CERF+ > Get Ready > Insurance Hub > Business Insurance: Can You Afford to Be Without It?
Business Insurance: Can You Afford to Be Without It?
While there may be no way to prevent an emergency from taking a toll on your business, damage can be minimized with appropriate business insurance. Your homeowners insurance is not likely to cover your business activities. Many craft artists have considered business insurance but have dismissed it as either an unaffordable or a frivolous expense. But as Christina and Michael Adcock, owners of Leaves of Grass in Santa Barbara, California, can attest, it is not. In 2002, they lost all of their equipment, materials, tools and inventory in a fire that consumed their studio. They were unable to work for the three months it took for their studio to be rebuilt. Fortunately, they were covered by insurance.
"As craftspeople, we tend to have limited financial resources," Christina relates. "When paying monthly bills, I used to resent all the money we paid for insurance. I now understand the importance of the precaution. Without insurance, I am fairly certain our small business could not have sustained a loss like this" I looked up our business insurance expenditures prior to the fire and was surprised to see that we had spent a little over $300 for the insurance that saved our business." Their losses totaled over $65,000.
If you already have business insurance, we hope that this article will help you assess that coverage. If you still need to look for coverage, be assured that most agents and brokers are working in your best interest and will provide you with honest service and reliable representation, fair prices and reasonable responses to claims. That's more than half the battle.
Risk management is critical to running your business safely and responsibly. It involves lessening your exposure to risk by putting in place safety precautions particular to your business while securing protection against catastrophe through adequate insurance coverage. It's taking the offensive rather than wishing you had put something in place after the disaster strikes. We all have a strong desire to preserve what we have. If you want to protect your studio equipment and materials as well as your ability to earn an income, you need to have a risk management plan and business owner's policy in place.
To get started on your risk management plan, list everything of value that your business could not survive without and that you could not replace out-of-pocket if a disabling event took place. For insurance purposes, documenting your assets through photos, digital images and/or receipts will be necessary. Next, make a list of the perils that pose a real threat to you and your business, like fire, falling trees damaging property, theft, important papers destroyed, or work damaged en route to an exhibition. With this information, you are ready to talk to an insurance representative and put the final piece, insurance protection, in place. What should a business owner's policy (BOP) cover?
There is specific coverage if your work is en route to a show.
There are special policies designed specifically for the studio artist working in a particular medium.
Building – Covers the physical structure of your studio.
Business Personal Property – Covers the contents of your studio such as tools, equipment, raw materials, inventory in progress, finished products, valuable papers and records, electronic data processing.
Business Interruption – Covers the loss of business income incurred during the period of time your studio is closed due to an emergency.
Inland Marine – Covers your work while in transit to shows or elsewhere. This can cover your work, booth, shelves, display cases, and so on.
Personal Property of Others – Coverage for those who work on other people's property in their own studio.
Liability – Liability insurance protects you if someone is injured while on your property or if your property causes damage to others.
Umbrella – Protects beyond liability coverage, kicks in when all other liability coverage is exhausted, usually in increments of $1 million.
Basic business insurance policies cover risks to property like fire, lightning, explosion, windstorm or hail, smoke, riot, theft, water damage, vandalism, weight of snow, and so on. It may be called "all-risk" coverage, but will most likely have exclusions. Often times flood, earthquake and acts of terrorism are not covered in a standard insurance package so if you feel at risk for these, you may want to investigate additional coverage. Understand what the exclusions in your policy are. Also know the amount or limit of coverage (e.g., up to $25,000 for studio contents, $25,000 for work off-premise, in-transit, etc.) and make sure you get as much protection as you need.
Extended Business Income – Extends payment for losses of business income beyond Business Interruption coverage time limits.
Extra Expense – Pays for re-location of your studio, if necessary, due to a significant loss.
Employee Dishonesty – Covers losses due to dishonest acts of employees.
Product Liability – Covers you in the event your product injures someone.
The cost of business insurance is not prohibitive; however, replacing your studio and not being able to work are. CERF+ has seen too many businesses unable to bounce back after an uninsured emergency. Remind yourself that having good coverage is one of the costs of doing business and part of your responsibility to yourself, your business and others who depend on you. The rates for coverage will vary depending on where you live and which underwriter you work with, but an average basic BOP will cost between $400-$1,000 annually. Of course, every business is unique and yours may require special coverage, which can raise the overall cost.
Proper protection – Don't be under-insured. If you can't afford complete coverage, purchasing some insurance is better than having none. Do avoid unnecessary coverage.
If you rent – Too often we hear from craft artists who didn't have business insurance because they thought they'd be covered under their landlord's policy. WRONG! The landlord's building is covered under his/her policy, but not your equipment, tools and inventory.
Gaps in coverage – Make sure you understand the scope of your coverage. If there are known gaps due to cost, understand what they are and make an alternate plan.
High deductibles – Be careful not to be tempted into purchasing a policy with a high deductible in an attempt to keep costs low. Can you really afford to pay a $10,000 deductible if something occurs?
Exclusions – Know what they are and don't be afraid to ask questions!
Quotes – Shop around and get at least three quotes; rates vary widely.
Quality – Tell your insurance representative that you are interested only in products of high quality.
Claims – Ask your insurance representative if any claims have been made on the type of insurance they're offering and what turn-around time you would expect in the event of a claim. If no claims have been made or you feel service is unreasonable, choose a different company with which to work.
Finding a good agent or broker should be relatively easy if you ask friends and/or colleagues whom they use. Make sure to choose a representative you feel comfortable working with, someone who is communicative and responsive to your needs. You may decide to work with an agent who represents a specific company or companies, or go with a broker who independently and directly represents you to the marketplace. Brokers may offer a broader range of coverage options because they represent you and not the insurance company, but either choice is fine. Just be sure your representative understands your insurance needs and helps you to design a package that provides the coverage appropriate to your situation. It's okay to be wary of insurance salespeople. A healthy dose of skepticism means you'll use good judgment when making your decision about who to work with and what coverage you're going to choose.
The following resources are provided by CERF+ as a service to craft artists in search of additional information on business insurance coverage specific to their unique needs.


