text:
Martin Creed was born in 1968 in Wakefield, England. From the age of three he lived in Glasgow, Scotland. Between 1986 and 1990 he studied at the Slade School of Fine Art, London. After art school he lived and worked in London until 2001, when he moved to Alicudi, Italy. In 2001 he was the winner of the Turner Prize.
He currently lives and works in London and Alicudi.
Selected Writings on Martin Creed
THE LIGHTS OFF © Barry Humphries 2005
WORK NO. 227: THE LIGHTS GOING ON AND OFF Maurizio Cattelan, 2004
JOHN O'REILLY 1995
Selected Writings by Martin Creed
Alicudi 2006
If you're lonely Work No. 470, 2005
I don't know what I want to say... 2001
Listen to The Monocle Weekly's interview with Martin (0:36:14)
Listen to Martin talking and playing new songs on Radio New Zealand, 06 October 2015
Watch SHOWstudio's interview with Martin filmed by Nick Knight, December 2014
Watch Martin being interviewed by Mikel Toms, 31 January 2013
Watch Martin talking about The Scotsman Steps and singing 'The Staircase Song'
Reef Younis interviews Martin for Loud & Quiet Magazine. Photo by Phil Sharp., August 2012
Creed Invites Britain to Play With Him, Ring Bells, by Farah Nayeri, Bloomberg, 26 June 2012
Turner Winner Creed Ignores Jokes, Rings in Olympics, by Farah Nayeri, Bloomberg, 26 June 2012
Talking about music and dance; interview in Vancouver with Nardwuar the Human Serviette (interview at 1:14:39)
Talking to Fanny Kiefer, 18 May 2011
Talking to Will Gompertz, 20 January 2011
On BBC Breakfast, 25 January 2011
Talking to Paul Morley, 30 January 2011
Performance of Thinking/Not Thinking for The Observer, 31 January 2011
'Mothers' on Vernissage TV, 23 January 2011
Oliver Basciano interviews Martin Creed for ArtReview during rehearsals for Work No. 1020, 13 October 2009
Installation Documentary by Chris Keenan for Ikon Gallery, 2008
Tate Britain's interview with Martin Creed on Work No. 850, 2008
Pippa Hale of The Northern Art Prize interviews Martin Creed at Leeds Met's School of Contemporary Art and Graphic Design, 17 January 2008
RTE Television's The View interviews Martin Creed, 30 October 2007
Dazed Digital, Inside Art: Martin Creed, interviewed by Freire Barnes, 9 July 2007, www.dazeddigital.com
Radio New Zealand's Saturday Morning programme Interview with Kim Hill Saturday, 07 October 2006, 35' 39"
"Twenty (More) Questions" interview by Corinna Durland, The Wrong Times, Issue 1, 2004
Blow and Suck: Martin Creed interviewed by Jérôme Sans
Live, Palais de Tokyo / Éditions Cercle d'Art, 2004
Martin Creed interviewed by Chris Coombes for Tate Magazine Issue 27, 2001
20 Questions published in Untitled; interview with Martin Creed; text introduction by Matthew Higgs, 1998
Smith, Roberta, 'Martin Creed's Anti-Spectacle at the Park Avenue Armory', The New York Times, 9 June
Searle, Adrian, 'Martin Creed: I keep hair. And I'm afraid of cheese', The Guardian, 18 May
Fortenbury, Diane, Morrill, Rebecca (eds.), 'Body of Art', London: Phaidon Press Limited, 2015, pp. 366, ill. in colour
Nielson, Elizabeith, Luckraft, Paul (eds.), 'The Zabludowicz Collection; 20 Years', Beveren-Leie: Cassochrome, 2015, pp. 11, ill. (exh. cat.)
Lauson, Cliff, Morley, Paul [et al.]. 'Martin Creed: What's the point of it?', London: Hayward Gallery Publishing, 2014
Griffin, Jonathan, Harper, Paul + [et al.], 'The Twenty-First Century Art Book', London: Phaidon Press Limited, 2014, pp.57, ill.
'Art as a verb', Caulfield: Monash University Museum of Art (MUMA), 2014, pp.36, ill. in colour
Celant, Germano (ed.), 'Art or Sound', Milan: Fondazione Prada, 2014
O'Donoghue, Hughie (ed.), 'Summer Exhibition Illustrated 2014', London: Royal Academy of Arts, 2014
Stadler, Robert, Vaillant, Alexis (eds.), 'Quiz', Paris: Manuella Editions, 2014
Cleland, Stephen, Jones, Jonathan [et al] 'A World Undone: Works from the Chartwell Collection', Auckland: Auckland Art Gallery Toi o Tãmaki Publishing, 2014 (exh. cat.)
Danicke, Sandra, 'Kunst Ohne Titel', Stuttgart: Belser, 2014
Stout, Katharine, 'Contemporary Drawing: from the 1960s to Now', London: Tate Publishing, 2014
Ward, Ossian, 'Ways of Looking', London: Laurence King, 2014
Grovier, Kelly, '100 Works of Art That Will Define Our Age', London: Thames & Hudson, 2013, p. 85, ill.
Hushka, Rock, Lang, Brian J., 'Drawing Line into Form: Works on Paper by Sculptors from the Collection of BNY Mellon', Tacoma: Tacoma Art Museum, 2013
Day, Charlotte, Parker, E Francis, Sharkey, Patrice, 'Reinventing the Wheel. The Readymade Century', Melbourne: Monash University Museum of Art, 2013, p.19, ill.
Schuppli, Madeleine, Aargauer Kunsthaus Aarau (eds.), 'Rhythm in it', Lucerne/Poschiavo: Verlag Edizioni Periferia, 2013, pp.74-75, ill. (exh. cat.)
Arnarson, Borkur (ed.), 'Works on Paper', Reykjavik: i8 Gallery, 2013, p. 25, ill.
Harvey, Jonathan, Lancaster, Julia (eds.), 'The Fire Station Project', London: Acme Studios, 2013, p. 83, ill.
Unterdörfer, Michaela (ed.), 'Hauser & Wirth.20 Years', Ostfildern: Hatje Cantz, 2013
Bardiot, Clarisse, Daurier, Romaric, 'Cabaret de Curiosités – Black / White / Live Box', Valenciennes: Subjectile, 2013
Moszynska, Anna, 'Sculpture Now', London: Thames & Hudson, 2013, p. 78, ill.
Syz, Suzanne, 'Suzanne Syz Art Jewels', New York: Assouline, 2013
Cronshaw, Jon, "Artist's serious work fills the room," Yorkshire Post, July
Unterdörfer, Michaela (ed.), 'Hauser & Wirth.20 Years', Ostfildern: Hatje Cantz
"Inside 20,00 balloons," Ottawa Citizen, February
Younis, Reef, 'The Turner Prize Winning Artist Asks: 'What's The Point Of It?'', Loud & Quiet, July 2012 pp. 24-25
Beil, Ralf, Kraut, Peter (eds.) 'A House Full of Music', Darmstadt: Mathildenhohe, 2012
___, 'BMW Art Guide by Independent Collectors', Ostfildern: Hatje Cantz, 2012, p. 28
Fondazione Marino Golinelli, 'Da Zero A Cento le nuova età della vita Una Mostra di Arte + Scienza', Milan: La Triennale di Milano, 2012
Doswald, Christoph, 'Art and the City', Zürich: Tages Anzeiger, 2012
___, 'Paper', Nice: Association T, 2012, p. 40
Fildaro, Daria, Aldo, Iori (eds.), 'Arte Torna Arte', Milan: Giunti, 2012, p. 70-71
Richmond, Cindy, Chang, Wendy (eds.) 'Martin Creed', Vancouver: Rennie Collection, 2011
Vanmoerkerke, Mark, 'Collection Vanmoerkerke', Brussels: Rispoli Books, pp. 46-47, 49, ill.
Jones, Darren, 'Industrial Aesthetics, Environmental Influences on Recent Art from Scotland', HUNTER, The City University of New York, NY New York, pp. 24-25, ill.
Bruni, Lorenzo, 'Museums Galleries, Homes and other stories', Milan: Galleria Enrico Astuni, 2011, pp. 3-21, ill. (exh.cat.)
Birnbaum, Daniel, Butler, Connie, Cotter, Suzanne, 'Defining Contemporary Art: 25 Years in 200 pivotal artworks', pp. 170-171
Schlieker, Andrea, 'Folkestone Triennial: A Million Miles from Home', Folkestone: Cultureshock Media Ltd., pp. 52-55, ill.
Ngui, Matthew, Smith, Trevor, Storer, Russell, 'Singapore Biennale 2011 Open House', Singapore: Singapore Art Museum, pp. 226-227, ill.
Hainley, Bruce, Higgie, Jennifer, Moulène, Claire (et al.), 'BigMinis', Berlin: Sternberg Press, 2011, p. 211, ill.
Jones, Jonatan, 'Martin Creed's stairway to heaven', The Guardian, 1 August
Ramaswamy, Chitra, 'Stepping out: The Scotsman Steps get a new lease of life',The Scotsman, 24 June
Morley, Paul, 'Paul Morley Showing Off ... Martin Creed', The Guardian, 30 January
'My week in pictures', 'The Observer', Magazine, 30 January, p. 9
Searle, Adrian, Review, Mother of all shows: Creed drives audience to delighted abstraction, The Guardian, 25 January 2011, p. 11
Sumpter, Helen, 'Martin Creed makes the mother of all sculptures', Time Out London, 24 January
Greer, Germanie, 'Much ado about nothing', The independent Viewspaper, 22 July
Sawyer, Miranda, 'The Wizard of Odd', The Observer, 18 July, pp.18-19
Barnett, Laura, 'Martin Creed, artist', G2, 23 March, page 23
Cashdan, Marina, 'Martin Creed', Modern Painters March, pp.16-17
Wade, Mike, 'And now for my next trick - artist answers his critics with another simple slice of life', The Times, 20 February, p.15
Miller, Phil, 'Restless native', The Herald Magazine, 20 February
Bradley, Fiona, Coles, Alex, 'Martin Creed: Down Over Up', Edinburgh: The Fruitmarket Gallery
Creed, Martin, Gioni, Massimiliano, 'Martin Creed Works', London: Thames and Hudson
Eugenio Lopez Alonso Fundacion / Collection Jumex, 'Les enfants terribles', Mexico: Fundacion / Collecion Jumex
Staatsgalerie Stuttgart, '"...Nur Papier, und doch die ganze Welt...". 200 Jahre
Graphische Sammlung', Stuttgart: Staatsgalerie Stuttgart, p. 264, ill. (exh. cat.)
Polla, Barbara, Ardenne, Paul, 'Peintures. Please, pay attention, please', Larmont: Editions Le Bord de L'Eau – Collection La Muette
Goldie, Peter, Schellekens, Elisabeth, 'Who`s Afraid of Conceptual Art? ', New York NY: Routledge, pp. 44-45, ill.
'The first ten years: definitely not alright', London: The art newspaper, January p. 1
Coles, Alex, 'Work No. 1020', The Financial Times, 27 October
Anderson, Zoë, 'Martin Creed Work No. 1020', The Independent, October 21, ill.
Craine, Debra, 'Martin Creed at the Lilian Baylis', The Times, October 19
Tóibín, Colm, 'Ordinary World', Esquire, February, P. 55, ill.
Coles, Alex, 'Martin Creed I've Got Rhythm', Phillips de Pury & Company: Music, 21 November, P. 36, ill.
Griffiths, Catherine, Rees, Dan (eds.), Home for lost ideas, Turin/Berlin: Archive Books, pp. 98, ill.
Ardenne, Paul, 'Art, Le Present: La création plasticienne au tournant du XXI. siècle', Paris: Edition du Regard, p. 293, ill.
Kamiya, Yukie, Archer, Michael, 'Martin Creed', Hiroshima: City Museum of Contemporary Art, (exh. cat.)
Besson, Christian, Fabvre, Bernard, Geignebet, Claude, et al., 'La dégelée Rabelais', Montpellier: Méditerrane Éditions
Guglielmino, Giorgio (ed.), 'How to Look at Contemporary Art', London: Umbert Allemandi & Co., pp. 253-255, ill.
Toshikatsu, Omori (ed.) 'Basic Action', Tokio: Hiromiyoshii, (exh. cat.)
Bonham-Carter, Charlotte, Hodge, David, 'The Contemporary Art Book', London, Goodman, p. 55, ill.
Selby, Aimée, 'Art and Text', London: Black Dog Publishing, p. 106, ill. Madden, Kathleen (ed.), 'In the Between', Istanbul: Egeran Art Advisory, pp. 18, ill.
Rattemeyer, Christian, ′Compass in Hand′, New York NY: The Museum of Modern Art
Hiromiyoshii, 'Basic Action: Toshikatsu Omori on Martin Creed', Hiromiyoshii, pp. 8, 10-11, 15, 27, 40, 54-55, 64-65 (exh. cat)
Trigg, David, 'Time and Motion', Art Monthly, November 2008, ill.
Blincoe, Nicholas, 'Fast Forward', The Guardian, 27 September. ill.
Jones, Jonathan, 'Reviewing Martin Creed with the benefit of reflection', The Guardian, 30 July, ill.
Lubbock, Tom, 'Is art running out of ideas? Artists forced to explain modern art', The Independent, 14 July, ill.
Walsh, John, 'So he dashed it off. But that does not mean it is not art', The Independent, 2 July
Alberge, Dalya, The latest installation at Tate that will run and run, The Times, 1 July, P.13. ill.
Higgins, Charlotte, 'Martin Creed's New Piece for Tate Britain: a show that will run and run', The Guardian, 1 July, P. 11, ill.
Searle, Adrian, An Electrifying Gesture, The Guardian, 1 July, P. 11
Channel 4 News, Nick Glass corresponds, 30 June, 2008
Demir, Anaïd, 'Being Martin Creed', bc Magazine, issue 3, summer 2008, ill.
Luke, Ben, 'Running at Life', Art World Magazine, issue 5, June/July 2008
Campbell-Johnston, Rachel, Is Martin Creed a Genius? The Times, London, UK, 16 January, ill.
Aspden, Peter, Tate Displays Taste for Weirdness, Financial Times, London, UK, 15 January, P. 3
Brown, Mark, 'Minimalist Artist Pioneers Tate Britain's Annual Commision', The Guardian, 15 January
Alberge, Dalya, Turner Winner Will Be Paid to Give Art Lovers The Runaround, The Times, London, UK, 15 January, P. 9, ill.
Weeden, John, 'Art Risk Fun', Weeden Arts Watch, http://weedenartswatch.blogspot.com, 15 January
Baracaia, Alexa, 'Tate Shows Creed in a Fresh Light', The London Paper, 14 January, P. 8, ill.
Collinge, Miranda, 'Strike A Pose', Esquire Magazine, November issue, P. 159, ill.
