There are many different ways in which to resolve a dispute between separating or divorcing couples. Some couples are able to agree things between themselves, the so called 'kitchen table agreements'. If this has been possible, you should then seek legal advice on the agreement reached and to obtain a legally binding document which reflects that agreement.
You can attend mediation – where you both meet with an independent mediator to help you reach an agreement. You will discuss your situation with the mediator and your ex-spouse or partner and hopefully agree a way forward. This is suitable where both parties are able to communicate well. It is also now, legally necessary to attend mediation before making an application to the court regarding your children or finances (except in certain circumstances, such as if you have experienced domestic violence from your ex-partner or spouse).
As you prepare for and go through mediation with your ex-spouse or partner we can provide expert legal advice to help you present your case appropriately during mediation and discuss the issues constructively. This can assist you in achieving a successful outcome through mediation, with the knowledge that your best interests have been protected throughout the process. We can recommend experienced and effective mediators in your area.
You and your lawyer work together to resolve an agreement, by corresponding with your ex-spouse or partner's solicitor, in order to constructively negotiate a settlement. Round-table meetings with your ex-spouse or partner and their solicitors can be very effective in order to assist the negotiation and reduce the time delay that correspondence often creates. This is the traditional way in which solicitors have resolved financial agreements for their client upon separation, divorce or dissolution. It can be efficient and cost-effective for client's, where the legal issues between you both are relatively straight-forward and there is not a high level of dispute.
Collaborative practice can be very successful for those couples who wish for an amicable outcome to their separation or divorce and to preserve their family relationships. Collaborative law involves you and your partner/spouse agreeing not to go to court. You and your solicitors agree in writing that you will both try to reach an agreement through the Collaborative process and that neither of you will make an application to the court. (If either of you went back on this agreement you would have to de-instruct your solicitor and instruct a new solicitor not previously involved in your Collaborative process – This provides the motivation for all involved to work towards a Collaborative agreement being successful).
The process involves a series of meetings between you, your solicitor, your partner/spouse and their solicitor ('four-way meetings'), where you discuss the issues which need to be resolved between you and reach an agreement. Other professionals can be involved in the Collaborative process, depending on the needs of you both, for example a Financial Advisor, Family Therapist, Accountant or Pensions expert. These other professionals support the Collaborative process, helping you to achieve the outcome you wish, without the need to attend court.
If agreement between you and your spouse is not possible through the above methods and there are clear areas of dispute between you and your ex-spouse or partner, then as a last resort, you may need to make an application to the Court, either to resolve arrangements for your children or to have a final order in relation to the finances. The Court will set a time-table for certain evidence to be gathered and provided to the court.
Mediation is now a 'gateway' to making an application to the court. You will need to show that you have attended a meeting with a mediator in order to be allowed to progress the application to the court. There are certain specified circumstances (for example if you have experienced domestic violence from your ex-spouse or partner) where you may not need to attend mediation. Legal advice should be sought to ascertain whether you should attend.
If Court proceedings becomes necessary, we will work with you to prepare your case for the court hearings and provide you with all the advice and support you will need to obtain the best possible outcome. We work closely with specialist barristers, experts in family court cases, who will represent you in court. We will work with you and your barrister, as a legal team, to present your best case to the court.


text:
Flags and Emblems è un album del gruppo punk rock Stiff Little Fingers, pubblicato nel 1991 da Castle Records.

Tracce
(It's a) Long Way to Paradise (From Here) (Burns)
Stand Up and Shout (Burns)
Each Dollar a Bullet (Burns)
The "Cosh"  (Burns)
Beirut Moon (Burns)
The Game Of Life
Human Shield (Burns)
Johnny 7
Die And Burn (Burns)
No Surrender (Burns)

Formazione
 Jake Burns  - voce, chitarra
 Dolphin Taylor - batteria
 Henry Cluney - chitarra
 Bruce Foxton - basso

Collegamenti esterni

redpajama_set_name: RedPajamaWikipedia


Located along the north shore of Pearl Harbor, Pearl City is part of the surrounding Honolulu metro area and is 9 miles northwest of the city itself. Rising as high as 95 feet above sea level, Pearl City boasts a breathtaking view of the Pacific Ocean and offers numerous opportunities for hikers, beachgoers, and nature enthusiasts.
Situated on four ahupuas, which are traditional Hawaiian divisions of land, Pearl City lines up the coast of Oahu. Historically, the area was known for its pearl harvesting as the Pearl River drew many western explorers, and was discovered to be a bountiful resource for oysters. In 1815 King Kamehameha I commissioned Francisco de Paul Marin to focus his pearl trade in Hawaii. In the mid-1800s, cattle-raising become common in the mountains of Pearl City, which destroyed the forests and mountains, eventually harming the oyster population in the Pearl River. In the late 1800s, Pearl City became crop-producing farmland for Hawaii's sugar production. Today crops such as pineapple, rice other tropical fruits are grown and sold locally.
Modern day Pearl City relies heavily on its booming year-round tourism industry, as well as its international trade commerce thanks to the area's revitalized business ports. The area also offers many parks, including the Pearl Harbor National Wildlife Refuge, Pearl City Kai Playground and the Pacheco Playground. For other forms of entertainment, the Pearl City Shopping Center is a premier shopping destination for tourists. The Signature Theatres is an elegant movie house popular with local residents. Pearl City is also home to such higher education institutes as the University of Hawaii – West Oahu and Leeward Community College.


