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[bananaeazy]

Trump the art of the deal mobi

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And in order to be seen, that are inclined to agree with almost any foolish deal. “ Make yourself visible ” – People in a hurry, tend to make bad decisions. Play wisely, because after all, it’s just a game. Put the accent on something the other party can’t simply do without. “ Find common ground, but not at the expense of your capital ” – If you show signs of desperation when bargaining a better deal, or if you try to speed up the proceedings, the counterpart may use that against you. Every baffling problem or enigma can be solved if you have that inner edge, to pull some maneuver and turn the situation to your advantage. Trump doesn’t rely on consultant help and trusts his instinct but not to feed his vanity, but because it’s the right thing to do. One thing is for sure you cannot merely indicate that the market is overflooded with competition, and there’s no room for your ideas to kick in. “ Understand the core of the market ” – It’s not about what you do, is how you do it. In order for their plans to come to fruition, they stand their ground and don’t back away from their demands. It’s been said that tough negotiators are those who are aware of their bargain capabilities. Trump keeps many options on the table because the deal-making process is too complex. “ Choose your words and actions carefully ” – Things didn’t go as planned? – So, what? – There’s always a better alternative just around the corner, and that’s precisely why Mr. As time goes by, and the bar is raised to a higher level, you wouldn’t want to be drained by the hostile environment. Having a backup strategy in your pocket at all times can increasingly improve your chances of becoming a winner. When you are close to reaching an agreement with a third-party, never rely on only one main scenario. In other words, Trump emphasizes flexibility and despises gambling, which can be construed as an aversion, or inability for controlling the outcome. “ Beware of hidden dangers and protect the downside ” – In the capitalist era, it’s unlikely that you can beat the market unless you have a plan B. That’s how Donald Trump managed to stay on top for so long. “ Think big ” – Well, how it’s even possible to get a firm grip on success, without broadening your perspectives and destroying your limitations.Īccording to various keynote speakers and motivators, the key to success is illustrated through the ability to fixate your attention on the most critical tasks during the day.

#Trump the art of the deal mobi pdf

“Trump: The Art of the Deal PDF Summary”īriefly, here’s what you should take into consideration when making a deal:

#Trump the art of the deal mobi how to

He is the author of several books, including How to Get Rich. Since then, Donald Trump Organization has never stopped expanding. In 1968, he started a business career, alongside his father. Trump had been given the honors to serve a four-year mandate as the 45 th, U.S. Entrepreneurs and economy students will find it particularly informative and mind-blowing. “ Trump: The Art of the Deal ” is an excellent business guidebook, that is suitable for all business people in all spheres of influence. To what does he owe his success? Unlike other people in business, Trump rarely takes “NO” for an answer. Trump – The Real Estate Godfather, has really made a name for himself. Who Should Read “Trump: The Art of the Deal”? And Why? In the book summary below, we summarize the key elements in making a good deal. His methods are hardly ever conventional, which indicates that he’s a person whose actions cannot be anticipated. Donald Trump has always been both criticized and praised for his controversial approach.

[newstfionline]

Monday, April 12, 2021

Covid has 200,000 merchant sailors stuck at sea (Washington Post) Brian Mossman says he has read “Moby Dick” nearly 200 times. The 61-year-old captain of the container ship Maersk Sentosa says he revisits the Melville classic nearly every voyage, because each time reveals something new about the people who take to the sea: people like him and the two dozen merchant mariners on his crew. Sentosa means “a place of peace and tranquility” in Malay, but Mossman says the 1,048-foot super carrier is more of a “floating industrial plant.” It runs around-the-clock hauling cargo to 14 ports in eight countries, from the eastern United States to the Middle East, supplying embassies and military bases and delivering humanitarian aid. But when the global pandemic hit, Mossman and his crew was trapped aboard, with no certainty on when they could go home. The U.S. Navy instituted a “gangways up” order that prevented military and civilian sailors alike from leaving their ships. Ports in even the most avidly seafaring nations refused to allow mariners ashore. Roughly 400,000 seafarers were stranded on ships around the globe at the peak of the “crew-change crisis” in late 2020, according to the International Maritime Organization; now, about 200,000 are stuck. Some have been at sea for as long as 20 months, though 11 months is the maximum time allowed by the IMO. The situation threatens to grow more dire in the coming months, industry experts say, as mariners desperately try to access coronavirus vaccines, their situation complicated by a web of complex logistics and workplaces often situated thousands of miles offshore. World leaders have called the crew-change crisis a humanitarian emergency. It is also a cautionary tale about essential but oft-ignored global supply chains.

Vaccine Requirements Spread in U.S., Sowing Concern on Overreach (Bloomberg) Covid-19 vaccination requirements are fast becoming facts of life in the U.S., spreading business by business even as politicians and privacy advocates rail against them. Brown, Notre Dame and Rutgers are among universities warning students and staff they’ll need shots in order to return to campus this fall. Some sports teams are demanding proof of vaccination or a negative test from fans as arenas reopen. Want to see your favorite band play indoors in California? At bigger venues, the same rules apply. A Houston hospital chain recently ordered its 26,000 employees to get vaccinated. Yet it’s another matter how people prove they’ve had their shots or are Covid-free. Republican politicians and privacy advocates are bristling over so-called vaccination passports, with some states moving to restrict their use. Given the fraught politics, many companies are “not necessarily wanting to be the first in their sector to take the plunge,” said Carmel Shachar, executive director of the Petrie-Flom Center for Health Law Policy, Biotechnology and Bioethics at Harvard Law School. Still, “we’re going to see employers start to require vaccinations if you want to come into the office, if you will have a public-facing job.”