Guner, Fisun, 'Relieve the Controversy', The Metro, 2 October, P. 25, ill.
Boulton, David, 'Face To Faith', The Guardian, 22 September, P. 37.
Cripps, Charlotte, In Praise of the Cistern, The Independent Extra, 20 September, P. 14-15, ill.
Higgins, Charlotte, 'Who's Shocking Now?', The Guardian, Weekend, 8 September, P. 32, ill.
New Young Pony Club vs. Martin Creed, Original music tracks written about artworks at Tate Modern
Edgers, Geoff, 'ON and OFF' The Boston Globe, 13 September 2007
Smith, Roberta, 'The Bearable Lightness of Martin Creed', New York Times, 13 July 2007, ill.
Shaw, Lucy, ' My London', Evening Standard Magazine, May 2007, P. 58, ill.
Falconer, Morgan, 'The Great Entertainer', Times 2, The Times, May 2007, P. 15, ill.
Coomer, Martin, 'Exhibition of the week', Time Out, May 2007, P. 45, ill.
Roberts, Bill, Hauser and Wirth Coppermill, Your Gallery, www.saatchi-gallery.co.uk, May 2007
Searle, Adrian, Beyond the Jokes, The Guardian, G2, 08 March, pp 23-25, ill
Lack, Jessica, 'Martin Creed', The Guardian Guide, May, P. 37, ill.
Martin, Francesca, 'Martin Creed's Toilets and Triangles' Arts Diary, The Guardian, April, P. 26
Guest, Katy, 'The Art of Gardening', The Independent Magazine, April, P 31, ill
Stern, Steven, 'Theatre of the absurd' Time out, New York, Issue 600, March P. 70, ill
Mattioda, Mario, Interview, Vogue Italia, Italy, Issue No. 679, March, P. 242, ill
Chiles, Lawrence, 'Get Me', Wonderland, London, Issue 7, Feb/March, P. 98, ill
'Martin Creed. Words and Music', The Herald, March 10 , P. 2, ill
Vogel, Carol, 'Inside Art', The New York Times, January 5
Kinnes, Sally, 'What's over you mantelpiece', The Independent
Slyce, John, 'Martin Creed', Contemporary 21, Issue 89, P. 49, ill.
'Oh Christams tree, Oh Christmas tree', The Guardian, G2, December 20, ill Front page.
Newbury, Tancred, 'How was it for them?', The Guardian, G2, December 6, P. 25
Donohue, Graeme, 'What a load of balls', The scottish Sun, December 6, P. 13, ill.
Smith, Aiden, 'Throwing up a few surprises', Scotland On Sunday, December 3
Wallach, Amei, 'ART; The provocateur and his well heeled collaborator' The new York Times, November 12
Gautier, Michel, '+/- ' Martin Creed Ou La Solution Zero', 20/27, Issue No.1, P. 107, ill.
Paul, Andrew, 'Stupid like nature', Listener – The things that matter, October 28 ill.
Clifford, Andrew, 'Bypassing the tinking process', The New Zealand Herald, October 11 ill.
Sheils Rosa, 'Creed's Credo', Unknown, Date, ill.
Guest, Katy, ' Credo', The Independant on Sunday, October 6, P. 59, ill.
Coulson, Amanda, 'Nothing', Art Review, London, Issue 04, October, P. 162, ill.
Vetrocq, Marcia E, 'Martin Creed, Artful Dodger', Art in America, New York, No. 8, September pp.146-149, ill.
Schjeldahl, Peter, 'New and Old', The New Yorker, September 11, pp. 86 / 87
Baer-Bogenschütz, Dorothee, 'Goldschatz in Texas', Kunstzeitung, Regensburg, Nr. 121, September, p.13
Schedlemayr, Nina, 'Disposition. Versponnenheit schlägt blutleere', Spike, Vienna, Summer no. 8, pp. 72-73
Brooks, Arma, 'Must see art' in: LA Weekly, August 31, ill, P. 60
Ollman, Leah, 'Creed's work delivers a shock', in: LA Times, Los Angeles/CA, August 25
Hensher, Philip, 'That's a Hirst? It'll never sell...', The Independent, London, August 4
Falconer, Morgan, 'Never a Hirst. Is it?', The Times, London, August 1, ill.
Teodorczuk, Tom, 'The pig and the penguin: ICA trots out genius of youth', Evening Standard, July 31, p. 23, ill.
Haden-Guest, Anthony, 'Under the influence', FT Weekend, London, July 30
Moore, Christopher, 'Scape set to transform city', The Press, Christchurch, July 19, ill.
'Martin Creed Work No 370: Balls', Art Quarterly, London, 1. June p.134, ill.
Vetter, Christian, 'Update: Zurich', in: We are the Artists, Zurich, No. 7, May-July p.7, ill.
'Ehemalige jüdische Mädchenschule, Auguststr. 11-13. Martin Creed', Kunstforum, Ruppichteroth, vol. 180, May-June pp. 242-243, ill.
Malvern, Jack, 'Art of noise kicks up a stink', The Times, London, May 23, p. 5
ArtKrush Interview on judging the ICA Becks Futures
Artforum Diary Review, 'I Like Things', Fondazione Nicola Trussardi, 22 May
L'espresso Video Interview Opening night of 'I Like Things', Fondazione Nicola Trussardi
Cattelan, Maurzio; Gioni, Massimiliano; Subotnick, Ali (cur.), Of Mice and Men, 4th Berlin biennial for contemporary art, 2006, (exh. cat)
La Grua, Ashley, 'My Secret Life', [interview] The Independent Magazine, March 25, 2006, p.5
Bruni, Lorenzo 'Astrazione', Arte e Critica, Issue 45, January-March 2006 pp. 54-55, ill.
Basting, Barbara, 'Glanzlichter der Woche', Züritipp (insert in: Tagesanzeiger), Zurich, February 23 – March 1, p. 45, ill.
Hess, Ewa, 'Kunst, aber schnell! ', Sonntagszeitung, Zurich, January 22, p. 47, ill.
Sardo, Delfim; MARCO; Centro José Guerrero (ed.), 'The Invisible Show', Vigo: Museo de Arte Contemporanea de Vigo (exh.cat.)
British Council Switzerland, 'Talking Art', Berne: British Council Switzerland (brochure)
Casino Luxembourg – Forum d'art contemporain asbl, Luxembourg (ed.), 'joy', Luxembourg: Imprimerie centrale S.A., Luxembourg (exh.cat)
Städtisches Museum Abteiberg (ed.), 'Strange I`ve seen that face before', Mönchengladbach/Cologne: Städtisches Museum Abteiberg/Dumont Verlag (exh.cat.)
Engberg, Juliana (cur.), Visual Arts Program 2005, Melbourne International Arts Festival, 2005, (exh.cat)
ACCA, 'The lights off', Melbourne, 2005 (exh. cat)
--, 'Martin Creed', Art Unlimited, Basel, 2005, pp. 58-59, ill.
d'Ailly, Stella; Olausson, Lisa; Sten, Maja (cur.), 'Extra Ordinary', Stockholm, 2005, p. 50-51 (exh. cat)
Adams, Clive; Bowes, Edwin (cur.), 'The Art of White', The Lowry, November 2005, p. 90 (exh. cat)
Keller, Sam (ed.), Art Basel, 'Conversations' 2005, p. 17-18 (exh. cat)
May, Susan (ed.), Size Matters, Exploring Scale in the Arts Council Collection, 2005 p. 30 (exh. cat)
Raspail, Thierry (ed.), Experiencing Duration, Biennale d'art contemporain de Lyon 2005, September 14, 2005, p. 106-109 (exh. cat)
Boubnova, Iara; Lunghi, Enrico (cur.) Joy, Casino Luxembourg, December, 2005 (exh. cat)
Rugoff, Ralph, Monuments for the USA, Short Term Memory, CCA Wattis Institute for Contemporary Arts, 2005, (exh. cat)
Morton, Tom, 'Lyons Biennale', Frieze, London, Issue 95, November-December 2005, pp. 128-129, ill.
Meltzer, Eve, 'Monuments for the USA', Frieze, London, Issue 92, June-August 2005, p. 160
Hardy, Katherine, 'Martin Creed: artist or musician?', The Art Newspaper, New York, June 17, 2005, p. 2, ill.
Douglas, Sarah, 'Report from Basel', Artinfo, Berlin, June 16, 2005, ill.
Cattelan, Maurizio, 'Something to work for. Martin Creed interviewed by Maurizio Cattelan', [interview] Flash Art International, Milan, vol. 38, no. 242, May-June 2005, pp. 110-111, ill.
Lafuente, Pablo, 'Down up', Flash Art International, Milan, vol. 38, no. 242, May-June 2005, pp. 114-115, ill.
Lissmann, Christina, 'Holy Art Space!', Sleek Magazine for Art and Fashion, Berlin, Winter 2005/2006, pp. 58-63, ill.
Harding, Jessica, 'Portrait of a Lady with an Ermine', Another Magazine,New York, Spring-Summer 2005, p. 98, ill.
Bishop, Claire, 'But is it Installation Art?', Tate etc., London, Issue 3, Spring 2005, pp. 26-35, ill.
Coles, Alex, 'Martin Creed', Frieze, London, no. 89, March 2005, pp. 130-131, ill.
Honigman, Ana Finel, 'Nothing Fancy', on: www.artnet.com, February 24, 2005
--,'A panoramic view of art in the capital. Martin Creed', Flash Art, Milan, January-February, 2005, p. 73
Steggles, Annabelle, 'Art Gillery', The Sun, Glasgow, March 30, 2005, p. 21, ill.
--, 'If you're lonely', The Independent, London, July 30, 2005, p. 6-7, ill.
Behrman, Pryle, 'Lyons Biennale 2005', Art Monthly, London, no. 291, November 2005, p. 21-23, ill.
Bailey, Martin, 'Collector Relations', The Art Newspaper, London, no. 154, January 2005, p. 6
Deal, Stephen, 'It cost £30k, but for that you get to kick his balls', Metro, London, March 29, 2005, p. 3 ill.
Duffy, Gerry, 'Load of Balls', The Sun, March 29, 2005 p.23
Goodwin, Karin, 'Gallery puts 30,000 into load of balls', The Sunday Times, London, March 27, 2005
Brocklebank, Jonathan, 'Having a ball' Daily Mail, London, March 28, 2005, p. 3, ill.
Centre for Contemporary Art Ujazdowski Castle (ed.), 'Martin Creed: the whole world + the work = the whole world', Warsaw, 2004 (exh. cat.)
Kunsthalle Bern (ed.), 'Martin Creed', Bern, 2004 (exh. cat.)
Palais de Tokyo (ed.), 'Live', Paris, 2004 (exh. cat.)
Longside Gallery, 'Bad Behavior: from the Arts Council Collection', Yorkshire, 2004 (exh.cat.)
Domaine Pommery, 'Genesis Sculpture, Experience Pommery #1', Reims, 2004 (exh.cat.)
--, Café in Mito, Communicable Action for Everybody, 2004, p. 26-27 (exh. cat)
Steiner, Rochelle (cur.), State of Play, Serpentine Gallery, London, 2004, (exh. cat)
--, Very New Art 2004, Vol. 56, No. 847, 2004
Eccles, Tom (ed.), 'Plop: recent projects of the Public Art Fund' New York, 2004, p. 68-71, ill.
Levin, Kim, 'None of the Above', Village Voice, New York, December 23, 2004
Herbert, Martin, 'On the ground. London', Artforum, New York, vol. XLIII, no. 4, December 2004, pp. 73-76
Anderson, Hephzibah, 'Art News', Metro, London, November 26-December 2, 2004
O'Reilly, Sally, 'Martin Creed', Art Monthly, London, no. 281, November 2004, pp. 34-35, ill.
Chapman, Peter, 'Private View: Martin Creed Hauser & Wirth, London W1', Independent, London, October 23-29, 2004, p. 17, ill.
Campbell-Johnston, Rachel, 'This Week. The Best of the Arts chosen by The Times Team of Critics', Weekend Review (insert in The Times), London, October 23, 2004, p.1
Coomer, Martin, 'Martin Creed', Time Out, London, October 20, 2004, ill.
Pethick, Emily, 'Martin Creed', on: www.artforum.com, New York, October 15, 2004
Güner, Fisun, 'Get the ball rolling', Metro, London, October 12, 2004, p. 26, ill.
Akbar, Arifa, 'In art, you have to kick a few ideas around', The Independent, London, October 8, 2004, p. 3, ill.
Fisher, Neil, 'First Choice', The Times, London, October 8, 2004, p. 18
Byrnes, Sholto, 'An on/off affair', in: The Independent Review, London, October 7, 2004, pp. 6, 8, ill.
CB, 'Martin Creed', The Guide, London, October 2-8, 2004, p. 37, ill.
Roberts, Alison, 'This will put a smile on your face', Evening Standard,, August 3, 2004, p. 41, ill.
--, 'Artists' choice', The Independent, London, August 2, 2004, pp. 16-17, ill.
Cullinan, Nicholas, 'State of Play', Frieze, London, no. 82, April 2004, pp. 93-94, ill.
Kent, Sarah, 'No laughing matter', Time Out, London, March 17-24, 2004, p. 46, ill.
Gingeras, Alison M., 'Painting without canvas or sculpting with paint', Contemporary, London, 2004, pp. 22-25, ill.
--, 'My Secret Life: Martin Creed, artist', The Independent, London, January 31, 2004, p. 7
Durland, Corinna, 'Martin Creed: Twenty (More) Questions,' Wrong Times, no. 1, 2004, pp. 2-3
--, 'This Week. The best of the arts chosen by The Times team of critics, Weekend Review, London, October 23, 2004, p. 1
--, 'Top 15', Monopol, Berlin, no. 4, October-November, 2004, pp. 16-17, ill.
Jennings, Rose, 'Can everyone hear at the back?' The Observer, October 10, 2004, p. 6
--, 'Martin Creed: Works CCA Ujadowski Castle Warsaw' Contemporary, no. 62, 2004, p. 23
Ward, Ossian, 'Why are you all hanging around here?', The Independent Review, London, October 14, 2004, p. 3
Gleadell, Colin, Contemporary market, The Daily Telegraph, London, October 18, 2004.
Museum Boijmans Von Beuningen (ed.), 'Shine: Wishful Fantasies and Visions of the Future in Contemporary Art', Rotterdam: Museum Boijmans Von Beuningen, 2003 (exh.cat.)
--, 'Bad Behaviour', from the Arts Council Collection, 2003, pp. 56-57, ill.
Darwent, Charles, 'Visual Art; Go on then, delight me... ', The Independent on Sunday, London, November 9, 2003, p. 13
--, 'Dancing with myself', Work, Art in Progress, Trento, no. 7, October-December 2003, pp. 14-15, ill.
Higgs, Matthew, 'Martin Creed', Work, Art in Progress, Trento, no. 7, October-December 2003, pp. 20-21, ill.
Higgs, Matthew, 'First Take', Artforum, New York, vol. XLI, no. 5, January 2003, p. 120
