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About AEL
Government Investigations & Enforcement
False Claims Act Litigation & Whistleblower / Qui Tam Defense
Healthcare Regulatory & Compliance Counseling
Data Privacy & Security
Complex Commercial Litigation & Disputes
Kenneth M. Abell
Daniel R. Eliav
Vanessa Eng
David M. Eskew
Raquel M. Frier
Scott R. Landau
Tara C. Schwartz
Offices in New York City,
New Jersey & Long Island
info@aellaw.com
In every government investigation and enforcement matter, our primary goal is to vigorously protect and defend our clients' interests and to resolve matters efficiently, expeditiously, and discreetly without the need for an enforcement action or criminal charge. However, that disposition cannot be achieved in every case, and when enforcement actions or criminal charges are brought, AEL provides steadfast counsel and a zealous defense. We are accomplished and experienced litigators and jury trial lawyers. Our extensive experience as former federal prosecutors ensures that you receive the best possible strategic advice and advocacy at every stage of your case. In the uncertain waters of a government enforcement action or criminal case, our goal is to provide the client with complete information and honest and straightforward advice so that the client can play out all possible scenarios and resolutions and make the best possible choice on how to proceed. In every case, whatever course the individual or institution chooses, AEL will stand with you and fight to get you the best possible outcome.
Routinely represent individuals, including business owners, company executives, doctors and other professionals in ongoing government investigations and prosecutions.
Represented academic medical center in federal government investigation regarding part-time employment and office space rental arrangements with cardiology practice.
Represented hospitals in responses to federal and state government subpoenas for documents and testimony in investigations regarding alleged arrangements with community physicians.
As Assistant U.S. Attorney, investigated civil claims against wholesale drug company regarding repackaging and redistributing pre-filled supportive drugs for chemotherapy patients. Case resolved with, among other things, a settlement for more than $800 million.
As Assistant U.S. Attorney, led a portion of the investigation that resulted in the historic $16.6 billion-dollar resolution against a financial institution following the "subprime mortgage crisis." The settlement was at the time the largest settlement with a single corporate entity in U.S. history. Our investigation established that the financial institution knowingly made loans insured by the FHA in violation of applicable underwriting guidelines and that the bank caused the FHA to insure loans that were not eligible for mortgage insurance.
As Assistant U.S. Attorney, led the investigation into underwriting and origination mortgage fraud at a major subprime lending institution. The investigation focused on lending practices to determine whether the bank, and its parent corporation, knowingly made loans insured by the FHA to unqualified home buyers and defrauded the FHA insurance fund by originating mortgage loans that were based upon inflated appraisals. The $1 billion-dollar settlement that followed the investigation was the largest False Claims Act settlement ever relating to mortgage fraud.
As Assistant U.S. Attorney, member of team that investigated and charged the "Newswire" case, a cutting edge "hacking and trading" conspiracy in which cybercriminals infiltrated major newswire agencies and then sold stolen material nonpublic information to securities traders before press releases were made public.
As Assistant U.S. Attorney, prosecuted and settled civil fraud claims against commercial laboratory for making payments to induce physicians to utilize testing services.
As Assistant U.S. Attorney, investigated and charged criminally medical doctor, pharmacists, and pharmacy owners in a healthcare fraud and kickback conspiracy involving medically unnecessary pain creams.
As Assistant U.S. Attorney, investigated and resolved matter under the Federal False Claims act against a Board Certified Ophthalmologist who, in contravention of Medicare regulations, administered certain pharmaceutical products that he had purchased overseas, which the U.S. Food and Drug Administration had not evaluated nor approved for use in the United States. These products included aflibercept ("Eylea") and ranibizumab ("Lucentis").
As Assistant U.S. Attorney, conducted and resolved investigation regarding improper financial relationships between several hospitals and physicians referring patients to those hospitals under the "Stark" law.
As Assistant U.S. Attorney, tried and convicted an individual selling misbranded and unapproved chemotherapy and contraceptive drugs. The trial included testimony from more than 40 witnesses, including high-ranking government officials, senior representatives from several major pharmaceutical companies and numerous providers who unknowingly purchased defendants' drugs and injected them into their patients. At the close of the six-week trial, the jury returned guilty verdicts on sixty-six felony counts.
As Assistant U.S. Attorney, led investigation against a diagnostic laboratory that unlawfully input diagnosis codes into claims forms it submitted to CMS and Medicaid Services.
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. . . With Both Hands: Australian Imam Calls for The Noggin of Dutchman!
AMSTERDAM (Reuters) – A well-known Australian Muslim cleric has called for the beheading of Dutch anti-Islamic politician Geert Wilders, a newspaper said on Friday.
Wilders' Freedom Party scored the biggest gains in June 9 polls and is currently negotiating to form a new minority government with the Liberals and Christian Democrats. Polls show Wilders would win a new election if one were called now.
Mates! I'm Ishoo'in a Fat-Wah for this 'ere Wanker what's good for in Oz and O.S. on this Ocker bloke! That's Huge on this Beauty! London to a brick I want this Wanker's Old Fella nailed to the shithouse door, Mates! This Dutchie Whacka insulted Our Prophut, like he was a Brasser. So, this Dag thinks he can skitter? Not by half, he won't!
I want this Blowie's noggin kicked around like it was the dead last drained dry Tinner on Banana Bender's Holiday in BrizVegas! S'traila Fuh Ever, Amen! Too Bloody Right, I am!
That's all! Time fer me Coldie and Tucker Bag!
He looks a bit like Ned Kelly.


