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The Bahamas Clear Choice
The Clear Choice
Life in The Bahamas
Business in The Bahamas
Bills for Consultation
Tax Cooperation
Bahamas BOSSs: Q & A
E-Business Guide
Maritime Guide
Bahamas Legislative Framework
Captive Insurance Handbook
Captive Insurance Benchmarking
Wealth Management In The Bahamas
Private Trust Companies
Asset Management Guide
Investment Funds Guide
SMART© Funds Guide
About BFSB
Bahamas Financial Services Board
Montague Sterling Centre
East Bay Street
P.O. Box N-1764
Nassau, The Bahamas
(242) 393-7001 Telephone
info@bfsb-bahamas.com
Subject of Inquiry
Details of Inquiry / Message
WORKSHOP: Financial Crimes Enforcement, Compliance & Risk Mitigation
Best-in-World Broadband Internet Penetration
March 16, 2007By @BahamasFSBMembers in the News
Best-in-World Broadband Internet Penetration@BahamasFSB2007-03-16T00:00:00+00:00
Brendan Paddick, Chairman of **Cable Bahamas Limited** and Chairman and CEO of Columbus Communications, says The Bahamas has *"the highest rate of broadband Internet penetration in the world, per 100 people"*. Referencing the latest OECD statistics, Mr. Paddick said the rate here is some 65% higher than Denmark, the leader in the OECD's study of the world's wealthiest nations. Denmark has a 29 people per 100 access rate. Estimates using the subscriber base of both Cable Bahamas and the Bahamas Telecommunications Company (BTC) are that The Bahamas has a 48 person per 100 broadband Internet access rate.
Speaking at the recent launch of the Canada-Bahamas Business Council, Mr. Paddick pointed out that this jurisdiction can boast of *"one of the most advanced network architectures in the world"*, being extremely competitive in regard to high speed Internet and Internet connectivity rates. Back in 2001, reportedly, it cost some $48,000 per month to acquire 1.5 megabytes of bandwidth space between Nassau and Florida. That same circuit can be bought now for $8-10,000 per month.
**Servicing The Bahamas**
**Caribbean Crossings** is an international telecommunications company which owns and operates a sub-sea fibre optic network that links the four major islands of The Bahamas to the continental United States. Through this fibre network and the fibre terrestrial local network of parent Cable Bahamas Limited, Caribbean Crossings can provide 100% optical connectivity solutions in The Bahamas.
Cable Bahamas obtained the cable TV contract back in 2004, with the original owner of Columbus Communications at that time pledging that within 4 years some 90% of Bahamian homes would be able to access the service. In 2007, Cable Bahamas estimates that its network passes through 95% of all households in The Bahamas, with some 3,300 businesses relying on Cable for Internet connectivity. The company says its two significant growth areas have been its high speed Internet services and its wholly-owned submarine 600 km fibre optic cable system.
Columbus Communications, which has a 30% stake in Cable Bahamas, has the goal of becoming the premier telecommunications provider in the Caribbean region. It currently holds operating assets in eighteen countries throughout the Caribbean and Central America.
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UPDATE ON IMPACT OF HURRICANE DORIAN – BAHAMAS OPEN FOR BUSINESS
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Stephen Coakley-Wells
Stephen is a financial sector expert with broad international legal and financial services expertise that includes: Financial Sector Regulatory Compliance, Private Wealth Management , Capital Markets and Securities, Trusts & Estate Planning, Cryptocurrencies/Fintech, Risk and Crisis Management and AML/CFT/ABC.
As a consultant to the Ministry of Finance of The Bahamas, he is an adviser to the Minister of Finance and the Financial Secretary on regulatory and international affairs and is the Director of Regulatory and International Affairs at the Ministry of Finance. In this capacity, he is responsible for formulating and executing the financial sector's strategic priorities and overseeing negotiations with multilateral organizations and governments.
Stephen is a former Deputy Executive Director of The Securities Commission of The Bahamas and has held executive positions at blue chip financial institutions in the United States, Europe, Latin America and the Caribbean. In addition, he is a recognized thought leader on financial sector integrity, tax policy and regulatory compliance and has been a consultant on financial sector policy for governments, NGOs and institutions in Brazil, The Bahamas, Argentina, Uruguay, Bermuda and Cayman Islands.
Francesco Vanacore
Francesco Vanacore has been working for more than 20 years in the areas of international tax planning, family office, family governance and related regulatory issues. He focuses on the advisor of international families in relation to their comprehensive wealth planning needs. He is a STEP member with the LLM in International Tax Law at the University of Zurich.
After more than 20 years of experience and very senior management positions at Deutsche Bank in Frankfurt and Credit Suisse in Zurich where he was board member of Credit Suisse Trust, he joined in November 2017 Ansbacher (Bahamas) Limited where he is responsible for the Fiduciary and Wealth Planning Department. One of the major reason for his move to The Bahamas is the possibility to exploit the enormous business opportunities out of The Bahamas.
Antoine Bastian
Antoine Bastian earned his B.Sc. in Accounting from Indiana University in 1989 and qualified as a Certified Public Accountant in 1993. He began his career in 1990 with Deloitte & Touche LLP. From 1993 to 1995, he was a Mutual Fund Administrator with MeesPierson Fund Service (formerly Fund Service International, Limited). Subsequently, he
managed St. Matthew Investment Fund Accounting Limited., a Bahamian fund administrator that was associated with Michael J. Liccar & Co., CPAs of Chicago, Illinois.
In 1999, he joined The Private Trust Corporation Limited as Manager of the Mutual Fund Department and was appointed to the Board of Directors in 2001. In September 2002, Mr. Bastian was appointed as Managing Director of Genesis Fund Services Limited, a licensed Investment Fund Administrator. Mr. Bastian is a Founding Member of the Bahamas Association of Investment Fund Administrators and works actively with the development and promotion of fund administration.
Aliya Allen
Aliya Allen re-joined the law firm of Graham Thompson as a partner in February 2016. She returned to the firm after four years as the CEO and Executive Director of the Bahamas Financial Services Board (BFSB). In that position she provided industry leadership in the development of the Investment Condominium (ICON) legislation. And similarly led the Graham Thompson team of technical advisors to the Bahamas Securities Commission in the revision of the Investment Fund Act.
Her practice areas include banking law, investment funds, securities law, trusts and estate planning and structuring, securitisation and capital markets. She began her career at Graham Thompson in 2007, leaving in 2012 to take up the leadership at the BFSB. She has worked as counsel, to the Office of the Attorney General with focus in international cooperation and civil matters. Aliya Allen has been recognised by the prominent London-based Chambers and Partners as a leader in her field, and Citywealth Leaders List as one of IFC Top 200 Powerwomen.
Brian Jones is the Managing Director of LENO Corporate Services Ltd. Brian is responsible for fund administration, pensions and corporate services. He also serves as a member of Leno's investment management committee as the firm broadens and deepens the scope of its products and services. Brian has over fifteen years of experience in investment funds, corporate governance and financial services. Previously he served as President and Managing Director of Deltec Fund Services Limited. He has also held other senior level positions throughout his career in financial services including President, Director and Manager at internationally reputable firms and industry organizations.
Brian holds a Bachelor's Degree in Economics (HONS), from St. John's University in Minnesota. With a strong belief in continuous professional development, amongst his many accolades, Brian is also a Chartered Alternative Investment Analyst (CAIA). Brian is a Director and Treasurer of the Bahamas Financial Services Board and has been acting in this capacity since2012. Brian is also a member of the Board of Trustees of the University of the Bahamas where he chairs the Investment and Finance Committee.
Linda Beidler-D'Aguilar
Linda Beidler-D'Aguilar joined Glinton Sweeting O'Brien as a partner in July 2015. In her practice she specializes in the structuring and creation of vehicles (including investment funds) for multinational institutional clients as well as private clients; she also advises on corporate transactions, securities law (including public and private offerings) as well as general commercial matters.
Linda graduated from Georgetown University's School of Foreign Service with a Bachelor of Science in Foreign Service, and received her law degree from the Georgetown University Law Center. She was called to the bar of the State of Illinois in 1988. After working in a top tier Chicago firm and at Kelley Drye & Warren's Washington D.C. office, she moved to The Bahamas in 1991. Linda was employed by two major trust companies before she was recruited to serve as in-house intellectual property counsel to Bacardi & Company Limited; she returned to private practice in 2003.
Linda served as a Director of the Bahamas Financial Services Board from 2010 to 2014, and continues to be active in BFSB's regulatory, legislative and product development initiatives. She speaks regularly at BFSB events including the 2014 and 2016 IBFS conferences, the 2014 and 2015 Bahamas Landfall events in Sao Paulo and Rio de Janeiro and the 2013 Bahamas Landfall event in London, as well as other financial services industry events including the 2017 Private Wealth Latin America Forum, 2015 Private Wealth Brazil Forum and the Third Annual Caribbean Conference on the International Financial Services Sector. She's written articles for magazines including BFSB's Gateway, the IFC Review and LatAm Fund Manager, as well as informational and promotional pieces for BFSB. She was a member of BFSB's ICON Working Group that received the Development and Promotion Award in 2014; in 2016 she received BFSB's Minister's Award for services to the financial services industry.
Linda is actively involved in the education of persons throughout the financial services sector to ensure that participants are up to date and familiar with new legislation, and have the necessary information to perform efficiently and effectively. She has assisted the Bahamas Financial Services Board with training and educational programs for industry as well as public sector employees; independently she has presented to the Securities Commission and Central Bank.
Linda is a non-executive member of the board of directors of Clairmont Trust Company Limited.


