text:
Campaign against speeding traffic in Bisley Old Road, Stroud
By Joseph Forte JoeforteNQ Reporter
Residents of Bisley Old Road held a protest last month
RESIDENTS of Bisley Old Road and the surrounding streets held a socially-distanced protest to highlight the dangers of speeding.
The protest took place at the end of October with locals railing against speeding through the community.
Around 65 people attended the protest, which was designed to raise awareness of concerns about this speeding.
Residents stood in socially distanced groups and held up home-made banners and placards along the 20mph section of the road to highlight the community's desire for a safer street.
Bisley Old Road has witnessed many serious incidents over the years.
County Councillor Eva Ward, who lives nearby, said: "There are around 200 households in this section of Bisley Old Road and adjoining roads such as Clare Court, Middle Hill, Mount Pleasant and Nouncells Cross. That is a substantial number of people and they deserve to feel safe when using the road."
Dan Tiffney, local highways manager for Gloucestershire County Council, said: "We know speeding is a concern to residents and we have been meeting regularly with the local county councillor and the town council about this issue.
"Flashing vehicle activated signs and '20 is plenty' signs have already been installed and more signage is being considered in the future. We will continue to work with the community to support them on this issue."
A spokeswoman for Gloucestershire police said: "Officers from the Stroud Neighbourhood Policing Team frequently attend Bisley Old Road and were there on Tuesday, November 10, enforcing speed limits alongside members of the community.
"This is planned to continue so that we can provide the best support and reassurance to the people that live there after concerns were raised about speeding in the area
"Members of the community have recently received training to enable them to set up a Community Speed Watch and PCSO Upton and PCSO Patel from Stroud and Dursley Neighbourhood Policing Team will continue to work with them both in providing a visible deterrent and in identifying those intent on driving in excess of the speed limit.
"Safe and social roads is also a priority of the Police and Crime Plan and more speed enforcement operations are planned in the area throughout this month."


Under the Initiative, partying students, visitors and residents ticketed in the University District during Frosh Week, Homecoming, and St. Patrick's Day will be required to appear in court and be subjected to Non-Academic Misconduct.
They'll be unable to pay their fines online or by mail.
Mayor Bryan Paterson said the new model doesn't target students. He added it was a step toward increased safety in the University District, referring to an incident last St. Patrick's Day when over 40 people stood on a roof and caused it to collapse.
He said the AMS was consulted during its creation, but AMS President Miguel Martinez told The Journal in June they were only informed of the pilot project.
Matheson hopes to pursue a collaborative approach to address University District street parties.
University District and its infringements, rather than leaving it to the discretion of Kingston Police.
Matheson said he would rely somewhat on the criminal justice system for crimes involving vandalism, public intoxication, and destruction of property during street parties, while still suspending the new ticketing program following the 2018-19 year.
"We don't have to reinvent the wheel with a bylaw that specifically targets students as a demographic," he said.


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text:
Rural, Segregation Policies
Not Always Fair: Revisiting Outdoor Agricultural Exhibitions in 2020
Debby Warren
Martybiniasz / CC BY-SA
August 12, 2020; Stateline
County fairs, with their smells, sights, and sounds of demolition derbies, funnel cake, rodeo queens, midway barkers—and, of course, mules, giant watermelons, and pigs—typically draw millions of Americans in late summer and fall to nearly 2,000 locales across America. But not this year. More than 80 percent are canceled due to the pandemic, harming local economies. Illinois's 104 county fairs generated $170 million in 2019; Iowa's produced $327 million in spending, and North Carolina's more than $24 million in revenues.
County fairs are a veritable national tradition, a reminder of our agricultural heritage, an homage to our competitive spirit (think pageants, pickles, and tractor pulls), a tribute to our volunteerism, and an important contribution to the local economy. Though originally organized to celebrate agriculture (the first was organized in Pittsfield, Massachusetts in 1811 with $70 in prize money paid for the best exhibits of oxen, cattle, swine, and sheep), and most still do, these fairs also excel in entertaining a far wider swath of the population with rides, entertainment, beauty pageants, and, of course, food—the greasier, the better. Some county fairs are huge: the Los Angeles County Fair generates $68 million in a typical year in gross receipts, attracting over a million visitors. The Wilson County, Tennessee fair garners nearly 500,000 visitors, and smaller fairs often surpass 100,000. The county fair tradition, for the most part, appears to be thriving.
With the exception of California (where two-thirds of the local fairs are operated by a state agency), most county fairs are sponsored, and their fairgrounds owned, by tax-exempt nonprofit organizations, primarily 501c5 tax-exempt entities, an IRS classification reserved for agricultural, horticultural and labor organizations. This kind of nonprofit, however, was not eligible for the Paycheck Protection Program as 501c3 organizations were, and thus lacked access to the government's forgivable loans to keep employees paid.
The Martin County Fair Association (Florida), for example, chartered in 1959, donated $225,000 in free facility rentals to other nonprofits (the Fire Department, baseball teams, United Way, food bank), gave out more than $250,000 in cash to "the youth of Martin County," and has over 130 members who last year gave more than 10,000 hours to the weeklong event. Parking lot revenues enabled the fair to purchase hogs that were then sold at auction—generating both income and meat—then donated to six local food pantries.
For decades and even centuries, county fairs have been keeping local money in the community, part of the "Buy Local" hymnal and the circular economy we sometimes long for. But county fairs are also a clear reminder of our racist history. Near Richmond, Virginia, the Chesterfield County Colored Farmers Fair, beginning in 1919, was held the weekend after the white fair—at the same location and often with the same attractions. It was only in 1968 that the fairs "integrated," with the County Fair Association Constitution dropping a reference to its white membership. Kentucky's Lexington Colored Fair, until it ended during World War II, was one of the nation's largest and most successful Black fairs, attracting as many as 40,000 visitors. Every state in the Jim Crow South had dozens of these Black-owned and operated entities. But written information is hard to find—white newspapers only covered the white fairs, and the Black press was primarily an urban phenomenon.
This tradition persists today in North Carolina, where the Chatham County Agricultural and Industrial Association celebrated its 69th birthday last year, perhaps the only remaining Black-run fair in the country. Begun in 1950 by the two Black county extension agents, it was an annual coming together, a celebration of the harvest and local talent and the opportunity to share vital agricultural and homemaking knowledge. Though its nonprofit board is still largely made up of the descendants of its founders, the fair's recent music offerings—Encuesta Norteña, a "Hispanic band"; traditional old-time American banjo; Progressive Jazz/Funk/African; as well as traditional R&B—attract a new generation of attendees. And though the Chatham County Fair only generates about $37,000 in revenues (daily fees are $6 for adults and free for children), it owns 12 acres of land now prime development property near Raleigh and Chapel Hill. What will this Black-led nonprofit do with this valuable asset? Will it hold on, or cash it in and invest in other community services?
What about white-only fairs? Perhaps the standout is the Neshoba County Fair, with the moniker of "Mississippi's Giant House Party." Perhaps best known as the venue for candidate Ronald Reagan's 1980 speech endorsing states' rights, the fairground is about seven miles from Philadelphia, Mississippi, a town associated with the 1964 murders of Civil Rights activists Chaney, Goodman, and Schwerner. An array of 600 cabins that can each bed thirty people—100-percent-white-owned in a county that is 25 percent black (Philadelphia is 47 percent Black)—lines the fairgrounds. These two- and three-story structures, rimmed with porches on every floor, are each owned by an extended family and organized into neighborhoods with names like Beverly Hills, Happy Hollow, Green Acres, and Bourbon Strip. This weeklong celebration every year in July (except for 2020) boasts Mississippi's only legal horse racing track, a parade of political candidates running in the state's August primaries, and the typical midway, competitions, and performances. Over 25,000 attend the fair each year. Though supposedly attracting a more diverse audience these days, the Neshoba County Fair was described in 2002 as a Disneyesque "Southland," a racially segregated imagining of a Mississippi town, a destination for a white-only holiday.
Vestiges of white supremacy at county fairs are not confined to the South. In 2016, a coalition that included the local NAACP petitioned the Wayne County Fair in Ohio to ban the sale of Confederate merchandise. And in 2017, a citizens' group began a petition drive to forbid the sale of Confederate flags at the Wood County Fair in northwest Ohio. This past June, however, the Ohio Legislature rejected a measure to ban these flags at county and independent fairs.
County fairs are a snapshot of the best of rural America—our striving, hard work, generosity, and volunteerism; our colorful stories and diverse traditions; and our community mindedness. But looked at more closely, they are also a reminder of our deeply ingrained racism and that "separate" was never "equal." County fairs have the potential to be vital spaces that bring a community's diverse members together in sharing and celebration – as long as they are perceived as welcoming and where "non-traditional" voices are included in their decision-making venues. Rural communities need to be reunited in these divisive days, as well as firmly connected to their broader regions, and county fairs can play a key role in both arenas while continuing to generate local income to meet community needs. We miss our county fairs in 2020, and hope that the Congress seriously considers passing the Agricultural Fairs Rescue Act, introduced on July 30, 2020, but so far sitting quietly in the House Committee on Agriculture. Our communities need these nonprofits, and they need the government's help too.—Debby Warren
Debby Warren has spent the last 35 years doing, funding, supporting and studying community-based development and philanthropy, particularly in the American South. As a consultant, she is most happy working with justice-oriented non-profits (of all sizes) that recognize that they need to change for greater impact and sustainability, and are willing to reflect, take risks, break down walls, ask hard questions, plan and act. Debby remains perplexed about non-profit governance – is it designed to really work or work just well enough?
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redpajama_set_name: RedPajamaCommonCrawl


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This kind of conflicting evidence regarding the effectiveness of binaural beats to produce valid and reliable changes in brain waves abounds in the literature. For example, Rosenfeld, Reinhart, & Srivastava, (1997) found that in a sample of normal college students, alpha and beta audiovisual stimulation showed evidence of brainwave entrainment, but baseline levels of alpha and beta among the participants affected the observed degree of entrainment, producing significant individual differences in response. López-Caballero & Escera (2017) found that administration of binaural beats in the various frequency bands produced no changes in EEG spectral power between the time periods of baseline and those periods with beats presented. Likewise, Wahbeh, Calabrese, Zwickey, & Zajdel (2007) found no effect on brainwaves with the administration of alpha frequency binaural beats. It is easy, however, to find personal testimonials online.


