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Comic Book & Graphic Novel Round-Up (5/4/11)
Incredible Change-Bots, Empire State, Onward Towards Our Noble Deaths, I Will Bite You!
By Garrett Martin, Hillary Brown and Sean Edgar | May 4, 2011 | 12:35pm
Every Wednesday, Paste reviews four of the most intriguing comic books, graphic novels, graphic memoirs and other illustrated books.
Incredible Change-Bots Two by Jeffrey Brown
Top Shelf Productions 2011
Humor in mainstream comic books has struggled to find a stable foothold in recent years. Aside from a vibrant online community, the comedy genre seems to swell under the crest of comic-book culture. The unfortunate side of this equation is that few people will be exposed to Jeffrey Brown's Incredible Change-Bots Two, which I promise will make you laugh until milk erupts from your soul. This is the closest thing we'll ever come to an unproduced Adult Swim show on paper; the punch lines are clever, unexpected and borderline relentless. If you couldn't tell from the title, Change-Bots is a straight up parody of the '80s-cartoon-franchise-turned-blockbuster The Transformers. In this sequel (the tagline reads "Twice As Much As Met The Eye Last Time"), the trigger-happy Shootertron awakes in an amnesiac daze and begins to work on a farm and keep a journal of fake binary code. Soon the government and the benevolent Awesomebots come together to duke it out once again. Brown's art resembles the margins of a ridiculously talented high-schooler's geometry notebook, but this informal, goofy take perfectly complements a story that revels in incompetent characters and sly non sequiturs. Each page delivers a smirk at the bare minimum, making Incredible Change-Bots Two one of the most delightfully accessible diversions in comedy today. (SE)
Empire State: A Love Story (or Not) by Jason Shiga
Abrams Comic Arts 2011
Jason Shiga's semiautobiographical tale of a cross-country journey inspired by Sleepless in Seattle hits romanticism with a bucket of cold water. Like Chris Ware, his simplified characters and backgrounds focus on the failure of human beings to connect with one another, but unlike Ware, Shiga can leaven sad-sack misery with enough comedy to make you not want to slit your wrists. Yes, we are idiots with each other, and yes, your hopes and dreams are probably going to go up in smoke, but viewed from some distance, all that is kind of hilarious. There's also some optimism here in the idea that one's horizons keep expanding throughout one's life; how bad can things be if there's still more to learn? Empire State lacks the mind-melting complexity of Meanwhile, Shiga's last graphic novel, which featured a choose-your-own-adventure structure and a bunch of color-coded tabs, but it's far more accessible, and it includes its own clever touches, such as color used to indicate where we are in the timeline of the story. (HB)
Onward Towards Our Noble Deaths by Shigeru Mizuki
Drawn & Quarterly 2011 (originally released in 1973)
Shigeru Mizuki's Onward Towards Our Noble Deaths is a powerful counterpoint to America's enduring love affair with World War II. That doesn't mean it belittles America's involvement in the war or makes the Allies look disreputable. Even as American bullets rip through Mizuki's characters, the true villains remain the Japanese leaders who send their men to pointless deaths. Mizuki, a World War II veteran and beloved manga artist just now being translated into English for the first time, based this 1973 book on his experiences at New Britain in Papua New Guinea near the end of the war. While the Americans in Noble Deaths mostly remain faceless, Mizuki personalizes his Japanese soldiers while making it clear they realized and resented their treatment as cannon fodder by glory-seeking officers and a military culture that viewed surrender or imprisonment as dishonorable. Mizuki makes Japan's leadership look as bad as any jingoistic American World War II movie, but replaces the offensive racial stereotypes of western entertainment with realistic depictions of normal men trapped in a horrible situation. Onward Towards Our Noble Deaths is a brutally honest and human look at an unfortunate group of men more dehumanized by their own commanders than their enemies. (GM)
I Will Bite You! And Other Stories by Joseph Lambert
Secret Acres 2011
The first time I encountered Joseph Lambert's work was in Wide Awake Press's Piltdown anthology, in which his untitled, wordless caveman story appeared. It really annoyed me at the time. Stories conveyed entirely through visual means are difficult to do well, and I'm glad I've now seen more of what Lambert can do. The caveman story still has considerable flaws in clarity, but the rest of the material in this book is better executed. Lambert's fluid style forces you to slow down and pay attention rather than speeding through, the way you (or I, at least) usually read comics, and his playfulness with the form is wonderful. "After School Snacks," in particular, is strange, beautiful, gross, complicated, and full of goofs on the visual aspect of language. The focus Lambert forces on you is his overarching characteristic, and the variety of drawing styles on display here is impressive. I Will Bite You is uneven, but its highlights are worth fighting through the lesser stuff to get to. (HB)
i will bite you!
incredible change-bots
jeffrey brown
onward towards our noble deaths
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We highlight the role of public equity markets in firm financing by studying firms' going public decision in India. The availability of detailed firm-level data for a large sample of private and public firms combined with the liberalization of the IPO market in 1992 and its subsequent collapse in 1997 make India an ideal setting to analyze the role of public equity markets. We find that firms going public after liberalization are smaller, younger, from industries with greater investment opportunities, and less likely to be affiliated with a business group then other private firms. The firms also exhibit significant increases in capital expenditure and sales around the time of their IPO. Highlighting a lack of alternate sources of capital, the equity market collapse in 1997 adversely affects the performance of private firms with characteristics similar to pre-1997 IPO firms. The firms that go public during 1992-1996 also exhibit sharp declines in sales growth rates, profitability and increases in leverage and bankruptcy rates beginning in 1997. Reflecting a lack of continued equity financing, the fall in sales growth is more severe for firms from industries with greater dependence on external finance and for firms with lower asset tangibility. Overall, the evidence suggests that public equity markets play a significant role in expanding access to finance for small, young firms in emerging markets.
Look at this search on google scholar for India IPO.