Hundreds of delegates from more than 50 countries expected to attend.
Blata l-Bajda, Malta – [30/05/2012]: The Malta Information Technology Agency (MITA) has been selected to host one of the largest information security conferences for 2012. This year, the Forum of Incident Response and Security Teams (FIRST) has chosen Malta for its 24th Annual Conference, which will be held between the 17th and 22nd of June 2012.
With less than a month to go, over 400 delegates from 52 countries have already confirmed their attendance for the five day conference, aptly themed 'Security is not an island'. This year's FIRST conference will mainly focus on the practical aspects of security and incident response in light of the growing adoption of cloud computing and other distributed architecture. The main aim is to generate discussion amongst leading experts and security professionals from around the world who can share best practices and the latest thinking on information security.
The speaker line-up includes international experts from NATO, Facebook, Google, Microsoft, Symantec, Deutsche Telecom, the European Network and Information Security Agency (ENISA), and Community Emergency Response Teams (CERTs) from several countries. The delegates will also be addressed by Hon. Austin Gatt, Minister for Infrastructure, Transport and Communications (MITC) and by Mr. Francisco García Morán, Director General, Directorate General Informatics (DIGIT), European Commission. On one of the days, experts from MITA will also chair a panel presentation about Information Security policy and management.
FIRST, a non-profit organisation formed in 1990, brings together a variety of computer security incident response teams from government, commercial, and educational organisations with the aim of fostering cooperation and coordination in incident prevention, stimulate rapid reaction to incidents, and promoting information sharing among members and the community at large.
MITA is the prime Government agency with a mandate spanning from ICT policy to programmes and initiatives in Malta. MITA manages full implementation of IT programmes in Government focusing on enhancing public service delivery and provides the infrastructure needed for the provision of ICT services to Government. MITA is also responsible for the propagation of ICT within society and the economy and to promote and deliver programmes with the intention of enhancing ICT education and the use of ICT as a learning tool. For more information, visit www.mita.gov.mt.
Founded in 1990, FIRST consists of internet emergency response teams from more than 250 corporations, government bodies, universities and other institutions from the Americas, Asia, Europe, Africa and Oceania. It leads the world's fight-back against cyber-crime, sabotage and terrorism, and promotes cooperation among computer security incident response teams and law enforcement agencies. For more information, visit www.first.org.


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Updated October 15, 2021 06:01 p.m. ET
Indonesia's Paracetamol-Contaminated Coastal Waters Spark Concern Over Impact On Environment
Arianne G.
Indonesia faces environmental hurdles as its waters brim with high levels of paracetamol. (Photo: Stephane Mahe/Reuters)
An international report published in August 2021 by Marine Pollution Bulletin has revealed that paracetamol dominates Jakarta Bay waters. Advocates are now adamant that authorities take action to address the situation's environmental consequences.
Authorities are investigating the situation and have vowed to take harsh action against any suspected polluters.
Researchers from Indonesia's National Research and Innovation Agency (BRIN) and the University of Brighton in the U.K. collected saltwater samples in four places in Jakarta Bay between 2017 and 2018. Their research discovered 610 nanograms per litre (ng/l) of paracetamol in Angke and 420 ng/l in Ancol.
Angke is a densely populated area in Jakarta with poor sanitation, while Ancol is located north of the city, at the mouth of the main Ciliwung river.
The Kawali Indonesia Lestari Coalition, an advocacy group, has called on the Indonesian government to take accountability for the paracetamol pollution in Jakarta Bay.
"As well as taking firm action against the perpetrators, including in the environmental recovery and compensation to the affected people, someone must be responsible for this," it said in a written statement.
In a laboratory setting, Professor Zainal Arifin, a member of the BRIN research team, stated during a webinar on Oct. 5 that "long-term exposure with low or high concentrations of paracetamol causes impaired reproductive function in shellfish."
The discovery of paracetamol in Indonesian coastal waters was the first of its kind. It was published in the August issue of the scholarly journal Marine Pollution Bulletin.
While the study did not go into detail about where the paracetamol came from, the researchers assume it came from pharmaceutical companies, homes, and perhaps hospital waste.
Following the publication of the report, environmentalists stated that the findings suggest that the country's waste management is inadequate and needs to be improved.
Meanwhile, Arifsyah Nasution of Greenpeace Indonesia, an ocean campaigner, speculated that the paracetamol could have come through industrial waste dumping, particularly by pharmaceutical businesses. Other likely causes of contamination, he noted, are hospital waste and residential consumption.
He said that the study shows that waste management in the megacity is still poor due to a lack of political will in law enforcement and monitoring.
WHO Assembles New Team To Revive COVID-19 Origin Investigation
Japan Records Alarmingly High Suicide Rates Among Children: Report
Artificial Intelligence Unearths Nude Portrait Hidden In Picasso Painting

redpajama_set_name: RedPajamaCommonCrawl


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Korkeakangas är en kulle i Finland. Den ligger i Valkeakoski i landskapet Birkaland, i den södra delen av landet,  km norr om huvudstaden Helsingfors. Toppen på Korkeakangas är  meter över havet, eller  meter över den omgivande terrängen. Bredden vid basen är  km.

Terrängen runt Korkeakangas är huvudsakligen platt. Den högsta punkten i närheten är  meter över havet,  km öster om Korkeakangas. Runt Korkeakangas är det ganska tätbefolkat, med  invånare per kvadratkilometer. Närmaste större samhälle är Valkeakoski,  km väster om Korkeakangas.

Trakten ingår i den boreala klimatzonen. Årsmedeltemperaturen i trakten är  °C. Den varmaste månaden är juli, då medeltemperaturen är  °C, och den kallaste är februari, med  °C.

Kommentarer

Källor

Kullar i Birkaland
Artiklar med robotjusterad position
Valkeakoski

redpajama_set_name: RedPajamaWikipedia


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In 2003, according to the Heartland Institute's Merrill Matthews, association group health insurance plans offered affordable health insurance to "some 6 million Americans." Matthews responded to the criticism that said that some associations work too closely with their insurance providers. He said, "You would expect the head of AARP to have a good working relationship with the CEO of Prudential, which sells policies to AARP's seniors."[83]
In-Network Provider: (U.S. term) A health care provider on a list of providers preselected by the insurer. The insurer will offer discounted coinsurance or co-payments, or additional benefits, to a plan member to see an in-network provider. Generally, providers in network are providers who have a contract with the insurer to accept rates further discounted from the "usual and customary" charges the insurer pays to out-of-network providers.
In 2006, a new system of health insurance came into force in the Netherlands. This new system avoids the two pitfalls of adverse selection and moral hazard associated with traditional forms of health insurance by using a combination of regulation and an insurance equalization pool. Moral hazard is avoided by mandating that insurance companies provide at least one policy which meets a government set minimum standard level of coverage, and all adult residents are obliged by law to purchase this coverage from an insurance company of their choice. All insurance companies receive funds from the equalization pool to help cover the cost of this government-mandated coverage. This pool is run by a regulator which collects salary-based contributions from employers, which make up about 50% of all health care funding, and funding from the government to cover people who cannot afford health care, which makes up an additional 5%.[31]
As far as the compulsory health insurance is concerned, the insurance companies cannot set any conditions relating to age, sex or state of health for coverage. Although the level of premium can vary from one company to another, they must be identical within the same company for all insured persons of the same age group and region, regardless of sex or state of health. This does not apply to complementary insurance, where premiums are risk-based.
If you are an expatriate living in the US, additional medical coverage should be purchased for the period that you will be in the country. You will want to ensure this coverage protects you in case of an accident, a medical emergency as well as repatriation. You should investigate if you will need this insurance before entering the country and if the insurance needs to come from your home country, the U.S. or both!
Health benefits are provided to active duty service members, retired service members and their dependents by the Department of Defense Military Health System (MHS). The MHS consists of a direct care network of Military Treatment Facilities and a purchased care network known as TRICARE. Additionally, veterans may also be eligible for benefits through the Veterans Health Administration.
The National Association of Insurance Commissioners (NAIC), the National Governors' Association and "several insurance and consumer groups" opposed the AHP legislation.[80] The NAIC issued a Consumer Alert regarding AHPs, as proposed in Developing the Next Generation of Small Businesses Act of 2017. H.R. 1774.[80] Their statement said that AHP's "[t]hreaten the stability of the small group market" and provide "inadequate benefits and insufficient protection to consumers."[80] Under AHPs, "[f]ewer consumers would have their rights protected, "AHPs would also be exempt from state solvency requirements, putting consumers at serious risk of incurring medical claims that cannot be paid by their Association Health Plan."[79]
The Consolidated Omnibus Budget Reconciliation Act of 1985 (COBRA) enables certain individuals with employer-sponsored coverage to extend their coverage if certain "qualifying events" would otherwise cause them to lose it. Employers may require COBRA-qualified individuals to pay the full cost of coverage, and coverage cannot be extended indefinitely. COBRA only applies to firms with 20 or more employees, although some states also have "mini-COBRA" laws that apply to small employers.
The deal would not expand health insurance and cover members' spouses and children. — Katie Johnston, BostonGlobe.com, "Bus drivers on Martha's Vineyard are expected to vote on contract Sunday," 28 July 2019 Other federally funded researchers, from ecologists to geneticists, told Science about restrictions on electricity use, travel to conferences, health insurance, and office supplies. — Lizzie Wade, Science | AAAS, "Mexico's new president shocks scientists with budget cuts and disparaging remarks," 23 July 2019 That dip is important because players become eligible for post-career benefits like health insurance and pensions after three years. — Jenna West, SI.com, "Report: NFL Owners Suggested 18-Game Schedule With 16-Game Limit for Players," 12 July 2019 The single-payer talk set off other discussions about the role of health insurance and the cost of care. — Jon Greenberg, Scientific American, "Democrats Divided on "Medicare for All" in First Debate," 27 June 2019 Citing deficits that have totaled $16 million in the past decade, symphony management has proposed a new contract that would include a roughly 20 percent pay cut for musicians but retain health insurance and other benefits year-round. — Mary Carole Mccauley, baltimoresun.com, "Former BSO music director David Zinman visited the players' picket line Monday," 24 June 2019 Currently, those who may have some income but lack other key necessities, like health insurance and access to quality education, are invisible in official poverty data. — Debra Brucker, The Conversation, "US poverty statistics ignore millions of struggling Americans," 24 June 2019 One last concern: Mainly because more businesses will be offering health insurance and getting the related tax break, the rule will increase the deficit by about $50 billion over ten years, in the administration's own estimation. — Robert Verbruggen, National Review, "Trump Is Expanding Obamacare . . . in a Good Way," 16 June 2019 The delays could result in H-4 visa-holders losing out on jobs, health insurance, and even drivers' licences, according to the lawsuit. — Ananya Bhattacharya, Quartz India, "H-4 visa holders sue the US government for delaying their work applications," 10 June 2019
Critics said that "Exemptions would lead to market instability and higher premiums in the traditional small-group market. AHPs exempt from state regulation and oversight would enable them to be more selective about who they cover. They will be less likely to cover higher-risk populations, which would cause an imbalance in the risk pool for other small business health plans that are part of the state small group risk pool. Adverse selection would likely abound and Association Health Plans would be selling an unregulated product alongside small group plans, which creates an unlevel playing field."[79] According to the Congressional Budget Office (CBO), "[p]remiums would go up for those buying in the traditional small-group market." competing against AHPs that offer less expensive and less comprehensive plans.[79][82]
Most FSA participants are middle income Americans, earning approximately $55,000 annually.[110] Individuals and families with chronic illnesses typically receive the most benefit from FSAs; even when insured, they incur annual out-of-pocket expenses averaging $4,398 .[111] Approximately 44 percent of Americans have one or more chronic conditions .[112]
Health insurance in the United States is any program that helps pay for medical expenses, whether through privately purchased insurance, social insurance, or a social welfare program funded by the government.[1] Synonyms for this usage include "health coverage", "health care coverage", and "health benefits". In a more technical sense, the term "health insurance" is used to describe any form of insurance providing protection against the costs of medical services. This usage includes private insurance and social insurance programs such as Medicare, which pools resources and spreads the financial risk associated with major medical expenses across the entire population to protect everyone, as well as social welfare programs like Medicaid and the Children's Health Insurance Program, which both provide assistance to people who cannot afford health coverage.


