text:
Home > Notes > Attracting Dust in New Zealand Lost And Found: Betty's Waistcoat and Other Duchampian Traces
Attracting Dust in New Zealand Lost And Found: Betty's Waistcoat and Other Duchampian Traces
by Moore, Marcus , Published: 2007/12/01, Updated: 2019/05/10
In 1983, three works by Marcel Duchamp found their way into the collection of the Museum of New Zealand Te Papa Tongarewa (Te Papa, Wellington, New Zealand). The following account demonstrates how two New York-based friends of Duchamp, Judge Julius Isaacs, and Betty Isaacs (Fig. 1) are tied to this course of events.
Betty Isaacs and Julius
Isaacs, Wellington New Zealand,
1966. Copyright Fairfax NZ
Ltd. Courtesy Dominion
Post and Te Papa Museum
Moreover this essay exposes how this process, despite the diligence of Duchamp scholarship, led to the virtual disappearance of these works from the record. This essay will also draw (preliminary) conclusions about the significance of this process, both in terms of the new light shed on the fate of Duchamp's work, and of the reception of this work outside the centers of art practice.(1) These works are the BETTY waistcoat (1961, New York), The Box in a Valise, (Edition D. 1961, Paris) and The Chess Players (copperplate etching, artist's proof, 1965, New York). In addition, five 1st edition publications on Marcel Duchamp signed with personal dedications accompany the works.(2) All these form part of the bequest of Judge Julius Isaacs to the National Art Gallery of New Zealand (NAG) in 1983.
The Duchamp works are the most important items in a gift of over 200 artworks, publications, and articles donated to the museum by the estate of Mrs. Betty and Judge Julius Isaacs, who were New York-based friends of Marcel Duchamp. The bequest of Judge Julius Isaacs, as characterized by Betty Isaacs, born in Tasmania, Australia and a one-time New Zealand resident between 1886 and 1913, is an eclectic range of over 80 sculptures, of both carved and cast forms. These were made during Isaacs' career as a sculptor after graduating from the Cooper Union Art School in 1928. The bequest also contains 45 amateur paintings by Julius Isaacs, a small grouping of artworks by the American artist Larry Rivers, and works by two important New Zealand expatriates Frances Hodgkins (NZ/London) and Billy Apple (NZ/London/New York). The bequest also originally contained a large number of books which found their way into the NAG or other Wellington libraries, or, deemed to be of little value, were otherwise thrown into the rubbish bin.
Duchamp's works stand out in relation to the rest, as the entire Bequest was accepted on the basis of the Duchamp articles, as well as the biographical association Betty Isaacs has with New Zealand. This was a clear sign of the museum's recognition of Marcel Duchamp's significance and their desire to acquire such works for their collection. History would demonstrate that this was an astute and canny move, as unique works by Duchamp were rarely available or in art market circles.(3) Such rarity has caused consternation for those wishing to collect works by the artist who has eclipsed other 20th Century figures as holding the central importance to the history of contemporary art.
Marcel Duchamp,
Boîte-en-valise
series G, 1968
Of the various artworks by Duchamp in the bequest, the following can be recorded. The Box in a Valise (Fig. 2) contains 68 unnumbered items enclosed in a light-green cloth and signed by Marcel Duchamp in blue ball-point pen, characteristic of the edition of 30 boxes assembled by Jacqueline Matisse Monnier in Paris, 1961.(4) While this may have been a gift directly from Duchamp, no dedication appears within it. However, the Chess Players (Fig. 3) is indeed a gift from Duchamp to the Isaacs. It is an unnumbered artist's proof, inscribed on the lower left in pencil 'epreuve d'artiste,' dedicated 'pour Betty and Jules Isaacs' in pencil on the lower centre, and signed and dated in pencil on the lower right 'Marcel Duchamp/1965.' This print belongs to a series of etchings engraved after Duchamp's charcoal drawing, Study for Portrait of Chess Players (1911) (Fig. 4). The first series of etchings were a limited edition of 50 proofs, printed in black on handmade paper and hand numbered 1/50-50/50; plus ten artist's proofs (one of which was a gift to the Isaacs).(5) A single print from this edition was given to each of the artists who had contributed to the group exhibition A Homage a Caïssa. This exhibition was arranged by Duchamp in which works by selected artists were sold for the benefit of the Marcel Duchamp Fund of American Chess.
Marcel Duchamp, The
Chess Players, 1965
Marcel Duchamp, Study
for Portrait of Chess
Players, 1911
Marcel Duchamp, Betty
Waistcoat, 1961. Bequest
of Judge Julius Isaacs,
New York (1983). Collection
of the Museum of New
Zealand Te Papa Tongarewa
The BETTY waistcoat (Fig. 5) is signed 'Marcel Duchamp/1961' in blue ball-point pen on the inside lining. Belonging to the series "Made to Measure" (1957-1961), this modified readymade is catalogued by Arturo Schwarz in The Complete Works of Marcel Duchamp as 'present location unknown'. Schwarz writes, "Duchamp designed this waistcoat for Isaacs, a New York jurist and close friend (The occasion of the gift is unknown)".(6) The BETTY waistcoat is another instance of Duchamp's habit to sign works and then to send these works to his peers, friends, or family. Three out of the four waistcoats from the series, "Made to Measure," were gifts: the TEENY waistcoat (Fig. 6) was a gift from Duchamp to his wife in 1957, and the SALLY waistcoat (Fig. 7) was a gift to his son-in-law Paul Matisse on the occasion of his marriage to Sarah "Sally" Barrett on December 27, 1958. The fourth, the PERET waistcoat (Fig. 8), was named after Duchamp's friend Benjamin Péret.(7) The BETTY waistcoat was in all likelihood presented as a gift to the Isaacs for their 40th wedding anniversary (celebrated on September 11 1961). In a 1st edition copy of Richard Hamilton's typographic translation The Bride Stripped Bare and Her Bachelors, Even (1960), gifted to the Isaacs, Duchamp pens: "dear Betty, dear Jules en attendant le gilet, affectueusement Marcel et Teeny" (Fig. 9) – here is a short correspondence setting up an exchange in the production of the work of art, one that demonstrates the awareness Marcel and Teeny would have had of the Isaacs' forthcoming wedding anniversary. This is backed in 1967 when Duchamp penned a dedication to the long union of the judge and the sculptress: theirs was "an amicable institution." (Fig. 10)
Teeny Waistcoat, 1957
Sally Waistcoat, 1958
Marcel Duchamp, Peret
Waistcoat, 1958
Page from The Bride Stripped Bare
by Her Bachelors, Even (1960),
Richard Hamilton. Collection of the
Museum of New Zealand Te Papa Tongawera
Page from The World of Marcel Duchamp,
187-, Calvin Tomkins inscribed by Marcel
Duchamp: "pour Betty et Judge Isaacs/an amicable
Institution/et affectueusement/Marcel Duchamp/1967."
Collection of the Museum of New Zealand Te Papa Tongarewa.
Marcel Duchamp, Couple
of Laundress's
Aprons, 1959
A waistcoat, 'made to measure' through tailoring, recalls Duchamp's earliest thought for the term 'readymade' as an article of clothing available and ready to wear. A waistcoat, when worn, constitutes a union of sorts to the body. Through linguistic ploy, the letters B. E. T. T. Y (spelled in a 24-point lead font) are individually affixed to the waistcoat as buttons, and spell the name of Julius Isaacs' wife in mirror reverse. By threading buttons Isaacs joins with his wife, a union that evokes an erotic connotation – "considering the fact that Duchamp's most celebrated work is based on the theme of a bride being stripped bare, any piece of wearing apparel used in his art could carry the potential for a more erotic meaning".(8) Waistcoats were not the only garments used by Duchamp at this time; during the same period that the waistcoats were made for the series "Made to Measure" (1957-61), Duchamp also made the Couple of Laundress's Aprons (1959, Paris) (Fig. 11), which are erotic garments of clothing of another (gendered) sort: domestic, not suited attire.
Betty Isaacs, forming the first-hand link to New Zealand, is the principal connection behind the bequest of Judge Julius Isaacs and New Zealand's National Art Gallery. Betty Isaacs was born Ettie Lewis on September 2, 1894 in Hobart, Tasmania, and died aged 76 on February 4, 1971 in New York. She was one of four children to Annie Lewis (nee Cohen) a New Zealander, and Henry Lewis an Australian, who were married in Hobart in 1882. Upon the death of Henry Lewis in 1886, the Lewis family (Annie and children Gabriel, Rachel, Ettie and Rosalie) were brought by Betty's grandparents, Mr. and Mrs. Benjamin Cohen, to Wellington, New Zealand where Betty was educated. Betty's mother married a second time to Maurice Ziman on January 27, 1896 and together began a new family, eventually producing three children. In 1902, the family traveled to London and New York, returned to Wellington in 1903, and soon thereafter suffered a tragic setback: the death of Betty's youngest sister Rosalie in 1905, and Betty's 49 year old mother Annie Lewis in 1906. Betty remained in New Zealand for seven years, completed her education, and then, at age 19, departed for New York in 1913.(9)
Upon arriving in New York, Betty Isaacs changed her name and reverted back to her original family name Lewis. She trained and then served as a librarian between the years of 1915 and 1918. She then, for a period, worked at the New York City Public library where she met Julius Isaacs. They married on September 11, 1921. Between the years of 1925 and 1928 Betty Isaacs trained at the Cooper Union Art School and emerged as a sculptor in the late 1930's after working as a designer in the textiles industry. Betty Isaacs' debut exhibition was in 1953 at the Hacker Gallery, New York, and included 38 items of sculpture, 5 ceramic pictures and 2 mosaic panel drawings. The exhibition drew varied reviews from the New York Times staff critics: "Betty Lewis Isaacs . . . devotes herself to portraying animals from fish to polar bears, and she has evolved a manner of representing them that is naturalistic without being photographic".(10) But one critic found that "her animals tend to be petty," instead favoring: "an inscrutable, poetic "Girl's Head" just a little in the Zorach vein".(11) Isaacs worked with a range of materials including wood, stone, alabaster and bronze. She was an enthusiast of wood in particular, and on a 1966 return trip to New Zealand hoped to find examples of carvings in the native Totara and Kauri.(12)
It was Betty Isaacs' fond remembrance of her time spent in New Zealand that drew her and Julius Isaacs back to visit between August 25 and September 15, 1966. These memories are evident in the poem written by John Cage that recalls Isaacs' early pastimes living in the suburbs of Wellington. In Number 66 of his many one minute read aloud stories published in Silence (1961) and A Year to Remember (1968), Cage writes:
Betty Isaacs told me that when she was in New Zealand she was informed that none of the mushrooms growing wild there were poisonous.So one day when she noticed a hillside covered with fungi,she gathered a lot and made catsup.When she finished the catsup, she tasted it and it was awful.Nevertheless she bottled it and put it up on a high shelf.A year later she was housecleaning and discovered the catsup,which she had forgotten about.She was on the point of throwing it away.But before doing this she tasted it.It had changed color.Originally a dirty gray, it had become black, and, as she told me, it was divine, improving the flavor of whatever it touched.(13)
