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YMMV: Monster Pulse
- Bellisario's Maxim: Word of God in response to questions regarding the functionality of disembodied organs. There are a lot to say the least.
- The biological nuances of how monsters, and in fact their partners, function is something the author is not going to tackle.
- Funny Moments: "YEAH!"
- Heartwarming Moments: "I would have never thought something so strong could have come out of me."
- Ho Yay: Rafi and West
- Nightmare Fuel: Although the comic could be theoretically shown to audiences of all ages, it does have it's scarier moments, starting with the premise. Flying specter-things targeting children and ripping their organs out? Not nice.
- We never get quite a good look at Roger when the Ghost hits him, but it's implied to not be pretty.
- Rjinder's monster. It's normally not so bad, but there are times when it can get really disturbing. Skin should not move like that.
- Also, what's always on your mind when your own skin is a separate being:
"Now she is with me, always. I cannot exist without her. I am swaddled like a helpless infant in her embrace, every second of my life. If my skin had a will of her own, she might one day grow tired of me. For her, killing me would be simplicity itself. Or perhaps she might have her own ideas of what she wanted to do. She could torture me into compliance simply by lifting one arm and exposing me to the air."
- Weird kid who has marking on his eyes and can't seem to close them? Okay, maybe he's got an eyelid monster or someth— aaaaAAAAAAAA
- Ugly Cute: The various organ monsters, at least after they're done bursting out of people's bodies.
- Guuzy in this page here is an especially good example. Yes, he's a giant disembodied mutated stomach, but he's also the most freaking adorable thing ever.
- Despite being a sociopathic girl with acne and buck teeth, Nancy has several cute moments.
- The Woobie: The entire cast appears to have shades of this, but by far Bina has been taking the cake. Poor kid has no idea why her heart is walking around, what The Men in Black want with it, or what she's supposed to do next.


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Judging prospects a hot issue
OU conducts background checks; OSU coaches evaluate character
At last month's annual college football coaches convention, the major theme wasn't perfecting the spread offense or executing on special teams. Instead, with national signing day looming Feb. 6, the focus was evaluating the character of players.
"I made this a hot-button issue because it's a very important issue," said former Baylor coach Grant Teaff, executive director of the American Football Coaches Association, sponsor of the convention. "We concentrated on how to question youngsters to give you some idea of who they are and who they run around with." While assessing recruits on the field is as old as the split-T formation, more emphasis is being placed on judging prospects off the field. Both Oklahoma and Oklahoma State now have operating policies in place to evaluate the character of prospective student-athletes. In the spring of 2005, OU became one of the first universities to require a criminal background check be completed before a national letter of intent is sent out. "Our philosophy is we want to evaluate a prospect as comprehensive as we can," OU athletic director Joe Castiglione said. "We feel it is wise to do everything one could do in advance." Oklahoma State doesn't conduct mandatory criminal background checks, instead relying on its coaches to evaluate the individual character of prospective recruits. "I judge them on how they treat their family at home," said new OSU co-offensive coordinator Trooper Taylor. "If they're disrespectful to their mom or dad, I have no chance. They've been raising them for 18 years. For me to think I can change them in four years, it's probably not going to happen." The move to more stringent policies of evaluating recruits has come in part from the recent implementation of the Academic Progress Rate, which measures if a school is moving its athletes toward graduation. Poor APR scores can result in a loss of scholarships, which makes recruiting prospects that have an interest in academics crucial. "It's imperative you bring in youngsters that will be there for four years, capable of graduating," Teaff said. "To assure that you have to be sure they're academically capable and they have the character to control their behavior. "You can't invest thousands of dollars in a kid who will be there for only one or two years. Anybody that does it is not going to last very long." A background check, however, doesn't stop with searching for a criminal record, reading an academic transcript or talking with the immediate family. Finding athletes who will integrate well into a team philosophy is an important facet of recruiting. Not only that, juvenile misdemeanors sometimes won't appear on criminal records, meaning deeper investigations are often required. "It definitely has become a bigger deal to do more homework on a kid," said Jeremy Crabtree, national recruiting editor for Rivals.com. "You don't want a kid to cause problems on campus or become a cancer. Are they coachable? Will he get in trouble when he's out celebrating a win? You have to be real careful.
Continue reading this story on the...

subset: commoncrawl


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Tags:schließen Intel IT IT-Management Wissenswertes IT-Manager Mehr
High-End Server Processors Deliver Maximum IT Value
The document describes an Intel study that shows how high-end server processors maximize IT value by delivering higher performance throughput while lowering total cost of ownership (TCO).
Based on these throughput and TCO advantages, Intel IT standardizes on Intel® Xeon® processors with a core frequency of 2.6 GHz for two-socket servers for design computing and enterprise server virtualization needs.
Read the full High-End Server Processors Deliver Maximum IT Value Solution Brief.
Intel IT's efforts to help meet market demands
Intel CIO's priorities for accelerating Intel's growth
Dynamic UX personalizes the user experience by understanding user behavior and needs.
Insight on how Intel prioritizes IT spending
Intel's CTO outlines their process for innovation
How Intel IT enables use in secure environments


