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8 paintings made by Aglaé Bassens before leaving Paris for New York and right before the COVID quarantine. Evoking both longing and detachment, Bassens' paintings form thresholds for engagement and disengagement with the world.
When I paint, I tread a tightrope between observation and action, thinking and doing. As I work, my awareness shifts back and forth as I ally the appraisal of my eye to the intuitive movements of my hand across the canvas. When I step back and put the brush down, I am in the gap between observation and action. This back and forth in the act of painting feels to me like human existence - at times one is removed, looking out from within, detached. At other times one is fully immersed, in the present moment. These states cannot be disentangled. Detachment and attachment, absence and presence - each is defined by its opposite.
When I was living in Paris, the world around me was unfamiliar even though the language was my own. What I saw felt remote, and started dissolving into dreamy painterly surfaces that I could appraise and spy upon in a detached way, the act of looking dissolving my sense of self. Recently, I got married and experienced the other end of that spectrum. My paintings of cats are self portraits of a sort, celebrating unselfconscious sensation, animal playfulness and domestic bliss.
Aglaé Bassens
Aglaé BassensEvening Light, 2019 Oil on canvas
13 x 16 in
33 x 40.6 cm
Aglaé Bassens Blue Cat, 2020 Oil on canvas, $4000 100 x 130 cm
Aglaé Bassens Bored Cat, 2020 Oil on canvas, $4000 100 x 130 cm
Aglaé BassensA Table, 2019Acrylic and oil on canvas13 x 9 1/2 in
33 x 24.1 cm
Aglaé BassensPink Cat, 2020Oil on canvas, $4000100 x 130 cm
Aglaé Bassens (b. 1986, Belgium) lives and works in Brooklyn, NY. Solo exhibitions include Surface Tension at Nars Foundation, Brooklyn (2018), You Can See Better From Here at CRUSH Curatorial, New York (2018) and Front Parting, Cabin Gallery London (2016). Recent group shows include Still Here, Newington Gallery, London (2019), Chains, Central Park Gallery, Los Angeles (2019), HEADS, The Java Project, Brooklyn (2017), Contemporary British Painting Prize, London (2016), Biennial Of Painting: The Painter's Touch, Museum of Deinze, Belgium (2014), PAPER, Saatchi Gallery, London (2013) and Jerwood Drawing Prize, London (2012). Her work is featured in New American Paintings No 134 Northeast Issue, and in 100 Painters of Tomorrow published by Thames and Hudson (2014). She has a BA in Fine Art from the Ruskin School of Drawing and Fine Art, Oxford University (2007) and an MFA in Fine Art Painting from the Slade School of Fine Art, London (2011).
Conversation: AGLAÉ BASSENS / ERIC OGLANDER at CRUSH curatorialMODERATED AND TEXT BY NICOLE KAACK
Nicole Kaack: Thank you all for joining us today. I suppose most of you are friends and family, but I can still introduce and talk about the project a little bit. Karen and I started this conversation series about six months ago now, in the fall. The talks have been a means of thinking about different ways of getting artists' voice out into the world and offering this opportunity to artists to generate more writing and dialogue around their work.
At the same time, we are also trying to think about how conversations and relationships with others inform a practice. So in addition to asking artists to discuss the work that's in the space, but we have also asked that they invite someone to converse with who has impacted their practice. Aglaé, whose show we're in right now, invited Eric to come and talk. I'll read brief bios for both of them and we can launch in.
Aglaé Bassens lives and works in Brooklyn, New York. Solo exhibitions include Surface Tension at NARS Foundation, Front Parting Cabin Gallery, London. Recent group shows include HEADS, The Java Project, Contemporary British Painting Prize, Biennial Of Painting: The Painter's Touch, Museum of Deinze, PAPER, Saatchi Gallery and Jerwood Drawing Prize, London. Her work is featured in New American Paintings and the 100 Painters of Tomorrow published by Thames and Hudson. She has a BA in Fine Art from the Ruskin School of Drawing and Fine Art, Oxford University and an MFA in Fine Art Painting from the Slade School of Fine Art, London.
Eric Oglander's father is a painter and his mother a ceramicist, so he fell quickly into artmaking himself and had his first show in 2005. Small-scale minimal sculptures make up the majority of his work, but a love of collecting, buying, and selling objects led to the creation of Craigslist Mirrors, a vernacular photo project made up found mirrors from Craigslist. Eric published a book, Mirrors, with TBW Books in 2015. He currently resides in Queens, New York.
Thank you both for coming today. I wonder if you could start off by explaining how you know each other and how you met, because I think that's an interesting story.
Aglaé Bassens: I was talking to the Soho Revue Gallery in London about doing a potential show. Didn't know if it would be with someone else. Eric Oglander's name came up as a potential person to be paired with. Upon looking at the work, I realized that I actually had seen it and even tried to paint his photographs of mirrors, almost three years prior. But I hadn't realized at the time that he was an artist and that these were part of a project.
It was a really strange coincidence and a good pairing. We started emailing each other a lot, putting the show together. We exhibited togged in, was it 2016?
Eric Oglander: Sounds right.
Aglaé Bassens: Then I ended up moving here to New York, so that was a natural next step in our friendship.
Nicole Kaack: [to Eric] Do you want to say a few words about Craigslist Mirrors? I don't know if everyone here is familiar.
Eric Oglander: About four years ago, right before I moved to New York when I was still living in Tennessee, I was buying and reselling stuff that I found on Craigslist to make some extra money. Usually buying and reselling bicycles, but I would often peruse the garage sale section. People would have these virtual garage sales, where they'd post everything they had for sale onto Craigslist.
Someone had posted a photo of a mirror, and it was just a stunning, standalone photograph. So I dragged it into a folder on my desktop, and then decided to try to find more of them. Before I knew it, I had hundreds of these images collected. When I moved to New York City, and went to Printed Matter for the first time, I saw all these incredible art books and decided that I should make a photo book out of this collection of images.
But I didn't have the money to publish a book at the time. So I started a Tumblr instead. It kind of went viral for lack of a better word. I later started an Instagram, then a publisher contacted me and we made a book.
Nicole Kaack: It happened in the end. Full circle.
Eric Oglander: Yeah. I was rather obsessed with it, when I first moved to New York. It was all I was doing, hunting for this imagery.
Nicole Kaack: [to Aglae] This project seems parallel to your practice as well. One of the things that we talked about in preparing for this conversation was obsession; how in both of your practices, there is this a process of collecting image and such that, through repetition, you build motifs to invest with meaning. Maybe you both want to talk about your method of finding images?
Aglaé Bassens: In my work, there are things like the windows and the fences that I have been seeking out for a long time. As I see fences or windows that I like, I photograph them; I also have a folder on my desktop with windows to paint, that dates back quite a ways. To some extent it's a process of sifting through a lot of things. So, sometimes it's through having seen something that I like the look of, that I know I want to paint.
But sometimes it's a different method, where I'm actively searching for imagery that's already out there. Then it's working out what I like and why I like it. The more I look, the more I can find what's inside that or outside of that. That's probably where that obsession is in my mind.
Eric Oglander: Mm-hm. And constraining it within a particular theme of windows and fences forces you to pick out these more subtle emotions happening within the singular theme that makes it more accessible.
Aglaé Bassens: Yeah, you can start to have whole folders of fences with stuff behind, fences with nothing behind it — different levels and subcategories.
Eric Oglander: That's what I loved about the Craigslist project; they were all photos of mirrors that people were selling, but they all encapsulated different emotions. Some of them were really funny. Some of them were really dark and sad. You were able to explore different things within that one category.
Nicole Kaack: Do you think the way you respond to the emotion in the mirrors is a projection? Do you think there's a certain element of trying to stage something in those photos? This comes back to another discussion on intentionality in internet imagery.
Aglaé Bassens: Maybe it's like a license. Even if you thought, 'It'd be great to have a picture of a mirror that would look this way,' in your case, Eric, or for me, 'It would be great to have a picture of a window that would be like this'; if I find that it's already out there and someone else has made it, I still have license to paint it. Because that discovery establishes it as something that is out there and exists in the world, as opposed to just something that I'm projecting.
There's an element of not wanting the work to be a trace or expression of my hand, but still somehow recognizing the thing I want to do through someone else. That gives me a freedom.
Sometimes when I want to paint something, and look through imagery, then think, 'Maybe I should just imagine it.' I make myself just do a drawing to paint from. And it's weird the things that come up in the drawing — you would think it would be very plain. But things appear that are actually quite distinctive, and then I realize that it's based on things I've seen, or it's difficult to pick out exactly where it comes from. It's a form you've remembered badly or an image derived from 200 pictures of fences. Deciding to draw without looking at a picture is a filter.
Eric Oglander: I've personally really struggled with self-branding and self-marketing, even attaching my name to my work. The mirror project was a way for me to act more as a curator, showing an aesthetic I appreciated. It was not my work, when it came down to it. Someone else was taking the photograph. It can still live within the canon of photography, but these people didn't intend what they were capturing. That's what I really appreciated about it.
Nicole Kaack: It's a double remove. Not only is it not your work, but the objects themselves are about trying to get away from being represented to some extent. Mirrors deflect or dodge their own selfhood.
Eric Oglander: I think it's the same thing that's attractive about folk art or outsider art; people like to think that those individuals aren't making work so that it can become the next hot thing. They're just making it because they love it, or because they interact with it spiritually.
Nicole Kaack: It's interesting that the Craigslist mirrors have a purpose. There's a use value to them, which is the sale. Both of you interact with imagery that is very rooted in the mundane or quotidian — you are finding the expressive in the everyday. There is perhaps a sense of creating ceremony or ritual of day-to-day things.
Aglaé Bassens: For me, it's to do with cropping. There are lots of pockets of beautiful things every day that you walk past; things that could take on narrative or be sinister that you just glide past. These scenes are what happen when you stop and try to imagine that specific square outside of its context. I do that by cropping the imagery. I like that it's available to anyone — it's not a special place you have to travel to or a special mindset. It just takes actively stopping for a second to look at something.
Eric Oglander: You're recontextualizing this imagery via painting, while I'm doing it by removing it from Craigslist and putting it on another website.
Aglaé Bassens: Yeah, it's definitely context.
[Audience member]: [to Eric] Do you crop it?
Eric Oglander: No, I've never altered any of the photos. Just drag and drop.
Nicole Kaack: [to the audience] I should say, please do jump in if you have a question. [to Eric and Aglae] The idea of context comes back to the question of whether the works require a certain lens or a certain person to be understood? What is required of the viewer in terms of knowledge or nostalgia, perhaps?
Aglaé Bassens: I'd like to think my paintings are for everyone. I think part of what draws me to subject matters that are quite mundane, ordinary still lives, is that they're so accessible. Everyone's had the experience of seeing the sun hit a window a certain way. I guess I don't want to claim any meaning in the same way of not wanting to claim anything about who I am. I like that it's almost void of meaning — there's been 1000 ways of painting it, there will be 1000 more, and they're just interesting in themselves. I don't even have to do anything, in a way. We each have a way of looking that's highly personal. You would notice these everyday details when you stop and pause and so, by definition, you're being introspective when you do pay attention to them. Those mundane things immediately channel your personal experiences — where you came from and where your mind goes in those times when you stop and look. That's the sort of space I want to bring people back to when they experience the work.
Nicole Kaack: What would you say about that, Eric?
Eric Oglander: With the mirror project, I feel like people that are less entrenched in the academic art world are more likely to see the humor in the work first. But others have taken it and made it this highly intellectual, highly conceptual project. Which is fine. I feel that it's for everyone. I think everyone can pull something from the project.
Nicole Kaack: I was thinking about that element of play in relation to your other website, Tihngs, which is this amalgam of objects that you're finding or making and selling. In interesting ways you are inserting yourself or the things that you're making into this collection of used or forgotten materials.
Eric Oglander: Yeah, it feels like a really similar project in a lot of senses. The sculpture I make plays into it as well. I try to make works that are really simple and quiet, that feel like they could've just been found on the street and don't have a strong presence. We talked before about how I think it's easy to make impressive work when it's immense in scale or color. It's easy to shock people. So I try to make the opposite of that. Objects that are really quiet and don't jump out at you. You have to come to them.
Nicole Kaack: [to Eric] It's interesting, your work tends to be more sculptural, but the Craigslist Mirrors was kind of a foray into a photographic lens. [to Aglae] And, in parallel, this work is more sculptural than you've done before.
Aglaé Bassens: I think the first sculptural thing I'd done was a mural, which is obviously in space but still very flat. So this is the first standing alone thing I've done. The way I came to them or the feeling that came with making them is an interest in making objects that just look like ordinary things again. This is a thing that has a purpose, it exists as a screen in the room. I'm not doing anything shouting for attention. It's a modest object and I've just tweaked it a little bit. It just makes you think about it twice but it's not doing anything more. I think I might try and make more things like this.
Nicole Kaack: These sculptural forms continue the project of disturbing spaces in a similar sense to the crop and focus of your paintings.
Aglaé Bassens: Looking and experiencing are two different states. A lot of the windows and fences are portals between those two things. I'm interested in how these objects feed into the bodily experience. It's more immersive. So maybe it's a new way I've found, other than scale, to engage the viewer's body. The smaller works on the wall are more to do with holding an idea in your mind and less to do with presence.
Eric Oglander: It's just funny that you use the word 'portal' because that's one of the more common descriptors I see attached to the mirror project. As if you could use the mirrors to enter another dimension. It's just a mirror on the ground reflecting the sky, a blank blue, but it really does feel that way.
Nicole Kaack: I think there's a particular thing about those images which give you a lens into a different part of a space that you otherwise have no context for. The photograph of the mirror describes surroundings that you can't inhabit physically. That seems to be an interest in your work as well, Aglaé.
Aglaé Bassens: A mirror is also an illusionistic, trompe-l'oeil thing. Within limited means, the space of a rectangle, there are endless possibilities that can be reflected in it. I like the tension in the fact that, even though these new works are sculptures, they still feel flat. Or they feel like they could be right up against a wall. I want to continue a relationship with flatness. I like the parameters of painting, which feel similar to the attraction of mirrors.
Nicole Kaack: Do you want to talk at all about the show that you have at NARS as well? And the cultivation of that particular but distinct motif?
Aglaé Bassens: I have a show that opened in Sunset Park last night, which is on for a month. The theme or the anchor in terms of imagery is a palm tree, which may seem a little odd in relation to this show. But it ultimately comes from the same impulse to repeat and exhaust the image. The motif falls across different surfaces, printed on a shirt, on wallpaper, in the form of an actual palm tree. I'm interested in the way that it becomes more elusive and meaningless the more you repeat it. It started from the idea of the palm tree as being a cliché logo for the exotic. Conversely, a lot of the work here had to do with being on the outside as a newcomer to New York. I thought it was interesting to play on an overused symbol for that, to dismantle it by repeating it over and over until it becomes unremarkable and unexotic.
Nicole Kaack: It's curious that you say that repetition creates meaninglessness. I understand that, but I also feel that it invests meaning. In the way, for example, that we have discussed each of your relationships with motifs. The more you see of the index or collection, the more you sense what is unique in each one. This comes back to what you were saying about the fences.
Aglaé Bassens: Maybe it actually makes you think more about what you're looking at. If you repeat the same word over and over again, it starts sounding weird. I think it's the same thing when you keep repeating the same image. Ideally you want the viewer to get to the point where they think, 'What is it about palm trees?'
Nicole Kaack: You mentioned that the image of the palm tree was sourced from a particular experience.
Aglaé Bassens: At some point, my parents were living in Santa Barbara, California, and that was the first time I saw palm trees in real life. I felt really sad because the only ones that are planted there are basically dying. They're not native to that climate but are planted from a different seed. They're continuously used to visualize a glamorous, West Coast lifestyle, but at the same time they're just these dying plants. They didn't really mean what they're supposed to.
I also just find them really compelling. I can't help wanting to paint T-shirts with that image — they're as ordinary as windows, but completely different. It's a nice challenge to try and bring something that isn't cheesy to such a cheesy image. Or to try to bring tension to it.
Nicole Kaack: We talked about the possibility of you both posing questions to each other?
Eric Oglander: You want to go first?
Aglaé Bassens: Have you got one planned?
Eric Oglander: Going back to talking about the way you utilize painting to recontextualize these photographs, I wonder why do you feel compelled to use paint to do so?
Aglaé Bassens: I remember you warning me you'd ask me that. Why do I paint them? I guess because I feel that —even though the paintings are really quite fast— when you look at a painting it slows you down. Maybe it's because you're aware that someone took time to make it, there's an element of choice. You stop and look at a painting of a fence way longer than you stop and look at an actual fence. I find that it is a tool to make you pay attention to the mundane things that you would otherwise miss. I also just love painting so I wouldn't want to do anything else.
Eric Oglander: Was there a time when you weren't painting a thematic thing like windows or fences? Do you remember when you started on themes?
Aglaé Bassens: A lot of the things I paint now, I started painting in the first week of art school, but all jammed together so that it seemed incoherent at the time. One week a window, the next week a palm tree, and so on. Over time, I've realized that they're all threads of this ongoing curiosity about what it means to look at things, what it means to participate or to be on the outside. All these different selves have different motifs, that become a range of imagery. At the time, I found it confusing to be drawn in all these directions. So I guess it's been boiling up for a long time, but only quite recently have I been able to group things and understand that they are strands of the same ideas.
Eric Oglander: I think it takes just getting in the studio and working to really figure out what your work is. There are a lot of artists who, when they first start, think that they're no good because they don't immediately start making a coherent body of work. So often I hear people say that they're not creative, they don't have a creative bone in their body, but it really takes just getting in the studio and playing. And spending a lot of time doing it, until you do find that consistent thread or that thing that you can adhere to and feel comfortable with.
Aglaé Bassens: It's funny that people feel so anxious about it because it's actually quite difficult to not put meaning into everything. If your whole practice was about removing the creative input, you would find that it's hard to do. The more internal a thing is, the more meaning.
You're right, though, that when you start out, there's a lot of pressure to make work that fits a niche and carries a recognizable theme. It feels dangerous to do something that seems really random. You don't give yourself a chance to see how that might actually be related, just in a different way that needs to be developed.
Eric Oglander: I feel like people often get scared of branching out because they have settled on something that was successful. God forbid they change and see how a new thing is received. Sometimes the reception is not as good as it had been. It's definitely a consistent struggle as an artist.
Aglaé Bassens: I thought of a question for you.
Eric Oglander: Go ahead.
Aglaé Bassens: You ready?
Eric Oglander: I'm ready.
Aglaé Bassens: I'm thinking about the mirrors as this collection of images found online and also about your desire to be less directly physically involved, to relinquish the aura of authorship and the drama of 'I created this.' It seems that you want to draw attention to things you've noticed and are happy to give that the stage.
But I also know that you make things carved from wood and, as we were talking about earlier, the objects you carve have functions, which perhaps allows you to feel like you have justified their existence because they have a purpose.
I was wondering about where you see yourself in the work. How do you think about your fingerprint? Do you feel like you have to make the object because there's something missing from placing the photograph that leaves you frustrated?
Eric Oglander: No, I don't feel frustrated by the photo project. I appreciate it because they are someone else's photographs and I'm literally just taking them and dropping them onto Instagram or Tumblr. But I also love working with my hands. The simple act of carving wood or working with something tactile is a necessity to me.
I do find that I like making objects that, if not actually functional, might at least appear functional to further remove them from the art world. I also like making objects that hang on the wall rather than live in space because then they become a little less sculptural. They are like tools on the wall in the garage. Sometimes I'll just put a hole directly in the object so I can hang it on a nail.
My work is motivated by the same sensibility that leads me to collect folk art. These people weren't trying to make objects that would sell for tons for money in gallery spaces. They're just loose, fun, haphazard, lighthearted objects.
Aglaé Bassens: This tension between what you want to make and what you enjoy doing, between craft and how you justify that with meaning… Is art maybe just finding something that you like doing and then figuring out 'how do I make this seem reasonable to make.'
Nicole Kaack: In terms of… the preciousness of the thing, perhaps? Or investing an object with aura.
Aglaé Bassens: I feel that integrity is really present in your work. You decided that it has to be honest or come from a place that is genuine, and the only way that you do that is by doing it because you enjoy it. So it sits in a strange place between craft, enjoyment, and purpose.
Eric Oglander: With social media and the success of so many young artists —people making just ungodly amounts of money off their work— there is pressure to make the next cool, hip, important thing. I feel like it's all lost in that moment. It doesn't feel like art to me.
Nicole Kaack: The performativity in it?
Eric Oglander: The lack of integrity. What is the intention behind the work? Why are you making it? I see a lot of work that is explicitly trying to be the next impressive, hot thing,
that is not what the artist truly loves or is truly nerdy about. I don't know. I like seeing really nerdy work, where people are just excited and giddy about what they're making.
I feel like that's often not the case, that the work hides behind this overwrought, flowery, academic description of what it means. I'd rather walk into a space, see the work, be able to interact with it, feel something from it before figuring out what it's necessarily about.
[Audience member]: I just have one question. Speaking of nerdy stuff, what are your thoughts about "resolution." I'm talking about the technical resolution. Would you feature a picture that was 100 pixels by 100 pixels wide? When you're picking these images, if something is 100 by 100, would you still include it? As opposed to something that was 1200 by 1200.
Eric Oglander: Some of the images are totally lost. The resolution is just such crap that I can't really utilize them. But I definitely don't shy away from ones that are really blurry. I actually think it adds something a lot of the time as long as you can still tell what you're looking at. But sometimes people will upload a photo and not really know what they're uploading, don't take a second look. You can't really tell what you're looking at, which is interesting in its own right, but I'm more focused on the content that exists within the photograph. That's lost with poor resolution.
[Audience member]: So you don't blow anything up.
Eric Oglander: No. I did do a project with Anne Thompson and the I-70 Sign Show. It's brilliant. Anne realized that in rural Missouri there are all of these empty billboards all over the interstates and highways with nothing on them. She got in touch with the people that are in charge of the content and asked about getting artists to put work in this open space. She reached out to me about doing a Craigslist mirrors billboard. Immediately, I thought, 'That's impossible. There's no way that this can exist on that scale, because the images are so low resolution.' But she was able to make it happen and it looked incredible. It probably had to do with the distance from which you look at them. But it worked and I certainly didn't think it would. Check out the project. It's really cool.
Nicole Kaack: Does anyone else have questions?
[Audience member]: Do people ever complain to you about using their images?
Eric Oglander: One woman from Washington got in touch with me. The mirror was on her patio and was reflecting this beautiful sound. It looked like a painting, just gorgeous. I posted it and it ended up being in a Huffington Post article that they did about Craigslist Mirrors. Her nephew saw the photo and alerted her that it looked like her sound.
She got in touch with me and, at first, I was really nervous thinking I was going to be sued or something. Not that I'm making any money from them. But she was only excited, sent me other listings of hers where she had posted mirrors. The home where the mirror was photographed was for sale. She wanted me to post on my website and advertise her home in Craigslist Mirrors. It was really funny.
But I think that's the only person that's been in touch with me. Other people have been upset that I'm essentially stealing other people's photos, but that's what my project's all about. I don't argue with that.
Nicole Kaack: Do you ever encounter that as well, Aglaé? You sometimes source from Google Images.
Aglaé Bassens: No one's picked up on it yet. I'm not hiding. Most of the work here is stuff that I photographed, though definitely in the past I've used found images. In this painting, the pink sofa. But it doesn't really look like the picture. I'll get an image of a sofa, I'll crop it, and I'll modify the palette. It's changed a fair bit.
It does do something different to use someone else's image because it becomes more generic somehow. The way that I add my personality comes from other experiences and does not directly reflect the real place. How you choose to create atmosphere is different.
Nicole Kaack: You can't work on your feeling.
Aglaé Bassens: So you transfer details from other things you remember. I'm trying to remember something I've seen that I don't have a picture of. I'm trying to relocate that vibe. Sometimes things are made up. That rainy window is just made up. Going back and forth you lose track of where the image is. Especially if you keep going back to the same themes and it feels like you are also holding in your mind all the paintings you've made before. Or pictures on your computer, which then died and you didn't back everything up, but somehow you remember this picture you took.
Nicole Kaack: The failure of memory.
Aglaé Bassens: It's like recognition of a memory. An interest in how much or how little you need to just trigger something you've seen before, rather than making something exactly like this picture.
[Audience member]: I had a vague question about your use of color. I'm interested in the fact that this pink, very vibrant pink, seems quite melancholy. I think it's just the context perhaps. But also, in the corner of my eye, the orange subway seat also seems like a utilitarian object, that's supposed to be joyful or something because it's in public space. How do you choose your colors?
Aglaé Bassens: I'm glad you said that about the subway seats. I'm basically not good at color. So I paint so that objects are just one color. It's basically black and white but with a color. With the subway seats and with the palm trees, I was interested in this idea of forced cheerfulness.
If you have a really depressing sofa but you upholster it in palm trees, it's supposed to cheer you up. It's this weird waiting room vibe. I felt that way with the subway seats because the colors are very bright. It's kind of beautiful, but if you're on an antique, empty subway, it's also very hollow and depressing.
And then they replace some of the seats so that they are orange and funny yellow. The variation is really weird and kind of looks like a palette. The pink has a particular history. The sofa from Google that I was talking about earlier was my first pink painting.
I did it after I saw a show in the National Gallery in London of Goya's portraits. There was one portrait of a woman wearing this pink satin dress, and the dress was amazing, I loved the way that the folds were described. But I don't paint people. I kept thinking about that pink and wondering where I could use it. If you're into that color and these folds, paintings done a long time ago of elaborate clothing, you can't really do that anymore because styles are different.
I remembered that she was sitting down in the portrait, and I thought, 'Maybe I can paint the sofa she might have sat on.' It has the idea of a presence but without a person. So that was my first pink, which is exactly the same as this one. Now it's recurring— every now and then I'm like, 'Oh, this needs to be pink,' always the same hue. It feels soft and feminine, but here it's on this medical privacy screen. I've been thinking of using colors outside of context to play on associations that feel slightly off but in ways that are not clear.
[Audience member]: I disagree that you're bad at color. I think we can all see this painting!