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Yves Klein (French pronunciation: [iv klɛ̃]; 28 April 1928 – 6 June 1962) was a French artist and an important figure in post-war European art. He was a leading member of the French artistic movement of Nouveau réalisme founded in 1960 by art critic Pierre Restany. Klein was a pioneer in the development of performance art, and is seen as an inspiration to and as a forerunner of minimal art, as well as pop art.
Yves Klein during the work on the Gelsenkirchen Opera, 1959
(1928-04-28)28 April 1928
6 June 1962(1962-06-06) (aged 34)
Painting, performance art
IKB 191 (1962)
Monotone Symphony (1949)
Rotraut Klein-Moquay
BiographyEdit
Klein was born in Nice, in the Alpes-Maritimes department of France. His parents, Fred Klein and Marie Raymond, were both painters. His father painted in a loose post-impressionist style, while his mother was a leading figure in Art informel, and held regular soirées with other leading practitioners of this Parisian abstract movement. Klein received no formal training in art, but his parents were both painters who exposed him to different styles. His father was a figurative style painter, while his mother had an interest in abstract expressionism.[1]
From 1942 to 1946, Klein studied at the École Nationale de la Marine Marchande and the École Nationale des Langues Orientales. At this time, he became friends with Arman (Armand Fernandez) and Claude Pascal and started to paint. At the age of nineteen, Klein and his friends lay on a beach in the south of France, and divided the world between themselves; Arman chose the earth, Pascal, words, while Klein chose the ethereal space surrounding the planet, which he then proceeded to sign:
With this famous symbolic gesture of signing the sky, Klein had foreseen, as in a reverie, the thrust of his art from that time onwards—a quest to reach the far side of the infinite.[2]
Between 1947 and 1948,[3] Klein conceived his Monotone Symphony (1949, formally Monotone Silence Symphony) that consisted of a single 20-minute sustained chord followed by a 20-minute silence.[4][5]
In early 1948, Klein was exposed to Max Heindel's 1909 text The Rosicrucian Cosmo-Conception and pursued a membership with an American society dedicated to Rosicrucianism.[6]
JudoEdit
While attending the École Nationale des Langues Orientales Klein began practicing judo. During the years 1948 to 1952, he traveled to Italy, Great Britain, Spain, and Japan. He traveled to Japan in 1953 where he became, at the age of 25, a master at judo receiving the rank of yodan (4th dan/degree black-belt) from the Kodokan, becoming the first European to rise to that rank. Later that year, he became the technical director of the Spanish judo team[7]. In 1954 Klein wrote a book on judo called Les Fondements du judo.[8] The same year, he settled permanently in Paris and began in earnest to establish himself in the art world.
ArtworkEdit
Monochrome works: The Blue EpochEdit
Yves Klein, IKB 191, 1962
Although Klein had painted monochromes as early as 1949, and held the first private exhibition of this work in 1950, his first public showing was the publication of the artist's book Yves Peintures in November 1954. Parodying a traditional catalogue raisonné, the book featured a series of intense monochromes linked to various cities he had lived in during the previous years. Yves Peintures anticipated his first two shows of oil paintings, at the Club des Solitaires, Paris, October 1955 and Yves: Proposition monochromes at Gallery Colette Allendy, February 1956. Public responses to these shows, which displayed orange, yellow, red, pink and blue monochromes, deeply disappointed Klein, as people went from painting to painting, linking them together as a sort of mosaic.
From the reactions of the audience, [Klein] realized that...viewers thought his various, uniformly colored canvases amounted to a new kind of bright, abstract interior decoration. Shocked at this misunderstanding, Klein knew a further and decisive step in the direction of monochrome art would have to be taken...From that time onwards he would concentrate on one single, primary color alone: blue.[9]
The next exhibition, 'Proposte Monocrome, Epoca Blu' (Proposition Monochrome; Blue Epoch) at the Gallery Apollinaire, Milan, (January 1957), featured 11 identical blue canvases, using ultramarine pigment suspended in a synthetic resin 'Rhodopas', described by Klein as "The Medium". Discovered with the help of Edouard Adam, a Parisian paint dealer,[10] the optical effect retained the brilliance of the pigment which, when suspended in linseed oil, tended to become dull. Klein later deposited a Soleau envelope[11] for this recipe to maintain the "authenticity of the pure idea."[12] This colour, reminiscent of the lapis lazuli used to paint the Madonna's robes in medieval paintings, was to become known as International Klein Blue (IKB). The paintings were attached to poles placed 20 cm away from the walls to increase their spatial ambiguities. Interestingly, all 11 of the canvases were priced differently. The buyers would go through the gallery, observing each canvas and purchase the one that was deemed best in their own eyes specifically. Klein's idea was that each buyer would see something unique in the canvas that they bought that other buyers may not have seen. So while each painting visually looked the same, the impact each had on the buyer was completely unique.[13]
The show was a critical and commercial success, traveling to Paris, Düsseldorf and London. The Parisian exhibition, at the Iris Clert Gallery in May 1957, became a seminal happening.[3] To mark the opening, 1001 blue balloons were released and blue postcards were sent out using IKB stamps that Klein had bribed the postal service to accept as legitimate.[14] Concurrently, an exhibition of tubs of blue pigment and fire paintings was held at Galerie Collette Allendy.[15]
The VoidEdit
Le Vide (The Void) displayed at the Iris Clert Gallery
For his next exhibition at the Iris Clert Gallery (April 1958), Klein chose to show nothing whatsoever, called La spécialisation de la sensibilité à l'état matière première en sensibilité picturale stabilisée, Le Vide (The Specialization of Sensibility in the Raw Material State into Stabilized Pictorial Sensibility, The Void): he removed everything in the gallery space except a large cabinet, painted every surface white, and then staged an elaborate entrance procedure for the opening night: the gallery's window was painted blue, and a blue curtain was hung in the entrance lobby, accompanied by republican guards and blue cocktails. Thanks to an enormous publicity drive, 3,000 people queued up, waiting to be let into an empty room.[16]
The art historian Olivier Berggruen situates Klein "as one who strove for total liberation," forming connections between perverse ritual and a disdain of convention. Klein had studied judo in Japan between 1952 and 1954, and also displayed an interest in Zen Buddhism.[17] According to Berggruen, he used ritual as a means not to attain belief, but rather as a forum through which to reach abstraction—transcending worldly vestiges temporarily, and returning to earth as a new being.
Recently my work with color has led me, in spite of myself, to search little by little, with some assistance (from the observer, from the translator), for the realization of matter, and I have decided to end the battle. My paintings are now invisible and I would like to show them in a clear and positive manner, in my next Parisian exhibition at Iris Clert's.[18]
Sponge Relief (1959), Musiktheater im Revier, Gelsenkirchen
Later in the year, he was invited to decorate the Gelsenkirchen Opera House, Germany, with a series of vast blue murals, the largest of which were 20 metres by 7 metres. The Opera House was inaugurated in December 1959. Klein celebrated the commission by travelling to Cascia, Italy, to place an ex-voto offering at the Saint Rita Monastery. "May all that emerges from me be beautiful," he prayed.[19] The offering took the form of a small transparent plastic box containing three compartments; one filled with IKB pigment, one filled with pink pigment, and one with gold leaf inside. The container was only rediscovered in 1980.
Klein's last two exhibitions at Iris Clert's were Vitesse Pure et Stabilité Monochrome (Sheer Speed and Monochrome Stability), November 1958, a collaboration with Jean Tinguely, of kinetic sculptures, and Bas-Reliefs dans une Forêt d'Éponges (Bas-Reliefs in a Sponge Forest), June 1959, a collection of sponges that Klein had used to paint IKB canvases, mounted on steel rods and set in rocks that he'd found in his parents' garden.
AnthropométriesEdit
Despite the IKB paintings being uniformly coloured, Klein experimented with various methods of applying the paint; firstly different rollers and then later sponges, created a series of varied surfaces. This experimentalism would lead to a number of works Klein made using naked female models covered in blue paint and dragged across or laid upon canvases to make the image, using the models as "living brushes". This type of work he called Anthropometry. Other paintings in this method of production include "recordings" of rain that Klein made by driving around in the rain at 70 miles per hour with a canvas tied to the roof of his car, and canvases with patterns of soot created by scorching the canvas with gas burners.
Klein and Arman were continually involved with each other creatively, both as Nouveaux Réalistes and as friends. Both from Nice, the two worked together for many years and Arman even named his son, Yves Arman after Yves Klein who was his god-father.
Sometimes the creation of these paintings was turned into a kind of performance art—an event in 1960, for example, had an audience dressed in formal evening wear watching the models go about their task while an instrumental ensemble played Klein's 1949 The Monotone Symphony.[20]
In the performance piece, Zone de Sensibilité Picturale Immatérielle (Zones of Immaterial Pictorial Sensibility) 1959–62, he offered empty spaces in the city in exchange for gold. He wanted his buyers to experience The Void by selling them empty space. In his view this experience could only be paid for in the purest material: gold. In exchange, he gave a certificate of ownership to the buyer. As the second part of the piece, performed on the Seine with an Art critic in attendance, if the buyer agreed to set fire to the certificate, Klein would throw half the gold into the river, in order to restore the "natural order" that he had unbalanced by selling the empty space (that was now not "empty" anymore). He used the other half of the gold to create a series of gold-leafed works, which, along with a series of pink monochromes, began to augment his blue monochromes toward the end of his life.
Aero worksEdit
Le Saut dans le vide (Leap into the Void); Photomontage by Shunk–Kender of a performance by Klein at Rue Gentil-Bernard, Fontenay-aux-Roses, October 1960
Klein is also well known for a photomontage, Saut dans le vide (Leap into the Void),[21] originally published in the artist's book Dimanche, which apparently shows him jumping off a wall, arms outstretched, towards the pavement. Klein used the photograph as evidence of his ability to undertake unaided lunar travel. In fact, "Saut dans le vide", published as part of a broadside on the part of Klein (the "artist of space") denouncing NASA's own lunar expeditions as hubris and folly, was a photomontage in which the large tarpaulin Klein leaped onto was removed from the final image.
Klein's work revolved around a Zen-influenced concept he came to describe as "le Vide" (the Void). Klein's Void is a nirvana-like state that is void of worldly influences; a neutral zone where one is inspired to pay attention to one's own sensibilities, and to "reality" as opposed to "representation". Klein presented his work in forms that were recognized as art—paintings, a book, a musical composition—but then would take away the expected content of that form (paintings without pictures, a book without words, a musical composition without in fact composition) leaving only a shell, as it were. In this way he tried to create for the audience his "Zones of Immaterial Pictorial Sensibility". Instead of representing objects in a subjective, artistic way, Klein wanted his subjects to be represented by their imprint: the image of their absence. He tried to make his audience experience a state where an idea could simultaneously be "felt" as well as "understood".
MultiplesEdit
As well as painting flat canvases, Klein produced a series of works throughout his career that blurred the edges between painting and sculpture. He appropriated plaster casts of famous sculptures, such as the Winged Victory of Samothrace and the Venus de Milo, by painting them International Klein Blue; he painted a globe, 3D reliefs of areas of France and dowels which he hung from the ceiling as rain. He also stuck sponges to canvases and painted dinner plates. Many of these works were later manufactured as editioned multiples after his death.
In Blue Obelisk, a project that he had failed to realise in 1958, but that finally happened in 1983, he appropriated the Place de la Concorde by shining blue spotlights onto the central obelisk.
Last yearsEdit
The critic Pierre Restany, whom he had met during his first public exhibition at the Club Solitaire,[22][failed verification] founded the Nouveau Réalisme group in Klein's apartment on 27 October 1960. Founding members were Arman, Francois Dufrêne, Raymond Hains, Yves Klein, Martial Raysse, Daniel Spoerri, Jean Tinguely, and Jacques Villeglé, with Niki de Saint Phalle, Christo and Gérard Deschamps joining later. Normally seen as a French version of Pop Art, the aim of the group was stated as 'New Realism=New Perceptual Approaches To The Real'.[23][failed verification]
A large retrospective was held at Krefeld, Germany, January 1961, followed by an unsuccessful opening at Leo Castelli's Gallery, New York, in which Klein failed to sell a single painting. He stayed with Rotraut at the Chelsea Hotel for the duration of the exhibition; and, while there, he wrote the "Chelsea Hotel Manifesto", a proclamation of the "multiplicity of new possibilities." In part, the manifesto declared:
At present, I am particularly excited by "bad taste." I have the deep feeling that there exists in the very essence of bad taste a power capable of creating those things situated far beyond what is traditionally termed "The Work of Art." I wish to play with human feeling, with its "morbidity" in a cold and ferocious manner. Only very recently I have become a sort of gravedigger of art (oddly enough, I am using the very terms of my enemies). Some of my latest works have been coffins and tombs. During the same time I succeeded in painting with fire, using particularly powerful and searing gas flames, some of them measuring three to four meters high. I use these to bathe the surface of the painting in such a way that it registered the spontaneous trace of fire.[24]
He moved on to exhibit at the Dwan Gallery, Los Angeles, and traveled extensively in the Western U.S., visiting Death Valley in the Mojave Desert. In 1962, he married Rotraut Uecker, sister of German artist Günther Uecker.
He suffered a heart attack while watching the film Mondo cane (in which he is featured) at the Cannes Film Festival on 11 May 1962. Two more heart attacks followed, the second of which killed him on 6 June 1962. His son, Yves Amu Klein [fr], was born on 6 August in Nice.[25] Yves Amu studied architecture, design, cybernetics theory of systems, and Fine Arts sculpture. He went on to create robotized sculptures.[26] Rotraut Klein married the photographer and designer Daniel Moquay, and has homes in Paris; Phoenix, Arizona; and Sydney, Australia.
LegacyEdit
Unaware of the importance of the Nouveau Réalisme movement until the 1990s, New York critics of Klein's time tried to classify him as neo-Dada[citation needed], and other critics, such as Thomas McEvilley in an essay submitted to Artforum in 1982, classified Klein as an early, though enigmatic, postmodernist.[27]
A sort of parody of Klein's Anthropometry performance is featured in the film Wise Guys (original title: Les Godelureaux) directed by Claude Chabrol released in 1961.
The Yves Klein archive is housed in Phoenix, Arizona, where his widow Rotraut Klein-Moquay has a home.[28]
Art marketEdit
Alongside works by Andy Warhol and Willem de Kooning, Klein's painting RE 46 (1960) was among the top-five sellers at Christie's Post-War and Contemporary Art sale in May 2006. His monochromatic blue sponge painting sold for $4,720,000. Previously, his painting RE I (1958) had sold for $6,716,000 at Christie's New York in November 2000.[29] In 2008, MG 9 (1962), a monochromatic gold painting, sold for $21,000,000 at Christie's.[30] FC1 (Fire Color 1) (1962), a nearly 10-foot long panel created with a blowtorch, water and two models, sold for $36.4 million at Christie's in 2012.[31]
In 2013, Klein's Sculpture Éponge Bleue Sans Titre, SE 168, a 1959 sculpture made with natural sea sponges drenched in blue pigment fetched $22 million, the highest price paid for a sculpture by the artist.[32]
The estate of Yves Klein has been represented by Galerie Gmurzynska for the past three decades.
^ "Yves Klein". Biography. Retrieved 21 March 2019.
^ Hannah Weitemeier [de], Yves Klein, 1928–1962: Internacional Klein Blue, translated by Carmen Sánchez Rodríguez (Cologne, Lisbon, Paris: Taschen, 2001), 8. ISBN 3-8228-5842-0.
^ a b "Yves Klein (1928–1962)". Yves Klein Archives. Archived from the original on 30 May 2013. Retrieved 12 May 2013.
^ Gilbert Perlein & Bruno Corà (eds) & al., Yves Klein: Long Live the Immaterial! ("An anthological retrospective", catalog of an exhibition held in 2000), New York: Delano Greenidge, 2000, ISBN 978-0-929445-08-3, p. 226: "This symphony, 40 minutes in length (in fact 20 minutes followed by 20 minutes of silence) is constituted of a single 'sound' stretched out, deprived of its attack and end which creates a sensation of vertigo, whirling the sensibility outside time."
^ See also at YvesKleinArchives.org a 1998 sound excerpt of Monotone Silence Symphony Archived 8 December 2008 at the Wayback Machine (Flash plugin required), and Klein's "Chelsea Hotel Manifesto" Archived 17 September 2013 at the Wayback Machine (including a summary of the 2-part Symphony).
^ Thomas McEvilley. "Yves Klein: Conquistador of the Void". Yves Klein: A Retrospective. (Houston: Institute for the Arts, Rice University, 1982), p 25.
^ "Yves Klein (1928–1962) – Judo en familia". www.fgjudo.com. Retrieved 13 January 2019.
^ Yves Klein (1954) Les Fondements du judo, Grasset, Paris OCLC 604216312
^ Hannah Weitemeier, Yves Klein, 1928–1962: International Klein Blue, Original-Ausgabe (Cologne: Taschen, 1994), 15. ISBN 3-8228-8950-4.
^ "Portrait d'Edouard Adam, marchand de couleurs et ami des peintres...Le film (envoyé par le neveu, Fabien)" (Portrait of Edouard Adam, merchant of colours and friend of painters...a film by his nephew.)
^ Tom Learner (2008). "Restoring the Immaterial: Study and Treatment of Yves Klein's Blue Monochrome (IKB42)". Modern Paint Uncovered. Los Angeles, CA: Getty Conservation Institute. ISBN 978-0-89236-906-5.
^ Quoted in Hannah Weitemeier, Yves Klein, 1928–1962: International Klein Blue, Original-Ausgabe (Cologne: Taschen, 1994), 19. ISBN 3-8228-8950-4.
^ "Exhibitions – Yves Klein : Proposte monocrome, epoca blu – Yves Klein". www.yvesklein.com. Retrieved 21 March 2019.
^ Held Jr., John. "The Formidable Blue Stamp of Yves Klein". Mailartist.com. Archived from the original on 2 November 2012.
^ "Galerie Collette Allendy" IMEC Archives ‹See Tfd›(in French)
^ Beale, Jason. "Yves Klein, The Void". Jasonbeale.com. Archived from the original on 19 July 2008.
^ Olivier Berggruen, "Yves Klein – The Void" in The Writing of Art (London: Pushkin Press, 2012), 80.
^ Stich, Sidra. Yves Klein. Hayward Gallery. London, 1994.
^ "True Blue" (28 June 2010 ) The New Yorker, p.72
^ "An account and sound recording of the 1960 performance". Archived from the original on 21 February 2001. Retrieved 21 February 2001. CS1 maint: Unfit url (link).
^ "'+'". Web.tiscali.it. Retrieved 6 July 2012.
^ Yves Klein, Weitemeier, Taschen, 2004, p. 8.
^ Nouveau Réalisme Founding Manifesto, 1960
^ Yves Klein Archives. "Chelsea Hotel Manifesto". 1961. Archived from the original on 15 January 2013. Retrieved 26 April 2013.
^ Kahn, Annette (2000). Yves Klein: Le maître du bleu. Paris: Éditions Stock. ISBN 2-234-05218-1. LCCN 00359365. OL 21884551M.
^ "Living Sculpture". Living Sculpture. Archived from the original on 10 March 2012. Retrieved 4 July 2012.
^ McEvilley, T. "Yves Klein: Messenger of the Age of Space." Artforum 20, no. 5. January 1982. pp. 38–51.
^ "Painting the Blues; As a major new exhibition highlights the brief, colourful career of artist Yves Klein, his widow Rotraut talks exclusively to Laurence Marks" (29 Jan 1995) The Guardian p. 2
^ Tully, Judd (9 May 2006). "Warhols, Judds Drive $143M Sale at Christie's". Artinfo. Retrieved 23 April 2008.
^ "The Great Contemporary Art Bubble", BBC4, 18 May 2009
^ Carol Vogel (8 May 2012), "Record Sales for a Rothko and Other Art at Christie's", The New York Times
^ Katya Kazakina and Philip Boroff (15 May 2013), "Barnett Newman Leads Sotheby's NYC $294 Million Auction", Bloomberg.
Wikimedia Commons has media related to Yves Klein.
Wikiquote has quotations related to: Yves Klein
Yves Klein Archives.org – official website
Yves Klein: MoMA
Real Immaterial: Superstudio and Yves Klein Review of "Yves Klein: Air Architecture" in X-TRA Contemporary Art Quarterly
Marc de Verneuil and Mélanie Marbach, Zone de sensibilité picturale immatérielle (1962–2012), 26 January 2012, Paris (double hommage to Yves Klein and Dino Buzatti on the occasion of the 40th anniversary of their collaborative work)
Yves Klein in American public collections, on the French Sculpture Census website
The Life and Work of Yves Klein Told by Rotraut. An interview with Rotraut Video by Louisiana Channel
Retrieved from "https://en.wikipedia.org/w/index.php?title=Yves_Klein&oldid=900347264"


