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Home / Product Actress / Shabana Azmi
Old Bollywood poster for sale of the classic Hindi film Nasihat (1986).
This is an actual surviving vintage Bollywood poster for sale of the 1986 Hindi film that starred Rajesh Khanna, Shabana Azmi, Mithun Chakraborty and Deepti Naval in pivotal roles.
Printed and circulated a few years after the first release of the film (somewhere in the late 1980s), this old Bollywood poster for sale was designed for publicity of the film but never ended up being used.
This vintage Bollywood poster was originally hand designed in oil on canvas format. The quirky hand drawn techniques of old school Bollywood poster painters is starkly evident in this old Bollywood poster.
Quirky hand painted portraits of the lead actors are seen in various poses in this vintage Bollywood poster. A prominent hand drawn portrait of lead actress Shabana Azmi is seen in the center of the poster. She is flanked by Rajesh Khanna and Mithun Chakraborty.
Deepti Naval is seen in a smaller avatar on the left of this old Bollywood poster. A fight scene from the film is depicted on the right. The poster is set against a rough hand painted background with broad, visible brush strokes. Smaller bust sized hand drawn portraits of key supporting actors are seen at the bottom of this old Bollywood poster for sale.
Stunning old hand painted Bollywood poster of the Hindi film Doosri Dulhan (1983) for sale.
This is an actual surviving vintage movie poster of the 1983 film that featured actresses Shabana Azmi & Sharmila Tagore in lead roles.
Printed and circulated during the first release of the film (early 1980s), this old Bollywood movie poster was originally designed for publicity of the film but never ended up being used.
The poster was originally designed on a hand painted canvas by one of the leading Bollywood poster design studios in Mumbai called Pamart, making it very collectable. Master Bollywood movie poster artist Parchure depicts the lead actresses in stunningly accurate hand painted portraits. The poster bears the original signature of Bollywood poster painter Parchure on the bottom right, in the name of his studio, i.e. Pamart. A holy fire signifying a wedding ceremony is seen at the bottom of the poster.
Doosri Dulhan (Second Wife) is a 1983 Bollywood movie starring renowned actresses Sharmila Tagore and Shabana Azmi. The film tackled the sensitive issue of surrogate pregnancy through its daring plot. Shabana Azmi earned the praise of critics for her role as a prostitute who is hired as a surrogate mother to a childless couple in the film.
Kaamyaab
Old Bollywood movie poster of the Hindi film Kaamyaab (1984) for sale.
This is an actual surviving publicity poster of the 1984 film that featured the 'Jumping Jack' of Bollywood, Jeetendra in the lead role.
Printed and circulated during the first release of the film (somewhere in the mid 1980s), this black and white Bollywood poster was printed for publicity of the film but never ended up being used.
This poster was originally designed by cutting out images of actors from separate still photographs (shot on set location) and pasting them on a board. The background and typography are hand drawn / hand painted, which makes this black and white Hindi movie poster an interesting mix of two very different design techniques.
This very colorful and retro Bollywood movie poster features black and white still photos of seven beautiful actresses surrounding a large close up cut out of lead actor Jeetendra.
Kaamyaab is a 1984 old Hindi film starring Jeetendra in the lead role. Supporting cast includes Asrani, Shabana Azmi, Rita Bhaduri, Satyendra Kapoor, Shakti Kapoor, Amjad Khan & Kader Khan.
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(October 12, 2009) - After months of painful debate, Governor Ed Rendell signed two bills into law late Friday night - one on taxes, and one on spending - that would finally bring Pennsylvania its long-awaited FY10 state budget of $27.8 billion.
Join Public Citizens for Children and Youth, the Media Arts Council, the Greater Philadelphia Cultural Alliance, and many other civic organizations in a Rally to Save Pennsylvania Communities.
Why do you do what you do? Two Cultural Alliance staff members answered that question with stories from their childhoods. Read about how a chance to dance and a museum journey changed the lives of Julie Hawkins and Michelle White here.
Do you remember the moment that you knew that arts and culture would be your life's path? Share it with us!


Rates: 250-85 EUR per night. Minimum Rental - 1 week.
This Cyprus holiday villa is designed with magnificent views and high quality furnishings to make the best of your vacation to Coral Bay.
The villa is surrounded by beautiful gardens that offer the utmost privacy for when you stay at the villa and relax around the pool.
Upper floor: Master double room with en suite bathroom and doors to balcony overlooking the pool. Separate double room and twin room which share separate shower room.
On the lower level you will find a lounge with doors that open to the pool, terrace and barbeque area. The dining area is open and located adjacent to the modern kitchen. Steps lead down to the large pool with a corner bar. There is also a sauna room with whirlpool bath and shower.
The holiday villa is set in a quiet residential area that is surrounded by banana plantations in the of Pafos and near to the Coral Bay where you can enjoy their sandy beaches, shops, taverns, banks, etc. Nearby is the village of Pegeia where you can go shopping. In St. George's Bay, you will find several taverns. Spend your days exploring the countryside or walking along the beaches. The Akamas peninsula, boasts natural beaches and our holiday villa offers you a chance for relaxing.
The holiday villa was built to be in harmony with the environment and blends in with the scenery.
The villa is located on the west coast of Cyprus,between Pafos and the Coral Bay area. The ocean is only steps away. The beaches of Coral bay and all amenities are just a five minute drive away.


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Vladimir Putin attends Austrian foreign minister's wedding
by admin August 19, 2018 058
Mr. Putin gave her presents and danced with her at the event in the southern Austrian province of Styria.
Opposition politicians have accused Ms. Kneissl of undermining EU foreign policy with her choice of guest.
Mr. Putin stopped in Austria on his way to Germany, where he held talks with Chancellor Angela Merkel.
Ms. Kneissl, 53, married entrepreneur Wolfgang Meilinger, 54, at a ceremony in the small town of Gamlitz, near the border with Slovenia.
Mr. Putin arrived with a bunch of flowers for the bride and was accompanied by a troupe of Cossack singers who performed for the guests.
His spokesman Dmitry Peskov told Russian media that he also presented the newlyweds with a painting of village life, an antique oil press and a samovar, an urn used to prepare tea in Russia.
Mr. Putin gave a speech in German and toasted the bride and groom, Mr. Peskov added.
Ms. Kneissl, an academic with no party affiliation, was picked as foreign minister by Austria's far-right Freedom Party – a coalition partner in the current government.
The Russian president was invited during a visit to Austria earlier this year. Mr. Peskov said Mr. Putin "shared a passion for judo" with Mr. Meilinger.
There has been vigorous debate in the Austrian media about the Russian president's appearance since it was announced this week.
Members of the country's Green Party are among those calling for the foreign minister to resign over the invitation
Some politicians have voiced concern about the potential cost to taxpayers incurred by increased security for the visit.
In Germany, the Russian president held informal talks with Mrs Merkel for three hours at Meseberg castle, north of Berlin. They were due to discuss Syria and Ukraine, as well as Russian gas supplies to Europe.
Germany is facing pressure from the US to halt work on the Nord Stream 2 gas pipeline project
The meeting ended without a news conference. Mr Putin later flew back to Russia.
NGO raises concern about subsidized fertilizer smuggling
Open Letter to the President: AIS kills government's agenda
Ukraine's security service says Russia is behind cyber-attack
Ten dead in Mogadishu car bombing
Obama warned Trump about hiring Michael Flynn
Sofo Kyiriabosom's GUM party launched in Western North Regional

