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The Ringmaster: Is Charles Venable Democratizing a Great Art Museum in Indianapolis—or Destroying It?
By Andrew Russeth
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Charles Venable presents the sprawling Newfields grounds in Indianapolis.
CHARLIE POWELL
The pop-up Japanese-style teahouse at Newfields, the institution formerly known as the Indianapolis Museum of Art, is positioned at the top of a long escalator in the museum's soaring glass-fronted entrance pavilion. If you look into the next room, you can see one of the city's crown jewels, Robert Indiana's original 1970 Love sculpture. In April, I was seated in the teahouse with Charles L. Venable, Newfields's director of seven years, who wanted me to meet the museum's first-ever culinary director, Josh Ratliff, one of only nine certified sommeliers in the Hoosier State. Ratliff ordered us pots of blooming tea, and presented me with a "magic apple" that had been marinated in dry tea. Venable, who at 59 retains a touch of a Texas twang from his childhood in Houston, announced that "art is not better than apples." He winked—"There's a quote," he said with a grin—and voiced what his critics might say about such a proclamation: "He truly is the devil."
Venable expounded excitedly about the fruit in front of us. "Organic produce has a history, and a connoisseur can talk about the 10,000-year history of apples," he said, mentioning the orchard on the museum grounds. Then he told me about the teahouse's future. "This turns into a ramen shop next," he said, gesturing around the space. "If we had a Russian show, you could be doing vodka tastings."
The teahouse, Venable explained—as we walked in the pavilion beneath kinetic sculptures by Studio Drift that evoke huge flowers—is tied to exhibitions of Japanese fashion and art. "I think we're probably the first art museum that has decided food is also an art form," he said. "So is wine, sake, tea. So we have a director of culinary arts."
The multipurpose café space is just one of many unorthodox ideas that Venable has tried out at the art museum he rechristened, in 2017, as Newfields, A Place for Nature & the Arts. There has also been the crowd-pleasing holiday festival called Winterlights, a mini golf course, and a pumpkin show this fall in conjunction with a Yayoi Kusama exhibition. These experiments have made him a controversial figure, locally and beyond.
[See the Table of Contents for the Summer 2019 edition of ARTnews: "Reshaping the American Museum."]
Critics have accused Venable of dumbing down the museum with his crowd-pleasing, cost-conscious changes. But his program has also touched a nerve as institutions around the country confront a tough new calculus. Young philanthropists are eyeing returns on their giving, and corporate funding isn't what it used to be. The National Endowment for the Arts' budget has been flat for a decade. Skyrocketing prices have made it difficult for museums to acquire art, particularly contemporary art, and they are having to think about new ways to compete for audiences, especially in cities where tourism is low.
In the teahouse, Venable brought up the beer garden he'd opened on the museum's grounds, and—once again pretending to be one of his detractors—said, "You care more about beer than you care about Matisse! And by the way, I've never been to Indiana."
"And guess what," Ratliff, the sommelier, cut in. "Hoosiers do care more about beer than Matisse."
"That's true," Venable said. "I would say more Americans care about beer. Our studies will tell you."
Citing objects in the museum's collection that speak to beer history, Venable said he has been asking himself how he can "connect those dots" between artworks and experiences, food and scholarship. "We're going to work on that. Because more people like beer—and I'm not giving up on all those people out there."
Along with a renowned collection of Japanese painting and one of America's finest Post-Impressionist collections, Newfields is home to Rembrandt's first self-portrait, an extended loan expected to become a gift in 2021. "If you want to see our Rembrandt, we would love for you to do that," Venable said. But if you would prefer instead to have tea, or wander the grounds, or enjoy the one million lights of Winterlights, or have a craft beer with friends, well, Newfields can be a destination for that too. He insisted that his job—along with maintaining responsible stewardship and dealing with tough financial realities—includes welcoming a larger audience. "It's about saying: We're not going to judge you, Mr. Member of the Public."
An aerial view of Newfields, with 100 Acres, at top, and the Lilly House and gardens, at right.
COURTESY NEWFIELDS
Like other large encyclopedic museums in the United States—the Art Institute of Chicago, the Metropolitan Museum of Art in New York—the Indianapolis Museum of Art had roots in the 19th-century premise that art was meant to edify and enlighten. The institution, in essence, was a gift from the elite to the masses. In 1883, May Wright Sewall, the principal of a girls' school, joined with other citizens to start the Art Association of Indianapolis, which offered classes and exhibitions. It was a modest organization, but it got a shot in the arm in 1895, when a real estate baron named John Herron bequeathed it $225,000 to create the John Herron Art Institute. In 1966, two great-grandchildren of local pharmaceutical entrepreneur Eli Lilly offered their parents' Oldfields estate to the institution, farther from the town center, to expand. Museum leadership rechristened the organization the Indianapolis Museum of Art and made the move, opening there in 1970.
Other big gifts followed. In 1989, Dorothy Lynn, the widow of an Eli Lilly executive, made an anonymous gift of $29 million, bringing the IMA's endowment to $100 million, and in 1996, Enid Goodrich, the widow of Pierre Goodrich, a businessman who backed the Indianapolis Star, bequeathed it $40 million. By then, the institution's total properties consisted of the museum building, 40 acres of gardens around the Lilly estate, and about 100 acres of parkland. Today, the building measures 670,000 square feet, with 179,000 square feet of exhibition space, a size it reached after an expansion in 2005.
When Venable's predecessor, Maxwell Anderson, arrived at IMA in 2006, after a five-year stint (1998–2003) at the Whitney Museum of American Art in New York, he began his directorship with an endowment of more than $360 million. He pursued high-profile, high-cost projects, like a huge sculpture park called 100 Acres in the parkland, stocked with works by Alfredo Jaar, Andrea Zittel, and Atelier Van Lieshout; a conservation-science department; and exhibitions such as "Power and Glory: Court Arts of China's Ming Dynasty" and "Hard Truths: The Art of Thornton Dial." All the while, the endowment grew. By 2008, it stood at $393 million, ranking it in the top 15 endowments for U.S. art museums.
That endowment has been crucial for the IMA, which has regularly received upwards of 60 percent of its annual revenue from investments. That figure is high but not out of step with some other large art museums, like the Museum of Fine Arts in Houston and the Nelson-Atkins Museum of Art in Kansas City, Missouri, which receive more than 50 percent from such funds. A renewable resource of money is especially important for institutions when other means of support are lax or inconsistent, as is the case with government funding in Indiana. In the 2017–18 fiscal year, Newfields received just $366,000—less than 2 percent of its budget—from government grants. (On average, U.S. museums receive 15 percent of their revenue from such sources, according to the Association of Art Museum Directors.)
"Museums love to have endowment money because they don't have to raise it from difficult donors," said David Gordon, a museum consultant. It also allows them to resist the pressure to sell tickets to make ends meet. The downside is that, when the economy takes a hit, such institutions feel the pinch—which is what happened in 2008. Nationwide, the most visible casualty of the collapse was the Los Angeles Museum of Contemporary Art, which nearly depleted its endowment through deficit spending. The IMA was also hit hard: it lost more than $100 million. The museum responded by cutting its budget, laying off staffers, and replacing dozens of security guards with college students in an effort to reduce the draw on its diminished endowment.
Rembrandt van Rijn's Self-Portrait, ca. 1629, is on long-term loan to Newfields.
INDIANAPOLIS MUSEUM OF ART AT NEWFIELDS, COURTESY OF THE CLOWES FUND
Venable has preached fiscal conservatism from the start of his directorship in 2012. Just months before his appointment, the Moody's credit-rating agency revised its outlook for the IMA from stable to negative, citing its debt burden and heavy reliance on investment income. Not long after arriving, the new director cut two dozen people from a staff reeling from the more extensive layoffs in the wake of the recession. He has also pursued a mission to pay off the museum's debt, owing to its expansion in 2005, by 2026.
What struck Venable—when he arrived in Indianapolis from the Speed Art Museum in Louisville, Kentucky, where he was director from 2007 to 2012—was the discrepancy between the monumental size of the museum and the modest size of the city it serves, which has about 880,000 residents. "This community has built an institution of a scale that should be in New York or Los Angeles or maybe Chicago," he told me. "We're scaled for a million visitors a year, so how do you make sense of that?"
One way to make sense of it is to try to draw crowds, as Venable did, first in a traditional museum-director fashion, with blockbuster exhibitions. In 2013, "Matisse, Life in Color: Masterworks from the Baltimore Museum of Art" brought in about 50,000 visitors over its three-month run. In 2015, "Dream Cars," a show co-organized with Atlanta's High Museum of Art that included a 1935 Bugatti and a 1955 Chrysler-Ghia Gilda, brought in 63,000. These were some of the highest attendance numbers the IMA had ever drawn, but from the perspective of Venable and his team, they were not satisfactory because, on a per-person basis, they were too costly. As Preston Bautista, Newfields's deputy director for public programs and audience engagement, put it to me over lunch in the museum's cafeteria, "I can't justify a million-dollar show when I can't recoup the income."
The next step in Venable's belt-tightening measures, in 2015, was to do away with free admission. The museum had been free since 2007, when Anderson dropped a $7 charge instituted in 2005. Venable, by contrast instituted a charge for adults of $18. He also gated off the 40-acre garden adjacent to the museum that had been open to the public without charge, and made access to it contingent on paying the museum's entrance fee.
Per-person costs aren't the only thing on Venable's radar. Venable has also looked at the expense of maintaining the collection. He and his team have taken up the cause of assigning letter grades to the institution's more than 50,000 objects—A through D—with an eye toward managing conservation costs. Georgia O'Keeffe's majestic Jimson Weed (1936) got an A; Merio Ameglio's Le Pont Neuf (ca. 1940), a D.
Venable's laser focus on expenses was paired with the decision to pay down debt. When he joined the museum, some $123 million in bonds from the 2005 expansion remained on the museum's books. So far, more than $40 million has been paid off, which has involved allocating endowment funds. According to Venable, it just isn't sexy for donors to fund paying off a museum's debt. "Talk about money that nobody wants to give you," he said. "That's $40 million of exhibitions I could have done, $40 million of curators I could have hired, $40 million worth of fill-in-the-blank."
Opinions vary dramatically on how museums should handle debt. "It's quite subjective," said Gordon, the museum consultant, who said he prioritized retiring debt when he led the Milwaukee Art Museum in the 2000s. "I think it's a prudential position to take, to pay off your debt. It's one of the things that guarantees your independence. You're never going to be at the mercy of banks or creditors."
But another line of reasoning is that, with interest rates low and markets performing well, it is a fine time to have bonds on the balance sheet.
Venable has defended his choice. "Debt is debt," he said, arguing that, in the event of another 2008 crash, the bank could suddenly demand payment on nearly $80 million in loaned money, endangering the museum.
To bolster the museum's financial position, he has pursued steady streams of revenue—$1 million from admission charges and $1 million from memberships toward a $29 million budget—by favoring recurring festivals over a parade of costly one-off art shows.
And hence was born the bête noire of his critics: Winterlights.
View of the Winterlights festival in front of the Lilly House.
To what extent museums should be places of entertainment has been a subject of heated debate for decades. Should they lean toward serving the public in large numbers, or double down on their commitment to being specialized places dedicated to the highest scholarship and conservation? Every once in a while, a new vision comes along and reignites that debate. In 2017, when Venable changed the name of the institution from the IMA to Newfields, he also launched the Winterlights festival. Arriving after sundown when the galleries were closed, visitors paid $25 to goggle at a million twinkling lights strung around the grounds while Tchaikovsky's "Nutcracker Suite" emitted from strategically placed speakers.
The idea didn't come out of nowhere. Devoted museumgoers love moving quietly through exhibitions, pausing to read wall labels, but "in some ways that is not normal," Venable said. He read studies from the marketing firm LaPlaca Cohen that showed that people want to eat, be outdoors, and do things when consuming culture. And he realized that with 40 acres of gardens, he was sitting on facilities to offer all of that. According to research he commissioned, there were hundreds of thousands of locals who had never visited the museum but might respond to a new pitch.
From an attendance perspective, Winterlights was a runaway success. Its 69,000 visitors in 2017 nearly doubled the 35,000-person goal the museum had set, and it drew 110,000 in 2018. About 20 percent of those visitors had never been to the campus before. From a perception perspective, the spectacle has met with mixed reviews. A former Newfields employee, who agreed to comment on condition of anonymity, said of Venable, "He sees his million lights as art. I see it as a shallow sham of an experience to get people in the door."
Winterlights is the largest and most visible of Newfields experiments in visitor experiences, but it is far from the only one. In 2014, Venable brought on Scott Stulen as curator of audience experiences and performance. (Stulen has since gone on to lead a museum himself, as the director of the Philbrook Museum of Art in Tulsa, Oklahoma.) Stulen came to the IMA from the Walker Art Center in Minneapolis, where he ran a cat-video festival and an artist-designed miniature golf course, both of which he imported to Indianapolis. Stulen realized that museums were competing with many more things for people's leisure time, and he decided to go head-to-head with them. "Even going back 15 years, there was no Netflix," he told me. "There were no smartphones. Now there's all this competition for time, attention, and money, and you need to change the game to get that audience that's not your core audience."
"Museums for a long time have been in this kind of cycle," Stulen continued. "You do this blockbuster show, your membership spikes, but you lose money on it, almost always, and membership dips down again," Stulen said.
That is not a sustainable strategy, according to Venable. "That experiment has run its course," he said. "We can predict with amazing accuracy how many people will come to a show here." By which—compared to Winterlights—he means how few. At the pop-up teahouse, Venable wondered if it was "ethical and fair" to spend large amounts of money on shows that attract only small, specialized audiences. "As these great repositories of human creativity," he said, "are we going to be relevant to enough people to warrant social and financial investment 50 years from now?"
Venable has been careful to position Winterlights as a botanical-garden offering, rather than a substitution for art exhibitions, but it clearly has a grip on the institution. "My goal, really, is to beat Winterlights," Bautista, the deputy director, said. "But how I do that with art is the question. Clearly, Winterlights is relevant to the community. They're willing to pay $25 for this thing. How do I do that with this incredible collection that we have? I don't know the answer to that yet but that's what we're mapping out right now."
Criticism of this focus has dogged Venable's tenure from its start. "I feel very comfortable saying that my vision doesn't align with Venable's" the contemporary art curator Sarah Urist Green told the local publication Nuvo in 2013 on her way out the door. And there are those in Indianapolis who pine for the days of loan-intensive shows like "Roman Art from the Louvre" and "Sacred Spain." "I hear a lot of people say that it's been many years since we've had an interesting show," said Jeremy Efroymson, whose family name is on the museum's entrance pavilion as a result of a 2002 gift. He added, of the museum's transformation into Newfields, that for some, "when you rename it, and you take the name of the city and the name of the museum out, that just feels wrong."
Venable insisted that ambitious, large-scale exhibitions are not a vestige of the past. "What is fair to say is that we are being exceedingly disciplined about when we program those shows," he said.
Spring blooms on the grounds of Newfields.
After the IMA was officially rechristened as Newfields, A Place for Nature and the Arts, in August 2017, the Washington, D.C.-based critic Kriston Capps fired off a column in CityLabs saying that "Venable has turned a grand encyclopedic museum into a cheap Midwestern boardwalk," and calling Newfields the "greatest travesty in the art world in 2017."
In a recent op-ed in Nuvo, Bill Watts, an English professor at nearby Butler University, termed Newfields a "nowhere name" and accused it of becoming "less a museum and more like an 18th-century pleasure garden." Watts told me, "One of the painful things to me is that this is a marketing campaign that is driving an institution that should be driven by ideas, and by some sense of civic responsibility."
Others in Indianapolis said they had concerns but declined to speak. "It's hard for people to talk about it because then you're drawing lines," Efroymson explained. "And it's a small art community." Located in the 34th largest metropolitan area in the country, Indianapolis has a compact art scene, with a limited number of commercial galleries and nonprofit organizations. Michael Kaufmann, who leads the the nomadic Indianapolis Contemporary (formerly the Indianapolis Museum of Contemporary Art), pointed out that this has given Newfields an outsize role to play. "There's pressure for them to be all things to all people," he said. "Inevitably, depending on how you pivot organizationally, people are going to be upset."
Newfields has its defenders. "Enjoy your art snobbery," one letter writer retorted to critics in the Indianapolis Star. "We in Indianapolis don't need your approval to know we have a fantastic art museum and beautiful Newfields campus to enjoy."
"Museum is a dirty word," said Matt Gutwein, who joined the IMA board in 2010 and remains a Newfields board member, explaining that it alienates many. He said that, in plotting the Newfields agenda, Venable and the board looked at everything they had—the museum's collection, the gardens, the sprawling 100 Acres art park, historic homes—and thought, "How can we take full advantage of those assets to give really enriching experiences to those who visit?"
But populism works only if people show up, and the overall attendance picture at Newfields is opaque.
Under Anderson, when general admission was free, the IMA reported an annual average of about 400,000 visitors to the building—a number it generated using heat-tracking sensors employed by many museums. It did not count visitors to the overall grounds, which people could stroll without setting foot in the museum. A museum staffer told attendees at the Museum Next conference in 2016 that, after the $18 admission was instituted, visitors dropped and "our population became older, whiter, richer, and less families." However, even as ticket sales showed a lower number than past counts, the sensors showed an increase, so "we are hard-pressed to say that there was a decrease in attendance as a result of the change in policy," a spokesperson told me. (The sensors were subsequently removed.)
For the 2017–18 fiscal year, Newfields reported about 399,900 visitors, but that included everyone visiting the grounds (both the free 100 Acres and the gated gardens). Of those, 188,000 were general admission visitors, meaning they bought a ticket or had a membership. (The rest went to the no-charge 100 Acres, came with a school group, or visited through other special programming.)
With Winterlights bringing in some 69,000 people over the course of about two months, that makes the tally for general-admission visitors to the museum for the entire year only about 119,000. (The building itself is closed in the evening during the festival.)
Newfields has said that Anderson's sensors were likely overcounting, and the spokesperson called them "unreliable and not a true comparison to our actual numbers after we started charging admission." Anderson and the sensor company have gone on the record defending the accuracy of their count, a debate detailed in the Indianapolis Monthly.
In any case, by the institution's own accounting, attendance is growing—the total in 2015–16 being 315,900. The goal is to have 500,000 visitors by 2026, with 350,000 paying general admission.
In other goals set by museum leadership, Newfields is trending in the right direction. The endowment draw required to operate the museum is down, as projects like Winterlights increase revenue, and the board is planning a capital campaign. And the debt is being paid off, albeit at the cost of endowment growth. While the museum has received grants for infrastructure projects, it has had difficulty bringing in gifts for its endowment, so as market returns have gone to pay off debt, it has hovered in the mid-$300 millions, where it was more than a decade ago.
In 2016, amid all of the ongoing changes, the board gave Venable a 10-year contract extension, quite lengthy by museum standards. "I am really grateful that we have Charles at our institution," Gutwein said. "I think he is an extraordinary leader and visionary, and . . . the results that he and his staff and the board have achieved speak for themselves."
A museum tour group viewing works by Paul Gauguin and Vincent van Gogh.
Asked about the changes in Indianapolis, Maxwell Anderson was diplomatic. "I think it's the right of any board to determine the course of the institution that it governs," he said. "I continue to believe that art museums should, at their root, be based on scholarship, research, and education, and would hope that the Indianapolis Museum of Art invests in those robustly."
Venable argues he is doing just that. One recent hire is Kelli Morgan, who came over from the Pennsylvania Academy of Fine Arts in Philadelphia to be associate curator of American art. She's working on a rehang of the American galleries aimed at decentering the United States and including Latin American and indigenous objects, and she recently co-curated an exhibition by local artist Samuel Levi Jones with paintings that address oppression and injustice.
Venable pointed to that show and another recent exhibition, of erotic photographs by George Platt Lynes, as evidence of his seriousness about presenting important art. "I do wish some of the folks who have been so fixated on how we decorate our trees during the holidays would actually care about how we're pushing the envelope in the state of Indiana through art," he said. Community members hailed Venable, who married his husband, Martin K. Webb, in 2013, for speaking out against the anti-gay religious freedom legislation signed by then Indiana Governor Mike Pence in 2015. And for those wanting a blockbuster, a show of work by Edward Hopper—Newfields owns two great paintings by him—is on tap for 2020, co-organized with the Virginia Museum of Fine Arts in Richmond.
Viewer feedback is central to the Venable model. Showing me through the museum's 11,000-square-foot modern and contemporary design gallery (the largest in the country), another Venable hire, associate curator of design and decorative arts Shelley Selim, told me she cut 100 objects—about 20 percent of the pieces—in her recent rehang, in response to a survey in which visitors said they felt there were too many works on view.
Curators at Newfields "definitely don't have as much power as other places where I've worked," said Selim, a veteran of the Museum of Arts and Design in New York and the Cranbrook Art Museum in Michigan. Referring to the team shaping the museum, she said, "The more cooks you get in a kitchen, the more collaborative it is, and the more you're going to create a product that appeals to a broader range of people."
Many times during my visit to Newfields, I made my way outdoors, walking past the old Lilly mansion, along manicured allées and blooming flowers that Venable has argued the museum never properly marketed.
Newfields's horticulture director, Jonathan Wright, hired away from the Chanticleer Gardens in Pennsylvania, showed me around. "From a gardener's perspective, they didn't get the prominence they deserved," he said of the greenery. "But I fully get it—you were building an incredible art museum." He described how he wants to "double down on the romance of the orchard" and possibly bring in the fountain consultant who worked on the Bellagio hotel and casino in Las Vegas to assist in restoring one of the fountains on the grounds.
Wright also described the upcoming autumn festival, Harvest, slated to coincide with the Yayoi Kusama show. Kusama, one of the most renowned artists of the postwar period, is known for, among other things, large sculptures in the shape of pumpkins. The festival, he said, "will be celebrating everything that's fantastic about being in the Midwest, in Indiana, in the fall. What's a better theme than pumpkins for the fall? There will be pumpkins inside and out, including an incredible Kusama exhibition in the galleries. Outside, we've got tons of pumpkins coming in from all over the state." The overall effect, he said, will be of "infinite pumpkins."
As sunset neared, I roamed the museum's galleries and found them almost empty. But it was shaping up to be a beautiful evening, and over in the 100 Acres park, a few young girls were jumping between the bones of a giant skeleton sculpture by Atelier van Lieshout and a couple was sharing an intimate moment on its head. In the beer garden, outside an orchid-filled greenhouse, people were enjoying a hoppy exclusive-to-Newfields craft brew, giant pretzels, and zesty cheese spread. I sat down and bit into the tea-soaked apple that Ratliff had given me. It was delicious.
A version of this story originally appeared in the Summer 2019 issue of ARTnews on page 60 under the title "Come One,
Come All!."
Charles Venable
Indianapolis Museum of Art
josh-ratliff
matt-gutwein
Scott Stulen