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Angelina Eberley
TEXAS' BLOODLESS WAR
If you visit downtown Austin, on the corner of Congress Avenue and 7th Street, you will see a larger than life bronze of barefoot Angelina Eberley lighting an equally gigantic cannon. The story requires a little explanation.
After Texas gained independence from Mexico in 1836, Sam Houston won the election as the new Republic's first president. The capital resided in Sam Houston's namesake village on Buffalo Bayou; however, the constitution allowed the president only one term at a time. Houston's successor Mirabeau B. Lamar envisioned the capital of the Republic farther west in anticipation of settlement moving beyond the coastal regions. Lamar selected a hamlet on the Colorado River in Central Texas and named it for Stephen F. Austin, the empresario who brought the first group of Anglo settlers into Texas.
Many, especially Sam Houston, regarded Austin as a poor choice because of constant danger from Indian and Mexican attacks. After Houston was reelected president in 1841, he tried unsuccessfully, to have the archives—consisting of all the Republic's land titles, treaties, military records, and other documents—moved back to Houston.
When Mexican troops attacked San Antonio, about 80 miles south of Austin, in March 1842, President Houston again called for the archives to be removed. In wake of a possible Mexican attack, most Austin residents fled and the town was placed under martial law. The remaining contingent insisted that the archives were safe, and refused to allow the documents to leave Austin.
The following September Mexicans again attacked San Antonio and again Austin citizens refused to give up the records. Houston managed to move Congress, the high courts, even the foreign embassies 100 miles east to what he claimed as safer territory in Washington, a tiny community on the Brazos River.
Finally, a determined Sam Houston secretly dispatched 26 men with instructions to haul the archives to Washington. Before dawn on December 30, 1842, Angelina Eberley, an Austin innkeeper, and one of the few women left in the village, happened to be outside. Who knows why? She saw the men in an alley loading the archives into their wagon.
Mrs. Eberley rushed to the cannon that had been given to Austin for Indian protection and began firing at the departing wagon. Alerted, 68 Austin citizens gave chase.
The little band of men with the archives headed north to Kenney's Fort, near present Round Rock, and camped for the night inside the fort's picket enclosure. The following morning, Houston's men discovered the Austinites surrounding the fort, backed by their cannon, demanding the return of the archives.
Sam Houston's men complied, ending what became known as the Archives War. The standoff with Houston did not end. The government of the Republic remained in Washington during the inauguration of Anson Jones, Houston's successor. Even the session of Congress that approved Texas' annexation as the 28th state in the Union took place in Washington. In the late summer of 1845 Austin again became the official capital of Texas.
The Texas Historical Marker telling the story of the Archives War is located at the State Archives and Library Building at 1201 Brazos, Austin, Texas.
Posted in Angelina Eberley, Austin, History, Mirabeau B. Lamar, Sam Houston, Texas Historical Markers, Texas tale
Tagged #Austin, #Texas, #Texas Historical Marker, #Texas history