redpajama_set_name: RedPajamaCommonCrawl


is there a way to enable MIDI send data from the organ control area even when the organ is not in use?
1) The organ stops/faders WORK even when organ part is disabled, as MIDI controllers. Awesome.
2) The other buttons (rotary speed, organ preset 1,2 etc) send data if pressed twice in a row quickly, and even then, sometimes not. Not that they are broken, but, they are clearly not functioning "normally" when organ part is off.
So, I'm pretty happy to have those faders, but of course the buttons would also be great to have!
When the organ part is off, and you hit one of the buttons, the first button-press just shows the current status without changing it. The second press (if you press quickly, while the controller is still light up) will change the status. It only sends out MIDI data on status change, as far as I know.
I use the Nord E5D to control an external organ module (GSI Gemini). All the Nord controls are mapped to the organ module. In my case I use the lower part which will always transmit on the Global Channel. I don't turn the part off or mute it as I like to see the LEDS lit for things like Percussion and Rotary. So I just turn the part balance knob fully to the right - so you only hear the Upper Part.
vcfvca wrote: I use the Nord E5D to control an external organ module (GSI Gemini). All the Nord controls are mapped to the organ module. In my case I use the lower part which will always transmit on the Global Channel. I don't turn the part off or mute it as I like to see the LEDS lit for things like Percussion and Rotary. So I just turn the part balance knob fully to the right - so you only hear the Upper Part.
How do you prevent the organ from sounding when you're playing piano on the Nord? Do you just turn the volume down on the Gemini? And am I correct in thinking you're also losing the ability to split the board (i.e. organ on bottom, piano on top) because all keys on both sides of the split will trigger the Gemini organ?


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D'Angelo announces plans to sex up several major North American markets
Marah Eakin
D'Angelo has announced a number of new U.S. tour dates around his upcoming Bonnaroo gig, including stops in Dallas, Houston, and Detroit. The singer's Second Coming tour kicks off June 7 in Oakland and wraps up later that month in Sayreville, New Jersey. The dates certainly don't hit every major market in the U.S., but Black Messiah fans in some parts of the American south and mid-Atlantic region should be happy. Tickets for the tour go on sale May 1, and a full list of dates is below.
D'Angelo tour 2015
June 7—Fox Theater—Oakland, California
June 8—Club Nokia—Los Angeles, California
June 10—Ogden Theater—Denver, Colorado
June 11—Arvest Bank Theatre At The Midland—Kansas City, Missouri
June 13—Bonnaroo Music And Arts Festival—Manchester, Tennessee
June 14—Tabernacle—Atlanta, Georgia
June 16—The Bomb Factory—Dallas, Texas
June 17—The Warehouse—Houston, Texas
June 20—NorVa—Norfolk, Virginia
June 21—Forest Hills Stadium—Forest Hills, New York
June 23—The Keswick—Philadelphia, Pennsylvania
June 25—The Fillmore—Washington, D.C.
June 27—Royal Oak Music Theatre—Royal Oak, Michigan
June 28—Starland Ballroom—Sayreville, New Jersey


I think I might be homesick. I haven't seen my brothers, my dad, and my friends for 3 months. What do I do to be happy?
When you're not at home for a long period of time, it can be fun and exciting for some kids or scary and sad for others. It sounds like you're missing your parents, your bed, and all that everyday stuff at home. It's called being homesick, and it's not like being sick in the usual way. Homesick means you're upset, sad, and maybe scared. Your mind may feel bad (as in, you start feeling depressed), and being upset can sometimes make your body feel bad, too.
But here's the good news? You can help yourself feel less homesick by bringing something special from home with you, like your pillow, or pictures of the people you'll be apart from that you can look at any time you want. You can also try and keep yourself busy. The more fun stuff you do, the less time you'll have to feel homesick. Try to join in activities wherever you are. Even if you're not completely into it at first, you might soon start to have a good time.
It's also a good idea to stay in touch with the people you miss back home. This doesn't mean spending all your time on the phone with your parents, which can make you miss out on all the fun. Instead, make a plan or schedule for when you'll call your mom or dad. Set a regular day and time for a phone call home. You can also email or text message to stay in touch with family and friends - you can even go retro and write a letter to send through snail mail! When you do get in touch with someone, make sure to talk about the fun things you're doing!
Finally, try talking to someone where you are. Sometimes, just telling someone that you're feeling a little homesick will help you feel better. Maybe you can tell a friend that you feel homesick and the two of you can do something fun. Plus, he or she might have some ideas to help you feel better. If you're still feeling homesick no matter how hard you try to fight it, you should really talk with your mom and dad about the problem. Tell them if you're so upset you can't sleep, eat, or do your usual stuff. You can learn to feel less homesick. I really hope you do. Why? So you don't miss out on all those adventures waiting for you!
What do you think Depressing should do? Have your say by leaving a comment below this story!
Havin' to lug all my stuff to my friend's house.
Being the first one to fall asleep and gettin' my undies frozen!
Brushin' my teeth in the same room as my friend's creepy brother.
There's no downside to hanging with friends all night.


Basil Candle & Seed Pack 10 oz.
About the brand: Blake Hays and Benjamin Lebel bring to you a new installment of their family traditions blended together. Creating handmade, natural apothecary goods that are kindled by their family history, Ben and Blake are continuing the legacy with the Village Common.


Kazakhstan will participate in the Junior Eurovision Song Contest for the first time. Khabar is the only Kazakh associate member of the European Broadcasting Union. For several years, the agency has held negotiations on Kazakhstan's participation in the contest. Contestants representing Kazakhstan will be determined by early October. The contest will be held on November 25th in the Belarusian capital, Minsk. Children aged 9 to 14 from 19 countries will participate in this year's Eurovision. The junior song contest will be broadcasted live on Khabar Channel. Based on the competition rules, participants would have to perform original songs and the winner will be determined by vote.
- It is important that our citizens to watch the contest and participate in the vote. We should understand that every country has different population size. According to the voting system used in Eurovision, people vote by SMS and online. The votes will be calculated based on the number of people participating in the vote. In addition, there will be five representative of Kazakhstan in the jury, including three adults and two children and their votes will also be counted. There is a certain formula by which the winner is determined.


