3:00pm with unique tastings only available during VIP hour, plus one-on-one time with distillers. This event will happen rain or shine. Festivals tend to draw large crowds, so please be prepared for lines. All food and drink options are not guaranteed for the entire duration of the event, as availability can vary based on time and event attendance. Sample sizes vary and are intended to be a taste, not a full serving.


The guillotine evokes images of horrifying and bloody public executions during the French Revolution in the eighteenth century. Many historians consider this device the first execution method that lessened the victim's pain and the first step in raising public awareness of the morality of the death penalty. It is difficult, however, to think of the guillotine as humane when descriptions of blood flowing in the streets of Paris paint such a gruesome picture.
The guillotine was used for a single purpose, decapitation. The device releases a blade that falls about 89 in (226 cm). With the combined weight of the blade and the mouton (a metal weight), the guillotine can cut through the neck in 0.005 seconds. Expert craftsmen, such as carpenters, metal workers, and blacksmiths, made parts of the guillotine separately and then others assembled the parts at the site of the execution. The guillotine was never mass-produced.
Although history links the guillotine to the French Revolution, an earlier version of a similar instrument was used as early as 1307 in Ireland. In Italy and Southern France, another guillotine-like device called the mannaia was used in the sixteenth century, but only to execute nobility.
Dr. Joseph Ignace Guillotin was a physician and a deputy of the National Assembly of France, an early stage of the Revolutionary government. He recognized and promoted the guillotine's use in 1789. Dr. Guillotin believed this swift method of execution would reform capital punishment in keeping with human rights. Other Assembly members rejected his championing of the guillotine with laughter.
In 1792, a public executioner named Charles-Henri Sanson recommended reconsideration of the guillotine and Dr. Antoine Louis (the secretary of the Academy of Surgeons) supported him. In April 1792, Tobias Schmidt (a German piano maker) built the first working model in less than a week. On April 17, 1792, the executioner tested the prototype by decapitating sheep, calves, and corpses from the local poorhouse. On April 25, Nicolas Pelletier (a thief who viciously assaulted his victims) entered the history books as the first criminal beheaded by the guillotine.
In its earliest days, the guillotine was called the "louison" or "louisette" after Dr. Louis who had pressed it into service. Later, the name changed to commemorate Dr. Guillotin, who—although he had never constructed a single instrument—came to resent this association. Most commonly, it was simply called "the machine."
The most famous victims of the guillotine were King Louis XVI and his queen, Marie-Antoinette. The King was convicted by the Revolutionary government in 1793 for treason. He was decapitated on January 21, 1793. His wife, Marie-Antoinette, was imprisoned for nine months after the King's death until she was also executed by the machine's blade. Charles-Henri Sanson executed the King and his son, Henri, dispatched the Queen.
Estimates of the number of lives taken by the guillotine during the French Revolution range from 17,000 to 40,000 citizens. It is thought that three-quarters of the executed were innocent. In its "glory" days, the guillotine took 3,000 lives in one month. Paris was responsible for only 16% of executions; in cities with many counter revolutionaries, like Lyons, many more faced the blade. The locations of public executions were moved frequently. After beheadings, blood continued to pump out of the bodies, overtopping the gutters, and running down the streets. In France, the guillotine remained the official execution device until the last use of the "national razor" in 1977. French President François Mitterand abolished the death penalty in 1981.
The platform, posts, déclic for the rope, crossbar, the bascule (bench supporting the body), and the lunette (the device holding the head) were made of hard wood. The mouton was the metal weight to which the blade was attached. The extra weight ensured a swift, clean cut. The blade itself was made of steel, and the heavy-duty rope was cotton. Leather straps restrained the victim's body around the arms and to the bench around the back and legs. A leather bag or basket was also used to catch the falling head.
Very few design changes occurred during the history of the guillotine. The primary modification was the adaptation of the size and weight of the machine to a horse-drawn cart when portability was needed to increase the efficiency of the machine. These moveable guillotines were mounted on horse-drawn carts that were also made of wood with wooden wheels strapped with iron. Wood braces were attached to the wheels when the guillotine was used to keep it motionless.
Guillotines were hand crafted locally and were relatively simple to make because they were without ornamentation or refined finishes. The craftsmen were very experienced with wood construction and the honing (shaping and sharpening) of the steel for the blade.
Louis-Auguste (Duke of Berry) was born August 23, 1754. He was the third son of Louis the dauphin, heir to the throne of Louis XV. After the death of his brothers and father, in 1765 Louis became the sole heir. In 1770 he married Marie Antoinette, and in 1774 Louis XVI became king of France.
