Wamuyu aka Warigia aka Wanjugu was the Gikuyu daughter of Mumbi who according to legend did't marry. This post speculates on the reasons she did not marry.
According to the existing myths of the tribe, Gikuyu and Mumbi the first parents of the tribe bore nine plus one daughters and no sons. This was at their home at Mukurwe wa Nyagathanga in Muranga. Gikuyu then prayed to God and God asked him to make a burnt offering of a goat under the Mukuyu tree and return in the morning. On return the following morning he found nine young men waiting whom he took to his daughters and each took one for a husband. These nine went on to establish what are the cornerstones of the tribe the nine plus one clans. The clans are 'nine with the fill' not because Wamuyu's clan, the Aicakamuyu was the fill but because the Gikuyu do not count their offspring exactly for fear they might perish. The myth is not clear whether there were actually nine young men or ten. Remember the Gikuyu will not count exact numbers of people or livestock due to superstition. So it is not at all clear whether Wamuyu refused to marry because there was no husband for her or because she had to wait as some people who tell the myth say that she was too young to marry.
I am a great fan of folk tales and myths and I have come to understand that most of them contain a very powerful meaning once deconstructed. Take the story of little Red Riding Hood and the wolf. A mere tale to amuse children? Nay! It is the story of maturation and initiation according to some writers. "Take care little girl, men are wolves" Or take the story of Beauty and the Beast. Isn't it a teaching to young girls to beware of judging their future spouses by mere externals and looks?
In order to deconstruct the story of Wamuyu, we have to understand the dynamics of family life as presented by the first family. Look at them. They have nine grown up women who are all married to "goats" They shortly all go away one after another with their husbands to settle elsewhere. This aging couple had no son who could bring a young woman to take care of them. This was a serious matter as there were no old people's homes then. One of the girls, certainly the one who either loved them more than she loved herself or was favored of the father and mother must have decided – to hell with the "goat of a husband" and decided to stay and take care of the aging couple. This girl, Wamuyu, as she has been called, rather than being an outcast as some people have suggested was probably the most beloved, the most caring and possibly the richest of the ten daughters of Mumbi as she would have inherited Gikuyu's property. That is why even being single she is recognized as the mother of a full clan in its own right, the Aicakamuyu.
The phenomenon of a single motheris not "un-African" or a misfortune as is insinuated by some people. It was a fully recognized status by Gikuyu himself.
Previous Post Mukurwe wa Nyagathanga – Gikuyu Eden?
When a pregnant woman neared her full term, a midwife was called to be with her and would usually be assisted by two other women. In a corner of the hut called gaturi-ini between the foot of the woman's bed and the kweru, a cow hide, ndarwa, was spread and this was where the woman delivered her baby. The hut was completely out of bounds to all except the midwives for four days in case of a girl and five days in case it was a boy. After the five days the woman was shaved and the hut swept of everything including all the dirt accumulated over the years under the goat's pen, gicegu and the girl's bed, kiriri. All the dirt was taken out by the midwife not to the homestead dump, kiara but into a forest where she also took the elephant. This was what was called the great sweeping or kuhata mirura. For an unmarried woman to give birth in her mother's hut was a very grave thing almost unheard of. Who was going to do the sweeping for her and why?
I think I have heard about a sacrifice called mùruru when a girl gives birth when unmarried but later gets married. The sacrifice is to cleanse the afterbirth because its a taboo to give birth while at one's parent homestead and to signify the acceptance of the kid by the clan of the man who later marries the girl.
Here in Northern Kikuyu they called it, "kūhaata mīrura" .
I have a feeling that the Kikuyu myth of origin contains a very powerful meaning if we can get someone out there to deconstruct it.
The Ndia and Gicugu people are Kikuyu just like the people of Kiambu, Muranga, Nyeri, Mathira, etc. The only difference is that their ACCENT is a little bit off. Ndia and Gicugu people are very close distance-wise to the Embu people who happen to have defined a different myth of origin.
The word Ndia means a deep dam, or something like that. The word Ndia may also means "rigia". Rigia is the root word for the name Warigia. In Kikuyu myth of origin, Warigia is also known as Wanjugu. The root word for Wanjugu is Njugu which I believe is also the root word for Gichugu. The "plus one daughters" means more than nine daughters – it could mean ten, eleven or even twelve daughters.
When people are left in the "first home" they may as well be referred to as irigia…., moving out from "old home" is as good as getting married…., and then you go on and on in defining your people to be included in the "kingdom".
When the Kikuyu people migrated to the Mount Kenya region, the first waves may just have been the Ndia and Gichugu people, and that these two people were the "host" to the other latter waves of migration who certainly may have used a different migration route. When everybody had arrived and settled, then politics started. Politics about forgetting about the past, politics about future generations being made to believe the land was theirs given to them by God and that they should be ready to defend and die for it, politics about how to rule the people by establishing a kingdom as it was in Buganda kingdoms in Uganda, Yoruba kingdoms of Ifẹ and Oyo of 13th century in Nigeria, and finally politics about defining the boundaries of the new found territory. The Kikuyu myth of origin has all these ingredients. Unfortunately the idea of a kingdom for the Kikuyu people seems to have failed miserably.
This may be a very abstract and crude way of thinking but that is how I see it. What do you have to say about this?
We agree with you that the Gikuyu myth needs a deeper interpretation probably at a religio-philosophical level as the Jewish kaballah has been interpreted. As an exercise just do a quick check on the myth's similarities with the kaballah.
As for it being a political tool, OF CAUSE! Most myths of origin are politically motivated. Again just do a quick check on the famous one by Jews of their deliverance from Egypt and their takeover of the promised land. Promised by who? by God Himself. Some Bible scholars actually go as far as stating that the Bible and especially the Old Testament was written to justify genocide and the takeover of the "promised land" by the Jews.
The so-called "promised land" of the Gikuyu was also inhabited by an indigenous people, the Gumba and the Dorobo who were replaced just as the Canaanites were replaced by the Jews.
im moved by these pieces of advice,i wish in nairobi or any other areas where kikuyu meet they should be discussing these as they provoke thinking and way of thinking.
I would concur with the fact that our myths have a striking similarity with the Kabbalah.
Notice there's such a similarity recorded on the Torah, which is considered an exoteric text for the Kabbalah by some, (Samuel Chapt. 24) on the issue of our ancestors' reluctance to enumerate people to the full number.
King David is recorded as having commuted a big sin when he counted the men in his army.
I'm of the opinion that any such similarity of myths is not just a mere fun fact.
The Kabbalah tree of life has ten devine names and is a study in human characteristics and their interconnections. When you study closely the ten Kikuyu clans characteristics and how they interact then you can't fail to see they have a common source. Plus all the other elements lime you have mentioned, not numbering, sacrifices etc.
Your comment couldn't be any more synchronous! Just about a day ago talking with a friend on how the tree of life with all its components, the divine names, the sephirots etc., can be demystified and made useful in the life of an individual by applying it physio-psychologically, which admittedly is not an easy task.
Your point about relating the tree of life with the ten Kikuyu clans is quite new to me and makes a lot of sense.
Do the Kikuyu, both regard this two tree sacred first 1.Mukuyu 2.Mugumo ? I said this because in the begining Kikuyu got his wife Mumbi under Mukuyu tree while he was asleep resting after a long tired day with Ngai when wake up he saw his wife Mumbi next when Kikuyu geting husband for his nine daughters he sacrifice under mugumo tree and found nine men who later marry his daughters, so which one most regard to be Holy is it, Mugumo or Mukuyu?
I am expecting a first born baby boy soon and the so father does not want baby named after his family….is it a must I name baby after my dad or can I give my baby any other name? can I use my 2nd name Muthoni as my baby's surname?
If you are truly married to the man then he will insist, expect, and demand that the boy be named after your father in law. If this is not happening, the so-called marriage is in serious trouble. If there is no marriage but there is a child, name him after your father. Do the necessary rites to your brother so that he can become the acting father to his nephew. If your brother's name is for example, munene, the boy will be Mwangi Munene. Not Mwangi Muthoni.
That is a sound advice. The surname should not be female. The brother in question should be the eldest brother.
Aghekoyo maraherithyo everywhere you go ! darehiro ne mothogo ghoko majuu, digesoka mosie. am under surveillance 24/7. eno ne bara ya kooragha aghekoyo othe ! matiraherithia ado age ta jaruo,ikaba kana kafira ege ! ne aghekoyo tu maraherithio wherever you go ! by the matter of fact, kafira isio ige nesio maratwedia ithue siana sia mobi ! niko psychiatrie in south holland bavo Europoort where the most abuse have taken place, first in Germany then i had to run away geoka ghoko holland ghothie ate ICC Korea medagha kooragha uthamaki wito "out of the frying pan to the fire" deraherithio otuko na mothenya. MWATHANI, GAI WA NYAGHA AGHOSWO, ITHUE NE ITHUE SIANA SIAKE TOMENETO NE ADO OTHE !


