Do you ever realize that there are certain things you use every. single. day?
My friend, Hillary, posted this a couple of weeks ago and I really enjoyed it! It got me thinking about the items that I use EVERY single day, sometimes without even realizing it.
I know people joke about how much dry shampoo they use, but for me…it truly is a lot. Even when I get out of the shower, I add a little dry shampoo once my hair is air dried for some texture (a tip I learned from my stylist, Andrew at Spoke & Weal). My absolute favorite dry shampoo is Drybar. The scent alone is reason enough to purchase it, but it really works best for my hair. Since I go through dry shampoo fairly quickly, it does add up. I recently tried Batiste Dry Shampoo (and Elle has the cherry scent, which is heavenly), and it's a pretty decent option.
My lips are FOREVER chapped. I have no idea what it is, but they're never smooth for more than like 2 days. Luckily, I found FAB's Intensive Lip Balm a year or so ago (thanks to Elle), and my life is changed. A few swipes of this and my lips are relieved of chappy-ness (yup, just made up my own word).
I realized I don't leave the house without my iPad anymore. It's my favorite thing right now — for reading and staying organized!
As a New Yorker, it's truly SOOOOO important to always have your MetroCard on you. Who knew that a little plastic card could be so important to someone! I even always make sure I have a few back up MetroCards in my bag with me (because ain't nobody got time to pay $1 + your balance for a brand new card).
I've always been such a tea drinker. Recently, I've been using this HUGE mug (that my sister and I would use for soup when we were younger…so you know it's that big). I could drink tea all day every day, it's seriously so calming and relaxing for me.
Every. Damn. Day. I often get asked why I wear sunglasses so much in my photos. Well, 1. Then I don't need to worry about my eyes looking crazy in over half the photos because #efficient and 2. I actually love wearing sunglasses in real life LOL. My current favorites are my brand new Celine sunnies!
What are three (or more) items YOU use every day?


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Ísráẹ́lì
Israel (Àdàkọ:Lang-he-n, Yisra'el; Lárúbáwá: إِسْرَائِيلُ, Isrā'īl) tabi Orile-ede Israel je orile-ede ni Arin Ilaoorun.
Orile-ede Israel
מְדִינַת יִשְׂרָאֵל (Hébérù)
دَوْلَةُ إِسْرَائِيلَ (Lárúbáwá)
Orin ìyìn: Hatikvah
The Hope
Jerusalem[1]
31°47′N 35°13′E / 31.783°N 35.217°E / 31.783; 35.217
Hebrew, Arabic[2]
75.4% Jewish, 20.6% Arab, 4% minority groups[3]
Republic under Parliamentary democracy[2]
• Prime Minister
• Knesset Speaker
• Supreme Court President
Dorit Beinisch
from British Mandate of Palestine
• Declaration
• Total 1
20770⁄22072 km2 (0.36333 sq mi) (151st)
~2%
8,134,1002 (96th)
356.8/km2 (924.1/sq mi) (34th)
Shekel (₪) (ILS or NIS)
UTC+2 (IST)
• Ìgbà oru (DST)
UTC+3 (IDT)
Excluding / Including the Golan Heights and East Jerusalem; see below.
Includes all permanent residents in Israel proper, the Golan Heights and East Jerusalem. Also includes Israeli population in the West Bank. Excludes non-Israeli population in the West Bank and the Gaza Strip.
↑ The Jerusalem Law states that "Jerusalem, complete and united, is the capital of Israel" and the city serves as the seat of the government, home to the President's residence, government offices, supreme court, and parliament. The United Nations and all member nations, in accordance with United Nations Security Council Resolution 478 (Aug. 20, 1980; 14–0, U.S. abstaining) which declares the Jerusalem Law "null and void" and calls on member states to withdraw their diplomatic missions from Jerusalem, refuse to accept the Jerusalem Law (see Kellerman 1993, p. 140) and maintain their embassies in other cities such as Tel Aviv, Ramat Gan, and Herzliya (see the [1] CIA Factbook and Map of Israel). The Palestinian Authority sees East Jerusalem as the capital of a future Palestinian state and the city's final status awaits future negotiations between Israel and the Palestinian Authority (see "Negotiating Jerusalem", University of Maryland). See Positions on Jerusalem for more information.
↑ 2.0 2.1 2.2 Àṣìṣe ìtọ́kasí: Invalid <ref> tag; no text was provided for refs named cia
↑ http://www.haaretz.com/hasen/spages/1115060.html
↑ 4.0 4.1 4.2 4.3 "Israel". International Monetary Fund. Retrieved 2009-04-22.
↑ HDI of Israel. The United Nations. Retrieved 21 July 2009.
Jẹ́ kíkójáde láti "https://yo.wikipedia.org/w/index.php?title=Ísráẹ́lì&oldid=528232"
Last edited on 18 Oṣù Kínní 2020, at 14:20
Àtunṣe sí ojúewé yi wáyé gbẹ̀yìn ni 18 Oṣù Kínní 2020, ni ago 14:20.

redpajama_set_name: RedPajamaCommonCrawl


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Was Monetary Policy Loose During the Housing Boom?
By David Beckworth
Did the Fed's set its policy interest rate below the market-clearing or 'natural' interest rate level in the early-to-mid 2000s? Or did it simply lower its policy interest rate down to a depressed natural interest rate level during this time? The answers to these questions determine whether U.S. monetary policy was loose during the housing boom.