This blog post is 6 years old! Most likely, its content is outdated. Especially if it's technical.
First of all, the title is perhaps misleading. Basically, don't put plain script tags that are not async in the head tag.
Why it gets stuck on connecting to c761485.r85.cf2.rackcdn.com I just don't know. But it does. The Internet is like that oftentimes. You simply can't connect to otherwise perfectly configured web servers.
Update-whilst-writing-this-text! As I was writing this text I gave getharvest.com a second chance thinking that most likely the squirrels in my internet tubes will be back up and running to rackcdn.com but then this happened!
Another thing you can do is not use an external resource URL (aka. third-party domain). Instead of using cdn.superfast.com/file.js you instead use /file.js. Sure, that fancy CDN might be faster at serving up stuff than your server but looking up a CDN's domain is costing one more DNS lookup which we know can be very expensive for that first-time impression.
I know I'm probably guilty of this new on some of my (now) older projects. For example, if you open aroundtheworldgame.com it won't render anything until it has managed to connect to maps.googleapis.com and dn4avfivo8r6q.cloudfront.net but that's more of an app rather than a web site.
This actually applies to css too, except you can't make that async.
That's why I'm moving away from putting .css on CDNs. My Nginx is fast enough. Also, I've started using inline CSS instead to make that experience even faster.
Browsers will absolutely start downloading images while waiting on a script to load, last I checked.
But yes, any script not needed to actually render the page should go at the bottom.
Not sure actually. Try my slowpage code and you'll notice that photo.jpg is NOT downloaded till after script.js is finished.
Are you measuring that with a packet sniffer, or some other tool?
If that's actually happening, it sounds like unwanted fallout from https://bugzilla.mozilla.org/show_bug.cgi?id=792438 that should be fixed, so I'd be very interested in it.
I'm not using a packet sniffer. I use a simple web server that is asynchronous. I judge what the browser (FF 21.0a2) does based on the requests I see coming in and being logged and what I see in the Web Console.
Again, notice the 10 second delay till the /photo.jpg is loaded.
Anything else I can do to help with debugging this?
Not CDN'ing the JS might be a fair call. But for CSS assets it increases the HTTP pipeline.
I do not deny that CDN'ing the CSS assets can increase the HTTP pipeline. The point is that sometimes that additional DNS lookup can be hazardous.
If it's not just outright slow, like I showed in 2009: http://www.peterbe.com/plog/slow-dns it could be yet another thing to go wrong like I showed above where rackcdn.com and contextly.com were both down rendering the site useless.
Not really a big concern for lots of people, but in China, I often wait 2 minutes or so for big websites to load - because it's waiting for the Twitter/Facebook social sharing scripts (which are blocked) to timeout before loading the rest of the page. It's annoying.
Wow! That's really not supposed to happen. Twitter and Facebook usually use async script tags.
In theory, perhaps. Real-world tests show otherwise often enough.
TR;DR Browsers are capped at ~8 connections/hostename, but can handle ~12-16 connections at once. & those CDNs may be faster then your shared hosting, which will offset the DNS lookup (if that is needed).
YMMV; you have great warnings Peter, but best suggestion is "test for your self" for optimal performance!


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Concert Subscriptions, Care Packages & More: How Promoters Adapting to Crisis
A Monthlong Event to Help the Hospitality Industry with booze, food and scavenger hunt
Stephan Cartello in Culture
30, April 2020
In the midst of the coronavirus pandemic, billboard reports that independent music promoters have had to find creative ways to remain afloat financially until live events can proceed. While fans were immediately eager to support their favorite musicians or local venues, promoters have had to make their case for why they are also essential to the live music ecosystem and develop new strategies for enticing continued support from fans.
"Some people might not know what a promoter is or not know how to support a promoter, where they understand a venue that they go to or a band they go to see," Graham Williams, owner of Texas promoter Margin Walker, says. "It is a little bit of an uphill battle, but if you are a promoter, in theory, you have reach and you know how to market and get info in front of people's eyes. That's what you do for a living every day."
Promoters across the country began seeking financial assistance in mid-March through GoFundMe campaigns, concert gift cards, custom T-shirts and merchandise, and various livestreams. For instance, New York based promoter PopGun Presents recreated its Brooklyn venue Elsewhere in video game Minecraft for a virtual concert. On April 11, the virtual festival called Nether Meant raised more than $8,000 for coronavirus relief fund Good360 through donations, merch for Minecraft avatars, and digital VIP areas and meet and greets with the artists.
Some promoters who operate venues have taken advantage of regulations allowing continued food and alcohol sales to generate revenue while their rooms are shuttered. San Francisco's DNA Lounge is continuing to run its pizza restaurant during the shutdown and is now offering pre-made cocktails along with expanded pizza delivery through GrubHub,PostMates and other services. Heard Presents, which runs Empire Control Room and The Parish in Austin, created $10 care packages available for pickup, including a six-pack of beer, a bag of chips, a sticker supporting the local culture district, a beer koozie and a mock ticket for shows that don't exist.
"We had a bunch of beer inventory that we couldn't sell back and if it sits there it is just going to go bad. They passed this emergency ordinance to let people do curbside pickup and we are kind of hacking the system a little bit,"
says Heard Presents managing partner Steve Sternschein, who adds that all proceeds are going to keeping his staff fed and employed.
Sternschein admits that these new efforts, which also include merch and content ideas, would have never been worth his time if the venue was up and running. But he's inspired by the outpouring of local support.
"I thought nobody was going to buy our care packages. I thought, no one is driving to Empire for a six-pack of beer," Sternschien says. "The reality is, nobody drove to Empire for a six-pack of beer. They drove there because they care about what we are doing and wanted to support us. I was blown away."
Longtime Bay Area promoter Noise Pop has a running GoFundMe campaign to support its staff, launched gift cards for upcoming shows and has tapped into its 30-year history to supplement efforts.
"We've got merchandise and show posters that have been sitting around in archives for decades. We have worked with an incredible set of visual artists over the years from Shepard Fairey to Thomas Campbell to Lil Tuffy and many many others," says Noise Pop Industries founder Kevin Arnold. "We are looking at organizing that and releasing that to the world and revamping our merchandise, The Noise Pop Shop."
Similar to gift cards being offered by Noise Pop, PopGun Presents and more, Margin Walker is currently offering non-expiring "show bonds" for fans who continue to have disposable income and want to show their support during the crisis.
"We had the idea of war bonds like in World War II, where you buy these bonds and it is a good investment for the future and you help out. Our show bonds are basically, you can buy a certain amount and it is good for tickets for future shows with 20% off," says Williams.
He explains that the bonds are selling well, but their more subtle purpose is to incentivize people to return to shows once doors reopen.
"It doesn't generate a ton of profit or anything it's just a way to commit people to coming to see music down the road and beef up sales for shows," Williams says. "They aren't committing to anything other than going at some point. I think most people will use it when they feel comfortable and we are past the worst of it."
Independent promoters have also turned to launching various subscription services. Noise Pop launched a tiered subscription through Patreon called Culture Club. Monthly membership fees range from $7 for exclusive digital content including exclusive 'At-Home' sessions from artists and episodes of the Noise Pop Podcast up to $449 for unlimited access to all Noise Pop shows throughout the year, passes to the next Noise Pop Festival with VIP upgrades for all Noise Pop events and more.
"It is, of course, odd that we are launching a live music subscription service when there is no live music," Arnold says. He explains that the Patreon idea has been on the back burner for a while and that the government mandated shutdown gave Noise Pop the opportunity to pursue service. "It is moving from a donation to having a valid offering and a business model. It is a way for fans to show support in a consistent and ongoing way."
According to Noise Pop and Margin Walker live events have been slowly headed in the direction of subscriptions for years similar to the recorded side of the business. Margin Walker, for example, has had a subscription fan club on sale for two years in a row that provides two-for-one ticket options for monthly shows. Williams says it is a great way to get people out to shows and venues at least once a month.
But because the cost of putting on each individual live show varies greatly for most promoters with different artist guarantees and ticket prices, these subscription models look more like ones offered at movie chains like AMC or Alamo Draft House rather than Spotify or Netflix. Unlike movie or music streamers, subscriptions for movie theaters have limits on the amount of films you can attend per month and are only a portion of the business model. Fans who are not members of the movie theater services can still attend, but at a higher price and without select discounts throughout the movie going experience including reduced rates on food and beverage.
"I don't think [subscriptions] are something you're going to be able to base a business on entirely, but it is a nice piece of the overall puzzle and we have to be diversifying and thinking about this. It can't just be ticket sales," Arnold says.
Williams agrees:
"We stream more movies via Netflix than we pay to rent, buy or go to see movies any more," he says. "But those are things you can all watch at the same time over and over again. And they get licensed all at once, where the live music scene is built so differently. It would take a major shift to do it across the board, but I do think there's interest there and there are conversations being had."
New York City Center
Прыжок в свободу. История Рудольфа
F. Scott Fitzgerald Theatre
#Theater
Тимур Шаов
Syriac Social Hall
Max Barskih presented new English single "SILENCE"
Stephan Cartello
Las Vegas Can Now Host Conventions With Up to 1,000 Attendees
9 Reasons Why Virtual Events are actually good for business according to Event Pros
Style Fashion Week LA
Organizer: N/A