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Picture Post 62 - Cholmeley Lodge, North London Modernism
It takes just ten minutes to walk from Archway Station up Highgate Hill to the High Street of the same name. Highgate Hill is one of London's highest points and it is a steep climb from the station. However, those who persevere are rewarded with the site of one of the country's finest 1930's apartment blocks.
Completed in 1935, Cholmeley Lodge was the work of Guy Morgan who also designed Florin Court in the City of London. The Lodge shares some features with Florin Court, in particular the wave of three curved crescents on the facade. Awarded Grade ll listed status in 2003 for architectural and historical interest, the building was constructed with yellow bricks and cast stone with steel horizontal bar casement windows. There are four entrance doorways with fluted surrounds and a curved canopy, each bearing the name of the block in stylised lettering. Boldly projecting, squared off balconies on every floor enhance the overall impact.
Each of the delightful crescents have staircase towers leading to a flat roof, designed as a sundeck and which must offer spectacular views over the city. Reflecting both the modernity and the class divisions of the 1930's, the Lodge was designed with a series of lifts for residents and staircases for trades purposes - at the rear of the building of course. The listing status refers to 54 flats in the block, although according to a 2006 Haringey Council report on the Highgate Conservation Area there are only 48.
If things had gone as planned, Cholmeley Court would never have been built in London. It was originally intended for Bournemouth but was rejected by the local planners as they found the ultra-modern design too stark and demanded that Smith soften the elevation with Tudor timber work! Thankfully, Morgan refused to comply and Bournemouth's loss became Highgate's gain. The block is in a very pleasant side street and is surrounded by very well kept gardens. I checked to see if any of the units are currently for sale. None are but a three bedroomed apartment was recently sold for £1.3 million. Better start saving. In the meantime, the schlep from Archway Station to Cholmeley Court is well worth the effort and it's good exercise too.
You might also like Picture Post 49 - Art Deco on Finchley Road
You can see more pictures of London's art deco buildings here.
Labels: Architecture, Art Deco, Design 1900 - 1939 (United Kingdom), London Art Deco, Modernism, My London, Picture post
A Few Days In Plovdiv
Plovdiv is one of the oldest cities in the world. Its long history includes being conquered by Philip of Macedon in 341 BC, capture by the Romans in 46 AD, attacks by the Goths and Huns and five centuries of Turkish rule under the Ottomans. Evidence of its long history is everywhere with Roman remains, Byzantine churches, two mosques, a synagogue, superb Bulgarian Revival architecture and some wonderful modernist buildings from the 1930's. This long history together with a vibrant contemporary cultural scene has resulted in Plovdiv being selected as European Capital of Culture for 2019. I recently spent a few days there. Here are some of the highlights.
Bulgarian Revival architecture - The Ethnographical Museum, Old Town
Bulgarian Revival Museum, Old Town
The old town is a treasure house of Bulgarian Revival architecture much of which has been restored in recent years. Several of the buildings are now museums including the Museum of the Bulgarian Revival housed in the former home of wealthy merchant Dimitur Georgiadi. The museum details Bulgaria's struggle to free itself from 500 years of Turkish rule via a number of small exhibitions spread across the museum's three floors. Paintings, artefacts, maps and other documents are used to tell this harrowing story but the building itself is possibly the main attraction with its symmetrical and ornamented red facade, beautiful wood carved ceilings and huge reception room at first floor level. There is also a pleasant garden at the rear of the building.
The Hindliyan House, Old Town
Ceiling, Hindliyan House, Old Town
Alfranga, Hindliyan House, Old Town
Several other Revival style houses are open to the public. The Hindliyan House, completed in 1835 for Stephen Hindliyan, an Armenian merchant, is arranged over two levels. It has beautiful carved ceilings, intricate wall decorations that make use of geometrical and floral motifs and a collection of paintings depicting different cities. Decorative alcoves called alfrangas are key features of many of the Bulgarian revival houses. They are intended to create the illusion of a window with gardens, landscapes and other views painted on to them. The house has several exquisitely decorated alfrangas whilst the first floor also has a Turkish bath and steam room, emphasising the wealth and prominence of the Handliyan family. You can buy a single ticket at most of the houses in the Old Town and use it to visit five buildings of your choice from a list of several.
Old Town Street Scene
Books for sale, Old Town
Traditional carriage holding items in antique shop, Old Town
The Old Town also has many craft and antique shops. I especially liked the shops around Saborna and Tsanko Lavronov streets where there are on treasure troves of books, ephemera and Bulgariana. I was very tempted by a number of items and came away with a 1930's postcard promoting a Bulgarian brand of shoe polish (!) and some colourful advertising works on paper. There are artists' workshops lining the steep, narrow, cobbled lane leading to the peak of the Old Town. These include the ceramics workshop of Tsvetana Videva who will demonstrate her work to visitors as do neighbouring weavers whilst opposite I came across another find - the tiny antique shop of musician "Peter Pan". Peter will play you a tune on a variety of instruments whilst you browse the wooden items, vintage toys and other items in his eclectic collection. Continuing along the lane to the top, you will be afforded views across the city, making the climb all the more worthwhile.
Tsvetana Videva, ceramicist, Old Town
Roman Theatre with views of the city and hills
Roman Theatre - The Stage
The Roman theatre is perhaps Plovdiv's star attraction. Built into the hillside with 4,000 seats it is still in use with an extensive programme of opera and classical music. Built in the First Century AD during the reign of Emperor Trajan, it originally seated 7,000. Some sympathetic restoration work has been undertaken to ensure the safe use of the theatre which was rediscovered and excavated in 1972. Anyone performing here will have to be good because they are in competition with spectacular views of the city and the surrounding hills.
Plovdiv also boasts another significant Roman site - the former stadium in the commercial heart of the city which is easily accessible from the street. This is the city's main shopping and entertainment area with many shops, cafes, restaurants, theatres and galleries. Busy night and day, it also draws aspiring musicians and strolling along the main drag you can hear music of various genres including traditional music played on the Bulgarian bagpipe. Excavation and restoration work is currently being undertaken on a third ancient site - an enormous 5th Century Basilica where exquisite early Christian mosaics have been uncovered. It is anticipated that the works will be complete by the end of 2018.
Bulgarian Bagpipe player
Street art, Kapana
Kapana street scene and the Dzhumaya Mosque
The Kapana quarter, adjacent to the commercial centre and a short walk from the Old Town is Plovdiv's edgy, artsy quarter filled with cafes, bars, independent shops and contemporary art galleries. Kapana itself is a huge art gallery, with interesting and sometimes challenging street art covering many of the walls or shop shutters.
Established in the 16th century during the Ottoman period, Kapana was originally home to merchants and craftsmen and this is reflected in some of the street names - Zhelezarska Street (Blacksmiths' Street), Zlatarska Street (Gold Street) and Kozhuharska Street (Furriers' Street). The neighbourhood was redeveloped in the 1920's as a residential area, evidenced by the late art nouveau, neo-classicist and occasional modernist buildings in Kapana's network of streets. In later years, the area declined and many shops and homes stood vacant before the Municipality, recognising the area's potential began a programme of restoration and encouraged small businesses to move in. Today it is a busy area especially popular with young people who fill the tables of the street-side cafes on sunny days and come to enjoy the upbeat atmosphere in the evenings.
Cafe, Kapana
Street scene, Kapana
I have already written here about Plovdiv's superb collection of modernist architecture from the 1930's but can't resist adding a couple of pictures in this post to illustrate the city's architectural diversity. And because I love modernist architecture!
9 Archimandit Damaskin Street, 1937, architect- Svetoslav Grozev
Modernist building, central Plovdiv, details unknown.
Plovdiv boasts many good quality restaurants and I had no problem in finding places serving good vegetarian dishes. The restaurant of the Hebros Hotel in the Old Town was recently voted Bulgaria's best. It serves traditional Bulgarian food and has very good soups and desserts. The hotel is in a Bulgarian Revival building which adds to the atmosphere of dining there. Atlas in the commercial centre is a modern restaurant offering a good list of pastas, salads and more substantial dishes. I enjoyed a delicious (and filling) pasta dish at one of the alfresco tables. The service here was very good too. The third place I ate at was Pizza Verdi in Nayden Gorev Street where the food is simple but tasty and here there are also outside tables. Again, the service was good with friendly and attentive staff. It is possible to eat well for comparatively little cost in all of Bulgaria.
It takes about 90 minutes to drive from Sofia to Plovdiv and there are also trains and buses that link the two cities. It is a great, compact city, easy to navigate and packed with interesting and unusual things to see and do. It is also a great location from which to explore the surrounding countryside and the Rhodope mountains with their many monasteries and villages. Plovdiv's well-deserved selection for European Capital of Culture 2019 will showcase the city's many attractions as well as a special programme of high profile concerts, exhibitions and sports events and offer the chance to experience the more local, "cosy" Plovdiv, its arts, crafts and cuisine. But you don't have to wait until then to go...
You might also like Bulgarian Modernism - A Well Kept Secret or Novi Sad - Another Serbian Surprise
A series of Plovdiv walking routes have been published under the "Alternative Plovdiv" heading. You can use them online or download hard copies here.
You can see more pictures from Bulgaria here
Labels: Architecture, Travel - Bulgaria
Bulgarian Modernism - a well kept secret
The modernist architecture of Paris, Prague, Vienna and Rotterdam is well known whilst more recently, cities in Eastern Europe have begun to be recognised for their contribution to the genre. Bucharest and Kaunas are good examples of this but perhaps it is Bulgarian modernism that has been the continent's best kept secret and which is only now beginning to receive attention. This is largely due to the superb Facebook Group - Bulgarian Modernist Architecture - which carries many examples of the style together with, where known, details of the dates of construction and architects responsible. It is no exaggeration to say that this Facebook page was responsible for my re-visiting Bulgaria after a gap of 31 years. The page is the work of Vasil Makarinov and Theodor Karakolev. On my recent visit Vasil was kind enough to give me a tour of some of Sofia's best examples of the style.
48 Vitosha Boulevard, Sofia. 1937-38, Radoslav Radoslavov and Konstantin Djangozov
It is important to note that Bulgaria's modernist buildings are not limited to Sofia. Examples can be found in many towns and cities including Plovdiv and Varna which I was also able to visit. As elsewhere, the architecture from this period has not always been recognised for its importance and a number of buildings have already been lost. But, as Vasil explained, the greatest threat to preservation comes from "renovation" which in many cases really means removal of important original features and making unsympathetic additions to the extent that the building loses its original character and becomes unrecognisable. Unfortunately this is a global problem and the examples of near vandalism in Bulgaria are replicated in many cities and countries.
Many of the buildings also suffered significantly during the Communist period. Property was removed from private ownership, the owners ejected or forced into a small part of their former homes and proper care of the buildings became extremely difficult if not impossible. Since the fall of the former regime some properties have been restored to the original owners but this is a complex and lengthy process and whilst it is played out there is further deterioration
Karadzhata building, 3 Moskovska Street, Sofia. C1930, Krustan Gechev and Peter Karasimeonov
Bulgaria's route to modernism was a little different to that of other countries. Independence from Turkish rule was not achieved until 1878 following 500 years of Ottoman rule during which Bulgarian culture was largely suppressed. Soon after came the the Balkan Wars of 1912-13 and the First World War 1914-18 neither of which went well for Bulgaria and perhaps because of this, the period between the 1920's and 1940's was one of great change economically, socially and culturally.
With the onset of industrialisation many people moved to the cities, specially Sofia, Plovdiv, Varna and Burgas, creating an urgent need for additional housing as well as public buildings. This brought good opportunities for architects but Bulgaria's first university architectural and engineering course was not established until 1942. Until then, architects working in the country were either foreign or had been educated in Paris, Vienna, Berlin or Prague. This resulted in modernist influences from other parts of Europe impacting on Bulgaria, including the use of concrete, steel and glass whilst the ideas of the Bauhaus School, Le Corbusier and others about hygiene, separation of living and sleeping spaces and access to fresh air gained ground here too. Little has been published in English about the architects responsible for these buildings but Vasil was able to provide some details for me to supplement my own findings.
Viktoria Angelova-Vinarova was born in Veliko-Tarnovo in 1902. Her father was a British educated merchant who apparently named her after Queen Victoria. The Bulgarian Viktoria studied at Vienna's University of Technology and then Dresden Polytechnic before returning to Sofia at the age of 24 to work as an intern at the Ministry of Public Works. She married another architect, Boris Vinarov in 1933 and they set up a practise together. Their home was destroyed in the Allied bombing of Sofia in 1944 and they moved to Veliko Tarnovo where Viktoria became ill with pneumonia from which she recovered only to die when the illness returned in 1947.
37 Moskovska Street, Sofia. 1937, Viktoria Angelova-Vinarova.
As well as working in the neo-classical style, she was responsible for a number of modernist buildings including the apartment block at 37 Moskovska Street, Sofia and the fabulous Sea Casino in Burgas. Her Moskovska Street building is just a short step from the iconic Alexander Nevsky Cathedral. The austere grey facade is outstanding due to its series of balconies over the top five levels. Completed in 1937, each of these floors has three balconies, a semi-circular central one flanked by two more in the "Bauhaus" style with each one apparently accessed through a set of floor to ceiling windows. Several of the windows have been "modernised" but some originals remain.
Angelova won the Sea Casino commission through an open competition and designed a thoroughly modernist building with Art Deco influenced portholes and a roof terrace overlooking the sea as part of a general nautical theme. It opened to great fanfare in 1938 but was abandoned in the 1990's and left to deteriorate. It has since been restored, reopening in 2011 and now operates as a cultural centre with a programme of concerts, theatre, cinema, classes and other activities. The restoration received Bulgaria's Building of the Year Award in 2011. I was unable to visit Burgas during my recent trip but it is on my list for next time!
63 Vitosha Boulevard, Sofia. 1946, Vasko Vassilev.
Vasko Vassilev was born at the beginning of the 20th century and came from a family of architects, his father having been the Chief Engineer of Sofia. Vasko studied architecture in Linz, Austria and began practising in the 1930's. He was known to mix with leading artists and had a collection of paintings received as gifts from some of the leading Bulgarian painters of the day. Vassilev was responsible for designing several apartment buildings in which he demonstrated a commitment to streamline design principles and which even today have a contemporary feel to them. Unfortunately, his career was cut short in 1948 when the Communist authorities banned private enterprise and his architectural office was forced to close. One of his buildings stands at 63 Vitosha Boulevard on Sofia's main pedestrianised shopping street. A late example of the modernist style it was built in 1948 as a housing association apartment block. It has retail on the ground floor with residential units above. Standing on a corner plot, it has superb curved windows, narrow balconies running the length of the facade and a rooftop terrace which must afford fantastic views of the mountains that surround the city.
Office building central Sofia. 1937, Konstantin Djangozov.
Vitosha Boulevard is home to two more excellent modernist buildings that face each other across the pedestrian walkway. Both were designed by the uncle and nephew team of Radoslav Radoslavov and Konstantin Djangozov who like other Bulgarian practitioners had studied abroad this time in Paris under the direction of Auguste Perret. Perret was himself responsible for a number of modernist and Art Deco buildings constructed throughout the 1920's and 30's. Radoslav also attended lectures with Le Corbusier and it is known that they continued to correspond following the former's return to Sofia. Back to Vitosha Boulevard. The Nedkov Apartment building at number 48 was built in 1937-38. It is striking for its red and white facade and the glazing that runs the length of each floor, but for me the outstanding features are those exquisite white corner balconies that protrude from the edge of the building, drawing our gaze upwards and giving the building such a Mediterranean feel.
The Urumov building at number 59 has the same red and white facade with squared off balconies and a roof garden. It was completed in 1938-39. Imagine how desirable these apartments must have been back in the late 1930's...and how much they are now. The two architects also completed separate commissions. I particularly like Djangzov's office block in central Sofia. Occupying a corner plot, it is supported on stilts, has a roof terrace and trademark glazing running the length of the facade which ends in a superb curve.
Former Assicurazioni Generali building, 5 Moskovska St, Sofia.1938-40, Asen Mihaylovski.
38 Vassil Levski Boulevard, Sofia. Circa 1929, architect unknown
In addition to the Facebook group, Vasil has worked with a number of friends to produce an exhibition focusing on 25 key Bulgarian modernist buildings with information in both Bulgarian and English perhaps making it possible for the exhibition to be seen overseas in future. It is also encouraging to note that some of Plovdiv's key modernist buildings are being promoted through the Alternative Plovdiv mapping project. Perhaps more well known for its Roman theatre and stadium and for its Bulgarian Revival buildings in the old town, Plovdiv also has some superb modernist buildings.
The white painted house at 9 Archimandit Damaskin was built in 1937 for Dragomir Tsankov, an industrialist and Chair of the Plovdiv Chamber of Commerce from 1938-43. Designed by Svetoslav Grozev it would not look out of place in Tel Aviv. Despite the peeling paint, overgrown garden and heavy duty security fencing surrouning the house, it remains supremely elegant with its roof top terrace, glazed stairwell and side balcony which must have once looked out over a pristine garden. Today it is flanked by a busy dual carriageway but at the time of building it would have been on the edge of the city with cafes and shops on Otets Paisiy Street and fields on the other side.
9 Archimandit Street, Plovdiv. 1937, Svetoslav Grozev.
18 Tsar Alexander Street, Plovdiv. 1930's, Stefan Todorov.
Industrial School, Plovdiv. 1930's, Svetoslav Grozev and Dimitar Popov.
The apartment block at 18 Tsar Alexander Street was built in the 1930's and designed by architect Stefan Todorov. It has a delightful scoop at the rear with a concave walkway/ balcony at each of the upper levels as well as a loggia at the front of the building. In addition to this there is a glazed stairwell and a curved staircase drawing visitors to the front door. Despite needing a little loving it really is a show stopper. Just across the road at 70 Gladstone, there is another modernist building - the Professional High School of Interior Design and Wood Processing, better known as the Industrial School. Also built in the 1930's it was designed by Svetoslav Grozev (who also designed the Tsankov House) and Dimitar Popov. A red brick structure, it has a spectacular glazed stairwell, a tiny balcony on the corner of the facade which mirrors the shape (although not the size) of the canopy beneath.
Finally to Varna, Bulgaria's third city which stands beside the Black Sea. I like Varna very much. It has the upbeat atmosphere of a popular seaside town, a delightful Sea Park and a range of architectural styles including ancient Roman ruins, art nouveau, baroque and of course, modernism. There are numerous modernist apartment blocks throughout the city, but perhaps the most striking, and possibly my favourite is the fabulous apartment block at 59 Primorski Boulevard. Known as "The Beach" and built in 1933, the architect responsible was Stefan Benedikt-Popov. It has the appearance of an ocean liner with long balconies at each level, beautiful original windows (at some levels) and a squared off tower which continues the seafaring theme. The upper levels have spectacular views across the park and over the Black Sea.
59 Primorski Boulevard, Varna. 1933, Stefan Benedikt-Popov
I need to thank Vasil once again for his time and help in Sofia as well as for answering my many questions about dates and architects for the buildings featured in this post. It was great to meet someone with so much enthusiasm and tenacity. Let's hope that over the next few years Bulgarian modernism will become as widely known as that of other European countries. The forthcoming exhibition will certainly help. We just need him to write a book now...
And to finish - a bit of an Art Deco treat, the dramatic staircase from the Winter Garden at Sofia's Bulgaria Hotel and Concert Hall complex, built in 1937 and designed by Stancho Belkovski and Ivan Danchov. Fabulous.
You might also like Serbian Modernism - A Forgotten Heritage or Modernist Riga - Architectural Treasures From The 1930's
You can see more pictures from Bulgaria here.
Labels: Architecture, Art Deco, Bulgarian Modernism, Design 1900 - 1939 (Bulgaria), Modernism, Travel - Bulgaria
Picture Post 62 - Cholmeley Lodge, North London Mo...