With the schooling period over, I was rather apathetic in entering the new dimension of the trial of life. But I was very much in the hangover of the last episode in SAS last year, especially the Scholarship from MARA to Australia which I had won provisionally subjected to acceptance by a university in Australia. I memorized my file number in MARA, HPM(1)726/F(1)AUST, in case I needed it in emergency. The waiting was very itchy; otherwise I could go for another new "adventure" since local U would not start before May end. In fact before January ended I had posted dozens of letters to the surrounding schools asking for a temporary teacher job which I was very confident in.
After so many years, at last, met Ali (the other one, who stayed on the other side of the mosque) at a close range. Boarding gate A9 while waiting to board a MH 1336 to TGG 1440. He said he was ex-Singapore from Tokyo. In particular Sandai. Apparently Ali works in an American Comp of Oil and Gas, operating in South China Sea. An throghout the flight, we reminiscenced a lot.
In the meantime, I had all the time I needed to make up for the lost of living with my folks; the childhood friends, Ripin, Raja Daik, Deraman, Mokhtar, Che Wan, Razali, many of them had stopped scooling long time ago, some even had forgotten how to read; and their parents, and many others who were actually parts of my "home"; the friends in school in Padang Midin, and then the added friends in SAS; not to mention the living around Pengkalan Arang Mosque where I grew up; and my relatives near and distant who missed me very much for the past seven years of the most important growing age. Many of them did not expect to see I had grown to that age and to that different from others. A (young) religious teacher at Seberang Takir Army Camp, Ustz Md Din, who frequented to the PA mosque had also been folded into my acquaintanceship; I drew some advantage by being the pillion rider on his vespa to as far as Belara and Pulau Bahagia (visiting Omar). Some friends in SAS still kept a sphoradic cantact through letters, especially my juniors.
Very soon after Eid on Nov 30 Monday last year, the monsoon set in, and it was raining almost every day. And in whole Jan this year, it was very wet and the new year was specially marked with a flood; well actually an annual event. I tried several lucks by writing for several possible opportunities like Post Office, JKR, Grammar School (the one and only private school in KT), Board of Governors of every school around, primary and secondary; even to Health Department for a health inspectorate post in Prai, Penang. The results were obvious, but I still admired to these days their PR that none of my letters was unanswered, even my hand-written letter.
I tried to recollect as much as possible my boyhood days of frolic with folks: strolling the places on bicycles with Ripin, Raja Daik, and Deraman, most of the times on the pretext of seeing relatives or friends, places or for an occasion or festival; and sometimes with newly friends; fishing in the Nerus river; by then the "games we play" had advanced to include modernly badminton; and I was again around in the living of the mosque. I spent more times on the move than at home although at that time I was the eldest at home as my elder brother was making his life in Kuala Sentul, Pahang. I managed to organise my friends into a knitted friendship through badminton, organise them to make simple badminton courts, playable at night using gasoline lights their fathers were very wiling to lend; one in front of my house although I myself do not have any gasoline light; and arranged for friendly match as far as to Kg Batin (one on Apr 2 Fri night, won 4-3, and another home return match on Apr 9 Fri, lost 3-4), and Banggol Tuan Muda (one on Apr 15 Thu, we won 6-1), Telok Pasu (one on Apr 23 Fri, we lost 0-7). I myself was very bad at the game, sometimes we won by my management skill, but they knew very well that my participation was a source of their internal enjoyment.
Then something began to kick in early February. We were called to report ourselves at UM First Residential College for a two-days orientation to go to Australia. I went with Mohd Embong and others; Feb 9 Tue; registered in room B-39. The "orientation" was officiated by Datuk Samad Idris and filled with talks, including En Abdul Rahman Arshad, the Chairman of Examination Board. After the occasion we were asked to apply for the international passport as well as the international health certificate which I completed in Terengganu afterwards. But that was the climax. The waiting was getting more painful until it actually had evaporated; the kick never actually tick.
Late February, UPU form was out. I must fill the form irrespective of MARA's decision. STP results were published in the local newspaper on Saturday, March 6, I got through with full certificate and was no doubt very good for local U. Sunday March 14, MARA informed through letter that the nomination in Australian University was not approved. That was it, evaporation confirmed. I immediately ticked UKM as my first choice local U in the UPU form, sealed the envelope and posted.
March and April, I felt very much at home, but inched on into the next phase of my trial of life which I was very sure in KL again, and in UKM. The SAS bunch were in close contact, and we even got together to get our forms completed. I snatched every moment to be with my folks. Apr 16 Fri, for the first time, at the age of 20, I was shown to my true blood, by riding the sea to Pulau Kapas for a stroll of the beach. It was organised by Rashid Pengkalan Batu in his uncle's fishing boat. The importance of the trip was unnoticed, I was a bit dizzy during the to-trip in the strong wave but quickly acquired the technique not to get one during the fro-trip. April 20 Tue was my 20th birthday. I did not realised it and I did not look forwad to it before. It was made known to me by the card I received from my ever-cool colleague Jariah.
Sunday April 25, UKM informed me of the acceptance. Arrived together was a warrant ticket to Port Dickson for an interview for admission to the Military Academy which obviously I returned back. With the letter I had to distance off myself an inch away a day for the new phase. Today was also an open air film show by Film Unit of the Ministry of Information at the traditional site of Tebing Raja Ali (Pengkalan Luas). I think it was the last for such a folk event, the event that caught me very much when I was a little boy; it did not interest me any more, in fact while the children were watching like I was, I stayed at Raja Sulaiman's shop next to the mosque reading newspaper.
In May, I had to fill up all the time to the preparation to UKM, medical check-up, forms completion, etc. I made the journey back to KL on May 9 Sun morning, "stowing" in the bus organised by CheGu Alias (my next neighbour) in which his parents, Pak Ngah and Mak Long were on their way to Port Kelang en route to Mekkah by ship. I dropped at Sugai Way, and located the Police Station in a taxi, and the family of Mek Ayah Nuh whose husband was a constable, Abang Sehat (MM 27117) in the station. I have arranged and planned to stay with the family for my tenure in UKM, at least initially. The following day, I took a bus to SAS and paid a visit, my first revisit, to my junior friends there; and the days that followed I scouted for former friends who were registering either in UKM or UM.
UKM temporary campus in Jalan Pantai Baru; next to Language Institute, former MTC in 1971.
A new tall building, known as G Block was erected in the middle of 1970 to cater the expanding needs.
Monday May 17, I registered in UKM, in Fakulti Sains. MARA scholarship was transferred to UKM without my informing it. Interestingly my name was also in the list of Kementerian Pendidikan scholarship whom I had also not informed that I was checking in UKM. And more interestingly the names of my SAS friends who went to UM were also in the list in UKM. What I gathered later was that we were needed to fill up UKM, then in its second year. It was a default assumption that all STP M-medium passers checked in UKM, and that was also the partial reason for MARA nomination disapproval to Australian university. This is the second year for UKM. I knew most of my senior in Science Faculty because most of them were my seniors in SAS. Most of my course mates were SAS-ian too, only a few were added from other less known six-form schools.
Out of my pack of ten of 67, Abdullah Yusof, Mohd Embong and I went to UKM, all in science faculty. Omar and Othman made an eleventh-hour decision to go to agriculture faculty of University of Malaya. So did Zawiah, who re-met her fellow friends like Zaharah. Jalil made an early decision since in SAS in 70 that he was going to a teachers college. So did Abdullah Embong. I re-met many old friends from PM. In particular, Khamsah, Nik Akiah and Wan Fatimah. And I befriended with many new ones, in particular those at FPI from KIK, because majority of them were fellow state-mates. in particular Md Yusof Karim (Arts Faculty), from Melaka, a teacher in Padang Midin last year. We went to MARA HQ together to sort out our sponsorship. He played an important role in my uneasy time the following year by giving me shelter.
MM 27117 and Mek of Sg Way Police Station.
Abang Sehat, MM 27117 in Sg Way Police Station was a Johorean, married to MekAyahNuh, a distant relative whose family was extremely nice to my family especially my father. I leave to your guessing to why I did not choose to stay in the residential college. The constable quater I was staying was very small, practically one-bedroom semi-permanent dwelling structure; shared bath room with other family. I was later joined by Fadil Othman, Zubir Ramli and Hamzah Mohamad, all were SAS friends. So the constable who was childless was very glad and proud with us to stay with him. When they joined it happened that a next unit was vacated. It was "cut" into two halves; the front half was used by the neighbour constable, PakChik Hamid, while the back half was for Abang Sehat to become our room. So there we stayed for 150 ringgit a term including two meals a day.
I learned later that many of my SAS friends went to Indonesia for their degree. It appeared that they were called by the JPA, just after we were briefed by MARA in UM in Feb. Among them were Izzuddin, Husin, Azmi, Idris, Manan, Radzi and many others. Sulaiman went to MU instead, steadfast to his engineering ambition, like the one he was awarded a scholarship by MARA to go to Australia. I met him several time at his rented house in PJ, went out several times with him, including visits to SAS, and he came to my place in Sg Way once in Oct 3 Sun, then we lost contact.
And the 1971/72 session went on, the first lecture was on May 24 Mon; Prof Achmad Amiruddin taught Chemistry, Dr Ansjar taught Maths, Dr Wiloyo Laeksmanto taught Physics, and Dr Kardinal Kunaeni taught Geologi, all were Indonesian on loan mostly from ITB. I did not take Biology at all. I visited SAS several times during my early UKM tenure, including the girl hostel in Jalan Hale, Kampung Baru. The contact eventually disappeared when my next-juniors in SAS themselves left the school in Dec like I was. The last visit was perhaps on Nov 28 the whole Sun, to Norsiah in the hostel Jalan Hale, Kg Baru, then in the whole KL down to Zoo Negara and Kajang's sate stall. The first term exam commenced on July 26 Mon for the whole week, followed by the first break to be resumed on Aug 23 Mon.
And the ferry at about the end of her service near the bridge; the same kind that operated in Bukit Datu - Losong in Kuala Trengganu which ended in early 1960 when Manir bridge was opened.
Initially I went to the campus by bus, but as a life in U, on May 22 Sat, I "took" a Yamaha 70 (BAA 9725) at Soh Motor, Bangsar. One need to produce only the U matric card for the shop to register a bike one wanted (unfortunately only Yamaha) of about 600 ringgit, and pay the installment as the scholarship arrive, in a couple of month. From that moment I thought I had made my life, and tried to become one in a pact who stayed off campus with own bike. For the first time I joined them in a ride to Pantai Morib on May 30 Sun; and then a long biking with Fadil to his home town in Parit Raja, Batu Pahat during the very first day of the first term break in late July. For that brief new phase I drifted very far away from home and never looked into myself in depth. The friends and contempriots around had enveloped into making a wrong move; one of them was leading me into returning the Yamaha to Soh Motor for a more prestigious and more costly Vespa Super at Guan Thye Motor (BAB 7816), also in Bangsar on Sep 8 Wed.
It was Abang Sehat's idea that I should take a kind of tuition to help me with my needs in U; and it deliriously attracted me. He found the host, a neighbour constable's form 5 son, a form 3 daughter, and a std 5 son; and on June 1 Tue I began the tutorial with a promised monthly 100 RM fees, two nights a week. It lasted at the end of the month when the promised fees did not turn up. Some how Fadil had managed a close contact, through his senior relatives, with Kampung Pandan's Residence Council who organized tutorial class for their children. Fadil had been tutoring there since last term, and once a while I went along with him to help him.
Staying in the police station and having a constable as host, a senior one who knew many people up to PJ in all walks of life, was full of advantages. My riding licence was arranged in order and with a close contact of the MM with En Abbas in JPJ, I passed my riding licence in PJ on Oct 7 Thu, with the Police Station add. Since then I was very mobile indeed. Ramadan clocked in on Oct 21 Thu, a week before 2nd term break began; and for the first time I rode the vespa all the way from KL to K Trg, home for the first time. Harun (Mek's nephew-in-law) was the pillion rider. The Eid was on Nov 19 Fri, and I spent it with the family; returned to KL on Nov 21 Sun, to resume the 3rd term lecture on Nov 22 Mon. By the end of the year, the police station was to be reconstructed. Abang Sehat had to move in a temporary place. We went along to stay with him at No 5, Jln 23, down the road, a shoplot actually, on Dec 25 Sat. With that the accomodation appeared to bite us. Fadil and Zubir made some adjusment by frequently squatting in the college.
My first contct with the mass media, (apart from the school megazines, and the one entry in 1969 to "Peraduan Mengarang Bahan2 Bachaan untuk Pembacha Kenal Huruf Baharu" of the Ministry of Rural Development), was in April when my "pendapat" in "Peraduan Pendapat Pembaca" was published in MM on June 1 Sat. It was not the winning "pendapat". Then I tried again the one organised by the Agriculture Faculty of UM, and finally my X-ray article was published in MASTIKA in June, and I received the 35 RM honorarium from Utusan on June 16 Wed.
Badan Mahasiswa Terengganu (precursor to PERMATA) protem committee, chaired by Jamaluddin Jusoh, met on June 20 Sun in FPI (in which there were many from Trg and had quickly befriended me for some of them had either knew about me, or whom I had known before in Trg, or simply were my distant relatives) and I was elected to represent Science Faculty in the pre-society.