Berwick, Carly, 'A Right Kind of Wrong', Artnews, New York, vol. 102, no. 1, January 2003, p. 25, ill.
Bradley, Will, Bretton-Meyer, Henriette, Webster, Toby, 'My Head is on Fire but my Heart is Full of Love', Copenhagen: Charlottenborg Udstillingbygning / Glasgow: The Modern Institute, 2002 (exh.cat.)
CCAC Wattis Institute for Contemporary Arts (ed.), 'Rock My World: Recent Art and the Memory of Rock' n' Roll' [text by: Ralph Rugoff, Ann Powers, Matthew Higgs], San Francisco: CCAC Wattis Institute for Contemporary Arts, 2002 (exh.cat.)
Herkenhoff, Paolo, Marcoci, Roxana, Basilio, Miriam, 'Tempo', New York: The Museum of Modern Art, 2002 (exh.cat.)
Collection Haubrok (ed.), 'No Return', Mönchengladbach, 2002, (exh.cat.)
Millward, David, 'Turner Prize treatment for House of Commons, Artist aims to shed some light on politicians', Daily Telegraph, London, December 7, 2002, p. 11
Donohoe, Graeme, 'Stars are so big arted', The Sun, London, August 15, 2002
Sewell, Brian, 'Art', Evening Standard, London, May 30, 2002, p. 9
Lafreniere, Steve, 'Top Ten', Artforum, New York, vol. XL, no. 9, May 2002. p. 47
Donohoe, Graeme, 'Brave art; Exclusive', The Sun, London, March 14, 2002, p. 36
Vetrocq, Marcia E., 'Arte Povera: The Recount', Art in America, New York, no. 3, March 2002, pp. 82-91
Donohoe, Graeme, 'The crazy world of Martin Creed', The Sun, London, February 15, 2002, p. 40, ill.
Irvine, Ian, 'A capital idea', The Independent, London, January 31, 2002, p. 10
Brooks, Richard, 'Martin Creed, Biteback', Sunday Times, London, January 13, 2002, p. 12
Davies, Brian, 'Letter: Alphabet as art', The Independent, London, January 7, 2002, p. 2
McGrath, Kate, 'As easy as ABC', The Scotsman, Edinburgh, January 7, 2002, p. 13
Lubbock, Tom, 'A letter in the newspaper', The Independent, London, January 1, 2002, pp. 6-7, ill.
Sans, Jerome, 'On Stage', The Curator's Egg, no. 3, 2002
Reindl, Uta, Review, Tema Celeste, April, 2002 p. 92
Mahoney, Elisabeth, 'Art: Martin Creed's maddening noises', The Guardian, London, March 5, 2002, p. 14
Whitworth, Damian, 'Madonna swears by her artful defence', The Times, London, December 20, 2001, p. 3
Bushell, Garry, 'Garry Bushel on the box: Turner this light off', The People, London, December 16, 2001, p. 14
Collings, Matthew, 'Where were you when the lights went out?', Sunday Times, London, December 16, 2001, p. 2
Grimston, Jack, 'Turner lights have glow of earlier art', Sunday Times, London, December 16, 2001, p. 7
McGlown, Martin, 'Protester hurls eggs at Turner Prize light show', Evening Standard, London, December 12, 2001, p. 18
Brown, Craig, 'Way of the World: The Turner dinner', Daily Telegraph, London, December 11, 2001, p. 25
Campbell-Johnston, Rachel, 'Nothing ventured', The Times, London, December 11, 2001, p. 17
Mullins, Charlotte, 'The tailor who created the emperor's new clothes', The Independent, London, December 11, 2001, p. 5
Wilson, Simon, 'Baffled? Don't be', The Mirror, London, December 11, 2001, p. 12
Reynolds, Nigel, 'Turner Prize won by man who turns the lights off', Daily Telegraph, London, December 10, 2001, ill.
Jury, Louise, 'Blink and you'll miss it, the light work that took the Turner prize', The Independent, London, December 10, 2001, pp. 2-3, ill.
Gibbons, Fiachra, 'Judges switched on as Turner Prize goes to the Creed of nothingness', The Guardian, London, December 10, 2001, p. 3
McGlown, Martin, 'Try this at home, says £20,000 Turner Prize winner', Evening Standard, London, December 10, 2001, p. 5
Bowditch, Gillian, 'Art? Even Martin's in the dark' [interview], The Sunday Times, London, December 9, 2001, p. 5
Stewart, Helen, 'You call that art?', The Scotsman, Edinburgh, December 7, 2001, p. 4
Denny, Ned, 'Tate that', The Statesman, London, November 26, 2001
Aidin, Rose, 'Bright lights, small islands', The Times, London, November 24, 2001, p. 42-43, ill.
--, 'Pandora', The Independent, London, November 8, 2001, p. 4
--, 'Artists light up prize list', The Sun, London, November 7, 2001, p. 25
Bush, Kate, 'London Field', Artforum, New York, vol. XXXIX, no. 1, September 2001, p. 85
McGee, John, 'Space-Jack!', on:www.metropolis.japantoday.com/tokyoart/392/tokyoartinc.htm, Tokyo, 2001, ill.
--, 'Turner art prize judges Blu it with tacky choice', The Sun, London, June 5, 2001, p. 34
Johnson, David, 'It's pretty good rubbish and I'm not binning it', Sunday Times, London, June 3, 2001, p. 2
Alberge, Dalya, 'Familiar rubbish on Turner shortlist', The Times, London, May 31, 2001, p. 3
Cummins, Fiona, 'My blu period', The Mirror, London, May 31, 2001, p. 22
Darvill, Mike, 'A blob of blu-tack in running for art prize', The Sun, London, May 31, 2001, p. 19
Searle, Adrian, 'Appalling Fascination of a Career-enhancing Competition', The Guardian, London, May 31, 2001
Millard, Rosie, The Times, London, June 8, 2001, p. 7
Gibbons, Fiachra, 'It's On, It's Off, but is it Art?', The Guardian, London, November 7, 2001
Dorment, Richard, 'Dullness and Decadence' The Daily Telegraph, London, November 7, 2001 p. 18
Cumming, Laura, 'What, No Elephant Dung?', The Observer, London, November 11, 2001, p.10
Kent, Sarah, 'A Funny Turner', Time Out London, London, November 14, 2001
McEwen, John, 'Grave Time for Turner', Telegraph, London, November 11, 2001, p. 6
Alberge, Dalya, 'Turner Judges see the Lights', The Times, London, December 10, 2001 p.3
Vogal, Carol, 'A Prize for Lights', The New York Times, New York, December 14, 2001, Arts Section, p. E36
Carsaniga, Prof G, 'Letter: Turner Puzzle', The Independent, London, December 11, 2001
Reade, Brian, 'Prize art? Now it's your Turner…', The Mirror, London, December 11, 2001, p. 12-13
--, 'Londoner's Diary', Evening Standard, London, December 11, 2001
Searle, Adrian, 'Urban outfitters', The Guardian, London, December 4, 2001
Southampton City Art Gallery (ed.), 'Martin Creed Works', Southampton: Southampton City Art Gallery, 2000 (exh.cat.)
Button, Virginia, Esche, Charles (ed.), 'Intelligence. New British Art 2000', London: Tate Publishing, 2000
Whitechapel Art Gallery (ed.), 'Protest And Survive', London, 2000 (exh.cat.)
Shed im Eisenwerk (ed.), '...sabotage... ', Frauenfeld, 2000 (exh.cat.)
Chelsea & Westminster Hospital, 'DON'T WORRY', London, 2000 (exh.cat.)
Bishop, Claire, 'The Creed of Banality', Evening Standard, London, November 14, 2000, p. 57
Coles, Alex, 'Martin Creed at City Art Gallery', Art in America, New York, no. 11, November 2000, pp. 176, ill.
Jones, Jonathan, 'Let there be light', The Observer, London, March 19, 2000, pp. 16-17, ill.
Campbell-Johnston, Rachel, 'He's got the whole world in his signs', The Times, London, March 15, 2000, p. 18, ill.
Lewisohn, Cedar, 'Art & Rock Stars', Flash Art, Milan, March-April 2000, pp. 78-81. ill.
Buck, Louisa, 'Martin Creed', Artforum, New York, vol. XXXVIII, no. 6, February 2000, pp. 110-111, ill.
Searle, Adrian, 'Is this what they call pop art?', The Guardian, London, January 18, 2000, pp. 14-15, ill.
MacMillan, Ian, 'I'm saying Nothing', Modern Painters, pp. 42-44
Cotter, Holland, 'Surging into Chelsea', The New York Times, New York, January 21, 2000
McFarland, Dale, 'DON'T WORRY', Frieze, London, no. 52, May, 2000
Buck, Louisa, 'Moving Targets 2; A users guide to British art now', Tate, London, 2000, pp. 118-119
Rindler, Lawrence (ed.), 'Searchlight: Consciousness at the Millennium', London: Thames & Hudson, 1999
Collings, Matthew (ed.), 'This is Modern Art', London: Weidenfeld & Nicolson, 1999
Patrizio, Andrew (ed.), 'Contemporary Sculpture in Scotland', Craftsman House (imprint of G&B International, Sydney), 1999 (exh.cat.)
--, 'A message to our readers', The Art Newspaper, London, no. 98, December 1999
Buck, Louisa, 'London Calling by Louisa Buck', The Art Newspaper, London, no. 98, December 1999
Meenaghan, Tony, 'Q: Is this a screwed up piece of paper or the star of new art exhibition? A: BOTH', The Mirror, London, November 12, 1999, p. 15
Cara, Page, 'This Crumpled Sheet of A4 is a Work of Art', The Daily Record, Glasgow, November 12, 1999
Mark, Lisa Gabrielle, 'Fresh Heir', C, International Contemporary Art Publication, Toronto, no. 63, September 1999
Beech, Dave, 'Martin Creed', Art Monthly, London, no. 226, May 1999
Higgs, Matthew, 'Martin Creed: 20 Questions', Untitled, London, no. 18, Spring 1999
Lillington, David, 'Martin Creed', Metropolis M, Utrecht, April 1999
Jones, Jonathan, 'What's so minimal about 15 000 balloons?', The Observer, London, March 14, 1999
--, 'Rubbish to some, but art of Creed has cult status', Daily Mail, London, March 8, 1999, p. 27, ill.
Mclver, Brian, 'Meet the modern artist who admits his work in rubbish', Saturday Times, Glasgow, March 6, 1999
McFarland, Dale, 'On Martin Creed' Frieze, London, 1999, pp. 66-69
--, 'World of art gets it all screwed up' The Mirror, London, November 12, 1999
Obrist, Basualdo; Bonami, Cameron [et al.], 'cream – contemporary art in culture', London: Phaidon Press, 1998
Bingham, Juliet; Watkins, Jonathan; Spark, Joe, 'every day', Sydney: Biennale of Sydney Ltd, 1998 (exh. cat)
Whitechapel Art Gallery (ed.), 'Speed', London, 1998 (exh. cat.)
Toppila, Paula, 'Proper (blind date) 1-3', Helsinki: Frame Finnish Fund for Art Exchange, 1998 (exh. cat.)
Buck, Louisa, 'UK Artist Q&A' [interview], The Art Newspaper, London, no. 86, November 1998
Stephens, Craig, 'Live Scene: Owada', Revolver, Sydney, September 28, 1998
Buck, Louisa, 'Faces, places and spaces to watch in 1998: your cut-out and keep guide to the future of British art', New Statesman, London, January 2, 1998
Collings, Matthew, 'Blimey. From Bohemia to Britpop', London, 1997
Gallagher, Ann, 'Dimensions Variable – New Works for the British Council Collection', London: The British Council, 1997
Pigott, Hadrian [et al.], 'Go into a shop and ask for nothing', Very, New York, no. 2, 1997
Green, David, 'Minimal Interventions', Contemporary Visual Arts, London, no. 17, 1997
Wilson, Andrew, 'Band Art', Art Monthly, London, no. 210, October 1997
Archer, Michael, 'The Object of Art', Art Monthly, London, no. 208, July-August 1997
Kyriacou, Sotiris, 'Propositions', Art Monthly, London, no. 208, July-August 1997
Freedman, Carl, 'Generation W(eird)', The Guardian, London, May 27, 1997
Joliffe, Kira, 'The Idler Presents: Owada', The Idler, London, no. 18, Spring 1997
Coles, Alex, 'Martin Creed – No Entry', Art + Text, Los Angeles, no. 56, February-April 1997
Creed, Martin, 'Martin Creed: the whole world + the work = the whole world' [artist's book, text by: John O'Reilly], Geneva: Galerie Analix B&L Polla/London: Karsten Schubert Gallery, 1996
Rolo, Jane, Hunt, Ian (ed.), 'Bookworks – A Partial History and Sourcebook', London: Bookworks, 1996
Arts Council of England (ed.), 'Ace!', London: Arts Council of England, 1996
Frith Street Gallery, Karsten Schubert Gallery (ed.), 'From Figure to Object: A Century of Sculptors', London: Frith Street Gallery/Karsten Schubert Gallery, 1996 (exh.cat.)
Norwich Gallery, Sainsbury Centre for Visual Arts (ed.), 'EAST International', Norwich: Norwich Gallery/Sainsbury Centre for Visual Arts, 1996 (exh.cat.)
Williams, Gilda, 'Martin Creed Tabula Rasa', Art Monthly, London, no. 195, April 1996
--, 'My Darling Cicciolina', London: FILEF, 1995 (exh.cat)
Piccoli, Cloe, 'Martin Creed', Flash Art Italia, Milan, December-January 1995-1996
Kent, Sarah, 'Sound & Vision', Time Out, London, August 30 – September 9, 1995
--, 'The Ruby Kelly Column', Art Review, London, vol. XLVII, June 1995
Lederman, Erika, 'Unlimited Works at Starkmann Limited', Art Monthly, London, no. 185, April 1995
Arts Council of England (ed.), 'Art Unlimited: Multiples of the 1960s and 1990s', London: Arts Council of England, 1994
O'Reilly, John, 'Art for Bart's sake', The Modern Review, London, vol. 1, no. 16, August-September 1994
Searle, Adrian, 'Martin Creed and Sam Samore', Time Out, London, July 21-July 27, 1994
Collings, Matthew, 'Matthew Collings on some kind of sculpture show at Laure Genillard', City Limits, London, January 1992
All works © Martin Creed.


