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By Girlifornia, 11 December, 2021
None, of course, were more solid than Eileen Gu on Friday, as the 18-year-old - who was fresh off a big air win at the Visa Big Air presented by Toyota at Steamboat Resort just six days ago - showed once again why she's arguably the most exceptionally well-rounded freeskier in the world right now.
"Today the conditions were really tough," she said, just before the awards ceremony, "It snowed overnight and it's still snowing right now, so that affected me a lot and I had to make some last-minute changes to my run. I wasn't able to do a lot of the tricks I've been working on early in the season. But the conditions were the same for everybody and I'm happy I was able to put the run that I did."
Leading off her first run with a right side 900 with the Buick grab that only she is doing in the women's field, Eileen Gu followed that up with a left 900 Japan, a right 720 opposite tail, a switch 360 Japan, a left alley-oop flat 540 mute and finally a left 540 double grab to earn a score of 90.50 that would hold up to all challengers and give her her second career halfpipe World Cup win.
"I love competing with all the girls," Gu went on, "I feel like halfpipe skiing, and just women's freeskiing, in general, is at a really progressive point right now and it's super exciting to be a part of it and be at the forefront of it. Being able to have played any little part in that progression is a huge deal for me."
In the second place, just half a point back of Gu, was Canada's Rachael Karker, who boosted some of the most consistent amplitude of the day and was one of the few skiers in Friday's snowy finals who laid down their best-scoring run in their third attempt.
Kicking things off with a giant left flare mute grab and immediately following that up with back-to-back 900s, Karker's combination of variety and airtime earned the 24-year-old a score of 90.00 and her eighth career World Cup podium.
Third place on the day went to another Freeski triple threat in Kelly Sildaru of Estonia. Squeezing more hits into her run than any other skier dropping in on the Copper pipe, Sildaru included a right 900 mute to left 900 opposite tail to open her high-scoring second run in style. With a score of 88.75, she would make her first halfpipe World Cup start in almost three years a good one by earning her eighth career World Cup podium.