redpajama_set_name: RedPajamaCommonCrawl


Honor Bradbeer is an exceptional young Melbourne based artist. Her work has an ethereal quality about it and the viewer always feels that she is straddling the physical and the spiritual, when she puts ink to paper. I am always intrigued to find out how creative women arrive at that place of bringing beauty and inspiration to others. In this short interview Honor gives us a glimpse of who she is and what makes her creative.
Being creative means the world to me.
But if you're looking for my definition, I suppose being creative means making tangible what is intangible. In particular, I think the creative act is taking something from the deep privacy of our unique understanding and giving form to it, so that others may experience it, or so that we can understand it anew. The wonderful thing is that in this process of bringing out something from within, something is actually added in translation: there's always, without fail, some by-product that was not intended, something new for the world, however tiny.
Do you remember the first drawing you ever made?
No. I'm sure I scribbled out all kinds of baffling stuff from an early age. But there is certainly a drawing that is celebrated by my family as my 'first', because it was the first that communicated something they clearly recognised. It's a portrait of Miss Piggy from The Muppets. I honestly thought she was the most beautiful thing in the world at the time. The portrait is all snout, pearls and curly hair, and I drew it in texta when I was three.
Where did you grow up and how did family life and your home influence how you "see" the world and ignite this desire to create?
I think the desire to create is primal, it just isn't always supported or celebrated or understood. I grew up in the inner western suburbs of Melbourne. One of my uncles is an artist and his family lived in the same street as mine. My parents were well aware that art is not generally a lucrative business, but they encouraged and supported me, from the start. The option of taking up art as a career was always simply there, and it was always what I wanted to do. I think it would have broken my spirit if they had ever tried to push me in a more sensible direction.
As to how I see the world… how long have you got? … I consider myself very blessed to have grown up with a religious mother and an atheist father whose ideologies actually manage not to be at odds with each other. The idea of an inner life has tremendous value for both my parents, and my sister and I were brought up talking and thinking in those terms, and feeling more or less comfortable with those big mysterious spaces and resonances of the mind and heart. It wasn't easy sometimes, trying to orientate myself spiritually, but that struggle has left me with deep longings and vast landscapes inside – good, mysterious, open spaces in which still echo a beloved warmth and presence. I can think of no better play-space for an artist.
What are some of the ways you have had to juggle your creativity around different seasons in life?
I'm almost thirty-two, but I haven't experienced very striking differences between seasons, yet. I very much want to have children and I look forward, with some trepidation, to the changes this will bring to my creative life. Certainly I have experienced that love can be a challenge to creative practice. I think love resonates in, and draws from, those same spaces that creativity does. It takes diligence and practice for them both to exist there harmoniously. I know I'll have to make room in there for the kids, as well.
How do you balance life with time to create?
I don't. I am perpetually wobbling on this tight-rope, and finding a consistent routine is an ongoing project. This year I have given my art practice priority by cutting back work and living off my savings. It's wonderful, but still a battle. The problem is the desire to live as richly as possible in all directions. It can be paralysing!
Tell me about your studio and workspace. How do you keep it well stocked and organised?
My studio is a 4×5 metre white box with a concrete floor, housed in a wonderful old building that used to be a wool mill. It hums with the industry of other creative people and their musical preferences. It isn't perfect, but I love it – it's my own creative space and even paying the rent feels like an act of self-respect.
I am not very organised. I re-stock as I need, and if I'm short of one thing I'll use something else. I often draw over old drawings when I find I've suddenly run out of fresh paper.
As an artist do you have other artists that you admire? How have they influenced your work?
Whenever anyone asks this I think of Vincent van Gogh first. I don't know why, except that I have so much admiration for the way he was really chasing down something very important in his mind's eye. When I look at his work, I see all that fevered endeavour, stripped of artifice and self-consciousness, and it is one of the most beautiful qualities.
To be honest, I am more frequently inspired by musicians and poets. If I read it or hear it, I can visualise something new, and feel empowered to create. The excitement I get over visual art is tempered by a personal sense of redundancy.
I've been working almost exclusively with ink on paper for ten years. Black ink, blue ink, sometimes red ink, but that's it. Three colours in ten years!
I've just started playing around with lots of colours – watercolour, pencils, bright inks. It's terrifying.
What can we expect from Honor Bradbeer in the future? How do you envisage your business developing in the next few years?
I don't really know what to expect. This is the first time in all these years that I've really craved something very different, and I feel like a beginner, again. When you've established a practice that is so identifiable by its method and media – such as my big, monochromatic ink work – it's challenging to think of putting something very different out there and retaining a clear sense of identity.
Colour and movement. That's what's coming. I'm restless for a sense of movement in my work. I don't know how, but it will come. Watch this space.
How do you use your artistic talents to support and serve others locally and globally?
Oh, that's a perennially troubling question!
In order to be at peace with myself, I just have to have faith that what I do is inherently worthy. It's important to me to be a useful body in the world, but I think that, with art, it can be a long time before it does its work for the wider community. That said, I think it is really important that there is a large body of artists in any society. It can be hard, lonely, spiritually draining work, and there's definitely a sense of being called to do it. Creativity is knowledge, development and communication on a suprarational level – beyond rational bounds – and I think a lot of our living actually happens on that level, and we need stimulation and solace and help there as much as we need the rational stuff.
It's tempting to think artists aren't essential, but I think we're like garbage collectors – it would be felt pretty quickly if we all stopped doing what we do.
If I could deliver anyone at all to your studio who would you most like to sit and sew with over a cup of tea?
Oh, Leonard Cohen, always. I've turned his words round and round in my head since I can remember. There is just so much meaning in there. I can know and love a song for years and then discover a whole new perspective in it that I hadn't picked up, before. Every new album is like a letter from a trusted mentor, and I spend hours decoding it. He's striding through his seventies, now. I don't know what I'll do when he dies.
I'd also very much like to see what his sewing is like.
And finally, what advice would you give someone starting on their artistic journey.
A trusted mentor once told me: "whatever you do, if you do it with integrity, you will have an audience". It's the single best thing anyone ever told me about being an artist, and it guides my practice.
You can view more of Honor Bradbeer's work online here.
Honor Bradbeer exhibits at Dickerson Gallery.