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https://apnews.com/article/marlon-williams-college-football-central-florida-knights-football-greg-mccrae-football-d0290f81566d07db165a4bba161ad92b
Central Florida Knights football
Jaylon Robinson
Dillon Gabriel
Gabriel, No. 13 UCF beat East Carolina 51-28 in AAC opener
By AARON BEARDSeptember 26, 2020 GMT
Central Florida quarterback Dillon Gabriel (11) passes against East Carolina during the first half of an NCAA college football game in Greenville, N.C., Saturday, Sept. 26, 2020. (AP Photo/Gerry Broome)
GREENVILLE, N.C. (AP) — For the second straight week, Dillon Gabriel and No. 13 Central Florida had no problem running their fast-tempo offense and rolling to big offensive totals.
The Knights just need to start cleaning up some of their penalties, too.
Gabriel threw for 408 yards and four touchdowns to help UCF beat East Carolina 51-28 on Saturday, winning its American Athletic Conference opener for the fifth straight season in a game marked by the Knights' offensive brilliance and its early trouble with pre-snap penalties.
"You never play a perfect game but we came out (and) we put 51 points up," Gabriel said.
UCF (2-0, 1-0) rolled to 632 total yards after amassing 660 in its opener, getting huge performances from receivers Jaylon Robinson and Marlon Williams. But there were also 19 penalties for 139 yards, 10 coming in the opening quarter with seven of those false-start flags.
That included the bizarre sequence of the Knights having four straight false starts while trying to get off their first offensive snap. Yet, as Gabriel noted, the Knights went from a 1st-and-30 from their own 5-yard line to scoring on that drive anyway on Greg McCrae's short TD run.
The Knights soon settled in and blew the game open with a pair of touchdowns in the final 5 minutes before halftime.
"I'm proud of the guys, everyone played really well — and, there's still a lot to fix," Gabriel said. "You can see what we do and without some penalties, without just minor things we've got to fix, I think the ceiling is extremely high."
Holton Ahlers threw for 215 yards and three TDs for the Pirates (0-1, 0-1), who were making a delayed start to the season after coronavirus-related scheduling changes. And it came in an essentially empty Dowdy-Ficklen Stadium due to COVID-19 protocols, with only a smattering of player family members in attendance.
But after a game-opening TD drive, the Pirates lost fumbles on their side of the 50 on three consecutive first-quarter possessions. They didn't make it back to the end zone until the Knights led 41-7 early in the third.
By the time it was over, the school said the Pirates had come within 2 yards of matching the most allowed in any season opener in program history.
"Really had an opportunity to get some control of the ballgame and had three turnovers," Pirates coach Mike Houston said. "You have three turnovers there in the first quarter, to where you're around midfield, you've got a chance to stick the ball in again, to take control of the game, to get a lead on what everybody regards as the best team in our league.
"And those mistakes, you just can't keep making them."
UCF: This was the second road game to start the season for the Knights, with the penalty issues seemingly the biggest issue to address. Going back to last week's Georgia Tech win, UCF has committed 14 false-start penalties this season.
"Some of the things we have to correct in this one are obvious to everybody that was watching the football game," coach Josh Heupel said. "I believe we'll do those things."
ECU: The good news was the Pirates made it to gameday for the first time this season. They were originally scheduled to host Marshall for their opener on Aug. 29, but that game was pushed back to Sept. 12 — and then postponed again to a to-be-determined date after the Pirates had to pause football activities in August due to a coronavirus cluster. Beyond that, it was a rough start to Houston's second season.
BIG NUMBERS
Gabriel became the first UCF quarterback with consecutive 400-yard passing games and had a program-record 18 straight completions at one point. His top targets were just as good.
Robinson had nine catches for 150 yards and two touchdowns, while Williams had a career-best 13 catches for 136 yards.
Robinson, an Oklahoma transfer, had a 64-yard touchdown catch when he sprinted free off the line and had no defender nearby.
"I was too wide open, I just didn't want to drop it," Robinson said.
Ahlers said the Pirates had some nerves Friday when they had a Zoom call with a doctor to get the go-ahead to finally play.
"We prepared as if we had a game, but with 2020, we get so close so many times, you don't know what's going to happen," Ahlers said.
UCF moved up just one spot after the Georgia Tech romp. It's unclear how the Knights' position will change now with Big Ten and Pac-12 teams eligible to appear in Sunday's new Top 25 for the first time since the preseason poll.
UCF: The Knights play their first home game next Saturday against Tulsa.
ECU: The Pirates travel to Georgia State next Saturday.
More AP college football: http://apnews.com/Collegefootball and http://www.twitter.com/AP_Top25
Follow Aaron Beard on Twitter at http://www.twitter.com/aaronbeardap


I've just started, but here it is in case people have feedback now.
default namespace mods = "http://www.loc.gov/mods/v3"
# make is to introduce fairly rigorous structure.
Genres-part-inSerial = "article" | "legal case"
Genres-serial = "academic journal" | "magazine" | "newspaper"
Genres-monograph = "album" | "book" | "report"
This document validates against both schemas.


Every business in the world has one common agenda and that is a success. As a business person you need to do everything humanly possible to make your business number one. The success of a business depends on both the manager and the employees. A good relationship is needed between them to favor their working together towards one goal. A full understanding of how they need to best deliver their services is necessary. Taking a productivity course is the solution to make people meet the demands of production. They understand the equation and the solution for maximum productivity Taking a productivity course will benefit a business in the following ways.
Operational costs can be reduced in two different ways. The general workflow of workers can be improved to increase production at the same time or reduce the time for the same production. Being educated about productivity lets one know about doing all the right things to reduce costs of operation. One way to do it could be through focusing on technology to improve the production process and reduce the money spent on labor.
Resources belonging to many companies are not put to good use. Workers are an example of these resources. They become busy depending on the moment. This trend of working lags the business. A productivity course will let one utilize all the business resources perfectly to increase production. They do better staffing and role distribution. Any chances of the business making a loss are reduced.
One becomes fully aware of all the 'to-dos' to bring customer satisfaction. Customer service is very fundamental to the success of any business. Customers have to be treated right so that they can keep providing the much-needed market that will ensure the continuity of a business. Education on productivity enlightens one on how to make systems that are beneficial to both the business and customers. These systems make the business successful by ensuring that the customers are happy.
The main aim of a productivity course is to teach you how to take maximum advantage of the available resources to give the best output possible. One gets to know how to do a lot in little time. This reduces water and electricity usage thus reducing the monthly bills. The general effect is that the company makes a profit and becomes successful.


In 1831 Honoré de Balzac wrote a short story, "The Unknown Masterpiece," in which he invented the abstract painting. Almost 200 years later, writer Ingo Niermann tries to follow in his footsteps to imagine a new epoch-making artwork. Together with the artist Erik Niedling he starts searching for the future of art and, seeking advice, meets key figures of the art world.


A day after a nation-wide strike called by the Congress and backed by 22 parties in the opposition against rising fuel prices saw mixed response, petrol and diesel rates have set new records on Tuesday. Oil companies have shown no mercy to customers as rising crude prices and falling rupee prompted them to raise the fuel rates again on Tuesday.
On Tuesday, a litre of petrol has been priced at Rs 80.87 in New Delhi, Rs 83.75 in Kolkata, a whopping Rs 88.26 in Mumbai and Rs 84.07 in Chennai. A litre of diesel was being retailed at Rs 72.97 in New Delhi, Rs 75.82 in Kolkata, Rs 77.47 in Mumbai and Rs 77.15 in Chennai.
Meanwhile, Andhra Pradesh and Rajasthan have announced a reduction in petrol and diesel prices. While in Andhra Pradesh the fuels will be cheaper by Rs 2 per litre, in Rajasthan petrol and diesel will be cheaper by Rs 2.50.
While the rates vary from city to city depending on local sales tax or VAT and transportation cost, Delhi has the cheapest price in all metros and most state capital because of lower taxes.
Earlier, the rates had touched a peak of Rs 78.43 per litre in case of petrol and Rs 69.31 a litre for diesel in the national capital on May 29. But soon, the rates fell and a month later, petrol prices were at Rs 75.55 a litre and diesel at Rs 67.38. However, rates began moving up since mid-August after which petrol prices rose by Rs 3.65 a litre and diesel by Rs 4.06 per litre as the rupee hit the record low against the US dollar, making imports costlier.