Latino Fashion Week opening night marked the 6th year anniversary of the 5 day celebration of Latino culture. The Red Carpet Media Party called "Lights, Camera, Fashion" kicked off the week bearing the theme Images of Fashion.
This entry was posted in Fashion Channel, On the Scene and tagged Claudia Urrutia, Latino Fashion Week, Nelissa Carrillo, Ronald Rodriguez, Sadia Azzad, THAIS by Noelia Cruz on December 12, 2012 by Raven Mai.


It has taken me almost a week to blog about this!
Meredith and Brett's wedding was absolutely BEAUTIFUL!
The food at the cafe' was very good. They served three courses. I had a caesar salad for the first course, shrimp and risotto for the second, and mango sorbet for the third.
Meredith also used the luncheon as a time to give us our bridesmaids gifts. The gifts included the very lovely earrings we were to wear in the wedding, a makeup bag with our names embroidered on it, an adorable coffee mug with our first initial on the front, and a cute little writing pad with our initials. The gifts were so cute, so functional, and so thoughtful. I loved them!
Makeup bag! Love the anchors!
The rest of the day was filled with manicures, pedicures, the rehearsal, and the rehearsal dinner (which also had really yummy food!).
After that, Meredith, two of her other bridesmaids, and I went back to the hotel we were staying at for the night. We gave each other messages and then headed to bed.
The next morning, Meredith had to get up by 6 a.m. since she was having a morning wedding.
I got up with her and had coffee. And then more coffee.
Mere's mom generously decided to have breakfast and coffee catered to the room. She is so thoughtful!
Patsy, my co-matron-of-honor, and I did each others makeup and kept Mere company while she was being primped. She looked beautiful even before getting her dress on!
Meredith after getting her hair done.
After we were all beautified, we drove to the venue. It was such a wonderful morning. I was able to have a few minutes alone to pray with Meredith. Mere also asked that me, Patsy, and Miss Gerri be the ones who helped her get into her dress. I felt honored.
The reception was fantastic too. The food was good, the dancing was fun (even for me), I was able to see my family again, I had my hot-date-of-a-husband by my side, and some of my very best friends from high school were there!
Patsy and I. I love her!
We sent the bride and groom off to their honeymoon with cheering and bubbles. They drove away, we changed in to comfy clothes, and it was already over!
Before I move on from the wedding, I would like to say how proud I am of Meredith. God has done so much for her and in her. We became friends shortly before she got saved and He has grown her so much. She has changed and reformed and found a passion for Christ that was not in her when we first met. Now she has a wonderful man who wants to help her grow more. I am so proud and so over-joyed at all that God is doing.
After the wedding, Taylor and I went out with Elise, her date, Ainsley, and our friend Keith to The Pitt. The Pitt is very well known for it's Eastern Style Barbecue Pork. It was featured on the Food Network, for all of you foodies :) It was fantastic and so was the company. I miss them so much!
Finally (I know, this is a super long post!), before Taylor and I headed home, we stopped by Duke University. It was my first time ever going and I was blissful about the situation! My daddy and I have watched games together since I was a little girl and I FINALLY got to see the chapel and the outside of the gym. We also ducked into the Divinity school since Taylor is interested in applying there. It was a beautiful day and I loved our long walk through the campus!
Locked outside of Cameron Indoor...So close, yet so far away!