redpajama_set_name: RedPajamaCommonCrawl


Show mum that you care by making sure to arrange the perfect present for her on Mothers Day, and that could well be a specialised Mothers Day gift basket. We love our mums; all the care, nurturing, loving and attention that they've brought to us over the years can only mean one thing – we want to really let them know how much they mean to us when Mothers Day comes around. It does only come but once a year!
If you live far from your mum, a Mothers Day gift hamper can be a wonderful and timely surprise for mum, arriving promptly at her door on this special day. A sweet note accompanying your hamper, specially chosen for her, and a nice long phone call to chat is sure to make her day – even if she's halfway across the country in Brisbane while you're down in Melbourne. Letting your mum know how much you care about her even when she's far away will make her heart sing.
Our gift baskets are particularly terrific as 10% of the costs of every order are donated to a charity of your choice. In this particular case, you can pick out mum's favourite charity to put the cherry on the top of her present. We also have Fathers Day gift baskets if you want to give him that something special on his day as well as a selection of hand-picked Christmas hampers to consider for Dad or Mum this Christmas.
Picking out the ideal gift basket for mum involves having a real think about what she likes best. Some mums are really into chocolates and sweet treats, some mums are really into a nice wine like a Sauvignon Blanc. Some mums are into pampering themselves in the bathroom with bath bombs and scrubs, and some mums just love to be spoiled all round, which may indicate that a bottle of Moet in your gift basket is a good choice! Browse through our range to find something perfect for your mum.