Business faces tricky path navigating post-Trump politics (AP) For more than a half-century, the voice emerging from the U.S. Chamber of Commerce’s monolithic, Beaux Arts-styled building near the White House was predictable: It was the embodiment of American business and, more specifically, a shared set of interests with the Republican Party. The party’s bond with corporate America, however, is fraying. Fissures have burst open over the GOP’s embrace of conspiracy theories and rejection of mainstream climate science, as well as its dismissal of the 2020 election outcome. The most recent flashpoint was in Georgia, where a new Republican-backed law restricting voting rights drew harsh criticism from Delta Air Lines and Coca Cola, whose headquarters are in the state, and resulted in Major League Baseball pulling the 2021 All-Star Game from Atlanta. Republicans were furious. GOP strategists argued that they no longer needed corporate America’s money to win elections as they try to rebrand as a party of blue-collar workers. That extends an opportunity to President Joe Biden and congressional Democrats to find an ally in an unlikely place when the party has unified control of the federal government for the first time in a decade. Biden is pushing an ambitious $2.3 trillion infrastructure package that includes corporate tax increases—which the White House is characterizing to CEOs as upfront investments that will ultimately make companies more profitable.

More volcanic eruptions on Caribbean island of St. Vincent (AP) Conditions worsened on Sunday at a volcano on the eastern Caribbean island of St. Vincent as loud rumbling, lightning and heavy ashfall were observed and residents reported power cuts. The eruption Friday of La Soufrière forced many residents to evacuate their homes, though some remained in place. The rumbling was heard in the capital of Kingstown, about 20 miles (32 kilometers) south. About 16,000 people have had to flee their ash-covered communities with as many belongings as they could stuff into suitcases and backpacks. However, there have been no reports of anyone being killed or injured by the initial blast or those that followed. Ralph Gonsalves, the prime minister of the 32 islands that make up the country of St. Vincent and the Grenadines, has said people should remain calm and keep trying to protect themselves from the coronavirus. He said officials were trying to figure out the best way to collect and dispose of the ash, which covered an airport runway near Kingstown, and fell as far away as Barbados, about 120 miles (190 kilometers) to the east.

Religious leaders recall Prince Philip’s spiritual curiosity (AP) Churches in Britain held services Sunday to remember Prince Philip as people of many religions reflected on a man whose gruff exterior hid a strong personal faith and deep curiosity about others’ beliefs. Most people’s glimpses of Philip in a religious setting were of him beside the queen at commemorative services, or walking to church with the royal family on Christmas Day. But his religious background and interests were more varied than his conventional role might suggest. Born into the Greek royal family as Prince Philip of Greece and Denmark, he was baptized in the Greek Orthodox Church. His father was exiled and his family left Greece when Philip was very young. He became an Anglican when he married Elizabeth, who as queen is supreme governor of the Church of England. In the 1960s, he helped set up St. George’s House, a religious study center at the royal family’s Windsor Castle seat, where Philip would join clergy, academics, businesspeople and politicians to discuss the state of the world. He was a regular visitor to Mount Athos, a monastic community and religious sanctuary in Greece, and was a long-time patron of the Templeton Prize, a lucrative award for contribution to life’s “spiritual dimension” whose winners include Mother Teresa. Philip’s faith may have been partly a legacy of his mother, Princess Alice of Battenberg, who established an order of nuns, sheltered Jews in Nazi-occupied Greece during World War II and is buried below a Russian Orthodox church in east Jerusalem.

EU and COVID-19: When a vaccine only adds to the trouble (AP) European Union leaders no longer meet around a common oval summit table to broker their famed compromises. Instead, each of the 27 watches the other heads of state or government with suspicion via a video screen that shows a mosaic of faraway capitals. This is what COVID-19 has wrought. Lofty hopes that the crisis would encourage a new and tighter bloc to face a common challenge have given way to the reality of division: The pandemic has set member nation against member nation, and many capitals against the EU itself, as symbolized by the disjointed, virtual meetings the leaders now hold. Leaders fight over everything from virus passports to push tourism to the conditions for receiving pandemic aid. Perhaps worse, some attack the very structures the EU built to deal with the pandemic. Last month, Austrian Chancellor Sebastian Kurz decried how vaccine-buying in the bloc had become a “bazaar,” alleging poorer countries struck out while the rich thrived. “Internal political cohesion and respect for European values continue to be challenged in different corners of the Union,” the European Policy Center said in a study one year after the pandemic swept from China and engulfed Europe. But overall, political upheaval across the EU has been muted, considering that half a million people have died in the pandemic.

Afghan President in ‘Desperate Situation’ (NYT) He attends international conferences, meets with diplomats, recently inaugurated a dam and delivers patriotic speeches vowing to defend his country against the Taliban. But how much control President Ashraf Ghani of Afghanistan has over his imperiled country’s future and his own has become a matter of debate among politicians, analysts and citizens. Or rather, the question has been largely resolved: not much. He is thoroughly isolated, dependent on the counsel of a handful, unwilling to even watch television news, those who know him say, and losing allies fast. That spells trouble for a country where a hard-line Islamist insurgency has the upper hand militarily, where nearly half the population faces hunger at crisis levels, according to the United Nations, where the overwhelming balance of government money comes from abroad and where weak governance and widespread corruption are endemic. Meanwhile, the Americans are preparing to pull out their last remaining troops, a prospect expected to lead to the medium-term collapse of the Afghan forces they now support. “He is in a desperate situation,” said Rahmatullah Nabil, a former head of the country’s intelligence services. “We’re getting weaker. Security is weak, everything is getting weaker, and the Taliban are taking advantage.”

