text:
"Oh sacrament of summer days"
Posted on June 21, 2019 by jimfriedrich
The author at Midsummer on the Mississippi River's Lake Pepin, Wacouta, Minnesota.
A something in a summer's day,
As slow her flambeaux burn away
Which solemnizes me.
A something in a summer's noon –
A depth – an Azure – a perfume –
Transcending ecstasy.
–– Emily Dickinson
Then summer came, announced by June,
With beauty, miracle and mirth.
She hung aloft the rounding moon,
She poured her sunshine on the earth,
She drove the sap and broke the bud,
She set the crimson rose afire.
–– Leslie Pinckney Hill [i]
Summer arrived this morning in Puget Sound at 8:54 a.m., Pacific Daylight Time. The sun rose hours ago (5:12) and won't set until 9:12 tonight––16 hours of sunshine! But with only 103 minutes of complete celestial darkness separating dusk and dawn, the June Solstice feels almost like the Bible's eternal Day: Your sun shall no more go down (Isaiah 60:30).
Charles E. Burchfield, Summer Solstice (In Memory of the American Chestnut Tree), 1961-66
In Charles Burchfield's painting, Summer Solstice (1961-66), we see such a world, impossibly radiant. Of the daisies and buttercups in the foreground, the painter said "they could not have even the slightest dark accent, but must be swimming in a glare of sunlight from the zenith sun, and therefore all but obliterated."[ii]
With such amplitude of light, time seems almost at a standstill. We enjoy the absence of hurry, and bask in the "Credences of Summer" celebrated by Wallace Stevens: "arrested peace, / Joy of such permanence, right ignorance / Of change still possible."[iii] If Spring is analogous to resurrection, summer is a type of heaven: plenitude of being, perpetual noon, luminous serenity, joyful play, cessation of care.
In high summer there is time for everything––swimming, hiking, reading, talking, tasting, singing, wandering, discovering, escaping, appreciating, savoring, loving, renewing. Time to follow a stream to its source, listen to the whisper of an aspen grove, count the falling stars, dive into a crashing wave, dance to the rising moon. Time for hammocks and porch swings as well. As my Minnesota relatives remind me, "Doing nothing is always an option!"
"Oh sacrament of summer days," wrote Emily Dickinson. "Thy sacred emblems to partake – / Thy consecrated bread to take / And thine immortal wine!" [iv]
This image of summer as sacrament seems perfectly true when the season is at the full. But any hope for perpetual communion is illusory, the poet insisted. Change is inescapable. The fraudulent "sophistries of June" will too soon begin to fade, "Till Summer folds her miracle – / As Women do – their Gown – / Or Priests – adjust the Symbols – / When Sacrament – is done." [v]
In some of her poetry, Dickinson's contemplation of the natural cycle of growth and decay––"that pathetic pendulum"–– produced a mournful catalog of loss. Flowers are "beheaded" by frost. Night's shadow sweeps over "the startled grass." The green world and azure sky are swept away in time's "departing tide." For most religious minds of the nineteenth century, the year's fall into wintry death was prelude to spring's rebirth and summer's eternity. But Dickinson reversed the order, judging winter's lifeless silence to be the culminating metaphor of human fate. As Cynthia Griffin Wolff has summarized this poetic trajectory of decay and dissolution, "Sunset's unvarying bloodbath is the model: all life leads but to death."[vi]
Dickinson was just being an honest observer. She watched her garden fade, the leaves fall, the birds fly south, the summer depart. She saw friends and family die. Gazing "perplexedly" on so much change and loss, with the old vocabularies of Christian hope worn thin in a century of doubt, she nevertheless yearned for a transcendence which might harmonize the paradoxical pattern of creation and destruction. She kept trying to get to heaven before they close the door. But the riddles of time and destiny could not be solved by mortal mind.
She was tempted to give up the search. "How good to be safe in tombs, / Where nature's temper cannot reach / Nor vengeance ever comes."[vii] But late in her life (she died at 55), she came to terms with the unknowability of the larger pattern, allowing herself a degree of trust in a larger Providence, bewildering though it may be. In a letter to a friend a few years before her death, she echoed Job's leap of faith: "Though he slay me, yet will I trust him" (Job 13:15).[viii]
A century later, another American poet, Thomas Merton, would tell himself, "Dance in the sun, you tepid idiot. Wake up and dance in the clarity of perfect contradiction." [ix] Dickinson knew that same dance when she wrote:
The Opening and the Close
Of Being, are alike
Or differ, if they do,
As Bloom upon a Stalk ––
That from an equal Seed
Unto an equal Bud
Go parallel, perfected
In that they have decayed ––
But Summer's first morning is no time to ponder the riddles of temporality, or fret the far-off winter night. "Quick, now, here, now, always,"[x] open your door and lean into the freshness of the world. Run barefoot across the lawns of summer. Thank the generous sun. Breathe the golden air. Find the hidden treasure. Don't come home till dark.
Merry it is while summer lasts
Sacraments of Summer
[i] From "Summer Magic" by Leslie Pinckney Hill (1880-1960), an African-American educator and writer. Q. in Gary Schmidt & Susan M. Felch, Summer: A Spiritual Biography of the Season (Woodstock, VT: Skylight Paths Publishing, 2005), 229.
[ii] Charles Burchfield, Journal for July 10, 1964, in Guy Davenport, Charles Burchfield's Seasons (San Francisco, CA: Pomegranate Communications, 2004), Plate 35.
[iii] Wallace Stevens, "Credences of Summer," Stevens: Collected Poetry and Prose (New York: Library of America, 1997), 323.
[iv] "These are the days when birds come back" is really about "Indian summer," but the sacramental image refers to the authentic, if fleeting, heart of summer, or at least the act of remembering it.
[v] "Sophistries of June" is from "These are the days," while "Till Summer folds her miracle" is from "It will be Summer––eventually."
[vi] Cynthia Griffin Wolff, Emily Dickinson (New York: Alfred A. Knopf, 1987), 297.
[vii] "The Clouds their Backs together laid."
[viii] Letter to Mrs. Holland, March 1883, in Wolff, 514.
[ix] Thomas Merton, "Atlas and the Fat Man," q. in Kathleen Deignan, ed., Thomas Merton: A Book of Hours (Notre Dame, IN: Sorin Books, 2007), 141.
[x] T.S. Eliot, "Little Gidding," Four Quartets. This is followed by Julian of Norwich's "all shall be well," as perfect a summer text as any.
Posted in Anglican spirituality, Poetry, Seasons, Summer, summer solstice, Time	| Tagged A something in a summer's day, Charles Burchfield, Credences of Summer, Cynthia Griffin Wolff, Emily Dickinson, Job 13:15, Leslie Pinckney Hill, Meaning of the seasons, Oh sacrament of summer days, Summer, summer solstice, T.S. Eliot Four Quartets, Thomas Merton, Wacouta MN, Wallace Stevens	| 1 Reply
"Could I but find the words"–– Art vs. the Barbarians
The dictator and his holocaust in "I Do Not Care If We Go Down in History as Barbarians."
