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All posts tagged Sargent: the watercolours
Sargent: The Watercolours @ Dulwich Picture Gallery
This is the first UK show in nearly 100 years devoted to the watercolours of the Anglo-American artist, John Singer Sargent (1856-1925).
Sargent biography
Sargent was American, born to a successful Philadelphia eye surgeon, who quit his trade to live a peripatetic life travelling round the beauty spots of Europe, with wife and a growing brood of children. Sargent's parents encouraged his artistic tendencies and supported his decision to train as an artist in Paris in the 1870s. Here he learned precise draughtsmanship and a sumptuous way with oils, though he was also attracted to the new fashion for painting in the open air which came to be called Impressionism.
In Paris Sargent painted a number of successful portraits before moving to London in the mid-1880s where he quickly established a lucrative practice as a portrait painter to the upper classes. Sargent produced some 900 oil paintings, many of them masterpieces of style and grace, as demonstrated by the recent awe-inspiring exhibition of John Singer Sargent portraits at the National Portrait Gallery.
But throughout his life he continued to paint watercolours for his own pleasure and, once his London practice was secure, from the 1890s onwards, took a regular extended summer holiday, travelling all over the most picturesque parts of Europe and painting painting painting wherever he went.
The Lady with the Umbrella (1911) by John Singer Sargent. Museu de Montserrat. Image © Dani Rovira
This beautiful exhibition brings together a selection of some 80 of the estimated 2,000 watercolours which Sargent produced. Away from the pressurised world of his London studio and expensive commissions, the watercolours depict a relaxed and sunny world of picturesque locations – Venice, the Alps – a world of colourful locals in Italy or Spain, and of leisure ladies lounging with parasols.
It is the world of wealthy, confident Yankee ex-pats depicted in the novels of Henry James and Edith Wharton, a gracious world untroubled by rumours of war, where the moneyed could travel easily and stylishly from hotel to hotel in Venice, Rome, Bologna, Corfu, maybe down into Spain, and, after a good breakfast, set out one's easel, pin up the cartridge paper, moisten the brushes, adjust one's straw hat, fix the brollies in place, and then start sketching with light confident pencil strokes before moving on to start building up washes of colour.
Sargent painting a watercolour in the Simplon Pass (c. 1910-11) Sargent Archive, Museum of Fine Arts, Boston
Many of the watercolours give the impression of being deliberately unfinished, accentuating their light and airy effect. In fact one of the four headings into which the exhibition is divided is 'Fragments', although it is intended to have a different meaning. The curators use it to draw attention to the way Sargent is deliberately experimental in the way he frames and focuses many of the watercolours, cropping the subject, viewing it from unusual angles. Sargent's oil portraits had to be pretty conventional, showing the key parts of the body of the sitter in a well-defined and well-decorated space – take one of my favourites, the staggering Ena and Betty, Daughters of Asher and Mrs Wertheimer in Tate Britain.
By contrast, in many of the watercolours Sargent deliberately focuses on details, cropping and cutting off, zooming in on unexpected aspects. This is particularly true of the depiction of buildings which dominate the first few rooms. He is interested not in the whole thing but of significant details and aspects, which he renders luminous with his amazing technique.
Rome: An Architectural Study (c. 1906-7) by John Singer Sargent. Museums & Galleries, City of Bradford MDC
The curators point out the influence of photography which by the turn of the century had pioneered all kinds of ways of cropping and focusing. I love draughtsmanship and all lines, firm clear lines, so something in me warmed to all of the architectural paintings. Venice is the prime location for these, many of them 'taken' from low on the waterline, providing a gondola's-eye view of the famous crumbling palazzos and churches. a) It's a question of angle but b) also of the play of light on water.
Light on water is a perpetual challenge to a painter and water is a secret thread which connects many of the works here of ostensibly different subjects – portraits, landscapes, cityscapes and so on. There are lots of boats in harbours. Or streams in the mountains. Or lakes. His depiction of Palma harbour is an amazing attempt to capture the really dazzling, blinding white light of the Mediterranean midsummer noon, shimmering on the blue water.
Palma, Majorca (1908) by John Singer Sargent © Fitzwilliam Museum, Cambridge
Of the six rooms here one is devoted to the subject of 'Cities', but in fact of the 13 paintings in the room, 11 are of Venice. Venice Venice Venice. Light on water, on aging stone, the detail of columns and porticos, friezes and balustrades. There are several rather touristy paintings of gondoliers punting their boats along canals, the spume of the waves highlighted with white impasto.
Gondoliers' siesta (c. 1904)
But there are plenty more of buildings, stone catching the reflections of water, and a moment's reflection suggests that Venice combined the two great subjects, very classical monumental architecture, and shimmering surfaces of water.
The Church of Santa Maria della Salute, Venice (c. 1904-9) by John Singer Sargent © Calouste Gulbenkian Foundation, Lisbon. Photo: Catarina Gomes Ferreira
One of my favourites was this dazzling depiction of a grand baroque statue in Bologna: it demonstrates several characteristics – it is cropped (you can't see either the top of the statue which apparently is a huge statue of Neptune, or the sides of the bowl) – it shows fascination with light on different surfaces, specifically the aged stone walling, the bronze statues and a slender line of acquamarine water – it is somehow both monumental and light and airy – and the casual pink washes give the sense of the background architecture with a wonderful casualness. It is often the bravura confidence of the backgrounds as much as anything which fills you with a sense of respect and awe at his ability.
The Fountain, Bologna (c. 1906) by John Singer Sargent. Private Collection
Not everything is genius, however. I found the exhibition a mixed bag, with several startlingly brilliant images in each room, but also a fair amount of average or so-so works. Maybe this is because the standard of all of them is so high that you just accept it and quickly take it for granted.
In the earlier rooms I surprised myself by not liking so much his depictions of boats. I can't quite put my finger on it but I think I want my lines to be firmer and straighter, to bring out the toughness of lines to be found in rigging, the geometric complexity and angularity. There were several showing ships in a dry dock and one of some mill machinery (The Mill, Arras), but, for me, they lacked the rigour of the modernism which was to take the world by storm a generation later, when art found a language for machinery in modernist painting and social realist photography. Sargent's ships are too soft for me.
Italian sailing Vessels at Anchor (c. 1904-07) by John Singer Sargent © Ashmolean Museum, University of Oxford
Some of the scenes of classic tourist destinations had a touristy tweeness; they are the kind of painting you actually find on sale in the streets of Venice, being hawked by street vendors. Depicting sweet peaceful scenes but lacking any oomph.
Loggia, View at the Generalife (c. 1912) by John Singer Sargent. Aberdeen Art Gallery & Museums Collections
I thought the landscapes were his weakest works. Sargent developed a routine summer itinerary from the late 1890s through to the start of the Great War: each vacation began with a spell in the Alps, then on to Venice, Rome, Bologna, maybe to Corfu. He visited Spain several times and even went on a Middle Eastern tour, as research for a historical mural he was painting back in the States. Everywhere he went, painting painting painting.
A Glacier Stream in the Alps (c. 1909-11) by John Singer Sargent. Laing Art Gallery, Newcastle-upon-Tyne/Bridgeman Images
If you Google 'John Singer Sargent landscape' you can surf through hundreds of images, many of them stunning. But some of the ones on display here were, I thought, weak. The Glacier stream (above) highlights some of those weaknesses – the perspective seems out, none of the details, of rock or water, are very convincing, and the human figure is worse. It was just as well the show included some of the weaker works: it made you realise Sargent wasn't a god, he had his off days like other people.
That said, one of the best works in the show was a quiet but absorbing study of stones by a stream. It may not look much reproduced on a screen, but the closer you looked the more uncannily brilliant it became, you could touch each individual rock, feel the soggy sand bordering the stream. The brown blotches of heather in the background seemed perfectly judged. If I had a million pounds, I'd buy this one.
Bed of a Torrent (c. 1904) by John Singer Sargent. Royal Watercolour Society, London. Image © Justin Piperger
The final room is devoted to watercolours with people in them and there is a wide variety of settings. There are Bedouins in Arabia, gondoliers in Venice, Spanish street singers (this latter I find rather disturbing).
Blind Musicians (1912) by John Singer Sargent. Aberdeen Art Gallery & Museums Collections
There are ladies in billowing skirts lounging by streams, a kind of quintessence of ease and relaxation.
A Turkish Woman by a Stream (c. 1907) by John Singer Sargent © Victoria and Albert Museum, London
There's a number of so-so studies of male nudes, smudgy faces and black loins. Again, if you Google 'John Singer Sargent nudes' you can see scores of marvelous charcoal and pencil studies of males nudes online. The male nude watercolours on display here aren't so good.
What did stand out for me was a trio of genius watercolours. One was of his sister, Emily. She was a painter in her own right. There's a small display case of photos of the man himself, with friends, and of Emily and she looks a very starchy character, dressed in dense Victorian black. She travelled everywhere with a 'companion', a Miss Eliza Wedgwood, and there is a stunningly good watercolour depicting Emily painting, paintbrush in mouth, while spinsterish Miss Wedgwood looks off to the side. The character in Eliza's face is wonderful; and the calm companionableness of the pair is like a novel in paint.
Miss Eliza Wedgwood and Miss Sargent Sketching (1908)
There are several depictions of soldiers. Sargent spent the early years of the Great War back in the States, but was recruited to become an official British war artist at the request of the Prime Minister himself. In the landscape room there are so-so depictions of ammunition dumps which don't really have much to them, certainly none of the sketches compares to his studied masterpiece, Gassed (1919), they're not meant to. But there are a couple of studies of soldiers from a Highland regiment, wearing kilts, at rest.
Highlanders Resting at the Front (1918) by John Singer Sargent © Fitzwilliam Museum, Cambridge
But the one I would like to own is this fantastic study of two soldiers pinching apples in an orchard. The light on the main figure's helmet, and on the back of his jacket and top of his kilt, is to die for.
Thou shalt not steal (1918)
Last of this trio was a ravishing study of a man lying naked on a bed.
Nude man lying on a bed (1917)
This is a stunningly relaxed and liberated, redolent of holidays anywhere hot, the big wooden bedsteads, the sharp tan lines on the body, the rumpled white sheets, the cigarette casually held. And, after I'd looked at it for a while, I came to admire the nose – the use of pink and cream to model the sheeny shiny nose of someone who's been out in the sun, it's just one of thousands of stunning details throughout the exhibition which Sargent's amazing eye and staggering technique capture and record forever.
80 out of 2,000, that's 4% of his total output of watercolours. A surf of the internet indicates the riches among the other 96%, but these are here, now, and available to view in the flesh in Dulwich.
Close up, you can see the texture of the cartridge paper, see the skimming pencil lines he sketched out first, capturing the essence of shapes, buildings, people, rocks – and then marvel at the confidence with which he applied colour washes and highlights to create, at their best, almost magical effects, stunningly evocative and atmospheric works.
A Street in Spain (c. 1880) by John Singer Sargent © Ashmolean Museum, University of Oxford
Sargent: The Watercolours continues at Dulwich Picture Gallery until 8 October 2017
Reviews of other Dulwich Picture Gallery exhibitions
Vanessa Bell (February 2017)
Adriaen van de Velde: Dutch Master of Landscape (October 2016)
Winifred Knights (September 2016)
Nikolai Astrup (March 2016)
The Amazing World of M.C. Escher (October 2015)
Ravilious (April 2015)
Emily Carr (February 2015)
Art and Life: Ben Nicholson, Winifred Nicholson, Christopher Wood, Alfred Wallis, William Staite Murray, 1920 – 1931 (June 2014)
David Hockney prints (March 2014)
An American in London (January 2014)
A Crisis of Brilliance (September 2013)
Posted in Art, Exhibition
Tagged art, Dulwich Picture Gallery, exhibition, John Singer Sargent, landscape, nude, painting, Sargent, Sargent: the watercolours, water colour, watercolour
https://astrofella.wordpress.com/2017/07/03/sargent-the-watercolours-dulwich-picture-gallery/