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text:
It's Crunch Time: Girl Scout Cookie Event Garners Community Support
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Air Force One: Taking Diplomacy to the Sky
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Home CelebritiesThe Voices Behind Top Animated Christmas Specials
The Voices Behind Top Animated Christmas Specials
Celebrities, Odd Jobs, People, Seasonal, Traditions
https://americanprofile.com/articles/christmas-tv-specials-voice-actors/
By Ken Beck on November 22, 2011
https://americanprofile.com/wp-content/uploads/2011/11/charlie-brown-christmas-150x150.jpg
It's beginning to sound a lot like Christmas on TV as familiar voices return for strolls down Santa Claus Lane. Charlie Brown comes a-calling, the Grinch comes a-crawling, and other classic animated wintertime characters are brought once again to life in the television specials that typically return year after year to brighten up the small screen with retro holiday memories.
Let's begin our holiday jaunt with this very merry Christmas gift from cartoonist Charles Schultz and his Peanuts gang. With a jazzy music score by Vince Guaraldi, the cartoon special from 1965 features Peter Robbins as the voice of Charlie Brown, who just wants to know what Christmas is really all about.
Robbins left show business in 1972, and today, at 55, works in real estate management in Southern California-and he named his own dog Snoopy. Robbins says the Peanuts Christmas special "show poses a question that I don't think had been asked before on television: Does anybody know the meaning of Christmas?" (Linus provides the answer by reciting the nativity story from the book of Luke in the King James version of the Bible.)
Snoopy's "vocals" were provided by longtime Peanuts animator Bill Melendez.
How The Grinch Stole Christmas!
Chuck Jones, the genius behind many classic Warner Bros. cartoons of the1950s and '60s, directed TV's enduring adaptation of the Dr. Seuss classic that aired originally in 1966. Legendary horror film actor Boris Karloff was the narrator and the voice of the green-meanie Grinch, who dresses up as a faux Santa and robs the goodies from Who-ville's citizens, including sweet Cindy Lou Who.
British-born Karloff, who made his mark as the original Frankenstein monster and the Mummy for Universal Studios in the studio's horror heyday, died of emphysema in 1969 at age 81.
The unmistakable singing voice of the Grinch ("You're a mean one, Mister Grinch") was the basso profundo voice actor Thurl Ravenscroft, the voice of Tony the Tiger in Kellogg's Frosted Flakes commercials for decades. Cindy Lou Who was handled by veteran cartoon voice artist June Foray, now 93, who was also the voice of Bullwinkle's TV pal, Rocky the flying squirrel.
Mister Magoo's Christmas Carol
A musical adaptation of Charles Dickens' Yuletide tale takes center stage this 1962 holiday special, which starred the recognizable voice of Jim Backus as the near-sighted Magoo, who becomes miserly Ebenezer Scrooge for a theatrical production. It featured original songs by the Broadway tandem of Jule Styne and Bob Merrill, who went on to create Funny Girl. Among the memorable songs in the 53-minute cartoon, "The Lord's Bright Blessing" stands out with Tiny Tim warbling for razzleberry dressing and woofle jelly cake. Backus, probably most famous as millionaire Thurston Howell the III on TV's Gilligan's Island, created the voice of Magoo in the 1950s. He died in 1989 at age 76 after suffering from Parkinson's disease.
Producers Arthur Rankin Jr. and Jules Bass concocted the meticulous "Animagic!" style of stop-motion animation for this heartwarming 1964 special. Well-known folksinger and Oscar-winning actor Burl Ives was hired to provide the cozy vocals of Sam the Snowman and perform the memorable tunes "Silver and Gold" and "A Holly Jolly Christmas." Music for the special was composed by Johnny Marks, the writer of the original song from which the legend of Rudolph sprang.
"When I tour across the country, I am recognized as Sam by everyone from airline stewardesses to the smallest of children," Ives, who died in 1995, once noted. "The popularity of that special overshadows my Oscar performance in The Big Country and my performance as Big Daddy in Cat on a Hot Tin Roof put together." As for Rudolph, actress Billie Mae Richards voiced the reindeer with the noisy nose, and Hermey the Misfit Elf was voiced by fellow Canadian Paul Soles.
Produced in traditional cartoon animation by Rankin/Bass, Frosty the Snowman (1969) was based on the 1950 hit song by Gene Autry and featured the voices of veteran funnyman Jimmy Durante as the singing narrator and comedian Jackie Vernon as the magical snowman brought to life with the power of a stovetop hat. Veteran vaudeville entertainer Durante, nicknamed "the Schnoz" for his big nose, died of pneumonia in 1980 at age 86. Vernon, a standup comedian known as "The King of Deadpan," died of a heart attack in 1987 at the age of 63.
Do you recall Joe Yule Jr.? It's the real name of multi-talented actor Mickey Rooney, who stepped into the boots of Kris Kringle in Santa Claus Is Coming to Town in 1970. Dancer-actor Fred Astaire, who died in 1987, narrated as a rural mailman offering the origins of Santa in this classic Rankin/Bass stop-motion special based on the 1934 hit song by Eddie Cantor. Rooney, 91, who today appears at nostalgia shows and takes an occasional movie role, remains nostalgic about the project. "I've done thousands of films, and everybody remembers me for that. I've played Santa Claus a few times, but that one seems to stick."
Found in: Celebrities, Odd Jobs, People, Seasonal, Traditions
'Trading Christmas' Actor Tom Cavanagh
Actress Mariska Hargitay
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The Trustees of The Friendly Hand welcome applications on a case by case basis.
There is no formal application process, nor is there an application deadline. It is therefore suggested that if you are seeking a grant and the money is intended for a purpose which satisfies The Friendly Hand's charitable objects, you send an email to the charity in the first instance for consideration by the Trustees.


To produce riser, cut base off another pit to appropriate length. Each riser adds 400mm depth.
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If you own a boat, have an interest in boating, are a short-term visitor or just want to socialise we have a membership choice for you.
At Panmure Yacht and Boating Club, we have a range of membership options.
Visitor – Family or Single Visitor for visiting sailors to New Zealand who expect to be members for 6 months or less – subs are pro rated accordingly.
Associate – $150 and Associate Family – $165 for those who live more than 80 km's from our club rooms.
Social – $150 for someone who wants to be part of the fun and doesn't have a boat. The maximum period for this membership option is 2 years.
Nomination Fee – $100. Applies for all membership types and is to paid with each application.
Procedure: How do I become a member?
Your first steps will be to complete the application for membership form and to submit it together with the nomination fee and annual subscription to our clubrooms in Panmure (either by hand, post or by email).
Once we have received your application it will be put before the General Committee for approval (once approved your membership begins and any use of the facilities will be charged at member rates,) after which your details will be placed on our notice board, for a period of 7 days, in order to solicit feedback from our members.
We want it to be as easy as possible for you to settle in, so assuming that you are successful through this process you will be invited to an orientation meeting with the membership committee (normally on a Thursday evening) who will run through important club information and answer any questions that you might have. This is the final step in your application.
We will endeavor to complete your application as quickly as possible but completing all of these steps could take up to 6 weeks.