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The Twilight Zone: The Four of Us Are Dying (1960)
One of the worst episodes in the series
The Twilight Zone was always a bit variable in the quality of the episodes. There were some brilliant episodes, e.g. Walking Distance and Time Enough At Last, but some, while entertaining and interesting were quite predictable in their twist or outcome.
The Four Of Us Are Dying has an interesting premise - a man can alter his face at will - but the writers clearly didn't think too deeply about the implications and other details. So many plot-holes, so many things that just don't make sense. Moreover, the twist and conclusion can be seen a mile off.
Quite disappointing.
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Great movie: may seem predictable in its destination but it's the journey that matters
1962. A bigoted Italian-American bouncer, Tony Lip, gets the job of driving Dr Don Shirley, renowned African-American pianist, on his tour across the mid-West and South. The two could not be more different.
I did not have high expectations for this movie. I knew it would be good, but figured it wouldn't cover any new ground. Moreover, it seemed like a reverse Driving Miss Daisy (not that DMD is a bad movie - quite the opposite - but that it had been done before).
I needn't have worried. The outcome is fairly predictable, but that doesn't matter: the getting there is original, interesting, engaging, thought-provoking and great.
Director Peter Farrelly sets the scene well and paces the movie to perfection. The characters of Tony Lip and Don Shirley are well drawn and developed, making for high engagement levels. You can see their views and characters evolve before your eyes, see the events that shape them and how these influence their future actions. There's also a decent smattering of humour to aid the engagement.
Some great social commentary too, especially on racial attitudes of the day and on tolerance in general.
Mahershala Ali got a Best Supporting Actor Oscar for his portrayal of Don Shirley, and well deserved the award. Great work too from Viggo Mortensen as Tony Lip, resulting in a Best Actor nomination (he ultimately lost out to Rami Malek for Bohemian Rhapsody).
The movie itself won the 2019 Best Picture Oscar.
Clue (1985)
Original, interesting and entertaining
Original, interesting and entertaining movie, based on the Cluedo boardgame. Lively plot, though sometimes too lively as it can be hard to follow at times. Dialogue is very funny at times.
Great performances all round. Tim Curry steals the show (as was intended, I guess) with his effervescent-yet-classy performance. Good support, especially from Lesley Ann Warren.
Pale Rider (1985)
Great western
Great western. Original and entertaining plot, and not just your standard shoot-em-up fare.
Clint Eastwood shows his directing genius, and does his usual strong cold silent-type role to perfection. Good support from Michael Moriarty, Chris Penn and Sydney Penny.
Great cinematography. Perfect setting.
Prizzi's Honor (1985)
Heaps of potential but doesn't deliver on it
Had the makings of great movie - original and interesting basic plot, one of the greatest directors of all time in John Huston, plus the acting talents of Jack Nicholson, Kathleen Turner and Angelica Huston.
Yet it falls short.
The movie lacks intensity and the script seems disjointed at times. Pacing is off, and the feel of the movie is far from smooth.
Not exactly boring, but could easily have been a lot better.
Churchill (2003– )
Great documentary on a great man
The life of Winston Churchill, one of history's greatest leaders and figures.
Great documentary on a great man. Narrated by Ian McKellen, who gives the series the gravitas it deserves. Includes interviews with many family members and people who worked with Churchill. No empty platitudes from historians, just relevant commentary, warts and all.
Included is some rare archival footage, some from as early as the first decade of the 1900s, and photographs which go back all the way to Churchill's youth.
Of course, the famous speeches are there, especially the ones from the Battle of Britain and WW2 in general. Very stirring, especially when you see Churchill giving the speech, rather than just a disembodied voice.
Highly edifying, even for people who already have a decent knowledge of Churchill's history.
Excellent series.
The Odd Angry Shot (1979)
Interesting capture of the Australian experience in Vietnam
The Vietnam War, as seen from the perspective of a group of Australian soldiers. Members of an elite Special Air Services (SAS) Regiment, their lives are filled with drudgery in camp interspersed with intensity and the possibility of sudden death in combat.
Interesting capture of the Australian experience in Vietnam. Shows well how much of their lives were spent sitting around in camp, waiting for something to happen, followed by intense combat where death could come in many and unexpected forms.
Contains some profound one-liners on the war.
However, errs too much on trying to be amusing, which generally results in some fairly lame jabs. Could have been a lot better than that, an Australian Apocalypse Now / Platoon / Deer Hunter / Full Metal Jacket, but instead falls well short.
The Queen of Sin (2018 TV Movie)
Decent production values conceal a Z-grade thriller
I should have known better. The basic plot summary alone indicated that this wasn't going to go well, but yet I watched this. Initially it went well: a fair amount of intrigue and a slick production made me think this might actually be worth watching.
However, it quickly became apparent that this was your average Z-grade thriller, just dressed up as something better. Plot becomes nonsensical, performances are poor: there's nothing going for this.
Avoid.
Anima (2019)
Directed by Paul Thomas Anderson (There Will Be Blood, Boogie Nights, Punch-Drunk Love, The Master) and with music written and performed by Thom Yorke of Radiohead, Anima is hard to describe. Calling it simply a music video is an understatement. It is more than a visual promotion for a song, with the visual aspects have as much, if not more, of a meaning than the music. Besides it's 15 minutes long!
The finished product is interesting and reasonably entertaining. Not brilliant or compelling, but not a bad way to spend 15 minutes.
Euphoria (2019– )
Had potential but ultimately more miss than hit
This series had potential as a gritty yet entertaining updating of the depiction of teens' lives. It's been done before - Skins (the UK version) was particularly good (though only initially: it ran out of steam after about two seasons).
Occasionally the series lives up to its promise, with a few stories that are quite interesting and engaging. However, for the most part it is quite dull and unengaging. The central character - Rue - is the main cause of the problem, coming across as superficial, self-absorbed and pretentious. In fact the whole series feels like that, though it might accurately describe teens' lives (!).
As mentioned, some side-stories are interesting, but these are not enough to make this watchable.
The Age of Innocence (1993)
Didn't work for me
I am a huge fan of Martin Scorsese and an admirer of all the main actors - Daniel Day-Lewis, Michelle Pfeiffer, Winona Ryder, Richard E Grant - but somehow this didn't work for me.
Maybe I'm just not into period pieces - all those poncy accents and prissy mannerisms - or I just wasn't in the right mood, but I simply found this boring.
Shine a Light (2008)
Great concert movie
Great concert movie. It is amazing to see the Stones have such energy in their performances at their age, and they certainly don't disappoint here. The special guests were great - Jack White, Buddy Guy, even Christina Aguilera, whose music I hate, was excellent. Scorsese's camera angles work perfectly, giving a great vibe to the footage.
Would have been good to get some the behind-the-scenes stuff though, like how the band interact when they're not performing.
Not as good as The Band's "The Last Waltz", the ultimate concert film (and another Scorsese movie), or Talking Heads' "Stop Making Sense", but an excellent movie nonetheless.
Raging Bull (1980)
The story of Jake La Motta, boxer and world middleweight champion.
Brilliant. Directed by Martin Scorsese and starring Robert De Niro, Raging Bull is far from your average boxing movie. Most boxing movies focus on the boxing, showing the main character as a hero and how they get to their inevitable success. Raging Bull on the other hand, while showing La Motta's successful career, doesn't paint him as perfect. Far from it: he is shown warts and all.
Scorsese shows quite well that what made La Motta great in the ring made him less great in his personal life. The intensity and brutality that made La Motta such a good fighter made him a less-than-perfect husband and person.
Who better then to portray an intense, complicated person than Robert De Niro. He gives a superb performance, for which he won his second (and final) Best Actor Oscar. Searingly gritty and intense.
George Harrison: Living in the Material World (2011)
Brilliant documentary on the life of George Harrison. Contains rare footage and many relatively-unknown facts about his life. Assumes a reasonable amount of knowledge of the Beatles and their music, but, then again, the movie is mostly for Beatles/Harrison fans, I would think.
Martin Scorsese shows, once again, that he is master of the rockumentary as well as drama movie (as if we needed any more proof, after The Last Waltz, No Direction Home and Shine a Light). Rather than blandly force-feed you information in piecemeal fashion, there is a thread connecting each episode within the movie. The segues are subtle, but keep the film moving.
Interviews are illuminating, and not always from the most obvious of people. The music is great, and relevant.
Only slight negatives are the length - over 3 hours, but it didn't feel that long at all - and some interviews and incidents could possibly have been left out.
Cape Fear (1962)
Great action-thriller
Great action-thriller. Original, engaging, enthralling plot. Tight, focussed direction, with good pacing - plot flows along.
Gregory Peck and Robert Mitchum are excellent in the lead roles.
Martin Scorsese's remake, 29 years later, was almost as good.
Bringing Out the Dead (1999)
Had potential but doesn't quite deliver on it
Directed by Martin Scorsese, a movie with heaps of potential. A great premise, and the first half or so promised much.
Unfortunately, however, it loses focus toward the end, and tries to cover too much.
Overall, still a reasonably good movie though.
Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese (2019)
Dylan gets the Scorsese treatment and it's a fantastic experience
Directed by Martin Scorsese, a documentary on Bob Dylan's 1975 Rolling Thunder Revue concert tour. Includes interviews with Dylan and many of the other personnel involved, plus footage from the concerts.
Superb. Despite being a fan of both Dylan and Scorsese, I had my doubts as to how interesting this could be. At 142 minutes I had fears it would be a long, dry telling of the concert tour.
I needn't have worried. Scorsese has great form in covering rock 'n roll: The Last Waltz, his film on The Band's last concert, is, for me, the great concert film ever made. 'George Harrison: Living In the Material World' and 'Shine a Light" (a Rolling Stones concert film/documentary) were also great. Here he blends documentary-style and concert film in a wonderful capturing of the great Bob Dylan at his most happy, carefree and entertaining.
Despite being a massive Bob Dylan fan, my impression of Dylan as a live performer was generally not too positive. From attending two of his concerts and seeing footage of his old concerts, his stage presence seemed rather wooden. The Rolling Thunder Revue, however, was different. Here he played to smaller audiences and seemed much more relaxed, friendly and spontaneous. The footage captures this well, with closeups of his face during songs, showing the intensity and creativity of his performance.
Martin Scorsese uses this footage well, editing it perfectly to produce a seamless blend of live footage, behind-the-scenes footage and interviews. This gives a good feel of what it must have been like on the tour, as well as witnessing the performances, plus the personal side (the Joan Baez-Bob Dylan interactions are particularly interesting and emotional, especially if you know their history).
The sheer cumulative creativity and musical ability of the Revue is staggering: Dylan, Baez, Joni Mitchell, Mick Ronson, Allen Ginsburg, Roger McGuinn, T Bone Burnett, Ramblin' Jack Elliott, Scarlet Rivera. The hangers-on even include Sharon Stone and Sam Shepherd! There's a wonderful feeling of great artists and musicians just relaxing and doing what they do best.
The 142 minutes just fly by.
A must-see for Dylan fans. For the most benefit from the film, a knowledge of Dylan's work and history is very useful. However, viewers less familiar with his work should still find it interesting. At the very least, the music is superb and that doesn't require any prior knowledge.
The Expanse (2015– )
Enthralling series: intelligent, intriguing and action-packed
(Reviewed after Season 3).
Hundreds of years into the future, Earth has colonised Mars but Mars is now independent, and the two planets are in a constant state of distrust and unease. Caught between these two are the people of the asteroid belt and outer planets. James Holden, the executive officer of a freighter witnesses his ship, being destroyed by what appears to be a Martian warship. This heightens the tensions between Earth and Mars and sets Holden and his remaining crew on a quest across the galaxy to find the truth behind the incident. Meanwhile, on Ceres in the Asteroid Belt, a police detective is searching for the daughter of the wealthiest man in the galaxy. These are all parts of a conspiracy that that will threaten life in the Solar System.
Brilliant. I am not a huge fan of sci fi series (Firefly was the notable exception): they tend to rely too much on gimmicky inventions and faux science, at the expense of plot. The Expanse is different: the science and future history are incredibly believable. I'm no physicist but I found it difficult to fault the physics and technology involved. More than that, the futuristic nature of the series provides the background, not the story, so the series does not rely on it.
What the series does rely is plot, and it is a great one. Starts out pretty slowly, so doesn't immediately pull you in, but after three episodes or so it is off to the races. The seemingly-parallel stories start to intersect, things start to make more sense (though, thankfully, not so much that the mystery disappears), the characters become more interesting and the action ramps up.
The story is then intelligently developed over the next three seasons. Despite the many twists and turns, the plot remains solid, with no twists for twists sake and everything fits together very well. Even when one mystery is solved, another emerges to take its place, without feeling gratuitous.
Quite grittily told too: no characters are unexpendable, making the plot quite unpredictable.
Superb special effects and action scenes. The CGI is absolutely seamless and realistic, without being too ostentatious. Like the science, the CGI is the medium, not the message.
Performances are where the series does feel a bit lacking. The main characters - the crew of the Rocinante - are reasonably well played, though there are no stand-out performances. Some of the lesser characters are quite badly played though, with the worst culprits being Shohreh Aghdashloo as Chrisjen Avasarala and Shawn Doyle as Sadavir Enright. Any scene they were in made me cringe, with Aghdashloo being particularly irritating. She wasn't helped by her character being pretty badly drawn, with the worst dialogue and most grating mannerisms of any character in the series. The two factors - the character and her performance - just compounded each other.
The lack of character depth is a general weakness in the show too. The series is about the intrigue and action, much more than the people and their relationships, making character engagement less than complete (unlike Firefly, which was highly engaging because of the characters and their interactions).
This is a minor flaw though, as the plot and its roller-coaster momentum propel the show.
Shallow Grave (1994)
Three friends in Edinburgh, Scotland, interview and select a new flatmate. He's hardly moved in than they discover him dead in his room. An ethical dilemma ensues when they discover that he possessed a large amount of cash. Things get worse as the men whose money it was search for it, and the three friends start to turn on each other.
Danny Boyle's directorial debut, and it's a great one. Clever, gritty plot with many moral lessons and quandaries. Highly engaging and intriguing: never a dull moment.
Great performances too from people who were unknowns then but are well-known now (one especially so).
Shallow Grave launched the careers of Danny Boyle and Ewan McGregor. Boyle's next film shot them into the stratosphere: the even-more-brilliant Trainspotting.
Behind the Music: Thin Lizzy (1999)
Good documentary
The story of 70s Irish rock group, Thin Lizzy. Shows their rise, fame and decline and the life of their lead singer, Phil Lynott.
Good documentary. Reasonably interesting and edifying. The coverage of Phil Lynott's life was particularly poignant.
The post-Phil Lynott coverage was unnecessary though: Thin Lizzy without Phil Lynott is not Thin Lizzy.
Behind the Music (1997–2014)
Great series
A documentary series on the world's most important bands and musicians: their rise, fame, and sometimes, fall.
Great series. Shows the history of just about every major musical artist: their history, their talent, their flaws. Quite edifying and not a little nostalgic.
DeepStar Six (1989)
Better than average...for its genre
OK, and better than your average creature-horror movie. Starts very well - tension gets built well, and the creature remains a mystery for a decent period of time. Once it appears though, things get quite formulaic.
Performances are so-so: Matt McCoy is irritating, and even Miguel Ferrer is unconvincing. Nancy Everhard and Cindy Pickett put in good performances though.
The Lost World (1999 TV Movie)
Early 20th century. A band of scientists and adventurers set out from England for an uncharted area of the Amazon basin. Their aim: to search for and explore a mythical lost world. After their hot air balloon crashes, they become more than observers of the world, they become participants in it.
Based on a novel by Sir Arthur Conan Doyle, a highly entertaining film. Non-stop action and adventure.
Hardly Citizen Kane though: plot is pretty basic, character development is minimal. Performances are not brilliant but are convincing enough.
Good fun.
633 Squadron (1964)
633 Squadron of the RAF is tasked with an operation that is vital to the Allied invasion of France. They need to destroy a German base in Norway that is producing fuel for German rockets. It is an incredibly dangerous mission: due to where it is situated, getting to the base will require daring and precise flying and then there's the hordes of anti-aircraft batteries. The Norwegian Resistance are tasked with taking out the AA guns but if anything goes wrong with the plan it will be a suicide mission.
Entertaining. Good action scenes, decent plot, wonderful footage of one of the most beautiful and impressive aircraft of WW2, the De Havilland Mosquito. The sub-plot involving the Norwegian Resistance was interesting too.
Not brilliant though. Some plot developments are not very plausible, the romantic sub-plot was half-baked and unnecessary, character development is token. More a gung ho, action-based war movie than a gritty, realistic one.
Still, very watchable and is never dull.
The Zulu War (2014)
Okay, but not great
A documentary on the Zulu War of 1879. Concentrates mainly on the Battle of Rorke's Drift. Includes a comparison of the actual events of the Battle of Rorke's Drift and the events depicted in the movie Zulu (1964).
Okay, but not great. A pretty low-budget, low-research production. No maps, no re-enactments, just a few historians / military museum curators talking about Rorke's Drift and the Zulu War. Feels like an amateur Youtube video. If you have a half-decent knowledge of the Zulu War of 1879 you won't learn anything new from this, as far as the bigger picture of the war goes.
There are some interesting micro-level details, however, e.g. the British soldiers' uniforms, loading and firing the Martini-Henry rifle, Zulu weapons. The historical artefacts are courtesy of the Stratford Armory, which looks like a fascinating place to visit.
Probably the most interesting part is the comparison of the movie Zulu (1964) with the actual events of the Battle of Rorke's Drift. Shows some of the dramatic licence taken by the writers/director of the movie, but doesn't detract from how good the movie was.


