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cbtumbus-blog · 4 years ago

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TikTok Deal To Sell U.S. Business Could Be Announced As Soon As Tuesday

TikTok has chosen a bidder for its U.S., New Zealand and Australian businesses, and it could announce the deal as soon as Tuesday, according to people familiar with the situation.

Microsoft, in partnership with Walmart, and Oracle are the two top contenders. The sale price is expected to be in the range of $20 billion to $30 billion, CNBC reported last week.

However, even though TikTok has selected a bidder, the deal could be slowed or derailed by the Chinese government, which updated its technology export list on Friday to include artificial intelligence technology used by TikTok. TikTok's Chinese parent company, Bytedance, said over the weekend that it would need a license from the Chinese government before it can sell to a U.S. Company.

Walmart emerged as a surprise contender last week, saying the social media app would augment its e-commerce efforts.

Walmart originally sought to be the majority owner in the deal in a consortium including Alphabet and SoftBank. But the U.S. Government, which said it will ban TikTok in the U.S. If it doesn't sell to a U.S. Company by Sept. 20, wanted a tech company to lead the deal, according to sources familiar with the matter. Alphabet and SoftBank then dropped out, and Walmart partnered with Microsoft on the bid. In that scenario, Walmart would be a minority owner of TikTok.

TikTok's CEO Kevin Mayer resigned last week as the deal neared its close, after just a few months on the job. TikTok executive Vanessa Pappas was named interim boss. Pappas told CNBC in an interview on Friday that she saw synergies with Walmart thanks to new e-commerce tools inside the TikTok app.

Representatives for Microsoft, Walmart and TikTok declined to comment.

--CNBC's Melissa Repko contributed to this report.

Married Father Now Paralyzed After A Business Trip To Memphis

MEMPHIS, Tenn. (WMC) - A scrap metal dealer came to Memphis to buy car parts from a regular customer. It was while he waited on the customer that his life changed forever.

Tommy White, a 38-year-old married father of four and Ripley, Tenn. Resident, is now paralyzed from the chest down after being shot during a robbery in Memphis at the end of June.

“It’s not fair. It’s not fair for him. It’s not fair to any of us,” Rebecca, White’s wife, said.

Rebecca White says it’s not fair that her husband is paralyzed and now sits in a hospital bed in his living room.

Tommy White was parked at Lamar and Bellevue around 3 p.M. Near the Checkers waiting for a customer who had car parts to sell him. Then two men with the AK-47s approached his vehicle and threatened him. White says he gunned his truck, and that’s when the men shot him. He ended up crashing into the sign at the Lamplighter Inn sign across the street.

“Two guys came up to both sides of the truck with AK-47s and pointed the gun at me and told me to give them the money or they’re going to kill me,” he said.

White says he doesn’t know where the men came from.

“I can’t work. I can’t get out and do the things I want to do. I always wanted to do spend time with my kids outside,” White said.

He and his wife’s children range from seven to 16 years old. They have been helping out since the life-changing incident.

“They should be out here playing ball and they can’t do that. Dad needs help getting dressed. Dad needs help brushing his teeth. Dad can’t get up and cook his own meal anymore,” White said.

White says he was aware that Memphis can be dangerous and that he was careful. He even had a t-shirt saying ’I survived Memphis.’

Even though tragedy struck the Whites, the couple is very generous in their feelings about the suspects.

“I want justice, but I also want them to change their lives,” he said.

White doesn’t have much of a description of the suspects - just two guys in their early 20s, one with long dreads and the other with short hair.

Click here to find a GoFundMe account set up.

Gogo Selling Part Of Its Business For $400 Million

Gogo is selling its business of providing in-flight internet access and entertainment to commercial airlines to satellite communications provider Intelsat for $400 million in cash.

Chicago-based Gogo, which went public in 2013, has struggled to earn enough money from airlines and travelers to cover the immense cost of delivering service to airplanes. But it has been particularly hard-hit by the COVID-19 pandemic, which has crushed commercial air travel. Gogo furloughed 600 workers in April and said July 30 it would permanently cut 143 jobs.

Gogo reported Aug. 10 that its second-quarter sales fell 55 percent. “It certainly was an extraordinary quarter, but for all the wrong reasons. I think I can sum it up by saying that if you sell internet on airplanes and no one's on the plane, it's tough,” CEO Oakleigh Thorne said before announcing Gogo had been shopping the business.

Intelsat, a satellite provider based in Luxembourg that filed for bankruptcy protection in May, received approval Monday to buy the commercial airline business from Gogo. Intelsat has a $1 billion debtor-in-possession credit facility.

Gogo says it will remain a public company. It plans to use some of the cash to pay down the company’s $1.1 billion in debt.

“This transaction creates a stronger and more focused Gogo, with the singular strategic imperative of serving the business aviation market with the best inflight connectivity and entertainment products in the world,” Thorne said in a statement.

The companies said Intelsat will operate the commercial aviation business as an independent business based in Chicago.

The deal takes Gogo back to its roots, when it was founded in 1991 as Air Cell, a provider of wireless service to business aircraft. Unlike commercial aviation, which is down about 80 percent, Gogo said its business aviation traffic is the reverse.

The business aviation unit has 30 percent higher revenue than commercial aviation. A year ago, commercial aviation was twice as large. More importantly, business aviation is profitable. Commercial aviation is losing money.

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tsghuntsvillealabama · 4 years ago

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We are super excited to help you honor all the dads out there with this curated collection of local Father’s Day Gift ideas! Whether you’d like to help Dad with a man cave update, if he deserves some time for himself, or if he prefers a well groomed beard, a cold craft brew in his hand and a pair of grilling tongs over a hot flame, we have you covered! Don’t forget to wish him a very Happy Father’s Day from all of us at The Scout Guide Huntsville!

~xoxo, Dawn

1. A new grill from Brooks & Collier. The Big Green Eggs are awesome, and B&C has so many more to share as well—Traeger, Memphis, Saber, Blaze, Lynx, DCS, and Smokin Brothers to name just a few!

2. Recover Dad’s favorite chair! Head straight to The Chameleon Fabrics & Interiors to check out scads of fantastic upholstery materials for this project!

3. Update the man cave floor with a beautiful cowhide rug from Bragg’s of Huntsville!

4. Norlan whiskey glasses can bring a modern flair to his evening nightcap! Head downtown to Clinton Row and through Roosevelt & Co.’s doors.

5. Pamper Dad with the ultimate luxury for Dad’s tooshie. Low on TP? Not a problem—Heritage Kitchen + Bath has a fabulous selection of Automated Washlets!

6. There’s nothing better than a well groomed beard! Bullet and Barrel has a variety of awesome manly grooming gifts for your father—including Duke Cannon’s Big Bourbon Beard Oil!

7. What could be more fun than fire and metal and hammers for fathers? Burritt on the Mountain has Blacksmithing classes at the Burritt Folk School and many other traditional arts and crafts classes!

8. Help Dad keep things safe with a Liberty Safe from Haley’s. Extra points that these safes are made in the USA!

9. Book a custom planned Dad-cation for a fishing or golfing trip through Windham Travel and Leisure.

10. Straight to Ale Growlers are the gift that keeps on giving; carry that craft beer home in style, and then bring it back later for more.

Want more local love delivered every month? Sign up for our newsletter!

#tsghuntsville #fathersday #gift guide #huntsvillealabama #fathersdaygifts #want

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lincolnservices · 5 years ago

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Best School Window Cleaning Services and Cost In Omaha Lincoln NE - Council Bluffs IA | Lincoln Household Services

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School window cleaning, as with the commercial and residential windows we clean, the complete window is cleaned every time – glass and frame. This is done to ensure that the windows also ‘look clean’ from the outside. Dirty frames make the glass look dirty, and the dirt that build up on the frames often washes down onto the glass when it rains. So, cleaning the frames every time, keeps the windows cleaner for longer as well as looking cleaner.

The windows are washed with purified water, which is then heated to effetively remove dirt, grime and salt, and leave the windows spotless. Tap water isn’t used as it contains minerals, salts and metals that can cause spotting on the glass afterwards, so the water is passed through a purification process to remove those impurities in the water – it’s amazing, and a bit scary, how many impurities there are in normal tap water.

This process cleans the dirt, and leaves the windows clean with no residue or detergent or anything else, so the windows stay cleaner for longer than a traditional window cleaner. The equipment and cleaning we use for school window cleaning is the current high standard for commercial window cleaning. There are also ‘very’ few window cleaning companies that heat the water believe it or not. We are one of the few commercial window cleaners in Northern Ireland that do this. We do it as it gives better results and we always strive to give the customer the best cleaning service that we can.

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We prefer to arrange a regular window cleaning schedule with you, though we can discuss what sort of time schedule you would like. Also, when the windows should be cleaned, for instance you probably would prefer out of school hours or during school holidays.

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We do comply with current health and safety regulations for our industry and the equipment we use is designed with safety in mind.

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As every building is different and your needs will vary from the next person, pricing is done on an individual basis, we need to call out to you. Though, be sure that you will get an excellent job done at a competitive price.

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Lincoln HOUSEHOLD SERVICES has a 100% satistaction guarantee. After cleaning the windows, if you see on the following day that any of them have not been cleaned right, just give me a call and those windows will be cleaned again for free – no problem. We take pride in the work we do, and offer a professional cleaning service, not just pretending to clean the windows.

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First of all, contact us to get a free, no obligation quote. Paul will come out and have a look at your school, maybe take some measurements, chat to the person dealing with the school window cleaning – princpal or janitor etc. to get an idea what you want. We can disscuss, what windows are to be cleaned, whether just the outside or inside and out, what sort of schedule, when you want them cleaned etc. Afterwards, you will be given a price. If you are happy with the price and details, then we can go ahead and get your windows cleaned. If you are not happy with the price, it’s no problem, you are under no obligation to accept the quote.