Spring has sprung and I've started dreaming about warmer weather gatherings on my deck with friends and family. I love getting together with people for a simple barbeque where everyone can contribute something to the meal. It makes things easier on the host, for one thing, and also means that everyone gets to try all the yummy side dishes and salads that everyone else has brought to share.
This is a versatile side dish that can be served warm, at room temperature, or even cold! You can swap the spelt orzo for quinoa, millet, or another whole grain alternative, and with the addition of chickpeas it also makes a satisfying vegetarian meal. As the weather warms up and the selection of seasonal produce becomes more varied don't hesitate to switch up the veggies you use and get creative!
This simple dish is chock full of valuable nutrients! Roasting the tomatoes makes the lycopene (a phytochemical and carotenoid) more bioavailable to the body for use. The onions and garlic contain healthy sulfur compounds vital to a healthy liver and immune system, and the chickpeas contain fibre and protein, as does the whole grain being used.
Step 1 – Preheat your oven to 400 degrees. Put your water on to boil to cook your grain of choice.
Step 2 – Dump all of your chopped veggies into a large bowl and toss with the 2 tbsp of oil, a pinch of sea salt and some fresh ground pepper. When well coated with oil, dump onto two baking sheets lined with parchment paper (you'll need two baking sheets to make sure that you don't crowd the veggies. If they don't have space between them they will steam, not roast!). Spread out evenly on the sheets.
Step 3 – Put your baking sheets into your preheated oven, and if your water is boiling cook your grain of choice according to package directions.
Step 4 – After around 10 minutes, check your veg and if it's starting to brown then stir it around and flip things over. Cook for another 10 minutes or so, or until veggies are brown and roasted to your liking.
Step 5 – Once your grain is cooked, drain it, put it in a large bowl and then scrape the contents of your roasted veggies over top. Be sure you get all the flavourful juices in there too! Add your chickpeas and fresh basil and then pour your dressing on top. Mix well. Top with crumbled goat cheese and serve.
Serve this dish as a part of a vegetarian weeknight meal or pack it up and take it to your next pot luck. It's sure to please!


text:
Gegeneophis krishni е вид земноводно от семейство Indotyphlidae.

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Видът е разпространен в Индия.

Източници

Индийски цецилии

redpajama_set_name: RedPajamaWikipedia


text:
Home Environment/Energy Mayors Miss the Mark on Climate
Mayors Miss the Mark on Climate
written by H. Sterling Burnett August 1, 2017
On June 24, the assembled mayors at the 85th annual meeting of the U.S. Conference of Mayors (USCM) in Miami passed a series of resolutions related to climate change and green energy, including resolutions urging President Donald Trump's administration to reverse its decision to pull the United States out of the Paris agreement and to support the Obama administration's stalled Clean Power Plan. USCM members also called for a quick electrification of the U.S. transportation sector and increased government intervention to prop up the wind-energy industry.
The mainstream media's stories about the mayors' actions promote the narrative the mayors defied Trump and will meet the Paris climate agreement goals regardless of the federal government's position on climate change, but they are uniformly light on facts and context. For instance, none of the stories, nor USCM's website, reports what the final vote was on each of the resolutions passed. Was it an overwhelming majority who favored the resolutions, or was it a close vote?
Some measure of the number of mayors who are truly committed to Paris and the green agenda might be found in a poll taken before the conference. USCM said the survey "found overwhelming interest by cities to accelerate climate efforts," with 69 percent of responding cities generating or purchasing renewable electricity to power city buildings or operations; 63 percent already buying hybrid, electric, natural gas, and/or biodiesel for their municipal fleets; and 71 percent implementing energy-efficiency policies for new municipal buildings.
However, just 66 of the 1,408 cities who are members of the USCM — less than five percent — responded to the survey. Since the mayors most active in promoting green programs would be the likeliest to respond to this survey, it seems very few of the total number of USCM members wanted to stand up and have their voices counted in the climate fight. In fact, just over 200 cities have formally committed to pursuing the emissions reductions demanded in the Paris climate agreement.
It's clear USCM's claims have not been backed up by the actions taken by the vast majority of its member cities.
Baltimore and Chicago, among many other cities, have growing crime and murder rates. In many places, the relationship and trust between citizens and their police forces are at historic lows, with beat cops increasingly under fire (literally). Additionally, cities around the country are facing numerous crises; their streets are riddled with potholes, bridges are crumbling, public transit systems are breaking down, sewage services are out of date, school systems are failing, they lack the funding to open municipal pools during the summer, libraries are closing, cities are cancelling summer reading programs for kids, and public employees' retirement funds are woefully underfunded.
Many of the guys and gals who have the temerity to lecture the president of the United States on climate matters have run their cities into the ground and are now begging the federal government for help to avoid municipal bankruptcy, for increased school funding, and to fix local roads and transit systems.
Despite radical environmentalists' claims, mayors, city councils, and cities can do relatively little to reduce carbon-dioxide emissions low enough to hit the Paris targets. States, not cities, regulate the power supply within their borders. So, while cities can put some solar panels on rooftops of city buildings; purchase wind and solar energy through the grid, or at least buy renewable-energy credits that purport to show someone somewhere is building and purchasing wind or solar power (though not the city itself); plant trees; and buy natural gas or electric vehicles to reduce emissions, none of these policies will have a substantial impact on emissions. Most cities don't even have the authority to impose carbon or energy taxes.
However, cities that do pursue these policies will most assuredly increase costs for taxpayers, businesses, and consumers — and all for very little, if any, benefit. The costs associated with using wind and solar electricity and electric vehicles are simply much higher than the expenses related to more-reliable fossil-fuel power plants and vehicles. States and European countries that have gone the furthest to cut carbon-dioxide emissions pay two to three times more for energy than states and countries that rely primarily on fossil fuels for energy.
Rather than wasting time and resources and raising energy costs on citizens and businesses — proven killers of economic growth — to pay for feel-good programs that will ultimately have no measurable impact on climate, mayors should focus on solving the local issues they were elected to confront and take steps to make their cities more attractive to businesses.
Mayors were elected to solve local problems, and say whatever you want about global warming, it is definitely not a local problem.
[Originally Published at American Spectator]
Mayors Miss the Mark on Climate was last modified: August 1st, 2017 by H. Sterling Burnett
Climate agreementsclimate changeglobal warmingParis AccordUS Conference of MayorsWe are still in
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text:
Mutterschaft Mariens steht für:
 Gottesgebärerin, als Fest der Mutterschaft der allerseligsten Jungfrau Maria
 1. Januar, Hochfest zu Ehren der Maria von Nazareth als Mutter Jesu
 11. Oktober, bis zur Kalenderreform von 1969 (Mutterschaft der allerseligsten Jungfrau Maria)