Electrical problem strikes Iran’s Natanz nuclear facility (AP) Iran’s Natanz nuclear site suffered a problem Sunday involving its electrical distribution grid just hours after starting up new advanced centrifuges that more quickly enrich uranium, state TV reported. It was the latest incident to strike one of Tehran’s most secure sites. Malek Shariati Niasar, a lawmaker who serves as spokesman for the Iranian parliament’s energy committee, wrote on Twitter that the incident was “very suspicious,” raising concerns about possible “sabotage and infiltration.” Natanz, a facility earlier targeted by the Stuxnet computer virus, was largely built underground to withstand enemy airstrikes. It became a flashpoint for Western fears about Iran’s nuclear program in 2002, when satellite photos showed Iran building its underground centrifuges facility at the site, some 200 kilometers (125 miles) south of the capital, Tehran. Natanz suffered a mysterious explosion at its advanced centrifuge assembly plant in July that authorities later described as sabotage. Iran now is rebuilding that facility deep inside a nearby mountain. Israel, Iran’s regional archenemy, has been suspected of carrying out an attack there, as well as launching other assaults, as world powers now negotiate with Tehran in Vienna over its nuclear deal.

China launches hotline for netizens to report ‘illegal’ history comments (Reuters) China’s cyber regulator has launched a hotline to report online comments that defame the ruling Communist Party and its history, vowing to crack down on “historical nihilists” ahead of the Party’s 100th anniversary in July. The tip line allows people to report fellow netizens who “distort” the Party’s history, attack its leadership and policies, defame national heroes and “deny the excellence of advanced socialist culture” online, said a notice posted by an arm of the Cyberspace Administration of China (CAC) on Friday. “Historical nihilism” is a phrase used in China to describe public doubt and scepticism over the Chinese Communist Party’s description of past events. China’s internet is tightly censored and most foreign social media networks, search engines and news outlets are banned in the country.

8 dead, dozens hurt as Indonesia quake shakes East Java (AP) A strong earthquake on Indonesia’s main island of Java killed eight people, including a woman whose motorcycle was hit by falling rocks, and damaged more than 1,300 buildings, officials said Sunday. The U.S. Geological Survey said the magnitude 6.0 quake struck off the island’s southern coast at 2 p.m. Saturday. This was the second deadly disaster to hit Indonesia this week, after Tropical Cyclone Seroja caused a severe downpour Sunday that killed at least 174 people and left 48 still missing in East Nusa Tenggara province.

[jacobsmith321]

Contextual Studies: Designing the Anthropocene

Instead of our regular lecturer, we had Fred Hubble, a graphic designer who’s practice’s work on the theme of nature, actually came in to talk about the Anthropocene and how it was designed. 

This is about how we are living in our current climate and what effects do we have as humans on the planet.

Currently we are specified to be living in what’s called “the Holocene” and it’s the time after the ice age and it’s been going on for 11,500 years. However, a lot of people think we are entering a new epoch.

We are calling it the “Anthropocene” which was coined in the 1980s, meaning that humans are affecting the earth manually at a drastic rate.

People are suggesting it’s been because of the atomic bomb, industries and environmental destruction. Regardless, we are entering the age of the human.

Biologist EO Wilson suggests we’re living in the age of the ‘Eromacene’ because it’s the age of loneliness. This is supported by Covid 19 as it’s difficult to spend time and meet one another, even with video calls.

There’s also the suggestion of the Cthulucene, where it’s all about our relationship with animals and how we all mix.

There’s also this talk of Gaia, which how it’s been mutated by Gaia and how humans have mutated it over the years.

There was a painting made called ‘Hunters in the snow’ and it was made in 1565, depicting political issues. In this painting, humans are coming back with a fox on their back and the all the snow and mountains that don’t actually exist in the Netherlands. represents the fact it’s all about human and nature interactions. But it also represents a change in our climates and dealing with them.

They even parodied this piece to represent to represent how Trump is one of the hunters.

Blue Planet 2 also represents how we are slowly seeping into the Anthropocene.

One of the most depressing images to represent climate change and plastic in the ocean, was a seahorse holding onto a cotton swab.

There are fashion industries that are attempting to create clothing using bionic yarn, which is made from recycled plastic. Adidas is attempting new shoes in this style as well. The Mavericks create bags that are recycled materials but are stronger.

There’s worn wear to fix their clothes and go over there to fix them, to imply that you shouldn’t waste clothes but instead fix them and stop wasting materials.

Fiona Benner and Green Piece made granite stone full stops, to stop fishers and crawlers from killing off and damaging marine life.

In the Syrian civil war, there have been refugees; they created shelters from plastic that can be moved and are insulated for those who need temporary refuge.

In another country, there had been structures made from not only wood but recyclable plastics, reducing the usage of more materials, reusing older stuff and recycling anything else again. But not just for practical use but also art.

There’s the concept of tending to a plant, where you’re interacting and looking after something from nature and not focusing on our screens.

Humans are very sociable animals. We need to create interactions and spend time with one another for out own mental health and being with someone helps that.

There are other ways people becomes interactive with nature or being sociable digitally, that being either with Pokemon go to be outside and catch mons, Tamagotchi where you’d look after your own pets or learning to manage a farm via Farmville.

Design

When we were asked about “would you work for sustainable clients only?”, this was a very mixed answered question

Some people said “yes” some said “I don’t think I could” (within the context of I won’t work for damaging clients but I need some sort of work to live) and others expressed they will consider how sustainable they are, but they need to eat and live, plus the industry’s hard to get into, so they need to get into as much as they can to survive, so they’ll keep morals and not work for horrible industries that are destructive but you need something.

As to what kind of approach one can take, there’s recycling materials, marketing campaigns, animations and posters.