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faucetbacon84-blog · 6 years ago

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The Metropolitan Section: City Life, Delivered

By Julia Guarneri

“I thought I knew every nook and angle of this village, but it seems your staff are ferreting out new and interesting bits every week.” In 1919, subscriber Charles Romm sent this letter to the New York Tribune, praising the paper’s new “In Our Town” section. The Tribune — like the World, the Times, the American, and many of the city’s other daily papers — had begun printing a special local section on Sundays. These metropolitan sections, as they were often called, did not print local news, exactly. They were not the places to look for accident reports or the latest in city politics. Instead, metropolitan sections gave readers glimpses of the everyday city. They brought the sights, accents, and clamor of the city into readers’ laps, to be enjoyed from a living room couch or a lunch counter. Newspapers’ metropolitan sections packaged up city life for quick, enjoyable consumption.

New York World, 19 December 1909. American Newspaper Repository, Rubenstein Library, Duke University.

As the price of newsprint fell in the late nineteenth century, editors issued larger newspapers with room for more than just the essentials. These editors reasoned that readers might want some relief from the politics and tragedy of the headlines. They might appreciate a happy ending, or a laugh. They thought that New Yorkers might enjoy seeing people like themselves and their neighbors in the paper, or enjoy being introduced to strangers. Mining this vein, the editor of the New York Sun, Charles Dana, forged a whole new genre in the 1870s and 1880s — the human interest story. His paper ran a front page article in 1881, for example, that told the story of a Tennessee poultry farmer who managed to meet and marry a Brooklyn woman by writing his address on an eggshell. Nineteenth-century editors learned how to entertain their mostly middle-class readers by showing them corners of the city that they did not usually see. Most famously, they did this by sending their reporters to slums, in order to describe the alleys, tenements, and flophouses in lurid detail. Reporters also visited immigrant neighborhoods, introducing readers to gossip exchanged by Russian housewives or explaining a feud between Italian grocers. And they wrote about the very rich, whose world might be as unfamiliar to readers of the New York World or New York Journal as that of the very poor. Widening gaps between the rich, the middle class, and the poor — and increasing distances between their neighborhoods — meant that editors could sell papers simply by telling readers about each other.

Precursors to the metropolitan section ran in New York’s papers as early as the 1880s, but the section came into full flower in the early twentieth century. The sections’ illustrated headings created visual icons for the city: bustling streets, soaring bridges, geometric skylines. Meanwhile, metropolitan section writers invented literary genres all their own — genres which survive to this day in places like the New York Times’s “Metropolitan Diary” column. Reporters relayed snippets of overheard conversations, like this one from a Broadway dance hall: “He said to me, ‘Stop moving your hips! Do you think this is a vulgar dance?’ But I just MUST move my hips; I can’t help it!”[1]

New York Tribune, 24 August 1919. Library of Congress.

They reported endearing mistakes or phrases they spotted in the city’s signs, ads, and menus: Listed on a Chinese restaurant menu under ‘COLD DISHES’: ‘Ice cream.’[2] They noticed clever ways that the city’s hustling citizens were making the rent: “I am getting lunch money these days by visiting slot machine telephones and collecting coins that have been ‘returned’ by the operators but have not been taken by the would-be customer.” [3]

Reporters asked questions about things that many New Yorkers routinely passed by but ignored. Who were those Salvation Army Santas ringing bells on every corner? asked the New York World in 1909.[4] How much did they actually collect in those red metal pots? The sections profiled city characters with interesting jobs: the New York Times spoke to an agent who sniffed out smuggled rum in the Port of New York, then to a Metropolitan Museum security guard fending off boredom.[5] Sometimes reporters simply puzzled over a situation, rather than trying to get to the bottom of it. A New York Times reporter watched two women carry a heavy wooden bench down a quiet alley at midnight, mystified by the timing of their errand. [6] A jokey “Science Note” in the Times reported the inexplicable presence of a grasshopper in Times Square.[7]

“ ‘Round Town With the Section Sketch Artists,” New York World, 9 September 1917, Metropolitan section, front page. In these sketches we see a boy jamming subway turnstiles with buttons, employees of the Museum of Natural History mounting an exhibit, and orphans from the Hebrew Asylum building clubhouses. The caricatures show a Brooklyn baseball pitcher in his army uniform, and a Costa Rican opera singer performing in town. American Newspaper Repository, Rubenstein Library, Duke University.

Metropolitan sections occasionally ran pieces highlighting New York City’s sheer size, turning that scale into a source of pride and a claim to the city’s national and international importance. Yet these sections never really turned into booster projects. Why bother? New Yorkers already knew they lived in the biggest city in the nation, a global commercial and cultural hub. Instead, writers threw their efforts into portraying New York City as really just a small town, summoning a sense of community in what could seem a soulless place. The New York Times ran a column of urban vignettes called “Our Town and Its Folk.” The Tribune called its version of a metropolitan section “In Our Town.” By the 1920s, many metropolitan sections were mimicking the conventions of small-town papers in an effort to recapture small-town neighborliness, reporting on high school sports games and printing the graduation rosters of local universities. The New York American hosted a regular column, “People You Know or Have Heard About,” though the column mostly depicted urban types, rather than actual people, for in fact it was difficult to find many people known to all of the paper’s hundreds of thousands of readers. This attempt to render New York City as small, friendly, and familiar seemed to convince at least some readers: Charles Romm, in his letter to the New York Tribune, referred to New York City as “this village.” Metropolitan sections lent coherence to the chaotic city, too, by depicting a singular New York personality. The New Yorkers on these pages were tough, but often revealed to be softies underneath. They were sophisticated to the point of being blasé, yet laughably ignorant about anything beyond the city limits. They seemed to live lives of urban alienation (“New York’s chiefest charm is that you don’t know your neighbors” quipped one metropolitan section columnist), yet they volunteered in hospitals in their spare time and gave readily to the needy.[8]

As the metropolitan section became an institution in New York City, the concept travelled elsewhere. By the 1920s, papers outside of New York were also printing multi-page “City Life” or “Metropolitan” sections. The Chicago Herald printed a regular column of “Tales They Tell in the Loop;” the Memphis Commercial Appeal ran “Stories of the Streets” on Sundays. Soon, many journalists realized that they could write about “the” city — a generic city — instead of any particular place, and then sell their pieces to dozens of papers rather than just one. A whole host of syndicated features cropped up in the 1910s and 1920s that depicted urban scenes and types that would be familiar to almost any city reader, be they a New Yorker, Atlantan, or Angeleno. Cartoonist J. W. McGurk drew up syndicated panels of playful urban scenes, such as: “Why Not? Bathing suits for the city, where it is hotter than the beach.” Dorothy Dulin sketched views of city people’s lives as seen through apartment or office windows, in “Our Neighbors Across the Way.”[9] W. E. Hill’s full-page feature “Among Us Mortals” took the idea of metropolitan section observations and applied it to places and events found in any city or town. His panels — “At the Jewelers,” “The Matinee Girl,” “The Hotel Barber Shop” — gently poked fun at types that any urban or suburban reader was meant to recognize. New York’s newspapers generated a lot of this material, though not all of it. New York editors both bought and sold features on the syndicated market. So the New York City life rendered in Metropolitan sections was not always as local as readers took it to be.

“Among Us Mortals: The Millinery Sale,” New York Tribune, 17 December 1916. The New York Tribune and later the Chicago Tribune syndicated W. E. Hill’s cartoon; it began in 1916 and survived into the 1950s.

The urban observations that appeared in turn-of-the-century newspapers had often advocated for change, whether by pushing for new policies or by conveying a sense of outrage at the status quo. In an 1897 metropolitan section piece, for example, a New York World writer noted that the land it took to build the new Pell mansion on 74th street could fit six ordinary mansions, or ten tenement buildings. “That is to say, 928 people could live, as some New York people do live, in the space which he, his wife and the combined collections of porcelains and china will occupy.”[10] A 1906 article on a society woman printed a table of her estimated yearly expenses, including her automobiles, furs, jewels, balls, stables, losses at bridge, and restaurant meals, all made public through an alimony case. “It was a startling revelation,” the article stated, “that a woman with no other charges upon her than her personal expenses could not live on an income greater than the salary paid to the President of the United States.”[11] These reporters seemed shocked by the wealth that existed on the very same island as thousands of impoverished people. By the 1920s, that shock seemed to fade. Writers no longer preached that the gap between rich and poor ought to narrow, and instead exploited that gap for entertainment value. The fizzling out of Progressive reform efforts after World War I was partly to blame for the new nonchalant, sometimes hedonistic tone of these sections. Where earnest reformers sought to change the city and believed they had the power to improve it, by the 1920s many seemed content to leave city policy and planning in the hands of experts, and perhaps readers felt free to simply observe and enjoy the metropolis they lived in. This slightly more detached outlook was also in keeping with the urbane and freewheeling culture taking shape in New York in that decade, documented and stoked by two new magazines, Vanity Fair and The New Yorker. The metropolitan section was, and is, an odd journalistic creation. It did not report current events, but neither was it mere entertainment (unlike its Sunday newspaper companion, the comics section). It was decidedly urban, but not always as local as it appeared. Its writers were opinionated, yet by the 1920s they rarely used the section as a platform for change. It is clear, however, that these sections filled a need. For New York readers living in a city too big to experience or truly know firsthand, the metropolitan section made it knowable. When class divides grew too gaping for most New Yorkers to cross, metropolitan section writers crossed them, and reported back from the other side. When it was no longer obvious that city dwellers had anything in common, the paper showcased and celebrated New Yorkers’ common traits. The metropolitan section reveled in public life, urban dialogue, and the sheer variety of the city. It celebrated the street smarts and the niche expertise of New Yorkers. It may seem ironic that this celebration of public life took place on a newspaper page and was often enjoyed in the comfort of the reader’s own home. Yet in the best cases, the articles of the metropolitan section propelled New Yorkers back out into the street, newly aware and appreciative of their surroundings. Charles Romm, in his 1919 letter to the New York Tribune, seemed to say as much. “I hope the page will go on uncovering the other sections and quarters of the city in similar striking fashion,” he wrote. “Our city needs rediscovering, it seems to me, especially to New Yorkers.” Julia Guarneri teaches American history at the University of Cambridge. She is the author of Newsprint Metropolis: City Papers and the Making of Modern Americans (University of Chicago Press, 2017).