John Taylor believes the Fed pushed interest rates below their natural interest rate level. He views this departure from a neutral stance as a key contributor to the housing boom. Ben Bernanke and Larry Summers believe otherwise. They see the Fed simply doing its job back then by adjusting its policy rate down to a low natural interest rate level. Bernanke believes the natural interest rate level was low because of a saving glut while Summers holds that its was depressed because of secular stagnation. Either way, both individuals do not blame the Fed for any role the low interest rates played in fostering the housing boom. The Fed's lowering of interest rates was simply an endogenous response.
George Selgin, Berrak Bahadir, and I recently published an article that lends support to John Taylor's view of Fed policy during this time. It received some pushback from Scott Sumner who is sympathetic to both the saving glut and secular stagnation views. At the same time, Tony Yates provided a critique of John Taylor's argument on the financial crisis that was heartily endorsed by Paul Krugman. So the debate over the Fed policy during this period continues.
What I want to do here is to step back from this debate and review what I see as the key economic developments that affected U.S. interest rates at this time. Then, given these considerations, I will jump back into the debate and ask whether Fed policy pushed interest rates in the same direction as that implied by these developments.
The key developments as I see them are threefold: a falling term premiums, a spate of large positive supply shocks, and the emergence of a monetary superpower. Let us consider each one in turn.
I. Falling Term Premiums on Long-Term Treasuries
The term premium is the extra compensations investors require for the risk of holding a long-term treasury bond versus a sequence of short-term treasury bills over the same period. The term premium had been declining since the early 1980s and therefore put downward pressure on long-term interest rates. This development can be seen in the figure below which is created using the Adrian, Crump, and Moench (2013) data. (For more on this data see here.)
The decline has been attributed to several factors. First, there was a decline in inflation volatility and an overall improvement in macroeconomic stability during this time that made investors less risk averse to holding long-term bonds. They therefore demanded less compensation. Second, regulatory and accounting changes for certain firms increased their demand for treasury securities relative to their supply. This further reduced the term premium. Third, globalization was taking off, but without a concurrent deepening of financial markets in many of the affected countries. That meant that global income was growing faster than the world's ability to produce safe assets. Consequently, many developing countries started turning to the United States for safe assets. This further depressed the term premium and is the basis for Bernanke's saving glut theory.
A close look at the above figure shows this term premium decline intensified in 2003, falling about 1.4 percentage points over the next two years. This happened right during the time the Fed pushed its policy rate to record-low levels. This, then, appears to support the endogenous view of the low policy rates argued by Bernanke and Summers.
However, this conclusion needs to be tempered. For the next two developments discussed below suggest that a sizable portion of the declining term premium at this time may have been an endogenous response to the Fed's low interest rates policy during that time.
II. A Spate of Large Positive Supply Shocks
The second important development is that the global economy got buffeted with a series of large positive supply shocks from the opening up of Asia–especially China and India–and the rapid technology innovations that reached a crescendo in the early-to-mid 2000s. Global growth accelerated because of these developments as seen in the figure below:
The opening up of Asia significantly increased the world's labor supply while the technology gains increased productivity growth. The uptick in productivity growth, which peaked between 2002 and 2004, was widely discussed in the early 2000s and raised long-run expected productivity growth at the time. This can be seen in the figure below which shows a consensus forecast of annual average productivity growth over a ten year horizon:
Note that the rise in the labor force and productivity growth rates both raised the expected return to capital. The faster productivity growth also implied higher expected household incomes. These developments, in turn, should have lead to less saving and more borrowing by firms and households and put upward pressure on the natural interest rate. Interest rates, in short, should have been rising given these large positive supply shocks during this time.
III. Emergence of a Muscle-Flexing Monetary Superpower
The third development is that in the decade leading up to the financial crisis that the Fed became a monetary superpower that could flex its muscles. It controlled the world's main reserve currency and many emerging markets were formally or informally pegged to dollar. Thus, its monetary policy got exported across much of the globe, a point acknowledged by Fed chair Janet Yellen. This meant that the other two monetary powers, the ECB and the Bank of Japan, were mindful of U.S. monetary policy lest their currencies became too expensive relative to the dollar and all the other currencies pegged to the dollar. As as result, the Fed's monetary policy got exported to some degree to Japan and the Euro area as well. Chris Crowe and I provide formal evidence for this view here as does Colin Gray here.
Now let's tie all these points together and see what it says about the Fed's role in the housing boom. Let's begin by noting that when the large positive supply shocks buffeted the global economy they created disinflationary pressures that bothered Fed officials. They did not like the falling inflation. So Fed officials responded by easing monetary policy. Recall, though, that the supply shocks were raising the return to capital and expected income growth and therefore putting upward pressure on the natural interest rate. The Fed, consequently, was pushing down its policy rate at the very time the natural interest rate was rising. Monetary policy was inadvertently being loosened.
This error was compounded by the fact that the Fed was a monetary superpower. The Fed's easing in the early-to-mid 2000s meant the dollar-pegging countries were forced to buy more dollars. These economies then used the dollars to buy up U.S. treasuries and GSE securities. This increased the demand for safe assets and ostensibly reinforced the push to transform risky private assets into AAA assets. To the extent the ECB and the Bank of Japan also responded to U.S. monetary policy, they too were acquiring foreign reserves and channeling credit back to the U.S. economy. Thus, the easier U.S. monetary policy became the greater the demand for safe assets and the greater the amount of recycled credit coming back to the U.S. economy. The 2003-2005 decline in the term premium, in other words, was to some extent an endogenous response to the easing of Fed policy during this time.