Virginie Kypriotis creates a music video called “Like Lightning” where climate change is obvious and real, but it’s being ignored or only slightly acknowledged. Until one bigfoot monster comes out of his cage to replicate a scene from Forest Gump, running along for the same of it, wearing a hat about making the environment better and people who get hit by lightning join him, representing how he’s changing the world and how you need a better leader; people start getting inspired and help the environment. 

What Virginie said about this whole situation was ‘What makes us angry is that now more than ever believing in climate change defines people’s political identity, rather than something you just should just know and believe. This stupidness in the world was the main inspiration for the project. So rather than a message that is 100% sad we wanted it to be like a funny mirror on the world as we see it.’

It’s said that designers can influence minds and change them.

There’s symbols such as ‘Extinction’ which is used against climate change, for graphics pieces.

You have Ryan McGill who created many different recycling symbols.

‘It’s Freezing in LA’ is a quote said by Donald Trump, that was used as a brand name and weaponised to fight climate change.

Moby Digg made the US flag but it was slightly melting throughout the years, as an example of climate change (also it resembled a graph). But this style has been done for many other flags too.

WWF just* & Leo Burnett Agency created cool packaging where it uses the empty space filled by oranges, lemons or spices, to fill the shape of sprays, washing powder or bleach, instead of having those actual products; you have a more sustainable instead of wasteful or harmful solution.

Brands that don’t do this well are Coco cola, because they made labels made from recycled plastic (supposedly), but they’re biggest waster of plastic; the packaging looks too good and refined, instead of having that sort of roughness to it’s look and feel.

Some companies are blamed to fall under “greenwashing” where it appears that companies only use sustainability as a form of branding to get more people to go to them. It’s also considered wrong because they’re not legitimately caring and they may just do it for a little while then dump it later.

However, back on to good forms of sustainability, there were bars of soap made called “soap bottle” and instead of buying plastic soap bottles to wash yourself, just use a bar. However it is a soap bottle and dispenses soap, but it can be used for both the body and hair.

Conclusion?

What I learned from this, was that we are altering the way our lives are. We have made too many changes and adjustments to start “reverting back” but instead we can learn to adapt and evolve with what we have.

[weeklyhumorist]

#NauseatingNovels

One Flu Over the Cuckoo’s Nest?! It’s #NauseatingNovels on this week’s trending joke game! Here are some of the best on @HashtagRoundUp powered by @TheHashtagGame. Play our comedy hashtag twitter games every Wednesday at 11 am EST.

Let’s play #NauseatingNovels with co-host @delaneyWHmag @HashtagRoundup powered by @TheHashtagGame #WeeklyHumoristHashtags https://t.co/RBuA4DJSi3 pic.twitter.com/f56RUS5xYq

— Weekly Humorist (@WeeklyHumorist) September 2, 2020

Moby’s Dick #NauseatingNovels pic.twitter.com/3m8Glo4ReW

— Mister Race Bannon (@MrRaceBannon) September 2, 2020

The Turd Man #NauseatingNovels pic.twitter.com/n9YbtLDfAL

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#NauseatingNovels For Whom the Belly Roils

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— Robyn staying in the nest (@robyndwoskin) September 2, 2020

#NauseatingNovels Moldy Dick @KitLively pic.twitter.com/rzggXjcut1

— Weekly Humorist (@WeeklyHumorist) September 2, 2020

#NauseatingNovels

The Art Of The Deal

— Q (@2phat2phish) September 2, 2020

IT stinks! #NauseatingNovels pic.twitter.com/ihEYPh0eno

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— 📚 Book’em Mary 📚 (@MaryG0401) September 2, 2020

Stephen King’s VomIT. #NauseatingNovels

— John Lane (@JohnFPLane) September 2, 2020

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— Greg Morter (@Evi1Geniu5) September 2, 2020

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— Dont Think So (@DontThinkso555) September 2, 2020

