Media mogul Michael Bloomberg and Goldman Sachs CEO Lloyd Blankfein spoke about their feelings on bitcoin during a recent interview.
On November 30, 2017, Goldman Sachs CEO Lloyd Blankfein, during a joint interview with Michael Bloomberg, said, "If [bitcoin] works out and it gets more established and it trades like a store of value ... we'll get to it."
On bitcoin, Blankfein maintains, "It's not for me. But there's a lot of things that weren't for me in the past that worked out very well ... If it was 20 years forward and it worked out I could tell you why it worked out. But based on everything I know, I'm not guessing that it will work out. But I can't say – I'm not going to stand there and be stride and say it's a fraud, it can't; because it might."
Although the CEO hasn't revealed any single strategy Goldman Sachs has regarding cryptocurrencies, the investment bank has acquired a patent on crypto securities settlement, and while rumors of a possible crypto trading operation may not ultimately bear fruit, Blankfein has at least admitted in tweets that bitcoin has been on his mind.
Lloyd identified the volatility of cryptocurrencies as a reason for deferring his interest. He also called bitcoin "a vehicle for perpetrating fraud because you can't trace it," but was quickly forced to admit, "So is cash, but guess what: it's hard to accumulate cash sometimes." It should be noted that bitcoin's transaction ledger is completely public and traceable.
It is also notable that Goldman Sachs admitted to defrauding investors during the 2008 financial crisis, and agreed to pay fines to the tune of $5.1 billion in 2016.
Bloomberg himself may need to revisit his understanding of blockchain technology, which became apparent during the interview. He said, "The Bloomberg system is a blockchain ... instead of having the users control it, we control it, but it has all the attributes of that."
Bloomberg is not a blockchain platform.
Lloyd said that before small business owners worry about bitcoin strategies, they should focus on "opening the doors, producing things that people want to buy" and "dealing with their business planning."
Like what you read? Follow us on Twitter @ETHNews_ to receive the latest Goldman Sachs, bitcoin or other Ethereum business and finance news.


"Good King Wenceslas Sheet Music" is a Christmas Sheet Music, " Good King Wenceslas Sheet Music Christmas" for Piano Sheet Music, Scoring Piano / Vocal / Guitar , Original key: F, number of pages sheet music PDF: 3, and Lyrics song Good King Wenceslas Sheet Music Christmas Free Download.
"Good King Wenceslas" is a Christmas carol that tells a story of a Bohemian king going on a journey.The carol first appeared in Carols for Christmas-Tide, 1853.
Free Download Good King Wenceslas Sheet Music Christmas. Contains printable Sheet Music PDF format.
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text:
ACE Northern California Region
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Unique single-rail coaster RailBlazer opens at Great America (6/22/2018) by Erik Chalhoub - For each of the past few seasons, California's Great America has introduced a major new attraction. In 2016, the park took guests into space with Mass Effect: New Earth, and later that year, introduced WinterFest, adding millions of Christmas lights. In 2017, Great America's Vortex coaster got a floorless remake and transformed into Patriot. Yet,… Continue Reading
Great America 2018 preview: Construction, food, expanded entertainment and more (3/3/2018) by Erik Chalhoub - Last year, ACE NorCal's annual California's Great America preseason tour hit a record attendance of nearly 60 members and guests, all eager to get a glimpse at what was new for the 2017 season. This year, ACE NorCal smashed that record, two-fold. More than 130 ACE members and guests packed Great America on Feb. 24… Continue Reading
RailBlazer construction update, Oct. 21, 2017: Track arrives on site (10/22/2017) by Erik Chalhoub - Work has ramped up on RailBlazer's construction at California's Great America. In the past week, heavy equipment has arrived on scene, and crews have drilled holes for foundation work. CGA also received the first shipment of track from Rocky Mountain Construction's Idaho facility. That wraps up this update. Great America closes for the season on… Continue Reading
RailBlazer construction update, Sept. 9, 2017 (9/10/2017) by Erik Chalhoub - Less than a month after California's Great America announced RailBlazer, land clearing on the site is nearly complete. With the park recently applying for a permit to construct the ride, it appears vertical construction will start soon. Let's take a look at the site as it appeared on Sept. 9. Continue Reading
New prototype coaster at Great America pays homage to California scenery (8/16/2017) by Erik Chalhoub - National Roller Coaster Day was celebrated in a big way on Aug. 16, when California's Great America introduced its newest coaster, RailBlazer. Manufactured by Rocky Mountain Construction, RailBlazer is a prototype coaster based on RMC's new "Raptor" model. Eight riders will traverse in a single file train on a single rail, giving riders a unique… Continue Reading
California's Great America Debuts First of its Kind Single Rail Steel Coaster for 2018 (8/16/2017) by Nicholas - SANTA CLARA, CA – California's Great America will introduce a groundbreaking new single rail steel coaster, RailBlazer, for the 2018 season. RailBlazer will be the first coaster of its kind on the West Coast featuring a single rail track throughout; the design requires the rider to straddle the rail, creating an extremely low center of… Continue Reading
Great America teases 2018 coaster (7/16/2017) by Erik Chalhoub - California's Great America has been teasing a new roller coaster at the park for 2018, dubbed "Project SR1." In late June, observant park visitors noticed a set of painted white tire tracks leading to a construction stake placed in the large grassy area that formerly housed the Invertigo coaster. Written on the stake was "2018"… Continue Reading
2018 Neuheit: Railblazer (Raptor Track Coaster, RMC) @ California's Great America on RailBlazer construction update, Oct. 21, 2017: Track arrives on site
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redpajama_set_name: RedPajamaCommonCrawl


24.3-megapixel APS-C image sensor: Create images of astounding beauty that surpass your expectations with Sony's newly developed 24.3-effective- megapixel APS-C image sensor. The same size as found in most DSLRs, this sophisticated sensor offers high sensitivity in dimly lit environments and strikingly attractive foreground and background defocusing. You'll enjoy the increased light collecting efficiency of a gapless on-chip lens structure, extremely low noise throughout a wide sensitivity range of ISO 100 to 25600, and superb corner-to-corner image quality with lifelike color, supreme detail and smooth tonal gradations that reveal every nuance of your scene..
BIONZ X™ image processing engine: Astonishingly fast, Sony's sophisticated BIONZ X™ image processing engine reproduces textures and details in real time as seen by the naked eye. The resulting images are remarkably realistic with especially rich tonal gradations and a natural three-dimensional appearance. Whether shooting still images or movies, visual noise is nearly imperceptible, thanks to further advanced area-specific noise reduction. Detail reproduction technology delivers more finely detailed textures while diffraction-reducing technology optimizes the performance of any lens you mount to enable advances such as finer details at small aperture settings..
Full HD movies: Press the MOVIE button to start recording beautiful movies that are notable for their sharpness and lack of visual "noise"—in your choice of 60p/50p, 60i/50i or 24p/25p*. New improved Fast Hybrid AF provides remarkably fast and accurate autofocusing and tracking while shooting movies. You can also use P/A/S/M modes to achieve maximum control over how the image looks, and zoom with extra clarity, courtesy of Clear Image Zoom. *NTSC/PAL.
X™ data processing, more advanced AF algorithms and optimized control of the lens drive delivers approximately 35% faster performance than in previous systems. *Among interchangeable-lens digital cameras equipped with an APS-C image sensor as of February 12, 2014, based on Sony research. Measured using internal methods with an E PZ 16-50mm F3.5-5.6 OSS IS lens mounted. CIPA guideline compliant..
plus the capture of fast-moving subjects anywhere on the screen, as well as improved scene recognition and subject size detection..
11 fps continuous shooting with AF tracking: When your subject is moving fast, 11 fps continuous shooting with superior AF tracking performance ensures you capture the decisive moment. This feature makes the most of the superb tracking performance of Sony's wide-area 179 phase-detection AF points to accurately track your subject anywhere on the screen..
Eye AF: Even when capturing a subject partially turned away from the camera with a shallow depth of field, the face is sharply focused thanks to extremely accurate Eye AF. A green frame appears over the prioritized eye when focus has been achieved..
AF mode: Matching the focus mode to the subject assures super-sharp results. The 6000 is the first E-mount camera to offer AF-A, and displays the active AF points even in the AF-C mode so you can easily check if you are focusing on the intended subject..
High-resolution OLED Tru-Finder™: View every scene clearly and naturally on the bright and accurate OLED Tru-Finder™ viewfinder, which offers 100% frame coverage. The new optical system with four double aspherical lenses provides a wide viewing angle of approximately 33° and clear visibility from corner to corner. Clear details, rich tonal gradation, and high contrast are yours in both dark and light environments, thanks to an advanced OLED design that lets you more faithfully preview defocusing, exposure, and other effects. You can also fine-tune the focus by taking advantage of MF Assist and a helpful Peaking function, as well as adjust brightness in five steps to match the shooting environment..
Swift, intuitive operation: Controls are refined for intuitive DSLR-style operation while viewing scenes through the viewfinder. The mode dial enables quick selection of shooting modes with your thumb, while the control dial and control wheel make it easy to set various parameters..
Customizable buttons: Button customization lets you shoot just the way you like for greater speed and convenience. You can assign any of 47 functions* to any of 7 buttons (including 2 dedicated custom buttons), and assign up to 12 functions to the Fn button for quick access. *Some functions can only be assigned to certain buttons..
Tiltable 3" LCD screen: Shooting comfort is enhanced by a 3" LCD screen that smoothly tilts to accommodate everything from low to high-angle shooting. This tilting flexibility combines with the camera's compact mobility to greatly expand your shooting options..
Customizable UI: The User Interface takes on many of the features of A-mount cameras to enable smooth, personalized operation. Quick Navi Pro displays all major shooting options for quick confirmation and adjustment. The Fn button also enables swift access to preferred features..