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Jason Bay is going to be a Met in 2013
Sep 25, 2012, 9:41 AM EDT
Jason Bay has either been hurt, has stunk on ice or both since signing his $66 million deal before the 2010 season. And there is little if any chance, it seems, that he's going to miraculously be a good player in its final year in 2013. But the Mets have decided that the roster spot he occupies is not worth as much as having him around next season. Mike Puma of the New York Post reports:
As Jason Bay considers the various "scenarios" regarding his baseball future, he can eliminate the possibility the Mets will swallow the $19 million he is owed and release him this offseason.
According to a team source, there is "zero" chance the beleaguered outfielder will be released this winter or asked to compete for a job in spring training.
Bay is owed $16 million next year and is guaranteed another $3 million for the buyout the Mets will certainly exercise as opposed to that 2014 option. On the season he is hitting .155/.231/.294 in 67 games. Since joining the Mets he is hitting .233/.317/.369 with 26 homers and a .686 OPS in 285 games.
- kiwicricket - Sep 25, 2012 at 9:47 AM
Jason Bay is more likely to be a 4-letter word, than a 3-letter word.
- gammagammahey - Sep 25, 2012 at 9:54 AM
Not that I think there's any chance that any team will take him in a trade but who's going to even consider it if the Mets say, "We're releasing him at the start of spring training"?
- Joe - Sep 25, 2012 at 9:59 AM
Red Sox fans were mad when they didn't re-sign him.
- mazblast - Sep 25, 2012 at 10:47 AM
Some Red Sox fans were mad. Most realized that the Mets were offering too much money and too many years. While they were right, no one except perhaps the most pessimistic Mets fan could have anticipated just how little he's been worth during the contract.
- fathersworkandfamily - Sep 25, 2012 at 11:41 AM
Sox offered 4 years $60M
Mets offered 4 years $66M
not a big difference, and the exact same number of years
- 18thstreet - Sep 25, 2012 at 11:50 AM
$6 million isn't a big difference?
Are you Mitt Romney?
- hokiegajanisgod - Sep 25, 2012 at 3:32 PM
Not all Red Sox fans…dude wanted too much $$$.
Although if they did resign him they probably wouldn't have signed John Lackey…and definitely not Carl Crawford.
Wait, in retrospect I was mad the Sox didn't sign Bay…until Ben the Great dumped Crawford on the Dodgers!
- hk62 - Sep 25, 2012 at 10:06 AM
You're seriously going to under estimate a player going into his walk year? He'll be hurt again, but do enough to get something on top of that $3 mil buy out, just enough.
- dalucks - Sep 25, 2012 at 10:22 AM
All the Mets can do is hope he can find his swing and play well enough to create some trade value. The Mets need help in the bullpen so if they can get two decent pitchers for him then consider it a win.
- thebadguyswon - Sep 25, 2012 at 10:25 AM
Non story.
- forsch31 - Sep 25, 2012 at 12:38 PM
Non comment.
- sdelmonte - Sep 25, 2012 at 10:57 AM
ESPN's NY site has a list of players with toxic contracts that the Mets could conceivably trade for, just for a change of scenery. So it's not impossible they could move him.
The problem is not that he's awful. It's that he's awful and that the minors, despite having pretty good prospects at some positions, is bare of anyone in the outfield who would be much better.
- chc4 - Sep 25, 2012 at 11:04 AM
Bay is just the latest in a long line of disastrous NYM signings.
- kevinbnyc - Sep 25, 2012 at 1:14 PM
I knew his numbers were pretty bad, but its shocking to see them actually spelled out. Possibly worse than Mo Vaughn's time in a Mets uniform.
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Abstract Painting: The Turd That Won't Flush?
February 4, 2013 · Print This Article
Today seems like a good day to talk about abstract painting. It's an issue that bobs to the surface from time to time ("…like a turd that won't flush,†to quote Deacon, Dennis Hopper's character in Waterworld), a sort of ghost or dark secret that can't stay hidden forever. Abstract painting is often seen that way today, as a turd, the digested remains of something that used to be relevant, new, and beautiful, but let's not forget, when Hopper uttered those timeless words, he was referring to the hero of the picture. It's not an easy issue, and like everybody else this time of year, I'm a bit under the weather, so rather than force you to suffer through my foggy-headed musings, I'm going to approach this topic by serving up some hot plates of copy-pasta, written my minds less addled than my own.
The issue of abstract painting surfaced for me recently at Co-Prosperity School, the artist-run discussion circle that I've been coordinating, along with Stephanie Burke, ever since the school's founders, Aaron Delehanty and Ed Marszewski, each became busy with the joys of fatherhood. Each week, in addition to a visiting artist's presentation, one of the participants presents his or her work for critique and discussion. A couple of weeks back, it was Chicago-based abstract painter Erin McGuire's turn to present her work. Erin's a vocal advocate of abstraint painting's continued relevance today, and after her critique, I asked her to summarize her thoughts in a brief "manifesto.†Here's what she sent me:
Why Abstract Art You Say!
1. Representational and abstract are both valid art subjects.
2. I like to draw, paint, combine forms, colors, and relationships without being constrained to one specific literal object.
3. Not being tied down to one specific object opens the piece up to everyone to understand, even if they haven't learned art history.
4. You don't have to "get†abstract to enjoy it.
5. It gives a lot of room for imagination.
6. Yes, there is shitty abstract art, just like there is shitty realistic art.
7. Silly, bizarre, casual, colorful, sexy, poetic abstract paintings exist that might make you cry, remind you of certain music, or a powerful little moment that no one else noticed.
8. Give abstract a chance; don't be intimidated by its history.
9. Just (fucking) enjoy the painting, whether it's abstract or realistic – there's nothing wrong with just liking something without having to explain yourself.
10. There's room in your mind for abstract if you allow it.
You can read more of Erin's thoughts, and see some images of her work, here:Â http://erinmcguirestudio.com/home.html
One of our fellow participants, Kelsey Greene, took the time to write a response to Erin's presentation. In it she uses McGuire's work as an entry point to begin discussing abstract painting more generally.
The next leap is abstraction. But how does a person tell a good abstract from a drunken scribble? It has to do with intent, and artistic intent is very difficult to parse out without education or training. Without knowledge of proportion, composition, color systems etc., all the deliberate choices of the artist appear random or accidental. Education is essential because people want to know that their opinion has a valid basis. They don't want to be the person with the wool pulled over their eyes, imagining that a child's drawing is the next great masterpiece. They want to know they are not being fooled into discussing something as higher than it is. The only way to give that assurance is to discuss process and technique (artist's choices) with the viewer…
A painting is "finished" when there is nothing left to do. There should be nothing "wrong" (out of place, unbalanced) with the painting, but it should still be interesting enough to keep the viewer (in this case, the artist herself is the viewer) visually engaged. This is perhaps one of the most important distinctions between [representational] painting and abstract paintings. A [representational] painting is done when it looks like what it is, and in sufficient detail. An abstract painting is done when the artist decides that it looks like itself. A representational painting is done when it can't look any more like the thing, or when changes start to lessen the likeness of the painting to its subject, or when additional work doesn't seem to be adding anything to the perception of the subject, but an abstract work doesn't have an objective guide. The point of completion is entirely the artist's prerogative, and is a very deliberate choice, perhaps more so than in a process when the work is being compared to an outside standard.
The full entry is available on Kelsey's art blog: http://ixonia.livejournal.com/2131.html
All of this manifesto-grade discussion may feel as dated as abstract painting itself, but as with Sol Lewitt's Sentences on Conceptual Art, painting, and specifically abstract painting, may be rendered a littler clearer with some choice words, particularly if it is going to continue to endure alongside performance, digital art, and all the newfangled whatzits that have become part of the contemporary definition of art.
The best theory or manifesto of painting I've read, seen, or heard in a while has been painter Molly Zuckerman-Hartung's 95 Theses on Painting, shown as part of her exhibition at the MCA Chicago and now available online: http://fromawhispertoascream.blogspot.com/2012/07/the-95-theses-on-paining.html The whole list is well worth reading, several times over, but this morning, grey and snowy outside, and stuffy and congested inside, this one feels just right:
73. The dream of abstract painting in the 20th century was a dream of whole people, whose senses weren't fragmented, whose vision was complete, who made paintings with their hearts and minds and bodies in harmony.
Postscript: It was my great pleasure to perform my graduate work under the guidance of painter Grace Hartigan, who first became well known as a second generation abstract painter in New York, before returning to figurative painting later in life. It was through conversations with her that I learned to appreciate abstract painting, particularly the work of Helen Frankenthaler, Joan Mitchell, and Lee Krasner, as well as Grace herself. Although my own work is figurative, representational, and realist in a very traditional sense, I nevertheless drew much inspiration from these abstract painters, who incidentally happen to be women. So Georg Baselitz can suck it.
I've always liked Dave Hickey. This was initially because his Air Guitar was the one book of art theory or criticism I could read without feeling like I was choking down something unpleasant because it was supposed to be good for me. So, last October, when Hickey famously "resigned†from the art world (the exact meaning and consequences of which only time will tell), I was eager to hear his reasoning, which, I figured, had to be pretty good.
Hickey's complaints, first reported in The Guardian and immediately quoted basically everywhere, carry an echo of a quotation (often misquoted) from Hunter S. Thompson's Generation of Swine: Tales of Shame and Degradation in the '80s: "The TV business is uglier than most things. It is normally perceived as some kind of cruel and shallow money trench through the heart of the journalism industry, a long plastic hallway where thieves and pimps run free and good men die like dogs, for no good reason…Which is more or less true. For the most part, they are dirty little animals with huge brains and no pulse.â€
Last night over after-dinner drinks, a friend told me about Damien Hirst's collaboration with the Olsen twins: the twins' signature black patent leather Nile crocodile backpack (which, apparently, is a thing), released as 12 limited-edition designs embellished by Hirst. The Nile originally sold for $35,000; the Hirst edition goes for $55,000, with the proceeds going to Unicef. Nobody's going to hate on Unicef, but Hirst's spot paintings already had an air of an artist who'd become too big to fail just phoning it in to make a buck. Repeating the spot imagery on a luxury backpack starts to feel like the art world's version of the Portlandia "Put A Bird On It†sketch.
Big shots make big targets, and any museum-vetted multimillionaire artist is going to draw some flak. Jeff Koons has attracted criticism ever since his public relationship-as-performance with an Italian porn star-politician (a pretty special combination in itself) was widely written off as an obvious publicity stunt. Hirst has always attracted skepticism, mostly of the "but is it art?†variety, for his dead-thing-in-a-vitrine work, but they were at least monumental. His spot paintings look lazy by comparison, and stamping them on a bag reinforces the idea that he's become not just a brand, but nothing but a brand. Warhol would approve, maybe, but a lot of us, I think, are tired of it.
What makes us uncomfortable, I think, is the implication that this collaboration may actually be between equals. We dread that there may be some hypocrisy in our criticism of the balls-out consumerism that allows a pair of twins who got famous getting their diapers changed on television to sell handbags for five figures. Are art world celebrities so different from the garden variety? More to the point, are art world celebrities any different from ourselves, and our friends, if we got the success we pretend to disdain but secretly covet? We want to see ourselves as the kid who points out that the emperor's new clothes are nothing at all, and when one of our darlings pairs with one of theirs, we start to feel the tickle of the breeze on our own naked back.
The truth, I think, is that there is no difference. These art world titans fill our need to have something to worship, and to hate. Like soccer moms flipping through tabloids in the checkout line of the grocery store, we need these gods and demons, to love and to fear, to envy and mock. In the end, the fact that they happen to be artists is entirely incidental. Like everybody else, we're drawn to epic personalities, and like everybody else, we've been eating a mile of their shit just to see where it comes from. That we happen to prefer the flavor of artist shit over actor shit, or musician shit, or athlete shit, is an incidental consequence of subculture, class, and education, and has no bearing whatsoever on the essential nature of cults of personality.
This at least would seem to explain Hickey's "fuck this shit†decision to opt out of the whole thing. And Hickey is one for whom the system worked: I'm sure the man's received his share of rejection letters, but I'm also pretty sure that it's been a while. His criticism can hardly be called a case of sour grapes, but it must resonate with anyone who's doing good work, not getting the recognition it deserves, and seeing what look like heaps of laurels being stacked on the heads of lazy hacks. The temptation to sweep the chessboard onto the floor and walk away is certainly understandable.
Here's the thing: gods you don't believe in can't touch you. It doesn't matter what million-dollar deals are being done between people you'll never meet. It may be interesting, and sure, we may wish for a slice of that action, but it can only suffocate you if you bury your face in it. Art is like Calvinball: if you don't like the rules, you can change 'em. I'm not going to second-guess how Hickey wants to live his life; it sounds like he's got some book projects he's into, which look interesting, and while they're not directly about art, I was never entirely sure that Air Guitar was, either. But opting out isn't the only option on the table for anyone else who feels that way. Nothing the big shots are doing, however frustrating, however misguided, need stop you from making that work, writing that blog post, or running that apartment gallery.
Bumper stickers make for lousy arguments, but there's one out there that slings a butchered quote spuriously attributed to Mahamta Ghandi: "Be the change you wish to see in the world.†The actual quotation isn't quite as pat, but it's a decent thought for anyone who's frustrated with the way things are, whether in the art world or anywhere else:
"If we could change ourselves, the tendencies in the world would also change. As a man changes his own nature, so does the attitude of the world change towards him. … We need not wait to see what others do.â€
P.S. Fuck you, Olsen Twins: This is how to use a crocodilian as a fashion accessory: The author's wife Stephanie Burke with one of Jim Nesci's reptiles, at Big Run Wolf Ranch.
Of the many branches of contemporary art's gnarled and twisted family tree, arms and armor appears to be a particularly precarious limb, a long-dead branch likely to be pruned off by any serious storm. More than any other field of art history, arms and armor have come to be associated with the dimly-lit studies of the super rich, typified by Bruce Wayne's manor in Tim Burton's 1989 Batman. "Check this out. He must have been the king of the Wicker People.â€
There are those of us, though, who notice things in that scene, that most viewers miss: For example, the completely anachronistic juxtaposition, on the armors flanking the door, of close helms and breastplates from the sixteenth century, with eleventh century kite shields decorated with swirling-armed crosses. Five hundred years of history separate the former from the latter, no less than separates the latter from the present day. A close helm would have been as out of place at the battle of Hastings as an Abrams tank at the court of Henry VIII.