Harry Potter and the Chamber of Secretions #NauseatingNovels

— Edward J Thomas (@UnknownWr1ter) September 2, 2020

#NauseatingNovels The Notebook pic.twitter.com/Qb3M3YnQ84

— Larkyn Simony Non-Proofreading Hashtagger (@HashtagLarkyn) September 2, 2020

#NauseatingNovels The Great Fatsby pic.twitter.com/DkukVNx0N1

— Geff Gefferson (@GeffGefferson1) September 2, 2020

#NauseatingNovels The Da Vinci Choad @KitLively

— Weekly Humorist (@WeeklyHumorist) September 2, 2020

#NauseatingNovels The Human CentiPeter Pan

— Larkyn Simony Non-Proofreading Hashtagger (@HashtagLarkyn) September 2, 2020

#NauseatingNovels Catch 22 STDs @KitLively

— Weekly Humorist (@WeeklyHumorist) September 2, 2020

#NauseatingNovels Heaves Of Grass pic.twitter.com/1MGHvHc9gw

— I’m Just Dan (@DanielAshley13) September 2, 2020

Bridget Jones’s Diarrhea. #NauseatingNovels

— John Lane (@JohnFPLane) September 2, 2020

Slime and Punishment #NauseatingNovels

— Tomas Que Feo Estas (@catheternebula) September 2, 2020

#NauseatingNovels

shIT

— 🧟‍♀️🧟‍♂️🧠🧠🧠🧟‍♀️🧟‍♂️ (@TheOriginalDeez) September 2, 2020

Love in the Time of Corona#NauseatingNovels

— f.j. darnell, PhD (Doc) 🌊 (@DocDarnell) September 2, 2020

The Big Queasy. #NauseatingNovels

— Peanut (@IndignantPeanut) September 2, 2020

The Great Gagsby #NauseatingNovels

— pRobably Rob, defintely wears a mask (@probably_rob) September 2, 2020

Hurl Interrupted #NauseatingNovels

— Marian Rosin (@MarianRosin) September 2, 2020

The Lady & the trump #NauseatingNovels

— Milkman (@Milkman69444494) September 2, 2020

The Time Traveller’s Whiff. #NauseatingNovels

— John Lane (@JohnFPLane) September 2, 2020

#NauseatingNovels All About Heave

— F The Wall, Build The Wave (@Sbarth57R) September 2, 2020

#nauseatingnovels A Catcher in the Lye

— Danny Gallagher (@thisisdannyg) September 2, 2020

#NauseatingNovels

Brave Nude World

— The Lyin King রশ্মি (@TheRealStanRay) September 2, 2020

Charlie and the White Chocolate Factory #NauseatingNovels pic.twitter.com/FACDCC1t7R

— CK (@charley_ck14) September 2, 2020

Gone Hurl #NauseatingNovels

— Jesse Barfield (@JesseBarfieldPi) September 2, 2020

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— Tom Puckett (@TomPuckettWBEN) September 2, 2020

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— Rach (@Rach_T_) September 2, 2020

#NauseatingNovels Brave New Hurl 🤮

— Jennie Egerdie (@hijennieblair) September 2, 2020

Of lice & Men #NauseatingNovels

— Milkman (@Milkman69444494) September 2, 2020

#NauseatingNovels The Brothers Get-their-rocks-off @bleicher_newton

— Weekly Humorist (@WeeklyHumorist) September 2, 2020

#NauseatingNovels Charlotte’s Web Search History @joshfeinblatt

— Weekly Humorist (@WeeklyHumorist) September 2, 2020

#NauseatingNovels was originally published on Weekly Humorist

[tourmybookshelf]

42 Books

Here is a list of the 42 (yes I have 42 unread books) books I plan to read this year. A varied selection, I know.

1. Spychips – Katherine Albrecht

2. Pride and Prejudice – Jane Austin

3. The Universe and Dr. Einstein – Lincoln Barnett

4. Farenheit 451 – Ray Bradbury

5. Wuthering Heights – Charlotte Bronte

6. The Good Earth – Pearl S. Buck

7. Ender’s Game – Orson Scott Card

8. Quiet – Susan Cain

9. Don Quixote – Miguel de Cervantes Saavedra

10. Jurassic Park – Michael Crichton

11. Oliver Twist – Charles Dickens

12. Crime and Punishment – Fyodor Dostoyevsky

13. See Jane Run – Joy Fielding

14. Too Many Ghosts – Paul Gallico

15. Complications – Atul Gawande

16. Rainmaker – John Grisham

17. The Drafter – Kim Harrison

18. The House of Seven Gables – Nathaniel Hawthorne

19. Midnight Express – Billy Hayes

20. The Nix – Nathan Hill

21. Brave New World – Aldous Huxley

22. Temperament – Stuart Isacoff

23. Green Mile – Stephen King

24. Scout’s Progress – Sharon Lee

25. Apocalypse Code – Hal Lindsey

26. Wicked – Gregory Maguire

27. Moby Dick – Herman Melville

28. The Gene – Siddhartha Mukherjee

29. Three Cups of Tea – Greg Mortenson

30. Point of No Return – John P. Marquand

31. The O’Reilly Factor for Kids – Bill O’Reilly

32. Eight Tales of Terror – Edgar Allen Poe

33. Close Encounters of the Third Kind – Stephen Spielberg

34. Grapes of Wrath – John Steinbeck

35. Missing, Presumed – Susie Steiner

36. Kidnapped – Robert Louis Stevenson

37. Supernatural Cold Fire – John Passarella

38. Art of the Deal – Donald J. Trump

39. Double Helix – James D. Watson

40. Von Ryan’s Express – David Westheimer

41. The Picture of Dorian Grey – Oscar Wilde

42. The Bible

[anthonycharlestabone]