sowie:
 Kirchen zu Ehren des Glaubensinhalts, siehe Muttergotteskirche


text:
Le Grand Lake Lodge est un hôtel américain situé à Grand Lake, dans le Colorado. Ce lodge est inscrit au Registre national des lieux historiques depuis le .

Liens externes

Lodge aux États-Unis
Bâtiment dans le comté de Grand (Colorado)
Hôtel inscrit au Registre national des lieux historiques au Colorado
Registre national des lieux historiques dans le comté de Grand (Colorado)
Registre national des lieux historiques en 1993


text:
Mount Lubbock ist ein  hoher Berg an der Borchgrevink-Küste des ostantarktischen Viktorialands. Er ragt unmittelbar nördlich des Kap Jones an der Südspitze der Daniell-Halbinsel auf.

Entdeckt wurde er im Januar 1841 vom britischen Polarforscher James Clark Ross auf dessen Antarktisexpedition (1839–1843). Ross benannte ihn nach John William Lubbock (1803–1865), Schatzmeister der Royal Society.

Weblinks
  (englisch)
 Mount Lubbock auf geographic.org (englisch)

Berg im Transantarktischen Gebirge
Daniell-Halbinsel


SS Dance & Wellbeing offers a variety of specialist and community dance sessions, we have something to suit all ages and abilities. Classes can be tailored to ensure that they are accessible for all.
Chair-Based Dance: Chair Zumba, Chair Dancercise, Low Impact Chair Dance.
Get in touch for more information about any of the sessions. Taster sessions can be booked for different organisations in one of the above activities to experience the benefits of SS Dance & Wellbeing first-hand.


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A gentle and relaxed holiday destination, Lamu is Kenya's oldest inhabited town and the unhurried way of life has changed little over the centuries. Part of the Lamu Archipelago, Lamu town (on Lamu Island) is reached by boat from the mainland. The narrow, winding streets are crowded with pedestrians, markets, vendors and donkeys.
Lamu's lovely old Arab houses feature intricately carved doors and lintels, and mosques decorate the streets of one of the last remaining Swahili towns from a civilisation that used to be the cultural force along the coast. A dhow trip is a mandatory holiday outing and sailing around the little islands or to the beautiful beaches is a memorable experience.