John Cage was a friend of Betty Isaacs who he would have met sometime after 1941 in the close neighborhood of Greenwich Village. Cage wrote about Betty Isaacs as a subject for the above story and one other, and forms the connection to the Duchamps during the period he built a closer friendship with Marcel and Teeny Duchamp in the early 1960s in Greenwich Village. He would have introduced the Isaacs who lived at 21 East 10th Street in the years between 1941 and Julius Isaacs' death in 1979, near the Duchamp's 28 West 10th Street apartment. Prior to Marcel and Teeny's departure from New York in 1964, Cage often visited the Duchamps at their apartment. In an interview with Calvin Tomkins, John Cage commented, "I was living in the country then, and I would bring wild mushrooms I had gathered and a bottle of wine, and Teeny would cook dinner."(14) It is highly probable that Betty Isaacs would share stories of New Zealand over a dinner of mushrooms, in the company of her husband Julius, John Cage and Marcel and Teeny Duchamp. The relationship Marcel and Teeny Duchamp had with the Isaacs does not feature significantly in published literature. Judge Julius Isaacs was a patron of the arts, particularly of music and writing, and according to Arturo Schwarz, a "close friend" of Marcel Duchamp.(15) Julius Isaacs was born in 1896 and died in New York on his 83rd birthday on December 31, 1979. After studying at the City College, City University of New York where he was valedictorian and class president in 1917, he trained in law and his public service began in 1934. During the 1940's he became Acting Corporation Counsel of the City of New York and was appointed as a New York City Magistrate by Mayor Fiorello H. LaGuardia. Julius Isaacs may well have been acquainted to Duchamp through legal practice or through social circles of New York arts patrons. Little extant correspondence (if any) between the Isaacs and Duchamp's still remains.(16) Betty Isaacs and Judge Julius Isaacs did not have any children, and Betty's surviving family members in New Zealand are found on Betty's stepfather's side, Maurice Ziman, who, while remembering meeting the Isaacs on their 1966 New Zealand visit, have no knowledge of the extent of their New York based lifestyle or their friendships that developed in the 1960s.
Page from Marcel Duchamp
(1959), Robert Lebel
(translated by George Heard
Hamilton). Collection of
the Museum of New Zealand
Te Papa Tongarewa.
The nature of the Duchamp/Isaacs friendship is verified by four short personal inscriptions written by Duchamp in publications gifted to the Isaacs, now in Te Papa's works on paper collection. Dating from 1959 with the publication of Robert Lebel's Sur Marcel Duchamp in English (translated by George Heard Hamilton) these read: "pour Betty, pour Jules Isaacs le magician des portes qui, pour lui, ne sout jamais ni ourestes . . . en grande affection, Marcel Duchamp N.Y. Oct. 1959."(Fig. 12) Secondly, the aforementioned dedication in Richard Hamilton's The Bride Stripped Bare by Her Bachelors, Even (1960): "dear Betty, dear Jules en attendant le gilet, affectueusement Marcel et Teeny". On the inside cover to the catalogue NOT SEEN and/or LESS SEEN of/by MARCEL DUCHAMP/RROSE SELAVY 1904-64 (Cordier & Ekstrom Gallery, N.Y., 1965) Duchamp scribed: "To the judge of all things, dear Jules and Betty. Marcel." And, as also previously noted, in Calvin Tomkins' The World of Marcel Duchamp 1887 – (1966): "pour Betty et Judge Isaacs, an amicable Institution, et affectueusement. Marcel Duchamp, 1967." One can conclude that their friendship was based through contact in Greenwich Village after 1941, and that these were also strengthened by John Cage's friendship with Betty Isaacs. The 'BETTY' waistcoat and the personal dedications stand as proof, and from these are gleaned certain insight into the nature of their friendship.
Fondness for New Zealand was shared by both Betty and Julius Isaacs. On occasion, they dined and entertained the Minister of New Zealand's foreign affairs, and over the years entertained other notable New Zealanders at their New York home: including Paul Gabites and Richard Taylor (New Zealand Consular-Generals), Sir Thaddeus McCarthy (Judge and president of the New Zealand Court of Appeal), John Hopkins (symphony conductor and co-founder of the New Zealand National Youth Choir) and the New Zealand expatriate artist Douglas MacDiarmid.(17) Their bequest contains works by two of New Zealand's most significant expatriate artists, Frances Hodgkins (NZ/London) and Billy Apple (NZ/London/New York). In addition, on June 1966, Julius Isaacs managed an exhibition of an important New Zealand expatriate, the writer and novelist Katherine Mansfield, for the 34th annual International Congress of the P.E.N. Club entitled "The Writer as Independent Spirit".(18) Shortly after this congress, the Isaacs embarked on their New Zealand visit.
The Isaacs' relationships with the New Zealand Consulate in New York underpin connections established for Betty Isaacs' work in the NAG in New Zealand. Paul Gabites' efforts (through photographs) to bring her work to the attention of the Selection Committee of the NAG in 1964, was met with "great interest." However, the Selection Committee's reply to Paul Gabites in 1964 also informed him that two purchases, a Barbara Hepworth and a Derain oil painting, had "more than absorbed our import collection for the next two years!" They added that "the members, however, have been made aware of the work of Betty Isaacs and we are that much ahead".(19) It was after Betty Isaacs' death in 1971 that Julius Isaacs, with increased energies, offered her works to the NAG, which ultimately formed further origin for the later bequest. In 1972, nearly one year after Betty Isaacs' death, Julius Isaacs wrote to Melvin Day, the director of the NAG, outlining brief biographical details of his wife Betty Isaacs. Two years later, the Selection Committee agreed to accept one work by Betty Isaacs, a gift sent from Julius Isaacs. In 1974, New Zealand's Minister of Overseas Trade, Mr. Walding, accepted as 'a gift to the Government and people of New Zealand' the abstract sculpture "Torso in Bronze" (1962, New York). This transaction forms a definite trace to the bequest later confirmed in 1981 to the NAG by the executors of Judge Julius Isaacs' estate.
Instruction left in Julius Isaac's will asked the executors of his estate (representatives of the Chemical Bank Corporation, New York) to determine a suitable repository for the collection of his art works and related items either in the United States or abroad.(20) Isaacs' will, dated August 29 1979, reads under paragraph (U) of Article Second: "I give and bequeath all my books and art objects, including paintings, sculpture and drawings to such museums and libraries in this country, Israel and New Zealand, as my executor shall select, to be kept as intact as possible or distributed separately to various such institutions, to be known as the BETTY LEWIS ISAACS and JULIUS ISAACS COLLECTION or COLLECTIONS . . . . I urge my executor to follow the advice of MEYER SHAPIRO and DOROTHY MILLAR as to the proper allocation of these works of art, especially of the sculpture of BETTY LEWIS ISAACS so that her reputation as an artist may best be preserved."(21)
The initial offer of the estate's collection was sent by L. David Clark (representative executor) to the Secretary of the Art Galleries and Museums Association of New Zealand (AGMANZ) on 13 November 1980. Luit Bieringa, who was the vice-president of AGMANZ and director of the NAG, does not recollect the broad possible scope of benefactors for the bequest. Bieringa's opportunity to view objects, works and books in the estate became the opportunity "to not miss out on something unique" making sure that "the sequence from Betty Isaacs and the Judge Julius Isaacs bequest to the National Gallery was a natural one".(22) Furthermore, the trace of origins outlined in this article certainly support Bieringa's claim and would have determined the executor's decision.
Telegram from Chemical Bank
Corporation (N.Y) to the NAG.
Postmarked 06 June 1981,
Wellington, New Zealand.
Archives of the Museum of New
Zealand Te Papa Tongarewa.
It was Bieringa who secured the bequest for New Zealand. With AGMANZ support, Bieringa entered into a protracted process of disposition and scheduled a meeting with Paul F. Feilzer, the Senior Trust Officer of Chemical Bank Corporation, for February 8 and 9 1981 in New York, when he viewed selected works in the bequest. The collection of artworks and other related items in the Isaacs estate had been appraised by William Doyle Galleries, Inc., New York, who appraised (in U.S. dollars) the Betty Waistcoat at $20,000.00; the Chess Players at $2,000.00 and the Box in a Valise at $3,000.00. The bequest of Judge Julius Isaacs was confirmed via telegram to Luit Bieringa on June 6, 1981 from the Chemical Bank Corporation (Fig. 13), and the Board of Trustees of the National Art Gallery voted unanimously to approve acquisition on June 11, 1981. Although this approval was passed in June 1981, and Bieringa personally signed the receipt and release of the bequest in New York on November 9, 1981, it took until February 1983 before the works were formally accessioned into the national collection.
Inventory of the Bequest
shipped by Day & Meyer,
Murray & Young Corp. –
Packers, Shippers and Movers of
High Grade Household Effects and
Art Objects (N.Y.) (23 November 1981).
Delays are not an uncommon occurrence a propos a peripheral location. The news of obtaining the bequest originally in June 1981 was in fact new news again by the time of its actual arrival in Wellington and its formal acquisition in 1983. The delay was due to the distance the freighted works had to travel across the Pacific Ocean (and also due in part to the large size of the entire bequest). The total freight was comparatively expensive (estimated at $5,700.00 US dollars), yet approval of the bequest was conditional on NAG's meeting associated costs for its climate-controlled freight to New Zealand. The full inventory of the bequest of Judge Julius Isaacs was shipped by Day & Meyer, Murray & Young Corp. — Packers, Shippers and Movers of High Grade Household Effects and Art Objects (Fig. 14), and departed New York on the Malmros Monsoon on November 23, 1981, arriving in New Zealand on December 18, 1981 through Auckland. The shipment reached its final destination at the National Art Gallery in Wellington in February 1982. It took another full year for formal acquisition processes to be completed, but, finally, 'Duchamp' had arrived in New Zealand.(23)
Bieringa, delighted by the acquisition of Duchamp's works, writes: "As a young country New Zealand cannot, apart from its superb indigenous cultural assets, boast of rich assets reflecting the art historical developments of the Western world. As such several of the works contained in the Isaacs Estate, in particular the Duchamp items, will have a significant impact with the art museum collections in New Zealand, whereas their retention in Europe and America will only marginally affect the stature of any significant collection. Given the limited financial resources of our museums the impact of the Isaacs collection will be substantial."(24)
While the bequest was somewhat serendipitous, Bieringa exhibited a presence of mind in securing a small but significant collection of Duchampian works and articles for the NAG, especially at a time contemporaneous to a wider desire in collecting works by Duchamp. The bequest belongs to a limited transfer of his works to international museum collections after the artist's death. Museums and curators arrived at the significance of Duchamp's work much later than that of other 1960's New York based artists, and so a period of institutional interest in Duchamp's work grew belatedly.(25) Within a period in which very few Duchamp works might have actually been purchased or exchanged, the National Art Gallery of New Zealand succeeded in obtaining a small but unique collection.