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|Home Support
|A letter to Lord Gawen Westerling
|Related Logs:
|Into Their Cups, And the Danae Tordane affair
|A letter
|3rd of May 289 A.L.
Lord Westerling,
I am sorry to write to you on such a matter as this, but certain actions over the recent days concerning a member of your household has given us in House Nayland pause. Since the recent victory against the Ironborn, a holding of ours — Stonebridge has been a hot bed of discussion and political manuevers by those who would see our house come to harm. Most recently, the rightful lordship of the former Tordane lands were sought by one Ser Gedeon Rivers, a bastard knight of some repute here in the riverlands. He was recently challenged by a member of our household to a judicial duel, and lost before the sight of the Seven and of men, and therefore his claim to stonebridge should be finished.
The only reason I write to you, is because in the wake of this duel, Lady Danae Westerling has claimed to have been married in secret to Ser Gedeon as well as claims to hold his child. We of House Nayland have it on great authority and with credible witness, that Lady Danae does lie, and was known to be in a relationship unbecoming of a Lady with a member of our House. We fear that perhaps she has been misguided and now only seeks to do us harm. And we do believe she acted outside of your house's wishes.
Our question to you, the most esteemed Lord of the Crag is, do you intend to support the secret marriage of Lady Danae to a known bastard and traitor- and thus do more damage to the relations between out houses than the Lady has managed to wreck thus far, or do you intend to push for annulment? We would hate for this to further strain our houses and affect any trade done through Stonebridge, and would like to become friends with house Westerling once more.
We await your answer and decision on the matter
Your Servant
Ser Rutger Nayland