In a couple of weeks, on Wednesday 4th October, the annual Comedy International conference and showcase is back in London.
Representing Israel in the showcase are three comics: Yossi Tarablus, Yohay Sponder and Shahar Hason. The night before (Tuesday 3rd October), they are performing a one-off full-length show From Israel With Laughs at the Seven Dials in Covent Garden – "People can see us for an hour and a half rather than just 10 minutes each," Yossi told me on Skype from Tel Aviv.
"Will I – a non-Jew – appreciate it?" I asked.
"Sure," he told me. "Shahar and Yohay have just returned from their Edinburgh Fringe show and from the Asia Comedy Festival in Singapore. It's not going to be Jewish/Israeli stuff. People who don't know Israel and who aren't Jewish can come and still have a blast.
"Are the three of you similar in style?" I asked.
"I presume touring American Jewish comedians already include Israel?" I said.
"I think," said Yossi, "that a lot of New York Jewish comics are Woody Allen-esque. Very smart, very sophisticated, very funny and more like Eastern European Jews. They are maybe a little bit more self-deprecating: classic Shtetl Jews.
"Israeli Jews, in their comedy, are a little bit more – as Israelis are – more direct. We appreciate political correctness, but not in comedy. We don't have a problem laughing at anyone. Laughing at our wars; criticising the other side; criticising ourselves.
"I think being in a country that is constantly in a state of… alarm… makes you less vulnerable to… eh… I mean, what can happen? We are here. We have survived everything. So we don't care about… I mean, subtleties are fine, but we just want to have people laughing, bursting out laughing, forgetting the news, any tension in the streets or even any economic crisis. People come to comedy clubs to forget. People come to comedy clubs to laugh and have a great hour-and-a-half, to forget all their troubles.
"Self confident and less politically correct," agreed Yossi. "Looking at stuff without any buffers. So – Boom! – in your face. That is the Israeli mentality. Straight talking. If we don't like this guy, we say we don't like him. In Israel, we are really afraid to be a hypocrite. If we say we are afraid of Arabs, it's straight. We are afraid of Arabs because we have a problem with the Arabs. You know? What can you do? It's not an evening of poetry. It's an evening of comedy.


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Release date Audiobook: 30 December 2019 E-book: 20 March 2009
The Catherine Lim Collection
Liz Sutherland-Lim, Millicent Wong, Eugenia Low, Lin Mingyu
Audiobook: 30 December 2019
E-book: 20 March 2009
Author: Catherine Lim Narrator: Liz Sutherland-Lim, Millicent Wong, Eugenia Low, Lin Mingyu Audiobook and E-book
This book consists of three celebrated short story collections and an early novel, each reflecting Lim's prowess as a storyteller chronicling a society in transit, where multiethnic characters struggle with their identities as the past and the present intersect, mingle and clash.
The Serpent's Tooth (1982) : Within each family lie the proverbial skeletons better left untouched, lest the truths uncovered become to horrifying. The Serpent's Tooth is fraught with dashed hopes and wasted efforts, where characters grope around desperately in the murky depths of self delusion, where hands reach beyond the grave and resurface to haunt.
They Do Return… but gently lead them back (1983): 15 tales of the paranormal. Unlike the bloodthirsty, melodramatic tales favoured at gatherings, the substance of these are commonplace, stories behind the ghost stories: of relationships that death cannot sever; of personalities so forceful they invade the land of the living after death; of rituals and customs, the unexplained and the unexpected. Characters so close to home that you start believing…
O Singapore!: Stories in Celebration (1988): From the playfully satirical pen of Catherine Lim comes the wild, weird and wacky world of O Singapore! This is '90s Singapore where the campaigns and the directives of the unremittingly competent leadership come face to face with the undeniably human fads, foibles and follies of the Singaporean people.
The Woman's Book of Superlatives (1993): Catherine Lim beguiles the reader with a startling contrast: the deification of women in ancient myths, against the degradation of women at the hands of their men. Time and again, an unwonted bond of sisterhood appears, and is affirmed in a final fateful collision.
Contemporary short stories

redpajama_set_name: RedPajamaCommonCrawl


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Rivarolo del Re ed Uniti – miejscowość i gmina we Włoszech, w regionie Lombardia, w prowincji Cremona.

Według danych z 2004 r. gminę zamieszkuje 1919 osób, 71,1 os./km².

Linki zewnętrzne
 Źródło danych: Istituto Nazionale di Statistica

Miejscowości w prowincji Cremona

redpajama_set_name: RedPajamaWikipedia


There have been five studies to date that have identified patients with features consistent with Costello syndrome (CS) and de novo or inherited variants in KRAS (Carta et al., 2006; Nava et al., 2007; Schubbert et al., 2007; Zenker et al., 2007). However, none of the patients possessed features to definitively differentiate their diagnosis from other RASopathies as CS. Variable expressivity, age of ascertainment, and outdated clinical assessments of affected individuals may complicate the clinical diagnosis of CS versus severe forms of CFC. Therefore, the evidence for this association is Disputed. Furthermore, the HRAS gene is believed to be the only gene associated with CS (Aoki et al., 2005; Estep, Tidyman, Teitell, Cotter, & Rauen, 2006; Gripp et al., 2006; Kerr et al., 2006; Zampino et al., 2007).


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Student Board Rep Heading To Biola
The future holds an exciting adventure for Oakdale High School senior and Oakdale Joint Unified School Board Student Representative Autumn Neal.
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SV40 large T antigen (Simian Vacuolating Virus 40 TAg) is a hexamer protein that is a dominant-acting oncoprotein derived from the polyomavirus SV40.   TAg is capable of inducing malignant transformation of a variety of cell types. The transforming activity of TAg is due in large part to its perturbation of the retinoblastoma (pRb) and p53 tumor suppressor proteins. In addition, TAg binds to several other cellular factors, including the transcriptional co-activators p300 and CBP, which may contribute to its transformation function. Similar proteins from related viruses are known as large tumor antigen in general.

TAg is a product of an early gene transcribed during viral infection by SV40, and is involved in viral genome replication and regulation of host cell cycle. SV40 is a double-stranded, circular DNA virus belonging to the Polyomaviridae (earlier Papovavirus) family, Orthopolyomavirus genus. Polyomaviruses infect a wide variety of vertebrates and cause solid tumours at multiple sites. SV40 was isolated by Sweet and Maurice Hilleman in 1960 in primary monkey kidney cell cultures being used to grow Sabin OPV.

Domains

The TAg has a CUL7-binding domain, a TP53-binding domain, a Zinc finger, and a Superfamily 3 ATPase/Helicase domain. It has two motifs, one for nuclear localization signal, the other being the LXCXE motif.

Mechanism

After entering the cell, the viral genes are transcribed by host cell RNA polymerase II to produce early mRNAs. Because of the relative simplicity of the genome, polyomaviruses are heavily dependent on the cell for transcription and genome replication. The cis-acting regulatory element surrounding the origin of replication directs transcription, and T-antigen directs transcription and replication.

SV40 DNA replication is initiated by binding of large T-antigen to the origin region of the genome. The function of T-antigen is controlled by phosphorylation, which attenuates the binding to the SV40 origin. Protein-protein interactions between T-antigen and DNA polymerase-alpha directly stimulate replication of the virus genome.

T-antigen also binds and inactivates tumor suppressor proteins (p53, p105-Rb). This causes the cells to leave G1 phase and enter into S phase, which promotes DNA replication.

The SV40 genome is very small and does not encode all the information necessary for DNA replication. Therefore, it is essential for the host cell to enter S phase, when cell DNA and the viral genome are replicated together.
Therefore, in addition to increasing transcription, another function of T-antigen is to alter the cellular environment to permit virus genome replication.

Nuclear localization signal

The SV40 large T-antigen has been used as a model protein to study nuclear localization signals (NLSs). It is imported into the nucleus by its interaction with importin α. The NLS sequence is PKKKRKV.

Interaction with pRb via the LXCXE motif

SV40 large TAg, other polyomavirus large T antigens, adenovirus E1a proteins, and oncogenic human papillomavirus E7 proteins share a structural motif that encodes a high-affinity pRb-binding domain.  A diagnostic pattern for a high-affinity pRb-binding domain was refined using an artificial intelligence pattern-induction program running on a massively parallel supercomputer (Connection Machine-2).  The motif is characterized by an Asp, Asn or Thr residue followed by three invariant amino acids, interspersed with non-conserved amino acids (designated by x, where x cannot be a Lys or Arg residue). A negatively charged region frequently follows carboxy-terminal to the pRb-binding domain.

 {Asp/Asn/Thr} – Leu – x – Cys – x – Glu – x – ... {negatively charged region}

Hydrophobic and electrostatic properties are highly conserved in this motif. For example, a local hydrophobicity maximum occurs in the vicinity of the invariant Leu residue.  A net negative charge occurs within 3 residues amino-terminal to the invariant Leu residue; furthermore, positively charged amino acids (Lys or Arg) are not found within the Leu – x – Cys – x – Glu sequence, nor in the positions immediately flanking this sequence. The pRb-binding motif and negatively charged region match to a segment of SV40 TAg beginning at residue 102 and ending at residue 115 as shown below:

  – Asn – Leu – Phe – Cys – Ser – Glu – Glu – Met – Pro – Ser – Ser – Asp – Asp – Glu –

Functional studies of TAg proteins bearing mutations within this segment (amino acid positions 106 to 114, inclusive) demonstrate that certain deleterious mutations abolish malignant transforming activity.  For example, mutation of the invariant Glu at position 107 to Lys-107 completely abolishes transforming activity. Deleterious mutations within this segment (amino acid positions 105 to 114, inclusive) also impair binding of the mutant TAg protein species to pRb, implying a correlation between transforming activity and the ability of TAg to bind pRb.  A detailed computerized bioinformatics analysis, as well as an x-ray crystallography study, have demonstrated the biophysical basis for the interaction between this region of TAg and pRb. TAg residues 103 to 109 form an extended loop structure that binds tightly in a surface groove of pRb. In the crystal structure, Leu-103 is positioned so that it makes van der Waals contacts with the hydrophobic side chains of Val-714 and Leu-769 in pRb. A number of hydrogen bonds also stabilize the TAg–pRb complex. For example, the side chain of Glu-107 forms hydrogen bonds by accepting hydrogens from the main chain amide groups of Phe-721 and Lys-722 in pRb. The mutation of Glu-107 to Lys-107 is expected to result in loss of these hydrogen bonds. Furthermore, the side chain of Lys-107 would likely have energetically unfavorable interactions with the amide of Phe-721 or Lys-722, destabilizing the complex.