Most people watching Batman, even artists and art viewers, wouldn't know the difference, and couldn't care less, and in fact would probably imagine the previous paragraph being read aloud in the voice of Comic Book Guy from The Simpsons. The appreciation of arms and armor is easily treated as an oddball, nerdy fringe of art history, and tainted by association with violence: undergraduate art history survey courses rarely cover the difference between a bascinet and a burgonet. Contrast this with the expectation that anyone with a degree in art, in any medium, should easily recognize the painting The Joker later defaces as Rembrandt's late self-portrait, and the one he spares as one of Bacon's popes.
Arms and armor may not be appreciated by as wide of an audience as is painting, but they have their fans, and I'm one of them. As a kid, I remember going to visit my family in Philadelphia, and we must have gone to the art museum; I remember a seeing, just in passing, some maces in a display case and becoming totally enamored. My dad bought me a book on arms and armor on that same trip, and I've still got it, much abused and well loved. In my teens my mom bought me a book on the arms and armor of the medieval knight, and I've still got that one too. The summer before I went away to college, I went to Europe with my girlfriend at the time, and each time we visited a new city I sought out its arms and armor museum: Vienna and Dresden were both quite memorable, though that latter city sadly lost much of its collection in the firebombing it experienced in World War II.
In August of 2007, I was attending a residency at the Vermont Studio Center, before moving to Chicago to join my wife Stephanie Burke, who had just started school at SAIC. She called me to tell me about the wonderful collection of arms and armor she'd seen at the Art Institute. I arrived a month later, headed down to the Art Institute, and found the long, dimly-lit hall…completely empty, save for a single display case with a few swords lingering.
The hall was the Art Institute's Gunsaulus Hall, which housed the Art Institute's fantastic collection of arms and armor until late 2007. Three years later, a small selection of the collection was put on display in the Art Institute's Galleries 235 and 236, where it remains on view today. The exhibition space is small and so the percentage of the collection that can be shown is necessarily quite limited (although its ceilings are high enough to display an armor for man and horse with the rider mounted, something never before possible at the Art Institute). In that display, a sign indicates that this small display is temporary, pending the completion of a new, much larger exhibition space for the collection, at an undetermined future date.
The Art Institute's collection of arms and armor comes from the estate of George F. Harding, Jr. (1868-1939), a Chicago businessman and politician who amassed an incredible collection of arms and armor as well as other art and artifacts from around the world. In 1927, Harding expanded his Hyde Park home, adding upper stories emulating a castle. He used this "castle†as a museum to display his collection of arms and armor.
The castle was torn down in 1964 as part of an urban renewal project, and the collection was moved to a building, closed to the public, at Randolph and Michigan. The museum's chairman, Herman Silverstein, along with his wife Bea, was the subject of a lawsuit by the Illinois attorney general's office in 1976, accusing the Silversteins of "violating IRS regulations concerning charitable trust laws by mismanaging the museum assets and failing to allow public viewing of the relics.â€Â The Silversteins agreed in count in 1989 to resign, and to turn over to the Art Institute the last $4.1 million of the Harding Museum's cash assets, to be used to conserve and display the collection. The Harding collection itself had been turned over to the Art Institute in 1982, under pressure from the State.
The bulk of the Art Institute's collection remains in storage, out of view, but even the small selection on display is well worth seeing. There's also a book, Arms and Armor at The Art Institute of Chicago, by Walter J. Karcheski Jr., out of print but available online very inexpensively. For my dear fellow viewers who appreciate this odd branch of our culture's visual history, we will have to content ourselves with these, until the Art Institute makes room for a larger exhibition space for this world-class collection.
Higher Hopes, or Just Higher Ceilings?
October 1, 2012 · Print This Article
"Art Chicago With Higher Ceilings.â€Â This is how one Chicago gallerist, who preferred to remain anonymous, described Expo Chicago. Similarities are inevitable, not only those intrinsic to any Chicago art fair, but also those brought by president and director Tony Karman (vice president and director of Art Chicago from April 2006 to December  2010), as well as the familiar echoes of Navy Pier, where Art Chicago was held until 2004 and now the venue of choice for Expo. But by last year, Art Chicago was foundering, and this year went tits-up at the last minute. If Expo Chicago is going to succeed where Art Chicago ultimately failed (after, it should be added, over two decades of success), it's going to have to have some major differences as well. Hopefully, Karman is putting his experience with Art Chicago to good use in running Expo.
Sales were "cautiously positive, if not glowing,†according to Julia Halperin's article on Art Info (which includes some specific works sold, and prices, including at least three in the million-dollar range).   Susan Snodgrass, writing for Art in America, quoted most gallerists as generally describing sales at the fair as "slow,†while describing others' attitudes as "wait-and-see.â€Â That's the tone I felt at the fair as well: not ecstatic, but not the depressed gloom that had settled over Art Chicago by its final year, either. I asked a pair of friends who worked the fair as section coordinators if people were selling much at Expo. As soon as one had said, "In my section they weren't,†the other exclaimed "In mine they were!â€Â So it seems to have been something of a mixed bag.
Descriptions of Karman's strategy make heavy use of the phrase "quality over quantity,†and Snodgrass agrees with the assessment, saying, "Overall quality was high.â€Â Certainly there were plenty of well-known names on the walls of the bigger, blue-chip galleries, and gathered together the best (or at least the best-known) could have made for a respectable, if modest, exhibition at a small contemporary art museum.
This, though, is a narrow and safe definition of quality, and while it may sustain the sales necessary to carry Expo into another year, it runs the risk of trading artistic liberty to purchase a little financial safety. There was relatively little unexpected at Expo; that which was surprising was mostly in the seventeen or so spaces in the Exposure project, dedicated to newer galleries such as Chicago's Andrew Rafacz Gallery and The Mission Projects. When these galleries sell work at a lower price point (compared to the sometimes seven figures the blue chip galleries list), and show artists with a less established sales record, it can be difficult to cover the costs of a regular art fair booth, and projects like Exposure may, if priced and juried right, attract an exciting energy to what could otherwise become an overly stodgy event.
It may be that calls for more experimental, risk-taking, emerging art are naïve, romantic notions rendered untenable by a harsh economic climate. It may be that in addition to the smaller scale, and undeniably more attractive venue, of Expo in comparison to Art Chicago's final days (the ceilings really are higher; the place looks like a Zeppelin hanger, which is awesome), some of the more experimental, challenging projects, and more exciting (though less established) galleries, will find themselves cut from the equation by the cold, hard logic of economics.
The argument could be made that this is the reality of holding an art fair in Chicago. However, a counter-argument is being made in the form of the MDW ("Midwayâ€) fair, which describes itself as "a showcase for independent art initiatives, spaces, galleries and artist groups, highlighting artist-run activities and experimental culture locally, nationally and internationally.†In many ways, it is everything that Expo isn't (and Art Chicago wasn't). There won't be any metallic silver spaceships (Weather balloons? Inverted orange juicers?) hanging from colossal ceilings in a cyclopean amphitheatre, and glasses of wine aren't likely to be delivered on sliver trays even at the Vernissage opening night event. Booth prices are lower, sales tighter, and the whole economics of the thing scaled down. There will be relatively few big-time European collectors, and no seven-figure sales, but instead there will be experimentation, unconventional spaces, and unexpected and surprising work.
MDW isn't likely to rival Art Basel or Frieze in terms of dollar values moved, or the international reputation of the work seen. (Note that I said nothing here about quality; there has been some exceptional work at both of the previous MDW fairs.) MDW's significant contribution to Chicago's art scene is likely to remain "other than economic.â€Â Rather, it can provide a counterpoint to the commercial fairs, showing what can be done even in tough economic times. It might even hope to lead the big boys by example, encouraging a more experimental and risk-taking attitude on the part of the big fair organizers, galleries, and collectors, to show and support the work of artists who are already performing the experiments and taking the risks.
The attitude, even among MDW's organizers themselves, is that Chicago still needs a large, commercial art fair: Ed Marszewski, one of MDW's organizers, posted on Facebook, "Well, you know it.  Expo looks kind of fantastic.  We've got something to be proud of.â€Â Judging not only by the Facebook "likes†and comments, but also by the chatter in meatspace, the sentiment seemed to be shared pretty widely across a broad spectrum of Chicago's art community, which had collectively exuded an aura of embarrassment over Art Chicago's last few years.
Expo is almost certain to happen again next year, with some galleries already making plans to be there. (NewCity's Robin Dluzen quotes Karman as saying, "There had better be a fair next year, or I don't know what I'm going to do with the rest of my life.â€) Beyond that is anyone's guess, and will depend in large part on next year's sales. Ultimately, though, for an art fair to truly succeed, and avoid Art Chicago's final demise, it must remain interesting, compelling, and relevant. This means new work by living artists, both established and emerging. When a fair plays it too safe, it courts disaster. Expo's dealers may already have learned this lesson; Dluzen observes that "it was the contemporary, primary market art, not the Modern, secondary market art, that was being moved.â€Â Hopefully, Karman will pay close heed to this lesson, and perhaps even follow, in part, the example being set by MDW. If Expo is to be Chicago's chance at a lasting, world-class art fair, it's going to have to be both profitable and exciting. That's a delicate balance, and next year is going to be a demanding test of how well Expo strikes it.
Expo Chicago is scheduled for September 18-22, 2013, at Navy Pier. MDW takes place this November 9th to 11th, 2012, at Mana Contemporary Art Center, just off Cermak Road in Pilsen.
Top Feature Image:Â Scan of rapid prototype of my head, made by Tom Burtonwood while we were working together at the Bad at Sports booth at Expo Chicago.
Bang Bang: Art and Guns
September 3, 2012 · Print This Article
Much has been written about the role of firearms in American culture, with harsh critics and vehement advocates debating the positives and negatives of this role. Will firearms one day be seen as an antiquated relic of a more violent age, like the dueling swords of 18th Century gentlemen, or the daggers and knives ubiquitous on every medieval belt from peasant to noble? Or, conversely, will the individuals who make up our society learn to stop shooting each other, so that firearms can serve a positive role as tools for recreation, competition, and defense?
Only time will tell, but in the mean time, it remains undeniable that firearms have a significant, and contentious, role in American society. (Their role internationally varies nation-by-nation.) Anything this charged is fertile ground for artists seeking high-tension subject matter, and indeed artists have worked with firearms and firearm imagery in a variety of ways.
For the now-famous performance Shoot, at F Space in Santa Ana, California, performance artist Chris Burden had a friend shoot him in the arm with a .22 rifle. Sculptor Tom LaDuke made a sort of homage in his "A Self-Inflicted Burden,†a self-portrait in which he holds a pistol in one hand and examines a gunshot wound on his other arm. Reviewed in Artweek, Art In America, and The Los Angeles Times, LaDuke's sculpture plays with Burden through its small scale, the self-inflicted nature of the wound (Burden's wasn't, at least not directly), and through the title's pun.
New York-based, Louisiana-born artist Margaret Evangeline uses firearms as an art-making tool, shooting holes in sheets of mirror-polished stainless steel, powder-coated steel, and aluminum. (She also works in painting, installation, and video.)
Tom Sachs worked with guns in a couple of ways. His 1995 sculpture Tiffany Glock (Model 19), made of cardboard, hot glue, and ink, and his Hermes Hand Grenade are both non-functional, but Sachs and his assistants also made hand-made, fully-functional firearms. Some of these are listed on his website as art objects, but others were part of a clever scheme (some might argue performance) in which he and his assistants easily made improvised "zip guns†out of common, hardware-store materials, and sold them to NYPD's gun buyback program at up to $300 apiece.
Alfredo Martinez is another artist who worked with firearms, and also came up with a novel money-making scheme. Martinez' scheme didn't have anything to do with making guns; he was making fake Basquiat paintings, for which he was arrested by the FBI. But in his more honest career as a painter, his own work consisted of large-scale paintings of cross-section schematics of firearms. This actually got him into trouble more recently, when he was traveling and working in China; a hotel maid found some of his drawings, which looked like blueprints, so she reported him to the police as a terrorist.
Other artists have of course worked with firearm imagery from time to time. Andy Warhol's screenprint "Gun†treats its subject with the same cool remove with which he treated all of his popular culture sources. The Gao Brothers' 2009 sculpture "The Execution of Christ†features a ring of Mao clones armed with SKS rifles executing Jesus. The examples are almost countless.
A longstanding sophism holds that a work of art isn't finished until the viewer completes it by looking at it. This is more like a Zen koan than a debatable point, along the lines of "If a tree falls in the forest…†This notwithstanding, art's relationship with its viewer plays a particularly interesting role when the art in question involves firearms, when art viewers are typically stereotyped as liberal and therefore (the stereotype holds) anti-gun.
A recent review on NPR of the film Expendables 2 pointed out this same kind of interaction between a gun-happy action movie and its hoplophobic Hollywood audience:
           The message, if the film has one at all – more guns, more fun. And in a throwback, old school kind of way, yeah. But in the heart of the carnage, it's nearly impossible not to think of when big guns and cinema violence last met in the real world of Aurora, Colorado. Forget all the post-tragedy finger pointing between the gun lobby and the media coddlers, in "The Expendables 2″ both sides of the divide set aside their differences long enough to join forces and make a tag team grab at the box office.
           This odd and oddly at ease symbiosis was plainly evident at the film's Hollywood premiere when Chuck Norris made his onscreen cameo, a real life, unabashed, gun-toting conservative, entering frame at a stroll, wading through all the dead baddies he's just laid out to the hoots and hollers and enthusiastic applause of a theater filled with Hollywood's so-called liberal elites.
It is this same sort of interaction between audience and subject that creates the essential tension in artworks with firearms as their subject. Some people, upon seeing an image of a firearm, feel a frightened revulsion, others feel a giddy fascination, and of course there is a spectrum in between. Regardless of its orientation, this response, whether positive, negative, or ambivalent, is what makes firearms such an enduring subject (and sometimes medium) in works of art.
[Post-script: As part of our practice, Stephanie Burke and I take artists and other art-world participants to a shooting range and teach them to shoot firearms. We call this project Shooting With Artists. If you are a Chicago-area artist or other art professional, and would like to join us on a future shooting trip, shoot us an email at either my website, or Stephanie's.]