Chef Carme Ruscalleda is taking over responsibility for running all culinary operations at Mandarin Oriental, Barcelona in her new role as gastronomic consultant.
BistrEau restaurant, which had been successfully led by chef Ángel León for the past three years, will return to Barcelona's vibrant food scene under its original name, Blanc, in May 2017.
A brand new gastronomic offering designed by the seven Michelin star Ruscalleda will be available at Blanc.
The food concept at Blanc will be local, fresh, seasonal produce, including truffle, caviar, game and fresh fish, used to create simple, traditional Catalan dishes, such as Canelones gratinados, Picanton en escabeche, Gazpacho and rices.
In keeping with Mandarin Oriental's heritage, Asian influenced cuisine will be offered too.
Also, delicious tapas will be served at Blanc, Banker's Bar and in Mimosa garden.
Located in the heart of the famous Paseo de Gracia, Blanc's new gastronomic offering will be prepared by sous chef, Alberto Castiñeiras, and chef Ismael Alonso.
Carme Ruscalleda and her son, Raül Balam, have successfully run two Michelin star fine dining restaurant, Moments, at Mandarin Oriental, Barcelona since 2009.
In addition to the artistic gastronomy of Moments and simple, traditional fare of Blanc, Ruscalleda will be responsible for all of the hotel's other food and beverage operations, from breakfast and room service to menus for Banker's Bar and Mimosa garden.
Chef Gastón Acurio has returned to deliver his delicious brand of authentic Peruvian cuisine at Terrat, the hotel's rooftop terrace with panoramic views of Barcelona, until October 2017.


text:
<?php

namespace Magento\Catalog\Test\Constraint;

use Magento\Catalog\Test\Fixture\CatalogProductSimple;
use Magento\Catalog\Test\Page\Product\CatalogProductView;
use Magento\Mtf\Client\BrowserInterface;
use Magento\Mtf\Constraint\AbstractConstraint;

/**
 * Class AssertProductView
 */
class AssertProductView extends AbstractConstraint
{
    /**
     * @param CatalogProductView $catalogProductView
     * @param BrowserInterface $browser
     * @param CatalogProductSimple $product
     * @return void
     */
    public function processAssert(
        CatalogProductView $catalogProductView,
        BrowserInterface $browser,
        CatalogProductSimple $product
    ) {
        //Open product view page
        $browser->open($_ENV['app_frontend_url'] . $product->getUrlKey() . '.html');

        //Process assertions
        $this->assertOnProductView($product, $catalogProductView);
    }

    /**
     * Assert data on the product view page
     *
     * @param CatalogProductSimple $product
     * @param CatalogProductView $catalogProductView
     * @return void
     */
    protected function assertOnProductView(CatalogProductSimple $product, CatalogProductView $catalogProductView)
    {
        $viewBlock = $catalogProductView->getViewBlock();
        $price = $viewBlock->getPriceBlock()->getPrice();
        $name = $viewBlock->getProductName();
        $sku = $viewBlock->getProductSku();

        \PHPUnit_Framework_Assert::assertEquals(
            $product->getName(),
            $name,
            'Product name on product view page is not correct.'
        );
        \PHPUnit_Framework_Assert::assertEquals(
            $product->getSku(),
            $sku,
            'Product sku on product view page is not correct.'
        );

        if (isset($price['price_regular_price'])) {
            \PHPUnit_Framework_Assert::assertEquals(
                number_format($product->getPrice(), 2),
                $price['price_regular_price'],
                'Product regular price on product view page is not correct.'
            );
        }

        $priceComparing = false;
        if ($specialPrice = $product->getSpecialPrice()) {
            $priceComparing = $specialPrice;
        }

        if ($priceComparing && isset($price['price_special_price'])) {
            \PHPUnit_Framework_Assert::assertEquals(
                number_format($priceComparing, 2),
                $price['price_special_price'],
                'Product special price on product view page is not correct.'
            );
        }
    }

    /**
     * Text of Visible in category assert
     *
     * @return string
     */
    public function toString()
    {
        return 'Product data on product view page is not correct.';
    }
}

redpajama_set_name: RedPajamaGithub


Designed by Morten Voss in 2008 the Atomheart Pendant Light reflects simple, refined style into a striking 21st century luminaire. The Atomheart Pendant Light has a contemporary shape, palette and finish that works well with both spacious interiors and those where space is considered a premium.
The Atomheart pendant is inspired by the classic representation of the atom where the paths of the particles around the nucleus form a dynamic sphere. No angle is quite like the others, and the shape of the lamp therefore changes as you move around it. When the pendant is lit, the design of the fancy glass sphere creates beautiful contrasts, and the lamp appears as a unique light source with an expression of its own. The shade is made of hand-blown acid frosted opal glass in three layers, which produces soft, diffuse light. The closed base makes the light source completely invisible.


Atlassian JIRA를 기반으로 모든 태스크를 관리합니다. 아지트에서 논의된 일감들 중, 담당자가 진행되면 JIRA에 태스크가 생성되며 JIRA를 통해 모든 태스크 진행상황을 확인할 수 있습니다.
또한 자주 들여다보거나 최신으로 유지되어야 하는 문서의 경우 Confluence에서 별도 관리합니다.
You can manage all tasks on the Atlassian JIRA. Issues discussed on AGIT, progress on tasks, a new task created on JIRA, and more. Checking this dashboard helps you determine the progress of all current tasks.
Documents that need to be viewed and kept up to date are managed separately on Confluence.


text:
A lesson for the Guadalupe Cultural Center: Apologize for Bret Ruiz's harrassment
Juan Aguilera, the former Board Chair of the Guadalupe Cultural Center, should apologize to Dee Murff and all the women of the Guadalupe who were summarily fired because of Bret Ruiz, the former and very-flawed director of the Guadalupe.
Murff, the most outspoken of the group and surely the one with the most red-haired attitude - filed a lawsuit against the Guadalupe Cultural Arts Center (GCAC) charging sexual discrimination during Ruiz's tenure. The rumors are that the Guadalupe wants to settle the case before the arrival of the new executive director, Patty Ortiz.
Let's be clear: This lawsuit was a last-resort attempt to get the community to pay attention to the problems at the GCAC. Sometimes an organization, like an individual, like a nation, has to face its errors. Confronting guilt can be healing for everyone concerned. We all make mistakes, and Aguilera needs to man-up.
Bret Ruiz was the man hired to be Executive Director in July of 2005, despite a phone call from Maur…
So did you get laid this week? Sexual harrassment in San Antonio
My girlfriend Cecilia just left her job at Amed Community Hospice where she was a social worker for terminally ill patients. Why did she leave after two years there? Because of a man named Chris Sitton, the Bereavement and Volunteer Coordinator, 40 years old, married with a child.
Cecilia is a serious, 46 year-old woman, who tells me she loved her job, and that it was very difficult for her to say goodbye to her patients and their families. It isn't easy, or professional, to leave patients who are facing death.
But Sitton asked her constantly about her sexual life, she says. He whacked her on her derriere with a newspaper, and asked her things like "So did you get laid this week?" I know what this feels like, and most women I know have encountered sexual harrassment in their lives. But few of us actually fight back.
Cecilia told me Sitton harrasses others, but she refused to accept it to keep her job. She went to EEOC, and filed a complaint. Amed In the meantime, …
The Persecution of Bambi Cardenas/Todas Somos Lobas
Blandina Ramirez (Bambi) Cardenas, the first latina college president of the University of Texas system, is retiring from my alma mater, the University of Texas at Pan American,http://www.blogger.com/img/blank.gif in Edinburg, Texas. Edinburg is about ten miles from the Texas border, across from Reynosa, Mexico, state of Tamaulipas.
Presumably, it's because of a heart attack. But I believe it's because of a spurious, "anonymous" campaign targeting her because of whatshe symbolizes -- educational progress, and the best of latin@ leaders. from the University of Massachusetts at Amherst in 1974.
I believe this campaign seeks to undermine and destroy her reputation: How DARE she dedicate her life to educational achievement, cultural pride, and civil rights? How dare she not be a good ol boy? Como se atreve? She's dangerous.
You betcha she is.
I say all this because I know Pan Am: We called it "Taco Tech," when I was there, and it is …
My father, Roberto, turns 90 on Inauguration Day
My father called me the other day from the Assisted Living Center where he lives in Corpus Christi. He says he wants to die. This coming Tuesday, he will be 90 years old.
My father is lonely, he's almost deaf, halfway blind, and he has a white manx cat, Blanca. He left us when my brothers were little, and there was so much crying. My parents divorced when I was in graduate school, so I wasn't at home when it happened.
In the years despues, I tried to set a good example for my brothers, but it wasn't enough. My father went to live way out in the country after the divorce, the land he loved, and he never came to visit. Not for graduations, not for weddings, nothing. Still, my brothers made pilgrimages to visit him, and it made him happy.
His anger at my mother was such that when my brother Charlie died suddenly at age 30, he refused to give her the Pesame at the funeral. It was like he pretended she didn't matter, even when I know he could barely walk from the grie…
A lesson for the Guadalupe Cultural Center: Apolog...
So did you get laid this week? Sexual harrassment ...
The Persecution of Bambi Cardenas/Todas Somos Loba...


