text:
بدخولك إلى هذا الموقع، فأنت توافق على استخدام التكنولوجيات المتاحة، مثل ملفات تعريف الارتباط والتحليلات، لتكييف المضمون والإعلانات وتوفير الأدوات اللازمة لوسائل التواصل الاجتماعي. وسوف يُستخدم ذلك لتحليل حركة ارتياد الموقع الشبكي، مما يتيح لنا فهم ميول الزوار وتحسين الخدمات التي نقدمها. لمعرفة المزيد لمعرفة المزيد
رحبًا بكم في قاعدة بيانات القانون الدولي الإنساني العرفي المتوفرة باللغات:
قاعدة بيانات القانون الدولي الإنساني القانون الدولي الإنساني العرفي
الاقتباس
جميع قواعد بيانات القانون الدولي الإنساني
قاعدة بيانات القانون الدولي الإنساني
1.القواعد
2. الممارسة
بالإنجليزية
حسب القاعدة
حسب الفصل
الممارسة المتعلقة
المادة 107
2. الممارسة\Section A
1. القواعد
2. الممارسة(current)
مصدر
حسب القاعدة
حسب الفصل
حسب البلد (current)
Afghanistan
Albania
Algeria
Andorra
Angola
Antigua and Barbuda
Argentina
Armenia
Australia
Austria
Azerbaijan
Bahamas
Bahrain
Bangladesh
Barbados
Belarus
Belgium
Belize
Benin
Bolivia
Bosnia and Herzegovina
Botswana
Brazil
Brunei Darussalam
Bulgaria
Burkina Faso
Burma
Burundi
Cabo Verde
Cambodia
Cameroon
Canada
Central African Republic
Chad
Chile
China
Colombia
Congo
Cook Islands
Costa Rica
Côte d'Ivoire
Croatia
Cuba
Cyprus
Czech Republic
Czechoslovakia
Democratic People's Republic of Korea
Democratic Republic of the Congo
Denmark
Djibouti
Dominica
Dominican Republic
Ecuador
Egypt
El Salvador
Estonia
Ethiopia
Fiji
Finland
France
Gabon
Gambia
Georgia
German Democratic Republic
Germany
Germany, Federal Republic of
Ghana
Greece
Grenada
Guatemala
Guinea
Guyana
Haiti
Holy See
Honduras
Hungary
Iceland
India
Indonesia
Iran
Iraq
Ireland
Islamic Republic of Iran
Israel
Italy
Jamaica
Japan
Jordan
Kampuchea
Kazakhstan
Kenya
Kuwait
Kyrgyzstan
Lao People's Democratic Republic
Latvia
Lebanon
Lesotho
Liberia
Libyan Arab Jamahiriya
Liechtenstein
Lithuania
Luxembourg
Madagascar
Malawi
Malaysia
Mali
Malta
Marshall Islands
Mauritania
Mauritius
Mexico
Monaco
Mongolia
Morocco
Mozambique
Myanmar
Namibia
Nauru
Nepal
Netherlands
New Zealand
Nicaragua
Niger
Nigeria
Norway
Oman
Pakistan
Panama
Papua New Guinea
Paraguay
Peru
Philippines
Poland
Portugal
Qatar
Republic of Korea
Republic of Moldova
Romania
Russian Federation
Rwanda
Saint Kitts and Nevis
Saint Lucia
Saint Vincent and the Grenadines
Samoa
San Marino
Saudi Arabia
Senegal
Serbia
Serbia and Montenegro
Seychelles
Sierra Leone
Singapore
Slovakia
Slovenia
Solomon Islands
Somalia
South Africa
Spain
Sri Lanka
Sudan
Suriname
Swaziland
Sweden
Switzerland (current)
Syrian Arab Republic
Tajikistan
Thailand
The former Yugoslav Republic of Macedonia
Togo
Tonga
Trinidad and Tobago
Tunisia
Turkey
Turkmenistan
Uganda
Ukraine
Union of Soviet Socialist Republics
United Arab Emirates
United Kingdom of Great Britain and Northern Ireland
United Republic of Tanzania
United States of America
Uruguay
Uzbekistan
Vanuatu
Venezuela
Viet Nam
Yemen
Yugoslavia, Federal Republic of
Yugoslavia, Socialist Federal Republic of
Zaire
Zambia
Zimbabwe
القاعدة 1
المادة 2
المادة 11
استخدام الأسلحة المحظورة
الأسلحة النووية
حظر أنواع معينة من الألغام الأرضية
المادة 100
المادة 107 (current)
Section A (current)
Section B
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القاعدة ذات الصلة
Practice Relating to Rule 107. Spies
Section A. Definition of spies
III. Military Manuals
Switzerland's Basic Military Manual (1987) defines a spy as "an individual who, acting clandestinely or on false pretences, gathers or attempts to gather information in the zone of operation of a belligerent with the intention of communicating it to the adverse party".
Switzerland, Lois et coutumes de la guerre (Extrait et commentaire), Règlement 51.7/II f, Armée Suisse, 1987, Article 42.
Switzerland's Regulation on Legal Bases for Conduct during an Engagement (2005) states:
220 Gathering information and conducting reconnaissance are permissible at any time. If, when gathering information while in uniform, combatants fall into the hands of the enemy, they must be treated as prisoners of war.
221 Gathering information in a clandestine manner or under a false pretext (e.g. in civilian attire or enemy uniform) is considered espionage. Spies are subject to the criminal law of the State that arrests them (in Switzerland: the Military Criminal Code) and face severe penalties after their arrest. They are not entitled to prisoner-of-war status.
222 Acts of sabotage (i.e. harmful acts committed behind enemy lines) are permitted, as long as they are carried out by combatants in uniform and are aimed exclusively at military objectives. If captured, combatants who have committed acts of sabotage are entitled to prisoner-of-war status.
Switzerland, Bases légales du comportement à l'engagement (BCE), Règlement 51.007/IVf, Swiss Army, issued based on Article 10 of the Ordinance on the Organization of the Federal Department for Defence, Civil Protection and Sports of 7 March 2003, entry into force on 1 July 2005, §§ 220–222.
Switzerland's Military Criminal Code (1927), as amended in 2007, states:
A person who has gathered military information on Swiss territory for a foreign State to the detriment of another foreign State or has organized such service … shall be liable to a custodial sentence not exceeding three years or to a monetary penalty.
Switzerland, Military Criminal Code, 1927, as amended in 2007, Article 93(1).
Switzerland's Military Criminal Code (1927), taking into account amendments entered into force up to 2011, states:
1 A person who, on Swiss territory, has gathered military information for a foreign State to the detriment of another foreign State or has organized such a service,
anyone who has recruited someone else for such a service or has encouraged such acts,
shall be liable to a custodial sentence not exceeding three years or to a monetary penalty.
Switzerland, Military Criminal Code, 1927, taking into account amendments entered into force up to 2011, Article 93(1).
Switzerland's Penal Code (1937), taking into account amendments entered into force up to 2011, which also contains a title on war crimes, states under the title "Felonies or misdemeanours against the State or national defence":
1 A person who has gathered military information in the interest of a foreign State and to the detriment of Switzerland or has organized such a service,
Switzerland, Penal Code, 1937, taking into account amendments entered into force up to 2011, Article 274(1). See also Articles 4(1), 267(1) and 272(1).
Switzerland's ABC of International Humanitarian Law (2009) states:
A spy is a person who secretly attempts to obtain information of military importance in enemy controlled territory. Spies operating in civilian clothes are not entitled to the status of Combatants and if captured are not accorded the status of Prisoners of war. Spies in uniform on the other hand do count as combatants and are to be accorded prisoner of war status if captured.
Switzerland, Federal Department of Foreign Affairs, ABC of International Humanitarian Law, 2009, p. 38.
icrc.org/ar
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text:
Portrait miniature of Charles de Schomberg Marshal of France
This finely painted portrait miniature of a gentleman, wearing a dropped lace collar of the 1630's. The miniature is painted on an oak panel, the white layer is of gesso (polished and used as the painting surface). The sitter is wearing a white sash trimmed in blue, this has been identified as belonging to a Marchal of France. Further research has identified the sitter to be Charles de Schomberg Marshal of France 1637 - 1639. or Urbain de Maillé-Brézé Marchal of France 1633. The lace collar would date him to the 1637's so Charles de Schomberg is more likely.
It is unusual being painted on a panel, this is usually a much earlier technique for miniatures, that by this point in history were either on vellum or copper. Interestingly this would have been during the 30 years war, so much of Europe was in a conflict mode, including the English Civil War.
Charles Schomberg was German-born but rose to high status, arriving in France under Charles IX, growing up at court as enfant d'honneur of Louis XVIII. His father, Henri de Schomberg, also a Marshal of France, had died just after commanding the royal army which defeated Montmorency. By all accounts, Charles was gallant, educated and popular, particularly with the Languedocians (he even learned their language and was able to communicate with the locals).
This portrait appears to have been painted in 1637, when Charles successfully defeated the Spanish force which threatened to invade Languedoc from Catalonia (the Battle of Leucate). Having successfully defened this territory, hopes were high that Charles might force the Spanish army to retreat further by invading Roussillon, but he refused to participate, correctly assuming that this would be at his own expense. Charles went on to further positions of civilian and military authority, becoming the Governor of Metz and of the Trois-Évêchês between 1644 and his death in 1656. He was also Colonel-general of the Cent-Suisses et Grisons between 1647-56.
Charles's first wife was Anne, Duchess d'Halluin, from whom he received his title. Anne was unusual in divorcing her husband Henry de Nogaret de La Valette (who also kept his title after the end of the marriage). Anne died in 1641 and in 1646 Charles remarried with Marie de Hautefort (1616-1691), an important figure at court being both lady-in-waiting to Queen Anne of Austria and the former favourite of King Louis XIII. The couple moved to the Citadel of Metz in 1652.
The miniature is unframed and unrestored, a rare object that will benefit from some TLC!
OBJECT: Portrait Miniature
CULTURE: Baroque
DATE: c. 1630 - 1640
SIZE: 52mm x 3mm
PROVENANCE: Ex. Private Collection, Tel Aviv, Israel