'She never paid a bill from 1972!' insists the momager.
Emotions are running high in the Kardashian household. In a new clip from Keeping Up, Kim Kardashian discusses Caitlyn Jenner's tell-all memoir with her mom Kris and the momager has a very different perspective on the situation.
"How about it went to the mortgage and the insurance and education? You start talking about how I was hoarding money when we didn't even have it?!" Kris explains.
Keeping Up With The Kardashian airs Sundays at 9pm ET on E!


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KidZone to be introduced at Ramble Fest this year
posted by James Barcomb in arts, music, Ramble Music & Arts Fest, Fest, kidzone, committee.
Topics discussed at the final meeting of the Ramble Fest committee on Monday ranged from a guitar raffle to the introduction of a child-friendly area.
The organizers noted that a raffle for an acoustic electric guitar is made possible by the generosity of Roxy's Music Store. They expressed concern about the potential for families not to show up during the July 4th weekend. But they are jazzed about the introduction the Ramble KidZone.
The zone will host a wide variety of activities just for kids, including, but not limited to, bubble art, a bounce house, face painting, a portable tennis game, and an appearance from the Muckdogs mascot.
According to committee member Kim Argenta, the KidZone will be present so that kids can have a good time and celebrate art.
Fellow committee member Sue Gagne came up with the idea, believing it would keep the Ramble Fest more family-oriented.
The Ramble KidZone will be open at the City Church parking lot from noon to 4 p.m. Saturday, July 3.
The Ramble Arts & Music Fest, featuring performances from The Ghost Riders, Penny Whiskey, and more, will take place at Jackson Square from 11 a.m. to 9:30 p.m. on Saturday, July 3. More information can be found at www.ramblemusic.com.
Ramble Fest to be held on July 3rd
posted by James Barcomb in batavia, arts, Announcements, music, Ramble Music & Arts Fest, Fest.
The annual Ramble Arts & Music Fest returns to Batavia from 11 a.m. to 9 p.m. on Saturday, July 3 at Jackson Square.
This year's reunion of past and present musicians and artists sees performances from more than 25 bands including: The Ghost Riders, Red Creek, Penny Whiskey, and Old Hippie Reunion.
In addition, a raffle for a Yamaha acoustic electric guitar will be drawn during the Ramble. More information can be found at www.ramblemusic.com.
December 5, 2008 - 9:34am
Ramble Music and Arts Fest Has A New Web Site
posted by Michael Murray in arts, music, Ramble Music & Arts Fest, Fest.
The Ramble Music and Arts Fest website has moved to a new location:
ramblemusic.com
The website has several purposes:
To share photos, videos, and newspaper articles of the first three Ramble Music and Arts Fest events.
To communicate details of the next Ramble Music and Arts Fest.
To provide a forum where people can communicate via a Message Board by leaving comments or questions.
To share original music by local bands and individuals.
To provide a repository for the musical and artistic heritage of Batavia and the surrounding areas.
With greatly increased storage space, the website now nearly 200 original and cover songs by dozens of past and present local bands and individuals on the Ramble Jukebox.
The website has been in existence since late 2006 and was originally created as a way to share photos of the first Ramble Music and Arts Fest with people who live away from the area and could not attend. It has evolved over the years to include a Message Board where visitors can leave comments or ask questions, a Ramble Jukebox, links to Ramble-related videos, and links to the websites of local musicians and bands.
And to keep things homegrown and local, the new website is now hosted by Marchese Computer Products, Inc.
Please take a few minutes to visit ramblemusic.com