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The Letter Room talk about 'Five Feet in Front' & The Lowry's 'Developed With' scheme.
Drama	by thelowryblog May 20, 2015 July 13, 2015
Hi, we are The Letter Room. We are part of The Lowry's Developed With Scheme, and our new show 'Five Feet in Front' previews in The Aldridge Studio at The Lowry on Thu 25 & Fri 26 June.
We make brand new musical theatre (Loud Noises and Bold Choices), and we want people that see our shows to feel like they've been to an event, a party, or in the case of 'Five Feet in Front': a hoedown. As part of our relationship with The Studio at The Lowry we were able to spend two weeks Researching and Developing our new show: set in an old American town in the midst of a Dust Bowl storm.
We were just two days into our Salford Adventure, before we were thrown in at the theatrical deep end, and asked to perform for The Lowry Studio Showcase. This annual event is where all the artists that The Lowry have supported over the last twelve months give a brief glimpse at what they're currently up to, to a whole host of programmers and producers.
It was great to try out some new music and a bit of text, but it was also lovely to see what other theatre companies are up to. We are so excited to see Kill The Beast's new show, and saw an excerpt from the always brilliant Laura Lindow. I think we were all in agreement that it was a scary prospect sharing half-ideas with a crowd of theatre experts, but sometimes you just have to take the risks and hope that they pay off.
The rest of our week was no calmer. We saw Idle Motion's magical 'Shooting With Light', stayed up to silly o'clock discussing ideas in The Lowry's canteen (in fact one member of The Lowry team, Steve, did have to come up to us at one point and comment that we were spending a lot of time there – what can we say, we like our food hot and cheap!)
There was a lot of games and exploring going on throughout the week. We wore face masks and sunglasses, and plunged the room into darkness. We wanted to see what it was like to communicate with one another when you are in the thick of a Dust Cloud. We also all had a go at seducing each other, which was made difficult by the fact that you had to be instructed by your 'team', who were at the other end of the room and could only talk to you in 20 second bursts. A typical verbatim conversation happened like this:
After the seduction seems to be going very wrong
Me: "What do I do? What do I do?
My Team: "Just say, just say… you're going to kill her."
Me: "I'm going to kill her?"
My Team: "Yeah yeah yeah, just say 'at the end of the night, you know I'm going to kill you'.
Me: "But, but why? I don't think that will… won't it just?…ok, I'll do it." TIME
Needless to say, there were varying levels of success in this exercise. But the week was amazing, we learnt lots and everything from grandmothers footsteps to writing angry political speeches, helped us get closer and closer to making the show.
Week 2 of our Lowry trip took us down to the big smoke (London) where Matt Eames, Associate Studio Programmer, had arranged a series of workshops and classes with some very very cool Musical Theatre professionals. We were apprehensive going into this week. For all we're a musical theatre company, none of us have ever had formal musical theatre training – just lessons here and there.
The brilliant Helen Siveter, who can currently be seen in Memphis on the West End, took an almost sadistic satisfaction in putting us through a fitness bootcamp. After every session we resembled steamed lobsters lying on the floor. From planks to sit ups to press ups, there wasn't a part of the body that wasn't aching by the end of the week.
Anne Leatherland walked us through our vocal paces, and whipped us into shape. Turns out our posture leaves a lot to be desired! Anne was like a wizard, we had such a great time with her.
The wonderful Carolyn Humphries dissected and analysed our songs. She helped us add harmonies and basslines, and showed us how she constructed songs. And we also performed some solos and got audition and technique feedback from the fantastic Matt White. Both Matt and Caroline taught us such an important lesson about acting through the song: not just hiding behind the instruments and performing it, but telling the story.
Part of these sessions was about building up out musical theatre skills as an ensemble in order for us to improve our work and take our knowledge and skills and apply it to the very specific type of work we make. This was what was so brilliant about these sessions. Some of us are very skilled dancers, some of us barely do the Macarena at Christmas parties, but we left these sessions with a new found confidence in our abilities, and a better understanding of how to perform and tell the story on stage. We felt very lucky to be given the opportunity.
And here we are now. We have just a couple of weeks before we dive, head-first, into rehearsals. Tickets for our show can be bought online, and keep in touch with us for some sneak preview songs that we'll be releasing shortly. See you soon.
The Letter Room
@TheLetterRoom
Anne LeatherlandCarolyn Humphriescheap foodDeveloped With SchemeDust BowlEmerging artistsEmerging theatrefeaturedFive Feet in FrontGuest BlogHelen SiveterHoedownIdle MotionKill The Beastlate nightsLaura LindowlondonMatt EamesMatt WhiteMemphismusicMusical TheatreMusicalsNorth EastNorth East theatreopportunitiesOpportunities for Theatre MakersperformancepreviewProgrammingrehearsalsShooting With LightStormThe Letter RoomThe LowryThe StudioverbatimWest Endwork hard
Quays Culture are seeking local people to dance with Boy Blue Entertainment under 10 storey high illuminated sculpture
Remember how to Boogie? Salford Musical Theatre Company's Mike Clarke takes us back in time.


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« Why you should "preach to the choir" | Main | When we write like robots »
What your fundraising can learn about being relevant from Adele
What do big-name celebrities have that we don't have?
Why does someone like Adele seemingly succeed by just "being herself," while fundraisers have to figure out donors and become relevant to them.
What can we learn from Adele?
Culture for Hire has some thoughts, at Egocentric marketing: Why pop stars get a free pass, and how to avoid it.
The "egocentric marketing" of pop starts looks effortless, like all they have to do is show up and display as much of themselves as possible, and people will pay attention.
That's an illusion. As Culture for Hire notes, the pop star works hard it being relevant to their audience:
... pop artists and movie stars work incredibly hard at being relevant. In fact, staying relevant requires a full entourage on call at all times: fashion stylist, fitness coach, nutritionist, makeup artist, hair stylist, PR team.
The result? An artist like Adele IS the brand, head to toe. It's a carefully crafted persona, which fans "hire" to help them signal their own personal identity. She appears everywhere in mainstream and social media. Even her song titles and lyrics create relevance, drawing fans who seek to unlock deep emotion and process their own relational struggles.
As a nonprofit, you are here to fulfill your mission. And you probably aren't doing so by being a person with great hair, interesting clothes, and strong voice, and songs that express the inner lives of your donors.
But you can be relevant to donors in ways that matter:
We can show them how their giving puts their values in action. Not ask them to fund our awesomeness.
We can connect with them in their way of communicating, not our internal jargon.
We can show them they are appreciated by thanking them and reporting back on the impact of their giving.
We can seek to understand them -- as a group, through demographic and psychographic research. And as individuals, through surveys, phone calls, and invitations for them to talk.
Adele has something else to teach us too: She is not for everyone, and she knows it. She's for a specific group of people. (Until I wrote this post, I had literally never heard of her. I'm not in her target audience. She shouldn't -- and I assume hasn't -- spent one dime or one second thinking about how she could reach me!)
Every nonprofit is also not for everyone.
You might feel that "everyone" should support your cause. But they don't. Focus on the people who get it. Those who share your values, your world-view, your faith tradition, your community (geographic or otherwise). Shape your message for them. Don't worry about the others.
Adele isn't just showing up and being herself and somehow succeeding because of that. She's purposely being relevant to a well-defined audience.
That's how we fundraisers can succeed too.


text:
Bible and Poetry in Late Antique Mesopotamia
Ephrem's Hymns on Faith
Jeffrey Wickes
Christianity in Late Antiquity
, September
Ephrem the Syrian was one of the founding voices in Syriac literature. While he wrote in a variety of genres, the bulk of his work took the form of madrashe, a Syriac genre of musical poetry or hymns. In Bible and Poetry in Late Antique Mesopotamia, Jeffrey Wickes offers a thoroughly contextualized study of Ephrem's magnum opus, the Hymns on Faith, delivered in response to the theological controversies that followed the First Council of Nicaea. The ensuing doctrinal divisions had tremendous impact on the course of Christianity and led in part to the development of a uniquely Syriac Church, in which Ephrem would become a central figure. Drawing on literary, ritual, and performance theories, Bible and Poetry shows how Ephrem used the Syriac Bible to construct and conceive of himself and his audience. In so doing, Wickes resituates Ephrem in a broader early Christian context and contributes to discussions of literature and religion in late antiquity.
Jeffrey Wickes is Assistant Professor of Early Christianity at Saint Louis University.
Christian sacred texts
Ephrem the Syrian, Syriac literature, Syriac Christianity, poetry, hymns, late antiquity, performance theory, ritual theory, Mesopotamia, biblical interpretation