redpajama_set_name: RedPajamaCommonCrawl


I have read a few books from this author now and I'm beginning to get a feel for her work and she has firmly entrenched herself on my must read list. When this one hit the kindle I was bursting to get my hands on it and by the time I had finished, I felt as if my life had combusted, there are MC novels and then there are MC novels if you know what I mean, this wasn't your run of the mill good girl meets bad guy and it all comes up smelling of roses, no not by long shot…this was dirty, this was raw and this was harsh and it needed to be because Zeke was all of those things and more and the actions that ensued as the book progressed meant that his life was becoming more and more dangerous, if that could even be possible.
There are secrets, lies, angst, anger and all that is just the first chapter! Get past the initial OMG and you will be agog, there are no nice, gentle episodes, this is a full on ride and you had better be hanging on tight because this is one bikers back seat you may just want to claim for yourself.
Zeke is not a nice man, he never has been, he was a darkness that lives inside him that he has never been able too or never wanted to shake but his club is his life and he has embraced it all of his life, and will continue to do so until they put him six feet under, but what happens when the one woman he won't let go, could be the one woman that will end it all?
Because not content with pushing the boundaries of every single aspect of his life on a day to day basis, he has to go after the one woman that might just be the death of him…and her!
Jillian is a sheriff, and Zeke knows that in his lifetime, she is well and truly off limits. They are polar opposites in everything in life, the good and the bad, the right and wrong side of the track and he has no right chasing after her but this feisty woman has gotten under his skin and he can't hold back, he has to have her, but at what cost?
The reputation of the Sin City Outlaws is legendary and so is that of their President, Zeke is a man not to be messed with, those that do not fear him are a minority club and he is not averse to flexing the muscle and might that not only he but the club has to get his own way.
But when their world's collide and believe me it is most definitely a collision, there is a lot more at stake than just the Sin City Outlaws and the Sheriffs Dept., because there is a driving force behind the pair of them that refuses to listen to common sense, that refuses to allow either of them to walk away, refuses to cow-tail to the rules, they are two souls that have found their mate and are determined that they will have what they need and the world … well it can go to h**l- and it just might have too when their relationship comes to light!
This bad a** biker is smitten, whether or not he will admit it is a different matter but his reaction to this chopsy mouthed sheriff made me smile. While whole of Las Vegas was tip toeing around him, worried about the big bad president, Jillian held nothing back and I think that is what drew him to her like a moth to a flame. She didn't run and hide from him, she stood her ground and I got the impression he admired her for that. But as hard as she tries to be the consummate professional, all reason goes out the window when she is around him, he seems well equipped to render her almost speechless.
They tried, they really did and I found the internal battles quite amusing at times but it was as if they were connected by a piece of elastic, they were tethered to each other in a way that neither of them had the capacity to fight and after one solitary kiss, their lives would never be the same again.
There were things afoot throughout the story that meant there was a question mark over the honesty that ran amongst the bad guys of the city, there was a deviousness that took its time to bubble to the surface but when it did the results were calamitous.
I thought I had worked out who the bad guys were (not just the obvious ones) but the author had a few more tricks up her sleeve and the book really did have me guessing until the very end.
Oh and the way it finished, honestly!!! The wait for book two is going to be excruciating.
Whose resolve is going to break first?
Can Jillian recover from the events that unfolded at the end of the book?
Will Zeke ever be able to have both his club and Jillian?
What will the rest of the Sin City Outlaws do about his relationship with Jillian and where does that leave the club?
Oh, and then what about Lip?????
It is all too much but so bleeding exciting, book two soon PLEASE!!!


text:
from unittest import mock

from tdclient import models
from tdclient.test.test_helper import *

def setup_function(function):
    unset_environ()

def test_table():
    client = mock.MagicMock()
    table = models.Table(
        client,
        "db_name",
        "table_name",
        "type",
        "schema",
        12345,
        created_at="created_at",
        updated_at="updated_at",
        estimated_storage_size=67890,
        last_import="last_import",
        last_log_timestamp="last_log_timestamp",
        expire_days="expire_days",
        primary_key="primary_key",
        primary_key_type="primary_key_type",
    )
    assert table.type == "type"
    assert table.db_name == "db_name"
    assert table.table_name == "table_name"
    assert table.schema == "schema"
    assert table.count == 12345
    assert table.estimated_storage_size == 67890
    assert table.primary_key == "primary_key"
    assert table.primary_key_type == "primary_key_type"
    assert table.database_name == "db_name"
    assert table.name == "table_name"
    assert table.created_at == "created_at"
    assert table.updated_at == "updated_at"
    assert table.last_import == "last_import"
    assert table.last_log_timestamp == "last_log_timestamp"
    assert table.expire_days == "expire_days"
    assert table.identifier == "db_name.table_name"

def test_table_permission():
    client = mock.MagicMock()
    table = models.Table(client, "sample_datasets", "nasdaq", "log", "schema", 12345)
    client.database().permission = "permission"
    assert table.permission == "permission"
    client.database.assert_called_with("sample_datasets")

def test_table_estimated_storage_size_string():
    client = mock.MagicMock()
    table1 = models.Table(
        client,
        "db_name",
        "table_name",
        "type",
        "schema",
        12345,
        estimated_storage_size=1,
    )
    assert table1.estimated_storage_size_string == "0.0 GB"
    table2 = models.Table(
        client,
        "db_name",
        "table_name",
        "type",
        "schema",
        12345,
        estimated_storage_size=50 * 1024 * 1024,
    )
    assert table2.estimated_storage_size_string == "0.01 GB"
    table3 = models.Table(
        client,
        "db_name",
        "table_name",
        "type",
        "schema",
        12345,
        estimated_storage_size=50 * 1024 * 1024 * 1024,
    )
    assert table3.estimated_storage_size_string == "50.0 GB"
    table4 = models.Table(
        client,
        "db_name",
        "table_name",
        "type",
        "schema",
        12345,
        estimated_storage_size=300 * 1024 * 1024 * 1024,
    )
    assert table4.estimated_storage_size_string == "300 GB"

redpajama_set_name: RedPajamaGithub


inspiracji premierowych przygotowanych przez nasz Design Team :-) Zobaczcie, jak pięknie można tworzyć z Daydream!
Did you seen our new collection Daydream?? Is full of pink, turquoise, feathers, dreamcatchers and positive energy!! Whole collection and candy you can find HERE (CLICK). And today we have for you first part of premiere inspirations prepared by our Design Team :-) Look, how beautiful can create with Daydream!
These are all so gorgeous!! They showcase the papers perfectly!!


text:
Small Business Support for Governor Whitmer's State of the State
February 18, 2019 - 4 minutes read
Governor Whitmer's first State of the State provided an opportunity to communicate her vision for the future of Michigan, including fundamentals like improving Michigan's roads, building its workforce and expressing her support of Michigan's small businesses.
"We're very encouraged by the Governor's commitment to small businesses," commented J.D. Collins, State Director of the Michigan Small Business Development Center. "As Michigan's premier provider of small business resources, we look forward to continued opportunities to provide entrepreneurs the support they need to start and grow their businesses."
The Michigan Small Business Development Center (Michigan SBDC) provides no-cost consulting, business education, secondary market research and technology commercialization to new and existing businesses throughout Michigan's 83 counties. The SBDC will continue to play a critical role in the success of Michigan's small businesses, as they have for over two decades.
Inductive Intelligence, a Grand Rapids-based technology company, has utilized the Michigan SBDC's services as their business has grown.
"We're extremely grateful for the support we've received from the Michigan SBDC. Their advice has enabled us to avoid pitfalls, grow our business and secure funding to hire key people to accelerate our business," commented Greg Clark, Co-Founder and CEO of the company.
Their innovative technology uses wireless power transmission, wireless communication, and emerging sensor technology to turn paper, plastic, glass, foil and metal packaging into Internet of Things (IoT) enabled cookware. Using highly controlled inductive power, their products allow the consumer to heat foods, drinks, household, and personal care items in the package by simply placing it on a coaster-sized appliance that can also be used to wirelessly charge a mobile device. The Michigan SBDC has supported Inductive Intelligence with its overall business plan and go-to market strategy, as well as supporting the development of prototypes for proof of concept testing with major retailers in the U.S.
The impact of the Michigan SBDC extends through all of Michigan's 83 counties. In 2018 the Michigan SBDC provided consulting to over 5,600 businesses, resulting in 394 new businesses opened and 4,475 jobs created and retained. Michigan SBDC consultants helped generate over $203,603,784 in new capital formation for small businesses.
These client-verified impact numbers exceed statewide goals, a testament to the the Michigan SBDC's strong fundamentals, mission-driven employees and collaborative partnerships throughout the small business community.
With Governor Whitmer's continued support of small businesses, the Michigan SBDC is well poised to continue providing services to both startups and existing businesses.
About Michigan SBDC: The Michigan Small Business Development Center (Michigan SBDC) provides consulting, business education, secondary market research and technology commercialization to new and existing businesses throughout Michigan's 83 counties.
The Michigan SBDC is located at the Grand Valley State University, Seidman College of Business in Grand Rapids, Michigan. As host of the Michigan SBDC State Headquarters, the Seidman College of Business oversees the 11-region Michigan SBDC network. Entrepreneurs and small business owners may access the services of their nearest Michigan SBDC by calling (616) 331-7480 or visiting www.sbdcmichigan.org.
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Author Corinne Zupko, a licensed counselor and Mindfulness-Based Stress Reduction teacher, undertook her study of psychology out of necessity when debilitating anxiety threatened to derail her life. Seeking ways to do more than temporarily alleviate her symptoms, Corinne began to study A Course in Miracles (ACIM), mindfulness meditation, and the latest therapeutic approaches for treating anxiety.
As Corinne healed her own mental anguish, she compiled the perception-shifting process she describes in From Anxiety to Love: A Radical New Approach for Letting Go of Fear and Finding Lasting Peace. We hope you'll enjoy this short excerpt from the book.
To make the journey into the Now we need to leave our analytical mind and its false created self, the ego, behind. Although the journey is challenging, author Eckhart Tolle, in his New York Times bestseller The Power of Now: A Guide to Spiritual Enlightenment, uses simple language and an easy question-and-answer format to guide us. A word-of-mouth phenomenon since its first publication, The Power of Now presents Tolle's profound yet simple teachings that have helped countless people throughout the world find inner peace and greater fulfillment in their lives. At the core of his teachings is the invitation to transform consciousness, creating a spiritual awakening that he sees as the next step in human evolution. We hope you'll enjoy this excerpt from the book.
New World Library cofounder Shakti Gawain's clear writing style and vivid examples make her international bestseller Creative Visualization easy to apply to your personal needs and wants. Her groundbreaking work has found enthusiastic followers in every country and language in which it has been published, and Shakti's simple yet powerful techniques are used successfully in many diverse fields, including health, education, business, sports, and the creative arts. Whether you read it for general inspiration and empowerment or to achieve specific goals, Creative Visualization remains a profoundly powerful resource from a uniquely warm and wise teacher. We hope you'll enjoy this short excerpt from the 40th Anniversary Edition of the book.
Listen to an uplifting conversation, recorded live in June 2018 at Copperfield's Books in Novato, California, with beloved New World Library authors Marc Allen, SARK (Susan Ariel Rainbow Kennedy), and Scott Stabile, who offer inspiring perspectives and practical advice for dealing with doubts and fears so we can use our lives to make a positive difference in the world. Hosted by New World Now podcast host Kim Corbin, we hope this discussion lifts your hopes and helps you see how you can make a difference in your own life.