redpajama_set_name: RedPajamaCommonCrawl


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Growing research excellence together: MSFHR welcomes Parkinson Society British Columbia
Here at MSFHR we believe that strong partnerships are integral to fostering a world-class research environment in BC. As such, we collaborate with a broad range of organizations to co-fund research through four of our award programs.
To date, we've co-funded over 150 awards with 26 partner organizations, nurturing BC's brightest researchers as they work to improve the well-being of both our citizens and our health system. As we start 2017 we are pleased to welcome returning and new partners, including our newest partner Parkinson Society British Columbia (PSBC).
PSBC is dedicated to easing the burden of Parkinson's disease through advocacy, education, support services, research, and ultimately finding a cure. A key part of this is supporting scientific excellence and testing new ideas. To advance this goal, PSBC is partnering with MSFHR to grow research capacity and build the collective understanding of this complex disease. Together, MSFHR and PSBC intend to co-fund awards in three funding programs: the 2017 Scholar, 2017 Research Trainee and Health Professional-Investigator competitions.
"PSBC chose to partner with MSFHR for several reasons. Firstly, partnering on an award doubles the funding PSBC can make available to research focused on Parkinson's disease, which in turn means we can support more in-depth research in British Columbia. Plus, MSFHR has a robust peer review process for selecting researchers and research projects, which PSBC cannot duplicate."
– Jean Blake, PSBC CEO
MSFHR sets high expectations for both ourselves and our partners to ensure that all our partnerships work towards common goals of nurturing talent, advancing new treatments and cures, and responding to BC's health system priorities.
Through these constructive and collaborative relationships our partners are able to co-fund exceptional researchers, grow health research in a specialty area, build research connections, and double the value of their research funding.
If you are a funding agency, not-for-profit organization, private sector company or community partner looking to advance research in your speciality area please contact the Partnerships team to find out more about collaborative co-funding opportunities.
Similarly, if you are a BC-based researcher please get in touch to learn about how you can be considered for a partnered award.
Further information on partnership opportunities can be found on our partnership pages.
Supporting researchers to improve patient care and outcomes: 2021 Health Professional-Investigator awardees
2022 Scholar and Research Trainee competitions: Applications are now open
Michael Smith Foundation for Health Research and the BC Academic Health Science Network unite to drive discovery and innovation in BC's vibrant health research system


Will Online Gambling Be Legal In The USA In 2019?
Deep political divisions and conservative ideas are guaranteed to keep online gambling illegal in many US states for decades to come.
Online gambling is being regulated all over the world and players from most countries enjoy a lot of freedom in choosing their bookmakers and online casinos of choice. American punters are rightfully feeling mistreated and even persecuted, by the prohibitive legislation that prevents them from gambling online. The negative consequences of the Unlawful Internet Gambling Enforcement Act are still reverberating more than a decade later and online gambling is largely illegal in the USA.
New Jersey, Nevada and Delaware are the three states that have led the wave of reforms aimed at regulating the online gambling industry nationwide. Significant progress has been made across the US, with legislators being inspired by the milestones set by the three states. Some new casinos are now legal within their borders and interstate compacts allow players to compete against their counterparts from other parts of the US. As more states pass legislation that regulates online gambling, their citizens will be allowed to tag along and once more, experience the thrills of Internet gambling.
The recent decisions by the Supreme Court are fueling hope that US states will be able to fully decide the manner in which online gambling is regulated on their territory. Pennsylvania has jumped on the bandwagon and the new gambling laws have come into effect before the end of 2018. California and other major states contemplate similar actions, so in 2019, the number of states where online gambling will be legal could more than double. Unfortunately, for the citizens of dozens of US states, there is no reason to expect any change of attitude towards gambling.
The well-being and freedom of the citizens should be the main arguments when contemplating the pros and cons of passing online gambling legislation. Lawmakers, however, are more concerned about the cold economics and the impact such laws would make on state coffers. States with a strong land-based casino industry are reluctant to jeopardize its success by legalizing online gambling. On the other hand, New Jersey and Nevada are shining examples of states that have made these steps despite the strong lobby made by Las Vegas and Atlantic City gambling tycoons.
Deep political divisions and conservative ideas are guaranteed to keep online gambling illegal in many US states for decades to come. This means that online gambling won't be fully legal in the USA in 2019 and there's no reason to expect this to change anytime soon. The good news is that the wind of change is finally blowing strong and most of the harmful effects of the Unlawful Internet Gambling Enforcement Act are slowly, but steadily being undone. As states have regained the power to regulate online gambling within their borders, many have chosen to wield this power to restore Internet gambling.
Thinking Of Quitting Your Venture, Reassess It Instead!


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Walking the Talk with Evolving Tech
Bookshelf PH December 31, 2020
An Introduction to HR Digital Transformation
The following is an excerpt from The 50: HR Leaders Reimagining the Filipino Organization. Authored by Ros Manawis, this chapter is titled, "Walking the Talk with Evolving Tech" In it, Nicole Dagondon, the Human Resources Director of CIIT Philippines, is interviewed about how the organization executes its strategy in adapting to digital spaces.
Shifting to Digitalization
Having worked at a game development studio before, she's seen first hand how modern technology has constantly evolved and continues to do so today. She grew adaptable to the rate of change technology went through, shifting most of her work onto digital spaces.
Arriving at CIIT, she was surprised at how traditional things were compared to what she was used to. "People were generally averse to technology then," she said. When she first came in, schools were still relatively traditionalists, relying mostly on paper and human work. The lack of automation made things slower than they should be, thus affecting their operations and their communications with each other.
"We were a tech school focused on multimedia arts and information technology, and supposedly our vision for the students was industry readiness," Dagondon said. "Then I realized, you know, we have to walk our talk." She realized that if they wanted their school's students to be really ready for the future of technology, the administration must be ready as well. From then on, she began to introduce more tech-related changes.
Before bringing in any tech-related changes, however, she had to start with working with the people first.
Being the new HR director, she wanted to help people work better; for her, that started with changing their operations. She said, "I think one of the things that was a challenge for me was making things more efficient, and somehow introducing a more corporate approach to how things are done."
First, she introduced the concept of a flat organizational structure. "Everyone's afraid to step on each other's shoes, and so there's a lot of hurdles you have to go through just to get a simple message across," she said. Schools, as Dagondon explained, usually have a very hierarchical structure; sometimes, people can be too wary of each others' status in the hierarchy, which can negatively affect their communication with one another.
Dagondon's reason for advocating the flat structure was to address that issue. "I want us to be more straightforward in the way we communicate concerns and issues to those who can directly address them," she explained. "We should respectfully be transparent to each other and to the whole organization as well on what is happening in each department."
After working with the organizational structure, Dagondon then focused on improving personal interactions among employees. She promoted the idea that team managers should regularly converse with their members, and in HR, they should all try to talk to the employees one on one as well.
Once their communication and organizational structures were stable, Dagondon began introducing new technology. "I told them we should automate so that we can spend more time on things that really matter," she said. "I always push for how we can automate our tasks, especially repetitive and clerical ones, so we can make everything more efficient."
From having multiple systems for each major task they had to do, Dagondon introduced a new HR Information System (IS), BambooHR, to unify them all. Through the new IS, Dagondon and her team have learned to work more efficiently; they learned to better manage their payrolls, their documents, and even their hiring process.
The biggest contribution the new HR IS has given CIIT is how to use cloud storage. They moved most of their files to the cloud on the IS, therefore eliminating the need for hard copies of their files and also ensuring that everyone has copies to important files. Now, they only create hard copies if absolutely necessary.
Learning how to effectively use cloud storage also encouraged people to better document events and other important things for the school. "We want to avoid people having specializations where only one person can do a task," she said, "So usually within a team, we want everyone to be able to do what everyone else is doing." This way, even if one person is missing from a team, the rest can still function as they have everything they need within reach.
When it comes to hiring and onboarding, Dagondon also relies on tech to make things easier. For hiring, interested applicants are to strictly apply through their website only. "Applying online is actually part of our screening in a way," she said. "It's like, if you can't understand this kind of tech, then you might not be a good fit with us, because we'll be using a lot of apps."
If an applicant is hired, automation is also involved; their onboarding happens online as they receive and send all the important files online, and everyone else in CIIT will also be notified of the new hire through their IS. Once the new employee information is set up, CIIT's IT will then go on to set up all the necessary accounts and stations for them.
Gradually, their administrative tasks within CIIT became more efficient. They started having more time for more important things as everything that could be automated for efficiency was saving up time.
Setting up all these advancements in tech within CIIT was not an easy feat, Dagondon admits. "Before, the mantra here was 'if it works, why fix it,' which was a big hurdle to go through," she said. "It was hard to get people to buy into the idea that we have to embrace tech. It was hard to get people to buy into using a new system."
However, once people saw how useful tech can be and how much easier collaboration has become, it didn't take long before people fully made the switch. From HR systems to setting up spaces online for students, things began to flow a lot smoother overall. The next issue then was having people get used to the new systems, and teaching them how to use these things.
Luckily, when the pandemic hit, people of CIIT were already familiar and comfortable with the technological advancements in place. For teachers, conducting fully-online classes took some time to adjust to, but having been one of the schools to have a Learning Management System (LMS) in place before the pandemic worked to their advantage. For Dagondon and CIIT's other employees, working from home has not been too difficult as they still had access to their files online.
Dagondon shares that the pandemic was really the time when people realized the importance of tech in their line of work. "It's why it was easier for us to hit the ground running when the announcements were out. We didn't stop our operations even then," she said.
"One of my first frustrations back then was that you can't get anything done by yourself, because it's either the file is with this person and it's a hardcopy or someone when someone was absent, things will stop," she explained. "So trying to change that was one of the selling points I used to push for tech and for cloud based collaborative tools, and looking back at, it paid off well."
To get more insights from other HR leaders like Nicole Dagondon, please check out the full book, available for purchase here.
The 50 - and other business books about the Philippines and Asia Pacific - will soon be streaming on Audiophile, our platform for exclusive Filipino audiobooks.
Back to Our Books


SAN FRANCISCO, CA & NEW YORK CITY, NY – December 20, 2012 – Innovative visual content eBook distributor Graphicly is excited to announce a partnership with Peanuts Worldwide to bring the vast library of Peanuts children's books and comic strips to the leading eBook Marketplaces on Apple iBooks, Amazon Kindle, Barnes & Noble Nook, Kobo Reader, Google Play Books and others.
By partnering with Graphicly, Peanuts Worldwide will bring more than 60 titles featuring Charlie Brown, Snoopy, Linus and the rest of the Peanuts gang to an audience of millions using devices such as the iPad, Kindle Fire and Fire HD and Nook to purchase and read books. Titles include the holiday staple A CHARLIE BROWN CHRISTMAS, the children's classic HAPPINESS IS A WARM BLANKET, CHARLIE BROWN and the complete PEANUTS newspaper strip archives.
By utilizing the Graphicly Digital Distribution platform, which provides publishers the ability to upload one file and distribute it everywhere, including support for optimized fixed-layout visual books, children's books and interactive books, Graphicly makes it easier than ever for publishers like Peanuts Worldwide to maximize their potential audiences for the content by distributing to the top eBook marketplaces.
Graphicly is the only company to provide publishers a simple, low cost, one-click solution to distribution that includes both an integrated dashboard and deep analytics on sales, behavioral data and social engagement data around their content, accelerating books to market.
"For years, publishers have waited like Linus in the pumpkin patch for an integrated, simple and cost effective way to convert, distribute and promote digital and interactive books. We are excited to partner with Peanuts Worldwide to help make the rich history of Peanuts available to readers everywhere" Said Micah Baldwin, CEO and Founder of Graphicly.
The PEANUTS characters and related intellectual property are owned by Peanuts Worldwide LLC, a joint venture owned 80% by Iconix Brand Group, Inc. and 20% by members of the Charles M. Schulz family. Iconix Brand Group, Inc. (Nasdaq: ICON) owns, licenses and markets a growing portfolio of consumer brands including CANDIE'S (R), BONGO (R), BADGLEY MISCHKA (R), JOE BOXER (R), RAMPAGE (R), MUDD (R), MOSSIMO (R), LONDON FOG (R), OCEAN PACIFIC (R), DANSKIN (R), ROCAWEAR (R), CANNON (R), ROYAL VELVET (R), FIELDCREST (R), CHARISMA (R), STARTER (R), WAVERLY (R), ZOO YORK (R), and SHARPER IMAGE (R). In addition, Iconix owns interests in the ARTFUL DODGER (R), ECKO (R), MARC ECKO (R), ED HARDY (R) MATERIAL GIRL (R), PEANUTS (R), and TRUTH OR DARE brands. The Company licenses its brands to a network of leading retailers and manufacturers that touch every major segment of retail distribution from the luxury market to the mass market in both the U.S. and worldwide. Through its in-house business development, merchandising, advertising and public relations departments Iconix manages its brands to drive greater consumer awareness and equity.