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"The Last Blockbuster": Rewinding to Another Era
by Sharon Oliver
Before there was Netflix or lickety-split movement of movies from the big screen to HBO, there was Blockbuster. Once boasting more than 9,000 locations with 84,300 employees worldwide, the video-rental giant slowly closed all its doors over time, finally declaring bankruptcy in 2010. Well, almost all doors.
There's still one last Blockbuster on the planet, and it's thriving in the outdoor playground city of Bend, Oregon. It's no run-of-the-mill store either: there's even a documentary about it, The Last Blockbuster, and deservedly so.
First, a trip down "Be Kind and Rewind" memory lane. Not so long ago, and despite threats of late fees, millions of movie lovers looked forward to having a Blockbuster Friday movie night, be it a date night or time spent with family and friends. Cruising the aisles for selections, sliding in a rented VHS tape, and settling down with a bowl of hot buttery popcorn meant a beatific weekend was at hand, especially if any of the movies you wanted to see weren't all checked out.
Bend's Blockbuster showcases a certain charm that streaming services and premium cable channels lack. Managed by Sandi Harding, a/k/a "Blockbuster Mom," the store's shelves are generously stocked with everything from oldies but goodies to newly released titles. COVID-era protocols such as curbside pick-up, sanitized DVDs in a Ziplock bag, mandatory mask-wearing, and social distancing are in place as well. Aside from that, the site has become somewhat of a tourist attraction.
Of course, Blockbuster logo-branded T-shirts, tote bags, and namesake party games are available for sale. However, visitors also come to gawk at movie memorabilia which includes items from Highlander, Russell's Crowe's jockstrap from 2005's Cinderella Man, and other movie props previously owned and donated by Last Week Tonight host John Oliver. The Bend store inherited the collection from an Alaska Blockbuster upon its closure. Harding tells Yahoo Entertainment, "People really do travel just to see us. We've had people from all over the world come to central Oregon; they were coming there for the nostalgia, but they also wanted to say hello, and tell us what Blockbuster meant to them."
Last August, the store partnered with Airbnb in allowing Deschutes County residents to book a slumber party at the store for three dates in September. Party guests were treated to an old-fashioned Blockbuster night complete with a recreated 1990's living room with a hide-a-bed, bean bag chair, a Sony VHS player, and a closet containing vintage fashion items like parachute pants and scrunchies. This was Harding's way of thanking her community for supporting the store in spite of stiff competition from Netflix, Redbox, and the like, which initially helped cause the Blockbuster business model to go stale.
This Blockbuster locale is obviously more than a place of employment for Sandi Harding. It's where she and her husband rented a movie for their first date back in 1993 and where their three sons have also worked. According to Harding, "Minus the late fees, people have such fond memories of date nights and family time, some of which don't exist anymore."
[The documentary The Last Blockbuster is available on Amazon, Apple TV, and other platforms and features Sandi Harding, along with celebrities Kevin Smith, Adam Brody, and Ione Skye.]
-Sharon Oliver
Photo: Fair use image from "The Last Blockbuster" (Ryan Harding)
TagsBlockbuster • CultureSonar • documentary • nostalgia • Sharon Oliver • The Last Blockbuster • videos
AboutSharon Oliver
Sharon Oliver is a freelance writer and cozy mystery novelist. A native northerner currently living somewhere in the south, she loves British detective shows and will cover and defend (especially funk) music-related news to the bitter end because this is One Nation Under A Groove. Twitter: @olivershar7
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Home » TV » Get Ready for Some Logan/Veronica Drama in the New 'Veronica Mars' Revival
Get Ready for Some Logan/Veronica Drama in the New 'Veronica Mars' Revival
Cancel all your plans for July and get yourself a Hulu subscription (if you don't already have one): Veronica Mars is coming back and no, it's not just the reruns. On September 20, 2018, Kristen Bell confirmed that Hulu has ordered eight new hour-long episodes of Veronica Mars, set to premiere some time in Summer 2019. All three seasons of the show will be available July 1st, for those of you who need to catch up.
Marshmallows! This is a very important announcement from @kristenanniebell. New and classic episodes of #VeronicaMars are coming to @hulu in 2019.
A post shared by Veronica Mars (@veronicamars) on Sep 20, 2018 at 9:50am PDT
According to a Hulu release, the revival will take viewers back to the fictional town of Neptune, California, where the local tourism industry has recently been hit by a string of murders on spring breakers. After one of the victims' parents hires Mars Investigations to find their son's killer, Veronica steps up to uncover a clash between the town's wealthy elites and the working class that relies so heavily on tourist traffic. Here's Everything we know so far:
Premiere date?
All eight new episodes will drop on July 26, but you can spend all month rewatching the first three seasons. I can practically hear the theme song in my head now, marshmallows. *A long time ago, we used to be friends…*
Is there a trailer?
You know it! Here you go:
From this extended clip, you can tell almost all our faves are back, and that V. Mars is going to be going after a serial bomber.
Also, can we please talk about how they got J.K. Freakin' Simmons involved? For those of you who've seen Whiplash or Oz, he's def giving off that same villainous energy.
Who else (besides Kristin) is in?
As you can see from the trailer, pretty much everyone you love is back. Aside from Jason Dohring (Logan Echolls), we've also got Percy Daggs III (Wallace Fennel), Enrico Colantoni (Keith Mars), Francis Capra (Eli "Weevil" Navarro), Ryan Hansen (Dick Casablancas), Max Greenfield (Leo D'Amato) and David Starzyk (Richard Casablancas) set to reprise their roles, too.
What's up with Logan/Veronica?
Logan is still hot—and still with Veronica, which means I can keep on shipping them with all my heart. Looks like he's back from his time in the military (after being cleared of murder and getting back with our favorite P.I. in the movie).
But don't expect smooth sailing (not that you would—this is the same couple that started out as mortal enemies.) As Jason told US Weekly, "She's in a different place than she was, and he's sort of the balance to what she's going through." Though they live together, "she's become a bit hardened by all the stuff she's seen, and that creates some struggles for them."
I have faith in these two.
This post will be updated as more revival news is announced.
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National Trump Pledges 'Consequences' for U.S. Firms Moving Offshore
Trump Pledges 'Consequences' for U.S. Firms Moving Offshore
By Ylan Q. Mui, Matea Gold and Max Ehrenfreund
Thursday, December 1, 2016 at 8:01 pm | א' כסלו תשע"ז
INDIANAPOLIS (The Washington Post) -
President-Elect Donald Trump speaks at event at Carrier HVAC plant in Indianapolis, Indiana. (Chris Bergin/Reuters)
President-elect Donald Trump on Thursday warned that the government would punish companies seeking to move operations overseas with "consequences," setting the stage for an unusual level of intervention by the White House into private enterprise.
Trump's remarks came as he triumphantly celebrated a decision by the heating and air conditioning company Carrier to reverse its plans to close a furnace plant here and move to Mexico, helping keep 1,100 jobs in Indianapolis. About that many Carrier positions at that plant and another facility in the area will still be cut, however.
Under the terms of the agreement, which still have not been finalized, Carrier would receive a $7 million tax incentive package from the state of Indiana in exchange for making a $16 million investment in the facility – though Trump said Thursday that amount would probably be higher.
In remarks delivered inside the Carrier facility, the president-elect said more companies will decide to stay in the United States because his administration will lower corporate taxes and reduce regulations. But he also warned that businesses that decide to go abroad will pay a price through a border tax on imported goods.
"Companies are not going to leave the United States any more without consequences," Trump declared Thursday. "Not gonna happen. It's not gonna happen."
Timothy Bartik, an economist at the nonpartisan W.E. Upjohn Institute for Employment Research in Kalamazoo, Michigan, said that vague threats from the president-elect could stymie corporate investment as firms seek to avoid any decisions that could draw the ire of the White House.
"What are these consequences? Who's in charge of them?" Bartik asked.
"One of the worst things for corporate investment is uncertainty," he added. "You would hope that the government would not add to the uncertainty."
In Indianapolis, where Carrier has been a staple of the business community since the 1950s, the deal was celebrated.
"Our union at every level, including our local union leadership, fought to keep that plant open," said Leo Gerard, international president of the United Steelworkers, which represents the factory's workers.
Though it did not endorse Trump, Gerard said the union supports crucial aspects of the president-elect's agenda, including preservation of manufacturing jobs, scrapping free-trade deals and spending on infrastructure.
"If this step is any indication of what's to come, we look forward to working with him," Gerard said.
Jennifer Volheim, a bartender at Sully's Bar and Grill, down the street from the factory, said she was "heartbroken" when it was on track to shut down. But, she said, she voted for Trump and knew he would make a difference.
"We knew Trump was on it," she said. "He's not even in office yet and he's saving … jobs."
In fact, by Trump's own telling on Thursday, he had no plans to intervene in the Carrier case until he watched an evening news segment featuring a worker who expressed confidence that the president-elect would save the Indianapolis plant. He said his campaign vow to save the plant was "a euphemism" for other companies.
Regardless, Trump – known for his tendency to react to TV news reports – said he immediately picked up the phone and called Gregory Hayes, the chief executive of Carrier's parent company, United Technologies.
"I said, 'Greg, you gotta help us out here. You gotta do something,' " Trump recalled Thursday.
Standing in front of a wall blanketed with Carrier's blue-and-white logo, Trump lavished praise on the company for its decision, promising that the sales of its air-conditioning units would soar "because of the goodwill you have engendered."
Experts said no modern president has intervened on behalf of an individual company. While Obama stepped in to rescue car manufacturers after the 2008 financial crisis and President John F. Kennedy intervened to prevent steel producers from increasing prices, these actions affected entire industries – not decisions at a specific plant, Bartik said.
Jeff Windau, an analyst at the investment firm Edward Jones in St. Louis, said that Trump may not have the "bandwidth" to keep up this kind of deal-making once in the Oval Office.
"Having a current president-elect focus on a specific company and a specific location – it's a pretty micro view of the world," he said.
But Trump said Thursday that he planned to personally call other companies contemplating moving operations out of the country, even, as he said, if critics felt such outreach was not "presidential."
"I think it's very presidential. And if it's not presidential, that's OK because I actually like doing it," Trump said. "But we're going to have a lot of phone calls made to companies when they say they're leaving this country, because they're not going to leave this country."
Trump's aggressive stance toward outsourcing comes despite the fact that his family companies profit from low-wage laborers around the globe who produce Trump-branded merchandise. His daughter Ivanka has her own separate brand of jewelry, shoes and clothing, much of which is produced in China.
Abigail Klem, president of Ivanka Trump's company, said in a statement that the brand has "consistently expressed that we share industry [leaders'] interest in bringing more manufacturing opportunities to the U.S. and are looking forward to being a part of the conversation." A representative for the Trump Organization did not respond to requests for comment.
United Technologies's sales to the government have dropped in recent years, from $6.3 billion in 2013 to $5.6 billion last year, making up about 10 percent of its total revenue.
Defense analysts said that Trump could not legally steer any contracts to United Technologies or punish them through the Pentagon's highly regulated acquisition system. The Federal Acquisition Regulations are thousands of pages long and run through an often stifling bureaucracy that determines requirements, puts out requests for proposals from industry, then embarks on a lengthy selection process that can take months, if not years.
Mackenzie Eaglen, a defense analyst at the American Enterprise Institute, said that the acquisition system can't be used as a bargaining chip: "The short answer is no, and it would be highly illegal. Period."
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Q: Node.js - Window.Location.Href Not Working I am trying to build a Puppeteer app that can be uploaded to a web server and receive parameters via the URL, but I can't seem find a way to get the current URL from my browser using Node. Right now I have a default server.js file created by Visual Studio which I modified to include code for getting the URL, but when I run the file I get an object promise error for window.location.href.
Here is the codeL
'use strict';
var http = require('http');
var port = process.env.PORT || 1337;
http.createServer(function (req, res) {
    res.writeHead(200, { 'Content-Type': 'text/plain' });
    var url = window.location.href;
    res.end('Hello World\n' + url);
}).listen(port);

My goal is to be able to get the URL and then pass it to my Puppeteer script as a parameter when it is run. The above code should result in a url value of http://localhost:1337 which could then be modified to include any additional parameters by appending query strings.
Next I tried getting the URL outside of the createServer loop by appending the following:
var url = window.location.href;
document.write(url);

That causes the app to crash with no error message beyond failing to connect to the server.
This is my first Node.js application, so the concept of server side javascript is new to me.