text:
package pkg

// KbPackageMetadata is slightly odd in how it is expected to map onto data.
// This is critical to grasp because there is no MSRC cataloger. The `ProductID`
// field is expected to be the MSRC Product ID, for example:
// "Windows 10 Version 1703 for 32-bit Systems".
// `Kb` is expected to be the actual KB number, for example "5001028"
type KbPackageMetadata struct {
	ProductID string `toml:"product_id" json:"product_id"`
	Kb        string `toml:"kb" json:"kb"`
}

redpajama_set_name: RedPajamaGithub


Die-hard "Saved By the Bell"-ers may already know that the ultra-cheesy, but mega-popular 1990s sitcom was actually a spinoff of "Good Morning, Miss Bliss," a Disney Channel show that included such characters as Zack Morris, Mr. Belding, Lisa and the loveable nerd Screech. The show ran from 1987 to 1989 and took place in Indiana, not California, where SBTB was set [source: IMDB].
The conspiracy lies herein: During GMMB, Zack was – don't shoot the messenger – a loser with zero mojo. All of a sudden, SBTB debuts and he's been transplanted with a number of friends and his principal to sunny California, where he always manages to pick up girls, make mistakes and learn his lessons in a disarming, amiable fashion. While Zack and co. maintain their previous character names, a couple of his "best" friends are never seen again (maybe they crossed paths with the Count during the move?). The theory is that SBTB is an elaborate fantasy world in which Zack is the Golden Boy Who Can Do No Wrong, as opposed to the sad guy with crappy friends and no game [source: Bailey]. Is it possible? I guess so, but it's more likely that producers saw greater potential for Zack's character as a stud ladies' man and decided to take him somewhere he'd be able to look good in a bathing suit.


Advocating takes courage. Lots of courage to advocate for ourselves. To stand up against groups on continuous attacks. To have "voice" that refuses to be silent even when there's intimidation. Soaking when others are hoping for silence to cover up their antics. Even if there's something that they can hold over an "advocate" heat that advocate should still speak out. Even when lies are told. Being able to use the voice that was given to us by God is a blessing. Refusing to stand for being attacked and bullied. Activism is important. If we continue to remain silent then they will continue to beat us down. Have no fear when advocating for self or others. When we're victimized again and again. We may feel as if there's no fairness taking place. Sometimes it is up to advocates to go the extra mile and make a way for those who are afraid to speak out.
There's so many injustices that need to be addressed but there's also too many unwilling to address those injustices. Society is so messed up because there's so many rules being broken. Sometimes we just need to be in silence in order to gather our thoughts. The injustices haved left society. The civil rights violations, racism, and discrimination haven't stopped. The threats to a citizen and voter continues because of abuse of power. The sad thing is. So many can witness injustices and notvsay a word. So it's up to the advocates to speak up.
Going through the hardest things in life can help bring the changes that are so badly needed. There's in no knowing that eventually justice will be served. Experiencing any type of injustice can create anger. Wondering why so many would try to take a person down. Sometimes we may not understand why certain things occur but the advocating can bring some good to our lives and society. Society can use a make over. Even no one else stands with us. We can't give up because nothing will be accomplished by doing so. So many have faced injustices. So many have been forced to be silent.
The harassment from individuals who feel they have every right to beat a person that because of their positions. How are citizens suppose to be upright when leaders have more xorruption under their belt than those in prison. What a system. Finding a way to make it through by speaking. Communicating our story.
Addressing certain topics isn't easy. In fact at times it's quite painful. For advocates that believe in prayer. Praying is best when having to deal with the rough seas.
If we expect society to get better than we have to refuse to remain silent about issues that can damage our well being. Imagine how many people are facing injustices that no one would dare touch. The constant wonder about humanity. Not many seem to care anymore. Advocating in anyway can be tough. Just dealing with the unfairness can be disturbing.
The import of advocating cannot be overemphasized. It is needed for good governance to be achieved. It is the scale the balances the society. I sometimes call it constructive criticism. When it judiciously utilized it shape an ideal society. It is a tool for checkmating erring leadership.My believe is that a society that is devoid of sincere and thorough advocators is not an ideal society.


I'm in a coffee shop crying. I'm frustrated, tired, burnt out, and crying in public into my sub-par coffee and spending about 15 minutes attempting to get onto wifi. All so I can write this paragraph.
I drove an hour to get to childcare and then to this coffee shop. I traveled a windy road of communication arranging child care. I spent a good portion of last night packing food, toys, books, and back up clothes. Then, when a snag came up in my plan and I was frustrated and trying to reevaluate what to do. Then I got into a fight with my wife (who is now my ex-wife, but not due to this fight). Now I'm at a coffee shop. All so I can drop whatever I am writing to check my phone when it vibrates to see if my daughter is ok. So I can still be a completely available parent. But also on this break where I am supposedly writing. Ha.
I'm introverted. I gravitate towards space. I grew up an only child. I lived in the suburbs. I went to small schools. I grew up with space being plentiful. I was always surrounded by space. In my twenties I lived in New York City and Boston. Space got smaller and a lot more crowded. But, I've always hacked a way to something quiet. A corner in the Boston Public Library among the green shaded lamps and dark wood desks. I'd sit there and pretend to read, but really I'd stare into the void and absorb my alone time. In New York, I'd take the subway to the last stop on the A line in Queens. When I got off the subway, I'd walk the ocean rimmed outer reaches of the borough towards lonely beaches and migrating birds. I found space. I made space.
It has gotten so much harder to find space now. The logistics and packing are overwhelming. The communication is shoddy. The understanding from people who aren't in it as full time parents is nonexistent. The emotional and physical effort it takes to create space is daunting. Sometimes it feels easier to just go with the flow. Allow the natural flow of being crowded out. But, then I don't think I'd ever write a sentence or do a sun salutation or cry in a coffee shop again. So, I keep moving my arms through water, making ripples around me. Hoping to drive some momentum to create a wedge of space for myself.
This doesn't even consider what it's like to leave my kid. I feel such a pang of guilt whenever I leave her. My mind reels with questions and doubts. Shouldn't I want to spend time with her? Why would I want a break from her? I love her so much. She's perfect and my favorite human in the entire universe. What if she's been teething? What if she's been off? Me leaving just adds another thing for her to deal with. Why would I want to cause her suffering? Why would I want to make things hard for her? All these thoughts go through my mind. And, that is if she doesn't cry when I leave. When she does cry, I think I should bag the whole thing. She needs me. I need to stay. The last thing I want to do is cause her any pain. What no one explains very well is that the most likely person to cause their kids pain is their parents.
I don't need a break from my daughter. But, I do need a break from parenting. From responding to everyone else's needs first. From being responsible for everyone's well being. From being crowded out. When I take a break from these things, I can be more present for my daughter. Becoming a parent has taught me a lot about how to hold space and direct my full attention and sensitivity to one small little being. In order to be able to continue providing that deep, full level of care I also need to learn to tend to myself.
The guilt, difficulty in getting away, fight with my wife, and crying in a coffee shop all made me question whether or not getting away for a few hours today was actually worth it. It wasn't the break I needed and it took a lot of labor and aggravation to make it happen. But, it was something. It's practice. It's rehearsing what it could look like for everyone, including myself, if I got away for a few hours. It's rehearsing my ability to take up space and find alone time. It's practicing what it feels like to unfurl.


JOB SUMMARY: Estimator is responsible for preparing Quotes and Estimates using an MRP system. The Estimator reads prints and makes estimates from conceptual prints, determines the most cost effective methods of manufacturing new work, and develops fabrication plans. Daily interaction with customers, vendors, and other employees to determine job feasibility. Assist staff to source and price material for quotes. Based on MRP and Management request, purchase raw materials, steel, stainless steel, aluminum and other metal products. Position will also purchase hardware, shop consumables and tooling.
Produce the highest quality work, in accordance with and offer suggestions for improving K-zell Metals' quality program.
Help track job and shop cost by accurately entering information as required on the computer and shop records.
Analyze blueprints and other documentation to prepare labor and material estimates.
Review and analyze actual costs to find ways to improve shop efficiency.
Competitively bid material purchases with vendors to ensure best pricing and delivery.
Maintain K-zell MRP, evaluate, and maintain stocking levels for material and hardware.
Monitor and maintain K-zell Purchase Order System.
Analyze bid win / lose data for marketing and pricing improvements.
Works within and promotes corporate values.
Compares prices, material and customer requirements for vendor selection.
Coordinate incoming shipping and monitor PO fulfillment.
5 years experience estimating shop labor and doing material takeoffs.
Excellent at basic math and geometry.
High School Grad. Tech School Desirable.