Now what?! That's what many of us ask when looking into the face of a newly adopted dog. This book has the answers, from how to handle home-comings, what to do (and not do) the first day, week and month, why older dogs still need to be house trained the minute you bring them home, and why it can take time for some dogs to bond with you. Every puppy is a new dog, BUT not every new dog is a puppy. Bringing home a mature dog requires faith and patience, and you can count on McConnell and London to be there with you every step of the way. Included is a summary of common behavioral problems like separation anxiety, house training, chewing, resource guarding, fear-based behavior and trouble between dogs along with an extensive resource section on where to find more help if you need it.
Many buyers have purchased multiple copies and donated them to their local shelter or rescue group.
We say "Woof Woof" to that!
Click here for fundraising ideas and to see how others are helping support local shelters and humane societies.
a loving and beloved member of your family."
"If you've decided to adopt a furry homeless stranger, this book is your perfect resource.
practical, accurate advice so you can avoid common mistakes and spark a life-long friendship."
"At last, a practical, concise guide for welcoming home your adopted dog.
This book and your new four-legged family member—the perfect match!"
"Giving an animal a second chance at a forever home is truly a special thing.
This book is a wonderful resource for anyone considering adopting a dog into their family."
"At last animal shelters and rescues have a reasonably priced and well written book to send home with adopters. Love Has No Age Limit is easy to read and covers everything the new owner of an adult dog should know before and after they bring their new family member home to ensure a successful transition.
HAWS will be encouraging all of our dog adopters to obtain and read a copy of this book."


O Lord, we praise You today because we know that history and its end are not in question. Every detail of the universe and of history itself is in Your hand. We praise You because You are sovereign, and we praise You because of Your great love for Your people, the church of your Son, Jesus Christ. Our great enemy has already been defeated, and we look forward to the day when he will be fully and finally destroyed. Help us, O God, to press on in faithfulness to You until the dawn of that day. Amen.
Revelation 20 envisions the final defeat of the dragon, Satan. The chapter's message is simple: however dire things may sometimes look, God is in control of every detail of history. Not only so, but He is bringing it all to an end that He has already determined. Having been introduced as the mortal enemy of the church back in Revelation 12, here the dragon is finally and completely destroyed.
The chapter divides nicely into three sections: the binding of Satan and the reign of the saints with Jesus in 20:1–6; the short release of Satan and then his destruction in 20:7–10; and, lastly, the final judgment in 20:11–15. Most of the attention given to this part of Revelation has centered on the first six verses, and Christians have understood the meaning of those verses in several different ways. That said, however you finally understand the details, the most important thing to see is that above all, this is a promise of King Jesus's final victory over the serpent, the dragon, the devil of old, Satan.
Watch the two videos linked below on how Christians should view the end times.
How He will finally win that victory is of less interest to John here than the certain fact that He will win it. The basic idea is that Satan will be bound for "a thousand years" (10x10x10, probably, as in other places, a finally indeterminate amount of time), then released for a short while to deceive the nations, and finally destroyed. And then will come the final judgment.
The question that has always surrounded this text, however, is "When does all this happen?" Is this a prophecy of something that will happen in the future, or is this a description of what is happening now? Many Christians understand Revelation 20 as something that happens in the future—a "millennial reign" (as it's often called) that happens after Jesus returns to earth. In other words, they read Revelation 20 as following chronologically on the heels of Revelation 19. Before we go any further, we should say upfront that this might very well be the right way to read it. Many faithful Christians do read the text that way, and it's worth acknowledging they are taking the Bible very seriously and trying hard to understand it rightly.
That said, it's more likely the text shouldn't be read like that. I think that, just like it has over and over again in the book, the clock "resets" at the beginning of Revelation 20, and we go back again to the time of Christ's death and resurrection. So I think this thousand-year binding of Satan and this thousand-year reign of Jesus and His people is happening right now, in the whole time between Jesus's two comings. Whether you agree or disagree, let me tell you briefly why I think this way.
First, reading the text this way is faithful to the structure of the book. Throughout this study, we've seen how Revelation is made up of seven or eight (I think eight) visions, and each one is going over the same time period, from the resurrection of Jesus to His return. Here are the eight sections, as I see them: the letters (Revelation 1–3); the seals (4:1–8:5); the trumpets (8:6–11:19); the woman and the dragon (12–14); the bowls (15–16); Babylon (17–19); the reign of Christ (20); and, finally, the new heavens and new Earth (21–22).
Second, the reason I think Revelation 20 is going over ground we've already covered is because the battle in 20:7–10 has already been mentioned several times. For example, at the end of Revelation 16 when the bowls are poured out, and at the end of Revelation 19 just as the beast and false prophet are thrown in the lake of fire. Those are not three different battles; they're the fulfillment of the prophecy of Ezekiel 38–39, a great battle in which all the nations of the world push the church to the breaking point just before the Messiah returns. The repeated depictions of that battle in Revelation are one indication that we're seeing visions of the same time laid over each other in successive layers to create a full and complete picture.
Third, the rest of the New Testament makes it clear that the binding and casting down of Satan took place at the first coming of Jesus. In Mark 3, for example, Jesus says that the reason He has come is to "bind" the strong man and plunder his house. "Bind" there is the same word used in Revelation 20. In Luke 10, when the 72 missionaries return, Jesus rejoices and says He saw Satan fall like lightning from heaven. In John 12, two Gentiles come to Jesus and He says that "now the ruler of this world is cast out"—again, the same word here as "thrown." In Colossians 2, Paul connects defeat of Satan with Jesus' death and resurrection. Hebrews 2 says that Satan was destroyed through Jesus' death and resurrection. And in Revelation 12, John has already seen a different vision of this same reality, with Satan being cast out of heaven because of Jesus' death and resurrection. All this language shows that Satan's defeat—his binding, his casting down—happened at Jesus' death and resurrection.
If this understanding is correct, then it means that Satan is currently bound, right now. Of topic, John is aware that the "binding" of Satan here doesn't mean he cannot act at all. After all, Revelation 12 says he pursues and persecutes the church during this time, and Revelation 9 even says he's given the keys to the bottomless pit so he can unleash evil in the world. Remember, these are visions and symbols, so John is not particularly worried about the inconsistencies created when the different visions and symbols are compared with one another. Each vision is communicating different realities, and therefore each one has to be taken on its own terms in order to arrive at the whole picture.
And what is that whole picture? It's that Satan is active in persecuting the church, yet in some important way he is restrained. Revelation 20:3 is specific about the nature of that restraint: Satan is restrained from deceiving the nations. In other words, he will not be able to stop the church in its mission of preaching the gospel to the nations. It is as Jesus said: "The gates [i.e., the defenses] of hell will not prevail" against the church as she carries out her mission.
The implications of this text for us, especially as those who want to share the gospel of Jesus Christ with others, are enormous. Above all, once we realize the vision of Revelation 20 isn't simply something we're waiting on, but rather something we're living even now, it gives us great courage and motivation. For one thing, it removes the sting and fear of death for us. If you're a Christian, then you have no need to fear death because to die is to be in the presence of King Jesus.
This text also encourages us to be bold in carrying out the mission Christ has given us. Why? Because we realize that God has irrevocably determined that the church will not fail in her mission. Men and women from every tribe, tongue, people, and nation will bow before the King of Kings.
Decide what you think about how this text should be read. Do you think it's describing a present reality or a future one? Why?
Spend some time meditating on God's determination that His church will not fail in her mission of evangelizing the world. How does that reality affect your heart? Does it give you courage? Does it undermine fear? Why do you think that is?
Tell your accountability partner what you put into action from your Physical and Financial Stewardship plan.


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Where Does Quebec City Go From Here?
Posted on June 27, 2016 by ericthephantom Standard
In the end it was probably a personal feud between Pierre Karl Peladeau and Montreal Canadiens CEO Geoff Molson, not the three factors that I listed – the NHL's greedy expansion fee, the imbalance between the two NHL conferences, and corruption in Canada that has led to a fall in the value of the Canadian dollar, that resulted in Quebec being kept out the NHL. Recently Canada's Macleans Magazine published an article outlining how Peladeau through his control of media giant Quebecor made personal, political, racist and business attacks on Molson, a key member of the NHL's Board of Governors.
So long as Molson sits on the Board of Governors and has Commissioner Gary Bettman's ear, there will be no returned Quebec Nordiques that has any connection with Peladeau. Peladeau made Quebec's position impossible by his attacks on Molson and then made no attempt to reconcile with him. Also the NHL whose Board of Governors include seven English speaking Canadian city owners plus a few other Canadians who own American teams are not going accept an owner who supports a political party that wants to undermine anglophone influence and rights in the Province of Quebec. Peladeau publicly and politically attacking English Canadians and then sitting down on a Board of Governors acting as their friend is ridiculously absurd.
So where does that leave Quebec City now? They will never get back into the NHL with Quebecor as an owner so long as Peladeau and any similar thinking Quebecor governors remain in control of the company. What are their choices?
1. Peladeau makes a conversion and repentance of his views on the scale of St. Paul's conversion to Christianity, publicly apologies to Molson and the other NHL Board of Governors and somehow convinces the NHL that he is sincere. Hardly likely.
2. Quebecor rids itself of Peladeau and similar thinking members and becomes a suitable owner in the NHL's eyes.
3. Quebec finds a suitable owner other than Quebecor. That probably means buying out the management rights to the new arena that Quebecor owns.
4. An ownership crisis ensues in one the NHL's eastern conference teams that absolutely forces the NHL team owner to sell to Quebecor.
5. An existing NHL eastern conference team moves to Quebec City and Quebec accepts the probable anglophone owner who somehow gets the management rights of the new arena away from Quebecor.
6. A new professional hockey league is started like the old WHA and is willing to accept Quebecor aa a partner.
7. Quebec does nothing and keeps its nose pressed to the glass on the outside looking in, probably for an indefinite period.
The most likely options appear to be 3, 5, and 7, and sadly number 7 seems the likely winner. Throughout the period when talk about a new arena and ownership were discussed, no one other than Quebecor stepped forward to back a new arena and front an ownership bid. It was Quebecor or nothing. The arena is now built but no suitable owner in the NHL's eyes is on the horizon.
Option 5 appears to be the most hopeful one for Quebec but it at best a long shot. It has been rumored that Carolina Hurricanes' owner Peter Karmanos is dissatisfied with the team because of its low attendance and would move it to Quebec. For now Commissioner Bettman has shot down all rumors to that effect. And for now he is probably right.
It is true that Carolina's attendance is down but that is because the team has been terrible in recent years. But there is no reason to believe that if the Hurricanes became competitive once again that the fans will not come back.
Furthermore why would Karmanos choose Quebec with the low Canadian dollar and having to come to terms with Quebecor about the ownership and management of the arena? And rest assured that any deal that would give Peladeau and Quebecor even the smallest foothold in a Quebec team would be immediately rejected by the NHL.
Probably the best thing that Quebec City can do is find another owner to front a new bid and get the management of the new arena out of Quebecor's hands. The NHL will not accept Peladeau on any terms.
It is sad that Quebec City, probably one of the better franchises in the NHL is being kept out of the league by a personal, racist, and political rivalry that has no place in sport and is breaking the hearts of all Nordiques fans who tried so hard to get the team back.
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Personal Feud Is Another Factor Behind NHL's Rejection Of Quebec
Pre-Frenzy Frenzy