Notes

[1] Roy McCardell, “The City of Dreadful Dance,” New York World, 30 March 1913 “Metropolitan” section, front page.

[2] New York World, 27 March 1921, “Metropolitan” section, front page.

[3] New York World, 3 April 1921, “Metropolitan” section, front page.

[4] New York World, 19 December 1909, “Metropolitan” section, front page.

[5] “Our Town and Its Folk,” New York Times, 12 October 1924, Section 9, page 2.

[6] “Our Town and Its Folk,” New York Times, 12 October 1924, Section 9, page 2.

[7] “Our Town and Its Folk,” New York Times, 26 October 1924, XX2.

[8] Quote is from Karl K. Kitchen, “Protesting Against New York’s New Neighborly Spirit That Co-Operative Apartments Are Bringing About,” New York World, 27 March 1921, “Metropolitan” section, front page.

[9] Chicago Herald, 29 April 1917, “Humor and City Life” section, pages 4-5.

[10] New York World, 6 June 1897, metropolitan section.

[11] New York American and Journal, 14 January 1906, 54.

Source: https://www.gothamcenter.org/blog/the-metropolitan-section-city-life-delivered

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tigerstrikesasteroidnetwork · 6 years ago

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PHL / Sagas

Sagas February 1 — March 9, 2019 Opening Reception: Thursday, February 14th, 6-9pm

[Images] [Essay]

Tiger Strikes Asteroid Philadelphia is excited to announce their next exhibition, Sagas. This group show brings together artists of various backgrounds who all explore their cultural and personal histories through their artmaking processes. The show will feature Sachiko Akiyama, Mary Henderson, Megan Hueble, Susan Lichtman, Juan Logan, Naomi Nakazato, Enrico Riley, and Anna Tsouhlarakis. The exhibition, co-curated by Mark Brosseau and Mary Henderson, runs from February 1 to March 9, 2019 with a reception on Thursday, February 14th from 6 to 9pm.

Sagas ask questions of how myth and folklore are different than fiction. All of these genres are types of storytelling, but myth and folklore are rooted in the exploration of cultural histories. They are stories that attempt to make sense of complex social and personal interactions, and to organize seemingly overwhelming information and events into a form that is approachable and relatable.

The show grew organically, in a way that parallels the passing down of myths and folktales. The curators built it by pulling in people from their various experiences as artists – colleagues, former instructors, artists they have admired. This exhibition is a way of bringing these stories together and looking for themes and challenges shared among a broad range of perspectives and artistic practices.

Sachiko Akiyama’s sculptures and drawings explore how to create physical representations of the complex and mysterious world of internal, psychological states. She received her BFA from Boston University in 2002. She is best known for her sculptures that combine hand-carved wood forms with other materials such as clay, resin and metal. She has exhibited in the United States and abroad, including solo exhibitions at the Akinofuku Museum (Hamamatsu, Japan), the University of Maine Museum of Art (Bangor, ME), and group exhibitions at the Kohler Arts Center (Sheboygan, WI), Smack Mellon (Brooklyn, NY), and Field Projects (NYC, NY). Her work has been reviewed favorably in Art New England, The Boston Globe, and The Portland Press Herald. Among numerous honors, Akiyama was awarded a Joan Mitchell Award, an Artist Resource Trust Grant, and residencies at UCross and Skowhegan School of Painting and Sculpture. Her work is in the permanent collections of Decordova Museum and Sculpture Park and Gordon College. Akiyama currently lives in Portsmouth, NH.

Mary Henderson’s painting installation, “Serious Men,” adopts the format of the typology as a mode of symbolic storytelling. The work considers public performances of masculinity and the notion of “seriousness,” as part of the artist’s ongoing exploration of displays of collective identity, power and the relationship between the public and private self. Henderson received an AB in Fine Arts from Amherst College in Amherst, MA, and an MFA in Painting from the University of Pennsylvania in Philadelphia, PA. Recent exhibitions include the solo show, “Public Views,” Lyons Wier Gallery (New York), and group shows at the Mesa Contemporary Arts Museum (Mesa, AZ), the Woodmere Museum (Philadelphia, PA) and Ringling College of Art and Design (Sarasota, FL). She is a 2019 finalist for the Bennett Prize and has been the recipient of a Pennsylvania Council on the Arts Individual Artist Fellowship, a PCA SOS grant, and a residency at the Jentel Foundation. Her work has been featured in Harper's Magazine, L’Espresso (Italy), New American Paintings, The Philadelphia Inquirer and Art in America, among other publications. She teaches painting and drawing part-time at St. Joseph’s University; she is also the assistant director for the Philadelphia site of the non-profit network of artist-run spaces,Tiger Strikes Asteroid. She lives and works in Philadelphia, PA with her husband and two children.

Megan Hueble explores biblical themes of knowledge, good and evil. Her paper cutouts hide and reveal, using floral elements to evoke the imagery of Eden and plants of knowledge. She earned a BFA in Visual Arts from Clemson University in 2017. While at Clemson, she received multiple research scholarships and the Harold Cooledge Award in Undergraduate Art History. Additionally, she spent a semester abroad in Cortona Italy, and interned at the Mint Museum in Charlotte, NC, and the Museum of Fine Art (MFA) in Boston, MA. Her senior body of work was informed by the wide variety of floral and decorative motifs at the MFA, and it primarily concerned the value and perception of female labor, specifically artistic and craft labor. Upon graduation, she was accepted as a Brandon Fellow at Greenville Center for Creative Arts. Her current work is a vehicle for asking questions that relate broadly to female representation in religious art, self portraiture, and the power of subjectivity. She is based in South Carolina.

Susan Lichtman’s paintings are ruminations on the social fabric of her home, in which people, pets and things are placed together intuitively, conjuring up the casual ways family members inhabit a shared domestic space. She has had recent solo exhibitions at Gross McCleaf gallery in Philadelphia, Steven Harvey Fine Arts Projects in New York, and at the Wilson Museum of Hollins University in Roanoke, VA. A recipient of a 2018 Massachusetts Cultural Council grant, she also has received awards from the American Academy of Arts and Letters and the Louis Comfort Tiffany Foundation. She was the Frances Niederer Artist-in-Residence at Hollins University in 2017 and the Guest of Honor at JSS Civita in 2016. Lichtman received her undergraduate degree from Brown University and an MFA in Painting from Yale University School of Art. She lives in Rehoboth, MA and is a professor at Brandeis University where she teaches painting and drawing.

Juan Logan’s “imagery mourns and affirms, transforms and quietly asks us to consider the physic cost of insensitivity and ignorance and to confer the gift of our humanity in the wake of brutality. His message comes to us in part through ritualized forms, a symbolic language constructed of graphic signs and objects the artist has selected form otherwise unnoticed day-to-day artifacts” (Excerpts from the essay Reliquaries for the exhibition catalog, "Juan Logan: Close Inspection" by Ken Bloom, Director, Tweed Museum of Art, Duluth, Minnesota.) He received his MFA from Maryland Institute, College of Art (Baltimore, MD). He has shown extensively nationally and internationally, and his work can be found in private, corporate, and public collections, including the Whitney Museum of American Art, the Philadelphia Museum of Art, the Gibbes Museum of Art, the Baltimore Museum of Art, the Memphis Brooks Museum, the Zimmerli Museum of Art, and the Boulder Museum of Contemporary Art. Most recently, his pieceSome Clouds are Darker became part of the Smithsonian's National Museum of African American History and Culture. His awards include fellowships from the from the John Michael Kohler Arts Center, the North Carolina Arts Council, the Mid Atlantic Arts Foundation, the Rutgers Center for Innovative Print and Paper, the Carolina Postdoctoral Scholars Fellowship, and the Phillip Morris Companies.

Naomi Nakazato makes work that attempts to understand the dichotomous nature of her Japanese-American biracial identity through constructions of artificial nature and fragmented spaces. Her piece “Fifty Days of Forever” is a response to a trip made to Japan in April 2018 to attend her grandmother’s funeral. It considers video game tutorial systems, NPCs (non-player characters) and avatars, and her inexperience with Japanese Buddhist funerary customs – particularly kotsuage, the transferring of bones of the deceased to the urn – drawing parallels between set objectives and her own personal dissociations. Nakazato’s multidisciplinary work spans drawing, painting, sculpture, printmaking, and installation to examine belonging within hybridity. She received a BA from Anderson University, South Carolina and an MFA from The New York Academy of Art, New York. Nakazato was awarded an initiate Brandon Fellowship at the Greenville Center for the Creative Arts in Greenville, South Carolina, a 2017 summer residency at the Leipzig International Artists Program in Leipzig, Germany, two Elizabeth Greenshields Foundation Grants, and is currently a Keyholder Resident at The Lower East Side Printshop in New York, NY. She lives and works in Brooklyn, NY.