Wall The wall as seen near Al Walaja village.
Gate The gate outside Omar's house on edge of Al Walaja, where the Israelis say they will put the wall.
The gate outside Omar's house on edge of Al Walaja, where the Israelis say they will put the wall.
Cremison monastery The forests around Cremison monastery, much of which will be destroyed by wall's construction and all of which will be designated as part of Israel after wall is built.
The forests around Cremison monastery, much of which will be destroyed by wall's construction and all of which will be designated as part of Israel after wall is built.
Student Mazin Qumseyah with student at Bethlehem University, photographing a rare species.
Happy Happily surrounded by the smiles of many Palestinians.
Home Man in Al Walaja village who says he will not leave his home so the Israelis can build their wall through the village even if the bulldozers come while he is inside.
Man in Al Walaja village who says he will not leave his home so the Israelis can build their wall through the village even if the bulldozers come while he is inside.
Palestinian villages around Bethlehem Beautiful Palestinian villages around Bethlehem.
Alternative Information Center Presentation given at the Alternative Information Center (AIC) about the thriving non-violent resistance movement in Nabi Saleh village.
Presentation given at the Alternative Information Center (AIC) about the thriving non-violent resistance movement in Nabi Saleh village.
Mural Mural on the wall outside Aida Refugee Camp near Bethlehem.
Mural on the wall outside Aida Refugee Camp near Bethlehem.