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Peace Woodland Lichfield
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by Tony Collins (subscribe)
I am a freelance writer specialising mainly in health and education and living in Staffordshire. Find me on Linked In
Published June 5th 2019
New 'Green Lung' created to mark centenary of start of WWl
The world's population can breathe a little easier following the planting of a new wood that also commemorates the millions of people who lost their lives during the First World War. The already scenic Beacon Park in the centre of Lichfield has become even more of an attraction to visitors following the formal opening of its new Peace Woodland on June 4. The woodland, which was designed by internationally renowned sculptor and artist Peter Walker, has been planted with exactly 1,918 trees as a symbol of peace to mark 100 years since the start of the war. Peter, who is Lichfield Cathedral's Artist in Residence, was joined at the woodland launch by around 300 people including representatives from the cathedral and Lichfield District Council, along with volunteers, sponsors, guests and well-wishers.
The Lichfield Cathedral Choir perform at Beacon Park. Credit Hannah Golding
The new wood, which is the only Peace Woodland outside of Jerusalem, comprises a mix of trees including birch, cherry, and oak, with a specially donated Cedar of Lebanon taking centre-stage. The woodland was planted by Lichfield District Council's parks team with the help of volunteers. The Peace Woodland began life as an art installation at Lichfield Cathedral in August 2018 to mark 100 years since the end of the First World War. The 1,918 young trees, salvaged from across the district of Lichfield, were planted in pots and moved to the cathedral to be arranged on the lawns facing the main entrance. Following the exhibition, the trees were moved back to Beacon Park's Community Garden, where they were looked after ready to be planted out in the permanent Peace Woodland, next to the park's golf course. The official opening of the woodland featured music from the Lichfield Cathedral choir, directed by Ben Lamb. It also included the unveiling of a six-foot bronze plaque bearing 1,300 names chosen by people who sponsored the project, many of whom opted for the names of relatives who lost their lives to war.
The plaque bearing the names of 1,300 sponsors and people who lost their lives to war. Credit Hannah Golding
Peter Walker, who is both a Fellow of the Royal Society of Arts and member of the Royal Society of British Sculptors, said: "Memorials and monuments are made of metal and stone and wood. The Peace Woodland, however, is an artwork made of young living trees that will grow and prosper. It is a place to be peaceful and to contemplate and to think about peace and, for those who have dedicated names, to think about family and friends. It is a unique and individual place that says so much about how peace is at the centre of how so many of us want to live our lives." The Dean of Lichfield Cathedral, the Very Revd Adrian Dorber, said the Peace Woodland was at the heart of their Armistice year. "We are grateful to everyone who chose to sponsor and dedicate a tree and be part of this peace project. We also thank Lichfield District Council and all the volunteer tree planters who have brought this vision to reality. We hope the Peace Woodland will become a potent symbol: one that reminds us of the sacrifices made in war, and our ambition always to strive for peace, for freedom, and for hope."
Dean of Lichfield Cathedral, the Very Revd Adrian Dorber, at the launch of the Peace Woodland. Credit Hannah Golding
Councillor Iain Eadie, Deputy Leader of Lichfield District Council, said: "Seeing the Peace Woodland now that it has been completed and the trees have come into leaf shows what a massive undertaking it has been. It's a beautiful way for the district to mark the centenary of the First World War and gives a space to contemplate the great loss of war and the shared mission for peace. On behalf of the council, we'd like to thank the whole team at Lichfield Cathedral, especially artist Peter Walker, and all of the hard-working volunteers who have helped us to plant the stunning woodland."
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Why? Visitors to city park can enjoy benefits of new peace woodland
When: Opened June 4
Website: https://www.visitlichfield.co.uk/attractions/beacon-park
Where: Beacon Park, 14 Swan Road, Lichfield WS13 6QZ
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Join us for the first event of the 2019 Carole Weinstein Author Series. Zachary R. Wood, a columnist and assistant opinion editor at The Guardian and a Robert L. Bartley Fellow at the Wall Street Journal, will discuss his powerful memoir, Uncensored, which offers his perspective on free speech, race, and dissenting opinions. Wood grew up poor and black in Washington, DC, where the only way to survive was resisting the urge to write people off because of their backgrounds and perspectives. By sharing his troubled upbringing—from a difficult early childhood to the struggles of code-switching between his home and his elite private school—Wood makes a compelling argument for a new way of interacting with others and presents a new outlook on society's most difficult conversations. A book signing will follow the talk. For more information, contact Emma Ito at 804.692.3726 or emma.ito@lva.virginia.gov.
Read and discuss the best of today's Virginia literature—books by Library of Virginia Literary Award winners and finalists in fiction and nonfiction. On the second Wednesday evening of each month, join us for a book discussion with light refreshments, additional historical context, and even occasional author visits. This month, discuss Fire Is Your Water by Jim Minick (a 2018 Fiction Award finalist). For April, in honor of National Poetry Month, we'll each pick a poem by one of the LVA Literary Award–winning poets to share and discuss (a list will be provided at the March meeting). Loaner books available. For more information, contact Nan Carmack at nan.carmack@lva.virginia.gov or 804.692.3792.
Do you have the germ of a great book idea? Did you stumble upon a news brief that captivates you? Maybe you've uncovered a family history that feels important or found something in the stacks you keep thinking about. Library of Virginia writer-in-residence Kristen Green, author of the New York Times best seller Something Must Be Done About Prince Edward County—with assistance from Ginny Dunn, the Library's Archives and Library Reference Services manager—will explain how to take that morsel and use it to build a broader story through deep reading, research, and interviews. Green will provide examples of materials available from the Library of Virginia's collections and from online resources to add details and texture to build a richer narrative. For more information, contact emma.ito@lva.virginia.gov or 804.692.3726.
In honor of National Women's History Month, author Megan Taylor Shockley will speak about her new book, Creating a Progressive Commonwealth: Women Activists, Feminism, and the Politics of Social Change in Virginia, 1970s–2000s. This innovative study illustrates how feminists in the state challenged the traditional patriarchal system and engaged directly with the legislature through grassroots educational efforts on three major initiatives: passage of the Equal Rights Amendment, protection of abortion rights, and pursuit of legal and social rights for survivors of domestic and sexual violence. Shockley challenges the monolithic view of the region as a conservative bastion and argues that feminist advocates have provided crucial social progressive force. A research professor of history at Clemson University, Shockley, is also the coauthor of Changing History: Virginia Women Through Four Centuries, published by the Library of Virginia. A book signing will follow the talk. For more information, contact emma.ito@lva.virginia.gov or 804.692.3726.
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Director - Paul Dano - 2018
"Greasy movie"
Family drama set in the remote hinterlands of Montana illustrates the gradual and inevitable collapse of a nuclear family, starring Jake Gyllenhaal and Carey Mulligan - now available on VoD
Based on the eponymous novel by Richard Ford, first published in 1990, Wildlife is set in 1960, in the arid hinterlands of Great Falls, Montana. Jerry Brinson (Jake Gyllenhaal), his wife Jeannette (a dark-haired Carey Mulligan) and their 14-year-old son Joe (Ed Oxenbould) have recently moved to the remote town, where Jerry works as a golf pro at the local country club.
The Brinsons look like your ordinary American nuclear family. A hard-working father, a doting mum and their son. But Jerry is unexpectedly fired from his job. He's eventually offered his position back, but he simply refuses it out of pride. Instead, he takes up a low-paid and extremely hazardous job as a forest firefighter in the nearby mountains. Jeannette is infuriated. She believes that Jerry's decision is extremely irresponsible. The new job means that Jerry will be away from home most of the time, lodged in the mountains, and that his life will be constantly at risk.
Jeannette epitomises the collapse of the nuclear family. While Jerry may have been slightly stubborn, his decision was not entirely selfish. In fact, he seems to care enormously for the family. The 34-year-old female embarks on a bumpy journey in search of romantic fulfillment. She takes up a job as a swimming instructor and begins an affair with one of her students, a middle-aged war veteran called Warren Miller, who also happens to be a wealthy car dealer.
Becoming infatuated with another man while your husband is away is hardly morally reprehensible. It could happen to any woman . The problem is that Jeannette goes one step further. She flaunts her rampant sexuality in front of her sensitive and introspective son. One day, she takes Joe for dinner at Warren's place, and does not hesitate to engage in a passionate embrace with her lover in front of the perplexed teen. It's almost as if she wanted to prove to her son that marriage is a failed institution, and that she has finally encountered her freedom. It's unclear why she decides to use her own offspring as a venting outlet for her frustrations. As the alcohol clouds her senses, she becomes increasingly erratic and vulgar. Warren attempts to interact with Joe, but awkwardness prevails, in what's the film most powerful sequence.
Joe is left to pick up the family pieces. Should he break the news to his father once he returns from the mountains? Is it the role of a young teenage to keep a small nuclear family together? And how will Jerry deal with the prospect of his masculinity being damaged by unabashed adultery? Will his pride once again prevail, and how far is he willing to take his actions in order to "fix" the problem?
Wildlife is effective enough as a family drama, but it lacks the punch-in-the-face factor. The ending has a clear visual and lyrical symbolism, yet the big SW-question might haunt you once the film is finished: "So what???". The next day, you may have forgotten you watched Wildlife at all. Hardly wild at all!
Wildlife is out in cinemas across the UK on Friday, November 9th. On VoD on Monday, March 18th
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In this world there are two sorts of people – those who like pancakes and those that don't. I don't think I'm actually friends with anyone that falls into the second category.
Pancakes are the stuff of weekend brunch legend. They're thick, fluffy and delicious. Made better by blueberries, by bacon, by maple syrup. But recently that changed. I was meeting one of my brothers for brunch last weekend whilst I helped him with a few things, so I decided that instead of us going out somewhere and clogging up a table in a busy cafe I would make us these wholemeal strawberry pancakes.
For some reason that day before I got the idea of wholemeal pancakes in my head, and whilst out shopping I spotted the first local strawberries of the year – clearly they were going to be involved somewhere. Wholemeal and strawberry pancakes sounds like I'm on some sort of attempted health kick or trying to change the sacred art of brunch – I am most definitely not, in both cases – but more that the idea just came to me and I thought I'd try it out. And I'm pretty happy with the results.
I strongly suspect that these strawberries (which were from Clackmannanshire, if you're interested, and if you're not, no I didn't make that place up, much as though it sounds like I might have) have been brought on in the polytunnels – apart from a few choice days the weather here does not strike me as bringing strawberries out in great masses. But regardless, they are the first local strawberries of the summer which is hugely exciting, I'm a big fan of the soft fruits we get up here.
These pancakes / granny's pancakes / drop scones / whatever-weird-name-you-have-for-them are great as a brunch option, but be careful when cooking with them as the water content of the strawberries can make then harder to cook and easier to burn. They are delicious though, and whilst the lack of bacon might not work for those trying to recover from a previous evening's excesses, they do work well for a lazy morning. And a cheeky little drizzle of maple syrup doesn't hurt them either.
This recipe is a combination of a few, honed over the years through eating an almost excessive amount of brunch, so it's an original to The Usual Saucepans. It makes enough for a light brunch for two – if you're really hungry/greedy/hungover I would double it .
Start by whisking your eggs and then adding to that your milk. Slice your strawberries thinly – dicing them also works – and leave them sitting on the side of the chopping board.
Put all the dry ingredients into a medium sized bowl and to it add the egg/milk mixture. Get a wooden spoon and mix it all together so it forms a thick batter (too liquidy and you will end up with crepes that won't fluff up!). Sit aside for at least 15 minutes.
Take your pan and grease it with a thin layer of butter – I have a great non-stick crepe pan, so it needs no butter, but if yours does, apply it with a piece of kitchen roll for the best spread – and then put over a medium heat. When the pan is hot put a tablespoon of the mixture in to test (pancake 1 of a batch is rarely perfect, don't worry). After about a minute or so it will start bubbling over the top – this is the time to flip it! Cook for 1 minute on the other side and then it will be done.
For pancake 2 onwards, use 1½ – 2 tbsp of your batter, and once in the pan add a few slices of strawberry on top of side 1. Once there are bubbles all round the strawberries, flip them over and cook side two.
If you've increased the quantity of pancake batter, you won't be able to make it all before the first ones are cold. Either serve immediately or put a tin plate in the oven on a low heat and keep them there.
Serve with more strawberries on the side and some syrup if you want it.
Definitely – and being a little over-ripe shouldn't hurt them in this at all (just be careful when cooking them as they'll be more 'liquidy'.
Definitely not! All about the pancakes.
Fabulous idea, must try these at the next brunch opportunity.
Definitely – wholemeal pancakes do sound a little weird but the strawberries help keep them sweet.
I'm not too good at turning to wholemeal flour first and it's somehow always an after thought. Pancakes and strawberries sounds delicious to me – I would definitely enjoy these.
Wholemeal's not instantly where anyone's mind goes when they think of flour, I don't think. But well worth a try – let me know how you get on.