Enrico Riley uses the medium of painting and drawing as a method for remembering and reflecting upon grief, and investigating links between the old world and the new, within a contemporary media context of reflexive violence perpetrated on African Americans. Riley received a BA in Visual Studies from Dartmouth College and an MFA in painting from Yale University School of Art. He is the recipient of a John Simon Guggenheim Memorial Foundation Fellowship, a Rome Prize in Visual Arts, an American Academy of Arts and Letters Purchase Prize in painting and a Jacobus Family Fellowship through Dartmouth College. He has exhibited work at The American Academy in Rome, Rome, Italy, The Virginia Museum of Fine Arts in Richmond, VA. The Columbus Museum, Columbus, Georgia, The Nasher Sculpture Center, Dallas, Texas, The American Academy of Arts and Letters in New York City, Hood Museum of Art, Hanover, NH, The Museum for the National Center of Afro-American Arts in Roxbury, MA, Accademia di Belle Arti di Roma, Rome, Italy, Rhode Island School of Design Ehp, Rome, Italy, Teckningsmuseet, Laholm, Sweden, Giampietro Gallery, New Haven, CT, Jenkins Johnson Projects, Brooklyn, NY, SACI School of Art Florence, Italy, Pageant Gallery in Philadelphia, PA, Hampshire College, Amherst, MA Lori Bookstein Fine Art in New York City, The Painting Center in New York City, SACI School of Art Florence, Italy, Hampshire College, Amherst, MA. He is a professor of studio art at Dartmouth College in Hanover, NH. He currently lives in Norwich, VT.

Anna Tsouhlarakis’s signage installation draws upon her informal surveys among Navajos about their beliefs and thoughts on reaching harmony, or hozho. The resulting work combines oral and quasi-scientific traditions in its exploration of Navajo narratives of future worlds. Tsouhlarakis works in sculpture, installation, video and performance. She received her BA from Dartmouth College and MFA from Yale University. She has participated in several art residencies including Skowhegan School of Painting and Sculpture and Yaddo. Her work has been included in exhibitions both nationally and internationally. She has been awarded various grants and fellowships including the Eiteljorg Fellowship for Native American Contemporary Art. Her recent awards include an Artist Fellowship from the Harpo Foundation, DC Commission on the Arts and Humanities as well as a Native Arts and Cultures Foundation Fellowship. She currently resides in Washington, DC with her partner, 3 children and trusty dog.

Mark Brosseau did his undergraduate study at Dartmouth College and received his MFA from the University of Pennsylvania in 2001 before receiving a Fulbright Fellowship to spend a year painting and making prints in Iceland. He has exhibited nationally, with his most recent solo and two-person shows at Tiger Strikes Asteroid, Los Angeles, University of South Carolina Upstate, and The Neon Heater. He lives and works in Greenville, SC and teaches at Clemson University.

#sagas #tigerstrikesasteroid #tiger strikes asteroid #philadelphia

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financingideas-blog · 5 years ago

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Zero raises $20 million from NEA and others for a credit card that works like debit

New Post has been published on https://financeqia.com/awesome/zero-raises-20-million-from-nea-and-others-for-a-credit-card-that-works-like-debit/

Zero raises $20 million from NEA and others for a credit card that works like debit

Just ahead of the launch of the Apple Card, a startup that has its own take on modernizing the credit card industry, Zero, is announcing the shut of its $20 million Series A. The new round of funding was led by New Enterprise Associate( NEA ), and brings Zero’s total created to date to $35 million, including both equity and indebtednes funding.

Other investors in the round include SignalFire, Eniac Ventures, Nyca Partners and some unnamed school endowments. Zero had previously announced an $8.5 million create in autumn 2017, led by Eniac, and has given rise to$ 7 million in venture indebtednes from Silicon Valley Bank.

Zero has a clever idea that targets millennials’ hesitance to sign up for credit cards.

Today, only 33% of millennials have a major charge card, a Bankrate survey detected — largely because they’re wary of falling into the vicious debt cycle. Instead, this younger demographic often only carries a debit card. But that also means they’re missing out on credit card benefits — like points, rewards and cash back.

Zero’s notion is to offer a rewards credit card that works like debit.

The Zerocard itself is a World Mastercard, so it earns credit card cash back. But unlike a traditional credit card, it’s combined with an FDIC-backed checking account called Zero Checking. That entails Zerocard and Zero Checking work together in the app, allowing cardholders to see one net number they can spend from.

That route, they won’t make the mistake of accidentally going over budget, as is often the instance with traditional credit cards, which then are to enjoy charge interest on the unpaid balance.

Zero co-founder and CEO Bryce Galen says he had always liked optimizing his personal finances, but didn’t see the value in overspending to chase rewards.

” People spend 10 to 15% more on average only because they’re set it on a credit card, and not watching where they stand all the time ,” he says.” Spending 10 to 15% more to chase 1 to 2% in rewards doesn’t make sense .”

Plus, he adds,” half of all credit card points are never even redeemed .”

With Zerocard, the company does away with other credit card annoyances as well.

Zerocard doesn’t charge annual fees like many traditional charge card do. And Zero Checking doesn’t add any additional ATM fees beyond what the ATM owner charges. It also does away with foreign transaction fees, minimum balance fees and overdraft fees — like many of today’s challenger banks.

Meanwhile, the Zero app is built with an eye toward what makes apps great.

Galen, who is heading product development for Zynga’s” Words with Friends” has experience in this department, while co-founder and COO Joel Washington previously co-founded car sales marketplace Shift. The executive team, blended, has backgrounds that include hour at Affirm, Apple, Capital One, Dropbox, Google, Postmates, Silicon Valley Bank, Upgrade and Wells Fargo.

Overall, Zero’s design feels clean and simple, in comparison with the cluttered and dated apps from traditional banks. It has smart features, too, like a detailed transaction view that shows the vendor’s logo and location on a map to make it easier to recognize purchases.

” Zero makes an innovative debit-style experience, with an elegant design, and truly compelling rewards. It’s a fabulous banking experience ,” said Hans Morris, managing partner of Nyca Partner and former chairwoman of Visa, Inc ., in a statement.” Few people understand how complex it is to launch either a charge card or a checking account program, and I believe Zero is the first U.S. startup to launch both ,” he said.

Zero launched in November 2018, but merely to a small number of clients. Though officially open for business, it was functioning more like a public beta — though it didn’t call it that at the time. Meanwhile, its waitlist continued to grow.

Today, there are still 204,000 people waiting to be allowed in — something that Galen says is now going to happen.

” We haven’t launched to everyone on the waitlist yet, but we expect to within the next few weeks ,” he says.

Another interesting twist on traditional charge card is Zero’s path to card upgrades: it fosters but also rewards clients for telling their friends. By doing so, customers gain access to better-looking cards and higher cash-back percentages.

Zero clients start with a “Quartz” card offering 1% back on buys. When a friend they refer joins, they receive a higher-level card called ” Graphite” that offers 1.5% back. Two friends earns you the “Magnesium” card with 2% back and four friends gets you the “Carbon” card with 3% back. The Carbon card is also solid metal, capitalizing on the millennial trend of wanting their cards to look cool . And metal cards are in particular demand.

To receive the full cash-back rates, clients have to pay their balances in full by the due date, Zero says.

The company has partnered with Salt Lake City-based WebBank to issue the card, and deposits are held at Memphis-based Evolve Bank& Trust, an FDIC member. Zero attains money primarily on interchange and interest on deposits.

While some users may leave balances on the card that generate interest, Zero isn’t focused on that aspect of the business for revenue generation.

” Most companies in fintech today are launching undifferentiated debit cards as a feature or extension to their product for an additional engagement and monetization stream ,” says Rick Yang, partner at NEA, as to why he invested.

” Zero is completely focused on their card programs and building a differentiated solution that actually offer a value proposition that resonates with consumers. We’ve also been fascinated by the growth of debit outpacing credit, and we think that our answer devotes consumers the best of both worlds ,” he adds.

Zero is currently iOS-only, but is working on an Android version that is expected to be ready in August.

Read more: techcrunch.com

#apps #Banking #banks #cards #checking #credit cards #finance #funding #money #payments #recent funding #startups #zero

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noprepracing · 6 years ago

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It goes without saying that Texas has produced some pretty badass drivers and cars. Shawn Wilhoit is just one on that list. Shawn comes from Weatherford TX. Shawn didn’t come from the typical car family. It wasn’t until he was in high school when he got his first car, a 67 Chevy pickup. That’s when he started dabbling in the car scene. He and his friends would hang out in the parking lot of the high school and do burnouts after class. Then the group gravitated towards street racing in their local areas. Shawn has been racing against the 405 for many years now, long before a show was thought of. Over time he has developed a love for the drag strip even though he is still very new to the lifestyle. He prefers the no prep track because of the legality of everything and its safety measures. Shawn likes the 1/8 mile compared to the ¼ on the track for its larger shutdown area. He enjoys the fans, the new tracks he gets to drive on and the other really fast cars he gets to go up against. Shawn still enjoys street racing in his downtime.

Shawn has a loving wife, who helps and supports him as much as possible. It also helps to have a sense of humor in this lifestyle. During our phone conversation, I could hear side talk and boisterous laughter with one another tossing verbal jabs back and forth. A perfect match. He is also blessed with 3 children and one grandchild. They come to his local races as best they can and think this race life is “super neat”. Shawn and the family watch every episode of NPK. He still finds it surreal when he is recognized out in public from the show. When Shawn isn’t racing he owns Customs Etc. making metal structures for buildings and more.

There is only one car now that Shawn drives, The Mistress, which his wife named. Fitting since she says he spends more time with it than her. The Mistress is a 1967 Chevy 2, with a turbo. It came from NY and was built by the Montana brothers, Nick and Chris. It took 11 straight months of grinding to get this car ready to take down the track. Shawn could not have done it without the help of so many shops around. Even though Shawn has been racing for some time, the track is still decently new to him. Using the Pro-tree is foreign to him, and he gets pointers from other drivers while he’s still in the starting box. A practice tree is on his to do list. He currently does not hold any track records, but he still goes to every race they have. Even if he wasn’t on the show, he would still be racing his dream car. There is also a little side project of a 2003 small tire mustang he tinkers with, with hopes of having some fun with that soon. Last year he finished 20th in the ranks and the year before he finished 6th. His goal this year is simply just to win, and with the Mistress it is all very possible. He currently tests and tunes at his local track in Texas, Xtreme Raceway Park, he says “they have always been very good to me”. When Shawn travels he keeps it simple and close to home in the heart. His father accompanies him to every race. He also says he doesn’t have a racing team he has a family. Without whom he could not do this. His racing family consists of; his best friend Hank Hull, Kyle Canion, Jimmy Wilhoit, Chad Stanley, and R.D. Migneault. A dream team to say the least along with numerous amounts of sponsors that help him out every day. All ranging from the windshield glass to the trailer he uses to get to and from each race. The car is tuned by none other than Manny Alveraz with HPP Racing and Phil’s trailer has been a sponsor for years which has lead to a personal friendship with Chad Stanley himself. Shawn is incredibly thankful to all of them.