Bieringa's enthusiasm for the transaction made in 1983 has not been sustained by the institution that had facilitated the bequest. Indeed, The Box in a Valise, documented on its acquisition, has been shown on two occasions: at the Auckland Art Gallery, for the exhibition 'Chance and Change' in 1985, and more recently in 2003 at the Te Papa Museum, in 'Past Presents' an exhibition of works focusing on gifts to the collection. The BETTY waistcoat and The Chess Players were also documented upon their acquisition, but Te Papa museum art catalogue files have not recorded any further movement of these items for exhibition, either within the institution or beyond. In addition, the 80 sculptural works by Betty Isaacs have never had any comprehensive exhibition, and remain in their brown cardboard boxes in storage. Duchamp's works have never formed a collective basis for any exhibition in New Zealand, though such an exhibition is long overdue. Therefore, akin to one of Duchamp's time based pleasures (from his delayed work on the Large Glass) these three Duchamp works have, as in that figure of speech, attracted dust.
So what can be made of the fate of these Duchampian artworks? Firstly, their disappearance into a Museum Collection in a small city in an isolated country at the "bottom" of the South Pacific has effectively meant they were lost (until now) to Duchamp scholars. This fact starkly reminds us of New Zealand's peripheral situation vis-à-vis the centres of culture and for which delays are a particular and peculiar circumstance. Yet, delay is also a favored operation and strategy of Marcel Duchamp and the sequential 'delays' to the uptake of Duchamp's work in the 20th Century suggests that the marginal geographical location where these three Duchamp works are located is an affirmation of the ubiquity of their maker. These facts only impresses a stronger urge to make some sense out of these works within the cultural context in which they reside, in relation to the wider operations and strategies of Marcel Duchamp's work. Rather than simply celebrate their re-discovery, I would argue the fate of these works actually tallies with aspects of Duchamp's practice and this approach would stitch the works back into the picture.
Marcel Duchamp as
Rrose Sélavy,
1921, photographed by Man
Ray, retouched by Duchamp
In attributing ubiquity one might think of Duchamp's demeanor, his trans-gendered performance as Rrose Sélavy (Fig. 15), his employed translation and turns in meaning between French and English, his personal history and status as an expatriate between Paris and New York, travelling and slipping between varying reputations on both sides of the Atlantic. It is Duchamp's ability to resist classification, at variance to other 20th century artists, that spawned a highly mobile legacy across historical periods and across generations of art makers. It is here that register is found with the Isaacs' bequest: not for the first time material and visual artifacts by Duchamp's hand slipped across national borders, arriving in a new context. The Isaacs' bequest is part of a navigation of 'Duchamp' beyond the cultural centers within which he had historically operated. Marcel Duchamp's legacy functions in the New Zealand context, as elsewhere, as an inescapable and indispensable example for local artists, but who have developed their distinctive practices not only as faint echoes of mainstream models but as canny adaptations within the limits of a local situation.
Returning to the dedications by Duchamp to the Isaacs, the earliest of which was signed by Duchamp in 1959, and the last in 1967, it is within this period that Duchamp was somewhat of a traveling inscriber: a (supposedly) retired artist, pen in hand, authorizing and laying claim to various reproductions of his work. "The sixties are notably the replica years – replicas of his own work, made by others and signed by Duchamp".(26) Here the works in the bequest of Judge Julius Isaacs (1983) offer a vital model to a culture that has historically relied on the reproducibility of art and the beneficiates of "friends" to participate in wider culture. New Zealand's position in the history of art is necessarily replete with (international) comings and goings: replete with networks formed overseas, of generating acquaintances, friendships and unions to serve as contacts and to sustain lines of communication upon returning. It is befitting that gifts from Duchamp are, in turn, gifts to New Zealand's National Museum, made under the auspices of friends of this country.
1. This research is ongoing. I would like to acknowledge Christina Barton (Art History, Victoria University of Wellington, New Zealand) for considerable support in writing this article and her teachings.
2. A complete list and the Written dedications appear later in this article.
3. Francis M. Naumann discusses Duchamp's relation to the art market at length in "Duchampiana II: Money Is No Object," Art in America (March 2003): 67-73, and in "Marcel Duchamp: Money Is No Object. The Art of Defying the Art Market," Tout-Fait: The Marcel Duchamp Studies Online Journal 2.5 (2003): News.
4. Arturo Schwarz, The Complete Works of Marcel Duchamp (New York: Delano Greenidge Editions, 2000) 764.
5. Ibid. 853.
6. Ibid. 808-9.
8. Francis M. Naumann and Hector Obalk, eds., Affectionately Marcel – The Selected Correspondence of Marcel Duchamp. (London: Thames and Hudson, 2000) 187.
9. Biographical details have been established through Julius Isaacs' Letter to Melvin Day (10 Oct. 1972) and with descendents of Betty Isaacs: in email correspondence with Rob Golblatt "Betty Isaacs," E-mail to the author (17 April 2005), and in personal interview with David Heinemann (30 May 2005).
10. "Isaacs Debut Show," New York Times (12 Dec. 1953): 23.
11. "Women Sculptors at Galleries Here," New York Times (12 Dec. 1953): 23.
12. "Sculptress Spent Childhood in New Zealand," The Evening Star [Dunedin] (9 September 1966): page number unknown.
13. John Cage. "Untitled" poem, cited at http://www.lcdf.org/indeterminacy/s.cgi?66 (20 April 2005). Thanks to Rob Goldblatt who in an idle moment stumbled upon this poem whilst searching the web for Betty Lewis.
14. Calvin Tomkins, Duchamp – a Biography. (London: Pimlico, 1998) 411.
15. Julius Isaacs, Letter to Melvin Day (10 October 1972).
16. See "Historical Sketch," P.E.N American Center Archives. Princeton University Library, http://libweb.princeton.edu/libraries/firestone/rbsc/aids/pen.html (04 June 2005).
17. Stuart MacClennan, Letter to Paul Gabites (24 September 1964).
18. Schwarz, op. cit. 809.
19. Francis M. Naumann, one authority on Duchamp's personal correspondences, writes "I have never come across any references to Judge Julius Isaacs or to Betty Isaacs in my research through the extant Duchamp correspondence." "Re: Duchamp correspondences- Betty and Judge Julius Isaacs/ New Zealand connections," E-mail to the author (4 April 2005).
20. L. David Clark Jr., Letter to Cpt. J. Malcolm (13 November 1980).
21. Julius Isaacs, "Receipt and release of the bequest of Judge Julius Isaacs to the National Art Gallery of New Zealand" (November 9 1981).
22. Luit Bieringa, Personal interview with the author (17 May 2005).
23. However, this was not the first time works by Marcel Duchamp had arrived to New Zealand. 78 works from The Mary Sisler Collection toured the country in 1967.
24. Luit Bieringa, Letter to David Cark Jr (20 May 1981).
25. See Dieter Daniels, "Marcel Duchamp: The Most Influential Artist of the 20th Century?," Museum Jean Tinguely Basel. Ed. Marcel Duchamp. (Ostfildern: Hatje Cantz, 2002) 25-28.
26. Naumann and Obalk, op. cit. 15. For a history of signed replicas and editions in this period see Naumann's "Proliferation of the Already Made: Copies, Replicas, and Works in Edition, 1960-64," Marcel Duchamp: The Art of Making Art in the Age of Mechanical Reproduction (Amsterdam: Ludion Press, 1999) 208-254.
Bieringa, Luit. Personal Interview. 17 May. 2005
_____. Letter to L David Clark Jr. 20 May 1981. Archive file MU00000-4-23-2. Museum of New Zealand Te Papa Tongarewa. Wellington, New Zealand.
Cage, John. "Untitled" poem. 20 April 2005. http://www.lcdf.org/indeterminacy/s.cgi?66.
Clark Jr., L. David. Letter to the Art Galleries and Museums Association of New Zealand Inc. 13 November 1980. Archive file MU00000-4-23-2. Museum of New Zealand Te Papa Tongarewa. Wellington, New Zealand.
_____. Letter to Cpt. J. Malcolm. 13 November 1980. Archive file MU00000-4-23-2. Museum of New Zealand Te Papa Tongarewa. Wellington, New Zealand.
Daniels, Dieter. "Marcel Duchamp: The Most Influential Artist of the 20th Century?" Marcel Duchamp. Ed. Museum Jean Tinguely Basel. Ostfildern: Hatje Cantz, 2002.
Goldblatt, Rob. "Re: Betty Isaacs". E-mail to the author. 17 April. 2005.
Heinemann, David. Personal Interview. 30 May. 2005.
"Historical Sketch." P.E.N American Center Archives. Princeton University Library. 04 June 2005. http://libweb.princeton.edu/libraries/firestone/rbsc/aids/pen.html
"Isaacs Debut Show". New York Times 12 Dec. 1953: 23.
Isaacs, Julius. Letter to Melvin Day. 10 Oct. 1972. Archive file MU00000-4-23-2. Museum of New Zealand Te Papa Tongarewa. Wellington, New Zealand.
_____. Estate of Julius Isaacs. "Receipt and release of the Bequest of Judge Julius Isaacs to the National Art Gallery of New Zealand." November 9 1981. Archive file MU00000-4-23-2. Museum of New Zealand Te Papa Tongarewa. Wellington, New Zealand.
Lensing, Mildred. "With Chisel or Spoon Mrs. Isaacs Creates." Courier Journal
[Louisville] 8 Oct. 1955.
MacClennan, Stuart. Letter to Paul Gabites. 24 September 1964. Archive file MU00000-4-23-2. Museum of New Zealand Te Papa Tongarewa. Wellington, New Zealand.
Naumann, Francis M. "Proliferation of the Already Made: Copies, Replicas, and Works in Edition, 1960-64)". Marcel Duchamp: The Art of Making Art in the Age of Mechanical Reproduction. Amsterdam: Ludion Press, 1999. 208-254.
_____. "Re: Duchamp correspondences- Betty and Judge Julius Isaacs/ New Zealand connections." E-mail to the author. 4 April 2005.
_____. "Duchampiana II: Money Is No Object". Art in America Mar. 2003: 67-73.
_____. "Marcel Duchamp: Money Is No Object. The Art of Defying the Art Market". Tout-Fait: The Marcel Duchamp Studies Online Journal 2.5 (2003): News.
Naumann, Francis M and Obalk, Hector. Ed. Affect Marcel – The Selected Correspondence of
Marcel Duchamp. London: Thames and Hudson, 2000.
Schwarz, Arturo. The Complete Works of Marcel Duchamp. New York: Delano Greenidge Editions, 2000.
Taylor, Richard. Letter to Julius Isaacs. 21 July 1966. Archive file MU00000-4-23-2. Museum of New Zealand Te Papa Tongarewa. Wellington, New Zealand.
Te Papa Museum of New Zealand Te Papa Tongarewa Museum art catalogue references: Betty Waistcoat, Item No: 2810, Accession No: 1983-0032-229; The Chess Players Item No: 2330, Accession No: 1983-0032-179. Te Papa Museum of New Zealand Te Papa Tongarewa. Wellington, New Zealand.
Tomkins, Calvin. The World of Marcel Duchamp, 1887-. New York: Time Incorporated, 1966.
_____. Duchamp – a Biography. London: Pimlico, 1998.
William Doyle Galleries Inc. "Summary and appraisal of the Judge Julius Isaacs Bequest to the National Art Gallery of New Zealand." 16 June 1980. Archive file MU00000-4-23-2. Museum of New Zealand Te Papa Tongarewa. Wellington, New Zealand.
"Women Sculptors at Galleries Here". New York Times 12 Dec. 1953: 23.
Ziman, Vera. Letter to Luit Bieringa. 2 November 1981. Archive file MU00000-4-23-2. Museum of New Zealand Te Papa Tongarewa. Wellington, New Zealand.
Fig. 2-4, 6-8, 11, 15 © 2007 Succession Marcel Duchamp, ARS, N.Y./ADAGP, Paris.
Like Toutfait on Follow us on
All Section
About Toutfait
Introduction to Tout-Fait
Tout-Fait's Staff and Senior Advisory Committee
Call for Papers / Submissions
Art Science Research Laboratory, Publisher and Other Online Projects
Duchamp and Twentieth Century Art
Surrealism and Surrealists
Art Science Research Laboratory,Publisher: Other Online Projects
News-Features
Site By Netgains