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Home » Reviews » CD » G » Gunjack - Th…t of Triblade
Gunjack - The Cult of Triblade
Gunjack
The Cult of Triblade
by Kira Schlechter at 10 February 2020, 4:12 AM
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Concept albums, even loose ones, seem to be a thing. They are definitely GUNJACK's thing, seeing as their second album continues the tale started in their first. "The Cult of Triblade" is the Italian band's second album, following 2018's "Totally Insane" debut effort. Triblade is a droid, and this is the second chapter of his adventures. The tracks are to the point and well-edited – 13 songs in a smidge over 45 minutes is an exercise in self-control.
The sparse introductory track, "The Cult of Triblade (Rite of Initiation)" has Mr. Messerschmitt's bass acting as lead guitar, setting up a very European-sounding melody. His voice is almost spoken, like a chant, and is treated with an echo. It acts to set the stage for the story, warning "these are dark times," "there is no justice," and "there is not glory."
In reality, our Mr. M holds a Ph.D from the LEMMY KILMISTER School of Lead Singing, which becomes abundantly clear on the thrashing, MOTORHEAD-esque "Behind the Truth." The band owes a tremendous debut to the British legends, from his voice to his upfront bass to the focus on the bottom end. There's also a spirited little marching tempo breakdown with a high guitar part slicing through. Having lyrics would help in order to follow the story, but this one seems to be about some sort of war or conflict.
"I'm Not Innocent" is filled with more bass and guitar harmony, set to a swinging catchy groove – it's very low-fi but appealingly so. Obviously our lead character did something wrong here, but feels no remorse – "hate was eating me," "kill or be killed," "I had no choice," he says, and adds, "If I had the chance, I'd do it again." The first single, "Fukushima," seems to relate the story of the Japanese nuclear plant destroyed in the 2011 earthquake and subsequent tsunami. It's unclear how this fits into Triblade's story, but perhaps he's been a witness to historical events. Either way, it's definitely a sharp criticism of nuclear energy ("in the name of progress, we infect the earth"). The rhythm changes are really effective here, and it's nicely brief and biting.
"New Cold Soldier" starts out slow and grinding, then picks up, the shouted-out backing vocals giving it urgency and punch. When they go back to that slow start, it's so satisfying because it ties things up so well. The nods to MOTORHEAD abound, like in "Immortals," but without the humor and tongue-in-cheek quality of the original – and that's OK. Gamma delivers a very WURZEL-like solo, and they continue to excel at seamless tempo changes. The group singing at the end is loads of fun, with Mr. M going over the top at a higher octave to drive it home.
Tracks like "District 9" (with its irresistible dark chord progression) and "Mind's Annihilation" showcase M47's machine-gun drumming, particularly the latter – he's deadly precise and his fills in the chorus are notable for their variety. He shines too when it picks up in the bridge, Gamma's guitar briskly following his lead. Mr. M's bass stars in the opening riff of "Kneel Down," and he dabbles a bit in a death-metal growl, which is a nice touch ("you bastard, kneel down," he rumbles in the chorus).
"Normandy" again may be the character witnessing a past event (he refers to "150,000 souls," the number of those killed in the pivotal World War II battle). "Lake of Uniforms" continues the warfare theme, and the chorus is a standout for its instrumental tension – staccato then legato, pushing, then pulling. There's a little fighter jet cockpit kind of stuff in the fadeout of this slightly longer track, perhaps the apex of the story as the character seems to be looking back on his life.
The instrumental "Triblade" blazes with killer bass, snarling, spitting guitar accompaniment, and first-rate drumming – double-kick, super-speedy triplet rhythms, cymbals, the lot. They can have this one because it's a little over a minute long and everyone sounds terrific. The closer, "Last Conflict," almost carries on the sound of the previous track, since they mesh well, and that slow, sludgy breakdown is a nice change of pace.
Songwriting: 8
Musicianship: 9
Memorability: 9
Production: 9
1. The Cult of Triblade
2. Behind the Truth
3. I'm Not Innocent
4. District 9
5. Fukushima
6. New Cold Soldier
7. Immortals
8. Mind's Annihilator
9. Kneel Down
10. Normandy
11. Lake of Uniforms
12. Triblade
13. Last Conflict
Mr. Messerschmitt (Alessandro Dominizi) - Vocals, Bass
Gamma Morser (Fabio Cavestro) - Guitar
M47 (Andrea Ornigotti) - Drums
Record Label: Independent
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Kenneth Arnold Chesney, commonly known as Kenny Chesney, is a famous American musician, singer, as well as a songwriter. Kenny Chesney debuted in the music industry in 1991 with the release of his first studio album called "In My Wildest Dreams". In addition to selling over 10 000 copies, the album produced two songs that made it to the Billboard charts and introduced Chesney to the country music scene.
Throughout his career, Kenny Chesney has released 15 studio albums, most of which received either Gold or Platinum certifications from the RIAA. Chesney's most recent album is called "The Big Revival", which is scheduled to be released by the end of September in 2014. The album contains a single "American Kids", which topped Canadian Billboard charts, peaked at #1 on the US Billboard Country Airplay chart, and has currently sold more than 803 000 copies worldwide. Even though Kenny Chesney is mostly known as a solo singer, he is also recognized for his many collaborations. During the years, Chesney has worked with such musicians as Jimmy Buffett, Tim McGraw, "Rascal Flatts", Reba McEntire and many other artists.
A famous country singer, how rich is Kenny Chesney? In 2011, Kenny Chesney's annual salary amounted to $44 million, while in 2013 it grew to $53 million. That same year Chesney collected more than $32 million from the record sales, as well as tour ticket sales. In regards to his total wealth, Kenny Chesney's net worth is estimated to be $100 million. Undoubtedly, most of Kenny Chesney's wealth and net worth comes from his singing career.
Kenny Chesney was born in 1968, in Knoxville, Tennessee, where he spent the majority of his childhood. In Tennessee, Chesney studied at the Gibbs High School and then went on to graduate from East Tennessee State University. Chesney's passion for music inspired him to release a demo album while he was still a student at East Tennessee State. The album sold more than 1 000 copies and helped Chesney invest in a new guitar. In 1993, Kenny Chesney received a record deal with "Capricorn Records" and a year later came out with his debut studio album "In My Wildest Dreams".
Chesney's major success came in 1999 when he released his fifth studio work under the name of "Everywhere We Go". The album not only spawned four singles but also sold more than 2 million records worldwide, which turned out to be Chesney's first album to receive a double Platinum certification from the RIAA. Following the success of his fifth studio album, Chesney came out with "No Shoes, No Shirt, No Problems", which became an even bigger hit than its predecessor. The album produced five singles that were featured on the Billboard charts and sold more than 4 million copies in the United States alone, resulting in a four-time Platinum certification. Kenny Chesney kept releasing commercially successful albums and is currently considered to be among the best and most popular country singers in the world. Kenny Chesney's net worth is estimated to be $100 million.


text:
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class TooltipComponentValue : public BaseComponentValue
{
public:
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protected:
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    bool IsValidValueToSet(const Any& newValue, const Any& currentValue) const override;
    ControlProxy* CreateEditorWidget(QWidget* parent, const Reflection& model, DataWrappersProcessor* wrappersProcessor) override;

    bool IsReadOnly() const override;

    String GetTooltip() const;