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Home SJC Long Island	Recognizing the Next Good U.S. President
Recognizing the Next Good U.S. President
Stephen Rockwell, Ph.D., leads a discussion on the characteristics of a true leader
Stephen Rockwell, Ph.D., values quality and experience. Especially when it comes to politics.
"The risk of the Trump presidency is that this is a long line of presidents where their experience level continues to trend downwards," Dr. Rockwell said. "We continue to hire people with less and less experience to be president."
Rockwell noted Trump's inexperience in office compared to Barack Obama's relatively short run in the U.S. Senate, and George W. Bush and Bill Clinton's minimal governorships.
"None of these people are anywhere near the level of preparation of an (John Quincy) Adams or a (William) Taft or even (Ulysses) Grant," Dr. Rockwell said.
Those three presidents were Dr. Rockwell's subjects of note for his Sept. 12 lecture, "Recognizing the Next Good President," the first liberal arts colloquium of the Fall 2017 semester, held in O'Connor Hall's Shea Conference Center.
People tend to think of Adams, Taft and Grant as weak. But these presidents were willing to be creative, willing to be innovative, willing to push the envelope."
Among students, staff and fellow faculty, the SJC Long Island political science professor attested that while most Americans rightfully laud the great presidencies of Washington, Lincoln, and Franklin Roosevelt, there is a tendency to overlook good presidencies that fall between greatness and failure.
"People tend to think of Adams, Taft and Grant as weak," Dr. Rockwell said. "If you think that collaborating and working together with institutions across party lines is weak, then perhaps. But these presidents were willing to be creative, willing to be innovative, willing to push the envelope."
The discussion was part of Dr. Rockwell's upcoming book project "The Good Presidency: Ethics and Achievement in the Taft, Grant and John Quincy Adams Administration." Dr. Rockwell was provided a summer grant by St. Joseph's College to expand his research into his work. It's research he says was invaluable toward his assessment.
Dr. Rockwell notes the following three qualities of a good president: 1. A deep background in public service; 2. An understanding of the context of the presidency; and 3. Recognizing that the presidency is a brief moment in their life.
"(Taft, Grant and Adams) all seem to recognize that to do this right takes a while. It takes a lot of compromises," Dr. Rockwell said. "They understood the institutional balance, and all three give strong evidence of a personal level of respect and decorum that values the ability to work with people. People who disagree with their ideas. Which is something we don't always see amongst presidents."
All three give strong evidence of a personal level of respect and decorum that values the ability to work with people. People who disagree with their ideas. Which is something we don't always see amongst presidents."
Dr. Rockwell compared the American voter's predilection toward leaders with diminishing experience to having our home's roof blown off and consequently hiring less and less qualified roofers. Then hiring a policeman before finally settling on a 4-year-old.
The question of how a presidential candidate secures his party's nomination was also a topic of discussion.
"The one thing that starts to occupy my mind is whether we really did make a huge mistake when we started to make the presidential nominating process a process of popular vote," Dr. Rockwell said. "My three presidents were all chosen from within the party and caucus systems. Where the party is able to say 'Who do we trust and respect, can get stuff done? Who do we know that can work with the other side?'"
Liberal Arts Colloquiumstephen rockwellthe good presidency
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UFO Seekers investigates reports of secret projects and strange noises at Lemoore Naval Air Station in Lemoore, CA. We have a close look at the base and monitor air traffic. We catch a weird noise. We watch the base at night to get a look inside hangars trying to find secret UFO technology.


Dr. Mack is a family practitioner in the San Diego area.
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Agra város (Hindi: आगरा, Āgrā)  India északi részén, a Jamuna folyó partján fekszik, Uttar Prades tagállamának nyugati részén.

Éghajlat

Látnivalók

Agra megszakításokkal 1526 és 1648 között a Mogul Birodalom fővárosa volt. Ebben az időszakban épült Akbar Nagymogul vára (a mai agrai Vörös Erőd), Sáh Dzsahán mogul sah palotája és a Gyöngyházmecset (Moti Maszdzsid).

A Vörös Erőd és a Tádzs Mahal 1983 óta világörökségként az UNESCO védelme alatt állnak.

Tádzs Mahal
A leghíresebb látnivaló a Tádzs Mahal, amelyet az Sáh Dzsahán hitvese és saját maga számára mauzóleumnak építtetett. Itt található egy terület, ahol a hagyományos pacsiszi játék élő "figurákkal" játszható.

A Tádzs Mahal ismertsége teszi Agrát India egyik leglátogatottabb városává. Szeptembertől decemberig a legalkalmasabb az időjárás az ideutazásra.

A Vörös Erőd
Agra domináns épületét, az Agrai Erődöt, amit Vörös Erődként is ismernek, 1565-ben emeltette Akbar mogul sah. A vörös homokkő erődöt felújítás után Sáh Dzsahán palotává építtette át, belső tereit alaposan átváltoztatva márvánnyal és mozaikdíszítéssel. Az erődben van a Gyöngyház-mecset, a  Diván-e-Ám és a Diván-e-Khász (a nyilvános és magánkihallgatások termei), Dzsahángír palotája, a Khász Mahal, a Sis Mahal (tükrös palota), és a Muszamman Burdzs.

Nagy Akbar 1565-ben rendelte el az erőd építését, majd az épületet  unokája, Sáh Dzsahán uralkodásának idejéig többször bővítették. A kívül zord külsejű erőd belül rendkívüli pompás. Alaprajza holdsarló alakú, keleti oldala egy, a Jamuna folyó felé néző hosszú, csaknem teljesen egyenes fallal végződik. Teljes kerülete 2,4 kilométer. Duplán pártázott vörös homokkő sáncok veszik körül, ezekből helyenként bástyák emelkednek ki. A külső falat 9 méter széles és 10 méter mély árok veszi körül.

Itmad-Ud-Daulah síremléke
Bár intarziái a Tádzs Mahal szépségét is felülmúlják, mégis kevésbé ismert az 1628 –ban épült Itimad-ud-Daula mauzóleum. Ez volt az első mogul-építmény, mely márványból készült, ezzel a korabeli építészet stílusváltását jelezve.  Núr Dzsehán uralkodónő építtette Itmad-Ud-Daulah síremlékét, amit más néven Baby Taj-ként emlegetnek, az édesapja, Ghiász-ud-Dín bég, Dzsahángir uralkodó főminisztere révén. A többi mogul-korabeli síremlékekhez képest kisebb, néhányan ékszerdoboznak is nevezik ezért. Kertjének alaprajza, valamint a fehér márvány, a mozaik, a belső terek díszítése, a rostélyok a Tádzs Mahal díszítésénél használt elemeket vetítik előre.

Jama Masjid
A Dzsama Masztdzsid egy hatalmas, Sáh Dzsahán lányának, Dzsahánara Bégum tiszteletére 1648-ban épült mecset, mely szokatlan kupolája miatt érdekes, valamint azért, mert nem áll mellette egy minaret sem.

Chini Ka Rauza
Kék csempékkel borított, perzsa hatást mutató kupolája miatt figyelemre méltó a Csini Ka Rauza, amely a  Sirázból származó Allama Afzel Khál Mullah Sukrullah tiszteletére épült, aki Sáh Dzsahán miniszterelnöke volt.

Rám Bágh
India legrégebbi mogul kertjét, a Rám Bágh-ot ("Holdfény Kert") 1528-ban létesítette Bábur uralkodó. 2,34 km-re fekszik a Tádzs Mahaltól északra.

Szoami Bágh Szamádzs
A város külső, Dajalbágh részén látható a Szoami Bágh Szamádzs, amely Hujur Szoamidzsi maharadzsa mauzóleuma. Hujur alapította a Radhaszoami vallást, ezért követői számára a szamádzs szent hely. 1908-ban kezdték építeni, és hitük szerint az épület sohasem lesz befejezve. Sokan a "következő Tádzs Mahal"-nak tekintik. Az élethű, színezett márvánnyal kombinált kőfaragványok sehol máshol nem láthatók Indiában. Ha elkészül, a  szamádzsot egy faragott kupola és kapuzat fogja még díszíteni.

Szikándra (Akbar síremléke)
Szikándra, a Nagy Akbar mogul uralkodó  nyughelye, mindössze 13 km-re van az agrai Vörös Erődtől. Akbar síremléke személyiségének sokoldalúságát jeleníti meg. Az óriási, gyönyörűen faragott, vörös-sárga homokkő sír egy kert közepén emelkedik. Maga Akbar tervezte meg saját sírját és választotta ki a legmegfelelőbb helyszínt is. Csagatáj-török szokás volt még életükben sírhelyet építeni maguknak, ezt a szokást a mogulok is megtartották. A piramis alakú sír építését Akbar fia, Dzsahángir fejezte be 1613-ban.

Agrától mintegy  40 km-re nyugatra fekszik Akbar régi fővárosa, a Fatehpur Szíkri, amely 17 röpke év után vízhiány miatt elnéptelenedett. A nagymecset és a paloták miatt ma ez a világörökségi körbe tartozó város közkedvelt kirándulóhely Agra mellett.