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Dr Penny Schwarz
Practice Owner (BVSc(Hon). Diploma of Management)
Penny, originally from Dimboola, graduated with a Bachelor of Veterinary Science from the University of Melbourne with honours in 1995. Whilst working her way around Victoria, she then completed a Diploma of Management. Penny now spends her time ensuring the smooth running of Your Family Vet, leading the team, updating protocols, equipment investment and designing and co-ordinating the details of the hospital expansion.
In her free time, Penny enjoys spending time with her daughter Georgie, cat Eli and helping out at her family's Miniature Donkey stud. She enjoys being involved in Georgies Dance concerts and volunteering at Horsham Town Hall.
Dr Chloe Fingland
Veterinarian (BVSc)
Chloe graduated with a Bachelor of Veterinary Science from James Cook University, Townsville in 2014. Throughout her degree, she assisted with training at a puppy school and undertook placements all over eastern Australia. Chloe has a special interest in avian medicine and is a keen aviculturist. Chloe has also spent time with behavioural specialists and enjoys this unique area of problem solving. Chloe also runs our Puppy Playschool.
Having spent her childhood traveling Australia, Chloe enjoys getting out and seeing the countryside, especially bushwalking and birdwatching in her spare time.
Chloe has returned to work with us after the arrival of her daughter Sophia.
Dr Samantha Stephens
Sam, originally from Echuca, graduated with a Bachelor of Veterinary Science from the University of Melbourne in 2013. She worked at Your Family Vet as a locum in 2014 before taking a full time position in North Eastern Victoria. Having experienced a very busy mixed practice, Sam has returned to the Wimmera to concentrate on small animals and has a special interest in orthopaedic surgery and feline medicine.
In her spare time, Sam enjoys riding bikes with her husband Tom, spending quality time with her daughters Isabelle and Eloise and playing with Rosie the beloved family cat.
Sam has returned to work with us after welcoming her second daughter Eloise to the family.
Dr Jess Bammann
Veterinarian (BSc DVM)
Jess graduated with a Doctor of Veterinary Medicine from the University of Adelaide in 2018. Throughout her degree she has enjoyed travelling to various locations for placement, such as the Northern Territory and New Zealand. Jess has interests in surgery, dentistry and dermatology. Jess is already an integral part of the team at Your Family Vet and is looking forward to all the new challenges ahead.
In her spare time, Jess enjoys playing netball, sight seeing, walking her dog, Ned, travelling and spending time with friends and family.
Dr Jessica Farrow
Jessica recently joined our team when she moved to the area from Portland with her partner Dave, two young daughters and 3 dogs Bella, Skees and Penny.
Jessica received her qualification at the Melbourne university and has worked in many different practices all over. Work interests include imaging, especially ultrasound, and critical care. She would like to pursue more options in physiotherapy and rehab.
In her spare time, Jessica enjoys exploring new places, camping, 4 wheel driving, sports, horseriding and a good book.
Lauren Monaghan
Practice Manager (Double Advanced Diploma of Leadership and Management and Management (HR), Certificate IV in Veterinary Nursing. Diploma of Community Services Work)
Originally from Brim, Lauren is a Qualified Veterinary Nurse who has also studied a Diploma of Community Services Work before more recently graduating with a double Advanced Diploma of Leadership and Management/ Management (HR). Lauren has switched roles from Senior Nurse to Practice Manager and is thoroughly enjoying supporting and bringing out the best of each team member.
In her spare time Lauren enjoys playing netball, doing fun runs and exploring the outdoors with her two sons Carter and Jimmy. When she is at home she enjoys hanging out with her cat Nimbles and Pugs Hawk, Lacey, Betsy, Darla, Lily and Chokito.
Larree Darrington
Larree has been working as a vet nurse since early 2013. Prior to joining the clinic, she worked as a manager at Bonnie and Clydes and as a racetrack attendant for Greyhound Racing Victoria. Larree has been an integral part of our team at Your Family Vet for many years.
In her spare time, Larree enjoys fishing, playing netball and spending quality time with her family, cat Oscar and dog Shar.
Larree has just returned after welcoming her second child, Willow and is very busy now with big brother Jagger doting on his little sister.
Maddy Heard
Maddy is a local girl and has now been a part of the team in a veterinary nursing role for 4 years. Maddy has a great passion for Staffies and currently owns two which she really enjoys taking on walks and exploring the great outdoors.
In her spare time, as well as spending time with Sasha and Amarni (her furbabies), Maddy also enjoys fishing/yabbying, hanging out with friends and socialising
Nikita Bradshaw
Veterinary Nurse (Certificate IV in Retail Operations Finance and Insurance)
Nikita moved from Telopea Downs to Horsham as a young girl and comes from a farming background. She has always been around animals and is very excited to be able to pursue her dream of becoming a veterinary nurse. As well as sharing her spare time with her husband Ben and young boys Cooper and Elijah, Nikita enjoys exploring the Grampians.
Nikita and family currently enjoy life with Jack the Ragdoll who is always getting up to something.
Susie Relouw
Customer Service (Diploma in Financial Services, Associate Diploma in Business Management, Cert 4 in Community Services, Diploma in Child Services, Lifeguard, Aust swim teacher)
Susie enjoys learning new and different things and loves a challenge. Susie has run her own business and is now really enjoying being part of a team that lets her indulge in her love of animals.
Susie has raised 5 children who are all now making their own way in the world and she hopes she will soon be able to travel again as she loves to explore different parts of the world and new cultures.
Susie also likes to spend time with her grumble (3 loving pugs).
Nat Gruin
Veterinary Nurse (Certificate IV in Veterinary Nursing, Diploma of Remedial Massage Therapy)
Nat grew up on the Mornington Peninsula and had lived and worked in Perth and Adelaide before returning to Victoria. Her soul passion has always been with the advocacy, welfare, health and education of animals.
Nat qualified as a Veterinary Nurse in 1995, had 13.5 extremely fulfilling years working in the profession before new adventures lead her to work in the sporting industry, train as a barista and eventually qualify as a Remedial Massage Therapist, before coming full circle back to her true passion of Veterinary Nursing. Along the way she always stayed connected to her love of wildlife through volunteering at not-for-profit santuary Wild2Free, who's main focus is the rehabilitation and release of Eastern Grey Kangaroos, and animal shelters in Adelaide Hills.
We are excited to have Nat join our team as she has already proven to be a great asset! Nat has recently welcomed Morgan (a Border Collie puppy) to her home and she has already stolen her heart.
David Legg
Veterinary Nurse (Certificate IV Veterinary Nursing)
Born on a dairy farm, David has been working with animals of all kinds from a very early age. Qualified and trained in both small and large animal nursing, David has recently moved to the area from South Coast NSW to join our growing team. He has already become a valued team member.
In his spare time David is an avid gamer and enjoys curling up with his cat Saffron and a good book.
Georgie Schwarz
Customer Service (Student)
Georgie is a familiar face at Your Family Vet, being Penny's daughter. Georgie has a very quiet way with animals and really loves spending time with her grandparents' Miniature Donkeys. She has spent a large amount of time in the clinic afterhours, becoming very proficient with newborn puppies and is usually the one helping the pups nurse for the first time after a caesarian. Georgie really enjoys interacting with clients at the front desk and often helps out after school and during the holidays. Georgie also enjoys working at Pick A Posie.
In her spare time Georgie enjoys attending dance classes, travelling and catching up with her friends.
Penny Stemp
Financial Administrator (Diploma of Accounting)
Penny has been part of the team right from the start, maintaining the accounts. Penny graduated with a Diploma of Accounting from Ballarat University and moved to Horsham with her family for a tree change.
Penny's main interests are her human family, husband Brendan and now grown up children Bec and Harry, but she also loves her extended fur family Dougal, Molly, Jack, Scout, Annie and Mogsy (just to name a few). Penny is an integral volunteer with Horsham PAWS and is now the President of the association, as well as having her own luxurious boarding facility for cats, Catnap, quite simply she adores cats! If she manages to find some free time she also enjoys reading and patchwork.
Lacey Vicary
Lacey has been a frequent visitor of ours for many years due to her being a dedicated wildlife carer and has recently joined the team as our wonderful cleaner.
Lacey's passion and love for animals has had her rescuing animals her whole life. As well as looking after her family and doing rescue and rehabilitation of wildlife she is currently completing a course in pet care and vet assistance in the hope that she can get into veterinary nursing.
Clinic Cat (Master of relaxation)
Kimmy originally came to Your Family Vet as an adoptee with Horsham PAWS. Having spent many months with us, during this time slowly teaching us that we absolutely couldn't do without her, we finally decided to formally adopt her in January 2017. She is very popular with clients, with numerous people every day asking where she is when they visit.
Kimmy now has the life of luxury telling us what she wants and when and basically spends her day moving around the clinic, spending the majority of her time in the staff lounge. She loves when her harness comes out as it means going outside for a roll in the sun and scratch in the sand.


AT&T ordered on 9/22 - still back-ordered?
Discussion in 'iPhone' started by saintforlife, Oct 3, 2012.
Where did your friend order his phone from? I ordered mine directly from AT&T on the phone.
Ordered my wife a white 32gb IP5 through at&t via phone on the 19th. It was shipped FedEx overnight from TX on Monday and was delivered yesterday.
The problem is you ordered from AT&T. They once did the same thing to me, hence my sig.
I did the same thing and it's still on backorder but an AT&T authorized retail store got some in this weekend so I got one there and if they ever ship mine I'm just going to ship it back and get a refund. What amazes me is that they got more in but the corporate store has none and have know idea when they will get anymore in.
Anybody that placed your order after 9/22 get your phone already? I don't know why mine keeps saying back ordered.
There seems to be quite a back order of 16GB white through AT&T because not even people who order like on the 18th or 19th have gotten off backorder.
Still back ordered. This is getting ridiculous. It's been more than 4 weeks since I ordered my 16GB white from AT&T. The status hasn't changed one bit. Anybody else that placed the order around Sep 22nd have any luck? Should I try the Apple store?
Wow I thought supply has caught up. My cousin ordered his from the AT&T store and was told 2-3 weeks which he didn't mind but received it in a week. He ordered a black 64 gb. Not sure if color and size makes any difference.
OP, check out the At&t preorder thread. That's where all of us who ordered through the carrier are keeping track of the shipping process on the various dates we ordered on.
Color and size do matter. 64GB and 32GB are being shipped within a week or 2 of ordering because they are in less demand. Right now at&t is taking order dates on the 9/20 and 9/21 for the 16gb off b/o and shipping them. Just wait a few days. I myself ordered a white 16GB on the 23rd.
I wish the 32GBs were being shipped within a week or two.
Today is the 9th business day from my order. Still waiting.
Thanks! So I am assuming you haven't received yours either?
Why would you ever order yours from the carrier?
Apple always get priority on the majority of stock, first.
any idea when it wil lcome off?


Notes (1 page) in English, Français, and Deutsch. No photos.
Having previously admired Katsaris�s recordings of Liszt Symphonic transcriptions and Schumann Etudes, I approached this disk with much favourable expectation and was not disappointed.
The playing is exemplary - clear, bright, and with varied textures and rich drama. The instrument is a modern grand piano, but there is neither any inappropriate expansion of the tonality nor is there any obvious constriction of the range, resulting in an authentic and natural sonority. Failure to understand Mozart�s humour, his mercurial sense of fun, even in his serious works, is a frequent complaint I have against some Mozart interpreters, present company fervently excepted. Katsaris allows, but does not over-emphasise (as does Glenn Gould, for instance) Mozart�s little jokes against himself in the fantasia preludes where he indulges in a little banging and measured banality, just to remind you how lucky you are when he gets back to work.
The Sonata K457 is especially interesting in the adagio where Mozart gives Beethoven the tune for his Pathétique Sonata, and also invents quite a lot of Liszt. The opening of the d minor fantasia K397 reminds one of Beethoven�s "Moonlight" sonata and of the first prelude in Bach�s Wohltemperierte Klavier, with which both Mozart and Beethoven were thoroughly familiar, showing the genealogy of the famous Beethoven work. Various movements on the disk contain more of Beethoven�s better ideas, in case there was any remaining doubt as to where they came from.
Programming the two sonatas in reverse chronological order on the disk points out how the early Mozart was more theatrical, while the later sonata fits better among the fantasias.
The Fantasies are fascinating works in that they show us what Mozart�s improvisation style was like and give hints to Mozart interpreters of how Mozart would have amplified his published keyboard works when playing them himself. Only one, K475, was completed and published. Kk396/7 were left to us in the form of sketches and completed (skilfully!) by others. These performances are among the very best I�ve heard, but I will continue to enjoy the Naoumoff recording (which also includes an exceptional performance of the Rondo in a, K511) for a slightly different but equally valid viewpoint.