    DAVA_VIRTUAL_REFLECTION(TooltipComponentValue, BaseComponentValue);
};
} // namespace DAVA

redpajama_set_name: RedPajamaGithub


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For a select group of small Iowa towns, it just wouldn't be Christmas without a lighted tree downtown—right in the middle in the street. In Story City, the community has celebrated this beloved holiday custom for more than 100 years.
This year's evergreen tree was donated by Ole and Jackie Skaar of Story City and was installed by the Municipal Electric Company at the corner of Broad Street and Pennsylvania Avenue. Hundreds of people attended the Yulefest tree lighting ceremony on the evening of Nov. 25. Excitement intensified during countdown from 10 to 1 before the lights were flipped on. Then the high school choir led the singing of Christmas carols, and guests could warm up with cups of hot chocolate. The Story City Fire Department hosted their annual chili supper following the tree lighting ceremony.
Hundreds of people attended the Yulefest tree lighting ceremony in Story City, Iowa, on the evening of Nov. 25. Excitement intensified during countdown from 10 to 1 before the lights were flipped on. Then the high school choir led the singing of Christmas carols, and guests could warm up with cups of hot chocolate.
In 1914, Story City became one of the first towns in Iowa to display a municipal Christmas tree with electric lights. While many Iowa communities had begun to offer electrical service in the late 1890s and early 1900s, electricity was still a novelty that held the power to fascinate, especially in rural areas.
At that time, electricity was out of reach for thousands of farm families, many of whom wouldn't receive electrical service until the federal Rural Electrification Act of 1936 brought power to rural America in the late 1930s and into the 1940s.
Other communities took note. After Story City celebrated its first lighted Christmas tree, the event attracted newspaper coverage across the Midwest, and the concept of municipal Christmas trees started gaining popularity in small towns across Iowa and beyond.
Story City's municipal Christmas tree has even reflected noteworthy moments in American history. No municipal Christmas trees were displayed in Story during World War 2 from 1942 to 1944, Feil said. Also, there was no tree in 1973, and no street ornaments were lit that year, due to the nation's energy crisis.
Today, many community members, including Mayor Mike Jensen, have helped make sure Story City has a municipal Christmas tree each year. Since it can be a little difficult to find trees that are right for the municipal tree, community leaders have begun planting evergreens near the soccer fields in the northwest part of Story City, said Huff, who noted that Story City is a member of Trees Forever. These trees will help ensure this beloved tradition lives on.
"From the first tree in 1914 to our current tree, I love the feeling of community our municipal Christmas tree continues to bring each year," Feil said.
The municipal Christmas tree is unique feature of Exira, Iowa, population 840, which is also known for its 4th of July celebration. "It's a proud tradition we want to keep around for years to come," says the city clerk.
On the other side of the state in Exira, population 840, local residents also cherish the tradition of a municipal Christmas tree that stands tall in an intersection downtown near the town square.
This year's tree, which was donated by Lana Wiges of Hamlin, was set up the Saturday after Thanksgiving. The tree was officially lit when Santa Claus came to town during the first weekend in December. Has anyone ever crashed into the holiday icon? "Fortunately not," Christensen said.
Municipal Christmas trees used to be a much more common sight in small Iowa towns, but the tradition faded away in many communities due to the work involved, declining populations and other factors. To Tammy Maaff-Portz, it was a tradition worth reviving in her hometown of Remsen, population 1,663.
This year's municipal Christmas tree stands about 30 feet tall on Main Street and is covered with an array of oversized green and red ornaments and approximately 3,000 lights, including a lighted star on top. The massive tree sits in a permanent hole dug into the street downtown and is held in place with a support system designed for this purpose. The hole in the street is covered with a steel plate the rest of the year.
The lighting of the municipal Christmas tree, which took place the first Monday evening in December, started with a blessing of the tree by local religious leaders. Then Santa arrived on a vintage fire truck and lit the tree before heading to the Remsen Heritage Museum, where children could share their wish list with him and receive a candy cane.
Remsen's businesses stayed open that evening until about 8 p.m. Carolers walked from shop to shop, singing songs of the season, while visitors enjoyed horse-drawn wagon rides as sleigh bells rang throughout Main Street. Children took advantage of Kids' Korner, where they could shop for gifts for their family and either wrap the presents themselves or get a little help from the business owners.
"Living windows" in local stores have also become a popular part of the celebration. This year, members of the St. Mary's boys' basketball team were at Schorg's Custom Cabinetry, where visitors could visit with them while decorating their own Christmas cookies.
Iowa has more than 100 Christmas tree farms in all parts of the state.
These farms devote more than 1,500 acres to Christmas tree production in Iowa and harvest approximately 39,500 Christmas trees each year.
It takes 6 to 12 years to grow a Christmas tree before it is ready to be sold.
Christmas tree farms in Iowa are part of a $1 million industry that contribute to the state's economy.
Want more Iowa culture and history? Check out my top-selling "Calhoun County" book, which showcases the history of small-town and rural Iowa, as well as my "Culinary History of Iowa" book from The History Press. Order your signed copy today!
For a guy who didn't care for vegetables as a kid, Adam Nockels has come a long ways. Now he runs Iowa's Raccoon Ridge Farm, which specializes in an array of naturally-grown produce.
"My foodie friends in college, including one who is a gardener, got me interested in fresh foods and new flavors," said Nockels, who was born in Lake City but grew up on military bases before returning to the Lake City area.
Food production also appealed to Nockels, a U.S. Air Force veteran who used the G.I. Bill to attend Iowa State University, where he earned his biology degree in 2010. After completing an internship at Turtle Farm near Granger, where he learned about vegetable production and community supported agriculture (CSA), Nockels knew he wanted to work in production agriculture. When he proposed the idea of starting a farm on the land his family owns between Lake City and Auburn, his grandparents Dennis and Sheila Moulds liked the idea.
Nockels' weekly newsletters for CSA customers include a list of produce supplied that week, brief descriptions of the unique items in the box, tips for storing the produce, recipes and seasonal cooking tips such as how to roast chile peppers. Some of Nockels most popular items are his green beans. In 2015, the sandy, loamy soils of Raccoon Ridge Farm produced almost 450 pounds of green beans, so full-share holders received roughly 23 pounds of green beans each.
Want more fun Iowa food stories and recipes? Sign up today for my blog updates and free e-newsletter, or click on the "Subscribe to newsletter" button at the top of my blog homepage.
Also, check out my top-selling "Culinary History of Iowa" book from The History Press, and order your signed copy today.
You can also order my "Calhoun County" Iowa history book, postcards made from my favorite photos of rural Iowa and more at my online store. Thanks for visiting!
Whisk the vinegar, shallots and honey in a medium bowl to blend. Gradually whisk in the olive oil. Season the vinaigrette to taste with salt and pepper. Toss the beets in a small bowl with enough dressing to coat. Place the beets on the prepared baking sheet, and roast until the beets are slightly caramelized, stirring occasionally, about 12 minutes. Set aside and cool.
Toss the greens and walnuts in a large bowl with enough vinaigrette to coat. Season the salad to taste with salt and pepper. Mound the salad atop four plates. Arrange beets around the salad. Sprinkle with goat cheese. Serve.
Mix butter, 2 tablespoons chives, sesame seeds, ginger and sesame oil in small bowl; season with salt and pepper. Spread butter mixture over each bread slice. Top with radishes, overlapping slightly. Sprinkle with remaining chives.
Preheat oven to 350 degrees, with racks set in upper and lower thirds. In a large skillet, heat butter over medium. Add spring onions, and cook, stirring occasionally, until softened, 1 to 2 minutes. Add as much spinach to skillet as will fit; season with salt and pepper, and toss, adding more spinach as room becomes available, until wilted, 2 to 3 minutes.
Transfer spinach mixture to a colander. Press firmly with the back of a spoon to squeeze out as much liquid as possible. Sprinkle cheese onto crust. Spread spinach mixture over shredded cheese.
In a large bowl, whisk together eggs, half-and-half, nutmeg, 1 teaspoon salt and 1 teaspoon pepper. Pour egg mixture into crust.
Bake until center of quiche is just set, 55 to 60 minutes. Let quiche stand 15 minutes before serving.
Cover and refrigerate leftovers up to 1 day. Reheat at 350 degrees until warm in the center, 30 to 40 minutes.
Preheat oven to 350 degrees. Remove large central stem from kale leaves and tear into chip sized pieces. Drizzle with olive oil and add a sprinkle of salt or seasoned salt. Bake in the oven for 10-15 minutes until leaves edges are brown but not burnt.
Bring a large pot of water to a boil over high heat. Boil potatoes for 15 to 20 minutes, until tender. Drain.
In a medium saucepan, bring 1 cup water to a boil. Simmer peas in boiling water for 6 to 7 minutes, or until tender (do not overcook). Drain.
Using the same saucepan, melt butter over medium heat. Stir in flour to make a thick paste; gradually whisk in milk, stirring constantly until slightly thickened. Season with salt and pepper to taste. Add potatoes and peas to the sauce; simmer for about 5 minutes, stirring often. Serve immediately.
Shred the tuna with a fork and mix thoroughly with the cabbage. Stir in mayonnaise and yogurt. Add salt and pepper to taste. Eat immediately, or refrigerate for up to two days. Makes two 1-cup servings.
Put basil in blender or food processor. Add garlic, and blend, adding olive oil slowly. Add Parmesan and pine nuts. Blend all into a thick sauce.
This is good over any hot pastas. It can be also added to salad dressing, 1 tablespoon at a time, used as a spread for tomatoes, on crackers, etc. Pesto can also be frozen in small container for use later.
Cook the pasta according to the package directions, adding the green beans during the last 3 minutes of cooking. Drain and run under cold water to cool.
Toss the cooled pasta and green beans with the red beans, parsley, Parmesan cheese, olive oil, lemon juice, 1 / 2 teaspoon kosher salt, and 1 / 4 teaspoon black pepper. Divide the salad between two containers and refrigerate for up to one day.