FAYETTEVILLE, N.C. - Ed Middleton honorably served his country during World War II as an officer in the 30th Infantry Division (currently restructured as the 30th Armored Brigade Combat Team), but his service to the military community did not end with the war. Today, at the age of 92, he is an active member of the 30th Infantry Division Association, the Fayetteville Independent Light Infantry, and volunteers weekly at the Airborne and Special Operations Museum, here.
He can usually be found standing near the glider in the World War II section of the museum, clad in his dress uniform, ready to share stories of the 30th's deep history, and the experiences of his fellow soldiers.
Friend and fellow museum volunteer, Ann Feinstein, asked Middleton to appear at the nearby Veterans Memorial Park for what he was ambiguously told would be a dedication ceremony by the 30th today. In actuality, through a service network known as Soldiers Angels, Feinstein had collected more than 60 postcards, mailed from across the globe, showcasing thankful sentiments toward Middleton. Ann carefully had compiled them into a scrapbook and planned to present them to him during a surprise ceremony involving a few of Middleton's peers, as well as soldiers currently serving in the 30th ABCT, North Carolina National Guard.
"They called me and asked me to make sure I came in class A's," Middleton said of the guise. "I had an inkling. Yeah, I had an inkling." he said with a chuckle.
Feinstein had the idea to begin the project during a recent conversation with Middleton's son, Kirk Richardson, who also volunteers at the museum. She said they were talking about the missed opportunities to thank veterans who have passed, and she wanted to find a way thank Middleton today.
"We started talking about honoring Ed and I wanted to get him the book, for all of his selfless service to his community and country," she said.
"I put the call out through the [online] forums, and within five days the first card started coming in. Then there were as many as 10-a-day sometimes."
Cards came in from nearly 40 states, as well as foreign countries such as Australia, Denmark, Holland, and Canada.
"There's even a card from a 9-year-old," She said. "Every one has a message thanking Ed for his service. Every. Single. One."
Middleton said he appreciated the gift and was looking forward to reading his postcards as soon as he was home.
"It's outstanding how they can get them from people from all over the world," Middleton said.


A disabled parking space outside the front of a large Tesco supermarket. Everyone knows exactly who is supposed to be allowed to park there and who should not park there. So why do some people who clearly aren't disabled decide to use these parking spaces? Do they think that this silly rule shouldn't really apply to them or something?
The car in the photo parked up in a disabled bay at a branch of Tesco near Eskbank in Midlothian. The female driver who got out of the car was smartly dressed and didn't appear to have any problems getting to the store as she jumped out of her nice car and strutted off to the store entrance. In fact she appeared to be as fit as a fiddle and the car didn't appear to have one of those blue disabled badges that cars are supposed to have on display when using disabled parking spaces.
This is typical of the kind of selfish behaviour that seems to be becoming acceptable these days. More and more people put themselves first and disregard the needs of others. For example the drivers who see a queue of traffic and carry on up the outside lane so that they can push in at the front. Me first! I'm more important than you.
No doubt this woman couldn't be bothered to park further away. Too lazy to look around for an alternative when those big spaces at the front of the store were up for grabs. In this case there were plenty of spaces for disabled drivers, but what would she have done if there was only one left? I'd be willing to bet she would have just parked there anyway.
Disgraceful, completely agree. These kind of ignorant people should be slapped with a 30 day prison sentence. They won't learn otherwise and it's a complete abuse.
Just maybe, the owner of that car needs a wide parking slot because of their driving (in)ability?
I was just going to say what about someone who has a mobility problem but is not registered disabled.
I know a guy who drives and see him in a company van, he cleans various public toilets near my area and he needs a hip replacement soon as he cant go on much longer without it.
If he were to park in the disabled bays in the supermarket doing his shopping he would probably get a ticket yet he may be more in need to use it than someone who borrows their relatives car who may have the blue badge. They are the ones you need to crack down on.
Even worse is a family I know who use disabled bays with the elderly parent's blue badge when only one of the kids is in the vehicle.
These people need to be told that "Ignorance and stupidity are not disabilities"
Silly arrogant person leaving a car parked in a disabled bay but not being disabled themselves, just what the angry yobs that are around these days are looking for. I'm sure these upper class drivers can afford keying repairs!!!!


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text:
Q: Jira Json to dataframe with Python. Issue with one column which stays as json In a specific column of my dataframe it does not convert to json and it stays like that
[{'self': 'https://servicedesk.com/rest/api/2/c', 'value': 'EXANDAS', 'id': '10120'}]
How can i grab only the value  or convert that column two three more columns in the existing dataframe?

A: Assuming your column is a list of dicts you can do
df[col].map(lambda x: x[0]['value'])
to get the values

redpajama_set_name: RedPajamaStackExchange


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With SoundTouch, we have put a lot of thought into taking the thinking out. You can listen whichever way you want, without worrying about which technology is best. This speaker lets you play music directly from a phone or tablet using Bluetooth, or connect the speaker to your Wi-Fi network for instant in-home listening, without the need for your phone.
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With SoundTouch, we've put a lot of thought into taking the thinking out. You can listen whichever way you want, without worrying about which technology is best. This small wireless speaker lets you play music directly from a phone or tablet using Bluetooth, or connect the speaker to your Wi-Fi network for instant in-home listening.
Experience your favourite music from your SoundTouch speaker with the SoundTouch app. SoundTouch lets you take total control of your listening experience, right from your smartphone or tablet. Browse popular music services like Spotify and Deezer, Internet radio stations through TuneIn, or your stored music library. Easily personalise presets for one-touch access to the music you love and control one or many SoundTouch speakers around your home.
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The irDAC is designed to be the heart of a digital system and can be connected to a host of different types of digital sources and connections. This includes asynchronous USB and direct iPod connection, taking the digital signal direct from an Apple device for optimal sound quality. All of the inputs can be controlled through the irDACs IR remote handset that also controls PCs, MACs and iPod / iPhone / iPad devices via the HID (Human interface device) controller.
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Trigger Alert: This post is written by a Democrat. A liberal one. One who also likes to hear ideas of people who see things differently than she does, because she doesn't believe one party or one way of thinking has all of the answers. She even likes the ideas of Republicans and Libertarians sometimes. That said, if you aren't a liberal Democrat, you are probably not going to agree with her viewpoint on the election. If you can't understand that fact, and can't see this as a story of her experience, feel free to skip it.
I am a to-the-core feminist*. I was raised in the 80s and 90s by my parents and my friends' parents to be one. I was raised to EXPECT a seat at the table – any table I wanted. Work hard. Learn all you can. Be smart. Be diplomatic. Be whatever you want to be. You can rise as high – higher – than the boys. Why not?
But here's the catch. I held this gift of expectation in a world that still wasn't ready to accommodate it. I learned over time, that I had to talk a certain way, appear a certain way, be a certain way, to be heard and to gain due respect. I believe these are things that my male friends and colleagues simply did not have to consider.
I am an upper-middle-class, white woman, who has had opportunities and experiences that my grandmothers could barely imagine. I have advantages that people with less resources, a different pigmentation of their skin or a different country of birth are not automatically afforded.
And – I recognize that the gift I was given – to expect to be equal – was the next rung on the ladder.
This was more than what my mother was given. I am grateful.
And I want even more for my daughters.
I am also teaching them to expect a fairly earned seat. But that expectation will be met with the same challenges I experienced if the world doesn't keep evolving. I want this world to change enough so that they take for granted that the earned seat is theirs for the taking – no accommodations necessary.
I was flat-out devastated last night. The polling set me up perfectly for devastation. I literally went into the evening thinking: We'll button up Florida and call it a night.
To be clear: A GROUNDBREAKING, ONCE-IN-A-LIFETIME, NIGHT.
But that 5% was potent.
My feminism was bursting with the possibility of breaking that highest of high glass ceilings. This was it! This was the next rung on the ladder towards realizing the world I want for my girls.
Hillary's loss last night hurt profoundly. I physically hurt. It felt like a shocking, mourning, hurt. I realize the words that I'm using right now are dramatic. They sound over-the-top. But I experienced exactly these words and have been walking through today in a hungover stupor.
My father cemented in me a love of politics, especially for the presidential election, in 1996: Clinton vs. Dole. He would send me clippings from the newspaper and magazines about the election and I couldn't help but get caught up in the excitement of our impending victory. It was fun.
I have actively followed politics ever since, and have keenly felt the Democratic wins and losses along the way. But nothing from any past election comes even close to what I have felt since last night. It has been so different- so much more.
Severe disappointment that the holy grail opportunity of feminist progress has been lost.
Horror that the opportunity was lost to a known misogynist. Every fiber of my feminism recoils from this man.
These twin pains, separate and connected, feel like such an enormous setback. They make me wonder if I thought we were farther along than we really are.
There are many, many reasons to be alarmed about Donald Trump in the White House. These topics of feminism and misogyny are simply one little piece of the story. Holistically, I think that if his views and rhetoric do not moderate once he takes office, and if he does not surround himself with the most capable, knowledgeable people (and LISTEN to them!), this entire American experiment could be very much at risk.
But no matter what he does or doesn't do, that specific rung of the ladder sits waiting, untouched. This was the source of my sharp, mourning pain.
And there is always a silver-lining. I am certain of this: this experience will only galvanize me and the other strong feminists that I know. As we stand on the shoulders of the women that came before us, I know that we will never stop working for ourselves and for our daughters and granddaughters.
Please, dear God, may our girls take all of this for granted someday.
*Feminist (noun): A person who supports feminism, which is the belief that men and women should have equal rights and opportunities. If you love a woman – a wife, sister, mother, daughter – any woman – in my opinion, you should be a feminist.
I may send my midwest family a note saying that I am a liberal – elitist- feminist. Like it or lump it. Its up to them. I have a graduate degree from Yale. They should expect nothing less from me.
Exactly how I felt. Word for word we are the same person.


