text:
BTOG 152 – Akagane's Workshop
Before chopping wood, first, I'll have to learn how to do it.
Maruishi said that, and I came to a workshop where the woodworker of the moonlight tree was.
"Excuse me."
"Oh, what is it!"
When I called out at the entrance, there was a loud reply. It was a very husky voice.
There was a cleaning sound, and then a huge, burly, macho man over two meters tall appeared.
"Huge!"
"Hahaha! That quite unique greeting, isn't it?"
I felt that his voice was somehow higher than I expected; I took a second look and found out that he turned out to be a she.
It's not often you see a woman bigger than Touka-chan, much less one this muscular.
She was wearing a twisted headband and a tank top. Her horns, hair, and eyes were a beautiful copper color.
She laughed at my rude comment and looked at me as if she were assessing me.
"I guess you're Sukuna. You've got a nasty curse. I've never seen anyone with a full-body curse like this before."
"Ahaha…"
It's like my information has spread throughout the village.
Well, it doesn't matter, though.
"Well, whatever. So, what do you want?"
"I received a quest to chop wood, and Maruishi asked me to come here to learn how to do it."
The woman looked over my entire body again, then stared at [Yoiyami] I was carrying and nodded.
"Hmm…. that nice weapon you have, alright' I will bring that out… Oh right! my name is Akagane, no need for honorifics because I get annoyed when people talk to me like that. I'm looking forward to working with you."
I grabbed the hand she offered me and felt her squeeze it as hard as she could. I'm not sure why she's doing that, but it's not like I'm that eager to do a contest of strength, so I'll need some excuse to get out of this.
And above all… I had trauma with hand squeezing.
"……Girl, You look like an eel."
"No, not really."
Akagane looked a little unsatisfied but quickly walked toward the workshop's backdoor.
"Follow me! You can't swing an axe inside a workshop."
In the backyard of the workshop I was brought to, there were a lot of logs lying around.
Some were big, some were small, some were thick, and some were thin. They were really many sizes, but there seem at least three different kinds of wood.
"If you're on a wood-chopping quest, you at least know that moonlight trees are deadly hard, right?"
"I was informed."
"The moonlight tree is a magical tree that grows by absorbing the moon's magic power. You can use it to make furniture that will last for a hundred years, and it's also a versatile material that can be used for armor. In addition, the wood from this tree burns much longer than other trees. It's the ideal wood."
"But it's hard and difficult to process."
"That's the first point. First of all, it's difficult to make tools for processing it. You need overheavy metal."
A familiar name came up unexpectedly.
Overheavy metal. It was the name of the heavy metal that formed the [Yoiyami] I was carrying.
"There are only a few blacksmiths who can refine over-heavy metal, so it's very expensive. A single tool can cost close to a million dollars. But it's also true that you can't process Moonlight tree unless the metal is as tough as that."
"Isn't the Moonlight tree too tough?"
"It's said to be the strongest after the World Tree. It's seriously the first-class material. Remember the bow you used for the yabusame the day before yesterday? I made it by carving moonlight wood."
"I see. That's certainly a nice bow."
I see. Akagane was the one who made the bow I used for yabusame.
It was a very sincere bow with no weird quirks.
Though it's possible that all bows are made without any quirks because we are in the game, but at least that bow was easy to use. That much is true.
"Now, look at this one."
When Akagane came to the backyard, she rolled a large log onto a stump as a firewood chopping block.
It must have been about two meters long. It didn't look like your usual log used for chopping wood. It was almost ebony in color.
"This is the log of the moonlight tree. The more magic power it contains, the darker its color becomes. The closer to black it is, the harder it is. This one is about 100 years old."
"Hee… so the one you used for the bow is a wood with less magic in it?"
I asked her about the color of the bow I used that time. Akagane nod and confirm it.
"The more magic, the sturdier it is, it also becomes more resistant to fire, but that would be too hard for a bow. Now, do your best to hit this one."
"Can I?"
"Yeah, I don't mind. Just give it your best shot."
As Akagane crossed her arms behind her, I pulled out my Yoiyami and set my eyes on the log.
The curse is blocking me from activating my skills, so the only thing I can do now is hit it as hard as possible.
At the moment of impact, there is a heavy sound like a bell being struck with all its might.
Interestingly, the impact does not come back to my hand. It was a strange feeling, as if I had been sucked into the ground through a log. {vibranium??}
"Interesting, isn't it? This thing disperses the impact it receives. That's why it's so hard to cut."
"It looks like it will make a good armor."
"Oh, it is used to make a light and sturdy armor."
As I enjoyed the strange feeling that still lingered in my hands, Akagane suddenly threw something at me.
The jet-black axe was thrown so that it fell right in front of me instead of where I could catch it.
It was not a battle axe, but a standard axe that lumberjacks often carry.
At first glance, I realized the axe was made of overheavy metal, just like the Kagenui and Yoiyami I had been using.
It seems that everything from the blade to the handle is made of overheavy metal. No wonder it's so heavy.
The name of that one is [Togireuta – Broken Song]. The people who can wield it in this village could be counted by your fingers at most.
"Maruishi also told me the same thing… this thing is heavy, isn't it? it probably weighs the same as my Yoiyami."
"That's right, Well… since you can wield kanabou and fight with it. I'm sure you can use it rather normally."
Akagane then urges me to pick up the axe. I then put the Yoiyami on my back and tried to lift up [Togireuta] that was stuck in front of me, but I couldn't lift it at all.
I wondered why, but I remembered this feeling, and it was the same as the first time I held the Meteor Impact Zero.
"I'm sorry. I'm not sure if it's because I'm still equipping Yooyami or because I don't have enough muscle strength."
Does that mean that there is a limit of strength value you need to pick up something regardless of whether it is in your hand or not? I don't know, but I'll assume that's probably what it is.
Having stowed the Yoiyami in my inventory, I lifted my axe once more.
It was a little heavier than the Yoiyami, but my strength level could handle it without any problem.
"E… this child has an odd center of balance?"
"Oh, you can tell?"
"Yeah, it feels like a hammer at this point."
The whole thing is definitely made of over-heavy metal, and the shape is not that different from a common axe for lumberjacks, not a battle axe.
But the weight of the axe was unusually tilted towards the small-looking blade, giving me the strange feeling that I was holding a hammer.
"By the way, you don't need to equip it to use it."
If you don't equip a weapon as your property in this game, it won't have any real effect.
The visual will still register, but don't expect any attack will be effective if you're not equipping it.
Even if it's a legendary holy sword, if it's not your equipment, its performance will be no better than a beginner's sword.
"Because It falls into the tool category. It may look like an axe, but it's not a weapon. Unlike weapons, tools can be used by anyone as an item."
"I've never heard of that."
Haruru said that a blacksmith's hammer can be used to attack.
I'm not sure if Akagane understood what I was thinking, but she smiled.
"Items in the tools category can be used as items by anyone, but they can also be used as weapons only when held by a specific profession. For example, a blacksmith's hammer, a lumberjack's hatchet, a seamstress' needle, and so on."
"Ohh…"
I see, since Haruru is a blacksmith, she can use a hammer, which supposedly belongs to the tool category, as a weapon.
If so, I wonder if there are items that can be used as weapons only for Douji.
It's probably a special case limited to production jobs. Still, I was a little curious.
"Give it to me for a second."
"I'm going to show you how to chop wood, but it's a little unusual, so watch carefully."
Returning to the topic that had been sidetracked, Akagane said and placed the log back on the stump.
No matter how I view it, it's a big log. The normal log is usually about 30 cm at most.
When I wondered how she was going to split the log, which was taller than her if we include the height of the stump, Akagane bent her knees and jumped up.
"ORAAAAAAAA!"
Boom! It sounds as if it were metal striking metal, and the axe blade swung down splits the log cleanly in half.
The log of the moonlight tree was neatly cut in half by Akagane's hands.
"Fufu, you'll repeat this until it's quartered. It's quite big for firewood, but don't worry, I'll dry it afterward and then cut it into pieces. If you do that, even ordinary oni will be able to split it."
I understand how to do it.
The strength difference between Akagane and me is probably irrelevant.
I'm sure the weight of the Togireuta itself is probably enough to cut it.
"Okay, just try it. It's hard for anyone to get used to it at first."
I held the axe straight in front of me and exhaled gently in front of the bisected log.
First of all, let's try to split it as Akagane did.
There is no need to leap as high as you can and just jump as high as you need to deliver most of its power at the moment of impact.
"FUU!"
The axe I swung down with a light leap makes a crisp sound. It made a small sound and split the log.
"Ooh, there's no wasted power! You've got a talent for this!"
"I don't think I need that."
Akagane said it with a rather serious expression as she watched me chopping wood.
However, thanks to this, I was able to see the nature of the moonlight tree.
If I could combine this information with my current sense of movement, I could make the wood chopping activity much more efficient.
The problem was that splitting the wood consumed a lot of SP. At the moment of impact, about 10% of my SP is taken away.
Well, the SP itself recovers in a few seconds, but it doesn't recover while you're chopping wood.
And considering that my SP is always halved, a normal person would lose more than 20% of their SP every time they chop wood.
That means they can only break it about four times in a row.
But if you have to take a short break every time you chop, still your progress will be slow. This may be one of the reasons why chopping wood is not popular.
But there is a definite advantage. This is because every time I chop wood, I get a small amount of experience.
It's a little less than the amount I get from killing monsters in Fias, but I think I can level up by doing this about a thousand times.
It might be more efficient to hunt monsters to raise your level, but if you can earn experience by chopping wood while searching for monsters, chopping wood might not be so bad.
"I believe I could leave it to you to chop wood all over the village. This village resident should own at least one of these, but you can take it with you because some might have lost it. but give it back to me later, okay?"
"Yes, I understand. I'll make a contract with you to make sure I don't run away with it."
"Oh, is that so?"
After signing the contract I suggested, Akagane quickly went back to the workshop.
"I've got some work to do too. I need to report back to the gathering place. For now, if you need anything, come there."
"Yes, ma'am. I'm off."
Hearing my words, Akagane waved her hand and went back inside.
I also left Akagane's workshop, aiming for the quest destination that Maruishi had marked for me.
In the river of the Lost Forest, there is an eel called Tsukiunagi (Moon Eel), which is about level 100.
And Akagane is a married. {…tsk}
What an over honest girl.
Next story BTOG 153 – The Fox-eared Sorceress
Previous story BTOG 151 – Gathering Place and the Quest.
LDM 417 – Reunion with Wataru
PMZ 099 – Two-facedness
BTOG 257 – Haruru's new weapon
It's dangerous to give alternate ways to gain XP.
rooislangwtf says:
Salad says:
oh shes married… tsk
Meicha says:
who's the husband, a shorty?
Anonymous Lewd Fairy says:
That's kinda hot.