If a nation's sins go unconfessed, can it ever be free of them? Or will they continue to flare up, resistant to every cure? If measles can make a comeback, why not fascism, racism, anti-Semitism, or even Nazism? Radu Jude, a Romanian director, explores the persistence of evil in his demanding new film, "I Do Not Care if We Go Down in History as Barbarians" (2018). The title is from a 1941 speech by the Romanian dictator, Ion Antonescu, calling for the eliminationof the Jewish population of Odessa. After the Ukrainian city was taken by Romanian forces in alliance with the Nazis, Antonescu's soldiers murdered some 30,000 Jews. Before Romania switched sides to the Allies in 1944, Antonescu would preside over the slaughter of 400,000 Jews and other minorities.
The dictator was executed for war crimes in 1946, but most Romanians repressed their guilty memory. The Romanian government would not make an official admission of complicity with the Nazis until 2000––54 years later!––in order to gain admission to the European Union. But the subject remains largely taboo in that country. Who can break the contagion of silence? And who will listen?
Jude's film proposes art as a remedy. When an idealistic director, Mariana Marin (the riveting Ioana Iacob), is hired by a municipal government to stage a sanitized account of the Odessa occupation as a public spectacle, she decides to tell the truth of the massacre instead. To rip away the mask of denial might be the beginning of repentance and healing.
Mariana's ambitious production is hampered from the start. Many of her non-professional reenactors resent its critical stance on Romanian history. Some are uncomfortable playing the part of the hated Russians, while others seem a little too willing to put on the uniforms––and the swagger––of the Nazis. Others refuse to play Roma gypsies, the untouchables of eastern Europe. Old bigotries remain alive and well in the twenty-first century.
And Mariana's production staff, for all their shared idealism, are not exempt from anxiety and discomfort. They too are Romanians, shaped by a culture of denial. When they gather to view historical footage and photographs of naked brutality, their conversation is laced with crude jokes and trivial asides, as though only laughter and silliness can lighten the oppressive weight of horror.
But Mariana's greatest challenge is Movilă (Alexander Dabija), a city official who pressures her to tone down the truth-telling, so the public will not be offended. His extended debates with Marin, unlike conventional movie dialogue, are fraught with critical theory and intellectual fireworks. Walter Benjamin, Hannah Arendt, Ludwig Wittgenstein, and Elie Wiesel are all invoked. The didactic talkiness, showing the influence of Brecht and Godard, subverts the insulating escapism of commercial cinema.
Movilă is witty and charming, and the chemistry between him and Mariana generates a palpable charge. But his "whataboutism," downplaying the significance of any particular atrocity by citing examples of even greater evils, is insidious. Sure, Odessa was bad, but not as bad as some other massacres. Why single it out? Do you want have a competitive massacre Olympics, or award an Oscar for the worst atrocity? It's a human problem, not a Romanian problem. And what good does it do to beat ourselves up for something that is past and gone? Negativity can't bring a people together.
Mariana agrees to make changes in order to maintain her funding, but it's a promise she doesn't intend to keep. On the night of the public performance in the city square, what the crowd sees is a horrifying representation of the massacre. The actors playing Romanian soldiers round up the actors playing Odessa Jews, locking them inside a wooden barracks. The building is set on fire, making a great holocaust in the middle of the square (the actors having slipped out through a hidden exit).
Mariana had hoped that this alarming spectacle of national evil would shock the audience into an awakened conscience, producing a collective cry of "never again!" Instead, the spectators seemed to enjoy the whole thing. It was not only hugely entertaining, it mirrored their own prejudices and resentments. Instead of being an indictment, it was celebrated as a festival of tribalism. The people's eyes glowed as they gazed upon the flames. Many nodded and smiled. Some even cheered.
Mariana had failed to make a difference with her art. But what about the filmmaker? What were his expectations? Can his story about the failure of art to change us become itself an example of art that does transform? I don't know how Romanians have responded to this film, but when I saw it recently at this year's Seattle Film Festival, I came away wondering about the transformative role of art in my own country.
Winslow Homer, The Gulf Stream (1899)
On a recent visit to New York City, I saw several works which strive to make our darkness visible and bring the repressed or forgotten to light. In the Metropolitan Museum, Winslow Homer's The Gulf Stream (1899) shows a black man adrift without mast or rudder in a stormy sea. The high horizon accentuates the enclosing mass of water. A sea spout looms dangerously near. Sharks prowl hungrily, while patches of red paint suggest blood already spilled. Homer never explained the painting. Some have interpreted the man's calm in the face of peril as an image of hope. Others, finding suggestions of a tomb in the cabin's dark opening, see a man resigned to death.
The docent giving a talk when I entered the gallery acknowledged the generalizing views of the painting as a metaphor for the universal human condition, but she also suggested that Homer may have had a more specific subject in mind. Whatever rights and freedoms had come for ex-slaves at the end of the Civil War, they were soon eroded by legalized segregation, which became firmly established in the South over the last 15 years of the nineteenth century.
Could this 1899 painting have been for Homer an image of African-Americans in a racist country, not just set adrift without the power to control their fate, but actively threatened by hostile forces? When some of his contemporaries complained about the apparent hopelessness of the picture, Homer added a distant schooner on the horizon. But as a type of vessel more common to the slave trade era than the new century, perhaps it signified not the hope of rescue but the lingering ghost of slavery, refusing to vanish.
At the New York Historical Society (where I had gone to hear Cole Porter tunes played live on his 1907 Steinway), I discovered an exhibition of works by Betye Saar, best known for her washboard assemblages––adapting a common tool of laundresses and maids to address "enslavement, segregation, and servitude." In Liberation, for example, Saar recycles a demeaning stereotype into an image of defiant strength.
Betye Saar, Liberation (2014)
Among Saar's washboards was posted a poem by Langston Hughes, "A Song to a Negro Wash-Woman" (1925):
Oh, wash-woman
Arms elbow-deep in white suds,
Soul washed clean,
Clothes washed clean,––
I have many songs to sing you
Could I but find the words. . .
And for you,
O singing wash-woman
For you, singing little brown woman,
Singing strong black woman,
Singing tall yellow woman,
Arms deep in white suds,
Soul clean,
Clothes clean,––
For you I have many songs to make
Could I but find the words.