A város szülöttei
 Mumtáz Mahal, Khurram herceg első felesége

Fordítás

Jegyzetek

Források

 Official Website of Agra maintained by NIC
 Agra Travel Guide and Videos
 Agra Guide
 Agra Tourism

Kulturális világörökségi helyszínek
Ókori építészet
India települései
India világörökségi helyszínei
Uttar Prades

redpajama_set_name: RedPajamaWikipedia


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Cranberries singer Dolores O'Riordan was to record new music with Kinks' guitarist Dave Davies before her death
Dave said that they had mutual respect for each other and Dolores had been "very kind" to him
Cranberries singer Dolores O'Riordan (Image: WireImage)
The Kinks' star Dave Davies revealed that he had planned on collaborating on music with Dolores O'Riordan before she died.
The guitarist, who was a close friend of the Cranberries frontwoman, said they had been discussing about working together on a song called Home.
He told The Observer: "We talked about writing together - I had an idea for a song called Home, about being home again, and she understood what I was trying to say.
Dolores O'Riordan speaking to RTEs Dave Fanning (Image: Twitter)
Tributes pour in after dad of bestselling author Marian Keyes passes away
"But we never sat down to do it, and that makes me really sad."
He said that they had mutual respect for each other and Dolores had been "very kind" to him.
Davies said that he had admired her talent from the beginning when The Cranberries first broke into the music scene in the early 90s.
Love Island stars Zara McDermott and Adam Collard 'almost split weeks ago after make or break point in relationship'
He said: "I remember first hearing Zombie in the 1990s - that was the first time I was aware of her.
"Her voice caught me straight away. The way it went from this beautiful, soft whisper with this real Celtic vibe, to this huge rock voice, was fabulous, really unique."
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The international community must get to know that the situation with human rights in terms of freedom of religion in the occupied territories in Eastern Ukraine should not be ignored. Believers are suffering, the churches are being persecuted, and the international community must urge the Russian authorities and Russia's governing occupational administrations to stop these persecutions and to restore freedom of religion in Donbas.
Analytical report on the situation in regard to religious freedom and religiously motivated persecution in the separate territories of the Donetsk and Luhansk regions of eastern Ukraine, temporarily occupied by the Russian Federation.
The Public Council under the Ministry of Foreign Affairs for cooperation with religious organizations will promote the commemoration of the victims of the Holodomor of 1932-1933, release of Ukrainian political prisoners and support the development of military chaplaincy.
Russia is waiting for another surprise from American friends. The Commission on the Observance of Religious Freedoms United States has analyzed how these freedoms are respected in Russia, and, as a result, suggested that Russia be included in the list of nominees for sanctions. The Americans remembered the religious situation in Donbas and the ban on Jehovah's Witnesses.


90 years since his birth on this day and almost 25 years since his passing into immortality; the shadow of Miles Dewey Davis still looms large on the cultural horizon.
Polygraph's The Universe of Miles Davis quantifies the jazz avatar's wide ranging influence through his 2,452 Wikipedia mentions (English).
It's Miles' World and we're just living in it.
Through this visually striking interactive site we descend down a digital rabbit hole of recordings, people, and places that traces a through line of Miles' relevance from the early twentieth-century to today.
If Mr. Davis were alive today we are certain he would approve. Happy Birthday Miles!


Home » News » Newsletters » January Newsletter – well just about January!!
January Newsletter – well just about January!!
Here it is – the shiny, new one. What's gone on, what's coming up, what's missing in action and where to get your amazing new YFC clothing from….
← YFC clothing is go!


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Dr. Ron's Research Review – September 3, 2014
This week's research review focuses on poorly liganded iron.
Two articles on poorly liganded iron were published in Archives of Toxicology and BMC Medical Genomics. (Kell, 2009) (Kell, 2010)
Reactions of 'reactive oxygen species' (ROSs) with poorly liganded iron species can lead to the catalytic production of the very reactive and dangerous hydroxyl radical, which is exceptionally damaging, and a major cause of chronic inflammation. (Kell, 2009)
The reduction of redox stress thus requires suitable levels of both antioxidants and effective iron chelators. Some polyphenolic antioxidants may serve both roles. (Kell, 2009)
Many iron-chelating natural products exist. Many are polyphenols, such as in blueberries. The list includes ECGC, curcumin, eugenol, quercetin, and melatonin. (Kell, 2010)
Iron behaving badly: inappropriate iron chelation as a major contributor to the aetiology of vascular and other progressive inflammatory and degenerative diseases
(Kell, 2009) Download
BACKGROUND: The production of peroxide and superoxide is an inevitable consequence of aerobic metabolism, and while these particular 'reactive oxygen species' (ROSs) can exhibit a number of biological effects, they are not of themselves excessively reactive and thus they are not especially damaging at physiological concentrations. However, their reactions with poorly liganded iron species can lead to the catalytic production of the very reactive and dangerous hydroxyl radical, which is exceptionally damaging, and a major cause of chronic inflammation. REVIEW: We review the considerable and wide-ranging evidence for the involvement of this combination of (su)peroxide and poorly liganded iron in a large number of physiological and indeed pathological processes and inflammatory disorders, especially those involving the progressive degradation of cellular and organismal performance. These diseases share a great many similarities and thus might be considered to have a common cause (i.e. iron-catalysed free radical and especially hydroxyl radical generation).The studies reviewed include those focused on a series of cardiovascular, metabolic and neurological diseases, where iron can be found at the sites of plaques and lesions, as well as studies showing the significance of iron to aging and longevity. The effective chelation of iron by natural or synthetic ligands is thus of major physiological (and potentially therapeutic) importance. As systems properties, we need to recognise that physiological observables have multiple molecular causes, and studying them in isolation leads to inconsistent patterns of apparent causality when it is the simultaneous combination of multiple factors that is responsible.This explains, for instance, the decidedly mixed effects of antioxidants that have been observed, since in some circumstances (especially the presence of poorly liganded iron) molecules that are nominally antioxidants can actually act as pro-oxidants. The reduction of redox stress thus requires suitable levels of both antioxidants and effective iron chelators. Some polyphenolic antioxidants may serve both roles.Understanding the exact speciation and liganding of iron in all its states is thus crucial to separating its various pro- and anti-inflammatory activities. Redox stress, innate immunity and pro- (and some anti-)inflammatory cytokines are linked in particular via signalling pathways involving NF-kappaB and p38, with the oxidative roles of iron here seemingly involved upstream of the IkappaB kinase (IKK) reaction. In a number of cases it is possible to identify mechanisms by which ROSs and poorly liganded iron act synergistically and autocatalytically, leading to 'runaway' reactions that are hard to control unless one tackles multiple sites of action simultaneously. Some molecules such as statins and erythropoietin, not traditionally associated with anti-inflammatory activity, do indeed have 'pleiotropic' anti-inflammatory effects that may be of benefit here. CONCLUSION: Overall we argue, by synthesising a widely dispersed literature, that the role of poorly liganded iron has been rather underappreciated in the past, and that in combination with peroxide and superoxide its activity underpins the behaviour of a great many physiological processes that degrade over time. Understanding these requires an integrative, systems-level approach that may lead to novel therapeutic targets.
Towards a unifying, systems biology understanding of large-scale cellular death and destruction caused by poorly liganded iron: Parkinson's, Huntington's, Alzheimer's, prions, bactericides, chemical toxicology and others as examples.
Exposure to a variety of toxins and/or infectious agents leads to disease, degeneration and death, often characterised by circumstances in which cells or tissues do not merely die and cease to function but may be more or less entirely obliterated. It is then legitimate to ask the question as to whether, despite the many kinds of agent involved, there may be at least some unifying mechanisms of such cell death and destruction. I summarise the evidence that in a great many cases, one underlying mechanism, providing major stresses of this type, entails continuing and autocatalytic production (based on positive feedback mechanisms) of hydroxyl radicals via Fenton chemistry involving poorly liganded iron, leading to cell death via apoptosis (probably including via pathways induced by changes in the NF-kappaB system). While every pathway is in some sense connected to every other one, I highlight the literature evidence suggesting that the degenerative effects of many diseases and toxicological insults converge on iron dysregulation. This highlights specifically the role of iron metabolism, and the detailed speciation of iron, in chemical and other toxicology, and has significant implications for the use of iron chelating substances (probably in partnership with appropriate anti-oxidants) as nutritional or therapeutic agents in inhibiting both the progression of these mainly degenerative diseases and the sequelae of both chronic and acute toxin exposure. The complexity of biochemical networks, especially those involving autocatalytic behaviour and positive feedbacks, means that multiple interventions (e.g. of iron chelators plus antioxidants) are likely to prove most effective. A variety of systems biology approaches, that I summarise, can predict both the mechanisms involved in these cell death pathways and the optimal sites of action for nutritional or pharmacological interventions.
Kell, D. B. (2009), 'Iron behaving badly: inappropriate iron chelation as a major contributor to the aetiology of vascular and other progressive inflammatory and degenerative diseases', BMC Med Genomics, 2 2. PubMedID: 19133145
Kell, DB (2010), 'Towards a unifying, systems biology understanding of large-scale cellular death and destruction caused by poorly liganded iron: Parkinson's, Huntington's, Alzheimer's, prions, bactericides, chemical toxicology and others as examples.', Arch Toxicol, 84 (11), 825-89. PubMedID: 20967426


The 2016 ACSA Administrators Conference, GAPS & OVERLAPS will be held primarily at the Aqua Tower by Studio Gang, Radisson Blu Hotel. located in downtown Chicago, IL. Radisson Blu Hotel interiors designed by Graven.
Book before October 7, 2016 to receive the ACSA Group Rate!


Menacingly small, easily recognisable, this aggressive little amp comes with a mind-blowing sound which combines the Shape control of the Thunder series with the weight and size of the monster Terror family. This Frankenstein-like amp has creepy amounts of gain on tap with disturbingly pleasurable responsiveness. It is uncompromisingly brutal, doubtless unhinged, even ferocious! The Dark Terror rises from the ethereal depths to fulfil the every desire of the Heavy Metal and Rock guitar players. With its characteristic fearless Orange Amp looks, heavy duty construction and portability, guitar players everywhere will quickly become attuned to this scary dark force of nature.
The Dark Terror is highest gain Terror amp ever. Hear its distinctive Orange Amp sound and you will feel this mysteriously attractive force pulling you into the shadow of the Dark Terror. It's everything you want from a Black Orange Amp. Prepare to ride the Dark Terror storm.