The figure below highlights this relationship for the period 1997-2006. It comes from my work with Chris Crowe and shows that almost 50% of the foreign reserve buildup was tied to deviations of the federal funds rate from the Taylor Rule. Colin Gray estimates several regression models on this relationship and finds that for every 1% point deviation of the federal funds rate below the Taylor Rule, foreign reserves grew by $11.5 billion. The Fed, therefore, was putting downward pressure on interest rates not only directly via the setting of its federal funds rate target, but also by raising the amount of credit channeled into the long-term U.S. securities.
Given these points, I think it is reasonable to conclude the Fed contributed to the housing boom. I hope they give Scott, Tony, and Paul something to think about.
Let me be clear about my views. Even though the Fed kept its policy rate below the natural rate for a good part of the housing boom period, the opposite happened after the crash due to the ZLB. This is a point Ramesh Ponnuru and I made in a recent National Review article. So unlike some observers who see the Fed as being eternally loose, I take a different view: the Fed was too loose during the boom and too tight during the bust.
Update: There are multiple measures of the output gap that show the U.S. economy overheating during this time. Below is a figure from this article that compares the real-time and final measures of the U.S. output gap. Everyone shows ex-post an overheating economy during the housing boom:
[Cross posted from Macro and Other Market Musings]


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Amber Jr. It's not just a weird stripper name.
When we got an autopilot on our last boat, it revolutionized our sailing. It lets whoever (Mack usually) is on the helm enjoy the dolphins on the bow with everyone else or go below to use the head or forward to help with the sails. Before we had the autopilot, that job belonged to Amber, which is how autopilots now earn the name Amber Jr.
Kenutu's wheel had a locking mechanism that held the wheel in one spot, but that didn't do much for maintaining your course. Well, Mack found us a Raymarine ST4000+ autopilot for $800 on Ebay and Amber Jr. is now performing live.
With some help from Scott, he drilled a hole in the cockpit and wired the computer to the boat's electronics. Initially they were going to use a hole cutter, but it didn't like cutting very much. Scott got crafty and use the drill to make a punch out hole. Sometimes he's helpful. Especially at those times when we're at Catalina and I want to go snorkeling but Mack wants to do huge boat projects.
Our batteries are in the same lazarette that serves as the autopilot mount, so I think they got the autopilot wired in to the instrument fuse that powers all the gauges below it.
The thing that actually turns the wheel also needs power. To accomplish that, Mack taped a wire to a rope and thread it up the stanchion (fancy word for metal tube) connected to the binnacle (fancy word for the steering column). Mack eventually wants to mount all the electronics and gauges on the thing that holds the wheel, so they left a little rope pulley to more easily access power later on. Smarties.
The autopilot was super easy to install and has a pretty good reputation for being reliable. You can also set waypoints on your chart plotter and the autopilot will follow your course accordingly. Mack told me that one person online said they sent their boat "ghost mode" on its way from one harbor to another far away and then flew to their destination and waited for their boat to arrive. It's probably a lie and you should never do that, but if it's true, this is one amazing autopilot. So far, Amber Jr. has earned every single dollar we threw at her.
No hands!! Now he can get me snacks and fizzy waters and I don't have to move!


Canon PIXMA MG3650 Driver Download – PIXMA MG3650 Connect quickly with wise devices and the cloud by using this compact Wi-Fi All-In-One. Enjoy quickly, top quality print, duplicate and scan with 2-sided printing and optional XL printer cartridges. Efficiently print beautiful borderless pictures set with large levels of depth, plus qualified seeking documents with sharp text – because of Canon's FINE container process and around 4,800dpi print resolution. With ISO ESAT speeds of 9.9 ipm mono and 5.7 ipm shade, a 10 x15 cm borderless image requires around 44 seconds.
Enjoy minimal waste and maximum savings. Print more pages for your hard earned money with around 50% charge savings if you use optional XL printer tubes and save yourself in writing with car 2-sided printing. With increased PIXMA Cloud Url you are able to print pictures in moments from Facebook, Instagram and on line image pictures; print/scan documents to cloud companies like GoogleDrive, OneDrive and Dropbox; and also add and deliver scanned files/images immediately via mail – all without utilizing a PC Scan to cloud and scan to mail only readily available for genuine Canon ink users.
Have fun discovering your imagination with Easy-PhotoPrint+. You can easily design and print greeting cards, image collages and a whole lot more with this web-based company, using your particular photos from your own tablet, PC or the cloud. You're smartphone prepared and therefore is that printer. Simply get the Canon PRINT software and you are able to print and scan using your smartphone or tablet, and immediately accessibility cloud services. Integrated accessibility point style generates an offer hoc wireless system – so you can print and scan directly and never having to join a Wi-Fi system or use the internet.


Freshly graduate, take up the challenging role in all my skills and excel them by applying my zeal, energy and knowledge with positive attitude, excellent interpersonal skills, excellent communication and negotiation skills towards the growth of the company and adding values to myself.
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In recent years, advance in more electric aircraft has brought numerous benefits including reducing the environmental impact brought by aviation industry. To further this effect, research in electric power system (EPS) has been done extensively to optimize power efficient and fuel consumption. Power scheduling plays a crucial role in this system and the management of load is the primary means for better optimization. For this project a power scheduling method is developed based on the EPS of Boeing 787. Different constraints are considered and the problem is formulated and simulated using MATLAB. The results demonstrate the efficiency of the algorithm during a stimulated 2 hour flight.


Use this I Rub My Duckie 2.0 Paris Pink on your body wherever you want. Do you have a headache and do you want to relax? No problem! Do you feel more like playing an exciting game? Let this vibrating bath duck find its way to your intimate parts and be surprised by the different vibration patterns.The I Rub My Duckie 2.0 Paris Pink has a stronger and quieter motor than its predecessor, is equipped with 7 vibration patterns and is completely waterproof.