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Gay Marriage and Abortion Trap VP Picks
By Matt Negrin February 17, 2012
(Image Credit: Jessica Kourkounis/Getty Images)
Vetting a running mate, as Sarah Palin's run for VP showed in 2008, is a critical ordeal for a party's presidential nominee. But already two of Mitt Romney's top choices for the bottom half of the ticket are embroiled in emotional social issues in their states that could spill over onto the national stage if they are picked for the GOP ticket.
In New Jersey, Gov. Chris Christie has vowed to veto a gay marriage bill passed Thursday by the state assembly. And in Virginia, Gov. Bob McDonnell might be forced to approve or dismiss a bill that defines life as beginning at conception, not birth.
In both cases, the potential running mates' predicaments underline the dilemma of being governor of a state while under consideration for the VP spot on the presidential ticket.
In recent years, more Americans have said they are comfortable with gay marriage. In May, for the first time, a majority of Americans approved of it, according to the Gallup poll. Christie, a conservative who was courted by the right wing of his party to run for president this year, has staked himself to the right of the mainstream by promising to veto New Jersey's gay marriage bill, but at the same time has won cheers in the conservative camp for his position.
Christie's office said it would release a statement soon on the governor's planned veto. Steven Goldstein, the CEO of the pro-gay Garden State Equality advocacy group, told ABC News that he expected a veto and has started planning how to get two-thirds of each of New Jersey's two legislative houses to approve an "override" by January 2014.
"It's not easy to pass a bill with a hostile governor," Goldstein said.
McDonnell's situation in Virginia is murkier. The state's House of Delegates passed a bill that gives a fetus the same rights as a grown person, defining conception as the beginning of life, a key distinction for opponents of abortion rights. If the State Senate approves it, the bill goes to McDonnell.
McDonnell's office said he hasn't made up his mind on what he would do yet. "He has not made a decision," said Jeff Caldwell, McDonnell's press secretary. "He'll look at it if and when it passes the General Assembly."
Asked if McDonnell has read the bill, Caldwell said, "He's heard about it."
Signing the bill would surely please conservatives while possibly diminishing McDonnell's appeal among independents on a ticket with Romney.
The head of the Republican Governors Association, McDonnell spoke at an annual gathering of conservatives in Washington last week, along with another top VP option, Sen. Marco Rubio. Christie didn't speak.
At the recentlyconcluded CPAC conference, the conservatives indicated in a straw poll that Rubio was overwhelmingly their top choice for VP. McDonnell and Christie came in a distant second.


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The Norwegian blogger Erik Solheim have taken some picture from the same spot thorughout the year and made a couple of video of it. It is pretty cool and the worth a look. He also explains on his blog what he did and how he made the video.
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Unless otherwise directed in the individual monograph, conduct the determination on a 1 to 2 g test specimen. Mix the substance to be tested and, if it is in the form of large particles, reduce the particle size to about 2 mm by quickly crushing before weighing out the test specimen. Tare an appropriate glass-stoppered, shallow weighing bottle that has been dried for about 30 minutes under the same conditions to be employed in the determination and cooled to room temperature in a desiccator. Put the test specimen in the bottle, replace the cover, and accurately weigh the bottle and the contents. By gentle, sidewise shaking, distribute the test specimen as evenly as practicable to a depth of about 5 mm generally, and not more than 10 mm in the case of bulky materials. Place the loaded bottle in the drying chamber, removing the stopper and leaving it also in the chamber. Dry the test specimen at the temperature and for the time specified in the monograph. [Note—The temperature specified in the monograph is to be regarded as being within the range of ±2 of the stated figure. ] Upon opening the chamber, close the bottle promptly, and allow it to come to room temperature in a desiccator before weighing.
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A new technology to prevent lithium-ion batteries from catching fire or exploding in laptops and mobile phones may be on the market as soon as the first quarter of 2010, its inventor said on Wednesday.
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Did you get a cell phone for Christmas? Why not recycle your old one?
Mobile social network Loopt goes live on three AT&T phones today, which was the last major carrier holdout. Loopt is now available in the U.S. on Sprint, Verizon, Metro PCS, T-Mobile and Boost. The service is free for a year and then a $4/month fee kicks in.
University of Utah researchers have developed an automobile ignition key that prevents teenagers (or anyone frankly) from talking on cell phones or sending text messages while driving.
Motorola announced a new budget prices handset that will be exclusive to Cricket Communications and Metro PCS Communications called the MOTO VE240. The phone has a candy bar style and offers features like MP3 capability and Stereo Bluetooth.
Consumers have embraced Bluetooth-enabled mono headsets for mobile phones, but getting them to accept stereo Bluetooth headsets is another story.
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MetroPCS today announced that the LG Optimus F6 is available. The F6 runs Android 4.1 and has a 4.5-inch screen, 5-megapixel camera, dual-core 1.2GHz processor, and HSPA+/LTE. MetroPCS doesn't require contracts and offers plans that start at $40 per month.