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Jean-Baptiste de Glandevès du Castellet  (Castellet-Saint-Cassien, 7 November 1728 — 1803 ) was a French Navy officer. He served in the War of American Independence.

Biography
Glandevès was born to the family of Marie Hiéronyme de Bruny and of Charles François de Glandevès du Castellet. He was cousin to Pierre-André de Glandevès du Castellet, and uncle to Pierre de Moriès-Castellet.

Glandevès joined the Navy as a Garde-Marine in July 1741. He served on the 64-gun Solide, on which he took part in the Battle of Cape Sicié on 22 February 1744. In 1746, he was on Trident before transferring to Argonaute and taking part in Duc d'Anville expedition.

He was promoted to Lieutenant in 1756. That year, during the Seven Years' War, he served on the 64-gun Achille, which was part of the squadron under La Galissonière. He took part in the Battle of Minorca on 20 May 1756. He was wounded on the 80-gun Océan at the Battle of Lagos on 18–19 August 1759.

Glandevès was promoted to Captain in 1772. In 1774, he was given command of the frigate Atalante. In 1777, he transferred to the 64-gun Lion, and later he was appointed to the 74-gun Souverain.

On Souverain, Glandevès took part in the Battle of Martinique on 17 April 1780, in the Battle of the Chesapeake on 5 September 1781, and at the Battle of the Saintes on 12 April 1782. In 1782, he was promoted to Brigadier, and to Chef d'escadre in on 20 August 1784.

He was the officer in charge of the Navy at Toulon from 1790 to 1791, and was brutalised by a mob during the revolutionary unrest. In 1792, he was promoted to Contre-amiral.

Glandevès was a Commander in the Order of Saint Louis, and a Knight of the Order of Malta.

Legacy
Ségur mentioned Glandevès in his Mémoires as "An officer respectable because of his age, his skills and bravery. his sophisticated intelligence, his gentle piety, and his calm and kindly character made him like equally from his superiors, his equals and his subordinates."

Sources and references
 Notes

Citations

References

External links

French Navy officers
French military personnel of the American Revolutionary War

redpajama_set_name: RedPajamaWikipedia


Getting a custom suit that fits you perfectly doesn't have to cost a fortune. Indochino is part of the wave of made-to-measure clothing sites that are giving consumers a better-fitting alternative to off-the-rack clothing.
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We have been so fortunate to have our dog Buck as part of our lives for such a long time. Buck is a 9 year old Bernese Mountain Dog. The average life span for a Bernese Mountain Dog is 6-8 years and we lost Bucks litter-mate Cami to lung cancer when she was seven. Cancer is relatively common in Bernese Mountain dogs. So Buck has already surpassed his "sister's" life span and the average life span for his breed.
At this stage in his life we can see Buck starting to show his age. He is slowing down a bit and doesn't get around as well as he used to. He has some other chronic health issues we have been maintain for a while as well. So with all this in mind we have been getting more worried that Buck may not have much time left with us.
We have always tried to include Buck in as many activities as possible. Buck loves people and loves to get attention from people. With his limited mobility, he can't walk long distances, we often get sad thinking about all the events we used to take Buck to where he would literally be a show stopper.
This year we decided just in case it is Bucks last (maybe this is too pessimistic but we don't want to have any regrets) we are going out of our way to include him as much as possible. Earlier we took Buck to Walk'n Wag (No Walking for Buck the way we roll) (insert link to walk and wag photos). We also took Buck to Thanksgiving dinner with our family this year, which we have never done. It was great because we are a family of dog lovers and all had dogs there.
One special event for us and Buck has been the annual Sparkle, Christmas celebration in Corning, NY. We have often taken Buck to this event. Its the perfect event for him. Its generally cold which Buck loves and there are people which Buck loves. The down side is that the event requires parking some distance away and then walking to where Corning has Market Street closed down for all kinds of vendors and exhibits. Walking to Market Street and down Market Street is something Buck would not be able to do at this stage in life. Enter the awesome garden wagon we bought for him. My amazing wife decorated it all up with Christmas goodies. There are strands of lights, garland, and Christmas decorations, and we got Buck a nice Christmasy scarf to wear. We were fully committed to making this Sparkle the best ever for Buck and our family of us and dogs. Buck was so excited to go see people he actually climbed into his cart on his own which he had not done in a few other uses of it and we didn't even think he could do.
There are always tons of people at Sparkle. The challenge: How to navigate a thick crowd filling a street while pulling a large garden cart containing a 115 lb dog. We weren't worried about ourselves but we didn't want to be in other peoples ways or run anyone over. We just wanted to be able to make slow progress done the street to see the fun Christmas events going on and so Buck could see the people. And Make slow progress we did. It took us 2 hours to get from one end of the street to the other and the street is approximately five city blocks long.
It was slow going but it was the best slow going ever. It felt like we were in a parade. Everywhere we went Buck drew attention. People marveled at his cart with decorations and lights. His nice soft cushy bed in the cart. And the fact that he convinced his humans to pull him through the street. (Trust me no convincing required) Several people humorously pointed out "Isn't the dog supposed to be the one puling the cart?" To which I replied, "Yeah, we're kind of backward like that.
When you walk down a street and see people smiling at you and your dog, you hear people exclaim "Oh My God Look at that dog!" and it happens over and over again, its just a magical feeling. It makes me happy that Buck can make so many other people happy.
Every few steps (I want to say we but really its all Buck) Buck would draw a new crowd of onlookers and admirers. Some would look and point and smile. Many would come over and ask permission to pet him. To which our response is always of course you can. Buck loves to be petted. And he really does.
Buck is such an amazing dog. He has always loved people and he is especially good with the youngsters. He's a great dog for any child that might be afraid of dogs to meet. He sits calmly letting the child decide if it is safe to approach. Buck rarely Barks while out in public and doesn't try to jump on or run over people and especially while riding in his cart stayed amazingly still and calm. He only adjusted himself from laying to sitting and vice versa as he deemed necessary.
So many people will come and talk to you and comment about your dog and ask you questions. Dogs are magical like that. I talk to more people I don't know in one afternoon out with Buck than I probably do in a year. Dogs bring people together.
We talk about Buck. We talk about his breed, why he's in a cart. We talk about their dogs, the dog(s) they just lost. What kind of dogs they have or want. We talk about dog stuff.
Its not just about Buck, but its about the people too. Seeing the faces on Children, teens, and adults alike as they see Buck pass by. As they come over and pet him. The happiness and joy on their faces is just over whelming. Only dogs can reduce children, teens, and adults alike to the same silly pile of mush that just falls all over themselves to be with that amazing creature.
If this is the last Sparkle we have with Buck I will always remember all the smiling faces Buck leaves in his wake. The strangers he never new and never will. The family, friends and acquaintances we run into along the way. But most of all the smiles he has given to my wife and I. We will always have that.