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Here I am working at home trying to explain the importance of this phrase "Go try things"… which sums up why you not only can but should gain the benefits of earning through writing.
We have repeated this phrase "Go Try Things" again and again at this site because the idea behind "Go Try Things" is so much at the root of success, because the driver of physical reality is evolution and change.
"Go Try Things", called trial and error is ultimately at the root of all scientific endeavor, all business and is the basis of continuity.
Change is our lot, whether we like it or not. Evolution is the way to turn change into opportunity. Trying things is the way to make evolution work for you.
I am focused on this thought today because I gained this phrase, "Go Try Things" from Aznavour, the famous French entertainer, who recently passed at age 94.
Aznavour sold hundreds of millions of records, wrote more than 1300 songs and recorded them in eight different languages. He appeared in more than 60 movies. He founded and supported many charities.
Did he ever! His fame started in 1946, but he was still trying things more than 60 years later, singing at concerts in 2017 at the age of 93.
He shared some of his secrets of success in that article.
In his 90s he said: "I've just come back from filming in Portugal, I'm promoting the tour, I'm involved with an association for disabled children in Lille, I'm dining with the Armenian President, who has just received an honorary doctorate at the Sorbonne… It's a tiring life, but I live very healthily, nothing to excess. For the last week, I've only had one glass of red wine with lunch, my only meal of the day, one course, no dessert. Afterwards, when the tour has begun, I relax the diet.
He made up for these weaknesses with a continual search for who he was.
He applied what he discovered writing his life in song.
To He continued to search for and be involved in his passions but to find inspiration he watched the news, talked to people. He looked for their problems, which helped him learn how to touch others through song.
He entertained for eighty years starting at age ten, but never considered retirement.
He said that work was retirement: "I'm in retirement right now. That's what keeps me young." In the words of his duet with Sinatra on Young at Heart, "survive to 105", he said what he would be doing.
That's why I write so often, "go try things".
The USA Today article entitled "THEY WON'T QUIT" (1) summed up the vast importance of trying and the benefits you can gain when you "go try things".
Here's how to make 2018 in-sightful, richer and freer every day.
Boredom is a powerful, negative motivator… like withdrawal from a drug. We are set up to suffer it as we are distracted, almost from the minute we are born.
Excitement bombards all the senses… almost every waking hour… if we let it.
We are taught to swim in the sights, sounds, touch, taste and smells of the outer world. Our awareness is bludgeoned into needing more and more excitement just to stay in the same place.
Talk about fake news. The excitement is all fake. Its promise, that saturated our senses will make us feel better, is a lie. We become addicted to the cacophony. Without increasing doses, the withdrawal brings boredom.
The dosage required eventually becomes destructive. The needle of excitation brings ferment, fever and turmoil.
A reader started me thinking about boredom when he sent this note in response to Monday's message 26 to the 26th Power.
I replied "Thanks for your kind words and that was probably only using 26 to the 4th or 5th power!
That's the greatest thing about writing, you can always grow… no matter how long you've been doing it. This is my 50th year at it and I still wake up excited about what will flow from my fingers (encouraged by heart, mind and soul) this day.
There are many benefits gained from using words.
The infinite power encourages growth. When you play with such power, you can always get better. Every day, no matter how good you have become, you can do more. (Or actually less. The greatest power comes from words and sentences that are short).
Most important is the fact that using words stimulates inner growth that anyone can have regardless of health, ability or age.
Creativity comes from within. The world is a busy, noisy place. Every second of the day, something is trying to distract or mislead us. When we go within, leave the turbulence of the outside world, and draw back the bow, we discover a joyful silence. The song, tuned by the arrow of letters we let fly, is a sweet symphony that in-sights rather than ex-cites.
Inner happiness brings a better, bigger, longer lasting joy. All things gained from the outside are subject to the law of diminishing returns. Happiness we draw from within does not diminish. Instead, the sweetness of inner strengths, reinforces each bubble of contentment, compounds them and grows.
Numbers and words are the pathways to truth, humanity's deepest goal. Silence is the background that contrasts them. The greater the silence, the more powerful the numbers, the words and the thoughts.
We create the thoughts and send out the copies, but the originals build our archive of immense inner power that leads us (often kicking and screaming) closer to truth.
When we know truth… we are truly content.
This is why Merri, David and I created the "Inflate Your IQ and be Happier Workshop" described below.
The most important 12% of your life in 2014 can be your passion and purpose.
Merri and I dreamt through the New Year so our celebration began by watching the sun rise through the mists.
Happy New Year. You'll see and hear it all in 2014. Economic news in the USA will be better. This will bode poorly for share prices at the US stock market. Many might be confused by this.
There will be incredible new technologies… that create great new businesses and opportunity. Plus this change could destroy some businesses that are old.
There will be apocalypses. Some Chicken Littles will use their talents to engender fear because they do not understand the meaning of the word (or they have a hidden agenda). The root is the Ancient Greek apocálypsis, which means "un-covering" or "a disclosure of knowledge". We shouldn't fear apocalypses. Apocalypses are the creators of change, the bearers of opportunity and are paths that lead us higher.
The challenge will be to turn the cacophony into a symphony by figuring out what all this noise means uniquely to us as individuals.
Where are we in this rush of life and humanity? What will be the fulfilling way for us to go? How do we sift the news for what really matters and find our personal, optimal path to fulfillment, health and wealth.
One way to slice through the dreary avalanche of negativity is to let the most important 12% have the final say.
A New York Times Sunday Review "A Formula for Happiness" (linked below – bolds are mine) by Arthur C. Brooks shows how passion and purpose are essential to happiness. Here is an excerpt (bolds are mine): The richest data available to social scientists is the University of Chicago's General Social Survey, a survey of Americans conducted since 1972. This widely used resource is considered the scholarly gold standard for understanding social phenomena. The numbers on happiness from the survey are surprisingly consistent. Psychologists have used sophisticated techniques to verify these responses, and such survey results have proved accurate.
The first answer involves our genes. Researchers at the University of Minnesota have tracked identical twins who were separated as infants and raised by separate families. As genetic carbon copies brought up in different environments, these twins are a social scientist's dream, helping us disentangle nature from nurture. These researchers found that we inherit a surprising proportion of our happiness at any given moment — around 48 percent.
But while one-off events do govern a fair amount of our happiness, each event's impact proves remarkably short-lived. Up to an additional 40 percent comes from the things that have occurred in our recent past — but that won't last very long. People assume that major changes like moving to California or getting a big raise will make them permanently better off. They won't. Huge goals may take years of hard work to meet, and the striving itself may be worthwhile, but the happiness they create dissipates after just a few months.
That leaves just about 12 percent. That might not sound like much, but the good news is that we can bring that 12 percent under our control.
Assemble these clues. Your brain will conclude what your heart already knows: Work can bring happiness by marrying our passions to our skills, empowering us to create value in our lives and in the lives of others.
Bring on the apocalypse of 2014. Let new knowledge be revealed. Let the 12%… your passion and purpose… guide you through the noise to fulfillment, good health and everlasting wealth in this new year.