Thanks for looking into this. The waterfall is just an example where the directional sound is easily noticeable. The same effect is also present with campfires and crows circling a body, so I suppose it is a general effect for all sounds.
I am running TLD on an Ubuntu 18.04.1 LTS desktop PC with on-board sound, but occasionally also booting into Windows 10 on the same PC. A dual-speaker setup is used. Under Ubuntu, sounds from e.g. waterfalls appear loud and with proper stereo volume effect when the source is at the front or left/right. But when turning away from the source, the sound disappears almost completely. Under Windows, the directional effect is far less pronounced and feels more realistic. Im am curious if other Linux users experience a similar affect, or could this could be due so some improper setup on my PC? The sound setup in Ubuntu appears very basic, without any settings to change stereo/surround effects.
Just completed replaying Wintermute Episode One Redux, and it was a real pleasure now to have an engaging story. Hinterland, you made the right call to take your time to change a first release from a lackluster experience to an excellent one.
Got the Midnight badge, but was a little underwhelmed by a challenge setup that encourages camping - there should have been other objectives in stead of lasting two hours/day. Day 1: Searched CH: Got a lot of candy bars and decent clothing. Went on to PV, and found my first cache between Outbuildings and Farmstead. Quit after entering Farmstead. Day 2: Searched the Farmstead, then camped for two hours. Day 3: Another two hours of camping, and then went to Radio Hut and found second cache nearby. Only had to shoot a single wolf on the way up there. Day 4: Camped for two hours at Radio Hut without even lighting a fire! Got the badge and found a pie. Then walked back to the Farmstead, just to see if the weather was so nasty as they claimed. Had to stop halfway to light a fire, but made it and was warm and fine after an hour in bed. Got enough candy for another week. Ok, nobody forced me to choose the boring camping strategy, but still it would be better if it had not been possible to get through that way.
I suspect some plant respawns have occurred between version updates - but could never tell for sure. Without implementation of seasons first, any plant respawn would be absurd. Currently, we are experiencing an everlasting, frigid winter.
Oh, the silly things one does to get an achievement badge... After the latest patch, I one again tried to map the DP church in my old 250+ days Stalker game, started about September '17, to no avail. So - started up a new Pilgrim mode game and went through the maps, and finally got the achievement. 45 game-days of relaxed boredom - could have been less if I had not been foolish to take on a moose, just as I needed to climb a rope to move on.
What happened to my Bow reticule (aim spot)?
Thanks for the patch, but so far things are not looking too good. Only took a couple of minutes before I saw the first crows fly into the ground near the stone Church on Desolation Point. And the Stone Church icon still fails to show up on my map, on a game started in the autumn (v1.15, I think). So still no Faithful Cartographer achievement without starting a new game.
A bit outside town. Go along the main road, opposite direction of the bridge and church.
The implementation of the breath cloud is completely wrong for night conditions. A cloud is visible because it scatters light. In darkness there is less light to scatter, so the cloud visibility must similarly go down.
The Long Dark is coming!


A mid-century-style sofa has clean lines that don't over-complicate the scheme, for a smart, simple look. 'We think it's best not to be afraid to go for a modern vibe in a period property,' says the owner. Painting the fire surround in the same colour as the chimney breast wall gives the Victorian fireplace a more contemporary feel and simplifies the scheme for a clean, unfussy finish.


text:
De Geertruidskerk is de Protestantse kerk van Geertruidenberg. Deze kerk bevindt zich aan Elfhuizen 3.

Geschiedenis
Op de plaats van deze kerk stond in de 11e eeuw reeds een aan Gertrudis van Nijvel gewijde Romaanse kerk uit tufsteen. Omstreeks 1200 werd het schip naar het zuiden toe uitgebreid. Pas in 1315 begon men met de bouw van de toren. In 1325 begon men met de noordelijke zijbeuk, terwijl omstreeks 1400 met de bouw van het priesterkoor en de crypte werd begonnen. Aan de noordzijde werd vervolgens de Onze-Lieve-Vrouwekapel gebouwd, waarna men aan het zuidertransept begon.

In 1420 werd, in het kader van de Hoekse en Kabeljauwse twisten, de stad door de Dordtenaren in brand gestoken, waarbij ook de kerk zwaar beschadigd werd. De crypte werd nimmer voltooid en de stenen gewelven werden door houten tongewelven vervangen. De zuidarm van het transept werd in 1439 voltooid en de toren in 1447, terwijl de noordarm en de noordbeuk respectievelijk omstreeks 1500 en omstreeks 1539 werden voltooid.

Nieuwe beschadigingen volgden tijdens de Tachtigjarige Oorlog. Bij de inname in 1593 door Prins Maurits werd de toren gedeeltelijk verwoest en ook de latere belegeringen door de Fransen lieten de kerk niet onbeschadigd. Pas in 1768 werd de toren definitief hersteld en door Philip Willem Schonck van een nieuwe bovenbouw voorzien. Een ingrijpende restauratie vond plaats in drie fasen tussen 1955 en 1990.

Uit oude documenten blijkt dat de abdij van Thorn bepaalde rechten had in Geertruidenberg. In 1310 werd de kerk op verzoek van de abdis van Thorn door Theobald, prins-bisschop van Luik, tot kapittelkerk verheven.

De eerste predikant in Geertruidenberg trad aan in 1574. De reeks van predikanten vertoonde echter een hiaat omdat de Spanjaarden de stad weer in bezit namen. Vanaf 1593 werd de kerk definitief Hervormd, later Protestantse Kerk in Nederland.

Gebouw
Het gebouw is een driebeukige hallenkerk met een aan de noordzijde ingebouwde westtoren die uit vier geledingen bestaat. Aan de buitenzijde ziet men drie parallelle zadeldaken. Het bakstenen metselwerk is voorzien van speklagen. Dwarsarmen en koor zijn veelhoekig gesloten.

Crypte
De crypte werd aan het einde van de 19e eeuw onder het priesterkoor ontdekt en in 1895 uitgegraven door een speciaal daartoe opgericht comité. In de crypte hangt nog een gedenkplaat met daarop de namen: N. Meyers (burgemeester en voorzitter), C. van Seters (uitvoerend architect), G.C.A. Harsveldt (1e luitenant kwartiermeester, secr. penningmeester), J.Nord (officier van gezondheid 1e klasse), C.J. Mollenberg (notaris), C. de Koningh (notaris), J.M. van Staveren (med. doctor).

Inventaris
De kerk bezit vier grote houten tekstborden: Het Oranjebord uit 1582 ter ere van Willem van Oranje, een Regentenbord uit 1583, het Van Du(i)venvoorde-bord uit 1596 ter ere van de toenmalige Gouverneur van Geertruidenberg Arent van Duvenvoorde, en het Visserijbord uit 1616, vervaardigd door Abraham Loijsz en beschilderd door Isaac Boucquet.
Er zijn negen houten rouwborden, waarvan de oudste dateert uit 1662.
Er zijn 17e en 18e-eeuwse grafzerken en een epitaaf met marmeren borstbeeld voor stadscommandant Stephanus Coopius (†1649) en één voor zijn opvolger Dominicus Cassiopinus (†1651), een monument voor schout-bij-nacht Johan Zoutman uit 1845.
Het koperen doopbekken uit 1741 is in Lodewijk XIV-stijl.
Op het koor is één overgebleven laat middeleeuwse kop ("de oude man") als kraagsteen aanwezig. Tijdens de restauratie van 1987-1990 zijn door beeldhouwer Ton Mooy uit Amersfoort, elf nieuwe kraagstenen voor het koor vervaardigd, uitgevoerd in Baumberger kalksteen, die apostelen en evangelisten voorstellen. In het zuidertransept zijn nog meer kraagstenen van hem te vinden (de wonderbaarlijke visvangst, Gertrudis van Nijvel, H. Elisabeth, Jeremia, David met het hoofd van Goliath).
Vóór, achter en aan de zijkant van de kerk bevinden zich de toegangspoorten met hardstenen hekpalen met rocaille-versiering uit 1768 en 1770, vervaardigd door Guilliam Carrier.

Fotogalerij Kraagstenen

Vollebregtorgel

Het pijporgel in de kerk werd in 1861 gebouwd door Johannes Vollebregt uit 's-Hertogenbosch, voor het bedrag van 2050 guldens. Het verving een ouder Bätz-orgel (één-klaviers instrument) uit 1750, welke afkomstig was uit de Waalse kerk te Heusden en heeft dienst gedaan tussen 1817 en 1861. Dit Bätz-orgel werd in 1861 verkocht voor 700 guldens aan de Hervormde kerk in Middelharnis, waar het in 1862 per schip naar toe werd vervoerd, met uitzondering van de beide spaanbalgen, die achterbleven in de kerk en nog steeds in gebruik zijn. In 1877 komt het Bätz-orgel terecht in de Laurentiuskerk te Mijnsheerenland.

Het eerste kerkorgel is in 1793 door brandstichting van de Franse soldaten, die de kerk als kazerne hadden ingenomen, vernietigd. Wat voor soort orgel het is geweest is onduidelijk. In 1806 toont koning Lodewijk Napoleon bij een bezoek aan de kerk zijn medeleven voor de geleden schade en schenkt 2000 gulden voor een nieuw te bouwen orgel.

In 1912 en 1976 kreeg het Vollebregtorgel een schoonmaakbeurt. Tussen 1982 en 1983 werd het orgel gerestaureerd door de gebroeders Vermeulen, kerkorgelbouwers te Weert.

Na de grote kerkrestauratie van 1987-1990, werd de scheidsmuur, die in 1817 was geplaatst, weggehaald. Hierdoor verdubbelde de ruimte van de kerk, waarbij de klank (het orgel was immers voor een veel kleinere kerk gebouwd) als ontoereikend werd ervaren. Hierop werd het orgel in 2005 uitgebreid door orgelmaker J.C. van Rossum en medewerkers uit Andel, onder advies van Peter van Dijk. De windlade en het pijpwerk werden in een aparte kast achter de bestaande kast geplaatst. De winddruk, die na 1983 was verhoogd, werd teruggebracht en de intonatie werd gecorrigeerd.

De orgelkast is gemaakt van vurenhout. Het front en de zijkanten zijn geschilderd. Als bekroning heeft het een David-beeld met harp op de middentoren en twee identieke muziektrofeeën op de zijtorens.