You�ve just bought yourself an iPhone � welcome to the club! However, while you thought you�d just be able to pop your existing SIM card into your iPhone, you might be wrong.... This Nano SIM Cutter tool is able to cut an original SIM down to a Nano SIM card, which can then fit into iPhone 5 and iPad4, and any other device that.
This is printed on your SIM card just before 3Ggg1 for 3G SIM cards or 4Ggg4 for 4G SIM cards. If you have a Nano SIM, just enter 894411 followed by the 13-digit code found on your SIM. If you have a Nano SIM, just enter 894411 followed by the 13-digit code found on your SIM.... Introduction to SIM Card Sizes. SIM cards come in three different sizes: Standard SIM, Micro SIM and Nano SIM. The right size of SIM card to fit in your handset will depend on the manufacturer and model of your smartphone.
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Often times, people ask if iPhone 6s Sim card size is the same with iphone 5s Sim card size. If you�re also wondering, then this should clear the air on that. After launching the iPhone 6, 6 Plus, 6s or 6s Plus as successors to the iPhone 5 and 5s, Apple didn�t change the SIM card size.
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Will a blackberry sim card work in an iPhone 4 if we cut the sim? My friend has a blackberry and wants to buy an iPhone 4 off someone he knows. I have a micro sim cutter that I used when I went from iPhone 3G to iPhone 4.
iPhone 6 sim card size is the fourth form, or the "fourth shape factor" (4FF) of the SIM standard and measures a unimportant 12.3 mm by 8.8 mm by 0.67 mm, yet at the same time holds an indistinguishable measure of information from prior SIM cards.