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package main

import "github.com/graniticio/granitic"
import "github.com/graniticio/granitic-examples/tutorial/tutorial004/bindings"

func main() {
	granitic.StartGranitic(bindings.Components())
}


text:
Miley Cyrus to Perform New Song 'Malibu' at 2017 Billboard Music Awards
By Scott Strauss | May 10th, 2017
dick clark productions and ABC today announced that music superstar Miley Cyrus will take the stage at the 2017 Billboard Music Awards to perform her highly anticipated new single, "Malibu," for the first time to a worldwide television audience.
An incredibly gifted singer-songwriter, known as much for her talent as for her unconventional style, Miley has continued to push the boundaries throughout her career. She's tallied 43 entries on the Billboard Hot 100 songs chart, and is among only 15 women in the chart's history with at least 40 charted titles. In 2013, she earned her first No. 1: "Wrecking Ball." On the Billboard 200 albums, Cyrus has tallied five No. 1 albums, most recently with 2013's "Bangerz." In total, she has sold nearly 15 million albums in the U.S., according to Nielsen Music.
"Miley Cyrus is and always has been an artist that makes an impact. Her incredible talent and imprint on pop culture are undeniable," said Mark Bracco, executive producer, "2017 Billboard Music Awards." "We are thrilled to have her debut 'Malibu' at the '2017 Billboard Music Awards' and look forward to a raw and honest performance that will likely surprise many."
The 2017 Billboard Music Awards will broadcast LIVE from T-Mobile Arena in Las Vegas on Sunday, May 21 at 8:00 p.m. EDT|5:00 p.m. PDT on ABC.
RELATED: See the full list of 2017 Billboard Music Awards nominees
Fans can still vote online and on Twitter for the Billboard Chart Achievement Award Presented by Xfinity and Top Social Artist. Voting for both categories will remain open until May 21, 2017, at 9:00 p.m. EDT|6:00 p.m. PDT (one hour into the live broadcast).
Tickets are now on sale for the "2017 Billboard Music Awards." To purchase tickets online, fans should go to www.axs.com or www.t-mobilearena.com.
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The 2017 Billboard Music Awards
The 2017 Billboard Music Awards has been added to My List.