About 5 years ago Shawn was involved in a fairly serious crash. He had ping-ponged himself off both walls. This was only the seventh time he had taken The OG Mistress down the track. On this pass, once he hit the finish line he hit water that the other car had dumped. This spun him around slamming into both sides of the track walls. It was the first brand new twin turbo set up on the car. Luckily he wasn’t hurt too badly and had only broken his wrist. He was so mad, that the next day he took the plasma cutter and sliced the car up, even though she wasn’t totaled. Another story Shawn shared was his first time in Memphis. He and his family had unloaded the car and the Chevy wouldn’t start. It slipped off the loader and sliced his leg wide open. Shawn ran the entire race with a blood-soaked towel around his leg. His pants were soaked in blood, he had no time to think about anything else. It was also the only race they made it to the finals. He lost to the Fireball Camaro. Just like the rest of the drivers out there, he wouldn’t change it for the world, he loves what he does. Injuries happen, cars break, and still this is the life they choose. Every day is not a bad day. One great day makes it all worthwhile, even with a blood-soaked rag.

Some of the highlights of being Shawn Wilhoit is when he got to meet a long time idol we know as Larry Larson. Larry was the reason Shawn built the Chevy 2 the way he did. It wasn’t until the Armageddon race where Shawn and Larry were up against each other that Shawn confessed he was a big fan, and that he was going to beat Larry, which he did. He still runs things past Larry to get ideas and his input on the car. “Larry is one of the smarter guys in the industry and it’s good to keep reaching out”.

The set goals he has for this year is to win, but more so, to make a year out of it, enjoy it. He would also like to make it to the Strip at Las Vegas Motor Speedway and get to the Super Street Nationals. Shawn wants to make every race he can and keep the fans happy. “The fans are what make us, we love hearing stories and can talk for hours with them, sometimes I lose track of time and have to get called up to the lanes”. With the help of social media, his fan base keeps growing. In the past few weeks, his new Mistress had more than a few hundred thousand views. He appreciates all the feedback he receives from them and values what they have to say.

When he sees someone who is disabled or less fortunate, from a child to a wounded veteran, Shawn will take a tire cover off and sign it. This is a great way they can take that tire cover and have other drivers sign them as well for a great memorable item from the race. Shawn is a top notch guy, who is extremely friendly and fun. He will give you direct answers and does not beat around the bush in a discussion. If you have any tips for him for the Pro-tree, make sure you stop by his pit and help him out. We want to see him rise to the tops of that list this year.

The post Shawn Wilhoit is bringing a new mistress to the party for 2019 appeared first on No Prep Racing NoPrep.com.

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devils-gatemedia · 6 years ago

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The old rockers are out in force for the return of Ian Hunter, Ariel Bender and Morgan Fisher for Mott The Hoople ‘74. The bastion of all topical debates, the bar, is awash with punters in faded tour t-shirts, swapping war stories about catching Mott back in the day. Throw the very special guest, for this evening only, Zal Cleminson into the mix, and it’s a trip down memory lane courtesy of Mott The Hoople and The Sensational Alex Harvey Band.

Bristolians Tax The Heat are opening act on this quick jaunt around some famous old venues. With two acclaimed albums under their belts, as well as ringing endorsements from the likes of Scott Gorham, Tax The Heat are on an upwards trajectory. Enough to have Nuclear Blast risk the wrath of keyboard warriors everywhere, and sign the distinctly non-metal four piece. They play modern guitar music, equally at home opening for a ‘70’s rock n roll band, as they will no doubt be when they open for indie band The Coral. Vocalist/guitarist Alex Veale forms a nifty twin guitar attack with fellow six stringer JP Jacyshyn, with some lovely slide from Jacyshyn during the early moments of the set. Thirty minutes of material culled from debut album ‘Fed To The Lions’ and it’s slick follow up ‘Change Your Position’. Best exemplified by the rather tasty ‘Highway Home’ and the should-have-been-a-hit title track from album number two. The short set finished the same way it began, like clockwork. Job done.

Zal Cleminson’s Sin Dogs have been added to the bill for tonight only. Which is a bit of a shame as they provided the biggest surprise of the evening. The SAHB t-shirts were out in force, and because of the Alex Harvey connection, many could be forgiven for thinking that their set would lean heavily towards a SAHB tribute. In actuality, their set was far from this thinking. Yes, they play a cover of ‘The Faith Healer’, but they take it and add so much of their own touches that it becomes quite a staggering cover version. Almost like a metalized version of the track. With some fierce riffs from Cleminson, as well as Willie McGonagle, Sin Dogs are indeed, quite a heavy band. Cleminson looks and sounds amazing, once the strains of ‘Armageddon Day’ fade out he addresses his hometown crowd.. “Glasgow ya bas! Are there any sinners in tonight?” Yes, yes there are. Sin Dogs are a revelation. Rammstein and Ministry going down a progressive route without overloading on the electronica. ‘Stick Man’, ‘Euphoria’ and the crunching ‘Evolution Road’ all help make the set very memorable indeed.

After their acclaimed headlining performance at 2018’s Ramblin’ Man Fair, Ian Hunter has kept the momentum flowing by reconvening Mott The Hoople class of ‘74 for a series of dates. Earlier this month they performed in the US for the first time in 45 years, and now it’s the turn of the UK to catch Hunter, along with Ariel Bender and Morgan Fisher, in concert. And if they needed a good reason to do so, it’s also the 45th anniversary of their famous 1974 U.S. tour, as well as the original release of ‘The Hoople’ and ‘Live’, the final albums of the classic Mott The Hoople era.

The lights dim and the intro tape kicks in, it’s the original recording of David Bowie introducing the band. A poignant way to start the set, and this of course leads into ‘Jupiter’ (from Holst’s Planet Suite) which in turn leads into Ian Hunter taking the stage for the opening bars to ‘American Pie’. “The day the music died…or did it?” then blam it’s straight into ‘The Golden Age of Rock ‘n’ Roll’.

The stage comes to life with a giant illuminated capital M providing the backdrop for the band in front. Hunter’s long-time backing band, The Rant Band, provide the bedrock for the Mott OG’s to strut their collective stuff. Ariel Bender gets an amazing reception as he covers every inch of the stage, working the crowd, peeling off some amazing guitar licks (‘Sucker’ and ‘Walking With A Mountain’ in particular) and generally having a blast. Morgan Fisher steals the show. Not just with his crucial piano playing on moments like ‘Pearl ‘n’ Roy (England)’ and of course ‘All The Way From Memphis’, but with his stagecraft. How can you not like a guy who is served champagne from an illuminous ice bucket by a roadie? Or when he says..”I don’t care what the people might say, I don’t give a fuck anyway!”. Or soaking the crowd with a water bottle, or teasing the crowd by playing the wrong key on the intro to ‘All The Way From Memphis’ Total class!

The man in the middle, Ian Hunter, is still one of the coolest performers ever. It’s hard not to mention that soon he turns 80, but watching him onstage you honestly wouldn’t know that. He’s the man in charge and everything flows through him. The mid section of the set, beginning with ‘Sucker’ and including an incredible version of The Velvet Underground’s ‘Sweet Jane’, was a masterclass in pacing and performance. From the quiet, emotional ‘Rose’ to the raucous roadhouse of ‘Walking With A Mountain’ (complete with Ian Hunter wielding an incredible custom iron cross guitar), this was indeed a lesson for any young bands looking on. This is how you build a set.

And build it they did. If the fifteen minute medley that began with ‘Jerkin’ Crokus’, then ends with a brief moment of ‘You Really Got Me’, has them dancing in the aisles, then the main encore has the roof blown off! ‘All The Way From Memphis’ followed by ‘Saturday Gigs’ and what else but ‘All The Young Dudes’, the perfect way to end an incredible evening. When Ariel Bender picks out the opening chords to ‘All The Young Dudes’ the place erupts. A magical moment in a night of many.

Review – Dave S

Images – Dave J

#gallery-0-5 { margin: auto; } #gallery-0-5 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 33%; } #gallery-0-5 img { border: 2px solid #cfcfcf; } #gallery-0-5 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */

Review: Mott The Hoople – Glasgow The old rockers are out in force for the return of Ian Hunter, Ariel Bender and Morgan Fisher for Mott The Hoople ‘74.