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"Desert Bloom"
Film writer Chris Dashiell shares his thoughts on a little-known film that used mid-1980s Tucson as a stand-in for 1951 Las Vegas.
Film writer Chris Dashiell shares his thoughts on a little-known film that used mid-1980s Tucson as a stand-in for 1951 Las Vegas.
Eating "Unprocesssed" for a full year; National Independents Week stresses importance of buying local; Chris Dashiell reviews "Desert Bloom" from 1986; and foibles of would-be Arizona outlaws Cyclone Bill & Climax Jim.
Concert series kicks off, will continue Saturday evenings through August.
LDS Church offers national digital index to reveal ancestral information.
AZPM staff members share what music comes to mind when they think of their dads.
Father's Day edition with guest producer and host Fernanda Echavarri.
The first new exhibit since 2008 opens Saturday
From drop out to graduate thanks to support and compassion; sharing stories with strangers about real life; positive body image vs. media representation; how and why cicadas make such a racket.
Lyric Opera of Chicago
Supply limited for Native American ceremonies, so one man works to expand availability.
Community members combine technology with mining town's past and its modern art.
Sean Prentiss' book explores the complicated legacy of Edward Abbey, and follows his footsteps through the Sonoran Desert region.
Non-profit "Flags for the Flagless" honors veterans; book details author's personal quest to better understand the life of Edward Abbey; Tucson car show draws diverse crowd; Molly McCloy shares a story about growing up.
Police officers hope to see more United States flags throughout Arizona and the country.
New research shows more frequent trips to grocery store can keep food fresh, save money.
Donated pools will be auctioned after summer to raise money for contemporary art center.
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Organization - United Way Of Northwest Arkansas
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Video: What would you do if the plane you're on loses control?
Click to see what Paris Hilton didJune 30, 2015 1:28 by fpilkington
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Google's special Olympic inspired interactive doodles are very addictive and have Kipp thoroughly amused. With that in mind we bring you 12 of Google's best doodles to date.
August 8, 2012 2:06 by Jyothi M.V.
London Olympics Hurdles doodle – The playable London 2012 Olympic hurdles Google doodle is addictive and is Google's best doodle ever. To play the London 2012 hurdles doodle users have to use the left-right arrow keys to run and press the space bar to jump.
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Tomorrow's Hits: Lunchmoney "Bills"
Each Friday, Billboard presents Tomorrow's Hits, a weekly look at new and noteworthy acts making their way toward Billboard chart success
Lunchmoney Lewis
Dr. Luke's new signee Lunchmoney Lewis makes his Pop Songs debut at No. 38 with his catchy and comedic "Bills" (Kemosabe/Columbia) (up 115 percent in plays, according to Nielsen Music). The Florida native previously built cachet as a featured act on Nicki Minaj's "Trini Dem Girls" (on The Pinkprint). Artists including One Direction's Liam Payne and Meghan Trainor have supported "Bills" by sharing it on Twitter.
Fun fact: Lewis grew up in a musical family and his father, Ian Lewis, and uncle Roger Lewis helped found Jamaican reggae group Inner Circle. The act's household-name hit "Bad Boys," aka the theme from Fox's Cops, reached No. 8 on the Billboard Hot 100 in 1993. -Amaya Mendizabal