Bike the Olympic Discovery Trail into Olympic National Park: ancient forests, wilderness lakes, and coastlines ranging from peaceful to wild. 6 days.
Great combination of outdoor exercise and relaxation. Beautifully organized, awesome food, beautiful views. Our guide did a great job of helping each of us find �our joy� in the trip. It's an awesome way to see a new area!
This was my first sport vacation and it was awesome! I loved being outside, meeting new people and not having to plan or worry about anything.
Decades in the making, the Olympic Discovery Trail follows an old rail line on the Olympic Peninsula. Bicycle the coastal plain with the snowcapped Olympic Mountain Range to one side and the Straits of Juan de Fuca on the other. Enjoy stellar views from waterfront inns each night. Bike, hike and explore the peninsula from Victorian-style Port Townsend to peaceful Dungeness Bay. Ride the no-cars-allowed side of gorgeous Lake Crescent. Soak in Sol Duc's hot springs - or hike from there to rainforest waterfalls and alpine lakes. Hike and explore the tidepools on the wild, wind-whipped Pacific Coast. Finish with a morning at Hurricane Ridge, overlooking both the Olympic Mountains and the Straits of Juan de Fuca.
Meet in Seattle. Hop aboard the ferry to Bainbridge Island and shuttle to quaint Port Townsend. After a bike fitting, head out on the Olympic Discovery Trail.
Ride from Dungeness Bay along the Port Angeles waterfront, then into Olympic National Park.
Choose your own adventure today: Take an easy hike to 90-foot Marymere Falls, or a challenging one up Storm King for views all the way out to the Straits of Juan de Fuca. Or head to Sol Duc Hot Springs for a soak and/or a hike through the old-growth rainforest to Sol Duc Falls. Paddle Lake Crescent in one of the lodge's kayaks, canoes or SUPs. Or simply stay put at the lodge, soaking up the glorious mountain scenery. Lunch and dinner are on your own today (options at both the lodge and at the hot springs). Take your time and enjoy.
Ride the rainforest. After lunch at Lake Pleasant, bike or hop in the van to head to Quileute Oceanside Resort.
Another day to explore! Hike to Second Beach or Hole in the Wall. Build a driftwood fort, walk the beach or just enjoy the incredible view from your room.
Another day to explore! Tide permitting, hike from Rialto Beach to Hole in the Wall to explore the secrets of the local tidepools: sea anemone and sea star, tiny fish and hermit crabs all make their home here in ever-changing seaweed-jungle pools. If the tides don't allow for Hole in the Wall, hike through deep old-growth rainforest to Second Beach, one of the most incredibly gorgeous spots on the Olympic Peninsula. Sea stacks - tall rock formations separated from the main landmass - rise like specters from swaths of sandy beach. Bald eagles command the sky; seals and sea otter can occasionally be spotted on the sands. Or just relax and stay put at Quileute Oceanside Resort to watch the wind-tossed surf.
Head to Hurricane Ridge. Shuttle to the Park Visitor Center and take time to hike the summit with its incredible views of the Olympics and the Straits of Juan de Fuca. Then it's back to Seattle via Bainbridge Island.
Head to Hurricane Ridge this morning. Sweeping views of the Olympic Mountains and the Straits of Juan de Fuca - and even Victoria, B.C. on a bluebird day - await at the literal high point of the tour. There's great hiking at the top too! Watch for black tail deer, mountain goats and maybe a whistling Olympic marmot. After lunch here, hop in the van for the shuttle back to Bainbridge Island and a spectacular sunset ferry ride into downtown Seattle.
July 14. July 28. August 25. September 8. September 15.


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Kiri Te Kanawa RCM Scholarship announced
The Kiri Te Kanawa Foundation (UK) recently announced a 3-year extension to the annual Royal College of Music scholarship which will carry a grant of £10,000 and be awarded to a singer at the Royal College in his/her final year of study and focused on the development of an international singing career.
Professor Colin Lawson, RCM Director was very pleased. "The Royal College is delighted that the Kiri Te Kanawa Scholarship has been extended. The Foundation's support provides our talented musicians with the opportunity to study and thrive at the Royal College, enabling them to achieve their full potential. I know this financial help and the personal interest Dame Kiri takes in our students, has a real impact on their development."
Dame Kiri took an active role in the scholarship auditions after which RCM announced that the recipient of the 2017/18 Kiri Te Kanawa Scholarship was Nardus Williams, a young English soprano currently studying at RCM International Opera School with Dinah Harris, having previously studied with Yvonne Kenny, Lillian Watson and David Thomas. Last year she won First Prize and Audience Prize at the 2016 Maureen Lehane Vocal Awards at the Wigmore Hall. Recent performances include Messiah with the OSJ under John Lubbock, and Nardus performed the role of Donna Elvira at Opera Holland Park in summer 2017, and she will be covering the role of The Countess in the spring 2018 production of The Marriage of Figaro, for English National Opera.
Professor Lawson said "Nardus has the talent and drive to become an outstanding musician and the Foundation's generosity will have a transformational impact on her education and development as an artist." In addition to the annual scholarship the UK Foundation also announced special
'Encouragement Awards' of £3,000 each for four singers who had impressed the audition panel by showing marked improvement in their singing – Kieran Rayner, Ida Ranzlov, Josephine Goddard and Nardus Williams.
Foundation well represented at Windsor Recital3 Jul 2012
Inaugural Laurie Coon Foundation scholarship announcement26 Jun 2008
2016-17 Kiri Te Kanawa Foundation (UK) Cover Awards Announced22 Dec 2016
Dame Kiri "thrilled" with progress of young singers6 Oct 2016


A wheel is a circular object that, together with an axle, rolls easily. They were first widely used for transport. Wheel can mean lots of other circular objects that turn, like a steering wheel and flywheel.
The wheel was invented in prehistoric times and probably its discovery was repeated many times independently. The oldest example of a wheel yet found is from the region of Mesopotamia (Iraq), so it may have been invented around the area where Iraq is today. The wheel may have been inspired by a simple observation of a rolling tree trunk. When a number of tree trunks are placed on the ground close together, and a weight is placed upon them, the object can be moved much more easily. The rolling trunks cause less friction than dragging the object on the ground.
The first wheels were indeed tree trunks. The next development was to use slices of these trunks joined together through an axle. Later, these wheels became wooden disks cut into a circular shape with a hole for the axle. The oldest wooden wheel archaeologists have found was built somewhere between 3350 and 3100 BC. Because the first wheels were made from wood, and wood rots and breaks down over time, we can assume that other wheels might have existed earlier.
Wheels with spokes were invented more recently. This type of wheel allowed people to make lighter and faster vehicles. The earliest known examples were from chariots built about 2000 BC.
A wheel works by rolling. Rolling is a powerful way to reduce friction. When you slide a block across a smooth surface, it will slide for a short distance and then come to a stop. When you roll a ball across that surface, it will roll a long way. Rolling friction is much weaker than sliding friction.


Perfect opportunity for an aspiring production co-ordinator or director. Learn the industry from the ground up. Full-time work at a great company!
The Otago Daily Times seeks a full-time junior reporter to help cover the popular and interesting Central Otago region.
Are you a news junkie who likes getting out & about? Are you a self starter with a journalism qualification who's looking to work in Northland?
Want to work for one of NZ's best known brands in the entertainment field?
- SKY TV is looking for an experienced New Media Assistant Operator to assist us in a contractor capacity.
- Are you an aspiring journalist with a passion for breaking news? Do you have the technology bent to fly the online flag in NZME. Radio's newsroom?
- Blockhead is looking for a Studio Runner/Office Assistant - a great foot in the door to the advertising/media production industry. Could this be you?
- Auckland Theatre Company is seeking a hands-on, energetic Company Administrator, with great computer, organisational and people skills.
- SKY TV has an exciting opportunity for an experienced Production Manager to join the SKY Sports team.
- We're looking for a talented and experienced news reporter to join our Wellington newsroom at The Dominion Post.
- If you've got a taste for paste then this job is for you. Join the Phantom billstickers crew for 2015.
- Well established and respected media company looking for Videographers and Video Producers in various NZ locations. FT and PT positions available.
- We need an Associate Set Up Producer to help book interviews for our key news interview slots.
We're chasing a Chaser Producer, who'll be able to hit the phones early in the morning and find us interview talent on a whole range of subjects.
- Paul Henry's new ground-breaking show requires a producer who'll focus on longer term planning for the programme.
Seeking media and communications professional to develop, manage and maximise the potential of the RNZB's media relationships.
We're looking for a freelance videographer to interview executives and shoot videos (in the Auckland CBD) for our niche business news websites.
Fantastic opp for a TV Buyer with 1-2 yrs exp. Scope also to develop into planning & to work closely with excellent senior mentors, leading agency..


Dinah was asked to play at a reiki gathering after she was heard improvising over the tamboura, the Indian drone instrument. Many listeners asked her for a cd at the end of the session, on hearing this unusual sound. This resulted in 'New Terrain'. The cd lasts for about an hour and consists of twelve, four to five minute improvisations in every key of the diatonic Western scale. All slow and peaceful phrases, this music is designed to help 'unwind'.