text:
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Judge Anderson
Judge Dredd – "The Cape & Cowl Crimes"
Jamie Brackell / April 3, 2017
Written by: John Wagner, Alan Grant, Andy Lanning, Steve White, Robbie Morrison, Simon Spurrier & Alec Worley
Art by: Mike Collins, Mark Farmer, Alan Davis, Dermot Power, Simon Bisley, Richard Elson, Paul Marshall, Carlos Ezquerra, Ben Willsher & Eric Powell
Price: $19.99 (US)
The Graphic Novel reprints the following stories:
"Fairly Hyperman" – (Prog 529 – 530)
"Bat Mugger" (Prog 585)
"The Juve Mutated Kung-Fu Kleggs" (2000AD Sci-Fi Special 1991)
"Chicken Run" (Judge Dredd Megazine 1.17)
"Marauder" (Prog 1617 – 1627)
"Codename: Weasel" (Judge Dredd Megazine 297)
"The Adjudicators" (Judge Dredd Megazine 323 – 324)
"Mask of Anarchy" (Prog 1910)
"Uncivil Partnership" (2000AD FCBD 2016)
There's no denying that the superhero genre makes up the bulk of comic-books published in the USA – the colourful, costumed characters are as popular as they've ever been, as evidenced by the sheer amount of cinematic exploits that are released on an annual basis. Over the past forty years, 2000AD has always stood separate from its American 'cousins' over at Marvel and DC Comics, offering a more mature and subversive take on the format, with its most famous anti-hero, Judge Dredd, adopting the role of fascist as often as he does the part of the hero. This themed collection of stories aimed at the American audience pokes fun at some familiar iconic superheroes, satirising some of the more goofier aspects of the genre whilst showcasing exactly what makes Judge Dredd unique in the marketplace.
The opening tale, "Fairly Hyperman" features a Superman analogue arriving on Mega-City One with the aim to assist the Judges in upholding the peace. Dredd's natural distrust of this alien refugee from a dying planet is surprisingly similar to Batfleck's own in last year's Batman vs. Superman – although the battle royale in this story is a lot shorter and doesn't involve the two bonding over their mothers. Written by John Wagner and Alan Grant with art from Mike Collins and Mark Farmer, this is a fun tongue-in-cheek storyline that pokes fun at the Superman mythos and probably the closest we'll ever come to an actual Judge Dredd / Superman crossover.
The second tale, "Bat Mugger" is a single-episode adventure that tells the tale from a citizens POV, relegating Dredd to a secondary role. This is an approach often used in the Judge Dredd strip and works well to highlight the zanier aspects of Mega-City One life, such as Fatties, Simps and its other bizarre sub-cultures. Clearly influenced by Batman, the similarly is merely cosmetic as our titular lead embarks on a life of crime as an fly-by-night thief. Wagner tells the tale perfectly through narration boxes and the twist ending is hilarious. It works great as a one-off adventure, hinting at a superhero connection but not satirising Batman in any way.
Appearing in one of 2000AD's Sci-Fi Specials is this hilarious parody of the Teenage Mutant Ninja Turtles featuring the reptilian aliens of Dredd's world – The Kleggs. Released when Sensitive Klegg was merely a glint in Rob Williams' eye, "The Juve Mutated Kung Fu Kleggs" uses the deadly crocs to comedic effect perfectly and does a great job at taking the TMNT concept to the extreme. Written by Andy Lanning and Steve White, with art from Dermot Power, this is a deliciously dark comedy that really benefits from Power's gorgeous fully-painted artwork. This is a perfect example of 2000AD's anarchic personality, especially during the early nineties when it was in its "teenage phase" and flicking the V's up to the establishment.
Next up is our first tale from Judge Dredd Megazine, which was the more adult-orientated gore-heavy sister title to 2000AD launched in the early nineties. "Chicken Run" certainly amps up the gore quota with some eye-catching Simon Bisley artwork accentuating each violent death on the page. The whole story seems to be set-up for the humourous Ozzy Osbourne punch-line at the end, which still works to this day over twenty years later. Once again, the appearance of Batman-inspired Batgliders is purely cosmetic as 2000AD doesn't really get around to dissecting the caped crusader.
The largest story, and arguably the best of the bunch, is "Marauder" which actually ran as a separate series to Judge Dredd within 2000AD. Focused on failed cadet Danny Falcone, this storyline sees writer Robbie Morrison creating a superhero vigilante for Mega-City One. Wisely, Morrison doesn't make Dredd the focal point of this adventure, although he does make a cameo in the early episodes and instead, he makes this a self-contained storyline revolving around corrupt Judges and crime-lords. The art from Richard Elson is absolutely amazing, bringing the kinetic action to life on the page with a deceptive sense of ease. While the Marauder identity isn't a reference to a specific superhero, the story seems to be a mix of Spider-Man and Batman's origins. Despite the obvious influences, the character stands on his own two feet and confidently stakes a place in Dredd's world. Unfortunately, "Marauder" has yet to see a follow-up in the Prog, and its a shame as Falcone is a well-written character and I'd love to see him make a return.
Up next is "Codename: Weasel" from Simon Spurrier, which mercilessly mocks the character of Wolverine and several of his key traits. With some serious inner-monologing and constantly referring to people as "bob", Weasel returns to the Weapon X-esque facility he was created in and discovers a group of Judges there. Paul Marshall does a great job with the art on this story, especially the scenes where Weasel bounces about attacking Judges with his "unbrakium claws". Unfortunately, the ending seems a bit uncharacteristic with Dredd allowing the mutant to leave alive after massacring his fellow Judges, but it allows for a fun X-Men homage at the end.
Simon Spurrier returns with another superhero parody, this time mocking the Avengers and superhero teams. Showcasing the PR Judges and their attempts to build positive buzz for the Justice Department, "The Adjudicators" is a fun examination of why superheroics don't fit in Dredd's world, and why the Mega-City One populous must fear their guardians instead of worship them. Paired with the one-and-only Carlos Ezquerra, Spurrier does a great job at deconstructing the concept of the superhero and contrasting the role against Dredd's anti-hero persona. Instead of playing the story firmly for laughs, there's an interesting point to be made at the heart of this adventure that aligns nicely with the theme of this collection.
"Mask of Anarchy" doesn't feature any superheroes per se, but it does take place during a comic-con panel and features a masked vigilante that is possibly inspired by V for Vendetta. It's an interesting tale that ties into the series' recent focus on anti-mutant sentiment, whilst poking fun at various real-world comic-book problems, such as creators fighting over credit and rights. Ben Willsher does a tremendous job at bringing Alec Worley's geek-inspired adventure onto the page, and the design of the Salvador Whiskers mask is fantastic visual that stands out from the tale.
The final, and most recent, storyline to appear in this collection comes from the 2016 Free Comic Book Day edition of 2000AD, with Alec Worley returning to the character alongside legendary creator, Eric Powell. Powell's unique artwork really enhances the story and gives it a different flavour compared to the typical Judge Dredd artists who work on the series. Worley's witty script not only pokes fun at the rivalry between Marvel and DC Comics, but also the general public's obsession with celebrity break-ups. The fact that the two romantic leads are both male demonstrates just how forward-thinking 2000AD is, challenging bigotry in its pages.
Overall, this is a great collection of stories that showcases a range of different emotions, despite possessing the same core theme of superheroics. Even when mocking iconic comic-book institutions such as Wolverine and The Avengers, the humour clearly comes from a place of love, and is often actually a celebration of the superhero genre. These stories manage to demonstrate the dark humour that pumps through the heart of 2000AD, revealing just how different the anthology is from anything in the states. This graphic novel works well as an entry to Judge Dredd's world, enticing comic-book readers with familiar touchstones before taking them on a no-holds-barred journey through the lunacy of Mega-City One. The clear highlight of the collection is the magnificent "Marauder", which is worth the price of entry on its own – but there's also the added bonus of eight other superbly-written and expertly-drawn adventures. If you're tired of seeing heroes in tight spandex and capes, then you should definitely consider picking up a copy of Judge Dredd: The Cape and Cowl Crimes for a radical take on the genre.
Score – ★★★★
Judge Dredd: The Cape and Cowl Crimes is available in print from Amazon, book stores and comic-book stores via Diamond. It is also available in digital from the 2000AD webshop, 2000AD iOS app, 2000AD Android app and 2000AD Windows 10 app.
April 3, 2017 in Graphic Novel Reviews. Tags: 2000AD, Judge Dredd
2000AD and Me: A Sci-Fi Love Story
Judge Dredd – "Mandroid"
Judge Dredd: Year One – "City Fathers"
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Judge Dredd: Year One – "City Fathers" →
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Quantifying a Commitment to Representation
Category: Diversity
Frustrated by the lack of progress he saw in the museum field, the director of the Fralin Museum of Art at the University of Virginia decided he needed to make an actionable commitment to representation. Pictured here is contemporary artist Vanessa German, who has recently had an installation and residency at the museum. Photo credit: Courtesy of the Fralin Museum of Art, photographed by Coe Sweet.
Matthew McLendon, J. Sanford Miller Family Director, Fralin Museum of Art
I realized last summer that after twenty years in the museum field, I felt deeply frustrated.
When I enrolled in my first museum studies classes in the late 1990s, there were audible and inspiring calls to increase diversity in museums. However, according to recent stories citing dismal statistics, little has concretely changed since then. The data from the largest museums shows that tackling homogeneity and promoting inclusivity has only made incremental progress in museum exhibitions, collections, programming, and staffing. There are many reasons for this but, in my view, a major obstacle is the absence of actionable goals against which museums and museum leadership judge ourselves.
As a relatively new museum director at a thought-leading university, with a truly remarkable group of colleagues to collaborate with, I felt the Fralin Museum of Art needed to enact meaningful change. That's what led us to announce a new, specific commitment to enrich our exhibition landscape by presenting underrepresented artists.
I should mention that two other factors—both personal and collective—weighed heavily on my consciousness:
Global creative cultures, in all their abundance and multiplicity, opened their doors to me during many wonderful childhood visits to museums. As a member of the LGBTQ+ community who understands the importance that visibility has played in my own life, I feel a responsibility to embrace inclusion and welcome diversity in all its forms on a significant scale. If we truly believe that museums should be welcoming to all, then we must ensure that the art and artists represented in these vital public spaces reflect that principle.
In August 2017, just months after I started as Director at the Fralin, Charlottesville, the University of Virginia, and the nation were rocked by tragedy. A white nationalist rally led to violence and death. The very core of what the public university stands for was attacked. The foundational reassessment of our community's values, and the critical role that art and museums can play in healing and processing the aftermath of human conflict, has led to countless reflective conversations throughout the museum and across the university.
The upshot: The Fralin Museum of Art recently announced that historically underrepresented artists will make up half of our exhibited work every year. We define underrepresented artists broadly—to include those with diverse racial, ethnic, gender, sexual orientation, Indigenous, disability/ability, socioeconomic, geographic, religious, and/or age identities.
This commitment comes out of the museum's recent strategic planning process, which included numerous insights and contributions from the museum's concentric communities, advisory board, and staff. Our new strategic plan, which is enthusiastically backed by UVA's leadership and its Office for Equal Opportunity and Civil Rights, will guide the museum's activities and initiatives through 2025.
I believe that the Fralin is ideally positioned to make a difference. The heart of our mission is to enhance visitors' understanding of world cultures throughout history —our own, and those less familiar—through the study of art and partnering with knowledge holders across global perspectives. Academic museums can contribute to and lead such critical conversations, because we are nested within a setting that welcomes complex dialogue and embraces diversity, equity, accessibility, and inclusion (DEAI).
The University of Virginia has a complicated history, and is doing important work to openly address it among all of its constituencies. As a significant part of that dialogue, The Fralin aims to give a platform to previously unheard voices and doesn't shy away from fostering healthy debate. Only through considering and disseminating the full scope of the past can understanding and empathy begin. With UVA students always considered our primary audience, leading by example is a responsibility we take very seriously.
In discussing this diversity statement with key stakeholders over the last several months, I have noted that it does not mean anyone loses a place at the table. Quite simply, more chairs are being added and the conversation is becoming more dynamic.
It is in this future-facing spirit that we hold ourselves accountable. Good intentions are laudable, but for change to take place as an institution we needed a quantifiable metric.
Without a goal against which we measure ourselves and by which our audiences hold us accountable, it's impossible to get from here to there.
Our target of "at least half" of our exhibitions focusing on underrepresented artists is supported by the breadth of our collection. We are beginning to track important metrics such as key information about the artists and the number of artworks by underrepresented artists featured in each exhibition. This work carries through to an assessment of our institutional records and the way art and artists are recorded in our database—work many of our museum peers are also involved in. These numbers are not meant to act as a quota but rather to inform our exhibition planning and the stories we tell through our permanent collection and helps us create a well-rounded schedule of visiting artists and works we bring to the museum.
Well before our 2020-25 strategic plan kicked in, the Fralin had been making valuable inroads on several fronts.
Recent projects have included:
An installation and residency by contemporary artist Vanessa German
An examination of LGBTQ+ art and culture from the collection organized around the fiftieth anniversary of the Stonewall uprising
An exhibition of contemporary Native American artists responding to historic Native art in the collection
Through a partnership with The Mellon Foundation and colleagues across the university, we have welcomed a number of visiting Indigenous American artists to The Fralin. And in 2020 we're excited to present The Inside World: Contemporary Aboriginal Australian Memorial Poles, a collaboration with UVA's Kluge-Ruhe Aboriginal Art Collection.
The focus on works exhibited at the museum also affects how we think about growing our collection. Major works by leading artists Zanele Muholi, Martine Gutierrez, Suzanne McClelland, Rick Bartow, Debbie Clashin, and Cara Romero have been added to the collection in recent years.
These are early days and first steps. One related objective, which is part of the museum's longer-term plan, is to develop a more inclusive and diverse advisory board. At the Fralin we envision this pledge to be held in perpetuity, an ongoing cultural shift for everyone involved in the museum's governance. Through this work we will continue to be mindful that diversity is a step toward equity but not the final step; we want this to be a catalyst for larger institutional change.
Championing diversity and putting metrics into practice is obviously much larger than one institution or goal. But we hope that the ripple effect will positively impact and activate our university community, our region, and our colleagues around the country.
Matthew McLendon, PhD, an art historian and curator of modern and contemporary art, became the director and chief curator of The Fralin Museum of Art at the University of Virginia in 2017. An energetic and influential leader, McLendon is widely recognized for his cross-disciplinary curatorial practice, an emphasis on community engagement and education, and activating marginalized voices in the museum setting. Before coming to The Fralin, McLendon was recruited in 2010 by The John and Mable Ringling Museum of Art, the State Art Museum of Florida under the aegis of Florida State University, to revive its dormant modern and contemporary program.
What It Means to Be a University Museum in the Twenty-First Century	Category: Alliance Blog
Sharing the Wealth: Museums as Equity Engines	Category: Center for the Future Of Museums Blog
An After-School Program Gives Refugee Children a Creative Boost	Category: Alliance Blog
Capture the Flag: the struggle over representation and identity	Category: Center for the Future Of Museums Blog