text:
Poem: 'Decline Of The Hull Fishing Industry'
DECLINE OF THE
HULL FISHING INDUSTRY
(SEEN AS A NIGHT
OUT WITH MIRIAM)
Miriam beheaded cod,
fishscale beaded.
Claimed engagement to a man
trawler-bound off Iceland,
but she'd forget –
for a while, if
I would understand
Her knife disembowelling
head to tail, turning
innards, bloodless, pale,
their stink remaining
We met at a party,
she laughed easily and
did most of the talking.
I bought her drinks and
drove her home in a
battered white Transit van
– past the dock-fronts,
cranes black against blackness,
and terraced houses in
reticulated rows, streetlamp paced
– imagining those delicate fingers
dextrously tossing corpses
into ice, gleaming dead
fish eyes coming adrift.
We made vague plans but
I was a little too drunk
and she had me park
a street away
to allay Icelandic guilt,
but every time the wind
comes in from the east
redolent of fish
I catch Miriam laughing,
beaded with cod-eyes and scales
And now the trawlers rust
and the docks silt
and I still see
those fingers
'MINOTAUR no.5' (USA - October 1981)
'BRADFORD POETRY QUARTERLY no.5' (UK - Aug 1986)
'RUSTIC RUB no.2' (July 1994 - UK)
'CHOKING ON HONEY no.1: formerly 'I SEE EMERALDS' (March 1999 - UK)
'THE PENNILESS PRESS no.18' (Nov 2003 – UK)
and the collection:
'POWER LINES' Unibird Publications (Oct 1988 - UK)
Interview: COUNTRY JOE McDONALD
COUNTRY JOE McDONALD:
MORE ELECTRIC MUSIC
FOR THE MIND AND BODY
In 1967 COUNTRY JOE & THE FISH were on
the leading edge of what was termed the 'Counter Culture',
and what the world remembers as the 'Hippie Summer of Love'.
But classic psychedelic albums like 'FEEL LIKE I'M FIXIN
TO DIE' and their Woodstock Movie 'Fish Cheer' are only
part of the story. Country Joe McDonald was an activist
before all that began. And he's still there, still doing it now…
"into my life on waves of electrical sound
and flashing lights she came,
into my life with the twist of a dial…"
('Janis')
I first encounter Country Joe McDonald in flickering calor-gas light, hunched over a fold-down table spidering his running order on a pad in biro. "Entertainment Is My Business", "Janis", "Tricky Dicky", "The Band Played Waltzing Matilda", and "Feel Like I'm Fixin To Die". He pauses to slurp Stones Bitter from the plastic tub I've plied him with. Then glances down the Caravan that doubles as his Dressing Room for the duration of this 'Leeds Folk Festival'. Geoff Francis, some-time distributor for Joe's 'Rag Baby Records', sits there describing a National Lampoon satire called 'Lemmings', a concept-album about an ecologically-minded quasi-'Woodstock' where the audience commit mass suicide to alleviate world over-population. This fictional Festival also features the first and last appearance of Crosby Stills Nash Marx & Engels (wrapped in tinfoil to attract lightning during the rain-chant), and there's John Denver singing "Eating The Baby Raw"…
"He wasn't there" corrects Joe precisely. "John Denver, he wasn't there. You mean John Sebastian?"
Strange to realise, suddenly, that this genial guy sat here in faded blue jeans and T-Shirt, ballpoint and pad in hand, is part of that Woodstock mythology that National Lampoon are sending up. Country Joe and The Fish, remember? 'Electric Music For The Mind And Body' (1967, Vanguard), 'I Feel Like I'm Fixin' To Die' (1967, Vanguard) and 'Together' (1968, Vanguard)? It seems light-years away that critic Lillian Roxon was writing 'no riot or rally at Berkeley in its big historic years, '66 and '67, was complete, or even possible, without The Fish'. But although they're remembered as the definitive psychedelic band CJ&F were never just that. The so-called 'Counter-Culture' was about diversity and change, about being open to influences, and using those influences creatively.
Joe McDonald was never suckered by the fashion-accessory elements of Hippie kitsch, but instead continued to apply the constant factors of that openness, creativity and intelligence, across the years that followed. In the process he built a stack of solo albums that, although sometimes flawed, have rarely failed to come up with interesting and lyrically challenging music. From 'War War War' (a 1971 Vanguard album setting Joe's songs to Robert W Service' World War I poems), 'Paradise With An Ocean View' (1975, Fantasy), 'Peace On Earth' (1984, Rag Baby) and 'Vietnam Experience' (1986, Rag Baby) – to now, when he's become a voice commenting from the sidelines, the constant irritant of conscience.
In a caravan, in Leeds, he resumes sketching out his set, a Dave Van Ronk song, then "Oh Jamaica", "Here I Go Again" (the hit song he wrote for Twiggy), "Let It Rain", "Coyote", "Save The Whale", and "Get It All Together", while I edge my ITT cassette recorder forward, and ask:-
ANDREW DARLINGTON: Was it a personal bring-down for you when all that Sixties thing finished? You were tied closely to that 'Movement', it seemed to be an unstoppable upward gradient, then all of a sudden the 1970's arrived and it was Donny Osmond and Glam-Rock.
JOE McDONALD: You shouldn't... erm, nothing ever stopped. The media stopped covering it. That's what happened. And it was... well, I'm not really a person that's in love with having a high profile anyway, y'know? But there was a certain backlash within the industry which was a little disappointing, as regards all Sixties musicians, they weren't really treated with the respect that they should have had perhaps. But it's water under the bridge now. The media chooses to focus on certain things at different times, I suppose it has its orders from somewhere, but as far as the 'Woodstock Nation' or the 'Counter Culture' or whatever you want to call it, it was going on before the Sixties, it went on straight through the Seventies and Eighties, and it's still going on now.
AD: I get the impression you were involved before the thing happened big in media terms, and after it had died down too. That you've continued on pretty much the same lines and largely ignored the hype circus.
JD: Well, yeah. Of course there's certain things that I couldn't have been involved in before, but I've been involved in progressive issues and music for my whole life. But, for instance, I mean – even 'Greenpeace' in the Fifties was into nuclear testing, but not really Saving Whales. They were in the Pacific Islands with boats stopping the testing. They got busted by the French. They go back a long ways. Everything goes back a long ways. Not in the media, but in real life. But a lot of the changes in the Sixties really altered civilisation as we know it, and I still think you can feel it.
AD: You did the 'Thinking Of Woody Guthrie' (1969, Vanguard) tribute album, and on your later 'Animal Tracks' (1983) you did Woody Guthrie's "Let's Go Riding". And to an extent you seem to operate in a kind of Guthrie role. As a 'Social Commentator'.
JM: Except that I'm not.... except that I don't take my orders from the Left Wing. That was Woody Guthrie's mistake. He was a great songwriter, a great writer and a great artist, but – it's not until recently that things like his 'Seeds of Man' book have been allowed to even come out. His material was controlled mostly by political Left Wingers, and so that's the kind of material that you heard and that got published. And I tend to make everybody nervous for the most part. Left Wing included. I've been 'Eighty-Sixed', as we say, from most Left Wing organisations for years and years. 'Cos I grew up into that.
AD: Don't you think it helps to work within some kind of ideological framework?
JM: No. I think it's dangerous. Nobody knows what's going on, and anybody who thinks they know what's going on long enough to establish an organisation based on that idea is a little bit crazy if you ask me. No-one knows what's going on. No-one's ever known what's going on yet. But someday everybody will know what's going on. But it won't be us, it'll be generations from now. It's very hard to figure out the galaxy and everything... (Joe gives a low laugh, waves dismissively with a plastic spoon he's in the process of devouring a tray of vegetable goo with)
AD: So what ideas are you true to? Your own personal interpretations and definitions?
JM: Well, as an artist, yeah. I deal with my own personal interpretations. But I try to change all the time, that's something important. Just to know people who are changing all the time, and just trying to figure out the right answers, y'know? It gets easier as you go along, and you have some hints y'know. Like, dying isn't so great. And being alive is generally pleasant.
AD: Do you still enjoy performing?
JM: Oh yeah. I love performing. Specially under certain conditions. This kind of thing, like a Festival, I really love, it's gonna be a lot of fun. I do half acoustic and half electric. I mean, I've been doing this solo thing for a long time, and it's getting kinda boring to me. And the entertainment business is death when you start being bored with your own act. It doesn't take an audience long to figure that out. So I like doing electric things with a band, and a few solo things too, I do a few Benefits at home solo.
AD: In parallel with your solo career you've always maintained a working relationship with other ex-members of the Fish. There was a 'Country Joe & The Fish' re-union tour around…
JM: ...1979. The anniversary of Woodstock. But that wasn't the full line-up. That wasn't Bruce (Barthol) and Chicken (Hirsch) and Dave (Cohen), it was other people (including bassist Pete Albin formerly of Big Brother & The Holding Company and guitarist Bob Flurie).
AD: Then there were announcements of a re-union to coincide with your 1984 'Peace On Earth' album and tour (while Joe also issued ex-Fish Barry Melton's LP 'Level With Me' (1981) on his Rag Baby Records label). Will there be other Fish-related projects?
JM: It's not a matter of... it's a matter of the right time, y'know. And Barry, yes. He's an attorney now. I know he's busy in his Lawyers business. He passed the Bar, and he never went to school for it. He did it all by correspondence course. It took him ten years. But he's a Solicitor. So there you are. It just goes to show you what perseverance can do!
AD: You also had a 'straight' job at one time, 'Red Star Music', a store selling instruments.
JM: You're remarkably well-informed. That didn't last long. 'Red Star' yeah, but it didn't... that was what I would call a fiasco. While Barry's sitting for the Bar has turned out to be a big success.
AD: Is there a clear difference between work you do on stage and in the studio? For some bands it's a completely different discipline.
JM: Well. I try to do as much on the stage as I do in the studio. But then, truth of the matter is that it is two different experiences. When you're listening to music at home, particularly on the headphones, it takes on the quality of a modern motion picture in that you're sucked into the Movie. You're completely sucked into the thing you're listening to when you've got your headphones on. Or you're in the Disco and it's up really loud, and your eyes are not really working. Your imagination and your ears and your brain are working, but when you're in a concert your eyes are working much more than your ears. And that's why most live records sound pretty terrible.
AD: Do you have strong opinions on the current sampling and sequencer Dance music that dominates the radio, Clubs and charts?
JM: Syntho-Rock? Techno-Rock? I really love it. Computers and synthesisers are the future music of the planet, that's for sure. But you can't change into the future without understanding the past. That's stupidity. Like I said, I've just finished over ten years of playing, searching around traditional roots, because in the Sixties I didn't have much chance to do that. But in the Fifties that's what I was doing. And I have a tape music magazine where we feature some, like, roots of modern music and things like that. And so I've been doing, like, acoustic Folk, American traditional music, things most people don't even know anything about anymore. But in spite of our attachment to traditional music – or traditional anything, the past is wrong and the future is correct. As a general rule. If you want to be a competent musician nowadays you have to know where it came from. Even internationally it's a very difficult business. And you have to know all the modern stuff too, and project your own image onto that.
AD: When we spoke earlier you mentioned that on your first Country Joe & The Fish album ('Electric Music For The Mind And Body') you used 'a little influence of John Cage, and David Tudor concepts'. They are still respected names.
JM: Are they? At the time that was very radical, very radical stuff, but now... it's not. Well, that's the roots of modern synthesiser music, I suppose. At the time everybody thought they were just crackpots. But now – compared to some modern avant garde music, it's pretty conservative stuff. I'm not a big fan. I'm essentially a Pop musician and my roots are in traditional music. Traditional classical music, and traditional Folk music. I'm really not... but, I do have some things in the can which are not music at all! So I guess I'm lying about that (laughter). There are some tracks on my recent albums which are really... I don't know. I think I'd have difficulty arguing that they are music at all actually, in the traditional sense.
AD: On your 'Child's Play' album (1983, Rag Baby) you use what you call 'Environments'. A technique of placing each song in some kind of context by the use of stereo sound effects. Background restaurant noises on the track "Not In A Chinese Restaurant" for example. The motives sound not dissimilar to those of people like Brian Eno who create 'ambient music' albums. Music intended for different settings, like his 'Music For Airports'…
JM: I'm more inclined to do music in airports!
AD: ...music for the car?
JM: No. rather music in the car. Music you can play while you're in the car – so it would be a case of music IN the car, FOR the car! Music IN the airport, FOR the airport. I mean, 'cos when you have your Walkman – or whatever you call those tape recorders – WalkPERSONS, you can really put yourself just about anywhere, can't you? But one thing you're gonna be sure of in my music is that I'm not gonna put you in the studio anymore. And I can't really guarantee what's going to happen in that studio while we're cutting tracks. That's a little element of surprise. It's sorta like not knowing if they're going to drop the bomb or not.
AD: Your de-gendering the 'Walkperson portable' reminds me of your mixed-gender anti-sexist All-Star Band. That band and album (the 1973 'Paris Sessions') with its Feminist bias seemed like a very brave project. Do you think those ideas still stand up?
JM: Well, that album certainly stands up, yes. It's kinda the roots of Feminism in a way, you know – from a male point of view. It was the only thing of its kind around at that particular time. It was very radical. That band had three women musicians in it. I have a million stories from that band. It was only together a year-and-a-half but the things that happened to that band were like the 'Adventures Of The Furry Freak Brothers' or something. Really. I mean, people just could not understand that there was a woman playing the piano and a woman playing the drums and a woman playing saxophone. They didn't understand that. The promoters didn't understand that, the Press didn't understand that, the audience didn't understand that. They saw and heard something else. It was like 'Alice In Wonderland', or Science Fiction schizophrenia or something. I had to throw one Reporter out of the Dressing Room because he kept demanding to know who the girl backing singers were. He'd seen the whole show! So I introduced everybody in the band to him and I told him we didn't have any background singers. Then he wrote all the names down and then he wanted to know the background singers names! And that routine went on somewhat like 'Monty Python' for about thirty minutes. He began frothing and I had to have him removed from the room, and as he left he was screaming "you must be crazy, I just wanna know the names of the BACKING SINGERS...!!!!"
AD: Like the only musical role he could envisage for women was as backing singers? Or groupies perhaps, but not as musicians?