Louis restored the powers of the Parliament, but he was indecisive, easily influenced, and lacked the strength to support reformation against opposition whose positions were threatened by change. By 1788, France was on the verge of bankruptcy. Pressure mounted to invoke the Estates General to handle the fiscal crisis. In May 1789, the Estates General met at Versailles, opening the French Revolution. A Parisian crowd forced the court to move from Versailles to Paris, where it could be controlled more easily. In June 1791, Louis sought to escape from Paris to eastern France. However, at Varennes the royal party was recognized and forced to return to Paris, where Revolutionaries had lost all confidence in the monarchy.
In September 1791, the National Assembly adjourned and was succeeded by the Legislative Assembly, On April 20, 1792, France declared war on Austria, which was soon joined by Prussia. France was incensed by the manifesto of the Prussian commander, the Duke of Brunswick, threatening punishment on Paris if the royal family were harmed. On August 10, 1792, the crowd forced the Legislative Assembly to suspend Louis, who—with the royal family—became prisoner of the Commune of Paris. The National Convention, which succeeded the Legislative Assembly, abolished the monarchy and tried "Citizen Capet," as Louis was now called, for treason. He was found guilty, sentenced to death, and on January 21, 1793, guillotined.
Construction of the guillotine began with the platform or scaffold. A skilled carpenter cut the lumber for the major pieces including post supports, interconnecting beams, the floorboards, and the steps for the stairway underneath the platform. The stairs bottomed at one open end of the scaffold (on the front side of the guillotine) and opened in an entry or hatch near the other end of the platform at the back of the guillotine. The platform also had an open railing around three sides of the scaffold; the side without the railing was toward the front of the machine and the bottom of the stairs.
The supports and beams were all nailed together to form a base. The floor was either built as a separate unit with an underside of wood sheets, much like modern rough-grade plywood, and a top face of long, thin floorboards. The two layers reduced weathering and other damage. The unit could then be lifted in place and nailed to the edges and cross beams of the scaffold.
If the guillotine was constructed at the execution site, construction of the platform continued by adding the side rails. The stairway was built while the platform was being constructed by making a four-sided base with interior braces for strength. One side was the front face of the first stair, the back extended from the ground up to form the back of the top stair, and the two identical sides had bottom and back edges forming a 90° angle. Both sides were cut to hold the tops and backs of the set of stairs.
While the platform was being constructed, work began on the steel blade and mouton. The width between the posts and the maximum thickness of the blade were provided to the forger or blacksmith. This specialist made a mold for the blade. The cutting edge angled up from one side of the blade (in an oblique angle) to the opposite post. The angle allowed the blade to cut more quickly and cleanly; a blade with an even edge (parallel with the upper cross beam) would have encountered more friction as it tried to cut through the wider back of the neck. Molten steel was poured into the mold. The craftsman sharpened the cutting tip by repeated filing, hammering, and reheating. Worn blades were also resharpened this way. The steel blade generally weighed about 15 lb (7 kg).
The mouton was manufactured the same way. The craftsman would melt the metal down and pour it into a mold. After the mold cooled, it would be taken out. The mouton typically weighed 66 lb (30 kg).
Workers would then screw the blade to the mouton with three bolts, two in the bottom corners and one in the middle. The bolts would then be welded into place.
When the platform was complete or if other carpenters were available, construction of the machine frame began. A small-diameter tree for each post was cut to create a four-sided post, then a groove was cut out on the inside of each post and chiseled so the falling blade would drop smoothly. At the base of the machine, the posts were mounted in a wide crossbar. The blade and mouton were fitted in the post grooves, and a crossbar at the top that was exactly the width between the side posts was fitted in place. The upper crossbar also had a hole in the top for the rope and a groove along the top and side to guide the rope. Metal rings were fixed to the outside of the top crossbar and one or two points down the post to guide the rope. Wood braces were fitted to the outsides of the posts and extended down at angles to the base crossbar for added strength.
On the back side, where the victim and the executioner stood, another crossbar was mounted to hold the lunette, which consisted of two separate pieces of relatively thin wood with a hole big enough for the victim's neck. Half of the hole was in the bottom section of the lunette, and the matching half-moon was in the top portion. The upper half was hinged on the post so it could be raised for the prisoner's head. The machine as a separate piece was complete and could be hauled on a cart to the site.
The bascule was carved out of wood by a carpenter and transported to the site of the execution. The end of the bascule nearest the blade had leather straps to restrain the victim's arms, and straps crossing the bench kept the back and legs tied down.
The déclic was a wooden handle that opened the grooves in the posts. It was attached to the outside of one of the vertical posts so that the executioner could easily release the blade.
The rope was is made from natural fibers and twisted into yarn. The yarn is then woven and twisted rope. The rope is tied securely to the top of the mouton, through the hole in the upper crossbar, through the rings, and wrapped around the déclic. In the early days of the guillotine, the executioner cut the rope with a sword to drop the blade, but it became too time-consuming to readjust the rope so they changed the design to incorporate the déclic.
The executioner usually owned the guillotine and accessories. Executioners in major cities owned several guillotines and cycled them in and out of use for repair. Quality control of construction and maintenance were entirely the executioner's responsibility.