text:
Not in Our School
About NIOS
Not In Our School is a program that creates safe, accepting and inclusive school communities. Not In Our School provides training, films, lesson plans and resources that inspire students to take the lead in standing up to bullying and intolerance in their schools.
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Facing History and Ourselves Lesson Plan: Spread the Peace
Facing History and Ourselves combats racism, antisemitism, and religious prejudice by using history to teach tolerance in classrooms around the...
Profiling Kevin
Palo Alto High School student Kevin Ward challenges the stereotype of African-Americans as "gangsters," and says that "smart is the new gangster."...
Lesson Plan for "Shajee's Story: Middle School Students Learn About Islam"
Lesson Idea from Facing History and Ourselves Overview "Shajee's Story: Middle School Students Learn About Islam"...
Watching "Lancaster, CA: A City Unites to End School Bullying" In Your Classroom
The video, "Lancaster, California: A City United to End School Bullying," profiles students, educators and community members working to create...
Lesson Idea: Stand Up, Stand Out: No Checking, No Capping, No Bullying
Overview: Memphis: Stand Up, Stand Out: No Checking, No Capping, No Bullying highlights one middle school's response to...
Lesson Idea: "Students Take On Cyberbullying"
Created by Facing History and Ourselves Overview In this lesson idea, the short video "Cyberbullying" is explored through...
Activity Guide: Bullying Role Play and Practicing Intervention
In this video, students use role-playing scenarios to depict experiences with prejudice or name-calling and practice effective interventions to...
Alex Epstein - VOLUNTEER
Alex Epstein is a college student who, during high school, was compelled to help rebuild New Orleans after Hurricane Katrina. Using the...
Fred Korematsu: A Civil Rights Hero
"We are all Americans in this country." —Fred Korematsu (1919-2005) When Japanese-Americans were sent to camps during World War II,...
Jackie Rotman - VOLUNTEER
During a dance performance on stage, Jackie Rotman's music suddenly stopped. In response, members of the audience joined Jackie on stage...
Lesson Idea: "New Immigrants Share Their Stories"
Created by Facing History and Ourselves Overview In this lesson idea, the short video "New Immigrants Share Their Stories" is explored...
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Although unable to speak, read or write in English when she came to the United States in 2005, Jennifer Gaxiola's innate sense of self-...
The Royal Chicano Air Force
The Royal Chicano Air Force (RCAF) is an artistic collective based in Sacramento, California. It was founded in 1969 to express the...
Florence Jones - EMBRACE CULTURE
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Waking in Oak Creek
Waking in Oak Creek: A Community Rocked by Hate is Awakened and Transformed As the Sikh community in Oak Creek, Wisconsin prepares for Sunday...
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Vajra Watson founded SAYS: Sacramento Area Youth Speaks to give young people a voice through hip hop and spoken word. "We underestimate...
Extraordinary Upstander - Charlotta Bass
Republished from ChampionsofUnity.org. Find the original here. Charlotta A. Bass stands among the most influential African Americans of the...
Azim Khamisa
In 1995, Azim Khamisa's 20-year-old son, Tariq, was delivering a pizza when he was shot to death by a 14-year-old gang member. Experiencing the pain...
Brian Cox - ORGANIZE
As a former pro football player, Brian Cox understands the value of teamwork and community in achieving a goal. After retiring from the NFL, Cox came...
Created by Facing History and Ourselves Overview
Not In Our School Lessons Meet the Common Core State Standards
Additional Writing Activities for Not In Our School Films and the Video Action Kit NIOS films and lesson plans can be used in academic courses that address writing and health. Here are some activities that can be added to address Common Core State Standards in areas of Writing and Critical Thinking.
In 1995, Azim Khamisa's 20-year-old son, Tariq, was delivering a pizza when he was shot to death by a 14-year-old gang member. Experiencing the pain, grief, frustration, and anger that a parent would, Azim decided that the only way he could better the situation was to use the tool of FORGIVE to ensure that this type of tragedy happens less frequently in the future.
Nadie Nace Ilegal
Creado por Facing History and Ourselves Resumen
Facing History and Ourselves Lesson Plan: NIOS Next Steps: Projects and Assignments
Facing History and Ourselves combats racism, antisemitism, and religious prejudice by using history to teach tolerance in classrooms around the globe.
Lesson Idea: "Students Map Bully Zones to Create a Safer School"
Created by Facing History and Ourselves Esta lección también está disponble en español. Overview
How To Start Your Own Anti-Bullying White-Out
Republished from ChampionsofUnity.org. Find the original here.
"Charleston: The Days After" Lesson for English Learners
Strategies for Using Not In Our School Videos (Facing History and Ourselves)
Facing History and Ourselves combats racism, antisemitism, and religious prejudice by using history to teach tolerance in classrooms around the globe. Throughout history, young people have also played an important role in their communities and in social change movements. (For example, high school students were a driving force behind the U.S. civil rights movement and the anti-apartheid movement in South Africa.) Not in Our School videos help students explore some ways young people are making a difference in their communities today.
Activity Guide: Discussing Prejudice and Discrimination
Engaging students in dialogue about prejudice and discrimination is a very powerful tool in combating hate and bullying and ensuring respectful classrooms and schools. Such dialogues can be led by classroom teachers, school social workers or counselors, or by other students trained to lead and facilitate dialogue. Having students view the "Students Tune In and Speak Out" video to begin such a dialogue is an effective way to open this process.
Facing History and Ourselves combats racism, antisemitism, and religious prejudice by using history to teach tolerance in classrooms around the globe. The purpose of this lesson idea is to provide some general strategies for using any of the Not in Our School videos. We encourage you to check out other lesson ideas that Facing History and Ourselves has developed for specific Not in Our School videos and for using the website in general:
Activity Guide: Stereotype Pool
This video highlights a powerful activity called Dissolving Stereotypes. This activity can be used effectively with students or adults to explore experiences with stereotypes and hurtful words and ways to "dissolve" the hurt caused.
Activity Guide: Student Leadership Against Hate, Ideas for Active Participation
While the students profiled in this video had a catalyst prompting them to hold a community anti-hate rally, this is not necessary to engage students or the larger community in conversations and learning about diversity and respect. In fact, establishing these principals as priorities in your school -- to be discussed and affirmed not only in times of crisis -- can be very powerful in preventing incidents from occurring or if they do, to know there are established channels of support and response.
Activity Guide: Public Art as an Avenue for Respect and Social Justice
As a result of the murder of Marcelo Lucero, there were many positive efforts in the community to embrace diversity and build respect for all. One of these was the creation of public art to reflect feelings and attitudes about the murder and to create a positive and hopeful message for the future. The use of art can be a wonderful way for students to express ideas about diversity, respect and social justice concerns. The following guideline provides instruction on how to lead such a process with students. Age-level: middle and high school students Note: This activity process will need to take place over several class periods or student-group meetings. If not an art teacher, consider joining with one to assist and support this process.
Activity Guide: Student-led Assembly to Shatter Stereotypes
In this video, students created an assembly performance that included individual presentations, role-playing scenarios and musical performances. Any or all of these efforts represent exciting and creative ways for students to contribute their voice and perspectives to important social justice issues. As this is a big undertaking, please review the following guidelines to assist in your planning and implementation.
If interested in modeling this dialogue in your own classroom, please use the following guidelines to assist in ensuring a positive and productive discussion. This lesson is part of the Not In Our School Video Action Kit, a comprehensive toolkit featuring films, lessons, and resources designed to motivate students to speak out against bullying, and create new ways to make their schools safe for everyone. Age-level: middle and high school students
Activity Guide: Documenting Communities through Interviews and Film
The students profiled in this video acted as documentarians for their local community and its changing demographics, attitudes and experiences. The students used this data to inform their efforts to promote mutual respect and equality in their school. Providing students with the opportunity to research and explore the history of civil and social justice issues in their own communities can be a powerful tool for learning and reflection.
In this video, students use role-playing scenarios to depict experiences with prejudice or name-calling and practice effective interventions to combat or stop the bullying or harassment. This process can be an effective tool to use with students in your own classroom and school. Please use the guidelines below and review the "Note of Caution" to ensure a positive and productive experience. This lesson is part of the Not In Our School Video Action Kit, a comprehensive toolkit featuring films, lessons, and resources designed to motivate students to speak out against bullying, and create new ways to make their schools safe for everyone.
Across the country, NIOS groups are creating new ways to make their schools safe for everyone. Start your own NIOS group page, and share how you're standing up for acceptance and inclusion!
Learn More About School Groups