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Home CONTENTS CONTRIBUTOR'S ARTICLES The "People Power" Protests and Riots From A Millennial's Perspective
The "People Power" Protests and Riots From A Millennial's Perspective
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"Fire everywhere! Gun shots all over the place! People screaming for help! Hospitals overfilled with screaming patients!", those sentences sound like it came from a social disaster that took place in a movie scene, but it's not. It's actually Jakarta, literally a week ago. When a supposedly peaceful act of protest turned into all out rioting, the likes of which this country has never seen since the waning moments of the New Order.
May 22nd, 2019. A historically important date for Indonesia. As for the last recent years, the population has been basically split into two factions of political interests: Those who seek to continue Jokowi's regime and those who are in Prabowo's side of the sphere. To be honest this informal social classification has left the entire nation in a horrid state. It's like living in a seemingly never-ending cold war of politics. Entertaining? Sure, but beneficial for society? Not so much.
If seen more in a more detailed fashion, the only benefit these collisions gave is that of new found marketing abilities Indonesians grew within themselves throughout the course of the conflict due to the extensive independent and militant campaigns. And I've got to admit tell you the endless jokes and memes thrown out there were more than fun to observe and admire. Other than that, this clash of titans gave nothing more than just utterly unpleasant bitterness.
But then again it all went down to the wire on election day. Hurray! Election day! Indonesians are indoctrinated for election day by the government in a way that I will never fully understand, they have an election day song, they have non-stop election day ads on television and other media, etc. It's a government program that in my book, is incomprehensible and wasteful of resources. But as that is not the focus of this text, let us proceed. As planned, the general election went down on April 17th of this year. As always units upon units of government security officials were stationed across the 34 provinces and they were fortunate enough to handle the most minimum of threats. The election went fairly peaceful and was internationally well received, another plus for Jokowi's administration.
As the sun set on that faithful day, as the quick count numbers sum up in survey joints, the crowd went silent and eerily waited for the results to come out. At dusk, the quick count results came through, showing a significant margin in a win for Jokowi. The internet went wild. Then claims by Prabowo's side popped out regarding how the survey institutions were faking their data and was biased, however Jokowi's side decently kept their composure. Suddenly out of nowhere Prabowo jumped up to a podium in front of his house in a press conference proclaiming a whopping 62% win over Jokowi. The crowd went wild, the batter had just scored an ecstatic home run.
What happened after that was a concoction of just brutal accusations and overwhelming controversial conducts. Prabowo's garrison of supporters started showering claims of "massive" election swindles by Jokowi's side with "authentic" evidences while moving forth with their 62%-win claim.
On the Jokowi's side on the other hand tried to stop the cheating claims, yet the belief had spread too far out of their reach. Jokowi claimed victory based on the quick count results, but he himself was still waiting for authentic General Electoral Commission (KPU) results, which was to be formally announced May 22nd. As days gone by, the 62%-win claims started to double down, and cheating claims exerted by Prabowo's supporters went uphill in drastic fashion. Social media was superbly crowded with uploads concerning that subject in particular, whether it was by Prabowo supporters fuelling the growing sense of injustice, or by Jokowi's faction trying to maintain a clean look through all the attacks thrown at them. As the Electoral Commission's count was ending, it looked almost impossible for Prabowo to actually achieve that 62% claim as the numbers looked outstandingly similar to those of the quick counts. Of course, this proved to be the boiling point for Prabowo and his entente of supporters as they tried to bring their justice with their own set of hands.
This culminated on the 21st and 22nd May demonstration acts, which were supposed to be extremely huge. People were supposed to come from all over the country. But of course, government security officials had their own set of concerns regarding this, because words were spreading about some form of coup attempt seeped into the demonstrations. Suspected terrorists were arrested in the days leading to the act, mass mobilization for the event was held off by regional officials. Precautionary steps were conducted, yet the situation thickened.
At last, D-day had cometh. May 21st, 2019. Jakarta's residences were generally informed about the upcoming demonstration, rumours of impending danger went from ear to ear as fear of 1998 riots-type incidents grew within the populous. Prabowo's mass started to gather in front of the street in front of the Electoral Supervisory Body (Bawaslu) office. At first everything was well, but as night fell on the Big Durian, what was feared to happen came to be.
Jakarta on riots again after 21 years, I kept myself updated that night as thousands of Prabowo sympathizers had their way with the police and as it spread to the surrounding areas. It was truly shocking, that. As a legit millennial I wasn't even alive when Jakarta burned in '98, but there I was watching the streets of Jakarta went into chaos live on TV. Then the next day came and it somehow got worse. Hundreds were proclaimed injured, numerous, dead. How that came to be is still a question till this very day as controversy spirals over this subject.
The interesting thing about this riot, as I observe my fellow colleague's responses on this, is that generally speaking, it doesn't actually open new mindsets, it actually magnifies those which already exists. Jokowi sympathizers taking side with the officials, Prabowo's side with the demonstrators. I see now even in this day and age; us supposedly modern millennials are still not looking at the bigger picture. Still looking for the perpetrator behind all this, who's fault this was, who's to be blame. Yet I see this as signification of how retarded we are as a people.
We're fighting wars under the dome of those in power, we're fighting each other, their raging battles inadvertently pitted us against our own. To be fairly said, government security officials and demonstrators present on site were the same, they left their families at home for that they believe is a noble cause, yet to leave bad marks nonetheless. You can't justify the rioters burning and wasting everything in their path, and you can't justify government official brutality either. However, this shows how far we are willing pushed ourselves forth in this matter.
It takes a great bit of energy, willingness, and just outright stupidity for the demonstrators and/or rioters to do what they did. Burning cars, looting shops, attacking government officials. These acts appeared to be empowered by means of hatred towards the administration, yet they are fighting for a non-universal cause fuelled with the ambitions of the opposition. And It takes a bigger lot of willpower for the security personnel to did those (allegedly) unprofessional and brutal conducts. Sure, you can say that they are human too, they have their limit. But again, they were selected as Indonesia's finest, their mental stability is supposed to be above those of average. If they break down and get provoked as easily and quickly as their opposition does, then can we even draw the line between the two?
The lack of respect these people have for the government and the security institution beneath it, more specifically the National Police Force, and the (allegedly) inept savagery the officials did on the demonstrators and/or rioters are both things that should've been buried long ago with Soeharto and the New Order. It used to be like this in the Smiling General's reign, a good lot of vocal and active people clashing against the administration's enforcers, which back then was more of a military-centred role. Many believed the military, especially the Army, was the backbone of Soeharto's regime, viewed by more than a few not as defenders of the people, but thugs of the powerful. Yet the situation may have back flipped upon itself these days, the more vocal faction of the two parties clashing, which is Prabowo's side, seems to be very much supportive and compelled by the military, especially the Army. Allegedly, a good portion of Prabowo's sympathizers believes that the military is somehow actually backing Prabowo not Jokowi, even though Jokowi's their commander in chief. How does that work? I do not know.
But again, these improper and immensely unpleasant acts are those of the past. Let's take a major step back and start thinking with our minds open and our horizons broaden. Not everything is black and white, there are good in each side. Start putting matters into decent contextualization to further clarify the details.
The demonstration itself, unnecessary? Sure. Generally speaking, quick count-wise, and real count-wise, Prabowo's side lost in all of them and in good margin, almost 16 million votes in total. Frankly, where in God's good earth are you going to find proof of a 16 million vote fraud? Face it, if it's under 10 million it would be a decent bit worth fighting for. But waging war for that many vote counts? I just couldn't understand the logic behind that truthfully. Still though, Prabowo's faction has every single right to do it, even if it's a bit out of hand, a bit off balanced, they have ever right for it. Whatever steps and ways they have under their belt to claim justice must be allowed as long as it's under the corridor of the existing law.
Using a necessary level of force during apprehension is legal, ruthlessly beating a man however, is not. The National Police Force has been somewhat of a main face of Jokowi's era. It's been particularly active in recent years handling violations of the Presidential Insults Act, of which most of the perps are Prabowo sympathizers. This is possibly one of the main reasons why the Prabowo supporters perceive the police in such a negative way with Jokowi, his inner circle members (which consists of Wiranto, Luhut, etc), the Chief of Police Tito Karnavian, and others as oligarchs ruling what they proclaim to be an evil regime.
To be fair, the National Police Force itself doesn't actually have a shining reputation, even before Indonesia was split in two. Commonly known as violent, corrupt, and incompetent, it is so reputably awful that their Wikipedia page says exactly as the above. It is important for us the people to trust our finest men and women on duty, but trust is earned, not given. The controversy surrounding the improper acts they administered during the 21st and 22nd May 2019 Jakarta riots does nothing but lower public's trust for the institution and its members. To refurbish their image, the National Police Force must first take little, important steps. Starting with this civil rights violation case, they need to sort this out and if proven guilty, sanction harsh punishment to the perpetrators.
The same with Prabowo's side. Although all this conspiracy regarding intruders infiltrating the masses and instigating the riots, it is undeniable that general public's sights are set on them as long as the police doesn't get to the very root of this problem. If the so-called "real perpetrators" aren't caught, the blame will be on them. The same type of negative perception given by Prabowo's side to the police are being given to them by a larger, more silent majority. A certain form of stereotype, sooner rather than later, will surely arise amidst this perception. They too must change how they sell themselves; they must show sportsmanship over the entirety of the things to come. If the Constitutional Court (Mahkamah Konstitusi) doesn't grant Prabowo's suit over Jokowi, he, his closest colleagues, and those who stand behind him will have to show an act of common decency and respect the decision. Then maybe, the negative perception will asunder. People are already starting to love certain aspects of Prabowo's side other than the overt nationalism and Islamism he promotes. However, this new found love's attraction is not the ex-Kopassus General himself, but rather his VP candidate, the Meme Lord. Sandiaga Uno offers a different take on the whole electoral sphere, a fresh air hovering over the old, wrinkly faces of his fellow participants. If Prabowo and his side take this one to bed and change how they market their side, downgrade the level of controversy, trim the excess identity politics, and get rid of some of their unproductive members, they might have a great chance in 2024, that is if Sandi decided to roll with them again (as Presidential candidate this time, of course).
Again, both sides need improvements on their own terms. The government, the National Police Force, to be specific, needs to up their game, start applying strict rules of engagement, educate their personnel on how to handle situations more professionally, and clear their internal affairs. On the other hand, Prabowo with his supporters need to have a more approachable, less provocative ways to market what they are trying to sell. They also need to make peace and start trusting the government more, after all, Jokowi and his administration are not serving the majority, but Indonesia as a whole.
I stand here not as a wannabe expert, but a mere Indonesian concerned over his beloved country. For if the clashes proceed, we will continue to split and stray further apart. The solemn oath in which our forebears recited upon this holy ground many a years ago will be left as nothing but a kindled story on a piece of paper. Let us rejoice for this conflict is now over, Idul Fitri is near, let us shake hands with our friends and families, but more importantly with those we previously perceived as our foe.
"To err is human, to forgive divine".
Dika Suryatama
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Over 20 years ago, Utah aimed for 'quality growth' as its population boomed. How has that turned out?
(Francisco Kjolseth | Tribune file photo) Aerial photos of various Salt Lake points of interest including the proposed inland port area. Salt Lake Tribune, downtown, capitol, North Salt Lake.