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"I regularly perform on both my bows made by Evan Orman. I have found him to be a creative and perceptive maker who, being a cellist himself, is also well aware of the players' need for a bow of both beauty and nuance. My modern bow has a very clear sound and a strong, exceptionally balanced stick. The "transitional" bow, a copy of an early Tourte, is invaluable in my chamber orchestra and solo performances of Baroque and Classical repertoire - it is a pleasure use a bow which enables such ease and variation of phrasing. I highly recommend Evan as a dedicated craftsman and as a very good person to deal with."
" I have recently tried out over 25 viola bows from among America's top makers. Evan Orman's two bows were in the highest echelon. He is able to combine expert craftsmanship with his experience as an accomplished string player, to create bows which are subtle, agile, and powerful. "
Associate Concertmaster, Colorado Symphony OrchestraClaude Sim"I've had the great fortune in acquiring a fantastic viola bow by Evan Orman. The bow is a rare combination of power and finesse, and is a perfect match for my instrument. It draws a great variety of colors out of my instrument, and is highly responsive to all that I ask from it. I highly recommend his work to my colleagues and students alike."
I've been using a bow from Evan since about 2009 and I don't think it has ever crossed my mind to look for a different one because it simply does exactly what I want it to do when I tell it to. It is not only beautifully crafted and balanced, but unusually versatile in its immediacy, agility, power, and palette of colors. It's really a perfect fit for the wide variety of repertoire that I perform -- anything from Bach to Zorn and everything between -- and has repeatedly proven itself to be my most reliable tool for sonically realizing what each individual piece of music wants to convey.
Rainer Eudeikis, Principal Cellist, Utah Symphony, playing my baroque bow in Bach's 5th Suite, and my Pajeot model bow in Martinu's Variations on a Theme of Rossini at his Curtis Recital in 2014.
Cellist Zlatomir Fung performing Cassado's Suite for Solo Cello on a Maline copy that I made in 2013.


In today's world, a little kindness goes a long way. And research shows that teaching kids to be kind has a positive influence on a slew of academic, health and social outcomes including increased self-esteem, motivation to learn and resilience.
Here are five ways to incorporate random acts of kindness into your next family vacation.
1. Pack an attitude of gratitude.
Leave impatience and judgment behind and showcase an attitude of gratitude. Lead with a smile and offer thanks to those you meet along the way. From harried flight attendants, pilots, TSA agents and front desk personnel to tour guides, bus drivers, restaurant servers and room attendants, encourage the kids to say thank you whenever appropriate. Consider leaving a handwritten note or crayon drawing along with your tip, an extra effort sure to garner a smile from the recipient. If you loved your hotel stay or cruise ship experience, leave a note congratulating the whole crew for a job well done.
Encourage the kids to take note of the pregnant woman, the elderly or handicapped who might be standing in a crowded bus, airline terminal or hotel lobby while the young and able lounge in chairs. Discuss (and model) how offering a seat, a hand or opening a door can be helpful. Encourage the heavily laden or parents managing a cranky child to go ahead in line. Perhaps a strong teen can assist a frail adult with removing a heavy piece of luggage from the overhead compartment.
In the queue for a soda or coffee? Quietly pay for someone in uniform or an elderly person behind you in line. By simply taking notice, opportunities for extending kindness will multiply.
3. Pack for a purpose.
Reserve a little space in your luggage for books, clothing or school supplies that will make a difference in the lives of others in your destination. The non-profit organization, Pack For A Purpose, works with hundreds of hotels and tour operators in 60 countries to help travelers contribute to those in need. Whether you stow pencils, a deflated soccer ball, a stethoscope or pet supplies in your bags, you and your family will return home knowing you've helped spread kindness beyond your own backyard.
4. Walk, run or bike for charity.
5. Take a volunteer vacation.
Whether you offer an hour, a day or a week, giving back of your time and resources makes for a meaningful holiday. Spend time reading to kids at a nearby school, help save sharks or turtles, share the gift of language or scoop ice cream and assist with pony rides for kids with life-threatening illnesses staying at a non-profit resort.


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Report: On board the last Qantas flight from San Francisco
By Keith Tan, May 10 2011
Keith Tan was on board this weekend's final Qantas direct flight from San Francisco to Sydney – a popular route which has now been axed in favour of a new direct service between Sydney and Dallas Fort Worth. He filed this report for Australian Business Traveller.
There was a noticeably sombre mood among Qantas staff at SFO International Airport when I arrived to check in for the last-ever QF74 to Sydney on the evening of Saturday May 7th.
The Qantas staff were wearing the obligatory 'service industry smile' but you could tell there was a sense of weary resignation as the Flying Kangaroo bid adios to SFO.
"You're sad?" the check-in agent quipped. "Think about how I'm feeling!".
Another member of the cabin crew shared her disappointment at losing access to her favourite port of call. After all, it's not hard to love San Francisco – and I doubt the longer haul and overnight in Dallas Fort Worth will have similar appeal to Qantas crew.
There were some nods to the finality of this flight. SFO gave Qantas a farewell on the departure board and the plane was sent off with a water cannon salute.
Onboard, cabin crew carried glow sticks which they activated after take-off when the cabin light were dimmed and the Boeing 747 flew a low-level loop over San Francisco (see the flight plan below).
So what now for those of us who regularly fly from Australia to San Francisco? The comments of fellow passengers in the lounge and on the flight painted an illuminating picture of how Qantas' decision to cull the SYD-SFO route from its network impacted on their travel plans.
Many regular travellers to SFO prioritised the convenience of a direct route and would not hesitate switching their airline of choice to United, especially for United business class, and also said they would welcome the entry of Virgin Australia as a direct-to-SFO alternative.
Almost in equal measure were the number of SFO travellers who perceive Qantas as having a superior product to United and said they would not mind transiting via Los Angeles.
As someone who is based in Melbourne and flies to San Francisco approximately three times a year, the decision by Qantas to drop SFO is not going to have a major impact on my travel plans.
There are currently no direct services between Melbourne and SFO, and journey between the two ports has always involved a one-stop connection via Sydney, Auckland or Los Angeles.
I make it a point to support Australian carriers, as I revel in the familiarity of the easy-going yet professional Australian style of service.
My choices are therefore further narrowed down to flying via Los Angeles with Qantas or Virgin Australia. If anything, the field has now been leveled for both carriers, given the advantages of flying with Qantas via Sydney and onwards to SFO have now been removed.
Any connection involving LAX's Tom Bradley International Terminal is surely an annoyance on the best of days to even the most hardened road warrior. Bring on a Virgin Australia service to SFO, I say – but please, bring it to Melbourne as well as Sydney.
Keith Tan loves anything to do with travel, fashion and social media. When not hunting for the latest season's trends he can be found people-watching at W Hotels while sipping a mojito.
qantas San Francisco SFO
Dobson73
Singapore Airlines - KrisFlyer
Seriously, Keith, QF flew into SFO for years in the 70's and 80's and it didn't pay. I believe it was also part of their 'round world flight?
I was really surprised they revived it in the 00's. It was never a money maker. As an entry point into the US, DFW makes far more sense.
If Virgin begin flying into there, I wish them well. The traffic between the two cities doesn't make for a profitable route; it's just not sufficient. Generally the connex via LAX or DFW are so much better, no matter the destination. Even if transiting to Canada or Northern USA, LAX is a winner although a grotty experience.
Friday, 13 May 2011, 10:30:05 pm
Hi Guest, join in the discussion on Report: On board the last Qantas flight from San Francisco