text:
class Question < ActiveRecord::Base
  belongs_to :survey
  has_many :answers

  validates :query, presence: true
end

redpajama_set_name: RedPajamaGithub


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Performing words #2: No room in the inns?
December 18, 2017 May 21, 2018 / beforeshakespeare
This post is part of a series on theatrical words. For an introduction to the series, see Performing words: introduction to a new thread on theatre and language.
It's nearly Christmas, and I'm writing to ask if there might be room for the inns in our accounts of early London playing spaces. When we think of Elizabethan London playhouses, most of us think of an amphitheatre: big, round, outdoors and out of the city. Sometimes we might also think of indoor playing spaces, particularly at the Blackfriars: small, rectangular, indoors, and in the city. This post considers the third kind of Elizabethan playing space, the inns, which are rarely included in accounts of the playhouses at all. This, I'm going to suggest, would have surprised Elizabethans, who may well have considered the inns as the primary, most prestigious playing houses in town. As we shall see, figures as diverse as the Queen's Men, Richard Tarlton's horse and Satan himself all sought access to performance at the inns. The inns thrived as playing spaces up to 1595, making them likely venues for playwrights we now associtate with outdoor playhouses, most obviously Shakespeare and Jonson.
The big, round and outdoors playhouse is not itself a secure category, of course. Scholars have come to realise that not all such playhouses were as big as we thought, and many would quibble with the word 'round'. These buildings were roundly polygonal, perhaps we might say, and we now know from the Curtain that some were stubbornly oblong. But despite the controversies over size and shape, scholars don't tend to question the word 'outdoors', which I think should surprise us more than it does. At a basic horizontal level, both audience and performers were firmly indoors in these spaces: they'd entered the building via a door. They are outdoors only from a vertical perspective, since these playhouses didn't have a complete roof. It is these larger, rounder, less canopied places that have come to define the modern sense of an Elizabethan playhouse. This ignores other kinds of playing space, and a very silly person might want to call this exclusive mode of definition a ruthless, roofless sort of theatre history.
But given how little we think of inn playing spaces as playhouses, it is perhaps surprising to realise that we in fact know much more about their playing culture than we do about either the early outdoor or indoor kind of playing spaces. This is especially true in the public domain of printed books and letters witnessing widespread popular opinion and knowledge. The inns are often described by scholars as an earlier and quickly outmoded place to play, but in fact they opened and thrived alongside the outdoor spaces. Although they have come to seem far less important to theatre historians than these outdoor spaces, it is in fact the inns, not the outdoor playhouses, that attract interest from contemporaries. In the rest of this blog post, I quote from Glynne Wickham, Herbert Berry and William Ingram's English Professional Theatre, something of a Bible for our project. I confine myself to this book to make the polemical point that this evidence has been staring us in the face since at least 2000, when that book was published. There we can see that commentary of various forms from the 1570s, '80s and '90s tells us much about why you might go see a play at a particular inn, at a time when we do not know these things for other kinds of venue.
So what might a playgoing enthusiast have known about the inns?
The Bel Savage
Well, if you enjoy fencing competitions in the mid-1570s, we're told that the Bel Savage and the Bull are the places for you. We know quite a bit more about the Bel Savage, which is perhaps why a major modern novelist has just written a book about it (I haven't read Philip Pullman's latest yet, so no plot spoilers please). Around 1590 the Bel Savage is singled out as an especially exciting place to watch a fencing match because of the risk of injury from falling off the stage (it isn't clear if this is due to the smallness, the height or some other unusual aspect of the stage). But the same playing space, Stephen Gosson assures us in the late 1570s, is the place to hear excellently written 'prose books', 'where you shall find never a word without wit, never a line without pith, never a letter placed in vain'. This is the earliest reference to a playhouse having a distinctive literary house style in its plays, and it celebrates the performance of prose dialogue. This is crucial information about theatrical prosody that has yet to be incorporated into narratives about literary development in the period, and it troubles conventional accounts that see fourteeners giving way to blank verse, and prose as an occasional deviation in adult plays and an eccentricity of boy theatre.
A few years earlier, George Gascoigne, wishing to praise his writing by comparing it to a 'mart' (ie, market) in theatrical 'vain delight', names the Bel Savage as exactly that kind of salacious commercial enterprise. This is the first literary reference to any London playhouse. When Lambarde wants to single out a London performance space, he names the Bel Savage (and does so not only in 1576 but again as late as 1596, in a passage he otherwise revises). Taken together, this evidence tells us that the Bel Savage had a distinctive kind of stage, house style and was seen as an early exemplar of the emergent commercial venues charging for performance. This might not seem like much, but it is an awful lot more than we know about the Theatre, Curtain or Newington Butts playhouse in this period in terms of repertory and reputation. Perhaps most importantly, the above discussions of the Bel Savage take place in the public forum of print, and therefore testify not only to the writers' knowledge but their assumption of their readership's awareness of this playhouse. Lambarde also tells us that entry to the Bel Savage is based on a stratified paying system: you 'first pay one penny at the gate, another at the entry of the scaffold, and the third for a quiet standing'. This is the first time we hear of such a system in use in the London playhouses, but theatre history usually associates its introduction with the later Theatre. Taken together, this evidence tells us that the Bel Savage was 1) a place of fencing, prose and salacious delight; 2) highly visible and well-known; 3) had some sense of repertorial identity. It also tells us that its financial model was common knowledge. And, as we'll see, the Bel Savage is the place the devil goes to play.
As for the Bull, the other playhouse singled out as a fencing venue, Florio imagines that an Italian tourist will need to know how to ask his way 'To a play at the Bull, or else to some other place'. Note that although Florio would like his readers to be able to get somewhere else too, it's the Bull that he names, as though a theatrical trip to this inn were the very epitome of a London leisure activity. His phrase, 'a play at the Bull', presupposes the kind of regular, repeat and reliable performance that has usually only been associated with the outdoor playhouses by scholars.
If you're fond of polemics against usury and sedition and free from amorous gestures or slovenly, unchase talk, you're in luck, because the Bull is the place for you. This advice from Gosson in the late 1570s is superseded in 1592 by a recommendation of the same inn for plays indulging in language games, rhetorical tricks, feathers of fancy, extraordinary elegancy and words running on the letter.
On the other hand, in 1594 Lady Anne Bacon can worry that her sons are moving to London and near the Bull, whose 'continual interludes' infect the area 'with corrupt and lewd dispositions':
considering that street, and then to have so near a place haunted with such pernicious and obscene plays and theatre able to poison the very Godly.
Bacon's letter confirms what we deduced from Florio: the Bull is a place for 'continual interludes', and Bacon's fears about its 'pernicious and obscene plays' implicitly assume a repertorial identity. When Bacon thinks of the street, she thinks of the inn; when she thinks of the inn, she thinks of its plays: the Bull repertory has come to define not only the inn but its locale. Bacon is here writing privately, in a letter, but she clearly draws on opinions widespread enough to have reached beyond a London milieu. It seems to be me to be very important that Bacon uses the still unusual word 'theatre'. It isn't clear if she's calling the Bull a theatre, or its performances theatre: to cut down the quote given above, the Bull is 'haunted with such […] plays and theatre'. For Bacon, the Bull either was – or hosted something she called – theatre. That syntactical uncertainty is itself suggestive, and I'll be returning to this strange word theatre in a later post. This, for me, is further evidence that theatre historians need to be thinking across different performance venues – outdoor, indoor and inns – rather than segregating them into discrete, separate worlds.
Finally, if you're the Lord Mayor hoping to discourage the spread of disease, you might prevent the Earl of Warwick's servant from holding fencing competitions at the Bull, offering him 'an open space' in the city instead of 'playing in an inn'; if you later have to ban even an open space in the City, you might still allow him to 'play at the Theatre or other open place out of the City'. This may well expose to our view a system of priority on the part of those seeking to make money from public performance: the inns are where you'd really like to be, and failing that an open space in the city. If you're really stuck for a city venue, the Theatre will have to do. Modern scholarship is more likely to assume that such a set of priorities worked in reverse. These references to the Bull tell us that 1) it was a fixture on the London social scene – the sort of place a foreigner might need to ask their way to; 2) it had different repertorial identities at different stages in its life, and could be perceived as a virtuous, chaste place in the late 1570s, but somewhere corrupt and lewd by 1594; and 3) for at least one playing company, the Bull is a better place to be than the Theatre.