Stainless steel dutch wire mesh is named twill weaving dutch mesh because of the difference between the warp wire and weft wire. Reasonable collaction the wire and mesh can acheive the higher filter density rather than square wire mesh. Therefore, the dutch wire mesh is a fine filter mesh, but it is usually larger than the weft wire diameter. There is also have contrast weaving, because the weft wire is much thicker than wrap wire.
Anping Xinzheng Metal Mesh Co.,ltd can supply much specifications of Stainless Steel Wire Mesh, stainless steel twill woven mesh and Stainless Steel Mesh screen. Welcome contact with us!
Looking for ideal Stianless Steel Twill Woven Mesh Manufacturer & supplier ? We have a wide selection at great prices to help you get creative. All the Stainless Steel Filter Mesh are quality guaranteed. We are China Origin Factory of Stainless Steel Wire Mesh. If you have any question, please feel free to contact us.


By partnering with both upstream and downstream providers, Skilled Nursing Facilities are uniquely positioned to take the lead across the continuum of healthcare to ensure a seamless transition from one level of care to the next. As we see expectations of shorter lengths of stay and patients with higher acuity, coordinated changes will need to be implemented to ensure successful outcomes. One of your goals should be NO surprises at the time of transition.
Hospitals are looking for partners to assist with good outcomes for patients. They need solutions to the problems they are facing as healthcare shifts away from care being provided in silos to more of a continuum of care looking at each episode in its entirety. Hospitals are looking for partners who will help them decrease their readmission rates. Is this something that you are tracking in your facilities, is your therapy department actively working as part of that solution as well? You must be able to provide this information to your hospital referral sources.
You are also seeing a trend for patients who previously have utilized PAC to be discharged directly home from hospitals. One crisis facing Acute Care Hospitals is finding a facility that will accept patients with increased medical needs, they may need to hold on to a patient for several days before adequate placement is found. This roughly translates into a need for Skilled Nursing Facilities admitting more acutely ill patients. If efforts are increased to ensure adequate training of all licensed staff in PAC facilities are focused on increased acuity, this will also place your SNF in a position to be part of the solution.
The time is ripe for therapy and nursing departments to develop niche programming based on specific resident needs. Expanding your model of care delivery and taking the opportunity to integrate multidisciplinary care at the bedside is innovative. Showing good outcomes, decreased LOS, increased patient satisfaction, while reducing readmissions are outcomes that should be highlighted.
Just as hospitals will look to Skilled Nursing Facilities to report their progress and outcomes, the SNFs should be looking downstream at the Home Care Providers and expect the same. Coordinated care across the healthcare continuum is the right thing to do for the patient, be a part of the solution.


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ArticlesPosts
Yes All Women... Are turning on Bill Clinton?
What's the difference between Bill Cosby and Bill Clinton? There isn't one. Other than since Hillary Clinton is running for President as a Democrat, it's totally okay that she didn't believe - and tried to destroy - all the women who accused Bill of sexually assault (or worse). Oh, and Bill Cosby's accusers get a lot more media attention than anyone who accused Bill Clinton of rape. So there's that.
But have the voters had enough of the hypocrisy? Take a look...
"We're looking at a different kind of scene when it comes to talking about affairs with women than we were in the 1990's. In the light of the … recent Cosby issues, I think that a lot of young women feel differently about philandering than they did maybe 20 years ago," Frizell said.
Frizell said that he was not sure whether this shift in attitude would turn women off from voting for Clinton, but noted that Bill Clinton is seeing far less enthusiasm from voters on the campaign trail than Bernie Sanders.
"It's unclear whether this will turn off younger women from voting for Hillary Clinton. Of course, this is the group that Hillary Clinton must want to attract support from, millennial women, and it's unclear what kind of effect Bill Clinton's campaigning will have on it," Frizell said. "I will say that last night he had a crowd of about 300 people out in eastern Iowa. Bernie Sanders in the same town had 1,100. So that tells you a little bit about the enthusiasm for Bernie Sanders versus the former president."
We've recently heard some commentary from faaaaar left Susan Sarandon yesterday (Read "Susan Sarandon Skewers Hillary") and even Lena Dunham is finding herself disconcerted with Hillary's checkered past regarding sexual assault victims. There seem to be some cracks in the rapey, Clinton armor. After all, identity politics is the single string Hillary Clinton has to play on. She isn't running on her accomplishments and she's certainly not running on her integrity.
She's running on the idea that she could be the first female President, and it's time. Just because. Also, she's a champion for everyday women.
Well guess what? Democrats are now finding themselves where Republicans have firmly been for years, in that they're just not buying it. Silencing one intern is one thing, but playing part in systematic cover-up of more sexual harrassment/rape allegations than one can count on both hands and feed (even if you have additional feet) is entirely another. Hillary needs to face it. While she fancies herself a feminist, people just peer over her shoulder at the man she married and see this.
At the very least, the Clinton's history is off-putting to women. At worst, it's illegal.
NOT SUBSCRIBED TO THE PODCAST? FIX THAT! IT'S COMPLETELY FREE ON BOTH ITUNES HERE AND SOUNDCLOUD HERE.


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Modernism Week online auction set for December 4 through 12
By Press Release ● Modernism ● November 19, 2021 November 19, 2021
Modernism Week is auctioning off a chance to tour one of the most desirable and exclusive residential properties to ever be built -- the Doolittle House.
Modernism Week has announced that it will offer an online auction of intriguing and distinctive items, and customized architectural experiences, just in time for the holiday shopping season.