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Furlough Extension Announced
by Jane Campbell | Nov 2, 2020
The weekend brought the announcement that a four week period of restrictions will start in England on Thursday. As part of the supporting measures, the Job Retention Scheme will be extended throughout the UK in November. Broadly this will operate on the same basis as...
Covid Restrictions Business Support Scheme (Northern Ireland)
by Jane Campbell | Oct 23, 2020
The Stormont Executive announced a new financial support scheme aimed at businesses impacted by lockdowns but not covered in previous funding schemes. The Covid Restrictions Business Support Scheme (CRBSS) – which will open shortly – will support businesses which meet...
Welcome Updates to the Job Support Scheme
The Chancellor has significantly expanded the Job Support Scheme after objections from businesses, particularly those in areas under restrictions (including Northern Ireland) that they are facing massively reduced demand but less support from the government. Under the...
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By Donal Laverty, Consulting Partner The Covid pandemic has generated unique challenges, forcing organisations to respond to unprecedented events at speed. Many are currently focused on short-term survival, responding to ever shifting events and trying to pivot home...
The deadline for the second grant of the Self-Employment Scheme is 19th October, those who have yet to make their submission should do so urgently. In delivering his Winter Economic Statement on 24 September, the Chancellor announced a welcome extension to this...
Time to Talk Inheritance Tax Planning
Are your tax affairs in order, have you minimized your Inheritance Tax liability and ensured your family knows your wishes? In these uncertain times, people should be looking to the future which includes thinking about health insurance, life insurance, pensions and...
Brexit – Now is the time to address some key questions
by Jane Campbell | Oct 7, 2020
Unfortunately, as we are getting closer to 1 January 2021 and the end of the transition period, there is still an absence of clear information / guidance on how Northern Ireland Businesses in particular are to operate post Brexit. This does not however mean that we...
Construction Sector Report
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Tax Relief for Your Capital Expenditure
by Jane Campbell | Sep 28, 2020
If you are planning any significant capital expenditure you should ensure it is before 31 December 2020 to maximise tax relief. The current £1m Annual Investment Allowance (AIA) limit is only available for qualifying expenditure incurred in the two calendar years -...
Deadline Approaching for Notifying HMRC of Overclaimed JRS
Organisations that have overclaimed a Job Retention Scheme grant and have not yet notified HMRC should act now. You must notify HMRC by the latest of either: 90 days after the date you received the grant you were not entitled to 90 days after the date you received the...
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by Jane Campbell | Sep 9, 2020
Two new initiatives operated by Invest NI open today. Digital Selling Capability Grant The £1 million Covid-19 Digital Selling Capability Grant will provide a maximum grant of £20,000 to eligible small and medium-sized retailers to support 50% of eligible costs....
New Government Support Schemes
Covid-19 Recovery Revitalisation Scheme The Department for Communities and the Department of Agriculture, Environment and Rural Affairs have announced an investment of £11m to support organisations in their economic recovery from the impacts of Covid-19. The funding...
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Brades doesn't observe daylight saving time but Andorra La Vella does. DST in Andorra La Vella started on 31 March 2019 and will end on 27 October 2019. Once DST ends in Andorra La Vella the time difference between Andorra La Vella and Brades will be -5:0 hours.


McKenzie Coonce was born in 1987 in Mountain View, CA. Early on, she devoured art--with a particular taste for fashion design. With the encouragement and support of her family, she was driven to be a world famous fashion designer, taking one sewing and one commercial design class in junior high and high school respectively.
Upon high school graduation, the ever-practical McKenzie declined an arts scholarship to pursue a business degree--the solid foundation on which she would build her fashion empire.
Immediately after failing all of her basic business classes, she returned to art with a newfound vigor and intense focus. Within the art department at San Diego State University, she reignited her relationship with fine art and earned her BFA in Studio Art in 2009. During her senior year, McKenzie also focused in Gallery Exhibition Design, working alongside renowned Curator and SDSU Gallery Director Tina Yapelli. Under Yapelli, McKenzie helped design and install three exhibitions on campus, introduced and facilitated artist lectures, and laid the curatorial groundwork for future exhibitions at SDSU and its downtown satellite gallery.
Post-collegiate McKenzie worked as the Studio Manager for Institute of Mosaic Art in Oakland, CA (now located in Berkeley) where she cultivated a deep connection to mosaics as a new, more tangible form of expression. She participated in several group exhibitions at IMA while designing and installing every show that came through the school.
McKenzie currently lives in San Francisco, CA. Her work as a fine artist presently explores linear qualities by way of oil paint, graphite, ink and glass. She still designs and installs all the exhibitions for IMA, and hopes to someday own a submarine.