Het orgel heeft 1 manuaal met 10 stemmen en een vrij pedaal met 5 stemmen. De dispositie van het Vollebregt-orgel:

Externe link
 Officiële Website Geertruidskerk
 Kerkfotografie Geertruidskerk
 ReliWiki Geertruidskerk
 Ton Mooy
 Van Rossum Orgelbouw

Kerkgebouw in Geertruidenberg
Protestants kerkgebouw in Nederland
Rijksmonument in Geertruidenberg

redpajama_set_name: RedPajamaWikipedia


text:
Art Business Conference
It is with regret, due to the ongoing impact of the pandemic, that we will not be able to host the Art Business Conference in London as scheduled on 9th September. We will continue to review and monitor the situation, in accordance with government guidelines, and will plan to reschedule the London conference when it is safe and appropriate to do so. And in the meantime, we will be offering a series of online talks, please subscribe to our newsletter for more information and updates.
Jonathan Ruffer
Jonathan grew up in North Yorkshire, read English at Cambridge, trained as a barrister, and then moved into the investment world, setting up Ruffer LLP in 1994.
In 2012, he purchased Jacob and his twelve sons, a series of paintings by Spanish master Francisco de Zurbarán, as well as 900 year-old Auckland Castle, Bishop Auckland, where they had been housed for more than 250 years. Determined to keep the paintings for the people of the North East and to allow them access to the Castle, which had previously served as a private palace for the Prince Bishops of Durham, Jonathan established The Auckland Castle Trust.
The charity is now working to transform Auckland Castle into an arts, faith and heritage destination of international significance. This includes a £17m restoration of the Castle itself, supported by the Heritage Lottery Fund, as well as a reimagining of its 17th Century Walled Garden and the creation of various new venues, including a Spanish Gallery, Mining Art Gallery and Faith Museum. This represents a total investment of £70m. An additional £30m is being invested by Auckland Castle Trust's sister charity, Eleven Arches, which is responsible for open air spectacular, Kynren – An Epic Tale of England.
Together, it is hoped that these charities will help to boost visitor numbers, create opportunities for employment and skills development and serve as a catalyst for the revitalisation of Bishop Auckland.
← Alan Gemmell	Jane Morris →
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text:
Home » Annie's hopes microwavable cups build on recent new product success
Annie's hopes microwavable cups build on recent new product success
BERKELEY, CALIF. — As Annie's readies for the launch of Macaroni & Cheese Microwavable Cups later this summer, the Berkeley-based natural and organic food company will look to garner the same positive response to the cups that it has from three recently introduced products: Cheddar Squares, organic graham crackers and Bernie's Farm Macaroni & Cheese.
Annie's Cheddar Squares are made without artificial flavors, synthetic colors and synthetic preservatives, and they contain certified-organic wheat and 6 grams of whole grains per serving.
"We've gotten a quick pick-up on (Cheddar Squares) in the natural channel," John Foraker, chief executive officer, said during a June 10 conference call with analysts to discuss fiscal 2013 results. "We are getting them out into grocery retailers as well. On a dollar sales per point basis, they're among the fastest turning items in the cracker segment for us. Not quite where the flagship Cheddar Bunnies items is yet, but pretty darn close. So we think there is a strong opportunity there. We are aging up, and appealing to a slightly older consumer who maybe doesn't want to be seen taking a box of bunny crackers around the house."
Meanwhile, the certified-organic graham crackers — available in honey and cinnamon varieties — have done "exactly what we expected," Mr. Foraker said. The flat graham crackers are made with 8 grams of whole grains per serving.
"It was a category that we have quite a bit of equity in, and the conventional flat graham cracker category is mostly full of products that contain ingredients that many Annie's-oriented consumers wouldn't be pleased with," he said. "We've now offered a certified-organic offering, and it is providing a lot of opportunities for consumers to trade up. In the natural channel, we are seeing very strong velocities on those items, particularly the honey item, which is going to be the best-selling item, and we are seeing velocities in those categories that are exceeding some of the velocities of our long-standing Bunny Graham items, which is great. It's still early, but there is a lot of opportunity to build that out."
Lastly, Mr. Foraker said Annie's has received good distribution build in mass channels and in independent natural foods retailers for its Bernie's Farm Macaroni & Cheese. Made with 100% cheese and featuring 8 grams of whole grains per serving, the certified-organic pasta is available in a variety of shapes featuring life on the farm.
"We're getting a lot of positive comments from consumers," Mr. Foraker said of the product line. "We don't expect that that item will be in our top four or five s.k.u.s (stock-keeping units) in the category, but it is incremental and appeals to a household that has slightly younger kids that's looking for that kind of experience — the fun, cute shapes."
Business Companies Ingredient Applications Food Manufacturers General Mills Organic
McDonald's pins hopes on new plan
Slideshow: New products from Wonka, Annie's, On the Border
Stonyfield, Nature's Path partner on new yogurt cups
Annie's weathers pizza recall to post solid earnings
New Product Pacesetters capitalize on healthy indulgence