Betye Saar, (I'll Bend, But I Will Not Break (1998)
I was particularly taken by Saar's installation piece, I'll Bend, But I Will Not Break (1998). The ironing board is printed with a famous icon of human evil: the cruelly impersonal graphic of black bodies crammed into the British slave ship Brookes. The original 18th-century engraving was widely disseminated by the abolitionist movement, making it "perhaps the most politically influential picture ever made."[i]
Over one end of this diagram is superimposed a photographic image of a female house slave, bent over as she irons. An actual iron, signifying both female labor and the branding of slaves, is attached to the board with a chain, another symbol of bondage. The neatly ironed sheet hung on the wall bears the initials "KKK." Saar has commented on the weird paradox of this image:
"In order for a klansman to go out, he had to have a clean sheet, and a black woman—an Aunt Jemima type—had to wash that sheet. It was about keeping something clean to do a dirty deed. It's just an ironing board and a wash line, but the political implications are strong."[ii]
Nichola Galanin, White Noise: American Prayer Rug (2018)
The recurring Biennial at the Whitney Museum is dedicated to what's going on now in American art, and this year's exhibition, where half the artists are women, half are people of color, and 75 percent are under 40, features many subjects and perspectives intended to open our eyes to what may be hidden, unnoticed, or even uncomfortable for many.
One of my favorite works was White Noise: American Prayer Rug (2018) by Nicholas Galanin, an Alaskan of Tlingit/Unangax descent. Made of wool and cotton, it suggests a television screen filled with electronic noise or "snow"––the flickering dots of static picked up by an antenna in the absence of a transmission signal. But "white noise" is a specifically acoustic term, referring to a mix of all the sound frequencies audible to the human ear, suppressing unwanted sounds so we might more easily fall into sleep.
White Noise vibrates with a rich play of differences: soft fabric representing the hardness of glass, the freezing of restless static into a static image, the correlations and disparities between visual and acoustic "noise." But the sharpest contrast is between the devotional context of a prayer rug and the idolatrous worship offered to our screens. Prayer is the practice of deepest attention, but the all-knowing, all-seeing screen which devours our time is a poor substitute for true divinity.
Galanin describes his work as a protest against such idolatry. "The American Prayer rug is hung on a wall in place of flat screen televisions, as the image accompanying droning sound we use to distract us from our own suffering, from love, from land, from water, from connection; there is no space for prayer, only noise."
But the spirituality of White Noise is firmly intertwined with timely political critique:
"The work points to whiteness as a construct used throughout the world to obliterate voices and rights of cultures regardless of complexion. Calling attention to white noise as a source of increasing intolerance and hate in the United States as politicians, media, and citizens attempt to mask and obliterate the reality of America's genocidal past and racist present."[iii]
It should be noted that the old-fashioned analog television screen is a relic of the past. Can we say the same about white supremacy?
I Do Not Care, The Gulf Stream, I'll Bend But I Will Not Break, and White Noise all bring what is hidden or repressed into public visibility. God only knows what difference any work of art (or liturgy or sermon) makes in either individual or social consciousness, but let us be grateful for the prophets and visionaries among us. Where there is no vision, the people perish (Proverbs 29:18).
And for those who don't frequent traditional art venues, many artists are taking their work into the streets, where their prophetic message is impossible to ignore. Just the other day (June 12), twenty-four guerilla installations appeared overnight at public sites around New York City. At tourist sites like museums and Rockefeller Center, and outside media outlets from the New York Times to Fox News, a small cage was set up. Inside was the sculpted image of a child under a foil blanket. Continuous audio of crying children played for everyone to hear. A sign on each cage read: #NoKidsInCages.
attribution: Matthew Earle Scott/Twitter
As I have written in previous posts on art activism, Beautiful Trouble and Insurrectionary Imagination, "making the invisible visible is one of the key principles of art activism. Bring an issue home, tell its story, put a face on it." The placing of those cages, like Mariana's reenactment of the Odessa massacre, made the public look evil in the face. Of course, the authorities soon covered the cages with blankets and disabled the audio, restoring the invisibility of this shameful American sin.
The Republicans who are abusing those children
do not care if they go down in history as barbarians.
What about the rest of us?
Beautiful Trouble: A How-to Book for Creative Resistance
Insurrectionary Imagination and the Art of Resistance
Temporary Resurrection Zones
[i] https://unframed.lacma.org/2018/04/23/new-acquisition-betye-saars-ill-bend-i-will-not-break
[ii] New York Historical Society: "Women, Work, Washboards: Betye Saar in her own words" (https://unframed.lacma.org/2018/04/23/new-acquisition-betye-saars-ill-bend-i-will-not-break)
[iii] Nicholas Galanin: https://www.flickr.com/photos/galanin/31102635898
Posted in American art, Anglican spirituality, Art activism, Cinema, Politics, Racism	| Tagged "I do not care if we go down in history as barbarians", #NoKidsInCages, Art activism, Betye Saar "I'll Bend but I Will Not Break", Evil, Intolerance, Ioana Iacob, Langston Hughes, Nicholas Galanin "White Noise: American Prayer Rug", Odessa massacre, Radu Jude, Where there is no vision, white supremacy, Whitney Biennial 2019, Winslow Homer "The Gulf Stream"	| Leave a reply
Posted on June 5, 2019 by jimfriedrich
Jerome B. Thompson, The Belated Party on Mansfield Mountain (1858), Metropolitan Museum of Art, NY.
The painter gazes with speechless, loving wonder, and I whisper to myself: This is the pathway home to an immortality of bliss and beauty.
–– The Rev. Louis L. Noble (1859)
Do you observe how [God] intended that there should be moral meaning in the face of Nature, and that we should derive instruction therefrom? . . . And as I sat and looked today at the meadows and the trees, I thought within myself, "What message have they for me of my God, and from my God?"
–– The Rev. Henry Ward Beecher (1860)
Nature has always exerted a powerful influence upon the American imagination, whether it was seen as a howling wilderness to be tamed, a vast resource to be exploited, or a sacred gift to be treasured. Before much of this country was settled and cultivated, its unspoiled landscape was deemed a new Eden. But by the mid-nineteenth century, primeval landscapes were already in retreat, and many feared America was becoming Paradise Lost.
Landscape painting offered a powerful response to this anxiety, fostering and preserving a sense of Nature as a divine Scripture, "opening a thousand windows to show us God."[1] Even as rapacious expansionists were subduing the continent "with the plough and the railroad,"[2] artists were giving a kind of prayerful attention to what Nature, undefiled by human interference, was showing and saying to the receptive mind and heart. As one art historian noted in 1849, "numerous modern painters are distinguished by a feeling for nature which has made landscape, instead of mere imitation, a vehicle of great moral impression."[3] And the impression registered by painters like Albert Bierstadt or the Hudson River School was a sense of Creation as a shower of blessings suffused with divine presence, requiring of humanity both reverence and care.
Albert Bierstadt, Merced River, Yosemite Valley (1866), Metropolitan Museum of Art.