Having trouble viewing? View in Browser Wednesday, October 18, 2017 TOP OF THE MORNING Welcome to Fox News First. Not signed up yet? Click here. Developing now, Wednesday, Oct. 18, 2017: Growing demands for James Comey to answer new questions on Clinton email investigation Thousands of Clinton-related documents found on Anthony Weiner's laptop Fox News Exclusive: Smear tactics of Trump dossier firm revealed Barbara Walters blasted for shutting down Corey Feldman sex abuse claims NFL owners, players punt on national anthem protests   THE LEAD STORY: The cries for former FBI Director James Comey to return to Capitol Hill to answer more questions about the Hillary Clinton email investigation are growing louder after the FBI confirmed he drafted a letter on the probe before it was finished ... Rep. Trey Gowdy, chairman of the House Oversight Committee and a member of the House Intelligence and Judiciary committees, told Fox News' Bret Baier on "Special Report" that Comey should return to Capitol Hill "for a number of reasons" and the committees needed to further examine the FBI memos. According to Gowdy, the timeline of events and some of Comey's decisions in the investigation do not appear to add up. Comey insisted no 'special' rules in FBI Clinton probe - while drafting 'exoneration statement' TROUBLE FOR HUMA - AND HILLARY? The FBI reportedly found 2,800 government documents on disgraced former U.S. Rep. Anthony Weiner's personal laptop computer that were related to his estranged wife Human Abedin's work as Hillary Clinton's deputy chief of staff during her tenure as secretary of state ... The documents were sent to Weiner's computer by Abedin, a revelation that came to light in the closing days of the 2016 presidential campaign. "This is a disturbing development. 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Favor factory? Huma emails reveal Clinton allies seeking jobs, meetings FOX NEWS EXCLUSIVE: The firm behind the controversial anti-Trump dossier has a track record of intimidation and smear tactics, according to congressional testimony and the firsthand account of a journalist smeared by the group ... Alek Boyd, a Venezuelan journalist, said he was labeled a "pedophile," "extortionist" and "drug trafficker" after criticizing one of Fusion GPS’s clients. "I believe that Fusion GPS's business is to do basically whatever the paymasters tell them to do," Boyd told Fox News in his first U.S. TV interview. "They are particularly good at spreading misinformation, disinformation and smears." Fusion boss refused to answer basic questions on anti-Trump dossier, source says THE WEINSTEIN EFFECT: Barbara Walters may be the latest victim of the Harvey Weinstein sex scandal - but not in the same way as his alleged victims ... The Weinstein saga has draw attention to sex abuse in Hollywood, and opened a floodgate of horror stories from some of Tinseltown's elite. Unfortunately for Walters, a 2013 interview on "The View" showing her shut down actor Corey Feldman when he spoke about his personal experiences of sex abuse has surfaced and critics are demanding that she apologize. From Fox News Opinion: No, "not all men" are like Harvey Weinstein – but apparently the left wants you to think so Harvey Weinstein sex scandal: Everything you need to know MORE ANTHEM PROTESTS?: An NFL rule change regarding behavior during the national anthem was reportedly never discussed during a closely-watched meeting between players and owners in New York, despite growing tension across the league and the nation … Players kneeling during "The Star Spangled Banner" has become the new norm in the NFL and has drawn the ire of President Trump and fans nationwide. Despite the outrage, the issue never came up during the NFL Players Association's annual fall meeting. Current NFL guidelines on the matter say the league believes its players should stand during the anthem with their hands over their hearts. Former NFL player: President Trump and Colin Kaepernick should meet   ABOUT LAST NIGHT THE ART OF TAX REFORM: "Democrat [legislators] do not favor tax cuts. 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[nofomoartworld]

Hyperallergic: Maureen Gallace’s Uneasy Sublime

Maureen Gallace, “Clear Day” (2012), oil on panel, 14 x 18 inches (35.6 x 45.7 cm) (all images courtesy 303 Gallery)

Maureen Gallace is a wonderful anomaly, a painter of vision and serious skill whose elemental works seem at odds with so much visual art these days. Bigness and boldness grab attention. Damian Hirst’s whopping, multimillion-dollar, sunken treasure extravaganza is now on view in collector Francois Pinault’s two museums in Venice, and the art world, whether for, against, or somewhere in the middle, is predictably going gaga.

Gallace’s oil-on-panel paintings, primarily of enticing, yet stark and unsettling coastal scenes, are resolutely small — most of the works in her impressive mid-career survey show, Maureen Gallace: Clear Day at MoMA PS1, measure a mere 9 by 12 inches or 11 by 14 inches. In this fraught Trump time, political matters and identity issues are often paramount and sometimes elicit loud reactions; witness the controversies surrounding Dana Schutz’s painting of Emmett Till in his open coffin and Jordan Wolfson’s head-bashing, virtual-reality installation, both at the Whitney Biennial. There are no people at all in Gallace’s paintings, and also no overt politics. Instead she paints the beaches and barns, beach shacks and seascapes, houses and empty roads, foliage and sky of coastal New England, although she occasionally ventures further inland (there is a great painting of a very lonely looking Merritt Parkway in this show, and a stunning painting of red barns in the snow in Easton, Connecticut.) This is a region and landscape that Gallace (who grew up in southern Connecticut) knows well. Her orientation is toward the local and specific, the “lure of the local,” as the writer and art critic Lucy Lippard has put it. The remarkable thing is how such commonplace scenes —a beach shack next to the ocean; towering trees, which look vaguely threatening, next to a house; a rural barn close to a seaside road—while lovely, have such an air of mystery and unease.

Maureen Gallace, “Surf Road” (2015), oil on panel, 9 x 12 inches (22.9 x 30.5 cm)

The barn that I mentioned is in “Surf Road” (2015), a standout in this exhibition which includes a smattering of early paintings from the 1990s, a smart assortment of works from the 2000s, and a generous selection of recent works from 2015 and 2016. The cloud-streaked sky is a mesh of exquisite, yet also unruly, blues and whites. On the left is a thin beach with scraggly vegetation, and beyond that a glimpse of blue ocean. In the foreground is a bush with just two orange dabs for flowers. There is a curving, empty road (the surf road from the title), which seems like a vulnerable border between land and ocean, humans and nature, the present moment and eternity. There is a simple gray telephone pole. The scene is alluring but also bleak. Gallace works wonders with her typically spare means, which include dabs, smears, irregular pools of color and abrupt brushstrokes (it’s worth paying careful attention to her complex and sometimes fractious surfaces.)

While her paintings are realistic, they display a pared down, at times rudimentary realism that also includes numerous abstract elements. Beach vegetation appears as just a few green and yellow-green brushstrokes. The ocean can be nothing more than a slightly askew blue band. Trees can be delineated just by gray, black, and white streaks. Houses — often without windows and doors — can consist of simple monochromatic planes.

Then there is that barn. Gallace has painted it and a nearby telephone pole with a brilliant, glowing white that seems to have gathered and absorbed clouds and sea spray. While physical, they seem ethereal, made not of wood but of concentrated mist. Frankly gorgeous and even sublime, both barn and telephone pole are also unsettling, but in a way you can’t quite pin down.