subset: commoncrawl


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Your NYC Neighbor – is a way of introducing New Yorkers to a rich community of savvy parents. New York is a diverse City bustling with all kinds of families and personalities.
We also love to grab tips and recommendations from moms and dads in certain neighborhoods and throughout the 5 Boroughs, and especially people who have created a product, service or site that helps new parents or appeals to children. Meet Nelson Nigel founder and CEO of Kidmoto your child's safest ride to the airport.
Tell us a bit about yourself.
My name is Nelson Nigel. I am from Guyana, a former British colony, located on the north Atlantic coast of South America. My family emigrated to NYC when I was very young, I grew up in Corona Queens NY, which was largely Italian mafia when I grew up and I've been living here in College Point, Flushing Queens for the past 20 years. Flushing is the largest Asian concentration of people outside of Asia, South Koreans and Mandarin Chinese. I attended local schools in Corona and Elmhurst and I studied Cultural Anthropology at Queens College.
My work history is complex, I am a lifetime entrepreneur, I've tried many things, started many businesses, failed a tremendous amount of times and I continue to persevere. This is life, it's special, it's exciting, let's be great, let's be legendary, and there is no giving up. Every day, we just have to wake up, energy levels up, champion hats on, it's time to rock n roll, time to be awesome.
Where do you live?
I live in College Point Queens. It's a nice isolated community in north Queens on the Flushing Bay.
Why do you love where you live?
I really love where I live because it's quiet, I have fabulous neighbors, and it's near the East River. There is MacNeil Park, which is a large hilly shorefront park on the water overlooking LaGuardia Airport, Manhattan, The Bronx, the Whitestone Bridge, the East River and more.
There are good restaurants, Amore Pizza is literally top 3 best pizza in the hemisphere. College Point is in close proximity to the highway and you can drive to places like Woodside for incredible Thai food, when there you can visit Thailand's Center Point, SriPraPhai or Ayada Thai.
Those three restaurants consistently rank in the top 5 best Thai in NYC every year. You can drive to Astoria within 10 minutes and grab baklava from Al Sham sweets on Steinway, which is the epicenter of Baklava sweets in the hemisphere. Other places include Sami's Kebab House with Afghan food, Parkside for Italian food, Singh's for Caribbean food, Brothers Pizza and more. I can go n and on and speak about great ethnic food in Queens from now until eternity, and College Point is in close driving distance. These are some reasons why I love to live in College Point Queens.
What do you do?
I am the founder of Kidmoto Technologies and we are disrupting industries like travel, tourism, parenting, transportation and childcare because Kidmoto provides an incredible service for traveling parents.
The Kidmoto app provides parents access to secure car seat car transportation for their small children when traveling to and from NYC airports. We have a wonderful team in the office and on the road, I couldn't be more thankful to work with such talented individuals, its' lots of energy, and I thrilled to be a part of the team.
Why is Kidmoto different from say Uber?
Kidmoto operates within a small niche of the transportation market and a company like Uber is an extremely large organization. We are very small fries compared to them and their market size. Kidmoto is reservation based and Uber is real time on demand service.
Kidmoto is different because our drivers are trained to install convertible car seats, front and rear-facing, for children from 5 pounds to say 100 pounds. Uber has a family service only in NYC and they provide front racing car seats with a limited weight range.
Plus, good luck finding a driver with a car seat. Additionally, Kidmoto drivers can provide up to 4 installed car seats in 1 vehicle. Honestly, I do not know if Uber Family in NYC can provide more than 1 car seat. Most importantly, Uber drivers have a tainted reputation of unaccountability whereas Kidmoto drivers are trained and very accountable.
At the end of the day our company is based on child safety, we are caregivers and therefore we give it 100%.
What's ahead for Kidmoto?
Kidmoto is young and growing fast. Our team is made up of 8's 9's and 10's, they are all winners. We are dedicated to move into other areas of the US market. Please, we need our fan base to continue to support us through social media, referrals, blogs, etc., so that we can attract investors and grow. A large part of the Kidmoto vision is to provide safe and convenient service for families with small children and we continue to follow that path.
Give Kidmoto some social media love here:
Facebook: https://goo.gl/re3kmA
Yelp: https://goo.gl/ksNisi
Trip Advisor: https://goo.gl/uXr7AK
Google: https://goo.gl/whv2AB