The Cross Keys
If you're a member of Lord Strange's Men, and have just been banned from playing in the City by the mayor, then you might storm off 'in very contemptuous manner' and defiantly perform 'that afternoon' at the Cross Keys, as happened in November 1589. This means that the Cross Keys is the place to be cross and to cross the mayor. The Chamberlain's Men were also especially attached to this playing space. After performing there 'this winter time' in 1594, they asked to be allowed to continue doing so, and in order to secure prolonged residency made clear that they were willing to begin performances earlier in the day without the usual advertisement by drums and trumpet. This continues the line of evidence that we saw at the Bull, that inn playing spaces quickly developed a sense of a theatrical season, and confirms that the inns were sought-after spaces: it was worth forgoing the advertorial but anti-social drums and trumpet in order to win the commercial advantage of playing in an inn. This was happening as late as 1594, at a time when most scholarly accounts barely register that the inns existed, and gives the lie to our current sense that the outdoor playhouses superseded or replaced inn playhouses. Thanks to his later lawsuit against Margaret Brayne, we even know that on 23 June 1579 James Burbage 'came down Gracious Street towards the Cross Keys there to a play'. The Cross Keys seems a desirable place to play, somewhere playing companies are willing to petition for, sacrifice their usual advertising techniques for and even break the rules for.
If you're a fan of Tarlton, I'm happy to say that you have the full range of inns to choose from. If you're hoping to hear him in 1588 extemporise in the form of a 'sorrowful new sonnet' on the theme 'now or else never' (a good theatrical theme, that), head for the Bel Savage; you could also catch him playing with the Queen's Men at the Bull sometime earlier, engaging in impromptu onstage doubling in The Famous Victories ofHenry V. He was also in residence at the Bell 'with his fellows', though the smuggest Tarlton fans would have been the ones who happened to be at the Cross Keys when he wandered across from the Bell 'to see the fashions' and engage in horse play – literal horse play – with 'a horse of strange qualities'.
Of the four inns, we hear least about the Bell: this is where Tartlon was playing when he engaged in much more memorable and noteworthy antics at the Cross Keys. It's also where 'the play of Cutwell' was performed in 1577, since the Revels Office has to pay for the relocation of 'the parts of the well counterfeit' in the play from the Bell to the Revels Office. But since the Bull and the Bell are the places named as the designated placing spaces for the newly formed Queen's Men, 'and nowhere else within this city', it must have had or come to have an especial importance in the city's theatrical culture.
Putting the inns back in
These various kinds of evidence survive as an accident of historical record of course, but it is evidence nonetheless, and its striking contrast compared with the relative silence about outdoor playing spaces may itself indicate a wider or more important or more self-conscious culture of theatergoing at the inns. Certainly these references demonstrate a rich theatrical culture in which different inns developed reputations for theatrical specialization, and were considered to be regular playing spaces. For whatever reason, the same cannot be said of the outdoor playhouses in this earlier period.
So although there is no room in modern theatre history for the inns, there was clearly room at the inns for theatrical performance. When we hear of the Chamberlain's Men playing at the Cross Keys "this winter time" in 1594, and asking for permission to continue doing so, it might be time to consider whether the concept of a theatrical season functioned in this period, and was especially associated with, or at least is now best attested at, the inns. I hope we can also see that the inns flourished all the way up to their closures in the mid-1590s, rather than being immediately displaced and superseded by the outdoor playhouses in the 1570s, as often supposed. We might also reflect on the implications of this evidence for our various methodological approaches. Repertory studies has been one of the most exciting developments of the past thirty years. We don't have repertories for the inns, but we do have a sense of repertory vividly testified amongst contemporary playgoers. What can repertory studies tell us about this state of affairs, and what does this state of affairs have to offer repertory studies?
This makes the inn playhouses very different, historiographically, from the outdoor playhouses. We may be able to reconstruct the playing repertories of particular companies, but since such companies did not yet have long-term relationships with outdoor playing venues, we are not able to characterize the theatrical culture of outdoor playhouses in quite the same way as we can for other kinds of spaces. Often seen as an alternative to touring, the outdoor playhouses in fact seem to have begun life as new spaces to tour to; it's the inns, along with the indoor playhouses, which seem to have been the first spaces to develop longer-term relationships with particular companies. There is a richly productive sweep of evidence here, but the canonization of certain kinds of playing spaces means that it has barely been touched, despite its relatively wide availability in print anthologies of such documents. Added to all that we know of the four inn playing spaces named above is the problem that London Council and aldermen references to inn performance strongly suggest that other inns and innholders hosted plays and interludes in this period; though these four are the ones named in documents, other inn playing spaces may well have been available across London.
In the seventeenth century, William Prynne tells us that the devil appeared onstage during a sixteenth-century staging of necromancy. This happened at the Bel Savage, and shows us that Lucifer himself knew which playhouse to appear at for maximum impact.
The visible apparition of the devil on the stage at the Bel Savage playhouse in Queen Elizabeth's days (to the great amazement both of the actors and spectators), whiles they were there profanely playing the History of Faustus, the truth of which I have heard from many now alive who well remember it, there being some distracted with that fearful sight.
If the devil is in the detail, and the devil and the detail are in the inns, is it possible to make some room for the inns in our accounts of London's earliest playhouses?
Archives, inns, Performing words
archive, inns, London, performance, Performing words, Theatre
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7 thoughts on "Performing words #2: No room in the inns?"
Tracey Hill
I finally got round to saying 'hooray for the inns!'. Thanks for this, Andy: a very useful digest and one would hope it would pique more interest. It might be worth adding that Paul Menzer, amongst others, has cast doubt on the usual assumption that inn-playing was forcibly stopped in 1594; there is some evidence to suggest that it may have continued for a few years after that date. The jury is – or should be! – still out.
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DNR encourages support for Michigan Sportsmen Against Hunger
News // Local News
BCRP Staff
LANSING – With more than 1.1 million Michigan residents annually seeking food assistance, the Department of Natural Resources (DNR) encourages hunters to keep this critical need in mind as they head out this season.
The DNR asks all hunters to consider making a donation to Michigan Sportsmen Against Hunger (MSAH) when purchasing hunting licenses this year. Donations will be used to support the processing of deer donated to participating processors. Last year, the venison donated to local food banks and food kitchens throughout Michigan supplied enough meat to provide more than 100,000 meals with a source of nutritious protein.
"Today, we have the opportunity to continue a tradition started by hunters before us, who hunted to provide food for early settlements in Michigan," said Raymond Rustem, DNR liaison for MSAH. "Hunter donations of funds or venison can help those who are still experiencing hard times in our state."
When renewing fishing or hunting licenses, residents should tell the license vendor of their intent to make a monetary donation to the Michigan Sportsmen Against Hunger program. Anglers and hunters can donate in amounts of $1, $5, $10 or $20. The vendor will simply add the donation amount to the overall purchase price and it will show up as an additional item on the license.
Those who would like to donate a deer should visit the MSAH website, www.sportsmenagainsthunger.org, to find the nearest processor.
Rustem pointed out that even individuals who don't fish or hunt can still support this important program by visiting the Michigan e-Store at www.michigan.gov/estore, click on Tax-Deductible Donations, and then choose the Help Feed the Hungry option. Fill in the information about the donation and add the item to the cart.
"Many people continue to struggle in this economy," he added. "Donating to this important effort is a simple way to help."
Rustem reminded donors to save any receipts or forms. Donations to Michigan Sportsmen Against Hunger are tax-deductible.
Since 1991, Michigan Sportsmen Against Hunger has been working to create linkages between donors, wild game processors and charities that feed needy individuals. MSAH is an all-volunteer organization and is led by sportsmen and women concerned about making a positive difference in the community. Together, they have assembled a network of processors and charities across Michigan to help channel wild game donations into the hands of those in need. Learn more at www.sportsmenagainsthunger.org.