Strong experimental evidence confirms that positively charged amino acids (Lys or Arg) significantly weaken the binding interaction with pRB when positioned in the vicinity of the Leu – x – Cys – x – Glu sequence.  This is likely due to the fact that the binding surface on pRb features six lysine residues, which will tend to repel positive residues within or flanking the Leu – x – Cys – x – Glu sequence.

Of note, the highest-risk oncogenic human papillomavirus (HPV) strains (16, 18, 31, 45) encode E7 proteins featuring high-affinity pRb-binding domains which match the diagnostic pattern given above.

References

Viral oncoproteins
Polyomavirus proteins


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text:
Manuscript[remove]9
Durang, Charles6
Westcott, Thompson, 1820-18886
Archer, Henry Wilson, 1813-1887.3
Archer, John, 1777-1830.3
Barton, Benjamin Smith, 1766-1815.3
University of Pennsylvania. School of Medicine.3
Thompson Westcott scrapbooks of Charles Durang's history of Philadelphia theater between the years 1749 and 18556
You searched for: Type Manuscript Remove constraint Type: Manuscript Language English Remove constraint Language: English
1. History of the Philadelphia Stage, Between the Years 1749 and 1855. By Charles Durang. Volume 3. Arranged and illustrated by Thompson Westcott, 1868
History of the Philadelphia Stage, Between the Years 1749 and 1855. By Charles Durang. Volume 3. Arranged and illustrated by Thompson Westcott, 1868
Volume III includes the last 23 chapters (XXXIV to LVI) of the second series, and the first 22 installments (I to XXII) of the third and last series, for a total of 118 pages of text. The chapters belonging to the second series were published in the Dispatch between February 15, 1857 (Vol. IX, No. 42) and August 2, 1857 (Vol. X, No. 14), while those included in the third series came out between July 8, 1860 (Vol. XIII, No. 2) and December 2, 1860 (Vol. XIII, No. 32). In this portion of his history, Durang chronicles the seasons of Philadelphia theaters from 1826-27 to 1831-32. The author presents a cast list for the most important performances, and in some cases even quotes contemporary playbills and reviews. Special events include the Philadelphia debut of actor Charles Kean and the performances of Metamora; or, The Last of the Wampanoags, a tremendously successful play produced at the Arch Street Theatre at the beginning of 1830, and featuring Edwin Forrest in the main part. Opera singer Maria Malibran, who toured the United States from 1825 to 1827 and performed in Philadelphia during these same years, is the focus of a whole chapter discussing her life and career (series III, chapter XIII). A new theater, the Arch Street Theatre, was inaugurated in 1828 and soon became one of the most important institutions in the city along with the Chestnut Street Theatre and the Walnut Street Theatre. A great deal of information is given on the managerial aspects regulating the life of these artistic centers, and on the actors, singers, writers, and other figures who were involved during those years. Many such figures appear in the rich iconographic portion of the volume, which includes portraits of Emma Albertazzi, Geneviève-Aimé-Zoë Prévost, Marie Taglioni, Antonio Guerra, Sarah Egerton, Charles William Macready, Marie Caroline Félix-Miolan, John Liston, Laure Cinti-Damoreau, William Dowton, James Henry Hackett, William Henry West Betty, Margaret Somerville, Madame Céleste, Charles Edward Horn, William Rufus Blake, Henriette Sontag, Giovanna Baccelli, Joseph Grimaldi, Armand Vestris, Lucia Elizabeth Vestris, John Philip Kemble, Giuditta Pasta, Rachel Félix, Margaret Martyr, John Vanbrugh, Edwin Forrest, Luigia Caldarini, Sam Cowell, Dorothea Jordan, Rebecca Davison, Caius Gabriel Cibber, John Pritt Harley, Carlotta Grisi, Stephen Kemble, Sarah Siddons, Thomas Sheridan, James Edward Murdoch, Elizabeth Rainforth, Charles William Macready, Calvin Edson, Thomas Apthorpe Cooper, Jane Stephens, Elizabeth Sharp, Edwin Booth, Charles Kean, Charlotte Cushman, Herr Driesbach, David Garrick, Harriet Waylett, Frances Abington, General Tom Thumb, Samuel Phelps, John Quick, Thomas Hilson, Samuel Reddish, Maria Malibran, Elena D'Angri, John Reeve, George Washington Dixon, Oliver Goldsmith, Julia Fortescue, and many others. The volume also contains engravings of the three main Philadelphia theaters (Chestnut Street Theatre, Walnut Street Theatre, and Arch Street Theatre) and of other international venues such as the Théâtre de l'Académie Royale de Musique (Salle Le Peletier) of Paris, and the Teatro Principal of Havana, Cuba. An autograph letter by Herr Driesbach, the famous lion tamer, is attached to the volume, along with an autographed portrait of actor George Handel Hill.
Durang, Charles; Westcott, Thompson, 1820-1888
https://rightsstatements.org/page/CNE/1.0/?language=en
Thompson Westcott scrapbooks of Charles Durang's history of Philadelphia theater between the years 1749 and 1855
2. Parker and Archer account book for purchases of wheat, 1841-1851.
Parker and Archer account book for purchases of wheat, 1841-1851.
This collection consists of notebooks kept by three members of the Archer family between 1797 and 1851. An account book kept by Robert Harris Archer from 1841 to 1851 is the third file in this series, and lists Archer's purchases of wheat. This book is, for the most part, well organized with the name of the wheat seller, price and amount of wheat, and date of purchase laid out consistently. A few pages, however, are filled with tally marks, calculations and miscellaneous notes and sketches, including two small drawings of houses labeled 'Baltimore' and 'Philadelphia.'; The Archer family was a prominent and politically active family of medical doctors based in Harford County, Maryland. John Archer was born in Maryland in 1741 and (due to the alphabetical antecedence of his last name) was the first person to receive a medical diploma in North America, which he earned from the College of Philadelphia (later the Perelman School of Medicine at the University of Pennsylvania) in 1768. His son, John Archer Jr. (1777-1850) also attended medical school at the University of Pennsylvania, graduating in 1798. J. Archer Jr. returned to Maryland after earning his degree and served as a surgeon of the Maryland militia in the War of 1812. Henry Wilson Archer (1813-1887) was the son of John Archer Jr. Another graduate of the medical school of the University of Pennsylvania, H. Archer lived in Harford County and married Mary Elizabeth Walker in 1849. The final volume in the collection is an account book created by Robert Harris Archer. Three individuals named Robert Harris Archer (brother of (1775-1857 or 1858), nephew of (1813-1883), or son of (1820-1878) John Archer, Jr.) may have been the account book's author.
Archer, John, 1777-1830.; Archer, Henry Wilson, 1813-1887.; Barton, Benjamin Smith, 1766-1815.
University of Pennsylvania. School of Medicine.
Volume V includes the following 36 chapters (LXIII to XCVIII) of Charles Durang's history, for a total of 119 pages of text. These chapters were originally published in the Dispatch between September 22, 1861 (Vol. XIV, No. 22) and June 8, 1862 (Vol. XV, No. 7). In this part of his work, Durang offers an extensive description of the management and life of the most important Philadelphia theaters between the 1841-1842 and 1849-1850 seasons. The author comments upon the vicissitudes of several actors, impresarios and artists active in the city in those years, most notably William Evans Burton, Charlotte Cushman, Edward Loomis Davenport, Charles William Macready, and Edwin Forrest. In particular, the escalating rivalry between Macready and Forrest is documented by numerous chapters, from its early stages in 1844 – when both actors were cast in the same role in the same play by two different theaters, the Arch Street and the Walnut Street – to further altercation in England in 1846 and the final lawsuit announced by Macready in November 1848. A copy of the announcement in which the British actor proclaims his intention to sue Forrest is included in the volume. These chapters also discuss the growing importance of Italian opera in the city, which was visited by travelling companies such as the Havana Opera Company (1847) and the Max Maretzek Italian Opera Company (1848). Westcott offers numerous portraits of all these figures, along with a considerable number of engravings depicting numerous artists and impresarios such as Fanny Cerrito, James Rogers, Susan Cushman, William Evans Burton, Elizabeth Yates, Edward Fitzwilliam, Fanny Fitzwilliam, James William Wallack, George H. Hill, Charles Kemble, John Brougham, Lucia Elizabeth Vestris, Isabella Glyn, William Wheatley, Henry Woodward, William Dowton, William Creswick, William Maybury Fleming, Joshua Silsbee, Phineas Taylor Barnum, Richard Brinsley Sheridan, Maria Gibbs, John Liston, Harriet Waylett, George Jamieson, Henri Vieuxtemps, George H. Barrett, Gustavus Vaughan Brooke, Charles Bass, Mary Ann Povey, Anna Cora Mowatt, Charles Kean, Lucille Western, John Sinclair, Eliza Logan, Ira Aldridge, Laura Keene, Mary Taylor, Arabella Goddard, Julia Dean, Henry Compton, George John Bennett, Fanny Cooper, Hanry Marston, Robert Keeley, Barney Williams, Ann Bishop, Federico Beneventano, John Edward Owens, Junius Brutus Booth, Edwin Booth, Amalia Patti, Carlotta Patti, Elena D'Angri, Maurice Strakosch, Caroline Richings, Julia Dean, Hector Berlioz, Alexina F. Baker, James Hudson, Charles Walter Couldock, McKean Buchanan, Francis Marion Brower, Teresa Rolla, and many others. Images of Philadelphia theaters such as the Arch Street Theatre and the Walnut Street Theatre are also present, as well as another engraving depicting the Continental Theatre fire of 1861— a famous accident in which seven performers lost their lives. The scrapbooks also contains a few manuscript documents, including a note by actor Edward Loomis Davenport, and two additional letters from actors and managers Francis Courtney Wemyss and Louisa Lane Drew.
4. Note and commonplace book of Henry Wilson Archer, 1830-1832.
Note and commonplace book of Henry Wilson Archer, 1830-1832.
This collection consists of notebooks kept by three members of the Archer family between 1797 and 1851. The second file in this collection is the commonplace book of Henry Archer, written between 1830 and 1832 in Harford County, Maryland. This book is roughly organized into four sections. The first section consists of notes on the history of Asia (based on a text by Charles Rollin), Rome (based on Edward Gibbon's The Decline and Fall of the Roman Empire), Roman jurisprudence, and the feudal system in Scotland. The second section features shorter quotations taken from several sources including Don Juan, the poetry of Byron and Thomas Campbell, and The Young Duke, a novel by Benjamin Disraeli. Also in this section is a transcription of 'The Union College Dunciad,' a (probably unpublished) volume of satirical verse written in Schenectady in 1830. The notebook's third section is a list of the books that Archer read, sorted by category and year. Each book has a number next to it, perhaps denoting how many times it was read. This list is extended on the front inside cover of the notebook. The final section of the notebook is titled 'Questions for Debate,' and includes eleven questions about both historical and contemporary political issues.; The Archer family was a prominent and politically active family of medical doctors based in Harford County, Maryland. John Archer was born in Maryland in 1741 and (due to the alphabetical antecedence of his last name) was the first person to receive a medical diploma in North America, which he earned from the College of Philadelphia (later the Perelman School of Medicine at the University of Pennsylvania) in 1768. His son, John Archer Jr. (1777-1850) also attended medical school at the University of Pennsylvania, graduating in 1798. J. Archer Jr. returned to Maryland after earning his degree and served as a surgeon of the Maryland militia in the War of 1812. Henry Wilson Archer (1813-1887) was the son of John Archer Jr. Another graduate of the medical school of the University of Pennsylvania, H. Archer lived in Harford County and married Mary Elizabeth Walker in 1849. The final volume in the collection is an account book created by Robert Harris Archer. Three individuals named Robert Harris Archer (brother of (1775-1857 or 1858), nephew of (1813-1883), or son of (1820-1878) John Archer, Jr.) may have been the account book's author.