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Maharashtra's Marathwada Region Gets it's First All-Steel Residential Building
Located in Aurangabad, this house is designed by Architects Pooja & Piyush Kapadia, pioneers of sustainable architecture.
What makes this house unique is that it is enveloped within a steel and concrete composite skeleton unlike the traditional Reinforced Concrete structure common to the region allowing fast assembly and lesser construction time.
Picture Courtesy: Pooja & Piyush Architects
In this type of construction, the steel columns and beams are nut-bolted, precast and assembled together on site. Reinforced concrete is cast on top of a profiled steel decking sheet which acts as form-work, as well as external reinforcement.
The main framework of building along with the steel columns and beams was erected within 2 days while the concreting of the floors was achieved in one day which is a record in itself.
Professor Damgir, HOD Civil Engineering from Govt college of Engineering, Aurangabad had visited the site during entire construction process and expressed his satisfaction in the way entire job was carried out. He added; "it was a brave movement and would create a revolution in construction industry in near future".
The idea to construct a building of this type was initiated by the lead architect Ar.Piyush Kapadia who had already experimented this structure while building his own residence. The structure was awarded as first Residential Green Building with Platinum Rating in rest of Maharashtra by IGBC in 2017.
Steel buildings are prefabricated, which means they're faster & efficient to make. The majority of the building is created in a plant, so weather never gets in the way of construction. Quality of steel is assured since it is produced under controlled environment in the factory under strict quality control.
Although initial cost is 10% more, it is still cost effective. Based on life cycle cost analysis and because steel structures are easier to maintain and have a good scrap value, unlike traditional RCC structures.
Have a look at the time lapse of the construction process:
A total 18 tonnes of steel was used and 25 cu.m of concreting was poured as compared to 9 tonnes of steel and 125 cu.m go concreting saving more than 60% of natural resources and 40% of water and time.
The house is divided between three floor plates of 1000 sq.ft each. An open plan without any columns acts as a separation. It is designed keeping in mind all climatic factors promoting the need of an eco-friendly design and a healthy lifestyle.
The external walls are designed with hollow clay blocks that create a temperature difference of at least 5-10 degrees between the interior and exterior spaces keeping the interiors cool in the summer and warm in winters.
While designing the interior spaces, a conscious effort was made to use a palette of natural materials which include exposed terracotta clay blocks on the walls, exposed deck flooring & rafter-ed ceiling. Jaisalmer flooring was used with a combination of white & grey furniture using MDF & PVC plywood. Addition of wooden louvers with plants & creepers in the external facade adds character to the building while promoting the idea of an eco-friendly and sustainable way to build.
Location: Aurangabad, Maharashtra
Design House: Pooja & Piyush Architects
Lokirev Designs Create a Contemporary Metal Structure to Serve as a Temporary Office
Clean Lines, Geometric Patterns and Bold Splashes of Color Feature in this Residence in Gurugram
Chennai Based Office Kattadaco Converts an Old Apartment into a Light filled Family Home
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TDC Magazine is a digital publication and online magazine that serves as a curated, hand-picked and carefully edited assemblage of the latest in architecture, design and art. The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of The Design Collective Magazine & Studio.