Herman Melville — who knew a thing or two about New England, the ocean, and the color white — had a lot to say about this color in his great chapter in Moby Dick titled “The Whiteness of the Whale.” For Melville, white symbolizes purity, innocence, and grace but also induces irrational dread: the whiteness of angels’ wings and wedding gowns, and but also the ghastly whiteness of a shark’s underbelly, the pristine whiteness of amanita virosa (the so-called “destroying angel,” one of the deadliest of mushrooms), and the pallor of a Caucasian corpse. Something of that complexity can be found in Gallace’s white structures, which also seem liable to disperse and vanish in the next instant, one of many times when stout, manmade things appear precarious and ephemeral.

Gallace’s paintings, with ample space between them, are installed as a horizon line around the central gallery, and installed in the same way around several adjacent galleries. Especially when seen from a distance, these small paintings almost float upon the white walls, and sometimes half-dissolve into them; the walls correspondingly appear vast, almost overwhelming. This makes perfect sense because Gallace’s compact paintings deal in vastness, or rather a combination of precision and vastness.

Maureen Gallace, “Beach Shack, Door” (August 14th, 2015) oil on panel, 9 x 12 inches (22.9 x 30.5 cm)

In “Beach Shack, Door August 14th” (2015), a gray beach shack stands at the edge of the ocean. There are no signs of life anywhere, even though, as the title tells us, this is high summer: no beach toys or barbecue grill, no bicycles or towels. Instead this solitary shack seems implacably isolated, fragile, perhaps abandoned, and lonely — a loneliness that suffuses Gallace’s other paintings as well.

Still, there is something rapturous about this scene. A white doorframe and gables echo the color of wispy clouds and white sand. This humble shack seems lit up with palpable intensity. You look at this shack but also right through it, through its exposed front door to the ocean and sky behind. This building is open to and implicated in nature’s immensities. Here and elsewhere the ocean is much more than a setting. It is a powerful and defining force that inspires awe and fear, delight and humility, and the same goes for Gallace’s eventful skies, which sometimes dominate the scene.

In “Pink Flowers / Ocean” (2016), one of several excellent floral paintings in the show — and flowers aren’t exactly a trending theme in the art world — delicate blossoms stand in the foreground, partially obscuring a pale blue strip of ocean. You could, the painting suggests, “lean and loaf” (as Walt Whitman wrote in “Song of Myself”) right here for hours, observing not “a spear of summer grass” but this vivid, beachside marvel. In Gallace’s painting, as you look at the flowers you also look through them and beyond them to the sea and sky. These ebullient flowers are framed by immensity.

Maureen Gallace, “Cape Cod, Winter” (2004), oil on panel, 11 x 12 inches (27.9 x 30.5 cm)

While Gallace’s rural scenes might look serene, creeping trepidation haunts many of them. People are totally absent, and you wonder about that. Oceanfront houses, or those tucked among plants and trees, don’t look homey and inviting; instead they are more like impersonal and inscrutable forces. Gallace doesn’t provide the slightest scrap of a narrative. You don’t know who lives in these houses or if they are inhabited at all; this adds to a sense of mystery. In “September 1st” (2014), a house and an attached garage are surrounded by encroaching, almost menacing green vegetation. Both structures are gray and have blank facades. This home is sealed off from the outside; it’s as if the house and garage have turned into a bunker. In “Cape Cod, Winter” (2004), a white house with a black roof and a nearby white building with a brown roof (this may be either a barn or garage) — both buildings lack windows and a door — are in front of a beige band, for a beach, and a gray-blue band, for the ocean. Again unnaturally white and almost spectral, these buildings are much more extreme than a Cape Cod house shuttered for the winter. They seem to be merging with winter, becoming ice and snow themselves, blending with the sky and ground; they “have been cold for a long time” and evince a desolate “mind of winter,” as Wallace Stevens’ put it in his great wintry poem “The Snow Man.” Half of the sky is a giant white cloud rolling in, poised to envelop and perhaps erase the buildings altogether. Gallace’s local paintings tap into a pervasive national anxiety, an ill-defined feeling of threat coupled with a nagging sense that a bright promise is faltering and may be already gone.

Lots of commentators have noted Gallace’s affinity with such 20th-century representational painters as Edward Hopper and Fairfield Porter. She also connects with a 19th-century nature-based sublime in New England, and this gives her little paintings a very big and profound historical scope. Like luminist painters Fitz Henry Lane and Martin Johnson Heade — whose works are more subdued, atmospheric, and, in a way, minimal than the comparatively dramatic and maximal paintings of the Hudson River School — Gallace discovers acute psychological and spiritual potential in unremarkable coastal scenes; she also shares the luminists’ absorption with light and color.

With the sun dipping below a gray and orange horizon, and with subtle colors reflected on a glassy sea, Gallace’s near-beatific “September Sunset” (2008) is exactly the kind of scene Lane favored, for instance in “Brace’s Rock” (1864), in which part of a jutting rock is illuminated orange by the sun while smooth water in a quiet cove (there is also the rotting hull of a wrecked boat on the beach) reflects both sky and rock. Like transcendentalist poet-philosopher Ralph Waldo Emerson, whose clarion call for immersive experiences in nature greatly inspired the luminists and the Hudson River School painters, Gallace opens herself to nature, studies it intently, observes its forms, and absorbs its changing moods, and then channels this into her art. Her paintings aren’t so much depictions of nature as they are charged and complex encounters with specific sites that, for whatever reasons, are deeply meaningful to her, and she sometimes returns to those sites to make new, slightly different paintings, studying the sites again, querying them, trying to discover a bit more of their mute secrets.