text:
Reading: Reinventing from a Childhood Dream
Second Acts
Reinventing from a Childhood Dream
She abandoned her childhood passion of singing as a teen. Then midlife brought her back to it.
By Pamela Weiler Grayson
Photo by Mi Pham for unsplash
My five-decade "love affair" with musical theater is like one of those love stories in which the timing never seems right. Two people who like each other when they are young, lose touch as each goes his/her own way, marry other people, until they eventually find each other again later in life.
Picking Up a Thread From the Past
When I was a high-octane child growing up in Manhattan in the 1970s, my dream was to be a musical theater performer. My friends and I sang and danced around our living rooms, belting out show tunes and putting on skits for our parents and our pets. My father, a passionate lover of musicals, introduced me to Broadway cast albums and took me to Broadway and Off-Broadway shows.
I landed leading roles in shows at school and camp. I wrote songs on both guitar and piano. When I was 13, I begged my parents to let me audition for the Broadway production of Annie. I had a huge, belting voice and naturally curly red hair. But they refused: they were afraid I would actually get cast as Annie and drop out of school. My consolation prize was playing Annie in a cribbed-together camp production.
I never let my parents forget that they ruined my chance to be a child star.
During my college years, I continued performing, took voice and dance lessons, acted in professional summer stock, and joined an all-girls a cappella group. After graduation, I hit the musical theater center of the world: Broadway.
My Teen Years: Failing at Big-time Performing
But Broadway hit back. Hard. It was nine months of soul-crushing auditions and spending more hours commuting by subway than performing. I knew I had talent, but I also knew I needed outsized ambition and drive, persistence, and patience (something I sorely lacked). I also had difficulty because I felt like I had so little agency over my life. I had no agent and realized that as an actor I would always be waiting for someone to "give me a break."
Worse, I missed my biggest champion.
My father had died when I was 17. Without his daily support, his constant encouragement about my talent, and his own passion for theater, I let myself get defeated. I bowed out and spent the next few years working in entry- and mid-level jobs at television networks while occasionally singing songs (particularly ones I devised original parody lyrics to), at parties. I moved in with my future husband at age 25 but still felt like a drifter, feeling like I lacked both a creative outlet and financial stability.
Falling For an Acceptable Profession: Law
To solve both problems I decided I needed a graduate degree from the "liberal arts choice of last resort" — law school. My father had been a lawyer. I liked to argue. It seemed like an obvious choice.
But it was a terrible choice. Though I got to perform again — at the New York City Bar Association annual roast of legal heavy hitters! — my litigation firm barely paid enough for the 60-hour weeks I was putting in. After five years, I had two children and broke the barrier as the first attorney at the firm to be allowed to work a four-day week. But the stress of balancing family with a professional life became overwhelming, so I left.
My mother, who had always worked, made no effort to hide her concern (and disappointment) that I was stepping off the track that she, an original working mom (teacher), had laid down for me and expected me to follow in my own hard-charging career.
Stretching for Another Profession: Writing
Once again I was floundering. Looking around, I realized I'd always envied a college acquaintance who worked as a freelance writer. Could I somehow parlay the "Features Editor and writer of my high school newspaper" line on my resume into a job? I decided to pitch magazines and newspapers what I knew best: parenting. At the birth of the Internet, I became one of the original mommy bloggers. My first published piece was about how after my boobs shrunk post-kids, my male gynecologist assured me they would "grow back." (I'm still waiting for that to happen!)
My essays were eventually published in The New York Times, The New York Observer, and Harper's Bazaar. My pay never matched the hours I put in, but for nine pleasant years I felt I'd found the exact right balance between creativity and professionalism. I was totally satisfied.
Until the morning of "The Shower Epiphany."
On that day, instead of singing Broadway standards from my shower songbook, an original — both words and music — bubbled out of me. I sang about what I knew: motherhood.
Discovering A New Way Back into Music
As the bathroom mirrors fogged up, my mind cleared and I was in the midst of a "eureka" moment. For the first time in decades, I knew that I had found my path: I might not be able to perform songs on stage, but I could write them!
Wrapped in nothing but my towel, I ran to my tape recorder. I pressed "record" and sang with a joy I hadn't felt since I was ten. I sat down at my desk and wrote a few more songs.
My husband encouraged me to find a professional arranger who would turn my songs into sheet music. "What you have here is musical theater," he said.
And that was it! After over twenty years in the diaspora, I was back in showbiz!
Over the next few months I added scenes to my songs and, with the help of a friend, connected with Alice Jankell, who would become my partner in musical theater.
Our musical about motherhood dug into the "dark places" that mothers are afraid, or ashamed, to talk about — such as wanting time away from our kids or that, even though we love them, we may not always like our kids very much. A few months later I was accepted into the BMI Musical Theatre Workshop, a competitive, fully-funded, two-year program in musical theater songwriting. At the same time, Alice and I crafted our first actual show, Urban Momfare, about the friendship among three moms dealing with the over-competitiveness of other mothers on New York's Upper East Side. Urban Momfare went on to win a Best Musical award in the 2014 New York International Fringe Festival.
We later wrote a second show called "Cicadas, the Musical," about women in midlife, for Episode 4 (All the Young Dudes) of the digital series The Other F Word. Our latest project is Hillside, a musical located in an assisted living facility that examines the disparities between how the elderly are seen from the outside and how they see themselves. We laugh, that given how long it takes for shows to be developed, by the time Hillside gets produced we may be in assisted living ourselves.
Since giving up professional performing in my twenties, there had always been a gaping hole inside of me that nothing else could fill. Musical theater, which had occupied so much of my life as a child, began to seem like some kind of "Brigadoon" dream, but one that I might never find a way back to. I thought I would have to be content with singing at parties and going to see Broadway shows. I never envisioned that I could actually loop back to my "first love" at midlife.
Reclaiming My Childhood Passion for Good
Since reentering the theatrical sphere, I've heard stories of other people who have managed to reclaim a childhood passion in their forties. One is a doctor who became a stand-up comedienne, another is a judge, another is a physicist who is now a composer and a writer (he's also still a physicist, which is actually kind of annoying!). These people are not just reinventing, but re-reinventing, because they are bushwhacking a path back to their truest and purest selves.
Many times I feel like I'm digging through a concrete wall to get into a room that is already filled with the fresh, eager young faces of newbies ready to do whatever it takes to make it big. But love, age, and a sense of time propel me forward. You can indeed go home again — but it may be through the back door, the window, or by squeezing down the chimney. We may enter that room sooty and soiled, wrinkled and carrying some belly fat, but we are always more than ready to put on that show.
Joni Cherbo
Pam, what a lovely article. Artistic aspirants are often sidelined. We over produce artists, in particular actors, most of whom succumb to disappointment and financial realities.
But love is love and cant be denied,(Remember the Chorus Line song, What we did for love! ) it seeps through our pores and finds some outlet, some means of expression.
I was targeted to be a painter having been recognized as talented throughout my childhood. In college I found the profession socially irrelevant, and painters self-indulgent. I balked and went into the social sciences but crafted out a then nominal field- the sociology of art.
Now in Florida as a retiree, I have resumed practicing art, taking photography and acrylic pouring. It's a joy to create again with no goal except creative pursuit. And for socially meaningful work? I certified as a coach while still in NYC and am engaged with Encores, a national organization focused on serving retirees find meaning in this challenging leg of the journey often by addressing critical social needs.
Life has come full circle; I can now keep both passions up close. It may be, for the fortunate, one of the few benefits of this stage of life.
Cheers to you. Keep singing and creating.
4th May 2019 at 12:24 am
❤❤❤ this article!! You are an inspiration!
We believe some of the best reinventions stem from old loves that you'd tossed aside as a kid.
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text:
Samalian was a Semitic language spoken in Sam'al.