This one you can create by taking four cinderblocks and laying a stone slab right on top. You can find some nice stone slabs at your local salvage yard. Just be sure and inset the cinderblocks by 6-12" so they barely show.
Tags:	"diy coffee tables" "stone slab coffee tables"


text:
By Nick Clark
The Labour left is angry with Starmer, but pushes a failed project of 'unity'
Keir Starmer will use the local election results to launch further assaults on the left (Pic: Wikicommons)
Left wing Labour MPs responded to the election results by appealing to Keir Starmer to bring them back into the fold. Meanwhile, Starmer prepared a further shift to the right.
The Socialist Campaign Group of left wing MPs said the votes showed the failures of Starmer's leadership. Yet they pointedly refused to demand that Starmer step down.
Instead they called on Starmer to return to the left wing policies of previous leader Jeremy Corbyn—and appealed for unity.
The most they would demand was a special conference "where the leadership outlines its plan to turn this around and seeks the confidence of the party for it."
The Labour left argues that by simply returning to Corbynism, the party could seriously threaten the Tories as it did in the 2017 general election.
Yet their strategy is the one that led to Labour's defeat in the 2019 general election.
Under Corbyn's leadership the left gave in to the right's demands to call for a second EU referendum—a key cause of Labour's defeat.
Tories celebrate local election results while Starmer signals further shift to right
It also meant attempting a more "professional" election campaign that rejected the mass rallies as part of the pressure to stay within the mainstream.
Now it means rallying around Angela Rayner, who Starmer sacked as party chair, despite the fact that she joined in with his war on the left.
It also means championing Manchester mayor Andy Burnham as he tries to boost his own standing. And it means weakly appealing to Starmer for unity as he fills his shadow cabinet with right wingers.
John McDonnell said, "Keir Starmer promised to unite the party, and unless he does that now and urgently, Labour will continue to flatline.
"It will require reaching out, listening to voters and colleagues, and widening the pool of advice he receives.
"Keir's got to be given his chance—he shouldn't be treated like Jeremy was, with constant undermining and coups."
Meanwhile, Starmer appointed Rachel Reeves—who said Labour shouldn't be "the party of benefits" and immigration was causing "bubbling tensions that could explode"—as shadow chancellor.
The Socialist Campaign Group say their choice is between staying and fighting inside the Labour Party, or giving up.
In reality the choice is between retreating from a battle with the right and propping them up—or leaving Labour to fight the Tories outside.
Labour members—'It's not our party, we don't control it'
Labour members have said the party's bureaucracy ignored activists' opinions in the failed campaign to elect Liam Byrne as West Midlands mayor.
Activist Carl Brown told Socialist Worker, "Liam Byrne's campaign was the most lacklustre one that could be imagined. It was very top down in terms of the messages that were being sent out.
"The material sent out by the West Midlands combined authority had all of the candidates listed and their pledges, Liam Byrne's was the only one who had no clear set of pledges. It was just a paragraph about himself really.
"He had no desire to engage with the grassroots activists."
Another activist Andrea Bradley said, "A large part of what's gone wrong is there's a disconnect between the management elements of the Labour Party, particularly the top of the Labour Party and some MPs and councillors, and the membership. So the experiences that the members on the doorstep are having just aren't being listened to.
Labour's turn to the right fails in Hartlepool by-election
And they're not being reflected in the policy—or lack of policy—that's coming from the top.
"People like Keir Starmer don't seem to recognise that the membership are also voters."
Andrea added that "It's really difficult to be a Labour Party member now," but that she plans to "stay and fight."
But Carl said being in the Labour Party means socialists have to "contort themselves into quite difficult positions" to campaign for candidates whose politics they don't support.
"I think the Labour left is almost operating as life support to the party," he said. "But if we dig deep and think about what that means, the old rhetoric about it being our party is almost meaningless.
"Ultimately it's not our party—we don't have any control of it.
"I would unplug the life support tomorrow. People should leave and focus their passion, knowledge and experience elsewhere—seeking to build serious grassroots movements."
Topics Elections, Keir Starmer, Labour Party
Labour woos the bosses and maps out a path to the right
Labour is embarrassing, not left wing ideas
Working class people will gain nothing from 'patriotism'
Keir Starmer speech shows he has not broken with the bosses
Letters—Keir Starmer is showing his right wing agenda in Liverpool
Starmer's Labour backs arms bosses, nukes and war
Fight the bosses that Labour Party backs
How have the Tories survived all this?
A year of Keir Starmer, a year of surrender
Hartlepool–Labour in trouble
Hartlepool and beyond—what went wrong with Labour's vote?
Batley and Spen by-election spells further disaster for Starmer
What's behind the downfall of social democracy?
Starmer's Labour relaunch promises bosses handouts
Keir Starmer is 'determined' to pull Labour further right


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Organizations that engage in corporate social responsibility demonstrate an awareness of two important truths: Companies are part of a larger community and operating a business is just as much about giving as receiving. In this spirit, Black Mountain Systems' San Diego office participated in volunteer efforts with the San Diego Rescue Mission, a nonprofit homeless shelter and recovery center.
Showing their commitment to community development and the homeless, Black Mountain Systems employees helped out with the SD Rescue Mission Easter Meal Outreach effort on Saturday, March 28. The financial software company's staff attended a short training at 8:30 a.m. before heading out to walk the streets and pass out flyer invitations for the Easter meal hosted later that day. Volunteers, who were divided into groups, also provided breakfast snacks to participants and collected funds to create hygiene packets for later distribution. BMS employees were honored to participate in the effort and looked forward to future outreach events.
SD Rescue Mission has been in operation for over 50 years, working with thousands of San Diego's homeless, hungry and poor populations. The organization strives to empower individuals to create better lives for themselves and, as a result, enrich the community through prosperity. By helping clients address the difficulties inherent in homelessness, the nonprofit is able to provide an opportunity for those in need to take control of their lives, find stability and establish a lasting change. SD Rescue Mission hopes that empowered individuals will return to their communities as content, fulfilled people, as well as contributing members of society.
San Diego Rescue Mission is a nonprofit homeless shelter and recovery center.
As one of the more prominent financial technology companies today, operating in the fixed income and alternative asset class industry, Black Mountain Systems recognizes that with privilege comes responsibility. The company will be participating in other programs like this by continuing to demonstrate a commitment to change and its community.


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London : Random House, 2007.
Harlequin's stick, Charlie's cane : a comparative study of commedia dell'arte and silent slapstick comedy.
[Bowling Green, Ohio] : Popular Press, 1975.
Keystone : the life and clowns of Mack Sennett / Simon Louvish.
The silent comedians / Richard Dyer MacCann.
Metuchen, N.J. ; London : Scarecrow Press in association with Image & Idea, Inc., 1993.
Clown princes and court jesters / by Kalton C. Lahue and Samuel Gill.
Cranbury : Barnes ; London 108 New Bond St., W1Y OQX : Thomas Yoseloff Ltd, 1970.
New York : Knopf, 1975.


We spent the afternoon out on Freestyle…great boat and was very comfortable for me and my 3 sons. We spent 2 hours trolling and then 2 hours in shallow water. While we didn't get the big fish we hoped for… the captain and first mate were awesome with my boys. We brought in 20 total fish of all varieties and the kids had a great time.
We were pleasantly surprised to be upgraded from the Cayenne to the Born Free IV. We had a great time and had a wonderful meal at the Green Parrot with our catches of the day.