This video covers the Jaime Cardinal Sin Village urban housing project in Manila, Philippines. It also shares the mission and goals of the Jaime Cardinal Sin Learning Center. Sources of livelihood opportunities that sustain the operations of these two initiatives are also discussed.


Paragon Insurance Services provides insurance to security guards in Folsom, Sacramento, El Dorado Hills, Roseville, Granite Bay, Rockland, and surrounding areas.
Security guard insurance from Paragon Insurance Services can cover everything from different job sites to different situations and operations. We work hard to provide the security guard industry with a wide variety of coverage options.
Contact a representative at Paragon Insurance Services today to go over these options and many more!


text:
Europe's Policy to Treat Wood as Low-Carbon Fuel Poised to Harm Global Forests
Europe's decision to promote the use of wood as a "renewable fuel" will likely greatly increase Europe's greenhouse gas emissions and cause severe…
Militarization of Police Fails to Enhance Safety, May Harm Police Reputation
This month marks the four-year anniversary of protests over the police killing of Michael Brown in Ferguson, Missouri. Those protests were met with a…
Purple Districts Elect the Most Extreme Legislators, Driving Polarization
So-called purple voting districts that change hands between Republicans and Democrats — rather than reliably conservative and liberal districts — are…
Survival and Restoration of China's Native Forests Imperiled by Proliferating Tree Plantations
China has implemented some of the world's most ambitious policies to protect and restore forests, yet these programs still miss the mark, according…
Pride Tops Guilt as a Motivator for Environmental Decisions
A lot of pro-environmental messages suggest that people will feel guilty if they don't make an effort to live more sustainably or takes steps to…