Volume VI includes the final 38 chapters (XCIX to CXXXVI) of the third series of Durang's history, for a total of 110 pages of text. These installments appeared in the Dispatch between June 15, 1862 (Vol. XV, No. 8) and April 19, 1863 (Vol. XV, No. 52). Here Durang discusses the theatrical seasons of several city institutions, such as the Chestnut Street Theatre, the Walnut Street Theatre, the Arch Street Theatre, the Musical Fund Hall, and Welch's National Circus, Theatre, and Hippodrome, up to the closure of the second Chestnut Street Theatre in 1855. Prominent events include the Italian opera season at the Chestnut Street Theatre, under the management of impresario Max Maretzek, and the parallel programming of Jenny Lind's performances at the Musical Fund Hall. A biographical sketch of Jenny Lind, complete with a description of her career in the United States, is provided. The volume also includes other clippings concerning the closing of the second Chestnut Street Theatre in 1855, the opening of the third Chestnut Street Theatre in 1862, and the renovation of the Arch Street Theatre in 1861, after Louisa Lane Drew assumed the management of the theater. A brief article by L. G. Thomas, originally published in the Sunday Dispatch and titled "Reminiscences of Private Dramatic Associations," is also found in the final part of the scrapbook. A wide number of artists, impresarios, and theatrical figures are portrayed in the images added by Westcott to the volume. Among them are Philip Rohr, William Warren, Harriet Waylett, Joseph Jefferson, Ephraim Horn, Richard Brinsley Sheridan, William F. Wallet, Giovanni Battista Belletti, Marie Taglioni, George John Bennett, Virginia Howard, John Brougham, John Henderson, Junius Brutus Booth, Edwin Booth, John Philip Kemble, Phineas Taylor Barnum, Jenny Lind, Teresa Parodi, John Gilbert, Mary Amelia Warner, James Edward Murdoch, Laura Keene, William Henry Don, John Drew, Gustavus Vaughan Brooke, Lola Montez, Julia Bennett Barrow, Edwin Forrest, Laura Addison, Jean Margaret Davenport (Mrs. Lander), Peter Richings, Max Maretzek, Mary Anne Stirling, Lizzie Weston, Louis Moreau Gottschalk, George E. Locke, Lester Wallack, Gabriel Ravel, Henriette Sontag, Cora De Wilhorst, Charles William Macready, Thomas Potter Cooke, Isabella Glyn, William Dowton, John Edward Owens, Kate Josephine Bateman, William Farren, John Liston, Louisa Pyne, Giulia Grisi, McKean Buchanan, Adeliaide Phillipps, Susanna Centlivre, Charlotte Thompson, Edwin Pearce Christy, Charles Walter Couldock, Marietta Alboni, and George Frederick Cooke. A list of "maiden and married names of actresses" is located at the beginning of the volume, and offers researchers a useful research tool as they reconstruct the career of famous female performers. The scrapbook also contains images of numerous theaters and cultural institutions, both in Philadelphia and in other U.S. cities, such as the Philadelphia Academy of Music, the Walnut Street Theatre, the City Museum of Callowhill Street, and Welch's National Circus (at the National Theatre) in Philadelphia, Astor Place Opera House, Castle Garden Theatre, Pike's Opera House, Booth's New Theatre, and Brougham's Theatre in New York City, and the New National Theatre and the People's Theatre in Cincinnati, OH. Finally, the volume comprises a small number of autograph letters, including one by theater manager John Sefton, and another one by actor and theater manager John Drew.
6. History of the Philadelphia Stage, Between the Years 1749 and 1855. By Charles Durang. Volume 1. 1749 to 1818. Arranged and illustrated by Thompson Westcott, 1868
History of the Philadelphia Stage, Between the Years 1749 and 1855. By Charles Durang. Volume 1. 1749 to 1818. Arranged and illustrated by Thompson Westcott, 1868
Volume I includes the first 55 chapters (I to LV) of the first series, published in the Sunday Dispatch from May 7, 1854 (Vol. VII, No. 1) to May 20, 1855 (Vol. VIII, No. 3), for a total of 118 pages of text. Because Charles Durang was born in 1794, he could not rely on personal recollections for the description of most of the events that took place in this period. Possibly also for this reason, this scrapbook is the one that covers the widest chronological span, from 1749 to 1818, with only 61 pages of text devoted to the years up to 1800. The portion of Durang's history included in the scrapbook mentions the first instances of theatrical performances in Philadelphia (including those of the Hallam Company – later renamed American Company), and discusses the vicissitudes of the theaters that were opened in the city during those decades, including the Society Hill Theatre, the Southwark Theatre, the Northern Liberty Theatre, the Chestnut Street Theatre, the Apollo Street Theatre, and the Olympic Theatre (later renamed Walnut Street Theatre). Theatrical seasons are described in full detail by Durang, especially after the mid 1790s, following the opening of the Chestnut Street Theatre. A whole chapter (XXV) provides a history of the circus in Philadelphia, and the next chapters also include references to theatrical performances, concerts, and other forms of live entertainment that took place in circuses and outdoor locations, including Ricketts Circus and the Vauxhall Gardens. References to the contemporary theatrical life in England and in other American cities (New York City, Boston, Baltimore, and Annapolis, among others) can also be found in the text. The volume contains engravings and drawings of theatrical institutions such as the Southwark Theatre, the Chestnut Street Theatre (destroyed by fire in 1820), the Ricketts Amphitheatre, the Theatre Royal, Covent Garden (London), the Richmond Theatre (Richmond, VA), and the Old Federal Street Theatre (Boston). The scrapbook is also embellished with a conspicuous number of portraits of actresses, actors, and other theatrical figures, such as William Shakespeare, Daniel Terry, Anna Marcella Lydall , Sarah Siddons, Charles Macklin, Henry Mossop, Spranger Barry, Thomas Sheridan, Thomas King, James William Dodd, Elizabeth Singer Rowe, John Bannister, William Parsons, John Moody, Susannah Maria Cibber, Ann Street, Robert Bensley, Isabella Mattocks, Charles Macklin, John Philip Kemble, Robert Bensley, Jane Powell, John Henderson, Elizabeth Yates, Thomas Holcroft, Charlotte Melmoth, Elizabeth Barry, Frances Abbington, Mary Ann Wrighten, Maria Theresa Bland, Colley Cibber, William Dimond, Fanny Fleming, Thomas Hull, Thomas Cooke, Maria Duncan, John Bernard, Samuel Phelps, and Edmund Kean, among others. A few autographs letters, some written by Charles Durang himself, are also included. Finally, a small collection of playbills, mostly from the 1820s, was inserted in the final part of the scrapbook. Most notably, the collection features the playbill of the play Douglas; or, The Noble Shepherd (performed at the Walnut Street Theatre, Philadelphia, on November 27th, 1820), which saw the first appearance on stage of actor Edwin Forrest. A list of the portraits included in the volume is located at the beginning of the scrapbook, while a general index is placed at the end.
"Volume II contains 118 pages of text, including the remaining 20 chapters of the first series (LVI to LXXV) and the first 33 chapters (I to XXXIII) of the second series. The chapters of the first series were published in the Sunday Dispatch between May 27, 1855 (Vol. VIII, No. 4) and October 7, 1855 (Vol. VIII, No. 23), while those belonging to the second series appeared between June 29, 1856 (Vol. IX, No. 9) and February 8, 1857 (Vol. IX, No. 41). In the final part of the first series, Durang comments upon the last years of the old Chestnut Street Theatre, up to the fire which caused its closure in 1820. The first appearances on stage of Edwin Forrest, as well as the Philadelphia debut of British actor Edmund Kean, are discussed at length. In this portion of the series Durang also describes the new Chestnut Street Theatre (opened in 1822), and provides a long list of all the American plays produced in Philadelphia before 1822. In the first chapters of the second series, Durang discusses the activities of the new Chestnut Street Theatre, as well as that of other institutions such as the Walnut Street Theatre, the Prune Street Theatre, the Tivoli Garden Theatre, and the Olympic Circus. As in the final part of the preceding series, every season is described in full detail. Additional anecdotes and biographical descriptions of famous actors, such as Junius Brutus Booth, Charles William Macready, and Charles Mathews, are also included. The collection of portraits and engravings added by Westcott to the volume features a wide number of figures quoted by Durang in the text and variously connected with the Philadelphia theatrical scene – among them, Louisa Cranstoun Nisbett, Joseph George Holman, Robert William Elliston, Anna Maria Crouch, Charles Incledon, Ann Catley, Sarah Bartley, Wolfgang Amadeus Mozart, James William Wallack, Susanna Centlivre, Elizabeth Inchbald, John Philip Kemble, Alexander Rae, William West, Edwin Forrest, Edmund Kean, Sarah Siddons, Joseph Jefferson, Maria Gibbs, Dorothea Jordan, Ann Street Barry, Elizabeth Billington, Junius Brutus Booth, Charlotte Goodall, Thomas Potter Cooke, Julia Dean, Elizabeth Hopkins, John Fawcett, Maria Theresa Bland, John Henderson, Elizabeth Hartley, François-Joseph Talma, Mademoiselle Mars, John Bannister, Charles Mathews, Elizabeth Farren, William Farren, Eliza Logan Wood, Anna Thillon, Sarah Egerton, Maria Foote, Mary Ann Davenport, Sam Cowell, Maria Theresa Kemble, Fanny Maria Kelly, and Charles William Macready. The volume also includes several engravings of American and European theaters, opera houses, and other performance venues, such as the Prune Street Theatre, the new Chestnut Street Theatre, and the New Adelphi Theatre of Philadelphia, the Holliday Street Theatre (Baltimore), the Bowery Theatre (New York), the Tremont Theatre (Boston), the Theatre Royal, Haymarket, the Surrey Theatre, Sadler's Wells Theatre, and Astley's Royal Amphitheatre (London), the Queen's Theatre and Opera House (Edinburgh), the Théâtre de la Porte Saint-Martin and the Théâtre de l'Opéra-Comique (Paris), the Schauspielhaus (Cologne). Autographs include a handwritten payment receipt, penned by actor William Warren, and a signed portrait of actor Robert Dempster."
Volume IV contains the next 40 chapters (XXIII to LXII) of the third and last series of Durang's history, consisting of 120 pages of text. Those chapters appeared in the Dispatch between December 9, 1860 (Vol. XIII, No. 33) and September 15, 1861(Vol. XIV, No. 21). The clippings contained in the volume offer a detailed account of the management and the most notable shows performed in the Philadelphia theaters – especially the Chestnut Street Theatre, the Walnut Street Theatre, and the Arch Street Theatre – between the 1830-1831 and 1840-1841 seasons. Salient events include the rivalry between Edwin Forrest, based at the Arch Street Theater, and the members of the Kemble family, based at the Chestnut Street Theatre, in the early 1830s; the arrival in Philadelphia of the Montresor opera troupe and the first production of Italian operas at the Chestnut Street Theatre in 1833; and a detailed report of the successes and failures of several troupes and individual actors and singers who performed in Philadelphia during the decade. For most of those artists, Westcott provided at least one portrait as part of the rich collection of drawings and engravings inserted in the volume. Notable figures include, among others, William Francis Brough, Fanny Tacchinardi Persiani, Pauline Garcia (Viardot), Henry Betty, Gabriel Ravel, Sarah Siddons, Charles Kemble, Fanny Kemble, Anne Maria Tree, William Smith, Lester Wallack, Henry Placide, Thomas Placide, William Warren, Charles Kean, Elizabeth Brunton (Yates), Walter Scott, Sarah Ward, John Sinclair, Tate Wilkinson, Anaïde Castellan Giampietro, James Edward Murdoch, Edwin Booth, Charles William Macready, Andrew Ducrow, James S. Wallace, Henry Erskine Johnston, Joseph Wood, Mary Giovanna Cawse, Mary Ann Paton, Tyrone Power, Ralph Sherwin, William Evans Burton, John Howard Payne, Madame Celeste, Samuel Phelps, John Reeve, Thomas D. Rice, Tryphosa Jane Wallis, Edwin Forrest, Mary Anne Goward, Robert Keeley, Margarita Graddon, Victoria Balfe, Francis Courtney Wemyss, Robert Hamilton, Robert Campbell Maywood, Charlotte Elizabeth Vanderhoff, John M. Vandenhoff, David Garrick, Robert William Elliston, Lucia Elizabeth Vestris, Elizabeth Kemble, Samuel S. Sanford, Edward Fitzwilliam, Fanny Fitzwilliam, Fanny Elssler, Mary Anne Stirling, Charlotte Cushman, Susan Cushman, John Braham, Peter Richings, Ira Aldridge, Giuseppe De Begnis, and Giuseppina Ronzi De Begnis. Included in the volume are also a few pictures of Philadelphia and other national and international theaters, such as the Arch Street Theatre, the Academy of Music, the Northern Exchange Theatre, the Coates Street Theatre, and Sanford's Opera House (Philadelphia), the State Street Theatre (Columbus, OH), Niblo's Opera House (New York City), the St. Charles Theatre and the American Theatre and Arcade Baths (New Orleans), East London Theatre (formerly Royalty Theatre, London), and the Paris Opera House (Palais Garnier, Paris). The scrapbook also includes a playbill of the show "Venitian [sic] Carnival, or Punch in Good Humour," arranged by French vaudeville artist Gabriel Ravel, and an original letter by playwright, publisher, and theater manager William Evans Burton.
9. John Archer Jr.'s notes on Materia Medica lectures held at the University of Pennsylvania, 1797-1798.
John Archer Jr.'s notes on Materia Medica lectures held at the University of Pennsylvania, 1797-1798.
This collection consists of notebooks kept by three members of the Archer family between 1797 and 1851. Two booklets of notes on materia medica lectures held at the University of Pennsylvania make up the first file in the collection. John Archer Jr. attended the lectures (delivered by Benjamin S. Barton, M.D., a Professor of Materia Medica, Botany and Natural History) in 1797 and 1798. Addressing what is now considered pharmacology, the booklets detail medical treatments for a number of diseases. The first volume of the set is concerned largely with the nutritional benefits of various foods and the categorization of medicines, whether as botanical or mineral astringents, tonics, emetics, stimulants, and the like. The second volume discusses the merits of different medicines (mostly plant-based) and lists viable treatments for a range of diseases. A note on the last page of the second volume suggests that there was a third booklet in this set of lecture notes.; The Archer family was a prominent and politically active family of medical doctors based in Harford County, Maryland. John Archer was born in Maryland in 1741 and (due to the alphabetical antecedence of his last name) was the first person to receive a medical diploma in North America, which he earned from the College of Philadelphia (later the Perelman School of Medicine at the University of Pennsylvania) in 1768. His son, John Archer Jr. (1777-1850) also attended medical school at the University of Pennsylvania, graduating in 1798. J. Archer Jr. returned to Maryland after earning his degree and served as a surgeon of the Maryland militia in the War of 1812. Henry Wilson Archer (1813-1887) was the son of John Archer Jr. Another graduate of the medical school of the University of Pennsylvania, H. Archer lived in Harford County and married Mary Elizabeth Walker in 1849. The final volume in the collection is an account book created by Robert Harris Archer. Three individuals named Robert Harris Archer (brother of (1775-1857 or 1858), nephew of (1813-1883), or son of (1820-1878) John Archer, Jr.) may have been the account book's author.