London: Wyman & Sons, 1884. First Edition. Hardcover (Full Leather). Original tree calf leather front and rear boards with decorative gilt rule to front and rear, and gilt crest to front. Rebacked in leather with gilt tooling and raised bands. Original marbled endpapers. Size: 22cm x 15cm. 607 pages. Book... More about Westminster School: Past and Present.
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A podcast about stuff and things as told to Matt Barry.
Joining me for this milestone episode. 50 eps in and we are back to where it started. Talking with Nick covers the usual discussions of film, handling success, starting high school and the problems with ego.
Name the behaviour not the podcaster.
Let us know on Facebook if you want to be part of this podcast.
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Born 1955, nuclear engineer, sometimes know as Cassandra, at age 18 needed to decide if buy an used car or a pc; his choice was the pc and since then has not yet fully recovered. He works as a legacy code archeologist in a big multinational company, but is passionate about privacy & cryptography on Internet, and volunteers on some FOSS software projects like Freenet, Mixmaster, Mixminion, Tor & GlobaLaks. Founder of PWS – Progetto Winston Smith and amongst founders of Hermes association, currently write about Matrix issues both in ICT and Generalist newspaper and magazines. He is columnist at "Punto Informatico" where manage the "Cassandra Crossing" weekly column.


text:
There Are Black People in the Future
Baltimore Residency Space The Clifton House to La [...]
Baltimore News Updates from Independent & Re [...]
'Black Futures' explores what it means to be Black and alive right now
Words: , Teri Henderson
I write non-linearly. I take notes on various pieces of paper, on my phone, and on my desktop, and they are in no particular order. Most of my writing evolves from a stream of consciousness: flurries of typing coupled with notes covered in the chicken-scratch yet Unabomber-esque style of text known as my handwriting. My writing style often frustrates me—it's anxiety-inducing to be so disorganized, and I sometimes can't read my own handwriting. But while reading Black Futures and writing this review, I believe my methods helped me. In the editors' letter, writer and curator Kimberly Drew and New York Times Magazine staff writer Jenna Wortham suggest that Black Futures is not necessarily meant to be read in chronological order. I read and wrote in response to what resonated at various times, in various places, at various paces.
The origin story of Black Futures begins with a Twitter DM between Drew and Wortham in 2015. How fitting that such a mundane moment would birth an entire literary universe. Wortham and Drew took more than a hundred submissions by journalists, artists, critics, essayists, organizers, and more, and elegantly transformed them into a collage of the Black radical imaginary. It is a flurry of Black joy, Black expression, and Black connection.
I found Black Futures' intentionality delicious. Tiny textual moments in the bottom-left corners of numerous pages gently suggest related entries throughout the book, adding to its non-temporal, non-traditional format and nature, and emphasizing the editors' wishes that you read at your own pace and in your own way, and get through it how you want to get through it. Any path will be an exercise of interstellar and intertemporal travel through a Black-ass book.
I am here and I recognize my right to be here, whether or not whiteness acknowledges it, and that right includes my position in this world, and my ability to make my own world and my own future.
Teri Henderson
The variable permutations for connection that this book creates reminded me of an article titled "And So Shaped The World" from the literary journal Obsidian, Vol. 42, No. 1/2, Speculating Futures: Black Imagination & the Arts. "Under the powerful lens of Afrofuturism, the impossible is possible," writes Sheree Renee Thomas. "It is creative alchemy. The spirit and the rhythm of a culture are preserved and transformed; the past is not only contested but is sacred space." These words succinctly describe the time-traveling and majestic experience of Black proximity that I explored through the vehicle of Black Futures—each word in the text is creative alchemy. And this book will exist and outlive me as an archive of what Black creative expression was at this time, for the remainder of Western notions of time.
"What does it mean to be Black and alive right now?" This is the question that guided Drew and Wortham in assembling the book. For me, it means countless things, and despite the prevalence of white supremacy, extrajudicial murders being broadcast and permeating our psyche, the active erasure of our histories, the microaggressions and struggle, we are still here. We remain here, tethered to this battered planet, this flawed country that was built on the backs of ancestors who were literally stolen from Africa.
I am here and I recognize my right to be here, whether or not whiteness acknowledges it, and that right includes my position in this world, and my ability to make my own world and my own future. Like so many of my peers, I do this by writing, creating, and relishing the majesty of my Blackness, and my time spent with the wonders of Black Futures was in recognition of the future-world-making of the Black folks who were a part of creating the book.
Alisha Wormsley, The Last Billboard (Jon Rubin project 2009-2018), East Liberty, Pittsburgh, Pennsylvania. Photo by Jon Rubin, 2018, courtesy of the artist.
The contents of Black Futures are divided into ten multicolored chapters: Black Lives Matter, Black Futures, Power, Joy, Justice, Ownership, Memory, Outlook, Black is (Still) Beautiful, and Legacy. They read like track titles on a mixtape for a great, tumultuous, and radical love. I think of each chapter as a portal where Black brilliance is performed and illustrated in different ways.
Because I didn't know what to expect until I opened Black Futures, there were many surprises throughout its more than 500 pages, like the conversation between Arthur Jafa and Tina Campt regarding his Love is the message, the message is Death, another seminal work that has made me cry. It was interesting to see stills from Love is the message printed side by side on a page—effectively slowing down the original video work that is set to Kanye West's spiritual masterpiece "Ultralight Beam," and isolating images of James Brown, Muhammad Ali, Lauryn Hill, smoldering planets, and various viral digital moments that stirred me and brought me to tears when I first saw them. Many of these images are identical to screenshots I'd taken of the video that I have saved on my desktop for a time in the future when I have the mental space and capacity to write about it.
Author's photograph of Black Futures, page 83, featuring a Sim created by Amira Virgil.
Here are just a few more of Black Futures' many remarkable moments, some sad, some joyful. Amira Virgil's "The Black Simmer" has one of my favorite sets of images in the book, and it's paired with text describing how she created a platform to correct the lack of Black representation in the gaming world, particularly for Black people who play The Sims. Elsewhere, Zadie Smith writes about the hauntingly beautiful work of Deana Lawson—her melodious description of curtains and portals in Lawson's photos gave me literal chills.
Activist and author Adrienne Maree Brown appears in these pages, poet Danez Smith is here too. In "A Call To Action," Latoya Ruby Frazier writes about Flint's water crisis, and her stunning photos depict that ongoing act of environmental racism and injustice. Somewhere past the middle of this thick book, Kameelah Janan Rasheed's words "Are We There Yet?" appear as white text on a black background, repeated eighteen times and mirrored on both sides of the spread. Rasheed's work opens the section called "Outlook" and speaks to the book's title, naturally begging more questions: Have we arrived at Black Futurity? Did we survive?
A third of the way through, Floridian chef Kia Damon has a recipe for fried pig ears, which made me smile and think of my mom, an Arkansas woman who loved to eat pig ears and chitlins drenched in hot sauce and accompanied by onions. This book made me think of my mom more than I had in a long time. As someone who made me love my own Blackness, she would have loved to read this book.
Kameelah Janan Rasheed, Are We There Yet?, 2018. Image courtesy of the artist
[Image: Kameelah Janan Rasheed, Are We There Yet?, 2018. Image courtesy of the artist.]
Of course, Baltimore shows up in these pages too. Devin Allen's work is one of the first three photographs in it: an iconic image from the 2015 Baltimore Uprising that would later be published on the cover of Time magazine, showing a Black man running in front of police, cloaked in grey and black.
In "Independent Subtexts," Baltimore-born and NY-based Devin N. Morris shared some of his favorite zines from his personal collection. I have long admired Morris' work—his 3 Dot Zine is a prolific compilation of Black art and Black stories—and I appreciated the intimate, enriching gift of reading his personal anecdotes and descriptions. One of his selections is "Learning from Lexington," a zine about the historic Baltimore market written by UMBC students, designed by Markele Cullins and published in 2017. Morris also selected the third issue of True Laurels, Lawrence Burney's zine that centers the work of Black creatives in Baltimore—another beautiful example of Black Futures' magical cross-references, illustrating the labyrinth of Black creative connection.