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When Toyota unveiled its super-sized Tundra pickup a couple of years ago, environmentalists went apoplectic. How could the darling of the green car world put out a hulking pickup with city fuel economy in the low teens? As if in response to criticism about the hairy-knuckled Tundra, Toyota has produced a kinder, gentler concept pickup in the form of the Toyota A-BAT.
The vehicle might appeal to all those other pickup drivers who seldom load lumber, but want versatility, roominess, and sleek styling. It's something like a futuristic Honda Ridgeline with a hybrid drive. Powered by a 4-cylinder gas engine combined with Toyota's Hybrid Synergy Drive, the A-BAT was unveiled at the 2008 North American International Auto Show in Detroit.
Versatility is the key word for the A-BAT's design, which is capable of both off-road terrain and city traffic. The A-BAT concept utilizes a unibody platform to grant car-like handling and overall smooth ride quality. Aesthetically, the A-BAT takes on a tight, aerodynamic look, and a trapezoidal profile. Its cab-forward design, fast angles, short overhangs, and flattened windshield all lend to a new age appearance. That's counter-balanced with large off-road ready 19-inch wheel, which have been pushed to the vehicle's corners to create bulk. If all that isn't tricky enough, the A-BAT touts translucent solar panels in the top surface of the dashboard to capture sunlight and convert it into energy. In case you wondering what A-BAT stands for, it's "Advanced Breakthrough Aero Truck." Go figure.
The bed of the A-BAT is actually larger than it looks for hauling materials or gear. It is also equipped with special lighting to illuminate the load, sliding tie downs, and an AC power outlet. Inside, the four-passenger A-BAT offers various seating and storage configurations. The interior features a highly-styled dash and steering wheel. The A-BAT also has a retractable portable navigation unit with a seven-inch diagonal screen and Wi-Fi internet.
This concept, whether it ever comes to fruition, makes one think about the potential shape of a vehicle that embodies both the persona of a pickup truck, and the spirit of a hybrid.


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As a secondary school teacher, you face a whole host of challenges every day. From keeping up to date with the latest curriculum changes, to teaching to a standard that Ofsted would deem outstanding to keeping behaviour in check.
Then there are the added challenges of differentiating your lessons, ensuring that your most able students are stretched and challenged whilst students with barriers to learning such as EAL or SEND are fully included in every lesson. And that's before we've even considered the pressure on you to maximise student performance at GCSE and A Level.
With a keen understanding of the many pulls on your time and the wide range of skills necessary to teach and lead effectively within the secondary school, our experienced course leaders will ensure that a Creative Education training course is always a day well spent, whether you're looking to develop your general skills as a teacher or leader or you need more in depth advice and training with regards to your subject specialism.


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Positive emotions in the heart of Bern
On January 23, 2019, the Bernese water and utility company Energie Wasser Bern followed up on their successful "vou im flow" image campaign that was launched in 2018: the company hosted the inaugural "Schlag den Genoni" event on the skating rink in front of the Swiss Federal Palace. The goal for 2019 is to make the "vou im flow" campaign even more visible and tangible for the people of Bern and to create positive emotions with unique events and activities.
Services: overall project management, consulting, concept, design, event planning, radio commercial, giveaways, presents, video production, photography, implementation, and production
"vouimflow" image campaign
Click here for the launch of the image campaign.
Facebook Post
Click here to get to the Facebok Post.


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Bacon-Braised Lentils:
8 ounces finely diced bacon
⅛ cup chopped garlic
10 small yellow onions, diced
10 small carrots, diced
½ cup tomato paste
2 quarts red lentils
1 pint red wine
Crispy Pork Belly:
1 pork belly
Cracked black peppercorns
To Assemble and Serve:
12 eggs
Chives, finely chopped
For the Bacon-Braised Lentils:
Render the bacon until crispy in a heavy 15-quart saucepan. Add the garlic and brown slightly, then add the onions and caramelize. Add the carrots, tomato paste, wine, and a little water, and bring to a boil. Simmer for 1 hour, then add the lentils and season with the salt and pepper. Remove from the heat when the lentils are al dente. Cool in an ice bath in the refrigerator, stirring often.
For the Crispy Pork Belly:
Preheat the oven to 250ºF. Season the pork belly with the salt and the black pepper, then slow-roast in the oven until very tender. Cool for 2 hours, then cut into 2-inch squares.
To Assemble and Serve:
Heat a deep fryer to 375ºF. Meanwhile, blanch the spinach. When the deep-fryer is to temperature, deep fry the belly squares until they are crisp and brown. Remove from the fryer and sprinkle with more salt and pepper. Slowly poached the eggs in salted water and reserve. On each plate, spoon a bed of lentils and top with the blanched spinach. Top the spinach with a piece of the belly and the poached egg, then sprinkle with the chives.


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Here's a really fun interview I did with the poet and artist, Nance Van Winckel, in the journal Numéro Cinq.
And when I draw—poof! There's suddenly a physical thing there, that can talk, that can move. And I take advantage of that. The body itself, the air around the body, the expression on the face—these things can work just like a poem. Speaking, but not saying everything.


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No room for error when 700 million people are watching
No room for error when 700 million people are watching2018-11-29
– Our partnership with 4C Strategies provides us with leading international expertise combined with local know-how, said Niklas Carlsson, CEO of Åre 2019, and continued:
– With the entire world watching, there is no room for error.
In addition to a holistic approach to sustainability, one of the focus areas in the planning and preparations for Åre 2019 has been the effective management of risks that may impact a major Championship. To mitigate risks and ensure continuity, Åre 2019 partnered with 4C Strategies to devise strategies and procedures in all key areas that must function without interruption. Prime examples include lift operations and power supply under all circumstances and in all weather conditions. During the ongoing construction period, Åre 2019 conducts regular tests of crisis and contingency plans while various scenarios are discussed and verified to ensure functioning processes across the entire organization.
– Thanks to the extensive preparation together with 4C Strategies well before the Championships, we can raise to the occasion and further elevate our performance, stated Niklas Carlsson.
– Bringing it over the finish line is critical to completing the task we have taken upon ourselves, and the plan we have defined with 4C Strategies is what helps guide everyone in the organization. Our overall mission is to carry out excellent and fair competitions for all athletes, concluded Carlsson.
There could not be a more experienced partner for large, complex events than the one Åre 2019 has chosen; 4C Strategies has completed similar assignments in connection with royal weddings and the Eurovision Song Contest as well as for various high-profile state visits.
– 4C Strategies has long experience in assisting with risk and crisis management for industries that have high risk exposure and high expectations, such as air travel, defence and finance. What makes Åre 2019 unique is that nothing can go wrong during a very limited period of time and its media exposure is massive on a global scale. Our aim is to work with demanding customers who take these issues seriously and Åre 2019 fits the bill, said Jonatan Jürisoo, project responsible and Business Development Manager at 4C Strategies.