Grow in knowledge and understanding with free webinars from Joerns Healthcare. They are designed to help you and your staff improve care and outcomes, and thereby address broader challenges such as readmission rates and the overall cost of care. Live webinars often include CEUs.
We don't have a live webinar scheduled at this time, please check this page for updates.
Sling selection and sizing can be challenging–even for facilities with well-established safe patient handling programs. Using an incorrect sling can impact a resident's safety and comfort. The proper sling is also essential for the safety of the caregiver. This webinar explains how to identify different types of slings and their applications, identify sling sizes, correctly apply and remove slings and more.
The National Pressure Ulcer Advisory Panel (NPUAP) released updated pressure injury staging terms and definitions in 2016. This webinar helps clinicians understand the changes and implement the guidelines within an effective wound management program.


Bash is great: It is a shell scripting language that is baked into every new Apple computer and many, many Linux distributions too. It is fun to learn and easy to find your "insert repetitive task here" to Bash translation on Stack Exchange, just a search away. As you uses the command prompt more and more for increasingly cool GIS tasks- be it for Python QGIS OR ESRI, R language for data cleaning and analysis, or just because you noticed you can get "mad amounts of work done" at increasingly faster rates- your vocabulary in the UNIX shell and bash will naturally grow.
I wanted to make a GIS post for Mac OS because it is both under-represented (for great reasons) in GIS and arguably the number 1 choice for any discerning consumers of computer hardware.
Many Linux OS options are faster for much of this "UNIX for GIS", as quite a few of the things we need are already included with many Debian / Ubuntu distros, and come forms that have been stable for a long, long time.
If you are looking to setup a system primarily for GIS / data science (disregarding ESRI of course), See my initial notes on the Ubuntu variant Pop_OS by System76. If you like the ChromeOS vibe for multitasking and simplicity and the familiarity of Mac OS, it is a keeper (and also a sleeper, seeing how many folks are still on Windows for GIS…….).
!!! NOTE: I am investigating more reliable built-from-source solutions for gdal on mac.
Major KML discrepancies: expat standard vs libkml.
# brew install qgis can work in a pinch too.  At least you can unbrew it!
To begin: Lets try a recent assignment that relies on the ESRI mosaic system and lots of GUI and clicking but use GDAL instead.
!! Warning! These files are not projected in a way ESRI or GDAL understands. They WILL NOT HAVE A LOCATION IN QGIS. They will, however, satisfy the needs of my assignment.
# most providers, via FTP and similar protocols.
make an index file of only .dem files.
use gdal to make state-plane referenced "Output_merged.tif" from the list of files in the index we made. it will use a single generic "0 0 255" band to show gradient.
rm -rf GIS_Projects  # remove .dem files.  Some are huge!
In Finder at in ~/desktop, open the new file with QGIS. A normal photo viewer will NOT show any detail.
open an editor + filename. Nano is generally pre-installed on OSX.
open GIS_Projects you can now copy + paste your script anywhere you want and run it there. scripts like this should not be exported to your global path / bashrc and will only work if they are in the directory you are calling them: If you need a global script, there are plenty of ways to do that too.
Please understand this is probably far from the last post you'll need before you flex your GDAL powers.
# get proj.4 from the gdal people first.
get gdal, repeat steps # ./autogen.sh is usually not needed for gdal but to take no chances, run it anyway as they also include in in the repo….?
# Use a prefix to make an attempt at sandboxing the gdal install.  This may be required.
--with-curl=/usr/local/bin/curl LDFLAGS="-L/usr/local/opt/libiconv/lib" LDFLAGS="-L/usr/local/opt/libxml2/lib" CPPFLAGS="-I/usr/local/opt/libxml2/include" LDFLAGS="-L/usr/local/opt/libiconv/lib" LDFLAGS="-L/usr/local/Cellar//openssl/1.0.2q/lib/"


text:
Q: TScrollbox MouseDown override I created a Custom scrollbox derives from TScrollbox that works the same except that it will scrolls when dragging in the client area aside from its scrollbars.
My problem now is i cannot Drag To Scroll when mouse is on a button or panel inside my CustomScrollbox.
the MouseDown, MouseUp, MouseMove override will not trigger because it hovers into different controls.
How can I keep tracking the MouseDown, MouseUp, MouseMove and prevent Button/Panels events from firing(inside my CustomScrollbox) when i start dragging?
here's the video of my smooth CustomScrollbox

A: So you want to adjust the mouse down behaviour of all childs, in such way that when a dragging operation is being initiated, the mouse events of the clicked child should be ignored. But when no drag is performed, then it would be required to fire the child's mouse events as usual.
Not a bad question actually. Since most of the default control interaction is tight to the release of the mouse button (e.g. OnClick is handled in WM_LBUTTONUP), this still should be possible in an intuitive manner.
I tried the code below, and it feels quite nice indeed. It involves:

*

*handling WM_PARENTNOTIFY to catch when a child control is clicked on,

*bypassing Child.OnMouseMove and Child.OnMouseUp,

*transfer control to the scrollbox when the move exceeds Mouse.DragThreshold,

*resetting focus to the previous focussed control before the drag,

*canceling all changes made to the child's mouse events after the drag.

unit Unit2;

interface

uses
  Windows, Messages, Classes, Controls, Forms, StdCtrls, ExtCtrls;

type
  TScrollBox = class(Forms.TScrollBox)
  private
    FChild: TControl;
    FDragging: Boolean;
    FPrevActiveControl: TWinControl;
    FPrevScrollPos: TPoint;
    FPrevTick: Cardinal;
    FOldChildOnMouseMove: TMouseMoveEvent;
    FOldChildOnMouseUp: TMouseEvent;
    FSpeedX: Single;
    FSpeedY: Single;
    FStartPos: TPoint;
    FTracker: TTimer;
    function ActiveControl: TWinControl;
    procedure ChildMouseMove(Sender: TObject; Shift: TShiftState; X,
      Y: Integer);
    procedure ChildMouseUp(Sender: TObject; Button: TMouseButton;
      Shift: TShiftState; X, Y: Integer);
    function GetScrollPos: TPoint;
    procedure SetScrollPos(const Value: TPoint);
    procedure Track(Sender: TObject);
    procedure WMParentNotify(var Message: TWMParentNotify);
      message WM_PARENTNOTIFY;
  protected
    procedure MouseDown(Button: TMouseButton; Shift: TShiftState; X,
      Y: Integer); override;
    procedure MouseMove(Shift: TShiftState; X, Y: Integer); override;
    procedure MouseUp(Button: TMouseButton; Shift: TShiftState; X,
      Y: Integer); override;
  public
    constructor Create(AOwner: TComponent); override;
    property ScrollPos: TPoint read GetScrollPos write SetScrollPos;
  end;