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Melcom Plus Complex
Accra Central
Time Out says
Posted: Sat Sep 21 2013
Across the three floors of this mall are dozens of concessions and individual stores that somehow meld into one. Distinct stores include Sony, Gracefield sports store, First Choice beauty salon and a small branch of Vidya bookshop. The rest is dominated by aisles of food, clothing, furniture, household and domestic goods. There is also Choco'Pain for a coffee and pastries. Children can be entertained on the mall's bouncy castle.
Melcom have added branches in Tema (Post Office Road, Traffic Light Meridian, opposite Vodaphone Tema Community 1, 026 4922 600) and Kumasi (Prempeh 2nd Street, Adum, 322 045 578). A recent addition to the group is Melcom Travel and Tours Ltd. It can arrange tour packages to any destination (tagline: Your Destination, Your Dreams...Our Solution). Contact the tour company at Melcom Plus, Kaneshie (Otublohum Street, North Industrial Area, PO Box GP56, 0302 252 984, 024 907636, travels@ melcomgroup.com).
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Accra Central
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- www.melcomgroup.com
- 5.586236,-0.227511
- 2nd Palace Link Road, off Dadeban Road, North Industrial Area
- Melcom Plus Complex


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Farts and Coke Bumps: Outlaw Dave Lawsuit Turns Even Uglier
Affidavits filed in Houston lawyer James Walker's breach of contract lawsuit against radio personality "Outlaw" Dave Andrews accuse Walker of openly abusing drugs and threatening a business partner.
Walker -- you may know him as "Walker: Texas Lawyer" -- sued Andrews and Duane Bradley after the co-owners of Outlaw Dave's Worldwide Headquarters allegedly squandered Walker's $360,000 loan for the business.
In an August 15 affidavit, Bradley accused Walker of coming to his home and said of Bradley's and Andrews's attorney, Scott McLemore, "The last time a lawyer made me this mad it was 1996 and he is still breathing through a straw out of his neck."
Among Walker's other alleged colorful comments were "I decided weeks ago that if I don't get what I want, then I will put the bar out of business....No one farts in that bar that I don't know about it."
In an affidavit sworn five days later, the improbably named Slade Ham -- apparently part of Andrews's show -- alleged that "Over the last year...Jim Walker's actions became quite questionable and disturbing, in that his use of painkillers increased dramatically. While Jim Walker had recreationally used painkillers the entire time I'd been around him, he'd never done so in as reckless and concerning a fashion. Walker referred to painkillers as 'vitamins,' offering them to others and me as another might offer Tic-Tacs."
In yet another affidavit, a fellow named Mike Mealy alleges that Walker offered him cocaine after a broadcast of Andrews's show in Galveston in 2011: "Attorney Jim Walker got into his vehicle and beckoned me inside the car, where he then produced a small bag of what he asserted to be cocaine, and offered me some. I then observed Attorney Jim Walker snorting the white powder from the end of a key into his nose, while sitting inside his vehicle."
Walker told Hair Balls that the affidavits were false and defamatory. Walker's original complaint accused Andrews of using drugs in the bar, but was vague on details -- something that is obviously not a problem among Andrews's camp.
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Charles Leonard Co. Binder Clips, Medium, 1-1/4", 3/PK, Black/Steel
Charles Leonard Co. Binder Clips, Medium, 1-1/4", 3/PK, Black/Steel
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Britney Spears has told us over and over and over again that things are about to get personal on her upcoming eighth studio album. But for the more voracious members of the Britney Army who aren't satiated by the 14-track Britney Jean, she's giving you 90 minutes of uninterrupted Britney with her upcoming E! documentary, "I Am Britney Jean."
The 90-minute special, which will premiere on December 22, will follow Britney as she prepares for her two-year Las Vegas residency. According to E!, it show "an intimate look at one of the most overexposed yet under-revealed stars of today as she faces one of her biggest challenges ever while finishing her album, shooting videos, doing press — and being a mom."
The Original 'Work Bitch' Video
Last month, your mouth probably dropped watching the fiercely sexy "Work Bitch" video. But it turns out, at least according to what Spears told a Boston radio station, what you saw was actually a toned-down version of the original. "We showed way more skin and did way more stuff for the video than what is actually." Well, we think she can squeeze in four minutes to show us all that "stuff."
More Miley/Britney Moments
While we love them, Miley and Britney or sort of like that annoyingly adorable couple who sit in the same booth and complain about how they've become and "old married couple." Both have been quite vocal about their admiration — Miley's said Britney's the only one who "gets" her — and while it's all a bit gushy, you can't help but be happy for them.
'It's Britney Witch' Bloopers
Britney was hilarious, charming and curiously British in her "It's Britney Witch" spoof video with Nick Grimshaw. But such comedic perfection couldn't possibly be nailed down in one take, so we imagine there's plenty of bloopers perhaps even better than the final cut.
Sisterly Studio Sessions
When Britney finally released her Britney Jean track list Tuesday night, it included a collaboration with little sis Jamie Lynn. Even though they might not have the same musical style — Jamie's more of a country gal — we're sure they've had some pretty precious in-studio moments.
As if her killer "Work Bitch" bod wasn't hot enough, Britney's said she's been hitting the gym hard for her Vegas residency. Mind sharing your secrets? It's obviously working.