But in the 1850s, darker elements began to disturb the blissful images of America's Eden. A beautiful landscape might include the forlorn stumps of a logged forest; the distant smoke of a steam engine would register the intrusion of human technology. But westward expansion wasn't the only trouble in Paradise. In his study of Hudson River painter Frederic Edwin Church (1826-1900), Franklin Kelly writes that "no other period in the nineteenth century was so indelibly marked by complex national issues, mounting turmoil, and increasing doubt about the destiny of the American nation."[4] The turmoil and the doubt began to find expression in the representations and intuitions of both literature and painting. As Herman Melville wrote in Moby Dick (1851):
"Oh! time was, when as the sunrise nobly spurred me, so the sunset soothed. No More. This lovely light, it lights not me; all loveliness is anguish to me, since I can ne'er enjoy. Gifted with high perception, I lack the low, enjoying power; damned most subtly and most malignantly! damned in the midst of Paradise!" [5]
In a similar vein, the newly invented pigment of cadmium red, so dramatically applied by Frederic Church in Twilight in the Wilderness (1860), did more than document a sunset's color with greater accuracy. To a country on the eve of war, it also conveyed a warning: There will be blood. Damned in the midst of Paradise indeed.
Frederic Edwin Church, Twilight in the Wilderness (1860), Cleveland Museum of Art.
Church's crepuscular scene has been called "a stained glass window burning with the intense power of divine light."[6] But when the very future of the country was most in doubt, this silent moment just after sunset became an icon of a nation in crisis: in a time of passing away and growing darkness, could we still hope for a bright new morning? Louis Noble, Church's Episcopal rector and close friend, saw in Twilight "that narrow, lonesome, neutral ground, where gloom and splendor interlock and struggle." Darkness and light, like Jacob and the angel, "now meet and wrestle for mastery."[7]
In the previous year, another Episcopalian, Martin Johnson Heade, painted an even more foreboding image of imminent calamity in Approaching Thunder Storm (1859). Over the next decade of Civil War and its aftermath, stormy weather would be a common theme not only in American landscape painting, but in political and religious rhetoric as well.
In 1863, the aptly named Noah Hunt Schenck, rector of Emmanuel Episcopal Church in Baltimore, lamented that the "thousand miseries of our fraternal strife . . . so charge the air with gloom and roll their black clouds overhead, as to leave us bowed with sorrow and groping in the dark."[8] As the original owner of Heade's painting, Schenk must have looked upon it the day he wrote those words.
Martin Johnson Heade, Approaching Thunder Storm (1859), Metropolitan Museum of Art.
I recently visited Heade's painting at New York's Metropolitan Museum, and spent a long time peering into the ominous blackness of clouds and water. The warm tonality of the foreground shore and the jutting pair of grassy spits, glowing with an eerie intensity at odds with the surrounding gloom, only increased the unsettling sense of unreality. The extreme contrasts of dark and light, hot and cool, suggest tension and instability verging on the apocalyptic. And yet the human presences––the rower on the water, the watcher on the shore––seem strangely calm. Do they not see what the painter sees––an imminent doom?
Although the preeminent role of landscape painting in the production of national identity and spiritual meaning has long since declined amid vast changes in art, culture and religiosity, Approaching Thunder Storm seemed to me as relevant to our current situation as any of the edgy political works I had seen at the Whitney Biennial a few days earlier. In fact, as the climate crisis deepens, the symbolic trope of catastrophic weather is being strangely literalized. Climate is no longer just a vivid metaphor for the threats on our horizon. It is itself becoming as grave a danger as any other.
The crisis of these times may prove to be as devastating in its way as the events of the 1860s. But whether our storm clouds be the madness of presidents, the rise of fascism, or nature gone off the rails, the American body politic continues to sit passively on that broken plank––whether by ignorance, complicity, or despair, it matters little––inexplicably unable to rise, with whatever courage and hope we possess, to shout our protest to the gathering darkness:
"No more! Be still."[9]
[1] John Muir, My First Summer in the Sierra (1869, rev. 1911). Long after American landscape painters had abandoned the confident spirituality of the mid-nineteenth century, Muir translated the vision of an Edenic wilderness into political action, becoming a major voice in the movement for national parks.
[2] James Russell Lowell (1849), q. in Franklin Kelly, Frederic Edwin Church and the National Landscape (Washington, D.C.: The Smithsonian Institution Press, 1988), 55.
[3] Henry T. Tuckerman, Sketches of Eminent American Painters (1849), q. in Kelly, 22.
[4] Kelly, 116.
[7] Louis L. Noble, After Icebergs with a Painter: A Summer Voyage to Labrador and Newfoundland (1861), q. in Kelly, 119. 108.
[8] Noah Hunt Schenck, in "Songs in the Night," a sermon preached on Thanksgiving Day, 1863, q. in Sarah Cash, Ominous Hush: The Thunderstorm Paintings of Martin Johnson Heade (Fort Worth, TX: Amon Carter Museum, 1994), 44. Schenck's Baltimore parishioners were divided in their political sympathies. When prayers were said for President Lincoln, supporters of the Confederacy refused to kneel. After the war, he was glad to take a parish in New York.
[9] Cf. Mark 4:39, where Jesus rebukes the storm, and the wild sea grows calm. Weathering our own gathering storm may indeed require divine aid.
Posted in American art, American history, Anglican spirituality, Episcopal history, Landscape art, Nature, Politics	| Tagged Albert Bierstadt, America as New Eden, American Civil War, American landscape art, Approaching Thunder Storm, Climate crisis, Frederic Edwin Church, Herman Melville, Hudson River School, John Muir, Mark 4:39, Martin Johnson Heade, Nineteenth century American painting, Noah Hunt Schenck, Twilight in the Wilderness	| 2 Replies
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DOE Data Explorer Dataset: De novo protein crystal structure determination from X-ray free-electron laser data (CXIDB ID 22)
Title: De novo protein crystal structure determination from X-ray free-electron laser data (CXIDB ID 22)
Serial femtosecond crystallography (SFX) data of microcrystals of a lysozyme gadolinium derivative. The data was used to demonstrate de-novo phasing by single anomalous dispersion.
Barends, Thomas, R.M.
CXIDB ID 22
AC02-05CH11231
Lawrence Berkeley National Lab. (LBNL), Berkeley, CA (United States). Coherent X-ray Imaging Data Bank; Max-Planck Institute for Medical Research, Arizona State University, SLAC National Accelerator Laboratory
Max-Planck Institute for Medical Research, Arizona State University, SLAC National Accelerator Laboratory
XFEL; X-ray Free-electorn Lasers; Serial Femtosecond Crystallography; CXI; Lysozyme Gadolinium; LCLS
Barends, Thomas, R.M. De novo protein crystal structure determination from X-ray free-electron laser data (CXIDB ID 22). United States: N. p., 2013. Web. doi:10.11577/1169542.
Barends, Thomas, R.M. De novo protein crystal structure determination from X-ray free-electron laser data (CXIDB ID 22). United States. doi:https://doi.org/10.11577/1169542
Barends, Thomas, R.M. 2013. "De novo protein crystal structure determination from X-ray free-electron laser data (CXIDB ID 22)". United States. doi:https://doi.org/10.11577/1169542. https://www.osti.gov/servlets/purl/1169542. Pub date:Mon Nov 25 00:00:00 EST 2013
title = {De novo protein crystal structure determination from X-ray free-electron laser data (CXIDB ID 22)},
author = {Barends, Thomas, R.M.},
abstractNote = {Serial femtosecond crystallography (SFX) data of microcrystals of a lysozyme gadolinium derivative. The data was used to demonstrate de-novo phasing by single anomalous dispersion.},
month = {11}
Accurate macromolecular structures using minimal measurements from X-ray free-electron lasers (CXIDB ID 23)
Dataset Hattne, Hattne
Diffraction patterns from thermolysin microcrystals and one dark run, collected in December 2011. This data was used for metrology calibration and general cctbx.xfel development.