Cross-party support for those convicted of animal cruelty to receive tougher sentences has been voiced this week.
Dartford's Tory MP Gareth Johnson and Labour councillor Daisy Page have together backed a campaign from Battersea Dogs and Cats Home.
The charity, which has a branch in West Kingsdown, has highlighted that torturing an animal to death carries a maximum sentence of six months in prison, but flytipping can see convicts jailed for up to five years.
"When I worked in the criminal justice system I saw just how inadequate the current penalties for animal cruelty can be," said Mr Johnson.
On Tuesday, Mr Johnson was joined by Dartford's deputy Labour leader, Cllr Page, to voice concerns.
The Littlebrook ward councillor added: "England and Wales has one of the lowest animal cruelty sentences in the world.
Labour MP Anna Turley's bill on tougher sentencing is due for its second reading on Friday.


text:
Justice Court audit reveals discrepancy in bail balance
by Kelly Zegers |
An audit of the Riverhead Justice Court found that a bail bank balance is approximately $23,000 more than is accounted for in transaction logs, according to a draft audit report presented to the Town Board Tuesday.
Don Hoffman, a CPA at Cullen & Danowski, explained that meant there was more cash than the court's detailed records of amounts indicate it owes individual people who post bail.
The court's accounting director, Roberta Morrissey, said she believes this most likely happened due to errors in accounting prior to a transition period to a new log in 2008, Mr. Hoffman said. Auditors did not perform additional work past that point, but recommend the town and justice court consider how to reconcile and account for the extra $23,000.
Mr. Hoffman said that from one perspective, the fact that the cash account has more than the detailed records is a "good thing, as opposed to the other direction."
Overall, the records were well-maintained and cash transactions that were tested were accounted for, according to the draft report.
The audit process included interviews with all justice court staff and justices. Mr. Hoffman noted the staff is experienced and knowledgeable, but said another recommendation would be to have staff some up with written procedures "associated with come of the things that they know right at the top of their heads" and provide some cross-training among staff.
audit, Justice Court, Riverhead Town Board, Riverhead Town Justice Court
Town Board expected to set Feb. 27 EPCAL sale hearing
A packed barn of family and friends says goodbye to Lyle Wells
With autumn just around the corner, police chiefs in Riverhead and Southold towns have been meeting regularly to come up…
Don't let go of that balloon, it could soon cost you
County lawmakers are considering a ban on balloon releases, citing discarded items littering beaches and posing a threat to wildlife. …
The South Jamesport post office on Second Street remains closed, nearly four months after it was shut down due to…


How does studying lake sediment cores help scientists uncover past climates?
Researchers take cores of trees, corals, ice, ocean floors, and lake sediments to learn about past climates. The cores give "proxy" information about the past. A proxy speaks for someone else and in the case of past climates proxies (ice cores, tree cores, and lake cores) speak for what was taking place thousands or millions of years ago. For example, a burn scar in a tree core can "speak" about a fire that came through the forest years ago. Researchers are able to count the rings or layers to gain insights in to how long ago the proxy took place. In the case of lake sediments found in the Valles Caldera, scientists have an excellent record of plant pollen which tells us what kinds of trees, shrubs and grasses were growing in the area. Since there are some plants that prefer warm conditions and some that prefer cooler conditions, scientists can look at the proxy data and reconstruct past climates (paleoclimates) from the core sediments.
Research data: Fawcett, P.J., J.P. Werne, R.S. Anderson, J.M. Heikoop, E.T. Brown, M.A. Berke, S.J. Smith, F. Goff, L. Donohoo Hurley, L.M. Cisneros-Dozal, S. Schouten, J.S. Sinninghe Damsté, Y. Huang, J. Toney, J. Fessenden, G. WoldeGabriel, V. Atudorei, J.W. Geissman, and C.D. Allen. 2011. Extended megadroughts in the southwestern United States during Pleistocene interglacials.
Learn how to use scientific data to understand the Earth's systems by interpreting the graphs and charts.
Under Labs and Activities you'll find a student lab sheet for students to interpret graphs showing different pollen counts over time and learn more about how pollen is used as a proxy.
Peter Fawcett received his PhD from Pennsylvania State University in the study of past climates (paleoclimatology) and he is a professor at the University of New Mexico. He is conducting research in the Valles Caldera to find out how climates have changed over time and how one might use this research to understand future climate change. In Dr Fawcett's research, it is important to know about how the Earth systems are interconnected and how these interactions impact the geochemical cycles, plate tectonics, and atmospheric and oceanic dynamics, and in turn, how they impact climate. Fawcett and his colleagues are analyzing sediment cores for proxy data; such as plant pollen, ash deposits, and isotopes to reconstruct past climates. Dr. Fawcett's reconstructions of climatic influences will be important to understanding the impact of anthropogenic climate change and the future of the arid Southwest.
SERC Palentology How can we infer past climates?


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Dounreay's Shaft to be Emptied and Demolished
by Acorn | Apr 24, 2019 | News | 0 comments
Six contracts involving almost 30 companies and potentially worth up to £400m have been announced as part of the decommissioning of Dounreay.
The site of Britain's former centre of nuclear fast reactor research and development, near Thurso, is being demolished and cleaned up. The new contracts include dealing with the 1950s-built shaft, which plunges 65.4m (214.5ft) below ground.
Radioactive waste was disposed there from 1959 until the late 1970s.
An explosion in the shaft ended the practice in 1977.
Colourful myths surround the site, including claims that a former worker dropped his mother-in-law's ashes inside to comply with her wish to be scattered somewhere unusual.
An unwanted car was also said to have been disposed of at the structure, which is 4.6m (15ft) wide in places.
The newly announced contracts, which are initially for up to four years and could be extended for an additional three years, also cover the demolition of laboratories, waste pits and the silo.
The silo is described as being like a swimming pool with a concrete roof. It was also used for the disposing of radioactive waste.
Companies working on the contracts will retrieve waste from the different sites, repackage the waste for consignment at modern waste facilities.
Stephen Adamson, head of commercial services at Dounreay, said: "This agreement will deliver real and visible signs of progress towards achieving our mission.
"It is about forming long-term partnerships so that the successful companies can work alongside our own Dounreay staff, ensuring a first-class team combining the best site skills and experience with the wider industry knowledge and innovation that the supply chain can offer."
Information retrieved from: https://www.bbc.co.uk/news/uk-scotland-highlands-islands-48036793


Costa Rica's massive Turriabla volcano spews incandescent rocks, ash high into the night sky. Rough Cut (no reporter narration).
Costa Rica's majestic Turrriabla volcano erupted in the early hours of Monday (September 19), lighting up the night sky and spewing smoke and ash high into the night sky.
Authorities have temporarily closed Costa Rica's international airport following the explosions fearing the volcanic ash could cause problems for planes.


text:
package io.atomix.cluster;

import io.atomix.utils.event.EventListener;

/**
 * Entity capable of receiving device cluster-related events.
 */
public interface ClusterMembershipEventListener extends EventListener<ClusterMembershipEvent> {
}


Comprehensive list of private detective agencies and investigators servicing Powhatan, VA.
Situated in Richmond, Virginia, Central Virginia Investigations. is a complete service private investigative agency delivering attorneys, insurance firms, governmental agencies, corporations, tiny businesses and private customers with professional, confidential investigations throughout the Richmond area, the State of Virginia and nationwide.
We're a staff of experienced security specialists committed to satisfying customer security requirements. Our customers' interests are always maintained in the strictest confidence. Our aim is to supply professional results in a cost-effective manner. Corporate Information ACE is licensed by the Virginia Department of Criminal Justice Services. Our investigators are state certified and registered.
With over 20 years knowledge, including executive-level law enforcement, Jim Maley has developed a prominent reputation for exceptional integrity and discretion, with recognized professional credentials to back it up. Our pre-trial preparation for Criminal & Civil cases assists our customers win lawsuits and settle claims when the facts of a case are in dispute.
Providing Private Investigations and Process Service to Attorneys and private clients in the central Virginia region and beyond. We are licensed by the Virginia Department of Criminal Justices Services (DCJS# 11-6603) and fully insured.
Licensed by the Virginia Department Of Criminal Justice Services DCJS #11-4792 DCJS Visit the state agency that governs our profession. CAMERON INVESTIGATIONS is a complete-service investigative agency. Centrally situated in Richmond - close to Petersburg, Charlottesville, Fredericksburg, Williamsburg and all areas in between. Utilize us once and let our work stand for itself!
Set up in 1997, Character Profiles. has developed from a tiny family company into a state-huge investigative company. Covering all areas of the state, we aim to supply a complete service for our customers. Character Profiles provides an unprecedented guarantee.
Safety, protection, and peace of mind create a lifestyle we are proud to bring to our community. ASG Protective Services division offers unarmed, armed, plain clothes, security patrols, Special Conservators of the Peace i.e. Special Police and special event security officers to suit today's high security demands. ASG Investigations is experienced in your individual or corporate investigative requirements.


For a good part of the day, you could be in the limelight without even knowing it. Whatever you do, give your normal 100 percent. Although you might not see an automatic reaction, in time, you'll understand how important impressions can be.