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Beyond the Reading Room
Anecdotes and Other Notes from the U-M Special Collections Research Center
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The Ted Kaczynski Papers: FBI Files and Photographs
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Outside of Ted Kaczynski's cabin near Lincoln, Montana.
The Ted Kaczynski Papers are part of the Special Collections Library's Joseph A. Labadie Collection which documents the history of social protest movements and marginalized political communities from the 19th century to the present. The Ted Kaczynski papers were acquired in 1998 and the bulk of the collection includes correspondence written to and by Kaczynski since his arrest in 1996. Other materials in the archive include legal documents used during his trial, writings by Kaczynski, clippings and articles, some audiovisual material and FBI files.
Theodore John Kaczynski was arrested by the FBI on April 1996 at his cabin near Lincoln, Montana. He was accused of (and later plead guilty and convicted of) killing three people and injuring 22 in 16 separate bombings between 1978 and 1995. Even before Kaczynski was identified as a suspect, the FBI labeled the case "Unabomb" because the first targets were linked to universities (UNabomb) or airlines (unAbomb).
In 2012 the FBI files were sent by Kaczynski's lawyers to Special Collections and made part of the archive. These files consist of photocopies of documents confiscated by the FBI during Kaczynski's arrest at his cabin in Montana in 1996. The contents are mainly photocopies from his journals written in English, Spanish, and a numeric code. The earliest entry is dated 1969 and the last is February 1996. Other documents include photocopies of maps, identification papers, math equations, correspondence with family members and other miscellaneous documents.
The FBI files also contain dozens of photographs taken by agents after Kaczynski's arrest and used during his trial. The photographs show the outside area of Kaczynski's cabin, the land surrounding the cabin and downtown Lincoln, Montana and photos of the famous cabin along with its contents. Some photos are of books, rifles and some bomb making materials. Below are some examples of pictures found in the FBI files in the archive:
Ted Kaczynski's mailbox near Lincoln, Montana.
Inside Kaczynski's small cabin including books, hunting rifles and other items.
Books found in Kaczynski's cabin on topics such as chemistry, nuclear weapons and botany.
More books on the history of the Middle Ages, Peru, Mexico and Russia and other topics.
Kaczynski's arrest on April 3, 1996 at his cabin near Lincoln, Montana.
For access and more information on the Ted Kaczynski Papers at Special Collections please send an email to special.collections@umich.edu.
Deena Rojas
on June 3, 6:41am
To get a copy of all documents you have on Theodore John Kaczynski could you send them or do I need to travel there in person?
Julie A Herrada
on June 7, 10:55am
Please follow this link to find out how to view the collection: https://www.lib.umich.edu/special-collections-library/how-access-our-materials
Alan J Hazen
on Nov. 12, 4:17pm
I am interested in research any of the journals you may have of Theodore John Kaczynski. I am wondering if I can access this material online and or in person the UM. Thank you for your assistance. Alan J. Hazen
Julie Herrada
The materials are not online. You may view them in person.
on May 31, 12:45pm
Will they ever be accessible online?
Library Contact Information
818 Hatcher Graduate Library South, 913 S. University Avenue
(734) 764-0400 | contact-mlibrary@umich.edu

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Service Fabric with windows container error using microsoft/aspnet docker image I can deploy to my local service fabric cluster and it works fine. When I attempt to deploy it to my azure service fabric cluster it errors out with
Error event: SourceId='System.Hosting', Property='Download:1.0:1.0:5fb96531-7b75-42d0-8f23-6a9e42f0bda4'.
There was an error during download.System.Fabric.FabricException (-2147017731)
Container image download failed for ImageName=microsoft/aspnet with unexpected error. Exception=System.Exception: Container image history check failed after successful download. ImageName=microsoft/aspnet.
   at Hosting.ContainerActivatorService.ContainerImageDownloader.d__6.MoveNext().

When googling this error, the common answers are that the vm hardrive is full (check one of my nodes, over 100gb available) or that the vm operating system is wrong (verified on the vm scaleset that it is running 2016-Datacenter-with-Containers). Also have seem some people mention not having enough resources on the vm's so I bumped them up to Standard_D3_v2 which should be plenty.
I did see some people mentioning increasing the container download timeout. The container is over 5gb so this is potentially an issues, and could work locally because its coming from docker cache. Unfortunately I'm not sure how to increase the timeout easily.
What else could cause this issue?

A: For an image on this size, is likely that is timing out while downloading it.
You could try:

*

*Use a private repository on same region as your cluster, like 'Azure Container Registry', you might get higher download speeds

*If the botleneck is on your network, Increase the VM sizes, bigger VMs has more bandwidth.

*Configure the cluster to wait longer to download the image. You can try setting the ContainerImageDownloadTimeout as described here
This is set in the cluster configuration, an you cluster manifest will have a section like this:
{
        "name": "Hosting",
        "parameters": [
          {
              "name": "ContainerImageDownloadTimeout",
              "value": "1200"
          }
        ]
}

To change the settings from an existing cluster, you can follow the instructions found here and here

A: Make sure you target the correct version of the (base) image.
There are a few to choose from.
The version of the image must be compatible with the version of Windows you're running on the host.

redpajama_set_name: RedPajamaStackExchange


Sometimes I simply make sure the toilet roll has only a quarter left!
This is the 80th of my "101 Things that Moms with Eczema Child Do Differently", a tongue-in-cheek look at the many unique situations that we face. For more cartoons, click here to view.


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Home NovelsSearching for Mr Yesterday
Searching for Mr Yesterday
Sometimes, one moment is all it takes to change a life forever…
On the morning of her mother's funeral, a letter lands on Suzy's doormat. She recognizes the handwriting at once. It's from Johnny, her first love, her childhood sweetheart. Enclosed is a CD, a mix of songs they shared. Yet when the hearse arrives, she lays the letter and CD to one side.
Searching for Mr Yesterday quantity
After the wake is over
Suzy steps out of her home to return the teacups she has borrowed from the village hall. It is pouring with rain, when BAM! she is knocked down by a car speeding down the country lane. She wakes in hospital, confused and disorientated. She can hear music, friends laughing and feel water on her skin.
Where is she?
She has been under sedation, so was she dreaming? Or was it a flashback to a different, far more terrifying incident? Her son, Cameron, and her best friend, Debs, are mystified. To find out, she must resume her hunt for Mr. Yesterday, and face her inner demons on the way.