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English Australia partners with EAQA
Australia's peak body for English language providers, English Australia, has partnered with pan-European quality agency association EAQA as part of its Partner Agency Program launched last year.
Australia's peak body for English language providers, English Australia, has partnered with pan-European quality agency association EAQA as part of its Partner Agency Program launched last year.
Chief Executive at English UK, Eddie Byers, has stated that the UK's ELT sector needs to work harder to make the government understand it is a "key feed" into the HE sector. And English Australia's Sue Blundell wowed ALTO delegates with data illustrating Australia's growth and grasp of stats.
Year to Date statistics from Australia show a 17% rise in student visa applications for ELICOS programmes and a 15% increase for higher education, the sector's best performance since peak year 2009. Stakeholders are confident the numbers point to a return-to-growth trend.
English Australia has become the latest education organisation to launch an agency partner scheme as part of a trend in ELT markets globally to champion quality agents to both sector players and students.
International education is a success story in Australia at the moment with overall enrolments up 12% to June this year, but peak bodies openly discussed the need to ensure that "good growth" is achieved, as current industry bugbears around Streamlined Visa Processing (SVP) and the Tuition Protection Service (TPS) were laid bare.
English Australia, which represents over 120 member colleges providing English language tuition, is "ramping up" its efforts to actively engage with education agents and launching a new Partner Agency Program after its agent survey, published this week, revealed that more than a third of agents are unfamiliar with the organisation.
Following its strong start to 2014 for international education, the Australian government has announced plans to extend Streamlined Visa Processing (SVP) to students applying to enrol in Advanced Diploma level courses at low immigration risk providers.
Australia is experiencing its strongest ever start to the year, bar its peak year of 2009, and has seen 21% growth across all international education sectors, latest AEI statistics have revealed. Yet growth is namely across higher education and Streamlined Visa Processing (SVP) providers, meaning it is not as balanced as it seems.


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Letter: Let's make a deal?
Michael Bartley, Fort Myers Beach
Let's make a deal?
Listen up, Republicans.
If I weren't getting so old I might try to hold some of you down and scream in your ears:
If you do nothing with the Democrats, your election fund benefactors will see every dollar of their Bush tax cuts lost.
If you deal, you can avoid the tax increase on the first $250,000 along with everyone else.
I know you couldn't care less about fair, but isn't the point of "king of the mountain" that it is supposed to be hard to stay on top?
If you don't deal, you will be blamed for the tax increases on that $250,000 you could have saved, as well as for ever other tax payer's increase.
Look. They will still come back to you because you are their boys, right?
The Democrats are not stupid. They know the president somehow left you holding the bag this time. I can't believe I need to explain this to you.
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Used Cars
No seat unturned in flood-damage search
12:01 am U.S. ET | June 29, 2015Since torrential downpours hit Houston in late May, Bob Sluss has been extra vigilant about leaving no stone - or seat - unturned when appraising used vehicles. Sluss has seen a spike in trade-ins with water damage that was not disclosed by their owners.
CarMax makes big plans for smaller markets
12:01 am U.S. ET | June 29, 2015CarMax Inc. plans to expand its reach by opening smaller stores in smaller markets, said CEO Tom Folliard. He said the used-vehicle powerhouse has identified at least 80 markets that will support stores that are downsized from typical CarMax outlets.
Related topics:
|Dealer Issues | Dealer Awards | Best Practices | Finance & Insurance | Vehicle Sales | U.S. Monthly Sales | Fixed Operations | Dealer Groups and Dealerships
Sales» More
Used Car Data» More
CarMax average retail selling price dipped 1.6% in Q1
1:09 pm U.S. ET | June 19, 2015The average retail selling price of a CarMax used vehicle dropped 1.6 percent to $19,851 in the company's fiscal first quarter that ended May 31.
Toyota tops in retained value, Edmunds.com awards show
12:01 am U.S. ET | June 18, 2015Toyota Motor came out on top in Edmunds.com's annual Best Retained Value Awards, nabbing a brand-level award and four model-level awards.
Echopark stores' iPad strategy reaps F&I results
12:01 am U.S. ET | June 8, 2015Sonic Automotive Inc.'s three new used-vehicle stores in the Denver area are getting strong F&I results.
Texas floods may yield 10,000 damaged vehicles
9:54 am U.S. ET | June 5, 2015As many as 10,000 vehicles may have been damaged in last month's catastrophic Texas floods, and some could be resold out of state to...
KAR Auction will add auctions, inspection unit
12:01 am U.S. ET | June 1, 2015KAR Auction Services plans to build or buy physical auctions and a vehicle inspection business as part of its growth strategy.
J.D. Power to buy NADA Used Car Guide
1:00 pm U.S. ET | May 28, 2015The National Automobile Dealers Association has agreed to sell an 82-year-old institution, its Used Car Guide business, to J.D. Power.
Buyers emerge for auction companies
12:01 am U.S. ET | May 25, 2015Mergers and acquisitions are happening among auto auctions, and attracting private-equity players, for the same reasons they are on the rise among...
Auctions focus on high-quality vehicle images
12:01 am U.S. ET | May 25, 2015Auctions are taking steps to raise the quality and resolution of their vehicle photos, yielding more bids and higher conversion rates.