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marisolleffler · 6 years ago

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Claire’s Life + On the Scene: The FashionPreneur Academy’s Black Tie Event, Founded by Irregular Exposure’s Jessica Williams

The FashionPreneur Academy is a coaching service for the emerging and aspiring fashion entrepreneur created by Jessica Williams, the owner of the successful retail brand, Irregular Exposure. Jessica saw a problem in the industry: a lack of knowledge regarding how to create, maintain, and market a successful fashion brand. The FashionPrenuer Academy is her solution. Williams trains and educates students during the year, with a curriculum concluding with a fashion focused multi-day retreat in LA. Last night’s black tie gala was an awards ceremony for students who had successfully completed the course, and a celebration of style, which kicked off with a conversation between Jessica and I about her inspiration for creating this movement. Many hold knowledge close, for fear of giving the competition an advantage. Williams gives freely; thus it was a wonderful honor to interview her about her reasons for creating an organization built to inspire and inform. A few resounding take aways: say no to fear, and have faith that GOD will supply your demands. Start small and know that business take several years to flourish. Be resourceful and network laterally. Also, invest in yourself with events like the FashionPreneur Academy, that welcome experts for concentrated and guaranteed elevation. The proceedings were nothing short of inspirational. There has been a wave of fashion entrepreneurs now starting their brands through the power of social media, but there are few resources that actually show them how to run a successful business. The FashionPreneur Academy does just that. Though attendees came for inspiration and empowerment, they also came to slay! And with a formal black dress code, they did not play. Take a look at a few fabulous guests: Bombshell @Kerasmatic showed off her form in a semi sheer dress of her design. @BuStyleGuide was adorable defined in a black and white letter blazer she designed and a matching hat. And yes to the blond dreads! Memphis Bombshell @901Covergirl turned heads in a Fashion Nova dress. Work! See you at CWC Memphis on April 20th! A @ShopAkira dress was on deck for this Bombshell. This fabulous boss made a statement in lace. I was living for this Bombshell’s metallic accented ensemble. @ShopDivineFashions worked a fringed number. @CocoDita looked amazing in a sparkly gown. Designer @TracieLanae worked an Oyemwen skirt from FashionBombDailyShop.com! Bomb boutique owner @LYS_loveyourself was a vision in a fringed dress from her store. Jessica Williams was the host with the most in a custom creation by @ShopBritanyChristina.

As for me… I rocked a dress by One Trieu Yeu and Iris Trends earrings I found just the day prior at Maison Privée PR. For a last minute look, I think it worked!

The ladies looked absolutely fabulous!

The FashionPreneur Academy is BOMB. Be sure to sign up for their courses at TheFashionPreneurAcademy.com. Want me to host or provide coverage for your next event? Email [email protected]. Also Convos with Claire is coming to a city near you! Next stop is Memphis. Visit CWCMemphis.eventbrite.com to RSPV and email [email protected] if you’d like to sponsor or vend at any of our future dates! Images: Robin Lori

Claire’s Life + On the Scene: The FashionPreneur Academy’s Black Tie Event, Founded by Irregular Exposure’s Jessica Williams published first on http://wholesalescarvescity.blogspot.com

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fxmobilemechanicservicesoma-blog · 6 years ago

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newstfionline · 7 years ago

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When Bail Feels Less Like Freedom, More Like Extortion

By Jessica Silver-Greenberg and Shaila Dewan, NY Times, March 31, 2018

Most bail bond agents make it their business to get their clients to court. But when Ronald Egana showed up at the criminal courthouse in New Orleans, he was surprised to find that his bondsman wanted to stop him.

A bounty hunter was waiting at the courthouse metal detector to intercept Mr. Egana and haul him to the bond company office, he said. The reason: The bondsman wanted to get paid.

Mr. Egana ended up in handcuffs, missing his court appearance while the agency got his mother on the phone and demanded more than $1,500 in overdue payments, according to a lawsuit. It was not the first time Mr. Egana had been held captive by the bond company, he said, nor would it be the last. Each time, his friends or family was forced to pay more to get him released, he said.

As commercial bail has grown into a $2 billion industry, bond agents have become the payday lenders of the criminal justice world, offering quick relief to desperate customers at high prices. When clients like Mr. Egana cannot afford to pay the bond company’s fee to get them out, bond agents simply loan them the money, allowing them to go on a payment plan.

But bondsmen have extraordinary powers that most lenders do not. They are supposed to return their clients to jail if they skip court or do something illegal. But some states give them broad latitude to arrest their clients for any reason--or none at all. A credit card company cannot jail someone for missing a payment. A bondsman, in many instances, can.

Using that leverage, bond agents can charge steep fees, some of which are illegal, with impunity, according to interviews and a review of court records and complaint data. They can also go far beyond the demands of other creditors by requiring their clients to check in regularly, keep a curfew, allow searches of their car or home at any time, and open their medical, Social Security and phone records to inspection.

They keep a close eye on their clients, but in many places, no one is keeping a close eye on them.

“It’s a consumer protection issue,” said Judge Lee V. Coffee, a criminal court judge in Memphis. Before recent changes to the rules there, he said, defendants frequently complained of shakedowns in which bondsmen demanded extra payments. “They’re living under a constant daily threat that ‘if you don’t bring more money, we’re going to put you in jail.’” The pressure, the judge said, “would actually encourage people to go out and commit more crimes.”

Unlike payday lenders, the bail bond industry deals with potential criminals whose very involvement with the law raises questions about their trustworthiness. But in the United States criminal justice system, the Supreme Court has affirmed, liberty before trial is supposed to be the norm, not the exception--the system is intended to allow defendants to stay out of jail.

Some bail bond practices have drawn the ire of judges who complain that payment plans are too lenient on people accused of serious crimes, allowing them to get out for just a few hundred dollars or even no money down. Those judges say it should be more difficult for the accused to walk free.

Other judges see some bondsmen as trampling the rights of defendants. One judge in Lafayette, La., Jules Edwards III, held in contempt two bondsmen who were brothers for intercepting a defendant on his way to court and sending him, instead, to jail.

The judge said the commercial bail industry had put its financial interests above justice and public safety. “If he’s not in compliance with the contract, sue him. How do you get to snatch his body and hold him hostage?” Judge Edwards said in a phone interview.

He added that defendants do not have to go with their bondsmen unless there is a warrant out for their arrest, but many of them do not know that. “What they’re doing is intimidating and coercing and lying,” he said. The brothers declined to comment.

In both Mr. Egana’s case and this one, the bondsmen would not have been on the hook for the defendants’ failure to appear, because they diverted the defendants from court dates for unrelated cases, not the ones for which they had bailed them out.

The bond agency, Blair’s Bail Bonds, stopped Mr. Egana, who had prior felony convictions, from going to court on charges of fleeing an officer, but had bailed him out in June 2016 after he was arrested on charges of possession of marijuana, a firearm and stolen property.

Had Mr. Egana been wealthier, he might have been able to post his full bail of $26,000, then gotten it back when he returned for court. But like most defendants, Mr. Egana had to turn to a commercial bail bond agent that charges a nonrefundable fee for the service of guaranteeing the bond.

Not only could Mr. Egana not afford the full bail, he could not afford the fee, $3,275. He arranged to pay it in installments. After his release, he said, Blair’s informed him that on top of the premium, he would have to pay $10 a day for an ankle monitor, though the judge had not ordered one. Guilty or innocent, Mr. Egana would never see any of that money again. Blair’s has denied any wrongdoing in the matter.

Some customers feel they have no choice but to pay bond agents’ fees--no matter how outrageous they seem. When a home health care aide wanted to bail her son out of Rikers Island in New York City, she was charged $1,000 to have a courier walk her money a few blocks to the courthouse.

A defendant in a serious domestic violence case in Santa Clara, Calif., suffering from a dangerous heart condition, had to have his ankle monitor removed each time he went to the hospital, and was forced to pay $300 to have it put back on afterward.

A woman in Des Moines woke one morning to find that her 2001 Pontiac Grand Prix had been repossessed during the night. Had she put up her car as collateral in a typical loan, she would have been notified that she had fallen behind and given 20 days to pay.

But instead, the car was collateral for a bail bond for her child’s father. She owed $700 to the bail agents. They not only took the car, but turned the father over to the jail. Ultimately the misdemeanor assault charges against him were dismissed.

Bond companies fall into a sort of regulatory gulf between criminal courts and state insurance departments, which are supposed to regulate them but seldom impose sanctions. With rare exception, defense lawyers and prosecutors are too busy with their caseloads to keep bond companies in line. Further complicating things, it is often unclear whether consumer protection laws apply, and insurance departments say they lack the resources to investigate complaints.

In the case of Mr. Egana, who worked as a carpenter, it did not take long for him to fall behind on his payments. But he thought that since he was routinely showing up to court, he would be fine.

He was wrong. The bond company detained him several more times, according to court records. At one point, two men with guns and bulletproof vests came to the home where he was working as a contractor and forced him into a car. Each time, they demanded that his mother pay more money.

“It was kidnapping,” Mr. Egana said. “They saw the love that my mom has for me, and they used that to their advantage.”

In May, Blair’s decided it no longer wanted Mr. Egana as a customer and handed him over to the jail.

The use of bail bonds has come under attack in recent years because it keeps the poorest, rather than the most dangerous, defendants behind bars.

State after state has taken steps to reduce or eliminate the practice of making that freedom contingent on money. In response, the bond industry has worked to undermine reforms and regulations, arguing that commercial bail is still the most efficient and taxpayer-friendly way to keep the public safe and the courts running smoothly.

The bond agent takes a fee in exchange for guaranteeing the amount of the bail on the defendant’s behalf. But the fee--or premium--usually about 10 percent, is too high for many defendants, the vast majority of whom are poor. So they arrange a payment plan. The debt, paid over weeks or months of installments, can outlast the criminal case.

The arrangement can include steep late fees or require signing over collateral worth many times what is owed. And while defendants, or the family members and friends who often shoulder the costs, typically pay no interest as long as their payments are on time, if they go into default they can trigger annual interest rates as high as 30 percent.

Commercial bail fees, often scraped together by multiple family members, siphon millions from poor, predominantly African-American and Hispanic communities. Over a five-year span, Maryland families paid more than $256 million in nonrefundable bail premiums, according to a report by the state’s Office of the Public Defender. More than $75 million of that was paid in cases resolved with no finding of guilt, and the vast majority of it was paid by black families.

In 2015, New Orleans families paid $6.4 million in premiums and fees, the Vera Institute of Justice found. In New York City last year, bond companies collected between $16 million and $27 million, “a sizable transfer of wealth,” noted Scott Stringer, the city comptroller, “to the pockets of opportunistic bail bond agents.”