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By Poe Ballantine • January 2019
This is my ninth day at the Hotel Río Mortero next to a bus depot in Jerez de García Salinas, a high-mountain Mexican town that smells of tortillas, onions, roasted peanuts, and straw. It is early February 1999. My room is sixty pesos a night (about seven dollars) and has a stone floor, two plastic deck chairs, two beds, and a solid steel door like a bank vault with a gap at the bottom big enough for a rat to waltz through. The TV gets three fuzzy channels, and now and again I glance nervously at the brick ceiling, which I imagine will bury me alive at the slightest seismic tremble.
Einstein said that time moves at different rates throughout the universe. He must have been to Mexico, where time not only moves slower but has an altogether different texture and flavor than American time. I've decided to stay in Mexico for a while, since I've got some money for a change, from a book contract that isn't going half as well as I'd hoped. In fact, it is doomed. If I appear to be running away from my problems again, it's because I am.
It's cold here at night at six thousand feet, and the buildings in this part of the world are generally unheated — not much point with three-inch gaps at the bottoms of doors — so I sleep under the blankets from both beds. But right now it's pleasantly warm. One in the afternoon is a little early to be drinking, I know, but I've grown bored in this long, splendid yawn of time. I've got myself a liter of Familiar, which reminds me of Coors, only sweeter. I sit in the doorway in the sun and go over my notes from the last few months. Every few pages I find a line like "It is over," or "My life is done," or "I am done." The individual days are tolerable, but the sum of the days and the writing I've produced against the standard I've set for myself and the bleak picture of my time ahead makes me want to end it all.
So I've come to Mexico looking for a new beginning. As always when I start over, even though I'm forty-three and this latest chapter in my life looks like a carbon copy of every one before it, the novelty and challenge of being in an unfamiliar place will distract me for a few weeks. A jackass brays. A flock of chickens pecking along the side of the road scatters at the backfire of a passing truck. I debate whether to take a nap or get another liter of Familiar.
Ismael stops by and asks if I want to go with him to his hometown of Juanchorrey, a pueblo about forty miles southwest of here. I hardly know Ismael, having talked to him only twice at the hotel where the gringo expatriates convene every morning for coffee. He is in his late sixties with long, white curly hair, and he wears a ball cap that reads, I DON'T HAVE A DRINKING PROBLEM. I GET DRUNK, I FALL DOWN, NO PROBLEM. His thick yellowish-white mustache is precisely trimmed. His nose is flat and coarse. He wears dentures and smokes Mexican Marlboros at a rate of about two packs a day. He is argumentative, speaks excellent English with a distinct Mexican accent, and uses words such as subterfuge and verisimilitude.
I ask why he's going to Juanchorrey, and he says he has hand-carved some wooden doors for the new home of his daughter, who made a small fortune in real estate and tortilla bakeries in Gilroy, California, and he wants to see how well the doors have been hung, having had some disagreement with the carpenter. He says the round-trip should take no more than three hours.
Ismael negotiates his old Ford pickup through narrow brick streets that were built for horse-drawn wagons but now are packed three- and four-wide with automobiles. In some places there is only an inch or two of clearance to pass, and his side mirror clicks the side mirror of a parked car, tipping both askew.
As we drive slowly by the market, I spot a caged ostrich with a sign around its neck. Having no interest in seeing animals held captive for entertainment, I don't bother trying to read the sign. The ostrich bobs its head up and down and blinks its bright, buggy eyes. People seem amused. Ismael chuckles and says something in Spanish that I don't understand.
This part of Mexico is very much like Southern California, where I grew up: exposed granite; sage and chaparral; orange and lemon trees; thin, hot sunshine; deep, pale, cloudless skies; mauve smudge of mountains in the distance; even the same lizards, scorpions, and spiders that I captured as a child. The only difference is there are a lot fewer Mexicans here than in Southern California.
As we leave the city, we pass an abundance of deserted homes, their siding spray-painted with the legend EL BARZÓN. Ismael explains that El Barzón is an organization of debtors who were bilked by banks that jacked up interest rates, making it impossible for the homeowners to pay their mortgages. To discourage others from buying or renting these foreclosed properties, and to get back at the scheming banks, El Barzón displays its name in large block letters on the outsides.
I don't know why Ismael has sought my company, considering he distrusts the other sixty or so American residents in Jerez. Maybe he can tell I am interested in him, as I am interested in all people, and that, like him, I have been an itinerant laborer and outsider most of my life. I also make an effort to speak Spanish and study verb conjugation and vocabulary nightly. And it's possible that he knows I am a writer and envisions himself appearing in one of my books down the way.
Winding along a cobblestone road through a small valley, we pass a pueblo that looks like a miniature city built behind stone walls, the windows of every dwelling barred. The grave markers along the road, Ismael tells me, are there to remind those who do not know they have died the names of their souls, which makes me think of the time I drove back drunk from Tijuana: I was stupid and reckless and should have died, and now I think maybe I did die. That would explain my restlessness and lingering solitude, my ability to move unnoticed through crowds, and why my life since has felt so much like a troubled dream. Perhaps I am simply roaming the earth, looking for that marker inscribed with the name of my soul.
A few more miles down the highway, just past a crude sign that reads, FRY CHICKEN Y SPAGETI, Ismael turns onto a dirt road.
I'll take you the long way, he says.
The mountain-desert landscape is populated with thirty-foot-tall pale-green saguaros. We pass a mule standing by the roadside and two kids in sunglasses riding bicycles. Ismael has to stop and wait for a slow-moving herd of cattle, and he expresses disdain for the farmers: he says every year they try to grow corn here, and since there is no irrigation, they pray for rain. Faith in God and submission to nature, attitudes I'm unaccustomed to in the U.S., are objects of Ismael's scorn in Mexico. Though born here, he has spent more of his life in the States, and he attained U.S. citizenship in 1975.
The road ends at a washout, so Ismael turns around and heads back to a rural tienda — a country store. Out front are two soft-eyed dogs and three children playing balero, a cup-and-ball game. Their expressions are somber and hard, but when I smile at them, their faces reveal a delightful innocence. We climb the stairs of the grocery, order two Indios from the proprietor, and stand at the counter in stripes of dusty cantina sunlight.
I quit smoking and haven't had a cigarette in more than two weeks, but my compulsive mind quickly makes the case for starting back up: this is an adventure after all; I'll quit again tomorrow; a man under this kind of pressure deserves a little relief. I'm like that ostrich in a cage, only with a book contract instead of a sign around my neck.
I buy a pack of Mexican Marlboros.
Two indigenous women enter and don't even look at us. Ismael explains that their old men will kick the shit out of them if they do. They are Chichimecas.
Nomads, he says with a smile, like you and me.
Like just about everyone I know. The story of America is not about finding your place but leaving it, and if anyone's done that more times than I have, I'd like to meet them.
At last Ismael and I arrive in Juanchorrey, a town of a few hundred. On the outskirts, a sufficient distance from the poor, is his daughter's million-dollar rancho, a palatial purple hacienda with fountains, statues, and newly planted trees. Ismael inspects how the carpenters have hung his hand-carved doors, each of which took him a month to make. The vast rooms are opulently half-furnished, and a bottle of expensive tequila sits on the burnished oak dining table. The ostentatious display of wealth makes me so weary, I want to curl up and go to sleep on the nearest couch.
Ismael pours himself a glass of the high-priced tequila, mixes it with tap water, and says, Not bad. He does not offer me a glass.
Born in this town in 1930, Ismael is a self-taught master of many trades. He spent time in the U.S. as a laborer when Mexicans were first brought legally by the trainload to take the agricultural jobs vacated by the interned Japanese and by the farmers and farmhands who'd gone away to fight and die in World War II. He was a general laborer in Texas and California; a union logger in Olympia, Washington; a carpenter in Ithaca, New York; a wood-carver in Santa Fe, New Mexico. Once, he carved a headboard commissioned by Hollywood actors Sam Shepard and Jessica Lange. While living in Santa Fe, he had a small part in Robert Redford's The Milagro Beanfield War, delivering one spoken line in the church scene: "Let's form a committee."
Ismael recounts one story after another about living in the States in the forties, fifties, and sixties: As a picker in Texas in 1954 he was making fifty cents an hour, working twelve to fourteen hours a day, when he began to notice his daily checks were each short by about two hours' pay. He confronted the bosses, who said it was just the way things were done around there, and if he kept quiet about it, they would give him an extra five dollars a week on the sly. Ismael agreed, though, as I calculate it, the sum of the bribe amounted roughly to what he was owed in the first place.
We go into town and sit on the steps of a green-stucco tienda for a beer, then two, then three, the shadows getting longer as the afternoon light fades: four beers, five, six. The townsfolk convene. Ismael knows them all, and their fathers and grandfathers, too. His stories unspool effortlessly, and just by the way they sound in my ears, I believe they are true. His comical asides to me in English are like an actor breaking the fourth wall. Knowledgeable in science, geography, and math, he peppers his talk with numbers and facts, trying to instruct his listeners in the ways of Western science as well as entertain them.
I call him El Hablador, the Talker, but he corrects me. El Hablador, he says, is the Liar. El Narrador is the word I want: someone who can hold his audience captive for as long as he likes. In this town, where the living is harsh and the opportunities are scarce, Ismael is like a war hero triumphantly returned home. He speaks with tears in his eyes of his mother, gone now two years.
Seven beers, eight. So much for a three-hour trip. But I have nothing to do anyway except observe and absorb, and it's episodes like this, along with the drastic change in scenery and lifestyle, that I'm hoping will put me back on track with my contractual obligations and end my creative hiatus, even if the former is the cause of the latter. This will take me a while to figure out, as a man stumbling alone across the desert will always walk toward an oasis in the distance, even if he knows it is very possibly a mirage.
I am introduced to uncles and aunts, cousins and friends, most of whom don't speak a word of English. Ismael calls me El Escritor, the Writer, though until I publish a book, I won't consider the title official. At this point I am not even El Narrador.
A herd of cattle, driven by two women with sticks, clatters down the main street in front of the tienda. A great-tailed grackle squeaks and whistles at me from a TV antenna atop a building, as if amused by the number of beers I have drunk without falling over. The children come around to stare at me, poke me, play games with me, and make me wonder how innocence emerges without fail in a world so deeply immersed in predation and sin.
I feel I could sit forever on this stair step in front of the mint-colored tienda, drinking Coronas and flipping Mexican Marlboro butts onto the brick street while the cows go by and the people stop to chat or simply sit and listen.
It's good to be away from the States and all its "news" and ceaseless blaming and complaining; its competition and achievement and acquisition; its impotent jabber about happiness when it has no serious investment in happiness. The U.S. is about competition and achievement and acquisition, all of which are antithetical to happiness. Happiness is simplicity and submission to fate. Happiness is the front steps of the tienda in Juanchorrey, and I half hope I will sit here, with Ismael handing me just one more beer and the shadows growing longer, until the end of Mexican Time, but he decides to give me a tour of his hometown.
Stop one is Juanchorrey's first two-story building, built by Ismael's grandfather. The placard above the door gives the date of construction as 1925. I ask why he never speaks of his father, and he says his father left when he was nine. More questions on my part lead to a drive to the graveyard. The sun is setting, and the brick-walled cemetery is crammed with monuments, statuary, vases, and floral arrangements. A Coke bottle lies on the ground. The wind has overturned baskets of flowers.
Ismael has tears in his eyes. His emotions have caught him by surprise. I don't believe he intended to visit the graveyard on this trip, but I kept asking him about his family, especially his relationship with his brother, which has been strained since his mother died and the brother took the house and everything else.
We stand at the grave of Ismael's mother. He carved her tall, intricate stone memorial himself, and he talks in loving detail about fashioning it and engraving the initials of his siblings — two brothers and one sister — in a secret spot, and how he will never tell them about it, and after he is gone, no one will ever know.
He tells me of his mother: a midwife, counselor, and advocate for clean water after the typhoid epidemic that struck here when the first wave of laborers returned from the States and installed American-style toilets in homes. No sewer, septic, or sanitation systems accompanied the toilets, and the untreated efflux went straight into the stream, from which everyone continued to drink. Ismael is angry about the many lives needlessly lost through ignorance and heaps more scorn on the Mexican way of life.
The last bit of sun turns ocher, melts into the horizon, and spreads golden across the surrounding fields. I have lost count of the number of beers I've had, and I take a slug of the warm one in my hand and tell Ismael that the townspeople could not have understood about sanitation; that the same thing happened in the States when fully half the settlers who traveled west in wagon trains died of waterborne diseases — cholera, in particular.
Unconsoled, he asks if I've ever been depressed.
I reply, Yes, most of my life.
Enough to end it all?
Many times.
He asks if I think it takes more courage to live or to die.
To live, I say, to myself as much as to him. I add that I believe he will see his mother again.
Not where I'm going, he says.
I tell him it's probably easier to get into heaven than he thinks.
He squints at me, incredulous. Do you really believe that?
He expounds upon the fallacies of religion while extolling the virtues of astrology. I'm fascinated by this contradiction. He is a Gemini, he explains, a naturally conflicted personality.
In the same Gemini breath he asks if I believe in the Easter Bunny or Santa Claus, and I say no, but it is clear to me there is a Creator.
He says he believes in a Creator, too, but he could never believe in a Catholic God.
I say that I don't understand how any creature with a blink for a life span and a brain like the spark of a distant star could ever hope to comprehend God.
He seems, for the moment, appeased — not, I'm sure, because I know anything, but because I care.
Dusk filters down. Birds with white-tipped wings float and wheel in the shimmering thermals like an illustration of joy. Ismael thanks me several times for accompanying him. At that moment I know we've somehow become lasting friends.
I will spend hundreds of hours with Ismael, driving all over Mexico in his truck or sitting in his small rooms, surrounded by his beautiful wood carvings in progress, drinking tequila or mescal, listening to classical music, eating tacos de adobada from Arnufo's or sopa de mariscos at El Tigre Del Mar, "arguing" politics and religion and playing Scrabble or pinochle. He will play poker every Friday night with the expatriates, never missing a game except when he breaks his neck in an automobile accident. He will proofread some of the stories and essays I write during the two years I am in Mexico, correcting my deplorable Spanish. He will often relate to me with great fondness his memory of sitting under a shade tree in Juanchorrey as a young child with a hatful of peanuts in his lap. And he will confide to me many of his secrets, such as the time he felled a tree that killed a fellow lumberjack in Washington. He will sob openly when he tells me this story.
Lonely, he will marry, to his everlasting regret, and move into a large house with his young wife and stepdaughter, rescuing them from extreme poverty. Like many people I've known who were abandoned or betrayed by a parental figure at a young age, he will have trouble finding peace; trouble trusting and accepting; and, most of all, trouble dealing with an emptiness, an anger, that he cannot understand.
He will also continue to smoke those noxious Mexican Marlboros. His grandfather — Ismael's role model, hero, and de facto father — smoked two packs and drank a quart of tequila every day and lived into his nineties. Ismael believes he can do the same, setting the stage for emphysema and congestive heart failure and many trips to the U.S. for treatment under Medicare.
And then, on one such trip, he will stay and never return to the land of his birth. Legs so badly swollen he can barely walk, he will spend his last days in California with his daughter, who, as far as I know, never moved into her purple palace in Juanchorrey.
But now we are in the graveyard at dusk. He picks up the Coke bottle, tosses it over the brick wall, and says in frustration and sorrow that the reason he won't be able to go to heaven is because he is just a Mexican.
It is my turn to scoff. He is a modern man, I remind him, well acquainted with science, so he knows full well that there is only one species of Homo sapiens on earth, and the differences between the so-called races are superficial. He has traveled and seen enough personally to know that this is true.
He watches me for a time, then lights a cigarette, turns to his mother's grave, and admits that I am right.
I admit that my being right doesn't happen very often.
He laughs and asks if I'm ready to go. I'll take you a different way home, he says, and I'll buy you dinner.
Back in Jerez, at the restaurant on Calle Guanajuato, we encounter charming, ninety-two-year-old Monford. Educated at Yale, he's lived in this town for seventy years and raised two adopted children, who both became medical doctors. Monford is having a brochette and watching Latin CNN. Ismael orders us chiles rellenos, a dish so difficult to make properly it is rare on restaurant menus in Mexico. Over more beer we talk with Monford about volcanoes, Wagner, mountain passes, and God.
The rellenos are out of this world, and I can tell that every detail — the egg whites whipped to a high froth, the yolks folded back in at the last minute, the fresh roasting and peeling of the chile, the cleanliness and temperature of the pan oil — has been assiduously attended to. Little Rogelio, a fair-eyed child from the city of Zacatecas, comes over and speaks with us in a most engaging and reverent way about the recent rare snow, the road ghosts of Malpaso, and the mythical land called America that he hopes someday to see.
Ismael pays the bill. Like many Mexicans, he does not believe in tipping, so I leave twenty-three pesos on the table. Then I shake his hand and thank him for the dinner and the day. He asks if I want a ride home, and I tell him no thank you; I need the exercise.
Across the way in the plaza, I sit unnoticed on an iron bench in the shadows of the amber-lit central gazebo and admire the promenade of young lovers, some paired, some yet to be paired, a courtship ritual long forgotten in the U.S. and soon to be forgotten here.
G.K. Chesterton said, "Poets do not go mad; but chess players do. Mathematicians go mad, and cashiers; but creative artists very seldom. I am not . . . in any sense attacking logic; I only say that this danger does lie in logic, not in imagination." I think he's saying: If the objective truth cannot be known, why strain over the facts? Or if believing in the truth means happiness is always just out of reach, what's wrong with a modest and carefully measured self-deception?
In other words: Why take everything so seriously? Maybe I need to start deceiving myself about things that don't matter, exaggerating my role in the universe, believing that what I do is important. These trips, the people I meet, the notes I take, the beautiful children, the otherworldly rellenos, the book I am working on (even though I will eventually lose my book contract and return to the U.S.) — maybe all of it is special. That's a truth as valid as "My life is done."
For now I am content to be in one more place I don't belong, the closest thing I have found to freedom.
Poe Ballantine
I will never tire of the quixotic journeys of Poe Ballantine. In his essay "Nomads" [January 2019], one sentence in particular leapt out: "The U.S. is about competition and achievement and acquisition, all of which are antithetical to happiness." This sentiment flies in the face of everything we've been taught to believe, and it's what makes him so refreshing.
Only Ballantine would see an "ostentatious display of wealth" like his friend's daughter's million-dollar home — complete with statues, fountains, and expensive tequila — and find it all so tiring that he looks for a couch to take a nap on. You've got to love a guy who thinks the way he does.
Kelly Aanrud Amherst Junction, Wisconsin
What To Look For In A Horse
By Brett Elizabeth Jenkins
Hello, Goodbye
By Brady Emerson
Being Busy
The Sun Interview
Judaism's Mystical Heart
An Interview With Dovid Din
By Howard Jay Rubin