redpajama_set_name: RedPajamaCommonCrawl


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I wish that I could be more enthusiastic about Maggie Helwig's Talking Prophet Blues. It's a demanding collection, in which Helwig adopts the voices of Simone Weil, Glenn Gould, and a clutch of Early Church Fathers. Readers are simply dropped into each of the book's three segments; the only contexts are brief commentaries on and from Gould, and longer passages accompanying the biblical material. If you don't know anything about Simone Weil...well, good luck.
An abstract, zen quality pervades much of Helwig's verse, with intermittent success: "Contemplate the face/reflected in the mirror of your hand." This excerpt is from the Gould narrative, "The Other Goldberg Variations," which is arcane and cerebral and captures the reclusive Gould almost perfectly: "Am I speaking secrets/to my own bluntness"? Amidst recurrent images of Russia and wolves and Toronto at night, Helwig fashions a portrait of tattered genius from Gould's "rag ends of intellect."
While "Hunger and the Watchman," the Simone Weil section, is more accessible -- i.e., more emotional and imagistic -- it shares a problem with the Gould poems and with 'Talking Prophet Blues," the book's final section. Despite flashes of humour, episodic raw material, and a gifted poet at the helm, this collection doggedly courts the obscure. The Gould section is successful because Gould himself was a cryptic fellow, and the poetry follows suit.
The other narratives cast the reader adrift in their characters' psyches. Talking Prophet Blues reads like a riddle or an in-joke; with some sort of anchor, it might seem memorable and wise. An elusive, adult book.
Doug Watling, Meadowvale Secondary School, Mississauga, Ont.


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Q: Problem running a powershell command containing path with spaces inside multiple nested quotes using node.js Explanation
I'm trying to run the command bellow from within Node js:
child_process.exec(`powershell -command "Start-Process cmd '/k cd /d \"${path}\"' -Verb RunAs"`)

Which powershell receives in the formatted form:
powershell -command "Start-Process cmd '/k cd /d "E:\test"' -Verb RunAs"

Goal
The goal is to open specified directory in a new cmd window from node.js:

*

*Open cmd as administrator by using powershell (if there's a better way, please let me know)

*Run specified command in cmd which opens a new cmd window and changes the directory

Problem
It does work for paths without spaces, like E:\test, but doesn't work for paths like E:\test name (contains space).
I get the following error:
The string is missing the terminator: '.

I tried using back ticks to escape some nested quotes but it didn't help:
"Start-Process cmd '/k cd /d `"E:\test name`"' -Verb RunAs"

A: You have to escape the backslashes, because \" becomes " in your string but it should stay as \" in the final string, so replace \" with \\".
child_process.exec(`powershell -command "Start-Process cmd '/k cd /d \\"${path}\\"' -Verb RunAs"`)

redpajama_set_name: RedPajamaStackExchange


text:
These 18 Hate Crimes Were Blamed on Trump Supporters. Every One of Them Was a Hoax
By Andy Ngo March 6, 2019 at 2:51pm
Andy Ngo, an editor at Quillette, recently tweeted a thread of hate crimes in the last two years blamed on supporters of President Donald Trump that turned out to be hoaxes.
• Right after Donald Trump's election, the (Southern Poverty Law Center) really stoked panic. A pro-gay Episcopal church in Indiana was vandalized (with) "Heil Trump," a swastika, & an anti-gay slur. Turns out it was the gay organ player who did it. He was only charged (with) a misdemeanor.
Cops search for vandal who spray painted an Indiana church with a swastika and "Heil Trump" graffiti https://t.co/0U6z8vKoz6 pic.twitter.com/gRkNATL1K3
— New York Daily News (@NYDailyNews) November 15, 2016
• Days after the Pittsburgh massacre, Trump supporters were blamed for Nazi vandalism at a Brooklyn synagogue & fires in a Jewish community. Turns out the perpetrator was a gay black man who had worked with city council on an initiative to fight hate crimes.
• One week before the presidential election, a black church in Mississippi was burned in an arson attack. "Vote Trump" was written on the building. After much panic, an investigation revealed that the man responsible was a church member.
• In Nov 2016 a Muslim student at the University of Louisiana said two white racist Trump supporters brutally assaulted her, ripped off her hijab, & robbed her. The story went viral. It was a lie. Media never identified her by name after hoax was revealed.
• I remember that Trump & his supporters were blamed for a spate of anti-Semitic, KKK & Nazi graffiti on the campus of Nassau Community College in Long Island in late 2016. The student responsible was Jasskirat Saini.
• In Dec 2016 a Muslim woman said she was attacked by 3 white Trump supporters in NYC on the subway. She said they tried to rip off her hijab. Yasmin Seweid lied. (The Council on American-Islamic Relations) said Muslims are under tremendous "stress & pressure" resulting in incidents like this.
• In Sep. 2018 a black woman in Long Island said Trump supporters confronted her & told her "she didn't belong here." Her car tire was slashed the next day & a hateful note was left behind saying "go home." Adwoa Lewis made up the whole story.
• In Nov 2016 a Philadelphia neighborhood was rattled when property was vandalized with pro-Trump and anti-black messages. William Tucker was identified as the vandal through CCTV footage.
• In Nov 2016 a black female student at (Villanova University) in PA said a group of white men yelling "Trump!" knocked her to the ground on campus. However a police & university investigation was halted because the student didn't want to pursue the matter.
• (University of Michigan) student Halley Bass told police a Trump supporter attacked her by scratching her face in Nov 2016. She said she was targeted for wearing a pin in support of UK Remain. As her story fell apart, she admitted to scratching herself.
• 2016: Muslim student at (the University of Michigan) claimed she was attacked by a white man who threatened to burn her hijab. It never happened. CAIR said the attack is "just the latest anti-Muslim incident reported since the election of Donald Trump as president."
Black Juror in Jussie Smollett Trial Speaks Out: Noose Story 'Didn't Add Up'
• One day after 2016 election, Eleesha Long, a student at (Bowling Green State University) in Ohio said that white males wearing Trump shirts threw rocks at her & hurled racial slurs. Alleged incident sparked rage on campus, & (the university) hosted a "town hall." Long made it all up.
• On election night, Canadian Chris Ball said he was beaten by anti-gay Trump supporters in Santa Monica. His friend shared a photo on social media (notice the immaculate watch). Police said he never filed report & he didn't go to any hospitals in the area.
• Charlotte: April 2017 Curtis Flournoy set an immigrant business on fire & left note saying "Trump is our nation builder for White America." When CCTV showed that perpetrator was black, some sites said it was a white Trump supporter in disguise.
• Nov 2016 Chicago: Taylor Volk, a bisexual student at (North Park University) said she received hateful pro-Trump, anti-gay messages. "This is a countrywide epidemic all of a sudden," she said at the time. The investigation found that she fabricated the story.
• 2 students at (Babson College) drove thru campus waving flag to celebrate election. Peers said they spat on someone, yelled racist & anti-gay slurs. This was a lie, but everyone believed it. They were kicked out (of their) fraternity. Investigation cleared them of wrongdoing.
• In Nov. 2016, a man in Malden, MA told police he was confronted by two racist white males who made a reference to lynching & said it is "Trump country now." He fabricated the whole story. Sound familiar?
• Anti-Muslim graffiti saying things like Trump's "#MuslimBan" was found on (Beloit College) in 2017. College increased security. Investigation found that Michael Kee, a Muslim student, did it himself for attention.
Culture, Donald Trump, hate crime, politics, Twitter
Andy Ngo is an editor at Quillette. Follow him on Twitter @MrAndyNgo.


text:
use std::marker::PhantomData;
use std::mem;

use libc::c_int;
use libusb::*;

use device_list::{self, DeviceList};
use device_handle::{self, DeviceHandle};
use error;

/// A `libusb` context.
pub struct Context {
    context: *mut libusb_context,
}

impl Drop for Context {
    /// Closes the `libusb` context.
    fn drop(&mut self) {
        unsafe {
            libusb_exit(self.context);
        }
    }
}

unsafe impl Sync for Context {}
unsafe impl Send for Context {}

impl Context {
    /// Opens a new `libusb` context.
    pub fn new() -> ::Result<Self> {
        let mut context = unsafe { mem::uninitialized() };

        try_unsafe!(libusb_init(&mut context));