text:
HomeFeaturesEditor As Therapist: Stephen Mirrione Dissects 'August: Osage County'
Editor As Therapist: Stephen Mirrione Dissects 'August: Osage County'
November 1, 2013 Features
Stephen Mirrione.
by Peter Tonguette • portraits by Wm. Stetz
When audiences walk out of August: Osage County, they may conclude that its farrago of unhappy characters would do well to see a psychologist. After all, the occasion of the Weston daughters — Barbara (Julia Roberts), Ivy (Julianne Nicholson) and Karen (Juliette Lewis) — returning home is the death of their father Beverly (Sam Shepard), who is survived by wife Violet (Meryl Streep), who is also in bad shape. The film, adapted by Tracy Letts from his Pulitzer Prize-winning play, is directed by John Wells and will be released on December 25.
It is appropriate that editor Stephen Mirrione, A.C.E., would assist in bringing the Weston family's story to the screen. An Academy Award winner for Traffic (2000), he has edited some of the past decade's most popular and lasting films, including 21 Grams (2003), Good Night, and Good Luck. (2005) and Babel (2006). But even more pertinent to August: Osage County is the fact that the editor's childhood dream was to become a psychologist. No wonder he felt inspired when cutting the film's 20-minute post-funeral dinner scene.
A scene from August: Osage County.
The Weinstein Company, Inc.
"When I was a kid, I got it in my mind very early on that I wanted to be a psychologist," Mirrione recalls. "It was like a kid saying he wants to be a fireman or a policeman. I do think there was something about the brain, emotions, people's reactions with each other and family dynamics that fascinated me."
The dream persisted until high school, when Mirrione realized that an aptitude in science was essential. But he nurtured other artistic interests — he was a theatre buff and played viola in the school orchestra — and they came together at the University of California, Santa Cruz. "Editing, I found, incorporated all of the things I was interested in: music and performance and storytelling," he says. "I remember I was the one who would volunteer to be an assistant editor on anybody's student film."
He is notable for his close collaborations with directors, editing six films for Steven Soderbergh, including Traffic, Ocean's Eleven (2001) and its two sequels, and five for George Clooney, including the forthcoming The Monuments Men. One of his earliest compatriots was Doug Liman, with whom he worked on Swingers (1996) and Go (1999). "I met Doug when I first moved to LA and he was at USC," Mirrione recalls. "We were coming up together and learning as we were going."
Soderbergh, by contrast, was a veteran filmmaker by the time Mirrione was hired to cut Traffic, with a well-oiled production team in place that "he had spent years putting together," the editor says. "It makes you feel like what you're doing all the time is going toward making the best movie possible, rather than always feeling like, 'Okay, we're just scrambling to stay alive every day.'"
Mirrione sees the ability to intuit a director's hopes or concerns for a scene to be an essential part of his job. In a way, the skill harkens back to his precocious boyhood goal. "Some of my directors definitely say that sitting with me in the editing room is a therapy session," he says. "I recommend to editors to go to a therapy session, because I think they would learn a lot about what it's like to really listen and be able to draw out what a director is thinking and feeling."
CineMontage recently spoke with Mirrione as he was completing the final mix on August: Osage County.
CineMontage: How did you get involved in August: Osage County?
Stephen Mirrione: I saw that the film was about to go into production, that it had been set up and green-lit. Fortunately for me, George Clooney and Grant Heslov had been attached as producers. I had just finished Hunger Games [2012], and had a few things that were going to happen, but they fell through. So I ended up having quite a long period of time off. I hadn't seen Tracy Letts' play, but I was familiar with it, and when I saw the cast, I thought, "Oh, that's something I'd love to be involved in."
I actually wrote to George and Grant: "Hey, I don't know what John Wells' situation is. Does he have somebody already? If not, I'm interested." They were excited about my availability, and John was receptive to bringing me on board. They sent me over the script right away, and I read through it. The thing I love the most about my job is cutting dialogue scenes. And that's all this is — all the way through. I just remember that dinner scene, thinking, "Oh, my God. This is some of the most amazing dialogue I've ever seen."
CM: When you read a scene like that, do you immediately start seeing the possibilities?
SM: I wouldn't say editorially. I don't spend a lot of time thinking about it in terms of what the cutting pattern's going to be. It's more about the reality and humor of the dialogue — and the pace of the dialogue. The rhythm of the speech in this movie is so brilliant, especially that dinner scene. Ultimately, it's 20 minutes long in the movie. The average dialogue scene in most films is about two minutes. I compare it to somebody who's been cutting short films and then making the jump to working on a feature. It's a completely different experience and a completely different pace that you have to work with. But when I was reading the scene, it was more about just feeling lost in a reality.
CM: Even though the film is based on a play, it seems you were very concerned about making it as real as possible.
SM: Yes, it's a play, and yes, the words are super-important — you don't want to betray that. But at the same time, it has to feel organic and real. I think that's where my sensibility comes in — being able to run it through that filter and making sure it doesn't feel like a play. You have a different relationship to the performance and the material when you're watching a play than when you're watching a movie. In a play, it is much more about the style of how it's presented and how it's staged. In a movie, the filmmaker is really directing your point of view and your relationship to the characters. Again, to use this dinner scene as an example, you've got 10 people sitting around a dinner table. If you're watching that in a play, who are you paying attention to? Are you just paying attention to the person who's talking? Is that where you go? You're allowed to make your own decision in terms of who you're looking at.
It's a completely different experience than watching it in a movie, where we're actually pointing out these subtle, tiny little details; it's not just about who's talking, but who's listening, who's reacting and who's feeling what based on what this or that person is saying. The words are the same, but you have a different relationship to it. That, to me, is what makes what we do as editors so exciting: Being part of that dance with the actors and with the audience, and being able to create that shape of where and who we're engaging with throughout the scene.
CM: Can you talk about the actors in the film?
SM: John Wells and the producers really put together the perfect cast for this. It's become a cliché about how fantastic Meryl Streep is, but to have the privilege of seeing her create those moments was just such a thrill and privilege.
There are several actors I've gotten to work with who gave performances that really stand out. If you strung together all of their raw dailies, you'd find that something interesting was going on 100 percent of the time. Take Benicio Del Toro's performance in Traffic; he was so connected with that character. You could tell there was always an honest motivation for everything he was doing or thinking. The same thing with David Strathairn in Good Night, and Good Luck. Even more recently with Jennifer Lawrence in Hunger Games; there was just so much going on and so much depth to her performance that you couldn't stop looking at her.
"You have to push forward — and, of course, rely on your partner, the director, to come in and react to that and remember. That's one thing that John [Wells] brought to the table on this. Having come from a history of doing so many great TV shows with big casts, he had a remarkable sense of recollection." – Stephen Mirrione
But then to see this with Ms. Streep… There was this precision to her rhythm, her body language and everything she was doing, but you'd only notice the precision if you really went back and studied. At the same time that it was totally precise, every take was also completely unique in terms of the variation on where she was, how one word led to another and how one action led to another. She'd do a take, and it'd be brilliant. You'd be like, "God. That was fantastic." And the next take, you'd be like, "Oh, I get it. She has realized she needs to fine-tune this moment."
CM: It sounds like having so many options is an editor's dream.
SM: It can be. But sometimes it can be difficult when that happens. When I'm putting a cut together for the first time, I like to go on a quick burst. I don't want to be in my head too much. There's always time for me to go back, analyze the cut and become more critical of what I'm doing. I like to surprise myself and just go on instinct as much as possible, putting things together. When I'm going through dailies, a lot of times if something is really good and exciting, I'll latch onto that, and say, "Okay, this is going to be the thing that I'm going to base it on."
But when you start to have three or four versions of that, you're like, "Okay, that's great. But that's great, too. And that's great." They're all great, but for different reasons. Especially when you're in the mode of just assembling the movie for the first time, you don't know the shape of the whole thing — you don't know everything that came before and that's coming after. Your decision about why you pick this one versus that one is a little bit arbitrary at that point. You get a little bit neurotic: "Maybe I'm forgetting this other great thing."
CM: So how do you deal with that?
SM: You have to push forward — and, of course, rely on your partner, the director, to come in and react to that and remember. That's one thing that John brought to the table on this. Having come from a history of doing so many great TV shows with big casts, he had a remarkable sense of recollection: "Okay, in this scene I remember Meryl tried one like this, or she tried one like this." We can go back then and find it.
CM: It sounds like the choices didn't end up overwhelming you.
SM: That's not to say it wasn't daunting — especially going through and putting together that dinner scene. I couldn't do my usual thing — "In the next three hours, I'm going to finish this scene." The first assembly of that scene took about two weeks; it's 20 minutes long with 10 people that you can track.
John covered it brilliantly. They split it into about four sections. For each section, they had A and B cameras rolling. They'd have two shots, singles and slightly looser, one side of the table and the other. After about the third day of shooting, I remember calling him, and saying, "I know it's not going to be the perfect performance, but could you just get everybody around the table and just run it through in a wide shot?" He had a couple of moments where he actually covered the whole table, but he didn't have it the whole way through. Not that we would necessarily use it a lot, but just in terms of being able to use it as placeholders in the assembly every now and then. And he said, "No." After the actors had been killing themselves for three days, he was not about to sit them down and say, "Okay, now let's do it all the way through from beginning to end." He was right. I was asking that to make it easy for me.
CM: Steven Soderbergh sometimes edits his own work in between working with you on films.
SM: He started editing his own stuff way, way back when. He was already really a great editor. It's like you're working with someone who knows the value of what it is that you're doing, and knows what you can do.
CM: But the films you've cut for him have a different quality than the ones he cuts himself.
SM: He inspires me. I remember specifically with The Informant! [2009], when I was watching the dailies come in, I got so excited. But when he's cutting himself, he's obviously putting it together the way he imagined it — but he's going to stop at that point. He's not necessarily going to be as excited about his own stuff, and try other things with it. I believe that's why he continues to work with me. I get what he's doing, so I'm not trying to take his stuff and completely transform it into something else. But at the same time, I will dig deeper and try other things that he maybe wouldn't have thought about or wouldn't have tried because he was prepping another movie and didn't have the time.
CM: Why do you think it's worked out that you've been able to work with certain directors again and again?
SM: Once you work with people — and you get them and they get you — you are excited creatively by the same types of things. I love the movies that I've made, I love watching them, and I love that people watch them. But for me, it's all about that moment in the room. My day-to-day thrill comes from sitting in a room with a director and working a scene, doing something and exploring it, analyzing it and then re-doing it.
It's that teamwork. Once you got a director and editor with whom that really works, it's natural that the director would want to have the editor again. It's a lot more fun to go on the second date than the first date.
About Peter Tonguette	57 Articles
Peter Tonguette is a freelance writer whose work has appeared in The New York Times, The Wall Street Journal, Sight & Sound, Film Comment and Cineaste. He can be reached at tonguetteauthor2@aol.com.
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Home > All Posts > 6 $ Essay Is Offering The Help Of Masters' And PhD Degree Owners To Change Your Quest Document Without Hassles!
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Queens Vietnam War veterans to be forever remembered at new memorial at Elmhurst Park
By Anthony Giudice Posted on June 12, 2017
Photo by Anthony Giudice/QNS
The 429 Queens men who made the ultimate sacrifice fighting for this country's freedoms in the Vietnam War will soon be forever memorialized at Elmhurst Park in on the Elmhurst/Maspeth border.
Members of the Vietnam Veterans of America Chapter 32 gathered at the park on Friday, June 9, as City Parks Commissioner Mitchell J. Silver, Borough President Melinda Katz and several other elected officials unveiled plans for the memorial.
"I am just so proud of today, and I'm more proud because I know what we went through to get here. Four-hundred-twenty names are now scheduled to be on the Vietnam Veterans Memorial," Katz said. "Those are 420 folks who have not been memorialized in the borough of Queens in a permanent fashion, and they should've been a long time ago. [It] should've been when they came home, should've been a long time ago. And are now going to get some recognition for their families and for their brothers and sisters in arms as folks come here and are able to reflect on the war and able to show the next generation what we should be doing for our veterans."
The $2.85 million project will transform the northern portion of the park into an expansive memorial with two semi-circular granite walls.
One wall will bear the names of the men from Queens who gave their lives in the war, and a history of the war with a list of key events and dates. The other wall will have the five crests of the military, as well as the Vietnam Service Medal etched on the outside, with the inside having an etching of bamboo, a common element of the war.
Renderings courtesy of NYC Parks Department
Other features of the memorial will be a flag pole, benches, a lawn, planted trees, and a map highlighting important battles in the Vietnam War. The space will be used for small memorial gatherings to honor the heroes, and as a place for residents to reflect on the sacrifices all veterans have made in service of the country.
For over a decade, Chapter 32 has been lobbying to get a memorial in Queens. The initial push was led by Pat Toro, the former president of Chapter 32. After Toro died, Michael O'Kane, current president of Chapter 32, spearheaded the push for the memorial.
Due to O'Kane's persistence, the memorial project was fully funded by the borough president's office and the City Council.
"Never again shall one generation of veterans abandon another," O'Kane said. "That's the Vietnam Veterans of America's founding principle, and if the creation of this monument isn't the absolute embodiment of that, I don't know what is."
The plans for the memorial still need to be finalized before work starts in fall 2018. Parks expects the project to be open by fall 2019.
Stillness Concert by Sputter Box
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King Manor Museum