In later pages, Burney offers a Black Baltimore history primer titled "The Enduring Legacy of Baltimore's Arabbers" with photos by Giancarlo Valentine. Burney writes beautifully about the Arabber tradition, which goes back for generations, and how Black people historically carry traditions with us in various ways. His essay is a call for the preservation of the Arabber tradition and the documentation of their unique culture. He describes the sound of the horses' hooves and bells as the "music of tradition… the sound of nurture… a lullaby of nostalgia." And when I read this, I heard those bells too.
In "These Walls Can Talk," New York Times critic Wesley Morris (who also co-hosts a podcast with Wortham) describes the experience of walking into the National Portrait Gallery and seeing Kehinde Wiley's portrait of Barack Obama and Amy Sherald's portrait of Michelle Obama. His level of detail and exquisite precision in describing the emotions one might experience while encountering the images, as well as adding historical context about the public's reaction to them, signify one way in which Black Futures acts as an archive.
In the "Ownership" section, graphic designer Jerome Harris remarks on Pattie LaHelle's YouTube series, "Got 2B Real," cleverly defining and exploring the art of shade. His words accompany a beautiful illustration in his signature style: black space and white text elegantly entwined in humorous swirls. The text, "Haters are people who read with no resume and critique with no credentials. Is that you?" swims across the page. Harris, a former professor at MICA, is one of my favorite people to follow on social media.
The same section includes Deborah Roberts' research for her Pluralism series, for which the artist typed the names of more than 250 African-American women into a document. As she typed, the squiggly red lines indicating misspelled text appeared under every name, showcasing the attempted digital erasure and minimization of Blackness. This piece resonated with me as a Black woman from Texas (and a fan of Roberts' practice)—I have spent many moments correcting white people who have committed microaggressions by misspelling my name, or have assumed that Teri is short for something longer or more white like Theresa.
Untitled by Many, Benjamin Biayenda
While forward-thinking, Black Futures is simultaneously about Black pasts and Black presents. I was blessed to know a few of the contributors and felt ecstatic to see their names in print and to know that their creative work will travel across the world in a form that will outlive our digital age. I also was ecstatic to think about how many Black people will encounter work they've never seen before, names that they've never read and will subsequently become familiar with.
I spent several hours with the book. I read most of the text, but made an explicit point to look through and trace every page with my fingertips. I completed this exercise twice, allowing my eyes and hands to dance over the words, images, artworks, and photographs of these scholars, poets, and alchemists in order to honor their labor and legacy. I took it all in and afforded myself space to process all of the moments, some sad, some hopeful, some bright and elegant, while others held palpable pain. And throughout it, I asked myself, "What does it mean to be Black and alive right now?"
For me it means power, presence, prescience, and the ability to garner peace. Blackness is about subverting bullshit. As a Black woman navigating the disorienting hypocrisy of the white art-world microcosm that's present in Baltimore, this book is a holy text that I will keep close to my chest. It's a tool to combat those things that always accompany the radiating joy of Blackness: the lows, the despair, the racism. I turned to it in reaction to a few moments of microaggressions and professional unintentionality. Much like Hank Willis Thomas' "Black Survival Guide, or How to Live Through a Police Riot," contained within the book's first few pages, Black Futures will serve as a survival guide while navigating my own Black Future. It will rest on my shelf in a sacred space, vibrating with the voices of Black creatives and revolutionaries. I am indebted to them.
I have written a lot recently about how much of my days are spent alone. My quarantine pod is minuscule compared to some people that I know. I see my friend Malcolm the most, I call my Aunt Peaches in Dallas every day, but I faced this year of uncertainty primarily by myself. When this book arrived on my doorstep, and I brought it into my apartment, I was connected with other Black creators in a more physical form. It feels important and slightly embarrassing to note that this was one of the few books that I've read during the entirety of quarantine, and I'm so glad that I waited to savor it. The weight of this book was comforting, and it was remarkable to be able to look at and have a tactile engagement with art at home during a period where my existence has mostly been reduced to digital exchange. Virtual reality was secondary here, although the editors suggest reading with a device in order to look things up.
No Sesso Getty 2k19 Collection by Pierre Davis, Photography by Brandon Stanciell, courtesy of the artist
What does it mean to be Black and alive right now? It feels heavy—and light. Like fresh honey and cold steel. Blackness is agony and ecstasy. Black Futures defies categorization.
Even the book's cover design felt like everything: Black with iridescent text, each letter is a kaleidoscope of the journey that awaits the reader. Opposite Ayana Jamieson's "Far Beyond the Stars"—which includes strategies for building a Black archive, inspired by the great writer, archivist, and Black future-world-builder Octavia E. Butler—rests a digital collage by Lauren Halsey, "Untitled (Blueprint)." Halsey's work is the perfect partner to Jamieson's words. Black figures anchor the bottom of the scene which is populated by Louis Vuitton-covered houses, Black women with Louis Vuitton bags, crowns, gold teeth, Egyptian sphinx, and street signs from Watts, California. In the middle, Rick James squats atop a tie-dyed planet. In the top right-hand corner, handwritten instructions invite: "Enter the Realm."
In the "Legacy" section, I was thrilled to see Sadie Barnette's work accompany her conversation with the scholar Simone Browne. I have thought a lot about how emerging and young collectors might not be able to afford to buy original works from their favorite artists, but they can afford prints. I have been wanting to purchase something by Barnette for probably five or six years, so when I saw her beautiful work here I legitimately wanted to cry. Her "Untitled (Baby Dress)," plugged in among her words, has been saved on my phone. It was my background for a while. Barnette's signature pink-glitter backgrounds, collaged with images of Black people and framed by white borders, were instantly identifiable for me. Finding work by Barnette, Rahim Fortune, Kara Walker, Carrie Mae Weems, David Leggett, Cauleen Smith, and so many other Black people that I admire, and being able to hold them close to me, is a luxury.
What does it mean to be Black and alive right now? It feels heavy—and light. Like fresh honey and cold steel. Blackness is agony and ecstasy. Black Futures defies categorization. I believe it is inherently magical. The volume closes with a singular black page, followed by an index of the contributors, a who's-who of the Black creative ecosystem. I listened to the mix on page 38 that King Britt made; Kelela's "Frontline" was the soundtrack to me wrapping up this journey of completing this review. Black Futures was a Goosebumps-style, thrill-inducing, choose-your-own-adventure tome that I wished would never end. It's fitting that a volume filled to the brim with so much poetry and prose from Black voices would be this elegant and cacophonously sublime.
I faced a lot of anxiety in writing this review because I believed it impossible to do justice to the legacy and labors of the Black people who made it real. I recognize now that my assignment was simple: My duty was to tell you how this book affected me, how it made me feel, how it changed me. Black Futures allowed me to feel less alien, more whole, more centered. Less isolated, more real. More vulnerable, more joyful.
Jenna Wortham (photo by Naima Green) and Kimberly Drew (photo by Tyler Mitchell)
Black Futures editors Kimberly Drew and Jenna Wortham are doing a virtual book tour. Tonight, December 3, their discussion with Camonghne Felix is hosted virtually by Sixth & I and Loyalty Books. For tickets and more info, click here. For other book events, click here.
Professional Development & Career , Issue 12: More is More
Art AND: Amy Boone-McCreesh
The maximalist mixed-media artist talks about taste, class, and asking questions of the world—and other artists—around her
"I think fundamentally artists are always interested in what comes next—what happens if I push this idea further, what happens if I try this new material, etc."
, Suzy Kopf — January 19, 2022
Snow Day: Baltimore Winter Wonderland
A Photo Essay by Greg McKay
Baltimore in winter is a seesaw from tropical to arctic and everything in between, but when it snows it is nothing short of magical.
The Internet Is Exploding: 10 Must-Read Articles This Week 1/16
Gentrification of consciousness, climate change and insects, Michaela Jae Rodriguez, the Bronx Fire, port-a-potties, and more
The internet was sad, and funny, and beautiful this week.
, A.F. Oehmke — January 16, 2022
Sprezzatura: Baltimore's Fashion Renaissance in Remington
Photos by E. Brady Robinson at The Cahoot's Brothers and Get Shredded Vintage
Warm Winter Looks from Two Beloved Remington-based Centres of Unique Baltimore Fashion
, Cara Ober — January 12, 2022