Alaska is a Mexican-born singer, songwriter, actress, DJ, and businessperson. She is now also a Spanish citizen.
Alaska is the daughter of Manuel Gara López and América Jova Godoy. Alaska's father was Spanish, from Asturias. Alaska is married to Spanish journalist, writer, singer, actor, and manager Mario Vaquerizo.
Her father, Manuel Gara López was born in Asturias, Spain and was living in Mexico in exile during the Spanish Civil War.
Her mother, América Jova Godoy, was born in La Habana, Cuba and also was living in Mexico in exile due to the Cuban Revolution.
Alaska's maternal grandfather was Julio Jova Pichardo (the son of ? Jova González-Abreu and América Pichardo Arias). ? Jova González-Abreu was the son of Juan Jova y Jova and María Jacinta González-Abreu y Jiménez. Juan was the son of Juan Jova and Teresa Jova, from Sitges, Catalonia. María Jacinta was the daughter of Manuel González Abreu (the son of Antonio González and Manuela Abreu) and Rosa María Jiménez y Peña (the daughter of Diego Jiménez y Barrera and Rafaela de la Peña y Trujillo de Miranda). Diego was born in Marchena, Andalusia.
Alaska's maternal grandmother was María Caridad Godoy Cuebas (the daughter of Felipe Godoy Herbert and Belén de las Cuebas). Felipe was born in France, and was a possible descendant of Manuel Godoy, who was Prime Minister of Spain, from 1792 to 1797 (Manuel was born in Extremadura, of Portuguese descent); and of Philip Herbert, the 4th Earl of Pembroke and 1st Earl of Montgomery.
Alaska's great-grandmother, Belén de las Cuebas was of possibly Indigenous Cuban and Mexican descent, from Yucatán.
how is "Jova" an Italian surname?