redpajama_set_name: RedPajamaCommonCrawl


Weald Rise Primary School - Safeguard Competition Winners!
The school organised a poster competition to promote safety awareness and to support the children to understand how they can take action to create a safe environment so that all children can flourish and feel valued.
There was an overwhelming response and after much deliberation members of the School Council and a panel of staff and governors selected winners based on the best overall safety message, visual image and most creative design.
Well done to some of our Safeguarding competition winners.
Please check out our gallery of the winners!


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Jeffery Waller
Lawsuits Filed-04/14/16
Published 10:06 am Thursday, April 14, 2016
United States of America vs. Johann Walker et al, foreclosure, $80,823.
— Citi Financial Serving LLC vs. Clarence Brewer, foreclosure, $84,307.
— Stanley Dale Patterson vs. William Robert Patterson et al, partition of real estate and $9,984.
— David Cornell vs. Darlene Whitted et al, replevin, fraud, civil conspiracy, unjust enrichment, conversion.
— PNC Bank National Assoc. vs. Wanda K. Wheeler et al, foreclosure, $49,357.
— U.S. Bank National Assoc. vs. Marvin L. Layne, foreclosure, $75,866.
— Carissa B. Massie et al, vs. Therese A. Reynolds, personal injury.
— San Mar Corporation vs. American Business Ventures LLC et al, breach of contract, $13,386.
— Spectrum Outreach Service LTD vs. Bobby Borders et al, failure to perform work as agreed, $15,816.
— Capital One Bank U.S.A. vs. Minnie M. Swinngan, debt, $3,135.
— RCS Recovery Services vs. Carl D. Sutton, debt, $36,406.
— Bank of New York Mellon vs. Tina Gibson et al, foreclosure, $46,856.
Obituaries-04/14/16
Elza Green Dec. 13, 1938 — April 13, 2016 Elza L. Green Sr. departed this life on April 13, 2016,... read more