NARST: A Worldwide Organization for Improving Science Teaching and Learning Through Research. Since its inception in 1928, NARST has promoted research in science education and the communication of knowledge generated by the research. The ultimate goal of NARST is to help all learners achieve science literacy.
The NARST membership committee would appreciate your completion of this short survey. This survey is intended to capture your impressions of the 2019 NARST meeting, as well as your reasons why you may have not attended. Please note this is not intended to replace the more comprehensive survey that will be distributed in the near future. Thank you!
NARST, a Worldwide Organization for Improving Science Education through Research, is searching for the new Editor of the Journal of Research in Science Teaching (JRST) for 2020-2025. Applications will be welcomed either by individuals for the position of sole Editor or for the position of Co-Editors. JRST is a leading international journal and as such applications are encouraged from international members. The position provides the person(s) chosen, as well as the host institution(s), with international visibility in the area of science education. A letter of intent is due by April 30, 2019 to the Search Chair in which the rationale for seeking the position is described in detail. The complete proposal for JRST Editor is due by June 15, 2019.See the full JRST Editor announcement for complete details.
NARST is pleased to announce that it will recognize recipients of its 2019 awards during the Annual International Conference in Baltimore, MD (31 March – 3 April 2019). View information about the 2019 Award recipients on the NARST Web site. Join us in congratulating these dedicated and deserving members.
The International Committee invites applications from doctoral students for two scholarships ($2,500 USD each) to be used toward participation at the 17th Annual Southern African Association for Research in Mathematics, Science and Technology Education (SAARMSTE) research school for Mathematics, Science and Technology.
The research school will be hosted by the Mamelodi Campus of the University of Pretoria at the Future Africa Center 3 – 6 July 2019. See the full announcement for complete details. The deadline for applications is 15 April 2019.
Each candidate is looking forward to serving you in their elected roles and fulfilling their responsibilities as Board Members for the term of their office.
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Janathel Shaw photographed at the Touchstone Gallery. Tender One, ceramic with glaze, ©2017
"We held on to the core of being Southern in terms of niceties," says Florida-born artist and educator Janathel Shaw of her family's migration to Washington, DC when she was six years old. Though she became a fast-speaking city girl, the vestiges of her Southernness show in her hospitality as she offers a thoughtful selection of beverages and healthy noshes upon my arrival for a private viewing of her solo exhibition, SOLIDAREity! at the member-owned and managed Touchstone Gallery, where she has exhibited for years. Incorporating both graphite drawings and ceramic sculptures, this show of figurative works offers an unapologetic exploration of Black life in America from its earliest heroes to its current torchbearers; from the sunny flashes of hope to the condemnation of dark forces poised to decimate the community. It is, ultimately, a call to consciousness, an affirmation of the strength and solidarity of a people.
Drawing was Janathel's first medium in childhood, and to this day she puts pencil to paper, often in large graphite portraits. From left, her sister, Dorethea studies Here to Stay, ©2017 center, Prodigal Son, ©2015, a rendering of her son Maurice; a gallery patron stands before The Poet, ©2015.
Dorothy Mae Shaw named her first-born Janathel, a portmanteau of her husband James and mother Ethel's names. Daughter Dorethea would follow, then finally, Jay. Small town life was dramatically different than the urban lifestyle the family would take on with the move to the nation's capital. In flashes of memory, Janathel recalls Florida living: a languid pace, doors that were never locked, sitting on the porch with family, and instead of an ice cream truck, mango trucks that sold "juicy fruit bursting with flavor" at 25 cents a pop. "It was akin to the Black version of Mayberry," she says. She smiles as she speaks of her "deliciously country," Aunt Evella. The one who "wasn't sadity;" who had a black pig, an outhouse and ice-cold bottles of soda, "glass, of course," that she allowed the children to drink freely. Although she appreciates the quaint charms and sense of community in Fort Pierce, Janathel is much more inclined toward metropolitan living.
When her parents separated, her mother, a highly regarded teacher, found a teaching post in Washington, DC. Both Dorothy and her sister Carolyn made the move North, finding homes near each other. Janathel is grateful for their example as strong female role models. "My mother taught me the importance of resiliency—that women can do it. She kept us rooted in church," switching denominations from Baptist in Fort Pierce to Pentecostal in DC. "But she always chose small, storefront community-oriented churches. I think she wanted to recreate some of what she had in Florida." Attending Holy Commandment Church of God (Seventh Day), her mom eventually became "Mother of the Church." Janathel speaks admiringly of her mom and aunt 's efforts to instill values and cultural awareness in their children. "And education was a BIG thing." Very early in her church-going, education-oriented, woman-centered upbringing, Janathel learned to draw; loved it. She knew by the age of seven that she wanted to be an artist. She shared supplies with her Uncle Ray who did paintings on wood, and in truly iconic 1970's fashion, on black velvet.
Janathel attended DC Public Schools, but never at a school where her mother taught. Mrs. Shaw did not want that pressure on her daughter. By the time Jan attended Hart Junior High School, she knew she "didn't belong." She hated it and the sexist course selections of the era. Though the school offered woodshop to boys, girls weren't not allowed. "I had to take home economics," she grumbles. "And I couldn't care less about making the perfect pancake." The boon in her experience there was meeting the teacher Mrs. Washington, "the Frances Cress Welsing of Hart Junior High. She was this authoritative, dignified black woman. You will speak articulately!" Janathel mimics. "She spoke about pride and integrity." And it was upon her suggestion that Jan enrolled in theater class. But still, Janathel wanted out, and Duke Ellington School of the Arts seemed a perfect opportunity to find her arts tribe."
"In about 1975, I heard inklings about Western High School turning into Ellington for people who were going to pursue art. I begged my mother to let me audition. I don't belong at this school," [Hart JHS] she implored. "I don't fit in. I'm not interested in being a cheerleader. If you try to get decent grades, you get picked on. I'm not into fighting, and they're starting to have gang fights around here. I'm not interested in boys; I just want to go to school and be an artist."
Her mother had wanted her to become a lawyer, but conceded to her wish, with her promise to maintain her 3.6 grade point average and just a bit relieved that she'd be attending school across town away from the possibly impending neighborhood chaos. "We didn't have to duck and dodge bullets, though," Janathel makes clear. "It was a hard-working community in the Anacostia area; mixed blue and white collar, but not wealthy."
"I was so desperate to get into the school," she remembers. To increase her odds, she sought the opportunity to audition for both the theater and the visual art programs. Incredibly nervous, she forgot her lines for the theater audition, so the pressure was on to ace the visual art audition. "All excited and intimidated," she and her fellow artists-in-training were expected to draw sculptures set up on tables in the school cafeteria. They worked for four hours (with breaks as necessary) as the teachers circled the room observing them. "They wanted to see you complete a piece; be disciplined with it," Janathel remembers. "All I kept thinking was I've got to go to this school; there's no other option. When I got the letter of acceptance, I jumped all over the place. I remember feeling this is where I belong, where I can be me."
Elizabeth Catlett, Singing Head, 1980, black Mexican marble. Collection of Smithsonian American Art Museum, a work that deeply inspired the young visual art student. Senior portrait, Duke Ellington School of the Arts 1980 yearbook.
Commuting to Georgetown introduced her to another way of being; of attending a school where one could sit on the lawn. "It was Nirvana at the time, and I was so happy to be there." Some of the instructors included working artists Billy Harris "in his Afro, bell-bottoms and platform shoes," she chuckles. "He was all about art, it was not a game. Lilian Burwell was all get-down-to-business, you are here to learn. Stanley White, now Ayokunle Odeleye scared the piss out of everybody; he was formidable." She recalls that Martha Jackson Jarvis showed a sense of humor and was honest about the struggles of single parenthood. It was at Ellington that she met photographer Margaret Parish and portraitist Simmie Knox. "Half the day you had your academics and the other half you did your art. You had to keep up. It was not unusual for me to stay at school until 7 o'clock at night though classes were over by 4:30. They didn't coddle us. It wasn't a perfect existence, but I wouldn't trade it for the world."
"Pearl Bailey came by the school. Debbie Allen came by the school. James Brown came by the school." She laughs, "Some of the kids were acting silly and fell out in the street. James said, 'You don't even know who I am, get up from in front of my car.' And the guy from Pippin, Ben Vereen, came too. I remember sitting in the auditorium thinking how blessed I was because they weren't going to the other schools. I used to love watching the other kids perform. They could let loose and be themselves. We had Denyce Graves; they weren't singing opera at regular high schools. I loved going to school, carrying my portfolio and my supplies, sitting down, and doing my thing."
And she speaks almost reverently of Ellington board member Peggy Cooper Cafritz, the avid art collector and philanthropist instrumental in bringing the school into existence. "I remember her coming to the school— short cropped afro, really big earrings and talking to us about the arts; how much she really wanted to create a place where students could fully pursue them. She especially wanted kids of color to fulfill their potential in the arts. I knew that she was very active in making things happen for us and that the school would not have come to fruition if not for her. I saw her as a fierce woman benefactor."
"Whenever she spoke to us it was always in a way to embrace us; we always felt important when she was there. I remember going to her house, she'd invited us to her home for a cookout, and we had free reign. It wasn't 'don't go down that hallway; don't touch my artwork; don't sit on my sofa.' It was 'spread out and enjoy yourself.' She was extremely gracious." The experience was a revelation for Jan. She'd never seen Black people "live in such an opulent fashion," she says. "Peggy was walking around her huge backyard, and she'd look and smile and ask if you were enjoying yourself. I thought, she spoke to ME? I knew that she was somebody to be reckoned with and that my teachers respected her."
Attending Duke Ellington set Janathel on her artist's journey. "I made some life choices that changed some of that— I became a parent early, but I think that without that introduction, I'm not sure what I would have done."
With the many museums under the auspices of the Smithsonian Institution, DC was an excellent city in which to be an art student. She first encountered one of the singing heads by Elizabeth Catlett on a visit to the Smithsonian American Art Museum. "I didn't know that she was black. I saw the piece in the foyer and kept coming back to it, fascinated. I was just mesmerized." It would be much later, while doing research for her thesis that she discovered the parallels in their lives: "She [Catlett] was from DC, raised by a single parent, educated in DC Public Schools. She was outspoken, headstrong, and created a diverse body of work. She was tall and gangly, a big girl like me with big hands. She spoke her mind through her art and I said, 'I want to be like this woman.' She was a role model. She surpassed expectations and was unafraid to tackle social critique through her art." Jan is grateful to have met and spoken with the acclaimed artist before her passing and hopes that she can be a similar source of inspiration to a younger, burgeoning artist."
"I had no idea of the monumentality of this woman. We needed Gordon Parks with his beautiful photographs to show the reality of what was going on, but we also needed the Archibald Motleys and the Elizabeth Catletts and the Augusta Savages. The more I learned, the more my universe expanded."
Upon graduation, she attended Howard University, but soon took time off after the birth of her son Maurice. Her mother had already laid the blueprint for beautifully raising children as a single parent. "I tried to raise my son with the same nurturing, commitment and dignity that I learned from my mother," she says. Eventually she went back to school, enrolling at Prince George's Community College, where she worked as a graphic designer on campus and attained an Associate Degree. Her instructor, John Krumrein, had attended George Washington University's (GWU) Columbian College and suggested she apply. He wrote her recommendation. She worked full time, paid a babysitter during days, and went to school at night. She is grateful for family support in caring for her son in the evenings. It was challenging. She frequently felt left out at faculty/student gatherings where she "would be in the middle of the room and no one would talk to me. There were some classes I couldn't get into." She remembers one British professor saying that he was welcoming the underprivileged to his class. As an educator today, she tries to prepare her students for the "classism and different types of isms" they may encounter as they navigate academia.
In spite of those struggles, she continued at GWU in pursuit of her MFA in Studio Art, Ceramic Art and History under the instruction of Turker Ozdogan. She, a Black Pentecostal Washingtonian enjoyed the diversity of her cohort: artists from Alaska, Bolivia, Canada, Japan, Pakistan, and Turkey; mostly women; mostly feminists and of varying spiritual faiths. One of the advantages of a diverse student body, she says, is that "they get to work things out to move beyond the mythical barriers that are set up."
The grad student working on Sistah Anger from her ©1994 Sistah series. Photo by Andrew White. A work, cut and hollowed.
"Sometimes I would take Maurice with me to school and sometimes that didn't work out, but I wanted Maurice to know that his mother was an artist." Her giggling, toddler son would accompany her to art shows, and there were times when he painted over his mom's work. So she created canvases just for him. "I said, 'Sweetie, you can't paint over Mommy's paintings,' and we'd paint together." Young Moe became accustomed to his mother painting "in the wee hours of the morning or late at night. I wanted Maurice to understand what it was like for Mommy to have a dream and watch her try to pursue it."
She went through a prolific period in which she was exhibiting regularly and garnering attention for her sculpture in magazines and with NCECA, a national body of ceramic artists. "I was keeping my eye on this prize," and concurrently, "Maurice was dealing with being a young black male in this society. My family had to make me stop and realize I was somebody's mother, because kids learn to say exactly what you want to hear. Thank goodness I had people around me who were saying 'Jan, something's tugging at Maurice. You need to watch this.' So for a minute, I put aside my pursuits to see what was going on with my kid, because it only takes a split second to make the wrong decision."
Dubbed the "Murder Capital of the United States," 1990's Washington, DC was, at times, a frightening place to parent a young black boy. Vigilance was paramount. "I had to slow my roll a little bit to mother my son." When Roger, who'd had a peripatetic presence in his son's life passed away, 15-year-old Maurice mourned deeply. Jan once dreamed of a particular measure of artistic success by the age of 35, but life, as it does, happened. With the passage of time and acquired wisdom, perhaps her oeuvre has been quietly incubating. "Maybe my art is taking on a level of substance it didn't before." She's observed the commitment and practice of such local artists as Renee Stout and the late Alma Thomas, whose trajectories into acclaim weren't swift, but rather the result of persistence and dedication.
Hers is an art-filled home with works of her creation and those of other artists whose work speaks to her. "It gives me joy to wake up and see art on my walls." In imagining her arts legacy, she hopes that her work will be acquired at the museum level and that her "voice as an artist, as a woman artist and a black artist" is heard, felt and understood. "I always see art as a legacy. Our time on this Earth is so short; I always think well what are you going to leave behind? The evidence of your existence besides existing in people's hearts is that which you have created. That's legacy. I'm hoping my work says Janathel Shaw existed and she had something to say."