Femtosecond free-electron laser x-ray diffraction data sets for algorithm development (CXIDB ID 10)
Dataset Kassemeyer, S.

redpajama_set_name: RedPajamaCommonCrawl


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                operandStack.push(operand1 && operand2);
            case '|':
                operandStack.push(operand1 || operand2);
        }
    }
}
result = operandStack.top();

Commenting out the result = line gets rid of the error message.

A: First, I see that your "if (ch == '!' || ch == '&' || ch == '|')" has no purpose. There is nothing else they could be.
Also, if "postfix" is a std::string, I'm pretty sure size includes a terminating null character.  So it's probably trying to pop something there.
Third, if this whole thing is inside of a function, and you are returning a reference as you suggest (I don't see the actual function prototype) you are trying to return a reference to a local stack variable that's about to be destroyed.
And, as Spinkoo pointed out, you are also missing breaks in your switch...

A: I figured out what was going wrong. Nothing with the code provided here. I had a mistake formatting the strings I was putting into the function. Sorry y'all, and thanks for the help.

redpajama_set_name: RedPajamaStackExchange


In this enthralling companion to his New York Times best seller Every Day, David Levithan (coauthor of Will Grayson, Will Grayson with John Green) tells Rhiannon's side of the story as she seeks to discover the truth about love and how it can change you.
Every day is the same for Rhiannon. She has accepted her life, convinced herself that she deserves her distant, temperamental boyfriend, and even established guidelines by which to live: Don't be too needy. Avoid upsetting him. Never get your hopes up.
Then comes the morning when everything changes. Justin seems to see her, to want to be with her for the first time, and they share a perfect day - a perfect day Justin doesn't remember the next morning. Confused, depressed, and desperate for another day as great as that one, Rhiannon starts questioning everything. Then, one day, a stranger tells her that the Justin she spent that day with, the one who made her feel like a real person...wasn't Justin at all.
Is this as good as "Every Day?"
Yes! Only if you've read "every day."
This is essentially the same story shown through Rhiannon's eyes. This book isn't nearly as captivating as "Every Day," but it fills in some missing pieces. With this book, you get the whole story. Rhiannon and I have a love hate relationship. I hate how she jerks "A" around, but at the same time... I can understand why it's so hard to give herself to someone who is going to be someone different every day. Love is love. But attraction plays a big role in things whether we realize it or not.
The narrator did well most of the time. The only complaint I have is that sometimes she makes "A" seem like a robotic, empty, shell.
Almost as though I'm listening to Siri. This may not have bothered me or been apparent if I didn't listen to the first book.
Basically, it's a good book. If you're like me and loved every day, it's worth a read. You get to be inside the head of the person that "A" wanted to give It all up for. You get to see what happens when they're not together, and what's going through her head when they are.
Aaaaand that sums it up.
Same story - different perspective.
I absolutely loved Every Day - such a new and interesting premise. Another Day completes the story by giving Rhiannon's point of view.
I did not realize when I purchased this "sequel" that it was the same story - word for word - as the first book. It certainly added some depth to the story to hear it from Rhiannon's perspective, but I had been hoping to continue the story rather than repeat Book 1.
I read Every Day after seeing the movie and was pleasantly surprised that it was an alternate take from a different point of view and not just the same story I had just seen. So I was really looking forward to moving into uncharted territory and a brand new story with this book, but THIS is the book that was actually the basis of the movie. So for the 3rd time I'm back in the same slog again and this time I'm really bored with it. I was so disappointed when this book started in the same place with Rhiannon back with Justin again and going to the beach again, all of that again. I listened to the entire book on 2X speed to just to catch the few kernels of new material that randomly drop here and there. I hope the next book is an actual new story and not just same story again from some new perspective. There was a subtle change in tone at the very end of this book that suggests an opening for a new direction. Make it a good one, please!
The first book ended so abruptly that when i saw "book 2" i assumed this was the sequel. It's not. It's just book one from R's perspective. I liked R a lot in book one. But after about an hour into this book, you realize how kind of pathetic she is. I'm a bit sad I listened to it because now I feel differently towards her. I eventually just stopped listening.
I definitely struggled to finish it because the storyline was so repetitive. I even caught some moments when they were talking and what was said was not accurate to the first book. The one redeeming factor was that you got to hear the voices of the other people A inhabited for a day.
It is exactly the same story as Every Day, just from Rhiannon's perspective. Why bother?
I listened to this book and while it was good.. it was not as enjoyable because I already knew what was going to happen. I wish I had read the reviews before I listened. If there is a way to to tell both sides of this story in one book, in my opinion that would have worked out better for me. I did not like having to listen to the same conversations twice. I would really have liked the character insights, surprises and the plot turns MORE hearing from both sides as they lead up to the conclusion of the story.
My only advice is listen to this one if your are a stickler for the details.. other wise, it is too much repetition.
I read the first of this series, Every Day, years ago. I came upon Another Day not too long ago but haven't had the chance to read it. So I decided to listen to the audiobook and wow, I was so lost in it, almost the same way as I was actually reading the first one.
Honestly, I didn't have super high expectations bc I've only listened to a couple audio books before this one but this changed my mind.
I loved every minute of it and I was so so happy with my experience.


We just wanted to calculate a metric which can talk about what's the delay(if any) between DAG getting active in scheduler & server and then tasks of DAG actually getting kicked off (let's suppose start_date was of 1 hour earlier and schedule was every 10 minutes).
Currently task_instance table has execution_date, start_date, end_date & queued_dttm, we can easily get this metric from the difference of start_date  & execution_date but in case of back fill, execution_date will be of previous schedule occurrence and difference of start_date & execution_date will be skewed, though it will be okay for any future runs to get the delay in scheduling but for back fills, this number won't be trustworthy, any suggestions how to smartly identify this metric, may be by knowing somehow back fill details? Even in DAG table, there is no create_date & update_date notion which can tell me when this DAG was originally brought to existence?
Prev by Date: Plan to change type of dag_id from String to Number?
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text:
Welcome To Maestro Perostar's Blog
News, Information, Gossips, Sports, Entertainment, Fashion, Matters Arising, Recaps
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Lol! Karrueche Tran honestly plays too much ... See what she did
Karrueche Tran is one funny bae! So Instagram page balleralert posted a photo of Chris Brown and a story that the singer denies claims he has anger and drugs issues ... Karrueche like the post went on to comment that her finger slipped and that the liking the post was an accident ... Lol!