The executioner also maintained a fleet of eight to 10 tumbrels for transporting the victims from the prison to the guillotine. A coach maker constructed and repaired the tumbrels and carts for hauling the guillotine's pieces, but the executioner had to approve the work.
With this particular product, quality control was also required for the execution process. Five to eight assistants helped the executioner lead the victim to the machine, remove any clothing around the neck, and cut the victim's hair. They strapped the victim down, placed the victim's head across the lunette, and lowered the top of the lunette around the victim's neck in a series of smooth motions. The executioner released the déclic, the head and body were separated in a split second by the weight of the blade and mouton, and the head fell into a leather bag or lined basket. An assistant raised the head for the crowd's approval, and several other assistants took the head and body back down the stairs where they were thrown into carts for disposal. Heads of well-known victims had the added distinction of being impaled on poles.
The guillotine has been relegated to history and lore and is no longer used for executions. In isolated cases, craftsmen make guillotines for entertainment (films and television), but these are built with sophisticated safety systems and often as models. There are books and kits available to make models of the guillotine.
The guillotine has since been replaced by other so-called humane ways of executing criminals, such as lethal injection, hanging, gas chambers, a firing squad, and the electric chair. Thirty-eight of the United States apply the death penalty, but Texas leads the number of executed criminals with a total of 253 as of January of 2001.
Banfield, Susan. The Rights of Man, The Reign of Terror: The Story of the French Revolution. New York: J. B. Lippincott, 1989.
Guillon, Edmund Vincent. Build Your Own Guillotine: Make A Model That Actually Works. New York: Putnam, 1982.
Schama, Simon. Citizens: A Chronicle of the French Revolution. New York: Alfred A. Knopf, 1989.
Vallois, Thirza. Around and About Paris. Vol. 1. London: Iliad Books, 1999.
"Dr. Guillotin's Killing Machine." Maclean's 102, no. 20 (May 1989): 34.
Lawday, David. "The Heirs of Madame Guillotine: The Descendants of France's Dynasty of Executioners Today Ponder the Paradoxes of the Revolution." U.S. News & World Report 107, no. 3 (17 July 1989): 46-49.
"The Guillotine." Mutimedia World History December 2001. < http://www.historywiz.com >.
The declic was only added in 1872, the mouton is made of wood on both models not cast, as described, the rope was never \\\"cut with a sword\\\" to drop the blade, the declic did not \\\"open the grooves\\\" but opened a claw-like mechanism at the top of the chapiteau, the rope always went over pulleys not through a hole, the lunette was never hinged but slid in grooves, the blade was never cast but cut from thin steel plate, the bascule did not have straps.
one can see straps, around the upper body, and on the legs.
This site is amazing thank you very much for helping me!
I think you have overestimated the speed of the device. Even assuming a relatively frictionless fall, which a blade set and falling in tracks with rollers cannot be, and the distance of that fall, applying gravitational forces, a starting speed of zero m/s, the decapitation time is about 1/30th of a second not 1/200th (5/1000-ths).


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Ever since I have installed the Garmin GTN-650, I have had some random noise interference with the AeroLED NAV lights breaking the squelch. Dean from AeroLED was nice enough to send me some ferrite chokes to try to fix the issue.
I was able to isolate the noise to be coming from the NAV lights and not the strobe lights. Installing the chokes made a slight improvement, but adding a 22uF capacitor between the nav power and the ground gave me better results.
With the capacitor in the mix, the squelch was no longer breaking when transmissions weren't occurring. However, when someone was transmitting (KDMW AWOS - 121.25), I could hear some slight noise. I will test fly it this week to see if it is noticeable in flight.


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Understanding the Minimum Necessary Standard (2002)
Understanding the Minimum Necessary Standard (2003 update)
Author: Hjort, Beth M.; Hughes, Gwen
This practice brief has been retired. It is made available for historical purposes only.
Understanding the Privacy Rule's Amendments
By now you know that amendments to the final privacy rule were published in the August 14, 2002, Federal Register. The amendments are intended to correct problems identified in the original privacy rule published on December 28, 2000.
This article presents a summary of some of....
United under HIPAA: a Comparison of Arrangements and Agreements (HIPAA on the Job)
The HIPAA transactions, security, and privacy regulations identify five agreements and relationships that can be established between healthcare entities to achieve economies of scale and lessen HIPAA's administrative burden. They are: affiliated covered entity (ACE)
business associa....
Update on Business Partner/Associate Agreements (HIPAA on the Job)
If you're wondering how to interpret the proposed privacy and security rules related to HIPAA, you're not alone. The requirements of these rules—and the similarities and differences between them—are surrounded by confusion and controversy.
Having recently attended AHIMA's....