She hoped to leave her artwork and the works of artists she's collected to her son. Sadly, Maurice—who shared his mother's eyes and smile–passed away in April 2015 at the age of 32, after quietly and bravely battling cancer.
Maurice Kewan Shaw. Jan's gentle, beloved Moe. May he rest in eternal peace.
Just months before his passing, Moe encouraged his mother as she was preparing a solo show. When he observed her lethargy he questioned authoritatively, "Don't you have a job to do? How many pieces do you need to have? What are you going to do about it? I said, 'Boy who you talking to? I'm your mother.' He said, 'I know who you are. I also know what you have to get done." And at that show, he stood proudly beneath his mother's graphite portrait of him. Being a mom is the single most defining part of Janathel's identity and it informs her work; mothering Moe the greatest blessing of her life.
Future Deferred, ©2015 I wanted to acknowledge the death of the young men who died like Jordan Davis, Michael Brown, Trayvon Martin and Tamir Rice, the little boy who was killed for playing with a toy gun." Using sgraffito technique—drawing on clay–she "tattooed" their faces on the neck. She'd made the piece all white to try to emulate white marble sculpture," and showed it in her show Unspoken Messages. At the time, Moe suggested that making the figure black would have given the piece greater impact. "It wasn't until shortly after his passing that I looked at it and I realize I'd chosen a crackle glaze and I chose it for a reason. I'd done all the tattoos; I'd done the drawing in sgraffito and thought it does need the high contrast of black, not just in terms of the message of black pride and strength but to be able to see it. Also, it looks like it's undergone some travail but hasn't stripped away its dignity. I put in a black stain on top of it, and the piece just went Pow! I said, 'Maurice, baby you were right.' He was right.
"I've said I have to actually discover who Janathel Shaw is. Part of that discovery did come forth when I was at GW; a lot of my work had to do with the black community. I had no idea that I'd carry that central theme throughout my work." What she did know is that abstraction is not her forte. "My work is representational," she says. "Though there's not a genre that I can look at in general and not find something to admire. I love Greek sculpture; I love Vermeer, Rembrandt. I love Frida Kahlo."
With clay, she's not interested in creating pottery though she admires the work of several potters. Her work bears "meaty" messaging; not idealized imaging. Though she can fully appreciate works crafted for aesthetic beauty, decorative themes do not drive her work. "When I create, my overall intent is not to make pretty art, but art that has meaning."
Janathel Shaw, Self Portrait, ©2012
Although she paints as well, it is her earthen works, ceramic figurative sculptures and reliefs that have garnered her the most acclaim. She became interested in 3-dimensional work as a student at Ellington, inspired by the work of instructors Stanley White (Ayokunle Odeleye) and Billy Harris, who "was welding and working in wood; creating pieces reminiscent of African symbolism." She wanted to be challenged in her work, "to tackle something that was completely out of my depth," she says. "Pencil is friendly— you can put it on paper, make a mess and start over. If you're welding, you're talking materials that could be dangerous. When you're working with wood, it can crack if you go against the grain. I didn't have the patience, true love, and fortitude to create in wood because it required you to understand where the grain was and to then chisel, chisel, and chisel. You had to be able to talk to the wood, be a wood whisperer. I took a class and was extremely frustrated. Whenever I see a quality piece of wood sculpture, I have huge respect. I feel the same way about working in stone."
White/Odeleye left the faculty before she could take a class with him, but she was pleased when Martha Jackson (now Jarvis) joined the staff. "Martha introduced me to the ceramic medium. I touched the clay, and I connected with it," she says, remembering the resonant text from James Weldon Johnson's The Creation she'd recited at church: Up from the bed of the river God scooped the clay; and by the bank of the river He kneeled him down...Kneeled down in the dust toiling over a lump of clay till he shaped it in is his own image.
"I thought, I can create with this and I liked the idea that it came from the earth." She'd take the deep dive at Prince George's Community College (PGCC), taking classes in Ceramics, Painting, and Design. Because she'd had an illustration background, her early works were architectural clay slabs on which she drew, painted or glazed. She realized that her large slab formations were directly influenced by the work of Martha Jackson Jarvis, and sought to find her individual voice in the medium. "I went from making vessels to making figurative pieces. I had a good experience there." With an Associate's degree and Krumrein's encouragement, she went on to GWU. She "wasn't really knocked out by working with pottery," though she thought "working the wheel a good skill to learn." So she made "rudimentary forms and coil pots which are very satisfying." She references the "beautiful work of Maria Martinez, a very famous and humble Mexican artist working with the subtraction method"—using a carving tool to take away the excess clay to create the desired form.
She explains that though the ceramics medium is often relegated to craft—much to her chagrin— it is no lesser an art than those of the "major" arts. Working successfully in clay requires a delicate balance of aesthetic vision, artistic skill, an understanding of the properties inherent in different clay bodies, drying times, temperature and optimal thin or thickness of the clay. Working on a pottery wheel, "you can control the thinness of the piece; when you're working with sculpture, it's a totally different entity," she says. "Clay affords me more immediacy, but the sucker can disappoint you; you could work on something for a month, and it doesn't work out." If temperatures go too high, pieces can melt. Pieces can fracture. Sometimes a glaze may not bond with the surface and peel away in what's known as crazing. There's a science to glazing. "When you glaze a piece, you haven't painted it," she declares. "You've put chemicals on it that hopefully will react the way in which you want them to." At PGCC, Krumrein made the glazes for his class, but "at GW, Turker said 'You're going to learn how to make your own glazes; how to make your clay. If it falls apart or melts, deal with it." All part of the learning process. And for an artist without STEM leanings, learning glaze calculation was a challenge. With so many variables on the line, she laughs that among the students, "there was a lot of cursing going on in the studio."
Janathel came to "perceive ceramics at another level. I'm no one-trick pony; you need to learn a variety of things," she says. She learned several processes: mold-making, hand-building, coiling; how to create an armature on which to build a piece, cutting open a piece to remove the excess clay, and finally, how to reassemble the hollowed-out elements seamlessly. "You make your piece all nice and purty, then you gotta cut that puppy," she laughs. Bruno Lucchesi, the Italian master figurative sculptor, spent a week with Jan's GWU cohort during their thesis time. "This joker is amazing! He builds relief sculptures, then has them cast in bronze, and he can make a ceramic sculpture in under two hours," she exclaims. Though she'd been creating armatures for her work, she learned well from Lucchesi. She often uses paper armatures, which dry a piece from the inside-out. "EVERYTHING is about timing when you are working with clay," she reiterates.
Janathel has never shied away from political art. Left, Still A N___/No Entry, ©2014 In her latest show, SOLIDAREity! she presents the powerful archival piece, because it remains as painfully relevant today as iit did when she created it as a grad student. Death God fo da Young'ns, ©1995 (installation) Ceramic with glaze, bullet casings, gravel and wood. She explains: "Death God grew out of my sorrow for the continued loss of young lives to violence, miseducation, misguided manhood rights and societal violence. The ceramic figure represents a deity that demands and feeds off the tragic deaths and unknown possibilities. The scarifications on the body are shown defiantly, and the visage of the figure is a distortion of what should have been a shaman or spiritual figure. At the base of the form lies bullet casings and empty shells of urban warfare. Some of the casings were actually found in a playground."
Timing played a part in her teaching career as well. She knew from growing up with an educator mom just how demanding and thankless that calling can be. "I did NOT want to be a teacher," she says. I got into teaching because I knew, as a single parent that I needed a full-time job. I saw it as an opportunity to put food on the table and provide insurance for my son." Her pedagogy began with a workshop in ceramic sculpture; then several totem-building workshops, including one at the National Museum of African Art.
She decided "I'm going to teach art, not a crafts class. I'm going to teach art in the way that I was taught at Duke Ellington." She set her limit at six years, with a plan to become the best teacher she could be. Her deadline came and went as she had "fallen in love with giving back. I got into teaching as a way of making a living, and along the way, I learned how to become an art educator. For me, it's not a formulaic lesson plan. I create my own lesson plans."
The teacher, working on theatrical set design with her DCPS students. Photo courtesy Janathel Shaw.
She once told a student to woo a girl with his understanding of art. One day she spied that student escorting a young woman around the National Gallery of Art. "I tried to hide so he wouldn't see me while I heard him taking her through the exhibition. He was seducing her with art, and I loved every minute of it. He's now teaching at the same school I am."
"If I'm not in the midst of creating or resting, I hit the streets to check out the art scenes here, in Baltimore, Philly and New York. I live in museums. I like studying the art at my leisure and I like surreptitiously staring at the faces of the visitors. Each face tells a story. I find the elderly especially beautiful. You can just call me an art nerd of the highest order. I can go to most art museums and stay there for hours without stopping for lunch. There's something about being surrounded by art that soothes me, encourages curiosity, and motivates me to push my own work to another level." Her favorites, by and large, attest to this.
Janathel's TROVE
Star Wars introduced one of the most favorite cinematic robot duos of all time: the astromech, R2-D2 and his humanoid counterpart, C-3PO. RIght, Maurice's interpretation.
1. Moe's drawing of R2-D2 & C-3PO. A fan of the George Lucas franchise, she cherishes the image of the iconic Star Wars droid characters her beloved son created when he was nine years old.
Seated near African American sculptor Edmonia Lewis' famed 1876 sculpture, Death of Cleopatra, Janathel sketches the 1905 Elisabet Ney marble, Lady Macbeth at SAAM.
2. Drawing at Smithsonian American Art Museum (SAAM) and National Gallery of Art (NGA). "My favorite spots are the third floor in the Modern Art section of SAAM and the quiet encased area of varied works near the Conservation Lab on the National Portrait Gallery side. It is routine for me to go upstairs, find a comfortable seat and draw marble sculptures for an hour or so to improve my drawing skills. I love to go the second floor of NGA in the west wing and draw the marble sculptures in the Dutch Galleries and on the lower levels that contain sculptures by Rodin. This extends to NGA's Sculpture Garden which houses an ice rink during the winter and a large fountain during the summer months. The National Gallery of Art is the closest thing that Washington, DC has next to the Louvre. It's not as intimidating because of the massive size or collection. I can go into familiar areas, sit, and ruminate. I also like it when I happened to visit on a day that a copyist is there recreating a painting in the collection."
Elizabeth Catlett at work on a bust. Dancing, 1990, Color lithograph. Target, 1970, Bronze.
3. Elizabeth Catlett. The late artist has been a role model for Jan's professional career. She is inspired by her proficiency in several mediums and her prolific output. "Her ability to just kill it with her master skills to create sculptures and prints that speak to the Black experience has wowed me for years." Seeing Target for the first time was like a "full-frontal punch," she says. "it was palpable." She writes about the piece in her MFA thesis.
Janathel makes no apology for the variety of her favorite authors. Here, a few including Nikki Giovanni's Ego-Tripping.
4. Reading. "Books stimulate the psyche just as much art. I am a fan of Octavia Butler's work, J. California Cooper, Nikki Giovanni, James Baldwin, Patricia Brigg's sci-fi fantasy Mercy series, J.K.Rowling's Harry Potter series, and Star Trek: Legacy series. I am drawn to characters that overcome adversity and create new realities for themselves."
Magdalene Anyango N. Odundo, Reduced Mixed-Color Symmetrical Piece, 1990, ceramic, slip, Collection of the Smithsonian National Museum of African Art.
5. National Museum of African Art. "It reaches me on an intimate level and invites me to connect with my ancestry. I love the sculptures in the permanent collection especially the gorgeous ceramic vessels by Magdalene Odundo. I met her through a workshop coordinated by former Director of Education Veronike Jenke and artist, Winnie Owens-Hart. I felt a kinship with Ms. Odundo through our mutual love of ceramics. Here was an artist that wasn't pretentious, she had some tools out, large coils of clay, wearing comfortable slacks and her hands were caked with clay. She talked about her method, background and creative process while creating one of the most perfectly symmetrical forms that I have ever seen. Each time that I see her work on display, I am in awe. It's all about the form and the burnished surfaces. I marvel at the mastery that's exhibited in the construction and the terra sigiliata that she creates to burnish her forms and that create varied natural hues after firing."
Detail from Charles White, Untitled, 1950, ink and graphite on paper. Collection of Smithsonian American Art Museum, Gift of Julie Seitzman and museum purchase through the Luisita L. and Franz H. Denghausen Endowment.
6. Charles White. "In respect to drawing, I love the work of Charles White. I know that he and Elizabeth Catlett had a volatile first marriage, but the man could draw. His portraits and figurative drawings have character, expressions that look right through you and his figures have meat on their bones. His women are not the stereotypical petite curvy figures. Their hands are broad, their features are strong with high cheekbones and piercing eyes. Love, love the contrast between light and dark and textures created from the layered lines. His contemporary John Biggers is just mind blowing awesome. These artists had a love and reverence for the Black community and history and the narratives are artfully shown in their masterful drawn marks."
View from the dock; Jan and Moe. The family gathers for dinner. Photos courtesy of Janathel Shaw.
7. National Harbor, MD. It holds treasured memories as a "go-to spot to have special family dinners with my son," she says. "There's a serenity sitting in a restaurant or on the dock watching the sun rise or set by the water."
Left, Joseph H. Hirshhorn Museum and Sculpture Garden, designed by Gordon Bunshaft of SOM © Ezra Stoller | Esto. Right, Robert Arneson, General Nuke, 1984, glazed ceramic and bronze on granite base. Collection of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution.
8. Hirshhorn Museum. I expect to see one or two new exhibitions that show contemporary art that is in pace with what's happening in the art world. The exhibits are varied but often, I am visually satiated. A favorite of mine in the permanent collection is Robert Arneson's ceramic sculpture, General Nuke. Arneson's manipulation of clay is magical and he was never afraid to explore social issues through his work." (General Nuke addresses nuclear weapons proliferation with the General's bust atop a blackened heap of bodies; his nose, a nuclear missile.) "Texture is necessary in his work. I love that he deliberately left his finger grooves in many of his pieces. It wasn't the masculine aspect, but the artist mark that conveyed voice."
9. Her Story by Tim Okamura. Honored to have been immortalized by the master portraitist, she exclaims that this painting "will be one of my faves for all time!"
10. Nancy Wilson. Janathel creates to music, "usually jazz or rhythm and blues. It speaks to how I'm feeling and it also creates a harmonious barrier from that which would distract me. What's funny is that I'll find myself creating to the tempo of the music," she says. What's in heavy rotation on her current playlists? The ever elegant, self-professed "song stylist," Miss Nancy Wilson.
Find Janathel Shaw on Facebook, Instagram, Twitter and gallery-hopping the Eastern Seaboard.
© THE TROVE 2019