text:
The Man Who Led the Harlem Renaissance—and His Hidden Hungers
Alain Locke helped launch black modernism, but he was spurned by the artists he hoped to turn into lovers.
By Tobi Haslett
Alain Locke was an aesthete in a climate that valued political engagement.Photograph by Gordon Parks / The Gordon Parks Foundation
Alain Locke led a life of scrupulous refinement and slashing contradiction. Photographs flatter him: there he is, with his bright, taut prettiness, delicately clenching the muscles of his face. Philosophy and history, poetry and art, loneliness and longing—the face holds all of these in a melancholy balance. The eyes glimmer and the lips purse.
It was this face that appeared, one summer morning in 1924, at the Paris flat of a destitute Langston Hughes, who put the scene in his memoir "The Big Sea." "Qui est-il?" Hughes had asked through the closed door. He was stunned by the reply:
A mild and gentle voice answered: "Alain Locke."
And sure enough, there was Dr. Alain Locke of Washington, a little, brown man with spats and a cultured accent, and a degree from Oxford. The same Dr. Locke who had written me about my poems, and who wanted to come to see me almost two years before on the fleet of dead ships, anchored up the Hudson. He had got my address from the Crisis in New York, to whom I had sent some poems from Paris. Now in Europe on vacation, he had come to call.
During the next two weeks, the middle-aged Locke, then a philosophy professor at Howard University, snatched the young Hughes from dingy Montmartre and took him on an extravagant march through ballet, opera, gardens, and the Louvre. This was the first time they'd met—but, after more than a year of sighing letters, Locke had come to Paris flushed with amorous feeling. The feeling was mismatched. Each man was trapped in the other's fantasy: Hughes appeared as the scruffy poet who had fled his studies at Columbia for the pleasures of la vie bohème, while Locke was the "little, brown man" with status and degrees.
Days passed in a state of dreamy ambiguity. "Locke's here," Hughes wrote to their mutual friend Countee Cullen. "We are having a glorious time. I like him a great deal." The words are grinning—and sexless. Hughes had found a use for the gallant Locke: an entrée to the bold movement in black American writing then rumbling to life. Cullen was gaining renown; the novelist Jessie Fauset was the literary editor of The Crisis; and Jean Toomer's "Cane"—a novel in jagged fragments—had trumpeted the arrival of a new black art, one chained to the fate of a roiling, bullied, "emancipated" people. "I think we have enough talent," W. E. B. Du Bois had announced in 1920, "to start a renaissance."
Locke drove it forward and is remembered, dimly, as its "dean." Whoever knows his name today likely links it to "The New Negro: An Interpretation," a 1925 anthology that planted some of the bravest black writers of the nineteen-twenties—Hughes, Cullen, Toomer, Fauset, Claude McKay, Zora Neale Hurston—squarely in the public eye. "The New Negro," which appeared just a year after Locke's summer visit with Hughes, launched the Negro Renaissance and marked the birth of a new style: the swank, gritty, fractious style of blackness streaking through the modern world.
Jeffrey C. Stewart's new biography bears the perhaps inevitable title "The New Negro: The Life of Alain Locke." But the title makes a point: the New Negro, that lively protagonist stomping onto the proscenium of history, might also be thought of, tenderly, as a figure for Locke himself. Stewart writes,
Locke became a "mid-wife to a generation of young writers," as he labeled himself, a catalyst for a revolution in thinking called the New Negro. The deeper truth was that he, Alain Locke, was also the New Negro, for he embodied all of its contradictions as well as its promise. Rather than lamenting his situation, his marginality, his quiet suffering, he would take what his society and his culture had given him and make something revolutionary out of it.
Here was a man who enshrined his passions in collections, producing anthologies, exhibitions, and catalogues that refracted, according to Stewart, an abiding "need for love." But even love could be captured and slotted into a series. Stewart tells us that among Locke's posthumous effects was a shocking item that was promptly destroyed: a collection of semen samples from his lovers, stored neatly in a box.
"I'm late! I'm late! For a very important—we're not putting labels on it right now!"
Meticulousness was a virtue among Philadelphia's black bourgeoisie, the anxious world into which Locke was born. On September 13, 1885, Mary Locke, the wife of Pliny, delivered a feeble, sickly son at their home on South Nineteenth Street. Arthur LeRoy Locke, as the boy was christened, spent his first year seized by the rheumatic fever that he had contracted at birth. The Lockes were Black Victorians, or, as Alain later put it, "fanatically middle class," and their mores and strivings shaped his self-conception and bestowed upon him an unusual entitlement to a black intellectual life. Pliny was well educated—he was a graduate of Howard Law School—but he suffered, as a black man, from a series of wrongful firings that scrambled the family's finances.
Roy (as Alain was known in childhood) was Pliny's project. "I was indulgently but intelligently treated," Locke later recalled. "No special indulgence as to sentiment; very little kissing, little or no fairy stories, no frightening talk or games." Instead, Pliny read aloud from Virgil and Homer, but only after Roy had finished his early-morning math exercises. He was being cultivated to be a race leader: a metallic statue of polished masculinity. But he was powerfully drawn to his mother. Pliny opposed this, and worked to shred the bond. Locke later recounted that his father's death, when he was six, "threw me into the closest companionship with my mother, which remained, except for the separation of three years at college and four years abroad, close until her death at 71, when I was thirty six." Under the watchful care of the struggling Mary, Roy became a precocious aesthete. And he proceeded, with striking ambition, from Central High School to the Philadelphia School of Pedagogy to Harvard.
Alain, as he was now called, fashioned himself as a yearning man of letters. Enraptured by his white professors, he decorated his modest lodgings in punctilious imitation of their homes. Not quite five feet tall, he had bloomed into a dandy, strutting down the streets of Cambridge in a genteel ensemble—gray suit, gray gloves, elegant overcoat—while displaying a shuddering reluctance to associate with the other black students at Harvard. They weren't "gentlemen," and, when a black classmate introduced him to a group of them, he was appalled:
Of course they were colored. He took me right up into the filthy bedroom and there were 5 niggers, all Harvard men. Well, their pluck and their conceit are wonderful. Some are ugly enough to frighten you but I guess they are bright. . . . They are not fit for company even if they are energetic and plodding fellows. I'm not used to that class and I don't intend to get used to them.
This is from a letter to his mother, and the bile streams so freely that one assumes that Mary indulged the young Locke's contempt. But his arrogance followed from the strangulating tension between who and what he was: blackness was limiting, oppressive, banal, a boorish hurdle in his brilliant path. "I am not a race problem," he later wrote to Mary. "I am Alain LeRoy Locke."
He'd arrived at Harvard when William James and then John Dewey had electrified philosophy in America under the banner of pragmatism, a movement that repudiated idealism and tested concepts against practice. Locke, who also became a devotee of the philosopher and belletristic aesthete George Santayana, went on to become the first black Rhodes Scholar—though as soon as he got to Oxford he was humiliated by white Americans, who shut him out of their gatherings. The scorn was instructive: the foppish Locke joined the Cosmopolitan Club, a debate society composed of colonial élites, who exposed him to the urgencies of anti-imperial struggle and, crucially, to the gratifications of racial and political solidarity. He finished a thesis—ultimately rejected by Oxford—on value theory, while slaking his sexual thirst in pre-Great War Berlin. He returned to Harvard to earn his Ph.D. in philosophy, for which he submitted a more elaborate version of his Oxford thesis, before joining the faculty at Howard. Mary moved down to Washington, where she was cared for by her doting son.
Locke's other devotions were ill-fated. Much of his erotic life was a series of adroit manipulations and disastrous disappointments; Langston Hughes was just one of the younger men who fell within the blast radius of the older man's sexual voracity as they chased his prestige. He fancied himself a suitor in the Grecian style, dispensing a sentimental education to his charges, assistants, protégés, and students—but hungering for mutuality and lasting love. Locke had affairs with at least a few of the writers included in "The New Negro." His desultory sexual romps with Cullen stretched over years—though Cullen himself would flee the gay life by marrying W. E. B. Du Bois's daughter Yolanda, in a lavish service with sixteen bridesmaids and thirteen hundred guests. Her father described the spectacle in The Crisis as "the symbolic march of young black America," possessed of a "dark and shimmering beauty" and announcing "a new race; a new thought; a new thing rejoicing in a ceremony as old as the world." To Locke, it was a farce.
He found his own way to stay afloat in the world of the black élite. Pliny had wanted his son to be a race man, and now Alain was lecturing widely and contributing articles to Du Bois's Crisis, which was attached to the N.A.A.C.P., and Charles Johnson's Opportunity, the house organ of the National Urban League. But he stood aloof from the strenuous heroism of Negro uplift, and what he thought of as its flat-footed insistence on "political" art. Locke was a voluptuary: he worried that Du Bois and the younger, further-left members of the movement—notably Hughes and McKay—had debased Negro expression, jamming it into the crate of politics. The titles of Locke's essays on aesthetics ("Beauty Instead of Ashes," "Art or Propaganda?," "Propaganda—or Poetry?") made deflating little incisions in his contemporaries' political hopes. Black art, in Locke's view, was mutable and vast.
Not unlike blackness itself. In 1916, Locke delivered a series of lectures called "Race Contacts and Interracial Relations," in which he painstakingly disproved the narrowly "biological" understanding of race while insisting on the power of culture to distinguish, but not sunder, black from white. Armed with his pragmatist training, he hacked a path to a new philosophical vista: "cultural pluralism."
The term had surfaced in private debates with Horace Kallen, a Jewish student who overlapped with Locke at both Harvard and Oxford. Kallen declared that philosophy should, as his mentor William James insisted, concern itself only with differences that "make a difference"—which included, Kallen thought, the intractable facts of his Jewishness and Locke's blackness. Locke demurred. Race, ethnicity, the very notion of a "people": these weren't expressions of some frozen essence but were molded from that suppler stuff, tradition—to be elevated and transmuted by the force and ingenuity of human practice. He could value his people's origins without bolting them to their past.
His own past had begun to break painfully away. Mary Locke died in 1922, leaving Alain crushed and adrift. But her death also released him, psychically, from the vanished world of the fin-de-siècle black élite, with its asphyxiating diktats. As he moved into modernism, he found that his life was freer and looser; his pomp flared into camp. At Mary's wake, Locke didn't present her lying in state; rather, he installed her, alarmingly, on the parlor couch—her corpse propped like a hostess before a room of horrified guests.
"The New Negro," which appeared three years later, stood as proof, Locke insisted, of a vital new sensibility: here was a briskly modern attitude hoisted up by the race's youth. The collection, which expanded upon a special issue of the magazine Survey Graphic, revelled in its eclecticism, as literature, music, scholarship, and art all jostled beside stately pronouncements by the race's patriarchs, Du Bois and James Weldon Johnson. The anthology was meant to signal a gutting and remaking of the black collective spirit. Locke would feed and discipline that spirit, playing the critic, publicist, taskmaster, and impresario to the movement's most luminous figures. He was an exalted member of the squabbling clique that Hurston called "the niggerati"—and which we know, simply, as the Harlem Renaissance.
The term has a crispness that the thing itself did not. It was a movement spiked with rivalries and political hostility—not least because it ran alongside the sociological dramas of Communism, Garveyism, mob violence, and a staggering revolution in the shape and texture of black American life, as millions fled the poverty and the lynchings of the Jim Crow South. The cities of the North awaited them—as did higher wages and white police. With the Great Migration came a loud new world and a baffling new life, a chance to lunge, finally, at the transformative dream of the nation they'd been forced, at gunpoint, to build. Modernity had anointed a new hero, and invented, Locke thought, a New Negro.
But he hoped that this new figure would stride beyond politics. Radicals irked him; he regarded them with a kind of princely ennui. In his mind, the New Negro was more than mere effect: history and demography alone couldn't possibly account for the wit, chic, or thrilling force of "the younger generation" to whom he dedicated the volume. In the title essay, Locke presented a race whose inner conversion had flown past the lumbering outside world. The Negro leaped not just from country to city but, crucially, "from medieval America to modern." Previously, "the American Negroes have been a race more in name than in fact," he wrote, but now, "in Harlem, Negro life is seizing upon its first chances for group expression and self-determination. It is—or promises at least to be—a race capital."
Black people had snapped their moorings to servitude and arrived at the advanced subjectivity lushly evinced by their art: their poems and paintings, their novels and spirituals. Aaron Douglas had made boldly stylized drawings and designs for the anthology, which rhymed with the photographs of African sculptures that dotted its pages: masks from the Baoulé and the Bushongo; a grand Dahomey bronze. Negroes were a distinct people, with distinct traditions and values held in common. Their modern art would revive their "folk spirit," displaying a vigorous continuity with their African patrimony and an embrace of American verve. "So far as he is culturally articulate," Locke wrote in the foreword to his anthology, "we shall let the Negro speak for himself."
The sentence shines with triumph; it warms and breaks the heart. Behind Locke's bombast was the inexorable question of suffering: how it forged and brutalized the collective, forcing a desperate solidarity on people not treated as such. The task that confronted any black modernist—after a bloody emancipation, a failed Reconstruction, and the carnage of the First World War—was to decide the place, within this blazing new power, of pain. Locke preached a kind of militant poise. His New Negro would face history without drowning in it; would grasp, but never cling to, the harrowing past. In the anthology, he cheered on "the lapse of sentimental appeal, then the development of a more positive self-respect and self-reliance; the repudiation of social dependence, and then the gradual recovery from hyper-sensitiveness and 'touchy' nerves." So the book's roar of modernist exuberance came to seem, in a way, strained.
But also lavish, stylish, jaunty, tart; bristling with whimsy and gleaming with sex. "The New Negro" thrust forth all the ironies of Locke's ethos: his emphatic propriety and angular vision, his bourgeois composure and libertine tastes. "What jungle tree have you slept under, / Dark brown girl of the swaying hips?" asks a Hughes poem, titled "Nude Young Dancer." Locke liked it—but was scandalized by jazz. And though he wrote an admiring essay in the anthology on the passion of Negro spirituals, he also chose to include "Spunk," a short fable by Hurston about cheating and murder.
"Nope. No, the top one. No, the other way."
Locke relished every titillating contradiction but shrank, still, from political extremes. Hoping to avoid the charge of radicalism, he changed the title of McKay's protest poem from "White House" to "White Houses"—an act of censorship that severed the two men's alliance. "No wonder Garvey remains strong despite his glaring defects," the affronted poet wrote to Locke. "When the Negro intellectuals like you take such a weak line!"
And such a blurred line. In a gesture of editorial agnosticism, Locke brought voices to "The New Negro" that challenged his own. Among the more scholarly contributions to the anthology was "Capital of the Black Middle Class," an ambivalent study of Durham, North Carolina, by E. Franklin Frazier, a young social scientist. More than thirty years later, Frazier savaged the pretensions and the perfidies of Negro professionals in his study "The Black Bourgeoisie." A work of Marxist sociology and scalding polemic, it took a gratuitous swipe at the New Negro: the black upper class, Frazier said, had "either ignored the Negro Renaissance or, when they exhibited any interest in it, they revealed their ambivalence towards the Negro masses." Aesthetics had been reduced to an ornament for a feckless élite.
The years after "The New Negro" were marked by an agitated perplexity. Locke yearned for something solid: a home for black art, somewhere to nourish, protect, refine, and control it. He'd been formed and polished by élite institutions, and he longed to see them multiply. But the Great Depression shattered his efforts to extend the New Negro project, pressing him further into the byzantine patronage system of Charlotte Mason, an older white widow gripped by an eccentric fascination with "primitive peoples." Salvation obsessed her. She believed that black culture could rescue American society by replenishing the spiritual values that had been evaporated by modernity, but that pumped, still, through the Negro's unspoiled heart.
Mason was rich, and Locke had sought her backing for a proposed Harlem Museum of African Art. Although the project failed (as did his plans for a Harlem Community Arts Center), Mason remained a meddling, confused presence in his life until her death, in 1946. During their association, he passed through a gantlet of prickling degradations. Her vision of Negro culture obviously didn't align with his; she demanded to be called Godmother; and she was prone to angry suspicion, demanding a fastidious accounting of how her funds were spent. But those funds were indispensable, finally, to the work of Hughes and, especially, Hurston. Locke, as the erstwhile "mid-wife" of black modernism, was dispatched to handle the writers—much to their dismay. He welcomed the authority, swelling into a supercilious manager (and, to Hughes, a bullying admirer) who handed down edicts from Godmother while enforcing a few of his own.
The thirties also brought revelations and violent political emergencies that plunged Locke into a rapprochement with the left. Locke the glossy belletrist gave way to Locke the fellow-traveller, Locke the savvy champion of proletarian realism. There was a fitful attempt to write a biography of Frederick Douglass, and a dutiful visit to the Soviet Union. But he was never a proper Communist. After the Harlem riot of 1935, he wrote an essay titled "Harlem: Dark Weather-Vane" for Survey Graphic, in which he pronounced the failure of the state and its economic system, but congratulated Mayor LaGuardia on his response to the riot, while also cautioning against both "capitalistic exploitation on the one hand and radical exploitation on the other." Frazier thought this a mealymouthed capitulation; taking Locke on a ride around Washington in his Packard coupe, Frazier screamed denunciations at his trapped, flustered passenger.
Locke was middling as an ideologue, but remained a fiercely committed pragmatist. The rise of Fascism saw his philosophical work make crackling contact with politics. "Cultural Relativism and Ideological Peace," a lecture delivered in the early nineteen-forties, took aim at the nation's enemies and their "passion for arbitrary unity and conformity." He sometimes groped clumsily for the radical language of recrimination: inching further from his earlier aestheticism, he praised Richard Wright's "Native Son" as a "Zolaesque J'accuse pointing to the danger symptoms of a self-frustrating democracy." And he remained riveted by the Negro's internal flight. One of his most gratifying contributions was his advocacy of the painter Jacob Lawrence, and his sixty-panel tribute to the Great Migration. (Inspecting a layout of Lawrence's series in the offices of Fortune, Locke exulted that "The New Masses couldn't have done this thing better.") Lawrence had expressed what Locke, with his fidgeting dignity, couldn't quite: the anger, the desolation, and the bracing thrill of a people crashing into history.
Locke was still driven by a need for order, for meticulous systems: the project that towered over his final years was "The Negro in American Culture," a book he hoped would be his summum opus. "The New Negro" anthology had been a delectably shambling sample of an era, confected from disparate styles and stuffed with conflicting positions. But "The Negro in American Culture"—he'd signed a contract for it with Random House, in 1945—was to be the lordly consummation of a life spent in the service of black expression. The book is a fixture of his later letters: either as an excuse for his absences ("It's an awful bother," he apologized to one friend, "but must turn out up to expectation in the long run") or as something to flaunt before a sexual prospect. Mason's death had sapped some of his power, so this new mission refreshed his stature and his righteous purpose.
But he couldn't finish the thing: his health was failing, he was stretched between too many obligations, and he was consumed, as ever, by the torment of unrequited love. His life was still replete with younger men to whom he was an aide and a guide—but not a sexual equal. "What I am trying to say, Alain," the young Robert E. Claybrooks wrote, "is that you excite me in every other area but a sexual one. It has nothing to do with the differences in ages. Of that I'm certain. Perhaps physical contact was precipitated too soon—I don't know. But I do know, and this I have withheld until now, an intense feeling of nausea accompanied me after the initial affair, and I know it would be repeated each time, if such were to happen again." Solomon Rosenfeld, Collins George, Hercules Armstrong: the names flit through the last chapters of Locke's life, delivering the little sting of sexual insult. By the end, he called himself "an old girl."
Yet Stewart's biography aims to heave Locke out of obscurity and prop him next to the reputations he launched. At more than nine hundred pages, it's a thudding, shapeless text, despotic in its pedantry and exhausting in its zeal, marked by excruciating attention to the most minuscule irrelevances. This is touching—and strangely fitting. Stewart's research arrives at a kind of Lockean intensity. But even Stewart's vigor falters as Locke's own scholarly energies start to wane. "Locke's involvement with the race issue," Stewart finally admits about "The Negro in American Culture," "had been pragmatic, a means to advance himself—to gain recognition, to be esteemed, and ultimately to be loved by the people."
Love: the word is applied like glue, keeping this vast book in one preposterous piece. Locke's most lasting lover was Maurice Russell, who was a teen-ager when he found himself looped into Locke's affections. "You see youth is my hobby," Locke wrote him at one point. "But the sad thing is the increasing paucity of serious minded and really refined youth." Russell was there—along with a few other ex-beaux—in 1954, at Benta's Funeral Home, on 132nd Street in Harlem, after Locke's death, from congestive heart failure. W. E. B. Du Bois and his wife, Shirley; Mrs. Paul Robeson; Arthur Fauset; and Charles Johnson all paid their respects to the small, noble figure lying in the coffin, who perhaps would have smiled at a line in Du Bois's eulogy: "singular in a stupid land."
The New Negro was a hero, a fetish, a polemical posture—and a blurry portrait of a flinching soul. But Locke took his place, at last, in the history he wished to redeem. "We're going to let our children know," Martin Luther King, Jr., declared in Mississippi in 1968, "that the only philosophers that lived were not Plato and Aristotle, but W. E. B. Du Bois and Alain Locke came through the universe." Locke's class had cleaved him from the "masses"—and his desires had estranged him from his class. From this doubled alienation sprang a baffled psyche: an aesthete traipsing nimbly through an age of brutal rupture. Wincing from humiliation and romantic rejection, he tried to offer his heart to his race. "With all my sensuality and sentimentality," he wrote to Hughes after Paris, "I love sublimated things." ♦
Published in the print edition of the May 21, 2018, issue, with the headline "Black Orpheus."
Tobi Haslett has contributed writing to n+1, Artforum, and Harper's.
More:Alain LockeHarlem Renaissance"The New Negro: The Life of Alain Locke"Jeffrey C. StewartBiographiesBooks
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Hurston spent years turning an account of the transatlantic slave trade into a book. Then the manuscript languished for nearly nine decades.
By Casey Cep
A Brit Explains the Royal Wedding
Colin Stokes, a real-life English person, breaks down everything you need to know about Prince Harry and Meghan Markle's impending nuptials.