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Anthony Mohamed fonds 2
OneSong Transgender Support Services, Regina, SK. Inc. fonds 2
Pride and Remembrance Association fonds 6
Queerspawn Digital Storytelling Project fonds 1
Supporting our Youth fonds 2
Electronic records (textual records) 2
Graphic material (electronic) 4
Moving image 1
Moving image (electronic) 13
Sound recording (electronic) 2
Textual records 3
Supporting our Youth 2
objectType:"Moving image (electronic)"
1997 Pride & Remembrance Run
https://collections.arquives.ca/en/permalink/descriptions34548
Pride and Remembrance Association fonds
Footage of the run.
Moving image (electronic)
Fonds Number
F0146-08-08
92.92 GB of moving images (mov) ; (1 hr., 13 min., 17 sec.) : sd., col.
Image quality not good.
Item has been divided into four clips. DVD copy: F0146-08-04, VHS copies: F0146-08-05, /06, and /07
1998 Pride and Remembrance Run [short clips]
News clips of the run.
5.3 GB of moving images (mov) ; (4 min., 09 sec.) : sd., col.
Sound and image quality not good.
Digitized from: F0146-08-16
146.02 GB of moving images (mov) ; (1 hr., 59 min., 42 sec.) : sd., col.
Item has been divided into three clips. Digitized from: F0146-08-09, DVD copy: F0146-08-13
Anthony Mohamed fonds
The fonds contains records pertaining to the personal life and work of AIDS activist, equity worker and Indo-Carribean LGBTQ leader Anthony Mohamed. It includes records collected by Mohamed relating to Khush and the Alliance for South Asian AIDS Prevention. It also includes an 2019 interview with M…
Graphic material (electronic)
Electronic records (textual records)
49.13GB
History / Biographical
AIDS activist, equity worker, and Indo-Carribean LGBTQ leader Anthony Mohamed was born on September 24, 1967 in San Fernando, Trinidad and Tobago. In March 1969, Mohamed and his family relocated to Toronto. From an early age, faith played a central role in Mohamed's life and has heavily informed his activism. He was involved in the church youth group, helped with the kids in the congregation and operated the sound system. At the age of 13, Mohamed was asked to leave the church when the pastor found out that he was gay. As a result of this, he came out to his parents. He soon found out that the church deacons had asked the pastor to leave upon hearing what had happened to him. Mohamed's lifelong LGBTQ activism and work in equity began at an early age. While enrolled in high school, Mohamed was selected based on his leadership qualities to attend Camp Kandalore, an anti-racist and equity camp. At Camp Kandalore, he met counsellors and gay activists Tim McCaskell and Richard Fung. Mohamed was also approached by Olivia Chow, then School Board Trustee, to speak to the Toronto District School Board as a LGBTQ student representative. This was organized in attempts to get sexual orientation listed as protected grounds in the school board's rights and responsibilities handbook. At the age of 16 or 17 Mohamed was attacked by two skinheads on Yonge Street. The two men were arrested and tried. Mohamed eventually joined the Pink Patrol. In search of young LGBTQ peers, Mohamed joined the Lesbian and Gay Youth of Toronto at the 519. He eventually took on a role with the LGYT steering committee and facilitated the coming out group. While involved with the LGYT, Mohamed volunteered at the Gay Community Dance Committee events. Soon after, Mohamed joined ZAMI, the lesbian and gay Black and West Indian group and Khush: South Asian Gay Men of Toronto. As the AIDS crisis emerged, Mohamed started volunteering with the AIDS Committee of Toronto. He also began volunteering through the Toronto Public Health's HIV/AIDS peer education program. In 1989, Mohamed was hired on as the South Asian AIDS Coalition, later known as the Alliance for South Asian AIDS Prevention's first full time coordinator. At the time, he had been involved in South Asian LGBTQ organizing through Khush and had some experience around HIV/AIDS education. The following year, he became ASAAP's first Executive Director, a role he stayed in until 1993. In 1995, Mohamed began working at St. Michael's Hospital in Equity and Community Engagement. He has been in this role for over 25 years.
The fonds contains records pertaining to the personal life and work of AIDS activist, equity worker and Indo-Carribean LGBTQ leader Anthony Mohamed. It includes records collected by Mohamed relating to Khush and the Alliance for South Asian AIDS Prevention. It also includes an 2019 interview with Mohamed conducted by The ArQuives' Community Outreach Coordinator, Jennifer Aja Fernandes. The fonds contains ASAAP brochures, press clippings relating to ASAAP and Mohamed's work, programmes, the Khush Khayal newsletter and audio and video files from the interview with Mohamed.
The analog records were digitized and returned to Anthony Mohamed.
Interview with Anthony Mohamed
The file contains records pertaining to an interview with Anthony Mohamed conducted by Jennifer Aja Fernandes through The ArQuives. The interview was conducted in two parts in September and November of 2019. In the interview, Mohamed discusses his coming out in the early 1980s, life in Toronto, his…
Sound recording (electronic)
F0184-01-003
The file contains records pertaining to an interview with Anthony Mohamed conducted by Jennifer Aja Fernandes through The ArQuives. The interview was conducted in two parts in September and November of 2019. In the interview, Mohamed discusses his coming out in the early 1980s, life in Toronto, his faith, his work, activism and involvement in LGBTQ2+ groups including Zami, KHUSH, ASAAP, ACT and LGYT. The file contains raw andio and video files.
OneSong Transgender Support Services, Regina, SK. Inc. fonds
The fonds contains material related to the operations of the organization. The fonds contain the following series: 1- Administrative and Governance documents 2- Programming and Services
Textual records
2.5 cm of textual records 1 DVD
A slide presentation for the 2010 Trans Day of Remembrance event has been burned onto a DVD. The DVD appears in good condition.
OneSong Transgender Support Services was a non-profit based in Regina, Saskatchewan that was established in 2007 to provide transgender individuals and their allies with a safe, supportive, and positive environment to encourage participation in activities and events to meet community needs and increase positive visibility and awareness of transgender individuals. The organization operated a TransClinic to promote the overall health and wellbeing of transgender members who were seriously considering medical and surgical transition. They worked in partnership with other community, municipal and provincial organizations to provide educational workshops about transgender people and the issues they face. The organization had a paid membership with a sliding scale, depending on whether you were trans (transgender or transsexual), an ally (an individual who does not identify as either transgender or transsexual), and a friend (an organization or group of allies). OneSong organized events for Trans Day of Remembrance from 2009-2011, as well as an event titled "Breaking the Silence" about the relationship between transgender politics and human rights at a national and international level.
Binder clips were removed and replaced with folded paper. The information packet for "Breaking the Silence" was kept in a blue folder with a label on the front. A photocopy of the front cover of the folder was included in F0085-02-003.
The material was donated in order with a table of contents, which can be found in the accession files. The original titles for groups materials and order was kept consistent.
Supporting our Youth fonds
1998-2015, predominantly 2001-2009
The series consists of photographs of various Bill 7 Award Trust and SOY events. It includes photographs from events including the Bowlathon, the Bill 7 Award ceremonies, Blockorama, SHIFT, Fruit Loopz, Pride Prom, Trans_Mission Zine launch and more. The series also includes photographs from projec…
Supporting our Youth
24 CD-ROMs (photographs) 6 DVD-ROMs (photographs) ca. 4600 photographs 9 posters
The series consists of photographs of various Bill 7 Award Trust and SOY events. It includes photographs from events including the Bowlathon, the Bill 7 Award ceremonies, Blockorama, SHIFT, Fruit Loopz, Pride Prom, Trans_Mission Zine launch and more. The series also includes photographs from project submissions. It is composed of photographs, negatives, prints, CDs, and a scrapbook.
Pride and Remembrance Run 2003 - 1st ten minutes
News clips of the run and other pride events.
9.23 GB of moving images (mov) ; (7 min., 14 sec.) : sd., col.
Pride and Remembrance Run - News clips, City TV 1996
News clips of the run, pride events, and other LGBTQ2 issues in the news from City TV, as well as an episode of Cable 10%.
18.11 GB of moving images (mov) ; (4 hr., 56 sec.) : sd., col.
Image quality okay.
Item has been divided into three clips. DVD copy: F0146-08-01, VHS copy: F0146-08-02
Pride and Remembrance Run - PSA
637.8 MB of moving images (mov) ; (30 sec.) : sd., col.
Digitized from: F0146-08-22, DVD copy: F0146-08-15


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The Julian Family Farm
The Julian Family Farmadmin2019-06-06T17:31:47-04:00
Success Story: Wisconsin –
Katrina and Jason Julian want to feed your family affordable, delicious, healthy dairy and beef products. Three generations, from Jason's mom to the Julians' three sons, work in the family business.
The Julians raise certified organic, grass-fed and grass-finished Fleckvieh cattle, a breed remarkable for its suitability for both meat and milk production. The Julians' horses are just as remarkable: their team of American Brabants (a relative of the Belgian draft horse) takes the place of tractors for much of the farmwork.
Katrina and Jason, who both grew up on farms and met in the agricultural program at UW-River Falls, began farming conventionally when they bought a dairy farm in 1996. But a desire for a lifestyle more in line with their family values led to a switch in 2007.
The Julians moved to a new farm outside Medford, Wisconsin, and began the transition to organic. In 2015, they received certification. Today, their cattle graze on clover and grasses.
Katrina said, "I hear from customers our meat isn't greasy, it smells great, it has a great texture. I tell them that's because it's real." No hormones or antibiotics come near the herd — "just pure goodness."
Sustainability Requires Diversity
Because the dairy industry is notoriously volatile, the Julians need more income streams. Jason started Legacy Horse Logging, hiring out his team to help area landowners during the winter. Katrina also had ideas for diversification but needed help evaluating them. Enter Mark Speirs, a consultant with the SBDC at UW-Stevens Point. Thanks to the Medford Chamber of Commerce and Medford Area Development Foundation, he spends one day every two months offering free counseling to area businesses. Katrina brought her ideas to Mark, who "helped us channel our thoughts," she said. "He'd ask questions, then send an email with links to information specific to our situation. Then we could decide what was best for our farm."
Mark recalled, "They came in asking about value-added products — ice cream? cheese? But all their ideas involved some investment. I asked, what could they do without the investment risk?" The Julians were having success with occasional local meat sales, so they decided to double down on that. But they needed help figuring out marketing channels. Katrina brought her questions to Mark, who helped the Julians gear up for retail beef marketing, from logo to license to labels.
Chance Favors the Prepared Marketer
The Julians want to pursue both online and offine sales. With Mark's help, they set up a Facebook page. "This sort of operation is made for social media," Mark said. But the Julians' big break came through an offline connection, Katrina explained: "One of our whole-animal customers is the manager of the natural foods section at County Market Grocery. She knew they were looking for a local source of grassfed organic beef." Now the Medford grocer carries their products. Mark observed, "Katrina and Jason are succeeding because they've focused on the best next business to go into. They're very proud of their product, and take everything about it very seriously."
Measured Growth
Matching supply and demand is a challenge, because demand is growing more rapidly than the two to three years it takes to raise a grass-fed animal. Coordinating supply to meet that demand is not easy — getting on the schedule at one of the few busy organic butcher shops "could be a future bottleneck," Jason observed. Meanwhile, an all-beef wiener product is in the works. In the future, Katrina plans to add chickens. A son works for a butcher, learning skills that might someday be useful as the family business grows.
To learn more about the Julian Family Farm, visit www.facebook.com/Julianfamilyfarm, and for more about the Wisconsin SBDC, visit wisconsinsbdc.org. To find your nearest SBDC, click here.
← America's SBDCs Host 3rd Annual SBDC Day
Are Remote Workers Actually Working? →


Warner's specialized lockers save departments significant money by doubling the life of your turnout gear. In addition, they help firefighters by providing them some personal space and assuring that they never have to put on cold, damp gear. A patent pending furnace fan system dries gear after washing or on-the-job use. The system also allows gear to remain free from harmful UV rays while providing a dry environment that is free from mold.
See what's going on at Warner and updates in the industry. Read more in our news section.
* Specifications, features and equipment shown for these models are based upon the latest information available. Warner Bodies, Inc reserves the right to make changes at any time, without notice, to features, eqiupment, options, price, colors, specifications, accessories and materials. For additional information, please contact your authorized Warner dealer. Some vehicle images may show optional equipment and vehicle colors not available.