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Alaska Journal
Alaska Journal breaks the news that matters to business. Founded 1976.
Alaska Journal of Commerce
Posted Tuesday, July 31, 2018 - 3:52 pm
Pub Date:
NOTICE OF DEFAULT AND ELECTION TO SELL UNDER DEED OF TRUST
Trustee's Sale No: 068714-AK
This NOTICE OF DEFAULT AND ELECTION TO SELL is given by CLEAR RECON CORP, as Successor Trustee under that certain Deed of Trust executed by AREANNA FARMER, AN UNMARRIED PERSON, as Trustor, to ALYESKA TITLE GUARANTY AGENCY, as Trustee, in favor of ALASKA USA MORTGAGE COMPANY, LLC, as Beneficiary, dated 1/26/2015, recorded 1/28/2015, as Instrument No. 2015-003491-0, in Deed of Trust Re-Recorded on 2/25/2015, as Instrument No. 2015-007216-0 in the Anchorage Recording District, State of Alaska. The beneficial interest in the Deed of Trust has been assigned to ALASKA HOUSING FINANCE CORPORATION and the record owner of the property is purported to be AREANNA FARMER. Said Deed of Trust covers real property situated in said Recording District, described as follows: Unit 3, Building 4, PARK FORREST CONDOMINIUMS, as shown on the floor plans filed under under Plat No. 82-340, in the records of the Anchorage Recording District, Third Judicial District, State of Alaska, and as described in the Declaration recorded October 12, 1982 in Book 793 at Page 121 and amendments thereto, if any. More accurately described as Unit 3, Building 4, PARK FORREST CONDOMINIUMS, as shown on the floor plans filed under Plat No. 82-340, in the records of the Anchorage Recording District, Third Judicial District, State of Alaska, and as described in the Declaration recorded October 12, 1982 in Book 793 at Page 121 and amendments thereto, if any. Commonly referred to as: 9730 VANGUARD DRIVE #3, ANCHORAGE, AK 99507 APN: 016-243-07-003 A breach of the obligation which said Deed of Trust secures has occurred in that Installment of Principal and Interest plus impounds and/or advances which became due on 11/1/2016 plus late charges, and all subsequent installments of principal, interest, balloon payments, plus impounds and/or advances and late charges that become payable.. By reason thereof, and under the terms of the Note and Deed of Trust, the Beneficiary has declared all sums so secured to be immediately due and payable, together with any trustee fees, attorney fees, costs and advances made to protect the security associated with this foreclosure. The sum owing on the obligation good through 7/27/2018 is $137,758.96 as follows:
Unpaid Principal Balance:
Late Charges:
Beneficiary Advances:
TOTAL REQUIRED TO PAYOFF:
If the default has arisen by failure to make payments required by the trust deed, the default may be cured and the sale may be terminated if: 1. Payment of the sum in default, other than the principal that would not be due if default had not occurred, and attorney and other foreclosure fees and costs actually incurred by the beneficiary and trustee due to the default is made at any time before the sale date stated in this notice or to which the sale is postponed; and 2. If Notice of Default has been recorded two or more times previously under the same trust deed and the default has been cured the trustee does not elect to refuse payment and continue the sale. NOTICE IS HEREBY GIVEN that pursuant to demand of the Beneficiary, the Trustee hereby elects to sell the above described real property to satisfy the obligation, together with all accrued interest and all costs and expenses, at public auction, for cash, to the highest and best bidder, at the 3RD JUDICIAL DISTRICT: Inside the Lobby of the Boney Courthouse located at 303 "K" Street, Anchorage, AK 99501, on 11/6/2018, at 10:00 AM. Beneficiary will have the right to make an offset bid at sale without cash. Anyone having an objection to the sale on any grounds whatsoever will be afforded an opportunity to be heard as to those objections if they bring a lawsuit to restrain the same. DATED: 7/27/2018 CLEAR RECON CORP 4375 Jutland Drive San Diego, California 92117 Phone: 866-931-0036 Hamsa Uchi, Authorized Signatory for Trustee
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Home > Features > Blogs > Boudin Barndance Reviews > CD Reviews for 05/01/07 – Graham Parker, Los Straitjackets
CD Reviews for 05/01/07 – Graham Parker, Los Straitjackets
Compact Capsules for 05/01/07
Don't Tell Columbus
Bloodshot Records BS-140
While he may not be the angry pub rocker of '70s yore, Graham Parker on his superb new release called Don't Tell Columbus confidently struts a singing and songwriting persona that has lost little of the signature snarl and bite that enamored him to rock fans back in the late 1970s when he was turning out such certified masterpieces as Howlin Wind, Heat Treatment and Squeezing Out Sparks. (Let us not forget that this is the guy who spewed out a rocking salvo called "Mercury Poisoning" after departing the label of the same name. It doesn't get more scathing than that.) Intelligence, sarcasm, and wit are all over the dozen songs comprising this latest release. It also rocks pretty darn good. Be it advice to the powers that be ("Stick To the Plan"), recalling simpler times (the metaphorically filled "The Other Side of the Reservoir"), or taking a swipe at his pop culture in his former homeland ("England's Latest Clown"), Parker displays a deftness and heady insight with the written word that only years at the game can spawn. In all, Don't Tell Columbus presents a singer/songwriter who is evolving with the times, isn't afraid to speak his mind in song, and gives us songs that are completely relevant in this day and age. The only difference between now and 1979 is maybe a little more strum and twang to the music than the feisty pub rock of yesteryear. (Bloodshot Records, 3039 W. Irving Park Road, Chicago, IL 60618, or www.bloodshotrecords.com)
Los Straitjackets
Rock en Espanol Vol. 1
Yep Roc YEP2135
While those masked men of instrumental surf & roll, Los Straitjackets, take top billing on the new longplayer Rock en Espanol Vol. 1, it is singer cats like Big Sandy (of Big Sandy & Fly-Rite Boys fame), Cesar Rosas from Los Lobos, who also produced the record, and East L.A. brown-eyed rock 'n' soul legend Little Willie G. who help take this album from a real good rock & roll record to a great one. Known mostly for his rockabilly and Western Swing-leaning work with his band The Fly-Rite Boys, Big Sandy and Los Straitjackets first joined forces early in the decade with a 7-incher of el puro rock en Espanol which paired an early Freddie Fender number from when he was known as Eddie Con Los Shades ("Que Mala") with an equally spiced number titled "La Plaga". What seemed like a real good match at the time has seen the two forces reunite here and there over the years. With Rock en Espanol Vol. 1, they go for the gusto in a big time way (with plenty of touring on the docket to promote the album). If you're a sucker for American pop tunes given the Latin rock & pop treatment, Rock en Espanol Vol. 1 what with covers like "All Day and All of the Night", "Dizzy Miss Lizzy", Motown nugget "Gimme Little Sign", "Wild Thing" and "Devil Woman" is a no brainer. Simply put, this 14-song release is a certified party starter. The additions of Mr. Rosas and Little Willie G. are only icing on the cake. And maybe the best thing about this album is the "Vol 1" attached to the title. Hopefully more is on the way, and pronto. (Yep Roc Records, P.O. Box 4821, Chapel Hill, NC 27515, or www.yeproc.com)
Los Straitjackets with Big Sandy in tow play this summer's Rhythm & Roots Festival at Ninigret Park in Charlestown, RI. Check out www.rhythmandroots.com.
(Dan Ferguson is a free-lance music writer and host of The Boudin Barndance, broadcast Thursday nights from 6 – 9 pm on WRIU-FM 90.3. He lives in Peace Dale and can be reached at [email protected])<...