Using Aliases to Protect Privacy in Healthcare
Author: Barrett, Charlotte S; Beidler, Aurae; Davis, Nancy; Glondys, Barbara
Developing policies and standard procedures when working with patient aliases is one way to both respect patient privacy but also ensure the accuracy and integrity of patient data.
As defined in AHIMA's Pocket Glossary, an "alias" is "a name added to,....
Using Layered HIPAA Notices to Build Trust
Author: Abrams, Martin E.; Sotto, Lisa J.
Two years ago, the financial services industry learned a painful lesson about trust after mailing billions of legally compliant privacy notices to consumers. The fact that the notices were legally compliant didn't matter. The banks and insurers that mailed the notices were still assaulted by....
Value of HIM in Privacy and Security Compliance
Author: Amatayakul, Margret; Work, Mitch
Survey results illustrate HIM participation in compliance efforts and offer a look at common program components
HIM professionals have long been at the forefront of ensuring the privacy and confidentiality of health information. With the introduction of the HIPAA privacy and security rul....
Web-based Applications Offer Data Processing Solutions
Author: Salem, Didier
While adherence to most of the HIPAA privacy rule clauses requires establishment of policies, procedures, and training of appropriate personnel, some of the clauses require establishing permanent record-keeping processes. Accounting of disclosures, minimum necessary, complaints, sanctions, an....
Web-based Disclosure Tracking Provides HIPAA Compliance
Author: Gallagher, Patrick; Pavoni, Mary Mike
HIPAA laws have strengthened patients' rights concerning access to their private medical information while at the same time making them more aware of their rights. Consequently, more patients are going to be requesting an accounting of disclosures (AOD) in the future.
According to secti....


Probably the most attention-grabbing fields of photography is news images. Microstock photography websites are the newer sort websites on the block the place both amateur and professionals mix and photograph rights are sold for anywhere from $1 to $5. The concept is that lower license fees lead to extra sales and extra revenue for photographers.
Programs on finest colleges offer historical past of photography, art history, color concept, composition, technical aspects and all related topics are covered to easily educate and give out one of the best software process in which the art of pictures is concerned.
Now if you want to seize a while lapse in your digital video camera you will have to get into your cameras menu and discover Interval Recording (or in my case Int Rec, as I use a Sony PD 150 for my digicam) When you choose this selection you'll decide how lengthy of an interval between photographs you want and the way lengthy to file each time.
A good photographer could improve the subject's look with pure or artificial gentle, shoot the topic from an attention-grabbing angle, draw consideration to a particular side of the topic by blurring the background, or perhaps utilizing different lenses to produce desired ranges of element at numerous distances.
Most photographers attempt to seize lightning by using the "bulb" option of shutter velocity where the photographer merely just manually holds the shutter open as long as needed till a bolt of lightning streaks by way of the sky after which the photographer closes the shutter right after the lightning passes so it is as shiny as possible in the body.


by the Chamber of Commerce, will be open until June 24 2017.
Palazzo De Ferrari Galliera, Museo Biblioteca dell'Attore and Mura di Malapaga.
in collaboration with Electa publishing house.
An event to celebrate 250 years of the "Biblioteca Civica e Archivi Storici di Rovereto".
Thursday May 10, 6:00 PM.
During the exhibition a second series of six booklets "Ad Personam" will be presented (ed. Scoglio di Quarto by Miklos N. Varga) with poems by Miklos N. Varga and artworks by Mario Benedetti, Ludovico Calchi novati, Enrico Cattaneo, Marco Magrini, Sandro Martini, Carlo Nangeroni.
The catalogue "Lo splendore della veritá , la bellezza della caritá. Artists pay homage to Benedict XVI for the 60th anniversary of his ordination to the priesthood", will be presented on 18 February, which documents the exhibition on show in the Vatican from 5 July to 4 September 2011. The speakers will be Cardinal Gianfranco Ravasi, President of the Pontifical Council for Culture, Fr Giuseppe Costa, Director of the Vatican Publishing House, Antonio Paolucci, Director of the Vatican Museums.
Later, four well-known personalities, representatives of various artistic fields introduced by Dr. Micol Forti - Head of the Department of Contemporary Art of the Vatican Museums - will talk about the new season of dialogue that is developing between the Church and the Artists. Speakers include Arvo Pärt - Musician and composer, Santiago Calatrava - Architect, Jannis Kounellis - Sculptor, Vincenzo Cerami - Author and screenwriter.
A solemn Mass celebrated by His Eminence Cardinal Gianfranco Ravasi, will follow at 18, in the adjoining Basilica of St. Maria sopra Minerva, to remember the "Beato Angelico", patron of artists.
Carlo Nangeroni, who participated in the exhibition "Lo Splendore della Verità la Bellezza della Carità" with the painting "La Bellezza e il valore della Carità", and attended the art school "Beato Angelico" in Milan, will attend the event.