redpajama_set_name: RedPajamaCommonCrawl


TMJ or Tempro-Mandibular Joint Dysfunction, is a common and frequent condition that affects a lot of people. TMJ is labelled by relentless and severe headaches, varying degrees of jaw pain, teeth grinding and an constant ringing in the ears. Most TMJ sufferers are unaware that the root cause of these symptoms is something TMJ dentist, Dr. Khullar, can effectively treat.
The symptoms of TMJ are debilitating and can interfere severely with day-to-day life. The comfort and general well being of the patient is at the heart of our Little Rock dental practice, so pain relief is the first consideration of Dr. Khullar. He is able to test, diagnose and devise an immediate plan to treat the underlying causes of your TMJ disorder.
The first step in determining the cause, severity and ultimately the treatment of your pain, is a meeting with TMJ dentist, Dr. Khullar and his Dentalways team. After meeting with Dr. Khullar for a one-hour TMJ consultation, we will discuss the cause of your symptoms and go over possible solutions.
There are many treatment options that can be tailored just for you. During the consultation Dentalways may request a digital CAT Scan of your jaws to observe any jaw joint disease or breathing issues. Our team can explain the details of this service, which can be done in-office.
Careful observations of symptoms and signs of your TMJ disorder and how it relates to your posture, muscle tenderness, jaw joint function and tooth and gum tissue damage.
Special radiographs of your teeth and jaw joints are gathered using digital, low radiation CAT Scan Technology.
Detailed casts are made of your upper and lower teeth.
Through these channels, the purpose is to record your bite while it's in a relaxed position. Then the way your teeth meet is observed and noted and, as a result, an orthodic is made based on your jaw's relaxed position. This orthotic is then used to cover the biting surface of your lower teeth and eliminate any pain associated with a bad bite.
When your jaw is in its most natural and relaxed position, your TMJ symptoms will begin to disappear and the pain and discomfort associated with your jaw misalignment will disappear as well. The first step in determining the most optimal position of the jaw - where the muscles are relaxed and at rest - requires the help of sophisticated technology found in our Little Rock Dentalways office.
TMJ sufferers state their symptoms generally get worse during prolonged or unexpected periods of stress. Intense outbreaks can often lead to severe neck pain and spells of dizziness.
If you suffer from TMJ, the most common cause is your "bad bite" or the misalignment of your jaw and teeth. It's possible for to realign or adjust your teeth without the need for expensive or painful surgeries. Once your teeth and jaw are adjusted, the pounding headaches, jaw pain and dizziness will stop.
Grinding of your teeth is another particularly common symptom, usually occurring when you sleep. Eventually the grinding will erode the structure of your teeth and lead to more critical dental problems in your future. Untreated TMJ is one of the most common underlying factors in eroded jawbones and tooth loss. If you're experiencing or suspect any of these symptoms, it's critical you seek out TMJ pain therapy.
While a bad bite is the most common problem affecting your TMJ, you could still be suffering from a number of different reasons. An injury resulting from a blow to the meniscus cartilage is also a possibility. To determine exactly what's going on, TMJ dentist Dr. Khullar will thoroughly examine the jaw area, your bite, take x-rays and review your history, in order to make an accurate diagnosis and recommend the proper treatment. Once a firm diagnosis is attained, there are several ways in which relief can be provided through TMJ pain therapy.
An orthotic device can be created using a TENS machine (Transcutaneous Electrical Neural Stimulation). This machine is used to relax the muscles in your face and neck. After 45-60 minutes on the TENs unit, and after using measurements of your lower teeth in relation to the upper teeth, a bite registration is made. This removable orthotic is placed over the lower teeth and should help you stop teeth grinding during the night, which ultimately provides pain relief. TMJ dentist Dr. Khullar can also give you advice on relaxation techniques which will lessen the effects of stress. As a last alternative, Dentalways in Little Rock, is also able to prescribe muscle relaxants.
Another TMJ pain therapy option is to change the shape of your teeth and get rid of your bad bite completely. This is often referred to as a "realignment." This is especially useful because it not only alleviates TMJ symptoms, a lot of times it improves the aesthetic appearance of your teeth as well. Realignment involves adjusting the relationship between how the upper and lower teeth come together. This may require new restorations and/or adjusting the natural teeth. It is not a painful procedure, and is one Dr. Khullar has performed with great success numerous times.
You've been living in pain for a long time. So long in fact, you barely remember a pain-free life. TMJ pain therapy is the answer you've been looking for. Once Dr. Khullar and his Dentalways team carefully observe and monitor the signs and symptoms of your TMJ disorder, they can determine how it affects your neck pain, posture, muscle tenderness, jaw joint function and the damage to your teeth and gums. Then a treatment option will be provided and you'll be on your way to living a life, free of pain!
If you suffer from TMJ related symptoms and the pain that accompanies it, you want relief. Plain and simple. Not only can Dr. Khullar determine exactly what's going on and how to go about relieving your pain, the treatments can come without the use of surgery. That's right. No surgery may be required to fix your problems.
TMJ problems can be solved through a combination of non-invasive therapy, including dental orthotics, braces or other dental devices. If broken or worn teeth are also a problem, a complete smile rejuvenation can help to restore teeth and eliminate embarrassment. Dentalways in Little Rock, can restore your smile, your health and most importantly, it can restore you!
Neuromuscular or TMJ dentistry is a fancy name for a specific treatment of dentistry. Basically, it combines the science of making you feel better with the art of making you look better. It stabilizes your bite, contributing to a healthy, long term TMJ treatment plan.
Neuromuscular dentistry, which TMJ dentist Dr. Khullar performs, can restore your smile back to its intended beauty. It can reduce or even eliminate all the symptoms that take affect your quality of life. With the help of computer tracking and advanced technology, your bite is rebuilt back into the position nature intended. This helps balance the way you chew and how your overall mouth functions.
By bringing back this balance – the strain, stress, pressure and pain that has been building in your jaw, face, back, neck, shoulders and the rest of your body will finally be relieved. Once Dr. Khullar diagnoses and determines the exact problem, your TMJ treatment can start immediately.
Your pain will decrease and often disappear, once your bite is balanced again, There is no surgery involved in helping you with your pain. We are balancing muscle activity, joint position, tooth contact and posture using a very special piece of plastic called an orthotic.
A thorough examination by Little Rock's Dr. Khullar will offer not only a correct diagnosis but more importantly, an individualized, accurate treatment plan. Modern science and technological advances make it even easier to determine the exact root of the problem. An analysis will show just how much damage has been caused. The muscles of your jaw and neck will be measured while in use. This allows for Dr. Khullar to determine your best bite position.
Using treatments designed to fit your symptoms and TMJ problems, Dr. Khullar can realign your jaw and muscles to end the pain and suffering caused by TM related stress and strain. With no surgery, it means you have no recovery time, you incur less expense and your treatments can generally start immediately. Doesn't that bring you relief?
You can actually change the position of your lower jaw - where it comes together to meet your upper jaw, through a TMJ orthotic or dental splint appliance. A balanced bite splint will help your teeth come together in a balanced, healthy bite position and this in turn can can correct and treat your TMJ symptoms. This simple piece of plastic, which isn't the same as devices used to treat grinding or sleep apnea, will bring instant relief to the muscles of your neck and face.
After Khullar and his Dentalways team have met with you and made a proper diagnosis, your treatment can start immediately. With a TMJ orthotic solution, your bite is balanced and your pain will decrease, often times disappearing altogether. There is no surgery involved and no medications to take. Still you get balanced muscle activity, even tooth contact, ideal joint positioning and corrected posture... all from this simple orthotic appliance.
The orthotic appliance is a diagnostic tool. It should be constantly worn to determine the best results. As time goes by, the plastic orthotic may start to wear down. For this reason, some people move forward to a second phase of treatment, after the orthotic appliance relieves most of their symptoms. The second phase treatment might involve restoring damaged or worn teeth with ceramic crowns, or moving teeth to the correct bite position with orthodontic treatment. Dr. Khullar in Little Rock can discuss all your options and treatment alternatives, best suited for you.
Orthotic solutions can also help patients who suffer from headaches, migraines, neck pain, vertigo, jaw pain, sleep apnea, worn or breaking teeth, fullness of the ears and snoring. Once Dr. Khullar and his Dentalways team carefully observe and monitor the signs and symptoms of your TMJ disorder, they can determine how it affects your neck pain, posture, muscle tenderness, jaw joint function and the damage to your teeth and gums. If an orthotic is the best treatment option, you will get immediate relief the moment you pop in your appliance. Then, you'll be on your way to living a life, free of pain!
While neuromuscular dental philosophies are not revolutionary, what is revolutionary is how new mouthguard technology is being used by athletes around the world. This mouthguard was advocated and worn by Shaquille O'Neal, Terrell Owens and many other professional athletes including PGA Tour golfers. In fact, Tracy Porter of the New Orleans Saints was wearing this mouthguard in the Super Bowl when he picked off Peyton Manning and helped New Orleans win their first and only Super Bowl!
The sports mouthguard has been designed using neuromuscular dental principles. These principles have been practiced by neuromuscular or TMJ dentists like Dr. Khullar, for the last 50 years.
The goal of the neuromuscular dentistry, is to relax the muscles controlling jaw position, establishing a natural physiological rest position. When your muscles are truly in their optimal rest position, your jaw and TMJ are are better aligned. This directly affects the posture of your neck and head. Aligning the head and neck allow for better alignment of the rest of the body.
Can a dentist make me this mouthguard?
The only dentist that can make a sports mouthguard for you is a Certified Dentist, like Dr. Khullar. He is expertly trained in the principles of neuromuscular and TMJ dentistry, completing hundreds and hundreds of hours in post graduate dental training in this specialty. The high-level instrumentation is available only to those dentists who qualify as neuromuscular dentists, such as Dr. Khullar.
It's important to note the sports mouthguard is a completely different device than typical boil and bite mouthguards. It's different as well from traditional dental mouthguards made for athletes. While other athletic mouthguards do provide some protection of the teeth, the sports mouthguard is the only one designed to protect the teeth and jaw joint while enhancing athletic performance. Because of the slightly thicker material between the teeth, the sports mouthguard can help to reduce occurrences or severity of concussions from blunt force to the jaw or teeth.
The costs associated with your TMJ treatment by Dentalways, depends on your individual mouth. There are several options for custom treatment to your specific needs. However most patients can expect to pay in a certain range depending on the type of orthotic they choose.
They can range from $2500 to $5000. These orthotics are removable and are meant for part time wear but can be worn up to 20 hours a day.
They can range from $7000 to $8000. These orthotics are typically bonded onto the lower teeth and are a pre-cursor to orthodontics or restorations to change the way teeth mesh permanently.
Cost for chiropractic care, orthodontic treatments or restorative care will depend on the severity of your situation.
While there are variables and numerous scenarios to take into account when factoring in the cost of your treatment, the truth is there is no cost too great when compared to a pain-free, healthy, vibrant life! You deserve to live a better quality of life and you deserve to make the investment in yourself!
My teeth have always been small which made my gums cover about 70% of my smile. For this reason, I have always been self-conscious when smiling. But because of Dr. Khullar's generosity, kindness, and concern for my feelings he made the "total procedure" possible for me! Dr. Khullar and his team were as concerned and excited about the final outcome of my procedure as I was!
Now everyone tells me what a total difference it has made in my appearance. I cannot thank him and his team enough! He's a wonderful person and an outstanding dentist. Because of them I cannot stop smiling!
Dr. Khullar and his team including Lauren , Jeannie and Lori were exceptionally friendly and efficient, which is hard to find these days in doctor offices. During my recent visit they accommodated their schedule to get all my procedures on the same day. Dr. Khullar and his team spends time talking to you and explaining the procedures in detail. I would highly recommend this clinic to all my friends, family and physician peers. Keep up the great work!!
The team expressed genuine concern.
My last procedure was a root canal and two crowns. I was given plenty of time to relax, and because of the expertise and gentle care from Dr. Khullar and his team I actually slept through the entire procedure! Dr. Khullar stayed after hours to ensure that I was comfortable and answered all my concerns.
I travel an hour round trip to see Dr. Khullar and would encourage anyone else to do the same. His team, especially Jessica and Trish, make everything from insurance to payments to assisting in my dental care a surprisingly pleasant experience. You really can't say that about most dentists. Several of my family members are now patients at DK Dental, and we are the most satisfied we have ever been with our dental care!
I could relax during my treatment.
Dr. Khullar and his team are so polite and fun to be around, it makes my visit enjoyable and relaxing. My mouth has done a 180 degree turn thanks to Dr. Khullar. He made me feel that every visit and every dollar was worth my wonderful new smile.
My life is much better without the pain of cavities. I feel free from the stress of bad teeth and bad gums. Dr. Khullar is one of my hero's, and his team is so nice and caring!
Dr. Khullar and his team are friendly and take excellent care of my family's teeth. The office is equipped with the technology needed to stay current with new advances in dentistry. They are local and schedule around our busy lifestyle with a family seven.
Dr. K and his team are very helpful with scheduling what needs to be taken care of first. They have worked hard with us to figure out what insurance would pay and help us figure out payment options. Thank you guys for all your help, our family is pain free and have healthy teeth because of your hard work.
What I like most is their friendly and professional assistance and the manner in which they care for their patients. Most of my visits required lengthy work. Dr. Khullar and his team made me feel very comfortable and at ease and all of my dental work was done with little or no pain or discomfort.
He and his staff are the friendliest and most enjoyable people anyone could be around and this so important in a medical setting.
Customer care is their priority.
Dr. Khullar and his team are always very cooperative and helpful in answering my questions. Everyone in his office is always cheerful and friendly. They always remember me from visit to visit!
The technology used is leading edge.
I was pleasantly surprised when I first walked into his Perryville and Morrilton offices. He uses the latest high tech dental equipment, and he is fully staffed with qualified and friendly people.
On the day Dr. K told me it would take two hours sitting in the dental chair for the first phase of my tooth implant, I told him, no way! But he and his nurse worked in such an expert and gentle manner that I made it through the procedure just fine. The cost was less too. Dr. Khullar has done extensive work on my teeth the past couple of years, and from my point of view, he is among the best dentists to be found anywhere!
Dental work is...dare I say, fun!
The best part of Dr. Khullar's office is the team is always friendly and smiling, they make me feel good about coming in. I have had a couple of crowns now and an inlay. I am 36 and had never taken the nitrous gas. Dr. K always asked if I would like some, but I was nervous about it. I will never have a crown without it again.
I love that because of Dr. K I can joke and have fun while having dental work done! Not to mention my crowns were perfect! I recommend Dr. Khullar to everyone I know.
I love the fact that Dr. Khullar and his team were persistent with my work until it was perfect and I was totally satisfied. His team is kind, caring, and friendly. I have regained my confidence with the great smile Dr. Khullar has given me. Dr. Khullar truly gave me a Hollywood smile!
I was always hiding my smile.
When I first came to Dr. Khullar I did not want to smile, my teeth were worn out and I could not chew properly. But Dr. Khullar took care of all my dental problems and now I have the smile I've always wanted and can chew like never before!
I have my swagger back!
My old teeth got worn and flaky. One of my teeth was so fragile, it broke while I was eating pretzels! My new LVI teeth are not only very comfortable they look great. Thanks to Dr. Khullar and his team I have a new smile that not only looks good, but makes me feel confident, assured, and about 10 years younger! Every morning when I look in the mirror I wonder why I didn't do this sooner!
When you choose Dentalways, you choose to take an active role in your health, and that's always the right choice. Contact Dr. Khullar and his team of dental professionals today to schedule a free consultation.