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Muay Thai >
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In a Muay Thai fight, you may identify punching techniques (chok), elbow techniques (sok), Muay Thai kicks (teh), knee techniques (ti khao), foot thrusts (teep) and clinch and neck wrestling (chap kho). Fighters are taught to defend themselves against attacks using blocks, redirection, avoidance, evasion, disruption and anticipation tactics.
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shonda rhimes Biography, Spouse Talk, Kids
Shonda Rhimes Biography
Shonda Rhimes is an American television producer, television and film writer, and author. She is known as the showrunner—creator, head writer, and executive producer—of the television medical drama Grey's Anatomy, its spin-off Private Practice, and the political thriller series Scandal.
Shonda Rhimes Age
Shonda Rhimes was born as Shonda Lynn Rhimes in Chicago, Illinois, United States on 13 January 1970. She is 49 years old as of 2019.
Shonda Rhimes Height
She stands at a height of 5 feet 4 inches (163 cm).
Shonda Rhimesn Net Worth
She has a net worth of US $100 Million.
Shonda Rhimes Family
Shonda Rhimes Photo
She was born in Chicago, Illinois, to Vera P. and Ilee Rhimes, Jr. Vera was a college professor, while Ilee was a university administrator. She was born as the youngest amongest the six siblings.
Her mother went to college where she earned a PhD in educational administration in 1991. Her father, who holds an MBA. He became chief information officer (CIO) at the University of Southern California, serving til 2013. Rhimes lived in Park Forest South with her two older brothers and three older sisters. While in high school, she served as a hospital volunteer, which inspired an interest in hospital environments.
Shonda Rhimes Spouse Talk
At 45 years old, Shonda Rhimes has made a firm declaration: Marriage isn't for her.
It might not sound like a bombshell of a statement, but during a particularly revealing conversation with Oprah on OWN's "SuperSoul Sunday," Rhimes explained how it's actually a pivotal moment for a woman of a certain age to declare publicly, out loud, "I don't want to get married."
"[It] feels obvious and maybe silly or something to people who are married or people who are older, people who have been through it," Rhimes says in the above video. "But if you're a woman in your thirties or forties, that's a big deal. Everybody's asking you all the time if it's going to happen … There's a huge amount of pressure."
The pressure, she adds, is similar to the pressure women often feel to become mothers. "It's a lot like the desire to want to have children in our society," Rhimes says. "You're supposed to want it, and if you don't want it, what's wrong with you?"
As a mom to three daughters, Rhimes always knew she wanted to become a parent. A wife, however, was always a different story, even stretching back to her childhood.
"I'm one of those people, since I was 5, I could tell you I was going to have kids. I could tell you I was going to have three. I could tell you they were going to be girls," she says. "But I have never wanted to get married. I never played bride. I was never interested. I don't know what it is; I never wanted to get married."
This doesn't mean she shies away from relationships. "I love having boyfriends. I love dating," Rhimes clarifies. "I do not want a husband in my house."
Oprah shares Rhimes' thoughts on marriage, having chosen not to wed her longtime partner Stedman Graham. But she also made a candid admission during her talk with the mastermind showrunner.
"I don't know if I've ever said this publicly, but I really wanted to be wanted to be married to," Oprah says. "I wanted Stedman to want to marry me. The moment he asked me to marry him I was, like… 'Now I actually have to get married?'"
That proposal happened more than 20 years ago and the wedding would have taken place in 1993. However, it didn't happen.
"I was supposed to do a book at the same time … and the wedding and the book were happening around the same time. We were on our way from the book party and Stedman said he did not want to have his wedding disturbed by all these people asking me about the book (which I ended up not doing)," Oprah says. "I said, 'OK. All right. So he said, 'We should just postpone this wedding. I said, 'OK.' And that was it. We have never discussed it again."
As it turns out, the delay helped Oprah come to an important realization about herself.
"What I realized is, I don't want to be married," Oprah says. "Because I could not have the life that I created for myself … I knew that I couldn't do it."
Rhimes feels similarly.
"I have so much going on inside my head in terms of writing, there's such a large space in my life taken up by that. I can't imagine it being taken up by a husband and children and writing, and everything getting its due," she says. "I don't believe there is room for all of it. I really don't."
That's not to say she passes judgment on anyone who feels differently.
"There may be some people who are doing it and who are very happy and who love it. And I am not knocking any of you," Rhimes says. "It's never been a dream of mine [to be married]."
Making this declaration has been a powerful part of Rhimes' "year of yes," which she has chronicled in her new book of the same title. Like other events in her year of saying yes to things that scare her, allowing herself to be truthful about her view on marriage has been liberating.
"It was really freeing to say it out loud," Rhimes says. "I always felt like it was a dirty little secret."
"SuperSoul Sunday" airs Sundays at 11 a.m. ET on OWN.
Shonda Rhimes Education
She went to Marian Catholic High School in Chicago Heights, Illinois. In 1991, at Dartmouth College,she majored in English and film studies and earned her bachelor's degree. she joined the Black Underground Theater Association. She divided her time between directing and performing in student productions, and writing fiction.
She wrote for the college newspaper. She migrated to San Francisco with an older sibling and worked in advertising at McCann Erickson when she finished her high school course. ]Once, earned the Gary Rosenberg Writing Fellowship safter she was ranked at the top of her USC class. After a while she obtained a Master of Fine Arts degree from the USC School of Cinematic Arts.
Shonda Rhimes Kids
Shonda Rhimes is also a loving and caring mother of three children. She is proud mama raising three beautiful daughters.
Shonda Rhimes is a mother of three children. Two of them were adopted.
In 2002, she adopted her first first child, baby girl, Harper. After a decade she adopted a second daughter, Emerson Pearl via domestic adoption. Her colleagues and friends were surprised after discovering the news of her second daughter adoption. In 2013,she underwent gestational Surrogacy. That is where she welcomed the youngest daughter of the family.
Shonda Rhimes Filmography
Blossoms and Veils
The Princess Diaries 2: Royal Engagement
Seattle Grace: On Call
Seattle Grace: Message of Hope
Off the Map
Gilded Lilys
Still Star-Crossed
Shonda Rhimes Before And After
shonda-before and after
Picture Of Shonda Rhimes |Pictures Of Shonda Rhimes Husband|Pictures Of Shonda Rhimes Family
Shonda's Photo
Shonda Rhimes Facebook
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https://www.instagram.com/p/BtTzxBnnG4m/?utm_source=ig_web_copy_link
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Tweets by shondarhimes
Shonda Rhimes Interview
Kylee Howell and her barbershop are amazing. How did you find them?
Shonda; She found us! We put out the call [on social media] with Dove, asking people to send us their story, telling us about the moments where they feel their beauty was most defined. What's the story about your idea of beauty? When did beauty get defined by you? That's the magic of this project and what I love about it.
This short film talks a lot about how a haircut can transform and define a woman. Has that happened to you?
Shonda;I think hair is pretty central to identity. I think that's true for all women, but I know for me that my hair is true for who I am. It always reflects some evolution in me. When I change my hair, you know something about me is changing.
What's happening with your hair right now?
Shonda; Right now, I'm kind of rocking a very natural curly, sticking-out-on-all-sides, non-Afro Afro. It's the greatest hairstyle in the world, which is what I always think when I get my hair done. It reflects my attitude of, "I'm walking into a space where I'm not concerned with other people's opinions. I've freed myself from that." And truly honestly, part of this comes from meeting Kylee. She's very inspiring.
Has Kylee inspired you to include a wider variety of women on 'Grey's Anatomy?' Specifically, more butch women?
Shonda; You know, it's interesting you should ask that. Very interesting. I've been having this conversation a little bit lately. We're missing a side of the female form—or any form—that's not been represented yet [on]. What does that mean? How do we tell that story? We're talking about it.
You once said "dreamers often end up living in the basements of relatives." What's your advice to stop procrastinating and get shit done?
Shonda; I think for me, and I think for many women who get it done—like Kylee getting her stuff together and opening her own shop—what I tell myself is this: "If you want to do something, you need to do it, or accept the idea that you're not the person you thought you were." If I'm going be a TV writer, then I have to be writing TV. Otherwise that's not who I am. You have to do the work if you want to be the person you hope to be.
One last question because I had to ask: When you were writing 'Crossroads,' did you know it would be the most significant road trip movie of our time?
Shonda; I didn't know anything except that we were having a lot of fun. It was three girls making a movie about three girls. It wasn't a biopic, it wasn't a heavy drama—it was fun.
BY FARAN KRENTCIL AUG 1, 2017
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text:
\section{Introduction} \label{sec:1}
Let us condider a class $S_H$ of complex valued univalent harmonic functions $f$ in the open unit disc $\mathbb{D}=\{z \in \mathbb{C}:|z|<1\},$ having canonical representation $f=h+\overline{g}$ and normalized by the conditions $h(0)=g(0)=0=h'(0)-1.$  The Jacobian $J_f(z)$ of $f$ is given by $$J_f(z)=|f_z(z)|^2 -|f_{\overline{z}}(z)|^2=|h'(z)|^2-|g'(z)|^2.$$ \cite{1} proved that a harmonic function $f=h+\overline{g}$ is locally univalent and sense preserving in $\mathbb{D}$ if and only if $J_f(z)>0$ in $\mathbb{D}.$ This is equivalent to the existence of an analytic function $w(z)=\frac{g'(z)}{h'(z)},$ satisfying $|w(z)|<1$ in $\mathbb{D}.$ Here, $w$ is called the dilatation of $f$ (see \cite{2}).
\par Denote by $S_H^0$ the subclass of $S_H$ having functions $f$ with additional normalization condition $f_{\overline{z}}(0)=0.$ The subclass of $S_H(S_H^0)$ containing convex functions is denoted by $K_H(K_H^0).$ Let $S\subset S_H$ be the class of analytic and univalent functions and let $K, S^*$ and $C$ be the usual subclasses of $S$ containing convex, starlike and close-to-convex functions, respectively. A domain $E$ in $\mathbb{C}$ is said to be convex in the direction $\psi, 0 \leq \psi < \pi,$ if every line parallel to the line through $0$ and $ e ^{i \psi}$ has an empty or connected intersection with $E$. A function $f$ is said to be convex in the direction of $\psi$ if it maps $\mathbb{D}$ onto the domain convex in the direction of $\psi, 0 \leq \psi < \pi.$ If $\psi=0,$ then $f$ is said to be convex in the direction of the real axis and if $\psi=\pi/2,$ then $f$ is said to be convex in the direction of the imaginary axis.
\par The convolution or Hadamard product of two analytic functions $f(z)=z+\sum_{n=2}^\infty a_n z^n$ and $F(z)=z+\sum_{n=2}^\infty A_n z^n,$  is denoted by $f\ast F$ and is defined as $(f \ast F)(z)=z+ \sum_{n=2}^\infty a_nA_nz^n$. Let $f=h+\overline{g}$ and $F=H+\overline{G}$ be two harmonic mappings, then their convolution is denoted by $f\tilde{\ast} F$ and is defined as $f\tilde{\ast} F=h \ast H +\overline{g\ast G}.$
Many pleasant results are available in literature on the convolution of analytic functions. For example, \cite{22} proved that \begin{enumerate}
\item $f\ast g \in K$ for all $f,g \in K;$
\item $f\ast g \in S^*$ for all $f\in K$ and $g\in S^*;$
\item $f\ast g \in C$ for all $f\in K$ and $g\in C.$
\end{enumerate}
On the other hand, not much is known about the properties of convolutions of harmonic functions and there are no general results of the kind stated above in this case. For example, for $F,G \in K_H,$ $F\tilde{\ast} G$ may not be univalent in $\mathbb{D}$ even (see \cite{13}). However, some researchers started exploring the nature of convolutions of some specific harmonic maps. We mentioned some of them below.
\par It is well known that if $f=h+\overline{g} \in S_H^0$ maps $\mathbb{D}$ onto the right half plane $R=\{w\in \mathbb{C} :Re w>-1/2\}, $ then it must satisfy $$ h(z)+g(z)=\frac{z}{1-z}.$$ In 2001, \cite{5} started study of convolution of right half plane harmonic mappings.  He presented following results.
\begin{thm} Let $f_i=h_i+\overline{g_i}$ be the harmonic right half plane mappings with $h_i(z)+g_i(z)=\frac{z}{1-z}$ for $i=1,2.$ Then $f_1 \tilde{\ast} f_2\in S_H^0$ and is convex in the direction of the real axis provided, $f_1 \tilde{\ast} f_2$ is locally univalent and sense preserving in $\mathbb{D}.$\end{thm}
In the same paper, he defined a family of harmonic mappings $V_{\beta}=u_{\beta} + \overline{v_{\beta}},$ obtained from analytic strip mappings, by using \textit{\lq shearing technique \rq} \cite{4} \begin{equation} \label{eq:3}
u_{\beta}(z) + v_{\beta}(z)=\frac{1}{2iSin\beta}\log\left(\frac{1+ze^{i\beta}}{1+ze^{-i\beta}}\right),0<\beta<\pi
\end{equation} and established the following result.
\begin{thm} Let $f=h+\overline{g}$ be the harmonic right half plane mappings with $h(z)+g(z)=\frac{z}{1-z}$ and $V_{\beta}=u_{\beta} + \overline{v_{\beta}}\in S_H$ as defined in \eqref{eq:3} with $\pi/2 \leq \beta<\pi$. Then $f \tilde{\ast} V_{\beta}\in S_H^0$ and is convex in the direction of the real axis provided, $f \tilde{\ast} V_{\beta}$ is locally univalent and sense preserving in $\mathbb{D}.$\end{thm}
\noindent Let $F_0=H_0+\overline{G_0}$ be the harmonic right half plane mapping given by  \begin{equation} \label{eq:standard}
H_0+G_0 =z/(1-z),\hspace{2cm} G_0'/H_0'=-z.
\end{equation}  Then $F_0$ is called the standard right half plane mapping. \cite{3} were able to drop the requirement of local univalence and sense preserving from the above results as under.
\begin{thm} Let $F=H+\overline{G}$ be the harmonic right half plane mapping with $H(z)+G(z)=\frac{z}{1-z}$ and $G'(z)/H'(z)=e^{i\theta} z^n(\theta \in \mathbb{R},n\in \mathbb{N}).$ Then for $n=1,2,$ $F_0 \tilde{\ast} F\in S_H^0$ and is convex in the direction of the real axis. Here, $F_0$ is the standard right half plane mapping as defined above.\end{thm}
\begin{thm} Let $V_{\beta}=u_{\beta} + \overline{v_{\beta}}\in S_H$ be the harmonic mapping as defined in \eqref{eq:3} with $v_{\beta}'(z)/u_{\beta}'(z)=e^{i\theta} z^n(\theta \in \mathbb{R},n\in \mathbb{N}).$ Then for $n=1,2,$ $F_0 \tilde{\ast} V_{\beta}\in S_H^0$ and is convex in the direction of the real axis.\end{thm}
For a real number $\gamma,0 \leq \gamma <2\pi,$ the mappings $f_\gamma=h_\gamma+\overline{g_\gamma},$ given by \begin{equation} \label{eq:5}
 h_\gamma(z)+e^{-2i\gamma} g_\gamma(z)=\frac{z}{1-e^{i\gamma}z}
\end{equation} is called slanted right half plane mapping and maps the unit disc $\mathbb{D}$ onto slanted right half plane given by $H(\gamma)=\{w\in \mathbb{C} :Re (e^{i\gamma} w)>-1/2\}$ (see \cite{3}). We denote by $S_{H(\gamma)}$, the family of all slanted right half plane mappings.\\
 \cite{35} proved the following.
\begin{thm} Let $f_\gamma \in S_{H(\gamma)}$ be as defined above with dilatation $g_\gamma'(z)/h_\gamma'(z)=e^{i\theta}z^n,\theta \in \mathbb{R},n=1,2.$ Then $F_0\tilde{\ast} f_\gamma \in S_H^0$ and is convex in the direction of $-\gamma.$
\end{thm}
 \cite{7} generalized Theorem 1.3 by taking $F_a$ instead of $F_0,$ where $F_a=H_a +\overline{ G_a}\in K_H$ is the right half plane mapping given by
\begin{equation} \label{eq:2}
H_a(z)+G_a(z)=\frac{z}{1-z}, \hspace{0.5cm}
\frac{G_a'(z)}{H_a'(z)}=\frac{a-z}{1-az}, a\in (-1,1)
\end{equation}
and proved the following.
\begin{thm} Let $F=H+\overline{G}$ be the harmonic right half plane mapping with $H(z)+G(z)=\frac{z}{1-z}$ and $G'(z)/H'(z)=e^{i\theta} z^n(\theta \in \mathbb{R},n\in \mathbb{N}).$ Then $F_a \tilde{\ast} F\in S_H$ and is convex in the direction of the real axis for all $a\in [(n-2)/(n+2),1).$\end{thm}
Similarly, in an attempt to generalize Theorem 1.4, \cite{6} proposed the following conjecture. Which they themselves proved for $0<\beta <\pi$ and $n=1,2,3,4;$ and also for the case when $\beta =\pi/2$ and $n$ is a natural number. \\
\begin{thm} Let $V_{\beta}=u_{\beta} + \overline{v_{\beta}}\in S_H$ be the harmonic mapping as defined in \eqref{eq:3} with $v_{\beta}'(z)/u_{\beta}'(z)=e^{i\theta} z^n(\theta \in \mathbb{R},n\in \mathbb{N}).$ Then $F_a \tilde{\ast} V_{\beta}\in S_H$ and is convex in the direction of the real axis for all $a\in [(n-2)/(n+2),1),$ where, $F_a$ is the harmonic right half plane mapping as defined in \eqref{eq:2}.\end{thm}
 \cite{12} gave the alternative proof of the above result for all $n \in \mathbb{N}$ and $\beta=\pi/2.$\\
Recently, \cite{10} considered more general slanted right half plane mappings $F_{(a,\alpha)}=H_{(a,\alpha)} +\overline{ G_{(a,\alpha)}}\in S_{H(\alpha)},$ essentially given by
\begin{equation} \label{eq:4}
H_{(a,\alpha)}(z)+e^{-2i\alpha}G_{(a,\alpha)}(z)=\frac{z}{1-ze^{i\alpha}}, \hspace{0.3cm}
\frac{G_{(a,\alpha)}'(z)}{H_{(a,\alpha)}'(z)}=e^{2i\alpha}\left(\frac{a-ze^{i\alpha}}{1-aze^{i\alpha}}\right),
\end{equation}
where, $a \in(-1,1),\alpha \in [0,2\pi)$ and studied its convolution with another slanted right half plane mapping $f_\gamma=h_\gamma+\overline{g_\gamma}$ given by \eqref{eq:5} and with dilatation \begin{equation} \label{dilatation}
g_\gamma'(z)/h_\gamma'(z)=e^{i\theta}z^n,\theta \in \mathbb{R},n\in \mathbb{N}.
\end{equation} They obtained the following result.
\begin{thm} Let $F_{(a,\alpha)}=H_{(a,\alpha)} +\overline{ G_{(a,\alpha)}}\in S_{H(\alpha)}$ be given by \eqref{eq:4} and $f_\gamma=h_\gamma+\overline{g_\gamma}$ be given by \eqref{eq:5} with dilatation as given in \eqref{dilatation}. Then $F_{(a,\alpha)} \tilde{\ast} f_{\gamma}\in S_H$ and is convex in the direction of $-(\alpha+ \gamma)$ for all $a\in [(n-2)/(n+2),1).$\end{thm}
  \cite{11} considered a new family of harmonic mappings $f_c=h_c+\overline{g_c},$ convex in horizontal direction given by
\begin{equation} \label{eq:6}
h_c(z)-g_c(z)= \frac{z}{1-z} \hspace{0.5cm}
\frac{g_c'(z)}{h_c'(z)}=z.
\end{equation}
and presented following result.
\begin{thm} For $n \in \mathbb{N},$ let $f_n=h_n+\overline{g_n},$ be harmonic mappings with $$h_n(z)-g_n(z)=\frac{1}{2i \sin \psi}\log\left(\frac{1+ze^{i\psi}}{1+ze^{-i\psi}}\right),\pi/2 \leq \psi<\pi$$ and $\frac{g_n'(z)}{h_n'(z)}=e^{i\theta} z^n(\theta \in \mathbb{R}).$ If $n=1,2,$ then $f_c \tilde{\ast} f_n \in S_H^0$ and is convex in the direction of the real axis, where $f_c$ is given by \eqref{eq:6}.\end{thm}
It has been observed that most of the results listed out above have been proved mostly by using \textit{\lq Cohn's rule\rq} or/and \textit{\lq Schur-Cohn's algorithm\rq} \cite{7} and computations involved are extremely cumbersome. The main objective of the present article is to present a technique, which is simple to apply and involves very less computations. Our technique enables us to prove more general results and all the results stated above, deduce as particular cases of the results obtained herein.
\section{Convolution of Convex Harmonic Functions}
We begin this section by proving the following simple result.
\begin{lem}
Let $k$ and $k'$ be real numbers with $k'-k>0.$ Then for $w\in \mathbb{C}$, $$\left|\frac{k+w}{k'+w}\right|<1$$ if and only if $$Re(w)>-\left(\frac{k+k'}{2}\right).$$
\end{lem}
\begin{proof}
We can easily see that $$\left|\frac{k+w}{k'+w}\right|<1 $$ if and only if
$$k^2+|w|^2+2k Re(w)<k'^2+|w|^2+2k'Re(w).$$ This is equivalent to $$Re(w)>-\left(\frac{k+k'}{2}\right)$$ as $k'-k>0.$
\end{proof}
We shall also need the following result whose proof runs on the same lines as that of Theorem 2 in \cite{3} and hence is omitted.
\begin{lem} Let $F_1=H_1 +\overline{ G_1}\in S_{H(\alpha)}, F_2=H_2+\overline{G_2} \in S_H$ be two harmonic functions with $H_1(z)+e^{-2i\alpha}G_1(z)=\frac{z}{1-ze^{i\alpha}}$ and $H_2(z)+ e^{-2i \gamma} G_2(z)=f(z),$ where $$zf'(z)= \frac{z}{(1+ze^{i(\eta + \gamma)})(1+ze^{-i(\eta - \gamma)})}$$ for some $\eta \in \mathbb{R}.$ Then $F_1 \tilde{\ast} F_2 \in S_H$ and is convex in the direction of $-(\alpha+\gamma),$ provided  $F_1 \tilde{\ast} F_2$ is locally univalent and sense preserving in $\mathbb{D}.$
\end{lem}
Now, consider a family of harmonic mappings $T_{(\eta,\gamma)}=R_{(\eta,\gamma)}+\overline{S_{(\eta,\gamma)}},$ given by
\begin{equation} \label{eq:7}
R_{(\eta,\gamma)}(z)+ e^{-2i \gamma} S_{(\eta,\gamma)}(z)=f(z),\hspace{1cm} \frac{S_{(\eta,\gamma)}'(z)}{R_{(\eta,\gamma)}'(z)}=e^{i\theta} z^n,
\end{equation}
where $f$ is the analytic mapping in $\mathbb{D}$ given by $$zf'(z)= \frac{z}{(1+ze^{i(\eta + \gamma)})(1+ze^{-i(\eta - \gamma)})}$$ for some $\eta \in \mathbb{R}.$ Pommerenke \cite{9} has shown that $zf'$ is starlike in $\mathbb{D}.$