  TForm2 = class(TForm)
    ScrollBox1: TScrollBox;
    ...
  end;

implementation

{$R *.dfm}

{ TScrollBox }

type
  TControlAccess = class(TControl);

function TScrollBox.ActiveControl: TWinControl;
var
  Control: TWinControl;
begin
  Result := Screen.ActiveControl;
  Control := Result;
  while (Control <> nil) do
  begin
    if Control = Self then
      Exit;
    Control := Control.Parent;
  end;
  Result := nil;
end;

procedure TScrollBox.ChildMouseMove(Sender: TObject; Shift: TShiftState; X,
  Y: Integer);
begin
  if (Abs(FChild.Left + X - FStartPos.X) > Mouse.DragThreshold) or
    (Abs(FChild.Top + Y - FStartPos.Y) > Mouse.DragThreshold) then
  begin
    MouseCapture := True;
    TControlAccess(FChild).OnMouseMove := FOldChildOnMouseMove;
    TControlAccess(FChild).OnMouseUp := FOldChildOnMouseUp;
    MouseDown(mbLeft, Shift, FChild.Left + X, FChild.Top + Y);
    FChild := nil;
    if FPrevActiveControl <> nil then
      FPrevActiveControl.SetFocus;
  end
  else
    if Assigned(FOldChildOnMouseMove) then
      FOldChildOnMouseMove(Sender, Shift, X, Y);
end;

procedure TScrollBox.ChildMouseUp(Sender: TObject; Button: TMouseButton;
  Shift: TShiftState; X, Y: Integer);
begin
  if FChild <> nil then
  begin
    if Assigned(FOldChildOnMouseUp) then
      FOldChildOnMouseUp(Sender, Button, Shift, X, Y);
    TControlAccess(FChild).OnMouseMove := FOldChildOnMouseMove;
    TControlAccess(FChild).OnMouseUp := FOldChildOnMouseUp;
    FChild := nil;
  end;
end;

constructor TScrollBox.Create(AOwner: TComponent);
begin
  inherited Create(AOwner);
  FTracker := TTimer.Create(Self);
  FTracker.Enabled := False;
  FTracker.Interval := 15;
  FTracker.OnTimer := Track;
end;

function TScrollBox.GetScrollPos: TPoint;
begin
  Result := Point(HorzScrollBar.Position, VertScrollBar.Position);
end;

procedure TScrollBox.MouseDown(Button: TMouseButton; Shift: TShiftState; X,
  Y: Integer);
begin
  FDragging := True;
  FPrevTick := GetTickCount;
  FPrevScrollPos := ScrollPos;
  FTracker.Enabled := True;
  FStartPos := Point(ScrollPos.X + X, ScrollPos.Y + Y);
  Screen.Cursor := crHandPoint;
  inherited MouseDown(Button, Shift, X, Y);
end;

procedure TScrollBox.MouseMove(Shift: TShiftState; X, Y: Integer);
begin
  if FDragging then
    ScrollPos := Point(FStartPos.X - X, FStartPos.Y - Y);
  inherited MouseMove(Shift, X, Y);
end;

procedure TScrollBox.MouseUp(Button: TMouseButton; Shift: TShiftState; X,
  Y: Integer);
begin
  FDragging := False;
  Screen.Cursor := crDefault;
  inherited MouseUp(Button, Shift, X, Y);
end;

procedure TScrollBox.SetScrollPos(const Value: TPoint);
begin
  HorzScrollBar.Position := Value.X;
  VertScrollBar.Position := Value.Y;
end;

procedure TScrollBox.Track(Sender: TObject);
var
  Delay: Cardinal;
begin
  Delay := GetTickCount - FPrevTick;
  if FDragging then
  begin
    if Delay = 0 then
      Delay := 1;
    FSpeedX := (ScrollPos.X - FPrevScrollPos.X) / Delay;
    FSpeedY := (ScrollPos.Y - FPrevScrollPos.Y) / Delay;
  end
  else
  begin
    if (Abs(FSpeedX) < 0.005) and (Abs(FSpeedY) < 0.005) then
      FTracker.Enabled := False
    else
    begin
      ScrollPos := Point(FPrevScrollPos.X + Round(Delay * FSpeedX),
        FPrevScrollPos.Y + Round(Delay * FSpeedY));
      FSpeedX := 0.83 * FSpeedX;
      FSpeedY := 0.83 * FSpeedY;
    end;
  end;
  FPrevScrollPos := ScrollPos;
  FPrevTick := GetTickCount;
end;

procedure TScrollBox.WMParentNotify(var Message: TWMParentNotify);
begin
  inherited;
  if Message.Event = WM_LBUTTONDOWN then
  begin
    FChild := ControlAtPos(Point(Message.XPos, Message.YPos), False, True);
    if FChild <> nil then
    begin
      FPrevActiveControl := ActiveControl;
      FOldChildOnMouseMove := TControlAccess(FChild).OnMouseMove;
      TControlAccess(FChild).OnMouseMove := ChildMouseMove;
      FOldChildOnMouseUp := TControlAccess(FChild).OnMouseUp;
      TControlAccess(FChild).OnMouseUp := ChildMouseUp;
    end;
  end;
end;

end.

Note: When no drag is initiated (mouse movement < Mouse.DragThreshold), all mouse and click events of the clicked child remain intact. Otherwise only Child.OnMouseDown will fire!
For testing purposes, this answer is incorporated in the code above.
With thanks to @TLama for suggesting to use WM_PARENTNOTIFY.