text:
title: Custom js
description: How to add custom javascript
category: Documentation
subCategory: Developer
---

# Custom js

Any `.js` file you place at `./src/js/` will be added to the main script injected in all pages.

redpajama_set_name: RedPajamaGithub


text:
U-M Men Claim Seven Event Titles at EMU; Dennis, Riffle Throw at Mt. SAC
by RunMichigan Staff, Apr. 20, 2013
Site: Ypsilanti, Mich. (Rynearson Stadium)
Event: EMU Invitational (Day 2)
U-M Team Result: No team scoring
Next U-M Event: Thu-Sat., April 25-27 -- at Penn Relays (Philadelphia, Pa.)
YPSILANTI, Mich. -- The University of Michigan men's track and field team won seven of the 11 events it competed in on the final day at the EMU Invitational on Saturday (April 20) at Rynearson Stadium. The Wolverines won eight of 12 total events throughout the two-day event.
In the field, freshman Stephen Burk (Parsippany, N.J./Parsippany) recorded the day's best mark in the javelin with a throw of 56.14 meters (184-2.25). Sophomore/freshman Derek Sievers (Byron Center, Mich./Byron Center) won the shot put with a toss of 15.73 meters (51-7.25). Fifth-year senior Erik Braun (Pinckney, Mich./ Pinckney Community) registered a mark of 13.53 meters (44-4.75) to earn the triple jump crown.
On the track, junior Justin Clarke (Flint, Mich./Southwestern) ran a time of 10.86 to win the 100-meter dash. Junior Erick Gavin (Chicago Heights, Ill./Marian Catholic) clocked the fastest time in the 110-meter hurdles, matching his career best of 14.13, to win the event.
Michigan went 1-2 in the 800-meter run, as sophomore/freshman Zac Miklja (Rochester, Mich./Avondale) and freshman Nate Chapman (Auburn Hills, Mich./Avondale) were the first to cross the finish line in times of 1:54.30 and 1:55.08, respectively. It marks a new career-best time for Miklja.
Michigan's 4x100-meter relay team was also victorious, finishing the race in 41.78. The relay consisted of sophomore/freshman Codie Nolan (Morenci, Mich./Adrian), fifth-year senior Matthew Campbell (Rochester, Mich./Rochester), freshman Antonio Whitfield (Canal Winchester, Ohio/Canal Winchester) and Clarke.
On the opening day at EMU (Friday, April 19), senior/junior Troy Sneller (Hamilton, Mich./Hamilton) clocked a personal-best time of 52.66 to win the 400-meter hurdles.
Codie Nolan -- 200m (22.10)
Matthew Campbell -- 200m (22.21)
Zac Miklja -- 800m (1:54.30)
Event Winners/U-M Finishers (Day 2)
100-meter Dash
1. Justin Clarke, U-M 10.86
6. Codie Nolan, U-M 11.10
10. James Vincent, U-M 11.27
13. Antonio Whitfield, U-M 10.81
1. Charles Anthony, Detroit Mercy 22.00
4. Matthew Campbell, U-M 22.21
1. Jeff Elam, Eastern Michigan 49.57
4. Troy Sneller, U-M 50.82
8. Garrick Roemer, U-M 51.30
800-meter Run
1. Zac Miklja, U-M 1:54.30
2. Nate Chapman, U-M 1:55.08
21. Scott Dvorak, U-M 2:02.63
110-meter Hurdles
1. Erick Gavin, U-M 14.13
1. MICHIGAN 41.78
(Codie Nolan, Matthew Campbell,
Antonio Whitfield, Justin Clarke)
1. Ja'Quan Patterson, Detroit Mercy 6.92m (22-8.50)
2. James Vincent, U-M 6.58m (21-7)
3. Antonio Whitfield, U-M 6.38m (20-11.25)
1. Erik Braun, U-M 13.53m (44-4.75)
1. Greg Pilling, Dynamo Throw 53.33m (174-11.50)
3. Derek Sievers, U-M 49.28m (161-8)
6. Justin Gaumer, U-M 46.67m (153-1.25)
1. Derek Sievers, U-M 15.73m (51-7.25)
1. Stephen Burk, U-M 56.14m (184-2.25)
Site: Walnut, Calif. (Hilmer Lodge Stadium)
Event: Mt. SAC Relays (Day 3)
WALNUT, Calif. -- Two throwers represented the University of Michigan men's track and field team on the final day of the Mt. SAC Relays on Saturday (April 20) at Hilmer Lodge Stadium.
After winning the open hammer throw with a school-record setting throw yesterday (Friday, April 19), senior/junior Ethan Dennis (Grand Rapids, Mich./Grandville) placed 10th in the hammer throw invitational today with a mark of 64.70 meters (212-3), which came on his first throw.
Junior/sophomore Cody Riffle (Toledo, Ohio/St. John's Jesuit) competed in the shot put invitational, where he finished eighth with a throw of 18.08 meters (59-4).
The Wolverines will be back in action at the historic Penn Relays next Thursday-Saturday (April 25-27).
Shot Put (Invite Elite)
1. Kurtis Roberts, Nike 19.95m (65-5.50)
8. Cody Riffle, U-M 18.08m (59-4)
Hammer Throw (Invite Elite)
1. Kibwe Johnson, NYAC Nike 76.28m (250-3)
10. Ethan Dennis, U-M 64.70m (212-3)
• Friday Results