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Booting (also known as booting up) is the initial set of operations that a computer system performs when electrical power is switched on. The process begins when a computer that has been turned off is re-energized, and ends when the computer is ready to perform its normal operations. On modern general purpose computers, this can take tens of seconds and typically involves performing power-on self-test, locating and initializing peripheral devices, and then finding, loading and starting an operating system. Many computer systems also allow these operations to be initiated by a software command without cycling power, in what is known as a soft reboot, though some of the initial operations might be skipped on a soft reboot. A boot loader is a computer program that loads the main operating system or runtime environment for the computer after completion of self-tests.
The computer term boot is short for bootstrap or bootstrap load and derives from the phrase to pull oneself up by one's bootstraps. The usage calls attention to the paradox that a computer cannot run without first loading software but some software must run before any software can be loaded. Early computers used a variety of ad-hoc methods to get a fragment of software into memory to solve this problem. The invention of integrated circuit Read-only memory (ROM) of various types solved the paradox by allowing computers to be shipped with a start up program that could not be erased, but growth in the size of ROM has allowed ever more elaborate start up procedures to be implemented.


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Platts LNG associate editor Luke Stobbart looks at the Middle East's potential to absorb the excess LNG supply.
Andrew Moore and Jeff McDonald of Coal Trader explain how existing and upcoming federal regulations and low-price natural gas are pressuring the US coal industry.
Platts editor Paul Bartholomew talks about the steel market's weakness as it continues to weigh on both iron ore demand and prices.
Platts editors Yuen Cheng Mok and Vivian Teo share market expectations on nickel prices, the signs pointing to a deficit in the market, and the challenges that could pose demand-side risks.
Platts editors focus on the Atlantic Panamax market, examining the factors driving price levels for the workhorses of the dry bulk shipping market and whose key cargoes are coal and grains.
Platts Siobhan Hall on how energy companies will be affected by EU financial rules intended to tackle the kind of bad behavior in banks that led to the global financial crash.
Platts editors assess the key fundamentals driving the decline in German power prices, including the impact of the astonishing growth in German renewables. They look at wind and solar's effect on conventional plant run times, and the steep challenges facing the lignite coal sector.
Platts editors Prema Viswanathan, Fumiko Dobashi, and Yi-Jeng Huang discuss Asian prices and margins for ethylene and propylene, as well as market expectations for the second half of 2015.
© 2015 Platts, McGraw Hill Financial. All rights reserved.


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French Montana was one of the many targets of Gucci Mane's recent Twitter rampage, and though Gucci's camp now claims that his account was hacked, not everyone is buying it.
The "Pop That" rapper notes that some of the tweets were accurate, with information that only Gucci or someone in his camp could've known.
"Whoever writing that, they gotta be real close to him," French told MTV News. "Cause the situation that he was talking about with me, he wasn't lying."
Gucci claimed that Deb Antney, Waka Flocka's mother and former manager to a host of rappers including French and Nicki Minaj, had stolen money from her clients. "60 k. French montana. Was. Laying in deb bed. Ask. Warner. 60 k advance I took as insult gave to your aunt t. Im rich bitch" Gucci tweeted. The tweet has since been deleted along with Gucci's profile.
French confirmed that the business with Antney did take place and that they were the only people who would know the details of said meeting. French wouldn't provide exact information of what occurred, but he confirmed that he was there. "With me, he just said I was there. He don't really got nothing to say about me." French said.
Gucci also criticized former protégé Waka Flocka Flame, saying that he had sexual relations with a slew of celebrities including Nicki Minaj. Nicki quickly denounced the accusation, stating "May God strike me dead if I ever had sex wit that man #ugliness," in a tweet she later deleted, according to the Daily News. "He's sick and in dire need of rehab. #Love"
As for French, he admits that he and Gucci never had a close relationship but he wishes the beleaguered rapper, who was reportedly dropped from Atlantic Records following his rant, all the best, saying, "I just hope they get it together… Hopefully he get back on track."


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Bordeau Bath Accessories
Create traditional elegance with these beautiful bath accessories. Crafted from 100% fine porcelain, with unique embossing. Each collection piece is graceful curved to highlight the delicate floral vine motif. Eight great styles to select from to personalize your own bath.
Choose From:
- Lotion Dispenser
- Tumbler
- Toothbrush Holder
- Soap Dish
- Tray
- Tissue Holder
- Waste Basket
- Cotton Jar
- Porcelain
- Made in China
- Care instructions: Hand wash with mild soap
Express shipping is via UPS. The estimated delivery time will be approximately 1 - 2 business days from the time of order.
Please choose your shipping method at checkout.
An additional Shipping and Handling fee will apply to express shipments. This fee will be quoted at checkout.
*Delivery is available to Alaska and Hawaii. An additional Shipping and Handling fee will apply to shipments going to Alaska or Hawaii. This fee will be quoted at checkout. Additional transit time may be required.
Delivery is not available to Puerto Rico.
Costco.com products can be returned to any of our more than 600 Costco warehouses worldwide.
How to Return: For an immediate refund (including shipping and handling), simply return your purchase at any one of our Costco warehouses worldwide. If you are unable to return your order at one of our warehouses, please email customer service or call our customer service center at 1-800-955-2292 for assistance. To expedite the processing of your return, please reference your order number.
If you request an item be picked up for return, the item must be packaged and available for pick up in the same manner as it was delivered. If your order was delivered "curb side", it will need to be available for curb side pick up.
If the item arrived to you in a box, it will need to be in a box at the time of pick up.
View Costco's Return Policy.
For information or a written copy of the manufacturer's warranty, please contact us at: email@example.com.