text:
We are collaborating in the Connected Health Cities programme in the North West Coast, to develop a Learning Health System.
This is an exciting programme of work to demonstrate how bring data together from different parts of the NHS and linking it, can lead to improved services.
The work is part of a Northern-wide Connected Health Cities pilot project with national funding secured by the Northern Health Science Alliance. There are three other Connected Health Cities pilot programmes in Greater Manchester, Yorkshire and North East and North Cumbria. More information can be found at: www.connectedhealthcities.org.
In the North West Coast, this programme is being delivered by a core group of organisations - the Innovation Agency, AIMES Grid Services, the University of Liverpool and Lancaster University; we also have a network of clinical colleagues across the NHS, engaging with this work.
Our focus is on using this linked data to map pathways of care and improve prevention and treatment of three pathways in the first instance - Chronic Obstructive Pulmonary Disease (COPD), Alcohol-related Illnesses and Epilepsy. By connecting the information and knowledge held by the NHS, social care and other local authority services, systems can be planned and delivered more effectively.
Our Public Involvement and Engagement Senate is active in participating in discussions about the work. The Senate is made up of interested citizens and patients.
Our aims through Connected Health Cities are to:
Make information available to front line staff in timely ways that enable them to better plan, review and adjust the care they offer and develop and monitor new and/or more effective pathways
Develop a model for connecting and engaging people with expertise and experience from across the health, social, local government, voluntary, commercial and public sectors to turn data into information into knowledge
Harness the power of data and data analytics by collecting, linking and collating data from health and social care and eventually also from a wide range of other sources – putting in place the permissions and systems needed to enable novel uses of data to transform care
Support industry, academia and others in using data to conduct research that both improves understanding of health care efficiency and effectiveness but also enables new techniques, ideas and organisational forms to be tested.
Create a sharing environment that enlists the trust, and active involvement, of North West Coast citizens
Development of learning health system for unplanned care
For people with long terms conditions such as COPD and epilepsy, better coordinated health and social care will improve patient outcomes and the efficiency with which services are delivered; reduce emergency department attendances, hospital admissions and duration of stay. It is likely that solutions in chronic diseases like COPD and epilepsy may be transferable to other conditions.
Those who do attend emergency departments will have more coordinated onward access to community, social and out-patient services.
Development of learning health system for alcohol misuse
There are more than 60 conditions linked to alcohol misuse and they involve many different pathways and place a major burden on the NHS and other services.
Alcohol conditions are often accompanied by complex social issues involving unemployment, poor housing and homelessness; family issues; domestic violence; plus road traffic accidents and crime.
Improving the way information is collected, analysed and shared between agencies and service users will bring opportunities for new ways to respond collectively. Front-line teams will have better, more timely access to information which will inform point-of-care decisions and service planning.
Innovation Scouts: Research and evaluation
Funding success for healthcare innovations in the North West
Safer care during COVID-19
Heath Groves outlines Sundown Solutions' bed-state tracker