text:
Payments & Cards
Reporting Data Preparation
Securities' Reporting
Deposits' Insurance
BSC strengthens its leading position in regulatory reporting with its services now being used by ČSOB, UniCredit Bank and China's Bank of Communications
BSC (Banking Software Company), which develops new software products for the banking sector, has won four new customers for its BI product for regulatory reporting. BSC services will now be used by ČSOB, UniCredit Bank, Hypoteční banka and Bank of Communications, China's fifth largest bank, to automatically send mandatory reports to the Czech National Bank (ČNB), as well as other regulatory bodies. BSC has further solidified its position as the clear number one on the market, with a portfolio of almost 70 clients.
BSC has proven long term that it is the clear leader in the regulatory reporting sector and currently controls almost the entire market. "In the first quarter of this year, our family of myBI users grew to 60, and I am delighted that our rapid growth is continuing. BSC has confirmed that it is an unrivalled leader in this field and will continue to define the standards for the whole industry," promises Jan Hanuš, Head of Business Intelligence at BSC.
In the field of regulatory reporting, BSC can take care of every obligation related to mandatory reports for supervisory authorities. The toolkit for the myBI family provides all the necessary summaries and sends them to ČNB and other relevant destinations. The system is constantly being updated to work in accordance with changing legislative requirements. Clients from banks and other financial institutions no longer need to monitor the latest changes and can focus on their core business.
The first new client is ČSOB, the fifth largest bank in the Czech Republic, according to its balance sheet. Hypoteční banka, which is number one in the Czech mortgage market both in terms of the amount of new mortgages granted as well as the overall volume of mortgages provided, has also been added to BSC's client portfolio. The third new customer is UniCredit Bank, with both its Czech and Slovak subsidiaries.
The fourth new customer for BSC with a focus on regulatory reporting is the Prague branch of China's Bank of Communications. It is the fifth largest bank in China and, with a balance sheet of USD 1.4 billion, the 21st largest bank in the world. Founded in 1908, its headquarters are in Shanghai and it has an extensive network of over 2800 branches throughout the world.
Still looking for new faces! Join Our Team
Prague Olomouc Moscow Vladimir Nizhny Novgorod Izhevsk Belgorod Prešov Košice Beirut
Banking Software Company Ltd. Founding Member of the Finshape Group
IČ: 00549533, DIČ: CZ00549533 The company is registered in the Commercial Register maintained by the Municipal Court in Prague, Section C, Insert 195.
Khar'kovskiy per., 36 A, office 310
IČ: 36502057, DIČ: 2021936818 The company is registered in the Commercial Register of the Prešov District Court, File No. 15842/P.


The DeltaV-Seal is a one-piece, CNC manufactured gasket made from the same metal as the flanges it mates with. It boasts three unique, sharp sealing rings that deform on installation, filling any surface irregularities on pipe flanges to form the perfect seal. The seating force required for the material to flow effectively is lower than for any spiral wound gasket. Once placed between the connecting flanges, a permanent static and leak-proof seal is created. Total integrity, complete peace of mind, for all industrial environments.
Gasketed flanged connections found in corrosive sensitive environments such as seawater and hydrocarbon services is subject to corrosion and degradation. The deterioration is caused when you have two dissimilar metals in an assembly that are electrically connected in an electrolyte. With the DeltaV-Seal, galvanic corrosion in the connection is avoided, as it is manufactured in the same material as the mating flanges and the connections are electrically conductive.
Fluctuating temperatures force metal flanges and seals to expand and contract. As current ductile seals are not made from the same materials as flanges, these rates of expansion and contraction differ, with the seals eventually dissolving or changing properties over time. DeltaV-Seal is different.
Made from the same metal as the flange - and certified resistant to vibration, pressure pulses and temperature changes – the seal matches its movement, contracting and expanding in seamless unity and forming an enduring, non-ductile, metal-to-metal partnership. The perfect match.
DeltaV-Seal marks a new beginning for industrial piping. Not only no leaks, but no re-tightening, no disintegration, no blow out or fire risk, and no safety concerns – in other words, no worries.
As the world's first type approved and patented gasket, DeltaV-Seal guarantees total gas-tight integrity for long-term performance in the most demanding industrial environments. Why leak and fix when you can install and forget?


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Q: Datagridview winforms cells doesnt get updated unless focus back on the grid I am working with winforms c# datagridview and ran into a bug that I m not sure how to resolve. I have a datagridview in which the datasource is a datatable. The datagridview contains editable text fields and cellvaluechanged event as well as button column which I respond to thru a cellclick event. Currently when I change the value in a cell , hit the enter key to leave the just updated cell and click the button. The cellclick event which acts as the button click runs a task (TPL) in which the continuewith of the tasks updates values in the datagridview and that works because all the values that needed to be changed gets changed. The issue is that when I change a text value and don't hit the enter key and just immediately click the button on the row. the ui doesn't get updated intill I click on the cells to see the new values. I have looked this up and found that if I set the
datagridview.Currentcell = datagridview.Rows[e.RowIndex].Cells[4]

to the cells that I want to see the new values to. The new values appear. I don't want run for each cell I was wondering if there is a better way in handling this issue?
This is the code:
  private void dgv_CellClick(object sender, DataGridViewCellEventArgs e)
    {
            //Button on grid
    if (e.ColumnIndex == 17)
            {
                string val1 = dgv.Rows[e.RowIndex].Cells[3].Value.ToString();
                string val2 = dgv.Rows[e.RowIndex].Cells[5].Value.ToString();
            Task.Factory.StartNew<Dictionary<string, Response>>(() => GenerateData(val1, val2)).ContinueWith(ant => {
                            int rowId = Convert.ToInt32(this.dgv.Rows[e.RowIndex].Cells[1].Value);
                            SetResponse(rowId, this.DataSet.DataTable, ant.Result);
                             // i have tried the code below and it fixes the issue but don't want to go this route
                            //for (int i = 5; i < 12; i++) dgv.CurrentCell = dgv.Rows[e.RowIndex].Cells[i];
                        }, TaskScheduler.FromCurrentSynchronizationContext());
                }
            }
    }
    private void dgv_CellValueChanged(object sender, DataGridViewCellEventArgs e)
    {
                if (e.ColumnIndex == 5)
                {
                    string val1 = this.dgv.Rows[e.RowIndex].Cells[e.ColumnIndex].Value.ToString().Trim();
                    if (!string.IsNullOrEmpty(val1))
                    {
                        //dgv.BeginEdit(false);
                        this.dgv.Rows[e.RowIndex].Cells[6].Value = DBNull.Value;
                        //dgv.EndEdit(DataGridViewDataErrorContexts.Commit);
                    }
                }

    }

A: By adding these two lines of code resolved the issue
this.dgv.EndEdit();
this.dgv.CurrentCell = null;

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