The music assembles carefully as if keen not to wake you, like dawning sunlight peering cautiously through an open window. Tremolo guitar rides gentle whispers, synthesiser chord changes sway as softly implied sighs – everything sweeps around my ears with the soft embrace of a pillow, light and friendly in colour and glimmering with optimism ever so slightly. The delicate ambient quilts of Eluvium spring to mind, or perhaps Explosions In The Sky during those moments prior to music rousing itself into a state of assembly; scattered lens flare, flowers unfolding in time lapse.
As each new track begins, the elements reveal themselves to be precisely where you'd expect; a warm ball of tone at the centre, glistening guitar scattered around the edges and the occasional cascade of piano tinkling like tiny drips on water's surface. This reliability shines a light of safety through the listening experience, obliterating unknowing with routine sound placement and a melodic sensibility that sees each chord falls into the next with a sort of predestined, gravity-adhering inevitability. Even the two remixes avoid straying out of the boundaries of home: Zvuku softens layers of distortion into a cleaning water vapour, while Message To Bears gently aligns the elements within the throb of rhythm, causing violin, guitar and watercolour stroke of choral "aahs" to contract and expand together as one solitary muscle.


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Volume VII, Issue 1
Written by Rose Giannone
Illustrated by Bern Emmerichs
Berby Publishing, 2013, 40 pp.
This picture book from Australia is set against the backdrop of the first British settlement of Australia in 1788 and describes the friendship of an orphan boy from England and an Aboriginal girl. Leonard and Milba are mesmerized by the peculiarities of each other's worlds and delight in sharing these worlds with each other. Leonard is a quiet child who stutters but loves books and drawing. As he wanders around his new world, confused and lonely, he encounters Milba from the Eora tribe who has wandered off to catch a glimpse of the "ghost people". The two strike up a friendship, without words, by drawing stories in the sand, and introduce each other to the animals from each their worlds. Understanding how much Leonard enjoys drawing, Milba shows him cave drawings of her people, establishing another link between them. One day, Milba's tribe decides to move on and she only has time to leave a quick drawing in the sand. The book ends by noting that Leonard grew up to become a teacher, often thinking of Milba, while Milba grew up to be a wise elder in her tribe, wondering if Leonard looks at the same sunsets with his family as she does with hers.
The book opens and closes with an invitation for readers to tell their stories. The author carefully sets the context for history as a collection of stories—not just one story but many stories by many different people. Giannone notes that many of the people who came to Australia were forced to do so because they were convicts but that some had only committed the crime of stealing food because they were hungry and others, like Leonard, were not convicts but sent for other reasons. The ships that came were full of people with many different stories. She also points out that the Aboriginal people had already been in this land for 60,000 years, long before anyone from Europe knew of Australia. With a minimum of words, the author provides a careful historical context that respectfully acknowledges multiple perspectives and stories, but does not tell or hint at the story of the racism and displacement of Aboriginal peoples by European settlers. Emmerichs' illustrations are stunning in their details of Australian animals and landforms and people. They were created on large hand-painted ceramic tiles and each color included on each tile was individually fired and then photographed and overladen with the author's text. That text often weaves and turns like a gentle wave of water around the illustrations on a page.
Rose Giannone is an Australian author who lives in Melbourne. This is her first children's book and grows out of her love of storytelling, both in traditional oral forms and in modern film. Bern Emmerichs is a highly celebrated artist in Australia with many works in galleries and collections. She is known for her work which explores historical narratives related to the first European settlements of Australia. Both the author and illustrator have a strong interest in this historical time period and engaged in extensive research. Both are from European backgrounds and so foreground Leonard's perspective throughout the book. Even though they are careful to include Milba's perspective, Leonard's perspective is given the most weight and always comes first.
This book should be balanced with other picture books that highlight Aboriginal voices and perspectives, such as When We Go Walkabout by Rhoda and Alfred Lalara (Allen & Unwin, 2014), in both English and Anindilyakwa, When I Was Little Like You by Mary Malbunka (Allen & Unwin, 2005), You and Me: Our Place by Leonie Norrington (Working Title, 2007). The Aboriginal tradition of telling stories through art, such as cave paintings, is another connection that could be explored through books, such as What is Aboriginal Art? By Margo Birnberg (J. B. Publishing, 2012) and Australian Aboriginal Paintings by Jennifer Isaacs (New Holland Australia, 2002).
Other possible pairings include stories of immigration, such as The Arrival by Shaun Tan (Scholastic, 2007), which is based on stories of Malaysian immigrants to Australia and Ziba Came on a Boat by Liz Lofthouse (Kane/Miller, 2007), the story of an Afghan child and her family fleeing across the ocean on a small boat to Australia. These stories can be told alongside newspaper articles about the current treatment of refugees in Australia through detainment in prison camps in Indonesia or on islands off the coast of Australia. Home and Away by John Marsden and Matt Ottley (Lothian, 2008) is a powerful indictment of the destruction of families in these detainment centers.
The book ends with an invitation for children to tell their stories and so can be used to invite children to research their own family histories, both distant and close, in order to explore how those histories have shaped their identities and that of the places in which they live. Each classroom contains many stories and histories and sharing those stories can be one step to understanding the complexity and diversity of stories that make up families, communities, and nations.
Note: Australian books not available in the U.S. can be ordered through Austral Ed.
Kathy G. Short, University of Arizona, Tucson, AZ