From ancient Babylon to Andalusia's Generalife ("the Gardens of the Architect") the concept of the garden has served as a powerful symbol of the essential energy of life and the renewal of nature as well as a special space for intellectual stimulation and fleeting moments of quiet reflection. In her vibrant, visually stunning canvases, Jane Le Besque creates a garden of the imagination. Her style is both strikingly unique and refreshingly modern. The intertwining vines, blossoms and leaves that flourish across her canvases are sensuous, and fantastic, and yet comfortably familiar and surprisingly realistic. The colors reflected in blue lichens, golden roots and insistent red garlands reflect the complex palates of the ancient masters while the effect is unabashedly modern. Jane Le Besque's recent book, "Cooking from a Mesolithic garden" explored the principles of the original plants, medicines and aromatic herbs, sweet fruits and vegetables that both sustained and delighted earliest man towards the end of the ice age some 30,000 years ago. Her current work mirrors the luxurious herbal richness that once characterized the Fertile Crescent, the cradle of human civilization, which spanned ancient Mesopotamia, extending from the Gulf to the richness of the Nile Delta.
While traditional gardens are often designed to show man's imposition of order over the chaos of nature, Jane Le Besque's work breaks through conventional limits to reveal the subtle complexity and inventiveness of nature permitted the freedom to express itself. A master of watercolor, oils, collages and frescos, she frequently encourages her imaginary forms to escape the boundaries of the frame and the flatness of the canvas' painted surface. Never predictable, her work always surprises, deftly stimulates the imagination and is irreverently playful. Above all, she focuses on the exquisite elements that compose nature's fragile beauty. She leads us to see and appreciate these subtle aspects of nature that are at risk of vanishing in the fast changing climate of an overcrowded world under increasing stress.
Her latest work is conceived as an intriguing and emotionally stimulating passage between two rows of large, illuminated panels, each of which could theoretically be up to 0ne meter fifty wide and as much as three meters high. As envisioned, the installation constitutes a moveable feast for the imagination that can readily transform itself to complement a wide variety of settings and backgrounds. Modular, in construction, the work can easily be presented as a flowering promenade or as clusters of independent octagonal desert kiosks that recall the gardens of Istanbul's legendary Topkapi palace or Andalusia's Al Hambra, once compared to a pearl set in emeralds. As comfortable set against the stark grandeur of the deserts of the Gulf as it is in the lush, rolling hills of the Mediterranean, Jane Le Besque's imagination creates a unity that bridges multiple visions of nature and mirrors the vibrant yet fragile and intimate complexity of a planet that defines our lives and which we are now obligated to protect for future generations. With parents who trace their origins to both England and France's Brittany, Jane Le Besque was educated at leading art schools in England as well as the celebrated Ecole de Beaux Arts in Paris.
Major multinational corporations, including Hewlett Packard and Groupe Valmont have commissioned specific pieces, and her imaginative sculptures have been translated into glass at the famous Berengo Studios on the island of Murano and ceramic plates at the Fondation Tallers Josep Llorens Artigas, Spain. Jane Le Besque lives and paints at her studio in a small French village in the Jura Mountains, not far from Geneva.


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held back by circumstances, i ain't good with romances. i never was much of a looker. all night we'll drive until we hit texas and maybe stop in dallas and have ourselves a drink. don't mislead. don't mislead. you can shoot it straight with me. i believe. i believe that god is lost at sea. hold on to what this life is giving. i do a lot of sinning. i always was a drinker. who knows where we go when this chapter is over? are we pushing up clover or are there footnotes to be read?


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Location URL
Death of protester Neda Agha-Soltan (June 20, 2009)
Tehran, Islamic Republic of Iran (IR)
The death of Neda Agha-Soltan became an iconic image when the shooting of Neda Agha-Soltan, which occurred during the 2009 Iranian election protests, was captured on video by bystanders and broadcast over the internet. The video quickly became a rallying cry for the reformist opposition.
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"Carpet Museum of Iran" by Farah Diba Pahlavi
Tehran Museum of Contemporary Art
Laleh Park
Embassy of Indonesia, Tehran
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Sienna and Joey Tales for Sale!
Sienna and Joey now have E-books for sale on Amazon.
Sienna and Joey become distraught when their favorite toy is thrown away. They travel to scary Trash Land to rescue it, only to discover a Trash Troll named Harold. Join Sienna and Joey on their adventure as they discover how to recycle, reuse, and reduce the trash in Trash Land. Using photos of Sienna and Joey performing tricks and other mixed media, this book promotes recycling in a fun and engaging way that children preschool to elementary aged will enjoy.
Follow this link to purchase the book!


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TransCanada Corp.'s Energy East scraps plans for a Quebec port: report
The opposition Parti Québécois welcomed news that TransCanada Corp. will not build an oil port in Quebec as part of its cross-country Energy East pipeline project.
Geoffrey Vendeville, Montreal Gazette
Two barges conduct seismic tests in the St-Lawrence river, off Cacouna village, September 23, 2014 in order to build an oil terminal for TransCanada that would start operating in 2018.	CLEMENT SABOURIN / AFP/Getty Images
The Parti Québécois opposition welcomed news that TransCanada Corp. will not build an oil port in Quebec as part of its cross-country Energy East pipeline project.
The company originally planned to pump Western Canadian oil, at a rate of up to 1.1 million barrels per day, through to terminals in Cacouna and Saint John's, N.B.. The choice of Cacouna, the site of a beluga nursery, was met with a public outcry in Quebec.
TransCanada reportedly considered other locations—Lévis, Bécancour and Baie-des-Sables, near Matane—before ruling out a Quebec port, according to a La Presse exclusive citing unnamed sources.
"It's a beautiful victory for the preservation and sustainability of the belugas we have in the St. Lawrence River," the PQ's natural resources critic, Bernard Drainville, said in a news conference on Wednesday.
Without a terminal in Quebec, the project has become "less detestable," Drainville said. "However, the environmental risks related to the completion of this project are still there."
A TransCanada spokesperson didn't confirm that the company has nixed its plan to build a port in Quebec, but he said they will make an announcement about the future of the project this week.
François Legault, leader of the Coalition Avenir Québec, blasted Premier Philippe Couillard for not trying to help TransCanada find another place for the terminal.
"I don't understand how Mr. Couillard could do nothing and not negotiate with Energy East since they set aside Cacouna," he said. "Why didn't he negotiate? Why didn't he try? We were told people in Bécancour were maybe open to it. Why does Mr. Couillard continue to remain passive when it comes to economic subjects?"
Before green-lighting the project, Quebec said TransCanada would have to prove it will have economic benefits for the province.
The National Energy Board hasn't set a date for the Energy East hearings yet, but a spokesperson said they expect them to take place mid-year.
On Wednesday, Natural Resources Minister Pierre Arcand said it's too soon to tell if Quebec has much to gain from the pipeline without a terminal on the St. Lawrence.
"Let me remind you it's an issue that's extremely complex, TransCanada's proposal," he said. "It involves the gas supply, oil transportation, and the energy security of Quebecers."
Because it requires the conversion of an existing natural gas pipeline, Gaz Métro has warned the project could inflate the prices of natural gas and cause shortages.
TransCanada put preliminary work on its Cacouna terminal on ice in December after the federal Committee on the Status of Endangered Wildlife in Canada reclassified the beluga as endangered.
The committee found that fewer than 900 belugas swim in the St. Lawrence River and their number is in decline.
With or without a terminal in Quebec, Patrick Bonin, a climate energy campaigner for Greenpeace Montreal, said the pipeline still poses a threat of spills.
"Other than the belugas, the main risks are still there for the environment, the security of communities and the drinking water of millions of Quebecers," he said in an interview.
"There are no benefits, just risks."
gvendeville@montrealgazette.com
twitter.com/geoffvendeville
Student politician files complaint over racist, sexist Facebook chat Gazette Midday: Quebec readies for food fight with daycares
Former Bell Centre ice expert files lawsuit against Canadiens' parent company
Kanesatake chief denounces Oka mayor's comments about land transfer
Opposition leader accuses mayor's office of dirty politics over speeding ticket
Weekend traffic: Avoid Turcot Interchange again


Cinque Terre National Park, with 3,800 hectares, is a UNESCO World Heritage Site.
The uniqueness of its landscape, which extends into the neighboring areas, is owed to millennia of human activity that has turned the harsh and steep terrain into fruitful land. The coastal slopes have been transformed into a series of terraces full of olive groves and vineyards.
The result of this tireless labor is a unique landscape where pockets of wilderness interplay with an architectural patchwork marked by stonewalls.
A web of 120 kilometers of trails crosses the entire Italian Riviera region, including the park. Until recently, these were the only routes between settlements. Today, they present coastal hiking trails that switch between mountain scenery and breathtaking views of the sea.


Serve up what customer want this fall!
Moist roasted turkey during the holidays is as American as apple pie in July.
So adding fresh, natural turkey to your menu will be a crowd-pleaser in November and December.
In the podcast below, Chef Andrew provides a few hints to make your roasting process simpler. And, best of all, these ideas guarantee delicious results!
Got a question for Chef Andrew Hunter? Click here to send a note and we'll be in touch shortly!