I just realized that some of you may never have seen my little ones so here they are in all their glory. Jereme is 5, Jordon is almost 3, and Brianna is 8 mos.
Those kids are terribly cute--I could just squeeze them!!
Hey! We live in Italy right now. My husband is in the army and we have about a year left here. I can't believe how close in age our kids are. Haylee is 5, Trent is 4, and the twins are 10 months. Your kids look a lot like you. I could definately tell they are yours. Where are you guys at now? Still in PA?


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Carroll leads Oklahoma State past Austin Peay
Oklahoma State 79, Austin Peay 63
Updated: 9:34 PM CST Nov 29, 2017
By John Tranchina, Associated Press
KOCO 5
SOURCE: KOCO 5
Jeffrey Carroll came off the bench to score 17 points, with five rebounds and three assists, as Oklahoma State held on for a 79-63 victory over Austin Peay on Wednesday night, after allowing a 23-point second half lead dwindle into the single digits.Tavarius Shine and Lindy Waters each scored 12 points for Oklahoma State (6-1).Dayton Gumm scored 19 points and Terry Taylor added 15 points and 11 rebounds for Austin Peay (3-4), which had won its previous two games by 35 and 42 points.Oklahoma State was comfortably in front, taking a 21-point lead into halftime, and increasing it to 49-26 early in the second half before Austin Peay made their best push of the night and made an entire arena nervous.The Governors reeled off a 15-2 run over the next four-plus minutes that made it 51-41 with 14:08 remaining after Chris Porter-Bunton's free throw. Oklahoma State maintained anywhere from an eight- to a 12-point advantage the rest of the way, though, finally putting the game out of reach on Thomas Dziagwa's 3-pointer from the right corner with 2:10 remaining that made it 73-58.
STILLWATER, Okla. (AP) —
Jeffrey Carroll came off the bench to score 17 points, with five rebounds and three assists, as Oklahoma State held on for a 79-63 victory over Austin Peay on Wednesday night, after allowing a 23-point second half lead dwindle into the single digits.
Tavarius Shine and Lindy Waters each scored 12 points for Oklahoma State (6-1).
Dayton Gumm scored 19 points and Terry Taylor added 15 points and 11 rebounds for Austin Peay (3-4), which had won its previous two games by 35 and 42 points.
Oklahoma State was comfortably in front, taking a 21-point lead into halftime, and increasing it to 49-26 early in the second half before Austin Peay made their best push of the night and made an entire arena nervous.
The Governors reeled off a 15-2 run over the next four-plus minutes that made it 51-41 with 14:08 remaining after Chris Porter-Bunton's free throw. Oklahoma State maintained anywhere from an eight- to a 12-point advantage the rest of the way, though, finally putting the game out of reach on Thomas Dziagwa's 3-pointer from the right corner with 2:10 remaining that made it 73-58.


We operate a full-service South Houston wildlife control company, and with our full house/grounds inspection, we can offer solutions to prevent animal problems in the future. Animal removal professionals are here 24 hours a day 7 days a week.
When we do an inspection, we will be able to tell you what the problem is. With a complete understanding of the animals we work with, we can quickly and easily identify which pest animals are causing the problem and exactly where the animals are gaining entry. With our expertise and vast awareness of wildlife, we work efficiently, solving your South Houston TX nuisance animal problem as quickly as possible.
Raccoons can be a real nuisance when it comes to our garbage. Here is a common scenario: You walk outside in the morning to throw out last night's garbage, only to find a huge mess of trash and debris spread all across your driveway and lawn.
If this sounds familiar, then you certainly have a wild animal problem, and it is most likely raccoons. Raccoons are highly intelligent and ambitious mammals with dexterous paws. These traits makes it easy for raccoons to access our properties and generate a long list of possible damages.
A big-time attraction for all raccoons is food, so trash cans are common targets. If you know raccoons are a problem in your neighborhood, it is wise to take certain preventative measures to keep raccoons away from trash cans, as well as, all other areas of your property. Continue reading to learn how to do just that and more.
Remove All Water Sources - Raccoons are not just hunting for food on your property, they are also looking for water. By eliminating all water sources on your property, you lessen the amount of potential targets for raccoons. This includes pet dishes, bird baths, standing puddles, and more. While you are at it, remove all other potential food sources as well, including pet food, bird feeders, and squirrel feeders.
Professional Raccoon Control - If you can seem to manage your raccoon problem with these methods, it is helpful to outsource professional raccoon control services. Licensed contractors retain the proper permits, equipment, and resources to exclude and extract raccoons, safely and humanely.


We calculated our RV gas mileage for the first time the other day and discovered we are getting exactly 7 miles per gallon. Yikes! We were hoping for a more robust 9-10 MPG. Most Class A motorhomes consume 5-10 MPG, minus 1-2 MPG if they are towing a vehicle, as we are.