The entire premise on which the commercial bail system is built--that when defendants skip bail, someone must either find them or pay, is somewhat illusory.

The image of the industry, encapsulated by Dog the Bounty Hunter chasing down outlaws on television, is one of danger and high stakes.

But in most cases where defendants miss court, a bond agent may not have to do anything. Many states allow months for a defendant to be found. In Texas, bond agents have nine months before a felony bail is forfeited. In Colorado, according to the American Bail Coalition, even after a bond is paid, the agent has two years to find the missing defendant and get the money back.

With so much time, many defendants will resurface on their own, or be caught during a traffic stop or other law enforcement interaction, without any effort on the bond agent’s part.

Together, the surety companies and the bail bond agents collect about $2 billion a year in revenue, according to an analysis by Color of Change, a nonprofit focused on racial justice, and the American Civil Liberties Union. “Bail insurers have shaped the entire industry, as well as the laws they operate under, to safeguard their profits at the expense of people’s lives,” said Rashad Robinson, the executive director of Color of Change.

Between 2010 and 2015 in California, the number of bail complaints to the Department of Insurance nearly quadrupled and became more serious, the department said, with common grievances including kidnapping and false imprisonment for purposes of extortion, forged property liens and death certificates, and theft or embezzlement of collateral.

Complaints about bail bond agents have flooded into insurance regulators across the country, but rarely result in meaningful punishment.

Part of the problem, regulators say, is that they are outmatched and do not have the resources to investigate abuses. The California insurance commissioner, Dave Jones, said he had twice tried to get a law passed to pay for bail investigations, but both times it was defeated after lobbying by the bond industry.

It is not hard to find people whose entire lives have been upended by the bail bond industry. Some defendants wind up in jail for no offense other than falling behind on their bail payments. Others decide to plead guilty to crimes that they did not commit just to escape from the financial demands of their bondsman.

Frankie Bell’s troubles began last January in New Orleans, when she was charged with misdemeanor domestic abuse after getting into a squabble with her boyfriend. Ms. Bell, 26, had no criminal record. With help from her uncle, she was able to pay the $1,500 premium. But the bond company, citing the fact that she had a Texas driver’s license, required her to wear an ankle monitor--at a cost of $300 a month.

It took less than two weeks for Ms. Bell, who is mentally impaired and lives on $700 a month in disability payments, to fall behind. Almost immediately, the calls from her bail bond company began, she said. “They would threaten to put me back in jail,” she said. “They said they would send the police to my house, arrest me and throw me into a cell.”

Ms. Bell said she tried panhandling on the street, begging her friends for money, and letting other bills slide. Still, by the time she appeared in court in April, she was $800 behind. Ms. Bell had maintained her innocence from the start, but faced a stark decision: plead guilty in a deal that spared her any jail time, or risk being locked up before trial for failing to pay the bond agent. “I don’t want people to think of me as a criminal,” she said, “but I just wanted it all to end.”

Often, even pleading guilty is not enough to get free of the bond agent’s power, since defendants may still owe money. Christopher Franklin pleaded guilty to a misdemeanor assault charge in February 2017. He had paid his bondsman, Rodney Sawyers, more than $4,000, and owed only $300 more.

But about a week later, Mr. Franklin said, Mr. Sawyers showed up at his house in Charlotte, N.C., in the middle of the night, pounding on the front door.

Mr. Franklin stumbled to answer, disoriented and groggy. Mr. Sawyers muscled his way in, Mr. Franklin said, handcuffed him and drove him to jail.

Mr. Franklin’s public defender in the case, Eli Timberg, said he has routinely had clients returned to jail for not paying their bondsmen, but Mr. Franklin’s case stood out. “There were no active charges,” Mr. Timberg said. “No bond out for him. It was unbelievable.”

Even the jail staff seemed perplexed when Mr. Franklin arrived, he said, since his case was no longer pending. After five hours, he was released.

#bail #bail bond agents #bail bondsmen

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scrumptiouslyironchopshop-blog · 7 years ago

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publicartarchive · 7 years ago

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Recap of the 2017 Public Art Network Year in Review

Written by: Elysian Koglmeier on behalf of the Public Art Archive

What do 22 safety orange swimmers, 200 vacant homes, 12,000 pounds of melting ice, 10,000 memories and 1 mobile dining room have in common?

They compose a selection of public artworks awarded in the 2017 Americans for the Arts’ Public Art Network (PAN) Year in Review.

The PAN Year in Review has annually recognized outstanding public art projects since 2000. The goal of the juried awards is to bring greater visibility and appreciation to the work of artists and the communities served by public art across the country. Each year, up to 50 works are selected to highlight trends and accomplishments within the field, and those selected are presented at the Americans for the Arts Annual Convention - this year in San Francisco, CA.

Here are the stats from the 2017 PAN Year in Review:

“We want to be supportive of ambitious efforts.” Kevin B. Chen

This year’s jurors included Sherri Brueggemann, the Public Art Urban Enhancement Program Manager for the City of Albuquerque, Kevin B. Chen, artist, curator, and co-chair for the City of Oakland’s Public Art Advisory Committee and Alison Saar, a Los Angeles based artist. The selection process included an exploration of each submission’s process (who was involved), practice (traditional or multidisciplinary), outcomes of the project (implications once completed), and diversity (gender, demographics, location, permanent vs. temporary). The jurors narrowed the pool of 325 submissions to 70 works, then pinpointing 6 themes to help curate the final list to just 49 selections.

Six themes organically developed as the jurors’ criterion: dazzling, humor, technology, voice/story/language, active/activism and reflective. While all selected works can be contextualized through these common themes, the awardees reflect a range in funding - $10k temporary projects to multimillion dollar permanent installations and geographic location - selected projects live in places beyond major coastal cities; however, all selected projects demonstrate the rising innovation in the public art field through technology, construction, public contribution, interactivity, and aesthetics.

“I wish all of you could or had to do this [amazing experience]...Always put yourself in the position of being a judge whenever you can. It’s very rewarding and fulfilling.” - Sherri Brueggemann, juror

Dazzling

According to Brueggemann, “the dazzling category was the public art wow factor.” The jurors looked at everything from aesthetics to production value. The projects innovatively used materials, technology and installation methods to create awe-inspiring effects.

Photo credit: Jeremy Green

Ethereal Bodies 8 by Cliff Garten is a group of eight stainless steel sculptures at Zuckerberg San Francisco General Hospital and Trauma Center in San Francisco. The curvaceous forms create new shapes from different vantage points and the structures change color throughout the day and night. Administered by the San Francisco Arts Commission, Ethereal Bodies 8 reflects the growing connection of public art to health and well-being. Learn more about the work on the Public Art Archive.

Photo Credit: Stephen Galloway

Redbud Redux Suite, by lead artist Stephen Galloway, is another work located in the Zuckerberg San Francisco General Hospital and Trauma Center. This project was also administered by the San Francisco Arts Commission and included the design and fabrication for windows within the Acute Care Unit. The glassworks, by six artists, feature the effects of light in nature. Their seamless integration with the architecture enhances the therapeutic design of the space - creating a sense of peace and wellbeing essential to healing. Learn more about the work on the Public Art Archive.

Humor

Public art has the power to bring laughter and play into our lives. It’s hard to find fault in a work that brings a grin from ear to ear, and oftentimes, humor is used to draw attention to more serious matters the artist seeks to bring to public attention.

Photo Credit: A+J Art + Design

Ann Hirsch and Jeremy Angier’s SOS (Safety Orange Swimmers) was installed in the Boston Harbor during the fall of 2016. The work showed that humor and spectacle can grab the attention of the public, and that attention can then be focused to highlight growing areas of concerns and crises. In an effort to bring more attention to the growing global refugee crisis, Hirsch and Angier submerged a herd of 22 bright orange figures in the Fort Point Channel in Boston’s harbor. Each foam figure represented nearly one million of the estimated 21.3 million refugees worldwide. This project generated national coverage and thousands of social media posts garnering it as Fort Point Arts Community’s “most successful project to date in terms of audience engagement.” Learn more about the work on the Public Art Archive and find out where the project will be exhibited next!

Technology

Technology provides new platforms for encouraging the public to engage with and understand public space in new ways. From robots to video projections to social media feeds, technology provides a platform for us to interpret the world.

Photo Credit: Town of Chapel Hill

UNBOUND by Eric Carlson can be found in the Chapel Hill Public Library in North Carolina. The work examines notions of public and private through the lens of a library - a place that binds information through collection and unbinds it by releasing it to the community. UNBOUND features nearly 10,000 media clips submitted by community members’ personal archives including photos, letters, recipes, etc. The artwork uses custom software and algorithms to display ever-changing combinations of media. A Braille-based matrix of glowing lenses act as peepholes and the multi-layered glass surfaces are etched with code systems like morse code, binary code, and shorthand. Learn more about the work on the Public Art Archive.

Photo Credit: Fulton County Public Art

Immaterial by Tristan Al-Haddad is also located in a library - the Southeast Library in Atlanta, Georgia. Al-Haddad transformed the space from a “house of knowledge” into a “web of thought” through virtualization, also known as a software-based (virtual) representation. The wall installation depicts rays of light comprised of 144 literary quotes, and the lines map the locations of each library in the Atlanta-Fulton Public Library System. Additionally, the outline of the acrylic panels represents the neighborhoods served by each library. Learn more about the work on the Public Art Archive.

Voice / Story / Language

Public art tells the narratives of place - of the people, the geography, the history. It gives a voice to communities and more importantly, to communities that are typically not heard or seen. Public art creates dialogue amongst diverse groups and spurs conversations in our own mind.