Posted by Maestro Perostar at 10:38:00 pm No comments:
Passengers stranded as Aero Contractors cancels flight from Sokoto
Almost 100 Aero Contractors passengers booked to travel from Sokoto to Lagos and Abuja on Friday were left stranded at the airport after their flights were cancelled at the last minute.
No reason was given for the cancellation of the flight, which was scheduled to depart Sa'ad Abubakar 111 International Airport at 1.30 p.m.
Continue Reading Here»
Anti-Corruption Body hails Osinbajo for admitting that every arm of government is corrupt
The Centre for Anti-Corruption and Open Leadership, CACOL, through its Executive Chairman, Mr. Debo Adeniran, has called on the Federal Government to purge the three arms of government of corruption.
The group said the Executive, Legislature and Judiciary arms of the federal government were seriously corrupt.
Adeniran stated this while appreciating the Acting President, Prof. Yemi Osibanjo for his acknowledging that there was corruption in all the arms of government.
Posted by Maestro Perostar at 9:28:00 pm No comments:
23-year-old student sent to prison for raping 9-year-old orange seller
A 23-year-old student, Muhammad Sani was on Friday remanded in prison for alleged defilement.
Sani was arraigned in a Kano Magistrates' Court for allegedly raping a 9-year-old orange seller.
Sani resides at Dawanau Quarters, Dawakin Tofa Local Government Area of Kano.
PDP is dead, I pray Nigeria won't be like it – Obasanjo
Former President, Chief Olusegun Obasanjo on Friday declared that the Peoples Democratic Party (PDP) is dead.
He also called for prayers for Nigeria not to sink like the former ruling party.
Obasanjo said this at the display of 40 African traditional drums in his honour to celebrate his 80th birthday celebration.
Christian Pilgrims Commission says Easter pilgrimage to Israel begins March 8
Rev. Tor Uja, Executive Secretary, Nigerian Christian Pilgrims Commission (NCPC), has confirmed that the 2017 Easter pilgrimage to Israel will commence on March 8.
This is contained in a statement by Celestine Ogugua, NCPC Head of Media.
The executive secretary said that Easter pilgrimage would cost ₦473,000 despite the inflation and exchange rate of dollar, saying that pilgrims would be entitled to BTA at CBN's approved rates.
Libya to deport more 180 Nigerians on Tuesday
No fewer than 180 Nigerians are expected to return to Nigeria from Libya on Tuesday.
The Senior Special Assistant to the President on Foreign Affairs and Diaspora, Mrs Abike Dabiri-Erewa, made this disclosure on Friday while receiving the Federal Commissioner, National Commission for Refugees, Migrants and Internally Displaced Persons Commission, Sadiya Farouk in Abuja.
Recall that the country had on February 14 returned 161 Nigerians, while 171 others were deported February 21.
What Osinbajo discussed with CAN, JNI, Miyetti Allah – Presidency
Acting President, Yemi Osinbajo on Friday held a meeting with key groups over the Southern Kaduna crisis.
Highlights of the meeting were tweeted by his media aide Laolu Akande.
Osinbajo "asked all to stop the bloodshed and let there be peace."
Woman says hardship forced her to throw her one-day-old baby into soak-away
Illustrative Photo of Soakaway
A mother of six from Guru village in outskirt of Bauchi, Bauchi State has thrown her one-day-old baby into a sewage shortly after delivery.
Juliana James, an indigene of Shendan Local Government Area of Plateau State told newsmen when she was being paraded by the police that hardship forced her to do away with the child.
See Photos of how police arrested naked man having sex with cow
Photographs have emerged online of a man arrested by police officers for having sexual intercourse with a cow in broad daylight in Muang Lampang, Malaysia.
Acting President, Osinbajo redeploys Permanent Secretaries
The Federal Government on Friday redeployed two federal permanent secretaries to the Federal Ministry of Agriculture and Rural Development and Environment.
Acting President Yemi Osinbajo approved the redeployment.
OMG! Rick Ross's ex-girlfriend's sex tape has been leaked (+18 Photos)
Sex tape of Lira Galore, who has been accused in the past of being in a lesbian relationship with Amber Rose, after a snapchat video in which she was making out with Amber was posted, has seen her sextape being released today by unknown persons.
Obasanjo: What I said about Igbo presidency
Former President Olusegun Obasanjo has sought to clarify his remarks about Igbo Presidency.
Obasanjo insisted he only told a group of visiting Christian leaders some weeks ago, that he would like to see an end to apparent marginalisation of the South East people.
He however denied stating that it must happen in 2019 or 2023.
AMCON to sack 1,500 Arik Air staff over low revenue
Indications have emerged that no fewer than 1,500 Arik Airline's staff may be fired this month as part of new management's cost-saving measures to keep the embattled airline alive.
Arik Air has about 2,000 workers spread across its local and foreign operations, while it operated a fleet of 28 aircraft at optimal capacity, which enabled it to generate enough revenue to meet its over N1 billion wage bill.
Oyo State gets new Police Commissioner
Oyo State Police Command has got a new Commissioner of Police. The new Police boss is Mr. Abiodun Adekunle Odude.
This is sequel to the retirement of outgoing commissioner, CP Samuel Adegbuyi from the service of the Nigerian Police Force.
Why I said anyone who kills a Fulani herdsman takes a repayable loan – El-Rufai
The Kaduna State Governor, Nasir El-Rufai, has clarified his earlier comment where he said anyone who kills a Fulani herdsman takes a death loan repayable in 100 years.
Speaking during the ongoing Social Media Week in Lagos, the governor disclosed that many people found the statement he in made in 2012 as inciting violence but it remained the truth.
Insisting that the comment was not a threat, El-Rufai said the comment was meant to help avert crisis.
I am not a monster – Mourinho
Manchester United manager, Jose Mourinho says he has proved he is "not a monster", during his first season with the club.
Last weekend, Mourinho won his first piece of silverware with United, defeating Southampton to lift the EFL Cup.
The former Chelsea boss says he has disappointed people who think he is difficult to work with.
Selena Gomez Spotted Kissing The Weeknd in Hot New Photo
Selena Gomez was photographed kissing her boyfriend, The Weeknd, outside L'Arc nightclub following his concert in Paris on Tuesday, February 28.
EFCC Files New Charges Against Shell, Eni, Over Purchase Of $1.3bn Oil Field
Nigeria's financial crime watchdog has filed new corruption charges against Royal Dutch Shell, Eni and others regarding the $1.3 billion purchase of a long-disputed oilfield in 2011, according to court documents released on Thursday.
The charges of conspiracy to commit a felony and official corruption were made after an investigation by Nigeria's Economic and Financial Crimes Commission (EFCC) found new evidence, Jonson Ojogbane, an EFCC senior prosecutor named in the documents, told Reuters by telephone.
Tunisia Agrees To Take Back 1,500 Rejected Migrants From Germany
Chancellor Angela Merkel said on Friday Tunisia had agreed to take back 1,500 rejected Tunisian migrants from Germany, after an attack by a Tunisian on a Christmas market in Berlin which killed 12 people.