The online bidding event, called the 'Best of Modernism' Auction, will run eight days from December 4 through 12, and will feature more than 45 unique architectural tours and experiences, exclusive VIP Modernism Week event tickets and experiences packages for February 2022, access to prime sold-out parties during Modernism Week, and uncommon, exclusive items not typically available to the public.
Bidders will need to set up an account on the auction page and submit bids during the event. The winners will be announced after bidding concludes. The 'Best of Modernism' Auction will take place at modernismweek.com starting December 4, 2021 at 12 PM PST. All funds raised will go to support Modernism Week, a 501 (c) (3) charitable organization.
Local reporting and journalism you can count on.
Subscribe to The Palm Springs Post
"Modernism Week is offering an online auction filled with unique experiences and items just in time for holiday shopping for you or your family," said Mark Davis, Modernism Week board member and auction chairman. "We have secured some very exciting items from high to low, including some architectural surprises. There is literally something for everyone, including those hard-to-please Modernists on your shopping list."
Highlighted auction items include:
The Inaugural High Desert House Tour (Doolittle House) by Ken Kellogg:
Modernism Week will present the inaugural tour of one of the most desirable and exclusive residential properties to ever be built. Admired all over the world, this special home, nestled against the edge of Joshua Tree National Park, has never before been open to public guests. A special morning and afternoon private tour is planned for only 25 guests per tour. Purchase includes roundtrip transportation from Palm Springs and an elegant outdoor reception. Valued at $1,000 per person ($500 is tax deductible from each ticket).
Private catered dinner for six (6) at the Edith Farnsworth House
This signature auction item is a rare and very exciting experience to dream about. A memory to last forever, the winning bidder and up to five (5) guests will enjoy an elegant catered candlelight dinner at the 1951 Edith Farnsworth House, designed by Mies van der Rohe and arguably one of the most important architectural masterworks in the world. Located in Plano IL, an hour southwest of downtown Chicago. Travel is not included. Valued at $6,000.
Stay at Case Study House 26
Enjoy a 3-night weekday stay, or a 2-night weekend stay at Case Study House 26 in the hills of San Rafael, CA (Marin County, just north of San Francisco) for up to four (4) occupants. One of the few remaining Case Study Houses, this residence was designed by Beverly Thorne and built in 1963. Travel is not included. Valued at $3,500 or more depending on time of year.
Trina Turk Palm Springs Experience
The winner bidder of this incredible shopping extravaganza during Modernism Week at the Trina Turk Palm Springs boutique and three (3) guests will each receive a $500 in-store Trina Turk gift card for a private two-hour personal shopping experience with Trina Turk stylists, drinks and each guest will depart with an exclusive Trina Turk-designed gift. Valued at $4,000.
The Ultimate VIP Modernism Week Opening Weekend: 4 Nighttime/5 Daytime Events and Party Package (February 17-21, 2022)
This never-before-offered 4-night/5-day package will allow the lucky winner and a guest to attend an exclusive party every night and have access to the best Modernism Week events, many of which are already sold out. The auction item includes VIP access for two (2) lucky guests to several significant Modernism Week opening weekend events, including the fabulous Opening Night Party, Modernism Week Show & Sale Preview Party, Saturday Night at the Sinatra Estate, tickets to the four-course dinner and fantastic show "A Night at the Chi Chi," and much more. Valued at $4,000 for the hip Ace Hotel, or splurge and choose to go for an upscale midcentury boutique property, Holiday House, designed in 1951 by desert modernism architect Herbert W. Burns, in the historic Tennis Club District. Valued at $6,500.
Two (2) Night Stay at Mod West Ranch, a Midcentury Ranch Experience in the Greater Joshua Tree High Desert
The historic and chic Mod West Ranch is nestled in the stunning boulder-strewn canyon of Gamma Gulch in Pioneertown, California, just a short drive away from Joshua Tree National Park. It is furnished with retro and vintage furniture, multiple original Malm fireplaces, and a stunning outdoor fire pit and spa for night sky viewing. Sleeps six guests. Valued at $3,000.
A VIP Modernism Week Signature Home Tour with Private Car and Driver
The winning bidder and their lucky guest will tour Modernism Week's Signature Home Tour in style with a car and driver to see homes that best represent Palm Springs architecture and design, then lunch at Jake's Palm Springs with a $100 Jake's gift certificate. 3 packages in total, (1st) afternoon of 2/20/22, (2nd) 2/27/2022 morning and (3rd) 2/27 afternoon. Valued at $750 for each tour.
Two (2) VIP Presentation Seats for Vera-The Art and Life of an Icon, with Susan Seid and Trina Turk and two (2) tickets to attend the sold-out Exclusive Sunset Cocktail Reception Honoring the Legacy of Vera at Trina Turk's historic Ship of the Desert home in Palm Springs, plus a stunning framed vintage 60s-era Vera scarf to display in your home.
Vera Neumann was the most successful female entrepreneur of her time and from the 60s through the 70s created the first true lifestyle brand. Susan Seid and fashion designed Trina Turk, along with NYC gallery owner and vintage Vera collector Alexander Gray, and Elissa Auther, PhD, Chief Curator Museum of Arts and Design/NYC, will conduct a lively presentation and discussion about Vera on February 24. The auction item also includes an Uber car service certificate for two to attend the sunset cocktail party in the exclusive Mesa neighborhood of Palm Springs, where all attendees will receive a special gift to cherish. Valued at $1,200.
Two (2) VIP Seats for Keynote Presentation by architect Jeanne Gang and Reception.