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May 1st, 2012
4-30-12 (@ San Diego)
Monday started with a 3:20 alarm. Victoria and I didn't talk about what time we were planning on getting up, and we independently set the alarm on our phones for the same time. How cute is that? HA. My uncle Mike works for Boeing and he said that his job allows him to set his own hours to a degree. We left for the airport at 4:00, and we are both very thankful that he got up extra early just for us.
Our Southwest flight departed at six, and we had a two hour layover in Las Vegas. The flight out of Vegas was airborne by 9:35 and it landed in San Diego at 10:22 (I'm keeping track of all this stuff as well, thus the exact times). I think I'm displaying enough stats as is, but at the end of the season I'll include a more thorough breakdown of the time I spent traveling and whatnot. While in the air I took a few pictures, flying into San Diego is always fun because you come so close to the buildings, and get a decent view of PETCO Park as you're approaching. The picture isn't the best, and the gloomy weather/the two window panes to take the picture through are to blame. You can see the blue seats of PETCO Park in the middle of the photo below.
Victoria and I took the bus to our hotel (Hotel Indigo), which is located roughly 900 feet from PETCO. I paid a little extra to get a room on the executive level, which provides a nice view. However, because of the design of the building, not many rooms have a view of the stadium, ours included. The four part picture below, going clockwise from top left:
1) Part of the lobby right when you walk in. I'm not sure how visible it is, but there is a water feature which takes up the left side of the picture. There are individual streams of water coming down, spaced a couple inches apart.
2) The bar for the in house restaurant: Table 509. The prices are steep, and we probably won't eat here, but it doesn't hurt to have the option.
3) The artwork on one of the walls in our room. The room is great and I'm glad I splurged a little and paid $165 a night. There were some (slightly cheaper) alternatives nearby, but with the proximity to the ballpark, I thought it was a fair price.
4) The view out of our window. If I stand up against the far right side of the window and look all the way to the right, I can see the light towers from PETCO.
We decided on The Kebab Shop for lunch, which features "The Original Döner Kebab!" I had the Lamb Döner Kebab, and Victoria the Falafel Döner Kebab. I wasn't exactly sure how to pronounce "Döner", so when I ordered I quickly passed over the word, and Victoria just said "I'll have the Falafel one of those." I've had Gyros before, but it had been awhile. This was basically a Gyro burrito, and it was delicious. To be honest, when I saw the name of the shop, I was expecting your typical shish kebab. After some research (and straight from Wikipedia); "In the Middle East, however, kebab includes grilled, roasted, and stewed dishes of large or small cuts of meat, or even ground meat; it may be served on plates, in sandwiches, or in bowls." I learned something new today! Below is my Lamb Döner Kebab, which consisted of spiced lamb, a mix of fresh veggies, and a creamy garlic yogurt sauce. I also put some of the hot sauce on for an extra kick.
We returned to the hotel, and I took a quick nap while Victoria went to the nearby mall. She brought back cupcakes. She got me a Thin Mint cupcake, and it was amazing. No picture is shown because I ate it too fast. The Thin Mint is my favorite manufactured cookie, thus the excitement. It was topped with mint frosting and half a thin mint; awesome.
Now the bad news. The MRI results came back, and my doctor gave me a call this afternoon. He said that the MRI showed a bone infarction (INFARCTION, not infection). This is when the blood supply to a bone is blocked, causing the bone tissue to die. The fact that the x-ray hadn't shown any visible damage is a good sign, and this is something that was caught early. I'm not going to go into too much detail until I talk to the orthopedic doctor. My oncologist said that he wanted me to see them Wednesday, but since I won't be back until next Monday, it'll have to wait. I'm trying to take it easy and take as many escalators as possible, so hopefully we can figure out the best course of action when I see them next week.
Despite the news, I was still up for some baseball, and Victoria and I left for the park at 5:30. On the corner of our hotel this was the view. As you can see, it is right down the street from where we're staying.
We walked down the first base side of the stadium and around towards the ticket windows. They have the player will call set up inside of one of the gates, and once they got the Brewers' tickets, I found out that they didn't have one for me. After 15 minutes or so everything was sorted out, and I had my ticket. We were then able to go to the ticket windows and get Victoria a ticket. I knew that the game wouldn't be anywhere near sold out, so I thought it was safe to have her buy a nearby seat, and then I'd sit with her. It worked to perfection and we didn't have a problem the whole game, the low draw of 16,000 definitely helped. While we were waiting for the Brewers tickets to arrive, we got game photo number 23 taken care of.
We entered the home plate entrance, which is right behind where I'm standing above. There's a cool water wall that's located just to the left of my right shoulder. Below is a close up of said water wall. It's sad that the Padres don't draw more than they do, because the park is beautiful.
We went up the steps, well, I went up one step, stepped back down, and then took the escalator. On the main concourse there are lots of food choices, and I decided on the BBQ pulled pork. The menu said it came with cole slaw and a pickle spear. There wasn't much cole slaw, and I swear the pickle spear had been sitting out for days by the way it looked, but nonetheless. With the amount of pork they put on the sandwich, I'd say it was worth the $10.50 that I paid, especially given ballpark prices. It was good, albeit messy.
The game started as I was finishing my sandwich, and I was looking forward to some redemption. In 2010 I went to three of four games at PETCO, the three I went to the Brewers lost, the one I didn't go to? They won. The Padres got on the board in the second with a walk, stolen base, and a single, and held the 1-0 lead into the fourth.
As a preface; early on Victoria asked if Braun's father, Joe, was sitting a few rows behind us (FSN has shown him during broadcasts and she's observant). I concurred, and in the 2nd inning I went back there, told him how much of a Braun fan I was, and told him my story. He's a really great guy, and even offered to help out if he could. I gave him web address for the blog, and he asked for my phone number, so I obliged.
Back to the game. With one out in the fourth Braun hit an opposite field home run into "The Beach" section in right center. I really didn't think it was gone when it left the bat just because it's so deep in that part of the park, but Braun proved me wrong. The Brewers added two more runs in the fourth on an Alex Gonzalez double. Braun batted again in the fifth, this time with one on, and duplicated his result from the fourth. This was a monster shot to the seats in the Western Metal Supply building down the left field line. My uncle said that Uecker claimed it was the hardest Braun had ever hit a baseball. I'm not too sure about that, but it was a missile. Hit Tracker Online claims that the first home run was 419 feet, and the second was 416. I think the first estimate is accurate, but the second? Not so much. The third deck of the building is a good 90 feet above the playing field, and down the line it's 350 or so. We'll never know, but I would say 440. I'm not going to argue too much with their estimates, because I'm pretty sure they know what they're doing most of the time.
Braun stepped to the dish in the seventh and on the first pitch delivered another home run, this run a wall scraper that just barely made it over the left-centerfield fence. A home run is a home run, and Braun now had three. After the third home run I went up to give Braun's dad a high five, which I did. He then gave me a hug and said I brought good luck, that felt pretty cool to say the least.
I started looking at the outs remaining, and realized the Brewers only needed two base runners to reach (and not get out on the base paths) for Braun to get a chance to tie the MLB record. Fifteen players have hit four home runs in a game, the most recent was Carlos Delgado for the Blue Jays back in 2003. Shawn Green did it against the Brewers at Miller Park back in 2002, and also had a single and a double, going 6-6 with 19 total bases!
The Brewers went in order in the eighth, and they needed two runners two reach in the ninth for Braun to have a chance. Gomez reached after getting hit by a pitch with one out, and I started getting excited. Inexplicably Gomez tried stealing and left on first move, the lefty threw to first, who threw down to second to nab Gomez. I was livid. I joked that Braun was giving him the business in the dugout after that one. The Brewers led 6-3 at the time, so I don't know what he was doing. Luckily for Gomez (and Brewers fans everywhere) both Rickie Weeks and Nyjer Morgan walked, and the stage was set for Braun. After getting down 0-2 in the count, it wasn't looking good for Braun. After fouling off a pitch he sent a drive to right on the second 0-2 offering. It fell just short of the warning track and Braun wound up at third with a two-run triple. I got a picture just after he slid into third.
Not quite a four homer game, but three home runs, a triple (for 15 total bases), and 6 RBIs is nothing to shake your head at. Unbelievable.
Dilard came in and retired three of the four batters he faced for an easy ninth inning (compared to yesterday), and the Brewers won. Final Score: Brewers 8 – Padres 3. While walking up the steps I stopped by Joe again and told him to tell Braun "Good Game". He said thanks and that we'd be in touch. I couldn't have asked for a better start to the west coast swing, knee problems aside.
One last picture. As we were leaving the park, we saw that the bridge going over Harbor Drive and the trolley tracks was illuminated. You can see that it looks much better after dark (the clouds before the game didn't do it any favors though):
I did miss one pitch during the game. When the Padres were intentionally walking George Kottaras in the fourth, old habits kicked in. Normally, when I see the first pitch is an intentional ball, and the pitcher is walking a guy on purpose, I let my eyes wander and don't really pay attention until the next batter is announced. Victoria had the bread bowl left over from her New England Clam Chowder (which was delicious and only $7.50). I was picking off some bread pieces and missed the 1-0 pitch. It's not *really* important, but I cannot tell a lie.
Ok, I've been up for almost 24 hours now, I think it's time for bed.
Personal Stats:


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One of the tenets of Cinéma Dévoilé is to judge these films on their own merits; however, it is equally important to gain an understanding of these films' place within history, and in order to do that, we must first look to the series that spawned them. The slasher cycle that was ignited by the success of HALLOWEEN (1978) has been well-documented in books like: BLOOD MONEY: A HISTORY OF THE FIRST TEEN SLASHER CYCLE by Richard Nowell and GOING TO PIECES: THE RISE AND FALL OF THE SLASHER FILM, 1978-1986 by Adam Rockoff; both of these texts place the waning point of the cycle within the early '80s. Fans of the genre know that 1984 gave them a killer that stalked their dreams, but it's often forgotten that the same week A NIGHTMARE ON ELM STREET (1984) was released was also the week SILENT NIGHT, DEADLY NIGHT (1984) was released into theaters, and subsequently picketed and pulled from screens after two weeks.
The controversy behind SILENT NIGHT, DEADLY NIGHT arose from the image of an axe-wielding Santa Claus — not to mention the content of the film, which sees another Santa Claus-outfitted man raping and murdering a woman. The marketing, particularly the poster of Santa Claus descending a chimney with axe in hand, served the film well: it made back double its budget in the two weeks it was in theaters. SILENT NIGHT, DEADLY NIGHT PART 2 (1987) was made for $100,000, and was almost entirely made up of footage from the first film; it made its money back, and so a sequel was fast to cash in on the newly-established franchise: SILENT NIGHT, DEADLY NIGHT 3: BETTER WATCH OUT (1989). Part 3 brought back our Santa Claus killer from the dead. He's now a braindead test subject who can only be reached through the use of a blind psychic — it's interesting to note how it only took three sequels before the script had to jump a shark to keep the series alive, a common theme we'll explore in depth through Cinéma Dévoilé. However, making do with a script that was rejected for Part 3, the series' fourth entry followed in 1990.
SILENT NIGHT, DEADLY NIGHT 4: INITIATION is so far removed from the rest of the series that when author Jon Towlson speaks on the film during his chapter dedicated to director Brian Yuzna in SUBVERSIVE HORROR CINEMA: COUNTERCULTURAL MESSAGES OF FILMS FROM FRANKENSTEIN TO THE PRESENT, he refers to the film only as INITIATION; the obvious reason for why this film seems so distant from the rest of the series is the lack of a killer Santa. Instead, INITIATION focuses on wanna-be reporter Kim Levitt (Neith Hunter) as she attempts to achieve praise and respect within a chauvinist male environment by getting to the bottom of a bizarre falling/burning death that has been labeled a suicide. In her investigation of the building from which the victim fell off, she meets occult bookseller Fima (Maud Adams), as well as homeless bum Ricky (Clint Howard). Fima is revealed to be the head of a coven of witches that has set its sighst on Kim, using drugs and magic to create a hallucinatory viewpoint which the filmgoing audience shares with the wannabe reporter. Fima preaches a form of extremist feminism, which calls for either the murder of a male child by Kim, or for her life — the true cause of the earlier death.
The plot of INITIATION plays out more like a sequel to Brian Yuzna's SOCIETY (1989) than SILENT NIGHT, DEADLY NIGHT 3; in part, this arises from the screenplay written by Woody Keith, who wrote SOCIETY with Rick Fry, and the special effects by Screaming Mad Georgen who had worked on SOCIETY, as well as BRIDE OF RE-ANIMATOR (1989) and the upcoming Cinéma Dévoilé film CHILDREN OF THE CORN III: URBAN HARVEST (1995). INITIATION attempts to make a positive statement about women's liberation from a male-dominated societ,y but ends up shooting itself in the foot and coming off as offensive in its portrayal. Thankfully, the film does not hinge upon its writing, but upon its effects, which feature bending fingers that would have belonged in SOCIETY's famous "Shunting" sequence, giant bugs, scenes of pregnancy horror, and some brutal stabbings. The film also features another recurring theme of Cinéma Dévoilé: terrible acting. Maud Adams is playing up her role with schlock charm; Neith Hunter screams every line; the men of the office can't read a line to save their lives. Of the cast, only Clint Howard manages to bring any skill to task. It's this combination of inventiveness with substandard elements that makes Cinéma Dévoilé what it is.
Tags: Allyce Beasley, Brian Yuzna, Cinema Of The Devoid, Clint Howard, Columns, Holidays, Horror, Maud Adams, Neith Hunter, Reggie Bannister, Richard Band, Santa Claus, Screaming Mad George, The 1990s, VHS, video