By Tony Semerad
| July 11, 2020, 12:00 p.m.
How should Utah handle a growing population? Especially as people fill up roads and neighborhoods, adding to worries about congestion, air pollution and what Utah might look like decades from now?
With its booming birthrate and recurring influxes of new residents, the state faces these hard questions, but it's hardly the first time.
More than 20 years ago, Utah took the equivalent of a big statewide huddle to debate rampant growth and what it meant for the state's way of life. The endeavor, with hundreds of meetings, prime-time televised events and vast surveys, sounds far-fetched today — especially as the state and the world remain focused on fighting a deadly pandemic.
(Chris Detrick | Tribune file photo) In this May 23, 2017, file photo, construction continues on new buildings in Vineyard. New state population estimates show Utah is continuing to grow, but demographers say it isn't just the state's well-known high birth rate that's driving the increase that made it the country's fastest-growing state.
Back then, the country was bouncing out of a mid-1990s recession and people had started pouring into Utah, pushing its population toward 2 million. Development gobbled up open fields across Salt Lake and Utah counties and traffic along Interstate 15 had started grinding to a smog-inducing halt.
Residents grew anxious over the visible ways Utah was changing. State officials and urban planners launched what proved to be a massive public process in hopes of getting ahead of the challenge.
The aim: Let everyday Utahns — and not just politicians — define what was dubbed "quality growth." The resulting template would help guide land use patterns in the state through 2020.
"I look back on this and, first of all, I can't believe we tried it," said then-Gov. Mike Leavitt. "Second of all, I can't believe that it worked."
Twenty years and 1.2 million additional Utahns later, many of the outcomes are impressive.
By applying those quality growth strategies across the 10 counties spanning the Wasatch Front and Back and beyond, the state saved vast amounts of land and water, reduced car trips and smog and built more of a mix of housing to better suit its population. The shift also accelerated construction and use of mass transit.
Christopher Cherrington | The Salt Lake Tribune
And these strategies — which today might sound obvious — focused on building compact walkable areas and mixing shops and offices with housing to reduce commutes and save green space. They were never forced on cities and counties. They were put forward as guidelines, but from Farmington to South Jordan's Daybreak, these ideas fell into place.
"We put scenarios together, took those scenarios to the public and asked them, 'Where do we want to go?' " said Ari Bruening, CEO of Envision Utah, a regional planning agency created at the time to lead the effort. "And from there, it was just the power of good ideas, people talking together and thinking regionally and long term."
In other ways, though, the strategies haven't worked as well, particularly for southwest Salt Lake County and northern Utah County, where traffic is snarled, affordable housing is hard to find, and residents are growing frustrated.
Utah's population has grown to 3.3 million today, driven largely by its nation-leading birthrate.
Envision Utah has released an analysis that compared projections from the late 1990s to the realities of today. That study says Utah saved roughly 140 square miles of farmland and open space that would otherwise have been developed in that time.
Building on fewer acres has also saved a projected $4.5 billion in spending on roads, sewer pipes and other utilities.
Water use is also well below where it would have been over the 10 Utah counties with unchecked growth. That includes the Wasatch Front — Salt Lake, Utah, Davis and Weber counties — as well as Box Elder, Tooele, Juab, Wasatch, Summit and Morgan counties.
Late-1990s projections were that Utahns would be guzzling, flushing and sprinkling 298 gallons per capita per day by now without the strategies. Instead, that's at about 225 gallons daily, the analysis finds — thanks to better metering systems and teaching residents how to conserve water, as well as developing less land per person.
The state has added about 310,000 new residences since 1998, for a total of about 844,000 homes as of this year. And while Utah has improved its mix of housing types, mostly by lowering the ratio of single-family homes, planners forecast more growth in town homes, duplexes and other homes often referred to as a "missing middle" than has occurred.
(Trent Nelson | The Salt Lake Tribune) Hardware Apartments, under construction in Salt Lake City on Monday Nov. 12, 2018.
Single-family homes account for about two-thirds of all Utah housing, below the 75% planners had foreseen if the state didn't change course. Yet for all the thousands of new apartments built since 2000, they still account for about a quarter of the state's housing stock, roughly the same ratio as in 1998, research by Envision Utah shows.
And over the same time, a surge in home prices and dwindling acreage of available land in Utah's urban areas have created a deficit of roughly 50,000 homes affordable to those earning average wages in the state.
Utahns on the Wasatch Front are also spending less time in their cars nowadays than projected in the late 1990 — though not by much.
Estimates were that residents in the four Wasatch Front counties would have to drive an average of 26 miles daily by 2020; in reality, that is about 22 miles a day, Envision Utah reports. But as many rush-hour commuters headed from suburban neighborhoods into the Wasatch Front's metro areas will tell you, a lot of those miles are slow and congested.
(Trent Nelson | Tribune file photo) Rush hour traffic heading west is backed up on 12600 South at Bangerter Highway in Riverton, Utah. Mayors in southwest Salt Lake County say that area is in a transportation crisis, as major east-west roads serving the area are overwhelmed with traffic at rush hour.
"The inability to have more evenly distributed job centers across Salt Lake County has only exacerbated the issues with traffic and air quality we have today," Riverton Mayor Trent Staggs said.
The state has dramatically reduced air pollution on the Wasatch Front since 1998, though most of that had little to do with quality growth.
Instead, cleaner fuels and vehicles mandated by the federal government have pushed daily emissions of carbon monoxide and particulate matter to about 934 tons daily as opposed to the 2,541 tons per day that analysts back then feared we'd be living with by now.
(Rick Egan | The Salt Lake Tribune) Sun and blue skies above the smog in the valley, Monday, December 11, 2017.
Building 140 miles of new TRAX and FrontRunner transit lines has helped lighten the skies, too. Envision Utah estimates about 305,098 residents of the 10 counties analyzed now live within a half-mile of a transit station. That, in turn, has brought lots of transit-oriented development near those rail lines over 20 years.
To some, the advent of mass transit alone represents a sea change in how Utah's leaders think about development and land use.
"If you even said the word 'transit' in planning meetings in those early days, it was like it was a joke," said Wilf Sommerkorn, a retired longtime planner for Salt Lake City and Davis and Salt Lake counties. "'It'd never work here,' they'd say. So that has been a real turnaround."
'Smart growth,' Utah style
In the late 1990s, such a coordinated plan was without precedent in Utah. Some conservatives considered zoning restrictions almost as a form of socialism, and many city leaders opposed the idea of government intruding on property rights or their own decision-making.
"Politically, this had to be done differently," said Leavitt, a Republican who took office in 1993. "You had to go beyond formal governance and you had to reach to the citizens and get them to buy a vision. But more important than buying a vision, they had to be part of creating the vision."
(Scott Sommerdorf | Tribune file photo) Former Utah Governor Mike Leavitt speaks at the RootsTech conference at the Salt Palace, Saturday, February 6, 2016.
Then-Layton Mayor Jerry Stevenson was one of many who criticized the effort, asserting at a City Council meeting it amounted to forcing "Salt Lake City values" on communities elsewhere in the state.
"As an elected official, when a group like that comes in, the first thing you think is, 'This is regional planning,' " said Stevenson, who is now a state senator. "And with regional planning, we'll lose our autonomy."
The mayor got a call from Leavitt the following morning. "Anyway, I became one of their board members and, in that process, I went through what you might call 'the conversion,' " Stevenson said.
Leavitt also enlisted media outlets, often by appealing personally to the sense of civic duty of their CEOs. Talks in a three-day "Growth Summit" in late 1995 were televised live by what were then Salt Lake City's three commercial stations.
Al Hartmann | The Salt Lake Tribune Gov. Mike Leavitt holds a newspaper insert to show at kickoff of Envision Utah at This Is the Place Sate Park. "Brigham Young," portrayed here by James Arrington, looks on. The real Brigham Young was actually a good planner for his time.
Just as important, state leaders distilled a list of nearly 40 crucial road projects — and put up billions of dollars to pay for them. That included a more than $400 million rebuild of Interstate 15, in what was called "the Centennial Highway Project," tied to the 100th anniversary of Utah's statehood in 1996.
"It took 13 years," Leavitt said, "but they all got done."
In 1999 — after 26 separate rewrites — the Utah Legislature passed a Quality Growth Act, offering cities incentives to cut urban sprawl, encourage affordable housing, and keep dollars steadily flowing to necessary road and utility projects.
For a key example of what quality growth ideas crafted in that era look like, think of Daybreak, the master-planned community in South Jordan. The project's mixed housing clustered to create shared open spaces embodies the principles and it is served by transit. Critics note, though, it still lacks nearby employment centers, forcing a large portion of its residents to drive or ride to work.
(Francisco Kjolseth | The Salt Lake Tribune) Daybreak, the 4,100-acre master planned community in South Jordan, illustrates the idea of blending higher density housing and walkable community design with ample amounts of open space as seen along Daybreak Promenade. That "smart growth" land use approach is being required by Salt Lake County for a proposed development called Olympia Hills, a 933-acre residential and commercial project proposed west of Herriman.
Sandy's revamped downtown is also held up as a walkable city center that includes housing. The Fairbourne Station area in West Valley City illustrates how transit-oriented development can help create those mixed-use centers. The new apartments along Salt Lake City's 400 South corridor demonstrate how zoning can help spur more dense housing around transit lines and reduce car usage.
Those exemplify hundreds of smaller master-planned projects built in Utah since 2000.
But runaway growth around the Point of the Mountain in Salt Lake and Utah counties — and the daily traffic jams those residents now endure — offers a counternarrative, one showing how housing construction approved by individual suburban cities can add up to traffic woes for an entire region.
(Trent Nelson | Tribune file photo) Apartments built in recent years along 400 South in Salt Lake City.
Staggs, the Riverton mayor, estimates that more than 70% of the overall population growth since 2000 has landed on the Salt Lake Valley's west bench, "in the blink of an eye," as he put it. Yet plans for better roads to handle the added commuter traffic never quite panned out, he said.
"We just kind of ran out of money and there wasn't a concerted effort to try to improve any sort of east-west connectivity, beyond the I-215 belt loop," he said. "And now the chickens have come home to roost for us, so to speak."
Controversy has erupted of late over the county's approval of Olympia Hills, a large and high-density master-planned community approved on unincorporated land just outside Herriman's western border.
Many adjacent homeowners don't want the project built, fearing its affect on their quality of life and on traffic. "We've been an afterthought," said Staggs, who is challenging Salt Lake County Mayor Jenny Wilson for her seat, "and that's what's been so frustrating."
Wilson — who said she and other county officials "have never retreated" from quality growth strategies, nor the bottom-up way they were developed over 20 years — pushed back on that criticism.
She said the county's involvement will lead to an Olympia Hills that is developed in a responsible way that doesn't foster sprawl, meeting many of the quality growth goals to which Utah has aspired.
Time for a repeat?
That dispute and other growth-related conflicts in recent years have some calling for another wider debate to chart Utah's future. The idea has been drawn into sharper relief now that the state is proposing new big-ticket public works projects to spark an economic recovery from the coronavirus crisis.
Utah plans call for billions in spending on worker retraining, roads, mass transit, water projects, housing, outdoor recreation and broadband networks.
Bruening, with Envision Utah, and others say the state could also use an updated growth blueprint in light of the inevitable turnover through the years among elected leaders.
What's more, COVID-19 has sparked speculation that many Americans, having grown accustomed to working from home, may now flee dense urban areas for more spacious living in the suburbs or rural locales. That could bring an influx of new people to Utah, while also reigniting the problem of urban sprawl.
There are also concerns that fears of the virus could alter ridership on mass transit long term, forcing many back into their cars.
"This is a good time to refocus the discussion," Sommerkorn said. "How should we be growing? What's the right way to do this?"
tsemerad@sltrib.comFollow @tonysemerad
New version of Olympia Hills faces criticism at first public hearing
What's the plan? Charting a future for Salt Lake County's west bench proves complex as growth pressures build
South Salt Lake's housing boom driven by its transit lines
Utah County residents hope explosive growth will come with more transit, town centers