World renowned architect Jeanne Gang, FAIA, is the founding principal of Studio Gang, an international architecture and urban design practice based in Chicago. This auction item includes two reserved VIP seats for the presentation, a meet and greet with Gang, a signed copy of her recently published book, Studio Gang – Architecture, and access for two (2) to attend the elegant post-presentation reception in the Palm Springs Art Museum's Elrod sculpture garden. Valued at $850.
For the Palm Springs Desert Modernist and Architect William Cody Enthusiast
A private tour with the owners of this stunning, recently restored residence designed by William Cody in the exclusive gated community of Southridge Estates, just across from the Lautner Elrod House, is the highlight of a day that any architecture aficionado would want to do. Along with the private tour, the winning bidder and three (3) guests, will start the day with four (4) VIP reserved seats to the Master of the Midcentury: The Architecture of William F. Cody presentation Friday, February 18, receive a signed copy of the newly published book of the same name, and complete their experience with an elegant lunch at Jake's Palm Springs with a $200 gift certificate. Valued at $700.
Other auction items include:
Two (2) Reserved VIP Center Seats for all 29 of the Annenberg Theater Presentations, Films Fashion Show and Jazz Events, along with Access to Two (2) Elegant Receptions Valued at $1,900.
Lunch for four (4) with Charles Phoenix at the elegant Il Corso Restaurant, in downtown Palm Springs, for the winning bidder! Also includes four (4) VIP seats for Phoenix's "FABULOUS FLORIDA IN THE 50s" presentation on Saturday, February 19, 2022, and two (2) signed copies of his book, "Addicted to Americana: Celebrating Classic and Kitschy American Life & Style." This is a Charles Phoenix experience to remember! Valued at $950.
Two VIP Seats for 'A Very Cool Shag Experience with Josh Agle' talk Sunday, February 20, including a meet and greet, a signed Shag book and a set of 5 signed Shag Modernism Week Commemorative Posters Valued at $600.
A 2-night stay in the Executive Suite (a former boardroom) of the new Hotel Marcel, an adaptive reuse of the stunning brutalist masterpiece by Marcel Breuer, the former 1969 Armstrong Rubber Company HQ, located in New Haven, Connecticut. Includes one dinner, two breakfasts and a walking tour of Modern New Haven/Yale. Travel is not included. Valued at $3,500.
A rare opportunity for 2 couples (4 guests) for an overnight stay in the privately owned 1956 Frank Lloyd Wright Ablin House, in Bakersfield, California. The house still contains all of the original FLW-designed furniture, and the stay includes a candlelight catered dinner and breakfast. Valued at $1,900.
Original art by Vera Neumann, of Vera scarves fame, entitled 'Silent Night', 23" square, copyrighted May 15, 1974. This item is a tissue collage and is based on a watercolor study by Vera, which is also included in this auction item, along with the signed book Vera, The Art and Life of an Icon', in which this watercolor is featured. Valued at $5,500.
Unopened Lego Set of Frank Lloyd Wright's Fallingwater House Everyone loves Lego! This item is from the 2009 Architecture Series 21105, no longer in production and is a collector's item.
Keith Haring 'Figures' Case Study Fiberglass Shell Chair, Keith Haring embossed limited edition "The Political Line' (27"h x 19"w) art and Keith Haring: 31 Subway Drawings book.
The auction also includes original photography (including works from Lance Gerber, Andrew Pielage, James Schnepf, Robin Hill, William Dey, Tim Street-Porter, Ann Horn, and the Chicago Historical Society), art (from Carlos Dinez, Andres Bonino, Sister Corita Kent, and Shag), and unique collector's items such as vintage Vera and Rudi Gernreich scarves, handcrafted Gaetano Pesce for Fish Design tableware, out-of-print publications, signed limited edition prints, household goods and vintage linens, a hand-woven modern signed rug, Kartell Componibili Storage module by Anna Castilli for Kartel, Italy from the 1960s, and more.
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Modernism Week announces 2023 schedule
By Kendall Balchan ● Modernism ● October 20, 2022 November 17, 2022
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Banking on an original: Work underway to restore interior of one of the city's most iconic buildings
By Kendall Balchan ● Modernism ● September 1, 2022 September 1, 2022
When the signage for the Bank of America building on South Palm Canyon Drive came down, some locals feared the worst. Well, worry not --…
Modernism Week raises $1.8 million through partner events
By Kendall Balchan ● Modernism ● June 22, 2022 June 22, 2022
Some of the funds raised will be spent by neighborhood organizations in the city to reinvest in architectural restoration, infrastructure, or landscape improvements.
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text:
Neil Simon On Playwriting II
Adapted from: The Craft of the Playwright
The New York Times, May 26, 1985
I like writing women very much. I have shared the confidences of women more than I have of men. Men are more close-mouthed about their real feelings, whereas women, if the situation is right, open up. It's exotic for me to write about women, because they are so different.
But it always amazes me — when I get a director I like and who likes the play, he understands everything I mean, where the actor doesn't. The reason I won't direct a play is that I will watch what a director does and say, "I never thought of it quite that way."
I have a number of directors that I work with frequently. I haven't worked with Mike (Nichols) in a number of years, but I did do four plays with Mike, and I did four plays with Gene Saks and other people. You find someone that you have shorthand battles with — you know, you don't have to have long discussions about it, because they know what you're looking for. I don't like to sit at rehearsals all day long, so I like to feel that I am being well represented.
I was going to say that as good a relationship as you can have with a director, and maybe even having had great success with him, it still depends on the play you're doing. It's like casting and acting.