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These earrings are a follow up from a previous commission to re-purpose some old gold rings into a new wedding band. The gold was melted down and formed into 2mm square wire with plenty to make a wedding ring and have some leftover for a future project.
So it brought a smile to my face to hear from Hannah again about using the rest of her gold for her mum's birthday this summer! I was told her mum loved green which couldn't be more perfect as the combination of yellow gold and green gemstones is stunning. Continue reading "Commission: Recycled Gold Peridot Earrings"


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Previous Speakers
|Janet Reno, Attorney General
|U.S. Supreme Court Justice
Elena Kagan
|Mary Jo White, Chair of the SEC
|Brooksley Born, Former Chair of the U.S. Commodity Futures Trading Commission
|Vicki Kennedy, Co-Founder and President of the Board, Edward M. Kenney Institute for the U.S. Senate
|Honorable Carolyn Lerner, former Special Counsel to the U.S. Office of Special Counsel
|Pete Willliams, NBC News Justice Department Correspondent
|Pierre Thomas, ABC and formerly of CNN
|Beryl Howell, Chief Judge, U.S. District Court for the District of Columbia
|Leslie Caldwell, Director of the Enron Task Force at Dept. of Justice
|Valerie E. Caproni, General Counsel at the FBI and Judge, Southern District of New York
|Paula Desio, US Sentencing Commission
|Linda Chatman Thomsen, Director of the Division of enforcement SEC
|Beth Wilkinson, General Counsel at Fannie Mae
|Nancy Lesser, Principal of Pax ADR LLC
|Valerie Caproni, General Counsel, FBI
|Irv Nathan, General Counsel to the U.S. House of Representatives
|Alice Fisher, Chief of the Criminal Division at DOJ
|Beth Nolan, Vice President, General Counsel of George Washington University
|Lisa Monaco, Associate Dupty General at DOJ
|Eldie Acheson, General Counsel of Amtrak
|Pascale Dubois, Sanctions Evaluation and Suspension Officer for The World Bank
|Elisse B. Walter, SEC Commissioner
|Karen Tandy, former DEA Administrator and current SVP for Public Affairs and Government Relations at Motorola
|Andrew Weissmann, General Counsel at the FBI and Chief of Fraud at DOJ
|Kathy Ruemmler, White House Counsel
|Laurie Fulton, Ambassador in Denmark
|Jennifer O'Connor, Deputy White House Counsel
|Carol Leonnig and Sari Horwitz – Washington Post Pulitzer Prize winners


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4 Reasons to Buy Mens Diamond Earrings
If you watch many celebrities these days, you'll see a lot of jewelry like mens diamond earrings. In fact, they seem to get more popular each year. But why do so many men wear earrings these days? There are several answers to this question and here are 4 reasons why a man may want to invest in them soon.
1. Fashion Statement
Earrings are one of the hottest and most popular kinds of jewelry a man can wear today. If you check out professional male athletes, you'll see many elegant selections made with expensive diamonds and jewels. The hip hop scene is trendy and lends itself to all kinds of diamond studded jewelry for men, from large gold chains, fancy watches, to custom pendants. If you want to stay in the height of fashion, shopping for mens diamond earrings is a smart decision.
2. Safe Investment
Many things people buy today gradually lose their value. In fact, few possessions are good investments. Quality diamond jewelry retains its value, and you have an asset you can liquidate if times get tough. No one knows when the world economy could suddenly crash due to natural or manmade disasters and materials like gold and diamonds stay in high demand.
3. Attract Women
If you are looking for someone special, a fancy watch or mens diamond earrings is a good place to start. Beautiful and sparkly jewelry attracts attention, and the right woman may approach you to ask you about your unique jewelry.
4. Self Expression
For many men today, standing out in the crowd is important. Everyone needs a sense of "individuality," and with earrings, you have several ways to express yourself. You can wear one or two earrings and choose many different styles, including black diamonds. In fact, the best jewelers offer custom-made jewelry, manufactured to your design and specifications.


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So it's been about two and a half days since my innards were spelunked and I currently feel as though there is a very full puce colored balloon in my tummy that just has to be full of very nasty noxious gut gas. Got a visual on that? Good.
Just imagine the worst gas of your life but not being able to get it out the front or the back.
(Which reminds me. What did the stomach say to the burp? Give up? "I'll let you out the back if you go quietly." HA!)
So far the shoulder pain that a lot of you warned me about hasn't been much of a bother. Of course from the way my last post reads and the way a lot of my tweets have been sounding I'm not sure I've felt much of anything over the past 48 hours let alone been coherent enough to comprehend any of it.
So I hurt. A lot. But my spirits are spry as a spring chicken.
Know why?
Because I have an answer! A timeline! HURRAH!
Now if any of you want to fill in the blanks because you've had this happen to you as well I'd appreciate it. I'd go out googling it but last time I did that I found out about teratomas and OH MY GOSH my doctor pulled a teratoma out of a girl a few weeks ago that had AN EYELID WITH EYELASHES IN IT.
The plan is to shut down my reproductive parts for six months with some sort of shot. (I got this news from Cody, he said "it sounded like something like, uh, Dem-uh, I don't remember but it's a shot.") Now I won't get the official MEDICAL definition and description of what's going to be next until my follow up appointment but I can tell you that I like that where Dr. SallyForth is going with this. To know that for six months I can just live my life, let my little uterus get her freaking act straight and then assault her like a rabbit in heat when all is healed and taken care of. (Did you get a good visual on that too? YOU'RE WELCOME!)
Things I've learned while being laid out and gassed up?
Daytime TV stinks.
Simply willing food to appear in front of you does not work.
Many many women have all sorts of nasty things done to their uteri.
It takes approximately 23 minutes for narcotics to hit my system and make me ten kind of floppy fingered fun.
mmm. breakfast. (and lunch, and ironically dinner too.)


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Bloop! My Famous Green Nail Polish
18 comments:
- AnonymousDecember 17, 2010 at 5:47 PM
I love it! That green is so christmassy! You're making me want to go to Malaysia now! xxReplyDelete
That is a wonderful shade CZ! Gr8 stuff & so festive :DReplyDelete
WOW!all the colors look gorgeous!!ReplyDelete
i was also gonna ask u :pReplyDelete
loved d shade..looks more pretty on u..
n dos heart shaped clear top coats r actly cute !! :))
OMG...those hearts are adorabllleee!!!ReplyDelete
dearest cynthia, thnq for the sweet msg! yes, i took a longggggggg break, indeed! I deserved one, infact :)ReplyDelete
by the way, the green looks so x-massy! may be, nail art with red and green doesnt look that bad! thnq once again, cyn...
Lovely shades- especially the green and pinkReplyDelete
very festive :)
Ooh! I love bloop! It was my last minute purchase at the KL airport :) They were having a buy2 get 1 free and the formula is amazing too :)ReplyDelete
Wow!! I want to see hearts on the nails. Please do the awatch soon. And Bloop: there they are!! you make me laugh!!ReplyDelete
that is such a pretty color! I love the bottles they are too cute ♥ReplyDelete
I love these shades...!absolutely adorableReplyDelete
check out my blog at
- AnonymousDecember 18, 2010 at 12:43 AM
Wow love the color!ReplyDelete
I love the green heart one ^^ReplyDelete
These all look so good! I love the bottles too.ReplyDelete
Want to see how the top coat looks..ReplyDelete
- AnonymousDecember 18, 2010 at 11:41 PM
Love this green colour very much.Lovely!♥xx♥ReplyDelete
very pretty! im curious to try themReplyDelete
I saw those in the stores but I resisted buying. Addiction getting out of hand. Haha! This green one is so vibrant and gorgeous. You chose well. :)ReplyDelete
I ♥ finding little notes in my Vanity Case, so do drop one. I read all of them & I try my best to reply to each & every one of them [check back in 2-3 days =D] but most times it's physically impossible! Either way, I love to hear from you & really appreciate you taking the time out to share your thoughts <3
Thank you for reading! :)


text: (No need to CC me, I get the mail on the list.) On Tuesday 26 May 2009, email@example.com wrote: > do you have any advise for me creating my own private mirror at home ? > are there any howtos you can prefer ? Here's how I do it: http://alioth.debian.org/~fjp/debmirror/ But please make sure you really DO need a local mirror before setting one up. You may be better served with just using something like approx or apt-proxy(-v2).