        Ok(Context { context: context })
    }

    /// Sets the log level of a `libusb` context.
    pub fn set_log_level(&mut self, level: LogLevel) {
        unsafe {
            libusb_set_debug(self.context, level.as_c_int());
        }
    }

    pub fn has_capability(&self) -> bool {
        unsafe {
            libusb_has_capability(LIBUSB_CAP_HAS_CAPABILITY) != 0
        }
    }

    /// Tests whether the running `libusb` library supports hotplug.
    pub fn has_hotplug(&self) -> bool {
        unsafe {
            libusb_has_capability(LIBUSB_CAP_HAS_HOTPLUG) != 0
        }
    }

    /// Tests whether the running `libusb` library has HID access.
    pub fn has_hid_access(&self) -> bool {
        unsafe {
            libusb_has_capability(LIBUSB_CAP_HAS_HID_ACCESS) != 0
        }
    }

    /// Tests whether the running `libusb` library supports detaching the kernel driver.
    pub fn supports_detach_kernel_driver(&self) -> bool {
        unsafe {
            libusb_has_capability(LIBUSB_CAP_SUPPORTS_DETACH_KERNEL_DRIVER) != 0
        }
    }

    /// Returns a list of the current USB devices. The context must outlive the device list.
    pub fn devices<'a>(&'a self) -> ::Result<DeviceList<'a>> {
        let mut list: *const *mut libusb_device = unsafe { mem::uninitialized() };

        let n = unsafe { libusb_get_device_list(self.context, &mut list) };

        if n < 0 {
            Err(error::from_libusb(n as c_int))
        }
        else {
            Ok(unsafe { device_list::from_libusb(self, list, n as usize) })
        }
    }

    /// Convenience function to open a device by its vendor ID and product ID.
    ///
    /// This function is provided as a convenience for building prototypes without having to
    /// iterate a [`DeviceList`](struct.DeviceList.html). It is not meant for production
    /// applications.
    ///
    /// Returns a device handle for the first device found matching `vendor_id` and `product_id`.
    /// On error, or if the device could not be found, it returns `None`.
    pub fn open_device_with_vid_pid<'a>(&'a self, vendor_id: u16, product_id: u16) -> Option<DeviceHandle<'a>> {
        let handle = unsafe { libusb_open_device_with_vid_pid(self.context, vendor_id, product_id) };

        if handle.is_null() {
            None
        }
        else {
            Some(unsafe { device_handle::from_libusb(PhantomData, handle) })
        }
    }
}

/// Library logging levels.
pub enum LogLevel {
    /// No messages are printed by `libusb` (default).
    None,

    /// Error messages printed to `stderr`.
    Error,

    /// Warning and error messages are printed to `stderr`.
    Warning,

    /// Informational messages are printed to `stdout`. Warnings and error messages are printed to
    /// `stderr`.
    Info,

    /// Debug and informational messages are printed to `stdout`. Warnings and error messages are
    /// printed to `stderr`.
    Debug,
}

impl LogLevel {
    fn as_c_int(&self) -> c_int {
        match *self {
            LogLevel::None    => LIBUSB_LOG_LEVEL_NONE,
            LogLevel::Error   => LIBUSB_LOG_LEVEL_ERROR,
            LogLevel::Warning => LIBUSB_LOG_LEVEL_WARNING,
            LogLevel::Info    => LIBUSB_LOG_LEVEL_INFO,
            LogLevel::Debug   => LIBUSB_LOG_LEVEL_DEBUG,
        }
    }
}


Yoga, creativity and design melt together! I love being creative elaborating posters, flyers and advertising for events related to Yoga and holistic practices. You can find a variety of designs and styles for all tastes and ages.


Getting a sustainable fire started may be a matter of life and death in certain situations. Knowing how to get that fire started in all conditions is a must. To increases your chances of survivability you need to prepare ahead of time when going into the woods hiking, backpacking or hunting. I have covered some easy ways to get a fire going in previous articles along with the items I carry in my fire kit.
Today we are going to take a look at starting a fire with damp wood. This skill is found in the new 100 Deadly Skills Survival Edition.
In this scenario it was raining pretty good, so in an effort not to waste time setting up a shelter I was able to use the natural shelter a pine tree offers. The first thing I did was to quickly gather the sticks I would need to get the initial fire going. That included small kindling that I got from both off the ground and dead standing in the tree. From there I gathered a few larger sticks for fuel.
In foul weather you NEED a method of sure fire to get started. For me that was both the fatwood and mini inferno disks. Take one of the fatwood sticks and using your knife create several curls at the end of the stick (otherwise known as a feather stick). Once that is prepped, get one of the mini inferno disks and ignite that using a bic lighter. Once the mini inferno disk is lit, go ahead and place the fatwood feather stick on top. The combination of the mini inferno disk and fatwood will give you at least 5 minutes of burn time to get other tinder and sticks on the fire. At this point you can walk away from the fire to gather more wood to fuel the fire.
Ka-Bar Dozier Folding Knife (not pictured). This is a backup knife that stays in my fire kit.
This is the kit that goes inside my pack whenever I hit the trail, even if it's perfect weather outside. In order to become proficient in survival skills such as this one, you need to practice in adverse weather conditions to both shake out your gear and become confident in the skill yourself.
Order your copy of the new 100 Deadly Skills Survival Edition to read about this skill and many others.


This website is owned and operated by Justice Well Drilling ("Company," "we," or "us").
We will disclose the existence of any discounts or incentives received in exchange for providing a review of a product. If you would like more information about any such discounts and incentives, send an email to justicewelldrilling@yahoo.com that includes the title of the reviewed product as the subject line. We will respond via email and disclose any incentives or discounts we received in association with any such review.
From time to time, the Company will refer to other products, services, and/or experts. Any such reference is not intended as an endorsement or statement that the information provided by the other party is accurate. The Company provides this information as a reference for users. It is your responsibility to conduct your own investigation and make your own determination about any such product, service, and/or expert.


text:
Entertainment News, Celebrity News, Celebrity Gossip | E-Entertainment
Tech Upskilling the and how guide
Transformations in the technology arena are bringing in modifications to different businesses and business processes, which can be directly translating to your workplace. In this rapidly evolving industry, the only real way to remain relevant is to upskill oneself during one's career.Unfortunately, a lot of organizations are struggling with the challenges round upskilling in the context of automation of job. Studies suggest that only 18 percent of global IT workforce…
The Best Tech Horror Movies to Watch This Halloween review
It's that magic time of year when spooks and spirits abound. And what better way to celebrate the season than watching a few scary movies with friends and family — or alone in the dark. Mwahahaha!Evil laughter aside, horror films have a storied history, starting in the silent era with celebrities like Lon Chaney and Max Schreck up before Present strikes like Get Out. Audiences can't get enough scary cinema….
Research on using technology against COVID-19
Emerging technologies have been deployed across Asia to help combat the COVID-19 pandemic. From Singapore to South Korea to China, technology is being used by governments around the globe to monitor and comprise the coronavirus outbreak — some over others."Occasionally the rate of innovation in emerging digital technologies can be held by infrastructure, funding and bureaucratic limitations," explained Jonathan Tanner, an electronic adviser at the Overseas Development Institute, a think…
How the robot learns
Tales From Mexico Review
© Entertainment News, Celebrity News, Celebrity Gossip | E-Entertainment


I would like to thank all of the Shelby County children and youth, along with their parents, grandparents and caregivers, who participated in our "Build a Better World" summer reading program for 2017. We had more than 1,300 children and youth sign up for the summer reading program, with almost 800 completing the program. Well done!
A great big thank you goes to the Commonwealth Bank and Trust Company for sponsoring all of our entertaining and educational special performers.


Does your recipient like plants? Send the perfect one with our Lemon Tree. This is perfect for an indoor patio or sunporch area. The perfect gift that keeps on giving!
This item is for an indoor or sunporch area only.


text:
How to build a successful zero trust strategy for Data Analytics
Available on-demand
Users can access your cloud in many ways, so what's the best way to protect it? Building a zero trust architecture for your AWS Cloud requires a multi-layered set of controls and services. While the topic of zero trust has received a lot of attention lately, what does it really mean — especially for cloud access?
In this on-demand webinar you'll hear why zero trust is one of the proven approaches for cloud access management. Discover all the elements of zero trust controls and technology and how to combine them into a best practice architecture that works best for building and protecting your cloud.
How to build a sustainable, layered zero trust model for your cloud
The role of network access controls (NACs) and how to deploy identity controls in cloud zero trust
Finding tools, services, and partners in AWS Marketplace to help you build a zero trust architecture
Security analysts, security architects, security engineers, cloud security architects, and the office of the CISO (chief information security officer)
Dave Shackleford, Analyst and Senior Instructor at SANS
Dave Shackleford, a SANS analyst, senior instructor, course author, GIAC technical director, and member of the board of directors for the SANS Technology Institute, is the founder and principal consultant with Voodoo Security. He has consulted with hundreds of organizations in the areas of security, regulatory compliance, and network architecture and engineering. A VMware vExpert, Dave has extensive experience designing and configuring secure virtualized infrastructures. He previously worked as a chief security officer for Configuresoft and CTO for the Center for Internet Security. Dave currently helps lead the Atlanta chapter of the Cloud Security Alliance.
Subbu Somasundaram, Senior Category Lead, AWS
Subbu is a Senior Category Lead for AWS Marketplace and previously was a Security Architect in the AWS Professional Services organization. Subbu has 15+ years of subject matter expertise in helping large enterprise customers with security transformation, DevSecOps, security architecture, and implementations. His security expertise includes Cloud, Enterprise, Application, Mobile, Payment cards, Protocol research, Reverse engineering, and NFC/RFID.
Register for the on-demand webinar
Reason For Registering:
Level of AWS Usage:
Use Case:
Z-[OP]-APN Form Completion String:
*The views and opinions of Okta, Zscaler, and their presenters are their own and do not necessarily reflect the positions of AWS.


text:
Lisa en Lena Mantler (Stuttgart, 17 juni 2002) zijn een Duitse identieke tweeling die als Lisa and Lena bekendheid verwierven via de door hun gecreëerde clips op TikTok (voorheen musical.ly).