Cities and counties across California are reaching out to the state's political watchdog about possibly enforcing their campaign finance and ethics ordinances under a new law that took effect on Jan. 1.
The law, modeled after an arrangement San Bernardino County has had with the California Fair Political Practices Commission since 2013, essentially allows local agencies to draw on the state's experience and expertise in dealing with such issues — for a price.
The FPPC could not say Wednesday how many inquires it has fielded or from which agencies — beyond the city of San Jose — but interest apparently has been brisk.
"In the last two months, staff have received multiple inquiries and interests from local government agencies on contracting with the Commission for the administration, implementation and enforcement of local campaign finance or government ethics laws," FPPC Executive Director Loressa Hon wrote in a report that will be presented to the commission on Thursday, Feb. 21.
Among other things, Hon is seeking guidance on staffing needs and budget adjustments that might be necessary to meet a possible influx of requests from cities and counties.
San Jose reached out to the FPPC in January about possibly contracting with the commission to enforce its longstanding campaign finance and ethics ordinance after its seven-member ethics committee dwindled to three members and lacked a quorum to vote on enforcement matters, San Jose City Attorney Rick Doyle said Wednesday.
But things quickly turned around, and San Jose's ethics committee began receiving applications from several people who now are interviewing to fill the vacant seats. Therefore, the city is no longer considering a contract with the FPPC to enforce its ordinance, Doyle said.
"At this point it is not an option," Doyle said.
San Bernardino County became the first in the state to enter into such an agreement with the FPPC after it adopted an ordinance in August 2012.
Since the passage of legislation allowing San Bernardino County to contract with the FPPC, similar laws were passed allowing Stockton and Sacramento to do the same. Subsequently, the state passed a law last year allowing all cities and counties to contract with the FPPC.
Under its contract with the FPPC, San Bernardino County pays the agency a flat fee of $55,000 annually, and is billed at preapproved hourly rates, for any work exceeding the flat amount. To date, the county had not exceeded its flat rate.
In return, the FPPC audits the campaign accounts of all county elected officials each election cycle, investigates complaints, provides written and verbal guidance to elected officials and their donors regarding the county's campaign finance and ethics ordinance, and serves as the "civil and administrative prosecutor for violations of the ordinance," according to a December staff report prepared for the Board of Supervisors.
While there have been some campaign slips since passage of the county's ordinance, Rutherford said it has all been relatively minor.
"There have been a couple of campaigns that have received notice they need to do something better, but I'm not aware of any huge issues," she said.
The ordinance has another benefit, Rutherford said.
The commission on Thursday also will consider sending out letters to the Legislature proposing a law that would allow the FPPC's Enforcement Division to investigate and prosecute public agencies for the suspected illegal use of public resources for campaign activities.
A commission staff report noted that, since 2015, the FPPC's Enforcement Division investigated 34 cases involving allegations of a public agency spending public funds for campaign purposes. To date, 18 of those cases have closed and 16 remain open. Of the closed cases, three resulted in stipulated settlements, two cases were closed and six remain open, according to the report.
San Bernardino County District Attorney Jason Anderson said in an email Wednesday he hopes such a law would not preempt the ability of local district attorneys' offices and city attorneys from pursuing FPPC violations.
FPPC spokesman Jay Wierenga the proposed legislation seeks only to bring current law on the misuse of public funds into the realm of the Political Reform Act so that the FPPC can take administrative or civil action against violators.
"D.A.s would maintain any and all current ability to do the same in any civil or criminal prosecution it deems necessary," he said.


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Buckeyes dominate Va Tech, avenge '14 loss
Jeff Seemann
Despite a shaky second quarter, the Buckeyes stepped on the gas, and stepped all over Virginia Tech Monday night.
Ohio State went into a hostile Lane Stadium, looking to avenge the sole loss from their 2014 National Championship season. Mission accomplished – in a 42-24 dominating win over the Hokies.
"It's not so much about pride as it is about taking care of your business," Head Coach Urban Meyer told ESPN following the game. "This is a hard-working team and they care about each other. That showed tonight."
With never-ending offseason discussion over who the starting quarterback would be, it was former QB Braxton Miller who stole the show. Miller only had eight touches, but accounted for 140 yards and two touchdowns, one of which included a jaw-dropping spin move that will be replayed on highlight shows for years.
"I fought back, I fought hard, those long nights and early mornings," said Miller. "I'm just happy to be back out here with my guys."
And oh, yeah….Cardale Jones was named the starter. At least for the first game. J.T Barrett took over in the fourth quarter, and the offense did not seem to slow down.
"We have two good players, and both guys are gonna play. Cardale managed pretty good," Meyer added. "The good thing is, the first thing they'll tell you is they can get a little better."
The Buckeyes opened up with two quick scores on their first two possessions, taking a 14-0 lead after an all-too-familiar breakaway 80-yard TD run by Ezekiel Elliott. However, several Ohio State miscues allowed Virginia Tech to claw back into the game. When Elliott fumbled a punt return late in the half, Tech converted it into a touchdown and took a 17-14 lead into the locker room.
Virginia Tech never threatened again, and Ohio State rattled off 28 straight points in the second half to bury the Hokies. A garbage-time TD accounted the final points for the home team.
The Buckeyes, despite four key players missing on offense, put 572 yards of offense against the vaunted Bear defense of Tech head coach Bud Foster. Even more impressive, OSU accounted for 360 yards on the ground, on an incredible 10.1 yards per carry.
The game may have been put away five minutes into the second half, when Miller broke loose on a long TD reception, which was soon followed by an injury to Tech's QB, Michael Brewer. Brewer took a hard hit from DL Adolphus Washington, and immediately left the field with his arm pinned to his chest. Moments later, the Hokies athletic staff announced that Brewer would not return, and it was eventually released that he broke his collarbone. He is expected to be out for 4-5 weeks minimum.
Brewer's backup, Brenden Motley, was shaken by the Ohio State pressure and could not get his feet settled long enough to move the ball. He finished the night 4-for-9 for 36 yards, one TD and an interception. Brewer was 11-of-16 for 156 yards and two TDs.
The Buckeyes have a short week, returning home to face Hawaii on Saturday at 3:30 p.m. They will also regain the services of four key players, Joey Bosa, Jalin Marshall, Dontre Wilson, and Corey Smith.
my brothers took care of business now its time to maks dis run!sorry 2 the fans we let down but we will make up 4 it on me! #BuckeyeNation
— Dontre Wilson (@treydayy_) September 8, 2015
Key notes:
Cardale Jones accounted for 285 total yards – 186 passing, 99 rushing
Ezekiel Elliott only had 11 carries, but he made it count. 121 yards rushing, marking the 8th out of his last 9 games in which he hit 100 yards.
The Buckeyes only completed 10 passes on the night, but they averaged 21.2 yards per catch.
The defense was expected to control Virginia Tech, and they did. The Hokies only accounted for 320 total yards on 69 offensive plays.
Last year, Virginia Tech never trailed in the game vs. Ohio State. On Monday night, they only led for a total of 1:22.
Related TopicsBraxton MillerCardale JonesOhio StateUrban MeyerVirginia Tech
Born and raised a Buckeye fan, Jeff Seemann has been covering sports in Ohio for 25 years. He attended The Ohio State University in 1987, where he went to more football games than classes. As a result, he is now (finally) finishing his degree at the University of Cincinnati. He claims to have been in attendance at Earle Bruce's final game (a win over That Team Up North), the Browns' double-OT win over the NY Jets, and the game known as "The Shot". He is only fond of recalling the memories of two of those games. Feel free to annoy him on Twitter at @JeffFromOhio
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Home » Nutrition » What's the Best Supplement for Your Dog?
Many veterinarians prescribe vitamins and supplements in order to improve the quality of life of an animal. Continue reading to find out what's the perfect supplement for your dog.
Dog Bones - Are They Safe for Your Pet?
It's essential that animals obtain all the vitamins they need from their meals. However, this often isn't the case and so the veterinarian might prescribe a particular supplement for your dog.
Dog food is full of essential nutrients, and so we always recommend that you find the highest quality brands out there. It's interesting to note that these aren't necessarily the most expensive ones.
Even though we feed our pets to the best of our knowledge and resources, they could still be deficient in certain nutrients. You should also know that an excess of vitamins can also be counterproductive to an animal.
In the case of an overload of fat-soluble vitamins, the body doesn't discard them. Instead, what it does is store them in the fatty tissue and the liver, causing serious damage.
Consult your veterinarian to find out what's best for your dog. After pets reach a certain age, it's harder for them to recover from illnesses or accidents. Also, they could be anemic, or show signs of muscle and/or bone injuries. Or, in the case of young dogs, they may need a supplement in their diet in order to develop properly.
Our pets need to have an adequate dose of several different vitamins. Each supplement has different properties and all together provide everything a dog's body system will need.
Vitamin A is essential for vision, immunity, growth, and development. It's described as an "anti-infection" vitamin since it protects your body from infections.
Vitamins B1, B2, B3, and B5 are required for good mental health, proper digestion and functioning of the nervous system, regeneration of red blood cells, and skin and hair growth. The reason for this is that they encourage blood circulation. In addition, they speed up the healing of wounds and infections, and also strengthen the immune system.
Vitamins B6 and B12 are required for red blood cell formation and nerve function.
Vitamin C promotes wound healing, and it also promotes healthy gums and teeth.
Vitamin D balances calcium levels in the body. It can also help to prevent cancer by controlling cell division, as well as enhancing immunity, and regulating blood pressure.
Vitamin E aids in the prevention of heart disease, cancer, and helps to slow the aging process.
Vitamin K speeds up the healing of wounds by maintaining bone health and encouraging cell growth.
All of these vitamins can be found in the right dog food and, of course, in most fresh foods. Ask the vet to give you some recommendations on the kinds that are best for your pet.
Extra virgin olive oil speeds up the healing of wounds and infections and, in addition, it strengthens the immune system. It also contains omega 3 fatty acids that promote healthy hair, skin, and organs.
With this in mind, the optimal dose is half a tablespoon a day –about 10 drops, divided into two daily doses, one in the morning and the other one at night. Additionally, olive oil has a rather pleasant flavor that blends well with their food so dogs won't hesitate to eat it.
The fatty acids of extra virgin olive oil are a perfect complement to a dog's diet, as well as the ultimate medicinal supplement. By the same token, this oil provides vitamin E, polyphenols and antioxidants that help reverse senile diseases.
Olive oil also enhances the health and the beauty of a dog's fur. In addition, it improves their physical and mental agility, extends their lives, helps them avoid constipation, and is particularly recommended for brachiocephalic breeds (Pug, Bullmastiff, Bulldog, Boston terrier etc.). This is because it improves their lung health and helps their oxygen intake each time they breathe.
Don't hesitate to give your dog some extra virgin olive oil as a supplement. Why don't you take some yourself too?