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INSIDE THE 'SNITCH TANK': Informant…
NewsCrime + Public Safety
INSIDE THE 'SNITCH TANK': Informant who was fed, cared for now says she lied
John Abel was sentenced to death for shooting and killing merchant Armando Miller on Jan. 4, 1991, outside the Sunwest Bank in Tustin.
Lorraine Ripple now says she lied about John Abel's role in the murder. "I can honestly say that John never told me that he shot anybody," Ripple said in a 2011 statement taken by Abel's defense team. The Abel case stands out among those included in Sanders' complaints against the Orange County D.A. because it doesn't involve a snitch who collected information in jail. It involves the intense and long-running cultivation of a former crime partner, already destined to spend the rest of her life in prison.
Lorraine Ripple, John Abel's former crime partner, who was serving a more than five-decade sentence when she testified against him. She told the jury that Abel had confessed to the Tustin shooting a few months after it happened. Lorraine Ripple now says she lied about John Abel's role in the murder. "I can honestly say that John never told me that he shot anybody," Ripple said in a 2011 statement taken by Abel's defense team.
By Jodie Tillman | Press-Enterprise
Editor's note: This is Part 3 of a three-part series on jailhouse informants.
Part 1: Salon massacre case sparks hard look at jailhouse informants
Part 2: Use of jailhouse informants could endanger death row cases
Eighteen years ago, John Abel looked the part of unrepentant killer. He grinned and twiddled his thumbs as a judge sentenced him to death for the 1991 murder of a merchant's son outside of a Tustin bank.
But Abel has maintained his innocence. Now he is an exhibit in Assistant Public Defender Scott Sanders' 752-page court filing in August alleging decades of misconduct by Orange County prosecutors and law enforcement.
At issue is the state's star witness: Lorraine Ripple, Abel's former crime partner, who was serving a more than five-decade sentence when she testified. She told the jury that Abel had confessed to the Tustin shooting a few months after it happened.
Abel's appellate attorneys, Michael Belter and Michael Lasher, say Ripple's testimony was tainted by undisclosed benefits, including a transfer to a federal prison, that she expected to receive as a result of her cooperation.
The transfer never materialized, though Ripple did get another unusual perk: regular deliveries of snacks and toiletry items, and hundreds of dollars in money orders, from the Tustin detective who headed up the case. Some of the money came out of his own pocket, and the packages were arriving eight years after the Abel trial ended.
The Orange County District Attorney's Office says the claims of legal consideration for Ripple, now 66, are untrue and that investigators had other compelling evidence against Abel, now 71 and housed at San Quentin State Prison.
But there's another twist in the case: Ripple now says she lied about Abel's role in the murder.
"I can honestly say that John never told me that he shot anybody," Ripple said in a 2011 statement taken by Abel's defense team.
The Abel case stands out among those included in Sanders' complaints against the Orange County District Attorney's Office because it doesn't involve a snitch who collected information in jail. It involves the intense and long-running cultivation of a former crime partner-turned-informant, destined to spend the rest of her life in prison.
But thousands of pages of records filed in Abel's pending habeas corpus appeal with the California Supreme Court don't answer with certainty the crucial question:
When was Ripple telling the truth – and when was she lying?
On Jan., 4, 1991, Armando Miller, 26, withdrew $20,000 from a Sunwest Bank in Tustin, a routine withdrawal he made on behalf of his family's Alameda Market in Orange. As he left, a man in the bank's parking lot walked up to Miller, shot him in the head and left with a paper bag. The money was never recovered.
The trail for Miller's killer grew cold until four years later, when Tustin detective Tom Tarpley reopened the investigation. A 2-year-old tip naming Abel as the killer led the detective to Ripple, one of Abel's former crime partners, who was serving a 45-year sentence at Valley State Prison for Women on armed robbery convictions.
In an interview with the investigator, Ripple said that Abel had told her about killing Miller, that he had used a .22, that he knew Miller made large withdrawals and that he was lying in wait in the parking lot. She said he even gave her the murder weapon, which she traded for drugs.
Her letters to Tarpley indicate she was willing to testify. Other documents suggest she was reluctant to help until she claimed prison officials turned up the heat.
In the summer of 1995, the prison decided to relocate Ripple from a security housing unit – where she was confined after getting caught with an ice pick – and put her in general population, where she had enemies she feared would kill her.
Officials did not say in the record why they decided to end her indeterminate disciplinary sentence. But documents quote Ripple complaining that the prison warden, Lewis Kuykendall, gave her an ultimatum in June 1995: Refuse to cooperate with Orange County authorities and get moved to general population.
Ripple said a prison lieutenant tried to sweeten the deal, telling her that if she cooperated, she would get her a transfer to California Institution for Women in San Bernardino County, which was much closer to her grandchildren.
"The choice was I would either testify for Orange County and transfer to CIW … or I would be stuck (at Valley State) back with the same people that I had major run-ins with," she later said. Ripple said she refused.
After a prison committee approved the move to general population in September 1995, Ripple flew into a rage and shoved a prison guard. Prosecutors in Madera County, where Valley State is located, charged her with battery. She later entered a plea deal that got her an extra eight years in prison – and kept her in the security housing unit. She eventually agreed to testify.
Her statements about the alleged ultimatum were contained in California Department of Corrections and Madera County court records. Those records never made it to Abel's trial team, which could have used the information to argue that Ripple had ulterior motives for testifying. Orange County prosecutors and Tustin police later said they did not know about the statements, which prison officials denied making.
The California Attorney General's Office, which handles death row appeals for county prosecutors, said in its 2010 Supreme Court filings that the District Attorney's Office had "no duty to ferret out impeachment information possessed by an agency or individual not part of the prosecution team."
LOBBYING BEGINS
At Abel's trial, Ripple testified that the only benefit she'd been promised for testifying was a temporary, one-year transfer to the California Institution for Women. She told jurors she expected to return after that to the difficult conditions at Valley State.
Once the trial ended in June 1997, however, Ripple and authorities began lobbying prison officials for a transfer to the federal prison system, records show. Two months after the trial, the Orange County District Attorney's Office put the request in writing, according to Department of Corrections records.
Their reason: Another female inmate had distributed documents from the Abel case showing Ripple had snitched. Ripple would never be safe in California prisons, given Abel's prison gang connections.
"There is very little the system can do to him if he has Ms. Ripple killed," Tarpley, the Tustin detective, wrote.
"Based on the notoriety of her crime partner, it would be difficult or impossible for her" to remain in the general prison population, Kuykendall, the warden, wrote in November 1997 to a department committee.
But the next month, the California Department of Corrections' board denied her transfer to the federal system, saying she had plenty of protections in the security housing unit.
The lobbying efforts did not stop.
In March 1998, the warden again asked for an out-of-state transfer for "protective custody and safety needs." Tarpley had informed the prison that the victim's family would use its sway with U.S. Rep. Loretta Sanchez to get the transfer approved, according to a Valley State Prison memo.
Eventually, the state offered Ripple a transfer to a Florida prison. She turned it down, saying she had enemies there. Her hopes for a transfer to the federal system faded, and her medical records show worsening psychiatric problems.
In March 2001, a mental health worker at the prison wrote that Ripple was "upset with the DA's office as they had apparently told her that she would be sent to the federal prison in the past."
MONEY FROM DETECTIVE
Contrary to what the Abel jury heard, Ripple did not return for long to Valley State. Eight years after the trial, she was housed at CIW, the San Bernardino County penitentiary.
She was far from a model inmate. By 2005, CIW officials were trying to get her transferred out of the facility and into one with higher security. They believed Ripple was supplying razor blades to other inmates.
As he looked into Ripple's file, Lt. Brian Pahel, a Department of Corrections investigator, learned that she was receiving the quarterly packages, including $20 and $40 money orders, from Tarpley. Another prison employee told him that she was at CIW at the request of Tarpley.
Tarpley found out about the proposed transfer and called Pahel, asking that Ripple be kept at CIW, Pahel later wrote. Days later, Pahel heard from Lew Rosenblum, the Orange County prosecutor on the Abel case.
Rosenblum "expressed concern that if Ms. Ripple recanted her testimony, Mr. Abel's case would end up back in court," Pahel wrote.
But Pahel had had enough. In March 2005, he banned Tarpley from CIW without the consent of the warden. He wrote that if Tarpley was so concerned about Ripple's safety, he should not have been sending her packages marked with Tustin police insignia.
Pahel's complaints spurred an investigation by the California Attorney General's Office, which was conducted by the California Bureau of Investigation.
Tarpley told CBI agents he had first sent petty cash from the Tustin Police Department, then used his own money, according to a transcript of the interview included in Abel's state Supreme Court records.
The detective estimated sending several hundred dollars' worth of money orders and packages from 1997 to 2005. But he insisted the money was tied to Ripple's post-trial cooperation with other agencies on their cases. He cited her role in a Department of Corrections internal investigation.
"There was some personal risk for her to do that and that was all at my encouraging," he told the agents.
He said he did not tell his bosses that he was sending his own money because they had already approved using petty cash. "It was probably the wrong decision that I made at the time, but I just decided, hey, I'm gonna take care of this on my own," he said.
The agent asked if Tarpley, as a cop, felt "odd" sending an inmate his personal money.
"Well, no, I didn't," Tarpley said. "I felt that she had done what we had asked of her – and I'm not referring to the John Abel case. I'm referring to her cooperation in terms of this internal affairs investigation and then other cases or other information she provides down the road."
Tarpley, now retired, told the Register in a recent interview he never faced any sanctions as a result of the inquiry. He agreed to talk generally about the case but declined to discuss the money in greater detail.
'DONE CASE'
Abel's appeal remains pending before the California Supreme Court, which rejected his first, automatic appeal in 2012.
Tarpley told the Register that he believes Ripple changed her story because she is scared. Abel, he said, is a hardened criminal who got caught. He had racked up more than a dozen armed robbery convictions, court records show, and was an admitted heroin and cocaine addict who had run up big gambling debts in the early 1990s.
"He's not the poster boy for reforming the criminal justice system," said Tarpley, who added his only regret is not getting enough evidence against several people he suspects of helping Abel.
In a letter to a Register reporter, Ripple said that Abel is "not an innocent victim." She said he and another man played a role in the murder of Miller, though "neither actually pulled the trigger."
The triggerman, by Ripple's account, was Robert Chase, a former associate of both her and Abel. In 2008, Chase signed a confession saying that he shot Miller. Chase, a convicted murderer, gave the statement to Abel's defense team just before he died in prison from health problems. Law enforcement dismissed the confession as a dying man's favor to a former associate.
Ripple, now housed at Central California Women's Facility in Chowchilla, agreed in her letter to an interview to discuss the Abel case "and the beauty, and nightmare of circumstantial evidence." But prison officials said Ripple was being disciplined and had lost her visiting privileges until July.
Prosecutors now downplay the significance of Ripple's testimony in the case. In its recent response to Sanders' filings, the Orange County District Attorney's Office said the Abel case was irrelevant, in part because there was evidence other than Ripple's testimony.
There was no forensic evidence, but prosecutors say other details add up. Abel had a personal connection to the Miller family. He matched the original description of parking lot witnesses. And there were two eyewitnesses who picked him out of a lineup, four years after the crime. One of these eyewitnesses declined to identify Abel in the courtroom.
During Abel's trial, the prosecutor appeared to anticipate jurors' misgivings about the eyewitness testimony. He made reference to Ripple's story.
"If you believe Lorraine Ripple, (Abel) is guilty. That's it. Done case," he said. "One witness is sufficient to prove the case."
Contact the writer: jtillman@ocregister.com
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Jodie Tillman