Merkel had told Tunisia she wanted to speed up repatriation of failed asylum-seekers after Islamic State supporter Anis Amri drove a truck through the market in December.
Obasanjo: I Don't Know My True Age, My Mother Told Me I was Born on a Market Day
While speaking at the 2017 International Youth Variety Day and Public Presentation of Olusegun Obasanjo's Books for Children, on Thursday former President Olusegun Obasanjo, admitted he did not know his true age, adding that his late mother merely told him she gave birth to him on a market day.
Obasanjo who spoke at the event as part of programmes for his 80th birthday organised by the Centre for Human Security, with the theme "Presidential Libraries Will Reduce Leadership Deficit in Africa", said while growing up, he had the challenge of knowing his real date of birth, because his parents were illiterates.
Posted by Maestro Perostar at 8:47:00 am No comments:
Amazing! See how this bus driver pull over to save a suicidal woman (VIDEO)
A brave bus driver has saved a suicidal woman in a most amazing manner while on a routine journey.
Metro reports that Damone Hudson, who drives a bus in Dayton, Ohio, was crossing the Main Street Bridge when he noticed a woman standing on the wrong side of the rail.
He was shown on CCTV immediately pulling the bus over and opening the door, before trying to talk the woman back from the ledge.
#Warrisdis! Ex BBNaija Housemates, Miyonse, Soma spotted with a boobilicious female fan
Former Big Brother Naija Housemates, Soma and Miyonse have unintentionally found themselves in the news again over an issue unrelated to entertainment.
Aww! See Lovely Pre-Wedding Photos of a Couple in Keke Napep
Marry Me Photography has directed a beautiful pre-wedding photo session of two awesome love birds set to get married this year.
The couple has driven home the message of their love using the cheapest available resources. They have succeeded in melting the hearts of Nigerians without the usual glamour of rocking exotic clothes, snapping at upscale locations and the rest associated with luxury.
It is Dangerous to Have S3x More Than Three Times a Week - Expert warn
S*x is a very sweet thing for many people. But, how much of s*x is too much? S*x has been known to burn calories but how many and depending on what factors, so it is very good for the body.
Sexologists warn that it is important to remember that though having s*x between one and three times in a week is considered normal, anything more than that can have bad effects on sexual health, while the sensitivity of the penis may also decrease.
According to New Health Advisor, you risk the following health issues if you indulge in too much s*x!
Yemi Osinbajo assures oil producing states of fairness, equity, development
Acting President Yemi Osinbajo said on Thursday that the Federal Government would ensure justice, equity and even development of the oil producing states in the country.
Osinbajo gave the assurance in Uyo when he visited members of the Akwa Ibom Traditional Rulers' Council as part of his consultation with stakeholders in the Niger Delta region.
He said that the Federal Government, under the leadership of President Muhammadu Buhari, was committed to even development of the oil bearing communities in the country.
Nigeria YouTube mobile watch-time increases by 150% in 2016
Ms Teju Ajani, YouTube Partnership Manager, Sub-Saharan African on Thursday disclosed that YouTube mobile watch-time in Nigeria had increased by 150 per cent in the year 2016.
Ajani said this during the YouTube Brand Partner Summit held in Lagos.
According to her, the percentage is a proof that Nigerians are spending more time on the platform and are finding contents relevant to them.
Buhari has worsened a 'very bad' economy he inherited - Charles Soludo
A former Governor of the Central Bank of Nigeria, Prof. Chukwuma Soludo, on Thursday slammed President Muhammadu Buhari for worsening the already bad economy he inherited from former President Goodluck Jonathan in 2015.
According to him, he believes the government would not be able to reverse the tide unless Nigerians can force them to be on their toes.
Soludo spoke at the 'Big Ideas Podium', a public policy debate organised by the Afri Heritage Institution in Enugu, where he canvassed what he termed a "citizens united" campaign by Nigerians to demand change and accountability from government at all levels.
See how TV Guest put TV Host 'bum' on display during a live program (Photos)
Capucine Anav, a French TV host, was left embarrassed after a guest on her show, lifted up her skirt on Live TV.
The TV Host who was picked by the guest and taken around on a piggy back, was left embarrassed with the prank, which flashed her ass to the camera, as she was wearing just a tiny black thong.
Why Naira is appreciating - CBN
The Central Bank of Nigeria (CBN) said yesterday that the currency's appreciation against others was the result of its market monitoring and intervention.
Its spokesman Isaac Okorafor refuted the claim that illegal sale of foreign currencies at ridiculous rates was responsible for the change in Forex policy.
Okorafor, who spoke in Sokoto, also explained that the appreciation of the Naira was in no way connected to the allegations of illegal sale of foreign currencies.
Photos: Blac Chyna shows off her post-baby bod
The new mom is gradually regaining her body confidence since after given birth. Chyna showed off her tight abs in this all black outfit.
House of Reps bemoans the high cost of law school fees
The House of Representatives, on Thursday, expressed worry over the high cost of fees being collected from students by the Nigerian Law School.
It, therefore, mandated its Committees on Justice; Tertiary Education and Services, and Finance to interface with the Director-General of Nigerian Law School and other stakeholders on the issue.
The move stemmed from the adoption of a motion by Rep. Mark Gbillah (Benue-APC), who told the chamber that the increase in fees of the school over the last couple of years was alarming.
See what a WICKED father did to his motherless daughter (Disturbing Photos)
This story of how a father mercilessly brutalized her daughter currently trending online as was shared by one Aderemi Goncalves.
See what he shared below:
INEC probes 202 officials over N23 Billion bribe
The Independent National Electoral Commission, INEC, is currently probing 202 of its personnel suspected to have benefited from a N23 billion bribe offered them during the 2015 general elections.
This is even as the commission now suffers shortage of 33 Resident Electoral Commissioners, RECs, as four will be retiring this weekend to join 29 RECs, who had exited service in October last year.
INEC National Commissioner, May Agbamuche-Mbu, who disclosed these during a media interface, yesterday, in Abuja, added that 29 INEC officials indicted by either the Police probe panel or the commission's administrative panel had been referred for disciplinary action. "By March 4, four more Resident Electoral Commissioners, RECs, will complete their tenure. This is in addition to the 29 RECs, who had earlier completed their tenure with the commission," she said.
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text:
Mythology reviews 1 (box set 1)
Join Date: Apr 29, 2001
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I was tempted to buy the boxset, I was in a shop together with FPSHOT and they brought the set in, I almost bought it but in the end I let it pass. Now I got it through a trade (thanks Friar Park), and I must say I am glad I didn't buy the set.
I give 3 different reviews for each set. With a lot of trouble I got through the first box set.
Disc 1 starts off with some BBC recordings, which at the time were new or at least with improved sound quality, but in 2003 Transcription records released a set of 10 cd's with new and improved BBC recordings. I have the first volume of it, I was foolishly waiting for the Yellow Dog set, but now I am thinking of buying the rest of this set, but I digress.