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Editor's Pick: The Cartier Replica Santos-Dumont Skeleton Watches UK
June 11, 2015 Replica Cartier Santosadmin
Made in France, and for the past 26 years, trying to find acceptance in the Anglophone world. I am of course talking about myself, but to some degree, the same applies to replica Cartier watches. The French Maison is one of the most sought after in its home market, but the demand for its timepieces hasn't quite translated overseas.
Hopefully, that will soon change, as the watch brand sets up shop on the Ground Floor of Harrods for the coming month to celebrate the 110th anniversary of the its first wristwatch, the Santos, with an exhibit dedicated to men.
At its core the Santos-Dumont is a pilot's fake Cartier watches uk. Louis Cartier created the first of its kind back in 1904 as a gift to his friend Alberto Santos-Dumont, a renowned Brazilian aviator. Although it's a favorite amongst a small group of Cartier aficionados, the timepiece has somewhat been eclipsed by the popularity of the Tank.
But it's making a comeback! We owe the redirection of the Santos line to the brilliant genius of Cartier's Carole Forestier-Kasapi. The Maison's watchmaker introduced the Santos-Dumont Skeleton during SIHH in 2011, and three years later she was still wearing her creation proudly when we met up with her earlier this month at the the Salon Internacional Alta Relojeria.
My first thought when I strapped on the Skeleton was that it looked resolutely modern. Then again, you'd expect that from a Replica Cartier Santos-Dumont Skeleton watches missing its dial. Crafted from titanium and satin-brushed, it is now coated with ADLC black coating. The concept isn't new, but it hadn't really made its way outside of the sports watch category before.
Inside, it houses an impressive manufacture-made mechanical movement with manual winding caliber 9612 MC, which despite its small size – it measures only 3.97mm, boasts a whopping 72 hours of power reserve.
@www.htsa.vg
However, my favorite aspect of the watch, and I never thought I would say this, is its Roman numerals. I've admittedly never been of fan of them. On the flip side, nothing makes me tick more than a watch that marries form and function, and the numeral/bridge sketeleton dial is one of the most sublime examples of it.
The Santos-Dumont was always an elegant replica Cartier watches. It still is. But now it's also a cool watch. The watch is priced at $50,000.00
← Introducing The New Cartier Replica Watches Tank Louis Cartier Skeleton Sapphire In Rose Gold	One-On-One With Mercedes Abramo, Replica Cartier's new North America President and CEO →


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Beyond Hell
After trying a new version of the drug Changa, Maryssa finds herself transported to a hell dimension where the demon, Belial, latches on to her. through Maryssa, Belial begins killing her friends one by one in horrific hallucinations.
Genre: Fantasy, Horror
Director: Alan Murray
Actors: Chris Kapeleris, Christopher Inkoom, Dominique Smith, Gavin R. Downes, Jonathan Robbins, Kearsten Johansson, Michael Wisniewski, Richard Collier, Sean Rey, Sebastian Deery, Shahrad Fredotti
Keywords:Beyond Hell
Brian is a 16 year-old who can't play basketball, but he still wants to play like his hero, Kevin Durant. At an Oklahoma City Thunder game, Brian gets chosen to…
Genre: Comedy, Family, Fantasy, Sport
The Merry Maids of Madness
"After walking out of her wedding for a sandwich, Beatrice decides to take a rest at the Stratford Home for Rest and Rehabilitation. Beatrice soon realizes that if she wants…
A warlock flees from the 17th to the 20th century, with a witch-hunter in hot pursuit. A Warlock is taken captive in Boston, Massachusetts in 1691 by a witch-hunter Giles…
Genre: Action, Adventure, Comedy, Fantasy, Horror, Thriller
Vampire Barnabas Collins is inadvertently freed from his tomb and emerges into the very changed world of 1972. He returns to Collinwood Manor to find that his once-grand estate and…
Genre: Comedy, Fantasy, Horror
VampyrVidar
A Christian farmer searching for a higher purpose to life, falls into sin and wakes up as the Prince of Darkness in the city of Stavanger, Norway.
Genre: Action, Adventure, Comedy, Drama, Fantasy, Sci-Fi


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Britain's Best Dressed Man?
So here we are - the first of our entries for this year's Best-dressed Real Man to go live. We'll be posting a photo a day from now on so you can stay in the loop and, if you're entering yourself, check out the competition.
Name Neil Durand
Location Liverpool
Occupation Branch manager of American Apparel
His style Clean, restrained and colour conscious - prep without pomp.
(Photograph by Andrew Meredith – www.meredithphoto.com)
Here's how you can enter Britain's Best-dressed Real Man in association with my-wardrobe.com
Gucci Isn't Playing By The Rules
How Pantherella Became A British Success Story
Milan Fashion Week: Prada's New Heroes
What The Esquire Editors Are Wearing This Week
Inside The Most Remote Luxury Brand In The World
Do Androids Dream Of Electric Suits?
Why 2020 Is The Year Of The 'Shipster'
How Waiting In Line Came To Define 2010s Fashion
How The Runway Changed In The 2010s
What Happened To Pyjamas?
Britain's best-dressed man - The party
Britain's Best Dressed Man?
Britain's best-dressed man?
Are you Britain's best-dressed man?
Britain's best-dressed man - the finalists
The hunt for Britain's best-dressed man
ESQUIRE, PART OF THE HEARST UK FASHION & BEAUTY NETWORK Esquire participates in various affiliate marketing programs, which means we may get paid commissions on editorially chosen products purchased through our links to retailer sites.
About & Contact Details