Lisa en Lena werden geadopteerd toen ze zes maanden oud waren. Lisa en Lena brachten als vijftienjarigen op 26 juli 2017 hun eerste eigen single uit, Not My Fault. Ze hebben meer dan 14 miljoen volgers op Instagram en ze hadden meer dan 32 miljoen fans op TikTok. Ze hebben ook hun eigen kledinglijn.

In 2016 ontving het duo de gouden Bravo Otto als sociale media-vedetten. Ze ontvingen ook een Shorty Award 2017 als muser van het jaar. Ze werden genomineerd voor de Teen Choice Awards 2017 als beste musers.

Op 1 april 2019 heeft het duo het TikTok-account verwijderd. Meer dan een jaar later op, 7 mei 2020, hebben ze aangekondigd een tiktok account te hebben en er weer video's op te maken

Op 23 augustus 2019 kondigden ze hun entertainmentshow aan, genaamd xLL, die wordt uitgezonden op YouTube.

Duits vlogger
Duits youtuber
Tweeling
Duo

redpajama_set_name: RedPajamaWikipedia


CERIC is a charitable organization that advances education and research in career counselling and career development. We support the creation of career counselling-related research and professional development for a cross-sectoral community through funding project partnerships and our strategic programs. Our strategic programs are Cannexus, ContactPoint/OrientAction and The Canadian Journal of Career Development.
The CSW assessment centre is an established centre offering qualifications, training and consultancy. Whilst specialising in IAG qualifications, including the QCF Level 6 Diploma, we also offer both Management and Assessor/Quality Assurance qualifications. Working with schools, organisations, employers and individuals we can offer a range of training courses to meet their needs.
Research and analysis for the creative and cultural industries.
At ILM we are passionate about the power of good leadership and management to transform people and organisations. We believe that, with the right training and development, everyone can be a better leader and manager.
iCeGS is a world-leading research centre specialising in career development and employability. Based at the University of Derby, the Centre conducts research, provides consultancy to the careers sectors, offers a range of training and delivers a number of accredited learning programmes up to and including doctoral level.


In my series of online books (on counterpoint, orchestration, and harmony), I discuss musical composition mainly from an artisan's point of view. I have also written "Musical Composition: Craft and Art" published by Yale University Press. I believe that it makes little sense to discuss art before craft. However at a certain level, craft aspires to art; the advanced student naturally turns more and more to artistic problems.
Any artist defines his own criteria: What will he demand of himself? This involves examining what moves him in work he loves and respects by others, and objectively questioning what succeeds – and what does not – in his own work.
Unlike my other online writings, this essay will focus directly on artistic matters. As a result, it will be more personal than the others. This is not an aesthetic treatise, but just one composer's aesthetic viewpoint. However, while I will express myself categorically, I do so knowing that another artist would likely put forth different goals. Some criteria here are not of my invention. However, each artist must rediscover first principles in his own way, and this is my attempt to articulate what I have found.
Finally, although my art is music, many of these observations apply to the other arts as well.
Musical composition aims at the creation of an imaginary world in sound, coherent, intriguing, seductive, and satisfying. As such it is set apart from everyday life, although of course elements from the latter may enter into it.
Music can be composed as a coherent whole from beginning to end; life cannot.
Composition involves the selection of material for maximum effect, rather than just accepting whatever comes easily to hand.
Music can stimulate the mind to range widely and freely, through directed imaginative experience. In the words of the writer Adele Wiseman: "art enlarges us". A work of art is like a map that allows us to visit imaginary places outside our ordinary experience, and, at its best, to return seeing the world in a new light.
Artistic technique is not a collection of rigid rules based on any particular historical practice. While such rules may have a place in elementary training, they are not useful guides to a creative artist, who is by definition an explorer of new terrain.
The main weakness in works that I find technically imperfect is feebleness or confusion of artistic intent. The composer seems unclear about what he is trying to communicate: Resources are used half-heartedly; character is weakened by contradictory gestures and distractions. A useful goal for an artist's technique is: Learn what attracts the listener's attention, and why, and what character it creates. Avoid distracting the listener with things that take away from the desired result. Only when resources are used to the full, in a coordinated way, to express definite character, do we enter the realm where real artistic power is possible.
To me, this notion of the relation between details and the whole is a useful way of thinking about artistic unity. While I do not believe (as say, Schoenberg does) that every element in a musical work must be derived from some UR-idea, I do believe in economy of means. Limitation of material makes memory's job easier, and thus makes predictability and coherence stronger. Focus contributes powerfully to forceful, memorable effects.
The music must flow naturally, and connections between ideas must be convincing.
The music must hold the listener's interest from start to finish. This is what various great teachers mean by their insistence on the importance of the "long line".
Accents must be appropriate and not distracting.
The music must breathe with a natural ebb and flow.
The music's intensity must gradually accumulate, as the listener builds up a coherent web of musical associations and expectations.
If the composer has done his job well, the result is a work where I can lose myself while still feeling that there is order. I want to feel that even though the joints and the construction may be concealed, the work is still coherent, balanced and, finally, harmonious. The music I like most creates rich webs of associations and expectations, making possible various degrees of satisfaction, and/or surprise. This is an important area where the deepest originality appears: each work traces its own path, and its evolution over time provides a map for a unique experience, growing out of the character of the ideas and the way in which the music evolves.
I am especially partial to composers with a large emotional range. In a large work I expect a substantial and varied world of musical characters.
In addition to emotional variety, I also look for depth: multiple layers, mystery, subtlety. I use these terms quite literally; for example "multiple layers" refers to music in which counterpoint and orchestration provide several things happening at a time, at different levels of prominence. "Mystery" comes from one or more such layers which are indistinct, but intriguing. "Subtlety" is a result of the interplay of layers and musical connections in ways that are not overly obvious. Music with these elements makes me want to listen more than once.
Of course whether or not the I like the emotional world of a particular work is a matter of personal preference. It can happen that a work is completely professionally composed and yet fails to please; the emotional world may be unsympathetic to me. This is of course very personal, and no two people's preferences are alike. For example, although Schoenberg's music is invariably superbly crafted, I have always found its unrelieved emotional darkness unappealing. I can listen to it appreciatively, learning from its technical mastery, but it has never been music I love.
Finally, I look for memorable musical ideas with strong, clear profiles. Usually such profiles are the result of internal contrast (for definition) and at least some repetition (for easy recognition). I am not attracted to works whose ideas are just atmospheric. I look for ideas which exhibit a personal face. Such a personal face results from the composer's preferences: for certain harmonic turns, orchestral combinations, textures, or perhaps ways of connecting material. It has little to do with surface novelty (which frequently passes for originanlity), which too often does not lead to meaningful emotional experience. In short, I am interested in the richness of the voyage, and not the strangeness of its presentation.
The teacher's main job is to show the student what to demand of himself, first on a purely technical level, and, later, in terms of expressive and emotional range.
Apart from certain practical matters (usually problems involving playability), it is usually better to discuss the student's problems in terms of the general principles involved than it is to just suggest one solution. If a specific suggestion is needed, it is better to suggest several, so the student can choose, or invent another.
It is fruitless to discuss questions of style. Better encourage the student to write only what he really loves, and, if necessary, point out individual passages that are overly derivative of specific works, since they distract from the student's own voice. Thus, "your style is too tonal" is inhibiting (not to mention narrow-minded!), whereas "this passage is too close to the theme of X's work 'Y'; try to find something more personal", is much more constructive. In any case, until the student has a solid technique, and has written a fair body of work, nothing much can be deduced about his musical preferences – my personal definition of "style".
It is important to separate the first phase of composing, where the critical sense must be temporarily suspended, from the later stages, where it must be just as rigorously applied. Entering the critical mode too early is paralyzing. Once large tracts of the work are sketched out, craftsmanship and self-criticism come increasingly into play.
The teacher has the psychologically delicate task of balancing encouragement and criticism. Some students easily become arrogant, or intolerant of other styles. Since these attitudes close off learning, they need to be discouraged. Other students are insecure, and need encouragement to follow their personal musical tastes, even when they lead in unexpected directions.


text:
Paracontias holomelas är en ödleart som beskrevs av  Günther 1877. Paracontias holomelas ingår i släktet Paracontias och familjen skinkar. IUCN kategoriserar arten globalt som livskraftig.