I dreamt myself to the edge of the earth for to see the sun rise, unblinded by the horizon.
I brazenly spied her morning start, brought up by Apollo's constant hand, throwing shadow against the shoulders of Atlas' back.
Unnatural and whole, I watched her dance.
splattered and stretched drying on a canvas wide and dripping fresh light of life unto the earth.
The longer I stared, the more vivid she grew, but planted also a tumour into my vision.
for all the beauty that be, I could have only my imagination to see.
you bring my life indescribable beauty.
dances me through the duties of the day, and willingly, gleefully to bed at night.
and the joy is less often sown from an earth dry of life's light.
Commander of light – the light of my world.
for I have stared into the sun times before and I know that this spot, too, will fade.


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Q: Emulate/polyfill history.pushstate() in IE history.pushstate() is not supported in IE. Is there another way to achieve this in IE?

A: Consider using or adapting History.js from GitHub. As per the description:

History.js gracefully supports the
  HTML5 History/State APIs (pushState,
  replaceState, onPopState) in all
  browsers. Including continued support
  for data, titles, replaceState.
  Supports jQuery, MooTools and
  Prototype. For HTML5 browsers this
  means that you can modify the URL
  directly, without needing to use
  hashes anymore. For HTML4 browsers it
  will revert back to using the old
  onhashchange functionality.

IE (upto and including 9), does not support pushstate(). IE 10 supports it.
http://caniuse.com/#search=pushstate

A: Consider using history API for unsupported browsers or see library on https://github.com/devote/HTML5-History-API
This Javascript library provides an emulation of HTML5 History API for older browsers.
The library operates according to W3C specification, adding no new or incompatible methods. The library can be used exactly as described, for example, in Dive Into HTML5 book http://diveintohtml5.info/history.html or in the History API Specification http://www.w3.org/TR/html5/history.html#the-history-interface.
Example of using the library in the pure JS context:
<!DOCTYPE html>

        My Link
        Other Link

Example of using the library along with JQuery:
<!DOCTYPE html>

        My Link
        Other Link

redpajama_set_name: RedPajamaStackExchange


We love celebrating special moments with our girls. Although we love a good GNO, sometimes it's way more fun to stay in and throw a fabulous party at home. Whether you're celebrating Galentine's Day, a birthday, or the fact that it's Friday, here's how you host the perfect & stress-free girls get together for Galentine's Day or to celebrate each other's friendship any time.
Skip the text invite and make the invitation super official with a cute e-invite. For this party we chose a free Paperless Post flyer! They have the cutest customizable templates that will go perfectly with your theme, you can even add fun gifs and stickers.
We suggest sending out the invites at least 2 weeks in advance to give the busy ladies in your life enough time to plan ahead.
Y'all know we love to cook, but when you're hosting a party for a bunch of ladies and you're wanting to have the most #extra party ever, shopping for ingredients and cooking can get very stressful.
Instead, we highly recommend that you choose to cater your party from your closest Rouses Market. You can get everything you need through their catering offerings making it an easy one stop shop. Their specialty cheese selections are to die for, they have an amazing wine selection, and everything is always super fresh. Your guests will be impressed by all of the different apps, party trays & desserts!
For our Galentine's Day celebration, we went for a wine tasting theme so we chose a cheese plate, Italian meats plate and different small bites that would complement the Chloe Wines we'd be having.
PS: Whatever your theme is, we highly recommend ordering their mini corndogs. The babes LOVED them.
Of course you'll want to capture the memories from your Girls Night In! Don't forget to shop for cute decorations and props that will make the photos extra cute.
Our event was extra 'grammable thanks to the lovely resident community room on the 20th floor of Four Winds Apartments in the CBD.
Think of a fun and unique hashtag, and add it somehow into the decor to make the theme extra special.
As a fun gift (and future conversation piece) for our girls we had copies of How to Fall in Love, A Novel at every place setting. We can't wait for all of us to read it. Join our unofficial book club and purchase it here.
Our set up also included jewelry boxes from Badass NOLA Babe, Cristy Cali!
A good themed party needs to have a good playlist to go along with it! Thankfully Spotify has curated playlists for literally every theme and mood. Search away ladies, and you'll find great playlists for your party. We suggest having a pre-selected queue of songs so you can avoid stressing about having the perfect tunes when the guests arrive.
Loved our blowouts and make up by Buff Beauty Bar!
At the party, focus on the fun conversations, the tasty catered food, and the good wine! Anything else can wait. Put your phone away (except for photos) and give your girls your time and attention. After all, you worked this hard to be the perfect hostess so you deserve to enjoy every second of your party.
The Huji app takes the cutest photos with vintage filters!
We partnered with the brands mentioned above to throw our Galentine's Day party. All opinions are our own.


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2020 International Peace Pow wow
Tourism Lethbridge acknowledges that we work, live and play on the traditional Blackfoot Confederacy territory. We would like to honour the Blackfoot people past, present and future, their cultural heritage, beliefs and relationship with the land.
The statement above is a Land Acknowledgment, which dates back centuries for many Indigenous groups in North America, but has been a lesser-known practise to many non-Indigenous Canadians. The Land Acknowledgment is important for everyone to practise as it pays respects to the Indigenous people that were here long before the settlers arrived, and the relationship that they have with the land. By acknowledging the land on which your city lies on you can learn and help others learn about the history of the land we now know as Canada.
If you'd like to learn more about Blackfoot traditions and culture head down to the ENMAX Centre on February 22 and 23 for the 2020 International Peace Pow wow to experience the amazing culture and colours of the Blackfoot Confederacy! This two-day event brings together the nations of the Blackfoot Confederacy- Alberta's Piikani, Kainai/Blood, Siksika, Montana's Blackfeet, as well as Tribes and Indigenous peoples from across western North America, to promote peace and goodwill between the nations. Be mesmerized by the dancer's regalia as you watch the traditional Pow wow dances. Feel the power of the drums as you listen to traditional songs in the music competitions. Learn about Blackfoot culture as you experience Miss Blackfoot Canada specials, arts, crafts and so much more.
Admission: $18.25 a day for adults | $15.25 a day for seniors and students | $29 for a weekend pass | 12 and under are free.
Is this your first time attending a Pow wow? Here are some tips to help you out!
Helpful Terminology
Clothing worn by the dancers is called regalia. Please don't call it a costume.
Drum is also used when referring to the group of performers who play the instrument.
Grand Entry begins every session in the Pow wow
The Eagle Staff lead the Grand Entry
Always use the correct terminology.
Please stand during the Grand Entry.
Always ask before you touch anything in the Pow wow, including drums and regalia.
Ask before taking photos, videos or audio clips.
When in doubt listen to the M/C they will usually tell you when you need to stand, and when to refrain from taking photos, videos or autoclips.
Grand Entry- Flag bearers, honour guard, Head Dancers and dignitaries dance in the dancers. The dancers follow in according to their categories.
Competitions based on age groups
Juniors 7-12
Adults 19+ (styles listed below)
Women's Traditional
This is a stately dance, slow-moving bouncing step, rhythmic dipping with swaying in time to the beat of the drum. Dresses of buckskin, wool or other material are heavily decorated with beading, quillwork, elk teeth, bone, antler or shells.
Men's Traditional
The tempo is slower with the dancer telling a warrior story in sync with the drum. Eagle feather bustles; grouse feathers, deer, elk and porcupine headdresses are all part of this wonderful dance.
Women's Jingle
When a man's granddaughter became very ill, he had a dream that showed him how to make the dress and was instructed to have her dance in it. When the dress was made, she wore it and danced, very weakly at first, but becoming stronger as she went on until she was healed. Her name was Maggie White.
Men's Grass
Once a young man, lame in one foot, longed ever so much to dance. He took that longing out onto the prairie, praying for guidance as he limped up a small hill. On top of that hill, it came to him - he should develop his own style of dance. As he pondered this revelation, he looked down over the prairie with its swaying and swooping grasses. This, he realized, could be his dance. And thus, so it is said, is the origin of the grass dance one might see at a powwow. The motion of the dance flows like the rippling prairie grass.
Women's Fancy is a faster, more expressive and energetic style. The dance is light, graceful, and very athletic. The dancer moves much like a butterfly, maybe a hummingbird and her outfit is bright and colourful. Particular emphasis is given to the shawl, which is worn over the shoulders and spread out along the arms like wings.
Men's Fancy
Men's Fancy is a most intricate dance with jumps and twirls at the fastest tempo. The regalia is said to represent the rainbow spirits in its bright colours and flying feathers and ribbons. The Men's Fancy dancer typically wears two bustles of bright coloured feathers.
Men's Prairie Chicken
Men's Prairie Chicken is the Blackfoot "be suts be wah sin" that has made its way into the Pow-wow circle. Each man wears a porcupine hair roach on his head and a prairie chicken feather bustle. The dancers step quickly, crouch and rise imitating the dance of the prairie chicken.


text:
La 1. deild 2021 è stata la 79ª edizione del secondo livello del campionato faroese di calcio, che ha visto il trionfo del , alla seconda imposizione nel torneo.

Stagione

Novità
Rispetto alla stagione precedente, sono quattro le novità: il posto del , terzo classificatosi in 1.Deild 2020 viene preso dal retrocesso , mentre il , quarto classificatosi in 1.Deild, viene sostituito dall', sconfitto allo spareggio.
Il posto del  e dell', entrambe retrocesse, viene preso dalle neopromosse  e , rispettivamente seconda e terza classificata in in 2.Deild.

Formula
Le 10 squadre partecipanti si affrontano tre volte, per un totale di 27 giornate.

Squadre partecipanti

Classifica

Legenda:
      Promosso alla Formuladeild 2022
      Retrocesse in 2. deild 2022

Regolamento:
Tre punti a vittoria, uno a pareggio, zero a sconfitta.

Statistiche

Classifica marcatori

(fonte: transfermarkt.com)

Note

Collegamenti esterni

Calcio nel 2021
2021

redpajama_set_name: RedPajamaWikipedia


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It was recently announced that our national airline Finnair would replace its Finnish flag with Finnair's corporate symbol on the livery of their aircraft. Most likely a significant aesthetic improvement, but also an opportunity for populist criticism from the tabloid media. Of all national symbols the flag is the most emotional.
So, let me get emotional with flags. Of all the flags, the ugliest and most disgusting is the EU flag. In the late 80s and early 90s there was -- at least in Finland -- a sad and short-lived Euro-fad, which is something that we'd rather forget. Are there still people out there who would stick an EU flag on the rear of their car?
The EU flag won't survive, but it would be very interesting to see how national flags will cope with the future. Today's youth has matured in a jungle of logos. Nike, Ikea, Nokia and the like will make sure that your relationship with them will last. Sometimes these relationships become so deep and emotional that some people want to show their affection by tattooing the "loved one's" logo on their ankle or other parts of the body. That's what I would call total commitment to brand values.
When the global brand values become your values, we are well on our way from flags to logos. Maybe some of us will live long enough to take our grandchildren to ethnographic museums to see historical national flags from the 20th century. It would make a nice colourful display.