As long as gas remains in the $3.30 range, we should come in on budget. But if Israel and/or the United States decides to attack Iran this year, the price of gas will likely shoot through the roof. War is hell for everyone except the military industrial complex that profits greatly from it. For many reasons including selfishly our pocketbook, let's hope we see peace in the Middle East this year.


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Visit Martha's Vineyard
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Island Information
Vineyarders will take the field next year under new coach Stephen McCarthy.
Maria Thibodeau
High School Names New Football Coach
Friday, February 5, 2016 - 7:33pm
Stephen McCarthy, an alumnus and former assistant football coach at Martha's Vineyard Regional High School, has been named the new varsity head football coach, athletic director Mark McCarthy said Friday.
He will replace longtime coach Donald Herman, who retired this year after 28 years leading the team.
"We would like to welcome Steve to our coaching staff and look forward to his leadership," Mark McCarthy, who is not related to the new coach, said in an email. "Steve stresses academics, teamwork, community service and commitment. One of Steve's goals is to continue the tradition of football excellence on Martha's Vineyard."
Coach Herman's storied career ended in November with the Vineyard victorious over the Nantucket Whalers in the 37th annual Island Cup. Under his leadership, the Vineyard made eight appearances in the state super bowl, winning five times. Last year he was inducted into the Massachusetts High School Football Coaches Association Hall of Fame.
The new coach is a local landscaper and 1975 graduate of the regional high school, and he was recently the assistant football coach at St. Margaret's Episcopal School in San Juan Capistrano, Calif. He helped lead the team to a league championship and state finals.
He was an assistant coach for the Vineyarders from 1997 to 2008, when the team won several Mayflower League Championships and three state championships.
The athletic director said the new coach was chosen from a field of three candidates by a panel comprised of a high school coach, a current football player, and a football player's parent.
Regional High School
Congratulations Steve!!! Good choice!
February 8, 2016 - 11:00am
geraldine brooks, west tisbury
Love our football team, welcome new coach. Two modest suggestions: can we please lose the Snot Ringer Award, in this age of concussion awareness? And any chance of adding a briefer nickname to the hard to cheer Vineyarders? I propose The Wrath. As in...grapes of...
February 9, 2016 - 8:19am
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Editor's Introduction Tony DeLap Marc Straus: Art Poems
Helen Lundeberg and Lorser Feitelson at NBC, c. 1960
Hard-Edge California Abstraction
Lorser Feitelson and Helen Lundeberg
Interview with Candace Moeller by Deanna Sirlin
In May of this year, I had the good fortune to see the works of Helen Lundeberg (1908 - 1999) at Frieze NYC presented by Cristin Tierney Gallery. I was immediately interested in the work. I knew about some things about Lundeberg but I do not think I had seen any of these works in person. Although Lundeberg's works at Frieze were mostly from the 1960's, I thought they could have been made in 2018. The forms and compositions, so liquid and floating with their palette of phthalo and cerulean blues sitting on aqueous forms in pink, pale yellows and rose seem to be exactly of this moment.
Lorser Feitelson's (1898 - 1978) exhibition Curvilinear, which was at Cristin Tierney Gallery (April 24 – May 25, 2018), consisted of a series of paintings produced from 1963 to 1969. His undulating forms are fluid but hold the viewer's eye with a visual tension on the canvas. Although well known in California, my east coast orientation had given me little knowledge of these two artists. They are now being recognized internationally for their work.
I instigated this dialog with Candace Moeller, Associate Director of Cristin Tierney Gallery who graciously answered my queries about these pioneering artists and Hard-Edge California Abstraction.
Installation view of Helen Lundeberg at Frieze New York, 2018. Photo by John Muggenborg
Deanna Sirlin: Recently Cristin Tierney Gallery exhibited Lorser Feitelson at the gallery and Helen Lundeberg at their Frieze booth in New York. What was the catalyst for presenting these two artists, who are primarily known as California Hard Edge painters, in New York at this moment?
Candace Moeller: Cristin has long been interested in histories that fall outside the traditional art narrative. So much of our field's codified history centers on New York, London, Berlin, and Paris, but there is a legacy of artistic production in California that has also been immensely influential on today's artists. This scene is ripe for further research and investigation, especially in a current climate marked by strong interest in the overlooked. By exhibiting these two California artists in New York, in connection to the global stage of Frieze, we saw the chance to bring two artists who deserve another look from the perimeter to the fore.
Installation view of Lorser Feitelson: Curvilinear, 2018. Cristin Tierney Gallery, New York. Photo by John Muggenborg
DS: Since both artists were rooted in Post-Surrealism or Subjective Classicism in the 1930's, what was the impetus that led them to Abstraction?
CM: These were artists who were totally locked in to what was happening in the art world. I think they were always looking to what other artists were working on and also looking forward; and they turned to abstraction at the same time as many of their peers did, as part of the mid-20th century's zeitgeist. Feitelson in particular was ever the teacher in his LA circle, and the disseminator of a broad variety of art and influences taken from all over. This underscored both artists' continual interest in formal experimentation.