On May 22, 2017, the Supreme Court issued its opinion in TC Heartland v. Kraft Foods. TC Heartland overturned the Federal Circuit's 1990 decision in VE Holding v. Johnson Gas. VE Holding stated that the 1990 amendments to 28 U.S.C. § 1391 indicated Congress' intent to apply the general venue statute (§ 1391) to patent litigation. This marked a departure from prior Supreme Court jurisprudence, which held that the patent venue statute (28 U.S.C. § 1400(b)) was the sole and exclusive provision controlling venue in patent actions. TC Heartland re-affirmed the prior Supreme Court jurisprudence, and established 28 U.S.C. § 1400(b) as the sole venue provision for patent actions. 28 U.S.C. § 1400(b) states that patent actions can only be brought in: (1) the defendant's state of residence, or (2) where the defendant committed acts of infringement and has a regularly established place of business. Courts have held that the defendant's state of residence is its state of incorporation. The second prong of the patent venue statute has been the subject of motions to transfer venue, or dismiss for improper venue, in the wake of TC Heartland.
The impact of this decision is expected to be especially pronounced in two districts: the Eastern District of Texas and the District of Delaware. The Eastern District of Texas has the nation's largest patent docket. However, due to the more restrictive nature of the patent venue statute, TC Heartland is expected to significantly reduce the Eastern District of Texas' patent docket. Since over half of publicly traded companies are incorporated in Delaware, the District of Delaware is expected to see a significant increase in its patent docket. In the three months since the TC Heartland decision was issued, the Eastern District's patent docket has decreased 21 percent.
After the TC Heartland decision, significant questions about what constitutes a regular and established place of business have been raised. Judge Rodney Gilstrap of the Eastern District of Texas issued a four-factor test for analyzing what http://www.jetlaw.org/wp-admin/post.php?post=27279&action=editconstitutes a regular and established place of business. The four factors are: (1) the defendant's physical presence in the district, (2) defendant's representation's of its presence in a district, (3) extent to which the defendant derives benefits from the district, and (4) the defendant's targeted interactions with a district. Rep. Darrell Issa, Chairman of the House Subcommittee on Courts, Intellectual Property, and the Internet, criticized Judge Gilstrap's decision as an end-run around the TC Heartland decision. Issa's criticism notwithstanding, legal commentators have praised Judge Gilstrap's order as "both well-thought out and well-supported." Technology companies like Ericsson and Nokia have voiced support for Judge Gilstrap's order as well. On September 21st, 2017, the Federal Circuit issued their decision on Judge Gilstrap's test in In re Cray. The Federal Circuit listed three requirements needed to satisfy the "regular and established place of business" prong of the patent venue statute:"(1) there must be a physical place in the district; (2) it must be a regular and established place of business; and (3) it must be the place of the defendant." The Federal Circuit based their decision on the statutory language of the patent venue statute, and noted certain errors in the District Court's order. The Federal Circuit limited the place of business requirement to "a physical, geographical location in the district from which the business of the defendant is carried out." Further, the place of business must be stable and established within the district, and must be a place of the defendant themselves, and not their employees. With these new requirements promulgated by the Federal Circuit, future venue inquiries in patent cases will likely be very fact intensive.


BELGRADE, October 27. /TASS/. The delivery of six Russian MiG-29 fighter jets is Serbia's biggest achievement in defense and security in the past 30 years, the country's Prime Minister Ana Brnabic said.
"The biggest success in the security sector is that we received so many jets for our Air Force for the first time in the past 30 years. Six MiG-29 fighter jets arrived in Serbia. Besides, a lot has been done for the Serbian armed forces in general," she said, answering to questions from lawmakers of the Serbian parliament.
Six MiG-29 fighters were provided by Russian President Vladimir Putin's decision. Earlier it was reported that six MiG-29s had flown from Russia to Serbia in early October. Serbia will pay between 180 million euro and 230 million euro for their overhaul, to be carried out in three stages.
In addition to the MiG-29 planes, Serbia will also receive 30 T-72 tanks and 30 BRDM-2 combat reconnaissance and patrol vehicles from Russia for free. The sides are also holding negotiations on Buk-M1 and Buk-M2 air defense missile systems and the Tunguska antiaircraft missile/gun complex.


The US stocks (NYSE and NASDAQ in particular) are available for trading 16 hours a day, rather than from 9:30 to 16:00 (EST).
I would love to get in on after hours trading. It's where all the price action seems to happen and I'm always behind because of it. Can't wait for those US stocks, add after hours and I'm totally hooked.
I'm up for this but I'm assuming it's a long way in the distance if Freetrade go for it?
As always, I believe it will depend on how complex the implementation is. If it is just a quick request/action with Freetrade's US stocks service provider, cannot see why it will take long. If there are regulatory aspects, engineering input and a bunch of other things, then the delay will be justified.
Voted for this. Can't tell you how many opportunities I missed out on over the years through trading time limitations.
Has any exchange proposed 24 hour trading? Seems like it would make sense in our global world with much trading automated to have 24 hour markets instead of closing at odd times related to a physical location.
Seems like it would make sense in our global world with much trading automated to have 24 hour markets instead of closing at odd times related to a physical location.
I think the reason against that is liquidity. Maybe the marketmakers incur more costs than potentially benefitting from the night trading? Just guessing, not sure why it is the case.
I voted for this but just wondered if this will only benefit instant orders correct? Queued orders will still execute next day. In a way, this would encourage more instant orders.
AAPL up 5% after market hours. Probably worth showing in the app future and as many suggest, enable buying and selling post-market and pre-market hours in the future as there's a lot of value in it.
Could even make After Hours Trading an Alpha feature and it might bring in more subscriptions.
Like @Vlad said its related to market makers, they control the majority of the volumes traded and doing it during 'business hours' avoids market crashes and big shareholders unloading stocks whilst the financial world cannot or is less able to respond. You have the remember that mst people that use stock exchanges are traders/opportunists/speculators rather than actual 'investors'.
Not sure on the logistics for a broker to operate out of market, but knowing a little about how the freetrade model works, they'd need at least one market maker on side to help them - which isn't likely and will be expensive.


text:
Anonymous donor pays $2,500 to name shark after Robert Mueller
By Leslie Albrecht
Published: Mar 19, 2018 10:28 a.m. ET
Shark charities reeled in donations after news broke of President Donald Trump's hatred of the animals
MarketWatch photo illustration/Getty Images, Everett Collection
An anonymous donor to the Atlantic White Shark Conservancy paid $2,500 to name a shark after special counsel Robert Mueller. The contribution was one of many that shark charities received after the publication of anti-shark comments by President Donald Trump.
LeslieAlbrecht
Personal finance reporter
Special counsel Robert Mueller is a big fish in the small pond of Washington, D.C. at the moment, but this summer, he'll be a great white shark.
An anonymous donor to the nonprofit Atlantic White Shark Conservancy shelled out $2,500 to name a great white shark after Mueller, the investigator probing Russian interference in the 2016 election, said AWSC co-founder and CEO Cynthia Wigren.
The donation is one of a slew of contributions that shark-related charities reeled in after the publication of anti-shark comments by President Donald Trump in an interview with an adult film star. Trump reportedly told actress Stormy Daniels that he donates to various charities, but would "never" donate to any charity that helps sharks because he "hopes all the sharks die."
Anyone with a smartphone will be able to follow Mueller the shark as he cruises around the Atlantic with an app called SharkTivity.
The $2,500 donation level is the highest one listed on AWSC's donation page and whoever gives that amount gets to name a shark. In this case, the donor at first inquired about naming the shark after Trump, but then changed their mind and requested that the sea creature be christened "Mueller," Wigren said.
A sea pilot will fly over the Atlantic Ocean this June to spot a male great white shark, then a team of researchers from the Massachusetts Division of Marine Fisheries will tag the predator with a location tracker. The donor will be sent a photo of the animal. And anyone with a smartphone will be able to follow Mueller the shark as he cruises around the Atlantic with an app called SharkTivity that tracks tagged sharks.
After MarketWatch's initial story on the increase in donations, both AWSC of Chatham, Mass. and Sea Shepherd Conservation Society of Burbank, Calif., fielded even more donations, their leaders told MarketWatch. All told, AWSC has snagged more than 70 donations totaling nearly $6,000. The group's annual budget is $800,000.
The Sea Shepherd Conservation Society has received donations from around the world, with contributions from Canada, the United Kingdom, Italy, Argentina, Japan — and Russia. Donors sent in their money with messages such as, "Trump made me do it" and "Sharks trump Trump," said spokeswoman Zorianna Kit.
"January tends to be a slower month in the nonprofit world, but the attention this has brought to sharks and our efforts to defend, conserve and protect them has made January an entirely different month for us on the donation front," Kit said. "In one day alone, we received more than three times the amount of donations as we normally would."
Why Thai generals and other power-hungry people love luxury watches
Why political risk may return to stocks in a big way in 2018
The number of cruise ships failing health and safety inspections hits 10-year high
Leslie Albrecht
Leslie Albrecht is a personal finance reporter based in New York. She worked previously as a local news reporter at the New York City neighborhood news website DNAinfo, and as a reporter at the Modesto Bee and Merced Sun-Star, two McClatchy newspapers in California's Central Valley. She is a graduate of the Columbia University Graduate School of Journalism. Follow her on Twitter @ReporterLeslie.


text:
Sky Ferreira Says She's Not A Drug Addict
By Leaving,
October 2, 2013 in Entertainment News
On the song "I Blame Myself," you say "How could you know what it feels like to fight the hounds of hell, you think you know me so well? I blame, I blame myself
Beauty King
I honestly didn't think she was addicted to drugs anyway. It's extremely hard to become dependent on ecstasy and that's all she had with her. I imagine it was mostly her flop boyfriend trying to make a quick buck.
Tbh, I'm judging her more for that boyfriend of hers than I am the drugs she supposedly took.
Yup, this.
I feel bad for her, between her being sexually abused twice, framed for drugs, the arrest, and everything that [didn't] go down with Terry Richardson, she's just can't catch a break.
Omg, I didn't even hear about her sexual abuse! :'( Poor girl, no wonder she's so shy. And what happened with Terry?
I don't believe she was framed for drugs though, that makes no sense to me.
She mentioned in an interview...maybe more than one...that when she was younger, her neighbor sexually abused her. She said that since there wasn't any actual penetration, the police didn't do anything about it.
As for Terry, a lot of people were spreading rumours that he and Sky had a sexual relationship, but that wasn't true either.
Ultimately I think people should just leave her alone. Let her release her damn album before making stupid accusations!
Omg, I know, I googled it! :'( Poor girl, that's horrible. And well, yeah...I mean, Terry is pretty notorious for things like that, so I see why people would jump to that conclusion, but I think she overreacted a little to it tbh.
But agreed! I think if she released an album people would just focus on the music and leave her personal life out of a bit, but with no new material from her people need something to talk about I guess.
Exactly! Since the public can't talk about her music, they'll find whatever else to talk about. This is why Sky should just leak everyone song she's ever written.
Agreed! I heard her say she had two full albums before this one so she might as well go ahead and release them.