I find that actors relate much more to the director than they do to me. I tend to sit back quietly and occasionally will throw in something to the director — less often to the actor. The actor is to me a peculiar person. I don't mean that in a negative way. It's one I don't fully understand. They have a much different approach to the material. In the first place, most of the actors that I've worked with, they open the script, take the yellow pencil and go through all of their lines — which means to me that that's what they think the play is about — the yellow lines, their part.
I just have to watch that process, and I see the director able to communicate to them in a way I can't. I am much more direct in my attitude — if it were up to me, and they said, "How was that?" I would say, "Well, that just stunk. I thought it was really lousy." I have to say that, because I say it to myself about my own work. It's hard for me to be diplomatic and hands-off and know how to work with the actors. So I tend to shy away from them.
I'm naive and optimistic enough to think that plays will always be here despite the fact that it's been a fairly grim season, and we're losing more and more playwrights to films and to television — places where they're guaranteed to make money. And the price of tickets makes it so difficult to put on certain kinds of plays that don't promise to be a big smash hit.
Whenever I go to speak at a school, it's rarely for the drama class. It's always for a film class. There are so few drama classes that are interested in the theater. There'll be about four kids in the group who are interested in plays, but most of them want to know about films. And they all want to direct — the cliché.
This is one in a series that will post on Wednesdays. If you'd like to read more about what people like Sam Shepard, Harold Pinter, Joyce Carol Oates and other famous — and not so famous — playwrights have to say about the art and craft of writing and directing plays, type "On Playwriting" into the small sidebar window and tap the "Search" button.
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By Catherine Moore
The "Hip Shots" series of Doodlemeister.com photographs will feature images that were grabbed "on the fly" with little or no regard for framing and focus. The object of the exercise is to create dynamic pictures, not perfect ones. With this " shoot-from-the-hip" method, the more frames exposed the better the chances are that you'll come up with something interesting — a related series that can be arranged as a post. If you'd like additional tips for using the technique, or to submit your own pictures, drop a question or note in the "Leave a Comment" section, below. Meanwhile, click the "Hip Shots" tag above for many more examples. This feature will appear most Friday's.
Copyright © 2011 Catherine Moore
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Neil Simon On Playwriting
I grew up in New York and worked in radio and in television for 10 years. Then I said, "If I don't start to write a play and start to get out soon, I'll be writing 'My Three Sons' for the rest of my life," which I did not want to do.
There will never be any satisfaction for me unless I can write what I feel I want to say. And I wrote that first play ("Come Blow Your Horn") — and it was a matter of life and death for me.
Mike Nichols and I were doing "Plaza Suite" in Boston many years ago, and the first act was too long — it wasn't that it was too long, we were getting too many laughs in a scene that we thought was basically serious. So Mike and I started to cut out all of the laugh lines, and they started to laugh at other lines that they had never laughed at. They just wanted to laugh!
I'll write a scene that is really funny, and then I try to switch it quickly, because I think that happens in life a lot. You know, in the middle of some wonderful moment you get a phone call with tragic news. There have been a few occasions in plays when I've done that, and the audience is really thrown by it. Sometimes it works, and sometimes they resent it. They feel that they've been taken or had a little bit.
My experience has been that if you write a situation well enough, the tension is so great that the audience will laugh whether you provide it or not. But many times when it's either laugh or cry, a lot of them don't want to cry. And they will pick out a moment — a line, a gesture, whatever it is — to laugh at. It becomes part of the play after a while. I expect it night after night — never having intended it in the beginning. There's just so much that they can handle. You force the audience to deal with a great deal in the theater.
The thing I think most about when I'm writing is what goes on in the bedroom between the husband and wife. I don't mean the obvious, but what they really say to each other.
I know when my unconscious is doing the writing, because when my conscious is doing it, it seems familiar to me when I see it later on. Let's say I haven't seen the play in eight weeks or something, and I go and watch it. I say, "I didn't write that. That has nothing to do with me. That came out of somebody else." I know that's the unconscious writing. And that's where the surprises come from. And that's like mercury. You just grab that if you can; it's really hard. I can't pin it down, but I know it's probably very important to my psyche — that bit of information. I say, "That's what I've been keeping hidden." It's a dangerous game. If you don't grab it, then you don't have it anymore. But it's also the most exhilarating. I can get up and go, "What? That was terrific! You just caught a great long fly ball."
"Brighton Beach Memoirs" took nine years from the inception of the idea. I let it sit for six years. It just kept going in my mind. I would think about it, and six years later I wrote 35 pages. I said, "This is good, but I don't know how to write the play." I'd never written a play like that — sort of a tapestry, where everybody's story is very important. I generally had written plays about two characters and the peripheral characters and how they are involved in it. And it took a long time — another three years. And then I sat down and went right through the play. But the unconscious is doing the work. It's typing away.
I don't know what it's like not to write. I don't do it every day of the year, and I do take time off, but I feel empty if I don't have something to work on. The trick is not to get caught up in something that's not working just for the sake of working. But I feel very happy when I can say I've got an idea for something that I think is worth doing. And then I can leave it alone and not work at all — it can just do its own work there while I go to the beach or play some tennis.
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By Fiona Pepys
Copyright © 2011 Fiona Pepys
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David Rabe On Playwriting
I grew up seeing movies, and there was a point where I consciously engaged the question of whether there was a larger opportunity to be free as a writer in the theater or in film. And without any experience in either, it struck me that the theater was more open. But I think now, as I've gone on, it's deeper than that. I don't know quite what the relationship is, but it's very, very deep in me, the theater.