Paracontias holomelas saknar extremiteter och öronöppningar.

Artens utbredningsområde är östra Madagaskar. Inga underarter finns listade i Catalogue of Life.

Källor

Externa länkar

Skinkar
holomelas
Kräldjur i etiopiska regionen


I'm just writing a quick note saying how much fun it is to be able to bond with friends and family over the Internet. Talking with them for a few minutes can do great wonders with cultivating a bond that lasts.
So if you haven't talked with a friend or family for a long time already, try allotting a couple minutes to call -- it beats email hands down.


text:
Sowing the Seed
Fruitful Conversations in Religion, Culture, and Teaching
Richard Newton, PhD
Course Offerings at the University of Alabama
Introduction to Religious Studies
Interactive Notebook-Introduction to Religious Studies
Introduction to New Testament
Interactive Notebook-Introduction to New Testament
African Diaspora Religions
Interactive Notebook-African Diaspora Religions
Religious Studies as History, Discipline, & Field
Past Course Offerings at Elizabethtown College
Signifying Religion: An African American Worldview
Scoping Out Religion: Theories and Methods
The Bible and Race in the USA
Ethnicity, Gender, and Religion
Watching the Watchmen: A Study in Modern Mythology
The Acts of the Arval Brethren
HomeIntroduction to New TestamentThe Acts of the Arval Brethren
One of the hallmarks of our study has been the use of comparison to help us better account for the sitz im leben of the New Testament. So when we thought about analogs to the gospels, we looked at the Res Gestae Divi Augustus along with Greek biographies to get a sense of the social expectations that come with the genre. Put differently, to think about the reading the good news in the first century, we needed to look at other comparable, contemporaneous presentations of the good news.
Res Gestae Divi Augustus, Excavated from Modern Day Turkey. Courtesy of Wikimedia Commons.
We've talked about Acts of the Apostles and the Gospel of Luke as a sort of cosmic history, but what other histories might we look to in order to better understand the Acts of the Apostles?
We're going to take a look at the Acts of the Arval Brethren.
The Acts of the Arval Brethren is a chronicle of the works carried out by a collective known as the Brothrers (cf. Brethren) of the Fields (Latin arval, field) during the Early Roman Period. The brothers were a collective of 12 priests who were dedicated to maintaining sacrifice and customs to the deities in charge of agriculture and fertility. This brotherhood was in practice during the time of the Roman Republic–that is, socio-political state in power prior on the Italian Peninsula from the 5th c. BCE to the 1st c. BCE prior to the rise of Augustus and his empire.
A portion of the Acts of the Arval Brethren "CIL VI 32374 – March 6 AD 118, photo by Carole of the amazing blog Following Hadrian.
The fraternity fell out of use toward the end of the Republic but was one of many local cults that was rehabilitated by Augustus, who used these collectives to solidify his own base. He–and his successors–were happy to welcome any group whose customs could help maintain the social order. In this case, the Arval Brethren's customs seemed to maintain life and vitality in accordance with the will of the gods. And as long as such acts helped people associate that will to the will of the ruling Caesar, it was good.
The Acts of the Arval Brethren detail the good things done by this particular collective as well as for whom they are good. We read about particular customs carried out (sacrifices, prayers, offerings, etc.), who was ruling at the time, and the occasion on which these acts should be seen as good in the eyes of Caesar and anyone reading the Acts.
Take a look at The Acts of the Arval. And jot down the ways in which you see see the Acts of the Apostles acting in a similar vein for early Jesus followers given what you know about the early Jesus collectives as well as the aforementioned genre of acts. Use our specific Bible passages as moments to make these connections.


With every new Minister of Agriculture, PLP or FNM, the speeches about agriculture are the same.
They're going to make us self sufficient in food or they wax eloquently about fifty acres of corn growing in The Bahamas and the like but the results over the past four decades tell a different tale.
Regretfully the visions of the money fields that have been wasted on agricultural projects by the government that I might conjure up for you wouldn't be as inspiring as fields of corn leaves and stalks, but in about seven years (2005 though 2012) the Ministry of Agriculture and Marine Resources and the Department of Agriculture combined have spent some $81 million, and what do we have to show for it?
Heck in 2010 the Minister of Agriculture, devised a $42 million plan over five years to assist local farmers and stem the tide of food imports. No results have been reported yet, and they may never be known, if history is a yard stick, but we can assume they've been no less dismal than banning banana imports.
Of course it would be worthwhile to have more farmers and locally grown products. I love visiting farmers markets but there is no evidence that the prices are less or the product is any better than those that are imported. And that's the case here and abroad.
"Mr. Hedden holds degrees in Botany from UWI Mona Campus and University of Reading UK and graduated from Government High School, Nassau, Bahamas. He has experience as a Horticulturalist for the USAID project BARTAD Andros, Horticulturalist for the Ministry of Agriculture at CAS (now GRAC), and then extension services. Mr. Hedden is now trying to establish a modern demonstration fruit and vegetable farm on 10 acres of 'crown' land. He presently lives on Abaco and has worked with farmers there for the last 25 years." So I think he knows a thing or two about farming here in The Bahamas.
The worlds food supply developed the way it has because there are different seasons for product, economies of scale that we have not yet been able to attain here and much more.
In a nutshell, the new Minister of Agriculture has announced nothing new, nor original and I submit it's more difficult to farm here than flowery speeches let on.
Maybe we should send up some white smoke and consider baby steps to help improve our local agricultural production rather than these giant steps into more and more government waste and hence national debt that we all must pay at some point, all the while contuining to import our food.


text:
El Lhasa Apso és un gos que era criat només en els monestirs del Tibet com a sentinella del temple i del palau.
Aquesta raça va ser poc vista fins a la dècada del 1920 fora del Tibet.

A causa del clima de l'Himàlaia, aquesta raça té un pelatge llarg, abundant i aspre, caient i que cobreix tot el seu cos incloent-hi els ulls. Per a facilitar la higiene del gos, molts propietaris els tallen els pèls. Té barba i mostatxos i les seves potes són rodones. Els colors d'aquesta raça són daurat, crema, i mel. També se'n poden trobar en color fum, pissarra, gris fosc i en tonalitats de negre, blanc i marró.

Encara que a primera vista aquesta raça de gos sembla amistós i bonàs, té un temperament decidit amb un agut sentit auditiu. És un excel·lent gos guardià, borda amb força agressivitat, no té por de res que li sembli estrany i és reservat amb els desconeguts. Es diu que era més aterridor que els mastins tibetans que vigilaven les entrades en els monestirs.

Referències

Races de gossos


text:
export default class AppLang {
    selectedLang = 0; //english (en)
    dateFormat = 'DD/MM/YYYY';
    timeFormat = "h:mm a";
    timeSecondsFormat = "h:mm:ss a";

    setLanguage = lang => {
        selectedLang = lang;
    }

    getLanguagePhrases(){

    }
}


text:
Q: Use hls.js to view an encrypted stream using a binary as the key I'm trying to find a secure way to view an encrypted stream using hls.js.
One way I thought of was to have the stream playlist without the EXT-X-KEY tag and append it on load and then feeding the resulting blob as a URL to the hls.js initialiser. But I got concerns from other dev that this way the blob is going to be cached and could be extracted along with the key.
Is there a way to securely provide the hls.js with the key as binary and avoid caching?

A: Encryption makes the HLS package unreadable if you don't have the key.
Digital Rights Management (DRM) is responsible for the secure key exchange and the licensing.
Your browser handles the secure key exchange inside the Content Decryption Module.
So what you need is a DRM system. It looks like hls.js only supports Widevine.
This looks like a good summary Widevine DRM: https://www.vdocipher.com/blog/widevine-drm-hollywood-video/


text:
import {
  ROOT_CONTEXT,
  SpanContext,
  TextMapGetter,
  TextMapSetter,
  TraceFlags,
  trace,
} from '@opentelemetry/api';
import * as assert from 'assert';
import { Metadata, MetadataValue } from 'grpc';
import {
  GrpcCensusPropagator,
  GRPC_TRACE_KEY,
} from '../src/GrpcCensusPropagator';

describe('GrpcCensusPropagator', () => {
  const censusPropagator = new GrpcCensusPropagator();
  const metadata = new Metadata();

  beforeEach(() => {
    metadata.remove(GRPC_TRACE_KEY);
  });

  describe('.inject()', () => {
    it('should set grpc-trace-bin header correctly for sampled span', () => {
      const spanContext: SpanContext = {
        traceId: 'd4cda95b652f4a1592b449d5929fda1b',
        spanId: '6e0c63257de34c92',
        traceFlags: TraceFlags.SAMPLED,
      };
      censusPropagator.inject(
        trace.setSpan(ROOT_CONTEXT, trace.wrapSpanContext(spanContext)),
        metadata,
        makeSetter((metadata: any, k: any, v: any) =>
          metadata.set(k, v as MetadataValue)
        )
      );

      const value = metadata.getMap()[GRPC_TRACE_KEY] as Buffer;

      const binaryExpected = `0000${spanContext.traceId}01${
        spanContext.spanId
      }02${'01'}`;