text:
The Family Behind a $500 Million Bible Museum Hopes to Change Washington
By Elizabeth Dias
November 17, 2017 3:09 PM EST
The new Museum of the Bible three blocks from the Capitol has a political ambition. The Bible, says the museum's chairman and the president of Hobby Lobby, Steve Green, needs to have a prominent voice in Washington.
"We think Congress ought to know the foundation of the nation that they are running today," Green told TIME in an interview Tuesday afternoon.
"We would hope the White House, whether it is the current president, former presidents, future presidents, we would invite all people to come and know about this book," he said.
Green said that the museum hopes to engage "all people" with the Bible, and that Washington was chosen because of its volume of tourists and concentration of museums. The museum's leadership has repeatedly stated that the project is nonsectarian and does not espouse a faith perspective. The evangelical Green family has largely funded the $500 million museum, and its board is comprised of mostly white evangelical men. It opens to the public on Nov. 18.
"While we say it is for all people, that includes our legislators," Green said. "Many of the principles our nation was built on came from the Bible and we think that it is important for them to know that."
Read More: Hobby Lobby Head Says Roy Moore Should Step Aside 'If True'
Asked what it was specifically that he wanted legislators to learn, Green said, "Our religious freedoms, and many of the principles our nation was built on, came from the Bible."
"The idea that all men are created equal, as an example, has two biblical concepts right there; the idea that we are created is a Biblical concept, the idea that we are created equal, our founders got that from the Bible," he said.
Asked what he hoped the White House would learn, Green said, "Hopefully the teachings of this book — which are to treat others as you would want to be treated, dealing with honesty, integrity, to love God and to love others as you would love yourself, these kinds of lessons that the Bible teaches — we would hope would be embraced by all people."
The museum has invited President Trump to come visit.
"We heard that there was an interest from the family to come and view it, so we sent an invitation," Green says. "I don't know how well he is versed on the Bible and how much he has used it, but I think that obviously if it was of an influence, it would be good."
Green says the museum has also discussed having an event for all living presidents to take a tour.
The museum held its opening gala at the Trump International Hotel in Washington on Thursday night. Trump's son Eric and his wife Lara promoted the event on Twitter.
During the 2016 election, David Green, Steve's father and Hobby Lobby's founder and CEO, supported Florida Sen. Marco Rubio in the primaries and later said he only supported Trump because there was not a better option. Steve Green said on Tuesday that his support for Trump is mixed. "There are things that I have supported that he has done, and there's things that I don't agree with that he has done," Green said.
Green said he likes that Trump "has been stronger for religious freedom." He declined to say what Trump has done that he does not like, saying that he doesn't "follow politics enough."
Hobby Lobby successfully sued the Obama Administration over the Affordable Care Act's contraception mandate in 2014.
The Bible has always been part of nearly every political debate in America. During the Civil War, some Christians cited it to support slavery, while others cited it to support abolition. Today, some Christians cite scripture to condemn gay marriage, while others use it to support it.
Roy Moore, the former Alabama state judge running for U.S. Senate who has been accused of sexual misconduct against teenage women, has made the Bible central to his political platform. Green told TIME that Moore should step aside only if the allegations against him are true. "We are all imperfect, which is what the Bible teaches us," Green said. "So we all have flaws, but there are ways we address those flaws."
Green has long argued he wants the visitor to decide if the museum is fair and does not push a particular perspective on the text, theologically or politically. But he also acknowledged that not all roles that the Bible could play in politics have a moral equivalence. "The Bible has always been used inappropriately, and in some cases appropriately," Green said. "There have been men that have used this book for their own selfish ill intent. I would argue that we shouldn't blame the Bible for man's misuse of it."
"Our nation is built on a worldview," he said. "Our founders built that on concepts they found in the Bible, and it has worked out real well."
How mRNA Tech Gave Us the 1st COVID-19 Vaccines
'There Is Not Some Separation Between Jesus and Justice.' How Rev. William J. Barber II Uses His Faith to Fight for the Poor


text:
Protactinium(V)-bromid ist eine chemische Verbindung des Protactiniums aus der Gruppe der Bromide.

Darstellung
Protactinium(V)-bromid kann durch Reaktion von Protactinium(V)-chlorid mit Bortribromid bei 500 bis 550 °C gewonnen werden.
3 PaCl5 + 5 BBr3 -> 3 PaBr5 + 5 BCl3

Es kann auch durch Reaktion von Protactinium(V)-oxid mit Aluminiumtribromid bei 400 °C gewonnen werden.

Eigenschaften
Protactinium(V)-bromid ist ein orangeroter, kristalliner, extrem feuchtigkeitsempfindlicher Feststoff, der mit Wasser und Ammoniak heftig reagiert, jedoch in absolut trockener Luft beständig ist. In Isopentan, Dichlormethan und Benzol ist er praktisch unlöslich, in wasserfreiem Acetonitril löst es sich zu PaBr5·4CH3CN. Er kommt in mehreren Modifikationen vor. Unterhalb von 400 °C als α-Modifikation und darüber als β-Modifikation. Die α-Form besitzt eine monokline Kristallstruktur mit der  und den Gitterparameter a = 1296 pm, b = 1282 pm, c = 992 pm, β = 108° und β-Form ebenfalls eine monokline Kristallstruktur mit der Raumgruppe  und den Gitterparametern a = 838,5 pm, b = 1120,5 pm, c = 895,0 pm, β = 91,1°. Die β-Form liegt als Dimer vor. Bei 400 °C im Vakuum sublimiert Protactinium(V)-bromid. Es wurde auch noch eine γ-Form nachgewiesen, die eine Kristallstruktur vom β-Uran(V)-chlorid-Typ besitzt.