Like the rest of the world, Feitelson and Lundeberg would certainly have been influenced by the events of WWII. Feitelson in particular associated an inclination toward abstraction with the war's traumatic fall-out, stating in 1951 that his work "metaphorically expresses the deep disturbance of our time: ominously magnificent and horrifying events, hurtling menacingly from the unforeseeable."[1] I've also read that his interest in flattened space, with equal weight given to forms and background/negative space, may have been inspired in part by textiles and fabrics he had access to from his father's import-export business, as well as Islamic and Celtic art.
Lorser Feitelson Untitled (February 4)1967 oil on canvas 60 x 60 inches © The Feitelson/Lundeberg Art Foundation
DS: What role did critic and curator Jules Langsner play in the ideology of the movement called California Hard Edge? Did he have a specific impact or influence on Feitelson or Lundeberg?
CM: Langsner coined the term "hard edge painting," which was later prominently used in the 1959 exhibition he curated at the Los Angeles County Museum: "Four Abstract Classicists." He was an art critic and a curator at a time when LA didn't have many arts institutions, or even arts education and awareness among the general population. So he served an invaluable role connecting artists with each other, and promoting their work. He even helped organize lectures about modern art for the public. He was known to have many discussions about art with Feitelson and Lundeberg at parties and dinners, and worked closely with the artists of "Four Abstract Classicists" to plan the show.
Helen Lundeberg, Untitled (Flower Form) 1966 acrylic on canvas 60 x 60 inches © The Feitelson/Lundeberg Art Foundation
Helen Lundeberg, Naiad 1968 acrylic on canvas. 30 x 54 inches © The Feitelson/Lundeberg Art Foundation
DS: Lundeberg came to abstraction from her study of the landscape and her relationship to sky and water. Do you think this is partially from being a West Coast artist? Do these sources remain visible in her abstract work?
CM: Maybe. She lived in California almost her entire life, her family having moved to Pasadena from Chicago when she was a toddler. But I think her adoption of abstraction was also inspired by her interest in the science of visual perception and color. For example, some of her earliest experiments in abstraction were flattened interior spaces that substituted uniform panels of color for architectural elements. She did not consider herself an Abstract Classicist like her husband, in no small part because she kept a link to the landscape in her work. There is always some kind of illusion, some reference to the natural world present.
Helen Lundeberg, Sea 1970 acrylic on canvas 30 x 30 inches © The Feitelson/Lundeberg Art Foundation
DS: Is this version of hard-edge abstraction a response to the gestural works of the first-generation Abstract Expressionists of the same period? Or did Feitelson and Lundeberg find their way to abstraction from the source of European Surrealists?
CM: A little of both. With hard-edge abstraction's emphasis on classicism, it was seen as existing in opposition to Abstract Expressionism. Its aesthetics derived from structure, precision, and compositional clarity, with a nod to science—something that distinguished its practitioners from the east coast Ab-Ex painters. But Feitelson and Lundeberg were certainly also influenced by the European Surrealists' break with realistic representation. Lundeberg in particular was drawn to the Surrealist notion of an inner vision; even as she drew from the world around her for inspiration, she stated that she painted from her imagination. As for Feitelson, his first hard-edge forms were based on real objects drawn from nature and the body. His "boulder" series, for example, was modeled after the rocky shores of Corsica that he saw several decades earlier on his travels to Europe. His "Magical Space Forms" paintings also have, in my opinion, shared vocabulary with the forms seen in Surrealist works by Dali, Tanguy, Ernst, and others (and even some of the Cubist forms of Picasso). Feitelson always came back to his education in Old Master drawing throughout the years, and this rooting in the figurative set him apart from his contemporaries in LA who were also working in abstraction.
Lorser Feitelson Space Forms 1953 oil on canvas 40 x 74 inches © The Feitelson/Lundeberg Art Foundation
DS: Did these West Coast artists know of their hard edge counterparts in the East (Albers, Kelly, Newman) and the Washington Color School artists (Noland, Louis, Davis and Truitt)? How do Feitelson and Lundeberg relate to the canon of the East Coast artists who were their contemporaries?
CM: They were very cognizant of their east coast counterparts. There was, at the time, very little in the way of an institutional support system for artists on the west coast, so they certainly would have looked to the east coast for comparison and possibly as a model. Also, Feitelson had lived in New York for a time, and had been part of that world. He and Lundeberg would have seen the exhibitions of east coast artists that came to LA, like the 1964 show "Post Painterly Abstraction" at Los Angeles County Museum, curated by Clement Greenberg (it included Ellsworth Kelly, among other artists). It was harder for LA artists to attract that same kind of attention, though—there was a long-standing prejudiced attitude among the east coast scene that placed NY above LA in the art hierarchy (hard to imagine, I know!).