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This tool from KD Tools is designed to re-form the threads in a cylinder head to enable proper installation of the spark plug. It also is useful in cleaning out the threads of carboned up heads to ensure correct thread engagement for better heat transfer.
It features an extra-long neck for access to recessed spark plug cavities. The groove and O-ring holds tool in the socket. Use with 3/8_ square drive tool or a 5/8" socket.


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Editor's Note: The Legislative Impact of Clean Energy and Security
By Erika Schnitzer, Associate EditorThe House of Representatives recently passed energy and climate legislation that would include a number of provisions for green building incentives. The Waxman-Markey bill, otherwise known as the American Clean Energy and Security Act of 2009 (H.R. 2454), would include such things as:-A building retrofit program,
- By
- Jul 10, 2009


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book details
books by Olivia Stocum
Book: Moonstone by Olivia Stocumcategories: Book, Scotland, Swords, Damsel, Warrior, Kilt, Highlands, Castles, Mercinary, 1600's, Lady, Historical Romance
Olivia Stocumabout this book: I've been looking forward to publishing this second book in my Highland series, mostly because I have the BIGGEST crush on the hero, William. He's become like a real person to me. I met him while writing my first book, Dawning, and feel honored to have been able to follow him through his own story. The heroine, Rhiannon, has had a rough life and her initial mistrust of men definitely gives William a challenge. She's a great match for him though, as they test each other, becoming better people for it, AND, of course, falling in love in the process. This book has some action, including a couple of swordfights. It's also a little spicier than my first book (but tastefully done) and great for those readers who prefer NON-erotic books.
It is set in Scotland, in the 1600's. As always, I had a great time doing the research for this setting, as well as finding my characters' 'place' within their world.
preview: read a sample from this book
what to read next: if you read and liked this book...
Other book by Olivia Stocum
Video 1: Moonstone by Olivia Stocum
Video 2: Dawning by Olivia Stocum
More Reviews
• Book Review: Dawning by Olivia Stocum
• Book Review: Temptation in Tartan by Suz deMello
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We had known each other for a long time. I'm not sure we were ever friends – certainly not very good ones. If I was feeling sad or lonely or depressed and needed a little compassion, she usually refused to give any.
The final straw came when I expressed my dissatisfaction with our situation, that I was looking forward to spending some quality time with a friend over dinner, and that an unwanted third wheel kind of soured the occasion. I was disappointed, sure – but she was immediately on the defensive, first by saying it wasn't her fault (I never said it was), and then by asking me if I was depressed.
That question was unnecessary. Whenever she asked me this question, it was her way of saying, "hey, I don't really want to talk to you when you're like this." This time, though, it sounded more like, "hey, I don't really want to talk to you at all – this kind of thing upsets me and I don't want or need to be upset."
Was it so much to ask for a bit of kindness? Maybe she could have pretended to care about me at that moment, and maybe be uncomfortable for all of what, ten seconds?
Too many people in my life seem to like me only if I keep to myself – as long as I don't ask anything of them, they're more than happy to know me. I'm not doing that anymore. I'm done being invisible. I don't think it's unreasonable for friends, at least once in a while, to put their friend's needs before their own, especially when that friend is hurting.
Whenever I wrote her anything like this, she was dismissive – a wave of the hand, as if she couldn't care less. Friends don't act like that.
I sent flowers to acknowledge the good times we had had. I was struck by the florist's recommended note: "The more I know the people I love, the more I love the people I know."
She didn't really want me to know her, so … I'll accept her as she is, not as I want her to be.


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Labor Notes #371, February 2010
A few unions are forcing new types of pattern bargaining onto the table. While service sector unions usually have limited themselves to setting standards within local labor markets, UNITE HERE is using its Hotel Workers Rising campaign to push for a sort of pattern in the major chains it has organized.
Grievances, while necessary tools, can make workplace problems seem like individual problems rather than collective ones that can be solved through collective action. As the campaign organizer, your goal is not just to help members solve their workplace problems but to help them build collective self-confidence and power. Learn how.
The Restaurant Opportunities Center has launched workplace justice campaigns in four cities aimed at flipping the low-wage, high-discrimination industry.
Hospital work is thought to be recession-proof. No matter what the economy, people get sick and need care. The work is there, but at a cost: hospital workers and researchers say some hospitals are churning through a round of reorganization, strapping on more work, skimping on training, and trying to stuff contract concessions through.
Four hundred education activists joined the Caucus of Rank and File Educators in January to map strategy for battling the next round of school closures in Chicago. CORE's also vying for control of the Chicago Teachers Union this spring.
Seizing on outrage over the Gaza bombardment and siege, a small but growing band of U.S. unionists are mobilizing behind a global call to pressure Israel with a boycott, divestment, and sanctions.
Most union workers laid off in the economic crisis had recall rights—a promise they'd get called back before their employer could hire new workers along with the ability to maintain seniority. But millions of workers simply lost their jobs. That's what happened to nearly 200 workers at the Cummins engine plant in Rocky Mount, North Carolina, in March last year. . . .


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I have to drop about 8kg between now and then so that I look fabulous instead of frumpy in my photos. I saw some piccies of me recently, pre-Christmas and boy, was there some frump! I was totally mortified!
So I'm gettint married in 7 months time *hurrah* and yes, before you ask, I ALWAYS do things backwards! It probably sounds hard but it isn't at all really, once you get into the swing of things. Since I started doing this just over a week ago with a 20 minute walk once a day I have already lost nearly 3kgs. So it's working for me!
Here's a sample of what I've been doing for the past week or so, including over Christmas day (though there were some prawns, Balmain Bugs and a half serve of Pavlova in there…oh, and copious amounts of wine all followed up with a 2 hour hike with the pram to work it off)
Tonight's dinner
Prawn laksa with low fat organic coconut milk, rice vermicelli, stir fried broccoli, bok choy, carrot, capsicum, bamboo shoots and bean sprouts. Was SO good, SO tasty and actually very little fat but A LOT of sustenance which is what you want. I sautéed the vege in a little water from the bamboo shoots which worked very well in place of oils.
Brekkie Time
I have a short black organic coffee (no milk and Stevia to sweeten) and I make a morning smoothie of about 350mls with the following ingredients (hubby and I both have one):
½ cup coconut water kefir
½ cup goats milk kefir
2/3 cup Nettle Infusion
1 tsp Vanilla Pea Protein powder
1tsp Metagenics Mineral Powder
1tsp Metagenics Buffered Vitamin C powder
1tbsp LSA mix (ground almond meal, sunflower seeds & lecithin granules)
1tbsp SOAKED Black Chia Seeds (I soak them to make it easier for my body to digest them – highly recommended practice by www.bodyecology.com) or soak Quinoa for protein and iron.
Blend with 1 organic banana or a large handful of organic blueberries.
If I go out for breakfast which I like to do once a week I will order an omelette with blanched rocket and salmon or goats cheese. It's nice, low fat and very filling – no toast.
2 pieces of home baked silverside (that was today – leftovers from Christmas) or a small can of tuna or salmon pieces in olive oil which I use as a dressing
Large bowl of green salad made up of baby spinach, rocket, carrot, capsicum, avocado, bean sprouts dressed with lime juice and the olive oil from the fish above. Some days I add a small amount of Goats Fetta in place of fish for variety. I make this in a Laksa bowl so its big & I find its more than enough.
No bread. No pasta. No sugars. No sugary fruits (fruits contain sugars which feed yeast which causes my weight loss to plateau)
Sometimes I will have half a pink grapefruit with some Stevia to sweeten as a change
Large glass of pure rain water or de-chlorinated water from the Spring down our road with 1tbsp Apple Cider vinegar (chlorine kills bacteria including the good ones you're putting in your gut via coconut water kefir and probiotics)
A couple of organic baked rice crackers or a handful of soaked almonds (again, I soak them to aid easier digestion and absorption. To soak, put in a bowl, cover with boiling water and leave to soak for 8 hours. Strain and eat.)
I drink at least 4 – 6 glasses of Nettle Infusion each day with a little pure and organic blackcurrant, pomegranate or cranberry juice as these juices are low on sugars and are alkalising.
I also sip a large glass of pure rain or filtered chlorine free water with 1 tbsp organic Apple Cider Vinegar during and after meals and the same again with 1 tbsp organic lemon juice (preferably fresh squeezed) as this aids digestion.
I also take 6000mg – 10000mg of Fish Oil a day along with 1tsp of Probiotics morning and night before bed.
The kefir is there to line the gut & aid digestion & I have 2 doses of that every morning. The Apple Cider vinegar is also a "cultured" product which aids digestion so I make sure I have that as often as I remember as well – at least 3 – 4 times a day. It isn't too bad with a few drops of Stevia to take away that really sour taste. In actual fact, like the lemon water, it is quite refreshing!
I go half and half Chickweed and Stinging Nettle nowadays. Chickweed is full of green goodness just like Nettle but has the added benefit of "drawing out" stuff. So when you drink the infusion of Chickweed, it will break through the cell wall of fat cells & "draw out" the contents helping your body flush them out via waste. Chickweed is often used to dissolve fatty tumours in the medical industry - the same principle applies here with ingesting it.
Cool huh? More on Chickweed and how it works here from Susan Weed.
I also add Cayenne to as many meals as I can including adding it to some lime juice & organic olive oil as a spicy dressing for my many salads. It speeds up the metabolism which helps your body burn off what its eaten, faster. It also contains Vitamins A, B1, B2, B3, Vitamin C, Calcium, Iron, Magnesium, Selenium and Zinc. Its a GREAT herb you can use as a food for gentle weight loss without the caffienated supplements most people advocate. More on that how using herbs as food provide synergy and create better results from Susan Weed.
Another great way to gently stimulate your metabolism (which I have found, after childbirth, is more than a little sluggish) is Green Tea. I personally add a generous handful to my infusion of Chickweed & Stinging Nettles. After 8 hours of soaking, I strain the lot and add a little Stevia, Apple Cider Vinegar and drink the whole litre throughout the day. More on how to make nourishing herbal infusions and why they're awesome here.
You may have noticed it too - after childbirth, your hormones are all abuzz and you're up and down like a yo-yo. Hormones are regulated by the ADRENAL GLANDS. A combination of raging hormones, possible surgery (c-sections), sleepless nights, extra stress from added responsibility means your adrenal glands suffer and are tired and overworked. They can't quite regulate your hormones as well or as fast as normal and struggle to keep you awake and upright let alone help you lose weight. Belly fat is a result of adrenal stress. One of THE most important ways to support your adrenal glands to aid recovery, balance your hormones, boost your metabolism and assist in weight loss is VITAMIN C. Weight loss is stressful on the body so you MUST support your adrenal glands - they're under enough stress already. More on vitamin C and how it helps the body here.
Lastly, its important NOT TO STARVE YOURSELF! You will put your body into a mild form of ketosis where it will HANG ONTO body fat as a preserve for later. Graze throughout the day, eat light meals and keep portions small. Drink a large glass of water with lemon juice or Apple Cider Vinegar BEFORE meals and another one during meals to stop yourself over eating. Only eat until 80% full then stop and save the rest for later.
I find so long as I have my 1 litre of Nettle and Chickweed infusion every day and my big breakkie smoothie, I don't snack, I am not hungry till midday which is lunch time and I have a lot more energy.
I also eat before 7pm at night & do a little housework to aid digestion so I go to bed with an empty stomach. First thing in the morning I have a big glass of filtered water with juice of 1 lemon and some Stevia to sweeten. Curbs my appetite, stops me craving breads, pastas or sugars and re-hydrates my body after sleeping for 10 hours without liquids. Also stops me craving a big breakfast of bacon and eggs or whatever.
So, that's pretty much it! I walk 20 minutes a day, make sure I am on my feet more than I am sitting down and I have a LOT of water with lemon or Apple Cider vinegar throughout the day. Something must be working as I have dropped 3 kgs OVER CHRISTMAS in about 10 days.
Ask me questions if you like – happy to provide more details though I recommend you do speak to a professional nutritionist about anything you decide to do.
I'll keep you informed! The goal weight is 63kg and I am now 69.9kg. I was 73.2kgs when I started (SO NOT HAPPY about that – pre baby I was 55kg but that was a little lighter than I should have been so I am happy with 63kgs).
I have found these sites to be a great help!
And I do this short little work out when bubs is napping for as long as I can – it's a KILLER but in a super short period of time so great for Mums especially if you've have a c-section: http://www.youtube.com/watch?v=j6MH7dR_UQA
If you can get to 10 rounds on this PLEASE tell me because I will cyber-shake your damn fine hand. You would be legendary – its tough but it works!
Good luck – for me too!
The Eco Mum xo