The current Academy of Management membership profile is reaching a significant turning point: more new members now come from outside North America than from within it. In the not-too-distant future, the majority of AOM membership will be based outside North America. The HRIC conferences are designed to better integrate this global community and disseminate HR knowledge to management researchers and practitioners wherever they live and work. Building on the successes of the first HRIC in Beijing, China (June 2014), and the second HRIC in Sydney, Australia (February, 2016), this third HRIC seeks to advance of understanding of HRM in the global context under the theme of Shifting Landscapes of HRM.


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OTTAWA WA'A
Ice Dragon Boat
March 20 - June 27, 2021
Festival Schedule 2019
Accommodation Partners
Ramada Ottawa on the Rideau
Les Suites Hotel Ottawa
Greening Efforts
Smoke-Free
Paddler's Paradise
BREAST CANCER SURVIVOR FLOWER CEREMONY AND RACE
Ottawa Taichi Chuan Association
Safer Music Spaces
Participant Login
Create & Manage a Team
Challenge Cups
Race Format & Schedule
Tim Hortons Team Area
Race Results Archives
Rideau CrossFit
SPONSOR NEWS: FESTIVAL SIGNS A NEW THREE YEAR TITLE SPONSORSHIP AGREEMENT WITH TIM HORTONS!
The Ottawa Dragon Boat Festival is pleased to announce a new three-year agreement naming Tim Hortons as the festival's title sponsor through 2018.
The three years covered in the agreement are each going to be very special for their own unique reasons. 2016 is the 10th anniversary of Tim Hortons support of the Festival, first as the sponsor of the Children's Area before becoming its Title Sponsor. The 23rd Annual Edition will be held from June 23-26, 2016 at Mooney's Bay Park, Ottawa. The agreement also includes the 2017 Edition when the Festival will be helping to commemorate Canada's 150th celebration and 2018 which will be the Festival's 25th Anniversary!
"We are thrilled to again be the title sponsor for such an incredible event. Giving back is important to us and the Tim Hortons Ottawa Dragon Boat Festival benefits so many great causes. The festival is great for families, challenging and rewarding for participants and wonderful for our community." – Christopher McCluskey, Ottawa Tim Hortons restaurant owner.
The festival is fortunate to have this long-term partnership and to secure its title sponsor through it's 25th anniversary in 2018. Partnering with an iconic brand like Tim Hortons and more importantly an organization that gives back to it's community in this way has been so important to the longevity and impact the Festival has been able to have in the National Capital Region. Festival CEO John Brooman says "We are truly honored to continue our long term partnership with Tim Hortons. Their support has made so much possible for our event and our success reflects their continued belief in us. Keeping our festival free to the public while we continue to grow has been important to the organization and to our patrons and Tim Hortons is integral to that. We greatly appreciate Tim Hortons and all the local store owners, we couldn't do it without them. We look forward to the continued support that Tim Hortons has shown over the past ten years. Together, the next three year's celebrations will be spectacular in every way!"
About the Tim Hortons Ottawa Dragon Boat Festival
The Tim Hortons Ottawa Dragon Boat Festival is a multi-day celebration of the arts, sports, culture and heritage that attracts over 75,000 visitors each year. The Festival, boasts 200 teams in competitive, corporate and community categories, is one of the hottest sporting and entertainment events in the Nation's Capital. Recognized as North America's premier dragon boating festival the four day celebration offers free admission to multiple stages with world class programming, marquee concerts, amusement attractions, sports demonstrations, a variety of artisans, exhibitors, delicious culinary treats, beach-side bar, children's area and non-stop racing. The Tim Hortons Ottawa Dragon Boat Festival is made possible by the continued support of Canadian Heritage's Building Communities Through Arts and Heritage, Celebrate Ontario and the City of Ottawa Partnership Program.
Tim Hortons® Overview
Tim Hortons, part of Restaurant Brands International, is one of North America's largest restaurant chains operating in the quick service segment. Founded as a single location in Canada in 1964, Tim Hortons appeals to a broad range of consumer tastes, with a menu that includes premium coffee, hot and cold specialty drinks (including lattes, cappuccinos and espresso shots), specialty teas and fruit smoothies, fresh baked goods, grilled Panini and classic sandwiches, wraps, soups, prepared foods and other food products. As of September 30, 2015, Tim Hortons had more than 4,700 system wide restaurants located in Canada, the United States and the Gulf Cooperation Council. More information about the Company is available at www.timhortons.com.
TIM HORTONS OTTAWA DRAGON BOAT FESTIVAL VIRTUAL EDITION ANNOUNCES 2021 PROGRAMMING
The Tim Hortons Ottawa Dragon Boat Festival is proud to present its 2021 programming from Marc ...
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I have just posted the first Featured Art work of 2009 on the studiotwentysix2 site.
Unfortunately, my time was spread thin towards the end of 2008, and I was unable to update the Featured Art section as much as I would have liked. I have a feeling that my schedule will once again be erratic, but I will make every effort to consistently update the work — perhaps every other week.
To learn more about the mixed-media piece cipher , visit the link below.