Einzelnachweise

Protactiniumverbindung
Bromid


text:
Q: App widget listview design gets change when loading dynamic image using url android Hi I'm using widget listview. I want to load image on each widget listview item so I have used below code to load image using url
 public class ListProvider implements RemoteViewsService.RemoteViewsFactory {

private String TAG = ListProvider.class.getSimpleName();
private Context context = null;
private UserPreference userPreference;
private int appWidgetId;
private String feedsData, mLaneName, mLaneId;
private Tooteet.Collection collection;
private ArrayList<Item> mItems;

public ListProvider(Context context, Intent intent) {
    this.context = context;
    userPreference = new UserPreference(context);
    appWidgetId = intent.getIntExtra(AppWidgetManager.EXTRA_APPWIDGET_ID, AppWidgetManager.INVALID_APPWIDGET_ID);
    feedsData = intent.getStringExtra(LargeWidgetProvider.LARGE_WIDGET_LIST_DATA);
    mLaneId = intent.getStringExtra(LargeWidgetProvider.WIDGET_LANE_ID);
    mLaneName = intent.getStringExtra(LargeWidgetProvider.WIDGET_LANE_NAME);

    if(mLaneId != null && mLaneName != null) {
        collection = new Tooteet.Collection(feedsData, mLaneId, mLaneName);
    }
    mItems = getItems(collection);
}

public ArrayList<Item> getItems(Tooteet.Collection collection) {
    ArrayList<Item> items = new ArrayList<>();
    if (collection == null) {
        return items;
    }

    int sectionFirstPosition = 0;
    int i = 0;

    for (Tooteet tooteet : collection.getItems()) {
        int type = tooteet.getTweetType();
        int viewType = VIEW_TYPE_TEXT;
        switch (type) {
            case TooteetType.TEXT:
            case TooteetType.NOTE:
                viewType = VIEW_TYPE_TEXT;
                // add text;
                break;
            case TooteetType.PICTURE:
            case TooteetType.DRAWING:
            case TooteetType.VIDEO:
                viewType = VIEW_TYPE_MEDIA;
                // add media
                break;
            case TooteetType.AUDIO:
            case TooteetType.DOCUMENT:
                //case TooteetType.EXPENSE:
                viewType = VIEW_TYPE_FILE;
                // add file
                break;
            case TooteetType.MEASURE:
                viewType = VIEW_TYPE_MEASURE;
                break;
            case TooteetType.EXPENSE:
                viewType = VIEW_TYPE_EXPENSE;
                break;
        }

        Log.d(TAG, "getItems   -- tooteet: "+tooteet);
        items.add(new Item("", false, tooteet, viewType, sectionFirstPosition, i));
        i++;
    }
    return items;
}

@Override
public int getCount() {
    Log.d(TAG, " getCount() -- mItems.size(): "+mItems.size());
    return mItems.size();
}

@Override
public long getItemId(int position) {
    return position;
}

/*
 *Similar to getView of Adapter where instead of View
 *we return RemoteViews
 *
 */
@Override
public RemoteViews getViewAt(final int position) {
    Log.d(TAG,"=============getViewAt   position=========="+position);
    RemoteViews remoteView = null;
    final Item item = mItems.get(position);

    if (item.mTooteet.getTweetType() == TooteetType.TEXT || item.mTooteet.getTweetType() == TooteetType.NOTE) {
        remoteView = new RemoteViews(context.getPackageName(), R.layout.widget_feed_list_text);
        remoteView.setImageViewResource(R.id.feed_type,R.drawable.feed_list_note);
    } else if (item.mTooteet.getTweetType() == TooteetType.PICTURE || item.mTooteet.getTweetType() == TooteetType.DRAWING  || item.mTooteet.getTweetType() == TooteetType.VIDEO) {
        remoteView = new RemoteViews(context.getPackageName(), R.layout.widget_feed_list_image);
        int drawable = R.drawable.feed_list_attachment;
        if (item.mTooteet.getTweetType() == TooteetType.PICTURE) {
            drawable = R.drawable.feed_list_picture;
        } else if (item.mTooteet.getTweetType() == TooteetType.VIDEO) {
            drawable = R.drawable.feed_list_video;
        }else if(item.mTooteet.getTweetType() == TooteetType.DRAWING){
            drawable = R.drawable.feed_list_drawing;
        }
        remoteView.setImageViewResource(R.id.feed_type,drawable);
        try {

        } catch (Exception e) {
            e.printStackTrace();
        }

        Handler uiHandler = new Handler(Looper.getMainLooper());
        final RemoteViews finalRemoteView1 = remoteView;
        uiHandler.post(new Runnable(){
            @Override
            public void run() {
                Picasso.with(context).load(item.mTooteet.getThumbUrl1()).into(
                        finalRemoteView1, R.id.feed_image,
                        new int[]{appWidgetId});
            }
        });
    }  else if (item.mTooteet.getTweetType() == TooteetType.AUDIO || item.mTooteet.getTweetType() == TooteetType.DOCUMENT) {
        remoteView = new RemoteViews(context.getPackageName(), R.layout.widget_feed_list_audio);
        int drawable;
        if (item.mTooteet.getTweetType() == TooteetType.AUDIO) {
            drawable = R.drawable.feed_list_audio;
        } else {
            drawable = FeedDocResourceHandler.getIconResForListDoc(item.mTooteet.getUniqueFileName());
        }
        remoteView.setImageViewResource(R.id.feed_type,drawable);
    } else if (item.mTooteet.getTweetType() == TooteetType.MEASURE) {
        remoteView = new RemoteViews(context.getPackageName(), R.layout.widget_feed_list_measure);
    }else if (item.mTooteet.getTweetType() == TooteetType.EXPENSE) {
        remoteView = new RemoteViews(context.getPackageName(), R.layout.widget_feed_list_expense);
    }

    remoteView.setTextViewText(R.id.feed_keywords, item.mTooteet.getKeywords());

    if(!TextUtils.isEmpty(item.mTooteet.getTooteetText())){
        remoteView.setViewVisibility(R.id.feed_text, View.VISIBLE);
        remoteView.setTextViewText(R.id.feed_text, item.mTooteet.getTooteetText());
    }else{
        remoteView.setViewVisibility(R.id.feed_text, View.GONE);
    }

    if (!item.mTooteet.isLocationEmpty()) {
        if (!TextUtils.isEmpty(item.mTooteet.getLocationString())) {
            remoteView.setViewVisibility(R.id.feed_location, View.VISIBLE);
            remoteView.setTextViewText(R.id.feed_location, item.mTooteet.getLocationString());
        } else {
            final RemoteViews finalRemoteView = remoteView;
            ReverseGeocoder.with(Constants.getLanesApp()).load(item.mTooteet, new com.kwypesoft.lanes.location.GeocodeApi.OnLocationListener() {
                @Override
                public void onReceive(String location) {
                    if (!TextUtils.isEmpty(location)) {
                        finalRemoteView.setViewVisibility(R.id.feed_location, View.VISIBLE);
                        finalRemoteView.setTextViewText(R.id.feed_location, item.mTooteet.getLocationString());
                        item.mTooteet.setLocationString(location);
                    }else{
                        finalRemoteView.setViewVisibility(R.id.feed_location, View.GONE);
                    }
                }
            });
        }
    }else{
        remoteView.setViewVisibility(R.id.feed_location, View.GONE);
    }

    final Intent fillInIntent = new Intent();
    fillInIntent.setAction(LargeWidgetProvider.ACTION_TOAST);
    final Bundle bundle = new Bundle();
    bundle.putString(LargeWidgetProvider.WIDGET_LANE_ID, mLaneId);
    bundle.putSerializable(DetailBase.FEED_DETAILS, item.mTooteet);
    fillInIntent.putExtras(bundle);
    remoteView.setOnClickFillInIntent(R.id.root, fillInIntent);
    return remoteView;
}

@Override
public RemoteViews getLoadingView() {
    return null;
}

@Override
public int getViewTypeCount() {
    return 5;
}

@Override
public boolean hasStableIds() {
    return true;
}

@Override
public void onCreate() {
}

@Override
public void onDataSetChanged() {
}

@Override
public void onDestroy() {
}

private static class Item{
    boolean isHeader;
    String header;
    public Tooteet mTooteet;
    int viewType;
    int firstPosition;
    int itemPosition;

    public Item(String header, boolean isHeader, Tooteet tooteet, int type, int firstPosition, int itemPosition) {
        this.header = header;
        this.isHeader = isHeader;
        mTooteet = tooteet;
        this.viewType = type;
        this.firstPosition = firstPosition;
        this.itemPosition = itemPosition;
    }
}

}
But this will change my widget UI design and it shows only one listview item at a time.
where i have only one appWidgetId in listview provider class which extends RemoteViewsService.RemoteViewsFactory. I do not know. What's went wrong. Could you please suggest me a idea to fix it?

A: Picasso offers much more than just downloading image. It can resize the image, transform before it is displayed in ImageView. So you can resize or transform your image as follow.
Picasso.with(this)
     .load("YOUR IMAGE URL HERE")
     .error(R.drawable.ic_error_fallback)      // optional
     .resize(250, 200)                        // optional
     .rotate(90)                             // optional
     .into(imageView);

thank you.