Photo Credit: Nelson Gutierrez

Memphis Upstanders Mural by Nelson Gutierrez and Cedar Nordbye is a remarkable example of creative partnerships with nonprofits. Commissioned by Facing History and Ourselves and administered by the UrbanArt Commission, the mural honors community-nominated Upstanders - those that helped create a more inclusive, just and compassionate Memphis. Located across from the National Civil Rights Museum, also the site of the of Martin Luther King, Jr.’s assassination, this powerful and uplifting work utilizes public art as a platform for dialogue about Memphis’ history and celebrates those lesser known heroes that stood up to adversity throughout challenging times. Facing History and Ourselves is an international, educational nonprofit guided by the mission to engage students of diverse backgrounds in an examination of racism, prejudice, and antisemitism in order to promote the development of a more humane and informed citizenry. Learn more about the work on the Public Art Archive and visit the mural’s website to learn more about the stories behind each of the Upstanders.

Active/Activism

Juror Alison Saar described the projects in this theme as “those that engage the community actively to interact with the work.” Projects in this category were collectively constructed by the public or serve as catalysts for the public to engage with issues such as urban blight, climate change, clean water, and the global food crisis.

Photo Courtesy: Erin V. Sotak

My Your Our Water by Erin V. Sotak focuses on the scarcity of water in Arizona’s desert. A multi-platform project located in Scottsdale, the installation included six components: a tricked-out-tricycle, a daily blog, a project website, a community Facebook page, a video projection, and a 45-foot illuminated floating sign. After installation, the work quickly grew into a grassroots dialogue about local, regional and global water issues. Learn more about the work on the Public Art Archive.

Reflective

The panel wanted to close the review process with works that encouraged viewers to pause and take time out of their busy days to reflect on place. The awarded works in the reflective category focused on projects that purported more meditative experiences, creating quiet and calm environments that spoke to the past, present, and future of our society.

Photo Credit: Joe Freeman

Midden Mound Wickiups by Buster Simpson is a modern take on Wickiups - a primitive, temporary domed dwelling constructed by Native Americans of the Southwest. Located in San Antonio, Texas, Simpson used metal as opposed to the traditional natural elements (branches, hides and thatch) to create peaceful sites that provided shade in the hot sun and gave visitors a place to rest with pastoral views. The works “honor the historical presence of indigenous peoples and their light footprint on the land.” Learn more about the work on the Public Art Archive.

“The hardest part is not being able to choose everyone...so much great work out there. We want to reward those that are bringing art out for all of us.” Alison Saar

Curious to know more about the 2017 PAN Year in Review Jurors? Here are their brief bios:

Sherri Brueggemann is a founding member of Americans for the Arts and is currently the Public Art Urban Enhancement Program Manager for the City of Albuquerque, Cultural Services Department. She co-founded the InterGalactic Cultural Relations Institute - a non-profit organization dedicated to exploring the role of art and cultural in future interplanetary diplomatic relations.

Kevin B. Chen is a curator, writer, and visual artist based in the Bay Area. He currently serves as co-chair for the City of Oakland's Public Art Advisory Committee, member of Recology's Artist in Residence Program Advisory Board, member of the Curatorial Committees for Root Division and Pro Arts Gallery, manages the Artist Residency Program and Public Programs at the de Young Museum, and is a Lecturer at Stanford University. Check out his website here.

Alison Saar is an Los Angeles-based sculptor, painter and installation artist whose work explores themes of African cultural diaspora and spirituality. She has a BA from Scripps College and a MFA from the Otis Art Institute. She received the United States Artist Fellowship in 2012 and was awarded the John Simon Guggenheim Memorial Foundation Fellowship and two National Endowment Fellowships.

You can watch the 2017 Public Art Network Year in Review presentation at the Americans for the Arts Convention here.

#paarchive #publicartarchive #paa #year in review #outdoor sculpture #murals #urban art #technology #activism

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connorrenwick · 7 years ago

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Basic Bathroom Gets a Graphic, Modern Renovation

When I think back to how many places I’ve called home throughout my life, I realize just how many boring, basic bathrooms I’ve lived with—and the answer is “too many.” I mean, they’re fine in that they were functional, but for a design-obsessed person like myself, they were enough to make me cringe on a regular basis.

When we chose to partner with TOTO earlier this year, we decided that the gorgeous TOTO fixtures were way too amazing to live in my basic bathroom (see before photos at the end!). That led to the decision to try to elevate the rest of the space to do those fixtures some justice. As we mentioned before, we brought in designer Joyce Elizabeth Tranchida, of online interior design platform Decorilla, who graciously helped me hone in on what I liked and wanted after I obsessively pinned for a few weeks. After some back and forth with Joyce, here’s the mood board I finally decided on:

Decorilla magically turned the mood board into 3D renderings that looked so incredibly real that I wanted to fast forward to the finished product. However, unlike on television, renovations take time—which I quickly learned!

3D rendering by Decorilla

As you’ve probably heard from anyone who’s ever done any kind of renovation, issues come up that delay the project and that’s what happened here, but more on that later! It’s time for the final reveal because it’s finally DONE!

Once the TOTO products were selected, the rest of the design all started with that incredible tile from TileBar that I completely fell in love with. For the floor, we went with elongated hex tiles in a matte black and for the shower and main wall, the hex penny tiles in matte white with black grout. I can be slightly afraid of color, especially for something that’s permanent, so black and white was the perfect way to start the space. I highly suggest hiring a professional tile person and not just any contractor, especially if you’re planning to do any kind of small tile like penny or mosaic. Penny tile is much harder to install and can easily be done incorrectly… and unfortunately that’s exactly what happened the first go-round. After learning my lesson, I brought in an expert to finish the job and it was definitely the right decision!

To finish off the shower, we worked with Coastal Shower Doors, who created a custom door that worked for my space and shower setup. I love the thick glass and black frame, and how it goes almost all the way to the ceiling, while still allowing some ventilation around the door. They were very helpful in selecting the right design and helping me find an installer.

The space isn’t that large and there aren’t any windows, so it needed lots of white to brighten it up. IKEA makes really great bathroom vanities and I got mine in glossy white, which I think gives it an even higher-end look. It came with white handles, but we opted to go with matte black ones so they would pop against the white doors. The vanity came with a ceramic sink and we chose a TOTO faucet to pair with it to make it look more custom.

The bathroom has always been dark, as the only three windows are on the opposite side of the apartment, so lighting was key. It’s hard to find great bathroom lighting, but luckily Sonneman makes beautiful, sleek fixtures and I knew I had to get one. I love the minimalist look of their Stix Bath Bars. On the opposite wall, a sconce was added in matte black to blend in with the paint.

To break up all of the black and white, the space needed a pop of color. I’m not normally a green person, but once I spotted those Marimekko towels with the green band, I was sold! When the green was decided upon, we scoped the artwork over on Minted.com and chose this Lula print in Emerald Green—it matches perfectly. At that point, we thought bringing in another metal besides the chrome of the TOTO fixtures would warm it up, so we selected copper and ordered the Minted print with a copper frame. One copper item isn’t enough, so we scoured the internet for copper accessories and landed on a copper trash can from Umbra.

Various accessories (see below) were incorporated from CB2, H&M, Target, and ones I already owned, like the Boxcar Set of planters from Revolution Design House, which I repainted green to match and filled with succulents for texture and more greenery.

While I’m not ready to jump on another large renovation right now, I would definitely consider doing one in the future. I feel like the first one is just a major learning experience where things are going to go wrong, your timeline will triple, and so will your budget. That being said, I have no regrets and I’m really happy with the outcome!

Source List

TOTO Products Toilet – Carlyle II Connect+ S350e One-Piece Toilet – 1.0 GPF Washlet – Connect+™ WASHLET® S350e Faucet – Soirée Single Handle Lavatory Faucet, 1.5 GPM Showerhead – Modern Series Aero Rain Shower 8″ – 2.0 GPM Shower Control – Nexus® Pressure Balance Valve Trim without Diverter Towel Holder – Neorest® Bath Towel Holder Hand Towel Holder – Neorest® Hand Towel Holder Robe Hook – Legato® Robe Hook Toilet Paper Holder – Legato® Paper Holder

Tile (Courtesy of TileBar) Floor – Aliante Porcelain Tile Shower + Wall – Eden White Hexagon Matte Ceramic Tile

Lighting (Courtesy of All Modern) Vanity light – SONNEMAN – A Way of Light Stix 40″ LED Bath Bar in Satin Black (40″ no longer available) Sconce – Federica 2-Light Wall Sconce in Carbon – Matte Black

Art (Courtesy of Minted.com) Print – Lula in Emerald Green by Parima Studio

Other Vanity – IKEA GODMORGON / ODENSVIK Sink Cabinet with 4 drawers in high gloss white Vanity handles – Berenson 1068-4055-P Satin Black Bravo 9-1/16 Inch Long Finger Cabinet Pull Shower shelves – Kohler Choreograph 14″ Floating Shelf and Kohler Choreograph 14″ Floating Shelf in Anodized Dark Bronze Trash can – Metalla 3 Gallon Waste Basket by Umbra (Courtesy of AllModern.com) Bath towels – Siirtolap Towels by Marimekko Hand towels – Siirtolap Hand Towels by Marimekko Wall shelf – Diamond Cross Planes Shelf from Urban Outfitters Copper candleholders – Metal Tea Light Holder from H&M Green/wood planters – Boxcar Set from Revolution Design House Plus sign bowl – Cheeky Memphis Mini Bowl at Target Black & white cube – Catchall from Nate Berkus for Target Copper bowl – Push Solo Bowl by Fundamental White bowl – Small Scallop Bowl from Element Clay Studio ‘W’ cup – Design Letters Melamine Cup Black bath accessories – Rubber Coated Black Bath Accessories from CB2 Wall paint – Benjamin Moore Aura Bath & Spa Paint in black Outlets – Legrand Adorne Collection

Before photos:

via http://design-milk.com/

from WordPress https://connorrenwickblog.wordpress.com/2017/06/16/basic-bathroom-gets-a-graphic-modern-renovation/

#Uncategorized

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