text:
Blood & Bones: Ozzy
Book 9: Blood Fury MC
Jeanne St. James
They call him The Great Oz, but for Ozzy, sometimes life isn't so great...
Genres: Action & Adventure RomanceContemporary RomanceErotic & Steamy RomanceLater in Life RomanceSmall-town Romance
Keywords: biker romancesteamycontemporary romancesmall town romancealpha maleseriesMC Romancemature
Over twenty years ago, at seventeen, the Blood Fury's colors were inked onto Ozzy's back.
But when the club imploded, he was one of the few who survived.
Throughout his life, the Original has made mistakes.
Too many to count.
Most didn't matter.
Until the last one.
The one he regrets.
The one that left a mark.
Once he realized he screwed up, it was too late.
Now his urge to hit the road is strong, to go back to being a nomad tempting.
Recent events proved he never should've come back since being a rolling stone's in his blood.
Because back then, he'd only joined the Blood Fury for one reason and one reason only...
Now, once again, nothing's holding him in Manning Grove any longer.
Until someone tied to his past appears.
She makes him reevaluate his life choices, in both the past and for the future.
However, will he learn from his latest mistake, or is he destined to make the same one all over again?
Or will his choice be made for him once the truth is revealed?
Note: Blood & Bones: Ozzy is the ninth book in the Blood Fury MC series. As always, this book has no cheating, no cliffhanger, and has an HEA. It's best to read this series in order. It's also highly recommended to read Crash: A Dirty Angels MC/Blood Fury MC Crossover before Ozzy's story.
Publisher: Double-J Romance, Inc.
Tommy adjusted the heavy backpack full of textbooks over his shoulder. He was late. If she caught him, his mom would be pissed.
But he'd gotten good at sneaking into his room late at night.
He'd stayed at the arcade until management locked the doors and turned off the lights, forcing him and his friends to leave. He'd had his best bud Jon drop him off at the corner, so his rusty piece of shit Chevy with the hole in the muffler wouldn't wake up his mother, giving it away he was out past curfew.
Last time he was caught, he was grounded for a month.
But if he got caught tonight, it would've been worth it. The badass initials for his name Thomas Kinley Oswald were now sitting at the number one spot on the high scores list for Galaga, his favorite arcade game.
His goal was to one day make it all the way to level 255. The final level.
It hadn't been tonight and it might take a while to get there, but he was still happy about taking the number one spot from the cocky senior who had held it for months. Now he just needed to do his best to stay there.
He'd spent a small fortune to get that good. His mom thought he was saving up to buy a used car for when he turned sixteen next year. Once he got one, she wanted him to get a job and help her out since, even though she worked hard, she was always behind in her bills.
Yeah, if she found out he'd spent his whole allowance tonight—even though it wasn't much—plus the money Mr. Johnson paid him for mowing his lawn this week, she'd be pissed.
He grimaced.
He'd rather get a video game console for at home, but she'd never let him spend his money on that, a reason he kept going to the arcade instead of where he was supposed to be: at his classmate Tim's studying for tomorrow's English test.
He didn't give a crap about school. He only wanted to hang with his buds and destroy their asses at Galaga. And, of course, see his initials, TKO, at the top of the screen.
Tommy stopped short on the dark sidewalk in front of Mr. Johnson's house, which was three houses down from where he and his mother lived.
The lots in their neighborhood were tiny and the houses seemed even smaller, so he could clearly see the motorcycle parked at the curb up ahead, even though the street lamp had burned out a long time ago. Tonight, the moon was bright enough to reflect off the chrome on that bastard's bike.
The corner of his lip curled up. He hated that fucker.
He didn't know what his mom saw in him. All he did was drink, curse, smoke and smack her around.
He had a stupid name, too.
How dumb was that? Who thought that name was cool?
No one. When he told his friends what it was, they all fell over laughing.
That stupid name was even embroidered onto a patch on that stinky, filthy leather vest he wore.
The one that had big patches on the back. The patches that made him think he was tough. A badass.
He was just an asshole.
His "road name" was just as stupid as the name on the back.
Deadly Demons MC.
He wished his father would get out of prison and kick that asshole from West Virginia out of his mom's bed and out the door. Tommy was now big enough he could help him.
But his mom said his dad was never getting out. He would die in there before he'd ever be done serving his time.
She stopped visiting him a few years ago. She'd given up on her husband and told Tommy to do the same.
All because of a mistake Thomas Oswald, Sr. made. A mistake his dad couldn't fix. Or take back.
A robbery gone wrong. A big house in a gated community broken into.
It was supposed to be a quick and easy job, that was what his dad's buddy said.
It was anything but.
Two responding cops ended up shot in the head as his dad and his buddy tried to escape, did their best not to get caught.
Tommy wasn't sure if it was his dad who even pulled the trigger.
Didn't matter.
His dad had done something stupid and now had to pay for it. But then, Tommy was now paying the price, too, since he had to deal with assholes like Fender banging his mom and sitting at the kitchen table in his dingy tighty whities while scratching his droopy balls and belching loudly like the pig he was as his mother made the asshole food he didn't help pay for.
The dirty asshole biker also never helped with the bills. When Tommy said something to him one night about that, Fender told him he paid his mom in dick. And that he only stopped in and stayed overnight once a week when he was in the area.
Seeing that motorcycle right outside their house tonight meant that Fender must have made his weekly "deposit."
Tommy's fingers tightened on the strap of his backpack and he set his jaw. He took long strides over to the bike backed against the curb and stared at it for a long moment, hating it almost as much as he hated Fender.
He glanced over his shoulder toward the house to make sure no one was watching, then sucked snot up through his nasal passages until he had a big, thick hocker on his tongue. Then he spat the wad on the center of the seat.
Nah. That wasn't good enough.
He shot another quick glance over his shoulder, then balanced his weight on his left leg, lifted his right foot and, with everything he had, he kicked the bike over.
He cringed at the noise the falling bike made when it hit the pavement. He quickly scrambled up the tiny front yard and hid in the shadows. Just in case Fender came out to investigate the noise.
But knowing that fat drunk, he was probably already passed out with a beer still in his fat mitt in what used to be his father's recliner.
Tommy should go in and spit a hocker dead center on the asshole's face.
He waited in the dark for a few more minutes and, when Fender didn't come rushing out of the house—bellowing like he normally did—Tommy snuck around to the window he'd left unlocked.
He kept a small wooden box hidden behind a bush to climb in through his bedroom window. He slowly worked it up and carefully climbed in, trying not to make too much noise.
After pushing off the window sill, he landed softly on his feet and tucked his backpack into the corner of his dark room. He could hear the TV blaring in the living room as he toed off his sneakers, stripped off his jeans and tugged on pajama bottoms. Ones that were now snug since he had grown a lot since his mom bought them a couple of years ago.
He slapped a hand against his stomach when it growled loudly.
Maybe he could sneak into the kitchen, dig up something to eat and then sneak it back to his room without dealing with the drunk dick.
He put his ear to his closed door, held his breath and listened for one heartbeat. Then a second.
Nothing could be heard except the drone of the TV. His mom probably went to bed a while ago since she had to head to work early in the morning.
He tiptoed down the unlit hallway, and frowned when he noticed his mother's bedroom door partially open and her bed messy but empty.
She probably fell asleep on the couch again. At least now if she woke up and saw him, she would see him dressed for bed. He could pretend he'd been in his room doing his homework.
At the end of the short hall, he peeked around the corner into the living room.
His eyebrows pinned together and he twisted his head to look into the kitchen. Or at least the part he could see, which wasn't much from where he stood.
His heart was pounding because he was worried the drunk asshole would come around the corner at any minute and be his typical belligerent self.
Tommy listened for a few more seconds and, even though the overhead light was on, he heard no movement in the kitchen.
Where were they?
Not in the bedroom, not in the living room, and the kitchen was quiet. When he passed by the bathroom, it had been dark and the door open, too.
Were they out back smoking?
That was possible. But since when did that fat, stinky drunk bother to get his ass out of the chair to go smoke?
Never, the lazy fucker.
He crept toward the kitchen, peeked his head around the doorway and froze.
He blinked.
Blinked again.
He blinked once more to try to clear his vision.
He had to be seeing things.
Because there was no way he was seeing what he saw.
It couldn't be.
He was tired and his mind must be playing tricks on him.
That was not his mother.
It didn't even look like her.
Maybe it was one of her friends.
It couldn't be. She had no friends.
Maybe it was someone Fender invited over.
Yeah, that was it.
A stranger.
It had to be a stranger.
Someone he didn't know.
Someone he didn't recognize.
Whoever it was had borrowed his mother's clothes, that was all.
But there was no way that was his mother.
He closed his eyes, ground the heels of his palms into them, then opened them again.
Whoever the woman was, she was lying on her back in a large pool of dark blood. His mom would have a difficult time cleaning that blood out of her clothes. She might even have to throw them away.
Why would she let this lady borrow her clothes? Why would she let this lady into their house?
Where was his mother?
Tommy turned his head enough to see Fender passed out on the kitchen table. A bloody gun sat in front of him. The fingers on his left hand looked as if they'd been dipped in red paint.
The asshole's cheek was resting on the table but Tommy could see the blood splatter on his face, over his torn T-shirt and that leather vest he always wore.
Only right now, he wasn't wearing the vest. It was spread open on the table with the patches up. A big X had been drawn in blood over those patches. On purpose. It was a message. A warning.
It didn't matter. None of that mattered to Tommy. He didn't give a shit about the dick whose mouth was gaped open and eyes were closed. Fender's forehead was also bloody from something being cut into his skin.
The woman on the floor also had a bloody, gaped-open mouth. Her eyes weren't closed, though.
Her teeth had been broken out and some were scattered on the floor like frozen kernels of corn. Her right temple was crushed in, smashed hard enough to pop out her eyeball. The one still in its socket stared sightlessly up at the ceiling. The right one, hanging by a tendon, stared directly at Tommy.
Bile began to burn at his throat when he recognized the color of those eyes.
Gray, the same as his.
But he needed to be sure it wasn't her. That it was someone else like he first thought. Someone who looked like her, had the same color eyes, the same color hair, who wore the same type of clothes.
Because it couldn't be.
He moved closer, not caring that the blood on the floor soaked his socks all the way to his skin.
Not caring that the kitchen smelled really bad. A stink that twisted his stomach enough that he had to take shallow breaths through his mouth to keep from puking.
Not caring that the drunk douchebag still sat within arm's reach at the kitchen table.
Tommy stopped near the hand extended out from her beaten body, took another shallow breath and looked down.
He was afraid to touch her.
To move her.
To shake her to see if she was still alive.
But he couldn't. He couldn't.
Because this couldn't be right.
This couldn't be real.
If he touched her, it would become real.
Deep inside him something stirred, built. A pressure.
Like when his buddy had dropped a whole roll of Mentos into a two-liter bottle of Coke and shook it. When he twisted open the cap…
Tommy screamed, "I told you he would fucking do this to you! I told," he hiccup-sobbed, "you!"
He couldn't stop himself from falling hard to his knees, right in the thick puddle of blood. Like his now sodden socks, the blood soaked the cotton at his knees, but he didn't care.
He didn't care.
None of it mattered.
Nothing mattered.
He squeezed his eyes shut but that didn't change what he saw. He saw the same, whether his eyes were opened or closed.
A sight he would never forget.
A sight now seared into his brain.
Like the blood on his mother's clothes, he'd never be able to scrub that memory clean.
He'd never get that stench out of his nose.
Fingers ripped at his hair as a high-pitched wail filled the space around him.
He opened his eyes, thinking Fender had come to.
But he didn't.
It was his own fingers pulling at his hair, his own screams filling his ears.
He couldn't stop it.
He couldn't.
The ache inside him was so awful, he thought he would die.
He folded in half until his forehead almost touched the floor, trying to ease the pain, but it didn't help.
Nothing did.
The only thing that would was if his mother woke up, reached for him and smiled, telling him everything would be okay.
Brush his hair off his forehead and tell him he'd only had a bad nightmare.
Because it couldn't be anything else.
"Mom," came out on another broken sob. He grabbed her shoulder and shook it. His mother was cold. Stiff.
She was gone.
Her body empty.
This wasn't a nightmare. It was reality.
He sobbed so hard he could hardly catch his breath.
It made his head ache, his stomach clench painfully and snot slide from his nose.
But he didn't care.
He wanted to die, too.
He had no one left.
Everybody was gone.
A noise had him sitting up and turning his head toward the bloody kitchen table.
He was still alive.
The fucker was still alive.
Tommy managed to get to his feet and move closer. He nudged the chair with his bloody foot and heard a weak groan coming from the "badass" who was now anything but. "Why'd you do this?" He tried to scream it but the words got caught in his throat.
When he didn't get an answer, Tommy yanked Fender's head up by his hair, trying to make out the word carved into his forehead. Narrow slashes from a knife. He could barely make it out because of the seeping blood but he thought it spelled out "THIEF."
No surprise.
He glanced down. Fender's right hand was in his lap, still bleeding profusely. It was missing all of the fingers.
Some of the blood on the floor might not only be his mother's, it was probably his, too. It should be all his. All of it.
The fucker was alive, but barely.
"Why'd you do this?" he finally screamed, wanting answers. Needing answers.
"Not… me."
Yes, it was him. This was all Fender's fault. He caused this. Because of who he was, what he did.
"Who did this?" Tommy demanded. When he didn't get an answer, Tommy yanked his head up higher. He screamed in his face, "Who did this? I'm not getting you help 'til you tell me!" He forced down the sob trying to escape.
"Blood Fury," Fender barely got out.
What the hell was he talking about? Was he more stupid than normal from the blood loss?
Tommy shook his head, not understanding.
"Blood Fury."
What the hell was Blood Fury? "Is that another MC full of losers like you?"
Once again, Tommy didn't get an answer to his question, instead Fender managed to say, "Tell my prez… Blood Fury."
Tommy wasn't telling anyone shit.
"Tell him," Fender insisted weakly.
Tommy's lip curled again. "Fuck you."
What if Fender survived this? The little bit of skin not covered in blood was ghost white, like death. But that didn't mean he would die.
How could this stupid asshole survive and his mother not?
Tommy couldn't let that happen.
No freaking way.
He dropped the asshole's head and moved around to the other side of the table, using the biker's hand that still had its fingers.
Tommy had never shot a gun before. He'd only seen it done in movies and on TV. He knew there was a safety. Without touching the gun, he saw it was already flipped to off, like Fender might have been trying to protect himself.
But of course he failed because he was a big, fat fucking loser. Tommy recognized that, even though his mother never did.
Was the handgun used to bash in his mother's face and skull? It had to be since it was coated in congealing blood.
Tommy used Fender's own hand and curled the man's fingers around the butt of the gun and his index finger on the trigger.
He wanted it to look like a murder-suicide. Hopefully to throw off the cops.
This way Tommy could find the Blood Fury bastard, or bastards, who did this himself.
With his hand over Fender's, he lifted the gun and put the barrel to the biker's temple.
Not even a second later, with Fender's index finger under his own, he pulled the trigger.