A: I have fix my issue using Universal image loader like below,
public class YourViewsFactory implements RemoteViewsService.RemoteViewsFactory
{
 Map<Integer, Boolean> flags = Collections.synchronizedMap(new HashMap<Integer, Boolean>());
 Bitmap mBitmap;
 Handler handler = new Handler(Looper.getMainLooper());

  @Override
  public RemoteViews getViewAt(final int position)
{
  final RemoteViews row = new RemoteViews(ctxt.getPackageName(), R.layout.row);
  flags.put(position, false);
  handler.post(new Runnable()
  {
    @Override
    public void run()
    {
        m_imgLoader.loadImage(YOUR_IMAGE_URL, new SimpleImageLoadingListener()
        {
            @Override
            public void onLoadingStarted(String imageUri, View view)
            {
            }

            @Override
            public void onLoadingFailed(String imageUri, View view, FailReason failReason)
            {
                flags.put(position, true);
            }

            @Override
            public void onLoadingCancelled(String imageUri, View view)
            {
                flags.put(position, true);
            }

            @Override
            public void onLoadingComplete(String arg0, View arg1, Bitmap bitmap)
            {
                mBitmap = bitmap;
                flags.put(position, true);
            }
        });
    }
});

while (!flags.get(position))
{
    try
    {
        Thread.sleep(100);
    } catch (InterruptedException e)
    {
        e.printStackTrace();
    }
}
flags.put(position, false);
if (mBitmap != null)
{
    row.setImageViewBitmap(R.id.ivPoster, mBitmap);
} else
{
    row.setImageViewResource(R.id.ivPoster, R.drawable.cw);
}
mBitmap = null;
  } // End of getViewAt override

} // End of class

Please make use of it.

redpajama_set_name: RedPajamaStackExchange


text:
FA Women's National League Northern Division
27 August 2017 Venue Trevor Brown Memorial Ground Attendance
West Bromwich Albion WFC
(Pens 0 - 0) FT
Blackburn Rovers Ladies
Lineup will be displayed here shortly before the game
WBA Women undone by Rovers
Albion were beaten 2-0 by last season's Champions Blackburn Rovers Ladies in the FA Women's Premier League Northern Division on Sunday afternoon.
A goal in either half from Alex Taylor and Jess Holbrook was enough to see the visitors take all three points.
Charlotte McElroy was superb in the Albion goal pulling off some fine saves to keep Rovers at bay early on.
But there was nothing the Baggies shot-stopper could do in the seventh minute when Ria Montgomery's right-wing cross was stabbed home at the far-post by Taylor.
Hattie James almost equalised for the Baggies with an ambitious 40-yard lob, but Rovers keeper Danielle Hill was well alert to make a comfortable catch.
Despite Stamps going close again for Albion, it was Rovers who sealed the victory in the 58th minute when Holbrook, who had hit the crossbar moments before, cut inside to place a shot over McElroy into the far corner.
Boss Louis Sowe admitted there were plenty of positives despite the defeat.
"We had a game plan and executed it really well, if we can cut of those silly mistakes then it will hold us in good stead moving forwards," he said.
"There were plenty of pleasing things to take from the game and we have still not been in a position to put out our full squad yet."
Albion take a break from the league on Sunday (September 3) when they visit Long Eaton United Ladies in the determining round of the FA Women's Premier League Cup.
Albion: McElroy, Bacciochi, Green, Smith (Compertz 90) , Finch, Butcher, Vincze (McCann-Lloyd 46), Reynolds (Bevan 67), James, Stamps, Burton (c). Unused Subs: Gardner, Levick


Once again this year the international luxury travel and tourism exhibition is settling in Cannes.
From the 3rd to 6th December, Cannes welcomes the ILTM (International Luxury Travel Market) which brings together the world's highest concentration of high-end travel professionals.
Since its creation, this prestigious exhibition has continued to grow and is now positioned as the world's leading event in terms of B to B, attracting the world's leading international decision-makers in luxury tourism. This final annual four-day meeting makes it possible to discover all the most popular destinations of the moment and puts luxury buyers in contact with exhibitors. The essential place to foster contacts and develop market opportunities, meeting the needs of a demanding clientele.
ILTM, the flagship event for the luxury travel and tourism industry, where more than 5000 visitors will gather!
Specialized in Business Tourism LaurenceBEvents, is your agency in Cannes for all your event needs before or during the exhibition.


text:
Sullivan: Newhouse The Definition Of Team Player
The author of "America's Team: The Official History of the Dallas Cowboys," Sullivan also writes a new column in each issue of Dallas Cowboys Star Magazine. For subscription information, please click here.
The introduction came quickly, or maybe it didn't. Maybe it was just the shock. I looked up from my desk, standing up in the process, expecting to see a Greek God, or as some called him, the "Human Bowling Ball."
This was Robert Newhouse, the man with bigger thighs than Earl Campbell, some 44 inches, a mind-blowing measurement. The man who blocked for Calvin Hill and Tony Dorsett, the man who scored the first touchdown in the history of Giants Stadium, the first running back to throw a touchdown in the Super Bowl. This was a football legend, one who played all of his 168 NFL games with the Dallas Cowboys from 1972-83. This was one of the men who sacrificed himself on the field, and in the process, created America's Team, a nickname which was bestowed on the Cowboys in 1979.
This was going to be one of those handshakes that would leave my fingers numb for hours. And then I saw him, standing in the doorway of my office. This frail little man, just 62 years old at the time, yet he looked so much older. Almost as if he was fading away. And I guess, looking back, he was. He couldn't have been more than 150 pounds, some 18 months removed from suffering a stroke.
On Tuesday, after a lengthy battle with heart disease, Newhouse passed away at the Mayo Clinic in Rochester, Minn., surrounded by his wife, Nancy, and four children. He was 64.
Newhouse is one of those rare people in life that everyone liked. After a record-setting collegiate career at Houston – his 1,757 rushing yards in 1971 is still a school mark – the Cowboys selected Newhouse in the second round, 35th overall, of the 1972 NFL Draft. Used primarily as a fullback, he played his entire 12-year career with Dallas, rushing for 4,784 yards, which ranks fifth in franchise history, and catching 120 passes. Newhouse also made history in Super Bowl XII with his pass against the Denver Broncos, across his body no less, running to his left, a 29-yard scoring strike to Golden Richards.
"When Tom called the play, I said, "I can't believe he called this play," Newhouse said after the game. "I was nervous about throwing the ball. In practice,
the ball had been wobbling, but Danny (White) told me to get my hip around it. I kept thinking about that when I got the ball."
Making life more difficult for Newhouse was the fact he had recently doused his hands with Stickum, which was typical in this era before gloves were commonplace. However, when throwing the pigskin, the glue-like substance could prove most problematic for obvious reasons.
"I was shocked. I panicked," Newhouse said. "I've never eaten so much stickum in my life. I started wiping it off my pants and started licking my fingers."
After his playing career, Newhouse worked for the Cowboys until 2008, mostly as the team's director of alumni relations. When Hall of Fame wide receiver Bob Hayes passed away in 2002, it was Newhouse who organized a group of players to travel to Jacksonville for the funeral. He was always making sure things like that were taken care of.
When Tony Dorsett joined the Cowboys as a rookie in 1977, it was Newhouse who served as a mentor, teaching him the playbook, the schemes and perhaps most importantly, how to deal with Tom Landry. That first season wasn't an easy one for Dorsett, who wasn't even starting after winning the Heisman Trophy the year before at Pitt.
"I am honestly not sure how that first season or even my career would have turned out without Robert. I think about that often," Dorsett said, pausing on several occasions to fight his emotions. "Coach Landry's system was so different from what I was accustomed to. Robert just told me to have patience, both as a running back in the system and in dealing with Coach Landry. [embedded_ad]
"I'm guessing a day didn't go by that first season without me running to him, 'Robert, Robert, Robert, what do I do?' He'd just smile and say, 'You'll figure it out. We'll figure it out together.'"
Dorsett ended up cracking the starting lineup by season's end and winning NFL Offensive Rookie of the Year honors, rushing for 1,007 yards. Thing is, the previous two seasons, before Dorsett's arrival, Newhouse rushed for 1,380 yards combined, easily tops on the team. There was never any animosity, though. Newhouse just wanted what was best for the Cowboys.
"In nearly 60 years of being around the NFL, Robert is one of the best people I've ever been around," former Cowboys personnel director Gil Brandt said. "He did everything you asked.
"Let me tell you, don't ever ask a tailback to become a fullback. That's the cardinal sin of football right there. We would alternate Robert back and forth, and he never complained. Not once. Imagine going from being our leading rusher, almost 1,000 yards in 1975, and then being the lead blocker the next few seasons. Who does that? Robert did. He was the very definition of a team player. He loved his teammates so much.
"There was nothing in Robert's makeup to dislike the guy. Nothing. There aren't many like him in this world."
Even though Newhouse's health had been failing for several years now, and he had been in the Mayo Clinic since last November, his former teammates were holding out hope for a miracle. Dorsett spoke with his longtime backfield mate just a few weeks ago on the phone.
"His son, Rodd, called and handed me the phone," Dorsett said. "He sounded so weak, so we didn't talk much. I told him he was our big, strong man, and he was going to beat this. I told him I loved him.
"I knew he wasn't doing well, I understood that, but he was 64. Man, that's young, too young. Robert Newhouse was supposed to live a long time, grow old with us. I just never expected this. I'm so, so sorry for his family. He was such a wonderful man, a great father, a great husband.
"Robert was our peacemaker. If I ever heard him raise his voice, it wasn't more than a few times. We were of the same mind on the field. We were always thinking each other's thoughts. We could just look at each other and we understood. He was such a blessing to me, as a teammate and one of my great friends. Robert just wanted to care of everyone. He was that kind of guy.
"The Lord works in mysterious ways, I'm not sure sometimes why this sort of thing happens. I'm just not sure … but, you know, Robert's home now. And he's nice and healthy again. Maybe he's playing some football. He's Robert again."