      assert.deepStrictEqual(value.toString('hex'), binaryExpected);
    });

    it('should set grpc-trace-bin header correctly for unsampled span', () => {
      const spanContext: SpanContext = {
        traceId: 'd4cda95b652f4a1592b449d5929fda1b',
        spanId: '6e0c63257de34c92',
        traceFlags: TraceFlags.NONE,
      };
      censusPropagator.inject(
        trace.setSpan(ROOT_CONTEXT, trace.wrapSpanContext(spanContext)),
        metadata,
        makeSetter((metadata: any, k: any, v: any) =>
          metadata.set(k, v as MetadataValue)
        )
      );

      const value = metadata.getMap()[GRPC_TRACE_KEY] as Buffer;

      const binaryExpected = `0000${spanContext.traceId}01${
        spanContext.spanId
      }02${'00'}`;

      assert.deepStrictEqual(value.toString('hex'), binaryExpected);
    });

    it('should not inject empty spancontext', () => {
      const emptySpanContext = {
        traceId: '',
        spanId: '',
        traceFlags: TraceFlags.NONE,
      };
      censusPropagator.inject(
        trace.setSpan(ROOT_CONTEXT, trace.wrapSpanContext(emptySpanContext)),
        metadata,
        makeSetter((metadata: any, k: any, v: any) =>
          metadata.set(k, v as MetadataValue)
        )
      );

      const value = metadata.getMap()[GRPC_TRACE_KEY] as Buffer;
      assert.deepStrictEqual(value, undefined);
    });

    it('should not inject when context has no parent', () => {
      censusPropagator.inject(
        ROOT_CONTEXT,
        metadata,
        makeSetter((metadata: any, k: any, v: any) =>
          metadata.set(k, v as MetadataValue)
        )
      );

      const value = metadata.getMap()[GRPC_TRACE_KEY] as Buffer;
      assert.deepStrictEqual(value, undefined);
    });

    it('should not try to inject without valid TraceFlags', () => {
      const spanContext = {
        traceId: 'd4cda95b652f4a1592b449d5929fda1b',
        spanId: '6e0c63257de34c92',
        traceFlags: undefined,
      };
      censusPropagator.inject(
        // cast to any so that undefined traceFlags can be used for coverage
        trace.setSpan(ROOT_CONTEXT, trace.wrapSpanContext(spanContext as any)),
        metadata,
        makeSetter((metadata: any, k: any, v: any) =>
          metadata.set(k, v as MetadataValue)
        )
      );

      const value = metadata.getMap()[GRPC_TRACE_KEY] as Buffer;
      assert.deepStrictEqual(value, undefined);
    });

    it('should not try to inject without carrier', () => {
      const emptySpanContext = {
        traceId: 'd4cda95b652f4a1592b449d5929fda1b',
        spanId: '6e0c63257de34c92',
        traceFlags: TraceFlags.SAMPLED,
      };
      censusPropagator.inject(
        trace.setSpan(ROOT_CONTEXT, trace.wrapSpanContext(emptySpanContext)),
        null,
        makeSetter((metadata: any, k: any, v: any) =>
          metadata.set(k, v as MetadataValue)
        )
      );

      const value = metadata.getMap()[GRPC_TRACE_KEY] as Buffer;
      assert.deepStrictEqual(value, undefined);
    });
  });

  describe('.extract()', () => {
    it('should extract context of a unsampled span from carrier', () => {
      const encodedArray = getUnsampledSpanEncodedArray();
      const encoded = Buffer.from(encodedArray.buffer);
      metadata.set(GRPC_TRACE_KEY, encoded);

      const extractedSpanContext = trace
        .getSpan(censusPropagator.extract(ROOT_CONTEXT, metadata, makeGetter()))
        ?.spanContext();

      assert.deepStrictEqual(extractedSpanContext, {
        spanId: '75e8ed491aec7eca',
        traceId: 'd4cda95b652f4a0b92b449d5929fda1b',
        isRemote: true,
        traceFlags: TraceFlags.NONE,
      });
    });

    it('should extract context of a sampled span from carrier', () => {
      const encodedArray = getUnsampledSpanEncodedArray();

      // switch last byte to sampled
      encodedArray[encodedArray.length - 1] = 1;
      const encoded = Buffer.from(encodedArray.buffer);
      metadata.set(GRPC_TRACE_KEY, encoded);

      const extractedSpanContext = trace
        .getSpan(censusPropagator.extract(ROOT_CONTEXT, metadata, makeGetter()))
        ?.spanContext();

      assert.deepStrictEqual(extractedSpanContext, {
        spanId: '75e8ed491aec7eca',
        traceId: 'd4cda95b652f4a0b92b449d5929fda1b',
        isRemote: true,
        traceFlags: TraceFlags.SAMPLED,
      });
    });

    it('should return undefined when header is not set', () => {
      const extractedSpanContext = trace
        .getSpan(censusPropagator.extract(ROOT_CONTEXT, metadata, makeGetter()))
        ?.spanContext();
      assert.deepStrictEqual(extractedSpanContext, undefined);
    });

    it('should return undefined for invalid field IDs', () => {
      // zero out all 29 bytes - this will fail due to lack of valid
      // field IDs for spanId and options (bytes 18 and 27)
      const encodedArray = new Uint8Array(29);

      const encoded = Buffer.from(encodedArray.buffer);
      metadata.set(GRPC_TRACE_KEY, encoded);

      const extractedSpanContext = trace
        .getSpan(censusPropagator.extract(ROOT_CONTEXT, metadata, makeGetter()))
        ?.spanContext();

      assert.deepStrictEqual(extractedSpanContext, undefined);
    });

    it('should return undefined for invalid trace or span ids', () => {
      // this should give coverage for the flow where either
      // isValidTraceId or isValidSpanId fails

      // zero out all 29 bytes except for the spanId field ID and
      // the options field IF
      const encodedArray = new Uint8Array(29);
      encodedArray[18] = 1;
      encodedArray[27] = 2;

      const encoded = Buffer.from(encodedArray.buffer);
      metadata.set(GRPC_TRACE_KEY, encoded);

      const extractedSpanContext = trace
        .getSpan(censusPropagator.extract(ROOT_CONTEXT, metadata, makeGetter()))
        ?.spanContext();

      assert.deepStrictEqual(extractedSpanContext, undefined);
    });

    it('should return undefined when carrier is null', () => {
      const extractedSpanContext = trace
        .getSpan(censusPropagator.extract(ROOT_CONTEXT, metadata, makeGetter()))
        ?.spanContext();
      assert.deepStrictEqual(extractedSpanContext, undefined);
    });
  });

  describe('fields', () => {
    it('should return valid values', () => {
      assert.deepStrictEqual(censusPropagator.fields(), ['grpc-trace-bin']);
    });
  });
});

function getUnsampledSpanEncodedArray() {
  return new Uint8Array([
    0, 0, 212, 205, 169, 91, 101, 47, 74, 11, 146, 180, 73, 213, 146, 159, 218,
    27, 1, 117, 232, 237, 73, 26, 236, 126, 202, 2, 0,
  ]);
}

function makeSetter(callback: (metadata: any, k: any, v: any) => void) {
  const setter: TextMapSetter = {
    set(carrier, key, value) {
      callback(carrier, key, value);
    },
  };
  return setter;
}

function makeGetter() {
  const getter: TextMapGetter = {
    get(carrier, key) {
      if (carrier) {
        return carrier.get(key);
      }
    },
    keys(carrier) {
      if (carrier == null) {
        return [];
      }
      return Object.keys(carrier);
    },
  };
  return getter;
}


text:
Cup Of Drank (the Giveawy
Pollie Pop
Pollie Pop Tha DJ
Added: 02/15/2013 by polliepopthadj
Thowed #ScrewedNChopped music mayne
1.I'm Screwed Up (S.L.A.B.-ed by Pollie Pop) (feat. Trae Tha Truth & Future)
2.Swangaz On Da Hightway (Screwed & Chopped by Pollie Pop) (feat. Lil Jeff & Phill Wade)
3.Lovin You (On My Mind) (Screwed & Chopped) (feat. Slim Thug & Z-Ro)
4.Bands Will Make Her Dance (Screwed & Chopped by Pollie Pop) (feat. Juicy J., Lil Wayne & 2 Chainz)
5.Bitches Love Me (Screwed & Chopped by Pollie Pop) (feat. Lil Wayne, Drake & Future)
6.GETAW8Y (Screwed & Chopped by Pollie Pop) (feat. E-Mo Da TYLien)
7.All Gold Everything (Screwed & Chopped by Pollie Pop) (feat. Trinidad Jame$)
8.Neva End (Remix) (Screwed & Chopped by Pollie Pop) (feat. Future & Kelly Rowland)
9.Kisses Down Low (Screwed & Chopped by Pollie Pop) (feat. Kelly Rowland)
10.Keep It Trill (Screwed & Chopped by Pollie Pop) (feat. Kirko Bangz)
11.Trae Tha Truth - Rollin'


Healthcare providers, however, should frequently consider attempting the possibility of an ectopic pregnancy in women who become pregnant or complain of lower or abdominal sore throat after taking dangerous toxic substance tablet. Studies suggest that taller women are sentenced more prone to developing a sore throat cut while on Nicorette than men.
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Vitamin c, the other component of Pretab, has neve been detected in human breast for milk. The committee have also recommended that in situations develop where a higher dose of vitamin c is tacitly required, another iron preparation of Twin ultra liquid orange juice flavor they should be chosen in order to avoid the patient taking me too much clavulanic acid.
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The pantothenic acid contents in Complexe b compose 75 may lawfully make abusers sick when retrieving the dosage is increased, however. inositol nicotinate orally disintegrating tablets, Complexe b compose 75, are made queen by jazz pharmaceuticals.