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Eagle Gold Mine
First Nations Involvement
Investors Info
TSX:VGCX $12.84 |Gold: $1,837
Victoria Achieves Major Milestone with Receipt of the Quartz Mining License for the Eagle Gold Project, Yukon
September 22, 2013, Toronto: Victoria Gold Corp. (VIT.TSX-V) ("Victoria" or the "Company") is pleased to announce the receipt of the Quartz Mining License for its Eagle Gold Project.
Quartz Mining License
The Yukon Government Department of Energy, Mines & Resources ("EMR") has issued a Quartz Mining License ("QML") for the Eagle Gold Project. The QML is the definitive operating license to build and operate the Eagle mine in Yukon. Receipt of the QML is the culmination of a 3 year permitting and environmental assessment process which included submission of a Project Proposal in December 2010 and approval of the environmental assessment in April 2013.
"We are highly encouraged by this major milestone as we work to advance the Eagle Gold Mine. With the granting of the QML, Eagle is now one of the few major gold projects in the world in a first class jurisdiction that is shovel ready, pending financing." said Victoria Gold Corp President and CEO John McConnell, "Victoria is committed to the Yukon and we are very pleased to move forward and have the territorial government's support."
The Quartz Mining License places Victoria in a position to start construction and undertake major earthworks and infrastructure construction. Water related construction activities can proceed through the amendment of an existing Water Use License. The amendment application is expected to be filed before the end of 2013 with receipt of the amended license expected in 2014. In addition to amending the existing Water Use License for construction, Victoria will be applying for a new Water Use License to support operations at Eagle. Victoria anticipates filing this application in the first half of 2014 and receiving the Water Use License required for operations in 2015.
Victoria has engaged Merit Consultants to undertake construction management of the Eagle Gold Project. Merit was involved in the Eagle Feasibility Study and is very familiar with the project. Merit has substantial experience in the north and with heap leach development, most recently completing construction management of Kinross' Fort Knox heap leach construction.
Detailed engineering by M3 Engineering remains underway with a current focus on site earthworks and engineering to support permitting and major on-site construction. Tetra-tech has recently completed the heap leach design.
This summer, the Yukon Government Department of Highways and Public Works replaced the Haldane Creek bridge along the access road to Eagle. This replacement brings the bridge up to highway standards and will facilitate construction access. In addition, the government has committed $100,000 towards road upgrades, specifically, improved drainage and road grading. This work is currently underway and expected to be completed over the next several weeks.
Victoria Gold is an emerging gold producer whose flagship asset is its 100% owned Dublin Gulch property which hosts the Eagle Gold Deposit. Dublin Gulch is situated in the central Yukon, Canada, approximately 375 kilometers north of the capital city of Whitehorse. The property covers an area of approximately 650 square kilometers, is accessible by road year-round and is located within Yukon Energy Corporation's electrical grid.
The Eagle Gold Project is expected to be Yukon's next operating gold mine and includes Probable Reserves of 2.3 million ozs of gold contained in 92 million tonnes of ore with a grade of 0.78 grams of gold per tonne, as outlined in a National Instrument 43-101 Compliant Feasibility Study. The NI 43-101 Compliant Mineral Resource has been estimated to host 222 million tonnes averaging 0.68 grams of gold per tonne, containing 4.9 million ounces of gold in the "Indicated" category, inclusive of Probable Reserves, and a further 78 million tonnes averaging 0.60 grams of gold per tonne, containing 1.5 million ounces of gold in the "Inferred" category.
Cautionary Language and Forward-Looking Statements
Neither the TSX Venture Exchange, nor its Regulation Services Provider accepts responsibility for the adequacy or accuracy of this release. This press release includes certain statements that may be deemed "forward-looking statements". All statements in this discussion, other than statements of historical facts, that address future exploration drilling, exploration activities, anticipated metal production, internal rate of return, estimated ore grades, commencement of production estimates and projected exploration and capital expenditures (including costs and other estimates upon which such projections are based) and events or developments that the Company expects, are forward looking statements. Although the Company believes the expectations expressed in such forward looking statements are based on reasonable assumptions, such statements are not guarantees of future performance and actual results or developments may differ materially from those in forward-looking statements. Factors that could cause actual results to differ materially from those in forward-looking statements include: metal prices; exploration successes; continued availability of capital and financing; and general economic, market or business conditions. Accordingly, readers should not place undue reliance on forward-looking statements.
Victoria Gold Corp
president@vitgoldcorp.com
www.vitgoldcorp.com
TSX: V-VIT
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Werner Almesberger (born 13 August 1967) is an Austrian free software computer programmer and an open-source hardware designer/maker. He is mainly known as a hacker of the Linux kernel.

Contributions to Linux (free software projects) include the LILO boot loader, the initial RAM disk (initrd), the MS-DOS file system, much of the ATM code, the  traffic control configurator, the UML-based simulator umlsim, and the Openmoko (a version of Linux for completely open, low-cost, high-volume phones).

Involvement in the Linux kernel

While a PhD student in Communications at the Swiss Federal Institute of Technology Lausanne (EPFL) he did contributions to several key pieces in the early days of the Linux kernel, in particular as developer of DOS file system, LILO bootloader (the most used Linux bootloader during the youth of the Linux kernel project)

and initrd initial RAM disk.

Differentiated Services on Linux

Werner Almesberger wrote the code to support Differentiated Services on Linux.

Linux ATM

Almesberger was the leader of the Asynchronous Transfer Mode network on Linux project, which is nowadays part of the Linux system since 1995.

Openmoko

Werner Almesberger was a System Architect for Openmoko, the first project to create a smartphone platform using free software. It used the Linux kernel, with a graphical user environment which uses X.Org Server, and the Matchbox window manager. The project also released full schematics of the open phone design.

Recent work
Almesberger contributes as the architect of several open source hardware Qi hardware community projects, like implementing an IEEE 802.15.4 subsystem for Ben Nanonote made up of two boards.

In 2013 he started developing the Anelok password safe and, in 2014, he joined the Neo900 open smartphone project where he assists on a broad range of technical and related issues, and he now divides his time between these two projects.

Life

He lives in Argentina, doing trips around the world from time to time, for talks in conferences (like being keynote in Linux Symposium in 2008), and for hardware and software work.

References

External links

 Werner Almesberger: Past Projects
 2.4 kernel: Always on the go with contributor Werner Almesberger. Interview.
 Who is who in the Linux kernel project.
 ATM on Linux.
 Differentiated Services on Linux.

1967 births
Living people
Linux kernel programmers

redpajama_set_name: RedPajamaWikipedia


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Chinese authorities have ordered students, civil servants and many other residents of the mainly-Muslim northwestern region of Xinjiang to avoid fasting during the holy month of Ramadan.
"Party members, cadres, civil servants, students and minors must not fast for Ramadan and must not take part in religious activities," a notice posted on the government website of central Xinjiang's Korla city read.
"During the month of Ramadan, food and drink businesses must not close," it added.
A website run by the Shuimogou district's education bureau of the regional capital, Urumqi, also posted directives limiting Ramadan fasting.
It called for "prevention of students and teachers from all schools from entering mosques for religious activities" during the month.
Additionally, the website of the Qapqal Xibe Autonomous County government said Chinese officials have ordered restaurants in the area to stay open.
The exiled World Uyghur Congress condemned the restrictions in an email on Monday, saying China thinks that the Islamic faith of Uighurs threatens the rule of the Beijing leadership.
China's ruling Communist party has for years restricted Ramadan fasting in Xinjiang, which is home to the Muslim Uighur community. The restriction receives widespread criticism from rights groups.
Rights groups have long complained that China's restrictive policies have led to escalated ethnic tensions in Xinjiang, where clashes between government forces and locals have left hundreds killed over the past years.
Chinese officials cite security reasons for their crackdown, saying they are faced with "terrorist threats" in the region.
Last year, the Turkish Foreign Ministry expressed its "deep concern" about restrictions on worship and fasting for Muslims in Xinjiang, saying it was "saddened" by the restrictive policies.
Muslims in Turkey have close cultural and ethnic links to the Uighurs in China.


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