text:
namespace SilverNeedle.Characters.SpecialAbilities
{
    public class EyesOfDarkness : AbilityDisplayAsName
    {

    }
}

redpajama_set_name: RedPajamaGithub


You're invited! Bienvenidos! Welcome Everyone to the 2nd Annual Saltillo Day in Austin! Once again, we are celebrating international understanding, cooperation and friendship with our amig@s from Austin's sister city in Mexico: Saltillo!
Did you know that Saltillo, Coahuila, Mexico was the Capitol of Texas until 1836? Austin and Saltillo have strong family ties. Come and share your stories about familia in Saltillo for our video archives.
Join us for a free Family Fiesta, with live music, dance, and craft makers. The event is free (no admission) and open to the public.
Please contact Austin-Saltillo Sister Cities Association if you'd like to volunteer!


Includes reports for you, your high school (if you authorize reporting), and up to four college choices (if valid codes are provided when you register).
Includes reports for you, your high school (if you authorize reporting), and up to four college choices (if valid codes are provided when you register). The $16.50 Writing Test fee is refundable, on written request if you are absent on test day or switch to the ACT (No Writing) before testing begins. Most Kansas schools don't require this part of the test!
CSS/Profile www.collegeboard.com Click on "Students", "Paying for College", "CSS/Profile"
What is the Kansas Scholars Program?
The Kansas Scholars Program is a scholarship program for Kansas kids going to Kansas colleges. The scholarships are the State of Kansas scholarship, Nursing scholarship, Teaching scholarship, and Minority scholarship.
2. We will submit the names of seniors who are on track to complete the curriculum to the State in March.
3. The State will determine the Kansas Scholars.
4. If the student is identified as a Scholar, he/she can then apply for the above mentioned scholarship(s).


The University of Eastern Finland is a young, dynamic and international university. In 2011 it was the most cited university in Finland by international comparison (Lleiden ranking). The University of Eastern Finland is home to about 15 000 students and 2 800 staff members. The well-being of students is among the primary concerns of the university and, in addition to the high standard of teaching, the university offers its students a modern study environment, which is under constant development.
Forest sciences is one of the university's four strategic areas into which it invests resources. The School of Forest Sciences is an international research and teaching unit focusing on forests, wood and environmental issues. Internationally recognised scientific research forms a solid basis for tuition, which in turn produces experts for the forest and environment sectors all over the world.
The School of Forest Sciences is located on the Joensuu campus, which is also home to the European Forest Institute EFI and the Joensuu unit of Natural Resources Institute Finland, with which the School works in close cooperation.
For further information on MSc European Forestry studies at the University of Eastern Finland, please click on the Studies link on the left or contact Professor Dr. Timo Tokola or student and study advisor Dr. Marjoriitta Möttönen.


text:
Q: Datagrid read Xml myi am trying to read from an xml and show it in a Datagrid. here is my code inside my datagrid.

string filePath = "xml path";
dsAuthors.ReadXml(filePath);

       dataGrid1.DataSource = dsAuthors;
        dataGrid1.DataMember = "authors";
        dataGrid1.CaptionText = dataGrid1.DataMember;

it works fine but.. the

dataGrid1.CaptionText = dataGrid1.DataMember;

says it doesent exist? can i please get some advice
Thanks.

A: The CaptionText property was removed by microsoft because nobody used it in the past. So to answer your question the property does not exists. That's it.
see also: http://social.msdn.microsoft.com/forums/en-US/winformsdatacontrols/thread/15fabc1f-51d9-4814-84b0-69c0a055c512/

redpajama_set_name: RedPajamaStackExchange


British doubles specialist Ross Hutchins has announced his retirement from tennis.
It comes just a week after the 29-year-old lost in the semi-finals of the mixed doubles at the US Open.
Hutchins was diagnosed with Hodgkin's lymphoma in 2012 and missed the entire 2013 season, but returned to action after the cancer went into remission.
"I feel it is the right time for me to stop playing professional sport and pursue new goals," Hutchins said.
In a statement on the Lawn Tennis Association website, Hutchins added: "It is with a heavy heart that I announce my retirement.
"I feel strong and healthy and I look forward to moving on to the next chapter of my life."
Hutchins won five ATP doubles titles, three in partnership with fellow Briton Colin Fleming. He and Fleming also reached two Grand Slam quarter-finals in 2011.
The Londoner also won a Commonwealth Games silver medal in 2010 and was a key member of Great Britain's Davis Cup team.
Team captain Leon Smith said: "Ross has been a stalwart of our sport for over a decade.
"We were very lucky to have him play a huge part in our Davis Cup team over the last six years, and his contribution to help us fight our way back to the World Group was invaluable."
Earlier this year Hutchins was appointed tournament director of the Aegon Championships, the annual grass court tournament at the Queen's Club in London.
He added: "I am excited about the challenges that lie ahead and I shall now take my time to decide on exactly what they will be."


What are online training groups? The online training website has the capability of using groups for you to track who at your center has gone through the training. This way, if the center chooses to do so, the training can be a track-able requirement for all staff and volunteers.
Fill out the Group Association Request.
You should receive a confirmation email with a couple of days. At this point your group name will appear on the drop-down list under "Group Association" on the register page.
Your group can be populated by people who are new to the training as well as people who have already registered and taken the training.
The group report shows who is in the group and the date they completed the training.
For more information about the training, go to pages 5-8 of your Welcome Guide to SMSC.
Really when someone doesn't know, then its up to other visitors that they will help, and here it occurs.


A group of Dutch multinationals – FrieslandCampina, Heineken, Philips, DSM, Shell and Unilever – all members of the Dutch Sustainable Growth Coalition (DSGC), are joining forces with Maersk on a landmark biofuel-powered voyage from Europe to China.
The pilot, using up to 20% sustainable second-generation biofuels on a large triple-E boxship, will sail 25,000 nautical miles from Rotterdam to Shanghai and back on biofuel blends alone, a world's first at this scale, saving 1.5m kg of CO2 and 20,000 kg of sulphur.
The CO2 savings of this journey alone equates to the annual CO2 emitted by over 200 households in a year or 12m km travelled in an average car which is 300 times around the world, Maersk stated in a release today. The voyage will take place between March and June 2019.
The DSGC members are sponsoring the pilot with Shell acting as the fuel supplier. The biofuel used in this pilot is produced from used cooking oil. The biofuel is ISCC certified, meaning that the whole chain is third party certified. The pilot further cements Rotterdam's position as the world's leading bunker hub for biofuels.
Toft said biofuels were a short and medium term solution for the Danish carrier on its avowed path to decarbonise totally by 2050, the first shipping company to make such a bold claim.