redpajama_set_name: RedPajamaStackExchange


text:
"By Any Means Necessary, I Will Keep Being an Artist."
Painter. Bluesman. Filmmaker. Educator. After retiring in 2012 from UC Davis, where he was an art professor for 43 years—and on the eve of a solo show at the Manetti Shrem Museum—Mike Henderson reflects on shining shoes as a young man in Missouri, seeing his soul in Van Gogh's Potato Eaters, believing he had lost decades' worth of paintings in a fire, and securing his place in one of the greatest university art departments ever assembled.
Artist Mike Henderson at his San Leandro studio in November 2022. (Portrait by Max Whittaker)
Mike Henderson is the only one at the $750-a-plate gala wearing blue jeans—and he's the guest of honor.
On this late October evening, throngs of art patrons in art-inflected cocktail attire are wafting into the vaulted, airy lobby of UC Davis' Jan Shrem and Maria Manetti Shrem Museum, where a neon sign reads "I belong here," an installation by Tavares Strachan that is part of an exhibit titled Young, Gifted and Black. It's been over a half-century since Henderson accepted a job as the university's first—and for many years only—young, gifted and Black art professor, a job he held for 43 years before retiring in 2012. Soon he will open his first solo U.S. museum show in two decades right here, Mike Henderson: Before the Fire, 1965-1985, which will run from Jan. 30 through June 25.
The guests take their seats at tables inside the Manetti Shrem for the 6-year-old institution's annual fundraising gala. Waiters serve up plates of lamb chops to the accompaniment of a soulful cellist. Henderson, 79, arrived at the festivities without fanfare, with a friend named John Rogstad in tow, and spends much of the evening in an animated forehead-to-forehead conversation with his gallerist, Cheryl Haines. Their families have grown close over their nearly 40-year relationship, so the time between speeches is for catching up.
Henderson at the Manetti Shrem's 2022 fall gala—where the painter-filmmaker-musician was presented with the Margrit Mondavi Arts Medallion—with the museum's namesake, Maria Manetti Shrem (Photo by Drew Altizer Photography, courtesy of the Manetti Shrem Museum)
"Mike has had more solo shows than anyone at the gallery," says Haines Gallery executive director David Spalding, who's sitting next to me. An impressive accomplishment at his San Francisco salon, which is also home to marquee names like Chinese artist-activist Ai Weiwei and British sculptor Andy Goldsworthy. Acclaim came early and often for Henderson: He was tapped for a group exhibit at the Whitney Museum in New York while he was a student at the San Francisco Art Institute in 1969, and received a Guggenheim Fellowship in 1973. In 2020, the de Young museum in San Francisco acquired what is perhaps his most celebrated work, a 1966 piece titled The Scream, depicting a trio of faces, in which Henderson attacked a heroically large 10-by-12-foot canvas using his bare hands, slathering paint across three expressive faces whorling and howling to life out of a vortex of color. Tim Burgard—curator-in-charge of American Art for the Fine Arts Museums of San Francisco, which oversees the de Young and the Legion of Honor—calls Henderson's work a masterpiece, and says that it "embodies the artist's visceral response both to personal experiences and to contemporary events, most prominently institutionalized racism and the Vietnam War. The painting confronts the viewer with a powerful and inescapable vision—and voice—that critique and condemn the inhumane treatment of human beings who are marginalized by the powerful."
The Scream (1966) is in the permanent collection of the Fine Arts Museums of San Francisco and on display at FAMSF's de Young. "Mike Henderson's masterpiece … is a centerpiece in our presentation of Bay Area figurative art," says curator Tim Burgard. (Photo by Gary Sexton, courtesy of the de Young. Painting © Mike Henderson.)
But when the evening's honoree takes the stage to accept the Margrit Mondavi Arts Medallion (the previous recipient was iconic artist Wayne Thiebaud), few in the crowd recognize him as the creator of the epic-scale paintings that have been hanging high above their heads: two abstract works and one figurative depiction of singing Black churchgoers called Sunday Evening, each canvas only slightly smaller than a single-car garage door. After Henderson's demure thanks, the Manetti Shrem's founding director Rachel Teagle invites everybody outside to hear him and bassist Rogstad jam with Thiebaud's stepson Matt Bult on the drums. The bluesman's blue jeans make perfect sense as Henderson—who is also a musician and filmmaker—shoulders a guitar.
The architecturally adventurous museum—which last year was named one of the 25 best museum buildings of the past century by ARTnews—is small in size but ambitious in every other way, including its commitment to elevating diverse voices from around the country, and now it's set to elevate one of its own. "Mike Henderson is a man of his time," says Teagle, speaking by phone in the afterglow of the event, "as a Black artist who is channeling his frustration—you might even want to say rage—through his artwork, making a political statement. And like so many of Mike's colleagues at the time, that work was not given the opportunity to be exhibited. That's a typical problem that Black artists of his generation encountered, and we hope this art project will do a small part in changing that trajectory."
The idea for the show emerged when Dan Nadel, co-curator of the upcoming Henderson exhibit, made a visit to the artist's East Bay studio in 2018 at the behest of William T. Wiley, co-founder of the Funk Art movement and iconic Davis art faculty emeritus. Wiley, who died in 2021, once told Teagle, "If you want to understand UC Davis, you've got to understand Mike Henderson's work."
Many of the pieces will be displayed for the first time after being freshly restored, having been all but lost to a cataclysmic fire that raged through Henderson's previous San Francisco studio in 1985, providing an incendiary, involuntary inflection point in his career. It had been largely assumed within the art world that nothing remained of this 20-year period of Henderson's oeuvre. Before the Fire is a feat of reclamation.
The exhibit's other curator, Sampada Aranke—UC Davis grad and professor at the School of the Art Institute of Chicago—recounts how Henderson captivated her and Nadel for hours during a follow-up studio visit in 2021, opening up a shipping container on the property and pulling out powerful painting after powerful painting—all damaged by fire and subsequent neglect—a metaphor for his career, which has been marked by both recognition at the highest levels and yet, somehow, underappreciation. "The time that Mike was coming up was pretty incredible in California," she says. "Black artists were mixing genre, sculpture, performance—all of these kinds of avant-garde practices. They were building their own spaces because they were so institutionally left out. One of the big parts of this exhibition is to fill in that history of Mike's impact, his overwhelming and powerful force."
Back in the Manetti Shrem courtyard, the band has settled into a groove under blue and purple house lights, while the students who had served as the evening's ushers form a circle, swaying in floaty, blissed-out dance moves. "Here I stand," Henderson croons, mouthing his own lyrics from an upcoming album, also due out in January, in a blue velvet voice that sounds like Missouri moonshine in a mason jar.
Henderson's house is a comfortable pastel yellow clapboard bungalow in a leafy neighborhood in San Leandro. Two days after the gala, the artist, in sweats and slippers, is wheeling a trash can to the curb when I arrive. The home is modest from the street but sprawling in the back, where a lovingly tended yet wildly Fauvist flower garden connects a covered patio to Henderson's studio.
Crossing the threshold, I feel like I've stepped inside the artist's gleefully chaotic mind. The scratchy lamentations of Charley Patton (aka Father of the Delta Blues) are as pungent as the scent of oil paints curing on a palette the size of a family dining table, 50 years deep in splatters and globules—Henderson sometimes trowels paint onto billboard-sized canvases, sometimes globs it on with his bare hands.
The Kingdom (1976) will be one of 13 paintings featured in Henderson's upcoming solo show at the Manetti Shrem. The artist's intuitive approach draws on jazz improvisation techniques. Of his process, he says, "It's like asking a woman, 'How'd you have that baby?' I can tell you how it started, but between that and the outcome, I don't know how the baby was created." (Painting © Mike Henderson, courtesy of the artist and Haines Gallery)
He sits in a chair made for computer gaming, in front of what looks like a full-on recording studio, but which he insists is simply a practice area for his guitar and vocal exercises. Henderson sips water from, yes, a mason jar, turns Patton down from a rolling boil to a simmer, and points out snapshots of friends from the music industry.
"I was lucky enough to play with people like that guy there, [legendary blues pianist] Sunnyland Slim," he says in a buttery, bluesy baritone, "and Mike Bloomfield—he was the guitar player on [Bob] Dylan's first electric album. It's been a magical, parallel music-and-art world." He proceeds to use that round, sonorous voice to hypnotize me with storytelling that feels like warm liquid poured over the hairs standing up on the back of my neck—so mesmerizing I barely notice that five hours have passed by in the blink of a lifetime. It was a sunny fall morning when I arrived; it's now afternoon turning to early evening when I leave, with a carousel of images from Henderson reeling through my head.
The artist was born on June 15, 1943 in Marshall, Missouri, and grew up there with eight siblings, a mother who worked as a housekeeper and a violent janitor father in a house with no plumbing—Henderson stuck a wedge of wood under a window in shop class to prop it open so he could sneak into the school gymnasium on weekends to shower.
Highly dyslexic but unaware of it at the time—part of the reason he was always drawing and painting as a child—he dropped out when he was 15 and eventually went to work at the Viking Hotel in downtown Marshall, as a janitor, bellhop, and then shoeshiner. He set up his easel and painted between customers, which gained him a lot of positive attention. White friends would see him at work and tell him, "Hey, my mother paints!" (Even though Henderson was raised in the segregated South, he says, "I never saw them as white, and I never asked how they saw me.") So Henderson would go to the ladies' watercolors circle and paint with them, and paint with the church ladies in their group too.
A shoeshine customer, Eddie Van Dyke, the father of a former classmate, so admired Henderson's artwork that he paid for a bus ticket for him to travel to Kansas City to see a Van Gogh exhibit, where the aspiring painter was transfixed by The Potato Eaters. The stark portrayal of poverty and struggle moved him. When he returned, he thought to himself, "If you're going to better yourself and do art, you have to finish school."
So, a full-grown man at the age of 21, Henderson found himself back in math class with seventh-graders. "The seats were so small I'd have a hard time getting out," he says, laughing.
Henderson managed to graduate high school, and chose the San Francisco Art Institute (SFAI) for college. Van Dyke helped him with the first year's tuition money, and he took a work-study job as a janitor, partly so he could have a key to the school's art studio to paint all night long.
His first experience attending a gallery opening was a memorable one. Not too long after his arrival on campus in 1965, a fellow student invited Henderson to one at the school. Mike asked her, "What's an opening?" She said, "It's like a party where you show your pieces." To which he replied, "What's a piece?" That's how basic his art vocabulary was at the time—he didn't know a work of art could be called a "piece."
When they arrived at the gallery, the renowned artist Bruce Nauman, then fresh out of UC Davis and teaching at SFAI, was sweeping a heap of flour into a pile in a corner of the gallery space for one of his Flour Arrangements—innovative works that would go down in art history as signifying a major shift in conceptual art. But at the time, Henderson the janitor profoundly misread the room.
"I said, 'You don't have to sweep that up. That's my job. Would you like me to sweep that up?' " he remembers. Nauman, to his credit, didn't miss a beat. He considered thoughtfully, then replied, "Well, I guess you can sweep it up if you think you should." They would go on to be great friends and collaborators, but it was Henderson's first exposure to conceptual art, and his first point of contact with UC Davis, an alliance that eventually would change his life.
Soon after this, one of his SFAI professors introduced him to William T. Wiley, a recent alum turned UCD professor, who invited Henderson to visit Davis' budding art department for the first time—then little more than a Quonset hut at the largely agricultural college. "There were all these guys I'd seen in art magazines," he says, referring to teachers like Wayne Thiebaud, Robert Arneson, Roy De Forest, and Manuel Neri, many of them progenitors of so-called Funk Art—a Northern California-centric movement with a name "borrowed from jazz" that represented art that was "bizarre rather than formal," "irreverent in attitude," and "symbolic in content and evocative in feeling," according to Peter Selz, founding director of the UC Berkeley Art Museum and Pacific Film Archive, in his 1967 essay "Notes on Funk."
"His teaching style was more personal, vulnerable, human and confessional than that of any other faculty at Davis by far," says artist and former student Vonn Cummings Sumner of Henderson, who is pictured here at one of his UCD painting classes in 2007. "This allowed his students to be more vulnerable too, and more fearless, which is absolutely necessary for real creativity." (Photo courtesy of Mike Henderson)