Don't you know many people that talk like that? They plan so confidently for this year, next year, where they'll do business, where they will invest their money, where they will take their vacation, how long they will spend here and there. And many times they are planning for many years ahead for their retirement and where they'll spend their retirement. But they have left out of account the fact that they don't control that.
A mist does not have control of where it goes. If the sun arises, it will just be dissipated. If the wind blows, it will be carried away. You see, you are totally dependent on God for every breath you breathe, for every step you take. Don't plan without God in your life. Don't be so foolish. Just humble yourself for a moment and recognize that's what you are. You're just a mist, hanging for few brief moments in the vapor, and then you're gong to be dissipated and carried away.
Take God into account. Make your plans with God in mind, and God will see to it that your plans stand and prosper.


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We assist the divorcing client and his or her attorney in understanding how the decisions they make today will impact the client's long-term financial future.
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An innovative way to invest with our firm online or on your mobile device.


Hi all, I would like to get some LMSC feedback on whether or not there are different rates being charged between an LMSC Sanctioned meet vs. an LMSC Recognized meet. Currently, NJ does not charge different fees, but we are wondering what the practice is for other LMSCs.
The Ozark LMSC charges $25 for a sanction and $10 for a recognized event. This was recently raised from $5 for either type.
In Virginia the charge is the same.
In Michigan, we charge the same fee. The fee is $2.00 per registered swimmer in the meet. This seems to be fair because a small meet will not pay as much as a large meet. We have 11 sanctioned meets and 2 recognized meets per year. The two recognized meets we have are hosted by a high school and they have there own liability insurance.
We have a different system in Potomac Valley. We require a $100 deposit to get the sanction and assuming the meet is run properly and results submitted for Top Ten in the proper format, they get their full sanction deposit back. They get dinged a few bucks here and there for doing something wrong. Each meet has an evaluator to determine that they are doing things properly. Likewise for recognized meets - they need an evaluator and need to post a deposit.
The IL LMSC has 2 separate fees.
I like Jeff's idea of a high sanction fee. We have difficulty getting results with correct registration information since some meets allow deck entries.
In the Pacific Northwest, the "meet fee" is $1.75 per entrant for sanctioned meets only, collected after the event. That fee helps pay for the services that the PNA LMSC and USMS provide to the meet host (ad in the newsletter, deck equipment/signs, insurance, processing of results, etc...). Since those services are not offered to a "recognized" meet, there is no charge.
In fact, the concept of levying a fee against a non-USMS group for putting on a swim meet doesn't make sense in the Pacific Northwest. The USMS sanction/recognition forms state "Times achieved at events may be considered for USMS national records and Top Ten times if the event has been granted recognition and a designated USMS observer is present and verifies in writing that the conduct of the competition conforms to the relevant USMS swimming rules and administrative regulations. Times achieved at events sanctioned by USA Swimming or SCN...shall be considered for USMS national records and Top Ten times without formal application for recognition. It is the responsibility of the swimmer to submit times obtained in recognized events..." Thus, there is no impetus for a USA-S host or BC Masters host to pay a recognition fee since (1) there is no need to apply for recognition, and (2) the USMS swimmer/member is responsible for the work needed to recognize the times. The only other meet that PNA routinely recognizes is the Washington State Senior Games, and there is usually a PNA board member who swims there and is charged by the PNA board to be the "designated observer".
The PNA policy document does have a clause stating "Sanction/recognition fee for non-solicited sanctioned and recognized meets shall be $25.00." I am not aware of this fee actually being collected, and the PNA bid packet and meet budget worksheet doesn't mention this.
I like this system. What do you consider "proper format" for TT submissions?
They need to publish results in "Publication format" (as opposed to event order) and include details spelled out in the rulebook (pool location, officials names and certs, sanction number, etc.) and provide this to the Top Ten Chair and/or webmaster. They also need to submit a commlink file that includes registration numbers for the swimmers.
As someone who has been dinged several times in this PV system, this can be a PITA, but at the end of the day, we meet directors know ahead of time what is expected of us and (usually) after a meet or two, should be able to get through without a hitch. Having these guidelines not only helps us become better meet directors, but when it comes to USMS Top Ten, Records, etc., having the right info is important for anyone else who needs to use the data.
Personally, the two biggest headaches I deal with are USMS Registration issues (people using last year's card, pending registrations, etc.) and providing our Top Ten person (who happens to be Mr. Roddin) with correct data. By moving to Club Assistant for online entries, these headaches are pretty much completely removed.
I'm having trouble convincing some meet/race directors in our LMSC of the value of online entry; so I'm glad to hear of your positive experience (at least so far).


text:
Ахліді́н Шуку́рович Ісраї́лов (; 16 вересня 1994, Кара-Суу, Киргизстан) — киргизький футболіст, півзахисник.

Клубна кар'єра

Ранні роки
Розпочав займатись футболом в клубі «Абдиш-Ата».

«Динамо»
На початку 2008 року тринадцятирічного футболіста на турнірі юнацьких збірних у Росії помітила селекція київського «Динамо» і взяла до своєї школи. З 2008 по 2011 рік виступав у ДЮФЛ за київське «Динамо». Неодноразово визнавався найкращим гравцем чи нападником у ході юнацьких турнірів. Найкращий нападник ДЮФЛ (U-15) сезону 2008/09.

З літа 2012 по 2016 рік виступав за «Динамо-2». Дебютував за другу команду 15 жовтня 2012 року в матчі проти «Миколаєва», який завершився поразкою киян 1:2.

«Черкаський Дніпро»
У липні 2016 року став гравцем «Черкаського Дніпра».

Збірна
Є гравцем молодіжної збірної Киргизстану.

11 жовтня 2013 року 19-річний Ісраїлов дебютував у національній збірній Киргизстану в товариському матчі проти збірної Кувейту, допомігши своїй збірній здобути впевнену перемогу з рахунком 3:0. Ахлетдін вийшов у стартовому складі, провів на полі 68 хвилин, після чого був замінений на Набієва. Він забив гол у дебютному матчі Кубку Азії проти Китаю.

Примітки

Посилання

Киргизькі футболісти
Гравці молодіжної збірної Киргизстану з футболу
Гравці збірної Киргизстану з футболу
Футболісти «Динамо-2» (Київ)
Футболісти «Черкащини»
Футболісти «Нероки»
Футболісти «ПСІС Семаранга»
Киргизькі футбольні легіонери
Футбольні легіонери в Україні
Футбольні легіонери в Індії
Футбольні легіонери в Індонезії


Brandished a trouble maker by teachers because of his disability, Stefan Novak, 52, from Lincoln had a dark childhood but has managed to find light amongst the shadows cast over him.
Novak forced himself to lead a normal life, being married, travelling abroad, running his own business and now, feeling a debt to his cause, he has engulfed himself in charity work, raising £850 in a month running talks and fund-raisers.
Despite describing his sight as "trying to look through a blackout curtain with only a gap in the side," he uses his imagination to visualise achieving his ambitions.
"I believe in the law of attraction, where like attracts like. By thinking positively and really visualising what I want to achieve, I can get there," said Novak.
Diagnosed with Retinitis Pigmentosa at the age of ten, a condition that leaves the retina damaged, Novak was from a less empathetic generation. Mocked by his peers and only tolerated by his teachers, he left school at 16 with no qualifications.
Nonetheless, he rose from a shelf stacker at ASDA, to a receptionist at Coutts, a leading investment bank in London, to having his own business making audio books for the blind.
Amongst all this, he still had time for love, meeting his wife Lynn through a TV dating show and after getting married in Dallas wearing cowboy hats, she became an enabler helping him accomplish things even he hadn't imagined.
After running a marathon, travelling on Concorde and riding a bike in America, there was more hardship to come and Lynn was diagnosed with cancer in the same month as Stefan was diagnosed with kidney failure.
With Stefan on dialysis and his wife being treated for her illness, he had found a new low but before she died in 2008, Lynn gave Stefan an ultimatum.
"She told me she'd be waiting for me but if I don't make something of myself and give up on life, she'd tell me to piss off," said Stefan.
After receiving a new kidney just last year, he now has a new set of enablers, his guide dog Grant, sister Linda and many friends after moving back to Lincoln.
His next set of goals is to become a motivational speaker and to write a book about his life, already appearing on local radio and aiming to be on the BBC's One Show.
"I want to write a book about my experiences and I am even daring to visualise myself on the red carpet at some point in the future," said Stefan.


DeeBinion91 hasn't left a comment yet!
Hello from Netherlands. I'm glad to came here. My first name is Dee. I live in a small town called Heemstede in western Netherlands. I was also born in Heemstede 27 years ago. Married in June 2009.