New on the first disc is also the "I Saw Her Standing There" overdub session, on which we can hear take 2 each with new overdubs added on it.
Yellow Dog already released a lot of takes of "Thank You Girl" and "From Me To You" on their Ultimate Colection set, here you have them again. There are some diferences like a mmming intro to "From Me To You" which isn't on the Ultimate Colection set I believe, and some other edit pieces, but most fans wouldn't notice the diferences.
The set comes with an number of unigue live recordings.But given that the sound quality isn't that great most of the times, it's more for historic value then for listening pleasure.
It has Live at the Palladium 13 October 1963
The complete Royal Command Performance, the complete Morecambe and Wise show.
The best part of the Morecambe and Wise show is on Anthology 1, "This Boy" comes with a terible sound, and "Dirty Deckhair" which also wasn't on the Anthology, needs vision as it is just some music and you don't hear the Beatles.
The live concert 'It's The Beatles' Liverpool Empire, 7 December 1963, which was transmitted by the BBC,is a true gain to anyone's Beatles colection.A "new" concert recording with good sound.But to my ears still not good enough to make it a nice listen, still worth having.It's the highlight on disc 3, which also has some BBC recordings and more interviews, which are amusing at best (not to mention Marvin Gay) but sometimes I just wish there would be more music.
Not a set I will listen to often, some live recordings worth having, but not something you will play often. What about some other songs, well a stereo mix of "This Boy" is what you can find, and some BBC recordings, that may be or may not be unigue I am not sure.
I"ll give my end conclusion after having reviewed the other two volumes.
Review of box set 2
[size="1"][ Feb 08, 2004, 07:41 AM: Message Edited By: Legs ][/size]
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Feb 02, 2004, 05:43 PM #2
friar-park
Location: WI, USA
Re: Mythology reviews 1 (box set 1)
I agree that Volume one is a bit of a disappointment. As Legs said, it's good to have for the historical record, but not much repeated listening here. For me Volume 3 is the best of the set.
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onosideboards
Join Date: Sep 22, 2001
Location: Minnesota, USA
But what you missed when not buying the set is copies of John Barrett's hand written notes! I dont' know what disc they come with though, the scans might be at Bootlegzone.
I haven't listened to this particular disc in quite a while, but what I like about the whole set is how you really get a feel for the entire she-bang. You get interviews, the live shows, and the stuido work...all at a heart-stopping rate. Really a nice idea.
I've never heard of this Transcription records set. The new YD set apparently has 4 new shows no on has heard before.
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The two jewelers behind Par ici bring new life to their favourite retro pieces with a unisex collection that combines bold and elegant style. Made from small bars linked in geometric shapes, this necklace promises to add chic, modern flair to any look. We bet it'll soon become your favourite!
*Each item is made by hand on request, so please allow for a longer delivery time.


MASHER lets you easily create a video by mashing together photos, music tracks, text and special effects. So you can create a video to brag about your holiday, to wish your friend happy birthday, or to market your fast growing business. Whatever you have to say, a video is a great way of telling friends, family and customers what you're up to and MASHER is designed to help you do that.
MASHER was created in 2009 and since then we've been going from strength to strength, supported by our community of amazing subscribers! We now have an incredible built-in library of music tracks, fonts and special effects that you can use in your creations.
To use MASHER, you only need to have a web-browser - there is nothing to download or install.
With more than 600,000 subscribers around the world, you can create a video with MASHER and then email it to your friends, embed in on your website, post it to Facebook or Twitter or download it to your computer - the possibilities are endless!


Discover a world of modern luxury fashion.
At Le Loop, our goal is for everyone to enjoy beautiful, good clothing. Discover a hand selected collection of designer labels from recent seasons together with us.
At Le Loop, our goal is for everyone to enjoy beautiful, good clothing. Shop from a hand selected collection of designer labels from recent seasons together with us.
Let's be real - our style and tastes change over time. Shop from us and have the freedom to sell back your items whenever you're tired of them, or simply want to make space for new items. This way, you can discover new pieces throughout the year, without having to settle on just one.
Above all, we are made up of a group of fashion enthusiasts, united by our love for clothing. With experiences spanning luxury companies from LVMH, to Erdem and Alexander McQueen, we are always on the look out for new and exciting pieces to share with you.
Have a question? Want to learn more about our approach, or get involved in our work? We are always looking for talented individuals to join our Singapore-based team. To see current available roles, drop us an email at hello@le-loop.com.
Have a question? Want to learn more about our approach, or get involved in our work? We are always looking for talented individuals to join our Singapore-based team. To find out about current available roles, drop us an email at hello@le-loop.com.


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PTAG updates
Contribution to PASG form
Questions Asked of Lend Lease
Investors may wish to note that representations continue to be made to Lend Lease about its role in the collapse of Prime Trust. We continue to allege that Lend Lease does not hold proper title to the management rights over the Trust's retirement villages, as Babcock & Brown Communities Ltd (now Lend Lease Primelife) acquired these rights from a party which we maintain did not have proper title. It is also alleged that the Call Option which was used to acquire the management rights was exercised invalidly, having been exercised outside the exercise period and at a time when the Call Option had already expired worthless. Some recent press articles are attached which refer to the issues raised at Lend Lease's recent AGM and Lend Lease's brief response.
Lend-Lease-Banking.jpg Lend-Lease-Looking.jpg


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Shona O'Neil and the Little Bear's team
Fun outdoor spaces
With 11 years of early years teaching under her belt, Shona O'Neil found it a constant struggle to find good childcare, so when their neighbour decided to sell up in 2005 it was the perfect opportunity to consider launching their own nursery, right next door.
That was the start of On Wanstead Green – a 32 place day nursery adjacent to the family home, that quickly developed a good reputation and an Outstanding rating from Ofsted.
Places quickly filled and it became apparent that expansion would be necessary to accommodate the needs of growing families as younger siblings looked to join their older brothers and sisters. With extending the current premises not an option it was time to look further afield.
Since then, Little Bear's has grown from a single site to a group of well-regarded facilities. Wanstead Village was the next acquisition, an old private medical facility that had stood empty for some years, which provided the perfect footprint for a larger site. 10 rooms were developed as part of the £500,000 refurbishment project, creating a 96-place facility that opened in November 2011. The after-school club opened late in 2012, following a redevelopment of the old operating theatre.
Late 2011 saw further opportunity to expand their sloth of Bears with the development of the Olympic Park in Stratford. Little Bear's were invited to tender to manage the site in the newly created East Village and were subsequently awarded the contract in June 2013 and opened in September 2013, adding another litter of Bear cubs to the family.
The 4th member of the Little Bear's family opens in early 2019 in Elephant Central. This marks an exciting time for the Little Bear's Daycare group as Little Bear's 5 is set to follow quick on the paws of 4, and open in early 2019.
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