\begin{thm}
Let $F_{(a,\alpha)}=H_{(a,\alpha)} +\overline{ G_{(a,\alpha)}} \in S_{H(\alpha)}$ be given by \eqref{eq:4}. Then $F_{(a,\alpha)} \tilde{\ast} T_{(\eta,\gamma)} \in S_H$ and is convex in the direction of $-(\alpha+\gamma)$ for  $a\in \left[\frac{n-2}{n+2},1\right).$ Here,  $T_{(\eta,\gamma)}\in S_H$ is given by \eqref{eq:7}.
\end{thm}
\begin{proof} From equations in \eqref{eq:4}, using \textit{\lq shear technique\rq} (see \cite{4}), we get $$H_{(a,\alpha)}(z)=\frac{1}{2}\left[\frac{z}{(1-ze^{i\alpha})}+\left(\frac{1-a}{1+a}\right)\frac{z}{(1-ze^{i\alpha})^2}\right]$$ and $$G_{(a,\alpha)}(z)=\frac{1}{2}\left[\frac{ze^{2i\alpha}}{(1-ze^{i\alpha})}-\left(\frac{1-a}{1+a}\right)\frac{ze^{2i\alpha}}{(1-ze^{i\alpha})^2}\right].$$ In view of Lemma 2.2, it is enough to prove that dilatation $W(z)=\displaystyle\frac{( G_{(a,\alpha)} \ast S_{(\eta,\gamma)})'(z)}{(H_{(a,\alpha)} \ast R_{(\eta,\gamma)})'(z)}$ of $F_{(a,\alpha)}\tilde{\ast} T_{(\eta,\gamma)}$ satisfies $|W(z)|<1$ in $\mathbb{D}.$ As $$W(z)=e^{2i\alpha} \displaystyle\frac{( G_{(a,0)} \ast S_{(\eta,\gamma)})'(ze^{i\alpha})}{(H_{(a,0)} \ast R_{(\eta,\gamma)})'(ze^{i\alpha})}=e^{2i\alpha}\widehat{w}(ze^{i\alpha})(say),$$ it is therefore enough to prove that $|\widehat{w}(z)|<1$ in $\mathbb{D}.$ Further, note that \begin{equation} \label{eq:8}
\widehat{w}(z)=\frac{2aS_{(\eta,\gamma)}'(z)-(1-a)zS_{(\eta,\gamma)}''(z)}{2R_{(\eta,\gamma)}'(z)+(1-a)zR_{(\eta,\gamma)}''(z)}.
\end{equation}
From \eqref{eq:7}, we get $$S_{(\eta,\gamma)}'(z)=e^{i\theta}z^n R_{(\eta,\gamma)}'(z)$$ and so $$S_{(\eta,\gamma)}''(z)=e^{i\theta}z^n R_{(\eta,\gamma)}''(z)+n e^{i\theta}z^{n-1} R_{(\eta,\gamma)}'(z).$$ Putting these values of $S_{(\eta,\gamma)}'$ and $S_{(\eta,\gamma)}''$ in equation \eqref{eq:8}, we have \begin{equation} \label{eq:9}
\widehat{w}(z)=-e^{i\theta}z^n\displaystyle \left[\frac{\frac{n-(n+2)a}{1-a}+\frac{zR_{(\eta,\gamma)}''(z)}{R_{(\eta,\gamma)}'(z)}}{\frac{2}{1-a}+\frac{zR_{(\eta,\gamma)}''(z)}{R_{(\eta,\gamma)}'(z)}}\right].
\end{equation}
Now, $|\widehat{w}(z)|<1$ if  \begin{equation} \label{eq:10}
\displaystyle\left|\frac{\frac{n-(n+2)a}{1-a}+\frac{zR_{(\eta,\gamma)}''(z)}{R_{(\eta,\gamma)}'(z)}}{\frac{2}{1-a}+\frac{zR_{(\eta,\gamma)}''(z)}{R_{(\eta,\gamma)}'(z)}}\right|\leq 1. \end{equation}
For $a=\frac{n-2}{n+2},$ we note that left hand side of \eqref{eq:10} is equal to 1 and for  $a\in \left(\frac{n-2}{n+2},1\right),$ $$\left(\frac{2}{1-a}\right)-\left(\frac{n-(n+2)a}{1-a}\right)>0.$$ Therefore, in view of Lemma 2.1, it is sufficient to prove that
 \begin{equation} \label{eq:10.1}
 Re\left\{\frac{zR_{(\eta,\gamma)}''(z)}{R_{(\eta,\gamma)}'(z)}\right\}>-\frac{n+2}{2}.\end{equation}
 From \eqref{eq:7}, we have $$R_{(\eta,\gamma)}'(z)=\frac{f'(z)}{1+e^{i(\theta-2\gamma)}z^n},$$  which gives $$\frac{zR_{(\eta,\gamma)}''(z)}{R_{(\eta,\gamma)}'(z)}=\frac{zf''(z)}{f'(z)}-\frac{ne^{i(\theta-2\gamma)}z^n}{1+e^{i(\theta-2\gamma)}z^n},$$
 or equivalently $$n+2+\frac{2zR_{(\eta,\gamma)}''(z)}{R_{(\eta,\gamma)}'(z)}=2\left(1+\frac{zf''(z)}{f'(z)}\right)+n\left(\frac{1-e^{i(\theta-2\gamma)}z^n}{1+e^{i(\theta-2\gamma)}z^n}\right).$$ Now, $Re\left(1+\frac{zf''(z)}{f'(z)}\right)>0$ in $\mathbb{D}$ because $f$ is convex in $\mathbb{D}$ (as $zf'$ is starlike in $\mathbb{D}$) and for $|z|<1,$ we have $Re\left(\frac{1-e^{i(\theta-2\gamma)}z^n}{1+e^{i(\theta-2\gamma)}z^n}\right)>0.$ This gives $$Re\left\{n+2+\frac{2zR_{(\eta,\gamma)}''(z)}{R_{(\eta,\gamma)}'(z)}\right\}>0$$ in $\mathbb{D},$ which in turn, shows that \eqref{eq:10.1} is true.\end{proof}
 \begin{rem} By assigning suitable values to the parameters $\alpha,\gamma$ and $\eta$ in Theorem  2.3, we easily deduce most of the results listed in Section 1 as under.
 \begin{enumerate}
\item If we put $\eta=\pi$ in \eqref{eq:7}, we get $$R_{(\pi,\gamma)}(z)+ e^{-2i \gamma} S_{(\pi,\gamma)}(z)=\frac{z}{1-ze^{i\gamma}}$$
and Theorem 2.3 reduces to Theorem 1.8.
\item   On taking $\alpha=\gamma=0$ and $0<\eta <\pi$ in Theorem 2.3, we get Theorem 1.7. In addition, if we take $a=0$ also, then we get Theorem 1.4.
\item By taking $\alpha=a=0$ and $\eta =\pi$ in Theorem 2.3, we get Theorem 1.5.
\item Setting $\alpha=\gamma=0$ and $\eta =\pi$ in Theorem 2.3 gives Theorem 1.6,  which in turn reduce to Theorem 1.3, if we  substitute $a=0$ also.
\end{enumerate}
\end{rem}
\section{Convolution of Harmonic Functions convex in one direction}  \label{sec:4}
In this section, we study convolutions of harmonic functions convex in one direction. To proceed further, we need following result whose proof is omitted as it follows similarly as the proof of Theorem 2 in \cite{3}.
\begin{lem}
Let $f_1=h_1 +\overline{ g_1}\in S_{H}$ and $f_2=h_2+\overline{g_2} \in S_H$ be two harmonic functions with $h_1(z)-e^{-2i\alpha}g_1(z)=\frac{z}{1-ze^{i\alpha}}, \alpha \in [0,2\pi)$ and $h_2(z)- e^{-2i \gamma} g_2(z)=f(z),$ where, $$zf'(z)= \frac{z}{(1+ze^{i(\eta + \gamma)})(1+ze^{-i(\eta + \gamma)})}$$ for some $\eta \in \mathbb{R}.$ Then $f_1 \tilde{\ast} f_2 \in S_H$ and is convex in the direction of $-(\alpha+\gamma),$ provided  $f_1 \tilde{\ast} f_2$ is locally univalent and sense preserving in $\mathbb{D}.$
\end{lem}
Now, consider harmonic mapping $f_{b,\alpha}=h_{b,\alpha} +\overline{ g_{b,\alpha}},b\in(-1,1),\alpha \in [0,2\pi)$ with
\begin{equation} \label{eq:11}
h_{b,\alpha}(z)-e^{-2i\alpha}g_{b,\alpha}(z)=\frac{z}{1-ze^{i\alpha}}, \hspace{0.5cm}
\frac{g_{b,\alpha}'(z)}{h_{b,\alpha}'(z)}=e^{2i\alpha}\left(\frac{b+ze^{i\alpha}}{1+bze^{i\alpha}}\right)
\end{equation}
and another harmonic mapping $t_{\eta,\gamma}=r_{\eta,\gamma}+\overline{s_{\eta,\gamma}},\gamma \in [0,2\pi)$ given by
\begin{equation} \label{eq:12}
r_{\eta,\gamma}(z)- e^{-2i \gamma} s_{\eta,\gamma}(z)=f(z),\hspace{1cm} \frac{s_{\eta,\gamma}'(z)}{r_{\eta,\gamma}'(z)}=e^{i\theta} z^n, \theta \in \mathbb{R}, n \in \mathbb{N},
\end{equation}
where, $$zf'(z)= \frac{z}{(1+ze^{i(\eta + \gamma)})(1+ze^{-i(\eta - \gamma)})}$$ for some $\eta \in \mathbb{R}.$ As the analytic mappings $z/(1-ze^{i\alpha}),\alpha \in [0,2\pi)$ and $f$ are both convex, so $f_{b,\alpha}$ and $t_{\eta,\gamma}$ are in $S_H$ (see \cite{4}). Now we present the following result. \\