Samalian is primarily known from three inscriptions, the Hadad Statue and the Panamuwa II inscription (KAI 214–215), both unearthed in the late 19th century, and a third known as the Kuttamuwa stele, unearthed in 2008.

Classification
Among the Semitic languages, Samalian shows most similarities to Aramaic. It has been earlier often considered an outright early dialect of Aramaic, possibly influenced by Canaanite. Strong evidence is however absent, and Samalian is best considered an independent member of the Northwest Semitic group, or, together with the Deir Alla Inscription, a sister variety of Aramaic in an "Aramoid" or "Syrian" group.

Linguistic features

Features connecting Samalian with Aramaic include:
 a change *n > r in the word br 'son', though this is attested only as a part of personal names and may not have been the native word. The same phenomenon appears also in a Phoenician text from Sam'al (the Kilamuwa Stela).
 loss of *ʔ in the word ḥd (< *ʔḥd) 'one'. This occurs sporadically also in biblical Hebrew and in the Phoenician dialect of Byblos.
 a change *ɬ' > q, e.g. ʔrq 'earth', known as an orthographic device also in Old Aramaic (in later Aramaic, Proto-Semitic *ɬ' shifts instead to ).
 appearance of n for final m.

Pat-El & Wilson-Wright propose as additional general characteristics of Samalian the development of nasal vowels, as expected word-final n after long vowels is systematically absent in the Panamuwa inscriptions; as well as an object marker wt, cognate with Aramean ləwāt 'with'.

Notes

References

Northwest Semitic languages
Languages attested from the 1st millennium BC
Extinct languages of Asia


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All seems infected that th' infected spy, as all looks yellow to the jaundic'd eye.
Slow yellow river flowing, willows that gesture in tepid August airs, and four children playing at greatness, as, doubtless, great men themselves must play.
— Ann Vickers (1933), First lines.
The windflower and the violet, they perished long ago, And the brier-rose and the orchis died amid the summer glow; But on the hills the golden-rod, and the aster in the wood, And the yellow sunflower by the brook, in autumn beauty stood, Till fell the frost from the clear cold heaven, as falls the plague on men, And the brightness of their smile was gone, from upland glade and glen.
— William Cullen Bryant, Death of the Flowers.
Whether the color of your skin is black, white, yellow, brown or purple -- the extent of this tragedy is so incredibly devastating that we had to do something.
— Statement about Hurricane Katrina on website of The Used, reported in L. Martinez (September 10, 2005) "Rockers plug in for Katrina", Ventura County Star, p. 1.
A slender young Blackbird built in a thorn-tree: A spruce little fellow as ever could be; His bill was so yellow, his feathers so black, So long was his tail, and so glossy his back, That good Mrs. B., who sat hatching her eggs, And only just left them to stretch her poor legs, And pick for a minute the worm she preferred, Thought there never was seen such a beautiful bird.
— The Blackbird and the Rooks; reported in Hoyt's New Cyclopedia Of Practical Quotations (1922), p. 71.
When daisies pied, and violets blue, And lady-smocks all silver-white, And cuckoo-buds of yellow hue Do paint the meadows with delight.
— William Shakespeare, Love's Labour's Lost (c. 1595-6), Act V, scene 2, line 904.
When you go out to paint, try to forget what objects you have before youa tree, a house, a field, or whatever. Merely think, here is a little square of blue, here an oblong of pink, here a streakof yellow, and paint it just as it looks to you, the exact colour and shape, until it gives your own naive impression of the scene before you.
— Attributed, in reminiscences written in1927 by the young American artist Lilla Cabot Perry.
Nearly all the Brazilian supporters are wearing yellow shirts it's a fabulous kaleidoscope of colour.
— Quoted in Motson's National Obsession (2004).
— Explaining to the Mahon Tribunal on 20 December 2007 why he did not have a bank account in 1993. Planning Tribunal Transcript planningtribunal.ie. 2007-12-20.
We ask you to help us work for that day when black will not be asked to get back, when brown can stick around, when yellow will be mellow, when the red man can get ahead, man, and when white will embrace what is right.
— Benediction at inauguration of US president Barack Obama, January 20, 2009, Washington DC.
A primrose by a river's brim A yellow primrose was to him, And it was nothing more.
— Part I, stanza 12.
Watch out where the huskies go, and don't you eat that yellow snow.
— "Don't Eat The Yellow Snow"
There is no such thing as abstract art, or else all art is abstract, which amounts tot the same thing. Abstract art no more exists than does curved art yellow art or green art.
He will watch from dawn to gloom The lake-reflected sun illume The yellow bees in the ivy-bloom, Nor heed nor see, what things they be; But from these create he can Forms more real than living man, Nurslings of immortality!
— Fourth Spirit, Act I, l. 742.
Colour-blindness always extends to the complementary colours. Those who are red blind are also green blind; those who are blind to blue have no consciousness of yellow. This law holds good for all mental phenomena; it is a fundamental condition of consciousness.
All seems infected that the infected spy, As all looks yellow to the jaundiced eye .
She never told her love, But let concealment, like a worm i' the bud, Feed on her damask cheek; she pin'd in thought, And with a green and yellow melancholy She sat like patience on a monument, Smiling at grief.
— Act II, scene 4, line 114.
Our rocks are rough, but smiling there Th' acacia waves her yellow hair, Lonely and sweet, nor loved the less For flow'ring in a wilderness.
— Thomas Moore, Lalla Rookh (1817), "Light of the Harem".
Why does the rose her grateful fragrance yield, And yellow cowslips paint the smiling field?
— John Gay, Panthea, line 71.
A little marsh-plant, yellow green, And prick'd at lip with tender red, Tread close, and either way you tread, Some faint black water jets between Lest you should bruise the curious head.
— Algernon Charles Swinburne, The Sundew.
Love is like a growing apple. It can turn red from love, green from jealousy, yellow from happiness. But none could be achieved if you can't keep that apple safe.