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Connecticut is such a funny state when it comes to weather…it's cold and overcast for months, but before you know it, it's hot and sticky again. For many people, dusting off and installing their old AC window unit is an unpleasant annual ritual. Sure, they keep you cool, but old-fashioned window units are loud, inefficient, and just a hassle to install (not to mention take out). That's why more people in Connecticut are choosing smarter alternatives with Central Air Conditioning and Ductless Mini Split Systems.
A furnace is an indispensable tool when it comes keeping your home warm during the cold months. Little attention and maintenance can get your furnace into perfect working condition. By tuning up the furnace early enough, you will be able to save both money and time that you would have spent to address a crisis. Besides, you can avoid the downright danger and the inconvenience of lacking a heating appliance during the cold winter months. Moreover, ensuring that your furnace is clean and maintaining it well can prolong its lifespan and make it operate efficiently.
A Ductless mini split is simply a ductless straight air cooling or heat pump system. The systems are a worthwhile investment for comfortable temperatures both at summer and winter. They can be for a full house or single remote rooms or rooms with unique HVAC needs. A good example of these areas is the garage and IT room with computers.
As the name indicates, no ducts will be installed. The system uses copper tubing that runs through the walls and ceiling to connect to the units. Homeowners in Connecticut, who install these systems in their homes, benefit in the following ways:
Your central air conditioner needs the best care and maintenance practices due to the fact that it is one of the heftier summer investments at home. The fact that it supplies cool and warm air around the home makes it one of the most crucial systems in the house for comfort. A breakdown can cause serious problems. Taking preventive measures right from installation is the best decision you can make for your air conditioner.
We are a licensed and insured HVAC company that specializes in Connecticut heating and cooling systems. We maximize the comfort you feel in your home and reduce your energy costs. Our business was formally established in 2006 and we have a collective 30+ years of experience working with heating and cooling systems. Paul Bernaiche is the owner of American Air Mechanical, LLC, which has an "A+" rating by the Better Business Bureau.
CT Heating specialist providing heating and cooling services for Connecticut! We are an Insured ("A") rated Better Business Bureau company with over 30 years of service to homeowners Connecticut towns. We offer 5 star technical services in HVAC, Boiler service / cleaning / install, Oil Burner cleaning / service, Propane, Natural Gas Equipment & Service and other home heat / cool systems.
In Business Since: 2004
State Licensing
Trade: S-01 Heating, Piping, Cooling
License #: HTG.0392060-S1
Expiration: 08-31-2019


text:
Clue: Court material
We have 2 answers for the clue Court material. See the results below.
Possible Answers:
Related Clues:
- Suburban sight
- Croquet field
- Bowling green
- Croquet site
- Croquet area
- Suburban green
- Place for an egg roll
- Place for an Easter egg hunt
- Suburban greenery
- Bowling green, e.g.
Last Seen In:
- Netword - August 06, 2015
- New York Times - January 24, 1999
Found an answer for the clue Court material that we don't have? Then please submit it to us so we can make the clue database even better!


text:
KENNEBUNK — Police have charged a Biddeford couple with burglary for allegedly breaking into a home on Maguire Road on Tuesday morning before being scared off when the homeowner returned to the house.
KENNEBUNK — Police have charged a Biddeford couple with burglary for allegedly breaking into a home on Maguire Road on Tuesday morning before being scared off when the homeowner returned to the house.
Lt. Tony Bean Burpee said a female resident on Maguire Road returned home around 10:30 a.m. to find an SUV with Florida plates and a woman inside parked in her driveway.
When the homeowner asked the woman what she was doing there, she said she was there to pick someone up, Bean Burpee said, but the homeowner didn't believe her story.
Instead, she opened her garage door to find her flat screen TV and other electronics piled in the garage. She also witnessed a man run out of the back of the garage, Bean Burpee said.
"She said, 'You're robbing me,'" he said.
That man ran around the house, jumping into the SUV, which then took off, Bean Burpee said.
The homeowner followed the vehicle in her own car, he said, until she was able to catch the license plate and call it into police.
Bean Burpee said the police stopped the vehicle on High Street, and took the couple into custody. Arrested was Michael A. Gonyer, 21, of 20 Freeman St., Apt. 301, and Ryana C. Garcia, 21, of 96 South St., #103, both of Biddeford.
Gonyer was arrested on an outstanding Wells Police Department burglary warrant, and was charged by Kennebunk Police with burglary, a Class B felony, and two counts of violation of conditions of release.
His bail was set at $5,000 and he was transported to the York County Jail.
Garcia was the female driver of the vehicle, police said, and she, too, was charged with one count of burglary.
Bean Burpee said she was arrested and then transported to Southern Maine Medical Center in Biddeford to be checked over, since she is nine months pregnant.
From there, she will be transported directly to the York County Jail. Her bail was set at $2,000.
Bean Burpee said no items were actually taken from the residence as the suspects were interrupted before getting a chance to load them into the SUV, which was a brown 2002 Ford Explorer registered in Florida.
He said Gonyer had been stacking electronics, coins, jewelry and guitars in the garage prior to loading them.
Bean Burpee said the police are looking at the couple in connection with a burglary on Harrisecket Road last week.
He said the York County Sheriff's Office is also looking into any possible connection between the pair and other recent burglaries.


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Fancy Pants (1950)
Directed by George MarshallGenres - Comedy | Sub-Genres - Slapstick | Run Time - 92 min. | Countries - United States | MPAA Rating - G
Share on
Synopsis by Hal Erickson
Fancy Pants is a musicalized remake of the oft-filmed Harry Leon Wilson story Ruggles of Red Gap, tailored to the talents of "Mr. Robert Hope (formerly Bob)". The basic plotline of the original, that of an English butler entering the service of a rowdy nouveau-riche family from the American West, is retained. The major difference is that main character (Bob Hope) plays a third-rate American actor who only pretends to be a British gentleman's gentleman. Social-climbing American heiress Lucille Ball hires Hope to impress her high-society English acquaintances, then takes him back to her ranch in New Mexico. Though there are many close shaves, Hope manages to convince the wild and woolly westerners that he's a genuine British Lord--even pulling the wool over the eyes of visiting celebrity Teddy Roosevelt (John Alexander). Never as droll as the 1935 Leo McCarey-directed Ruggles of Red Gap, Fancy Pants nonetheless works quite well on its own broad, slapsticky level. If the ending seems abrupt, it may be because the original finale, in which a fleeing Bob Hope and Lucille Ball were to be rescued by surprise guest star Roy Rogers, was abandoned just before the scene was shot.
deception, actor, fish-out-of-water, ranch, social-climber, butler, cross-cultural-relations, on-the-road, woman


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Save on NovoLog® Mix 70/30
Save on NovoLog® Mix 70/30
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bNeedles are sold separately and may require a prescription in some states.
Additional financial assistance
As part of our continued commitment to those living with diabetes, the Novo Nordisk Patient Assistance Program (PAP) provides free medicine to those who qualify.


text:
Main photo above: Banner designed and copy written by Juan Wei of Sport Fishin' Asia
Some of Kuala Rompin's top skippers posing for photo next to the giant banner during the 2012 Royal Pahang International Billfish Challenge. Guest and participants duly signed their names on the banner as a show of support.
Hopefully the state government officials, local Department of Fisheries and Ministry of Tourism present will take note of the importance and take the necessary actions before it is too late. Photo: Markus Ho
The campaign initiated by us was picked-up by the media as well, as seen in this Rod & Line magazine November 2012 issue article. Thanks, CS Fong (Editor).