Just a quick follow up on my previous shoulder update post on my recent shoulder pain struggles. The second doctor thought the surgery recommendation was premature. He recommended conservative treatment, including a cortisone shot and physical therapy exercises, followed by a second shot in a month or two, if needed. Only if problems persisted after that would he recommend considering surgery. So, that's what I'm doing.
I've been grateful for the well wishes and concern from many of you, my online friends. Thank you!
All best wishes Mike, and hopefully you can avoid surgery, healing more gently over time.
I've had cortisone in both my foot and my elbow. It worked wonders.
Hoping all works out well for you, Mike.
Just be careful in therapy. Avoiding further injury is the key to avoiding surgery. To build up the muscles of the joint, which are presumably injured, they must be used.
Thanks Steve. That's good advice. The main injury is in my supraspinatus tendon, and I intend to be extremely cautious in exercising it. I was told to use resistance bands, and will probably use them for the internal and external rotation exercises, but I'm thinking I won't use any resistance other than the weight of my arm for the full can exercise that targets the supraspinatus, at least at first.
Hang in there, take it easy, and give it time. Us old farts take ages to heal with stuff like that. Good luck!!
What are you talking about? You guys are still young.
Hope it goes well for you, Mike.
Thanks DM. Good hearing from you!
You have my well wishes, and I hope you can avoid this surgery!


After publication, I was made aware of some errors in my original post. I have included a corrected version below.
The CN Tower! 720 Spadina Avenue!
We didn't want to talk about it until everything was fully settled, but we are now residents of an architectural icon building with a pretty ridiculously excellent view door. Full props to beltzner for scouting out office space, and to ben for orchestrating the move; it's been a crazy pretty smooth couple of weeks!
Q: What is the actual new address?
Q: Did that say 12811 218?
A: Yep. We're a loooong way up.
Seriously, this can be a bit of a trick the first time is quite straightforward. If you come in through the usual entrance, you'll be sort of pipelined into the "tourist" sections elevators of the tower. Those elevators won't will go where you want them to, and the visit will end up costing you significantly more nothing.
Q. Do we get discounts for the tourist areas?
A. We do! As tenants we get basically a pad of discount coupons. Visit us first, and we'll tear you off a few. No.
Q. What about the view?
A. Oh there's a view. Of a brick wall. Unfortunately, we only have some cameraphone pictures from our move-in day right now, but we'll get better ones up soon. In the meantime, here's a taste.
Ahh, April 1. We really did move, and the new, second floor office in a normal office building really is a big improvement. The rest though, is a big fat lie (and full credit to madhava for the photo work). "720 Spadina", "CN Tower" — the keys are right next to each other.
This is the first entry, but not The First Entry. For that, you may venture off to LiveJournal where I used to live.


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Home India Need to change global agriculture and food situation: Prince Charles
Need to change global agriculture and food situation: Prince Charles
Janta Ka Reporter
Britain's Prince Charles on Tuesday stressed the need to change the current global food situation, as indigenous communities from 58 countries started deliberations on sustainable agriculture, food production and land resources.
The five-day Indigenous Terra Madre festival, being held in India for the first time, was inaugurated by Chief Minister Mukul Sangma.
It is being attended by 147 indigenous communities from 58 countries, including tribes from the aboriginal lands of Australia, the Amazonian Indians, native American Indians and other indigenous communities from African and Asian countries, besides 59 indigenous communities from India.
Prince Charles, the Prince of Wales, addressed the mega-gathering and stressed the need to change the current global food situation.
He said there was the need to look to "indigenous wisdom" and "develop an approach that acts globally, but thinks locally".
Welcoming the indigenous communities, Sangma urged the delegates to utilise the five-day programme to enrich each other with valued information and wealth of knowledge and skills passed down by their forefathers.
"It is important to make all indigenous communities to stay connected to their traditional practices and ensure that they do not delink themselves from nature," the chief minister said, while stressing the need to promote sustainable agriculture for sustainable economy and stable democracy.
Sangma, however, maintained that sustainable agriculture also requires appropriate scientific approach which will take care of climate change which is a threat to sustainable livelihood.
"Agriculture, which is our way of life, our rich and diverse culture and our unique and exclusive food stories will be a way forward for sustainable growth of our future and for making Meghalaya the most favoured and talked about destination in the years to come," he added.
On Meghalaya's efforts at creating innovative forms of livelihood, based on both traditional and scientific knowledge and harnessing renewable natural resources, Sangma said: "We have designed livelihood activities which can help regenerate our vegetative coverage and preserve the rich biodiversity to make living in the rural areas more remunerative and comparable to any other opportunities available outside the region."
Sangma unveiled a CD of 12 films and a coffee table book that offers glimpses of the rich diversity of Meghalaya.
Carlo Petrini, founder of Slow Food International, made an impassioned case for "every government to take decisions".
"We are losing our histories and food heritages in the process of becoming globalized, and becoming consumers of mass produced products," Petrini said, urging the indigenous communities to "must not only talk but act".
Winona La Duke, an American activist from the Anishinaabe tribe, also stressed preserving food-based traditions and looking towards indigenous people to share their knowledge, reiterating that food was sacred, and part of who people are genetically and spiritually.
The programme is being organised by the Indigenous Partnership (Rome) and North East Slow Food and Agrobiodiversity Society (NESFAS) in collaboration with Slow Food International and the Meghalaya government.
The Indigenous Terra Madre will also feature a slow food festival at the Mawphlang sacred grove.
Food Situation
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Are any of the Minimalist. products tested on animals?
No way, José! Tested on willing humans only.
Is this range suitable for vegetarians or vegans?
Yes. Minimalist. was created to be used by everyone. Completely cruelty-free + is free from any animal products.
Do any of the products contain Palm Oil?
Nope, + all of our ingredients are from sustainable resources.
You can check out our full list of ingredients here - The Ingredients.
No. The Minimalist. range is non-foaming, oil + powder based, so none of our products contains Sulphates, Parabens, Silicones or any artificial ingredients for that matter.
We love to support local companies too, so all of our stockists are based in NZ.
The origin of each individual ingredient varies depending on which country has the best variety, for example our Red + Pink Clays used in The Polishing Powder. are from France + our cold-pressed organic Pomegranate Oil found in The Super Serum. is sourced from Europe.
Yep, from New Zealand too. Our boxes + bags are made from recycled paper/cardboard, + every aspect in the entire range is recyclable.
How should I store my Minimalist. products?
Although presented in UV proof bottles, keep Minimalist. in a cool, dark + dry space away from sunlight, heat + children (they'll just waste it!), + always make sure the lids are secured tightly.
Yes. Once opened, The Cleansing Oil. The Super Serum. + The Perfecting Elixir. have a shelf-life of up to six months if they are kept in optimal conditions. This is due to the nature + organic components of the liquid products. The Polishing Powder. can be kept for up to ten months if it is kept in completely dry conditions.


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Nicholas John Teteris, MD
January 14, 1929 - August 31, 2020
In memory of Nicholas J. Teteris, MD, loving father and grandfather, dedicated physician and patriotic veteran. Born in Martins Ferry, Ohio to Greek immigrants. He attended Linsly Military Institute where he graduated as valedictorian. He went on to receive his undergraduate degree from Washington and Jefferson College. From there, he pursued a medical degree at The Ohio State University. His medical education was interrupted by the Korean War, during which time he served in the United States Air Force as a flight surgeon with the 38th Bombardier Wing before coming back to Columbus to complete a residency in Obstetrics and Gynecology. He subsequently joined the Department of OB/GYN at OSU where he was deeply committed to patient care and medical education. He practiced in this context until the mid 1990's when he took over the position of Medical Director of the Operating Rooms at Ohio State. He held the position until his retirement in his mid 70's. He will be deeply missed by his son John, (daughter in law Laura), daughter Georgia, grandchildren Nick, Olivia, Jack, Tatum and Cash, longtime devoted companion Pamela Shaver, former spouse Jean Teteris, sister Dorothy Leos, nephew Jimmy John Leos and many friends and colleagues. Family will receive friends from 4-7 P.M. Friday, September 11, 2020 at SCHOEDINGER NORTHWEST CHAPEL, 1740 Zollinger Rd. Guests are respectfully required to wear masks and attendance will be monitored to ensure safety for everyone attending. In lieu of flowers, memorial contributions may be made to the Wounded Warriors Project, P.O. Box 758516, Topeka, Kansas 66675-8516. To share memories or condolences, please visit www.schoedinger.com.
In memory of Nicholas J. Teteris, MD, loving father and grandfather, dedicated physician and patriotic veteran. Born in Martins Ferry, Ohio to Greek immigrants. He attended Linsly Military Institute where he graduated as valedictorian. He... View Obituary & Service Information
The family of Nicholas John Teteris, MD created this Life Tributes page to make it easy to share your memories.
In memory of Nicholas J. Teteris, MD, loving father and grandfather,...
Send flowers to the Teteris family.
© 2022 Schoedinger Funeral and Cremation Services. All Rights Reserved.


Blame It On The Dutch / MWM.
tomorrow world 2013 - I can not wait for this! My bucket list item!
Cinematic dark ambient orchestral album by Russian project Alex Mason. Do you believe in spirits? "The Exorcist" will show you that their existence is real.
Who are you ready to see on Main stage at / / / / / W / and so many more! Get your Tickets if you Don't have them already!
Listen to music from The Glitch Mob like Disintegrate Slowly Remix), Fortune Days & more. Find the latest tracks, albums, and images from The Glitch Mob.
Electronic Music I know to get stuff done with.
Oh my God it's Techno!
Check out this high-res gallery of rare early rave flyer art- so many classics in there.
DJ Johnny F Mastercats DJ&.


Juniors: Wesleyan Writing Program's ANNIE SONNENBLICK WRITING AWARD Applications are due TOMORROW March 24, 2010.
We welcome applications for the Annie Sonnenblick Writing Award, given annually to a member of the junior class who shows unusual promise in creative writing.
The Sonnenblick family has established this award in memory of Annie Sonnenblick, a member of the Wesleyan class of 1980, who took great pleasure in literature and the creative arts. The winner will be a student whose interests and talents reflect Annie Sonnenblick's spirit.
Applicants should propose a writing project to be completed during the summer between their junior and senior years. Previous winners have written short fiction, collections of poetry, and nonfiction projects such as biographical sketches and studies of places. The award provides funding of up to $1,500 to support the project and the writer's summer living expenses. The completed project is due on the first day of the fall semester.
Submit four neatly packaged copies of the following material, each pack with a cover sheet. YOU CAN ALSO SUBMIT YOUR OLIN OR OTHER SUMMER WRITING FELLOWSHIP APPLICATION FOR THIS PRIZE.
8) names of one or two references with their email addresses and telephone numbers.
Applications are due at Anne Greene's office, Downey House, room 207, by March 24, 2010 at 12:00 PM. Write agreene@wesleyan.edu for more information.
Posted by Barbara in Events on March 23, 2010 at 10:31 AM.