Dr Cathy Keys is a Research Fellow - Indigenous Design Place. She completed her doctoral studies in the Aboriginal Environments Research Centre in 1999. Her doctoral thesis 'The Architectural Implications of Warlpiri jilimi' was concerned with the People Environment relations of Aboriginal women living in Central Australia. She is committed to exploring the social and cultural properties of architectural space. Cathy has taught in Aboriginal Environments and architecture subjects in the School of Architecture, The University of Queensland and she also led the development of a new elective on Aboriginal Architecture. performed architectural consultancies in Central Australian Aboriginal communities and worked extensively in the government sector. Cathy is an accomplished ceramic artist with a track record of solo and group exhibitions.
In partnership with Professor Paul Memmott of the Aboriginal Environments Research Centre, School of Architecture, I am researching examples of architectural design that draw on and support culturally-specific beliefs and practices surrounding well-being.
I am currently researching the sharing of architectural knowledge between Aboriginal people and European settlers in Australia at the time of early cross-cultural contact. This research is concerned with locating Indigenous architecture more centrally within existing architectural histories.
I am also working on the nature of interstitial housing space and practices in Australia .
The findings of my research into the culturally-specific needs of users involves applied research outcomes aimed at informing architects and policy writers designing and providing dwellings and institutional architecture intended for Aboriginal and Torres Strait Islander clients. This research includes techniques such as participatory design processes and post occupancy evaluations. To date this research has resulted in the development of culturally sensitive design briefs and design criteria that informed architectural housing and aged care projects in remote parts of Central Australia.
Book Chapter: Mobilising Indigenous agency through cultural sustainability in architecture: are we there yet?
Architecture of Central Asia: Cultural Hybridity as a Model of Thinking.
This research involves exploring a range of theoretical approaches concerned with the concept of well-being and explores their applicability to architecture concerned with Australian Aboriginal environments.
Historically, well-being studies and initiatives have concentrated on individuals using Western constructs of economic and physical health. Contemporary studies focusing on subjective well-being and culture have highlighted the weaknesses of these earlier approaches and there is a growing recognition of the need to examine broader social relationships, capabilities and culturally-specific notions of well-being. More holistic definitions of health have paralleled a growing interest in spiritual and emotional well-being and the positive impacts of natural and built environments.
This investigation suggests that notions of well-being that encompass cultural, social, emotional, spiritual and environmental relationships have the potential to add value and a new and positive perspective to studies, design and policy concerned with architecture associated with Aboriginal environments.
Keys, C. (2000). The House and the Yupukarra, Yuendumu, 1946-96. In P. Read (Ed.), Settlement: A History of Australian Indigenous Housing (pp. 118-129) Canberra: Aboriginal Studies Press.
Habibis, Daphne, Memmott, Paul, Phillips, Rhonda, Go-Sam, Carroll, Keys, Cathy and Moran, Mark (2013) Housing conditionality, Indigenous lifeworlds and policy outcomes: towards a model for culturally responsive housing provision. AHURI Final Report, 212: 1-108.
Keys, Cathy (2013) Pine: Bunya. Bunya Mountains, QLD, Australia, Bunya Forest Gallery.
Keys, Cathy (2013) Pine: Pine(ing). Sydney South, NSW, Australia, Cathy Keys Website.
Keys, Cathy (2013) Pine: The Bunyas. Fortitude Valley, QLD, Australia, Artisan Gallery.
Keys, Cathy (2010) Typology. Waverley, NSW, Australia, Australian Ceramics website.
Keys, Cathy (2009) Silt. Fortitude Valley, QLD, Australia, Signature Brisbane.
Keys, Cathy (2009) The new Fusions Gallery - an Installation by Luke Wright. The Journal of Australian Ceramics, 48 1: 86-89.
Keys, Cathy (2008) Tidemark. Gympie, QLD, Australia, Cooloola Shire Public Gallery.
Keys, Cathy (2007) Oxide stains. Ceramics Technical, 25: 18-22.
Keys, Cathy (2007) Remnant. Brisbane, QLD, Australia, Micheal Signoures Galleries.
Keys, Cathy (2005) Do they hold water?. The Journal of Australian Ceramics, 44 3: 66-68.
Keys, C. (2003) Housing design principles from a study of Warlpiri Women's Jilimi. TAKE 2: Housing Design in Indigenous Australia, 2 64-71.
Keys, C. (2000) Warlpiri ethno-architecture and applied Aboriginal architectural design: Case study material from Yuendumu. People and Physical Environment Research: The Person-Environment and Cultural Heritage Journal of Australia and New Zealand, PaPER55-56 54-68.
Keys, Cathy (1997) Unearthing ethno-architectural types - categories of societies, meanings and properties of Yunta(windbreaks) of Warlpiri single women's camps. Transition, 54-55: 20-29.
Keys, Cathy (2017). The 1950s elevation debate and the tropical Queensland house: tropical storms, 'progressive architecture' and the devaluing of the 'under the house'. In: Nawari O. Nawari and Nancy Clark, Tropical Storms as a setting for adaptive development and architecture iNTA 2017 (6th International Network of Tropical Architecture Conference 2017). 6th International Network of Tropical Architecture Conference 2017, University of Florida, FL, United States, (23-34). 1-3 December 2017.
Keys, Cathy (2014). Skin fabric iron shade. In: Christoph Schnoor, Translation: The 31st Society of Architectural Historians, Australia and New Zealand (SAHANZ) Annual Conference. Society of Architectural Historians, Australia and New Zealand (SAHANZ) Annual Conference, Auckland, New Zealand, (133-143). 2-5 July 2014.
Memmott, Paul and Keys, Cathy (2014). Translating the design of behaviour settings for Aboriginal well-being. In: Christoph Schnoor, Translation: The 31st Society of Architectural Historians, Australia and New Zealand (SAHANZ) Annual Conference. Society of Architectural Historians, Australia and New Zealand (SAHANZ) Annual Conference, Auckland, New Zealand, (517-529). 2-5 July 2014.
Keys, Catherine Ann (1999). The architectural implications of Warlpiri jilimi PhD Thesis, School of Architecture, The University of Queensland.
Keys, Catherine (1993). Aboriginal women's birthing and architectural implications in central Australia Honours Thesis, School of Geography, Planning and Architecture, The University of Queensland.


The United States on 7 August reintroduced sanctions on Iran that had been suspended as part of the Joint Comprehensive Plan of Action (JCPOA), affecting Iran's ability to sell foreign debt, acquire gold and base metals, trade its currency for the US dollar, and trade in the automotive sector.
Iran is trying to consolidate politically and appease protesters to prevent sanctions from destabilising the country; this risks backfiring and reducing leadership cohesion.
Iran will turn to China, Russia, and Turkey to reduce the impact of sanctions, but all three countries are embroiled in complex negotiations with the US in which Iran is one bargaining chip.
Iran is extremely unlikely to take military action, while the US believes time is in its favour as it increases pressure on Iran to see what concessions it can extract and how hard to push.
Our assessment is that the United States is not pursuing objectives identified in advance. Rather, the US is escalating on an opportunistic basis to see what it can get Iran to concede, and will reassess its position along the way, deciding whether to pursue sanctions and/or internal destabilisation efforts until it gains enough concessions from Iran, or even the creating an environment where regime change would be more likely. IHS Markit assesses that the minimum requirement for the US is for Iran to reduce the threat it poses to Israel and Saudi Arabia, through negotiating a new agreement on the nuclear issue that includes reductions to Iran's ballistic missile programme, the reduction of support for the Houthi Movement in Yemen, and no further expansion of Hizbullah or similar organisations in Syria.
From the US perspective, the longer sanctions are applied, the greater the damage to Iran's economy and, therefore, the less ability Iran has to pursue activities the US considers threatening, and the greater the perceived likelihood of government destabilisation. As such, leaving the JCPOA and evidence that Iran was heading for nuclear 'break-out', or the closure of the Strait of Hormuz are among the main triggers that would bring about US-Iran war. The US has repeatedly warned that Iranian closure of the Strait of Hormuz would be considered an act of war. Despite its rhetoric, we assess that the Iranian government realises that a military confrontation with the US would end in defeat, putting the survival of the Islamic Republic at risk, while the US has no interest in launching a war because it wants to give time for sanctions to force Iran to negotiate. As a consequence, Iran is unlikely to close the Strait of Hormuz in the coming months, even after US sanctions on the sale of oil are introduced in November. Localised Iranian attacks on US assets in Iraq, Syria, or elsewhere would likely bring an overwhelming but localised US response.
Despite European governments' protestations and attempts at maintaining the JCPOA through measures intended to block sanctions, most major European multinationals are likely to adhere to US sanctions, given their extensive interests in the US. The banking and insurance sectors are particularly dependent on the US market, and will remain the main bottlenecks for any investments in Iran. China, Russia, and Turkey have also objected to the reintroduction of sanctions. All three countries are engaged in complex negotiations with the US over issues that are more critical to their national security and economies than Iran. For Turkey, this relates to Syria and the bilateral defence relationship with the US and NATO membership, including US sanctions on Turkey and the holding of US pastor Andrew Brunson. For Russia, this relates to Syria, Ukraine, and sanctions. For China, this relates to trade, North Korea, and Taiwan. For all three countries, Iran is a bargaining chip - all three countries will likely offer to help the US enforce its sanctions on Iran if they can secure US concessions in higher-priority areas. However, each of these negotiations is time-consuming and, while they are under way, all three countries are likely to assist Iran in reducing the impact of sanctions. China, which buys around a third of Iranian crude, has reportedly agreed to not increase its imports from Iran, according to unnamed US officials speaking to media outlets, therefore refraining from challenging the US directly and allowing the US to pressure Iran more effectively.
Iran has rejected US President Donald Trump's invitation to bilateral talks without preconditions. It has conducted a naval exercise which US and Israeli intelligence services claim simulated closure of the Strait of Hormuz, reflecting Iranian President Hassan Rouhani's threat to close the strait in response to sanctions affecting its ability to sell oil, which will come into effect in November. In contrast, Iranian Supreme Leader Ali Khamenei had said that there would be no war with the US, because Iran would not start one.
In an effort to placate popular dissent over endemic corruption, Iran has also launched a campaign against corruption on 12 August, arresting 67 officials and barring another 100 from travelling. This was initiated by the head of the judiciary, Sadeq Larijani, whose brother is the speaker of the Majles (parliament) and who is a hardline conservative. Iran had dismissed the head of the central bank, an ally of Rouhani, on 25 July, in line with demands from half of the members of the Majles. The head of the central bank's foreign-exchange operations was also arrested.
IHS Markit assesses that Iran will likely turn to China, Russia, and Turkey to mitigate the impact of sanctions. However, all three view Iran as a bargaining chip in higher-priority bilateral negotiations with the US, indicating that, while they will not fully enforce sanctions, they will also refrain from provoking the US over this issue. This reduces Iran's ability to manage its economy in the face of sanctions, especially the depreciation of its currency, further raising unrest risks at a time when the leadership is increasingly divided. Iran's measures against corruption will deepen those divisions, as the country is unable to reduce the role of the Islamic Revolution Guards Corps (IRGC) or of the hardline clerical establishment in the economy, which is the source of much of the corruption.
Key indicators of rising war risk would be Iran's resumption of nuclear activities banned under the JCPOA, especially stockpiling uranium enriched to 3.5% or enriching uranium beyond that level; Iran ending its participation in the JCPOA and expelling international inspectors; and Iranian-backed Houthi insurgents' attacks on US shipping in the Bab al-Mandab Strait, or extensive disruption to the United Arab Emirates' and Saudi Arabia's oil shipping through the strait.