Lorser Feitelson Untitled 1966 acrylicon canvas 90 x60 inches © The Feitelson/Lundeberg Art Foundation
DS: Philip Guston was Feitelson's student. Feitelson introduced Guston to Subjective Classicism, which led him to abstraction and then back to figuration. Did these artists have contact in their later years? How important was Feitelson to Guston as a teacher? Did their relationship continue in later years?
CM: Feitelson talked about Guston in later years, when he would describe the LA art scene and some of his former students. He talked about him in positive terms. But there hasn't been, as far as I know, a focused line of inquiry into these questions. This is probably one of those areas that would be greatly illuminated by further research into this era of the LA art scene.
DS: Do Lundeberg's and Feitelson's respective works demonstrate different male and female sensibilities articulated through the composition and color of their abstractions?
CM: No. I think they represent different sets of concerns and interests, independent of each artist's gender identity.
Helen Lundeberg with Lorser Feitelson, NBC set of television show "Feitelson on Art" circa 1960 © The Feitelson/Lundeberg Art Foundation
DS: Whereas Feitelson died in 1978, Lundeberg lived another 20 years. How did her work relate to changing trends in the art world during the 80s and 90s? I'm thinking especially of changes in her palette during that time.
CM: After Feitelson's death, Lundeberg continued to paint landscapes and interiors. Her style remained close to that of her previous work, while including more figurative elements. I've read some speculation that her softer palette was a product of nostalgia; however, I think it is also likely that she was influenced by colors that other artists and designers were using at the time. She was increasingly reserved and disinclined to attend public events after Feitelson's death, and the scholarship that exists about this period in her life is scant. It would be amazing if some pioneering grad student would decide to investigate this part of her oeuvre!
Helen Lundeberg, Sectioned Planet, 1969 Acrylic on canvas 36 × 36 inches © The Feitelson/Lundeberg Art Foundation
DS: Does handling artists' estates change your role as a gallerist? Can you tell us about the role of legacy and the aspect of care taker of the estate?
CM: To be a dealer is to wear many hats. One of the most important of these is custodian of art and an artist's legacy. With our living artists, it's a partnership: we work with them to place their work in good collections, help them realize complex and important projects, support exhibitions of their work in significant institutions, garner press and public attention, and properly document their art for the future. We do much of the same with artists' estates, but with the added complications of not being able to ask the artist their opinion, and also having a limited inventory—no new works will ever be made. It is a huge responsibility to ensure that what remains in an artist's estate is well taken care of, and that their work is exhibited in accordance with the artist's wishes. We are charged with representing their interests, and transparency is key to our work.
DS: Lundeberg's work looked so contemporary at Frieze. Who are some living artists that have been influenced by her work? Are there artists that currently have a connection to Feitelson?
CM: Although many people in LA and California know of Lundeberg and Feitelson, lots of artists are learning their names and their work for the first time now, partly in thanks to social media. Both artists (but especially Lundeberg) regularly pop up on other artists' Instagram feeds. Which is amazing, because then I get to see someone (and their followers) process their discovery of the work in real time.
So many artists came through our booth at Frieze, and they were astounded by Lundeberg's work—one, that they hadn't heard of her before, and two, that these paintings that looked like they could have been done yesterday were actually from the '60s. We also get lots of artists who come to the gallery to see our exhibitions—bless them!—and they were full of compliments for the Feitelson show (Curvilinear). One comment about Feitelson's work that has stayed with me was from an artist who exclaimed, "He had to put in so much work to make the paintings look so simple."
I would also argue that, whether they are aware of Feitelson and Lundeberg or not, all artists have benefited from their precedent. We are where we are now because of what has been achieved by previous generations.
[1] Lorser Feitelson, statement in Contemporary American Painting, Urbana: University of Illinois Press, 1951, p. 176.
Lorser Feitelson: Curvilinear
April 24 - May 25, 2018
Helen Lundeberg at Frieze 2018
May 2 - 6, 2018
Cristin Tierney Gallery, NYC
http://www.cristintierney.com
1960S California Hard-Edge
Karl Benjamin, Lorser Feitelson,
& Helen Lundeberg
July 5 - September 8, 2018
Flowers Gallery, London, UK
https://www.flowersgallery.com
Candace Moeller is the Associate Director at Cristin Tierney Gallery in New York. She has independently curated several group and solo shows in New York, including a film series at 520 West 28th that featured works by Peter Campus, Janet Biggs, Tracey Emin, Neil Goldberg, Leslie Thornton, Nina Katchadourian, and more. Her previous roles included Assistant Curator at the Museum of Contemporary Art in Tucson, Arizona, and a catalogue writer at Christie's on their Post-War and Contemporary team.
Deanna Sirlin is an artist and writer from Brooklyn, New York currently living and working outside of Atlanta, Georgia.
www.deannasirlin.com