See, I think that in the real theatrical tradition that split (between comedy and drama) doesn't exist as strongly as people think it does. It's an invention of Aristotle rather than of dramatists. I mean, certainly in a lot of Shakespeare's tragedies, there are very funny, lively moments.
I'm not a big fan of Aristotle. I think he really did everybody a lot of harm. He interposed himself between the creative act and the the thing itself. The whole formula Aristotle devised serves censorship more than it serves creativity. It serves inhibition, and it stops more writers than it guides . . . I mean, there's no such thing as an Aristotelian tragedy; he never wrote one. He defines something he didn't do.
My impulse has been to try to put as much variety of emotion as possible into a play. You know, like a carnival or a roller-coaster ride. To me, the more one play can hold, the better.
The laughs I get are the ones I'm hoping for, for the most part. It's making the turn without getting resentment from the audience that's the hard part. If you've overdone the comedy part, they just want to keep laughing.
"Hurlyburly" is very tricky for me to talk about, because the turn is abrupter than I think it has to be. The play is long, but it was longer, and there was ground for the turns that is not present.
In the beginning — with "Pavlo Hummel" — I wrote until I had a draft, and I didn't go to anything else. Once I had a draft, then I started writing "Sticks and Bones." When I had a draft of that, I went back to the other one. But as time has gone on, I've come to put them away more or do a note or a few lines or a page and then come back and maybe work an intense period of time. "Hurleyburly" was like that. I had a note for about six years. It was literally three or four lines. And then I got kicked into starting it, and when I started it, I stayed on it for about three or four months to write the first draft. "Streamers" was built the other way. I wrote a 25-page sort of one-act play. It was actually the first thing I wrote when I got out of the Army. It was sort of the movement of the first act of of the play, only much shorter and without the sergeants. And then that was that, and I put it away. Then, about three or four years later, I rewrote it. It was about 50 pages, and it took about three or four days. And then I'd put it away again. I never thought about it a bit — I just didn't do anything to it. Anyway it took a total of seven years from the beginning. Suddenly I sat down and in about three or four days rewrote the whole play. And it was a full-length play now. I don't know how I knew — there's no way to measure that.
I go through a thing in plays where the play shocks me. I don't think I've ever written anything where there wasn't a moment when I said, "Oh, I don't want to write this," or "Is that me?" Where's it coming from? I think my conscious mind is not as intelligent as my unconscious. My conscious mind is very much interested in controlling everything and making it more orderly — making it orderly in a familiar way. Then the unconscious can come up with something original. The only way I can do anything that's worthwhile is by not getting too far ahead of myself. When I first started writing, if I didn't know what the next sentence was, I couldn't allow myself to write the first sentence, so you never got started. But the truth is, you have to say so what, so if you make a mistake you throw it out. It's just paper.
I think keeping at it, on some level, is no more different from getting started. It's the feeling that that's what you're going to do and have to do. I see a play as a psyche sort of thrashing in the world. And each audience member should identify with the main character and follow it through, man or woman. I mean, if I go see "Medea," I'd better identify with Medea. I have to write whatever shows up, that's the way it is.
I find that, in the early part of rehearsal, I'm very quiet, and as time goes on I have more and more to say. If an actor does something I don't understand . . . then I'm very upset. On the other hand, there are the times when they do a thing that's so wonderful, that I never dreamed of. And that's true of directors, too, that suddenly they bring something you just never thought of.
I have the feeling that the theater, since the late 1800's, has been overridden by the idea of a form called "realism," which I think has truly run its course.
I think the time has come when people will understand that "the well-made" play was developed out of other ideas, out of Darwin and Newton. I mean, the well-made play is an idea based on how Newton said the universe worked — like a big clock. It said theater was a pictorial, scientific, objective form, so it invented the fourth wall. And it invented realistic behavior. If you had a real elephant on stage, then that was great. It was trying, I think, to be movies.
Until theater can offer an audience something that film can't it's going to struggle. It's robbed itself of some of its major devices. The things that it has to offer are heightened language and soliloquies and that contact with the audience that the "fourth wall" makes unacceptable. It has somehow to reclaim this stuff, I believe.
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Beth Henley On Playwriting
Adapted from: Act I: the Pulitzer, Act II: Broadway
By Robert Berkvist, The New York Times, October 25, 1981
I hate the feeling that the play has to be seen as really great, instead of just an enjoyable evening in the theater.
If a play is set in the South, it can be kind of eccentric and people will accept it. The language can be more poetic, too.
I guess ("Crimes of the Heart") is not an easy play for people to pick up the tone of — to know whether it's funny or sad.
The feelings are kind of autobiographical, the business of how sisters relate, or bear grudges — things like that. But none of the events depicted in the play ever happened to my family, although some of them were things I had heard of.
Not to denigrate my play or anything, but all this acclaim is just the way the cards happened to fall. Theater is such a business now that it's got nothing to with art or good work. My kind of writing happens to be salable these days. I'm sure there are a lot of talented people out there who aren't writing plays but working in factories while they wait for someone to "discover" their stuff.
The theater makes it pretty hard for a writer. People can be real mean about your plays. I don't blame some writers for turning to Hollywood for money and praise.
I didn't like the feeling of being at everyone's mercy, so I decided to do something creative. Of course, everyone in Los Angeles is working on a screenplay, so what I did wasn't bizarre at all. But no one at the studios would read my screenplay because I didn't have an agent, so I thought I would write a stage play that might at least get performed in a small theater somewhere. That's when I wrote "Crimes of the Heart."
Women's problems are people's problems. There are certain subjects I mightn't get into, simply because I don't have the necessary knowledge, but I don't think my being a woman limits my concerns.
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