While Gallace does not paint whopping natural forces like lashing storms and tumultuous waves, nature is all-powerful in her works, and she probes and questions our often uneasy relationship with nature, which makes her works all the more relevant, especially now. We have lived for centuries with the fantasy that we, as humans, are somehow above nature, or masters of nature. That fantasy, encapsulated in the current president’s ridiculous claim that global warming is a hoax, is fast becoming perilous. Global warming, of course, is real and a very grave threat. The sea level is rising, severe storms are increasing, and coastal areas — including the ones Gallace paints—are especially endangered.

In “Clear Day” (2012), which is also the exhibition’s title, an empty house (this one with four windows and a door) is at the edge of what looks like a blue inlet. Each window — a blue rectangle above a dark gray one— becomes an abstract version of the ocean, sky, land and night. Nature isn’t just a setting for this house. Instead it seems to flow though the house, which is part of the environment, one more object among many, one more form among those of the sky, water, bushes, and land in the background. This house also looks curiously unstable, like a propped-up Hollywood flat. When the next fierce storm comes it might be blown straight to the ground.

Many of Gallace’s paintings feature scenes that are disconcertingly close to images common on postcards, in calendars, and in innumerable amateur paintings — the kind of local flavor, Sunday-painter paintings that one might well find among the bric-a-brac and musty furniture in a Cape Cod antique shop. I mean this as a plus. Gallace invests common, readily understandable, even timeworn local scenes with freshness and wonderment, as well as subtle agitation and upheaval.

We are all familiar with rural red barns. In “Christmas Farm” (2002), three windowless barns, each bright red with a white roof, are arrayed on a snowy field. In one sense, they are utterly normal, just some more red barns in a rural place where barns are ubiquitous. In another sense, they look strange and uncanny, as if an aerial squadron of alien barns had suddenly landed on the field.

This is a hallmark of Gallace’s work: the mundane morphing into the peculiar and uncanny. In “Ice Storm, Easton (with Robert)” (2015), two red barns with white roofs nestle in the snow beside bare trees with snow-and-ice-encrusted branches; above is a bright blue sky. Winter gathers these barns, presses against them, and threatens them, while everything still looks utterly lovely. You sense eternal cycles of creation and destruction, cohesion and entropy.

This painting with red barns (stereotypical for New England) and snowy woods (likewise) points to another New England connection for Gallace. Poet Robert Frost — about as identified with New England as one could be — also favored homespun, familiar, even clichéd scenes. Two of his most famous poems, “The Road Not taken” and “Stopping by Woods on a Snowy Evening” — and among his most sorely misunderstood — concern a couple of lightly trodden roads in autumnal woods and snowy woods at night just a bit outside of town. You can well imagine them as images in a New England picture calendar, the first accompanying October and the second accompanying December. Both use plain language in a deceptively easy, almost conversational tone.

“The Road Not Taken,” far from being the celebration of against-the-grain individualism that it is often taken to be, is a poem of radical doubt and existential crisis, mixed with stubborn perseverance. The seemingly pleasant and contemplative “Stopping by Woods on a Snowy Evening” is filled with shuddering intimations of mortality, with the woods that are famously “lovely, dark and deep” hinting at self-annihilation.

Maureen Gallace, “July 4th” (2014), oil on panel, 9 x 12 inches (22.9 x 30.5 cm)

Gallace’s quintessentially New England scenes have a similar quality. They lull you and please you while they also — very quietly — deal in rough and disturbing matters: our connection with, but also alienation from, nature; the temporariness of our creations (and also our own brevity) in relation to nature and the huge scale of time; our frequent wariness of and isolation from others; our aptitude for sheer joy but frequent experience of consternation and loss.

These paintings also never seek to wallop and bedazzle you. Instead they invite patient engagement and contemplation, verging on reverie, and they can be very, very soulful. They “dazzle gradually” as Emily Dickinson wrote in one poem and “stun you by degrees” (I’m slightly paraphrasing her here) as she wrote in another. Gallace has much in common with the New Englander Dickinson, who also made really small artworks (poems) filled with complexity, ambiguity, and crackling spirit.

There is a room in Gallace’s exhibition featuring several of her early paintings from the 1990s. Their palette is considerably darker than her subsequent work, and they are also more brushy, more rendered, more Old Master-ish. Still you can see the origins of what would become a strong, clear, nuanced, and decisively idiosyncratic vision, for instance in “Untitled (White House)” (1992), in which two startlingly white houses look almost unearthly in a dark and somber landscape. It is also worth recalling how at odds these paintings must have been with the hyper-political, poststructuralist, postmodern critical discourse of the time, often so blithely dismissive not only of landscape painting but of painting altogether.

There is another room, a concluding room if you follow this largely chronological exhibition counterclockwise, that is all frothing waves surging toward beaches. The waves are not dramatic. They are not the crashing kind that, “fold thunder on the sand,” as Hart Crane wrote in his poem “Voyages,” but are instead incessant, minor waves. In “July 4th” (2014), Gallace captures one white wave just as it is about to break on the shore. The tawny beach in the foreground is speckled with a few black marks for sea wrack and driftwood. Behind the wave stretches the undulating ocean, in several shades of blue, and a distant gray strip of land. In Gallace’s hands, this minor, workaday wave, this one instant of the infinite, becomes very special. It is ragged and chaotic, but also effervescent and sensuous, and it is downright mesmerizing.

Organized by Peter Eleey, Chief Curator, and Margaret Aldredge Diamond, Curatorial and Exhibitions Associate, this beautiful and meaningful exhibition is, for me, one of the highlights of the whole art year. It opened on April 9, will be up until September 10 and it really should not be missed.

Maureen Gallace: Clear Day continues at MoMA PS1 (22–25 Jackson Avenue, Long Island City, Queens) through September 10.

The post Maureen Gallace’s Uneasy Sublime appeared first on Hyperallergic.

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