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Tuesday, September 30, 2008
Better-Than-New P-38
Nelson Ezell's rebuild of White Lightnin' is one of the most beautiful warbird restorations ever
|"A few minutes from the airport, I was just sitting there thinking, 'It just doesn't get any better than this,' when the left engine started backfiring and popping violently. I pulled the power back, and the cockpit went completely black with smoke. I started coughing and suffocating, feeling helpless right away. I was probably between 1,000 and 1,500 feet, just trying to make sure I kept the green stuff on the bottom side. I didn't want this thing upside down [and hitting] the dirt at 300 miles an hour.
Nelson's passion for detail and innovative approach to problem solving has earned him and his family a reputation as master rebuilders—indeed, it seems they get more work than they can handle. Dude, Nelson's wife, runs the office and keeps the boys organized. Chad, the artist of the group, researches paint schemes and historical data for each restoration project.
Son Ashley is an aspiring engineer and works on manufacturing the hard parts, and Nelson, along with running the shop, does most of the sheet-metal work. In addition to the boys, Nelson has two daughters, Anna and Alanna, who are both in college.
Red Bull wanted a unique, easy-to-fly airplane built as close to perfection as possible with the best systems available—and they wanted it fast. With the amount of detail and prefabrication needed, the project should easily have taken more than six years. The Ezells completed it in a little over three.
The rebuilt aircraft is immaculate. Though Ladd did a great job of landing White Lightnin' with minimal damage, all of the belly surfaces were destroyed and there was severe fire damage on the left boom. Many parts also had to be fabricated from scratch, and all of the plumbing was replaced with stainless steel. Two new Allison engines were installed, and all of the surfaces were refurbished with highly polished aluminum (with the exception of the bottom of the wings), so while work was being done in and around the aircraft, the surfaces needed to be protected from scratching and dents. The cockpit is updated with Garmin avionics and even has an S-TEC autopilot!
This past April, the Ezells had a bit of a scare. With 98% of their masterpiece completed, a tornado ripped through their airport, destroying multiple aircraft and causing the hangar's back wall to collapse. Everyone held their breath, but with only slight damage to the elevator, amazingly, 25Y survived in great shape. The first test flight came on June 2, 2008, and she flew perfectly with only minimal adjustments needed.
|The P-38, restored by the Ezell family (above), has a wartime compact cockpit with modern-day navigation. The row of lights on the top of the panel is set up for immediate warning of any problem.
At this writing, 25Y is in the process of being shipped to her new home in Salzburg where she'll be displayed in Hangar-7, itself an amazing piece of architecture. Maintaining the aircraft's mirror-like exterior in its gleaming glory will be a phenomenal task, but what better caretaker is there than Red Bull? Thanks to Red Bull, the Gardners and Ezell Aviation, 25Y will perform for new audiences all over Europe.


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Extra Emollient Night Cream is basically Vaseline and mineral oil along with several waxes. Yes, it will make dry skin feel smooth and lubricated, but the inclusion of menthol is a burn.
For extremely dry skin. Helps maintain the natural moisture of the face and replenishes hydration in especially dry areas such as hands, elbows and feet.
Petrolatum, Mineral Oil, Paraffin, Beeswax, Candelilla Wax, Hydrogenated Soy Glyceride, Fragrance, Carnauba Wax, Stearic Acid, Propylparaben, Butylparaben, Menthol, Red 17
Mary Kay At-A-Glance
Strengths: Most of the products are fragrance-free; packaging that keeps light- and air-sensitive ingredients stable during use; a handful of well-formulated moisturizers; very good eye-makeup remover; effective wrinkle filler; excellent cream blush and several other impressive makeup products.
Weaknesses: The overall collection is a mixed bag of exciting and disappointing products; several outdated moisturizers and cleansers; no AHA or acceptable BHA products; the CC Cream doesn't provide good enough UVA protection; some lackluster makeup products.
The last few years haven't been glamorous for one of the world's largest direct sellers of cosmetics. Mary Kay lost a lawsuit filed by TriStrata, the company whose founders hold over 100 patents on the use of AHAs in skin-care products. It was revealed that Mary Kay's former AHA products infringed on three of these patents, and, after some back-and-forths in court, Mary Kay ended up paying royalties of over $40 million (interest included) to TriStrata. Perhaps because they're still licking their wounds after this defeat, the company has not launched any new AHA products, and no longer sells the ones that were in question during the legal battle (Source: www.bizjournals.com/dallas/stories/2006/04/03/daily26.html).
However, the company's spin on the issue of AHAs is that they no longer use them because skin-care technology has advanced. That's an interesting twist, but the fact of the matter is that AHA products, when well-formulated, are still considered advanced and capable of doing far more for skin than the alternatives Mary Kay has devised (including an at-home microdermabrasion scrub and products with vitamin C derivatives).
Although they're not a company for you if you are looking for exfoliants (though you should be looking for a good exfoliant), Mary Kay has recently developed a surprising number of excellent products. With over 1.6 million Mary Kay consultants selling products in 30 countries, this family-owned company (founder Mary Kay Ash passed away in 2001) has slowly been proving that they intend to remain competitive with the best of the best. A refreshing change of pace is the omission of fragrance from almost all of the products. Now that is what we call progress!
Despite its size and capital (wholesale figures were $3 billion in 2012), Mary Kay still has a lot to learn. For instance, although their guiding philosophy of empowering women is admirable, the assortment of products still leaves much to be desired. Yes, things are looking up, but there are several weak spots that keep Mary Kay from being in the same league as Avon, Estee Lauder, Procter & Gamble (Olay), and Johnson & Johnson (Neutrogena, Aveeno, RoC). These include outdated cleansers, toners, and moisturizers, along with letdowns in products designed for oily, blemish-prone skin. The TimeWise product range has expanded considerably, and offers a few state-of-the-art products worthy of its name (although, as with all skin-care products, they're not going to turn back the hands of time and erase all signs of aging).
If improvements like those in Mary Kay's latest products were translated to the entire line, it would be standing much taller, at least as far as what current, substantiated skin-care research indicates is optimum for creating and maintaining healthy skin. As is, this is a line to approach with a keen understanding of what to focus on and what to avoid. One last bit of good news: Mary Kay offers well-packaged samples of selected products, either directly or from your consultant.
Unless mentioned otherwise, all Mary Kay products are fragrance-free.
Note: Mary Kay is categorized as a brand that tests on animals because their products are sold in China. Although Mary Kay does not conduct animal testing for their products sold elsewhere, the Chinese government requires imported cosmetics be tested on animals, so foreign companies retailing there must comply. This requirement is why some brand's state that they don't test on animals "unless required by law". Animal rights organizations consider cosmetic companies retailed in China to be brands that test on animals, and so does the Paula's Choice Research Team.
For more information about Mary Kay, call (800) 627-9529 or visit www.marykay.com.
The new Beautypedia Team proudly and unequivocally maintains the commitment to help you find the best products possible for your skin. We do this by relentlessly pursuing and relying on published scientific research so you will have unbiased information on what works and what doesn't-and the sneaky ways you could be making your skin worse, not better!
The Beautypedia Team reviews all products using the same research, criteria, and objectivity, whether the product being reviewed is from Paula's Choice or another brand.
I would recommend this to everyone!! The very first night I used it I woke up with a smooth flake free face. My wrinkles around my eyes were softened considerably as well. I have combination skin and this product is greasy when u first put it on but it doesn't matter bc you use it at night. It doesn't tingle or burn at all. It makes my feet & hands amazingly soft. I will forever use this product! I remember my mom using it when I was younger too so it has been around awhile.
This is a wonderful product!!! It feels greasy when you first put it on but once absorbed it leaves skin feeling wonderfully soft. I love it for my face, neck, hands and feet. It is especially wonderful for hands and feet when used with the satin hands products! Love it!!!
Is also a wonderful diaper cream :-)
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Narrow your search
Create the perfect playlist using Apple Music and share it with the world, or just a few friends. Your choice, really.
Killed off in iOS 8.4, the feature that lets you share your iTunes music with your iOS devices should return in iOS 9.
The company had limited picture resolutions to 640 pixels by 640 pixels. That's now changing to match the images captured on Android and iOS devices.
The Uber for home cleaning, Helpling, lets you hire house cleaners either online or through an app. It's attracted a workforce of students who love the job's flexibility.
The first official set photo from the new "Trek" movie appears on Twitter, giving fans a glimpse at what's to come for "Star Trek Beyond."
Facebook expands payments in Messenger and shows off a new logo, but its CEO has his sights set on virtual reality and...telepathy?
Trying to find all the photos you've shared in a conversation on Facebook? These steps will show you how to access them on the Web and through your mobile app.
Facebook expands payments in Messenger and shows off a new logo, but its CEO has his sights set on virtual reality and...telepathy?
Global revenue from sharing economy companies like Uber and Airbnb will grow from $15 billion annually today to $335 billion in 2025.
Learn about the official and unofficial ways to share your photos on the Web.