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Home — Essay Samples — Literature — A Midsummer Night's Dream — The Importance and Function of Hippolyta's Character
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The Importance and Function of Hippolyta's Character
Category: Literature
Subcategory: Plays
Topic: A Midsummer Night's Dream
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In William Shakespeare's A Midsummer Night's Dream, the minor character Hippolyta functions in three ways. Her first role in the play is as an example of mature love in juxtaposition to the two immature Athenian couples. Her second purpose in the play is to aid in answering the question "Can love follow conquest?." Her final function is to act as a voice of reason and clarification for the audience. Even though Hippolyta is a minor character in the play, her part is critical to the development of the play's major themes of love and understanding. Hippolyta and Theseus begin A Midsummer Night's Dream by discussing their plans to marry. They remain true to one another throughout the course of the play, until finally marrying in the end. Shakespeare juxtaposes them against Hermia, Helena, Demetrius, and Lysander's unstable relationships. He portrays the Athenian lovers as irrational because of their arbitrary love for one another. Their love is superficial and the objects of it change several times during the play. Demetrius is unable to explain his sudden love for Helena when he says, "I wot not by what power- / But by some power it is-my love to Hermia, / Melted as the snow" (IV, i, 167-169). After saying these lines, he absurdly makes plans to immediately marry Helena, even though his love for her is arbitrary. Hippolyta's relationship with Theseus is not tainted or changed with magic, as is the case with the Athenian lovers' relationships. The magic the Athenian lovers experience represents the immaturity and uncertainness of their love.
Even though Hippolyta's relationship with Theseus appears to be more stable and mature than the Athenian lovers', it is still based on the conquests of war. After Theseus conquers the Amazons, Hippolyta must become his wife. Their relationship is not hateful and cruel like Helena and Demetrius' relationship is at the beginning of the play, however there is still noticeable tension. This poses the question "Can conquest result in love?." Theseus comments that he "wooed thee with my sword, / And won thy love, doing thee injuries;" (I, i, 16-17). This apparent paradox is not the typical standard of true love. When the couple goes hunting Theseus seems to recognize the effort he must put forth to conquer Hippolyta's heart (IV, i, 122-128). He tries to impress her with his dogs' howling even though she has said there is none better than the howling of Hercules' dogs. The howling is like music to Hippolyta, which is symbolic because it represents harmony. She does not believe she will have harmony in her life with Theseus, because it is a result of war. Hippolyta shows that love is not won on a battlefield. However, the couple has only mild disagreements for the continuance of the play. The idea that she will grow to love him emerges with the symbolic dance of Titania and Oberon (V, i, 402-424). Their dance signifies harmony and order for the couple.
Hippolyta's final function is to aid the audience in sorting through the disorder and chaos of the play. Her literal mindedness and rational nature allow her to clarify the mysterious and magical events of the play for the audience. Her fiancé, Theseus, is the most powerful mortal in the play, however Hippolyta proves to use less imagination and more reasoning than he does. Theseus sees the Athenian lovers as being without reason because "The lunatic, the lover, and the poet/ Are of imagination all compact" (V, i, 7-8). On the other hand, Hippolyta uses reason to prove the lover's stories true, because all of their stories coincide with one another. This enables the audience to realize the previous scenes actually happened, even though they are full magic and other ethereal components. Later, Hippolyta comments symbolically, "This is the silliest stuff that ever I heard" with regard to the mechanics' rendition of "Thisbe and Pyramus"(V, i, 211). Her comment on the play is like that of an audience member's comment on "A Midsummer Night's Dream," because of the ridiculous events that occur. Theseus' reply that one should use his or her imagination to better understand it shows how Shakespeare intends the audience to view the play. Hippolyta clarifies for the audience again, adding that it is the audience, not the characters, that use their imagination. She illuminates the way the audience should respond to A Midsummer Night's Dream.
Even though Hippolyta only appears in three scenes of the play, her contributions are essential to the play's development. Her demonstration of mature love functions as the standard that the Athenian lovers never reach. The juxtaposition of Hippolyta's relationship against the other lovers' relationship shows the irrational, superficial, and arbitrary nature of the latter group's love. Hippolyta also shows that love can emerge from conquest and war. Her love for Theseus emerges after order and harmony resumes in their world. Lastly, Hippolyta acts as a voice of reason and clarification for the audience. Her rational insights allow the audience to understand the events surrounding the Athenian lovers, as well as the play as a whole. Hippolyta's three functions as a minor character contribute immensely to plot and understanding of A Midsummer Night's Dream. Without the character of Hippolyta, the play would lack in theme, substance, and clarity.
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The proposed project aims to investigate how digital twins can support and be used for control of minerals processing circuits in order to increase recovery and efficiency, improve resource utilization, reduce energy for a long term sustainable economic, environmental and social operation. The project will focus on how the digital twins should be built and how they are positioned in relation to supervision and control of processing plants. The pre-study aims to survey the state of the art which is today used in the industry and the most current technology sold by suppliers of systems similar to digital twins. In cooperation with the industrial partners, ABB, Boliden and LKAB a possible path forward will be described and a small scale demonstrator will be built. The study will reflect what the industry can use digital twins for in order to improve efficiency, sustainability and competiveness of assets and products. The study will also investigate how the introduction of the digital twin will change the working situation how it will affect gender equality and the experience at the workplace for both operators and process owners. The project also aims to be result in a strong network and a balanced constellation of project partners for submitting a proposal and to conduct a future full scale study.