If you have already created your Google AdSense account, go to your Google AdSense home page. If you have not created your Google AdSense account, go here to create it now. Need step-by-step instructions on creating your account? Follow along here.
Now, let's get started on setting up your Google AdSense account!
1. Click on the 'Payments' tab on the left side panel of the screen.
4. On the 'Add Bank Account' screen, type in the name on your bank account, select account type from the drop-down menu, type in your routing number and account number.
5. Go back to the 'Payments' tab on the left side panel. Then click on 'Manage Settings' under the 'Settings' section on the right.
On the 'Payments account' screen, you will see your account ID, account nickname, payment schedule, profile ID, Country/Region, account type, United States tax info, tax exemption info, social security number, name and address, language preference, then a section that says, 'Payments contacts.' Go ahead and click on the edit pencil next to any section that needs to be updated. The video will describe this in detail.
6. Next, click on the 'Settings' tab on the left side panel. This will take you to your 'Personal settings.' On the right side panel, make sure that all of your personal information is correct.
7. On the left side panel, click on the 'Account information' tab. This will show you your publisher ID, customer ID, and you can change your time zone here. It will also show you which ad products are currently active, and whether your account status is open or not. Watch the video for a detailed explanation of this section.
8. Click on the 'Policy center' tab on the left. This will show you if you have any policy violations, which you should not (and I hope you never will) since you are just getting started.
9. Now, click on 'My Sites' on the left. In the right panel, click on the blue plus sign to add the URL of the website or blog where you want Google AdSense to serve the ads. Once added, a green check mark will indicate your website has been verified. This may not happen right away.
10. Click on 'Access and authorization' tab on the left. This will take you to 'User management' which shows you the administrator of the account. You may also invite others to manage your AdSense account.
11. Next, click on 'Crawler access' on the left. This will allow those who have membership sites or sites that require authentication to add login information for Google to access their site and display the ads. If you do not have a membership website or site that requires authentication, you can skip this section.
12. Click on 'Third party access' on the left. On the right, sites will show-up that you have granted access to your Google AdSense account — meaning Google AdSense will run ads on these third party sites as well as on your website or blog. Listen to the video if you would like further information on this.
13. Then, click on 'Google Analytics integration.' Then, on the right side, click the word 'Link' to the right of the website in which you want to display the ads. This will take you to your Google Analytics account.
14. Once you are in your Google Analytics account, in the first column on the left, select the admin account you want the ads displayed on.
In the second column, click on the drop-down arrow to select your website property or click on the 'Create Property' button.
This will bring you to the 'AdSense Linking' page that will show you your publisher ID again, your AdSense for web property and linked views.
17. Once you have completed linking Google Analytics to your Google AdSense account, go back to your Google AdSense account. You will see a Google Analytics integration box. Click the 'Done' button on that box.
18. Now you will see 'Unlink' next to the website you just linked, which confirms Google Analytics is now linked to your Google AdSense account. If you ever want to unlink the two you would click there.
19. Under Google Analytics on the left panel, click on AdMob account. AdMob is actually a mobile app platform for developers, so there is nothing you need to do here (unless of course, you are a developer).
20. Click on 'Status' in the left panel. This will take you to 'Crawl errors' which will show you any pages on your site that Google AdSense is unable to access. You can read the details at the top of that page.
21. Finally, click on 'Messages' on the left. This will show you any messages that Google Adsense has sent you. (Note: Be sure to also check the notification bell at the top right corner of your AdSense account for updates.
That's it for now. There will be a third video in this series that will show you how to add the code to your WordPress website or blog, so you can start getting paid when people click on the ads on your site.
One last thing, sure to subscribe to my YouTube Channel for notifications when I upload new videos.


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La guerra romano-sassànida del 602-628 fou l'última, la més llarga i la més devastadora de la successió de guerres entre l'Imperi Romà d'Orient i l'Imperi Sassànida. L'anterior conflicte entre les dues potències havia arribat a la seva fi el 591 després que l'emperador Maurici ajudés el rei sassànida Cosroes II a recuperar el tron. El 602, Cosroes feu servir l'assassinat de Maurici per un rival polític, Focas, com a casus belli per envair l'Imperi Romà d'Orient. Els combats es prolongaren durant més de dues dècades i es disputaren a gran part de l'Orient Pròxim, des de Mesopotàmia fins a les portes de Constantinoble, passant pel Caucas, Armènia, el Llevant, Egipte, Anatòlia i el mar Egeu.

Els perses es mostraren superiors durant gairebé tot el conflicte, des del 602 fins al 622, quan arrabassaren als romans la major part del Llevant, Egipte, algunes illes de l'Egeu i parts d'Anatòlia. Tanmateix, en la recta final de la guerra, Heracli, proclamat emperador el 610, es refeu dels seus fracassos inicials i fou capaç de restaurar l'statu quo ante bellum. Els romans posaren els perses contra les cordes i recuperaren la iniciativa atacant les terres iranianes entre el 622 i el 626, mentre que els perses feren causa comuna amb els àvars i els eslaus en un intent fallit de prendre Constantinoble. El 627, Heracli envaí el cor de l'Imperi Sassànida alhora que els seus aliats turcs saquejaven els dominis perses a Transcaucàsia. Això fou el detonant d'una guerra civil a Pèrsia, en el transcurs de la qual Cosroes fou derrocat i executat i els perses es rendiren.

El 628 se signà una pau que posava fi a les hostilitats amb condicions força indulgents per als perses derrotats. Tanmateix, tants anys de guerra havien esgotat el capital econòmic i militar dels dos imperis i els deixaren afeblits davant de les invasions musulmanes, que acabarien duent a la caiguda de l'Imperi Sassànida i el fort declivi territorial de l'Imperi Romà d'Orient.

Notes

Referències

Bibliografia

602-628
Anatòlia sota l'Imperi Romà d'Orient
Imperi Sassànida

redpajama_set_name: RedPajamaWikipedia


Nothing builds confidence, and strengthen communication skills quite like performing – without a script!
What is Improv? Improv, short for improvisation, is a form of live theater in which the plot, characters, and dialogue of a scene or story are created spontaneously in front of the audience.
5. Deal with fear of failure.


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Q: What are the advantages of using std::variant as opposed to traditional polymorphic processing? Suppose I have a Shape base class and Circle, Line, and Point derived classes. I have two functions.
std::variant<Circle, Line, Point> process(const Shape &s);
Shape process(const Shape& s);

I can pass in any of my derived classes and return a Shape object in the second function, a variant is just a union that can hold any of my derived class variables at any given time.
Now with std::variant I can also employ a visitor where I can process some function depending on what type my variant is currently holding (I could just create a function object and pass it std::transform and apply it to each of my objects). However, I can just make that function virtual in my base class and have each derived class implement it.
So, is variant just a convenience?

A:
So, is variant just a convenience?

No, they are different concepts. Main difference that on one side std::variant can work with unrelated types including builtins like int which is not possible with virtual functions directly. On another side std::variant must know types it is working with at compile time. For example it is possible to add a type with virtual function(s) by just linking additional object module without recompiling rest of the code or loading a shared library dynamically to existing application (you do not even have to restart the app) while with std::variant you must recompile code dealing with types std::variant contains.

A:
However, I can just make that function virtual in my base class and have each derived class implement it.

Yes.... if all the elements in the variant share a common Base (which Slava already mentioned).
Another big difference is that, with a variant, there's not necessarily any dynamic polymorphism happening at all (no RTTI needed) during visitation.
In conjunction with std::visit, there are a lot of tricks under the hood to make sure that there's (basically) zero runtime overhead in calling the appropriate function for a given std::variant. Although there could be non-trivial additional compile time and memory usage because it does this by creating a big matrix of function pointers (See this excellent blog post from Michael Park about it)


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Home >> US News >> Melania Trump Responds To Vogue Snub
Melania Trump Responds To Vogue Snub
Posted by: Molly Prince in US News, White House Watch April 16, 2019	Comments Off on Melania Trump Responds To Vogue Snub
The office of First Lady Melania Trump responded on Friday after Anna Wintour implied during an interview that the current first lady will not appear on the cover of Vogue despite featuring past first ladies.
"To be on the cover of Vogue doesn't define Mrs. Trump, she's been there, done that long before she was first lady," Stephanie Grisham, spokeswoman for Trump, said in a statement first obtained by Fox News.
"We always had a tradition at Vogue to photograph the first ladies when they first came in to office — some extraordinary, wonderful women, and it was an honor to photograph them," Wintour said during an interview CNN before praising former First Lady Michelle Obama for "inspiring so many women" and doing "wonders for fashion." Vogue featured Obama three separate times when she served as first lady.
However, after CNN's Christiane Amanpour referred to Wintour as "overtly political" when it comes to cover features and profiles, the Vogue editor-in-chief noted that she must take a stand.
"I also feel even more strongly now that this is a time to try and — I think that one has to be fair, one has to look at all sides ― but I don't think it's a moment not to take a stand," Wintour said. "I think you can't be everything to everybody."
"I think that is a time when we live in a world where, as you would well know, of fake news," she continued. "I believe and I think that those of us that work at Conde Nast believe that you have to stand up for what you believe in and you have to take a point of view."
"Her role as first lady of the United States and all that she does is much more important than some superficial photo shoot and cover," Grisham added. "This just further demonstrates how biased the fashion magazine industry is, and shows how insecure and small-minded Anna Wintour really is."
Anna Wintour Conde Nast Melania Trump Vogue	2019-04-16
Molly Prince
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