Team pages are available if the respective coach submitted information to be put on the website. If your team is not highlighted, that indicates that your coach did not submit any information to be put on the website. Communications regarding tournament/practice schedule should be handled directly from coaching staff.


The "It's me, It's me" phone scam is a widespread problem in Japan, with many getting swindled out their hard earned cash ever year. This is a true story of a conversation one young man had with a scammer.
A brief description of my family to help understand the story.
My Home: I have a normal family but we have a odd sized plot of land that we use as a hobby farm (so I can thieve all the vegetables I want).
Mom: She thinks she's sharp, everyone else thinks she's absent-minded.
Brother (Tomo): An office worker and the third born son, still lives at home. Doesn't own a car.
Me: I live alone, but make my way back home any time I need some vegetables.
Dog (Aria): Our beloved dog.
This all happened on one of the days I had gone back home. My main goal was to get some vegetables. But as soon as my mother, who had just happily turned 60, came back from the farm, the phone rang.
Mom: "What! An accident? Are you OK? Oh dear, your brother's been in an accident!" she's panicking.
Me: "What? You mean Tomo?" I said as I grabbed the phone, our dog going crazy at my feet.
Mom: "It's Tomo! Oh dear. I have go and see him right away," she said as she started pacing back and forth in hopelessness.
???: "Huh? Oh, yeah! And you should see the other guy…" he said with a teary voice.
Me: "Have you called an ambulance? Call the police as well. And where was this accident? Mom's going out to get you now." I said as Mom grabbed her car keys.
???: "Ah, I'm really far away," he said, sounding a little frustrated.
'Tomo': "I hit a kid in the accident!" his teary voice is really good.
'Tomo': "The kid has been taken to hospital, but, but, they said he he'll never walk again! And it's all my fault!" Seriously, this guy can act.
'Tomo': "Yeah, I know! That's why I need to borrow some money from Mom. I'll pay it all back! I know I made Mom worry, not being able to find a job and everything, but I'll change. I'll get myself a real job!!" I could have given him a standing ovation over the phone. Terrific performance.
'Tomo': "Oh, no, I mean, I'm really far away. I need you to make a bank deposit, so…" he's getting flustered.
'Brother': "We-we-well I had to come by car today! And it was the first time in a while, and then, I hit a kid," his Oscar-worthy tears started up again.
Me: "Don't clam up, keep talking. Go ahead and tell us what the hell you want us to do," my tough guy voice.
'Brother': "…Sorry!" he hung up and got away.
Mom: "What did your brother say? Where do we need to go?" she asked, flustered and clutching her purse.
I kind of got a little worried that day as I realized how easily mom would fall for a scam.
Mom, you really need to keep your wits about you.
I honestly thought I had saved this home by coming home every now and then.
That mother of mine was most definitely conned by the scammer.
So I've started visiting home even more.
To all you playing at home – beware of phone scams.
Me: "Yeah! But I figured something was wrong so I pull his story apart and then fought back against him!" I said, really proud.
English translation © 2015 Hamish Smith. All rights reserved.


Stunning home-site located within walking distance of the 60-acre nature preserve in the King Oaks Subdivision! This 2.43-acre lot offers mature hardwoods, sandy-loam soil, and picturesque views. The master planned community of King Oaks includes a community pool, clubhouse, outdoor kitchen, as well as walking and horseback riding trails located in the nature preserve. All within minutes to Bryan-College Station!