\begin{thm} Let $f_{b,\alpha}=h_{b,\alpha} +\overline{ g_{b,\alpha}}\in S_{H}$ be given by \eqref{eq:11} and $t_{\eta,\gamma}=r_{\eta,\gamma}+\overline{s_{\eta,\gamma}} \in S_H$ be given by \eqref{eq:12}. Then $f_{b,\alpha} \tilde{\ast} t_{\eta,\gamma} \in S_H$ and is convex in the direction of $-(\alpha+\gamma)$ for all $b\in \left(-1,\frac{-(n-2)}{n+2}\right].$
\end{thm}
\begin{proof} By using \textit{\lq shear technique \rq} (see \cite{4}), from \eqref{eq:11},  we get $$h_{b,\alpha}(z)=\frac{1}{2}\left[\left(\frac{1+b}{1-b}\right)\frac{z}{(1-ze^{i\alpha})^2}+\frac{z}{(1-ze^{i\alpha})}\right]$$ and $$g_{b,\alpha}(z)=\frac{1}{2}\left[\left(\frac{1+b}{1-b}\right)\frac{ze^{2i\alpha}}{(1-ze^{i\alpha})^2}-\frac{ze^{2i\alpha}}{(1-ze^{i\alpha})}\right].$$ If $W$ denotes the dilatation function of $f_{b,\alpha}\tilde{\ast} t_{\eta,\gamma}=h_{b,\alpha} \ast r_{\eta,\gamma}+\overline{g_{b,\alpha} \ast s_{\eta,\gamma}},$ we get $$W(z)=\displaystyle\frac{ (g_{b,\alpha} \ast s_{\eta,\gamma})'(z)}{(h_{b,\alpha} \ast r_{\eta,\gamma})'(z)}.$$ In view of Lemma 3.1, we only need to show that $|W(z)|<1$ in $\mathbb{D}.$ As $$W(z)=e^{2i\alpha} \displaystyle\frac{( g_{b,0} \ast s_{\eta,\gamma})'(ze^{i\alpha})}{(h_{b,0} \ast r_{\eta,\gamma})'(ze^{i\alpha})}=e^{2i\alpha}\widehat{w}(ze^{i\alpha})(say),$$ it is therefore enough to prove that $|\widehat{w}(z)|<1$ in $\mathbb{D}.$ Further, note that
\begin{equation} \label{eq:13}
\widehat{w}(z)=\frac{2bs_{\eta,\gamma}'(z)+(1+b)zs_{\eta,\gamma}''(z)}{2r_{\eta,\gamma}'(z)+(1+b)zr_{\eta,\gamma}''(z)}.
\end{equation}
From \eqref{eq:12}, we have $$s_{\eta,\gamma}'(z)=e^{i\theta}z^n r_{\eta,\gamma}'(z)$$ and therefore $$s_{\eta,\gamma}''(z)=e^{i\theta}z^n r_{\eta,\gamma}''(z)+n e^{i\theta}z^{n-1} r_{\eta,\gamma}'(z).$$ Putting these values of $s_{\eta,\gamma}'$ and $s_{\eta,\gamma}''$ in equation \eqref{eq:13}, we have \begin{equation} \label{eq:14}
\widehat{w}(z)=e^{i\theta}z^n\displaystyle \left[\frac{\frac{n+(n+2)b}{1+b}+\frac{zr_{\eta,\gamma}''(z)}{r_{\eta,\gamma}'(z)}}{\frac{2}{1+b}+\frac{zr_{\eta,\gamma}''z)}{r_{\eta,\gamma}'(z)}}\right].
\end{equation}
So, it is enough to prove that \begin{equation} \label{eq:15}
\displaystyle\left|\frac{\frac{n+(n+2)b}{1+b}+\frac{zr_{\eta,\gamma}''(z)}{r_{\eta,\gamma}'(z)}}{\frac{2}{1+b}+\frac{zr_{\eta,\gamma}''(z)}{r_{\eta,\gamma}'(z)}}\right|\leq 1. \end{equation}
We get equality in \eqref{eq:15} for $b=-\frac{n-2}{n+2}$ and for $b\in \left(-1,-\frac{n-2}{n+2}\right),$ $$\left(\frac{2}{1+b}\right)-\left(\frac{n+(n+2)b}{1+b}\right)>0.$$ Therefore,  in view of Lemma 2.1, it is sufficient to prove that
 $$Re\left\{\frac{zr_{\eta,\gamma}''(z)}{r_{\eta,\gamma}'(z)}\right\}>-\frac{n+2}{2}$$ in $\mathbb{D},$ or equivalently \begin{equation} \label{eq:15.1}
 Re\left\{n+2+\frac{2zr_{\eta,\gamma}''(z)}{r_{\eta,\gamma}'(z)}\right\}>0
 \end{equation} in $\mathbb{D}.$
 From \eqref{eq:12}, we have $$r_{\eta,\gamma}'(z)=\frac{f'(z)}{1-e^{i(\theta-2\gamma)}z^n},$$  which gives $$\frac{zr_{\eta,\gamma}''(z)}{r_{\eta,\gamma}'(z)}=\frac{zf''(z)}{f'(z)}+\frac{ne^{i(\theta-2\gamma)}z^n}{1-e^{i(\theta-2\gamma)}z^n}$$
 or $$n+2+\frac{2zr_{\eta,\gamma}''(z)}{r_{\eta,\gamma}'(z)}=2\left(1+\frac{zf''(z)}{f'(z)}\right)+n\left(\frac{1+e^{i(\theta-2\gamma)}z^n}{1-e^{i(\theta-2\gamma)}z^n}\right).$$ Now, $Re\left(1+\frac{zf''(z)}{f'(z)}\right)>0$ in $\mathbb{D}$ because $f$ is convex in $\mathbb{D}$ (as $zf'$ is starlike in $\mathbb{D}$) and for $|z|<1,$ we have $Re\left(\frac{1+e^{i(\theta-2\gamma)}z^n}{1-e^{i(\theta-2\gamma)}z^n}\right)>0.$ Thus \eqref{eq:15.1} is true.\end{proof}
 \begin{rem}
 We remark that Theorem 1.9 can be obtained from Theorem 3.2 by setting $b=\alpha=\gamma=0$ and choosing $\eta$ in $[\pi/2, \pi).$  \end{rem}
\section{Acknowledgement} First author is thankful to UGC - CSIR, New Delhi for providing financial support in the form of Senior Research Fellowship vide Award Letter Number - 2061540842.