JM: We were playing in the mid-West in some rather large Mafia-like Club in a town, y'know, and I came back with Anna Rizzo who was playing drums at the time, and Tucki Bailey who was playing sax. We walked into the club and went up to the Bouncer, and the guy at the... it was a little ticket-booth sort of thing. Well, it wasn't a booth, it was just a podium sort of thing. And I said 'I'm Country Joe, where's the Dressing Room?' And he said 'just go straight through there, turn left, but the Chicks have to have passes'. And I said 'no problem, it's the drummer and the sax player. Let's go'. We started to walk in and he just went 'WHUUUMP!!!', dropped his hand right down and said 'I'm sorry, but you know, the Chicks have to have passes'. I said 'this is the BAND, and we're going to the Dressing Room if you don't mind'. And he said 'YOU can go, it's OK, I'm telling you, your Dressing Room is down the hall to the left. But the CHICKS have to have passes'. So Tucki and Anna are starting to crack up now, they're really laughing like crazy now. But I'm starting to get a little bit ticked off. So I said to this guy 'I don't know what your problem is, if you're retarded or something, but THIS is the saxophone player, THIS is the drummer. I'M Country Joe. THIS IS THE BAND. And WE'RE GOING TO THE DRESSING ROOM!' He was a very large person too. And he said 'I'm really sorry man, I don't want any hassles or anything, but the Chicks are GONNA HAVE TO HAVE PASSES!' And I said 'WHERE'S THE FUCKING MANAGER?', y'know. And this guy standing beside there flashed this Police Badge in front of my face and said 'don't use that language in front of those women'. He was a plain-clothes Cop who had been standing there next to this guy all the time! And when he did that Tucki and Anna were just sort of rolling on the floor in laughter. And then they were laughing at the situation so hard they were just cracking up, and the Cop didn't know what to do. He started blushing because he thought he'd saved the day. Then Tucki and Anna started saying 'you ought to hear what he makes us listen to during the show!' Anyway, finally the owner of the Club came and he said to the guy 'let 'em in'. And then we went in. But that was a common occurrence with that band. I'm telling you, it's a case of, sometimes you're doing something which is like, advanced, and it's incomprehensible. It does not compute. I think that a lot of Animal Liberation is like that at the moment. It's one of those things, it does not compute. And at that particular time, which was 1971, Feminism didn't compute.
AD: I wonder if Kim Deal had those problems when she was with the Pixies? Or Gillian out on New Order? Or the Spice Girls! It's a lot healthier now where musicians are accepted on their merits rather than their race ore gender.
JM: Female bands! Female stars! They're all over the place! I mean, it's really hard for a man in this business nowadays. Really. When you think about it, how many famous women singers and women musicians there are, Bonnie Raitt, the Hearts, in New Wave, Sheryl Crow, there's more and more...! (the interview breaks down in waves of laughter).
It's usual for journalists to edit interviews, rearranging, selecting, and in some cases rewriting conversations. It's impossible to fully convey Joe's humour, or the circuitous process of his arguments without presenting them intact, without alteration. Hence I've kept omissions to a minimum, and not corrected the usual false starts and repetitions that inevitably crop up in conversation. Joe McDonald is an intelligent and very likeable performer with a unique way of fusing humour and perception, the most valuable aspects of the past with the most urgent concerns of today. Hopefully this comes across best when he's allowed to speak for himself.
"be the first one on your block
to have your boy come home in a box…"
('FEEL LIKE I'M FIXIN TO DIE')
Posted by Andrew Darlington at 14:36 1 comment:
Edgar Allan Poe: The Original Imp Of The Perverse
EDGAR ALLAN POE:
THE ORIGINAL IMP
OF THE PERVERSE
An overview based around the book 'VISIONS OF POE', a
selection of EDGAR ALLAN POE stories and poems with
photographs and an introduction by SIMON MARSDEN
(Michael Joseph/ Webb & Bower, £14.95)
'Sleep
those little slices of death,
how I hate them...'
(Edgar Allan Poe, quoted on the introduction to
'Nightmare On Elm Street 3: Dream Warriors')
A gothic window from Castle Bernard, County Cork, mist-shrivelled, ivy-entangled. Perspective is vague, so that at first glance it's a plundered grave, then it's a door opening out onto a dread landscape of mystery and inexpressible terror. But no, it's only a window. Then there's a stone cadaver etched against the wall of Beaulieu House, County Louth. A grinning skeleton, a macabre victim of a premature burial or the Red Death plague, obscenely disinterred and left there to putrefy. But no, it's only a particularly grotesque sculpture.
The photographs, from 'Visions Of Poe' (Michael Joseph/ Webb & Bower, £14.95, 1998) were snared by the artful Pentax of Simon Marsden whose previous work includes 'In Ruins' (revised edition, Little Brown, 1997), a highly personal photographic essay of churches and historic buildings in his native southern Ireland. On such evidence it's obvious that Marsden uses his lens not just to record – but to interpret, selecting his targets, his lighting and angles, to build atmosphere. In this case to illuminate a sympathetic descent into the maelstrom of psychological horror created by the fiction and poems of Edgar Allan Poe, examples of which are matched to Marsden's pictures – there's "The Raven", "The Fall Of The House Of Usher", "The Masque Of The Red Death" and others.
Poe was a dark fantasist, with a natural perversity he considered to be a universal condition. 'His plans were bold and fiery, and his conceptions glowed with barbaric lustre. There are some who would have thought him mad' Poe writes of Prince Prospero – the decadent aristo who seals himself into his castle to escape the ravages of the 'Red Death'. A man whose works are 'delirious fancies such as the madman fashions. There were much of the beautiful, much of the wanton, much of the bizarre, something of the terrible, and not a little that which might have excited disgust.' Poe could have been describing his own art, which is riddled with recurrent necrophilia, disease, cannibalism, demonic possession, resurrection of the dead, madness, mesmerism and premature burial, all described in a deliciously morbid prose that lingers on decay and death.
Born in the Michael Dukakis city of Boston over two-hundred years ago – 19 January 1809, Edgar Poe was immediately orphaned. His father, the Irish actor David Poe, deserted the family in 1810 and died soon afterwards. His mother – Elizabeth, died of pneumonia a year later. The middle name 'Allan' he took from the stepfather and benefactor he alternately vilified and, when finances deemed it necessary – fawned over. The young Poe was 'removed' from the University of Virginia for immoderate drinking and gambling which amassed debts of $2,500, and was subsequently court-martialled from West Point Military Academy for deliberate neglect of duty.
He nevertheless went on to reasonable success as editor of various periodicals – 'The Southern Literary Messenger' and 'Graham's Magazine', minor triumphs again sabotaged by his personality problems which tended to terminate each position with the sour fetor of acrimony. He was neither a pleasant, nor an easy work colleague. In mitigation, Poe's notorious drink problem was exaggerated by a diabetic condition, complicated by a 'brain lesion' that rendered him particularly succeptible to alcohol. His use of opium and laudanum is also well-documented, but hardly exceptional at an time when such tinctures were the widely-accepted valium of their day. More genuinely odd is his marriage to his thirteen-year-old cousin, Virginia, who was already ill with the tuberculosis that was to kill her. The 'consumption' that seems to have been a source of Poe's unhealthy fixation – not unconnected to the memory of his mother's death.
Dour and melancholic, Poe favoured neat black clothes. He was socially ill at ease, his conversations as precise and formal as his writing was meticulous. He wrote poems. He wrote protean Science Fiction that influenced HP Lovecraft, and Jules Verne – to whom Poe was 'le créateur du roman merveilleux-scientifique.' He wrote detective fiction, including 'The Murders In The Rue Morgue' ('Graham's Magazine', April 1841) from which his 'C Auguste Dupin' served as A Conan Doyle's model for 'Sherlock Holmes'. But above and beyond these things, Poe created an image. The image is dark and malevolently brooding. The image is Gothic horror, a nightmarish fiction of all-pervading repulsion so obsessive that it survives and even subsumes its persistent reinterpretation by literary critics, symbolists, Freudians – and film-makers. From a single short story sequence novelist-scripter Richard Matheson was able to flesh out an entire movie – the Vincent Price/ John Kerr 1962 chiller 'The Pit And The Pendulum'. Roger Corman, whose series of Poe adaptations stand as his most startlingly disturbing work, similarly expanded the seven-page prose-poem 'The Masque Of The Red Death' (in 'Graham's Magazine', May 1842), into a horrifically effective full-length film that inhabits Poe's mythos remarkably accurately, its malign spell absorbing and colouring all additional invention into itself like a spreading bloodstain. Corman's 'The Fall Of The House Of Usher' (1960) with Vincent Price is a wide-screen shocker pervaded by a genuinely flesh-crawling atmosphere, while Boris Karloff joins Price and Peter Lorre in Corman's special-FX classic 'The Raven' (1963), announced as 'The Macabre Masterpiece Of Terror'.
In much the same way, Simon Marsden's photographs not so much illustrate Poe's stories as are infected by their bacillus, they enter Poe's twisted vision, they draw vile energies from his morbidly introspective fascinations, and peer out through the distorting lens of his perversity.
Poe died – as that heavily over-written scenario demands he must, in grotesquely romantic squalor. After failed suicide attempts, bouts of insanity, fits and delirium tremens, he was on his way to Richmond to marry himself out of penury, when he disappeared during a stop-over in Baltimore. He was found much later on the street in a wretched condition. Following four days of hospitalised raving he groaned 'lord, help my poor soul,' and died. He was aged just forty.
Edgar Allan Poe's life has been described as 'a long slow suicide,' the black drugs 'n' booze aspects of which were posthumously exhumed by decadent French poet Charles Baudelaire who helped embellish them into the unshakably powerful literary mythology that persists. It was left to Anthony Burgess to question that myth in an 'Observer' book review (15 January 1978) by pointing out that 'Poe's life, though wretched enough, was not exceptionally so. It was the life of any writer struggling in a world devoted to commercial values.' What makes Poe's work so exceptional – Burgess argues, is his apparent self-absorption in that 'wretchedness' which – like Marsden's camera, tints and taints all of his life-experience, and all of his creative perceptions. Poe was rigidly agnostic, a man who – according to expert fantasist Sam Moskowitz, 'knew that the ultimate damnation lay in the distortion of a man's own inner consciousness and not in any supernatural event' ('Science Fantasy' no.38).
Irregular, querulous and eccentric, unacknowledged in life and unmourned in death, Poe casts a long and blackening shadow that's now exquisitely reinterpreted through the demonic gargoyles and macabre mansions in Simon Marsden's 'Visions Of Poe'.
'dreaming dreams
no mortals ever dared to dream before…'
(Edgar Allan Poe from 'The Raven')
'NASTY TALES' : BRITISH UNDERGROUND COMIX'
'NASTY TALES:
SEX, DRUGS, ROCK 'N' ROLL
& VIOLENCE IN THE
BRITISH UNDERGROUND'
by DAVID HUXLEY
(Headpress / Critical Vision - £13.95 / $19.95 -
ISBN 190048613X)
What's so funny 'bout Peace Love and Understanding? Well, nothing. Except that TV-clips of Hippies in silly hats, idiot-dancing, and human-daisy-chains in the park, are in danger of eclipsing the significance of what really went on in those down-dirty late-sixties. 'Be Sure To Wear Some Flowers In Your Hair'– of course, but chances are that Charles Manson will also show up at the Love-In. For every Woodstock there's an Altamont. For every Flower-Child, a Street-Fighting Man.
David Huxley's valuable research into one particularly neglected cranny of the era, magicked into life by the lavish visual explosions provided by Headpress lay-out – vividly visceral, explicit, disturbing… and fun, goes some way towards redressing that (sub)cultural imbalance. Comics – or 'Comix' are his thing. The strips that ran in the 'underground' periodicals, and their more specialised comic-book spin-offery. More specific yet, their British manifestations. Artists such as Hunt Emerson. Tracing his lines, which form garish detonations of ludicrous invention, fluid – but angular. Faces, shapes, and figures in dynamic melt-down, vibrating with psychedelic energies. Elaborate spirals and coils of brain-matter, goggle-eyes veiny and drifting free from their sockets like loose balloon moons…
Comic-strips and animation have always been something of a cultural oddity. Their exaggerations are implicitly surreal. Think 'Desperate Dan' – no, really think about it. What the hell is that about? Think about the open-ended repetitive non-story structure of 'Wylie C. Coyote & the Roadrunner'. Existential 'Theatre of Cruelty' or what? And it's always been slightly subversive too. As far back as you can go Political Cartoons have been a weapon of ridicule against the corrupt pomposity of the ruling class. The sixties-cum-early-seventies had no monopoly on any of this. What it did do was reignite it all through new mix-and-max outrage combinations. Through a generation of new artists, Robert Crumb among them, illuminating the youthquake happening all around them. And by their being independently published through the new global phenomenon of disreputable titles calling itself the 'underground press', made possible by the proliferating cheap accessibility of offset print-technology. It also benefited from good timing.
The gore-overkill of Will Gaines' 1950's manic over-the-top EC 'Tales From The Crypt' led to questions in the House, and the subsequent imposition of the Comics Code, ushering in the gentler mockery of 'Mad', and an interlude of squeaky-clean aspirational UK comics following the pristine parentally-approved example of 'Eagle'. So ensuring that a decade-long frustration built up among cartoon-artists, and a sleaze-thirsty readership, a combination that was bound to blow sooner, rather than later. More? Fuelling the 'underground', as well as exotic drugs, trippy vinyl, and a retro-affection for Aubrey Beardsley there were reference points to Marcuse's 'Frankfurt Circle' – a New Left Think-Tank, McLuhan's 'The Medium Is The Massage' proclaiming the end of literacy as we know it, and the dawn of Homo Ludens – the 'Play-Power' ethic. All conspiring together to show that absurdity, stupidity, chaos and black humour are just as valuable philosophical constants as logic, reason and rationality. Ideal ingredients, in fact, for graphic excess.
Initially the visual dimension of the UK titles – 'It', 'Friends', 'Oz', 'Styng' and the rest, was characterised by an over-reliance on American reprints (Crumb's 'My First LSD Trip', Gilbert Sheldon's 'Wonder Wart-Hog'). But the early local contingent soon includes Jeff Nuttall's free-form cut-up 'Physiodelics', Mick Farren's scripts for Edward Barker, the 'Largactilites', Chris Welch – creator of the odd SF-saga 'Ogoth' who doubled by reviewing Pop singles for 'Melody Maker', Hunt Emerson's debut in Birmingham Arts Lab's 'Large Cow Comix no.1' through to his 'Thunderdogs' mayhem in 1980 and 'Firkin The Cat' for 'Fiesta', Brian Bolland's 'Little Nympho In Slumberland' in 'Graphixus no.3', Mal Burns, Bryan Talbot, and much more.
Michael Moorcock's innovative SF-fantasia 'Jerry Cornelius' was serialised through issues of 'Frendz'. As regards self-contained titles, 'Cyclops' – at just 15p from the 'Innocence & Experience Press', cover-proclaims itself 'The first English Adult Comic Paper' in July 1970, followed by Felix Dennis' 'COZmic Comics' – no.3 of which consists entirely of British artist Mike Weller's work. Then the spectrum of titles runs from Alchemy Publications' 'Brainstorm Comix' with a no.1 print-run of 3,500, to Joe Hirst's modest Bamforth-derived spirit-duplicated naughtiness via Filey-based Fiasco Press. From 'Napalm Kiss' to Robert Crumb's celebrated orgy-spread highlighting 'Nasty Tales no.1'.
And the Establishment played its scripted part to perfection. We'll be outraged – it said, if you'll be outrageous. They were duly outraged. They took the 'Oz' Skool-Kids issue to the Old Bailey, and busted 'Nasty Tales' for obscenity. Both shock-chic stories are fully recounted here by David Huxley (who modestly omits his own art-contributions to Denis Gifford's 'Ally Sloper', 'Blood, Sex & Terror', 'StreetQuomix', and 'Either Orcomics', while admitting to an SF weirdo in 'Pssst'). And – although falling outside this book's time-frame, the tradition of legalistic repression continues into the 1990's when 'Savoy Editions' artist-publisher Dave Britton is jailed for the immaculately nasty 'Lord Horror' comic-books.
So where did it all go? Well, it continues to continue in grubby low-profile photocopied small-press editions. 'Viz' graduated from bedroom fanzine into a corporate institution. '2000AD' – launched by IPC as a continuity of the 'Eagle'-mentality, complete with an updated Dan Dare, discovered its long-term survival strategy through more sophisticated adult material with enough severed heads, erupting eyeballs and gratuitous nudity to bring a macabre glow to Will Gaines' tomb. Both titles thrive. While Shelton's collected 'Furry Freak Brothers' are out there on Amazon even now, alongside the lavish graphic-novel editions of DC and Marvel comic-book heroes, their drug-wise antics just as sniggery-relevant to today's pharmaceutical tastes as they were Cheech-&-Chong-wise back then. Robert Crumb is the subject of at least one docu-movie, with a spin-off soundtrack CD. Felix Dennis – once 'Oz' wunderkind, is a media fat-cat with a sideline in self-publishing his own poetry. And now David Huxley's cool academic prose preserves, keenly analyses, places in context and neatly squares the cartoon frame of the best of the rest. Cool. Groovy. Highly recommended…
'DREAMBERRY WINE (Jan-Feb)' (UK – Jan 2004)
'SONGBOOK no.2' (UK – Feb 2004)
'MONOMYTH no.14' (UK – May 2004)