Meanwhile, Henderson's figurative work was well received, but abstraction eluded him. That all changed one morning during his freshman year after he'd been to a Sunday performance at the Fillmore the previous night. "There's [jazz musician] Roland Kirk playing four or five horns at one time, then he starts walking through the audience handing out whistles and kazoos. So I'm heading to school early Monday morning, and I'm going to catch the cable car by Woolworth's on Market Street, and I hear this horn being played—that's Roland Kirk! It's 6 in the morning and he's playing right in the middle of the street. He finished, and I walk up to him and say, 'Pardon me, aren't you Roland Kirk? What are you doing here?' And he says, 'Playing the sounds of the city, brother.' "
Here Henderson pauses for effect, smiling beatifically at the memory. "Right then I understood [Jackson] Pollock. And every abstract painter I'd ever been exposed to. By the time I got to the school I was shocked and I was [feeling] high as a kite. I wanted to paint the sounds of the city."
So he did, producing his first abstract painting, a jazzy, syncopated composition of painterly strokes, and he's been mining that vein ever since. "Decades of painting experience have taught Henderson to trust his materials," the late San Francisco Chronicle art critic Kenneth Baker wrote in 2002, of Henderson's abstract oeuvre. "Echoes of the history of art seem inherent in the stuff of paint itself. His relaxed, generous, intuitive touch awakens them better than any theoretical posture could."
In college, Henderson's artistic output matured rapidly as he soaked up West Coast culture, which included attending Black Panther rallies. "I was overwhelmed," he recalls. So he painted The Scream. A bad road trip home for Christmas produced another explosive epic, The Last Supper, in 1967. As Henderson started working on increasingly large canvases, SFAI gave him a rare solo studio space for his sophomore year, and while he was earning a master's in fine arts at the school, a haunting portrait about police brutality during the civil rights marches called Non-Violence was featured in a group show at the Whitney Museum of American Art in New York.
Filmmaking came into the picture after the assassination of Martin Luther King Jr. "I went to a Dr. King memorial at the Civic Center," Henderson says, "I was going back to paint. But I got in front of my painting, and I wanted my figures to move." His first motion picture, completed in 1970, was an eight-minute filmic take on The Last Supper, a gonzo interpretation wherein Jesus is served a topless Mary on a platter and a blasphemous orgy of sex and violence ensues.
Henderson had found a lifelong vernacular he'd return to again and again with works that are full of movement. The new show at the Manetti Shrem bridges the gap between his early expressionist figures and protest paintings and the later abstract paintings, which share an emotional palette. His canvases, whether figurative or not, are vigorous and charged. His figures are often singing or shouting, and somehow, his abstractions are markedly mellifluous too, as if they could be musical scores written for six-dimensional alien orchestras to perform in living color.
Wiley had long thought Henderson needed to be part of the magic happening at the UC Davis art department, and offered him a teaching job upon graduation. Henderson initially turned him down—three times. He was hesitant to return to small-town life.
When Henderson finally relented and accepted a professorship in 1970 (he really wanted to buy his parents a house), he decided the only way he could strike a livable balance—in addition to being the first Black professor in the art department, he would be just the second Black professor at the school—was to continue to reside in San Francisco and commute back and forth to Davis. "I sold a painting to the Oakland Museum when I graduated," he says. "So I had a little money and I bought a red [Volkswagen] Karmann Ghia—freedom!" He raises his hands.
"I wrote on the sun visor of that brand-new Karmann Ghia, 'By any means necessary, I will keep being an artist. I can leave Davis with empty pockets, but I won't leave Davis empty-headed.' It was written in a magic marker. The resale value of this car—I thought, 'Well, Mike, deal with that later,' " he says, laughing.
With the remaining proceeds from the sale of his painting, a self-portrait titled Portrait of Hindu, Henderson rented a studio in San Francisco. "Every day when I drove over that hill and down into Davis, I would picture someone from my life," he says. "Eddie Van Dyke, who loaned me the money for school, the soldier who gave me $5, or Wiley or Rosa Parks. There was always somebody I could dedicate a day of teaching to."
Henderson with fellow artists Terry Allen (left) and William T. Wiley at their joint exhibit at Cuesta College in San Luis Obispo in 1988. Wiley—who was a member of the legendary UC Davis art faculty of the 1960s, along with Wayne Thiebaud, Robert Arneson, Roy De Forest, Manuel Neri and others—recruited Henderson to join him in teaching at the school. (Photo courtesy of Mike Henderson)
The first class he taught was on filmmaking, and he was distressed that his students were turning in script ideas that included elements like car chases and airplanes, so he decided he needed to expose them to more alternative filmmaking. Someone told him there was a gifted avant-garde filmmaker living and working right there in Sacramento, and that she was married to one of his colleagues, in fact. "I went up to Wayne [Thiebaud] and said, I hear your wife Betty Jean makes films."
Thiebaud said, "Yes. We're having a cocktail party this weekend, so why don't you come? You can meet her."
"I walk in and the first person I see is [iconic sculptor] Claes Oldenburg. I wanted to cry out, 'Hey! I know who you are!' " Henderson says. "But of course famous people don't want that." He was once again stunned to realize the caliber of the company he was keeping.
READ MORE – Thiebaud: A Celebration – A retrospective of the local painter's career
Betty Jean agreed to bring some of her short films for show-and-tell in Henderson's class, and it was the start of a beautiful friendship that lasted until her death in 2015. "She would call me and say, 'Luciano Pavarotti is staying at our house. I feel like I should make some kind of film.' And I would say, 'Yes, you need to get him to sing in the shower!' "
Even though he never kept house there, Davis became a home of sorts to his painter persona. When Henderson released his first blues album in 1983, the artist photo he chose for it was one of him just outside the back door of the UC Davis art building. "John Lee Hooker nicknamed me The Blues Professor," he says, "So it had to do with that—I entered one world when I came into the building, and into another world when I left the building."
A corner of Henderson's studio serves as a practice area for the blues musician. When he isn't painting, he plays guitar, often into the wee hours. (Photo by Max Whittaker)
Just as he had in Marshall, Henderson made fast friends across a wide spectrum in Davis, going to faculty parties and colleagues' art openings. The first time he met Manuel Neri's wife, the artist Joan Brown, she asked him how he liked teaching. "I said, 'I love it!' And she said, 'Talk to me in seven years.' " So he did. "I went up to Joan in seven years, at a museum function, and said, 'I found you have to force yourself to work [on your own art] when you get home because teaching is such a reward—you feel fulfilled, like you've done something.' "
He was, by all accounts, a passionate teacher. "I'd tell the students to come down to the city for the day with their sleeping bags. I'd take them to The Fillmore, go to museums and galleries with them, or to the Art Institute to see experimental films," he says. "But I'd realize I hadn't painted in a week." At the time, most of his students were white, and the Black students, he says, were more likely to be African than African American.
Meanwhile Henderson's bifurcated life continued. In 1973, he received a Guggenheim Fellowship—a prestigious financial award the recipient may use at their discretion—for his work in film. At the time, his North Beach studio was across the street from the projects, where he had befriended and mentored many of the young Black residents. He decided he wanted to use a portion of his grant award to help one disabled neighborhood boy get an operation that would let him walk again, but before he could make good on the idea, the boy was shanked to death with a screwdriver in a dispute with another boy over possession of a 45 RPM record.
Then in 1985, while he was on a three-month sabbatical playing the blues in Europe, Henderson's studio burned down when a lump of charcoal fell off a neighbor's barbecue grill. When his landlord finally got a message to him, it had been garbled enough to indicate that nothing was left, and for a moment, Henderson contemplated never coming back to the U.S. at all. Then he got the story straight: his loft was uninhabitable, but there were belongings yet to salvage, including an unknown quantity of art, so he returned. "It brought about the re-evaluation of everything. Could I be a husband, be a father? What is life for?" he says. "I realized I could have been gone in a second, and I hadn't had a shock like that since I came to San Francisco. The fire made me look for my own voice."
He moved to an artist complex in Oakland, where he never quite felt he fit in. The artists there were too commercial-minded, he thought. But this is also the transitional era where he met his future wife, so more than geography had shifted, and by 1992 he was married, and buying the yellow house in San Leandro, entering a new phase and rising resplendent from the ashes into a new and better life.
The story of the fire is the last story of the day. As I'm leaving his studio, I mention how I loved that he wore jeans to the Manetti Shrem gala he was being honored at. "I thought about wearing a suit and a tie," he says thoughtfully. "But teaching for 43 years at Davis, I was thinking that I am a worker, an old country boy who grew up working. I should dress my lifestyle, so I decided on a Levi's sport coat and Nikes—that's dressed up for me."
"To understand Mike, you have to understand the blues," says Ethan Wiley, William's eldest son, who was 9 when he first met Uncle Mike, unintentionally but poetically echoing what his dad said about UC Davis and Henderson. "It's in his passion for music and his passion for painting." When we speak in November, Ethan—who is a musician and filmmaker himself—is putting the finishing touches on a documentary titled Mike Henderson: Here I Stand, which he plans to release sometime in early 2023. That hardscrabble blues ethic, Ethan says, made Henderson fit in with the group of all-white artists at Davis. "They saw art as a vocation, something to be taken seriously. Even as experimental as all their art was—many of them were doing wild and groundbreaking things—they could also draw the hell out of a drawing," Ethan says. "They all knew their art history." They all jammed together to stave off what Wayne Thiebaud liked to point out: the loneliness of painting.
This richly layered 1966 self-portrait, which will be on view in Henderson's Before the Fire exhibit, is a prime example of the artist's evocative figurative paintings. (Painting © Mike Henderson, courtesy of the artist and Haines Gallery. Collection of John and Gina Wasson.)
As prolific a painter and musician as Henderson is, his creative output also included a steady stream of young minds, like former student and painter Vonn Cummings Sumner, who is a professor of art at Fullerton College in Orange County. Sumner went to Davis for his undergraduate degree because Wayne Thiebaud taught there, but he stayed for his master's degree because of Henderson.
"By the time I got there [in the '90s], he'd been teaching almost 25 years. He would teach these seminars and we would go all night. He would say interesting, poetic, beautiful things. He'd be looking at a painting, and he'd talk about it like it was a song," Sumner says. "Mike was so candid with his students—he was an open book, with his life story and his emotions all on his sleeve."
And then there was that knack for storytelling. "He taught me that the inner life of the artist can be willfully transferred into the art we make, and that inner life gives the work a depth of feeling and thought that it would not otherwise have," Sumner says. "It is all the difference between an artist just having a career as an 'art world employee,' and an artist dedicating their whole life and energy to the act of self-discovery and artistic exploration that Mike embodies so beautifully."
Sumner credits Henderson with his decision to become a teacher himself: "It sounds cheesy to say out loud, but it seems like the only way to repay that debt."
It isn't the biggest or splashiest work in Before the Fire, but Henderson's self-portrait from 1966 (shown above) will stop you in your tracks. The bluesman's head tilts forward under a raked green fedora—a lush evocation of felt that's as richly rendered as a slice of Thiebaud's pie—the eyes are black wells that invite you to fall into them, while the mouth forms a perfect "O" around an eternal song—or scream, or both—a note that encompasses all of the rage and joy of a generation. The only strokes of blue pigment are in the stripes of his shirt peeking out from under his jacket, but the painting is somehow all blue. You can hear the color, I swear—a low, melodic moan that also soars.
Which is by design. "You mix colors—you've got blue, yellow and red, you've got black and white, and you can change the tone of the colors. It's the same with notes," he says of the connection between painting and blues music. "It's about the way you play them."
This article appears in the January-February 2023 issue of Sactown Magazine.
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