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text:
Тайпингу () — танцевальная разновидность с ручным барабаном; она также известна как Дангу () и «Барабаны Великого Мира». Она популярна в Северном Китае и обычно исполняется маньчжурской этнической группой для священников-шаманистов. Шли годы, и это стало для людей способом выражать радость и счастье.

Тайпингу возник во времена династии Тан и процветал во времена династии Цин с более чем 2000-летней историей. Есть два широко известных вида тайпингу, один из которых исполняется в западной части Пекина, а другой изобретён в Ланьчжоу, Китай.

Классификация
Цзинси Тайпингу () представляет собой народный танец для развлечения. Имея широкую массовую базу и глубокие исторические корни, он играет важную роль в народной деятельности. Тайпингу был популярен в Западном Пекине со времён династии Мин, и он стал очень популярным в начале династии Цин. Во времена поздней династии Цин тайпингу был распространён в районе Мыньтоугоу. Исторически почти каждый из многих деревень в районе Мыньтоугоу мог играть на тайпингу. Тайпингу играли в императорском дворце в канун китайского Нового года, поэтому в Пекине его также называли «иньнянгу (звучали барабаны, приветствующие китайский Новый год)». Самое время играть на тайпингу — двенадцатый и первый месяц лунного года. Он привлекателен и популярен в местных календарных народных обычаях, и люди играют в него, чтобы выразить свои наилучшие пожелания мира и процветания. Игра на тайпингу может не только усилить праздничную атмосферу, но и отразить праздничные обычаи пекинского района традиционным способом. Исполнение тайпингу является символом культурной самобытности местных жителей.

Ланьчжоу Тайпингу () в провинции Ганьсу уже давно известен во всем мире как «корона танцев с барабанами» с более чем 600-летней историей. Он популярен в китайских городах, таких как Ланьчжоу, Юндэн, Цзюцюань, Чжанъе, Цзинъюань и др. Тайпингу Ланьчжоу имеет цилиндрическую форму с корпусом барабана высотой 70–75 см, пластик 45–50 см в диаметре и вес барабана 19–22 кг. Его верхняя и нижняя поверхности обтянуты воловьей кожей, расписанной узорами в виде двух драконов, играющих жемчужиной. Его ремешок достаточно длинный, чтобы свисать с плеч, облегчая перкуссию и помогая барабанщику бросать его в любом направлении.

См. также

 Бангу
 Хуагу
 Яогу
 Музыка Китая
 Танец Китая
 Традиционные китайские музыкальные инструменты

Примечания

Танцы Китая

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