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All posts tagged: floating signifier
Floating Signifier (Beautiful Trouble – Essay 6)
by: Jonathan Matthew Smucker, Andrew Boyd, and Dave Oswald Mitchell
The American flag inspires extreme passions . . . but what exactly does it stand for? To different people it means freedom, justice, imperialism and terror &#151 its meaning shifts wildly depending on context and observer. This emptiness, into which observers can pour almost any meaning or desire, is a large part of the symbol's power.
For activists, a well-crafted floating signifier can be a powerful tool for catalyzing broad-based action. Subcommandante Marcos and the Zapatistas, for example, deployed the concept of the floating signifier masterfully. Marcos described the masks the Zapatistas wore as a mirror in which all who struggle for a better world can see themselves. The Zapatistas' iconic black balaclava was not just a necessity for personal security, but became a powerful statement of unity and universality. "Behind our black mask," they declared, "we are you."
In 2008, presidential candi-date Barack Obama also made masterful use of floating signifiers. His poetic rhetoric of "hope" and "change we can believe in" inspired a population weary from eight years of misrule. He became whatever his supporters wanted him to be. Obama explicitly acknowledged this phenomenon in the prologue to his campaign screed, The Audacity of Hope: "I serve as a blank screen on which people of vastly different political stripes project their own views."


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Mali: Amadou Kouffa's Opening Bid for Negotiations
Posted on July 26, 2017 by Alex Thurston
Mali's "Conference of National Understanding," which concluded in April, recommended that the Malian government open negotiations with two prominent Malian jihadists, Iyad Ag Ghali and Amadou Kouffa. Both men are part of Jama'at Nasr al-Islam wa-l-Muslimin (The Group for Supporting Islam and Muslims, JNIM), which is formally part of al-Qaida. After the conference floated the suggestion to negotiate, the French and Malian governments quickly rejected the idea. The suggestion, however, continues to evoke debate in Mali.
Apparently the jihadists are, at least theoretically, willing to consider the idea of negotiating. Recently, two emissaries from Kouffa (who is ethnically Fulani/Peul) approached (French) a prominent Peul politician, Alioune Nouhoum Diallo. Kouffa's men outlined three preconditions for negotiations:
The withdrawal from Mali of France's Sahel-wide counterterrorism mission, Operation Barkhane;
The withdrawal from Mali of the United Nations Multidimensional Integrated Stabilization Mission in Mali (MINUSMA
The appointment of Diallo as mediator.
Needless to say, the first two preconditions are extremely unlikely to happen. Neither the government of France, nor the government of Mali, would agree – indeed, many would see those demands as a trap that the jihadists are attempting to lay.
But the very fact that Kouffa's people approached Diallo bespeaks a willingness to negotiate, I think. Moreover, I think it bespeaks willingness not only on Kouffa's part but on Iyad Ag Ghali's, who is reportedly very close to Kouffa and who is, in a formal sense, Kouffa's superior in the jihadist hierarchy.
Is there anything that could be negotiated? At the level of ideals, no – Mali will not become an Islamic state, Mali will not formally allow the creation of an autonomous jihadist emirate within its territory, Mali will not expel the international community, etc. But more pragmatically, perhaps Ag Ghali and Kouffa could be swayed by the offer of a path back to normalcy: a deal whereby they renounce al-Qaida in return for a seat at the main negotiating table, or whereby they could enjoy a comfortable exile somewhere far away from Mali (exile beats dying in the desert).
To me, the reason to start talking is to allow some room for creativity – the talking itself, I think, could uncover an area where genuine negotiations are possible. You can't necessarily determine in advance exactly how the talks would go, or what the areas of compromise would be. You have to hear at least a little bit of what the other side thinks.
The counter-arguments to negotiations are, of course, serious and compelling. Some observers and players justifiably worry that opening negotiations could empower the jihadists politically or even militarily. But I don't see negotiations and military pressure as mutually exclusive. You can still hunt these people even as you talk to them through intermediaries.
Finally, a bit on Diallo: he is a major figure, both within the Peul community (where he heads an umbrella body of Peul associations) and nationally. He was president of Mali's National Assembly from 1992-2002, i.e. during the first decade of Malian democracy.
Last month, he gave a fascinating interview (French) where he discussed, among other things, the roots of Kouffa's appeal – in Diallo's view, Kouffa has benefited from his own eloquence, but also from broader socioeconomic problems such as unemployment among people educated in Arabic, rather than in French. In that interview, Diallo explained why he favors negotiations with jihadists:
Every time that the State really put itself forward, the State succeeded in halting the rebellions. So I think that a State that decides to talk straight, to speak the truth to all who are rebelling, and to speak with them, cards on the table, and to only commit itself to doing what it can do, that State can totally recover authority in central Mali, in eastern Mali. And that's why you heard that heartfelt cry from hundreds of participants at the Conference of National Understanding who are sorry that the Peace Accord is not able to stop the bloodshed.
So, let's talk with those who are presumed to be responsible for the bloodshed today. Let's talk with Iyad Ag Ghali, let's talk with Amadou Kouffa. Let's try to know what's necessary to do, without losing sight of the fact that the former president of the National Assembly, which I am, can only wish for a secular State, a democratic State, a State that will commit to the path of being just, being upright.
This entry was posted in Mali and tagged Amadou Kouffa, Iyad Ag Ghali, Mali by Alex Thurston. Bookmark the permalink.


To say this is a bad idea, would be preposterous. To say that everyone in the world loves margaritas, would also be preposterous.
To say that making the perfect margarita at home is a challenge for the average person, would not be preposterous.
I feel strongly that we have all experienced this incredibly difficult struggle. April or May comes around and you find yourself on patios far more frequently than the previous months. You're surrounded by tiny, precious flowers and the shades you're wearing are impeccably on trend. What's missing? Say it with me: Tequila.
If you're looking for a fool-proof margarita recipe, STOP RIGHT NOW. You need not look any further, my little lamb.
In my experience, the Minute-Maid brand works best for this recipe. Don't ask me why. I'm all about store brand items. If a product is one penny cheaper, I'm on board. However, this is my exception. Follow your heart.
Using a large pitcher or jug, combine the Limeade and Tequila and give it a good, strong stir. Pour the beer (You can use whatever you like, I like Lite beer so I don't feel guilty about myself) and Sprite over the mixture and add whatever citrus you have/like. When I most recently made this, I had mango, pineapple, lime and lemon on hand. Never wanting to be bored with my beverages, this combo was delicious and mildly invigorating.
Give the Margaritas a light stir and Drink responsibly, my little love pigeons.
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